He Tohu is the permanent exhibition of three of Aotearoa New Zealand’s constitutional documents at the National Library of New Zealand. In 2012, Minister for Internal Affairs Chris Tremain announced the documents would be moved from Archives New Zealand to a new purpose-built exhibition space at the National Library. In 2013, it was announced the move and opening deadlines for the exhibition could not be met. A subsequent review highlighted lack of consultation with stakeholders, particularly with Māori. In response, a new project established a Crown-Māori partnership, including the role of Principal Advisor, Māori, to ensure meaningful engagement and care for the exhibition’s mauri (life force). A Conservation Work Group (CWG) was also formed to set conservation parameters and advise the Chief Archivist and project teams.Drawing on semi-structured interviews with project members, this paper outlines the context of the CWG and the Principal Advisor, Māori role and the tensions in creating a bi-cultural exhibition process in a Crown-managed framework. The paper also introduces the Mauri Model, an indigenous risk analysis framework, as an alternative to conservation approaches like the Ten Agents of Deterioration. The inclusion of this model aims to provoke discussion on integrating indigenous perspectives into conservation practices.

Severe termite infestation resulted in the loss of around 80% of the canvas in one of the four panels of the Philippine’s Epifanio De Los Santos Avenue (EDSA) Shrine’s oil mural painting mounted on plywood. Eight colonies of termites were discovered tunnelling through the cracks in the concrete walls coming from plant boxes outside the building. Initial work required eradication of the termites’ source and reduction of moisture from the exterior wall. Preparation of the interior wall behind the panels included waterproofing, polyester insulation and application of a lime-based plaster. Several layers of RK-0 tissue, Chiang-mai tissue, gauze and cheesecloth were used as facing prior to de-installation. Treatment of the damaged artwork followed the five basic steps, (1) cleaning, (2) chemical stabilisation, (3) physical stabilisation, (4) aesthetic unity and (5) protection with ultraviolet stable varnish. After cleaning the back of the painting eaten by termites, the paint layer soiled with frass, was swabbed with peroxide, flattened with tissue, brushed with cellulose fibre-reinforced plaster and relined with de-acidified canvas. The restored painting exhibited shrinkage in size with wrinkling of paint. In lieu of infested plywood, it was re-mounted on a stretcher and reinstalled with a spacer from the wall provided for ventilation.

Since the discovery of two bronze chariots at Qin Shihuang’s mausoleum in 1978, the technical methods used by skilled artisans to construct them has remained a question of scholarly interest. While the parts and joints of the chariots have been studied, the complex metal technologies used to assemble the chariots has not been analysed in detail. This article examines the high-temperature connection technologies used to assemble the around 5500 metal parts of the two chariots and divides them into two major types: cast joints and welded joints. It categorises the cast joints, including embedded-casting and package-casting, and the welded joints as three types based on different methods. Through examination of the bronze chariots, this study demonstrates that the Qin Dynasty (221-206 BCE) built on Bronze Age technologies to reach new heights of excellence in a post-Bronze Age.

This paper reviews the incorporation of diverse forms of traditional knowledge in conservation research by the Borobudur Conservation Office (BCO), Indonesia. Research undertaken by the BCO relied on both social and natural scientific approaches. Traditional knowledge was acquired in consultation with traditional custodians and the properties of selected traditional materials were scientifically studied and adapted for use in a conservation context. These outcomes of collaborations with traditional custodians and the findings of scientific investigations have been embedded in the BCO's written and multimedia publications, as well as their training and research programs. It is argued that these efforts could promote sustainable conservation practices by providing alternative, biodegradable conservation materials. Furthermore, these efforts are viewed as a model for conservation best practice; in community that emphasises cross-cultural engagements.

November 2019, MelbourneThe late Mirka Mora (1928–2018) is a Melbourne icon and well-known and much-loved artist with an instantly recognisable style. Born in France and as a teenager miraculously ...

Professor Colin Pearson played a transformative role in cultural materials conservation in Australia. As a founding member of the AICCM, the first Editor of its peer-reviewed journal, and the Head and Professor of the first tertiary conservation education program in Australia, Colin Pearson influenced the lives and careers of many conservators across Australia and further afield. This paper considers his extraordinary contributions, with a particular focus on conservation education, highlighting his many achievements and his legacy to the discipline and to the profession.