Projects - Antwerp Cultural Heritage Sciences

Abstract

Climate change poses risks to the protection and preservation of cultural heritage globally. Recent research has highlighted geographic limitations in climate change and cultural heritage literature, namely that the focus is predominantly on Europe, and called for more studies to address the challenges of climate change elsewhere in the world. The 2022 IPCC Assessment Report drew attention to the poor state of knowledge regarding direct climate risks rock art faces across Africa. Rock art and other similar heritage assets, such as rock-cut architecture (carved structures on cliff faces, e.g. Abu Simbel, Egypt) are found in the thousands in Africa. These types of heritage, which we can collectively refer to as Rock Art and Architecture (RAA) face unprecedented risks due to climate change. This research proposes an innovative approach to climate risk analysis by exploring if studying heritage types with common characteristics (such as, RAA) is a better way to identify and respond to climate-driven hazards to cultural heritage. Employing the IPCC's climate risk assessment framework to assess the exposure, vulnerability and climate-driven hazards, this research will identify the major climate risks RAA in Africa face. The outcome of this assessment will be used to develop adaptation pathways that integrate both site level and region scale assessments of risks. It will also address methodological and geographical gaps in research about climate change and cultural heritage.

Researcher(s)

• Promoter: De Kock Tim
• Fellow: Gemeda Blen Taye

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Plastics in Belgian art museums, how should they be conserved? Along with their entry as new art materials, they brought new challenges on both a technical and art historical level. International research projects in heritage collections already addressed the technical problems to the identification of the materials and their rapid deterioration, resulting in identification tools and preventive conservation strategies. What remained underexposed was the artist's intention and signification of the material, in other words the art historical and philosophical aspect within conservation sciences. Through three-dimensional case studies of plastics from Belgian art collections, it bridges the two fields, focusing on the artist's practices. First, a literature and documentary study, complemented by artist interviews, contextualises the artworks and collections, and interprets the artist's intention and meaning behind the used materials. Furthermore, a survey in the participating collections maps collection management practices. Third, technical research indicates the conditions of the cases and enhances insights about the effects of the art materials on the artwork, the surrounding works and the museum. Finally, the holistic conservation approach harmonises the art historical and technical results into a protocol, that museums can implement in their collection management policies.

Researcher(s)

• Promoter: Verreyke Hélène
• Co-promoter: Ortega Saez Natalia
• Fellow: De Greef Margaux

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Increasing debates on decolonization in society and international scholarship underscore the importance – if not urgency – of fully unravelling the colonial and imperial history of Belgium. Museums founded in the 18th and 19th century often have colonial and imperial ties, relied on a complex network of diverse actors for their collection acquisition and were putative proponents of colonial and imperial power in the home country. This project addresses missed opportunities in the field of colonial and imperial history in Belgium through a study of collections and ideologies (1885-1950) at the Belgian Royal Museums of Art and History (RMAH). This will provide unique new insight into Belgium's colonial and imperial past since the RMAH key collections with colonial and imperial ties and the associated archival sources are hitherto largely unexplored. The innovative nature of the project also lies in the inventive application of complementary methodologies from different research domains including prosopography for relational network building and the linguistic Appraisal Theory for detecting attitudes. As such an unparalleled multifaceted new knowledge base on Belgium's colonial and imperial past is generated that will contribute to debates in diverse academic domains, including decolonization debates. Moreover, it allows for the generation of novel toolkits that will inform, inspire and guide Belgian collection institutions in decolonization issues.

Researcher(s)

• Promoter: Verhoeven Gerrit
• Fellow: Hellebuyck Anke

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project website

Project type(s)

• Research Project

Abstract

This PhD delves deeper into understanding the creative process and techniques of Peter Paul Rubens(1577-1640). Rubens' extensive oeuvre is characterised by a complex and variable modus operandi, with continuous experimenting during all stages of the conception of his paintings. While art historians and conservators eagerly seek compositional changes in Rubens' work to uncover his creative process and understand the underlying structure for developing treatment strategies, systematic analysis of his materials and techniques remains limited. This study leverages MA-XRF imaging, a relatively recent technique in art analysis, to uncover Rubens' material composition, sketching and transfer methods. By visualizing elemental distribution, MA-XRF offers insights into sub-surface layers, revealing hidden compositions, sketches and position markers. Preliminary MA-XRF analysis of the monumental altarpiece "Enthroned Madonna adored by Saints" (1628, KMSKA) suggests Rubens employed a combination of copper or mercury based sketch lines to outline figures, offering new insights into his transfer and sketching methods. Moreover, this research aims to compile and expand knowledge on Rubens' materials and layer buildup, providing a comprehensive understanding of his artistic practices. This will provide researchers and conservators with valuable insights into Rubens' artistic techniques, material composition and layer buildup, allowing for a deeper understanding of his creative process.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen
• Fellow: Vercruysse Lowie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

I explore research in four areas within the disciplines of Conservation-Restoration and Heritage Science, in particular: Area 1: Developing dedicated tools for (chemical) characterization of heritage objects; Area 2: Unravelling chemical pathways of degrading heritage materials; Area 3: Assessing the aptness of innovative conservation treatments; Area 4: Understanding the techniques and practices of artists or art periods; My research priorities for the next five years are: Research priority 1 Expand my group by adding a postdoc level to all four ongoing research areas. Research priority 2 Exploit the technological lead of MA-XRPD to take our understanding of art materials and degradation products to the next level. Research priority 3 Instead of jumping to 'the next big thing' in heritage science, I plan to resolve a methodological breach in the reproducibility and quantification of mock-up based research that recurrently hampers innovative research projects in conservation.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: Van der Snickt Geert

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project scopes the detection of moisture in historical buildings using hyperspectral imaging technology. Moisture in buildings can originate from wind-driven rain, rising damp, flooding, leaking infrastructure and condensation and periodic changes in moisture content are the main driver for several decay mechanisms. Traditional methods for the detection of moisture, like gravimetric or electrical approaches, are typically labour intensive, invasive and have limited coverage. The development of a hyperspectral scanning system for in-situ applications will allow the detection of anomalies in large-scale structures like buildings. Such anomalies include the presence of water which results in a specific absorption range in the short wave infrared spectrum. The application will capitalize on recent advances in spectral unmixing, to estimate the moisture content of several porous media, including natural stone and brick. The developments will be validated in case studies on pilot sites. This will fundamentally change the methodology of building conservation and restoration, as a more holistic understanding can be developed from whole building images, which will result in more accurate and detailed sampling strategies.

Researcher(s)

• Promoter: De Kock Tim
• Co-promoter: De Kerf Thomas
• Co-promoter: Koirala Bikram
• Fellow: Sunil John

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Over the last couple of decades, art historians have shown a growing interest in studies into women artists as well as into technical art history. Researchers of women studies have focused recently on the role of women in the production, trading and patronage of art, whereas recent developments in technical art history revealed new insights in the way artists produced their paintings (in terms of materials and techniques) and how these objects may have changed (both visually and chemically) over the years. However, during my PhD it became clear that there is a substantial knowledge gap regarding the artistic practice of women painters, as the two aforementioned approaches have not yet been combined. Therefore, the aim of this study is to understand (a) the studio practice of Dutch and Flemish women painters active between 1600 and 1750, (b) how this relates to the artistic practice of their male colleagues (with regard to painting techniques, iconography etc.) and (c) how this relates to the historical textual sources on artistic techniques of the period. This will be achieved by collecting and interpreting material-technical data from paintings by means of recently developed, non-invasive (chemical) imaging, supplemented by (limited) paint sample analysis, as well as by studying art technological sources. This way we will fully exploit advanced imaging techniques to make the invisible visible and write a more inclusive art history.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen
• Fellow: Derks Kirsten

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The challenges of urban wellbeing, such as population density, noise pollution, and gentrification, have gained global attention. As cities grow audibly denser due to traffic and industrial activities, health impacts on inhabitants increase. The EU aims to reduce transport-related noise by 30% by 2030, yet current measures provide limited relief. Historical soundscape studies, pioneered by Alain Corbin, reveal the essential role of sound in community identity, but today's heritage discourse often overlooks sensory heritage in urban environments. This study introduces an innovative approach to preserving urban sound heritage through augmented audio reality and historical soundscape methods, examining the early modern soundscapes of Antwerp and Naples. Integrating text analysis, geospatial data, VR, and acoustic modeling, it aims to faithfully revive historical auditory environments. By addressing noise exposure and neglected auditory heritage, this project proposes a sustainable approach to sensory heritage, enriching contemporary urban acoustic experiences and fostering a deeper sense of connection among city residents.

Researcher(s)

• Promoter: Hacigüzeller Piraye
• Fellow: Firat Hasan Baran

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Up to the early 20th century, carriages and sleighs have played a central role in society and thus are present in many museum collections today. Yet, the heritage of horse-drawn vehicles (Hippomobile heritage) remains a vastly understudied area in heritage scholarship. A first effort to shed light on this unique heritage has been made, since October 2022, with the Belcaire project, aiming at developing an informed conservation plan for the hippomobile heritage collection of the Royal Museums of Art and History (KMKG-MRAH) in Brussels. However, given the material complexity of these vehicles, focused analytical-technical research projects are also necessary to fully understand the chemistry of the different materials constituting a carriage. This is where the Imcotech project comes into play, aiming at gaining a deeper understanding of one of the most complex materials found in carriages: lacquer coatings. Because of their nature and use, horse-drawn vehicles were systematically exposed to environmental agents such as (UV) light, moisture, atmospheric pollution gases and dirt/dust. The water-sensitive materials that form part of these vehicles were protected against the adverse effect of the environment through the application of impermeable lacquer coatings. These coatings had also a fundamental decorative function, since they would ultimately determine the final appearance of the vehicles (conceived not only as a mean of transport, but also as a fashion statement and a symbol of social status). Today, the complete lack of research on the history, composition and chemistry of these complex multilayered coatings, makes it impossible to design a well-informed conservation plan for hippomobile heritage. Consequently, the lacquer on the exterior of historical horse-drawn vehicles, when original, is often found in a poor conservation state. Given the key twofold function of lacquer on carriages and sleighs, i.e., protective and decorative, its degradation can have dramatic consequences on the overall condition of the objects and cause a drastic loss of aesthetic, historical and thus (future) valorization value for the museums they are kept in. Imcotech aims at filling this critical knowledge gap by means of a multidisciplinary approach, combining (1) research of written and visual sources and (2) reproduction of historical lacquer recipes, with (3) material characterization of historical vehicles by means of advanced analytical methods. The fundamental information obtained in this project will allow to shed light on the composition and technology of these impermeable coatings. These results will complement previous research conducted on European lacquer for indoor applications (ELinC project, focus on furniture and other small objects), finally allowing to obtain a complete picture on lacquer materials and on the historical evolution of waterproofing and material technology as a whole. Moreover, the results of Imcotech will represent a key step towards completion of the ambitious goal of Belcaire, ultimately enabling a better preservation of hippomobile heritage for future generations.

Researcher(s)

• Promoter: Marchetti Andrea
• Co-promoter: Janssens Koen

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Public participation through citizen science approaches is a well-established scientific practice, and has been a topic of theoretical and applied research for many decades. Much less well-understood, however, are the innumerable formal and informal groups of people conducting their forms of knowledge generation and sharing, that are detached from professional scientific communities (heritage practice communities - HPCs). Voluntary associations have existed (and been documented) for centuries alongside scholarly research and form part of the roots of heritage-related scientific disciplines such as archaeology. However, recent decades have seen significant developments in both the professionalization of science and, more importantly, the advent of social media and other broadly available digital tools and platforms that have revolutionalized the way and scale in which grassroots communities communicate and produce knowledge. These grassroots HPCs may share some of the same features of citizen science, but they operate differently. The HPCs themselves, rather than scientists, set the agenda of what is researched, how and why. While this may not seem relevant in a number of disciplines, understanding the dynamics of HPCs, the motivations behind them and the informal, parallel knowledge and attitudes circulating within them are crucial in the case of heritage. Indeed, the activities of HPCs commonly have an impact on the preservation and accessibility of heritage, and hence, its availability for academic research. The digital knowledge production processes of the HPCs themselves are also ripe for research, especially in the context of understanding voluntary action, participatory processes in heritage and the societal relevance of different types of heritage. Beyond involving objects and data of interest to academic research then, HPCs relate to issues of public participation and inclusivity which have become imperative in heritage-related disciplines, with clear implications for both policy and heritage management. This includes improving future heritage citizen science initiatives that respond to HPC interests and priorities as well as those of scientists, likely leading to increased participation and more effective results in future heritage citizen science. This SRN proposal brings together research groups from a diverse range of disciplines to respond to the challenge of improving our understanding of these grassroots HPCs in a digital world: critical heritage studies, archaeology, computer science, museology, sociology, digital humanities and archival studies. By leveraging the ongoing research at the SRN member institutions, including internationally recognized and established discipline leaders as well as emerging early career and mid-career researchers, its activities will specifically consider three types of HPC as case studies from which to begin to identify commonalities in practice. These are: hobby metal detectorists, family history groups, and industrial heritage groups. Other types of HPCs are likely to be considered as workshops and other network activities unfold. The SRN aims to conceptualize HPCs and their (digital) activities. Specific themes for research and debate involve the construction and communication of heritage-related knowledge within HPCs, the use of digital and online tools within HPCs, and the critical examination of existing and future methodologies with which academic communities can study grassroots heritage practices as well as productively and ethically engage with practitioners as part of their heritage-related research. Through its activities, the SRN furthermore aims to relate and compare these concepts to existing frameworks concerning disciplinary knowledge, citizen science and public participation, and set out a research agenda. In this fashion, the SRN will result in conceptual and methodological progress as well as serve as a springboard for further project applications.

Researcher(s)

• Promoter: Thomas Suzie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

When archaeologists dig, they encounter questions tied to materials, events, and people, among others. Understanding where and when things took place is paramount to answering these questions, but this process is often riddled with uncertainties. These uncertainties, which this project terms "Uncertainty across Space and Time Encountered during Archaeological Excavations" (USTEAE), can sometimes be misrecorded or overlooked in archaeological databases. To address this, this project is exploring the potential of "semantically rich property graphs" to better capture and depict these uncertainties. By incorporating these graphs into heritage databases, the aim is to enhance the representation of USTEAE. Another objective is to refine existing heritage data modelling standards, such as the CIDOC-CRM, to more accurately express these uncertainties. The ultimate goal is to improve the management of archaeological and heritage sites and offer more nuanced data analysis, especially in the face of challenges like climate change, which introduce additional layers of uncertainty to archaeological and heritage fieldwork.

Researcher(s)

• Promoter: Hacigüzeller Piraye
• Fellow: De Schuytener Natalie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

There are different trajectories of deindustrialization leading to abandonment and neglect. Deindustrialization and industrial heritage are two terms coined in and around the same period in 1970s. Although both are a by-product of industrialization, deindustrialization studies and heritage studies often do not come close, they prosper in their own silos. On the one hand deindustrialization studies focus on the narratives of displaced workers and their experiences/suffering without a direct link with the place, while on the other hand, heritage studies are concerned solely with the physical remnants of the industrial complexes. Concerned with the physical remnants of the industrial complexes, the adaptive reuse approaches permit conservation through development– utilization and integration of redundant industrial areas in the contemporary urban landscape. Although adaptive reuse of industrial heritage is a culturally sustainable option in urban transformation and heritage is a potential resource for the urban and regional development, the implementation is often problematic in the sense that the industrial sites after adaptive reuse are stripped from being memory places of worker's, instead they are sterilized, creating a disconnect with its context, both in terms of deindustrialization history, and meaning. In that sense, the adaptive reuse of industrial heritage often fails to meet sustainability criteria that prioritize people's needs in social and cultural terms, focusing mainly on the economic dimension and paying little attention to the environmental concerns. This PhD thesis wants to investigate different deindustrialization trajectories to understand if they have an impact on defining the adaptive reuse processes. This approach rejects taking the abandonment as the starting point of transformation for adaptive reuse, but rather wants to look at the entire history of the building, including the contextual background preparing its construction, dynamics of the deindustrialization processes, the abandonment processes and the adaptive reuse as a whole. By doing so, it hopes to identify patterns or links between deindustrialization processes and adaptive reuse strategies.

Researcher(s)

• Promoter: Erkan Yonca
• Fellow: Hamilton Fiona

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Within the broad landscape of heritage studies, heritage science (HS) is a relatively new and growing field, which seeks to bridge the gap between science and humanities in the study of cultural heritage. HS plays a crucial role in the preservation and conservation of cultural heritage, by providing insights into the materials, construction and decay mechanisms of heritage objects, as well as developing new conservation and restoration methods. E-RIHS is the distributed infrastructure supporting HS. Besides the continuation of its ARCHLAB, FIXLAB and MOLAB access platforms, the E-RIHS community is building towards a new access platform, DIGILAB, providing access to digital HS data and tools. Previously, the Belspo-funded HESCIDA project has set the ambitious objective to develop the first and exemplary implementation of a federated repository for the upcoming DIGILAB. KIK-IRPA's existing documentary portal BALaT (http://balat.kikirpa.be) is used as a base layer to build upon. HESCIDA adds previously undisclosed data to BALaT with FAIR access to KIK-IRPA's archives, including physicochemical analyses, scientific imaging and conservation data. The core aim of DIGILAB is to enable researchers and practitioners to access HS data from different sources, as well as to support the integration and harmonisation of data. Even in a small country as Belgium, HS is scattered. The primary goal of this proposal is to disclose and interlink scattered data on the Belgian level, rendering it more discoverable and offer it as a single entity to DIGILAB and its global community. BALaT will be used to centralise, integrate and interlink data from different sources, thus becoming an intersectional database. A researcher searching on BALaT by object or artist should be able to retrieve all Belgian HS datasets, instead of solely KIK-IRPA's. Not all heritage institutions have the necessary technical know-how to make these specific datasets available as open science. From experience gathered during the HESCIDA project, advice and training is envisaged for E-RIHS.be partners to share HS datasets according to the FAIR principles. The outcome of the project is mutually beneficial for all stakeholders involved: researchers, having improved access to well-documented HS data, E-RIHS DIGILAB and the Belgian E-RIHS node, improving visibility and valorisation of their research.

Researcher(s)

• Promoter: Van der Snickt Geert

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This PhD delves deeper into understanding the creative process and techniques of Peter Paul Rubens(1577-1640). Rubens' extensive oeuvre is characterised by a complex and variable modus operandi, with continuous experimenting during all stages of the conception of his paintings. While art historians and conservators eagerly seek compositional changes in Rubens' work to uncover his creative process and understand the underlying structure for developing treatment strategies, systematic analysis of his materials and techniques remains limited. This study leverages MA-XRF imaging, a relatively recent technique in art analysis, to uncover Rubens' material composition, sketching and transfer methods. By visualizing elemental distribution, MA-XRF offers insights into sub-surface layers, revealing hidden compositions, sketches and position markers. Preliminary MA-XRF analysis of the monumental altarpiece "Enthroned Madonna adored by Saints" (1628, KMSKA) suggests Rubens employed a combination of copper or mercury based sketch lines to outline figures, offering new insights into his transfer and sketching methods. Moreover, this research aims to compile and expand knowledge on Rubens' materials and layer buildup, providing a comprehensive understanding of his artistic practices. This will provide researchers and conservators with valuable insights into Rubens' artistic techniques, material composition and layer buildup, allowing for a deeper understanding of his creative process.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Artists' studio estates are a particular kind of cultural heritage. Also known as fonds d'ateliers, such collections designate objects and items related to an artist's creative practice and forming the content of the studio that have been left at the artist's death. In addition to unfinished and/or unsold works, fonds d'ateliers may contain sketches and other preparatory works in different media, such as plaster models in the sculptor's studio. As testimonies of artists' processes, such collections can thus provide important information for the understanding and interpretation of their work as a whole. Historical sculptors' estates are often poorly preserved and lack any vision regarding their management. There is little knowledge available in Belgium and internationally that can help collection institutions to appropriately understand the specific history, materiality and museological potential of such studio collections, and to develop informed management strategies concerning the conservation and valorisation of this heritage. The most pressing research questions that arise are the following: 1. How and why were historical fonds d'ateliers of sculptors preserved and musealised? 2. What precise traces do such collections bear of an artist's creative process, and which role can 3D imaging play in revealing these? 3. What is the heritage significance of these collections, and how can they be valorised? In order to answer these questions, this research project focuses on the studio collections of nineteenth-century sculptors in Belgium, and more specifically on their most fragile assets, namely their plaster models. The research aims to reconstruct the unique history of sculptors' fonds d'ateliers in Belgian collections, map their material condition and the creative properties via 3D imaging techniques and (digitally enhanced) visual analysis, and identify their significance in order to formulate concrete suggestions for their future valorisation. Providing a test case for new digital methods to analyse sculpture, the research will, on the one hand, contribute to the broader revaluation of works in plaster, a movement which has so far mainly focused on reproductive casts after the antique, while generally neglecting the specific context, status and challenges of sculptors' models. On the other hand, the project will contribute to the development of novel valorisation strategies tailored to the specific needs and potential of the fonds d'ateliers that particularly revalue their position in artistic practice. Placing special emphasis on the processual and creative character of this heritage, the research ties in with broader debates on dynamic heritage and activating museum practice.

Researcher(s)

• Promoter: Müller Ulrike
• Fellow: Schwickert Inneke

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

While much research is being carried out concerning publicly held collections of colonial-era objects,especially in European museums, the privately held objects, and the values attached to them by their owners, remains little researched. In the context of post-colonial debates and attempts to decolonize cultural spaces, questions arise as to whether holding colonial-era cultural objects is still seen as socially and culturally acceptable, and the extent to which this affects the feelings of owners towards their objects. This doctoral study addresses this gap in the research, focusing on colonial-era African art and artefacts held privately in Belgium as a national case study that has potential to shed significant light on what are global discourses. Therefore, the project asks the following questions: What can be learned about the scale and nature of privately held colonial-era African art in Belgium? What attachments and meanings do owners associate with colonial-era African art in Belgium? To what extent might post-colonialism debates or other contemporary discourses have impacted owners of privately held colonial-era African art in Belgium?

Researcher(s)

• Promoter: Thomas Suzie
• Co-promoter: Kruger Thalia
• Fellow: Nolet Katelijne

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

CONSIDER "Sustainable Management of Industrial Heritage as a Resource for Urban Development", aims to develop sustainable management model (SMM) for industrial heritage sites (IHS) for the benefits of the local communities as a resource for strengthening collective identities, improving the urban landscape, promoting ecofriendly solutions, and contributing to the urban economy and a sustainable future of the city. The innovative side of this model is in its inclusive approach to the problem (regionally, sectorial, taking into consideration gender aspects, and its highlight on the exchange of knowledge, technology and labour). This novel collaboration will be improved by through synergies, networking activities, organisation of workshop, summer school, webinars, and final conference to facilitate sharing of knowledge. The circular knowledge exchange is based on systematic and triple-helix approach between academia (universities), policymakers (municipalities), and practitioners (SME/NGO) that will contribute both in identifying problems and developing guidelines for their improvement. This research brings novelty in respect of geographic regions that previously were not sufficiently investigated and inventoried thus providing the basis for further comparative research undertakings and sustainability of the Project outcomes in creation of new knowledge.

Researcher(s)

• Promoter: Erkan Yonca

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project website

Project type(s)

• Research Project

Abstract

Stone-built heritage and sculptures are subjected to short- and long-term environmental stressors like climate and pollution that eventually lead to degradation. The mechanisms underpinning stone degradation are complex and continuously evolving within a changing environment. Stone surfaces bear the legacy of historic environmental stressors and face the challenges of future ones. Therefore, monitoring and assessment of stone surface degradation is crucial to understand historic changes and material condition, and to preserve the fabric in face of those future challenges. This project focusses on the detection of agents of degradation through a range of conventional techniques like SEM-EDX and innovative non- or micro-destructive techniques. The focus lies on new monitoring and detection strategies for pollutants (like heavy metals) and salts in their close relationship with moisture loads, in order to reconstruct degradation processes and guide future interventions in a sustainable and safe and healthy way.

Researcher(s)

• Promoter: De Kock Tim

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

It is commonly known that the stylistic revolution in the 19th c. was promoted by the introduction of innovative artists' materials. However, the emergence of styles like Pleinairism, Impressionism, post-Impressionism, etc. required a drastic shift in technique as well; from a traditional academic buildup to free, experimental brushwork. This turn in working methods is pivotal in the field of conservation science as today, many of these innovative materials and paint handling approaches appear unstable and prone to degradation. In order to gain insight in the multitude of problems, we propose research on the oeuvre of the influential Belgian painter James Ensor (1860-1949) as his frequent stylistic and technical changes offer ample opportunities to study the impact of Modernism on painting technique. In particular, an in-depth investigation aims to provide an insight in the evolution of Ensor's material use, paint layer build-up, methods of application, finishing preferences and the overall creative process throughout his career. By contrasting transitional works in his oeuvre, we assess how style breaks are translated into studio practice changes and vice versa. This is accomplished by a comparative visual and technical examination of pairs of key paintings, combined with literature and archival study. In this way, we anticipate to expand knowledge on the impact of new modus operandi on the long term stability of the paintings.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen
• Fellow: Ríos-Casier Annelies

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Climate crisis and unsustainable development increasingly threaten Europe's tangible cultural heritage (CH), yet environmentally hazardous chemicals persist in CH conservation practice. The Sustainable Development Goals of the EU's Green Deal vision call for change in CH conservation, but cannot be implemented without effective and affordable green alternatives. Soiling and deposition of carbon-based contaminants (CBC) such as fine particulate pollution, smoke and vandalism all increasingly present formidable challenges to conservators, and are an emerging threat to CH because of the inherent vulnerability of CH surfaces created with unconventional materials and studio practices. Existing CH cleaning methods require toxic solvents, physical contact and water, which can damage many sensitive CH materials, and conservators, equipped with only conventional means, now encounter fragile and untreatable CH where soiling cannot be removed at all. MOXY aims to redefine the paradigm in cleaning methodology towards an eco-conscious approach by creating a transformative green, non-contact technology based on atomic oxygen (AO) to selectively remove CBCs from surfaces that are otherwise untreatable. AO cleaning methodology is a selective, non-mechanical and liquid-free cleaning action, without health or environmental risks, residues or waste. By leveraging a sophisticated yet simple technology, MOXY will enable practitioners to achieve unprecedented results that are green, safer and more effective. To achieve its goals, MOXY will bring together expertise from plasma physics, conservation science, sustainability science, and conservators to conduct a novel investigation of the physical and chemical aspects of AO generation and flux to develop a proof-of-concept AO system, test the viability of AO technology for diverse CH materials, and roadmap AO innovation, to propel AO technology to the bench practice in CH conservation and beyond, with its full potential yet to be realized.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

With the increasing awareness that asbestos poses a public health risk, regulations on asbestos removal are finally becoming more stringent (OVAM 2021). This directly effects the heritage and museum sector, since heritage collections contain many types of asbestos objects. The heritage project, Gevaarlijk erfgoed (2020-2022, ETWIE), which aimed at creating an asbestos safe heritage sector revealed that for collections, the paradigm of simply removing asbestos when present is incompatible with current collection management practices. The questions that immediately arise are the following. Is asbestos heritage? Does the removal of asbestos effect the heritage significance? How does the detrimental effect of asbestos on health weighs in on heritage significance? Who makes these decisions in a field where participation of heritage communities is encouraged? This PhD research wants to formulate answers to these questions by putting forward the following research objectives. First, we want to assess the heritage value of asbestos. Of the material itself, but also how its presence affects the heritage value of the object (Objective 1). Second, we want to map the different meanings and values asbestos can have for different heritage communities and stakeholders that are in one way or the other related to asbestos (Objective 2). This would create insight into how including different viewpoints can influence heritage significance. Third, we want to contribute to the development of methods for value based heritage assessment of difficult or toxic heritage (Objective 3). By doing so, the PhD research would not only contribute to the development of methods of collection management and museum ethics, but also add to the international theoretical debate on value based heritage assessment and difficult, dissonant, or toxic heritage.

Researcher(s)

• Promoter: Verreyke Hélène
• Fellow: Blancquaert Doris

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research focuses on the historical technology used to dye textiles in the heydays of the textile production in the low countries (i.e. 16th-17th century). Being the most important industrial sector from the middle ages up to and including the first industrial revolution, the manufacture and dyeing of textiles plays a prominent role in the history of technology. Dyeing must have been crucial for any impact craftsmen had on the scientific revolution, as it involved intimate knowledge on a broad range of raw materials and chemical processes in order to obtain a wash and light-fast finished product. However, until now, literature mostly focused on the economy and trade of textiles, while the underlying technology that was necessary for its production was largely neglected. Therefore, we propose a multifaceted approach, involving human and natural sciences, that will bring to the surface ideas that are latent in strictly text based approaches. In particular, we propose expanding the knowledge on practical dyeing customs by deciphering and assessing historical recipes, followed by the reproduction of historical materials and this in order to (a) understand all aspects of the process of making and (b) study degradation parameters. The latter is done through artificial ageing and testing of the reproduced materials. Finally, the characterization (by chemical analysis) of historical well-dated textiles will allow evaluating how closely practical dyeing and recipes are aligned.

Researcher(s)

• Promoter: Ortega Saez Natalia
• Co-promoter: De Munck Bert
• Co-promoter: Van der Snickt Geert
• Fellow: Lupatini Emile

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Digital data curation for cultural heritage has reached a critical impasse. A central tension exists between the need to preserve cultural resources, and the dynamic potential for their use and re-use in democratic and just ways. In archaeology, much work has been done to make data Findable, Accessible and Interoperable (according to the FAIR Principles), but little is understood about whether data are Reusable–and by whom. TEtrARCHs argues the future of digital curation depends upon reconciling this divide, and aims to demonstrate that data optimised for ethical and emotive storytelling will provide the bridge between those who find or preserve heritage assets, and the diverse cross-European audiences for whom they might generate meaning. Through an interdisciplinary team of archaeological specialists, data scientists, and museum practitioners, collaborating with three key user groups–domain experts, creative practitioners, and memory institutions–TEtrARCHs will offer those who capture, curate and apply cultural heritage data with critically-aware workflows to prepare their data for enhanced re-use at every point in the data lifecycle (e.g., capture, mapping, lab-based analysis), then scenario-test such re-use through the dissemination of new narrative outputs authored by cross-European creative practitioners. The project embraces three scales of data collection in archaeology–landscape, site and artefact–exploring them via four increasingly ubiquitous technologies for data capture: airborne LiDAR, 3D scanning, digital field drawing and photography. Alongside novel workflows for field, post-excavation and archival practice, TEtrARCHs will produce the world's first controlled vocabulary for cultural heritage storytelling, the first assessments of data reuse effectiveness following ISO Standard 25022: Measurement of Quality in Use, and the first best practice recommendations for trusted digital repositories to optimise archaeological data for re-use.

Researcher(s)

• Promoter: Verreyke Hélène
• Co-promoter: Hacigüzeller Piraye

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project website

Project type(s)

• Research Project

Abstract

The extent of the visual degradation in Color Field paintings, due to the ageing of (synthetic) materials has been largely overlooked. Since the relevance and meaning of Color Field paintings strongly depend on their specific visual effects, significant visual alterations often imply a loss of the original intentions of the artists. This project wants to thematise the ageing problem in art history and develop a new extensive reconstruction method to better conserve Color Field paintings. Three case studies selected from three categories (a. pigment-, b. medium- and c. carrier degradation) will be investigated through the following steps: (I) descriptive reconstruction, which consists of statements by the artist on the intended visual experiences and writings from the public about their experiences, based on literature and archival studies; (II) material analysis; (III) visual reconstruction: through the creation of hand-painted replicas and through a digital reconstruction with augmented reality; (IV) perception studies (eye-tracking and questionnaires) to examine the public's experience of the change in the artwork's appearance. Based on the data analyses, the degree of visual change will be determined and the digital reconstruction will be evaluated.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: De Winter Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The objective is to develop an Art Conservation education and research program at Bahir Dar University in Ethiopia alongside the already existing Master Heritage. Two Ethiopian PhD students will be hired to build the course to Ethiopian standards. One of our main challenges is capacity building and to stress the importance of this challenge of maintaining sustainable training and involving all stakeholders in this process. During this five-year project we will build a strong and long-term relationship.

Researcher(s)

• Promoter: Ortega Saez Natalia
• Co-promoter: De Kock Tim
• Co-promoter: De Vis Kristel
• Co-promoter: Verreyke Hélène

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The KMKG-MRAH holds an exceptional collection of about eighty carriages and sledges dating from the late 17th century until the early 20th century, including 11 coaches on loan from the Belgian Royal House. Although these objects accurately reflect the historical innovations in technology and material science of their era, hippomobile heritage remains an understudied field in heritage science. In recent years, a preliminary damage assessment of the KMKG-MRAH collection highlighted the exceptional original state of the objects, but in parallel raised concern for the poor material condition, especially of the interiors that include upholstery, shades, cushions, passementary and trimmings. As a result of the poor condition of some of these interiors, conservation students and staff of UAntwerp conducted a preliminary collection audit in 2019. This survey highlighted the complexity of preserving these mixed-material interiors, bringing instable inorganic materials (e.g., corroding metal) in close contact with sensitive organic materials such as (oiled) textile fibres, leather and early synthetic materials. As such, the goal of BELCAIRE is to develop a model for long-term preservation strategy not only targeting the KMKG-MRAH collection but applicable to all hippomobile heritage dispersed over various European museums, institutions and private collections. We therefore propose first gaining insight into the largely unknown innovative materials and craftmanship employed for the manufacture of carriages by combining the study of historical sources (patents and manuals) with a careful optical inspection and chemo-physical characterization of a selection of carriages. In the first phase/two years, BELCAIRE focuses on four case studies which are representative for various social classes: royalty (case 1: inv. nr. TR 49), nobility (case 2: inv. nr. TR 76), bourgeoisie (case 3: inv. nr. TR 4) and public transport (case 4: inv. nr. TR 69). In later years enlarging this corpus will allow finetuning and benchmarking the obtained insights. After this material study ongoing degradation phenomena are identified and listed whereas their mechanisms and urgency are further assessed through the production and artificial ageing of mock-ups. In particular, historical materials are reproduced according to recipes and exposed to various environmental conditions to quantify their individual and combined impact on the degradation mechanisms. Based on the obtained insights, a generic risk assessment model is drawn up for hippomobile heritage, guiding curators and conservators in their decision-making processes for active and passive conservation. Finally, an elaborate dissemination plan, linking with the HOME-AGE project (FED-tWIN project PRF-2020-011 granted in the previous round), targets an efficient flow to and interaction with scholars, students and the general public. In this way, BELCAIRE aims to close the knowledge gap on the conservation and preservation of hippomobile heritage and contributes to the understanding of cumulative damage caused by mixed materials and techniques in carriage interiors in particular.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: Marchetti Andrea

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Small museum entities that are part of a larger museum group are often not a priority as far as strategic management is concerned. The geographical distance to the mother museum creates a mental gap that helps to understand why in general these 'satellite museums' lack resources, are short in personnel, have problems with their buildings, and even have difficulties to offer the adequate material conditions for the preservation of artworks. Although suited for experiencing heritage, the small scale causes gigantic challenges, but also new experiences and alternative tourism potential. Precisely these problems and issues will be addressed and tackled in this project on the Meunier Museum. It will mobilize an important series of scholarly resources and will generate new experiences and insights that are relevant and innovating in museology and heritage sciences and practices. The current project is (on) the front zone and the intersection of several scholarly disciplines: art history, history, conservation-restoration science (of both immovable and movable heritage), museology, critical heritage studies, policy studies, tourism studies and cultural management sciences.

Researcher(s)

• Promoter: Jacobs Marc
• Fellow: Müller Ulrike

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Although silk, due to its superior qualities, has been a high-end material since its earliest use, this biopolymer is highly prone to environmental degradation. In the 19th c., a treatment with metals salts was introduced for dyeing and increasing weight. The presence of these reactive substances in close proximity to the vulnerable base material resulted in a significant number of degrading silk objects in present-day heritage collections. As to date no conservation treatment proved effective, metal-induced silk degradation is a major concern for museums. This research aims at understanding, preventing and treating affected objects by combining the partners' expertise on chemical analysis, historical technology, collection management and conservation treatment. We propose unraveling the degradation pathways and assessing the influence of various harmful internal and external parameters. This will be done by producing self-synthetized and artificially aged equivalents of historical material, followed by their chemical characterization. The validity of the insights obtained on these 'mock-ups' will be benchmarked by analysis of a number of historical study objects. The results will be incorporated into a hands-on decision tool for the everyday collection management of a museum, via the development of a 'damage function'. Finally, the aptness of two enzyme treatments, recently developed for industry, will be evaluated for the consolidation of degrading historical silk fabrics.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

While unsustainable development increasingly threatens Europe's cultural heritage (CH) assets, museums and conservators continue searching for green approaches and materials. In the preservation of tangible CH assets, carbon-based soiling is among the most significant deteriorations factors. Pollution, vandalism, smoke and fires can cause catastrophic carbon-based contamination to tangible CH assets, and cleaning is essential for their preservation. However, currently available methods require hazardous chemicals, physical contact, and water, which can be too disruptive to many art materials. Equipped with only these methods, conservators increasingly encounter surfaces, which cannot be cleaned without unacceptable damages. PlasmArt project rises to the challenge of cleaning and preserving extremely fragile artworks for the future and will bring together plasma physics, heritage science and conservation to bring to fruition a radical green innovation - a non-contact approach, based on atomic oxygen, which will empower conservators removing soiling in non-mechanical, liquid-free action, without health or environmental concerns, residues, and waste. To achieve its transformative goals, PlasmArt will research fundamental aspects of AO, develop and test a proof-of-concept system, study interactions with ultra-sensitive art materials and roadmap AO innovation, propelling it to the emergent clean technologies in conservation and beyond, with its full potential yet to be realized.

Researcher(s)

• Promoter: Van der Snickt Geert

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

"Selling the City of Art" places the genesis of urban tourism marketing and branding strategies in a long-term perspective for Belgium between c.1880 and c.1980. It does so by focusing first and foremost on the 'orgware', i.e. stakeholders, organisations and institutions involved in city branding, by questioning and explaining historically changing motivations and rationales behind tourist promotion using growth coalition theory. Secondly, the project analyses how these different urban power groups actually sought out various media ('software') to create a specific brand for the Belgian 'Cities of art'. Finally, it considers how the heritage infrastructure of cities ('hardware') was gradually adopted to accommodate for urban tourism and mediate a specific urban tourist brand. The current project innovates in its trailblazing use and combination of underacknowledged historical sources of both a visual and textual kind, and by applying a new in-depth DH-approach for qualitative and quantitative analysis. Hitherto a neglected field in international research, the study of Belgium from a specific long-term historical perspective will break new ground in the interdisciplinary field of Tourism Studies and open up new discussions relevant for Heritage Studies and the field of Urban Studies more in general.

Researcher(s)

• Promoter: Verhoeven Gerrit
• Co-promoter: Van Damme Ilja
• Fellow: Geven Silke

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Recent developments in chemical imaging can force a breakthrough in one of the long-standing, key challenges for painting conservation: the treatment of hybrid artworks, presenting heritage professionals with a puzzling amalgam of original materials and non-original layers, accumulated during various interventions. In particular, the recent introduction of Macro X-Ray Powder Diffraction imaging (MA-XRPD) in the heritage field now allows to differentiate sub-types of pigments with unprecedented chemical specificity, without the need for sampling or moving the artwork. The aptitude to identify and quantify crystal phases in artists' materials allows for the first time to reliably discriminate pigments employed by Old Masters from their industrial-age equivalents, used by the (hyper-)restorers and forgers of the 19th-20th-C. Within the artist's palette, lead white holds the highest potential to serve as a marker for signaling 'pigment anachronism' due to its omnipresence, occurring in almost all pre-WWII paint layers. In addition, preliminary MA-XRPD experiments on historical paintings indicated a clear variation in the mass ratio of the constituting compounds of lead-white: cerussite (PbCO3), hydrocerussite (2PbCO2.Pb(OH)2) and plumbonacrite (PbO.3PbCO3.Pb(OH)2). These variations were tentatively linked to the gradual improvement of production methods over time. Although the drastic switch to large-scale industrial processes at the end of the 18th-C is expected to have a fundamental impact on the chemical composition of lead white, the production processes and crystallographic composition of industrial-age lead white were never studied. As a result, the proposed discrimination of original brushwork from younger paint strokes, based on the determination of the relative crystal phase composition of lead white, is currently prevented by the lack of reliable information on industrial-age lead white compositions (1750-1940). In the context of lead white, the discovery and production of CO2 in 1750 is considered as starting date for the industrial age, whereas WWII marked the gradual replacement of lead white by titanium white. Therefore, we propose defining the chemical signature of (modern) lead white by analyzing pigment powders, accurately reproduced in a chemical lab environment according to the production processes described in historical textual sources. In this way, the chemical fingerprint of the reproduced sub-types of lead white will serve as a ground truth for the anticipated variation in historical paintings. In the next step, the representativity of this fingerprint is benchmarked by analyzing a relevant group of late 18th to early 20th-C paintings in museum collections. Next, the ability of MA-XRPD to chemically contrast industrial-age lead white from traditional lead white on actual, complex paintings will be assessed by in situ experiments on well-studied 'hyper-restorations'. Examples of the latter are 15th-C paintings with well-documented areas of excessive overpaint. In a final step, the added value of this research will be valorized during the third and last phase of the conservation treatment of Van Eyck's Ghent Altarpiece, which confronts conservators with a particularly convoluted, hybrid and heterogenous paint system.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen
• Fellow: Bijker Iryn

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Nature-based solutions in urban environments can help achieving Sustainable Development Goals and those put forward by the European Green Deal. This project scopes the synergy between green infrastructure and the conservation of our built heritage. Using a value-based approach, we investigate how green infrastructure can comply with the quality principles of built heritage conservation, within the limits of technical possibilities. The aim is to provide a decision-making framework to help heritage actors implementing green infrastructure as adaptation and mitigation strategies in heritage environments, making sure that heritage at the core of the urban fabric is playing its active role in the mitigation of environmental challenges.

Researcher(s)

• Promoter: De Kock Tim
• Fellow: Kale Eda

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The collection of the KMKG-MRAH holds a vast number of objects from across the globe, dating from prehistory to the 20th century. Nevertheless, from its early conceptualization in 1885, the museum's focus is to collect, preserve, study, and share the richness of applied arts from the South Netherlandish region. This focus led to a large and hybrid collection with a main body of 17th and 18th century objects tied to the history and roots of this territory. However, aside from the publication of a number of exhibition catalogues on sub-collections in the 1970's, little scientific research has been done to date. Traditionally, these few catalogues primarily focus on the art historical context of the exhibited items; leaving other scientific disciplines as well as the large number of depot-items untouched. In recent years, several pilot studies and a previous BELSPO research project in collaboration with the UAntwerp showed that the depot contains high-level objects and object-groups which are awaiting discovery and scientific study. The proposed HOME-AGE project (pronounced 'homage') aims to close the knowledge gap on this key collection; and in general, that of the applied arts from the South Netherlandish home between the contra-reformation and the Age of Enlightenment. The FED-tWIN research profile will complete and open-up the collection's context through the study of the collection's archives, the compilation of an exhaustive historiography on South Netherlandish applied arts and an in-depth material technical study of the objects. The above will generate new knowledge and research topics within the domain. The project is divided into several work packages (WP's). In WP 1 a historical and technical state-of-the-art is obtained through literature and archival research. The project foresees a synergetic collaboration with the ongoing 2019 FED-tWIN RMARCH project focusing on the FSI's archival research. Next, a corpus of objects is selected through an audit and classification (WP2). This corpus is studied on a material technical level (WP3). The acquired knowledge and new insights from the previous WP's are then contextualized and centralized in the online HOME-AGE network platform (WP4). Throughout the project, the acquired knowledge and experiences will be disseminated towards a broad audience and heritage education (WP5). The outcome is fivefold. First, the audit, historiography, and the archival study complete the information back-log of the FSI's collection. In addition, insights into the materiality and the history of conservation will allow adequate actions to be taken to safeguard the collection for future generations. Second, the transdisciplinary scientific study will generate new knowledge about the relations between the material technical history and art-history of applied arts in this culturally diverse region. Third, the synergy between the FSI and the UAntwerp will challenge, inspire, and feed the educational programmes of both partners. Fourth: the online HOME-AGE open-access platform will foster general interest and instigate, promote, and assist scholarly research of South Netherlandish applied arts and European art technical history. Fifth: This FED-tWIN aims to consolidate and stimulate the ongoing FSI/UAntwerp partnership towards the future, enhancing scientific expertise, promoting science and heritage education.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: Cattersel Vincent

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

CLIMPACTH has the ambition to study the impact of climate change on built heritage and to produce guidelines for restoration and renovation practice. The consortium is composed of KIK-IRPA (Monuments Lab), RMI (Modelling), UAntwerpen (ARCHES, Visionlab) and UGent (Atmospheric Physics, Building Physics, PProGRess). A climate impact atlas will be developed to define the risks of climate change on built heritage envelopes, by optimizing climate data and projections for the built environment, characterisation of materials in built heritage envelopes for hygrothermal modelling, and using hygrothermal modelling for evaluating degradation phenomena.

Researcher(s)

• Promoter: De Kock Tim

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Cities are increasingly implementing 'green' initiatives to improve the environment for the health and wellbeing of residents. Common initiatives in Flanders include more space for pedestrians, low emission zones, expanding green spaces and density of plants, and the reintroduction of water. These initiatives are often undertaken in historic city centres, in which heritage buildings are abundant: these heritage buildings are crucial to establishing the character of places and supporting mental wellbeing. These buildings are often built from traditional materials such as local stone, brick, and mortar. Over time, these materials are affected by the local environment and can deteriorate. The factors that control this deterioration are the same as those which are most commonly modified by introducing green initiatives in urban areas. This project investigates how the 'greening' of our cities may have long-term implications for the durability of heritage buildings. Of particular interest is how these initiatives change the environment at a local scale near the surfaces of heritage buildings. By using laboratory studies and examining heritage buildings in proximity to current 'greening' initiatives, this project will not only study the current impacts on heritage buildings and their materials, but also look forward to the implications for our heritage and cities toward the end of the 21st century.

Researcher(s)

• Promoter: De Kock Tim

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

A gilded Empire table from the collection of the KMKG-MRAH in Brussels. The design of this table was published in the renowned design book by architects Percier and Fontaine: 'Receuil de décoration interieurs' (1801). The white marble tabletop rests on water gilded and oil-gilded floral scrollwork and a base. The gilding is delaminating, and historical restoration treatment are degraded to a degree that these impact the overall aesthetics and cannot guarantee optimal preservation. This research includes studying the art-historical and material-technological context and a conservation treatment.

Researcher(s)

• Promoter: Cattersel Vincent

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Material technical study and conservation treatment of a 17th century Crucifix from the collection of the Carolus Borromeus church, Antwerp. This crucifix - decorated with ebonised wood, ebony, turtle shell and silver repousé figurines, is deemed to be a representative high quality work of a 17th century Antwerp crucifix. This projects involves the art historical and material technical contextualisation and a conservation treatment to stabilise and optimise its conservation for future generations. The project is carried out in context of the FED-tWIN HOME-AGE project.

Researcher(s)

• Promoter: Cattersel Vincent

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This is an ongoing research project, "Ideology of Heritage, Museum, Cultural Politics, and Construction of National Identity in Finland and Japan", funded by the Kone Foundation (January 2021- June 2023), Kalevala Koru Cultural Foundation (2020) and Finnish National Agency for Education (2020). This project pursues a theoretical and practical model of the future museum direction. Although this research started as comparative studies between the Finnish and Japanese national museums and their cultural politics, it has developed further into a broader philosophical and theoretical approach to studying the museums and their decolonising discourse through the lens of the current world system as Ramón Grosfoguel (2011) described it as 'Capitalist/Patriarchal Westerncentric/ Christian-centric Modern/Colonial World-System'. Museums are about power and part of this hegemonic structure, even though many institutions are trying to move away from it, seeking more just practices. Decolonising museums demands studying the unjust of the current world system. Rather than narrowing it down, I broadened my research twofold; comparative studies of the national museums in Finland and Japan as a case study; and decolonising museums, universities and knowledge as theoretical arguments and experiments. This is a transdisciplinary and indisciplined transdisciplinary (Castro-Gómez et al. 2002: 13–14, translated by Juan Carlos Finck Carrales and Julia Suárez-Krabbe 2022, 23) article-based project; four articles for the doctoral thesis study the national museums between Finland and Japan, and three to four articles explicitly written on decolonising discourses outside my doctoral thesis.

Researcher(s)

• Promoter: Thomas Suzie
• Fellow: Shiraiwa Shikoh

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project focuses on a unique showpiece table that is part of the Masterpieces List Flanders. The table was manufactured by Pierre Gole, ébéniste du Roi, in 1663 in Paris for the furnishing of the Chateau de Vincennes for Louis XIV. The carcass of the table and the drawer are made of oak wood (as well as presumably the blind wood). The tabletop, side fronts, legs, and cross foot are decorated with various decorative techniques: (1) paintings of flowers, fruits, crawling and flying wildlife, jewels and masks under polished transparent horn; (2) a marquetry of ebony, bone and tortoiseshell; and (3) mother-of-pearl fragments embedded in a black European lacquer matrix (so-called lacque burgauté). Currently, the transparent horn has become undulated and the lacque burgauté has lifted in several areas. Since both decorative techniques are vastly understudied and understood, this project aims to study the material technical context in order to propose a proper conservation and restoration strategy. To achieve this goal, this project will search for and study historical and recent written and visual sources, characterize the original materials and techniques using methods such as portable XRF, macro-XRF, SEM-EDX, and optical microscopy (UV, VIS, POL). Based on the acquired information from this characterization, we will reconstruct the historical technology with the purpose of testing various conservation and restoration treatment option. These methods will then be evaluated and compared.

Researcher(s)

• Promoter: Cattersel Vincent

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Material-technical research and restoration treatment of object I.X.18, a dish warmer in silver by master J.M. - Conservation treatment and packaging of 60 medals, within the framework of the module Cleaning by 2nd Bachelor students of the course Conservation-Restoration; - Preliminary examination and treatment of object 'Relief in alabaster' and 'Mayor A. Max in plaster with finishing coat'.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Art historical and material preliminary examination of following objects: Inventory number / insurance value: ST503 object title: Jak Inventory number / insured value: MVT 617 object title: Dress Inventory number / insurance value: T12/1251C object title: skirt Inventory number / insurance value: T82/118 object title: jacket owner: Antwerp Fashion Museum

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Preliminary examination and conservation treatment of a round arch from the collection of the Maagden House. The round arch is examined both art-historically and material-wise. The stone type is identified from the macroscopic features and literature research. The polychromy is examined with P-XRF. A value analysis is also performed and a condition report is prepared. This will lead to a conservation proposal and final conservation treatment.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The assignment consists of a restoration treatment of 91 ex-votos in silver from the Schipperskapel and 16 jewels as part of module Treatment I, Master Conservation Restoration. The assignment consists of an extensive material-technical and cultural-historical preliminary investigation, the preparation of a condition report, the preparation of a treatment proposal based on test benches to determine the correct method, the implementation of the treatment, and advice on exhibition, prevention and aftercare. The treatment will be documented in a report that will be digitally delivered to the client.

Researcher(s)

• Promoter: Van der Snickt Geert

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

A metal sculpture from the collection of the open-air Middelheim museum will come to the training where the degradation caused by exposure to an exterior climate will be investigated. Based on the preliminary investigation, a treatment proposal is drawn up, after which the treatment will also be carried out.

Researcher(s)

• Promoter: Van der Snickt Geert

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Almost 360 years of academic heritage at Campus Mutsaard reflects the history of the Royal Academy of Fine Arts Antwerp and of the young Faculty of Design Sciences of the University of Antwerp. A participatory value-based heritage assessment will be carried out, involving a wide range of stakeholders and heritage communities. The development of this participatory process will not only contribute to the design of a methodology that includes multiple perspectives in the assessment of heritage value, but will hopefully also result in a meaningful integration of the academic heritage in the future educational and infrastructural plans.

Researcher(s)

• Promoter: Verreyke Hélène
• Co-promoter: De Vis Kristel
• Co-promoter: Jacobs Marc
• Co-promoter: Müller Ulrike

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Professional archaeology has historically had a difficult and varying relationship with non-professional and amateur groups, including metal detectorists and private collectors. Opinions from the professional archaeological sector are divided on how best to engage with these. Due to this ongoing concern and attempts to negotiate different ethical standpoints, the full extent of research involving and working with finders and collectors of archaeological objects is rarely realized. In particular the 'secret lives' of objects, that is, what happens to them after they are uncovered and what other meanings they gather for particular groups and individuals beyond their scientific (archaeological) information potential, is usually overlooked. This project therefore poses the questions: what biographies of portable heritage objects (PHOs) can be sought through interaction with their current stewards (owners)? What extra light can such information shed on our understanding of contemporary human interactions with PHOs, and upon the role of these PHOs in everyday life? How can object-focused interviews be developed as a solid methodology to shed light on biographies of PHOs discovered and owned by private individuals? In exploratory interviews carried out with metal detectorists and artefact collectors in Flanders, the project investigates where certain objects were found and how, but also the object biography information (where is it now, how is it shown, what will happen to it in future, and its personal meanings to its current steward). The findings enrich our understanding of the biographies of objects, and boldly explores the perspectives of finders and collectors that in this regard have often been overlooked, contending that this data is crucial for grasping the draw of things, and especially old things, in our analyses of portable heritage objects.

Researcher(s)

• Promoter: Thomas Suzie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

During the renovation of the Sint-Andreas and Ghislenus church of Belsele (BE), over 200 fragments of a polychromed medieval barrel vault were discovered. The research consisted of the study and (art) historical contextualisation of the found fragments through a material-technical analysis and recent and historical sources. Based on the results of this study, a condition report and conservation treatment is written.

Researcher(s)

• Promoter: Cattersel Vincent

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project, financed by the Edmund Delhougne Foundation, aspires to put DNA research, genealogy, family history and genetic genealogy on the academic agenda, of heritage studies in particular, both in education on master's level and in research.

Researcher(s)

• Promoter: Jacobs Marc

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project website

Project type(s)

• Research Project

Abstract

Submission of a project proposal for the research programme for HORIZON-CL2-2021-HERITAGE-01-01: Green technologies and materials for cultural heritage. The research proposal is centred around h cleaning techniques for historical surfaces.

Researcher(s)

• Promoter: De Kock Tim

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Academic Education, research and services in family history, genealogy, DNAresearch and genetics. A project with prof. dr. Maarten Larmuseau, co-organised with the Delhougne Foundation.to explore the potential of the interesection between DNA, genetics and genealogy.

Researcher(s)

• Promoter: Jacobs Marc

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Education Project
• Research Project

Abstract

This research proposes a new development in the restoration sector is presented. This development consists of the application of 3D printed geopolymers in stone-built heritage. Stone-built heritage plays a significant role in the past as well as in today's society. Numerous structures, sculptures and other decorations are made in stone, ranging from purely functional structures to structures of significant historical and cultural value. Stone has quantitative properties, such as durability, which is why it is associated with longevity. However, the stone is not an inert material. It undergoes changes in appearance and functional capacity that can be understood as surface processes that lead to degradation, ultimately with an overall loss of value (damage). Currently, the conventional restoration method is the use of repair mortars. Repair mortars are an efficient way of preservation, aiming at maximum preservation of the original material. However, they also have many drawbacks, the main one being the lack of compatibility with the original material. It will eventually cause damage to the substrate. It is a very well-founded reason to look beyond the known and established products and methods from the restoration sector and conduct multidisciplinary research. By combining engineering and materials science with restoration sciences, we can develop new methods. A new method that can result from this is the application of 3D printed geopolymers. Geopolymers are stone-like materials which are placed between binders, such as cement and ceramics. The properties can be strongly influenced. Different types of geopolymers exist, depending on the system through which they are activated. In this study, we would like to focus on alkali-activated geopolymers because they can be manufactured from waste materials. In this way, this is a circular material, and therefore CO2 production is significantly reduced. An additional advantage of using alkali-activated geopolymers is that the equipment to print this type of geopolymer already exists (but we do not rule out the possible use of other types of geopolymers in the future). By conducting this research, a new and innovative working method can be developed for the restoration industry. It will improve the restoration process so that our stone heritage can be well preserved for later generations, despite the degradation processes of stone. At the same time, this research also yields a sustainable method, which will be crucial for later generations to continue to admire the heritage.

Researcher(s)

• Promoter: De Kock Tim
• Co-promoter: Blom Johan

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Up until recently, the history of archaeology as a scientific discipline was seriously biased, as experts predominantly focused on the more spectacular excavations abroad - in Rome, Greece, Mesopotamia, or Egypt - while the rise of "backyard" archaeology in one's own country was largely ignored. Drawing on the rich - yet barely scrutinized - archives of the Royal Museums of Art and History in Brussels, the current project aims to analyze how the most important collection for national archaeology in Belgium took shape in the nineteenth and early twentieth century. Tying in with some major debates in the field, we will scrutinize slow but sure processes of institutionalization, professionalization, and ideologization, by identifying the actors and institutions involved in "backyard archaeology", the techniques that were developed, and the link with nationalism and imperialism.

Researcher(s)

• Promoter: Verhoeven Gerrit
• Co-promoter: Van Damme Ilja
• Co-promoter: Verreyke Hélène

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

After six years of project office 'herbestemming parochiekereken', about 140 adaptive reuse studies have been done by six design teams. The Vlaams bouwmeester team, together with Niek De Roo, project leader of the project bureau Herbestemming Kerken, wants to valorise this research. The aim of the initiative is to consolidate the voice of the designer in the search for the future of parish churches. The intended contribution concerns both the general debate, strategies and trade-offs, and design approaches. The present research project aims to consider how best to examine the wealth of material from the adaptive reuse studies and draw conclusions from them, at different levels. Finally, the valorisation will take the form of a publication involving several Flemish universities.

Researcher(s)

• Promoter: Lemineur Philippe

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

During the term of the agreement, UAntwerp will carry out the following activities in the KMSKA. Materials engineering research using innovative analytical imaging techniques to support ongoing and planned restorations. Materials technical research through innovative analytical imaging techniques to support art historical research. The execution of the assignment will take place by invitation in function of the current needs of the KMSKA. The KMSKA will consult regularly to determine which recordings are useful for the KMSKA and/or UA and who will bear the costs for these recordings. However, the KMSKA will not draw up an annual planning, but will consult regularly so that the UA can can organize.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The beginning of the 16th century marked the start of a prosperous time for Flanders with the flourishing of culture, trade and science directly reflected into the works of art of the Antwerp School. However, the year 1500 does not only mark a period of stylistic revolution, the works of art also change from a technological point of view with Flemish painters experimenting with innovative materials and techniques, an aspect that has remained understudied hitherto. In this framework, recent analytical studies signaled the use of copper sulfates, an unknown green pigment type, that seems to witness the artist's pursuit to expand the limited range of pigments and enhance the realistic representation of nature. The aim of this research is to understand (a) the use (prevalence, technique, relation to other green pigments), (b) the provenance (where was it produced), the production method (historical technology) and (c) the trade (how and why did it come to Flanders) of these new materials. This will be done by combining the study of textual historical sources and the physical reproduction of the technology with a chemical screening of paintings and illuminated manuscripts. In this way, we propose exploiting the new vistas created by the recent introduction of chemical imaging techniques to enhance our understanding of the interplay of science, technology and trade with the bloom of Flemish Renaissance art and its stylistic innovations.

Researcher(s)

• Promoter: Van der Snickt Geert
• Co-promoter: Janssens Koen
• Fellow: Deleu Nina

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The goal of the project is (1) the development of a Frame of Reference for dealing with Sensitive Heritage (REGER-Frame) that is (2) concretely implemented in the public display and outreach programmes of heritage institutions, and, (3) to give an incentive for a structural sustainable inclusion of the REGER-frame in heritage and education networks. The impact of and the potential of the reactions against the Covid-19 pandemic in 2020-2021 on the three subgoals of the second phase of the broader project are explicitly addressed.

Researcher(s)

• Promoter: Jacobs Marc

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

A missing jacket button, a brightly coloured fitted dress, a hidden pocket in a waistcoat, a dress with full leg-of-mutton sleeves, and a custom wool suit: what stories do these garments tell? The dresses, hats, jewellery, and shoes at the Fashion Museum Hasselt were carefully chosen, worn, and cherished by their owners and are intimately linked to memories, emotions, and adventures. They form a tangible testament to individual histories and lives lived. For DRESS.CODE., the Fashion Museum Hasselt delved deep into its extensive archives in search of these hidden narratives.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research will focus on Conste des Ververs a unique and rather unknown Flemish dyers manuscript kept in the archives of Leuven. Dated 1619-1623 and written by Henricus Coghen a dyer who lived and worked in Leuven. Wool silk, linen and feathers were the materials to be dyed. Human and natural sciences will be involved unravelling the research on the origin of the dyeing techniques used in early seventeenth century in Brabant, Leuven. In order to better understand the used techniques, ingredients and materiality. The manuscript will be transcribed and the historical recipes will be reconstructed. This project focusses on the origins and dyeing techniques used in the manuscript. Relations between the manuscript Conste des Ververs and an existing recipe corpus from fifteenth to seventeenth European recipes books will be explored. This will enable to shed a light on the circulation of knowledge in the written and printed historical recipes during the seventeenth century. Although a substantial part of this research will focus on the historical making processes and the partly forgotten source materials and techniques that were known by craftsman. This will be done by 're-working' the transcribed recipes from the manuscript Conste des Ververs. This research wants to generate and address salient research questions that would not have been raised by text-based analysis alone. The purpose of this study is to understand the process of making, and the partly forgotten source materials and techniques, by unravelling historical recipes and reconstruct them in order to understand technique and materiality. In addition this method of working develops a new methodology and procedure to study historical coloured textile materials.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Research and treatment of three pre-columbian artifacts from the collection of the city of Antwerp. Due to the application of paint layers of the ceramic body the removal of old restorations provides an additional challenge. The research is focussed on the stabilization of the paint layers and furthermore consists of a historic and material study of the objects. The treatment consists of the following; removal of previous restorations, stabilization of cracks/chips/fragile parts, bonding of the cracks, applying structural fillings, a non-integrated paint job.

Researcher(s)

• Promoter: Bauvois Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The cultural presence of the mandolin in Greece is linked to four different musical traditions coming from four different regions: Asia Minor, the Ionian Islands, Athens, and Crete. However, since the music has traditionally been passed on from generation to generation by means of oral transmission, and since traditional musicians are now in old age, all this heritage is about to be lost. During this project, I will focus on the musical traditions of Asia Minor and the Ionians islands. Fieldwork will provide an overview of the repertoire and an accompanying range of insights about unknown playing techniques and pedagogical processes that are severely lacking at the moment. The purposes of the project are to explore, document and record the repertoire, as well as the playing techniques that have evolved throughout the musical traditions of Asia Minor and the Ionian Islands; to develop and document a specific performance practice method for these two traditions; to enrich the mandolin's repertoire by bringing unknown repertoire and performing techniques to light; to improve improvisation skills of classical musicians; to inspire new composers to use the already existing instrumental techniques and stylistic characteristics that have been spread orally through the four traditions and create new contemporary music for mandolin.

Researcher(s)

• Promoter: Jacobs Marc

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

In Greece, the cultural presence of the mandolin – as a musical instrument expressing local musical traditions – dates back to the late 19th century. It is linked to four different musical traditions (the Smyrnean songs, the Athenian song, the Heptanisian serenade, and the Cretan music, dances) originating in four different regions: Asia Minor, Athens, the Ionian Islands, and Crete. The music differs from tradition to tradition and evolves continuously over the years. Moreover, it is characterized by an impressive diversity of rhythms, harmonies, scales, and melodies – due to the creative assimilation of both Oriental and Western European influences. The mandolin's repertoire in the musical tradition of Athens has been rich and varied, including works by international composers such as Verdi, Donizetti, Puccini, von Suppé, Bach, Glück, and Gounod, and works of Greek composers such as Samaras, Rodiou, Chatziapostolou, Dromazou, Karreri, and others. In addition, it includes works by further Italian composers, excerpts from Greek and international operas and operettas, and arrangements of symphonic works. Cretan music undoubtedly belongs to the family of the tropical musical traditions of the Eastern Mediterranean and has also remarkable common elements with other traditions of the wider region such as Arabic, Turkish and, of course, traditions of different regions of Greece. The mandolin music in Crete has been identified with Cretan dances. Contemporary Cretan dances are especially energetic, fast and characterized as warlike and aggressive. The most interesting aspect of Cretan dances is that they are performed without a score and each dance is defined by specific motifs that are being developed in an improvisational manner during the performance. The purposes of this project are to explore, document and record the repertoire, as well as the playing techniques that have arisen in the musical traditions of Crete and Athens; to develop and document a specific performance practice method for these two traditions; to enrich the mandolin's repertoire by bringing unknown repertoire and performing techniques to light; to improve improvisation skills of classical musicians; to inspire new composers to use the already existing instrumental techniques that have been spread orally through the four traditions, and create new contemporary music for mandolin. The fieldwork will provide an overview of the repertoire and an accompanying range of insights about unknown playing techniques and pedagogical processes that are severely lacking at the moment.

Researcher(s)

• Promoter: Jacobs Marc

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

With discussions about wrong street names, controversial statues or loaded colonial objects, sensitive heritage has a high topical value. It is not easy to handle this for cultural heritage institutions. The aim of the project is (1) to develop a REference Framework for dealing with Sensitive HERitage (REFSHER framework) that (2) can be applied in the collection presentation and public activities of heritage institutions so that their effects can be measured. Sensitive heritage can be a powerful means of facilitating multiperspectivity. Multiperspectivity is an attitude that expresses the willingness to change perspective mentally. It is about the willingness to put oneself in perspective of others, both in old perspectives and in contemporary interpretations. It is also important to include the perspective of socially vulnerable groups or groups that are less socially involved. Multiperspectivity presupposes bringing together and connecting people with openness to each other's argued perspectives. In this way, multiperspectivity contributes to the development of a critical sense, respect for others and a democratic attitude. Sensitivity is time and space bound and not static and unchangeable. Watson (2016) speaks in this context of "the emotional register of the past". Heritage institutions do try to respond to the sensitivities that exist in society by creating authenticity, experience and tension, but are also wary of hyper-emotional reactions. We mainly work with publicly accepted emotions about suffering, violence and fear. However, that emotional register is not certain. The fierce discussions about controversial statues, wrong street names or the Zwarte Piet policy show that sensitivity is time and space bound. "Sensitivity" is a label that is stuck on heritage, but can fade over time to come back later. The question therefore arises as to which factors determine that something is perceived as sensitive and to what extent this is then associated with heritage. The central research question is: What are the possibilities and limitations to realize multiperspectivity through sensitive heritage in cultural heritage institutions? As partners in the cultural heritage field, we chose institutions that (1) have sensitive heritage in their collections and (2) offer opportunities to respond to important contemporary social issues. The following partners were found willing to actively participate: - ADVN | archive for national movements, specifically the Flemish movement, other national and regional movements in Europe and related themes or derived from them, such as right-wing radicalism, fascism, racism, negationism, based in Antwerp; - Kazerne Dossin - Memorial, Museum and Documentation Center on Holocaust and Human Rights, in Mechelen; - Museum Dr. Guislain in Ghent on the history of and current discussions on psychiatry and mental health, care, and art and madness; - AfricaMuseum in Tervuren, place of memory of a shared colonial past and a platform for meeting and dialogue with people of different generations and cultures.

Researcher(s)

• Promoter: Jacobs Marc
• Promoter: Janssenswillen Paul
• Co-promoter: Meeus Wil

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)
• Didactica

Project type(s)

• Research Project

Abstract

Conservation and research of two nineteenth century banners. This project focusses on the preservation and future deterioration and damage of two flags from the Sint-Joris guild. Both flags are made of silk and are extremely fragile therefore they require a conservation treatment.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

From the metal collections in the KMKG, a number of objects were selected to be researched and treated. It concerns liturgical and domestical objects made in copper- and silver alloys. Historical and material-technical research is conducted before a conservation treatment proposal is designed. When approved, the conservation treatments are carried out.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Conservation and restoration of a Madonna statue with Child in terracotta. The questions that were asked here were, among other things: do Madonna and Child belong together, is the assumption that this sculpture with separate Child is attributed to Walter Pompe, what about the thick package of finishing layers, what are the problems and what is the condition of the terracotta, and how should this sculpture be preserved in the future?

Researcher(s)

• Promoter: van der Star Carolina

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Students of the department ceramics conservation researched and restored a decorative lustreware bowl as well as three bowls in Chinese porcelain. The main issue with these objects was the amount of old restorations including; schellak based bondings, deteriorated fillings, and paint layers on original pieces. Before treatment the objects were studied and the methods of conservation were determined. The treatment consisted of; removing all former previous restorations, bonding off the fragment, filling of the gaps, and painting of these fillings. The objects were restored with stable and reversible materials.

Researcher(s)

• Promoter: Bauvois Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Work: Preliminary discipline textile Domeain: Castle Gaasbeek Adress: Kasteelstraat 40 1750 Gaasbeek, building number: P23010 Number: 2019/HFB/OBW/ B00234 Material and technical research of valuable textiles textiles. Conservation advise for tapestries, chimney textiles, curtain caps and wall coverings in the castle of Gaasbeek. This preliminary research consist in a material description and advice for conservation. Following textiles were studied, 12 tapestries, 3 Chimney textiles, 6 curtain caps and 3 wall coverings.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

A large amount of glass fragments has been found a few years ago in Roermond, The Netherlands. These glass fragments contain stained-glass pieces from the 14th century until 1665 (second important fire of the city). The selection of the fragments is important as it leads to reassembling entities with matching pieces? A preliminary selection has led to a remarkable amount of items. These are obviously from civic origin.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Conservation and material research two 19th century banners. One banner is painted. In the first place a material and historical research will be caried out by the students. The identification and the morphology of the silk fibres will be investigated with the optical microscope. The silk and the painted parts in the second banner will be cleaned and fragile parts will be supported. A tube will be provided to store the unpainted banner. The painted banner will be stored on an acid free cardboard.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The beginning of the 16th century marked the start of a prosperous time for Flanders with Antwerp becoming one of Europe's leading commercial and financial centres. The flourishing of culture, trade and science was directly reflected into the works of the Antwerp School, a class of highly skilled painters that initially combined the Flemish Gothic tradition with Renaissance elements. However, the year 1500 does not only mark a period of stylistic revolution, the works of art also change from a technological point of view, with Flemish painters experimenting with innovative materials and techniques, an aspect that has remained understudied. In particular, we will chemically analyse a relevant corpus of Renaissance paintings, which can be considered as tangible artefacts of technological history, in order to chemically trace a series of highly unusual copper pigments, recently reported in a few works of art. It is currently assumed that these innovative pigments were imported to Antwerp from a mining area in the current Slovak Republic through trade with the Thurzo-Fugger company. Since Jakob Fugger was the wealthiest and most influential man in the Renaissance, holding a quasi-monopoly on European copper trade, this hypothesis seems viable. Nevertheless historical research is needed to substantiate this theory. In this project, we propose employing the state-of-the-art, chemical imaging instrumentation that was recently developed by the University of Antwerp (Department of Chemistry, AXES group) to reveal the use of these 'experimental' copper materials that give evidence of the vanguard spirit of Antwerp Renaissance painters. The AXES group is a pioneer in chemical imaging on works of art, as illustrated by the development of a mobile MA-XRF scanner that allows non-invasive and in situ chemical analysis directly on to the paintings, in a museum gallery. In this way extraction of a sample or transport of fragile works of art to a laboratory is no longer necessary. Moreover, the fact that complex chemical information is translated into a set of straightforward images that can be easily interpreted by all stakeholders in the heritage field (and the general public) makes this scanner a true catalyst for multi-disciplinary research. Notable example of this added value was the vital contribution of MA-XRF scanning to the ongoing conservation treatment of Van Eyck's Ghent Altarpiece. Earlier this year (2018), the group introduced a MA-XRPD scanner during a high-profile, international research campaign of Vermeer's Girl with the Pearl Earring. This innovative instrument works in a similar way as the previous MA-XRF scanner, but goes yet another step further in the chemical characterisation of paint materials. For the first time, it is possible to visualize in situ, ongoing degradation processes (causing e.g. discoloration) and to differentiate various types of crystal structures inside pigments. It is this latter property that we propose exploiting in order to trace the aforementioned copper sulphates. In summary: thanks to new instrumentation, it is possible, for the first time, to distinguish these unusual pigments from traditional copper pigments. We want to consolidate our technical head start by being the first to document these innovative materials that were first used by Flemish artists. The goal of this project is tracing back the original mines, chemically characterise its ores and reproduce the pigments. Next, we link the produced chemical fingerprint of these copper ores to the materials found inside historical paintings, both of local Slovak and Antwerp production. Finally, we investigate Antwerp's historical trade route with Central Europe, and the role of the Fugger company by means of historical research. By reconstructing and evidencing this historical know-how, we anticipate illustrating Antwerp and Flanders' central role in European trade, art production and technology, both in the past and today.

Researcher(s)

• Promoter: Van der Snickt Geert

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project concerns the treatment of a twelve-part tile panel depicting Christ on the cross (property of STAM, Ghent). The object was in bad condition due to the large number of obsolete restorations, fractures, and missing tiles. In addition to a historical and technical study, the object received treatment to increase its exhibition value. All forms of previous restorations were removed, cracks and fractures stabilized, and gaps were filled and retouched. Photographic processes were used for reconstruction of the missing tiles.

Researcher(s)

• Promoter: Bauvois Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The research and subsequent treatment concerns five archaeological objects from the Far-east collection of the Royal Museum for Art and History. Each object will be studied in all of its aspects and values. From these observations, a treatment proposal will be discussed with the responsible museum staff members.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research focusses on art containing daylight fluorescent colors, created in New York during the 60's and 70's. This topic has practically been completely neglected in the art historical literature, leaving the impact which fluorescence had on the history of art and art criticism, undetermined. My earlier historical and material-technical analyses of the use of fluorescent colors by Herb Aach and Frank Stella will be the starting point. These will be expanded and further elaborated. I will then consider New York artists who were active in the same period, such as Donald Judd, Dan Flavin, Fred Sandback and Keith Sonnier. In order to discuss the selection of works, a new language must be developed that allows adequate description of the experience and the effects caused by fluorescent colors. This language will be developed through the means of archival research, analysis of art historical literature, material-technical enquiry and henomenological investigation. At this stage, a provisory taxonomy of fluorescent phenomena in art will be at hand, which will be expanded and revised through experiments in perceptual psychology and subsequently integrated in the new language. This will enable a correct assessment of the of the considered works. On the basis of this, the place and the role of fluorescence in the oeuvre of the artists will be considered, along with a reevaluation of the art criticism of the 60's and 70's.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: De Winter Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The museum DIVA possesses 114 dry plates created by jewelry house Sturbelle in Brussels. These plates will receive a conservation treatment at the Studio Visual Media. A research study will be conducted into the jewelry house Sturbelle, and the photographers employed by the company for these dry plates.

Researcher(s)

• Promoter: Cauberghs Sabine

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project concerns the study and the conservation of three monumental stained-glass panels dated in the late 19th century. These stained-glass panels are situated in a side-building of the Church of the Holy Family in Borgerhout (Antwerp). Beside research in function of the conservation-restoration, the practical conservation of the panels is part of the project. Related to this project outer glazing will be installed to protect the stained glass.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research focusses on the treatment of two ornamental vases in porcelain and a small figurine of the collection of the museum STAM, Gent. The treatment is carried out by the students of the third bachelor degree's of the studio ceramics conservation. In addition to researching the meaning and origin of these pieces, all old forms of restoration will be removed. Individual shards will be bonded to form one piece again, gaps will be filled in and will be painted to match the surrounding material.

Researcher(s)

• Promoter: Bauvois Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Conservation and material research of a 19th century silk flag from Retie. In the first place a material and historical research will be caried out by the students. The identification and the morphology of the silk fibres will be investigated with the optical microscope. The silk will be cleaned and fragile parts will be supported. A tube will be provided to store the object.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Students of the first bachelor degree, department conservation and restoration, reproduced several majolica tiles at the request of the Museum Rockox. These reproductions were based on early 17th century designs focussing on the theme 'plants and animals' and were produced according to the original technique of 'in-glazzing'. In addition, the students extensively studied the original techniques and designs.

Researcher(s)

• Promoter: Bauvois Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project, and the subsequent conservation and restoration treatment, concerns two art deco tile panels (from the collection of the Gilliot & Roelants museum). Both panels were in a disassembled and severely damaged condition. The treatment aims to increase the exhibition value and to stabilize the objects in the future. The smaller panel, consisting of only four tiles, shows a ship and is executed in the cloissoné technique. The other panel, with a total of 44 tiles, belonged to a former butcher's shop and is executed in the 'Guerda seca' or 'dry line' technique. An additional problem is the absence of a large number of tiles, which were lost during disassembly from its original storage place. Both panels were completely restored and reassembled with the repurposing in the museum collection in mind.

Researcher(s)

• Promoter: Bauvois Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Silver objects in the DIVA collection show variated grades of tarnishing. The research topic is to investigate to what extend the cleaning methods influence the degradation phenomena. A second part of the project involves the conservation-restoration of a gilded silver cutlery set.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The research and treatment of copper engravings from the collection of the Museum Plantin-Moretus, started because a large number of items has suffered from a former applied varnish layer and years of storage, which have led to an unwanted conservation state. This project is in close cooperation with the staff of the museum. Not only will there be tests executed and strategies explored, conclusions and practical applicability of the processes will be assessed together. The goal of the research is to define a cleaning- and treatment protocol for the copper engravings.All unwanted layers and substances have to be removed from their surfaces. Subsequently, an appropriate method of treating the surface has to be established to enable a proper preservation, but also the possibility for researchers and public to view the items when needed. Finally, the established protocol will be used on a part of the collection to asses its quality. A prototype of packaging will be introduced. The final protocol will enable the museum to take care of the complete collection of copper engravings and to make a new packaging and storage system for safe keeping and easy access.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The analytical research on the lead printing letters will be performed by using X-Ray Fluorescence (XRF). This technique enables a quick and non-invasive survay to determine the alloy compositions of the letters. Earlier research has shown that letters consisting of only lead and antimony are extremely sensitive to corrosion development. When tin is also present in the alloy, the danger of corroding is much less. To be able to distinguish the endangered alloys from the safer ones, these measurements are needed. The exhibited letters in the museum will be measured, but also the closed trays and paper packages will be monitored. XRF has the advantage to be able to measure through the paper and makes it unnecessary to open them. Iin close cooperation with the museum staff, descisions will be made for the endangered alloys to store them in appropriate and stable conditions. The XRF measurements will be executed exclusively by the promotor.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Earlier research has shown that historical printing letters that consist only of lead and antimony, are extremely sensitive for developing corrosion. A small part of the collection of the Museum Plantin-Moretus is severely corroded and is in fact considered lost. Another part however is not totally corroded and has the possibility to be conserved by means of chemical or electrochemical stabilisation. The present research is designed to find the most appropriate technique and products tot do so. The developed protocol is meant to be used for the conservation of the collection of printing letters and enabling a safe preservation for the future.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project concerns the study and a proof-conservation of a monumental 'light' designed by Victor Horta around 1900. This monumental stained-glass light belongs to the collection of the Royal Museums of Art and History at Brussels. Beside this preliminary research we will also work on a crowd-funding campaign by means of a special designed display.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This integrated research concerns the evolution in window glazing in architecture in the Low Countries, from the 15th to the 19th centuries. Within the framework of the study of 'material culture' the historical and typological evolution will be conducted by studying historical texts, images, still existing windows and chemical analyses of well-dated historical glass. Concerning our region, this research on the building material 'glass' is the first of this kind and size.

Researcher(s)

• Promoter: Caen Joost
• Co-promoter: De Munck Bert
• Fellow: Langouche Liesbeth

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Research and conservation treatments of cemetery objects from the burial places at Rosmeer and Grote Spouwen. The objects consists of metals, glass and other materials. Decision on the level of treatment and the required final aspect will be taken together with the responsible persons.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Conservation of nineteenth century banner of the Sint Michiel church in Antwerp. The conservation treatment consist in the cleaning of the metal threats and the consolidation of the deteriorated silk medaillons.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Recently, a Climatization System has been installed in the church of Aalst, which will be used in December 2017. This adjustment can have a major impact on the church interior. In order to correctly evaluate this impact, measurements are needed. The University of Antwerp has developed a device to monitor multiple environmental parameters (eg, temperature, relative humidity, fine dust, concentrations of pollutants) at the same time. In addition, the shrinkage and swelling behavior of wood and the corrosion rate of metals can also be followed as well. The University of Antwerp can summarize all these data into 1 air quality index, which makes it easy to understand the evolution of air quality. By comparing a period before and after the startup of the new climatisation system, we will get a good picture of its impact.

Researcher(s)

• Promoter: Schalm Olivier

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The Dossinkazerne has a very diverse collection of artworks. Many objects are supportive to the story of the deportation, however some works of art have been created in the period of Dossin as 'Sammellager'. Fitting example are the oil paintings by Irene Awret (1921-2014). These works are direct witnesses of the operation and atmosphere within the barracks. In addition to the works of Awret, there is also a need for a calamity and facilities plan for the entire collection. Hofstätter's works are examined in more detail.

Researcher(s)

• Promoter: De Vis Kristel

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Since c. 1850, a diverse range of glass building blocks has been developed and integrated in buildings. Two types of glass building blocks are distinguished: (1) 'architectural glass' ; glass building blocks that have been produced in an industrial and semi-industrial way resulting in a mass product, and (2) 'dalle de verre windows' which are glass building blocks that are individually sculpted and that where used in artistic creations. The use of dalle de verre windows in buildings were very popular during the 1960s and the 1970s. Such windows are composed of the building blocks that are embedded in concrete or mortar that is reinforced by metal bars. Unfortunately, many of these windows show several types of damages such as corrosion of the reinforcement, pulverization of the mortar or cracks in the glass building blocks. The causes of fracturing are multiple and they result in a complex three dimensional network of cracks and fissures inside the glass element. In this project we want to explore the possibility to reheat broken glass building blocks as a way to bond the fragments together. This method has been rejected by the heritage community for the preservation of stained glass windows. For this, new dalle de verre blocks will be purchased, they will be broken and subjected to different firing cycles (i.e., time vs. temperature curve used during firing). The results will be compared with several reference bonding techniques that are generally accepted by the heritage community. Besides optimizing this method, it is also necessary to develop a procedure to upgrade an experimental treatment to a generally accepted conservation-restoration method. Such a formally accepted validation procedure does not exist in the domain of conservation-restoration.

Researcher(s)

• Promoter: De Vis Kristel

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The conservation and restoration of gilded bronze wall lights in the collection of the Province of Antwerp. Research on the golden finish layers, structural integrity, cleaning, protecting for the future and restoring their practical use.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Starting in 2017 the students of the department ceramics conservation will be researching and treating some porcelain objects from the museum STAM at Gent. The main problem are the multiple restoration treatments these objects received over the years, because of the multiple layers of paint covering a big area of the surface it's impossible to state the damage. Not only does this causes a risk for further deterioration, the paint job adversely affect the beauty of these objects. The student will research the history of these objects, their meaning, and all the materials needed for the production of this kind of pieces. With the help of relevant literature and extensive testing the students propose a treatment. This treatments includes; removing older forms of restorations, cleaning of the surface, attaching broken pieces, fill in gaps, and painting the fillings. In this way we can give these objects a second life and prepare them to be showed to an audience.

Researcher(s)

• Promoter: Bauvois Stefanie
• Co-promoter: Vandevijvere Melissa

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project is about the conservation and restoration of a collection of 45 "delfts' tiles from the collection 'Museum aan de stroom" in Antwerpen. The tiles were infected by salts witch was clearly visible on the subfluoresce salt crystals. This research and project focused on the quantitative en qualitative detection of the salts, desalination and removal of the old restoration materials such as old glues and filling materials. Afterwards, the tiles were restored again with ParaloidB72. Gaps were filled with a paste of calcium carbonate and barium sulphate. The decoration and glazes was re-integrated with water based acrylic colors and varnish applied with the airbrush technique.

Researcher(s)

• Promoter: Vandevijvere Melissa

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The conservation-treatment concerns three stained-glass panels from Museum M at Leuven. One panel is a fragment of the 19th c. glazing of the City Hall in Leuven, a second one depicts St John and is partly 16th c., the third one originates from the Hospital of St Peter and depicts a scene of the Story of the Prodigal Son. This latter panel has been produced in the circle of the workshop of Jan de Caumont.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

In this project a 18th century costume collection is studied and conserved. The study focusses on historical and material research such as fibre analysis, a technical research of the used techniques and a pattern study.

Researcher(s)

• Promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Conservation of 16th and 17th C. stained-glass panels from the Antwerp City Museums. Before defining a treatment proposal, the damaged panels were studied, both historically and technically. The conservation treatment aimed at a sustainable future conservation and appropriate presentation to the public.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project represents a formal research agreement between UA and on the other hand the client. UA provides the client research results mentioned in the title of the project under the conditions as stipulated in this contract.

Researcher(s)

• Promoter: Blanckaert Griet

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research concerns the evolution in window glazing in architecture in the County of Flanders and the Duchy of Brabant between 1400 and 1900. Initial research will be conducted on the typological evolution: historical texts and images will be investigated, existing historical glazed windows will be examined and chemical analysis of historical glass will be performed. The project is meant to be a step stone towards a deeper PhD-project.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The characterization of materials with light microscopy is usually limited by a limited depth of sharpness, resulting in partially sharp images of non flat surfaces. Therefore, the maximum magnification is limited to x100-200. The magnification of conventional microscopy can be enhanced using the z-stacking method, but it can never achieve the presentations of the new generation 3D-microscopes such as the DSX500 of Olympus.

Researcher(s)

• Promoter: Schalm Olivier
• Co-promoter: Janssens Koen

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Conservation of 16th and 17th C. stained-glass panels from the Antwerp City Museums. Before defining a treatment proposal, the damaged panels were studied, both historically and technically. The conservation treatment aimed at a sustainable future conservation and appropriate presentation to the public. This project represents a formal research agreement between UA and on the other hand the client. UA provides the client research results mentioned in the title of the project under the conditions as stipulated in this contract.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project represents a formal research agreement between UA and on the other hand the Flemish Public Service. UA provides the Flemish Public Service research results mentioned in the title of the project under the conditions as stipulated in this contract.

Researcher(s)

• Promoter: Bovyn Guy
• Co-promoter: Ortega Saez Natalia

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Museum collections hold art objects in lead-alloys with a high antimony content besides tin, copper or iron. Historic type, harpsichord rosettes or lead cames in stained-glass windows are examples. In some cases, these alloys show an extreme type of corrosion development. The relation between the alloy content ratios, the microstructure and the environmental conditions is studied in function of the art objects conservation.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project represents a formal service agreement between UA and on the other hand Kerkfabriek. UA provides Kerkfabriek research results mentioned in the title of the project under the conditions as stipulated in this contract.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

The aim of this project is to determine by X-Ray Fluorescent measurements the alloy composition of lead roses from Ruckers chlavichords to find a relation to their manufacturing and period. In 80% of the measured roses there was a relation shown between the alloy composition and the makers from generations of Ruckers chlavichord builders family.

Researcher(s)

• Promoter: Storme Patrick

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project represents a formal research agreement between UA and on the other hand the Federal Public Service. UA provides the Federal Public Service research results mentioned in the title of the project under the conditions as stipulated in this contract.

Researcher(s)

• Promoter: Schalm Olivier

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project represents a research contract awarded by the University of Antwerp. The supervisor provides the Antwerp University research mentioned in the title of the project under the conditions stipulated by the university.

Researcher(s)

• Promoter: Caen Joost

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research project focuses on the technological history of European lacquers, with an emphasis on those made in our regions and special attention to japanned objects in the collections of the Royal Museums of Art and History (RMAH). The lacquers will be characterized by joint efforts of art-historical, technological and chemical research.

Researcher(s)

• Promoter: Indekeu Charles

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

Objectives: - Advanced coatings for protection of cultural heritage assets. - Portable plasma torch for surface cleaning and deposition of protective coatings. - Self-diagnostic protective coatings for conservation of stone, metal and wall paintings. - Invisible marker coatings for identification and anti-counterfeiting purposes.

Researcher(s)

• Promoter: Storme Patrick
• Co-promoter: Schalm Olivier

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This project represents a formal service agreement between UA and on the other hand the municipality Retie. UA provides the municipality Retieresearch results mentioned in the title of the project under the conditions as stipulated in this contract.

Researcher(s)

• Promoter: Indekeu Charles

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project