Tag Archives: Matija Strlič

Preserving heritage smells (scents)

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Preserving a smell? It’s an intriguing idea and forms the research focus for scientists at the University College London’s (UCL) Institute for Sustainable Heritage according to an April 6, 2017 Biomed Central news release on EurekAlert,

A ‘Historic Book Odour Wheel’ which has been developed to document and archive the aroma associated with old books, is being presented in a study in the open access journal Heritage Science. Researchers at UCL Institute for Sustainable Heritage created the wheel as part of an experiment in which they asked visitors to St Paul’s Cathedral’s Dean and Chapter library in London to characterize its smell.

The visitors most frequently described the aroma of the library as ‘woody’ (selected by 100% of the visitors who were asked), followed by ‘smoky’ (86%), ‘earthy'(71%) and ‘vanilla’ (41%). The intensity of the smells was assessed as between ‘strong odor’ and ‘very strong odor’. Over 70% of the visitors described the smell as pleasant, 14% as ‘mildly pleasant’ and 14% as ‘neutral’.

In a separate experiment, the researchers presented visitors to the Birmingham Museum and Art Gallery with an unlabelled historic book smell – sampled from a 1928 book they obtained from a second-hand bookshop in London – and collected the terms used to describe the smell. The word ‘chocolate’ – or variations such as ‘cocoa’ or ‘chocolatey’ – was used most often, followed by ‘coffee’, ‘old’, ‘wood’ and ‘burnt’. Participants also mentioned smells including ‘fish’, ‘body odour’, ‘rotten socks’ and ‘mothballs’.

Cecilia Bembibre, heritage scientist at UCL and corresponding author of the study said: “Our odour wheel provides an example of how scientists and historians could begin to identify, analyze and document smells that have cultural significance, such as the aroma of old books in historic libraries. The role of smells in how we perceive heritage has not been systematically explored until now.”

Attempting to answer the question of whether certain smells could be considered part of our cultural heritage and if so how they could be identified, protected and conserved, the researchers also conducted a chemical analysis of volatile organic compounds (VOCs) which they sampled from books in the library. VOCs are chemicals that evaporate at low temperatures, many of which can be perceived as scents or odors.

Combining their findings from the VOC analysis with the visitors’ characterizations, the authors created their Historic Book Odour wheel, which shows the chemical description of a smell (such as acetic acid) together with the sensory descriptions provided by the visitors (such as ‘vinegar’).

Cecilia Bembibre said: “By documenting the words used by the visitors to describe a heritage smell, our study opens a discussion about developing a vocabulary to identify aromas that have cultural meaning and significance.”

She added: “The Historic Book Odour Wheel also has the potential to be used as a diagnostic tool by conservators, informing on the condition of an object, for example its state of decay, through its olfactory profile.”

The authors suggest that, in addition to its use for the identification and conservation of smells, the Historic Book Odour Wheel could potentially be used to recreate smells and aid the design of olfactory experiences in museums, allowing visitors to form a personal connection with exhibits by allowing them to understand what the past smelled like.

Before this can be done, further research is needed to build on the preliminary findings in this study to allow them to inform and benefit heritage management, conservation, visitor experience design and heritage policy making.

Here’s what the Historic Book Odour Wheel looks like,

Odour wheel of historic book containing general aroma categories, sensory descriptors and chemical information on the smells as sampled (colours are arbitrary) Courtesy: Heritage Science [downloaded from https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-016-0114-1

Here’s a link to and a citation for the paper,

Smell of heritage: a framework for the identification, analysis and archival of historic odours by Cecilia Bembibre and Matija Strlič. Heritage Science20175:2 DOI: 10.1186/s40494-016-0114-1 Published: 7 April 2017

©  The Author(s) 2017

This paper is open access.

Saving modern art with 3D-printed artwork

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I first wrote about the NanoRestART project in an April 4. 2016 post highlighting work which focuses on a problem unique to modern and contemporary art, the rapid deterioration of the plastics and synthetic materials used to create the art and the lack of conservation techniques for preserving those materials. A Dec. 22, 2016 news item on phys.org provides an update on the project,

Many contemporary artworks are endangered due to their extremely fast degradation processes. NANORESTART—a project developing nanomaterials to protect and restore this cultural heritage—has created a 3-D printed artwork with a view to testing restoration methods.

The 3D printed sculpture was designed by engineer-artist Tom Lomax – a UK-based sculptor and painter specialised in 3D-printed colour sculpture. Drawing inspiration from the aesthetic of early 20th century artworks, the sculpture was made using state-of-the-art 3D printing processes and can be downloaded for free. [I believe the downloadable files are available at the end of the paper in Heritage Science in the section titled: Additional files, just prior to the References {see below for citation and link to the paper}

Fig. 1
Images of the RP artwork “Out of the Cauldron” designed by Tom Lomax produced with the most common RP Technologies: (1) stereolithography (SLA®) (2) polyjet (3) 3D printing (3DP) (4) selective laser sintering (SLS). Before (above) and after (below) photodegradation
Courtesy: Heritage Science

A Dec. 21, 2016 Cordis press release, which originated the news item, provides more information about the artist and his 3D printed sculpture,

‘As an artist I previously had little idea of the conservation threat facing contemporary art – preferring to leave these issues for conservators and focus on the creative process. But while working on this project with UCL [University College of London] I began to realise that artists themselves have a crucial role to play,’ Lomax explains.

The structure has been printed using the most common rapid prototyping (RP) technologies, which are gaining popularity among designers and artists. It will be a key tool for the project team to test how these structures degrade and come up with solutions to better preserve them.

As Caroline Coon, researcher at the UCL Institute for Sustainable Heritage, notes, ‘Art is being transformed by fast-changing new technologies and it is therefore vital to preempt conservation issues, rather than react to them, if we are to preserve our best contemporary works for future generations. This research project will benefit both artists and academics alike – but ultimately it is in the best interests of the public that art and science combine to preserve works.’

The NANORESTART team subjected the artwork to accelerated testing, discovering that many 3D-printing technologies use materials that degrade particularly rapidly. It is particularly true for polymers, whose only-recently achieved cultural heritage status also means that conservation experience is almost inexistent.

Preserving or not: an intricate question for artists

The experiments were part of a UCL paper entitled ‘Preserving Rapid Prototypes: A Review’, published in late November in Heritage Science. In this review, Caroline Coon and her team have critically assessed the most commonly used technologies used to tackle the degradation of materials, noting that ‘to conserve RP artworks it is necessary to have an understanding of the process of creation, the different technologies involved, the materials used as well as their chemical and mechanical properties.’

Besides technical concerns, the paper also voices those of artists, in particular the importance of the original artefact and the debate around the appropriateness of preventing the degradation process of artworks. Whilst digital conservation of these artworks would prevent degradation and allow designs to be printed on-demand, some artists argue that the original artefact is actually the one with artistic value as it references a specific time and place. On the other hand, some artists actually embrace and accept the natural degradation of their art as part of its charm.

With two more years to go before its completion, NANORESTART will undoubtedly bring valuable results, resources and reflexions to both conservators and artists. The nanomaterials it aims to develop will bring the EU at the forefront of a conservation market estimated at some EUR 5 billion per year.

Here`s a link to and a citation for the paper,

Preserving rapid prototypes: a review by Carolien Coon, Boris Pretzel, Tom Lomax, and Matija Strlič. Heritage Science 2016 4:40 DOI: 10.1186/s40494-016-0097-y Published: 22 November 2016

©  The Author(s) 2016

This paper is open access.

Sniffing old books

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I don’t know if it’s nano but this story about old books and their smell ‘speaks’ to me. Thanks to GrrlScientist for her May 1, 2012 posting about this interesting work on degradomics,

Every time I catch a whiff of that special old books smell, I am transported through time and space to the cool welcoming basement of The Strand Bookstore in New York City, where I spent many hot humid summer afternoons, searching for some used book I’ve never seen nor even heard of, or sitting on the cold concrete floor, reading. The smell of old books isn’t pleasant, exactly, but it is unmistakable — and powerfully evocative.

“A combination of grassy notes with a tang of acids and a hint of vanilla over an underlying mustiness,” writes an international team of chemists from University College London (UCL) and the University of Ljubljana (UL) in Slovenia in their scientific paper ([Material Degradomics: On the Smell of Old Books] doi:10.1021/ac9016049 [this paper is behind a paywall despite the fact the paper was published in 2009]).

Here’s an entertaining video about this work,

Not all old books are deteriorating and expelling gases. There are some very old books that are in pretty good condition. The problem arises with the paper production techniques of the 19th and 20th centuries. We put a lot of acid in our papers and that’s what’s breaking down the material. From GrrlScientist’s May 1, 2012 posting,

The one factor that speeds a book’s death more rapidly than any other is acidity: paper that is too acidic significantly decreases a book’s lifespan. These papers are cheap and easy to mass produce. This explains why a newspaper clipping left in the pages of a book creates an ugly orange-brown stain on the book’s pages. But books have also been printed on acidic paper. Many of the books now crowding onto shelves in used bookstores were published in the 19th and 20th centuries; yellowing books with brown spots and crackling bindings that were mass printed on cheap paper that was too acidic. These books are aging rapidly whilst much older books are still in good shape because the paper they were printed on was much purer.

The paper’s lead author, Matija Strlič, is a senior lecturer at the University College of London (UCL) and he has a research interest that I did not realize existed, Heritage Smells,

Research interests span multi-disciplinary research linked to cultural heritage. The focus of these efforts are the development of new scientific tools and methods of study of heritage materials, collections and their interactions with the environment. Among the pioneering contributions are the development of degradomics, use of Near Infrared Spectrometry with chemometric data analysis in heritage science, use of chemiluminometry for studies of degradation of organic heritage materials, and studies of emission and absorption of volatile degradation products in heritage collections. My current research interests include development and use of damage functions and integrated modeling of heritage collections.

Presently, Matija Strlic is the Principal Investigator of the UK AHRC/EPSRC Science and Heritage Programme project Collections Demography (2010-2013) and a Co-Investigator on Heritage Smells! (2010-2013).  He is also involved in  several other projects, including the EU projects POPART (2009-2012, “Preservation of plastic artefacts in museum collections”) and TEACH (2009-2011, “Technologies and tools to prioritize assessment and diagnosis of air pollution impact on immovable and movable cultural heritage”), and UK Technology Strategy Board-funded project Heritage Intelligence (2009-2011).
In the past few years he has been  involved in other large collaborative projects: coordination of SurveNIR (2005-2008, “Near Infrared Tool for Collection Surveying”), scientific coordination of Papylum (2001-2004, “Chemiluminescence – a novel tool in paper conservation studies”), and participation in PaperTreat (2005-2008, “Evaluation of mass deacidification processes”), InkCor (2002-2005, “Stabilisation of iron-gall ink containing paper”) and MIP (2002-2005, “Metals in paper”). He co-coordinated the 8th European Conference on Research for Protection, Conservation and Enhancement of Cultural Heritage, Ljubljana, Slovenia, 10-13 November 2008.

Our paper is crumbling, eh? That means song sheets with the notations from composers such as Beethoven, etc.; original editions of important books of literature and nonfiction; drawings and prints by important artists; and scientific and other research papers; in other words,  historical documents of all kinds will be disappearing unless researchers can find a solution to the problem.