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1.
《文物保护研究》2013,58(2):65-79
AbstractEnvironmental standards for cultural heritage collections have been much debated in recent years. The interest in the issue has been driven by the growing movement towards green museums, that is, managing indoor museum environments in a responsible and efficient manner, especially in terms of reducing energy consumption and carbon emissions but at the same time maintaining high standards of collection care. Painted wood is among the category of heritage objects most vulnerable to relative humidity and temperature fluctuations. Therefore, scientific understanding of how changes in environmental conditions ultimately affect painted wood is crucial to the development of rational guidelines for the control of climate in museums and historic buildings. This review provides a systematic progression through two fundamental approaches to establish the allowable ranges of climatic variations – an analysis of the mechanical response of painted wood as a complex, multilayer system to climate variations, and an analysis of the historic climate to which the objects have acclimatized. The climate specifications and standards based on both these approaches are reviewed. 相似文献
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Karin Kompatscher Bart Ankersmit Edgar Neuhaus Marcel A.P. van Aarle Jos W.M. van Schijndel Henk L. Schellen 《文物保护研究》2020,65(5):262-284
ABSTRACT Many museums are housed in historic buildings, sometimes the building itself is part of the museum collection. Creating a stable environment by providing a nearly constant temperature and relative humidity at correct levels decreases the risk of object degradation. Maintaining this steady indoor environment, however, increases energy consumption and risks to the historic building. Museum display cases offer a solution to the mitigation of risks to which valuable objects may be subjected by providing an extra layer of protection to indoor climate fluctuations. The Anne Frank House is a historic house museum located in Amsterdam. The museum has undergone several renovations in the last years to deal with an increase in the number of visitors to over 1.2 million a year. The original diaries and other documents of Anne Frank are permanently on display in the Anne Frank House. With the recent refurbishment the possibility arose to design a new state-of-the-art display case. This study presents the results of the experimental research related to the design, performed in-situ. The temperature and relative humidity in the new exhibition space and inside the new display cases were monitored to gain insight into the hygrothermal behavior of these controlled environments. A complementary numerical study was performed to investigate effects of dynamic climate control of the exhibition gallery and climate conditions in the display case under various circumstances. Four main conclusions are presented in this paper. The investigated display case design is able to provide a stable relative humidity environment by means of silica gel, while using an active box-in-box climate control system to create stable temperature conditions. The inner case temperature depends on the temperature supplied by the display case air handling unit. Protocols must be in place in case of malfunction or failure of the climate control system of the display case. The air handling unit of the case needs to be shut off to create a passive environment for the objects on display until necessary actions are taken. Exhibition gallery set points can be less stringent when susceptible museum objects are on display in the display case. The environments are separated and provide an opportunity for energy saving set point strategies. The last conclusion drawn is that the numerical study provides valuable insight into imposing dynamic control of set points for temperature and relative humidity in the exhibition gallery and the effect on the display case environment. 相似文献
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《文物保护研究》2013,58(1):17-40
AbstractA study is presented of the growth of sulphidecontaining corrosion products on antiquities in museums. Analysis of the corrosion products suggests that they are dependent on the mode of formation. Techniques for conservation have also been investigated and l-amido-l-cyanoethylene, 2,2-di(sodium thiolate) is recommended for dissolving the sulphide layers, while a treatment with benzotriazole followed by lacquering is recommended for long-term protection. 相似文献
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《文物保护研究》2013,58(2):134-153
AbstractA broad outline of the considerations which arise with regard to the conservation of a museum collection of tapestries is given in this paper. The various types of damage to, and deterioration of, tapestries is discussed.Various methods of washing and dry cleaning, and the equipment necessary for these procedures, are reviewed, and a caution is included as to the necessity of testing all dyes for colour fastness in both water and any solvent used for dry cleaning. The equipment, materials and techniques of repair are discussed; three methods of repair being currently used in museums and specialist workshops — re-weaving, stitching on to a backing and the use of synthetic resins for impregnation and adhesion to a woven support. It is suggested in conclusion that the optimum method of repair in museums is stitching on to a backing. More research must be undertaken into the use of synthetic resins, and re-weaving usually alters the original appearance of the tapestry.Finally, the need for specialised conservation staff in a museum with a tapestry collection is emphasised. 相似文献
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《The Reference Librarian》2013,54(61-62):265-285
Summary Due to the wealth of information available on the Internet, using it for research is often difficult and time consuming. These barriers can be traced to the Internet's mystic appeal. This misplaced focus often leads users away from the very thought process that directed them to this resource tool. The following article stresses a research process rather than the delivering technology. It details the use of an established evaluation criteria that helps identify quality Net resources. The process also involves locating Net information based on resource type (museums, research centers, oral testimonies, library catalogs, etc.). Although this survey focuses on the Holocaust, the process is universal. 相似文献
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《文物保护研究》2013,58(1):13-22
AbstractInsect pests are an important source of concern in historic houses as the larval stages in particular can feed on a variety of important heritage materials, causing significant and sometimes irreparable damage to collections. Damage to wood and textiles is a special problem. The lifecycles of insects are sensitive to climate and require relatively warm conditions. There has been a significant increase in the presence of insect pests within historic houses in the early twenty-first century. The reasons may include: warmer winters, widespread use of natural fibres, less potent insecticides, and occupation of new niches indoors. The interior climate, especially increasing warmth, offers the potential for greater insect growth and survivability. Modelling changes in the temperature and humidity within the Cartoon Gallery at Knole, southern England, for the period 1770–2100 suggests a dramatic increase in favourable temperature conditions through the current century. 相似文献
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《文物保护研究》2013,58(2):78-86
AbstractSensing devices used in museums for measuring relative humidity can be affected by pressure errors at altitudes over 900 m. The various instruments available for RH measurement are reviewed; an explanation of the pressure error is given and its significance for museums is evaluated; and information on avoidance of and correction for pressure errors is provided. 相似文献
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《文物保护研究》2013,58(2):138-139
AbstractThe Oddy test is an 'accelerated' corrosion test employed by museums to evaluate the suitability of materials proposed for use in display and storage cases, The standard Oddy test requires a 28-day test period, and the results are assessed by visual observation. This paper describes an improved test method, which could reduce the length of the test period by half The improved method uses metal films as substitutes for the traditional metal coupons posing as 'surrogate art object', The new test results are then evaluated by computer with digital image processing for more objective selection of less corrosive materials. 相似文献
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ABSTRACT The aim of this paper is to probe into the social media use by Chinese climate journalists through the examination of their professional practices on social media. Taking COP21 as a case, the study conducted a survey from Chinese COP21 journalists and analyzed WeChat and Weibo posts from Chinese journalists and tweets from their UK and US colleagues. The results show the prevalent use of WeChat among Chinese journalists and the personalization of the social media content accordingly. Compared to their Western counterparts, the use of social media for professional purposes by Chinese COP21 journalists was relatively limited. Nevertheless, several patterns of using social media were identified. Specifically, Chinese journalists tended to more frequently express personal opinions, discuss work experience and favor conventional news sources of authority than UK and US journalists. The results also suggest that climate change in Chinese media discourse will remain more a policy-related issue instead of an environmental or scientific issue, with Chinese government playing a central role. 相似文献
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《文物保护研究》2013,58(3):7-11
AbstractChristian sacred art is not only an artistic and aesthetic phenomenon, but can also be seen as a manifestation of the divine, the objects becoming a presence of what they represent. A substantial proportion of this kind of art remains dispersed in churches and ecclesiastic treasuries without any special provision for its care and much is still in ceremonial use, continuing to be handled and moved. Recording by inventory and transfer to museums are only recent developments. Portugal has developed various strategies for the preservation of these collections, including the creation of Diocesan Sacred Art Commissions, diocesan museum networks where small museums and museological treasuries are maintained separately but have a common technical staff, a Secure Church Programme and temporary exhibitions, which play a role in conservation, promotion and public awareness. Although not conventional conservation, these actions have helped us to keep the memory of the past alive and let us carry it into the future. 相似文献
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《Journal Of Archival Organization》2013,11(2-3):229-242
SUMMARY The translation into French of the Encoded Archival Context (EAC) DTD tag library has been in progress for a few months. It is being carried out by a group of experts gathered by AFNOR, the French national standards agency. The main goal of this group is to foster the interoperability of authority data between archives, libraries and museums, and the translation work provides an opportunity to think about the choices for standardization that underlie the EAC DTD, particularly in relation to ISAAR(CPF). It is also an excellent way of gaining familiarity with the DTD and thereby answering the need of French information specialists to increase their competencies in the structuring of digital documents and data modeling. After explaining the standardization context in which the group is working, a few major themes in its thinking will be presented, in the hope of encouraging greater international cooperation in this field. 相似文献
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ABSTRACTControl of relative humidity (RH) for collections care is challenging in U.K. historic houses because they are often highly ventilated with poor heat retention, a porous building fabric and naturally tend to high (60–80%) RH if unheated. The significance of the building means that large-scale modifications and installation of air handling systems may be unfeasible and undesirable for the conservation of the building. In the late 1980s the National Trust, for English, Wales and Northern Ireland, investigated conservation heating as an RH control method that works with the natural environment of historic buildings, mimicking historic heating and requiring only modification of existing heating services or a light touch installation of new heating systems. The National Trust adopted conservation heating as its preferred method for environmental control in historic buildings from the 1990s. This method was presented at the IIC 1994 Ottawa congress on preventive conservation. Conservation heating has since been adopted by many historic house management organisations, particularly across north-west Europe, where it is well suited to the climate. This paper reviews conservation heating developments implemented by the National Trust since 1994, in response to a changing external context, new knowledge and developments in operational practice. 相似文献
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Over the past two decades, museums and galleries have significantly expanded the scope and diversity of programs and exhibitions offered to children, families and schools. Parents and teachers are increasingly interested in curated public play spaces for children in the early years (from birth to eight years old), and they actively search for accessibility, affordability and quality when planning young children's excursions. In 2013, the Ipswich Art Gallery (in Queensland, Australia) developed and presented Light Play, an interactive exhibition designed especially for children up to the age of eight. Light Play promoted the use of light as a creative material for making ephemeral art through collaborative play, experimentation and discovery‐based learning. As part of the exhibition, a formal research project was run as an integral component of Light Play. Our research documented the qualities that lead to successful creative play experiences for young children in art museums by examining three key aspects of the exhibition: the participants, the environment, and the program. This paper discusses the findings of that research, in relation to making financial and human resource investments in interactive and immersive exhibitions and play spaces for children in the early years. 相似文献
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《文物保护研究》2013,58(1):67-71
AbstractMonitoring for insect pests in museums is conventionally carried out by using sticky ‘blunder’ traps. Trials of traps enhanced by the addition of the calling pheromone of Anthrenus sarnicus (Coleoptera; Dermestidae) are shown to increase capture rates for this species, thus rapidly identifying areas requiring appropriate counter-measures. Progress on developing comparable techniques targeted at another museum pest beetle, Attagenus smirnovi, is also reported. 相似文献
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ABSTRACT Approaches to the measurement of catalog record quality are discussed. The systematic application of specific evaluation criteria may be more reliable than expert opinion, if not necessarily more accurate, and the construction of an error weightings table based on empirical investigation into catalog use is described. Although this process proved to be complex, and involved significant methodological problems, it was shown to be readily achievable. As catalog use may in many cases be insufficiently uniform across libraries to allow for generic evaluation criteria, it is proposed that cataloging managers construct their own set by studying the impact that record quality has on the particular use of their own catalogs. Thus more empirical research into catalog use is advocated, in order to supplement expert opinion and to build toward a practice of evidence-based cataloging. 相似文献
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《文物保护研究》2013,58(4):181-196
AbstractSince the late nineteenth century, museums in New Zealand have intermittently painted Maori wood sculpture matt red in the mistaken belief that they were continuing a tradition of red-coloured carving pre-dating the arrival of the European in New Zealand. Conservation work at AucklandMuseum has restored some of these back to their original surfaces. The article describes the history of the carvings under discussion, the conservation carried out, and some of the ramifications of the results achieved. 相似文献
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《Curator: The Museum Journal》2017,60(1):101-119
The status of climate change education at nature‐based museums (i.e., zoos, aquariums and nature centers) was examined, with a particular focus on centers participating in a National Network for Ocean and Climate Change Interpretation (NNOCCI) leadership training program. Study 1 revealed that, relative to nature‐based museums that did not participate in the training, NNOCCI‐participating institutions provided resources for staff to work on the topic and professional development programs and were more likely than non‐participating museums to be comfortable with and provide climate change education programming. Study 2 confirms these results via visitor reports about the exhibits they observed. Study 2 also reveals that, relative to non‐visitors and visitors to non‐participating nature‐based museums, visitors to NNOCCI‐participating nature‐based museums were more knowledgeable about and concerned about climate change and ocean acidification, hopeful about their ability to talk about the topic, and likely to engage in climate change actions than those who did not visit these centers. Importantly, results from both studies indicate that nature‐based museums, especially NNOCCI participating museums, have an institutional culture supportive of climate science education and suggests that NNOCCI interpreter training programming facilitates this culture which in turn is reflected in visitor engagement. 相似文献
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One Hundred Strong: A Colloquium on Transforming Natural History Museums in the Twenty‐first Century
In February 2012, the Smithsonian's National Museum of Natural History (NMNH) convened 100 colleagues from 43 organizations to initiate a collaborative learning research agenda focused on examining important areas for innovation to better serve twenty‐first‐century audiences. The conference organizers anticipated that scientists, educators, exhibit professionals, and other members of the natural history community would identify and prioritize research questions about what, how, why, when, and where people learn about natural history. We prepared to engage in a conversation about how natural history museums could change what they do. The participants' overwhelming passion for their work, and for natural history museums and their transformative potential for society, quickly turned the conversation toward how natural history museums should change what they are. The result was an emergent learning research agenda situated within a broader vision for natural history museums. 相似文献