Vintage prints are crucial to preserve the cultural, historical, and artistic heritage and although traditional techniques of restoration are important challenges, physical deterioration, including fading, stains, ripping, and noise are major obstacles to preserve printed images. Manual conservation and classical methods of digital inpainting can be time-consuming, subjective and unable to match the level of fine textuality and stylistic fidelity. This paper presents a GAN-based reconstruction model of the high-quality reconstruction of the damaged vintage prints with the deep generative learning and style-conscious constraints. The suggested method uses an adversarial learning paradigm where a generator network aims at restoring missing structures, textures and tonal continuity and a discriminator network is used to assess realism, stylistic consistency and historical plausibility. The extensive art collection maintained in museums, libraries, and personal collections is filtered, including various patterns of degradation and printing styles. The high-level preprocessing, such as noise normalization, contrast enhancement, degradation-sensitive annotation, and others, facilitates the powerful training. The model considers content similarity preserving loss functions, similarity of perception, and consistency of style as content preserving goals in order to retain artistic integrity. Massive experiments indicate that the suggested structure significantly improves the performance of standard restoration and baseline deep learning structures in terms of structural and perceptual quality and visual authenticity. The effectiveness of the reconstructed outputs as the art historians and painting experts confirm the effectiveness of these measures in preserving original aesthetic character also through qualitative evaluations. The findings in the article suggest that GAN-based reconstruction is a scalable, customizable, and culturally aware way to conserve digital data and allow long-term preservation, accessibility of archival data, and scholarly study of delicate vintage prints.
F. Bioresita, Husnul Hidayat, Arnadi Murtiyoso
et al.
Abstract. Cultural heritage sites, such as historical buildings and monuments, hold significant artistic, cultural, and historical value which necessitates preservation. This study explores the integration of 3D modelling and Augmented Reality (AR) technologies to digitally document and promote public engagement with heritage sites. Employing both laser scanning and photogrammetry, the research aims to develop accurate and photorealistic 3D models of key archaeological structures from the Majapahit era located in Trowulan, Indonesia—specifically Bajang Ratu, Wringin Lawang, and Brahu. Laser scanning demonstrates superior geometric accuracy and spatial completeness, producing denser point clouds and more detailed meshes, which are essential for precise documentation, restoration planning, and structural analysis. Photogrammetry, while offering lower geometric resolution, excels in capturing high-quality surface textures, making it more suitable for visual representation, public engagement, and AR applications. The findings highlight the benefits of a hybrid approach that combines laser scanning’s spatial precision with photogrammetry’s visual realism. This AR experience, when paired with a printed archaeological site map, allows users to interact with the digital reconstructions, enhancing historical understanding and accessibility. Furthermore, this research contributes to digital conservation efforts and innovative historical learning methods for Indonesian cultural heritage.
Taisuke Tomonaga, Hidenori Higashi, Hiroto Izumi
et al.
Abstract Background Microplastics have been detected in the atmosphere as well as in the ocean, and there is concern about their biological effects in the lungs. We conducted a short-term inhalation exposure and intratracheal instillation using rats to evaluate lung disorders related to microplastics. We conducted an inhalation exposure of polypropylene fine powder at a low concentration of 2 mg/m 3 and a high concentration of 10 mg/m 3 on 8-week-old male Fischer 344 rats for 6 h a day, 5 days a week for 4 weeks. We also conducted an intratracheal instillation of polypropylene at a low dose of 0.2 mg/rat and a high dose of 1.0 mg/rat on 12-week-old male Fischer 344 rats. Rats were dissected from 3 days to 6 months after both exposures, and bronchoalveolar lavage fluid (BALF) and lung tissue were collected to analyze lung inflammation and lung injury. Results Both exposures to polypropylene induced a persistent influx of inflammatory cells and expression of CINC-1, CINC-2, and MPO in BALF from 1 month after exposure. Genetic analysis showed a significant increase in inflammation-related factors for up to 6 months. The low concentration in the inhalation exposure of polypropylene also induced mild lung inflammation. Conclusion These findings suggest that inhaled polypropylene, which is a microplastic, induces persistent lung inflammation and has the potential for lung disorder. Exposure to 2 mg/m 3 induced inflammatory changes and was thought to be the Lowest Observed Adverse Effect Level (LOAEL) for acute effects of polypropylene. However, considering the concentration of microplastics in a real general environment, the risk of environmental hazards to humans may be low.
Abstract. This paper describes the Charter on the preservation of the digital heritage and it also presents the five main printing technologies, FDM (Fused Deposition Modeling), SLA (Stereo Lithography Apparatus), DLP (Digital Light Processing), LCD (Liquid Crystal Display) and SLS (selective laser sintering) technology. Besides, It presents a methodology to process the restoration of a porcelain bowl through three-dimensional scanning and FDM (Fused Deposition Modeling) and LCD (Liquid Crystal Display) 3D printing technologies. First, the porcelain bowl is scanned with the scanner. Then the modeling software is used to reconstruct the missing part that the bowl presents. Finally, the reconstructed 3D fragment model is printed, completed and chromatically reintegrated. In order to optimize this restoration method to achieve the best visual effect similar to the appearance of the porcelain bowl, different printing materials are used for testing. This type of restoration method can improve the final appearance of the intervened area, minimize the operation of the object and can also make it be shaped quickly and precisely.
: Albumen prints are the most important photographic prints of the late 19 th century. It is basically composed of two layers : the first layer is the paper support (i.e. cellulose), and the second layer is the image layer (i.e. image silver particles embedded in an albumen binder layer). There are several factors threatening the permanence of albumen prints (e.g., fluctuating temperatures and relative humidity, frequent han -dling, air pollution, light, and improper storage and display). Unlike other paper objects, photographs have special cons ervation requirements due to their complex and unique nature . A private collection was selected for this study. The collection consists of three albumen prints from Francis Amen’s photo collection, which originally belonged to the Elhagar family. Francis Amin is a photo Egypt. The prints back to 1890. The photographs were characterised and studied by visual inspection, digital microscopy, Fourier transform infrared spectroscopy (FTIR), scanning electron microscopy (SEM), and energy dispersive X-ray spectroscopy (EDX). Microbiological studies were carried out in the microbiology laboratory at the Faculty of Archaeology at Cairo University. Results revealed that the albumen layer suffers from cracks and chemical degradation, and the secondary supports suffer from both oxidation and hydrolysis. Based on the obtained results, the following conservation procedures were selected and carried out: disinfection, dry cleaning, tear mending and compensating for losses, remounting, retouching, and rehousing.
Dr. Sanjay Molur, B. ManagingEditorMr., Wildzoo Coimbatore India Ravichandran
et al.
Halophila beccarii, listed as ‘Vulnerable’ on the IUCN Red List, aids in seagrass and mangrove succession, acts as a substrate stabilizer and provides feeding grounds for mega-herbivores like dugongs. This species was first recorded from the Andaman & Nicobar Islands in 2015, and its distribution status within the archipelago remains under-investigated. We report a new distribution record of H. beccarii from the North Andamans and shed light on its inter-island distribution. H. beccarii was recorded from a mixed meadow comprising of Cymodocea rotundata (20.5 ± 28.8%, mean seagrass cover), Thalassia hemprichii (16.3 ± 23.3%, mean seagrass cover), and Halodule pinifolia (6.3 ± 12.1%, mean seagrass cover) at Pokkadera, North and Middle Andaman district. H. beccarii had the highest mean seagrass cover (30 ± 34.7%) and shoot density (103.5 ± 68.3 shoots/ m2) among sympatric seagrass species. We also recorded eight seagrass-associated macrofaunal groups (gastropods, bivalves, polychaetes, foraminiferans, nematodes, brachyurans, decapods and asteroids) from the infaunal and epibenthic micro-habitats within the meadow. Infaunal macrobenthos had a much higher density (73.5 ± 129.7 individuals/m2) than the epibenthic macrofauna (0.4 ± 1.5 individuals/m2), possibly influenced by the seagrass canopy structure and biomass. Overall, gastropods were the most dominant macrobenthic faunal group (overall mean 95.0 ± 106.1 individuals/m2). The present findings emphasize the need for more exploratory surveys to understand H. beccarii distribution in the Andaman & Nicobar archipelago to identify priority conservation areas.
The main task of visual inspection of an architectural object is to collect information about its current state and identify architectural peculiarities. Since the research information is obtained directly at the site of the study, which is characterized by a short period of time, – the operational fixation of information is a critical element. For this task, a method of visual inspection of the structure was formed, presented using the example of castles in a state of long-term ruin, including preliminary preparation for leaving to the research object, step-by-step instructions for the survey process and recommendations for processing and storing data later. A visual inspection of a castle in ruins requires careful preparation. First of all, you should familiarize yourself with the historical, bibliographic and iconographic base of the architectural object and form its construction chronogram. You should prepare a plan scheme with marked objects, where you will indicate saved, lost and emergency areas, and mark the change of masonry, the number of loopholes, etc. It is also recommended to prepare a text card of the visual examination, which will include the name of the investigated volume, short pre-collected information and free space for recording the examination results directly on the site. It is necessary to have a meter tape measure, a camera, if possible, a laser rangefinder and a drone. Since the route of the visual inspection is often quite chaotic, you should have another printed plan-schema to record the progress of the research. This manipulation will be helpful when you have to understand a few hundred photos. After processing the data in office conditions, a file which is called “Map of visual inspection of the castle in a state of long ruin” is formed. The castle-ruin reflects in its structure about six centuries of human history. Its research will be relevant for a long time, since funding for architectural monuments is extremely limited, and destructive processes are constantly ongoing. Given the versatility of the castle’s architectural site in a state of long-term ruin, visual inspection can be an excellent learning experience for restoration students. The study of the object of research contributes to the understanding of its potential and the emergence of ideas for its revitalization.
Abstract. The latest technologies in the field of geomatics and additive manufacturing can provide a significant support to the restoration and conservation activities of Cultural Heritage (CH). In particular, the recent developments for both the 3D scanning techniques and the 3D printing systems are able to speed up the survey and the reconstruction of historical fragments gone lost. This research compares different meshes, obtained with different instruments and techniques, in particular a medium and a short-range volumetric handheld camera, with the aim of evaluating the best solution for the 3D printing and provide some guidelines for this kind of operation. Therefore, the focus is mainly on identifying the most effective solution to describe, represent and subsequently model small architectural details in the most automatic way, in order to step from the survey to the final printed result in the shortest time possible. Moreover, an attempt to integrate and complete not only sculptural details, by now well stated in the state of art, but also architectural elements, respecting the principles of reversibility and material recognisability typical of the modern restoration theories, has been done. The case study examined is an historical wooden gilded door with the lack of some decorative parts, in a church in the centre of Turin (Italy), symbol of the baroque architecture and damaged by a fire occurred during the Second World War.
This contribution tries to describe the research and intervention process that the authors have carried out for the conservation of the Sidi Bou Guertif Mausoleum. The methodological process has been based on the prior knowledge of the construction systems, as well as the conservation and recovery-reconstruction techniques used by the region’s master builders, practices that are respectful with the building and that are validated by their use for centuries. In addition, the project contemplated the involvement of young locals interested in learning about these jobs that unfortunately disappear, but are absolutely necessary to preserve this heritage at-risk.
Conservation and restoration of prints, Architectural drawing and design
Toka ABD EL-HAY, Mustafa Momen, Hend Yasser
et al.
The significance of photographic collections to our shared cultural heritage has become apparent; and therefore, the focus on their preservation has intensified. Photographs made during the last one hundred years belong to a class known as silver gelatin prints. A silver gelatin print is mainly composed of the primary support (i.e. paper), the baryta layer (i.e. fine particles of barium sulfate in gelatin layer) and the gelatin binder layer carrying the final image material (i.e. metallic silver particles). One major issue in photograph conservation field repairing losses in silver gelatin prints since the reflective index and texture of silver gelatin prints are difficult to simulate. In 2017, a combined manual and digital restoration technique was proposed by Yosri for the restoration of losses in silver gelatin prints. Results proved the stability of long-term stability of laser printing compared to inkjet printing. However, analytical assessment techniques showed changes in the appearance of the samples post artificial ageing. The main aim of this paper is to assess the efficiency of selected coating materials (i.e. methyl cellulose, Klucel G, gelatin and Funori) in improving the stability of laser printed infills to be used in damaged silver gelatin prints. Long-term stability of the coated printed samples will be evaluated after exposure to humid heat artificial ageing at a temperature of 80°C and 65% RH for 5 days using several techniques including visual inspection, microscopic inspection, pH value measurements, colorimetric measurements, and Fourier transform infrared spectroscopy (FT-IR). The second part of the study involves the treatment of selected vintage silver gelatin prints suffering from various damage forms, mainly losses and surface dirt.
Le montage par la face des photographies est une méthode d'exposition contemporaine de la photographie qui est bien établie aujourd'hui dans les musées et galeries d'art et qui présente des problèmes spécifiques dans le domaine de la conservation et de la restauration. La recherche présentée ici inclut l'étude des principaux matériaux utilisés, considère différentes sources et documentations et aborde également l'analyse scientifique et les tests de vieillissement accéléré qui sont actuellement en développement.
El texto presenta un recorrido detallado por la historia, la construcción y el estado de conservación de este edificio y su estructura previo a su intervención, como interesante testimonio de las técnicas constructivas de los maestros de obra de la época barroca y neoclásica local. Acto seguido, presenta el programa funcional del mismo para agencia de emprendimiento, innovación y conocimiento del ayuntamiento de la localidad y los criterios de intervención empleados que han servido de guía a la restauración. De particular interés resulta el análisis de la construcción histórica principalmente realizada con muros de tapia y bóvedas tabicadas, la reparación de los aleros de madera con prótesis del mismo material y la intervención en las bóvedas tabicadas existentes recurriendo a la tradición constructiva local para reparar, reforzar o incluso reconstruir algunas bóvedas perdidas.
Conservation and restoration of prints, Architectural drawing and design
Javier Benlloch Marco, Manuel Jesús Ramírez Blanco, José Ferrandis Montesinos
The magnificent Quart Gate in Valencia, built in a combination of ashlar fabric and curved lime mortar adobe, is one of the old entrances into the walled medieval city still standing today. The article describes the complete investigation process from the historical study and the first restoration works performed in the past to the diagnosis and establishment of working criteria, as well as a detailed report of the cleaning and consolidation of the fabrics, without forgetting the polemic rendering at the back of the gate, in contrast with the old masonry.
Conservation and restoration of prints, Architectural drawing and design