Neues Museum Drawing, physical working drawing, CAD print with hand annotations in coloured pencil. The drawing captures three distinct layers of information, the printed layer (in black) is a survey capturing the existing conditions prior to restoration, including areas of damage, cracks, structural faults, and areas where the rooms’ surface has come away. This survey is supplemented by various codes and hatches giving instruction to the conservators on site on how to treat the building surfaces, both aesthetically and structurally. Finally, the hand-drawn pencil annotations are added by these conservators on site, recording the work that has been done, in order to feed it back to the architects and other parties. The fold marks and general wear on the drawing show that it has been used on site. The printed legend in the top right hand corner of the drawing lists the various processes to be enacted upon the building fabric. These include Fesigung (stabilizing), Entzaltzung (removal of salt), Egänzung (addition, reconstruction), Entfernung (removal), Kombimaßnamer (combination), Ziegelergranzung (repair tiles), Ausgleichsputz (returning to prior state), Ausgleichsputz (rendering, equalizing), Hinterfüllung (backfilling of holes), Risse schlessen (closing of cracks), and even Splitter (conserving of damage of bullets or schrapnel). An additional legend has been added in pencil to the drawing itself by the conservators, as a way to record the work that has been undertaken. Pencil hatching in pink / red notes where material is to be added, repaired. Yellow hatching denotes where material has been removed or lost. Blue lines and annotations refer to where stabilising and cleaning is to be undertaken. The red dots on these blue lines denote the number of ‘pearls’ in the ceiling that have been cleaned and fixed. Purple hatching notes where work has been completed already.