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Museum collection storage E.Verner Johnson and Joanne C.Horgan I
Protection of the cultural heritage Technical handbooks for museums and monuments 2
Titles in this series : 1
The guarding of culiural property
2
by William A. Bostick Museum collection storage by E.Verner Johnson and Joanne C.Horgan
Museum collection storage 11
E.Verner Johnson and Joanne C.Horgan
Published in 1979 by the United Nations Educational, Scientific and Cultural Organization, 7 Place de Fontenoy, 75700 Paris Printed by Union Typographique, Villeneuve-Saint-Georges(France) ISBN 92-3101632-6 Q Unesco 1979
Printed in France
Preface
Unesco has long shown an interest in and concern about the problems of museum collection storage. In December 1976, it co-sponsored the first International Conference o n M u s e u m Storage, held in Washington, D.C., where E. Verner Johnson joined twenty other participants interested in finding solutions to the complex problem of protecting the valuable objects housed in museums throughout the world. The conference recommended that a technical handbook on museum collection storage, based on current research and technology, should be prepared so as to identify the major problems and offer some solutions. A draft of a manuscript summarizing the results of this fiveday meeting of experts was prepared by the authors, and it was presented by Mr Johnson to other members of the ICOM International C o m mittee for Architecture and Museum-Techniques at their first meeting in Cologne, Federal Republic of Germany, in October 1977. This committee shared the opinion that there was an urgent need for this kind of handbook. Its publication is indeed overdue, for museum professionals throughout the world have been concerned about the inadequate attention given to the complex problems of collection storage. Ideal storage systems can be prohibitively expensive, but with some application and imagination a range of intermediary solutions can be devised, provided that knowledge and ideas can be exchanged and compared among specialists in this field throughout the world. E. Verner Johnson is a principal of the architectural and planning firm of E. Verner Johnson and Associates, Inc., Boston, Massachusetts, in the
United States. H e has been concerned with m u seum planning, design and research for the last sixteen years. During this period he has done extensive research into museum systems, including collection storage facilities, and has been involved with the planning or design of over twenty museum projects. Joanne C.Horgan is also a principal of E. Verner Johnson and Associates, Inc., and has been involved in all of its museum planning and research projects over the past thirteen years. She has researched,photographed and documented many museum storage facilities. This handbook is the second in a n e w series which aims to give practical and technical guidance on the conservation and restoration of cultural property. Intended to contribute to the international spread and exchange of professional knowledge and experience, the series is destined in particular for museums and monuments services whose resources are limited and which must find solutions to their problems of conservation that are more in line with locally available means and resources. It is hoped that the information in this handbook will succeed in providing practical information in this sense. It should be noted that a second handbook dealing specifically with storage in the light of local conditions in developing countries will be prepared for publication in 1980-81. The authors are responsible for the choice and the presentation of the facts contained in this book and for the opinions expressed therein, which are not necessarily those of Unesco and do not commit the Organization.
Acknowledgements
The preparation of this handbook would not have been possible without the co-operation of staff members of many museums, whose storage areas have been visited, researched, measured and photographed over the last sixteen years as part of an ongoing research effort related to our museum planning and design projects and the preparation of this handbook. It is impossible to name all of the persons w h o have helped, or to give credit for many of the storage-system ideas and concepts that are shown or described in this book. Many of the storage systems were first constructed in one museum and then refined in others. Authorship is not nearly as important as the dissemination of knowledge about the systems. We would like to mention a few of the people w h o have been most helpful in supplying information about specific systems: Jon Ericson, Curator of Collections at the Heard Museum, Phoenix, Arizona, w h o has developed several innovative storage systems built by the museum staff; at the Metropolitan Museum of Art in New York, John Buchanan, Registrar, for his assistance in ‘opening the doors’ to the museum’s storage areas, Cynthia Lambrose in the print and drawing area, and Anne Seebach
in the Costume Institute; and John Davis at Colonial Williamsburg, Williamsburg, Virginia, for showing us the extensive storage areas housing the museum’s fine decorative arts collections. Some information and ideas for storage systems came from participants at the Washington Conference, particularly information on high-density mobile storage systems. W e also would like to thank William R. Leisher, Assistant Paintings Conservator at the National Gallery of Art, Washington, D.C.,for the use of his listing of ‘Humidity/Temperature Requirements for Museum Collections’, and our friend and colleague William Bricken for the excellent illustrations included in this handbook. These illustrations were developed from photographs, slides, in many cases our memories, and an occasional creative inspiration. Finally, we would like to thank Paul Perrot, Assistant Secretary for Museum Programs at the Smithsonian Institution, and Luis Monreal, Secretary General of the International Council of Museums (ICOM), for their support and encouragement in taking on this task. E.V. J. and J. C.H .
Contents
Introduction
9
I Planning
11 Museum roles and how they affect the planning of storage systems and areas 12 Planning relationships between the collection storage areas, collection support areas and other museum facilities 13 Determination of the amount of collection storage area required 16 Planning storage areas for collections growth 17
I1 Records, accessibility and retrieval Records 18 Accessibility 19 Retrieval 20
18
I11 Security 22 Security aspects of physical planning 22 Protection against theft and vandalism 23 Fire protection 23 Other hazards 26
IV Conservation
27 Air-conditioning 27 Lighting 31 Fumigation 32 Vibration 32 Conservation factors that affect selection of storage systems 32
V Storage systems
34
Introduction
The preparation of a handbook on museum storage is long overdue. The storage and conservation of many museum collections have received inadequate attention in the past, and in most cases are still receiving inadequate attention. In fact, probably more harm has been done to museum collections through improper storage than by any other means. It is crucial for the future of all museums, as the custodians of a substantial part of mankind‘s natural and cultural heritage, that steps be taken to improve storage practices and facilities. Most problems of inadequate collection storage can be traced to a lack of funds, knowledge, or resources, or any combination of these causes. Many museums lack the funds to provide adequate storage for their collections, or they spend their funds on other things because of illdefined roles. Many also lack the technical knowledge about conservation, storage systems, recordkeeping, or security needed to care properly for their collections. And, finally,numerous museums lack the technical and human resources necessary to provide adequate care for their collections. It is apparent that there are major differences between the needs and resources of museums in more technologically advanced countries and those in developing countries. Such differences often exist between large and small museums anywhere.’ Steps must be taken to increase co-operation between different types of museums, and to accelerate the open exchange of ideas and knowledge about this critical problem throughout the museum profession. The publication of this handbook is an attempt to initiate this vital exchange of information about collection storage practices. In the past, when such exchanges of information did take place,they most commonly occurred between museums sharing the same discipline.Our research has shown that there are many innovative storage systems being used in one discipline which could be used in an entirely different type of museumsome with minor modifications and some with no modifications at all. Some of the creative storage systems which have been devised by museums with too little capital and a very resourceful staff might profitably be emulated by large museums with substantial budgets. Some museums in developing nations have come up with creative solutions to conservation and collection storage prob-
lems without the use of expensive or sophisticated systems. These solutions have much to offer in the light of rising energy costs, power cut-backs, and occasional power failures. Finally, a better communication between industry and the museum profession will add important technological input to the effort of solving these complex problems that confront all museums. Collection storage involves more than a physical facility. It reflects the museum’s roles and programmes in exhibition,education and research. Section I, devoted to ‘Planning’,describes how the museum’s roles affect the planning of the storage systems and areas. The physical relationships between the collection storage areas, collection support areas and other museum facilities are illustrated and described. This section also deals with methods for determining the amount of area required for collection storage and planning of storage areas for collection growth. Section I1 on ‘Records, Accessibility and Retrieval’describes how the protection of cultural property involves the need for registration and cataloguing, and how these records can influence the types of storage system that can be used. Recent and continuing advances in computer technology offer enormous potential for the rapid retrieval and exchange of information about museum collections. The use of such technology can enable scholars and museums to co-operate more closely and aid the mutual enrichment of cultures. Such technology can also increase the efficiency of the way the collection storage areas are used. Examination of specific accessibility and retrieval requirements for each group of objects, artefacts or specimens helps to determine the best system for its storage. Section I11 on ‘Security’deals with the threat to museum collections from theft, vandalism, fire and other hazards. Section IV on ‘Conservation’ deals with the influence of air-conditioning (temperature, humidity and filtration), lighting, fumigation, and vibration on museum collection objects.It includes a tabulation of recommended humidity temper1. Unesco is now preparing, as a follow-up to this publication, a handbook devoted specifically to small museums, particularly those in developing countries.
18
Introduction
ature requirements for a wide range of materials and a check-list of the conservation factors which should be evaluated before selecting a storage system. The last section deals with the design of storage systems to house museum collections. M a n y different generic types of system are described
and illustrated, including fixed, mobile, simple, complex and sophisticated systems. In a few instances, simple modifications and variations to the systems are also shown. Both commercially manufactured systems and systems that can be made by museum staff are included.
I
Planning
M u s e u m roles and how they affect the planning of storage systems and areas
museum’s comprehensive master plan, all of its roles can be grouped into the traditional categories: exhibition,education,research,collections, etc. At one time all museums were considered to have identical roles in each category, and each museum would,in theory, differ only to the extent each role was pursued. Each institution was judged on the merits of how well it performed in each of these universal role categories. The possibility of a museum limiting itself to only one or two of these roles was not even considered. In more recent times, however, it has been recognized that different museums can emphasize different roles. In fact, one or more of these roles can be eliminated completely so that a museum with limited resources can present quality programmes which fulfil its chosen roles, This role selection, and the extent to which each role is pursued, will have a significant effect on the museum’s collection storage programme. Since each museum has unique roles, each also will have a unique storage programme. In order to develop an appropriate collection storage facilities programme the following factors must be assessed: What kind of museum is it? Art,science,natural history, cultural history, or a combination of these disciplines? What are the museum’s roles within these disciplines? These roles will determine the types of collection that will be used. How will the collections be used in the museum’s exhibition, education, and research programmes? These determinations establish how visible the collection must be, its accessibility and retrieval requirements, and its frequency of use. If there is an existing collection, how much space is required to store it adequately? What is the museum’s acquisition policy, and how will this policy affect the future expansion of the storage facilities? What is the ideal physical relationship of the collection storage facilities to other museum areas? In the broadest sense, a museum’s collections exist primarily to meet the needs of the other roles. As such, the collection role is the last role to be defined. With few exceptions, a museum’s
A museum’s storage facilities cannot be planned in a vacuum. Too often museums view their storage areas as if they were an isolated unit, unaffected by, and having no effect on,the other museum activities. This kind of approach cannot result in satisfactory and workable collection storage facilities,since most museums have other roles beyond that of a repository and preserver of collections. Other typical areas within which most museums have roles are exhibition,education and research. The museum collections may, in fact, exist primarily to serve these other roles rather than existing as an end in themselves. It is obvious that the collections must be preserved in good condition, good records must be maintained, and both the collections and records must be accessible if they are to be of value in serving the needs of the museum’s other roles. However, each museum will emphasize its various roles differently. It is the way in which these various roles affect the storage of the collections that is significant when planning the collection storage facilities. Comprehensive planning is the process by which a museum determines its individual roles and the emphasis each will have with respect to the others. Ignoring the interrelationship of a museum’s various roles is a common but very significant mistake made by many institutions.All museums have finite resources with which to carry out several different but interrelated roles, and planning is the method by which a museum determines how much of its resources can be spent on each of these respective roles. The amount of resources allocated to the collection role directly affects the type of storage systems the museum can afford and the extent and quality of space which can be made available for storage. Because comprehensive planning is not widely practised, many museums find they cannot adequately fulfil all their selected roles. Unfortunately, in most cases it is the collection storage facilities which suffer most. In order to establish a clear framework for a
12
Museum collection storage
collection programme is determined by what is needed to carry out the exhibition, education and research programmes. For instance, if a museum has decided to limit its exhibition and education roles to a certain period of history and to eliminate research altogether, then ideally the collection programme should be limited strictly to objects relating to that particular period of history which can be used in either the exhibition or education programmes. A museum which allows its collections to expand without control will,in the end, compromise its conservation standards to a point where the entire collection will suffer, including the objects that are necessary to carry out the museum’s programmes. Admittedly, it is difficult for museums to limit their collections in this rational manner: h o w can a museum refuse artefacts which are irrelevant to its collection programme and still meet its ethical mandate to preserve and protect artefacts of historic, scientific, or artistic value? There are no easy solutions to this problem. It is up to the individual institutions to decide h o w they can best deal with this dilemma. The way each museum handles this particular problem will,of course, have an effect on the collection storage programme, so it is best to deal with this issue at the same time as all the other planning issues are being considered. A museum’s exhibition programmes can affect collection storage in the following way. Artefacts that are temporarily housed before being installed in a permanent exhibit require a different type of storage to those which are used occasionally in temporary exhibits. In the first instance, a sophisticated storage and retrieval system is unnecessary, whereas objects to be used in temporary exhibits require a permanent home, good retrieval systems, and accessibility. T h e practice of rotating artefacts within a permanent exhibit, which enhances the interest of repeat visitors and helps to protect the collection artefacts, also creates a need for more efficient storage and retrieval systems. Sometimes the rotation of exhibit materials is the only practical conservation technique that is available to museums, as the lack of funds precludes the possibility of providing a satisfactory environment in all areas of the museum. In some museums utilizing historic houses for exhibition, it m a y not be possible to create ideal environments for the collections because of the construction of the buildings. Therefore, the rotation of the artefacts is the only solution. In this instance, the decision might be made to exhibit more valuable artefacts only during winter months, when they are less likely to be damaged by excessive heat, light and humidity. Museums should always balance the protection afforded to objects through rotation of display against the increased risk of damage by handling. The museum’s education programmes will also affect the type of storage that will be required. For instance, collection artefacts which might be
used in education programmes range from real objects to be used as examples for lectures and classroom programmes, to expendable materials for classroom projects. Artefacts used in the education programme m a y be quite different from objects used in exhibitions. Again, it is clear that the museum’s education programmes must be defined before a suitable storage programme can be formulated for the artefacts to be used in these programmes. Collections used for research vary greatly from museum to museum, depending on the type of museum and the extent of research to be carried out. The w a y the collection will be used by researchers, h o w visible and accessible it must be, and its frequency of use in research are all major factors affecting the criteria for the collection storage programme. M a n y different and conflicting programme criteria can be developed, depending on h o w the collection will be used. The following examples illustrate h o w the research programmes can affect collection storage areas. A n anthropological collection can be arranged in cultural groupings, which allows the researcher to browse in one area containing the entire collection related to a single culture. Since most researchers study within a single culture, such an arrangement creates a more efficient information retrieval system for this type of work. However, because of the great range in size of collection artefacts within a single culture, some difficult storage problems arise. These problems are further complicated when museums group single collections together rather than integrating artefacts from a single collection with similar artefacts from other collections or cultures. An alternative solution is to arrange the collection artefacts strictly by size and type, regardless of their cultural source, as in commercial storage. Although this is less efficient for the researcher, it greatly simplifies the storage system and it also allows for artefacts with similar environmental requirements to be stored together, a decided advantage from the standpoint of conservation. T o some extent, most museums find this course of action necessary, at least in some areas, in order to utilize more efficiently their constantly shrinking storage space. These types of storage problem do not exist with scientific collections (biology, botany, mineralology, etc.) since these kinds of collection are grouped more logically by size and preservation requirements. Research programmes that require frequent removal of objects from storage create n e w criteria for other areas as well as the collection facilities. For instance, the efficiency with which an object can be located and retrieved from the storage area can greatly influence the usage of laboratory and research space. In some institutions, the inaccessibility of collection artefacts results in the creation of secondary storage areas within the
13
Planning
laboratories.The size of the laboratories is affected by this. If it is easy to locate and retrieve objects from a central storage area, the laboratories will be smaller-only the artefacts being used in current research need be kept there. Once basic research has been completed on a given object, it may be stored in more compact and less accessible storage space. The required frequency of access should be determined as part of the programming process. If it is determined that after this basic research an object will not be needed for many years, it can be considered to be a dead storage item and treated accordingly, that is, stored in very compact systems where accessibility is not a critical factor,although even ‘dead’items should be examined periodically lest they decay away unnoticed. The accessibility and visibility requirements of a museum’s collections, which are determined by how the collections will be used, will affect how efficiently the volume within the storage areas can be used. The possibility of using aboveeye-level volume in the storage areas, the use of a high-density mobile storage system, or the use of mezzanines within the storage areas all can be evaluated on the basis of access and retrieval requirements. In summary, it is clear that the museum’s roles in exhibition, education, and research all have a direct effect on the planning of the storage systems and areas. Therefore, the clear definition of these roles should be an initial step in planning for good storage facilities. In the final analysis, the collection artefacts or specimens are being preserved for a reason,be it exhibition,education, or research. If the storage facility is not designed to satisfy the needs of these programmes, then it will not be satisfactory.
age facility unit. Perhaps the most critical area shown in this diagram is the registration and holding area (7), which serves as a control point for all artefacts and people entering or leaving the collection storage facilities. It is here that all museum artefacts are accessioned,where out-loans are handled, and where artefacts on loan from other museums are processed. Large work-tables,
15
14
Planning relationships between the collection storage areas, collection support areas and other museum facilities The importance of the physical relationship between the collection storage areas, their support areas, and other museum facilities cannot be overemphasized. Since the support areas function in a manner so integrally related to the collection storage areas, their requirements should be programmed as part of the total collection storage facility.The successful integration of these spaces will allow the required processing of museum artefacts to be carried out efficiently, thereby minimizing the potential for damage or loss through human error or a lack of adequate security (see Fig. 1). Figure 1 illustrates the relationships between the various areas that make up the collection stor-
FIG.1. Area relationships for collection storage facilities. For planning purposes, the areas that make up the total collection storage facility can be considered as one unit. The collection storage facility unit includes: 1. Service yard; 2. Loading dock; 3. Receiving area; 4. Fumigation or specimen washing area; 5. Crating area; 6.Crate storage area; 7. Registration and holding area; 8. Records vault; 9. Reception and secretarial area; 10. Curatorial offices or laboratories; 11. Collections research area; 12. Photo area; 13. Conservation laboratory; and 14. Collection storage areas. This entire unit has very specific and critical requirements with regard to how it is connected to the other museum areas: 15. Outside night entrance; 16. Security control station; 17. Public and staff entrance; 18. Connection to exhibition preparation areas and exhibition galleries.
14
Museum collection storage
supply cabinets, shelving, hanging racks, storage space for mobile carts to m o v e artefacts, and a sink for washing one’s hands should be provided in this area. There must be adequate space to hold temporaliry the collection artefacts awaiting these kinds of processing, but care must be taken to ensure that the registration and holding area does not become a permanent storage area for parts of the collection because of overcrowding in the actual storage areas. This is a c o m m o n problem in many museums. Off the registration and holding area there should be a fireproof records vault (8) to store the collection records. It is recommended that a duplicate set of records be kept at a remote location so that in the event of a fire, theft, or some other disaster, this valuable information will not be lost. A loading dock (2), preferably covered to facilitate operations during inclement weather, should be provided, with truck height access approximately 1 m above the service yard (1) to allow for the loading and unloading of heavy objects from the back of a truck. In extremely hot or cold climates, the loading dock can be enclosed within a completely covered and airconditioned area. T h e doorway connecting the loading dock with the receiving area (3) should be large enough to receive the largest objects that the museum’s collection might contain. The receiving area should be large enough to receive incoming crated shipments and hold outgoing shipments awaiting pick up. A large scale for weighing materials prior to shipment is useful. Large worktables should be provided, as well as sealed cabinets with adjustable shelving to hold contaminated artefacts awaiting fumigation or washing. Off the receiving area there should be a crating area (5) for the crating and uncrating of shipments. Crating or uncrating should never be done in the storage rooms because of the dust and dirt generated by these activities. Cabinets to store the necessary tools for assembling and disassembling crates should be provided in this area. Adjacent to the crating area there should be a crate storage area (6)to store the crates in which loaned objects were delivered, crates for the shipment of artefacts to other museums, and the material required to make n e w or repair old crates. S o m e museums require special support areas such as a fumigation chamber or a specimen washing area (4).If these facilities are necessary, they also should be located adjacent to the receiving area, since contamined items should not be allowed beyond this point without having been washed or fumigated. After uncrating and possible fumigation or washing, artefacts should then proceed to the registration and holding area (7). In large museums a reception and secretarial area (9) can be provided adjacent to the registration and holding area. All persons entering the registration and holding area would first pass
through the reception and secretarial area, providing an added security check of persons entering the collection storage facilities. In small museums this screening is done in the registration and holding area, in which case the space should be planned so that one person can have control over people entering it. In addition, provision must be made for securing the area if, for any reason, constant supervision is not possible. T h e space must be large enough to accommodate all artefacts entering or leaving the storage area. Generally, it is necessary to have a separate but secured access (18) connecting the registration and holding area (7) to the exhibition preparation areas and the exhibition galleries. Objects m a y pass from the collection storage areas (14) through the registration and holding area to an exhibition preparation area before proceeding to the exhibition galleries. After an exhibition is over, these artefacts m a y be returned directly through the registration and holding area to the collection storage areas, or they m a y need to go to an exhibition preparation area first for dismounting or disassembly. In either case, the artefacts must pass through the registration and holding area before being returned to storage. T h e objects should be checked carefully for damage, the condition recorded and, if needed, conservation work undertaken before return to storage. All museums should have a security control station (16), where the security system is monitored and all alarms are received. It can be located adjacent to the reception and secretarial area (9) if such an area exists, or adjacent to the registration and holding area (7). T h e security control station should have an exterior entrance where museum personnel can enter after normal hours. The criteria for this area were covered in a technical handbook entitled The Guarding of Cultural Property.’ Other collection storage support facilities include the curatorial offices or laboratories (lo), the collections research area (1 11, the conservation laboratory (13), and the photo area (12) used to photograph the collection artefacts. The curatorial offices or laboratories (10) serve as research areas for the individual curators. The size and furnishing requirements for these spaces depend on the discipline of the individual curator. The collections research area (11) is used by non-staff members engaged in research using the museum’s collections. As a security control, persons using the collections research area must first pass through the registration and holding area (7). T h e conservation laboratory (13) and the photo area (12) are also controlled by the registration and holding area so that once an artefact has passed through the registration 1. William A.Bostick, The Guarding of Cultural Propere, Pans, Unesco, 1977 (Protection of the Cultural Hentage. Technical Handbooks for Museums and Monuments).
Planning
and holding area it can move to the photo area (121, the conservation laboratory (13) or the curatorial offices or laboratories (10) and still be within the secured area controlled by the registration and holding area (7). The movement between each of these areas should always be recorded, and this information should be kept in the registration and holding area. The security control that can be provided through proper planning and location of the registration and holding area cannot be overemphasized. The conservation laboratory (13) and the photo area (12) (if film development and printing are done here) are potentially dangerous areas because of the fumes generated in the performance of these tasks. Special precautions must be taken to ensure that the exhaust systems from these areas are completely separated from those serving the collection storage areas or any other of the support facilities where artefacts may be kept on a temporary basis. This separation of exhaust systems also is critical for other dirty areas of the museum which are part of the exhibition preparation areas, such as the carpentry shop,a paint spray area, an exhibit finishing area, a graphic arts studio where silk-screening is done, taxidermy areas, fibreglass areas, welding areas, etc. There can be a direct connection between the collection storage facilities and other museum areas if the entire museum is contained within one structure. A direct connection is extremely desirable from a Conservation standpoint,since it greatly diminishes the potential for damage to collection objects due to excessive handling or movement from one building to another. W h e n a direct connection is possible, care should be taken to ensure that passageways are large enough to permit the movement of all objects and that there is a minimum of level changes from the collection storage facilities to the exhibition preparation areas and the exhibition galleries (18). Adequate goods-lifts must be provided for the movement of artefacts from on floor to another if the collection storage facilities and other museum areas are located on separate floors. If very large objects are to be moved, these goodslifts must be of adequate size, which is quite costly. These considerations are important when planning the museum. If the collection storage facilities are located in a building separate from other museum functions, then artefacts entering or leaving the facility would utilize the loading dock (2). Wherever the collection storage facilities are located, they should have the same environmental criteria as the exhibition areas. W h e n planning a new museum building, each area can be given a location best suited to its use. However, existing buildings are often used for museums and some of the less desirable spaces must be used for museum functions. Areas less accessible to the public, such as basement areas,
15
are often considered for the collection storage facilities. The advantages and disadvantages of using the basement for the collection storage facilities should be carefully weighed. The load-bearing capacity of the basement floor will allow for the dense storage of collections not possible on upper floors of the building unless it has been specifically designed to take such an excessive loading. The basement’s relative inaccessibility to the general public is an advantage from the standpoint of security and control. There is another often overlooked advantage of basement areas. In some climates it is necessary to provide on other floors of the building a vapour barrier within the structure’s exterior walls. This vapour barrier protects the building structure during the dry months of the year, when the relative humidity within the building is artificially increased to protect the collection artefacts. Without this vapour barrier, the added moisture will penetrate the exterior walls, causing damage to the wall itself and the outside finishes of the building. This problem exists in older buildings which have not included a vapour barrier as part of the building’s structure. The addition of a vapour barrier to an existing building is generally extremely costly. W h e n ancient palaces and other buildings of historic importance have been refurbished to serve as museums, a special problem emerges. Since the building’s architectural character cannot be altered,it may be impossible to add a vapour barrier. However,the belowgrade masonry or concrete walls of the basement do not require a vapour barrier. Some potential disadvantages of using existing basements for storage facilities include a lack of adequate ventilation,excessive dampness, and the potential for damage due to flooding. Another major disadvantage of basement storage is its undesirability as a space in which people must work. All of the support facilities such as the registration and holding areas, the curatorial offices or laboratories, the conservation laboratory, collections research area, etc., are ‘people’ areas, where a feeling of connection with the outside environment is highly desirable.T o satisfy this requirement, it would be necessary either to separate the collection storage area from its support facilities,a distinct disadvantage, or to find some way in which a connection with the outside environment can be established through the addition of light wells extending to the basement level,etc. In many of these support areas, such as the conservation laboratory or collections research area, it is important to have some natural light for the work that is to be performed in that area.
16
Museum collection storage
Determination of the amount of collection storage area required The task of determining the amount of storage area required by a museum is very complex. The first step is to assess the extent of the museum’s existing collections, and since few museums have finite collections, the rate of collection growth must then be estimated. T h e amount of the collections that must be stored m a y vary as a result of the different needs for long-term exhibitions, travelling exhibitions, loans to other institutions, etc. T h e size of the collections for a n e w museum m a y be even more difficult to determine because of a lack of knowledge about the number of artefacts that m a y be made available to the museum and because of an unplanned exhibition programme. T h e best approach here m a y be to visit other museums with similar roles, which are similar in size to the kind of facility planned, to see h o w m u c h collection storage space is required in these other institutions. This is not a completely foolproof method, since each museum exists in very different circumstances.The best method for the n e w museum is to consult with people experienced in this field, as expert judgements will have to be made. In the past, attempts have been made to relate the size of the collection storage areas to the amount of exhibition space by using some sort of magical factor. There really is no basis for a standard factor. The extent of exhibition space depends on h o w the exhibits are designed, the subject-matter of the various exhibitions, h o w m u c h area is used for temporary exhibits, the number of visitors to the museum, etc., all of which are related to the particular programmes unique to each museum. Since the area of exhibition can vary because of so many factors, its proportional relationship to the collection storage areas also will vary from museum to museum. Sound planning, which takes into consideration the collections that are needed, makes a realistic assessment of the availability of artefacts, and evaluates all the ways the collections will be used, is really the only way to judge h o w m u c h space is needed for the collection storage facilities. T h e following steps should be taken in order to evaluate h o w m u c h area is needed for collection storage. These steps can be applied both to n e w museums with collections around which they are planning their facility, and existing museums experiencing collection storage problems or planning for future needs. 1. Divide the existing or contemplated collection into appropriate categories, i.e. furniture, costumes, paintings, textiles, invertebrates, m a m mals, etc. 2. Determine the most important criteria for the storage of each category. Conservation and security will significantly influence the way the
artefacts will be stored, but consider also access, retrieval, and visibility requirements. 3. Refer to Section IV, which illustrates many different types of storage system and describes h o w they are used, to determine appropriate systems for each category of artefact. Although this is only a representative sampling of storage systems that are available or that can be constructed, most collection artefacts can be housed suitably in one or several of the systems shown. These examples should be thought of as a starting-pointor as generic types. It is possible to make refinements or modifications to create more suitable storage for the unique artefact that must be stored in a particular museum. Since there are several options for systems in each collection category, some preliminary decisions must be made in order to assess the extent of storage area needed. 4. Determine the extent of the storage systems required in each category to house the existing or initial collections. By making a layout of the storage systems, with proper aisles and access, the amount of space required for each type of object can be determined. W h e n planning for existing collections, it is possible that certain categories of objects will require less space because of increased efficiency as a result of using a different storage system, whereas other categories of objects will require less space because they are at present overcrowded, accessibility to the objects is difficult, or the existing storage conditions are unsatisfactory in some other way. Therefore, before dealing with expansion needs it is important to determine if existing storage is overcrowded and to estimate the amount of increase necessary in each storage system in order to provide proper storage for the existing collection. 5. Estimate the annual increase in the collection, by category, and determine an estimated n u m ber of objects in each category for a final target date. For planning purposes, ten years is a reasonable time span to plan for unless particular circumstances indicate that a longer time span can be projected and accounted for. This is an extremely difficult task unless the museum has a strict collection policy or has experienced consistent growth within the collections for several years. Generally, an educated estimate by the curators or outside experts will have to be relied upon. 6. Following the procedure described in step 4, determine the necessary space increase in each category to accommodate expansion of the collections. After determining the amount of storage area required for both existing or initial collections and the estimated expanded collections, the size of the collection support areas must then be determined. Since these support facilities are just as important to the conservation of collection arte
Planning
facts as the storage areas, they should not be overlooked w h e n an existing museum is to be renovated or a n e w museum is planned. Planning guidelines and criteria for these support areas, which include the registration and holding area, conservation laboratory, photo area, collection research area, etc., vary considerably from museum to museum depending on the discipline covered, the roles, location, etc. For this reason they are beyond the scope of this handbook. If the museum does not have personnel expert in these areas, they should use experienced consultants to assist them in determining requirements for these areas and in the planning and design of these facilities.
Planning storage areas for collections growth The problem of planning for the expansion of the storage areas for n e w museums, still in the planning stages, and existing museums planning for growth can be approached from several directions. O n e method of providing for future expansion is to construct more area than is required at that point in time. This extra space could take the form of unused space adjacent to the storage areas to be utilized initially. Another way to gain extra space is to design the storage spaces with ceilings high enough to accommodate the construction of mezzanines at some future time. If the latter solution is chosen, provision for easy access to these mezzanines is important to ensure that the use of this additional space will not be too limited. Storage spaces with high ceilings also will accommodate both shelving and drawer systems extending above eye level. Although this kind of storage will require ladder access, this drawback may be more than compensated for by the additional storage space that is gained, although the increased risk to the artefacts due to ladder retrieval must be considered. The cost of providing excessive volume within the storage areas should be weighed carefully, as it might be just as expensive as building additional floor area if the land is readily available to the museum. The major problem with the overbuild solution is money. Sufficient funds are often not available to build even the first necessary phase of storage area to house the collections adequately; it is even more difficult to raise enough money to build for anticipated future growth. Assuming that adequate land is available, another approach is to plan for exterior future
17
expansion. Care must be taken to ensure that these n e w storage areas will be integrated efficiently with the initial storage facilities, and that the artefact processing flow and the security controls are not compromised by the construction of more storage area in a building addition. Careful consideration with regard to site use also is very important when planning for future building expansions, since land adjacent to the building might be used for outdoor exhibitions, parking, etc., which might be displaced by these future building additions. With this approach, although the initial construction cost is lower, the longrange cost of building in stages is greater, and it may be difficult to get funds at a future date when additional space is required. Overcrowding and a compromised storage system can result when these funds for expansion are not readily available. Another way to expand the storage space is by acquisition and conversion of other spaces in the museum. This method should be used only if the space to be appropriated is no longer required for its intended purpose, since the construction of replacement space might be more expensive than the construction of n e w storage space. Yet another possibility is to expand the capacity of the storage area by installing high-density mobile storage systems, sometimes referred to as compaction systems. This conversion will allow for the elimination of most of the aisles that are required in conventional storage areas. By switching over to high-density mobile systems, a museum can postpone and perhaps completely avoid any expansion of the collection storage areas. The necessity of a high load-bearing capacity in the building structure to support this kind of system might present a problem, especially in older buildings. The manufactured compaction systems can be quite expensive, and if a simple building expansion is possible, the cost and advantages of both approaches should be weighed carefully. It is possible for a museum to build its o w n compaction systems, which would greatly diminish the capital investment required. Section V shows some examples of manufactured systems and some simple high-density mobile systems that most m u seums could build. The use of a high-density mobile system can increase the collection storage capacity by approximately 50 per cent for some categories of objects. However, most museums have several categories, and not all can appropriately be housed in mobile systems; therefore, it is unlikely that a 50 per cent increase in total storage capacity will be achieved.
TI
Records, accessibility and retrieval
Records
storage systems should be coded and clearly labelled. The availability of pictorial records of collection artefacts such as photographs, video tapes, or microfilm, etc. can diminish the necessity for browsing through the collections to find an object which the searcher can identify only by visual means. Pictorial records also may affect the demand for access to the actual artefact, and this in turn could influence the choice of an appropriate storage system. Although few museums would be willing to admit it, many have a relative lack of control over the objects that are stored in their collections. The word control, in this context, means any system of record-keeping that will locate a museum artefact when it is needed. The sheer numbers of artefacts found in large ethnographic or history museums throughout the world present an almost overwhelming problem to be solved using manual record-keeping systems. Computers may be the solution. Tremendous technological advances in computer techniques have been made over the last few years, and there has been a gradual maturing of our knowledge of how to use them effectively in museums. A n increasing awareness of their amazing speed and versatility has stimulated a reevaluation of the kind of records museums should keep? The way that museums are using their collections today is significantly different from that of twenty years ago. Museums change their exhibitions more often. The number of loaned exhibitions travelling from one institution to another is continually increasing, and the demand for access to the records and the collection artefacts by serious researchers and an interested public is steadily growing. Even the expanding knowledge about the conservation needs of collection artefacts has had an effect on the extent of artefact mobility, since the rotation of the display of delicate artefacts has become a common practice. Finally, one of the most significant factors
When an object enters the museum it should be given a unique and permanent code, typically a number, which will clearly establish its individuality and link the object to its written collection records. Good museum collection records should contain at least the following information: the name of the institution responsible for documenting the object; the name of the object; its classification(s); unique markings; condition (i.e. good, suitable for display, requires extensive conservation, etc.); physical description; history of ownership; date of collection (this applies primarily to natural science specimens and archaeological artefacts); precise geographic location of collection; method of acquisition (purchased, donated, etc.); date of acquisition; the last owner; registration number; a history of use, and any restrictions with regard to how the object can be used. A complete description of the type of information that collection records should contain and the manner in which it should be recorded is outside the scope of this manual. However, this kind of detailed information is available in a book entitled Museum Registration Methods? A location register should be established as part of the collection records, so that the exact location of any object in the collection can be determined. There are many places where collection objects may be at any point in time-in the conservation laboratory, the research area, a curator’s office, the fumigation or washing areas, the photo studio, on exhibition in the museum, on loan to another institution, undergoing conservation outside the institution, in the collection storage areas, etc. Whenever an object is moved, whether the purpose be for exhibition, photography, conservation,etc. a receipt should be filled out in duplicate giving the reason for the move, the new location, the dates involved, the name of the person responsible for the object during its absence from the collection area and, finally, the authorization for the move by the museum director or a curator. If the object is in the collection storage areas, it is critical that its exact location be specified.In order to describe its exact location, the storage areas must be systematically arranged, and both the storage rooms and the individual
1. Irma B. Wilkinson and Dorothy H.Dudley, M u s e u m Registration Methods, rev, ed., Washington, D.C., Smithsonian Institution and the American Association of Museums, 1968. 1. See in particular M u s e u m , Vol. XXX, No. 3/4, 1978, ‘Museums and computers’.
Records, accessibility and retrieval
which point to the inevitable widespread use of computers in museums is the world-wide demand for more information about our cultural heritages. Objects from many cultures are scattered among the thousands of museums throughout the world. Information about these cultures and about where specific artefacts can be seen should be made available to everyone-a task of staggering proportions which could be handled only by the use of computer technology. All these indicators point towards the necessity to change museum collection records so that when the inevitable switch to computer technology occurs, the change-over can be handled in a smooth and efficient manner. The concept of visible storage, which is discussed in more detail later in this section, is still very much in its infant stage. Should this type of storage become a widespread practice, it will have a significant effect on the kind and amount of information which must be made available to the general public about the collection artefacts. It quickly became apparent at the Museum of Anthropology of the University of British Columbia in Vancouver, one of the first major installations of a visible storage system, that the more the people saw, the more they wanted to know and, in some cases, the museum’s records have not been adequate to meet the public demand. A final note on the subject of collection records: the historical or scientific significance of an object lies not in itself alone, but also in the information relating to it.’ In fact,natural science specimens or archeological artefacts, without the availability of attributed data, are practically worthless. It is for this reason that the collection records should be stored with the same security and conservation safeguards as the collection objects. They should be stored in fireproof filing cabinets equipped with a locking mechanism,and a duplicate set of records should be kept outside of the museum so that in the event of a fire,vandalism, or some other kind of disaster, the information in the records will not be lost.
Accessibility The extent of accessibility to collection objects that is required for each museum will help determine what kinds of storage system are appropriate. Each museum has its own philosophy with regard to who will be allowed into the collection storage areas. If only curators and serious researchers accompanied by curators are permitted access,the use of simple storage systems,like open shelving, can be considered.However,if the general public is allowed into the collection storage areas, the collections must be stored in more secure systems. The kinds of object found in each museum’s collections also will affect the public demand for access. For example, row upon row of long shelves holding jars of biological specimens pre-
19
served in alcohol probably will not attract as many curious museum visitors as a major decorative arts collection. Often, the decisions about storage systems are strongly influenced by the number of visitors who wish to see the collections. For instance, from a strict conservation point of view, the standard technique of rolled storage is better for bedspreads, quilts, etc. However, if there is a constant demand by researchers and the public to see the collection, the continual rolling and unrolling of these artefacts may ultimately by very destructive. By hanging them on sliding racks, properly supported with interlinings, in a room with a carefully controlled environment, they can be viewed easily and quickly. This solution is a compromise which addresses both the issue of conservation and the demand for access. In Section V, Figures 16, 17, and 18 illustrate some examples of rolled storage while Figure 19 is an illustration of the sliding rack storage. The number of visitors to each museum also will influence the demand for access to the collections by the public. A large museum located in a metropolitan area which attracts large numbers of tourists will most likely receive more demands for access to the collection storage area than a small museum in a less densely populated area. The proximity of other institutions of learning will increase the demand in a similar way. Problems will arise if a clear policy is not established with regard to who will be permitted to visit the collection storage areas. It has been proposed by some museum professionals that a uniform set of criteria be established in order to screen people who request permission to visit the collection storage areas, This may be too universal an approach,since the frequency of requests would differ so greatly depending on the institution and where it is located. In addition, whether a museum receives its funding from a municipality or the national government as opposed to the private sector probably will influence the manner in which these requests are handled. It also has been suggested that some sort of additional fee be charged to those who wish to visit the storage areas. This fee would help defray the cost of museum staff time, since visitors to the storage areas should always be accompanied by either a curator or some other museum staff member. It might also discourage idle curiosity seekers from making excessive demands on the time of busy museum staff.If this type of control were applied, some discretion would have to be used so that otherwise qualified people wouId not be kept out simply because they could not pay the fee. As a result of the public’s interest or demand to view a museum’s collections, some museums 1. Carl E.Guthe, Documenting Collections: M u s e u m Registration and Records (American Association of State and Local History Technical Leaflet No. 11).
20
Museum collection storage
have adopted the conkept of visible storage, a radical departure from traditional collection storage. Visible storage simply means allowing the general public total visual access to the museum’s collections or, in other words, the elimination of collection storage areas which are out of bounds to unauthorized persons. T h e application of this concept of storage has been limited to museums with culturally oriented collections. Art museums generally must limit the total exhibition of their works of art because of the amount of gallery space it takes to exhibit them. For instance, the amount of space used to exhibit a painting in a gallery, where it can be viewed properly, m a y take fifty times more space than would be used to store the paintirig with others on sliding racks in the collection storage areas. It makes little sense to store the collections found in natural history museums in visible storage, since m u c h of these collections are comprised of hundreds of duplicate specimens used for research by serious scholars and would be of little interest to the typical museum visitor. The concept of visible storage is a controversial issue which has triggered m u c h debate over the past several years. Proponents claim that the limited access to closed collection storage makes research difficult for scholars and presents a distorted view of the cultures that are represented in the exhibition are&. They feel that exposing the entire collection, and its documentation, can have a catalytic effect o n students, researchers and artists, as well as on the general public, and that it is easier to compare regional styles and investigate minute variations within a style. T h e opponents of visible storage claim that the disadvantages outweigh the advantages. Because this concept is so new, it is difficult to judge what the impact will be on the conservation of collections. All the collection artefacts are exposed to light the entire time the museum is open to the public, whereas in closed storage, the c o m m o n practice is to light the storage rooms only when there is a need to see a particular object. Opponents also feel that scholars have better access to materials when they are in closed Storage, where the diskretionary handling of individual objects can be allowed. This kind of flexibility is difficult with visible storage because the general public m a y not understand h o w to handle the objects properly, thus increasing the potential for damage. ’ Whether or not a large percentage of museum visitors are interested in seeing many examples of one type of artefact is also open to question and, in fact, it is possible that this kind of oversaturation m a y result in confusion as opposed to enlightenment.A few good examples of a type of artefact, integrated into a well-designed interpretative exhibition, m a y be far more beneficial as an educational tool than row upon row of objects displayed without this kind of interpretation.
Although some museums m a y feel they can do both-provide interpretative exhibits and still have visible storage-this m a y be difficult to achieve because of the costs involved. The increase in the museum of public space filled with valuable collection artefacts must have some effect on the number or security staff required, and it obviously costs more to light the entire collection area during museum visiting hours. Visible storage will influence the storage systems from an aesthetic as well as from a security standpoint, thus adding to their fabrication cost. Yet another cost implication is the way the collection is documented and h o w this documentation can be made available to the museum visitor. The display of any cultural cotlection is of little educational value without its documentation or some sort of interpretation, and the kind of information that would be of interest to the average museum visitor m a y be different from what interests the serious scholar. If all of the information is offered, the casual visitor may be overwhelmed by data that mean little to him. No matter h o w it is handled, this level of information dissemination will probably necessitate a change to computerized documentation. Museums have access to a limited amount of money, and their resources are rarely adequate to carry out their programmes in the way they would like. Adopting a visible storage system could result in a major redirection of these resources and result in an imbalanced use of funds. If this happens, then the quality of the museum’s exhibition and education programmes could suffer. Therefore, it is essential to examine all the museum’s roles in a comprehensive way and to assess what percentage of museum visitors will truly benefit from the adoption of the visible storage system. In spite of the seemingly overwhelming disadvantages of visible storage, the philosophical question of whether the public has a right to total access to their cultural heritage is one that m u seums must deal with. For museums with limited collections of certain types of artefact, the open storage system m a y be an exciting and viable solution so long as the disadvantages are carefully weighed.
Retrieval The retrieval of objects from the collection storage areas creates another set of criteria to be considered when designing collection storage facilities and selecting appropiate storage systems. O n e important consideration is the size of the objects to be retrieved, because the movement of small objects and that of large objects present different problems. W h e n dealing with small objects, consideration should be given to the utili-
Records, accessibility and retrieval
zation of containers which can be stored within the system. If the container holds many objects, it is desirable to be able to see its contents without unpacking it. Containers can be boxes with covers, drawers which can be removed and carried with ease, trays which can be stored on open shelving, or even jars containing specimens preserved in alcohol. S o m e examples of containers commonly used in museums are solander boxes for the storage of prints, photographs, or valuable documents; clear plastic boxes, which allow for a visual examination of contents without having to open the box; plastic or wooden trays or removable drawers with dividers to hold small artefacts, mineral specimens, small biological specimens, pottery shards, etc.; and trays or removable drawers without dividers to hold samplers, small fabric samples, small retables, or virtually anything that can safely be stored in a drawer. If objects can be removed from the storage area inside their o w n containers, there is less risk of damage provided the container is not overcrowded and it is handled as carefully as a single, delicate artefact. Museums without containerized storage often utilize carrying boxes for the same purpose. This of course involves additional handling, since the objects must be removed individually from their shelf or storage space, packed in the box carefully, unpacked at their destination, repacked for their return to storage, and unpacked yet again before going back on the shelves or in the drawers, cabinets, etc. T h e provision of mobile carts is extremely helpful when large numbers of small objects are to be removed. If these carts are provided, space must be available for their storage when they are not in use. If the objects to be moved are quite large and heavy, such as pianos, heavy furniture, architectural elements, etc. it m a y be practical to store them on only one level. If they are stored o n more than one level on open heavy-duty shelving, removal may require the use of a fork-lift truck. Large, heavy pieces of furniture can be stored on carpeted pallets, with wheels, so that the objects can be rolled out of the storage areas on their o w n pallets. Figure 36 in Section V is an illustration of this kind of storage system. The width of the aisles within the storage rooms and main access aisles to and from the collection storage facilities must be adequate to allow for efficient object retrieval. In rooms where only small objects are stored, 1-mpassage aisles should be adequate. This space will allow for the use of small mobile carts if space outside the aisles is allowed for them when they are not being used. If large mobile ladders are needed
21
within an area, additional aisle space will be necessary. In rooms where large heavy objects are stored, the aisles must be wide enough to accommodate not only the size of the largest object, but also mobile pallets and the additional space required to maneuvre a fork-lift truck if one is to be used. Sometimes flexible storage systems are used which accommodate both small and large objects. If this kind of system is selected, the aisles must be planned for the largest object. Therefore, it is advantageous from an efficiency standpoint to group the largest objects in one area. This will allow a hierarchy of aisle sizes to be developed, which should increase the efficiency of storage space use. Finally, the main access passages to the storage rooms must all be wide enough to accommodate the largest object in the collections. Access aisles within the collection storage areas should always be kept clear. Where sliding racks are used for the storage of paintings, mirrors, spears, etc., adequate space must be provided for the racks when they are pulled out. A problem sametimes arises when conditions in the storage area become overcrowded and the space that is necessary to slide out the racks is taken over for additional storage space. This makes it very difficult to use the rack storage and creates extremely hazardous conditions for the staff and for the artefacts in that area. T h e frequency with which collection objects are removed for exhibition, loan, conservation, or research is another important consideration. In addition, it is necessary to assess whether actuaI retrieval or visual access is the most important criteria to be satisfied. Earlier, under the ‘Accessibility’ portion of this section, an example was given of a bedspread and quilt collection for which there was a constant demand for visual access. In that instance this was the most important criterion. If there are relatively few requests to look at collection artefacts, then the expense of ‘see-through’containers or unusual storage-display systems is unnecessary. A good example of this is rug storage. In a large rug collection, where there is no frequent demand to look at the individual rugs, they should be stored in the way that is best from a conservation standpoint and allows for their easy retrieval-in this particular case, rolled on long poles (see Figures 16, 17, 18 and 21 in Section V). Although the museum should never make any serious compromises concerning the conservation of its collections, all of the collection artefacts should be evaluated so that successful storage compromises between conservation, visual accessibility and retrieval can be arrived at.
I11
This section deals with protection of the museum collections while they are in the collection storage areas.The security hazards discussed include theft and vandalism, fire and other major catastrophes. Because of the extraordinary losses suffered by museums through theft and misappropriation, vandalism, fire and flooding, the International Committee on Museum Security was established in 1974 as part of the International Council of Museums. The Committe produced a book entitled Museum Security in 1977.‘This book and T h e Guarding of Cultural Propert$ deal with important security matters, such as the delegation of responsibility for security,establishing and training security staff, details about mechanical and electrical security devices, etc.,which are beyond the scope of this handbook. Certain security risks increase considerably when an object is in the storage area. Periodic inspections of the exhibition gallery areas, a routine task carried out by museum security staff on a regular basis, affords a security protection that is not readily available to objects in storage. W h e n an object is being studied or conserved, the person working on it is aware of where it is and assumes some degree of responsibility for its safety? That is, some person is paying particular attention to that object. W h e n collections are being transferred from one museum to another, special precautions generally are taken to ensure their safety. It is only in the storage area that security might possibly be taken for granted. Some storage areas are both vast and understaffed.They are examined infrequently, and such potential threats to the collection as a roof leak, air-conditioning failure,or fire could grow to considerable dimensions before being discovered. In addition, the loss of an object,possibly through theft,could go undetected for months, or even years. For all these reasons, periodic inspection of all storage areas,the general security of the collection storage facilities,and rigidly enforced policies on access to the collections take on paramount importance in the preservation of museum colIections. Overcrowded or poorly organized collections will compromise the effectiveness of this visual inspection because the signs of tampering or missing objects cannot be as easily detected by the guards or the curatorial staff. Therefore, it is
Security
extremely important that the collection storage areas be arranged in an orderly fashion, with adequate space to house the collection artefacts.
Security aspects of physical planning The physical planning of storage areas, their relationship to other areas within the collection storage facilities, and their relationship to other museum areas is critical to the control of theft or vandalism.Visitors to the storage areas should always be accompanied by a curator and should pass through the registration and holding area as a control entry point, as shown in Figure 1 and discussed in Section I on Planning. Building and fire codes require emergency exits, and it is often possible for unauthorized people to gain entry if precautions are not taken. Alarm systems and television monitoring are two possibilities, but they are relatively expensive solutions. Good planning and design of the physical facility can, in many cases, eliminate the need for these elaborate and costly electrical and mechanical control devices. Some storage systems can add another level of security. For instance, many high-density mobile storage systems can be locked together, preventing access to the contents when they are not in use. Many cabinet or drawer systems also can be provided with locks. These specific storage systems are discussed and illustrated in Section V.The philosophical departure from an ‘out-of-bounds’and ‘secure’ storage area brought about by a desire for ‘visible’storage has brought with it new security problems relative to safe-guardingthe museum’s collection. This subject has been discussed in Section 11.
1. International Committee on Museum Security, M u s e u m Security, Paris, International Council of Museums,
1977. 2. Rostick, op. cit. 3. A new Unesco technical handbook, Conservation Standards for Works of Art in Transit and on Exhibition. deals in detail with this subject. It is also dealt with in Museums, Imagination and Education. Vol. XV in the Unesco ‘Museums and Monuments’ series.
Security
Protection against theft and vandalism The following is a general description of the basic types of protection of collection storage facilities using mechanical and electrical security devices. The types of protection described are broken down into the following categories: perimeter protection, interior protection, object prctection, trap protection and auxiliary systems. Although w e are concerned here with protection of the collection storage facilities,many of these devices must be used in other parts of the museum in order to provide protection for the storage areas. It is very important that the security of the entire museum be considered so that the security system for the collection storage areas is co-ordinated with the systems for the rest of the building. Perimeter protection is used to prevent access to the interior of the museum. Here, attention is concentrated on the doors, windows, roofs, ventilation ducts and penetrable walls. The exterior of the museum should be guarded against mechanical forced entry, and windows and doors should be made resistant to this approach. There are many types of electrical and electronic protection devices for the perimeter of the building, most of which are included in the list below: Magnetic contact switches on doors and movable windows. Metal foil tape which is glued around the edges of windows or other openings. Built-inwires in glass windows or doors. Piezo-electric glass-breaking sensors, which are sensitive to high frequency mechanical vibrations generated by cutting and breaking glass. Vibration detectors, such as piezo-electric devices or contact microphones implanted in walls, ceilings, or floors,to sense mechanical vibrations. Inertial vibrations sensors installed on a wired fence. Photoelectric eyes, where a field of active infrared light or laser beams is used to provide a screen of protection. Absorption radar systems. Pressure-sensitive underground cables used to sense pressure or vibrations caused by people walking on the ground near-by. Magnetic induction systems,which consist of two parallel cable loops hidden under the ground. Access control by remote door control, where sensory devices monitor the conditions of door openings. Interior protection systems are required in the event that the perimeter protection systems have failed to prevent penetration or if a potential thief has concealed himself in the building until after it is closed to the general public. Simple mechanical systems such as locks for doors are important devices which should be employed to close
23
off collection storage areas from the other museum areas. Electronic and electrical systems that can be employed for interior protection include magnetic contact switches on doors,built-inwires, vibration detectors, contact mats installed under rugs or carpeting, television surveillance, microwave motion detection, absorption radar, ultrasonic motion detection, absorption ultrasonic systems,photoelectric eyes, and passive infra-red devices that are used to detect moving objects emit thermal radiation. Object protection is generally used in the exhibition areas rather than in the collection storage spaces, although special circumstances or highly valuable objects may require this extra measure of protection within the storage areas. Again, there are many electrical or electronic systems to be considered. Mechanical contact switches, magnetic reed switches, vibration switches, displacement sensors, electromagnetic induction devices, rate sensors, pressure sensors, proximity sensors, audio sensors, ultrasonic devices, photoelectric eyes and built-in wires are only some of the systems that are available. Trap protection systems refer to devices which are used to give back-up-protection within a secured area, while auxiliary systems include periodic inspection by museum guards, hold-up panic alarms, and telephone tape recordings. Each museum has different security requirements and budgetary limitations,and the sophisticated nature of many security systems makes them difficult to understand and evaluate. Therefore, it is recommended that each museum seek expert consultation on the type of system which would be best suited to its needs and budgets. In cases where experts on museum security are not available, the museum staff might contact the local police for advice.
Fire protection Damage by fire is usually irreparable. For this reason, protection from such a disaster should be considered to be the most critical part of any collection conservation programme. Whereas stolen or damaged objects often can be recovered and repaired, fire can permanently eliminate the object from the museum’s collection.Most museum fires result from defective heating plants, unsafe handling of flammable liquids,faulty wiring, and careless smoking.A fire can take place when three conditions are present: combustible materials, oxygen, and a temperature high enough to cause ignition of the material. If one of the conditions is missing, a fire is impossible. Fires are divided into three classes. Class A fires involve ordinary combustibles such as paper, textiles and wood. Class A fires can be extinguished by cooling, blanketing, or wetting. Class B fires involve oils, greases,paints and flammable liquids.These fires
24
Museum collection storage
can be extinguished by smothering or blanketing. Class C fires are caused by energized electrical equipment. Class C fires can be extinguished by means of a non-conducting extinguishing agent. T h e amount of damage caused by fires in museums has increased for a number of reasons. The use of electrical inStallations in museums has become commonplace, and these are potential ignition sources. Overcrowding of valuable objects is another reason-even small fires can cause considerable damage when they occur in overcrowded storage areas. There is a lack of fire protection engineering expertise, and not enough emphasis is placed on prevention and responsibility. FIRE D E T E C T I O N
There are two basic system types of fire detection. O n e uses thermal detectors which respond to heat. A fixed temperature heat detector triggers st signal or alarm when the temperature rises above a certain point. Another kind of thermal detector reacts to a sudden increase in temperature but does not respond When the temperature rises slowly. These are called ‘rate-of-rise’detectors. Smoke detectors react to aerosols which are released during combustion.A photoelectric smoke detector uses a light source which directs a beam into a chamber. T h e presence of aerosols within the chamber affects the light and triggers the alarm. Ionization smake detectors measure the concentration of particles by measuring variations in electrical current caused by particles when they are ionized. Phatoelectric smoke detectors are relatively sensitive to smouldering fires, but are slower to respond to smokeless flaming fires, whereas ionization detectors respond quickly to invisible products generated by flaming fire, but react more slowly to smouldering fires. FIRE EXTINGUISHMENT
Three basic types of fire extinguishment will be discussed: sprinkler systems, gas systems and portable fire extinguishers. Each will be described generally, and their advantages and disadvantages examined.
Sprinkler systems T o date, the most effective method of minimizing the probability of fire loss is through the installation of a properly designed sprinkler system. However, there is considerable disagreement on the advisability of its use in collection storage areas. T h e potential of water damage from these systems has been greatly exaggerated by the museum community, and this threat is generally outweighed by the protection afforded. Each case should be investigated on its o w n merits, but all things considered, sprinklers probably offer the best available protection for the entire collection.
Compartmentation, or storage of combustible materials within individual cabinets, works very well in conjunction with automatic sprinkler systems. Although a sprinkler will not react to a fire inside one of the cabinets, it will prevent the fire from spreading to another cabinet. Compartmentation also protects other materials near by from water spray in the event of a sprinkler being discharged. Where there are large amounts of combustibles stored, or where high-rack storage is used, it is necessary to install more than just ceiling level sprinklers, and it is c o m m o n in high-rack w a r e houses to install sprinklers within the racks themselves. A fire protection engineering consultant should be called upon if special problems exist. With automatic sprinkler systems, the sprinkler heads are fused individually, and only those heads which are exposed to temperatures in excess of their operating point will be activated. Most fires are controlled or extinguished by only a few sprinkler heads. Of all fires in buildings with sprinkler systems in the United States, 80 or 90 per cent are either controlled or extinguished with less than ten sprinkler heads, and in many cases it is only one or two heads that operate. Sprinkler heads have the advantage of applying water only in the area where the fire occurs, as opposed to the total saturation technique employed by many fire departments. W h e n considering the possible water damage that can be inflicted by sprinkler systems, a comparison of the alternatives should be made. A n automatic sprinkler will discharge water at an average of about 571/min. W h e n the fire department must be resorted to, the hose streams they use have flow rates of about 7509501/min. T h e water is not always applied in the immediate area of the fire, and it has tremendous force. The major concern of the firemen is protecting near-by structures and preventing the fire from spreading; they are not always careful about h o w water is applied in the area where the fire is occurring. It has been a long-time dream of fire protection engineers to develop a sprinkler head which activates when there is a fire and shuts d o w n when the fire is extinguished. N o w there are some sprinkler heads available which have this capability and which have demonstrated fairly good performance under carefully controlled test conditions. However, their use in museums should be considered carefully until more field experience is obtained. There are special types of extinguishing systems which are referred to as pre-action, or dry systems. The sprinkler piping is dry. A small amount of air pressure is maintained in the sprinkler piping, and the water is held back at a remote point by a deluge valve. T h e deluge valve is controlled by a smoke detector or a heat detector in the protected area. W h e n the detector is activated, it causes the deluge valve to be released and the water enters the piping system,
Security
but no water is discharged at this point because the sprinkler head has not fused. All the heads are closed heads, just as in any other system, so that even if a false alarm comes from the smoke detector, water simply enters the piping, thereby changing the dry system to a wet one. Because of the built-in safeguard of a dry sprinkler system, if someone is working in an area equipped with this system and physically damages a sprinkler head, or the piping, water will not be dischargedit is being held in check by the remote deluge valve. T w o conditions are necessary to activate the system: enough heat or smoke to activate the detector, and high enough temperatures in the area of the fire to fuse the sprinkler head, thereby causing water to be discharged. In addition, the pressure in the piping is monitored mechanically. A loss in pressure due to a leak or damage in the piping causes an alarm to be sounded, thus affording an additional safeguard. These systems require a greater degree of maintenance and care than do conventional sprinkler systems, and, like any equipment, they are only as good as the maintenance procedures that are employed in their care. However, this type of system should be strongly considered when there is the potential of the collection being damaged by water. Sprinklers are inappropriate for some storage areas, such as small rare book or valuable manuscript rooms, print storage rooms, or rooms containing valuable stamp collections. In these areas, systems employing fire quenching gases are a better solution.
Gas systems T w o kinds of gas fire extinguishing system will be discussed here. O n e is a carbon dioxide system, which is a total flooding system utilizing a supply of CO2 in fixed pipes. T h e COZ, which leaves no residue, reduces the oxygen in the air, thereby eliminating one of the three critical elements which must be present to sustain a fire. Since this system depletes the oxygen content beyond that which sustains life, immediate evacuation of people from the area is critical. Carbon dioxide is both invisible and odourless, and for this reason, some CO2 systems include a fog agent to alert personnel that the gas is present in the air. This fog reduces visibility to the point of disorientation, which can create a state of panic. It is important that everyone working in areas using this kind of fire extinguishing system be made aware of h o w dangerous the gas is, that alarm signals are installed to alert them before the gas is emitted from the system, and that everyone understands where all the exits are in the event of disorientation due to fog. Halon, referred to as a ‘special extinguishing agent’, has similar quenching properties but is not quite as toxic to h u m a n beings. It can be used to protect objects of extreme value stored in a
2S.
small room, perhaps a stamp vault or something similar. O n e system has been devised in which a series of metal cabinets are connected internally to a Halon system. If sprinklers in that general area of the room are set off by a fire, the Halon system is activated within the storage cabinets. Halon is extremely expensive compared to other extinguishing agents-in fact, it is about eighty times more than the cost per pound for carbon dioxide. An additional disadvantage is that its extinghishing potential is related to the concentration of agent, and one cannot be assured that a class A fire (a fire involving textiles or paper), would be extinguished with a concentration of less than 20 per cent by volume of Halon. It is commonly recognized that a point of concentration above 7 per cent by volume is not safe for h u m a n occupancy except for an extremely short period of time. Halon is a relatively clean agent, but in order to guarantee extinguishment of class A materials, it must be installed in higher concentrations than those usually installed. The effects of Halon gas on different materials are now being tested. O n e can achieve some degree of control with low concentrations, say a range of 5-7 per cent, but at this concentration flames are merely knocked down, and it is possible for glowing embers to continue smouldering. Opening the door to the storage area for investigation will deplete the agent concentration. T h e fresh air which rushes in m a y rekindle the fire, which will remain unchecked because the extinguishing system has been discharged. This experience has occurred many times when Halon systems have been tested. Another negative feature of Halon systems is a tendency to activate unnecessarily. In essence, they are false-alarm prone and should definitely be cross-zoned to two different sensors, one for smoke and one for heat. They should also be wired to an abort switch with a delayed alarm signal. This feature will prevent unnecessary discharging of the system, since a fire can often be controlled by the museum security staff using portable extinguishers.
Portable fireextinguishers The availability of unobstructed portable fire extinguishers is critical in the attempt to stop an incipient fire. Building codes specify the minimum number of extinguishers for a particular area, but these specifications are based only on the value of the structure and the level of human occupancy, not the value of the contents. Therefore, it is clear that the number of extinguishers for collection storage areas should exceed the minimum specified in the building codes. There are four basic types of fire extinguisher. Soda ash extinguishers have become obsolete because soda ash is damaging to collection objects
26
M u s e u m collection storage
and the cylinders are too cumbersome. High pressure water extinguishers are good for class A fires but can cause water damage.Carbon dioxide extinguishers do not cause water damage,but the gas is a hazardous material and can damage glass. Dry chemical extinguishers can be used for class A, B, and C fires. Therefore, no time need be wasted determining what kind of fire it is. The dry chemical leaves a powdery residue that does not damage most collection objects. It is the best of all extinguishers on the basis of its weight versus extinguishing capacity. Cylinders range in weight from 0.9to 9 kg. -The ease of handling is a critical consideration. The cylinders should be light enough to be used by any of the museum staff. The local fire-departmentexperts should test the available water pressure and provide assistance with the museum’s fire protection training programme. Ideally, fire detection and alarm equipment should be installed which is connected to a central station that will automatically alert the fire departement in the event of an emergency, since the possibility always exists that, in spite of the type of fire protection equipment employed by the museum, its help may be required. As stated earlier, water from fire hoses causes almost as much damage as the fire itself. By establishing a good rapport with the fire department and familiarizing it with the collection storage areas and the value of the collections stored therein.
the firemen may be more sensitive to the method by which they attempt to stop the fire. In summary, the first aim of any fire protection programme is to prevent the fire from starting. Detection and prevention from spreading is second in order of importance and, finally, a way must be devised to extinguish the fire with the least amount of harm being done to the remaining collections.
Other hazards The last type of security to be addressed comprises conflicts, war, or natural disasters. Some current opinions hold that wartime measures are a waste of both time and money, because if a major war should occur, rapid and total destruction will be the result. However, in many countries collections have suffered losses due to local wars, smaIl civil uprisings,and lootings. Contingency planning for this sort of emergency is necessary. In order to mitigate losses under such circumstances,a list of the objects to be evacuated first should always be kept in the storage areas. All members of the department concerned should have copies of this list. In addition, drawers or boxes containing the pieces of utmost importance should be clearly marked for easy identification in the event of an emergency. All of the museum staff should know the whereabouts of these especially valuable objects so that,in the event of a disaster, their help may be enlisted to save them.
IV
In the broadest sense of the term, conservation of museum collections is the protection of objects against destruction by man of by the environment. The conservation of museum collections in storage is only one part of their total care, but it is one of the most significant. Collection objects should be in a proper environment at all times,no matter where they are located in the museum. Conditions of erratically changing humidity and temperature, as well as dust, pollution, stagnant air, and light can contribute enormously to the ultimate destruction of museum collections.Therefore,the environmental conditions of collection storage facilities are just as important as those of the rest of the museum. It is beyond the scope of this handbook to discuss the conservation requirements for every type of artefact which a museum’s collections may include. W e will discuss generally the factors affecting the environment of the storage areas and the possible effect of this environment on collection objects.Later in this section there is a general listing of materials with their tolerances to environmental changes, and a list of questions which should be answered before collection storage systems are selected. While it is unrealistic to expect a moratorium on collecting until all museum storage facilities have been upgraded technically, there are many measures which can be taken immediately to improve existing facilities in order to meet moderate conservation standards. These same considerations are important when new facilities are being planned. This section includes a discussion of some problems which arise as a result of an inadequate environment and some recommendations for simple safeguards. There are many reasons for the inadequate physical environments found in museum storage areas. The collection storage facilities are usually the only areas not accessible to the general public, and since many museums are more concerned with the parts of the building seen by the public, collection storage facilities are often relegated to the bottom of the list of areas to be improved. When a new museum is being constructed, funds sometimes run out because of inadequate planning, and when this happens the storage areas are often the first to be cut. Similarly, when a building is
Conservation
being renovated or is undergoing an expansion programme, before the storage areas can be upgraded or moved to a more desirable location,the money runs out. Potential donors are far more likely to give money for a theatre,exhibition area, or other publicly used museum area than for the collection storage facilities. Poor storage areas also may be the result of a simple lack of knowledge about what constitutes a proper storage environment. This kind of inexperience often is found in small museums or museums in developing countries which may have limited access to technical information regarding the conservation of museum objects. T w o major factors determine the criteria for an adequate physical environment in the storage areas-air-conditioning and lighting. First we will address the issue of air-conditioning.
Air-conditioning Air-conditioning,in this instance, includes temperature and humidity control, ventilation, and filtration to eliminate atmospheric pollutants such as dust, chemicals and micro-organisms. Energy conservation measures precipitated by the recent energy crisis have encouraged museums to allow temperatures to rise in the summer months in order to reduce air-conditioning loads. This creates a less than desirable atmosphere for the storage of museum collections. The on-off cycle of heating and cooling systems between daytime use and night-time inactivity, a practice adopted in order to conserve fuel, creates yet another problem-considerable and rapid fluctuations of temperature and relative humidity twice each day. In general, fluctuations or extremes in temperature can cause damage in several different ways. A n increase in the temperature accelerates the rate of chemical reactions (the rate of reaction can double for each 10°C of temperature increase). Therefore,higher temperatures increase the ageing process of materials and can cause them to lose various mechanical properties. For instance, fibrous materials lose flexibility and become stiff and embrittled. Some materials such as waxes, resinous coatings and some plactics will soften: others lose part of their substance and become
28
Museum collection storage
unnaturally hard; metal and some other types of plastics will expand at these same high temperatures. An additional result of high temperature is a loss of viscosity, which results in seepage from otherwise sealed joints. Extremely low temperatures can cause materials to solidify and become brittle, thereby increasing the danger of fracture and cracking. Moisture condensation, which corrodes various metals, also m a y take place at low temperatures. Slow and moderate changes in temperature, however, are generally of secondary importance, as long as the relative humidity is kept constant. Removal of cold-conditioned objects to w a r m areas should be done after a period of slow warm-up in order to avoid condensation. The idea of storing certain objects in a permanent deep-freeze environment has long been proposed. This type of storage would preserve some types of artefact longer and helps to reduce the insect population. If this storage technique is adopted, however, a buffer room must be provided for the re-acclimatization of such objects w h e n they are removed from their cold storage environment for study or display. Usually, one day for 1°C of difference is required. In the general storage areas the temperature levels should be held within a range of 15" to 22°C. For energy conservation, the temperature and humidity can vary slightly with the season, but they must be programmed to change gradually over the whole year, not abruptly. These factors must be dealt with carefully when seasons change, when objects are moved from storage to other museum areas and, particularly, when they are loaned to another museum. Every museum should have a plan to control the collection storage environment in the event that energy curtailments or cut-offs occur. There are many steps that can be taken to minimize the changes in temperature and relative humidity should this problem arise. S o m e of these steps include closing of all vents, doors, windows, or any other passages which allow an exchange of air between the interior and the exterior: storing objects in cases; bagging objects that cannot be stored in cases; and making a priority list of organic objects in terms of their critical responses to environmental change. Change of relative humidity levels within the storage areas is perhaps the most complex problem and, in most cases, it is the most important of all the air-conditioning factors. It is well k n o w n that fairly low or very high relative humidity levels can have a disastrous effect on certain materials. Since the relative humidity is affected directly by the temperature level, this adds to the significance of maintaining relatively uniform temperature control within all parts of the storage area, sun-exposedor not, that are supplied from the same source of air. Most museum objects are composed entirely,
or in part, of materials which react to a change of moisture content in the air. This reaction manifests itself by a dimensional change in the object. Therefore, it is ideal from a conservation standpoint to maintain as constant a level of relative humidity as possible. Extensive or rapid changes result in deformation,cracks, flaking, splitting, etc. Too high humidity results in mould growth and corrosion. Too low humidity causes embrittlement and the possible accumulation of static electricity which attracts corrosion-causing dust. Objects which are composed of cellulosic materials (wood, paper, cotton, jute and linen, etc.) experience great dimensional changes when the relative humidity changes. Other sensitive materials include protein substances, which are found in animal, bird, fish, and insect collections: also included in this category are materials such as silk, wool, parchment, leather, fur, feathers, horn, bone and ivory. M a n y m o d e m materials such as nylon, polyester and polyethylene are quite stable and absorb very little moisture. Metals, although they do not take u p moisture, can deteriorate when high humidity activates the presence of carbon dioxide, sulphur dioxide, chlorine, etc., and acids that evolve from wood. Ferrous metals, for example, rust at higher levels of relative humidity. In the presence of airborne chloride contaminants, copper and its alloys can develop certain conditions,such as bronze disease, which are activated at higher relative humidities. Excavated bronzes commonly suffer from this disease. Silver will form sulphide deposits at high humidities. Gold and platinum are theoretically inert, but the alloys of gold m a y not be. Stone objects are porous, allowing moisture to penetrate, so they too are not completely impervious to environmental action. If excavated, both stone objects and pottery m a y grow salt 'whiskers'. S o m e ancient glass objects also respond to some extent to moisture levels, by either weeping or crazing. It is difficult to select a relative humidity level which satisfies all the components of a multicomponent structure. Paintings are subject to stresses and strains, particularly paintings on wood. Furniture is likely to warp or crack. Ethnographic objects of complex construction are subject to deformation and breakage. Objects which are made up of many different kinds of material are particularly difficult to protect. O n e solution is to apply moisture-barrier coatings to the hygroscopic parts of the object which are more susceptible to change. However, some curators m a y object to this approach because it will alter the object's natural state and perhaps diminish its value for research. M a n y objects have already stabilized at some particular level of relative humidity, and if this level is maintained steadily, they will survive without additional stresses. In spite of the vital importance of environmental quality for the preservation of the collec-
Conservation
tions, it is often the most neglected of all aspects of storage. This is so because so many museums exist in converted buildings not originally designed for this use. The collections generally end up in attics or basements, which often are the worst physical environments in buildings that are barely adequate even in their best areas. Too high a level of relative humidity in the building during winter months,when the outside temperature is low,can cause severe conservation problems-in time,the destruction of the building itself unless suitable precautions have been incorporated into the building structure. Over a year’s time,a slow drift of the relative humidity level is permissible in order to accommodate the reality of the building. For instance,to maintain a stable environment naturally and inexpensively, a museum may allow indoor temperatures to fall as the outdoor temperatures fall, thus maintaining a steady relative humidity. There are many simple methods of stabilizing the object environment which are sometimes more foolproof than sophisticated engineering methods. In fact, these may be the only methods available to small museums and museums in developing nations. Polyethylene sheets can be used to cover artefacts and protect them from dust or from water in case of a leak. Care must be taken not to seal things too tightly. This practice also helps to stabilize the relative humidity levels surrounding the individual objects. A light covering of polyethylene sheet, with cotton webbing between it and the artefact will maintain a more stable relative humidity when the outside environment changes drastically. The question of sealing artefacts in polyethylene and how polyethylene can be used in the acclimatization of artefacts needs further investigation, but so far this practice has been successful. Attention also has been given to micro-climate control, i.e. selecting portions of the collection for special environmental control. This method may be used to control more effectively and economically the relative humidity of individual cases or small rooms. This can be accomplished by utilizing such substances as silica gel or some other product which is conditioned to contain moisture. In Section V, Figure 11 shows examples of cabinets which can be sealed to control the internal environment. Figure 24 shows how even a sliding rack storage system can be enclosed to control its internal environment. The high-density mobile storage systems shown in Figures 27-33 also can be sealed when they are in a closed position. If it becomes apparent when planning the collection storage facilities that the environmental control of the entire storage area is not practical, small rooms or vaults can be designed with separate mechanical equipment in order to control the relative humidity for vulnerable objects.
29
HUMID1 T Y / T E M P E R A T U R E REQUIREMENTS
The recommended humidity/temperature requirements outlined in Table 1 represent the most widely accepted standards. However, because there is some disagreement about certain recommendations, the table is being reviewed at this time. The standards listed should be used with some discretion since they describe optimum conditions. Safe environmental limits depend on the past history of the specimen, its structure and the conditions to which it has already become acclimatized. For example, if an object is fashioned of wood from an arid region (and has never left that region), its normal moisture content is much lower than wood from the northern regions of America or from Europe. It makes little sense to subject that wood to the 50 per cent &5 per cent relative humidity required for northern wood: 25-30per cent relative humidity might be the optimum humidity for wood from/in arid regions. Again, stability is the most important part of environmental control for the preservation of artefacts. Filtration is often overlooked as a prime consideration in the air-conditioningsystems. However, fine particles of dust and other small particles can cause a great deal of damage to certain artefacts. The number of air changes per hour should be as high in the storage areas as in the public galleries in order to protect both the objects and the personnel who work there,especially if the chemicals in sealed cases used to control insects or mould leak out into the air. Concrete walls,marine air, dust, and dirt brought in by the public also pose problems. Some materials, like plywood and certain paint layers, produce harmful vapours. Airlocks should be provided at the visitors’ entrances and between the service entrance and the storage areas in order to minimize the amount of dirt and toxic fumes that enter the building. The loading dock should be kept clean,and truck engines should be turned off. Crating and uncrating creates dirt. For this reason, this work should not be done in the storage areas, but in a crating room. Another airlock should be provided between the crating and storage areas to reduce the infiltration of dust.Figure 1 in Section I illustrates the relationships between the various areas in the collection storage facilities. Marine air, generally rich in chlorides, is very destructive to metallic objects. Therefore, special protection must be provided for these objects whenever a museum is located close to the sea.A good ventilation system should remove dust and dirt particles down to 1 or 2 microns, and methods should be devised for easy and rapid monitoring of the quality of air within the museum. As a supplement to airlocks and filtration, a daily cleaning schedule of floors and other unoccupied surfaces should be established and
30
Museum collection storage
TABLE1. Humidity/temperature requirements for museum collections Material
Humidity tolerance Low High
Dimensional response
Susceptibility to mould
Paper
60
Rapid dryness and freezing cause loss of flexibility
Extreme
Stretched paper
60 45 (critical low limit)
Paper screens, drawings, pastels stretched on frames will tear from shrinkage in dry atmosphere
Extreme
Photographs,films
45
Rapid. Excessive humidity softens (sometimes dissolves) gelatine. Excessively dry, embrittlement of paper and gelatine
Extreme
Extremely rapid. Dryness causes loss of flexibility
Moderate inherent alkalinity
45 (45 % optimum)
Parchment, vellum
30
Steady state (55 %)
Leather
GO
45
Variable according to tanning process. Very susceptible to shrinkage after wetting
Variable. Marked for fine leathers
Fabric (natural fibres)
60
45
Inverted. Because of twisted fibres, fabrics shrink when fibres swell, relax when they shrink. Silk and wool are more sensitive to moisture damage than cotton or linen. Painted textiles are most sensitive to moisture changes
Marked
Bone, ivory
60
45
Very slow, except in thin sheets. Ivory is more susceptible to moisture damage than bone or scrimshaw (outer bark left on scrimshaw providing buffer). Avoid hot lamps in cases for emphasis lighting
Negligible, except at very high relative humidity
Wood
60
45
Slow, varying with massiveness and moisture-barrier coatings. Affected by weekly cycles, especially by seasonal cycles
Negligible, except at very high relative humidity
45
Dryness which causes shrinkage is especially damaging to objects in which wood is the structural sqpport for other material, i.e. a painted wood panel. W o o d sculpture,furniture, models, musical instruments, and decorative objects may also be coated with a gesso plaster, then painted or gilded. These rigid coatings are more or less unaffected by normal fluctuations in humidity but if the wood support shrinks, the coatings are compressed, causing them to buckle or blister and flake off. In extreme moisture conditions (flood,condensation, wetting of surface), gesso, glue joins, and some paints m a y soften and dissolve
Negligible, except at very high relative humidity
45
In humidities below 30 per cent and 15 per cent relative humidity these
Moderate
(critical) Painted wood
60 (critical)
Manila, sisals feathers
60
materials become very stiff and brittle. They crush easily if handled. If left done until normal conditions return, they will absorb their normal moisture content and reassume their normal physical characteristics Plastics
Not normally responsive to humidity changes. However, some do respond dimensionally to temperature changes
Some plastics will support fungus growth at high relative humidity
Conservation
Material
Metals (polished)
Humidity tolerance Low
Dimensional response
High
30, preferably lower
31
Susceptibility to mould
No dimensional response to changes in humidity. Metals can react dimensionally to extreme changes in temperature. United States Navy Department tests find that no corrosion is present on steel surfaces at 15 per cent relative humidity or less. Corrosion does become evident after nine months in 30 per cent relative humidity. Corrosion is present after one day in 90 per cent relative humidity Brasses and bronzes do not tarnish at 15 per cent relative humidity or lower Generally most resistant to changes in relative humidity and temperature. However, damage can occur in extreme heat and in extreme cold and humidity (freezing)
Stone, stoneware, porcelain, lead, pewter
Glass
Archaeological m a terials:bronze, stone, ceramics, plaster, terra cotta, low-fired earthenware
45
60
As dry as possible
Generally resistant to normal environmental change. Rapid rates of change in relative humidity and temperature should be avoided. Crizzled glass can be damaged at very high and very low humidity conditions Archaeological objects which have been long buried m a y have been infused with or corroded by salts which behave hydroscopically. ‘Bronze disease’ can be kept dormant in dry atmosphere
Source :The tabulation was prepared by William R.Leisher, Conservator, National Gallery of Art, Washington, D.C., adopted in part from R. Buck, A Specificafionfor Museum Air-conditioning,December 1964 (Museum News Technical
Supplement No.5.)
strictly maintained. Maintenance of the storage area should be based on hygenic standards and, in particular, good isolation from the external atmosphere. Before use, containers, cupboards, shelvings and even floors should be cleaned or sterilTABLE2. Some critical relative humidity levels Material
Anatomical collection, apart from items embalmed Archaeological specimens (hygroscopic items) Ethnographic bark, cloth, basketry, masks Botanical specimens Insects Lacquer Painting, on canvas or wood Oriental screens Source :Leisher, op. cit.
Humidity tolerance High Low
60
40
60
40
40 60 60 40 60 40 60 50 60 45 (50 optimum) 60 45 (low is critical)
ized, if necessary, and periodically treated with appropriate insecticides.Here again, it is essential that laboratory specialists be consulted to ensure that the chemicals used are compatible with the preservation of collection objects. Products having harmful effects on human beings should be used with particular care. Many storage areas are roughly built, with inadequate finish. Concrete surfaces, especially when new, can emit alkaline substances into the atmosphere.This factor should be considered carefully when collections are installed in newly constructed storage areas.
Lighting The effect of lighting on the conservation of museum objects is a subject of ongoing research. This controversial issue has generated a great deal of disagreement among curators, much of which is based on opinion,not on empirical data. However, some general recommendations with regard
32
Museum collection storage
to use of light in the collection storage areas are widely accepted and will be discussed here. Most curators agree that natural light should be eliminated from the storage areas because of the obvious conservation, air-conditioning, and security benefits that can be realized using this approach. The level of any kind of ambient light should be low-around 100 luxor (10 foot-candles) for collections which are susceptible to light damage. Ultraviolet absorbing filters should be used when direct fluorescent lighting is present. Because incandescent lamps and fluorescent lamp ballasts emit heat, they should not be used inside cabinets or drawers. T h e heat from the light or ballast will raise temperature levels and affect relative humidity in small enclosed spaces. The solutions of using indirect, reflected light or ultraviolet filtered light to protect museum collections are commonly accepted practices, but not enough information about the effects of light is available to be sure that either provides adequate protection. It was recently discovered that during the first few hundred years of a painting’s life, the layer of protective varnish actually becomes opaque faster in complete darkness than it would if exposed to daylight which has been filtered to exclude the ultraviolet spectrum. This discovery points out the need to continue in-depth studies so that lighting decisions will be based on empirical data, not custom. The fact that light gives an object ‘life’ in the exhibition areas is acknowledged. However, the effect of lighting in the storage areas must be carefully monitored.
Fumigation No object should be placed in storage without a preliminary examination and treatment, if necessary, appropriate to both its nature and state of preservation. Sometimes this treatment requires a laboratory analysis, cleaning, dusting, fumigation, and restoration by laboratory specialists. Certain types of collection must have regular checking, a factor that should be taken into consideration when the decision is made regarding their location within the storage room. A special marking system would facilitate their identification and retrieval. Almost all collections, even those assigned to ‘dead’storage, need some form of periodic checking until scientists can devise gas-chromatographs sufficiently sensitive to ‘sniff’ the return air for evidence of any hidden growth of moulds, cockroaches, etc. Where periodic or continuous fumigation is necessary for a particular collection, storage systems should be selected that allow for this and at the same time prevent the fumes from entering the occupied portions of the storage area. Even very low concentrations of the fumes from certain chemicals can be harmful to persons working within the storage room. T h e containment of these
fumes is essential when people are handling collections in these areas on a day-to-daybasis.
Vibration T h e potential damage caused to certain collections by vibration must be considered carefully. Short and long-range conservation problems due to vibration arise with any mobile storage system, including sliding racks, high-density mobile systems where large carriages containing many objects are moved to gain access to the individual objects, or any drawer system which produces vibrations by opening and closing the drawers. Mobile systems must be chosen carefully. They must be designed, constructed, and used in such a manner as to minimize the effect of vibration o n collection objects. Another important consideration is the effect on the objects of vibration from outside sources, such as subways, trains, automobiles, etc. This is a subject where very little research has been done. It should be considered carefully when locating and designing a n e w museum facility and when selecting suitable storage systems for museums which are experiencing this problem.
Conservation factors that affect selection of storage systems The beginning of this section focused on the ways that the environment of the storage areas affect the objects, artefacts, or specimens stored within them, and the critical temperature and relative humidity requirements for certain materials. As stated earlier, it is beyond the scope of this handbook to list the critical requirements for each type of object that could be contained in a museum’s collections. However, a check-list can be used to determine the critical factors which must be considered when selecting a storage system for any group of objects. If the museum staff finds questions they cannot answer, then some outside help should be sought. M a n y of the items will not apply to specific types of collection. An attempt has been made to compile a comprehensive list so that factors that could seriously affect the storage of collection objects will not be overlooked. H o w sensitive is the object to light? If lighting is a concern, what level of light is acceptable and for what period of time? Is the object more susceptible to certain areas of the light spectrum? For instance, prints and drawings are extremely light sensitive. Studies have shown that the bluer the light, the more harmful it is and in theory light restricted to a colour range of yellow-orange to deep red m a y cause virtually no damage to pigments. Light also
Conservation
can be very harmful to many other collections including,but not limited to, costumes, textiles, ivories, some ethnographic collections, paintings, and even to certain biological specimens preserved in alcohol and stored in glass jars. Each group of objects must be considered with regard to its particular reaction to light. How sensitive is the object to different levels of relative humidity, or frequent changes in the relative humidity? Relative humidity may be extremely important to certain collections such as paintings, furniture, prints, drawings, silver (?), photographic films, metals, etc. T h e metal tops of glass jars used to store biological specimens m a y be affected by a high level of relative humidity, although the actuel specimens m a y not be. Optimum levels should be determined for each type of collection. H o w sensitive is the object to different temperature levels or frequent changes in temperature? W h a t are the acceptable ranges for temperature (minimum and maximum, and over what period of time)? It m a y be necessary to allow the temperature of the storage areas to drift over a long period of time as a result of seasonal changes. It is important to determine a particular collection’s tolerance to this change. H o w sensitive is the object to dust and other pollutants in the air? Are there particular chemical fumes to which the object is particularly sensitive? Textiles and many other materials are harmed by dust that might accumulate on them. This requires either wellfiltered air or protection from the dust by the method of storage. H o w sensitive is the object to particular stresses that it might encounter in a stored condition, i.e. stress from hanging or folding textiles, or the crushing of delicate ornaments on dolls, etc? Are there certain materials to which the object is particularly sensitive and with which it should never come in contact? Contact with certain materials should be avoided. For instance, ivories should never come in contact with rubber pads, rubber adhesive, iron, copper alloys, or coloured materials. Even plastic coat-hangersshould be checked carefully when they are used to hang costumes. Each category of collection objects should be considered carefully to determine the substances or materials that should be avoided so that they are eliminated by the choice of a storage system. It is even possible that certain objects in the museum collections
33
m a y emit substances that are harmful to other objects stored close by. H o w often should the object be examined for conservation purposes to determine mould or insect infestation or the level of alcohol in specimen jars? H o w sensitive would the object be to accidents involving water, excessive temperatures (both heating and freezing)? H o w susceptible is the object to insect or vermin damage? M a n y ethnographic or biological collections are particularly susceptible to attack from insects or vermin. T h e storage system may need to be designed to allow for periodic or continuous fumigation. H o w sensitive is the object to vibration? All types of vibration should be considered, from external sources such as trains, subways, cars, etc. to the movement of drawers or mobile storage systems. A n example is pastel drawings, which are extremely sensitive to movement and therefore cannot be stored in mobile systems which would cause vibration. H o w inflammable or susceptible to fire damage is the object? T h e inflammability of many objects made of paper, wood, etc., is obvious, but that of the alcohol used in the preservation of many biological collections should not be overlooked. T h e inflammability of the storage system itself should also be considered, even if the objects stored within it are not a problem. Does the value of particular objects warrant additional security above that provided for the general collection? This might apply to jewellery or silver collections or other collections that might be highly saleable or easily concealed.T h e overall level of security of the entire storage area, along with the value of a particular collection, will determine whether or not additional security is needed. Will the collection expand, and if so, at what rate? H o w visually accessible must the collection be for examination by scholars, students, researchers, designers, etc.? H o w often must the objects be moved from the collection and taken somewhere else? In addition to answering the preceding questions, in order to determine the best storage system, the following factors must also be considered: H o w m u c h space is available for the storage systems? H o w m u c h money is available for the purchase or construction of storage systems?
V
Storage systems
This section of the handbook deals with the design of storage systems to house museum collections. A number of factors should influence the selection of a particular type of storage system, many of which have been discussed in preceding sections. The section on ‘Planning’ explained how the proportionment of a museum’s resources among its various roles determines how much of these resources will be available for the collection storage facilities and the individual storage systems. The funds that are available for the collection role will determine how sophisticated the storage systems can be, what materials they will be made from, the type of construction, etc. The section on ‘Records, Accessibility and Retrieval’ focuses on three major and related issues which must be considered when selecting appropriate storage systems: how good collection records will affect accessibility and retrieval requirements; how the need for visual accessibility to the collections will affect the choice of a storage system; and finally, how the choice of the storage system is affected by how often objects must be physically removed from the collection storage areas. The section on ‘Security’ showed how certain storage systems provide additional security within the collection storage areas. In the section on ‘Conservation’,the general conservation requirements of different types of object were discussed, and the way in which these special requirements relate to specific storage systems was explained. For instance, extremely fragile objects should not be stored in mobile storage systems. Objects that are very sensitive to the environment may require additional environmental protection,which can be provided by the use of certain types of storage system.The quality of the overall environment of the collection storage areas should determine whether objects can be stored on open shelving as opposed to enclosed storage systems. If it is necessary to place certain objects within a container before they are stored, this, too, will affect the selection of an appropriate system, because it is the container, not the object, which must be accommodated by the system. There are many different generic types of storage system illustrated within this section. In a few instances,some basic modifications and variations to the systems are also shown. Generally, many
others are possible.Each museum will have unique requirements for the storage of its particular collection, and modifications to some of the systems illustrated may suit its needs. The drawings are intended to be used only as guidelines. The specific dimensions for wood or steel m e m bers have been omitted, since they may vary depending on standard practices of dimensioning within a particular country or the availability of different materials. The structural support members also may vary depending on the weight of the objects to be stored. The overall dimensions of each system should depend on the size, shape and weight of the objects to be stored and the availability of space within the storage area. Storage areas with high ceilings allow for higher storage units. Most of the units can be modified in size to accommodate the storage requirements of the unique materials found in a particular collection. For instance, a storage system designed for rugs should be proportioned to suit the needs of a particular rug collection. The same is obviously true for many other types of collection, such as paintings, furniture, archaeological and biological specimens,prints and drawings. O n the surface it would appear that it is always less expensive to make your own storage systems, but this is not necessarily true. Some types of storage systems lend themselves so readily to commercial manufacture that it is not reasonable for a museum to make its own. One example of this is the simple steel rack and shelving widely used in warehouses for industrial purposes. This type of storage is both flexible and inexpensive, and it serves very well for open shelf storage.Some museums are located in areas where commercially manufactured systems are not available to them. Because this problem exists, we have provided drawings and descriptions of some simple solutions for various storage needs which can be made locally, either by the museum’s carpentry staff or with outside help. A museum should investigate and compare the costs of constructing the storage system using museum staff versus using an outside firm.It is possible that the efficiency with which the work can be done by an outside firm,or the overhead of the museum’s operation, may actually allow for cheaper fabrication outside the museum.
Storage systems
Figure 2 shows variations of adjustable metal shelving. There are many adjustable metal shelving systems available which are appropriate for open-shelf storage. By placing the shelving units back to back, and leaving access space on both sides, the depth of the shelving unit is doubled. This is referred to as a 'double-loaded' system. The upper sketch illustrates a double-loaded system using two 60-cm-deepshelves, which can create 1.2-m-deepshelving when the shelves of both units are aligned.' The lower sketch shows a double-loadedsystem using 30-cm-deepshelving. The relatively narrow shelves are desirable when small objects or medium-sized specimen jars are to be stored, because easy access to the back of the shelf can be achieved. The use of these two different systems in combination would allow the museum to have shelving depths of 30 cm, 60 cm, 90 c m and 1.2m by lining up the individual shelves of these two types of unit. This range of shelf width allows for an efficient use of the shelf place. If the shelves are too wide for the objects stored on them, several objects may be placed in front of one another, making it difficult to reach objects stored at the back of the deep shelves. Using narrower shelves for smaller objects can eliminate this problem. Very small objects generally are best stored in boxes to increase the efficiency of the system, because a disproportionate amount of space is required above a small object in order to see it at the back of the shelf.Boxing small objects also allows for easier retrieval, since many small objects can be removed from the system at one time. Many items put on the shelves require special containers, such as biological specimens stored in preservatives in jars or delicate specimens which must be stored in specially constructed boxes or trays. The width of the shelves and the vertical spacing between them must then be planned to accommodate these special containers. Standard systems extend to approximately 2 m in height, but systems up to 6 m can be used if access by ladder is acceptable. Ladder-access storage may be adequate for items which must be retrieved infrequently, but where the space is available, it is always preferable to have all collection objects accessible without the use of a ladder, which adds to the potential for damage through handling. Shelving that is visually accessible also allows periodic inspection of the collection objects, a decided advantage from a conservation standpoint. The vertical support members of most manufactured systems consist of steel angles perforated to receive bolts or brackets which secure the shelves in place. The spacing of these vertical support members generally varies from 1.2 to 1.8 m, depending on the system. Heavy-duty industrial systems are available with a very much
35
greater span, but few museum objects need the load capacity of these heavy-duty systems. Some exceptions might be large stone artefacts, architectural fragments of buidings, large pieces of furniture, etc. Since extremely heavy floor loading will result from efficiently used shelving systems which store substantial artefacts, consideration must be given to the structural capacity of the building. Generally, 70 kg/0.95 mzis adequate for most shelving systems extending to 2 m heights, but higher systems,or systems containing extremely heavy objects, may require floor load capacities in excess of 70 kg/0.95 m2. W h e n laying out a system of adjustable shelving in a storage area, several factors should be considered. The minimum width of the aisles is very important.Generally, a 1-maisle is adequate for access and retrieval of small to mediumsized objects stored in open shelving. However, where large objects are stored on shelving up to 1.2m wide, the aisles must be wider to accommodate them.The perimeter of the storage room can be lined with shelving units 30-60cm-deep,or if there is insufficient area in the room the walls can be lined with wire racks as shown in Figure 37. Shelving constructed of 2-cm plywood has definite structural limitations when heavy objects are placed on it. Although there may be no immediate deflection,it will occur in time, and excessive deflection may even pull a shelf from its supporting brackets. Wood shelving that has too long a span eventually will sag from its own weight. Plywood can emit harmful substances and should be sealed carefully before use. The structural wood members, unless they are carefully finished, may cause abrasions to textiles. An advantage of wood shelving is that it is more resilient than steel shelving, which is important for the storage of certain types of object. In fact, it may be necessary to add a layer of protective padding to metal shelving to prevent chipping or the movement of objects on the shelves caused by vibrations.With either metal or wood shelving, in areas which are particularly subject to earthquakes or urban areas where heavy traffic can cause excessive vibrations, straps should be provided in front of each shelf to prevent the objects from falling to the floor. Open shelving places demands on the environment of the storage room, since all the objects are subjects to this environment.Therefore humidity, temperature, lighting, and especially air filtration, must be considered carefully when open shelving is to be used, lest the objects suffer damage in their unprotected state. If humidity, temperature and lighting are adequately controlled but air filtration is a problem, certain objects can be covered with polyethylene film.Hanging clear plastic curtains in front of the shelves is another method of achieving dust control, although this 1. Measurements were given in feet and inches in the manuscript for this book.-Ed.
.
36
FIG.2. Adjustable shelving.
FIG.3. Plastic wire mesh shelving.
Museum collection storage
generally requires that an entire plastic sheet be moved to gain access to a single artefact for inspection or retrieval. Figure 3 illustrates shelving made from plastic wire mesh. This system can be used to support light-weight objects when air circulation is particularly important. Plastic wire mesh should be used because contact with copper or other types of metal screening m a y be damaging to the objects. This is an economical shelving material compared to metal or wood. The mesh shelving can be supported by metal or w o o d vertical m e m bers. Straw artefacts such as baskets, etc. may suitably be stored in this system. Figure 4 shows a shelving system for film or video cassettes. This is another variation of the basic shelving system which has been adapted to store film or video cassettes. T h e shelving consists of two horizontal bars with U-shaped wire dividers which separate the individual reels along the length of the shelf. Other adaptations of this basic shelf system are possible so that other types of object can be stored. This kind of special adaptation is usually confined to objects with the same shape or dimension. Figure 5 illustrates a shelving system consisting of closely spaced metal shelving (approximately 10 c m apart) upon which solander boxes containing prints and drawings are placed. The prints or drawings are separated by acid-freetissue in each solander box. W h e n the solander boxes are removed from an individual shelf, they are placed on waist-high shelf extensions which can be pulled out from under the shelf. The contents of the solander boxes can then be removed from the box for viewing, or one or more solander boxes can be placed on a movable cart and taken to another area. T h e shelves extend to about 2 m off the floor, allowing access without the use of ladders. Shelving depth varies from 48 to 66 c m depending o n the depth of the solander boxes to be stored. T h e width of each unit also varies from 60 to 75 cm. Although the metal system shown in the sketch is a manufactured one, similar systems could be constructed of wood, using the same overall dimensions. A less expensive but less convenient system also can be constructed which contains fewer shelves. T w o or three solander boxes would be stored on top of each other on each shelf. This necessitates more movement of the boxes if access to the middle or bottom box is desired. In addition to being less convenient, this increase in the movement of boxes is less desirable from a conservation standpoint. The strength of the individual storage boxes must be sufficient to withstand stacking. Aisles should be planned carefully to allow for the movement of mobile carts carrying the boxes. Prints and drawings on paper, manuscripts, etc. m a y all be suitably stored in this kind of system. Pastel drawings should not be stored in this system because the kind of movement they would
Storage systems
be subjected to is extremely destructive to this medium. They should be stored in a fixed vertical position in the storage room so that they can be examined without movement. Figure 6 shows a shelving storage system for prints, drawings and large books, consisting of closely spaced metal shelving, approximately 10 c m apart. A shelf depth of approximately 80 c m x 1.2 m wide should work well for the storage of most large prints or drawings.However, the size of the shelves should be determined by the demands of the individual collection. The total height of the unit can be approximately 2 m and still allow for complete access without the use of ladders. The roller at the front edge facilitates the removal of wood trays or large books which are stored on the shelving. The wood trays contain prints or drawings so that they do not rest directly on the shelves. This is a specialized system because of the inclusion of the roller on the front edge of each shelf. Similar systems could be made of wood, but they may be difficult to fabricate and may not work as smoothly as this metal system.
31
FIG.4. Special shelving for film or video cassettes.
FIG.5. Shelving storage for prints and drawings in boxes.
FIG.6. Shelving storage for prints, drawings and large books.
38
Museum collection storage
FIG.7. Combination open-shelving system and drawers.
FIG.8. Shallow wood open-drawer system. FIG.9. Flat-drawer storage system.
Storage systems
Figure 7 illustrates a combination of an openshelving system and drawers.The vertical supports for the shelves are 60-m-wide x 2.4-m-highsheets of 0.3-cmtempered masonite spaced 1.2m apart which are tied together at the top and bottom with a wood or metal brace. Steel angles are attached to the vertical edges of the masonite. The closely spaced holes in the steel angles allow special clips to be attached which support adjustable wood shelves.The backs of the units are covered with a 1.2-mx 2.4-msheet of 0.3-cm tempered masonite. T w o units are then placed back to back to form a total unit 1.2 m deep. In order to accommodate especially deep objects, the backs of the units can be cut out,creating a shelf 1.2 m deep X 1.2 m wide. The 60-cm x 1.2-m shelves are made of 2-cm plywood. The shelves can be covered with acid-free paper or padding, depending on what is being stored. In order to accommodate drawers in this system, sheets of 2-cm plywood are attached to the masonite. The drawers slide in between 2.5c m x 2.5-cmwood runners which are attached to the plywood. Drawer bottoms are 0.3-cm tempered masonite and the 9-cm-highsides,backs, and fronts of the drawers are made of solid stock. Items taller than 9-cmcan be accommodated by leaving the drawer above out of the unit to allow for the clearance of these taller objects. The flexibility of this system allows for the storage of many different kinds of artefact in the same area. Drawer or shelving units can be adjusted, added, or removed as the needs of a particular collection dictate. It is also an economical system which can be constructed by the museum staff. Aisles should be carefully planned to allow sufficient clearance for the movement of large objects stored in these units.Since the width of the aisles must be planned to accommodate the largest item stored within a particular row of units, this system may somewhat compromise the efficent use of the storage space unless all the large items are grouped within one particular area. The system’s flexibility allows for very large objects to be stored on the open shelves, with small related materials stored in adjacent drawers. A wide range of collection objects can be stored in this adaptable storage system. Figure 8 shows a shallow wood open-drawer system consisting of vertical supports made of 1.2-mx 2.4-m sheets of 2-cm plywood. The plywood sheets are tied together with a wood or metal brace at the top and bottom.Attached to the plywood are 2.5-cmX 2.5-cmwood strips, approximately 0.6c m apart, which act as glides for the drawers. The bottoms of the drawers are 0.3-cm tempered masonite, and the sides, fronts, and backs are made of 5-cm high solid stock. The masonite bottom of each drawer projects approximately 2.5 c m beyond the drawer sides to fit between the wood glides. The drawers are approximately 1.2m x 1.2m.The unit is open both in
39
front and at the back so that each drawer can be pulled out from either side of the unit. Drawers may be left out above other drawers to allow for the storage of objects more than 5 c m high. This is a simple, economical system to construct and it is quite functional for the storage of many items,including unmounted or mounted prints and drawings, flat textiles, etc. One disadvantage of the system is that it is not airtight, so that certain items must be protected individually. Figure 9 illustrates a flat-drawer storage system. This is a manufactured system, although narrow wood drawers can be custom-made.The system consists of shallow drawers that vary generally from 60 c m to 1.2m wide and 46 c m to 1 m deep. Each drawer is approximately 7.5 c m high overall,with approximately 5 c m of storage depth inside. Units approximately 76 c m high, with ten drawers, create their own work space on top. Manufactured systems have special carriages for the drawers so that they can be extended almost completely out of the unit, which allows full access to the drawer contents. W o o d systems that do not have this special hardware are difficult to use because the drawer generally cannot be extended more than halfway out of the unit. This makes access difficult where certain types of object are stored. Careful consideration should be given to the size of the material to be stored so that the drawers can be sized accordingly. Large drawers can be divided into two or more sections for the storage of small, flat objects. It is possible to stack these units for very efficient storage. However, access to the upper drawers will require a ladder,which increases the potential for damage or soiling if an object is dropped. Unframed prints and drawings, small flat textiles, framed textiles, and samplers are among the kinds of artefact which may suitably be stored in this system. Pastel drawings should not be stored in this system because the kind of movement they would be subjected to is extremely destructive to this medium. This type of drawing should be stored in a fixed vertical position in the storage room so that the drawings may be examined without movement. Figure 10 illustrates cabinet storage adapted to store film cassettes or other small objects. This is a shallow drawer cabinet with dividers. The system can be a steel manufactured unit or a custom-madewood unit. Plastic or wood dividers can be used to create small compartments for the storage of small artefacts such as jewellery or coins. In addition, shallow plastic boxes may be placed in the drawers to hold small objects. These individual boxes also may be divided into compartments. An advantage of this approach is that the entire box can be removed during the retrieval process as opposed to removing the individual objects.Another advantage of this cabinet storage
40
Museum collection storage
FIG.10. Cabinet storage for film cassettes or other small objects.
r FIG.11. Drawers within a cabinet.
is that the individual drawers m a y be equipped with locks providing added security for small items that are easy to lose or are especially valuable. Figure 1 1 illustrates two types of cabinet with drawers. The cabinet shown in the top sketch is equipped with doors. The height of these cabinets can range from 75 to 90 c m so that the top of the units may by used for the examination of the objects stored in the cabinets. Although this is convenient for research work, it is not a spaceefficient storage system because the height above 90 c m is not used for storage. However, when extensive research is done which requires frequent access to the materials stored in the units, this system m a y be appropriate. As many as three of these units may be stacked on top of each other, but the research space which is gained when only one unit is used will be lost, and ladders will be required for access to the higher drawers. The bottom sketch shows a similar system, but the cabinets are double height and the fronts are removable panels. By using removable panels instead of doors, it is possible to seal the unit so that continuous fumigation can take place inside the cabinet without vapours leaking into the storage area. This type of unit is ideal for the storage of objects or specimens which are especially sensitive to insect infestation. Both of these systems can be made from a variety of different materials. If the tops of the units are to be used for research, the material of the counter top should be suitable for the type of research being carried out. The open drawers in the cabinets, which slide o n metal angle-runners attached to the sides of the cabinets, may be made of wood or steel. The latter is more desirable if heavy loads are to be stored. There are many manufactured systems with interior drawers similar to the ones shown in these sketches. They come in a range of sizes to accommodate many different types of material to be stored. M a n y are made of steel, which eliminates the warping that sometimes occurs with humidity changes when wood construction is used. The steel cabinets generally are strong enough to allow for double stacking, even loaded with heavy specimens. The doors close against a polyurethane foam gasket, which provides dust-tight protection. Generally, the drawers are relatively shallow, but when specimens extend above the top of the drawer, it is a normal practice to remove the drawer above to allow for the clearance of these larger objects. Manufactured systems with double doors, as illustrated in the top sketch, range from 90 cm-2 m high x 1 m wide x 60 c m deep. T h e 2-m height will accommodate about twenty-four drawers. W o o d systems similar to these units can be custom-made, but it is unlikely that they will be as airtight, which may be an important consideration for certain types of collection. The large number of object types which may
41
Storage systems
suitably be stored in these units include, among others, skins, small animal specimens, entomology, geology and palaeontology specimens, pottery,prints, drawings,folded textiles,small framed textiles, etc. Figure 12 illustrates an open adjustable drawer system constructed of wood.Wooden drawer runners, spaced evenly from the floor to a height of approximately 2 m,are attached to the vertical supports of a wood frame structure.The drawers slide on these runners. The drawer bottoms can be made of plywood or masonite of a thickness that is appropriate to the weight of the objects stored in them and the size of the drawer. The dimensions of the system can vary greatly depending on the kinds of objects stored in it. Because the drawers are made of wood and slide on wooden runners, smaller drawers are easier to handle, especially when heavy objects are stored in them. Drawer width and depth can vary from 60 c m to 1 m,while the height can vary from 8 to 13 cm, depending on the design. Flexibility for the storage of taller objects is achieved by leaving out the drawer above to allow for the clearance of tall objects. W h e n breakable items are stored in a single drawer, dividers should be used to prevent them from bumping against each other. Since the system is open, objects particularly subject to damage from dust should be covered,unless a very efficient filtration system is used in the storage area. This is a very flexible and economical system that can be built by the museum staff. Figure 13 illustrates a costume storage system which consists of a cabinet to hang costumes on top of a four-drawerunit to store folded costumes and accessories. The costume hanging portion of the unit is 1.5 long X 75 c m deep x 2 m high. Steel is a good choice for this part of the unit because of its strength, stability and rigidity. Special care should be taken in the construction of the units to avoid sharp edges which could tear the costumes. The venetian blinds over the front of the upper portion of the unit protect the costumes from dust while allowing for air circulation. The costumes are hung on specially constructed hangers. This is particularly important for special types of costume to prevent creasing and stress on certain parts. Because of the height of the units, poles with fork heads are slipped under the hooks of the hangers to remove the costumes. A rolling ladder must be used to remove the costumes by hand. Specially equipped rolling ladders also can be used to work on the costumes while they are hanging in the unit. The wood drawers below are 15 c m high x 75 c m deep X 1.5 m long, dimensions which are considered to be most useful for flat costume storage. Because related accessories can be stored directly below the costumes hanging above, this greatly facilitates research work being carried out in the storage area. Both of the units should be covered
I
FIG.12.Open adjustable drawer system.
FIG.13. Costume hanging storage over drawer units.
42
Museum collection storage
/’
FIG.14.Costume storage in double-stacked costume hanging units and stacked drawer units.
FIG.15. Costume storage system with cabinets over drawer units.
inside and out with an inert plastic paint or plastic laminate to protect the costumes from acid, rust, etc. Figure 14 illustrates a costume storage system that consists of double units for hanging costumes and for stacking a drawer units.The sketch shows a row of these double-stacked units on the left, and the stacking of three 4-drawer units on the right. Each costume hanging unit is 1.5 m high X 75 c m deep x 1.5m long.Although this height is not adequate for full-lengthcostumes, it works well for children’s costumes and somer other short costumes. The units can be constructed of steel which has been coated with a special paint that protects the costumes from acid, rust, etc. The wood drawers, which should be coated inside and out with an inert plastic paint or plastic laminate, are stacked to form twelvedrawer units. Costume accessories, some folded costumes, and some folded textiles can be stored in these drawers. W h e n costumes or textiles are folded, acid-iree tissue paper should be placed in the folds to prevent permanent creasing of the material. The combination of these two units shows the advantage of modular planning within the storage area. The same types of storage unit shown in Figure 13 are combined in a different configuration to adapt to the storage needs of the collection. This concept of using modular system to increase the flexibility of collection storage can be applied to many other storage systems. Although all of these systems are commercially manufactured,they could be duplicated entirely in wood by the museum staff.However,care must be exercised in the finishing of the wood to protect the costumes from damage either by physical abrasion or by chemical substances given off by the wood. Figure 15 illustrates a costume storage system combining cabinets and drawer units. The upper unit in this system is a cabinet with doors and adjustable shelves for the storage of hats and other similar costume items. The hats are mounted on plastic cones for easier visibility. As shown in the sketch, the doors can be double folding in order to minimize unnecessary protrusion into the aisle space. The drawer units below can be used to store shoes and other accessories. Small accessories such as jewellery, hair ornaments,etc. can be placed in special plastic trays which are stacked inside the drawers. These units can be made of wood and covered with an inert plastic to protect the costumes and accessories. Figure 16 shows a fixed textile storage system for small rugs or other textiles,consisting of wood poles which are suspended within a wood framing system. The poles may be round or square. Textiles are rolled around cardboard tubs which have been covered with acid-free paper, and these cardboard tubes slide over the wooden poles. Square poles generally are less expensive than the round ones, and since the rugs or textiles are
43
Storage systems
--
__
I
_ , ’
FIG.16. Fixed rolled storage for textiles.
FIG.17. Mobile hanging slorage system for rolled textiles. ~
. J..
--
. .- ~.~
44
Museum collection storage
rolled around cardboard tubes, there is no real advantage in using more expensive poles. In fact, round poles are likely to roll in their support system, which is a disadvantage. Because the ends of the poles support the weight of the entire roll of fabric or rug there is no damage caused by pressure to the material. From a conservation standpoint, this is more desirable than placing rolled materials on shelves or on rack supports which come into contact with the material itself. The rolled materials are covered with plastic and lightly tied to prevent dust from settling on them. Certain types of costume also lend themselves to rolled storage, as well as bedspreads, tapestries and other similar items. Figure 17 illustrates a mobile hanging storage system for rolled textiles. The storage units are hung from tracks attached to either the ceiling or a free-standing structure. T h e choice between these two types of support for the tracks depends on the ceiling construction in the storage room and the degree of mobility required for the entire system. Since the weight of the hanging material m a y be considerable in some cases, the structure of the ceiling should be checked carefully before the units are attached to it. A free-standing structure for the support of the system may have an advantage because the entire system can be relocated to another area in the museum. The length of the units which slide back and forth along the tracks should be determined by the size of the textiles to be stored. Several units of different lengths can be joined together to form one sliding unit. T o gain access to any row of textiles, adjacent units are moved along the track until the desired aisle is open. Because there is no floor track, the units tend to sway back and forth when they are moved, sometimes b u m ping into each other. However, because of the nature of the textiles stored in these units, and the fact that the rolled textiles do not b u m p or scrape against each other, it is unlikely that any serious damage is done to the textiles. There is no way of actually verifying this, however, and the units should be moved as carefully as possible to avoid unnecessary jarring. The individual textiles are rolled around cardboard tubes covered with acid-free paper. The tubes are placed over w o o d poles. The textiles are then covered with plastic and lightly tied. Because the ends of the poles support the weight of the entire roll of textile, there is no damage caused by pressure applied to the material. From a conservation standpoint, this is more desirable than placing rolled textiles on shelves or on rack supports which come into contact with the m a terial itself. Figure 18 shows a cabinet storage system for small rolled textiles. The rolled textiles, which are supported with square wood poles, are placed on wood frames. T h e frames can hold from four to six rolled textiles which are held in position on
the frames with large staples. The frames, which operate like drawers, slide out of the unit on metal runners. Each cabinet can hold u p to six frames. The textiles are not rolled directly on the square poles. First they are rolled around cardboard tubes which have been covered with acid-free paper, and these tubes are then supported by the poles. The textiles are covered with plastic and loosely tied. The amount of storage space used with this system is actually less than is needed to store rolled textiles on shelves. A n additional advantage is that the rolled textiles are individually suspended, thus avoiding creases that occur when they are placed o n shelves. Since the textiles are stored in cabinets, they are not exposed to light, which is a further conservation precaution. In addition, a periodic fumigation can take place within the cabinet with the door shut, which provides maximum protection from insect infestation. Figure 19 illustrates a mobile system to store flat textiles. T h e textiles are draped over horizontal bars spanning frames hanging from sliding tracks suspended from the ceiling. T h e double horizontal bars allow for the hanging of two textiles on each frame. The vertical spacing between these two bars should be dimensioned to accommodate the sizes of materials in the collection. For access or viewing, the individual units are pulled along the sliding tracks into aisle spaces. A 15-cm spacing between the sliding tracks is adequate for light materials, although approximately 20 c m should be allowed for heavy or bulky materials. A space of approximately 60-cm should be left between the bottom of the materials and the floor to allow for air circulation. Adequate space must be provided in the centre of the room so that the racks can be pulled from their stored position for viewing. Before hanging the textiles, the bars are covered with acid-free paper to protect the fabrics. The tops of the draped textiles are covered with a small piece of cloth to prevent dust from settling there. Figure 20 illustrates a mobile hanging curtain storage system. The curtains are suspended with curtain hooks from a frame which can be raised for storage and lowered for access. W h e n the curtains are raised to the ceiling, the pull cords are secured to hooks. The frames hang from sliding tracks suspended from the ceiling so that the entire frame can be pulled into the centre of the room for viewing or access. The spacing between the tracks can vary from 30 to 36 c m for lighter sets of curtains. Spacing which ranges from 45 to 60 c m is better for bulky items with heavy material linings and/or deep folds and gathers. Since the curtains are hung straight, wrinkling and crackling of the material is eliminated. Before storage, the curtains are lined and interlined. Antique textiles are tacked to the interlinings at intervals of 20 c m throughout the curtain, which transfers the stress from hanging to
Storage systems
FIG.18. Cabinet storage for rolled textiles.
FIG.19. Mobile hanging storage for flat textiles,
/ -
45
46
M u s e u m collection storage
FIG.20. Mobile hanging curtain storage.
the interlining. A clean material is placed on the floor to protect the curtain when it is lowered for removal. Figure 21 illustrates a mobile hanging storage system for large rugs. The system consists of chains hanging from tracks which are suspended from the ceiling or from a free-standingstructure. The decision about how the tracks should be suspended will depend on the structural design of the building and whether or not the rug storage might eventually be moved to another storage area. Rugs which have been rolled around heavy wood dowels or metal pipes are suspended from the chains with S-hooks.The wood dowels or steel pipes are first covered with cardboard tubes, which have been wrapped with a layer of acid-freepaper. After rolling,the rugs are loosely tied for secure storage.Several rugs can be suspended from one pair of chains. The chains holding stored rugs can be slid back and forth on the tracks to gain access to a particular rug. Space should be left in the centre of the room so that the rugs can be spaced out along the tracks for viewing or retrieval. Care must be taken that the strength of both the track and the support system is adequate to hold the substantial weight of several rugs. Heavy-duty chains should be used for the same reason. Space for rolling the rugs onto the tubes should be provided in the storage area. Figure 22 shows wire screens suspended from sliding tracks which are hung from the ceiling or from an independent structure. Channels secured to the floor keep the hanging screens from swaying back and forth when they are pulled out for the
examination of objects. Materials are hung from the screen with simple hooks. The most efficient means of planning this system is to have the sliding racks on both sides of the room so that a common space in the centre of the room can be shared for viewing. If racks are stored only on one side of the room,the same amount of viewing area is needed as when they are on both sides of the room. The distance between screens can vary depending on the type of material hung from the screens. Some units can be placed far apart to allow for extremely big frames and others may be much closer together for the hanging of conventional framed drawings, prints or paintings. The wire screens can vary tremendously in size. Screens that are very tall require ladders to reach paintings or other items suspended from the screens near the top. The use of ladders in handling paintings presents a very definite hazard to the conservation of the paintings. Smaller screens can be used in areas with lower ceilings. Figure 23 shows a sliding rack system to store arrows and spears. Peg board is substituted for the wire mesh in the more conventional system illustrated in Figure 22. The spears or arrows are tied to the peg board with string. Because this system is quite compact and the units fit closely together, a certain amount of dust protection is afforded the objects. Figure 24 shows a sliding rack system for storing bulky materials such as animal skins, which might also require a low level of continuous fumigation to prevent insect infestation. A wide board at the end of the rack can be equipped with a gasket that seals against the face of the
47
Storage system
H 8
FIG.21. Mobile hanging storage for large rugs.
rack storage with wire screening.
FIG.23. Sliding rack storage with peg board.
48
M u s e u m collection storage
FIG.24. Sliding rack storage with closed system.
FIG.25. Sliding rack visible storage for costumes and textiles.
FIG.26. Sliding rack visible storage for staqs or manuscripts.
unit when it is closed. Clamps can be attached to the front of the unit to hold each of the individual racks tightly against the face of the unit when they are not pulled out for viewing. Poles are attached within the frame of the unit to hang animal skins or other materials. T h e basic system is made of wood. The dimensions can vary depending on the material being stored and the space available for the system. Racks approximately 30 c m wide allow for storage o n both sides. Other materials can be stored in a very similar system by modifying the interior of the racks. For example, instead of having a vertical sheet and horizontal poles for the hanging of skins as shown in the sketch, horizontal trays approximately 30 c m wide and spaced vertically approximately 30 c m apart can be substituted. These trays can hold other objects requiring sealed storage within a rack system. Figure 25 shows a visible storage system for costumes and textiles utilizing a sliding rack system. Often it is desirable to have artefacts available for viewing by visitors, but at the same time the artefacts must be protected and a compact system is necessary in order to conserve space. In the unit shown, the costumes or textiles are suspended in a frame and covered on both sides with glass. The container therefore protects the objects from dust. W h e n the unit is closed, the costumes or textiles are stored within a compact system, protected from light. W h e n a visitor wishes to see a particular costume or textile, the unit is pulled from the stack and viewing can be achieved from both sides. Generally, in order to see both sides of a costume or textile, a freestanding case is required or a one-sided case with a mirror o n the back. Both of these methods use considerably more space than the system shown. This system can be used with a variety of other objects, including samplers, maps, photographs, drawings, etc. Figure 26 shows a variation of the sliding rack visible system illustrated in Figure 25. The racks can range in size from 50 c m x 5 0 c m to 75 c m x 75 c m and should be high enough off the floor to allow for easy viewing. The individual racks are about 5 c m wide, which allows for a great number of racks to be stored within a given area. The system allows for items such as stamps to be stored in a compact system and at the same time be accessible to museum visitors. Because the stamps are displayed behind glass, they are protected while on display. The ability to close the racks when the stamps are not being viewed prevents excessive exposure to light. Figure 27 shows in three sketches a comparison between the space utilization of a conventional fixed storage system and that of a highdensity mobile storage system. T h e top sketch shows a conventional storage system with four aisles between five units of storage. The middle sketch illustrates that the same five units in a
49
Storage systems
high-density mobile storage system will save 40 per cent of the space in the area because only one access aisle to the system is open at any given point in time. The bottom sketch shows that by using the high-density mobile storage system you can add 50 per cent more storage capacity in the same amount of floor area than would be possible using a conventional fixed storage system. This type of system can be compared in a very general way to a clothes closet. The garments on the hangers are compressed together, but when they are pushed aside, a space is left for access and retrieval. The essential element of the high-density mobile storage system is its carriage. Some carriages are still made of wood, some of steel,but structural aluminium is the best material because it is light-weight and does not rust. The storage carriages ride on rails installed on the floor. They may be moved manually or they may be motoroperated. Manually operated systems are generally limited to 2.4-3.7 m in length, with a gross capacity of 1.4-4.5tonnes because larger carriages would be too difficult to move manually. Commercially manufactured systems with typical loading require a force of one-third of 1 per cent of the weight of the system to start the carriage moving. For example, a 1-tonne unit would require only 3 kg of force to move. These commercially manufactured systems generally utilize aluminium carriages, which reduces the carriage weight, adds rigidity to the system, and reduces the number of rails required.Non-commercialmanual systems with carriages constructed of wood or tempered masonite are generally not as easy to move as the commercially manufactured ones. Therefore, it is a good idea to limit the size of the carriages and the weight of the material to be stored in them. If heavier carriages are used and a motoroperated system is not possible, manual assist systems are available which utilize a cranking mechanism to move the carriages. This is much less efficient, however, and this kind of system should be used only when the demand for access is relatively infrequent. Electrically operated systems are now manufactured for a variety of uses in lengths up to 18 m and capacities of up to 27 tonnes of storage per carriage. The carriages of these electrically operated systems may be adapted to store different types of object. Special provisions are made to move the carriages manually in the event of a power failure, and most systems include safety devices to prevent an aisle from closing when someone is standing in it. The average high-density mobile storage system requires about 70 kg/0.95 m2floor loading, although it can go as high as 120-140kg/0.95 m2. For this reason, problems may arise when these systems are to be installed in an existing building. If the building structure is inadequate to support
I
, /
FIG.27. Comparison between the space utilization of a fixed storage system and that of a high-density mobile storage system.
FIG.28. High-density mobile storage units for books and manuscripts.
50
Museum collection storage
FIG. 29. High-density mobile storage units for film or video cassettes.
FIG.30. High-density mobile storage system for textile storage.
FIG.31. High-density mobile storage system for herbarium collections.
this kind of floor loading, additional beams can be installed which are connected to the building’s support columns. These beams should be located in such a manner that they will support the rails which carry the carriages. Although it generally can be considered that a high-density mobile storage system is more expensive than a conventional system, its savings in space and building construction when a new facility is planned can many times make up for the increased cost. The space savings must be weighed against the degree of accessibility and retrieval that is desired and the conservation of the objects stored in the system. Although the collections are protected from light and dust when the carriages are closed, the vibrations created by the movement of the carriages are a negative factor. The increased security these systems provide because individual sections or the entire system can be locked should also be considered. Figures 28-33 show variations on the standard high-densitymobile storage system adapted to different uses. Figure 28 illustrates the use of a high-density mobile storage system for the storage of books or manuscripts. Carriages up to 4.6 m in length can be moved manually. Carriages from 4.6 to 18 m long can be moved with a motor-operated system. When the units are closed, the objects stored within are sealed off from dust and light. Figure 29 illustrates a high-densitymobile storage system adapted for the storage of film or video cassettes. Special shelving similar to that shown in the fixed system in Figure 4 is constructed within the carriages.Manufactured electrically operated systems will carry extremely long carriages. If relatively short carriages are adequate, manually operated systems can be constructed by the museum staff. Figure 30 shows a high-density mobile storage system for the storage of rolled rugs or other textiles. The textiles are wrapped around cardboard tubes covered with acid-free paper, which are placed over wood poles suspended within the carriage structure. Short carriages constructed of plywood ride on rails mounted on the floor. These units can be operated manually. With a motoroperated system, larger aluminium carriages can be connected end to end to form long units. The length of the individual carriages should be sized to accommodate the length of small rugs or other textiles. Supports for the poles within the individual carriages can be designed in several different ways. Figures 16, 17 and 18 show different methods used for other rolled textile systems. In addition to rolled textiles, special kinds of costume, shawls, etc. may also be stored in this system. Figure 31 illustrates a high-densitymobile storage system which has been adapted to the storage of herbarium specimens. The carriage holds
Storage systems
a horizontal bin system for plant specimen storage. Each bin is approximately 12 c m high X 66 c m wide, which is adequate space to store two stacks of manila folders containing specimens or two specimen boxes side by side of fruit or cacti specimens. The manila folders can hold up to twenty 30-cm X 46-cm specimen sheets. They are stored so that an open side of the folder is exposed to view. The specimen sheets are heavy paper stock to which specimens have been attached. Descriptive information such as where the specimen was collected,the colour of the flowers,the height of the tree, etc. is included on each sheet and can be seen by the researcher without removing the folder from the bin. The world-wide standard format for specimen sheets facilitates the storage of loaned specimens.Because botanical specimens are so light-weight,they can be stored on shelves made of one sheet of metal, which will achieve the maximum number of shelves per unit. Figure 32 shows the use of costume storage within high-density mobile storage units. The costume storage units are 22 m high overall. The costume hanging space is 1.1 m wide x 1.8 m high. One 30-cm drawer at the bottom is equipped with supporting rails to hold a 10-cm loose tray for accessories.Units for children's costumes are 1.2m wide x 1.1 m high, which allows for three drawers below for accessories. Venetian blinds are recessed in the tap of the carriage and are thus easily lowered over the wardrobe openings to protect the costumes from light and dust. The interiors of the units are protected with vinyl so that the costumes do not come into direct contact with wood, steel, or any other material that could rust, corrode, splinter, snag, or in any way harm the costumes.In manufactured systems, several carriages can be connected together and electrically operated. Smaller units can also be made that can be manually operated. It is interesting to compare the fixed costume storage systems, illustrated in Figures 13-15,to this system, which has been adapted to highdensity mobile storage units. They all are quite similar and illustrate how many fixed systems can be adapted to mobile systems when there is a need to conserve space. Potential problems created by vibration in the mobile system and the need for access and retrieval must be considered before making a final decision about which type of system is best in a particular situation. Figure 33 illustrates a high-densitymobile storage system which has been adapted to accommodate rock or mineral storage. The specimens are housed in specially designed drawers on carriages 1.5m wide. Because of the length of the carriages and the weight of the system, it must be electrically operated. Figure 34 illustrates a heavy-duty manually operated mobile system for the storage of large pieces of furniture or musical instruments. In this system, heavy-duty steel frames with wood
51
FIG. 32. Highdensity mobile storage system for costume storage.
FIG.33. High-densitymobile storage system for geological specimens.
FIG. 34. High-density mobile storage units for musical instruments or large pieces of furniture.
52
Museum collection storage
platforms are built over a mobile carriage unit. Each of the individual units can slide along a track mounted on the floor. The individual platforms and vertical distance between platforms should be dimensioned to accommodate the type of object to be stored. Heavy pieces of furniture and musical instruments can be lifted onto their storage platforms with the help of a fork-lift truck. Special care must be taken when moving these large pieces lest they be damaged in the process. The advantage of this system is that a great number of large pieces of furniture can be stored in a relatively small area. Space must be available to move the carriages to gain access to the stored objects and to manceuvre the fork-lift truck. Care must be taken that the structure of the building is adequate to support the heavy floor loading which results from this type of storage system. Figure 31 shows a compartmentalized storage system for framed prints, drawings, or paintings made with vertical wood posts and plywood shelving. The slots are relatively narrow in order to minimize the number of items that can be stored in each. It is possible that the works of art may FIG.35. Compartmentalized storage for framed prints, rub against each other when they are being taken drawings, or paintings. out or put back into storage, or they may rub against the structure of the storage system itself. Storing only a few items in each slot reduces the possibility of this happening. The slot height should be varied so that different sizes of paintings, etc.,can be accommodated without wasting space. This system is easier to build and costs less than the sliding rack storage system illustrated in Figure 22. For this reason, museums with very limited budgets should give it some consideration. Units can be made from a variety of different materials and can vary tremendously in size depending on the needs of the collection. The unit shown is approximately 2 m high, which allows someone standing on the floor to remove pictures without the use of a ladder. Where high ceilings are available, much higher systems can be constructed. Rolling ladders can be used to gain access to the upper portions of the unit. If frequent access is a requirement,very high units are not desirable. Figure 36 illustrates three different techniques of storing furniture, all of which can share the same storage area. Large pieces of furniture are / placed on plywood platforms, or pallets, with ,/casters attached. The tops of the pallets are covered with carpeting.W h e n it is necessary to move a piece of furniture for examination,conservation, or exhibition,it may be rolled out of its space in the row and moved with ease to its destination. Because the furniture is elevated off the floor, storage areas are easier to clean and the danger of damaging delicate furniture legs with cleaning equipment is eliminated. The empty volume above the furniture stored FIG.36. Furniture storage.
/,,.q\
1
53
Storage systems
I o IH
/I ”!I0 I
/ 37
on pallets is used for the storage of light pieces of furniture, such as chairs and small tables, and items that normally are hung, such as chandeliers. This furniture is stored on light-framed wooden platforms suspended from the ceiling structure. These platforms should follow the same configuration as the rows of furniture stored below so that there is easy access from the aisles. In some parts of the storage areas, where low pieces of furniture are stored,the suspended platforms can be low enough to gain access without the use of a ladder. Higher platforms which require a ladder for access are less desirable because the potential for damage or accident is greater. The chandeliers can be hung from simple bar-like structures suspended over the rows of furniture. Figure 37 shows framed wire mesh racks which
FIG.37. Wall-mounted stationary wire rack storage. FIG.38. Transparent storage containers. FIG.39. Special hanging system for large objects.
54
Museum collection storage
FIG.40. Cabinet storage for dolls.
are mounted on the wall.This kind of rack storage system will increase the efficiency of the storage rooms, and it works well in combination with other storage systems,such as shelving, low cabinets, etc. Mirrors, frames, paintings, drawings, masks, swords,rifles,riding implements,and tools are some of the many artefacts which can be hung from stationary wire racks. They are particularly useful for the storing of framed pastel drawings which require visual access,because any movement of pastel drawings is very destructive to them. Figure 38 shows clear plastic boxes on open shelving. This method of storage permits viewing of the contents without having to open the box and, in some instances,without having to remove the box from the shelf. This is a good solution for items which are looked at frequently,particularly if the object is very fragile and likely to be damaged by handling. One disadvantage is that objects stored in see-through containers are more likely to suffer from light damage than objects stored in opaque boxes. In addition, transparent boxes are more expensive than opaque ones. A hand-made version of these storage containers can be constructed by taking a strong box and replacing one face of the box with transparent plastic. If any sharp points are protruding as a result of the method of fabrication, they should be covered with adhesive tape to protect the artefacts inside the box. The bottom of the boxes should be lined
with acid-freepaper before placing any materials inside. Anything that can suitably be stored in a box may be stored in this manner. Figure 39 shows a cradling and bracket system for the storage of large boats. Individual cut-outs are made in the wood brackets to hold the boat, and the brackets are suspended from metal angles which are attached to the wall. Other large items can be stored in a similar manner to conserve floor space. A n alternative approach is to construct a free-standing framing system to support similar units. Figure 40 illustrates a cabinet storage system especially designed for the storage of dolls. Holes are drilled in the adjustable shelving, allowing steel wires to extend from the top of the cabinet through the shelves to the bottom. The dolls are lightly tied to the wires in a vertical position.This protects them from the kind of damage that could occur if they were stored lying down in a drawer or wrapped in plastic. The vertical wires are staggered so that dolls stored in the back row are accessible without disturbing the dolls in the front row.The doors on the cabinet create a closed unit to protect the dolls from dust accumulation. The adjustable shelving can accommodate a wide variation in doll height, which increases the efficiency of this system.This system can be made quite easily with wood and simple hardware.Also, standard metal cabinets can be adapted by drilling the shelves and adding the vertical wires.
Select bibliography
GENERAL
CRISTIANSEN, Niels A . Lidt om Store Problemer ved Formidling og Opstilling pa sma Arealer. Formidlingsproblemer, p. 43-8. Holbaek, Holbaek, Naestved og Roskilde Museer, 1973. (Holbaek, Naestved og Rmkilde Museumslektorater, 4.) DUDLEY, Dorothy H.; BEZOLDWILKINSON, Irma. Storage and Care of Objects. M u s e u m Registration Methods, p. 63-82.Washington, D.C. American Association of Museums, 1968. D u m , Walter S. Storing Your Collections: Problems and Solutions. History N e w s (Nashville), Vol. 25, No. 6, June 1970. 8 p. (Technical leaflet, 5.) ERSFELD,Joachim. Das Folieneinschweissen-objektschutz und magazinierungsshilfe. Neue Museumskunde (Berlin), Vol. 17, No. 3, 1974, p. 184-92,ill., bibliogr. FOURIE, A . L. Storage and Packing: A Review. S A M A B (Cape Town), Vol. 11, No. 4, 1974, p. 110-17. GREENE, Candace S. Storage Techniques for the Conservation of Collections. Oklahoma Museums Association Bulletin (Oklahoma City), No. 8, 1977, p. 120, ill., bibliogr. Hakubutsukan KenkyO (Tokyo), Vol. 10, No. 11, 1975, p. 4-11.(Special number on storage.) (In Japanese.) HUGHES, Olga. Storage on a Shoestring. M u s e u m N e w s (Washington), Vol. 51, No. 3, November 1972, p. 3738, ill. JEDRZEJEWSKA, Hanna. Zagadnienia Techniczne w M u zealnictwie [Technical Problems in Museums]. Biblioteka Muzealnictwa i Ochrony Zabytkow (Warszawa), Vol. 32, Series B, 1972, p. 89-106.(Ekspozycja i M a gazynowanie.) JESBERG, Paulgerd. Das Museum der Zukunft-Aufgabe, Bau, Einrichtung, Betrieb. Das M u s e u m der Zukunfi, p. 138-56. Koln, Verlag DuMont Schaubert, 1970. MCCONNELL, Anita. Mechanical Handling in a Museum Store. Museums Journal (London), Vol. 73, No. 2, September 1973, p. 63-4. LEWIS,Ralph L. Specimen Storage Equipment. Manual for Museums, p. 93-105. Washington. National Park Service, 1976. Oborudovanie Fondohranilisc. In: V. I. Revjakin (ed.), Hudozestvennye Muzei, p. 112-27.Moskva, Strojizdat, 1974. STANSFIELD, G. The Storage of Museum Collections. Museums Association InformationSheet, N o . 10, 2nd ed rev. London, 1974. 5 p., bibliogr. WADDELL, Gene. Museum Storage. M u s e u m N e w s (Washington). Vol. 49, No. 5, January 1971,p. 14-20. REFERENCES B Y TYPE O F COLLECTION
Art ALLGROVE, Joan; ALLAN, Christopher. N e w Print and Textile Rooms for the Whitworth Art Gallery. M u seums Journal (London), Vol. 77, No. 2, September 1977, p. 69-71, ill., plan. BADULESCU,Maria. Principii de Depozitare la Muzeul de Art% a1 Republicii Socialiste Romlnia. Revista Muzeelor (Bucaresti), Vol. 3, No. 6, 1966, p. 505-8, ill. BARCLAY,R. L. Care of Musical Instruments in Canadian Collections, Canadian Conservation Institute Tech-
nical Bulletin (Ottawa), No. 4, December 1978, p. 21-
7 (Storage and Display), ill.
KECK,Caroline K. Storage Facilities. A Handbook for the Care of Paintings, p. 105-9.Nashville, American Association for State and Local History, 1965. [KEITH, Hamish]. The N e w Picture Storage Racks. Auckland City Art Gallery Quarterly (Auckland), Vol. 35, No. 3, 1966, p. 3-4, ill. SALSTONSTALL, David. The Brooklyn Museum Library of Paintings. Curator (New York), Vol. 10, No. 3, 1967, p. 248-52,ill. TRAVERSO, Daniel. Brief Notes on Storage and Handling of Objects and Works of Art. M u s e u m Seminars, Texas State Historical Survey Committee, April-May 1973. Austin, Texas, 1973, p. 35-8. (Technical Infor-
mation Supplement.)
VANBESELAERE, W . Antwerpen-Koninklijk Museum voor Shone Kunsten. Museumzaal wordt Tevens Reservezaal/Anvers-Musk Royal des Beaux-Arts. Salle de MusCe dans le R61e de Salle de RBserve. Bulletin van de Belgische Musea/Bulletin des Mushes de Belgique, 1969 Bruxelles (Brussels), Vol. 10, 1971, p. 57-8, ill.
WEBER, Karl Heinz. Erfahrungen beim Deponieren von Gemalden verschiedener Bildtrager. Neue Museumskunde (Berlin), Vol. 16, NO. 4, 1973, p. 275-82,ill. Costumes and textiles
ALLGROVE, Joan; ALLAN,Christopher. N e w Print and Textile Rooms for the Whitworth Art Gallery. M u seums Journal (London), Vol. 77, No. 2, September
1977, p. 69-71,ill., plan.
BUCK,Anne. Storage. Costume, p. 17-20, London, The Museums Association, 1958. (Handbook for Museum Curators.)
PIKIORIS, Margaret A. Textile Cleaning and Storage. M u s e u m N e w s (Washington), Vol. 55, No. 1, September-October 1976,p. 13-18, ill., bibliogr.
GIFFEN, Jane C.Care of Textiles and Costumes. Cleaning and Storage Techniques. History N e w s (Nashville), Vol. 25, No. 12, December 1970, p. 261-8, ill., bibliogr. (Technical leaflet, 2.) GUPTE, P. G . Storage of Textiles in the Baroda Museum. Studies in Museology (Baroda), Vol. 5, 1969, p. 31-3, plans. HARRIS, Karyn Jean. Perishable: Handle with Care. M u s e u m N e w s (Washington), Vol. 56, No. 2, November-December 1977, p. 43-5.(Handling,documentation and storage of costumes.) JACHIMOWICZ, Elizabeth. Storage and Access. M u s e u m N e w s (Washington), Vol. 56, No. 2, November-December 1977, p. 32-6,ill. JACOBI, Karen; KRAGELUND, Minna; OSTERGARD, Else. Magasinering af Tekstiler. Bevaring af Gamle Tekstiler, p. 64-103.Kgibenhavn, Nationalmuseet, 1978, ill. (Museumstekniske Studier/Studies in Museum Technology, 2.) KECK, Caroline K . Care of Textiles and Costumes: Adaptive Techniques for Basic Maintenance. History N e w s (Nashville), Vol. 29, No. 2, February 1974, p. 37-44, ill. (Technical leaflet, 71.) 1. This bibliography was prepared by the Unesco-ICOM
Documentation Centre.
56
Museum collection storage
LAMER,Mildred B. Storage Facilities at Colonial WS-
History and archaeology
liamsburg. M u s e u m N e w s (Washington), Vol. 45, No. 6, February 1967, p. 31-3, ill. MYERS, George Hewitt. Rugs: Preservation, Display and Storage. M u s e u m N e w s (Washington),Vol. 43, No. 6, February 1965, Pt. I, p. 45-9.(Technical Supplement.) Ksynia.The Storage of Museum PRICE,Marjorie; MARKO, Textiles in Switzerland, West Germany and Holland. Museums Journal (London), Vol. 76, No. 1, June 1976, p. 25-7. RICHTER, Manfred. Die Restaurierung und Konservierung briichiger Fahnen und anderer textiler Gewebe in Museen. Neue Museumskunde (Halle), Vol. 5, NO. 2, 1962, p. 132-90,ill. STOJANOVIC,D. Tekstil i OdeLa, kao Predmet Kolekcioniranja,Cuvanja i Njihovo Volorizovanje U Muzejima.Muzej Primenjene umetnosti,Zbornik (Beograd), Vol. 19-20,1975-76,p. 179-93,ill., bibliogr. SUNDSTROM,Gail. The Storage of Costumes and Textiles at the Provincial Museum of Alberta. Gazetfe (Ottawa), AMC/CMA,Vol. 11, No. 2, 1978, p. 10-22,ill., bibliogr. THURMAN, Christa C. M.The Department of Textiles at the Art Institute of Chicago. Bulletin of the Art Institute of Chicago (Chicago),Vol. 72, No. 2, MarchApril 1978, p. 2-8,ill. WALCZOWSKA, Zofia. Sprzety do Przechowywania Stroj6w. Rocznik M u z e u m etnograficznego w Krakowie (Krak6w), Vol. 1, 1966, p. 225-33,ill. WATSON, Thomas C.Archive and Costume Storage.Curator (New York), Vol. 19, No. 1, March 1976, p. 2936, ill.
COOKE, C. K.The Storage of Archaeological Collections in Museums. S A M A B (Cape Town), Vol. 9, NO. 14,
Ethnography
AMES,Michael M.Visible Storage and Public Documentation. Curator (New York), Vol. 20, No. 1, March 1977,p. 65-79,ill., plan, bibliogr. AXEL-NILSSON, Christian; HIDEMARK, Ove. Centralmagasin och Lantbruksmuseum fur Nordiska Museet pa Julita Gard. Svenska museer (Stockholm), No. 2, 1975, p. 71-6,ill., plans. BOUSTEAD,W . H. Ideal Storage Conditions for Bark Paintings and Wooden Artifacts. Kalori (Melbourne), No. 35, December 1968, p. 49-50.(Proceedings of the Technical Seminar held at the South Australian Museum, September 1968.) Conservation and Storage/Conservation et Magasinage. In: Jean Jenkins (ed.), Ethnic Musical Instruments. Identification-Conservation/Znstruments de Musique Conservation, p. 43-9. Ethnique. Zdentification
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London, Hugh Evelyn for the International Council of Museums, 1970. (Published with the help of Unesco.) CRANSTONE, B. A. L. Storage. Ethnography, p. 30-40. London, The Museums Association, 1958. (Handbook for Museum Curators.) GREENE, Candace S.\Storage Techniques for Technology Collections Curator (New York), Vol. 21, NO. 2, 1978, p. 111-28,ill. IDIENS, Dale. New Ethnographical Storage in the Royal Scottish Museum. Museums Journal (London), Vol. 73, No. 2, September 1973, p. 61-2,ill. .A Survey of Methods of Storage of Ethnographical Collections. Zcom International Committee for Conservation. Preprints of the 4th Triennial Meeting, Venice, 13-18 October 1975. Paris, ICOM, 1975. (Doc. 75/3/2.) LEVIN, Judith.The Arrangement of a Toy Collection in a Folk Life Department. Museums Journal (London), Vol. 66, No. 3, December 1966, p. 192-203,ill. REYNOLDS, Barrie. Some Ideas on the Storage of Ethnographic Material. Museums Journal (London), Vol. 62, No. 2, September 1962, p. 102-9,ill. SAITERTHWAIT, Leonn; CHADWICK, Neil. A Storage Fitting for Spears. Kalori (Sydney),No. 55, December 1978, p. 27-30,ill.
March 1971, p. 508-11. The Storage of Archaeological Material. S A M A B (Cape Town), Vol. 11, No. 3, 1974, p. 85-7. FERENCZI, Stefan Mihail. Organizarea Stiintifica a Depozitului Sectiei de Istorie veche a Muzeului de Istorie a1 Transilvaniei. Revista Muzeelor si Monumentelor, Muzee (Bucuresti), Vol. 15, No. 2, 1978, p. 45-9,ill. HAYES, P. A. Storage Racks for Service Swords. Museums Journal (London), Vol. 71, No. 1, June 1971, p. 29-30,ill. KOPPATZ, Jiirgen. Magazinierung von Munzen und Medaillen auf Hart-PVC-Tafeln.Neue Museumskunde (Berlin), Vol. 10, No. 2, 1967, p. 204-6, ill. MACDOWALL, David W . Storage and Display. Coin Collections: Their Preservation, Classification and Presentation, p. 53-64.Paris,Unesco, 1978, ill. MULLER, Heinrich. Bewahrung Historischer Waffen. Neue Museums-kunde (Berlin), Vol. 15, No. 1, 1972, p. 44-6,ill. OSTROFF, Eugene. Storage Conserving and Restoring Photographic Collections, p. 14-6.Washington, D. C., American Association of Museums, 1976, ill.
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Natural history
B L A ~ K Pavel. , Novy Ichtyologicky Depozitar Prerodovednkho ustavu Slovenskeho Narodneho Muzea. M u z e u m (Bratislava),Vol. 21, No. 4, 1976, p. 111-14, ill. BRITTAIN,Kilbee. Museum Storage Treasures in Tunnels. Terra (Los Angeles), Natural History Museum, Vol. 12, No. 4, Spring 1974, p. 18-21,ill. DOUGHTY, P. S. Packing of Geological Specimens for Long-term Storage. M u s e u m Assistants’ Group Newsletter (Leicester), M a y 1966, p. 4-5. EMERSON, William K.; Ross, Arnold. Invertebrate Collections: Trash or Treasure. Curator (New York), Vol. 8, NO. 4, 1965, p. 333-46. FRANKS,J. W . Storage. A Guide to Herbarium Practice, p. 7-10. London, The Museums Association, 1965. (Handbook for Museum Curators.) HORNYCHOVA’, Dagmar. Ochrana Entomologickych Zbierok v Prirodovednom dstave Slovensko Nhdneho Mdzea v Bratislave. M h z e u m (Bratislava), Vol. 17, No. 2, 1972, p. 110-11,ill. KANNEMEYER, S. The Storage of a Wet Collection. S A M A B (CapeTown), Vol. 10, No. 7, 1973,p. 274-7, ill. KRUSZYNSKI, R. G.New Storage Facilities for Britain’s Largest Skeletal Collection. Museums Journal (London), Vol. 78, No. 3, December 1978, p. 138-40,ill. LAVETTSMITH,C. Maintaining Inactive Fish Collections. Curator (New York), Vol. 8, No. 3, 1965, p. 248-55, ill. SMITH, Brian J. Storage of Invertebrate Collections in Overseas Museums. Kalori (Sydney), No. 45, February 1973, p. 55-6. STEEL, C. A. B. A System for the Storage of Mounted Birds. Museums Journal (London), Vol. 70, No. 1, June 1970, p. 10-2,ill. ZWEIFEL, Richard G. Guidelines for the Care of a Herpetological Collection. Curafor (New York), Vol. 9, NO.1, 1966, p. 24-35. Science and technology
MCCONNELL, Anita. Storing Ship Models. Area Service Magazine (Hemel Hempstead), No. 24, January 1974, p. 13, ill. Science Museum Annexe, Hayes. A rea Service Magazine (HemelHempstead), No. 23, July 1973, p. 10. SILVESTER, J. W . H.Palletization in Small Museum Storage. Museums Journal (London), Vol. 73, NO. 2, September 1973, p. 65.
rB.181 CC.78/XXIX-Z/A
ISBN 92-3-101632-6
