FCT: DCR - Dissertações de Mestrado
URI permanente para esta coleção:
Navegar
Entradas recentes
- Millions Of Vases Without Any Flowers: An artistic and theoretical research into the decoration and form of the ceramic vesselPublication . Vilder, Irene Sophie Madeleine de; Fortuna, Pedro; Gala, AlmudenaThis thesis investigates ceramic vessels as functional objects, as surfaces for decoration, and as works of art in their own right. Through historical analysis, it traces the shifting meanings of decoration: from a marker of wealth and status, to a narrative tool in antiquity, to a rejected element in modernist aesthetics. Postmodernism reintroduced decoration as a meaningful visual language, allowing artists to reclaim ceramics as a medium for cultural and personal expression. Alongside surface treatment and ornament, the thesis explores the vessel’s interior and its capacity for containment. The interior space of vessels has historically shaped both function and meaning, influencing perceptions of volume, enclosure, and relational dynamics between inside and outside. This aspect of ceramics is examined through historical and contemporary examples, highlighting how openings, volume, and internal architecture contribute to a vessel’s identity beyond surface decoration. My own practice operates within this broader context, using the vessel as both foundation and framework, accommodating elements of traditional ornamentation and sculptural experimentation. I decorate my vases by building up shapes in clay and applying Terra Sigillata with meticulous burnishing, merging surface and form so that decoration is not an additional layer but an intrinsic quality of the object. In this thesis, I question the very notion of “decoration” and examine the shifting boundary between ornament and sculpture: when does an embellishment remain decorative, and when does it transform the object into something sculptural? Ultimately, this research reflects on ceramic decoration as both a historical practice and a contemporary artistic medium, situating my work within this evolving dialogue. The pieces created during this process, and presented in the accompanying exhibition, are the culmination of both artistic exploration and critical reflection undertaken throughout this thesis.
- Conservação e caracterização de uma pintura de Menez: soluções para o tratamento das deformações planaresPublication . Almeida, Solange Estêvão; Babo, Sara; Marques, RaquelEsta dissertação centra-se na conservação e restauro de uma pintura inédita dos anos 60 da artista portuguesa Menez, encontrada juntamente com mais oito pinturas que perma- neceram enroladas incorretamente durante várias décadas em condições ambientais inade- quadas. A pintura é um óleo sobre tela que apresentava graves deformações planares, desta- camentos ativos, lacunas, clivagens e contaminação microbiológica. Para além da intervenção de restauro, este trabalho teve como objetivo desenvolver uma metodologia que pudesse ser aplicada a outras obras encontradas juntamente com o caso de estudo, respeitando a sua integridade material e artística. Foi realizado o estudo histórico e documental da obra, com o apoio de questionários realizados às herdeiras da artista, também proprietárias das obras, e entrevistas a outros inter- venientes no processo de descoberta da mesma. Para melhor conhecer a técnica da artista e a obra, foi realizada uma caracterização material da pintura com recurso a microscopia ótica, espetroscopia Raman e FTIR-ATR. A intervenção passou por todos os passos, mas focou-se sobretudo na planificação da pintura com a remoção das deformações planares através da construção de um sistema de tensão adaptado ao conjunto de pinturas e às necessidades do caso de estudo. A intervenção contou ainda com limpeza mecânica e aquosa da pintura, consolidação, colocação na grade e preenchimento volumétrico. Apesar de algumas limitações e da permanência de deformações pequenas, a intervenção permitiu recuperar a leitura visual da pintura, estabilizar o seu estado de conservação e torná-la apta para exposição ou venda. Os resultados demonstram a eficácia da metodologia proposta, podendo esta ser replicada, com as devidas adaptações, nas restantes pinturas do conjunto. O trabalho evidencia a importância de intervenções fundamentadas, graduais e conscientes dos riscos, contribuindo ainda para o estudo e preservação da obra de Menez no panorama da arte contemporânea portuguesa.
- Conservation of the PMMA artwork “Café Kafka” by João Vieira from the historic coffee house A BrasileiraPublication . Lima, Francisca Condesso Ekström Sousa; Sá, Susana; Babo, SaraThis thesis focuses on the conservation of Café Kafka (1971), a poly(methyl methacrylate) (PMMA) based artwork by João Vieira, permanently displayed in Lisbon’s iconic coffee house A Brasileira. The artwork holds significant cultural and artistic value, embodying both João Vieira’s exploration of language as visual matter and the intellectual memory of the café. How- ever, its main component, the PMMA sheets, had suffered serious conservation problems, in- cluding heavy soiling, greasy deposits, scratches from previous cleaning attempts, cracks and deformations. Furthermore, ATR-FTIR analysis confirmed spectral alterations consistent with photodegradation, which, combined with surface dirt, can severely compromise the future legibility of the artwork. The research began with a comprehensive review literature on the artist’s oeuvre and the coffee house environment, as well on PMMA’s properties and cleaning methodologies, which revealed important limitations in current practices. To address these gaps, an extensive testing strategy was specifically designed to build on these earlier limitations and explore ways to optimize gel performance. Therefore, this programme evaluated both established and less explored methods, including PVAl-Borax and thermally softened agar-agar gel loaded with triammonium citrate (TAC), generating approximately 2,000 data records. The results informed the design of a tailored treatment plan for Café Kafka, which included multi-stage cleaning with agar-agar and PVAl-Borax gels, structural stabilization with Regalrez® 1094, and localized reintegration strategies. The intervention restored the colour readability and stability of the artwork, while en- suring maximum safety and reversibility when possible. Beyond this case study, this thesis contributes to the field of plastic conservation by refining methodologies, critically assessing their risks and benefits, and demonstrating the importance of combining scientific analysis, ethical reflection and preventive strategies. Ultimately, it reaffirms that the conservation of contemporary polymer-based artworks requires adaptable and evidence-based approaches, ensuring the preservation of both material and cultural values.
- Preserving Polyurethane- and Vinyl-Coated Fabrics in Fashion Collections: Production, Material Characterisation, and Preventive Conservation StrategiesPublication . Ferreira, Joana Tomás; Sá, Susana; Rizzo, Adriana; Verkens, KimFabrics and leathers have been coated for centuries using the available materials at the time and for diverse functional and aesthetic purposes. Since the 1960s, coated fabrics in fashion have been predominantly composed of thermoplastic polyurethane (TPU) and plasticised poly(vinyl chloride) (p-PVC) coatings. Their varied aesthetic possibilities, as well as technical properties, led to their widespread use by internationally recognised fashion designers and, consequently, to their significant presence in modern and contemporary fashion and design collections worldwide. Coated fabrics present major conservation challenges owing to their composite structure and the intrinsic chemical instability of p-PVC and TPU coatings, materials widely recognised among the least stable in museum collections. They frequently undergo rapid deterioration, manifested through varied phenomena such as blooming, tackiness, peeling, flaking, and ad- ditive migration. Systematic and material-focused research on p-PVC- and TPU-coated fabrics remains critically limited, and specific guidelines for their preventive conservation are still lacking. As a result, fashion collections often face uncertainty when selecting storage condi- tions and wrapping materials, which may unintentionally accelerate their deterioration and contribute to the loss of historically significant artefacts. This thesis addresses this gap through a systematic investigation of the production, ma- terial composition, and preventive conservation of p-PVC- and TPU-coated fabrics in fashion collections. A large set of artefacts and reference samples was examined using a multi-analyt- ical approach to characterise predominant production techniques based on stratigraphic fea- tures and to elucidate the chemical formulations of the multilayer systems, with particular focus on the coatings. Preventive conservation studies were conducted on undamaged sam- ples, as well as samples damaged by tackiness and blooming, to evaluate the long-term safety and efficacy of different storage and cleaning methods. These findings were synthetised into a decision-making flowchart that provides preventive conservation guidelines, structured ac- cording to the knowledge on coating composition and institutional ability to control environ- mental conditions in storage facilities. This research significantly expands the understanding of the multiple layers of complex- ity inherent to p-PVC- and TPU-coated fabrics and clarifies the factors underlying their sus- ceptibility in fashion collections. By developing and systematising essential terminology, ana- lytical methodologies, and evidence-based preventive guidelines, this thesis provides a com- prehensive framework to support informed decision-making for their long-term preservation within heritage collections
- Estudos de proveniência de um conjunto de Garrafas de Vinho do séc.XVIII-XIX encontradas em Almada VelhaPublication . Rocha, Sofia Vanessa Antunes; Coutinho, Inês; Alves, LuísA garrafa de vinho tem sido um tema de estudo pouco explorado e os estudos efetuados até à presente data têm mostrado algumas lacunas no conhecimento. Um problema que se tem verificado é a falta de comparação entre estudos formais e estudos composicionais, nomeadamente entre garrafas cilíndricas. Em relação aos estudos de forma, apenas existem descrições formais da aparência geral da garrafa, nunca havendo uma tentativa de relação através de pequenas características das garrafas, nomeadamente como a marisa ou o push- up. Este trabalho tem como objetivo o estudo de um conjunto de 35 fragmentos de garrafas de vinho e também garrafas com o perfil completo, datadas do séc. XVIII e encontradas em Almada. Este estudo irá focar-se na observação e sistematização da forma, caracterização da composição e numa abordagem preliminar ao estudo da cor. Por fim far-se-á uma relação entre as conclusões retiradas de cada uma das diferentes abordagens. A importância destes estudos destaca-se pela sua contribuição para o conhecimento deste tipo de peças, contribuindo para a valorização das mesmas e conferindo assim conhecimentos extrínsecos à caracterização material, nomeadamente hábitos de consumo, avanços tecnológicos e rotas comerciais. Os estudos de forma permitiram primeiramente sistematizar os termos utilizados para as diferentes partes constituintes da garrafa em língua portuguesa. Após esta sistematização, o segundo passo foi a observação do conjunto em estudo, de modo a verificar se seria possível encontrar semelhanças formais entre as diferentes garrafas que permitissem separar as peças por conjuntos. Foram identificados três grupos, A, B e C. Para os estudos de composição tiveram-se em consideração os grupos formais identificados anteriormente, tendo-se amostrado um total de 28 fragmentos. Os resultados obtidos mostraram que existe relação entre as amostras de cada grupo e ainda se verifica alguma relação entre a maioria das amostras do Grupo B com a maioria das amostras do Grupo C. Analisados os dados de composição o que se verifica é que para a maioria das amostras do Grupo A, estas apresentam valores superiores para os óxidos P2O5, MnO e Al2O3 em relação as amostras dos Grupos B e C. Assim, uma primeira conclusão é que a característica visual que permanece a dividir as amostras entre si é a cor do vidro. Em relação aos teores de Fe2O3, óxido metálico responsável pelos tons de verde no vidro, não são visíveis diferenças nos teores que possam indicar ou justificar as diferenças de cor entre os vários fragmentos. Também não se verificou nenhuma diferença sistemática na razão entre os iões férrico e ferroso. Comparando os resultados analíticos com os dados retirados da literatura, foi possível encontrar semelhanças entre alguns fragmentos analisados com garrafas analisadas resultantes da escavação à Real Fábrica de Vidros de Coina. Encontraram-se também semelhanças com fragmentos de um centro de produção Inglês e outro Francês. Sendo que a produção da Real Fábrica de Coina (e posteriormente a da Marinha Grande) seguiam a tradição de produção de vidro inglesa e empregavam vidreiros ingleses, as semelhanças tanto a nível composicional como formal eram esperadas, sendo necessário desenvolver-se futuramente uma metodologia para a distinção entre os diferentes centros de produção.
- Exploring the Challenges of Glue-Paste Lining in a Humid Environment and the Ethical Considerations of Treatment and RetreatmentPublication . Wittorf, Louisa; Spagnol, Anthony; Babo, SaraGlue-paste linings—traditionally composed of mixtures like flour and animal glue to attach a secondary canvas—have long been employed in painting conservation. However, these linings present significant challenges, including material degradation, invasive application methods, and adverse effects on the original artwork’s aesthetics and structure. Over time, adhesive brittleness compromises the painting’s stability, while the lining process can induce mechanical stresses that risk damaging original canvases and paint layers. Furthermore, chemical interactions between original and added materials may accelerate deterioration. This dissertation explores alternative post-lining approaches that prioritize long-term stability, reversibility, and minimal intervention. Among these, mist-lining—a technique applying adhesive via a fine mist to create a nap-bond system—offers reduced adhesive use and eliminates the need for excessive heat and pressure. This method aligns with modern conservation ethics by minimizing invasiveness and enhancing removability, particularly suited for humid and warm climates. Two Baroque paintings by Maltese artist Stefano Erardi—Saint Thomas and Saint Andrew—serve as case studies. In Saint Thomas, despite aesthetic concerns caused by lining seams, the painting’s stability justified refraining from delining, underscoring a minimalistic, preservation-first ethic. Conversely, Saint Andrew exhibited significant structural damage due to lining degradation, prompting removal and replacement with mist-lining. This intervention protected the original paint, repaired structural issues, and adhered to conservation best practices. Ultimately, this work demonstrates a shift in conservation from traditional glue-paste linings toward advanced, ethical techniques that safeguard the authenticity, appearance, and material integrity of historical artworks. These case studies illustrate how ethical considerations guide tailored conservation decisions, balancing necessary intervention with the imperative to preserve original materials and historical authenticity
- As Above, So Below: Glass, Fungi, and the Ecology of the In-BetweenPublication . Fernandes, Maria Henrique Bracons; Wiley, Robert; Rodrigues, AlexandraThis research unfolds from the encounter between two unlikely companions: glass and fungi. The central question addressed is how artistic practices might engage with living organisms and scientific methodologies, challenging the binary logics that traditionally separate domains such as organic/inorganic, human/non-human, and art/science. The significance of this inquiry lies in the exposure of the limitations of categorical thinking, highlighting the urgency of rethinking materiality, agency and temporality in artistic processes. The research develops a hybrid methodology that integrates scientific protocols and laboratory procedures with artistic experimentation, in a practice marked by co-constitution and active collaboration between living and non-living agents (artist, glass, fungi), and by the crossings between the distinct methods of art and science. In its scientific dimension, the project involved the inoculation of handmade blown glass pieces with six species of fungi, using standardized laboratory protocols of sterilization and culti-vation. These experiments made visible how fungal growth adapted to unconventional environments, revealing patterns of growth, pigmentation, competition, and transformation that informed both the methodology and the artistic outcomes. Through iterative experimentation and theoretical reflection, the study examines how encounters across the boundaries of life and matter unsettle binary logics and open new possibilities for thinking, making, and perceiving. The results are not measured solely in formal outcomes, but in the shifting of perception - an invitation to think of creativity as correspondence, where human and non-human forces, time and materiality, are interwoven. The final exhibition, As Above, So Below, becomes a site where scientific methods and artistic practice cross paths, making visible the possibilities that lie in the in-between: a space of uncertainty, transformation, and a shared ecology of imagination.
- Final Mobility Report - Erasmus+ Traineeship at Berlin Glassworks e.VPublication . Minin, Igor; Castelo, MartaThis report summarizes my Erasmus+ internship at Berlin Glas e.V., a public-access glass studio in Berlin. Over two months, I was involved in various aspects of glass production, from hotshop work and cold-working to assisting in workshops and contributing to collaborative projects. I also developed personal artworks and improved both technical and soft skills. The experience deepened my understanding of studio practice, expanded my artistic language, and confirmed my commitment to working professionally in the field of contemporary glass.
- The Antifungal Potential of Deep Eutectic Solvents (DESs) In Paintings Conservation | Internship at NEON Art ConservationPublication . Quintas, Adriana Maria Borges; Marques, Raquel; Babo, SaraThis thesis presents the outcome of a one-year internship in the field of paintings conservation and restoration, carried out in collaboration with the private company NEON Art Conservation. The work covered a wide range of practices, including the production of condition reports, the execution of conservation and restoration treatments on diverse artworks and the record of all processes through written and photographic documentation, both in-studio and in situ, playing a transversal role throughout all activities, ensuring transparency, reproducibility, and compliance with professional standards. The case studies conducted during the internship illustrate the challenges and decision-making processes inherent to the profession. Among these, the treatment of Divagação (1929) by Júlio dos Reis Pereira highlighted the complexity of varnish removal and reapplication in the presence of sensitive pigments and textured surfaces, Reflexões (1984) by Rocha Pinto demonstrated the adaptation of strip-lining techniques traditionally used in canvas conservation to the specific needs of pastel on paper, and the restoration of Chamando, buscando, fugindo (1992) by Ana Hatherly provided the opportunity to explore a relatively recent development in conservation practice, Tylose® MH300 as a retouching binder, which has shown remarkable performance in achieving reintegration without altering gloss levels in the challenging context of matt surfaces. This experience emphasized the importance of methodological rigor, material testing, and interdisciplinary collaboration in addressing the technical and ethical challenges of conservation. The internship contributed to consolidating both technical skills and critical reflection on professional practice. Fungal biodeterioration poses a significant threat to the conservation of paintings, particularly in environments where humidity and temperature create favourable conditions for microbial growth. Common biocides used to treat such biodeterioration issues often come with health and environmental risks due to their toxicity. Deep eutectic solvents (DES), especially natural deep eutectic solvents (NADESs), have emerged as promising eco-friendly alternatives. This work explores the antifungal potential of DESs for paintings conservation, focusing on their effectiveness in preventing fungal growth, the safety and application methods, and the need to replace traditional toxic biocides. The present thesis highlights the role of DES, particularly formulations of Choline Chloride + Levulinic Acid, Mentol + Lauric Acid and Mentol + Thymol, as sustainable and efficient antifungal agents, especially for some of the most common species (spp.) on easel paintings, such as Aspergillus niger, Cladosporium cladosporioides and Penicillium citrinum. The antifungal assessment involved re-evaluations of the importance of the methods used, with some adaptation. Direct testing against fungal strains began as a primary experiment, followed by preparation of inocula, disc diffusion assays, and growth monitoring under controlled conditions. Complementary analyses of the impact of DESs on painted surfaces, revealed differences on painted surfaces: ChCl:LevA left a glossy layer, Men:LauA produced matt deposits, and Men:Thy did not cause detectable alterations. These observations aligned with the volatility tests conducted, validating the conclusions. The findings demonstrate that DESs are promising candidates for eco-sustainable conservation practices, combining antifungal capacity with biodegradability and low toxicity. While the potential of DESs to replace traditional biocides is evident, further studies are necessary to assess their long-term interactions with paintings, their efficiency across diverse fungal species, and their performance in real-world conservation contexts. The customizable nature of DESs offers an opportunity to tailor solvent properties to specific conservation needs, promoting innovative and safer conservation practices.
- Estudo, preservação e manutenção dos metais e da funcionalidade do motor do Bugatti Type 35 BPublication . Novo, Mariana da Silva Eiras; Gac, Agnès; Tissot, Isabel; Gouveia, TiagoEsta dissertação responde à necessidade do estabelecimento de diretrizes claras e aplicáveis para a preservação de veículos históricos motorizados, com foco no Bugatti Type 35B, pertencente ao espólio do Museu do Caramulo. Aqui será retratado o desafio de equilibrar autenticidade, funcionalidade e segurança, juntamente com o completar de metodologias específicas que permitam manter veículos históricos motorizados sem comprometer a sua integridade material. Através da análise histórica, descrição dos componentes, diagnóstico de conservação, proposta de intervenção e plano de manutenção. Oferecendo uma abordagem assimilada e replicável, que respeita os princípios da conservação e da reversibilidade. Assim, o objetivo deste trabalho é a criação de um plano de manutenção para veículos históricos motorizados. Este é um plano que pode ser adaptado a qualquer veículo histórico, tendo em conta as especificações destes. Neste caso foi criado um plano geral, que aborda a manutenção funcional e ex-positiva. Aqui o plano será adaptado ao Bugatti Type 35B, de modo a demonstrar que este pode ser adaptado a qualquer veículo histórico motorizado. A metodologia utilizada combina pesquisa histórica e documental, análise técnica e descritiva do veículo, diagnóstico do estado de conservação, com base em inspeções visuais e mapeamentos, estudo das práticas de manutenção, com base nos registos do Museu do Caramulo, e desenvolvimento de um plano de manutenção que pode ser aplicado a qualquer veículo histórico motorizado. Conclui-se que a preservação de veículos históricos motorizados exige um equilíbrio entre autenticidade, funcionalidade e segurança. A decisão de manter o Bugatti Type 35B funcional, adotada pelo Museu do Caramulo, revela-se acertada, desde que acompanhada por um plano de manutenção rigoroso e intervenções não intrusivas, tanto quanto possíveis. Este estudo propõe um modelo replicável para outros museus e colecionadores, contribuindo para a valorização e preservação do património automóvel.