Knowledge of Conservation and Restoration

Conservation and Display of Unstable Artifacts in Museums: A Novel Approach Using Balancing Mounts

Mehdi Razani

Designing stabilizing mounts for objects, particularly unstable ones, is of great importance for museum display cases. These mounts can serve as platforms that aid in the exhibition of artistic works and valuable historical and cultural artifacts. The aim of this article is to design and implement a sample mount to stabilize a vessel that lacks proper physical balance, making it unsuitable for safe and secure display in a museum case without risking damage. To achieve this goal, a sample ceramic vessel from the scientific excavations of Tepe Dalma, which lacked structural stability and balance, was selected as the case study. In this process, after 3D modeling the object, a suitable mount was designed and fabricated to provide the necessary balance and stability. Another significant aspect of this study, following a review of the literature on modern technologies, is the examination and introduction of criteria and features that must be considered in the design and production of such mounts to ensure their functionality for various objects. The most important of these criteria, in order, include: the use of low-risk materials for constructing the mounts, ensuring the mount does not come into direct contact with the object in a way that could cause damage, considering the aesthetic values of the object in terms of color harmony and the shape of the mount in relation to the object's visual characteristics and function, and finally, ensuring sufficient strength to support the object's weight and balance.
Introdocatis
In museums, the effective display of historical and cultural artifacts is vital. For structurally unstable objects, designing supports that align with conservation standards is essential. These supports stabilize artifacts by reducing mechanical forces, considering factors like dimensions, weight, and strength (Paul, 2008). Modern technologies, such as 3D modeling and rapid prototyping, have transformed artifact display methods. These innovations allow precise physical models to be created from digital designs, enabling customized support fabrication (Razani et al., 2018). Using 3D printers, supports are produced layer-by-layer, ensuring accuracy and safety. This method enhances artifact stability, protection, and visual presentation in museum exhibitions.

Research background
in recent decades, 3D technologies such as digital modeling and 3D printing have become standard tools for documenting and preserving cultural heritage. These methods allow users to record and analyze the shape, geometry, and dimensions of artifacts without physical contact. Advances in 3D printing have enabled digital data to be transformed into physical models quickly and at low cost (Balletti and Ballarin, 2019). These technologies have been applied in various fields of cultural heritage, including museum curation and restoration, for reconstructing missing parts, creating molds, replication, and casting. Researchers have utilized 3D models for data collection and enabling direct interaction between visitors and artifacts (Rahman, Adcock, and Garwood, 2012; Comes, Buna, and Badiu, 2014). Razani et al. (2018) used FDM 3D printing to reconstruct missing parts of an ancient pottery sample (Razani et al., 2018), and a similar approach was applied to historical glass objects (Razani et al., 2016). In international studies, these technologies have been employed to print missing parts of a porcelain vessel at the National Museum of Slovenia (Antlej et al., 2012) and produce a mold of a 16th-century marble relief at the Hermitage Museum in Russia (Balzani et al., 2005). Additionally, Doi and Ono (2010) introduced methods for creating ceramic object molds using computed tomography and VRML software for 3D modeling and FDM printing (DOI and ONO, 2010). The present study focuses on designing bases to establish stability and balance for unbalanced objects, offering a novel approach that incorporates criteria such as using low-risk materials, preserving aesthetic values, and designing bases tailored to the physical and visual characteristics of each artifact. This approach enhances its applicability in the conservation and principled display of historical and cultural objects.

Challenges - Principles and Proposed Foundations for the Display of Museum Objects
Displaying unbalanced objects in museum vitrines presents challenges such as ensuring security, preserving aesthetic values, and preventing physical damage. Many historical objects lack sufficient stability for direct display due to unique designs or structural damage. To address this, the use of appropriate support bases that evenly distribute weight and are made from safe materials is essential (Paul, 2008). The principles of museum object display encompass four key aspects: 1) Maximizing the visibility of an object’s features so that all details, dimensions, and subtle characteristics are clearly observable (Lord, 2002). 2) Visualizing the object’s functionality, especially for items with specific or symbolic uses that may be unfamiliar to modern audiences (Hein, 2002). 3) Preventing physical damage through the design of secure bases and vitrines, along with managing environmental conditions like temperature, humidity, and lighting. 4) Preserving the object’s aesthetic values by using appropriate display tools such as lighting, color, and texture. These principles help maintain the physical and aesthetic integrity of artifacts while enhancing the visual and educational experience of visitors.
Materials and Methods
The studied artifact is a ceramic drinking cup from the Iron Age (1200–800 BCE), excavated at Dalma Teppe in Malekan, East Azerbaijan Province, Iran. It has minimal base contact, causing instability. Precise measurements were taken using calipers and micrometers, and technical drawings were prepared in Solidworks 2016. A 1:1 scale 3D model was created in Rhino 7, and Keyshot was used to apply textures for realism. A custom support base was fabricated using a Kitech M1 3D printer. For aesthetic enhancement, the base was velvet-coated using a handheld electrostatic sprayer (Quantum brand, 90 kV output) by Dayer Sanat Iranian Company, ensuring stability and visual harmony.

Results and discotions
The artifact was precisely measured, and technical drawings were prepared. A 3D virtual model was created in Rhino 7, replicating details like handle design, surface textures, and cracks, essential for determining the object’s center of gravity. A hand-shaped support base with a flat bottom was designed for stability within the vitrine. The fingers were shaped to securely hold the artifact based on its dimensions. Stability tests confirmed acceptable balance with and without the artifact. Proper installation in the vitrine ensured functionality in terms of resistance, balance, and aesthetics. For aesthetic enhancement, the base was coated with 1mm dark red polyester velvet fibers. ST180 water-based adhesive was used for bonding, ensuring durability and strong adhesion. This method combined functionality with aesthetic refinement, making the base suitable for museum display.

Conclusion
This paper examines the design and use of stabilizing bases for unbalanced artifacts in museum vitrines using modern 3D technologies. Results indicate that supports must avoid physical or aesthetic damage while remaining visually appealing, enhancing viewer comprehension and engagement. Supports should accommodate diverse artifacts and enable dimension perception, functionality, and quick production via 3D printing. Symbolic designs and contextual descriptions can deepen audience understanding. The designed base for the ceramic artifact can also display jewelry, showcasing versatility. It is recommended to extend this approach to complex artifacts like glass or ivory objects.

Acknowledgments
The authors would like to express their gratitude to the Islamic Art University of Tabriz for providing the material and spiritual support necessary for the successful completion of this research.
Authors' Contributions: The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. The third author contributed to data collection and text editing.
Conflict of Interest: None. Support: This research was supported by the Tabriz Islamic Art University, both financially and institutionally.
Data Availability: The raw data of this study are available to the authors and can be accessed upon request through correspondence.

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Research Paper The Major Air Pollutants and Their Sources in the Erosion of Stone Materials in the Cultural Heritage Sites of the Marvdasht Plain

Hamid Fadaei

Air pollution is one of the major challenges of modern life, exacerbating environmental crises, particularly in developing countries, and posing a serious threat to cultural heritage. Marvdasht, due to its ongoing development, is among the regions facing this issue. The presence of numerous historical sites registered on national and world heritage lists has made the impact of air pollution—especially considering the region's industrial expansion—a significant concern for cultural heritage specialists. This concern is further amplified by the presence of limestone-based stone heritage sites, such as the UNESCO-listed Persepolis and the Naqsh-e Rostam historical complex. These monuments, composed primarily of calcite, are highly susceptible to direct and indirect erosion and degradation caused by acid rain. This research aims to identify the sources of air pollutants in the region and assess their impact on the erosion of cultural heritage and stone monuments. Through a review of theoretical sources, field investigations, and laboratory analyses, the major sources of air pollution in the Marvdasht plain were identified and evaluated. The collected data were analyzed using qualitative and quantitative methods. To measure the impact of air pollution, air samples were collected from Persepolis and Naqsh-e Rostam as key stone heritage sites, as well as from the Marvdasht Petrochemical Complex, the primary pollution source in the area. The concentrations of NO₂, SO₂, O₃, and NH₃ in the air samples were measured using ion chromatography and stoichiometric calculations. The findings of this study indicate a high potential for pollutant-induced damage in the region.

Research Paper Evaluation of the restoration and technology of tile decorations of Safavid domes in Isfahan from the beginning to the present (Case study: Dome of the Abbasi Grand Mosque, Sheikh Lotfollah Mosque, Chaharbagh School)

Sahar Ahmad Khan Beigi

The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.

Investigation of Metal Smelting Remains at the Dehneh Lashkar Site (Robat Posht-e Badam) with Emphasis on Petrographic and Geochemical Analysis of Slags

Yazd Province, with its diverse mineral resources and long history of metallurgical activities from prehistoric to contemporary times, is considered one of the primary centers of ancient metalworking in the Central Iranian Plateau. The Dehneh Lashkar metal smelting site, located near Robat Posht-Badam village, was identified during regional geological surveys and studied for the first time. From this site, covering an area of 140 square meters, 10 slag samples were collected, with 4 samples subjected to petrographic analysis and 4 samples analyzed chemically using ICP-OES. The examined samples exhibited distinct macroscopic characteristics, including dark green to black coloration, irregular morphology, porous to dense textures, and dimensions ranging from 2 to 7 cm. Petrographic studies revealed that the slags primarily consist of fayalite (Fe₂SiO₄), pyroxene, and glassy phases, with spinifex and porphyritic textures indicative of rapid cooling and incomplete melt crystallization. Polished section analyses further confirmed the presence of copper sulfide phases, including bornite (Cu₅FeS₄), covellite (CuS), and native copper (Cu) within the slags. Chemical analyses indicated an average copper concentration of 1.96 wt% and zinc concentration of 0.88 wt%, suggesting the use of Cu-Pb-Zn polymetallic ores as the primary raw material. The average calcium oxide (CaO) content of 24 wt% points to the use of carbonate rocks (likely limestone and dolomite) as fluxes to adjust viscosity and lower the melting temperature. The chemical composition of the slags suggests an average smelting temperature of 1100–1200°C, consistent with the use of siliceous and carbonate fluxes to enhance metal separation. This study provides evidence of an ancient metalworking industry at the site based on petrographic and chemical analyses of the slags. The main research questions addressed the types of metals extracted and the metallurgical processes employed. Based on the findings, the site was primarily exploited for copper extraction. Although insufficient surface evidence was available for precise dating, petrographic and chemical studies indicate the use of advanced metallurgical technologies capable of achieving temperatures of 1100–1200°C and employing combined siliceous-carbonate flux systems to optimize the reduction and metal separation processes.

Research Paper Evaluation of the restoration and technology of tile decorations of Safavid domes in Isfahan from the beginning to the present (Case study: Dome of the Abbasi Grand Mosque, Sheikh Lotfollah Mosque, Chaharbagh School)

Zohreh Motalebi

Technical Report Conservation and Restoration Measures of the Historical House of Qariha (a Building Attributed to the Mozaffarid Era in Yazd)

Bardia hajirasouliha

The Qariha Historical House is a surviving structure from the Mozaffari era in the city of Yazd, reflecting transformations across various historical periods. This building, along with other structures from the same era, holds significant value due to its association with the golden age of Ilkhanid art and architecture, making it a compelling subject for multidisciplinary studies within the field of conservation science. To mitigate the deterioration of its structural elements and address existing damage, a series of conservation and restoration interventions have been implemented. These measures include localized foundation reinforcement, restoration and reconstruction of portals, repair and realignment of damaged arches, stabilization of wall layers and coatings, and the clarification of architectural decorative elements. This article aims to provide a comprehensive account of the conservation and restoration efforts undertaken for this historical building.

Technical Report Treatment Process and Conservation of the Nasseri Carriage at the Museums Cultural Institute of the Mostazafan Foundation

Mitra Etezadi

The Nasseri Carriage, a valuable historical artifact from the Qajar era, is currently housed in the Historical Car Museum of the Foundation of the Oppressed. Due to its complex structure and the diversity of materials used in its construction, the carriage had sustained significant damage, necessitating comprehensive conservation and restoration efforts. This project aimed to restore the carriage’s structural integrity and aesthetic appearance, preparing it for display in the museum. This article outlines the restoration process, along with historical and technical documentation.