An Update from the Working World

In addition to the current students in the MSc program, some past students occasionally have a chance to update us on how things are proceeding as they move on to their careers in the wider world of conservation.

Anna Funke (MSc 2014-2016)

I am from the UCL conservation class of 2016 and am now taking the first steps as a fully-fledged conservator.

After having lived in London for seven years, I decided that I wanted to go back to the States. So during my internship year, I applied to a wide variety of internships and fellowships all over the US, so that I would have a place to go after handing in my dissertation in September.

In the end, I did the Materials Research internship with the National Centre for Preservation Technology and Training (NCPTT) based in Natchitoches, Louisiana. The centre is part of the National Parks Service and runs a wide variety of scientific studies related to the preservation of North American heritage. I was originally supposed to be here for ten weeks but will now be staying for a little longer, which gives me time to get involved with more projects as well as elaborate on my original research.



Anna in front of NCPTT


While here, I have been running a study on the use of chelating agents to remove iron stains from marble. This has always been a challenging treatment because the acidity of the chelating agent will cause damage to the calcium carbonate in the marble, which can lead to etching. The aim of this study has been to gather data on the damage done to marble by the use of chelating agents, which could then be combined with data on their effectiveness at stain removal. Five different chelators were tested both at pH 9.2 and pH 10. Based on this combined data, the tested treatment solutions could be ranked according to their effects both on the marble and the staining.



Anna cleaning samples after treatment, unstained samples, and stained samples


Now that I have completed the data collected on this project, I will get involved with a study on the effectiveness of different glazing agents in the preservation of historic windows. For this I will be testing the durability of different products using a freeze-thaw chamber.

While I have been here, I have learned how to operate and interpret the data from a wide variety of scientific instruments available to conservation, as well as how to effectively design and run a study in materials testing. It has been a great way of learning more about material science and conservation research.

It has also been interesting working for an organization that is very focused on conservation communications. I have written several blog posts, given a lecture and recorded a podcast in the short time that I have been here. Finally, it has also provided me with an interesting research project, which I can now publish and present at conferences, which will hopefully help me further in meeting people throughout conservation.



Anna taking colorimetry readings on stained samples



Introducing: the MSc year ones, 2016/2017

Clare Lim

Another year, another batch of MSc year one students!


There are twelve of us this year. We come from Canada, Colombia, Singapore, the UK, and the United States. Our academic backgrounds range from archaeology and chemistry to fine art and biblical studies. For some of us, it hasn’t been so long since we were undergrads, while some of us have had several years of work experience in different fields. But what we are very happy to have in common is a great interest in conservation.


This year, we will be very busy with lectures, seminars, research projects, lab work, and extra projects.

During lectures, which are delivered by our course coordinators and guest lecturers, we learn about the materials that many objects are made of, and how they are usually conserved. In lab skills sessions, we learn more about specific conservation techniques.


James Hales demonstrating the application of epoxy resin as an adhesive by capillary action


Demonstration of a plaster fill on a ceramic object, using dental wax as a mould

We will spend much of our time in the lab working on interventive treatments. Each of us will treat at least ten objects during the year. We have the privilege of working on objects from various collections, including those of the Petrie Museum of Egyptian Archaeology. For each round of object allocations, we get to choose from a selected range of objects. (If more than one person wants the same object, the conflict is settled by very civilised rounds of rock-paper-scissors.) While each object allocated does mean adding another task to a growing list of deadlines, it’s still always exciting to have the opportunity to work on and learn about interesting objects.


An object allocation session



Hard at work in the lab

We have access to several analytical techniques at the UCL Institute of Archaeology (IoA), including, but not limited to, Fourier-transform infrared spectroscopy (FTIR), scanning electron microscopy (SEM), and portable X-ray fluorescence spectrometry (pXRF). We use these analytical techniques in our research projects. They are also useful for helping us to find out more about our allocated objects, so that we can make informed conservation decisions.


An SEM training session with Dr Tom Gregory

Not everything takes place just within the walls of the IoA. We also get to go on trips outside the lab. Click here to read about our fieldwork on Hinemihi, a Maori meeting house, at Clandon Park!


A visit to the Stone conservation lab at the British Museum

These are just some of the things we will do in our first year in the MSc in Conservation for Archaeology and Museums. Stay tuned for more, and keep an eye on our Facebook page, Twitter and Instagram too!

How is magic done in the lab?

Adriana Paez

Have you ever seen Ratatouille, the 2007 movie by Pixar about the friendship between a rat and a garbage boy, told in a captivating story about food, solidarity, and the pursuit of happiness and perfection sought after in French haute cuisine? Well, as conservators we have a lot in common with chefs. Let me tell you why, and I promise not to be too cheesy!

ratatouille-picScene “Keep your station clean”, Ratatouille, 2007. Youtube

We spend a lot of time in the lab during the first year of the MSc in Conservation at UCL – at least 729 hours, 63% more “classroom” time if compared to the average timetable of a MSc student in the Institute of Archaeology of 264 hours. This situation inevitably changes our perception of what we are doing, strengthens the bonds among the group, increases shared moments around a cuppa or a coffee (I’m Colombian), and transforms the lab into our second home, as one of the strongest identity references for the students of conservation.

Katie, author of our first Hinemihi blog post (see here), once posted a very illustrative picture on Facebook with a caption that read “I’m not saying our lab is dangerous … But we do have more warning triangles than most other doors.” The lab is a space of learning where you need to balance rigorous behaviour and sets of instructions with great doses of creativity and experimentation, just as in a professional kitchen. Like medieval alchemists, we pursue the elusive goal of “transforming lead into gold” with conservation treatments, i.e. reshaping decay into glory through the assessment of the significance or values that must be preserved.

warning-trianglesOur “warning triangles” at the lab door.

How does this happen precisely? Every few weeks pick up an object that embodies an inspiring set of problems. Objects are allocated to us and a precious exchange occurs: each of them allows us to discover how it has survived the ravages of time, and through its materiality allows us to learn about the chemistry of decay and about conservation materials. We can grasp an idea of the values that have saved it from being discarded in this time in which things are constantly being disposed of and renewed. In exchange, conservators devote precious time and skill to investigating them, removing layers of dust, looking into their damage, sometimes identifying previous conservation treatments, and so we apply our best knowledge to transform them, letting them have a new life afterwards.

As in haute cuisine, such a double-edged deal is rooted in a deep connection and understanding of the objects, giving a formal result that can be evaluated according to the highest standards of academia and owner’s satisfaction – or food critics and customers, depending on the case. And just as in haute cuisine, there is a synchrony between time and energy that cannot be wasted, roles and responsibilities necessitating order, cleanliness, high quality supplies (thankfully, we don’t need to haggle with a provider to have fresh products), cutting and heating tools, and working at individual stations to finally produce results as a group.

Last but not least, there is a scene in the movie that reminds me of one of my most beloved aspects of conservation. In this scene, Colette tells Linguini: “People think that haute cuisine must be snooty, so chefs also must be snooty. But that is not so… we are artists. Pirates who can cook, aren’t we?” And the same thing happens in our profession. Every fortnight, some of the students present to the rest of the group her journey in the conservation world (yes, here conservation also remains predominantly a female-led career, taught mainly by men… but this is another story!). And it is mesmerising to know how diverse and enriching our paths are as we strive to become professional conservators, embracing the possibilities for the future.

So, in a nutshell, here’s where everything begins!

Keep your eyes peeled for more stories from the lab, coming soon!

PS: Thanks to Clara and Jan for the proofreading!

Caring for Hinemihi

Katie Cook

On October 13, the new intake of MSc conservation students undertook their first field work expedition to work on Hinemihi at Clandon Park.

Hinemihi is a wharenui, or Maori meeting house, built in 1880 in Te Wairoa, on the North Island of New Zealand by Ngati Hinemihi people.  Following the devastating eruption of Mount Tarawera in 1866, Hinemihi was purchased by the fourth Earl of Onslow, and relocated to the gardens of his home at Clandon Park in England, now managed by the National Trust. In 2015, Hinemihi experienced another devastating event with the fire that destroyed the Palladian Mansion at Clandon Park.

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Hinemihi at Clandon Park nowadays.

Fortunately, Hinemihi was left undamaged by the fire, and this MSc student fieldwork is part of an ongoing effort to maintain Hinemihi as a living building. Our work was guided by Maori protocol, supported by Te Maru Vice-Chair Sam Callaghan, and within the conservation protocols of the National Trust.  On this outing students carefully removed microbiological growth (MBG – lichen & algae) from the exterior carvings of Hinemihi in preparation for the winter cold. Since Hinemihi is outdoors, MBG can retain water and increase the damage caused by frost when the temperature rises and falls during the winter months. It doesn’t hurt that removing green and grey growth from the carvings allows Hinemihi’s beauty to shine through as well!

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Getting set up for the day!

In order to carefully remove MBG without damaging the carvings or removing the flaking paint, students used a variety of tools: scalpels, bamboo skewers, dental tools, cotton swabs and deionised water and brushes.


It was a bit crowded since we could only reach so much of the outermost carvings without a ladder.

Although we didn’t have time (or ladders) to reach every surface, Hinemihi certainly looked better when we left and the conservation students will certainly be visiting again to help care for Hinemihi. Look out for upcoming blog posts on the subject!


Before and after: With less lichen and algae, Hinemihi should endure the winter weather much better.

Caring for Wounded Objects

Vanessa Applebaum

Editor’s Note: MSc Year 2 students often write blog posts for the museums where they currently intern. This example was originally posted to the Science Museum blog, found here. Reposted with permission.

As a member of the conservation team that has cleaned, documented and repaired items for the Wounded: Conflict, Casualties and Care exhibition, I’ve become acquainted with a range of fascinating objects used during the First World War.

Among those I readied for display, my favourite is the field surgical pannier set, which was made in Britain in 1905 and would have been used in field hospitals near the front line.

I particularly like the pannier set because of the many remarkable smaller objects – over 100 – inside the case. They include instruments used to open up the body and stitch wounds, as well as mundane items such as bandages and plasters. There’s also a saline infusion apparatus that was used to wash wounds, dilute drugs and provide a substitute for blood plasma.

A field surgical pannier set, made in Britain in 1905. Credit: Science Museum.

A field surgical pannier set, made in Britain in 1905. Credit: Science Museum.

The interior of the pannier and the items inside were treated extensively last year by Louise Stewart Beck, who worked on almost all the objects going on display.

However, the exterior – specifically the pannier’s leather components – also needed conservation. And that’s where I came in.

My task involved documenting the pannier’s condition, cleaning it, repairing certain areas where the leather was lifting and tearing, and stabilising spots on the surface that were crumbling.

Parts of the leather were suffering from ‘red rot’, a form of degradation – not actually rot, despite the name – that occurs in vegetable tanned leathers from the late 1800s and early 1900s. It usually appears as a reddish colour and a crumbling surface, and results from high temperatures and high humidity. To fix the problem I used a ‘consolidant’ to treat the surface locally, which helped to stop the crumbling and stabilise the pannier for the future.

Because of its age and how it was used, other areas of the leather – mostly the bottom edges and corners – had split and were lifting from the wicker interior. The location of the damage and the reduced flexibility of the material made this one of the trickier parts of the job.

Vanessa at work conserving the field surgical pannier set. Credit: Science Museum

Vanessa at work conserving the field surgical pannier set. Credit: Science Museum

In some cases the treatment was as straightforward as sticking down the leather with an adhesive, but for other sections that were fragile and unable to bend I had to resort to humidification. Where the leather needed extra support to reattach to the wicker, I used Japanese tissue paper colour matched to the brown leather as a kind of patch.

Treating the surgical pannier set was both interesting and informative. I look forward to seeing it on display in the exhibition, and I’m sure others will enjoy learning from it just as I have.

Conservation of the Cruciform Hub’s Historical Busts

By Emma Prideaux and Cyril Maucourant

Following the introduction of the busts (Here!), we explain the conservation process. The process involved four main steps: observation, investigation, deliberation and treatment.


Students need to work out what needs to be done to these objects before a plan of action can be drawn up. So each statue will be first examined thoroughly and these observations will be recorded, through written descriptions, photographs and illustrations. These records also function as a record of what the object was like before treatment. Observation can be simply viewing the object with the naked eye, but magnified lenses or digital microscope using visible light, IR and UV, can be used to observe specific details related to decay mechanisms or highlight traces of materials from past conservation treatments (Fig. 1.) .

Dowel pins detail

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Figure 1. Recording evidence of dry corrosion on a tip of a dowel pin (Maucourant, 2016)


This stage is essential to determine the chemical nature of materials the object is made of. This can inform us of the correct chemicals needed to instigate conservation work.

This can be as simple as removing a sample of adhesive from the surface of the object, placing it on a clear slide and dropping acetone on it, to see if it will dissolve. More intensive analysis, usually involves equipment such as a pXrf or a Scanning Electron Microscope, which can be used to provide information about the surface morphology and micro-crystalline matrix. With this information, a critical analysis about the choice of materials used for conservation treatment can be proposed.

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Figure 2. Location of two different accretions in the surface of the bust (Wang, 2016)


When the conservators have decided what is feasible, the next step is to consult with the ‘stakeholders’. In this case, those in charge of the marble busts, and each other. This is to ensure that the conservation work aligns with the goals of the owners of the object.

The fact that these marble busts are part of a set can complicates matters. This group of objects will all be displayed together. The conservators must consult each other to ensure that all the marble busts and both the plaster busts retain the same aesthetic after conservation.

Once a conservation treatment has been formally agreed, the students can then move onto conservation treatment of the objects.

Cleaning tests back of bust results

Figure 3. Testing cleaning methods – results (Maucourant, 2016)

Conservation treatment

Finally, after observation, investigation, and deliberation these objects can begin to be treated.

Conservation is, at its heart, problem solving, and each statue will provide its own challenges and solutions. This can be as simple as brushing the dust off the surface of the object, to reconstructing missing fragments of stone. A range of tools can be used, from bamboo sticks and cotton wool to scalpels and Plaster of Paris fills. The techniques used on this object set will vary widely – some of the statues are plaster, some are marble. Some objects need to have aesthetic repairs whilst others need structural repairs.


Figure 4. Some need significant repairs (De la Serna, 2016)


More on the treatment soon!



A tale of significance: The confused porcelain

Lucie Altenburg

Once upon a time, on one fateful afternoon, we were asked to choose our first object for treatment. I immediately spotted a small porcelain figurine broken in two at the midriff. It appeared to be a Japanese woman in an ornate and gilded kimono and holding a fan, which would suggest a dancer. It was one of those “Aha!” moments: that Asiatic looking young lady “sang” to me.

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The Japanese figurine studied. Photograph by Lucie Altenburg

Objects, even when we know little to nothing about them, can be powerful engagers. What had actually happened was that, as a slightly atypical Japanese with a German surname, I felt compelled to choose this dainty but slightly sorry looking figurine because there was a link… Even before I started any sort of work on this object it already held significance for me.

Significance is a vital concept in 21st century conservation. It refers to the values and meanings that heritage objects hold for individuals and communities. These values and meanings determine the object’s ability to engage people, and people’s ability to connect and relate to the object. The aim of conservation is to retain, reveal or recover the cultural significance of an artefact. We do this not simply through the treatment of the object’s fabric, but also through the development of an understanding of its history and any meanings it may hold. In the MSc we learn to make significance a key focus in any treatment design. Our treatment proposals must include an assessment of significance that identifies the important elements of the object‘s fabric, history, and meaning.

So I set out to do this. The figurine was broken in half and heavily soiled, so that it was difficult to see some of the decorative patterns on the garment. After a preliminary visual examination, no manufacturing marks were observed, making it difficult to provenance and even date the figurine. It looked like the representation of an Asian lady, possibly a dancer, and the statement of significance was first written with this interpretation in mind.

But the more I looked at it, the more it bothered me. There was something very much off about the figurine, and this irked me to no end.

That’s when it hit me. Not literally. It is an inanimate object after all.

The way the hair was styled was completely wrong for a young woman, especially in a traditional kimono. It can clearly be seen in the pictures other Japanese porcelain figurines. That particular hairstyle was actually one that young men usually sported.

Photographs from .jpg

Other Japanese figurines. Photograph from

The investigation deepened as I reached out to some relatives back in Japan, who confirmed that the hairstyle and in fact the short sleeved kimono suggested that this was a young man instead of a young woman. This new information would not change my proposal for the way the figurine is conserved or handled in this case, but it was revealing hitherto hidden values in the figurine, and enriched its capacity to engage. This underlines how important it is to fully understand the object being treated.

I finally had a stroke of luck. A virtually identical figurine online, was described as a Kabuki geisha. In Japan, we have a form of theatre called Kabuki. Traditionally men act out female roles and dress as such. As far as I know geishas are all women, since they are hostesses and entertain men. So the description may be wrong. However, it was the same stance, the same fan and kimono (just decorated differently), and the same puzzling hairstyle. Also, there was a manufacturer name. All this added to the understanding of the figurine and finally gave a potential provenance.


Detail of Kabuki performance. Photograph from

At this point, my cousin, who is a traditional painter, got back at me saying she was 99% sure this was a man. She was puzzled by the way the bottom of the kimono folds to the sides, showing a rather dainty foot, a very effeminate trait. While the proper right arm shows a red under-garment, more of a male feature.

The figurine would have been a Kutani ware porcelain that towards the end of the nineteenth century, produced almost exclusively for import towards Europe. This meant that accurate depictions of the Japanese culture were not necessarily a priority; mostly the figurines had to be exotic and beautiful explaining the confusing mixture of male-female markers in the figurine. At this point, it becomes difficult to affirm what it is trying to represent.


Other Kutani figurines. Photograph from

As conservators, we often achieve a degree of knowledge and intimacy with the object that few other heritage practitioners have. So far, the result of my work, even before I started on treating the problems with the object’s fabric, is that the figurine has regained some of its values. It is now more than it was when the treatment started, and has an interesting and engaging tale to tell. It has certainly increased its appeal and interest to me as I research and work on it.

So we all lived happily ever after. The end

An Introduction to the Cruciform Hub’s Historical Busts

Emma Prideaux

During the summer of 2015, 7 portrait busts, once part of a larger group of sculptures displayed in UCL’s old Medical School Library in Rockefeller Building, came to the attention of the conservation team at UCL PACE Museums and Collections ( These are the likenesses of formative figures associated with UCL’s medical school and University College Hospital and are to be put on display in the recently refurbished UCL Cruciform Hub ( But before this can happen, the busts must be first cleaned and conserved!

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Figure 1. The Medical Library (Now Grant Museum) (Source: Cain 2011, 27)

The busts, two made of plaster and five made of marble, were originally arranged on plinths in the old Medical School Library, the Rockefeller Building, overlooking the central room. These original Plinths can still be seen in the Grant Museum of Zoology, which has occupied the space since 2014 ( The busts were removed from the Rockefeller Building in 1999, when the Medical School Library moved to the Cruciform Building, and placed into storage. In June 2013 the Medical School Library in the Cruciform Building was refurbished. When it reopened as the UCL Cruciform Hub in 2014, it was decided that the busts should be returned to their vigil over studying medical students.

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Figure 2. The old Medical School Library, the Rockefeller building. (Source: Cain 2011, 7)

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Figure 3. The original position of some of the busts in the old Medical School Library (Source: Cain 2011, 44)

Before the busts can be installed, though, a lot of conservation work needs to be done. Each of the 7 sculptures has been allocated to a first year MSc conservation students (UCL), who will examine, study and then propose a course of treatment so that the busts can be displayed together on a plinth in the Cruciform Hub. It will be overseen by Kate Cheney head librarian, Susi Pancaldo, head of Conservation in UCL museums and by me, a second year intern in the program (


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Figure 4. Edward William Murphy. One of the old busts that is being conserved. (Source: Cain 2011, 43)

The Blogs

This is the first of a series of blogs that will cover what, why, when and how we will treat these statues. By sharing the steps we take as our work progresses, we hope to reveal how museum objects sometimes need to go through transformation before they can be displayed. We hope to showcase the work of conservators and, in particular, to share with our readers the unique set of challenges that each bust presents to students in the Institute of Archaeology’s conservation lab and the solutions we’ve created.

Olduvai is Gorge-ous!

Abigail Duckor

Our previous posts about Olduvai Gorge introduced the Olduvai Geochronology and Archaeology Project excavations. At this time Anna, Jan and I were just beginning to pack for the trip. It feels crazy to say that now already 2 months have passed since we returned from what was an amazing and unforgettable experience.

As explained before, Olduvai Gorge is a very important site for the discovery of early hominin activity. It was first excavated by Mary and Louis Leakey in 1935 and excavations continue there today. Echos of Mary and Louis Leakey’s presence still remain at the camp where we lived.


The Leakey’s home, now the camp’s dining hall- and coloring area during our mid-day break (Photo Emily)


The Laetoli lab- our conservation lab for the season (Photo A. Duckor)

Every year the day that Mary found the Zinjanthropus boisei skull (also known as Paranthropus boisei) is celebrated. We were lucky enough to be part of the celebrations this year. Throughout the night everyone expressed their thankfulness for the collaboration that has taken place between the local Maasai and the visiting researchers.


Our friend Merve gets lovingly dressed up by the Maasai Women for the Zinj Day celebrations (photo A. Duckor)

The excavations this year have been led by Dr. Ignacio de la Torre (UCL), Dr. Lindsay McHenry (University Wisconsin-Milwaukee) and Dr. Michael Pante (Colorado State University). The excavations site locations were based on the meticulous notes of Mary Leakey.

This year, the main sites excavated were incredibly rich archaeologically. Over 5,000 artefacts were excavated this season and over 550 of those passed through the conservation lab.

GTCT (Greatest Tanzanian Conservation Team) treated more objects then ever before. Comprised of myself, Anna, Jan and Eli. We were led by Dr. Renata Peters to have a highly successful season conserving fossilized bones and stone tools.

The fossilized bones  came into the lab requiring joining, consolidation, fills and surface cleaning. The stone tools were often delaminating, in addition to needing joining and surface cleaning.


Anna consults with Renata about a treatment (photo A. Duckor)

We could not have had such a successful season without help from the Tanzanian excavators and field school students who quickly became part of the GTCT.


I help teach one of our students, Nai, about documentation


The ever-growing conservation team!

When reminiscing about our time in Olduvai to others Anna, Jan and I have gotten some interesting reactions. Daily life at the camp would not be considered easy by most. We slept in tents, had no running water (which meant showering from a bag and brushing your teeth by a bush) and only limited generator-powered electricity. We would start work daily at 7:45am and would finish around 6:30pm- when there was no more light to work by. However, we would also watch the sunrise over the gorge every morning, see giraffes running behind the camp in the evening and fall asleep to the sound of hyenas. We were surrounded by loving and caring people with whom we formed friendships that will last a lifetime. Olduvai Gorge is a unique and wondrous place. I think I speak for all three of us when I say we feel very lucky to have been part of this experience.


(Photo A. Duckor)

This trip could not have been possible without help from our friends and family who donated to our crowd fundraising campaign, the Zibby Garnett Travel Fellowship and OGAP. Thank you so much!

Extending 3D scanning technique with the help of Cyclododecane

Pingfang Wang

New technologies are making themselves a place in conservation. Today we introduce 3D scanning a technique that we will use very soon in our projects.

3D scanning has been extensively applied in museum and cultural heritage environments for the purpose of documentation and conservation because of its non-contact and non-destructive nature. However, this technique is limited if the objects with transparent surface. More techniques are developed to resolve the problem, based on analyzing the properties of reflective and scattered optical wave. Nevertheless, these methods require strict light control during implementation and highly skilled post-analysis involving complicated algorithms. Hereby, I would like to introduce a more feasible method to improve the acquisition problem on scanning transparent object. It is a new application of a common conservation material that using cyclododecane as whitening spray on the object’s surface prior to 3D scanning.


Fig. Two historic bulbs from the collections of Science and Engineering (UCL museums)

A brief introduction of Cyclododecane

Cyclododecane (CDD) is a cyclic alkaline with the chemical formula, C12H24. It appears translucent colorless solid in a form of irregular crystal and is a very volatile substance. The most attractive characteristic is that it sublimes, eliminating additional chemical or physical treatment steps to remove it. In addition, its hydrophobic characteristic is ideal to use as a temporary consolidant for fragile materials during transportation and for cleaning treatment with water-sensitive material.

Being part of my MA dissertation research, I cooperated with UCL museum and asked for the transparent objects as scanning samples from the collections of Science and Engineering. These samples are the historical light bulbs and valves, which were produced in around 1920s (Fig.1). Due to surface property of transparency, these objects have difficulties in applying scanning for 3D documentation. They were generally documented with texts and photographs. Through 3D scanning, the morphology of objects can be precisely recorded for preservation and monitoring purpose, Also, the 3D data can be used to create replicas and visualized display on the website enhancing its educational value.


Fig. 2. 3D scanning of a historic bulb coated with CDD at the Institute of Making (UCL)

In the scanning project, a NextEngine 3D Laser Scanner, provided by Institute of Making of UCL, was employed to scan these objects (Fig.2). The average scanning time is estimated around 50 minutes for each object. Fig.3 demonstrates the result of 3D scanning with CDD coating. This application provides a desirable 3D model for transparent object and also reaches 3D documentation purpose in regards of substance reversibility and data completeness.


Fig. 3. 3D scanning results

Nevertheless, since the CDD application is solvent-based, the transparent materials that are sensitive to organic solvent are not suitable for this approach, such as plastic objects and specimens. Except for this, using cyclododecane as an opaque coating for scanning transparent surface is a great choice!