Investigating the impact of cleaning treatments on polystyrene using SEM, AFM and ToF–SIMS

Concerns about the stability of plastic artefacts are commonly expressed when discussing the conservation of modern materials. One of the factors affecting the degradation of plastics is the presence of soil, degradation products and other contaminants on the surface. Cleaning treatments for plastic artefacts may therefore increase their stability as well as improving their visual appearance. While past studies have shown that dry, aqueous and solvent cleaning can visibly damage a plastic surface, the chemical and physical changes occurring to the surface at the micro-scale have been largely unexplored. In this work time-of-flight secondary ion mass spectrometry (ToF–SIMS) has been used in conjunction with atomic force microscopy (AFM) and scanning electron microscopy (SEM) to examine the effect of cleaning treatments on the surface of sheet polystyrene. Chemometric analysis of the ToF–SIMS data reveals the presence of surfactant residues and contamination from cleaning agents while physical damage in the form of scratching has been characterised using AFM and SEM. It is anticipated such work will assist in informing future conservation treatments for plastics

Synthesis and characterisation of strain-sensitive polyurethane-diacetylene copolymer coatings

SIGLEAvailable from British Library Document Supply Centre-DSC:DX207103 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Go with the flow: conservation of a floating sculpture from 1961 made from glass fibre-reinforced polyester resin

Marta Pan’s Sculpture flottante, Otterlo was commissioned by the Kröller-Müller Museum for a pond at the entrance of the new sculpture garden that opened in June 1961. The floating sculpture is made from glass fibre-reinforced polyester resin and is now coated with white paint layers. The top is connected to the base by a joint with a ball bearing, enabling it to rotate 360 degrees independently of the bottom part when activated by the wind. This smoothly shaped white lightweight water figure is a landmark for the public and an icon for the sculpture garden for generations of visitors to the Kröller-Müller Museum. In 2004 research into the condition of the artwork was instigated as several problems were apparent: the rotation of the upper part had partly failed, the floating position appeared incorrect and the surface of the sculpture was covered with numerous paint layers. This paper deals with the investigation into the condition of the sculpture and research into practicalities of dealing with a heavy and large floating object. The interview with the artist is discussed as well as the conclusions for treatment and maintenance. The key element is the focus on the artwork as a whole, implying that the motion in combination with water and the outdoor environment are of equal importance as the material elements, the paint layer and the volume of the sculpture itself