Protecting Museum Collections from Vibrations Due to Construction: Vibration Statistics,Limits, Flexibility and Cooperation

ABSTRACT

Vibrations due to heavy construction work continue to be a major concern for museums. Although there has been an increase in research on the effect of vibrations on objects of cultural heritage in recent years, selecting measures to protect collections and remain open during construction work continues to be difficult because of a lack of data on what objects can actually withstand, the complexity of vibration loads, and the uniqueness of each situation. The major renovation of the Central Library in Liverpool, UK, which shared walls with the World Museum and Walker Art Gallery, both of which belong within National Museums Liverpool, showed how museums and other institutions can successfully deal with such situations. An integral approach was taken, beginning with an extensive risk analysis to determine which objects could remain on display, which needed extra protection and regular condition monitoring, and which had to be removed. The museums then negotiated a vibration protocol and action plan with the contractors, including continuous monitoring, and trigger levels requiring consultation or work stoppage. Vibration data were also stored and used for later analysis. This integral approach was successful in protecting the collections on exhibition, with only two incidents of reported damage directly related to vibrations. A combination of museum staff experience, excellent communications with the contractors, and some flexibility in defining vibration limits provided a successful recipe for both museums. The analysis of the vibration data using the basic engineering concept of the Palmgren-Miner rule, supports a more flexible approach to setting vibration limits based on recently published guidelines.     

Guideline in Jeopardy: Observations on the Application of the ASHRAE Chapter on Climate Control in Museums

ABSTRACT

This paper provides the climate specifications of several museums in the Netherlands that have been renovated. These climate specifications developed in the last two decades are very similar, and hence demonstrate that not much has changed in 20 years. Since the use of the climate classes presented by ASHRAE often plays a major role in developing climate specifications in Dutch museums, an analysis was made of its pros and cons. Issues concerning the use of the ASHRAE table are presented: the table is used as a list, the meaning of short fluctuations is unclear, and translating the numbers to a control algorithm is troublesome. An alternative table is presented for temperature and relative humidity specifications to overcome these issues.     

Technical Analysis of an Early Painting by Botticelli

Abstract

A study is presented of the growth of sulphidecontaining corrosion products on antiquities in museums. Analysis of the corrosion products suggests that they are dependent on the mode of formation. Techniques for conservation have also been investigated and l-amido-l-cyanoethylene, 2,2-di(sodium thiolate) is recommended for dissolving the sulphide layers, while a treatment with benzotriazole followed by lacquering is recommended for long-term protection.     

THE CONSERVATION OF TAPESTRIES FOR MUSEUM DISPLAY

Abstract

A broad outline of the considerations which arise with regard to the conservation of a museum collection of tapestries is given in this paper. The various types of damage to, and deterioration of, tapestries is discussed.

Various methods of washing and dry cleaning, and the equipment necessary for these procedures, are reviewed, and a caution is included as to the necessity of testing all dyes for colour fastness in both water and any solvent used for dry cleaning. The equipment, materials and techniques of repair are discussed; three methods of repair being currently used in museums and specialist workshops — re-weaving, stitching on to a backing and the use of synthetic resins for impregnation and adhesion to a woven support. It is suggested in conclusion that the optimum method of repair in museums is stitching on to a backing. More research must be undertaken into the use of synthetic resins, and re-weaving usually alters the original appearance of the tapestry.

Finally, the need for specialised conservation staff in a museum with a tapestry collection is emphasised.     

Bricks and Mortar,Era and Ambience

Abstract

Two historic house museums in the United States owe their preservation to the fact that they 'posed' for artist Andrew Wyeth, born in 1917 and still painting at the age of 86. Joyce Hill Stoner has based this article on her presentation at the American Institute for Conservation meeting in Miami in June 2002.     

Enhanced pest capture rates using pheromonebaited sticky traps in museum stores

Abstract

Monitoring for insect pests in museums is conventionally carried out by using sticky ‘blunder’ traps. Trials of traps enhanced by the addition of the calling pheromone of Anthrenus sarnicus (Coleoptera; Dermestidae) are shown to increase capture rates for this species, thus rapidly identifying areas requiring appropriate counter-measures. Progress on developing comparable techniques targeted at another museum pest beetle, Attagenus smirnovi, is also reported.     

BOOK REVIEW

Abstract

The Thai Bronze Project was a joint venture between the Fine Arts Department of Thailand, The John D. Rockefeller 3rd (JDR 3rd) Fund, New York, and the Freer Gallery of Art, Washington, DC. The project lasted for one year. The Anglo-American team of visiting conservators treated bronze objects, mainly using benzotriazole (BTA), and instructed Thai personnel in modern techniques. A survey of the bronze collections of the museums of Thailand was carried out and recorded. An attempt to judge the need for environmental control in museums was made by leaving temperature and humidity gauges on open display and in show cases. An exhibition was held on ‘Bronze Disease and its Treatment’.     

CHRISTIAN SACRED ART: A CONSERVATION CHALLENGE

Abstract

Christian sacred art is not only an artistic and aesthetic phenomenon, but can also be seen as a manifestation of the divine, the objects becoming a presence of what they represent. A substantial proportion of this kind of art remains dispersed in churches and ecclesiastic treasuries without any special provision for its care and much is still in ceremonial use, continuing to be handled and moved. Recording by inventory and transfer to museums are only recent developments. Portugal has developed various strategies for the preservation of these collections, including the creation of Diocesan Sacred Art Commissions, diocesan museum networks where small museums and museological treasuries are maintained separately but have a common technical staff, a Secure Church Programme and temporary exhibitions, which play a role in conservation, promotion and public awareness. Although not conventional conservation, these actions have helped us to keep the memory of the past alive and let us carry it into the future.     

Allowable microclimatic variations for painted wood

Abstract

Environmental standards for cultural heritage collections have been much debated in recent years. The interest in the issue has been driven by the growing movement towards green museums, that is, managing indoor museum environments in a responsible and efficient manner, especially in terms of reducing energy consumption and carbon emissions but at the same time maintaining high standards of collection care. Painted wood is among the category of heritage objects most vulnerable to relative humidity and temperature fluctuations. Therefore, scientific understanding of how changes in environmental conditions ultimately affect painted wood is crucial to the development of rational guidelines for the control of climate in museums and historic buildings. This review provides a systematic progression through two fundamental approaches to establish the allowable ranges of climatic variations – an analysis of the mechanical response of painted wood as a complex, multilayer system to climate variations, and an analysis of the historic climate to which the objects have acclimatized. The climate specifications and standards based on both these approaches are reviewed.     

How and Why of User Studies: RLG's RedLightGreen as a Case Study

SUMMARY

This article documents a lifecycle approach to employing user-centered design, covering both qualitative and quantitative data gathering methods in support of using this approach for product design, usability testing, and market research. The author provides specific case studies of usability studies, focus groups, interviews, ethnographic studies, and web log analysis. The article supplies practical advice and tools for those interested in exploring user-centered design concepts for web-based tools and services in archives, libraries, and museums.     

An Introduction to “Visualizing Russian History” The Russian Revolution Centennial: Exhibitions,Collections, Audience

ABSTRACT

The Russian Revolution Centennial has called forth many exhibitions of the vast holdings of libraries, archives, museums and other collections. This special issue reviews major exhibitions, the history of the collections and the conceptions and strategies of curators. Revolution’s centennial in 2017 called forth numerous conferences, programs, lectures, publications, and other events. One of the richest avenues of celebration and scholarship was the many brilliant exhibitions organized by archives, museums, and other repositories. The centennial provided an occasion for assessing and for rethinking the modes of presentation and the significance of many types of collections. What to show, how to show it, and for whom became big questions to which curators, archivists, art historians, and many others came up with big answers. These exhibitions and initiatives have pointed the way toward new and welcome collaboration between curators, archivists, historians of art and photography, and political and social historians of the Russian Revolution.     

The Light-fastness of the Natural Dyes

Abstract

Since the late nineteenth century, museums in New Zealand have intermittently painted Maori wood sculpture matt red in the mistaken belief that they were continuing a tradition of red-coloured carving pre-dating the arrival of the European in New Zealand. Conservation work at AucklandMuseum has restored some of these back to their original surfaces. The article describes the history of the carvings under discussion, the conservation carried out, and some of the ramifications of the results achieved.     

Leisure—A function of museums? The Taiwan perspective

The main factor preventing non-visitors from visiting museums is ‘lack of interest’. But the causes of this ‘lack of interest’ are different in Taiwan than in western countries. Taiwanese non-visitors on low incomes are deterred by the strong association of museums with education. They want an experience that will be relaxing, enjoyable and pleasurable, and one which will not require any effort. They do not perceive museums as providing this. Non-visitors want museums to function more obviously as leisure venues that the whole family can actively enjoy. They say museums need to promote themselves as places for exploration and entertainment, as well as for education and learning. If museums wish to attract low-income non-visitors, they must consider how the needs of the non-visiting public can be met.     

Pollutants in the Museum Environment - Practical Strategies for Problem Solving in Design,Exhibition and Storage

Abstract

The Oddy test is an 'accelerated' corrosion test employed by museums to evaluate the suitability of materials proposed for use in display and storage cases, The standard Oddy test requires a 28-day test period, and the results are assessed by visual observation. This paper describes an improved test method, which could reduce the length of the test period by half The improved method uses metal films as substitutes for the traditional metal coupons posing as 'surrogate art object', The new test results are then evaluated by computer with digital image processing for more objective selection of less corrosive materials.     

Holocaust Resources on the Internet

Summary

Due to the wealth of information available on the Internet, using it for research is often difficult and time consuming. These barriers can be traced to the Internet's mystic appeal. This misplaced focus often leads users away from the very thought process that directed them to this resource tool. The following article stresses a research process rather than the delivering technology. It details the use of an established evaluation criteria that helps identify quality Net resources. The process also involves locating Net information based on resource type (museums, research centers, oral testimonies, library catalogs, etc.). Although this survey focuses on the Holocaust, the process is universal.     

Microfade Testing for Heritage Institutions: A Canadian Experience

ABSTRACT

Since 2008, the Canadian Conservation Institute (CCI) has provided microfade testing (MFT) as a service to more than 13 Canadian museums, archives, and galleries. In addition to obtaining lightfastness data for objects and collections planned for exhibition, MFT is also used for research and for training. This article summarizes the experiences and practices that arose from the variety of objects tested, the demand for the service, and the lessons learned. These include protocols to ensure reliable and reproducible results with multiple users, ways to report large number of results, and how MFT data are used with the CCI Light Damage Calculator for effective communication of the results with other museum staff for exhibit planning.     

Chapter 19. Electronic Information and Digitization

Abstract

This chapter considers obstacles and solutions ahead for administrators who seek to preserve intellectual property in digital form, with an emphasis on museums and libraries. Although museum and library professionals have always assumed that preservation of the evidence of the past is our primary responsibility, that assumption is being mightily tested by the advent of digital media. The three main obstacles such administrators confront are: our instinctive devotion to preserving all artworks and intellectual property at any cost, the instability of a digital platform, and the fluid and seemingly infinite permutations of any digital experience. This chapter reviews some of the implications for stewards of cultural resources of this new borderless language of human expression.     

What is the Australian National Maritime Museum Ilma collection?

ABSTRACT

The Australian National Maritime Museum (ANMM) in their Darling Harbour warehouse store just over one thousand Ilma. The Ilma are performance symbols of Bardi law and custom, which tell stories of the lands and seas of the Dampier Peninsula, King Sound and surrounding islands of Western Australia. Ilma performances are public and meant for all to see. The ANMM in 2007 resourced detailed documentation of the collection. In 2018 the collection still does not appear on the online catalogue and remains unavailable for public view. While recent efforts have been put into the collection there are important questions to be raised about the responsibility of museums to collections that have contested meanings and serve multiple purposes.     

科技馆标准化的研究现状与发展对策探究

开展科技馆标准化工作是“十四五”时期科技馆事业高质量发展之所需,也是贯彻落实国家标准化战略的重要举措。本文从科技馆标准化研究现状入手,通过系统梳理科技馆标准化研究论文、项目和现行标准的情况,分析科技馆标准化研究存在的问题,并深入剖析问题的根源。最后,以问题和需求为导向,对科技馆标准化工作提出对策建议。