CHICAGO, IL.- Contrary to popular perception, fine art conservators are not all alchemists working in seclusion in their studios. At Restoration Division, the working life of a conservator is socially active and regularly engaged with public projects and organizations. Restoration Division consider themselves custodians of art and culture in general. In addition to the preservation, conservation, and restoration of art and artifacts, it is their mission to spread awareness about the importance of caring for our material and cultural heritage. You don't need to be a conservator to be a custodian.

The conservation field not only provides the opportunity to meet like-minded people versed in history, art, and culture, it gives exposure to artworks and historical artifacts of a vast and diverse scope, more so than any art gallery or antique store. One of the most satisfying aspects of being a conservator is the ability to communicate with real artists from the past and present through the treatment of their artworks. Nothing compares to the understanding that comes from continuous work on a painting that requires you to follow in the artist's foot steps. Every day Restoration Division has a new project that is completely different from what was done yesterday, and requires this level of understanding the artist's intent and process.

Restoration Division's projects range in scale from 15th century paintings to antique family photographs, to large contemporary sculptures, but most cannot be simply described as conservation treatments. Usually they are large scale projects that involve preservation and restoration of complex artifacts. A good example is the Chicago Motor Club Building.

The Chicago Motor Club building, a National Historic Landmark and one of the most striking art deco buildings in Chicago, had been left in disrepair for decades. It was acquired by the Hampton Inn in order to adapt the building into a boutique hotel. Hampton kept the spirit of the Motor Club in mind and along with Hartshorne Plunkard Architects, Walsh construction, and Restoration Division, produced a preservation-driven rehab.

Restoration Division started by digging out the original colors of the lobby interior so that it could largely be brought back to its original appearance. But the main focus was the mural, designed by John Warner Norton. Norton is also responsible for the 180' Chicago Daily News mural, the Ceres mural in the Chicago Board of Trade building, and many more murals throughout Chicago and beyond. The Motor Club mural is an abstracted map in the art deco style depicting the earliest United States highway system, including the Dixie and Lincoln Highway. At 24' x W: 34', the mural is truly the showpiece of the lobby. It is stylistically unique because unlike most art deco murals, it compliments the interior, but does not overwhelm it. The mural turns the expression of topography into a series of design elements that are pure art deco.

The interior of the lobby has a unique feel of air and openness. The lobby feels huge, but in reality the building is very narrow for a high rise. The colors are very muted and chosen to compliment the design of the building. Although the overall message is in line with many renowned art deco masterpieces such as the murals for the Normandie Liner, it is not about overcoming difficulties or winning the struggle. It's more inviting than most art deco murals as the primary mission of the Chicago Motor Club was to promote motoring and tourism. Somehow the mural makes it look doable and pleasant, if not simple to travel the entire continent.

The mural was covered with heavy layers of dirt and dust, but the most serious condition of the mural was the poor adhesion between the paint, primer, and substrate. The paint and plaster was cracked and lifting as a result of humidity and temperature changes over time. The mural also had pronounced areas of structural inconsistency and large areas of non-original paint and old, visible repairs. A portion of the mural was also missing. Every project, every material is unique. The biggest challenge Restoration Division was facing was time. The mural restoration was the last step of the long rehabilitation process and there was immense pressure to treat it in a nearly unrealistic time frame.

It was of primary importance to preserve and highlight the unique visual qualities of the mural and its message. The treatment needed to be in line with both the original design intent as well as current trends in interior design as the building continues its life as a boutique hotel. In the final hour, the missing portion of the mural was identified at another location. This portion of the mural was in very poor condition and it was necessary to treat it, attach it to the wall, and make it look seamless all within the given time constraints. Every project, every material is unique. This project was no exception considering the circumstances, surprises, and material sensitivities. Restoration Division conservators worked around the clock and were able to finish the project in 2 1/2 weeks.

Restoration Division, along with others involved with the restoration, were recently recognized for their efforts on the Chicago Motor Club Building. The Chicago Art Deco Society has awarded those involved with the first ever Joseph Loundy Preservation Award. An awards reception took place June 18th fittingly at the Motor Club.