UMBC welcomes Ryan Moran as new head coach of men’s lacrosse
UMBC introduced Ryan Moran as the Retrievers’ new head men’s lacrosse coach during a press conference held on campus Wednesday, June 22, 2016. Moran is the program’s third head coach since UMBC joined the U.S. Intercollegiate Lacrosse Association (USILA) in 1971.
“Ryan Moran is more than ready to take Retriever men’s lacrosse to new heights and once again have our program a contender on the regional and national scene,” said UMBC Athletics Director Tim Hall. “He is intelligent, thoughtful, a fantastic recruiter, an extraordinary strategist, and is completely committed to academic success and the welfare of his athletes. We are excited to welcome him to the UMBC family.”
Moran brings more than ten years of experience as an offensive coordinator and assistant coach across the region, most recently for Loyola University Maryland, where he helped guide the Greyhounds to the 2016 national semifinals. Prior to his appointment at Loyola, Moran spent six seasons at University of Maryland, College Park, rising to the rank of associate head coach during his final two years.
He started his coaching career at the Naval Academy Prep School in 2005, then served on the coaching staff at the U.S. Naval Academy 2006-08, where helped the team to three NCAA Tournament appearances and two Patriot League titles.
Moran comes from a lineage of top lacrosse coaches. His father has been a high school coach for more than 30 years, winning his 500th career game in 2014, and his great uncle is a U.S. Lacrosse National Hall of Fame member who led Cornell University to three national titles.
Moran replaces coach Don Zimmerman, who has led the Retrievers for the past 23 years and will retire from the university on July 1, 2016. Zimmerman guided UMBC to six NCAA Division I Championship berths, highlighted by a quarterfinal appearance in 2007.
“An unbelievable debt of gratitude is owed to Don Zimmerman for the work he has done on behalf of UMBC, its student-athletes, and the game of lacrosse—not only at UMBC, but also nationally and internationally,” said Hall. “Don has not only left an indelible mark on the sport of lacrosse, but he has certainly left one at UMBC.”
Coach Moran says he is eager to begin leading the UMBC men’s lacrosse team and continue to build on the legacy left by coach Zimmerman. “I am truly excited and truly honored for this opportunity to lead this great program,” he said.
Media Coverage:
Baltimore Sun: Ryan Moran hopes to bring new tempo, success to UMBC men’s lacrosse
Baltimore Sun: New UMBC men’s lacrosse coach Ryan Moran reveals what he learned from previous mentors
Baltimore Sun: UMBC hires former Terp, Loyola assistant Ryan Moran as head lacrosse coach
Lacrosse Magazine: UMBC Names Ryan Moran Head Men’s Lacrosse Coach
Image: Ryan Moran, new head coach of UMBC men’s lacrosse. Photo by Marlayna Demond ’11 for UMBC.
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UMBC introduced Ryan Moran as the Retrievers’ new head men’s lacrosse coach during a press conference held on campus Wednesday, June 22, 2016. Moran is the program’s third head coach since UMBC...
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Thu, 23 Jun 2016 13:00:44 -0400
Problematic Polishing:
An investigation in gilded silver conservation
With the help of the Walters Art Museum conservators and conservation scientist, Our team is studying a conservation problem presented by a nineteenth-century Turkish nargile (commonly referred to as a hookah or waterpipe) in the Walters’ collection. The majority of the piece is made of a gilded silver alloy, decorated with intricate patterning. At the base of the
nargile is a Chinese blue and white porcelain water jar. Decorating the rest of the metalwork are rubies and emeralds as well Persian-style enamel on the upper bowl. Although missing its essential hose, this nargile is a functional object, designed to be used. It was acquired by the Walters Art Museum Founder, Henry Walters on his 1903 trip to Istanbul. Some records from
the dealer who sold it to Walters state that it was an object for royals. Today, thanks to Henry Walter’s gift of his museum to the city of Baltimore, this precious object can be enjoyed by all.
As any silver object does, this beautiful nargile tarnishes over time. Tarnish is a natural product from the reaction of silver with certain gases in air, primarily hydrogen sulfide gas. The tarnish causes the object to change color, darken, and lose its shine. Routine polishing is necessary for it to maintain its intended appearance. There are many different ways to remove
silver tarnish; however, this object presents additional complexity. Even the gentlest cosmetic sponge, while rubbing away tarnish, removes the very thin, original layer of gold (gilding) on the surface of the nargile. Our group within the Baltimore SCIART program is investigating which conservation methods are safe to use on this object to remove the tarnish, but not the gold layer. The two methods we will consider are mechanical cleaning with a cosmetic sponge and chemical cleaning with an acidified thiourea solution. The first week together was spent developing an experimental plan.
Our first step is to investigate common mechanical cleaning methods. Usually, conservators soak a cosmetic sponge in solvent (water, ethanol, or a mix of the two) and then rub it on the tarnished surface, removing the black Ag 2 S. Yet, as stated before, this method removes the gold on the nargile as well. To understand why this is happening, we will take several types of cosmetic sponges to University of Maryland Baltimore County’s (UMBC) Scanning Electron Microscope (SEM) Lab. This will allow us to better understand what the surface of these sponges look like on a nanometer scale. We expect to find subtle differences that may indicate why some sponges are more effective than others at scraping off the silver sulfide complexes and the gold. We will then use Gas Chromatography Mass Spectroscopy (GC:MS) to analyze extracts after letting the sponges soak in solvent. There is concern that residual sponge extracts may be making the nargile more vulnerable to tarnishing. Another aspect we will consider is looking at the sponges themselves after cleaning. We can visually tell that some material has imparted itself upon the sponge after use. If gold is being removed, we can collect the particles and see exactly how much was removed.
The next part of this study involves the chemical cleaning. This is where the most variety comes into play. We know that thiourea solution can be made with many different acids. We choose to test four commonly used acids, listed from weakest to strongest: formic, citric, phosphoric, and sulfuric acid. We know that once the thiourea solution is applied, and the
tarnish is removed, some of the solution remains on the silver. This remaining liquid, while most is rinsed off, forms complexes on the silver surface. Often these complexes seem to increase the rate at which the object tarnishes again. We aim to determine if different acid solutions create different complexes, and if so, is one less harmful than another. This will be characterized using Surface Enhanced Raman Spectroscopy (SERS) and GC:MS.
We began our laboratory work with Dr. Chris Geddes from the Institute of Fluorescence (IoF). There, we made very pure samples of metallic layers of gold, silver, and copper on glass slides. To achieve a very uniform deposition of these metals on the glass slides, we used Thermal Vapor Deposition (TVD). This instrument was the preferred method since it allowed us to create ultra thin layers of these metals. In our case, we produced variations of a silver layer of two micrometers with a thin, 100 nanometer layer of gold on top. The TVD also allowed us to vary the texture of our metal layers by adjusting the rate of deposition onto the glass slides. A fast deposition creates a rougher surface, and a slow deposition creates a smoother surface.
Through this process, we were ultimately able to make rough slides of pure gold, smooth slides of silver with a layer of gold on top, smooth slides of a silver-copper alloy, and finally smooth slides of this alloy with a thin layer of gold on top. The slides we prepared will serve as the pure samples in our experiment. The slides of the copper and silver alloy with gold on top are most characteristic of our actual nargile.
However, all the variations were created to isolate the different metals involved in the tarnishing process we are studying. By storing these pure samples under vacuum, we are preventing them from outside contaminants and isolate their interaction with the tarnish we will later artificially create. Although the nargile itself interacts with environmental contaminants, for the
purposes of our experimental procedure we needed to reduce the variables we are observing. Moving forward, tests of different cleaning methods will be applied for comparison in a controlled way.
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With the help of the Walters Art Museum conservators and conservation scientist, Our team is studying a conservation problem presented by a nineteenth-century Turkish nargile (commonly referred to...
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