Kilgarlin Center #08-118
MEY-4
TREATMENT PROPOSAL/AUTHORIZATION FOR TREATMENT
Date: 9/19/2008
PCS Identification number: # 08-118
Owner/Custodian:AAA / Nancy Sparrow
Address:Alexander Architecture Archive, Battle Hall, University of Texas at Austin
Telephone:5-4621
Owner/Custodian call no.:MEY-4
Title/Subject/Description:Presentation Drawing of Dallas Hotel
Creator:Howard R. Meyer Architecture Studio
Date of production:N.d.
Place of production:Dallas, Texas
Approximate dimensions (hxw):
Primary Support (Tracing Paper): English 17 x 30 in
Metric 42.5 x 76.5 cm
Secondary support (Mat board): English 14 x 27 ¼ in
Metric 35.9 x 69.7 cm
Conservator:Stephanie Gowler
Authorization
The undersigned requests and authorizes the Kilgarlin Center at the University of Texas, Austin, TX, to undertake conservation treatment of the artifact described in the attached Condition Report according to the procedures outlined in the appended Treatment Proposal. In the event the Owner/Custodian authorizes the Kilgarlin Center to proceed with the treatment recommended in the proposal such authorization shall be deemed to include acceptance by the depositor of the terms and conditions appearing in the original Authorization for Examination and Treatment. The undersigned further agrees that the Kilgarlin Center and the conservator may share any information or images obtained during the agreed upon examination, treatment, or investigation in written and public presentations.
Signature of Owner/Custodian:______
Date:______
Signature of conservator:______
Date:______
TREATMENT OBJECTIVE
Though the presentation drawing appears to be in good condition overall, the adhesive and plastic used for display may be detrimental to the object– the adhesive has begun to creep, and the plastic tears easily. The plastic covering also makes detailed study of the drawing difficult. The goal of treatment is to remove the pressure-sensitive tape and plastic and re-house the drawing in a manner that maintains elements of the architect’s intended presentation format.
DESCRIPTION & CONDITION
Historical Significance
The architectural presentation drawing was drafted for Howard R. Meyer, a prolific 20th century Dallas architect, known for his Modernist residential designs. As many of his houses and commercial buildings have been and continue to be demolished to make way for new construction, his drawings are often the only records of his work. (Beth’s)
General
The presentation drawing is executed in graphite, colored pencils, crayon and gouache on machine-made tracing paper. For display purposes, the edges of the drawing were wrapped around mat board and secured to the back with Scotch tape. The drawing was then covered with plastic, which was also wrapped around and secured to the back of the board with a different pressure-sensitive tape. The same tape was then applied on top of the plastic around the edges of the board, creating a ½ inch “frame” around the drawing.
The image of the hotel is the central design element of the drawing. The hotel is rendered from an unusual perspective: it is at a ¾ angle bird’s eye view, with an entryway visible at the front, and a swimming pool and parking lot at the back. Surrounding roads and landscape are also depicted.
Media
The image of the hotel, parking lot, swimming pool, and surrounding landscape and roads is depicted in a striking drawing style of parallel lines of colored pencil applied over a graphite underdrawing. The unusual perspective and the parallel lines, most of which run at a diagonal, give the drawing a distinct sense of movement. The hotel building is rendered in orange, blue and yellow colored pencil, with accents of gray on the roof. The foliage and surrounding landscapes are done with light green, dark green, and bright lime green colored pencil. Lettering appears in the lower right corner of the drawing, which has been done with burnt orange colored pencil over graphite. Application of both the graphite and the colored pencils varies from very light to quite heavy in places. Details on the figures and foliages are done with a moderately thick application of black gouache.
A break down of the media present:
(1) Ruled graphite constitutes the outlines for the building and surrounding foliage, cars, and people. (2) Gray colored pencil appears on the roof of the hotel, on the parking lot, and on the roads surrounding the hotel.
(3) Light green colored pencil appears in the lawn and trees surrounding the hotel.
(4) Dark green colored pencil appears in the lawn and trees surrounding the hotel.
(5) Lime green colored pencil appears in the trees and in the garden behind the swimming pool.
(6) Dark navy blue colored pencil appears in the shadows on the lawn, the swimming pool, the road, and the parking lot.
(7) Light, turquoise blue colored pencil appears in the windows of the hotel and the swimming pool.
(8) Burnt orange colored pencil is used for the lettering and appears on the sides of the hotel and one of the cars.
(9) Bright yellow crayon appears in the foliage at the front of the building and on one of the figures entering the hotel.
(10) Very pale yellow crayon appears on one of the figures entering the hotel, on one of the cars, and on the diving board and the dressing rooms near the swimming pool.
(11) Bright red crayon appears on one of the figures entering the hotel and one of the figures next to the pool.
(12) Black gouache (thick, opaque application) appears in the foliage in front of the hotel and outlines much of the building.
(13) White colored pencil appears as lines in the parking lot.
Most of the media is in good condition. The bright yellow crayon (9) is flaking in multiple spots, and the pale yellow crayon (10) is flaking near the diving board. No media fluorescence observed under UV light.
Primary support
The tracing paper is medium thickness with a smooth surface quality. It appears quite white under UV light.
The paper appears to be in good condition overall, though a full determination of its character and condition cannot be made until the plastic covering has been removed. There is an indentation in the upper right corner of the drawing, near the brown car, resulting from the artist’s pressure with the colored pencils. There is a similar indentation near the entryway to the hotel.
The paper is covered overall with a sheet of plastic. The plastic has some minor abrasions, scratches, and dents. It is torn in one spot on the back. There is a small amount of adhesive residue on the plastic in the lower right corner of the front. There is pressure-sensitive, rubber-based adhesive tape on the edges of the drawing, adhering it onto the back of the mat board.
Secondary support
The mat board is cream colored with a moderately rough surface texture. It is approximately 0.06 in thick.
The mat board is in good condition overall, with a small amount of surface grime. There is pressure-sensitive tape and Scotch tape adhered to the back of the board.
TREATMENT PROPOSAL
- Remove pressure-sensitive tape mechanically, assisted by use of solvents as needed, in order to release drawing from existing package.
- Remove plastic covering.
- Flatten edges of drawing.
- Reduce adhesive stains on paper as possible.
- Consolidate any flaking media.
- Re-house in a manner that will retain presentation elements of original.
Estimated treatment time: 10 hours
PHOTOGRAPHY
Before and after treatment photos: full spectrum fluorescent lights; normal illumination; Nikon D300 camera. During treatment photos: ambient lab lighting with Pentax K110D.
TESTING
No testing of the media could be performed prior to removing the plastic covering. Testing of the plastic ruled out PVC, cellulose acetate, and Mylar.
POSSIBLE EFFECTS OF TREATMENT
Removing the plastic covering could result in loss of the flaking media. The portion of the drawing that is folded over the edge of the board and under plastic and tape will be creased, and there is potentially loss of media in these spots when the plastic is removed and the drawing is flattened.
TREATMENT PERFORMED
- Removed plastic from the back of drawing mechanically by slicing the pressure-sensitive tape with a knife and carefully pulling the tape away from the board and the plastic away from the drawing. (30 min.)
- Removed the Scotch tape from the back edges of the drawing mechanically with a microspatula, and removed adhesive residue from the drawing with EtOH swab. (2.5 hrs.)
- Lifted plastic covering mechanically and removed drawing from board. (5 min.)
- Placed drawing between Hollitex and felts overnight to begin relaxing folds.
- Placed glass weights on the folds from the back of drawing on top of felts. Light application of warm, damp humidification to help relax folds. (40 min.)
- Placed glass weights on folds from back side on top of blotter for more aggressive relaxation of folds. (40 min.)
- Removed glass weights and left under felts and plexi board weight.
- Created a long fiber paper sling (Usu-mino) for drawing. (1.5 hrs.)
- Housed in a window mat (3.5 hrs.)
Total Treatment Time: 10 hours
NOTES & OBSERVATIONS
The tape border at edges of board that provided a “frame” around the drawing concealed a name, lettered in graphite, in the lower right corner of the drawing—presumably the artist’s signature.
Once the plastic was removed, it was determined that the paper was in good condition and there was no adhesive on the back of the drawing. The drawing off the board measures: English 17 x 30 in; Metric 42.5 x 76.5 cm.