A number of folks have worked on the documentation of objects within=20
standing structures. Some of the best (and most interpretive) work is by=20
Henry Glassie in _Passing the Time..._ and other works.
On Thu, 25 Aug 1994, Anita Cohen-Williams wrote:
> Here's a good question (that ties in with our discussion, sort
> of).Can someone help Carolyn?
>=20
> Anita Cohen-Williams; Reference Services; Hayden Library
> Arizona State University, Tempe, AZ 85287-1006
> PHONE: (602) 965-4579 FAX: (602) 965-9169
> INTERNET: [log in to unmask] Owner: HISTARCH
> *** Forwarding note from MUSEUM-L--UNMVMA 08/24/94 17:44 ***
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> 24 Aug 1994 17:44:01 -0700
> Date: Wed, 24 Aug 1994 19:40:57 EST
> Reply-To: Museum discussion list <[log in to unmask]>
> Sender: Museum discussion list <[log in to unmask]>
> From: Carolyn <[log in to unmask]>
> Subject: 3-dimensional documentation?
> To: Multiple recipients of list MUSEUM-L <[log in to unmask]
T>
>=20
> I just finished an internship with the Schroeder saddletree project in
> Madison, Indiana and offered to post this request to MUSEUM-L for my
> supervisor, John Staicer.
>=20
> Does anyone have experience with recording artifact locations in a standi=
ng
> structure along the same principles used in archaeology? The difference,=
of
> course, being that instead of excavating down through the earth you have =
to
> walk into a room crammed with artifacts. The Schroeder saddletree factor=
y,
> started in the 1870s, shut down in 1972 when the last Schroeder died. Mo=
st of
> the workbuildings were left "as is" with unfinished work still on some of=
the
> machines or piled in corners in various stages of production. During the=
life
> of the factory, things were piled in unused corners because the Schroeder=
s
> saved just about everything, and then the factory closed it was left expo=
sed
> to the woodchucks, raccoons, and so forth until about three years ago.
>=20
> Artifact removal has already been carried out in most of the rooms, but J=
ohn
> has been holding off on the woodworking shop where the saddletrees were m=
ade
> because this space may be the only source of information about the Schroe=
ders'
> production process. Removing objects from the room will be an archaeolog=
ical
> process except that instead of working from ground level and excavating d=
own,
> you have to walk into the room and figure out what was part of the room w=
hen
> it was a worksite, what got tossed in unused corners for storage, what go=
t
> moved around by the rodents, etc. There are piles of sawdust and unfinis=
hed
> saddletrees on the floor, woodworking patterns hanging on the walls and f=
rom
> the ceilings, stuff crammed EVERYWHERE.
>=20
> How can John document where things came from as he takes it all out of th=
e
> building? (He generally can only work with one or two people, because th=
ere
> is not enough room on the site and he doesn't want to put more stress on =
the
> floors which are already collapsing.) He has already taken photos of muc=
h of
> the existing layout but want to figure out a more systematic way to recor=
d
> where things were. This site will eventually be restored as a museum.
>=20
> If anyone has any experience with this sort of situation or knows of any
> references in the archaeological literature, please let me know!
>=20
> Replies to Carolyn Brady (see address below)
>=20
> ------------------------------------------------------------------------
> [log in to unmask] | "Real solemn history, I cannot be
> MA program in Public History | interested in....The quarrels of popes
> Indiana University- | and kings, with wars or pestilences
> Purdue University at =BA in every page; the men all so good fo=
r
> Indianapolis | nothing, and hardly any women at all."
> BACK IN TOWN!!! 8-) =BA --JANE AUSTEN
> _____________________________ =BA________________________________________=
_
>=20
|
