ACL Project List
 
In an effort to reveal the original paint scheme of the ceiling, a variety of options was explored to visualize the known information.  Due to the complexity of the finishes, in-situ exposure proved to be too damaging an undertaking and other technologies were explored as a way to present a mock-up of the original paint scheme.
 
Due to the intricacy of the surface on the decorative plaster and its location on a ceiling approximately thirty feet above floor level, traditional methods of acquiring a mold of a ceiling segment would be challenging. Handheld laser scanning was explored as a viable option because of its capabilities for high detail, its compact features suitable on a small scaffolding, and because of its non-contact ability to capture detail. At the Whitney Studio, over 2,000 Handy Scan™ Regular Positioning Targets, were used to create the base registration matrix for each scan. Because of the fixed target points, the scanning equipment can be moved in any direction during the scan, offering flexibility in angles and registration.
 
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Scroll through the image gallery to view the fabrication of the replica panel.
 
  The representative portion of the ceiling was scanned in January, 2010, and measured approximately 4’ x 4’. Working closely with the Fabrication Laboratory in the School of Design, the cropped file (20”x40”) was imported into Rhinoceros™ and prepared for fabrication on the CNC (Computer Numerical Control) mill. The scan was cut into a 2” thick, 20”x40” board of cherry wood, which was attached to two sheets of plywood for backing. The entire cutting process was completed over the course of a week. The piece was then placed into a built frame that supported the wood, while creating flat edges for the molding process. A brushable tin silicone rubber was used to capture the negative mold of the milled ceiling panel.
John Hinchman using handheld laser scanning on Whitney Studio, 2010.
Three molds were taken, made of gypsum plaster, with burlap reinforcement.  Once sanded and sealed with an oil-based primer, paints were mixed to match the Munsell Color references from the paint investigation, and applied to the dragon and snake figures prior to leafing. Once dry, aluminum leaf was applied on each of the figural elements in the mold. Using a combination of pigmented glazes and stippling techniques, the figures and backgrounds of the panel were toned to reflect the evidence found in exposures and cross section analysis. Using the findings of the original scheme from documentary sources, stratigraphic and material analyses and comparative case-studies of Chanler’s other work, the mock-up was prepared to interpret the original appearance of the Whitney Studio ceiling.  
  Digital recreation of the original color scheme on the ceiling by Lauren V. Drapala.