Control of indoor environments in heritage buildings: experimental measurements in an old Italian museum and proposal of a methodology

This paper describes some results from an experiment carried out regarding a procedure to be adopted for temperature and R.H. monitoring of indoor spaces designed for exhibiting events, such as museums and similar institutions. The monitored data employed in this study has been collected by the Department di Ricerche Energetiche ed Ambientali of the Università degli Studi di Palermo in co-operation with the Regional Gallery ''Palazzo Abatellis'' of Palermo. The study analyses a simple method for characterising the environmental quality of museums so as to ensure the optimal conservation of works of art. This methodology is based on the procedure (where thermal and hygrometry parameters are concerned) proposed by an Italian standard rule. A new technique, firstly applied to the industrial environment, based on the passive reactive monitoring of proper coupons is also proposed for monitoring air quality in museums. The methodology adopted, has been applied to two survey campaigns which were carried out at a distance of 5 years. This shows the two aspects of thermal-hygrometry and levels of indoor air quality aimed at preserving works of art. The future developments of this work are oriented towards the definition of guidelines in support of those responsible for the conservation of works of art and improvements in the quality of environments for artwork conservation and for the comfort of visitors through the use of proper HVAC systems.     

Assessment of thermo-hygrometric quality in museums: Method and in-field application to the “Duccio di Buoninsegna” exhibition at Santa Maria della Scala (Siena,Italy)

Maintaining the microclimatic parameters at the desired value is essential for artefacts preservation. In order to control the status of the microclimatic parameters, a continuous monitoring of the indoor environmental provides conservators, curators, restorers, and lenders with an exact knowledge of the microclimatic conditions under which the works of art are kept. Moreover, the monitoring results give important information in order to make adequate changes to the control strategy of microclimatic parameters. From this point of view, monitoring is an essential tool to develop an actual preventive control programme aimed at maintaining the optimal microclimatic conditions for preservation. As a consequence, long-term monitoring has to be applied to prevent deterioration of works of art. The widespread opinion that a correct approach to the topic of microclimate control for artefacts preservation is not only and necessarily to provide buildings with sophisticated environmental control systems, but mainly to investigate the actual environmental dynamics and, before any structural intervention, to define the compatibility between the climate control potentials and the preservation requirements, has become more and more firm among the experts. Monitoring also allows to verify the capacity of the “building and Heating, Ventilation and Air Conditioning (HVAC)” system to maintain the desired thermo-hygrometric values within the operating conditions. To this aim, the Italian Standard UNI 10829 (1999) defining monitoring, elaboration and analysis of the microclimatic data as supporting actions for artefacts preservation, led to the need of a long-term monitoring and of a statistical approach to the data management. The approach proposed by the Italian Standard has been recently adopted by a European Standard (EN 15251, 2007). In accordance with the Standards mentioned above, in this paper an operational procedure to assess the thermo-hygrometric quality in museums is firstly synthetically presented and than applied to a case study. In particular, the procedure is developed in order to define the thermo-hygrometric quality level of the exhibition areas in the large museum complex of “Santa Maria della Scala” in Siena (Italy) during the international temporary exhibition “Duccio. La nascita della pittura senese” (“Duccio. The birth of Sienese Painting”).     

CFD application to optimise the ventilation strategy of Senate Room at Palazzo Madama in Turin (Italy)

Over the last years, there was an increasing interest in keeping suitable microclimatic conditions for the preservation of artefacts: the artefacts preservation requirements may diverge from those of the museums visitors, willing to enjoy the works of art in a situation of psycho-physical wellness. The HVAC designers and engineers will have then to cooperate closely with the curator, in order to define a compromise between conflicting environmental performance requirements. In particular at the stage of air-conditioning system design or retrofit, it is extremely important to carry out a series of preliminary analysis to evaluate and monitor the existing environmental conditions and to anticipatory simulate and predict the post-intervention conditions. To this aim, advanced fluid-dynamic investigation tools (Computational Fluid Dynamic [CFD] techniques) enable to deal with the specificity of such topics and provide a useful decision-making support.     

An evaluation of daylight distribution as an initial preventive conservation measure at two Smithsonian Institution Museums, Washington DC, USA

This paper presents the results of a light levels survey conducted at the Donald W. Reynolds Center for American Art and Portraiture in Washington DC. The museum space is shared by the National Portrait Gallery and the Smithsonian American Art Museum. After six years of extensive renovations, the building reopened to the public in July 1, 2006. The structure was not originally designed to house a museum collection since it contains numerous openings such as windows, doors and skylights, which provide a path for natural radiation to enter the building and come in contact with the artworks. From a preventive conservation standpoint, this is an important problem since sensitive works of art in the collection may be subjected to damage caused by light exposure. Environmental data loggers installed throughout the museum were programmed to take successive measurements every 10 min for 24 h a day, 7 days a week and 52 weeks a year. This light levels assessment started in November 1, 2007 and finished in October 31, 2008. This study presents a new method for determining natural radiation exposures registered in exhibition spaces that rely on both electric lighting and natural lighting, considering the growing trend of using daylight illumination in museums.     

Art Museums: Collections, Deaccessioning and Donations

This paper looks at three issues: the functions of art museums, the role of deaccessioning in this context and the importance of donations of works of art in contributing to the collection function. Donor restrictions it is argued should not be allowed to unduly influence the policy of an art museum, including that in relation to deaccessioning: this is especially the case given that often the state has paid, in the form of a tax expenditure, for the bulk of such donations.     

Natural lighting in the Hall of Two Hundred. A proposal for exhibition of its ancient tapestries

The present paper provides a qualitative and quantitative approach to natural lighting design for the Hall of Two Hundred in Palazzo Vecchio (the present town hall) in Florence. Starting from transient simulation of natural lighting inside the Hall in its present state, using the commercial software Radiance, a design proposal was suggested, detecting the optimal conditions for tapestry conservation and maintenance and taking into account their periodical exhibition, designing a proper wall show-case solution. The suggested design does not modify the architecture and structure of the building. The distribution of natural lighting and consequently of the illuminance and luminance inside the ambient, suggested a solution for exhibition of the historical tapestries, which can guarantee not only tapestry conservation but also the Hall structure and its present uses. The design proposal provides a comfortable lighting environment, rehabilitation and improvement of the historical perception and sight of these works of art, under variable sun and sky conditions throughout the year.     

The Government's Choice of Bureaucratic Organisation: An Application to Italian State Museums

Italian state museums are characterised by a rigid bureaucratic structure and are almost completely financed by government transfers. In this paper we develop a simplified two-stage model in an attempt to explain how the government's preferences for differentiated museum functions may affect museum organisation. The model shows that the government prefers that complementary functions (e.g., conservation and scientific research) be produced by a single museum, whereas it prefers that substitutable functions (e.g., conservation and access by the general public) be produced by two museums. We use this prediction for an empirical analysis of the organisational structure of Italian state museums. On the basis of the unique ISTAT census of the Italian museum system, we test with two separate probit models the probability of observing in a state museum the concentration of either scientific activities of conservation and research or promotion activities for education and the general public. Higher classes of centralisation for the state museums are also considered by means of an ordered probit model. The results seem to suggest that the Italian state museum structure, as surveyed in the early 1990s, fully reflected the traditional policy model viewing museums as institutions devoted to conservation, scientific research and education. JEL-Classification: D73, Z11     

“Better an egg today than a hen tomorrow” on the implications of deaccess policies for donations to museums

Severe budget cuts in the cultural sectors of many countries have spurred disparate suggestions for alternative sources available to public institutions. Deaccessioning may be an option, although controversial, to guarantee the survival of cultural institutions. This paper addresses the consequences that deaccessioning may have on donations of artworks to museums, by developing a sequential game with incomplete information. We investigate the interactions between donors and museums, when the former is uncertain about the commitment of a museum not to deaccess part of its endowment in the future. Our analysis shows that deaccessioning may reduce art donations to museums. Interestingly, public grants to museums cause a negative externality to a committed museum, which experiences a reduction in donations. Results provide intuitions for the widespread resistance to deaccessioning of museum associations, for their efforts to enforce common regulation restricting the use of proceeds to the acquisition of art, and also for the proliferation of private art museums.     

Causality and Museum Subsidies

Although museums are major recipients of public money, very little is known regarding what factors cause changes in the level of funding given to particular institutions. It is nevertheless regularly asserted by those affected that governments will reduce the level of subsidy going to those museums that raise revenues for themselves, especially if these revenues were raised through charging for admission. This paper explores the causal influences underlying changes in the level of government grants to museums. Statistically analysing data drawn from a panel of UK museums funded by central government, evidence is found that increases in non-grant income do indeed result in a statistically significant reduction in future government subsidies. It is however unclear whether these reductions are sufficient to offset entirely the financial benefits from charging or the pursuit of private benefactors. Despite the government's avowed intention to widen access to museums, changes in visitor numbers do not appear to cause changes in government grants.     

Arts and craftiness: an economic analysis of art heists

We study the incentives that museums face in determining how much resources to invest in the protection of their artwork from theft. We present and analyze a game-theoretic model of art heists that accounts for the strategic interactions between museums’ and art thieves’ decisions and that incorporates several key features of the black market for stolen art. We find that the equilibrium level of security museums choose need not be monotonic in the true market value or the black market value of artwork, i.e., increasing the value of an art piece—whether it is the true market value or the black market value—does not necessarily lead museums to invest more in protecting their artwork. The effects of parameter changes in the model that reflect a shift of public policy depend critically on what type of policy change is considered. For instance, an increase in the penalty imposed for committing art theft cannot raise the amount of theft in equilibrium and could in fact lead museums to increase their level of security. On the other hand, investing more resources on law enforcement agencies so that they are better able to solve art crimes can actually increase the amount of theft in equilibrium by causing museums to spend less on security.     

Radiation background due to radioactivity in palaces and museums: influence on TL/OSL dating

The environmental radiation level is unknown for objects that have been in collections for decades or centuries. We have performed dose rate measurements in museums representative of ancient castles and palaces. Annual dose rates between 0.3 and 1.3 mGy/year have been measured. There is a correlation between annual rates and the materials close to the dosimeters. The dating of objects by luminescence (TL and OSL) requires accurate knowledge of the dose rate in the minerals under investigation. An estimation of the errors on ages can be deduced from our measurements for typical situations of works of art and museum objects.     

Evaluation of the effect of phase change materials technology on the thermal stability of Cultural Heritage objects

The use of phase change materials (PCMs) in civil buildings as an effective thermal energy storage solution has been well documented in literature and proven in the field. When applied to Cultural Heritage, PCMs’ technology needs to be adapted to specific requirements. Besides the important objectives of economic return and human comfort, the indoor microclimatic conditions have to be suitable for conservation purposes. The application of PCMs’ technology to Cultural Heritage has been investigated within the European MESSIB (Multi-source Energy Storage System Integrated in Buildings) project. Firstly, several methodologies of incorporation of PCMs in different materials were studied and tested. The thermal properties of gypsum panels and silicon coatings incorporating micro-encapsulated PCMs in the form of powder and emulsion were analysed in the laboratory. Then, PCMs incorporated in gypsum panels in contact with a wooden panel were tested and their effect on the thermal behaviour of the wooden panel was evaluated under thermal cycles in a climatic chamber. PCMs incorporated in silicon coatings in contact with a painting were also tested. Moreover, gypsum panels containing PCMs were tested in the S. Croce Museum in Florence, Italy, where the microclimatic monitoring has shown thermal conditions potentially dangerous for the works of art preserved. The research performed both in the laboratory and on the field confirmed the effectiveness of the PCMs as thermal storage solutions, but also gave evidence on an important drawback when the material incorporating PCMs is in direct contact with an object of art.     

Communication Productivity: A Major Cause for the Changing Output of Art Museums

Art museum output changes away from collection maintenance to display events and to the sale of add-on goods. What is the driving force? A series of theoretical explanations are tested: technological changes which favor new input combinations and thus arrive at a changed output; changes in the relative price structure; income flows and their relation to the productivity of the different museum output segments. It will be claimed that changes in the ability of art museums to become productive as part of a communication network are the major driving force of the output change.     

Neither Public Nor Private: The Hybridization of Museums

This paper takes a preliminary look at the hybridization of museums – the creation of a variety of mixed forms of governance incorporating both public and private governing authorities. Using data from three national surveys of American museums, the analysis documents the mix of types of governing authority and demonstrates how this mix varies across location, over time, and by museum type. The paper then estimates the extent of hybridization using several different indicators and speculates about its implications. The United States offers a particularly informative case because the general view is that American museums are (1) either public or private and (2) predominately private. While the second part of this view may still be a useful characterization of American museums, the first is no longer a particularly helpful way of understanding American museums, or, by extension, other cultural institutions, American or not. It is increasingly necessary to view cultural institutions through the lens of hybridization rather than privatization in order to improve our ability to document and predict their institutional behavior.     

Win, Place or Show: Gauging the Economic Success of the Renoir and Barnes Art Exhibits

Special art exhibits, sometimes known as``blockbusters', are often thought of as tourism andbusiness generators. This belief is fostered byeconomic impact studies that bravely estimate thetotal gross domestic product or total jobs ``created'by such exhibits. Unfortunately, the enthusiasm of theexhibit promoters often leads them to the uncritical useof methodologies that exaggerate the size of theexhibit's contribution to the local economy. Fortunately, such methodologies are well understoodand corrective measures are available to make theestimates they produce more realistic and useful foradvocacy purposes. This paper presents a comparisonof two studies done in Canada to provide arts managerswith a gauge for realistically forecasting thepotential impact of planned ``blockbusters'.Several Canadian art galleries have recently hostedspecial art exhibits, notably the Renoir Portraits atthe National Gallery of Canada and the BarnesExhibition at the Art Gallery of Ontario. They havesurveyed the visitors to them using a correctivemethodology that enables researchers to determinewhich visitors came to the region only because of theexistence of the exhibit and which would have come tothe region and spent money whether the exhibit existedor not. These data enables researchers to estimatequite accurately the amount of visitor spending thatis actually due to the exhibit. This lower, but morecredible, estimate is very useful in helping promotersobtain exhibit sponsorship from local tourismbusinesses who have become skeptical of theexaggerated claims of economic impact estimates basedon standard survey approaches.     

Hope for the Future? Early Exposure to the Arts and Adult Visits to Art Museums

This paper employs logistic regression to explore the relationship between art lessons and art history and appreciation classes as a child with adult visits to art museums. The regression-based technique allows for control of other influences such as demographic indicators of tastes and preferences. The results are generally consistent with the hypothesis that early exposure results in later participation, although exposure seems to have strongest influence in the pre- and post-teen years.     

Digital preservation of Brazilian indigenous artworks: Generating high quality textures for 3D models

Three-dimensional (3D) digital preservation aims at generating 3D models of objects that have cultural or scientific value. It allows realistic visualization of objects through virtual museums or scientific applications, and the restoration of the preserved object in case of natural wear or accidents. This work contributes to this research area by presenting a method to improve color texture quality of 3D models obtained from color and depth images of a laser scanner. Although this device offers precise depth information, the resulting color information is still poor and limits the generation of realistic textures. Our approach is to capture photographs of the object with a high-resolution digital camera and use them to generate a new color texture for the 3D model. Our work proposes a practical technique, easy to replicate, to generate high quality textures for 3D models from photographs. The method is composed by three main steps: (1) calibration of the image acquisition devices; (2) data acquisition; and (3) texture generation. In this paper, we detail our color texture generation method and apply it on the digital preservation of many artworks made by native Brazilians (indians) from the Wauja and Karaja communities. These indigenous communities are acknowledged as great ceramic artists, each bearing their own main themes, using a very rich symbolism in their paintings. Their artworks represent important aspects of the native South American culture and their digital preservation is motivated by three main reasons: (1) their fragility; (2) the paintings loose their original appearance with time; and (3) the possibility of extinction of these communities. We present several results of preserved artworks with enhanced quality realistic texture maps. Also, we present a methodology to analyze the quality and accuracy of texture maps. The resulting 3D models can be visualized through a tool we developed to support the virtual exhibit of 3D preserved heritage.     

To preserve or enhance precious memories: a segmented market analysis of the history museum in Singapore

This study examines the value placed on museums by patrons and non-patrons and investigates the factors that affect this valuation with a view to boost visitorship. The total economic value of Singapore’s History Museum is at least US$57 million, and this is high relative to other countries, a fact which can be used to justify increased government funding towards museums as cultural capital. Females and high income people are the target groups for increased visitation, while among the non-patrons, the ethnic majority is another potential clientele. Somewhat surprising is the finding that neither patrons nor non-patrons see the museum as having significant tourist value, and contrary to prospect theory, there is a preference for enhancing the museum’s services over keeping the museum. These findings provide some direction for the management of the museum to improve its visitor appeal.     

Using Stated-Preference Questions to Investigate Variations in Willingness to Pay for Preserving Marble Monuments: Classic Heterogeneity, Random Parameters, and Mixture Models

This paper investigates heterogeneity in the preferences/WTP (willingness to pay) to preserve marble monuments in Washington, D.C. This is done in the context of three different discrete-choice random-utility models. The main focus is to estimate a mixture model of choices over preservation programs. This model captures the best features of random-parameters models and models that assume preference parameters are deterministic functions of observable characteristics of the individual. The mixture model, and it alone, predicts that increased preservation is a bad for a significant proportion of young, non-Caucasians. That some proportion of the population might consider preservation a bad is a contingency that should be planned for in efforts to value cultural resources. Data and computer code are available athttp://www.colorado.edu/economics/morey/dataset.html.     

Do museums foster innovation through engagement with the cultural and creative industries?

The recent narrative on museums as catalysts of innovation and growth considers their relations with other cultural and creative industries (CCIs) to be very important. We argue that most relations museums establish with CCI firms and institutions are unlikely to produce strong positive externalities that make the latter more innovative. To prove this claim, we propose a conceptual framework qualifying project-based and supply chain relations between museums and CCIs as either strong, moderate, or weak links, according to their potential in terms of knowledge spillovers from museums to CCIs. We apply this taxonomy to data collected from 261 Polish museums. Our findings indicate that strong links are outnumbered by moderate and weak ones. We then suggest that the traditional missions of museums, in particular education and conservation, need to be more thoroughly assessed in terms of their direct and indirect contributions in order to fully capture the impact of museums on innovation in the wider economy.