This article presents the design and implementation of an information management system for conservation interventions at Chich & eacute;n Itz & aacute;,conceivedfrom a biocultural perspectiveand organized through spatial classification, hierarchical nomenclature, and document management. The proposal articulates a multiscalar hierarchy ranging from the site to the architectural element and translates it into a folder tree, a 14-field coding scheme, and a Common Data Environment compatible with ISO 19650 and guided by FAIR principles. Methodologically, the system was structured around six operational components, internal pilot tests, and an exploratory survey of specialists. The results show improved building-space-element traceability, reduced ambiguity in file identification, and more consistent retrieval of technical documentation. In resource-limited contexts, the system provides a minimal, replicable, and scalable infrastructure for organizing, preserving, and reusing heritage information.
Ge-conservación es una publicación periódica del GEIIC, cuyo objetivo es contribuir al desarrollo científico, a la difusión y al intercambio de los conocimientos en materia de conservación y restauración del Patrimonio Cultural.
Conservación-Restauración. Diccionario Razonado, Ana Calvo Manuel. Ediciones Complutense, Madrid, 2026. ISBN: 978-84-669-4021-4; ISBN (PDF): 978-84-669-4022-1 Dimensiones: 190 x 240 mm Páginas: 714 Idioma: Español
En las últimas dos décadas, la metodología de estudio aplicada al análisis del impacto del cambio climático en las diferentes disciplinas ha consistido en una primera fase de conocimiento de la amenaza, y una segunda fase en la que se estudia la vulnerabilidad del sistema afectado, en nuestro caso patrimonial, con el fin de implementar las soluciones y estrategias de adaptación que permitan paliar sus impactos. Para la mejor comprensión del presente artículo, recomendamos la lectura del artículo titulado “Caracterización de las amenazas derivadas del cambio climático e identificación de los impactos en sitios arqueológicos” al que haremos referencia en el texto (García y Plaza 2025), que contempla la primera fase citada. La presente investigación se enmarca en la segunda fase siguiendo dos metodologías diferenciadas. En primer lugar, revisa los estudios sobre la vulnerabilidad al cambio climático en los sitios arqueológicos, en base a los proyectos realizados en el ámbito europeo. En segundo lugar, expone las experiencias desarrolladas en dos casos prácticos, la Illeta dels Banyets (Alicante) y Adro Vello (Pontevedra).
This article presents a study of the Large Temple (1st century BC-1st century AD), the most unique temples of the site of Sikait (Eastern Desert of Egypt). The presence of multiples fractures and cracks prompted a non-destructive analysis aimed at the inspections, monitoring, and preliminary diagnosis of its conservations state. Due to the excavated nature of the temple, hybrid methodology combining mining engineering and architectural pathology was implemented. Geometric documentation was conducted through SfM photogrammetry and traditional surveying, while rock mass characterization included geomechanical station analysis and Schmidt hammer testing. Additional inspection techniques comprised damage mapping, endoscopy, Lutton tests, thermos-hygrometric monitoring, and crack monitoring. The differentiation between geological joints and stress-induced mechanical fractures revealed the structural precariousness of the monument. Analytical calculations suggest that the temple already presented intrinsic instability at the time of its construction. The deterioration of these geological discontinuities, possibly aggravated by the collapse of the upper rocky cliff, later transformed them into critical cracks. The conclusions confirm the correlation between low sclerometric strength in the bands and the advanced pathological condition of the complex, identifying the column and the south wall as the most vulnerable areas. The temple's intrinsic geological instability and minimal structural design may explain its unfinished state. This multidisciplinary study provides the first scientific assessment of the pathological processes affecting the easternmost hemispeos of Upper Egypt.
Scientific studies of works belonging to the Valencian Gothic present an important relevance in order to broaden historiographical and technical research, since there are still difficulties in attributing works and differentiating between the workshops that worked in Valencia. Material characterization analyses are very useful to clarify authorship issues, since they reveal clear information about the execution process and allow for a comparative study of works with similar stylistic characteristics and techniques. In the present work the study carried out on the polychromy in stone of the tomb of Boil of the Convent of Santo Domingo in Valencia is exposed. Using optical microscopy (OM), scanning electron microscopy coupled to a microanalysis system (SEM-EDX), Fourier transform infrared (FTIR) and chromatography-mass spectrometry (GC/MS), it has been possible to study the stratigraphic sequence of polychromy and determine the mechanisms of alteration affect the pictorial materials.
This article investigates the feasibility of self-manufacturing non-aqueous paints for chromatic reintegration. This artisanal practice, historically carried out by artists and increasingly adopted by restorers, responds both to problems of stability, finish and conservation of specialised commercial paints, and to the need to reduce costs in restoration processes. Taking into account the apparent advantages of handmade colours, an experimental study has been carried out through the elaboration and analysis of laboratory tests with different combinations of pigments and varnishes. Through accelerated ageing tests, microscopic observation and colorimetric analysis, the cohesion, homogeneity and stability of the mixtures have been evaluated. The results indicate that the viability of this practice depends largely on the nature of the materials and their correct formulation, concluding that, under certain conditions, they could be considered for applications in professional restoration contexts with the possibility of optimizing their properties.
Este artigo apresenta o tratamento de conservação de uma Megillat Esther (Rolo de Ester) realizado no Instituto Politécnico de Tomar, que serviu como ponto de partida para uma reflexão mais ampla sobre os desafios éticos e metodológicos envolvidos na conservação de objetos sagrados judaicos. Para além da intervenção técnica, o estudo explora a complexa relação entre as prescrições haláchicas, a função ritual e a ética profissional da conservação e restauro. Salienta a escassez de diretrizes claras e acessíveis, bem como de investigação académica sobre o cuidado do património ritual, deixando os conservadores-restauradores com poucos referenciais ao lidar com objetos de significado religioso vivo. Com base em abordagens contemporâneas centradas nos valores e nas comunidades, a discussão defende o estabelecimento de uma colaboração interdisciplinar entre conservadores, estudiosos do judaísmo e autoridades religiosas, com vista a desenvolver protocolos éticos coerentes e sensíveis ao contexto, que respeitem simultaneamente a integridade material e o significado espiritual dos artefatos sagrados.
Fungal deterioration is one of the main threats to the conservation of paper documents, compromising both their physical and aesthetic integrity. Despite this, many institutions lack specific research evaluating the effectiveness of methods used to control fungal biodeterioration. This study assessed the effectiveness of ethanol at concentrations of 70%, 75%, and 80%, as well as mechanical vacuum cleaning, in controlling Eurotium sp. and Penicillium sp. isolated from historical manuscripts. The treatments were analyzed both independiently and in combination. The results challenge traditional recommendations, by demonstrating that 70% ethanol concentration is not fully effective against Eurotium sp. and Penicillium sp., two fungal genera commonly found in archives and libraries. Notably, the combined treatment -vacuum cleaning followed by the application of 80% ethanol-proved particularly effective, highlighting its potential as a viable strategy for controlling biodeterioration in historical documents.
The response of paper to fluctuations in relative humidity (RH) is a key factor in its conservation, display, and storage, particularly for large-format artworks. This study examines the dimensional behavior of three types of paper under changing moisture conditions, measuring longitudinal and transversal variations every five minutes until equilibrium was reached. The results show that most dimensional change occurs within the first 10-15 minutes after a change in RH, and that stabilization occurs within 20 minutes in all cases. As expected, pronounced anisotropic behavior was observed: expansion was slower and more pronounced in the cross direction (CD) than in the machine direction (MD). The aged paper showed a less pronounced response and faster stabilization, suggesting a reduced capacity for water adsorption and desorption, associated with fibre ageing.These findings provide a basis for understanding how and when paper responds to changes in RH, and offer useful criteria for preventive conservation, particularly in the context of increasing flexibility in environmental conditions within cultural institutions.
The image of the "Ni & ntilde;o Dios de Sotaqui" is a polychromed wood sculpture that draws together communities during one of the most widely attended religious celebrations in northern Chile. As the patron image of its parish sanctuary, it is part of the history of the town of Sotaqui and is deeply embedded in the identity of its inhabitants. Within the framework of its restoration and from the perspective of the material religion studies, an analytical exercise was conducted to examine the values ascribed to it by the parish community. These include beliefs about its antiquity, its alleged Quito provenance, and its miraculous nature.The analysis is based on the preliminary hypothesis that the image acts as a key agent, and that its preservation in a good condition is essential for maintaining the circulation of goods around it.
El presente artículo investiga la viabilidad de la fabricación propia de pinturas no acuosas para la reintegración cromática. Esta práctica artesanal, realizada históricamente por artistas y cada vez más adoptada por restauradores, responde tanto a problemas de estabilidad, acabado y conservación de las pinturas comerciales especializadas, como a la necesidad de reducir costes en los procesos de restauración. Teniendo en cuenta las aparentes ventajas de los colores de elaboración manual, se ha llevado a cabo un estudio experimental mediante la elaboración y análisis de ensayos de laboratorio con diferentes combinaciones de pigmentos y barnices. A través de pruebas de envejecimiento acelerado, observación microscópica y análisis colorimétricos, se ha evaluado la cohesión, homogeneidad y estabilidad de las mezclas. Los resultados indican que la viabilidad de esta práctica depende en gran medida de la naturaleza de los materiales y de su correcta formulación, concluyendo que, bajo ciertas condiciones, podrían permitir su consideración para aplicaciones en contextos profesionales de restauración con la posibilidad de optimizar sus propiedades.
Se presenta el estudio del el Large Temple. (s. I a.n.e – s. I n.e.), uno de los templos más singulares del yacimiento de Sikait (desierto oriental de Egipto). La concurrencia de múltiples grietas motivó este análisis no destructivo, cuyo objetivo principal fue la inspección, seguimiento y prediagnosis global de su estado de conservación. Debido a la naturaleza excavada del templo, se implementó una metodología híbrida que integra la ingeniería de minas y la arquitectura, combinando los estándares de la mecánica de rocas con el diagnóstico patológico arquitectónico (normas UNE 41805 IN). En cuanto a las técnicas utilizadas: para la documentación geométrica se empleó fotogrametría SfM y levantamiento tradicional; para la caracterización del macizo, estación geomecánica y esclerómetro; y para la inspección técnicas como la cartografía de lesiones, endoscopia, ensayos Lutton, monitorización termohigrométrica y control de fisuras (regletas y testigos de yeso). La diferenciación entre juntas de origen geológico (bandas o vetas blandas) y fracturas o grietas mecánicas (inducidas por las tensiones) permitió constatar la precariedad estructural del monumento. Los cálculos analíticos demuestran que el templo ya presentaba unas condiciones de inestabilidad intrínseca en el momento de su construcción. El posterior deterioro y disgregación de estas vetas, por fatiga y/o solicitaciones externas — como el posible derrumbe del farallón rocoso superior—, transformó estas discontinuidades geológicas en grietas críticas. Las conclusiones confirman la correlación entre las bajas resistencias esclerométricas entre bandas y el avanzado estado patológico del conjunto, identificando la columna y pared sur como los focos más vulnerables. Se determina que el templo presenta una inestabilidad de carácter endémico (diseño de mínimos) e intrínseco (geológico) que justificaría su estado inacabado. El estudio pluridisciplinar que aquí se presenta, representa la primera aproximación científica al proceso patológico del hemispeos más oriental del Alto Egipto.
La imagen del “Niño Dios de Sotaquí” es una escultura de madera policromada que congrega comunidades en una de las celebraciones religiosas con mayor convocatoria del norte de Chile. Titular de la parroquia santuario, forma parte de la historia del pueblo de Sotaquí y de la identidad de sus habitantes. En el marco de su restauración y desde la perspectiva de los estudios materiales de la religión, se realiza un ejercicio analítico de deconstrucción de los valores que le atribuye la comunidad feligresa. Entre ellos, se desarrollan las creencias sobre su antigüedad, su supuesta procedencia quiteña y su carácter milagroso, a partir de la hipótesis preliminar de que la imagen es un actor fundamental, que es necesario mantener en buen estado, para que el sistema de circulación de bienes instalado en torno a ella funcione exitosamente.
This study presents the case of the Port de Catarroja mural, a contemporary artwork located at the headquarters of the Fishermen's Community of Catarroja, in the heart of the Albufera Natural Park, whose conservation was affected by the DANA (Mediterranean storm) that struck Valencia on October 29, 2024. The initially planned intervention -a preventive conservation proposal agreed upon with the artist- was interrupted due to the devastation caused by the climate-related disaster, which intensified pre-existing damage and left the natural environment in a state of high vulnerability. The impossibility of carrying out the intervention was the result of both the environmental restrictions of the protected natural area in which the mural is located and the economic and administrative limitations faced by the municipality in the aftermath of the emergency. This case highlights the urgent need to address the lack of protocols for responding to natural disasters in the field of public and urban murals, suggesting the development of adaptable response frameworks for sensitive and changing contexts.
Since the last decades of the 20th century, there has been a shift in planning perspectives prioritizing the role of architecture and urban design, over merely regulatory and normative instruments. This perspective also articulates a new approach to cultural heritage by re-signifying and collective re-appropriating various urban components and values. This paper reflects on the urban transformations made possible by the debate of planning-urban project-cultural heritage, taking the central coast of Rosario, Argentina as a case study. Over the last forty years, through the continuity and articulation of public policies, the active revaluation of its heritage has been made possible through the reinterpretation of its local society.
All of us, as well as the objects that surrounds us, are in a permanent process of degradation for the simple reason that we are positioned on the surface of the Earth and interact with the atmosphere that surrounds us. The degradation of all things is an evolutionary process and inevitably leads to non-existence, within a more or less short time limit - at some point in the future, there will in fact be no pyramids in Egypt, no Mona Lisa in the Louvre, no Big Ben in London, at that point, it might consider prudent to have made at least a few copies; or not. We can also consider the hypothesis that, at that point, we have stopped giving importance to the past, only thinking about the immediate future. In this article we intend to present an ethical reflection on the crossroads at which we find ourselves and an example of a restoration that uses technology to "create new ancient art today', but which maintains it our current reality, heritage that had already been lost (in terms of its physical integrity) to the restoration through traditional methods. As a final result of the work of all the experts involved, a CNC-machined stone reproduction was reinstalled in situ to replace the unrecoverable one that was originally situated within a symmetrical sculptural setting. The particularities of the equipment used that allowed this restoration challenge to be resolved are mentioned, as well as the ethical concerns that arose throughout the entire process.
This study investigates the mural paintings in tomb TT81 of the 18th Dynasty, belonging to Ineni, in the Theban Necropolis, a UNESCO World Heritage Site in Egypt. It examines the composition, structure, and techniques of the mural layers, as well as main deterioration patterns and contributing factors. Cross-sectional examination, stereomicroscopy, and scanning electron microscopy assessed stratigraphy, paint layer details, and microstructure. X-ray diffraction identified pigments and fillers, and ATR-FTIR determined the paint medium. The efficiency of Polymethyl Methacrylate/Hydroxypropyl Methacrylate (MMA/HPMA) copolymer in consolidating murals under sudden microclimatic changes was evaluated. Samples treated with 1%, 2%, and 3% copolymer were analysed using microscopy, colorimetry, and water contact angle measurements. Results revealed animal glue tempera with Egyptian blue, green, red and yellow ochre, and carbon black. Previous deterioration included coloration changes, cracking, flaking, vandalism, and prior resin–oil restorations. The 2%–3% copolymer effectively consolidated layers, improved water resistance, and minimized visual alterations.
Desde las últimas décadas del siglo XX se registra un cambio de mirada del planeamiento que prioriza el rol de la arquitectura y el proyecto urbano ante instrumentos meramente reguladores y normativos. Esta perspectiva también se articula con un nuevo abordaje del patrimonio cultural a través de la resignificación y reapropiación colectiva de distintos componentes y valores urbanos. El presente trabajo reflexiona sobre las transformaciones viabilizadas por la dialéctica plan-proyecto urbano-patrimonio cultural, tomando como caso de estudio la costa central de la ciudad de Rosario, Argentina. En los últimos cuarenta años mediante la continuidad y articulación de políticas públicas se ha posibilitado la revalorización de su patrimonio mediante la reinterpretación de su sociedad local.
Este estudo apresenta o caso do mural Port de Catarroja, uma obra de arte contemporânea situada na sede da Comunidade de Pescadores de Catarroja, no interior do parque natural da Albufera, cuja conservação foi afetada pela DANA ocorrida em Valência a 29 de outubro de 2024. A intervenção inicialmente prevista —uma proposta de conservação preventiva consensualizada com a artista— foi interrompida devido aos estragos provocados pela catástrofe climática, que agravou os danos preexistentes e deixou o enquadramento natural numa situação de elevada vulnerabilidade. A impossibilidade de intervenção resultou quer das restrições ambientais do espaço natural protegido onde a obra se insere, quer das limitações económicas e administrativas do município após a emergência. Este caso suscita uma reflexão urgente sobre a ausência de protocolos de atuação perante desastres naturais no âmbito do mural público e urbano, sugerindo a necessidade de desenvolver protocolos de resposta adaptáveis a contextos sensíveis e em constante mudança.
