Licenciatura en Conservación

Museografía busca ser un punto de convergencia para todos los interesados en el patrimonio cultural y abrir espacio para la participación de las instituciones con este interés en común. La 3era edición se llevó acabo del 27 al 30 de abril de 2010 y estuvo dirigido a aquellos que quisieran difundir trabajos realizados en las áreas de docencia, investigación, tesis y labor profesional en el ámbito de la restauración, conservación, museología y gestión del patrimonio cultural.

This study provides a multidisciplinary overview of the identification of wood species used in objects found in the Templo Mayor, Mexico. With the aim of understanding both the state of conservation and the stabilization process carried out on the collection-which to date comprises over 2 500 elements-the information on taxonomic identifications thus obtained provides aspects enabling us to comprehensively understand these objects. This research is part of the first phase of an ongoing work and presents the results obtained from 62 samples which were selected and analyzed according to the objects' place of origin, their state of conservation and the typologies established as part of their archaeological analysis.

Since very early times, humans have needed to depict the world they live in. We seek to own those beautiful things we see, make them permanent, make them stay, even though we know they're ephemeral, by imitating them with sturdier materials that can be preserved for a longer time. Flowers, both natural and man-made, have diverse meanings in daily life and are essential during the rites of passage in every corner of the world, they accompany individuals from birth to death. With vibrant colors and fragrant smell, flowers are one of our favorite things. But, how can you make permanent, something such as a flower? In this paper, I will talk briefly about how humanity made this possible, and how a craft, or as I call it, a productive tradition traveled from the far East to the west and its transformation to keep it alive in the post-Industrial Revolution world. Finally, I will delve into a family story to understand how these complex artifacts are still part of our modern life. Let´s begin in China, where near a millennium ago, the Chinese civilization found a way to imitate natural flowers. Using complex materials as woven silk fabrics, natural dyes, and animal or plant glues, they recreated what they saw. The oldest silk-flowers that I have found evidence about were recovered along the Silk Road trail and are dated back to the 4th Century. Surely this technology was not new, but the material characteristics of this object make decay their worst enemy.

Samples of fresh and archeological wood were structurally characterized by XPS and NMR spectroscopy. Archaeological wood chips were recovered from excavations in the Great Temple of Mexico City. The presence of a wood consolidant (lactitol trehalose) was studied as a variable, as well as aging. Wood samples oxidized after accelerated aging, and hydrolysis was the first step that promoted oxidation. Consolidation inhibited hydrolysis and, consequently, oxidation of wood, whether contemporary or archeological.

For centuries silk flowers have been used by different societies as personal and spatial adornments. Flowers, both natural and man-made, have diverse meanings in daily life and rites of passage, accompanying individuals from birth to death. During the nineteenth century, the use of silk flowers gained in popularity and, thanks to the industrialization of textile weaving and the discovery of chemical dyes, silk flowers became available not only to elites but to the growing bourgeoisie, and later, even low-income classes. During this boom, Judith Deschamps and Etiesenne Pucheu met and were married, both of them florists. After the 1851 great fires in San Francisco, California, they decided to settle down in Mexico, where a friend of theirs had established, a couple decades before, the first silk-flower factory in Mexico. Being entrepreneurs, Judith and her husband took the business in their hands and made it stronger, inventing patented machines for different processes and products of...

Until four years ago, one of the most popular methods for cleaning metal threads in Mexico was the application of a commercial silver dip with HCl, pH 1, very aggressive for silk and metal. Knowing the risks of this substance it was necessary to look for alternative methods. It was tested with a solution of Thiourea, with formic acid and pH 5.5, and also It was designed a gel of thiourea with the same characteristics, which were compared with the use of commercial silver dip.

Although there are studies about the damage that can cause thiourea residues on silver, it was decided to continue with the analysis, in order to establish a methodology to help make decisions about the cleanup of metals in textiles.

In 2007 began a conservation project coordinated by the National School of Conservation, Restoration and Museology (ENCRyM-INAH, Mexico). At some point in this project some fragments of wall paintings were found, during the floor consolidation. These fragments belong to the Porch 25, which revealed the dramatic change image; and shown that the black pigment still remains in the design, not as well on the walls.

Tesis de maestría en arqueología, sobre el análisis de la tecnología orfebre usada para la elaboración de hilos metálicos, empleados en la decoración de textiles religiosos de la Catedral de México. Se analizaron 19 textiles del siglo XVI al XIX, de Nueva España, España y Asia, para identificar innovaciones tecnológicas, usando criterios de forma, estructura, composición química y recubrimientos dorados.

Tesis de licenciatura en restauración de bienes muebles, donde se evalúa la limpieza química en hilos metálicos, a través de tres mezclas de un quelante específico para los productos de corrosión de plata. La investigación tuvo que ampliarse hacia la caracterización de técnicas y materiales así como mecanismos de corrosión en hilos con recubrimientos dorados.