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UNESCO

International

Safeguarding for the Hue World Heritage Site

Campaign

by Dr. Heather Peters UNESCO consultant in co-operation with Hue Monuments Conservation

Centre

UNESCO

PRINCIPAL

REGIONAL OFFICE FOR ASIA AND THE PACIFIC BANGKOK 1995

INTRODUCTION Heather A.

TO MUSEUMS & EXHIBITION Hue, Vietnam Peters, UNESCO Consultant

The workshop will be held three times per week, three hours each session for four weeks. Two times each week the entire class will meet for a lecture. On Friday of each week, the museum group will meet to begin planning on the up-coming exhibition in the recently restored museum. The workshop will begin April 5 and end April 28. The purpose of the workshop is to introduce the staff to the goals and objectives of museums, especially as realized through exhibitions. It will also introduce specific techniques used to produce an exhibition. Finally, in the smaller workshop we will discuss the particular situation of the Long An Palace and what is the best way to create an exhibition inside this palace structure. Other buildings within the Hue Monuments Complex will be mentioned. 5 April 7 April 10 April 12 April 14 April 17 April 1995 1995 1995 1995 1995 Introduction Museums The Organization Over-all Object Labels: Workshop Introduction Selection content for of to Museums and and the History of Museums Planning of

Structure to

Exhibition

and Preparation and production Museum Display: Group only Cases, Choosing a

Techniques Colour. The Museum Installation Handling Lighting Workshop Security Role of for

Display

Environment of Objects

19 April

1995

21 April 24 April 26 April

1995 1995 1995

Museum

Group

only

and Fire Guardians

Prevention in the Museum does he or she group only inside the

Education and Interpretation Who is your visitor and what expect? 26 6 28 Workshop for Museum

April 24, storerooms.

25,

INTRODUCTION

TO MUSEUMS 6r EXHIBITION Lecture 5 April I 1995

WHAT IS A MUSEUM? One of what exactly these the is first questions It is we want very to ask ourselves, to to create do it. is the is a just

a museum? and

fashionable wants a museum

museum However,

days,

everyone, understand

everywhere what is

do we really of people as

and what

responsibility Many

a museum? have defined or museums, space and within of does these definitions signifiBut tell than a could ICOM permaof culturus can

be as simple cant this about building also for very all

"a building and/or definition

a building, collections. not is really more definition home.

preservation simple the with

exhibitions of a museum

things exhibitions a private Council which and

a museum does. of collections. in

A museum This a person's

describe

collection of Museums)

(International nent study, al or institution education scientific it

defines and displays

a museum for of

as any

conserves enjoyment

purposes of

collections This that functions definition museums of

objects is

significance. the-fact

much better, insticonser-

because tutions, vation

emphasizes and that

are

permanent include

important

museums

of

objects is

and education. an institution and researches that should the or building which of houses, preIn museums about is

A museum serves, America very exhibits today

collections educ_at.i-o-n&f help us to as to

objects. part of more to

we believe Museums other people

important. and

learn

ourselves

as well

learn

appreciate

beautiful For public,-

things our

that

people we will institution

in

the

past,

or

present,

created.

purposes

define which

a museum as a permanent, cares for further the collections explanation. existence of any the for the

educational

systematically. By saying the museum It is not the

This museum not a life open is

definition permanent, upon its the

requires

we mean that who its employees

does has

depend of to

may be at we mean that it of exists museums,

moment. museum public will

own. public,

By public, but that part of

only This when

good. see below

concept we look

was not at the

always history the

as we

museums. exists for the enrich-

By educational, purpose ment This itself. essential a study Europe, als for of all providing people. that the its

we mean that education, The museum goal is not use

museum

inspiration is to of also create

and a non-profit

aesthetic

institution. profit is and in for

means

commercial

For and room. the

educational such in

collections,

research library in and many

requires In

facilities the to United scholars,

as a reference States students and

museums is open the

library not part when

intellectu-

who are Finally,

of

museum. that the a museum . cares museum provides and permanent the best and it for its collections docu(regisconservathem in a

we say

systematically, mentation tration tion and of and its

we mean that objects with it of under add, its the that of

thorough records possible stores

good provides

cataloguing):

preservation manner also

collections: best possible most

systematic

conditions. people and in not think fact, of most the a mu-

We might museum seums as being ar-e inside

although some sort, However,

a building buildings.

this

is

always

case. called Today,

For

example,

in

the

United early a kind

States Englishmen of "living

there

is

a historic in America. ara

town

Williamsburg the entire

where town is

settled museum" has

where created

chaeological series objects of

research buildings during us turn

together which the to are time it

with fitted

restoration with the

furniture

and

used Now let

was built. of the history are the of museums are which

a review

will today.

help

us to

understand

why museums

way they

HISTORY Museums world was the like to basically collect of

OF MUSEUMS IN THE WEST because please in the the world's people or all over the It

developed things rich of that people

fascinate that most

them. eventually famous

collections the foundation

past

became today.

some of

museums

What which (ancient Muses. over history, B.C. Greek Egypt Great. the nine the

is

the from

origin the times) were of

of Greek it nine

the word

word

museum? In

It

is

a Latin

word

comes

mouseion. to

classical dedicated

times to the

Greek

referred young,

a temple

The muses welfare tragedy, a different city were of part

beautiful love, astronomy. created this

goddesses poetry,

who watched oratory,

the

epic, dance

music, and

comedy, kind of

However, by Ptolemy time North

in

290 the and

mouseion in Egypt. Empire

was At

I in Africa the

Alexandria of the

Greek

created of

by Alexander learning hall,

Ptolemy muses. a cloister,

I established It consisted a garden,

a center of

dedicated an eating

to hall,

a lecture

a court,

an astronomical

observatory,

living cultural century

quarters, objects. A.D. It

a library This

and center

collections of learning for for its

of

biological until

and the 3rd

lasted

was primarily a kind by the museum and their of state, fields also

a school institute but

philosophers, advanced studies

poets for

and mathematicians, scholars embraced supported all the

collections today. collections their beauty,

probably

we recognize possessed valued their often for temples. paintings as well

The Greeks The Greeks or religious their gardens, the Greeks kept

Romans objects

of

objects.

historic however, in In this

significance collections, the baths,

in

The Romans, and sculpture,

displayed public sense, However, the their collection request. During the

theatres

as temples. public.

and Romans

made their

collections

some rich also This which the

Roman general kept practice collector collections marks

and politicians of the statues

and members and of paintings the upon private

of in

aristocracy villas.

beginning show to

might

people

special

classical and created conservation

times

the

people of crude yet

already their

paid

attention The because the the

to

conservation they of

preservation were did to very not

collections.

methods science Greeks with feet

and primitive exist. For shields placed to in vats

example, by coating of oil

made attempts pitch of It to prevent

preserve and

votive they

them at the

rust,

some sculptures is interesting for

as an attempt to note that in

reduce

dryness. Asian Laos, In the Theravada temples order to In at

Southeast and objects. value to

Buddhist also earn

countries,

example for objects

Thailand

served merit,

as repositories people brought

precious of 6

temple.

least dia, public Laos the public

one the

instance, collection the

for

example

Wat PO Veal

in

Battambang, opened the king donated to

Camboto the in by the

became 1960's. a large

an actual The temple

museum which belonging of Buddha is also to images

during also faithful.

housed

collection in Vientiane

This

temple

now open

as a museum. In the idea and west, basically abbeys after the Age of the Only some objects Greeks in and some being Romans, important collected and the

museum churches preserved. It century) arts and art

disappeared. do we find

was only in to Europe

with that

the

Renaissance people began from

(beginning to the once past. of the for art rich, the again

in

the

15th the 17th of these of

patronize the

and 18th and

appreciate

objects private

During and

centuries nature

collections among

curiosities and it is

became which lay

widespread the 18th

collections museums were given kept the in

foundations and 19th owners them. of a "public" in

development These a few

the locked

late

centuries. and only

collections people were

up by their to the see idea

privilege

Consequently, The Then, opened the first during their of these

museum was at Oxford

rather University.

late.

was a university the doors, the were 18th for Louvre still from century

museum

1671 the British

some,of the

world's

great in

museums 1753 and

example, in not 1793. true

Museum

Palace But

public group of

museums. people. At

Initially the British had

the

public Museum, apply

was for for

selected example, permission

a small

people

who wanted in

many weeks

to see the . advance. Only

museum

to each

30 people

day of and

were 15. they

permitted They had desiring to two the were to

to only stay to

visit allowed together

the

museum, to stay

and two

they hours As late had then It

did for

so in each as 1800,

groups visit

as a group. British accepted, ticket. to the

persons credentials further the In 19th this to

visit office;

the if

Museum they

to

present to wait during

their a

had

weeks

for that American group function

an admission museums began led

was only more in

century regard, a larger

become way

democratic. their of in the

museums of people they

opening the

doors the

and

stressing Museums which

importance later to

educational However, tastes the centers to

museum.

started catered museums

America. scholarly on educating becoming continue There ple, science history origins art

unlike of the

European educated public.

museums elite,

American American

focused were they

broader of

By 1900 and public

museums and

education

enlightenment,

be so today. are many different history Among are two kinds museums, these, of the the oldest of KINDS of museums today, for museums, the natural have their examand

museums, museums. museum in the

natural art

history

museum and types the and rich. both

private

collections

THE DIFFERENT Art Museums The collector Usually banker, other Italy, a prince, he purchased beautiful France, objects. England was the nobleman, or force high

OF MUSEUMS

that

made art rich

museums

possible. or and in 16th

clergyman, paintings,

merchant, sculptures,

commissioned These

collections, during the

which 15th

began and

and Germany

centuries The businessmen ed painters tures Rome, Italy from the to

reflect Renaissance and and Greece pope collect the

the

universal made Italy lived They

love the in also

of center

beauty of

by mankind. the art world. The

bankers sculptors. and

who

Florence collected objects merchants and I of

and Venice ancient from the

supportsculp-

Rome and with array the

other rich art

past. in

In

competed a vast 17th rich

elsewhere

of

antiquities. England Around amassed the an same church the 18th quantities

During astonishingly time, officials, century, of the art the

century collection

Charles of

paintings. as high art.

French began Catherine

royal its the housed of

family, own collection Great in the and of

as well of Russia,

ranking And in

collected building she

huge

which

she

a special world's 18th

constructed,

Hermitage, During the slowly

one 17th

great

museums these if

today. private collections to to get see pay per-

centuries Initially,

developed the works to

into

museums. by a particular of these

you

wanted had to

collected the to servants see the of

individual, rich people in

you order

money mission

collections. the Louvre in in museum. to nation the Paris, 1793, Its royal opened to the public as the before Afterward, to the all the the it

The during first French was the

Palace French

Revolution art belonged

may be regarded collections, family. belonged

great

national

Revolution, art

considered

of

the

which

people. The museums. but England 19th Not century only did the is the considered Louvre by continue Gallery 9 in a golden to grow and age for art expand,

and

opened

National

1824

Germany

opened Gallery pean It of

up scores in England not

of

museums is unique

in in

Berlin that from it

and Munich. is one of

The National the of only royal upon the Euroart. death

museums with

to

have

grown

a.collection by the nation

began

38 paintings collector. United States, century. of Art of

purchased

a private In the the

several There in Fine as well, their the

major first

museums major City Boston which in and art and in

also

developed

during

19th

museum was the opened the in 1870

Metropolitan followed In museums Paintings In In to the one size! Today not have the They art

Museum by the the began were 19th to

New York Arts in

Museum century display

same year. in art

directors works of

curators a logical to

manner. artist. used.

arranged museums, European

chronologically this museum, kind of

according was not arranged

earlier early

display were

always

paintings

according

museums strong certainly is

are

sometimes

criticized found about history, created. been the in

because other history, but

they kinds but to

do of

educational tell not things today this to

message us something educate that

museums. their people many art

main the

purpose beautiful

about

show in

man has has both

However, met. public Many art and

museums offer

criticism programs

museums cialized sponsors story

educational For for

for

speof Art

scholars. programs hours

example,

The Metropolitan school children such

Museum

visiting mornings

as special program in art for

on Saturday children. as the

as well offer the

as a radio courses Louvre began arts.

handicapped ing. public

Some museums 19th century by a patron


10

trainof lec-

As early lectures

a series These

sponsored

of

the

tures which public

have trains

evolved students

into in

a university art history.

called They

the

Ecole

de Louvre to hold

continue

lectures.

Natural These (12th-16th that people museums centuries) collected objects that grew out

History of medieval of

Museums and curiosities, parts where had of they the renaissance i.e. world odd things

collections from which different they found things

as well They

as strange believed powers. With botany, tions

lived. or

many of

these

magical

medicinal

the and

development geology, to change. plants, they century and the

of

natural and

science, function

i.e. of

zoology, these of more collecancient about

content People animals lived, natural

began

now collected in order to

samples learn

and modern the world By the subject collections, also were also and places in

rocks, in which 19th Europe

science

was a very much like

popular private they art were

these into

collections, museums did open

developed where in things

to

the

public; these

scientists the world which

research. us,

Because some of man both the in

museums

interested included the The past. first in

around told

collections the present

us about

natural 1683.

history This of is the

museum opened Ashmolean birds,

it

doors

at Today

Oxford the insects, coins, The

University original minerals etc. has

Museum. animals,

collections and been a mixture dispersed

preserved of paintings, other

fish,

weapons, departments

costumes, at Oxford.

into

11

current founded

Ashmolean in 1894

Museum which and is

you

can art

see and

today

in

Oxford

was

a museum of one of the

archaeology. museums with of the world It's ,

The British founded initial to contain in 1753,

Museum, combined based

great library

a national upon natural

a museum.

collection antiquities the

history objects

gradually as well. are in

expanded

and

ethnographic natural history in

Some of One of in 1835 the

greatest was from in For the

museums Washington an Englishmen

America. founded

first

Smithsonian James Smithson, but

D-C.,

by a gift interested States.

who was the money create, to be

keenly United sent under for the to

science, some reason

who had never he left at a request his death

visited for to

the

United

States the and

government

the

name of increase

Smithsonian diffusion received how best created housed gallery is labs. which a vast It are of

Institution, knowledge of Mr.

an establishment among men. 110 bags Smithson's Institution a chemical Today the of of In 1835 a

surprised After in

US congress discussion as to

a shipment to the science and meet

gold.

request, which

1846

the

US congress

Smithsonian materials, lecture of more National

began

as a museum which art Institution and research 80% of

laboratory,library, Smithsonian museums objects, History. Other time York All very are in three active natural the 1869 of American and these field the

rooms. different than

complex

kinds

contains in the

65 million Museum of Natural

about

history

museums

in

America History Natural

created founded History

at

this in New

Museum of Field

Natural

Museum of history programs. 12

in still

1893. have

natural research

museums

had

and

Natural tions to of were

history formed of

museums from the world rocks

emphasize

research. the

Their museums scientific also collected

collecsponsored samples

many expeditions in and order fossils. to collect They

many plants,

parts

the

animals, artifacts Most the in of the

ethnographic vations. research displays scientific scientist

as well people brought history

as sponsored who work back in

archaeological natural history

excamuseums The by the

materials natural classification.

by these

expeditions. arranged at

museum were This approach public.

originally was directed

and

not

at

the

general

Anthropology This emphasizes Anthropology and fields evolution past tion; and the using and societies study of is

Mus.eum a special history is a Greek kind of of man, natural in the history past the and study is which is the museum which in of divided is the of found study of the present.

the

word

meaning

man (anthro=man into study man in four of the the

pology=study). of study: of man:

American Physical Archaeology of his

Anthropology Anthropology which material which the world;

study

the Cultural

remains

culture is the and is

by excavathe culture which by using a is

Anthropology man all over The called and

of

Linguistics

language.

information ethnography.

obtained

research

methodology

Ethnographic natural are ple: history

archaeological and are Museum: sometimes devoted to

objects in art

are

often

found but for

in

museums which

museums, materials, in

there examThe

some museums The University

these

The Musee

de 1'Homme

Paris;

13

National base logical All search exhibit in

Museum the United

of

Ethnography States,

in

Leiden.

The museum which Museum, is

is

my

The University

an anthropo-

museum. anthropological man, the either objects museums contemporary brought back They in is are beauty, alone. objects should the carry man or from are out past either displayed context the art the expeditions man. the in of These to re-

museums or

ethnographic such the

archaeological show This the

fieldwork.

a way as to objects. In can They the best are even art

museum viewer method objects their displayed some that individual the visitor and object better

cultural from

display the

different exhibited and their In

museum. visitor value.

museum appreciate frequently though believe the object

so that aesthetic the

Anthropological the in culture such to

museum, curators

may be beautiful, be displayed the was used.

a way so that which the

museum

understands object

belongs

how the

MUSEUMS OF HISTORY History introduce United been the States turned museums history there into about can of are either be traditional place "historical" the battle museum at in our or museums period. houses Gettysburg which In which tells took the have

a particular many old Or,

museums. a particular

Americans place in Other Chinese objects displays

Civil

War which

Gettysburg. history museums History people are more in the complex Beijing history - for uses of example, archaeological all of China. the The the

National to educate

Museum about

are

arranged

chronologically.

Although

some of

14

artifacts the course

are of

very history. history and

beautiful,

their

main

purpose

is

to

explain

However, kind century museums. the different of museum in

museums concept of we see villages in

developed museums. the

an entirely During the of

different late outdoor 19th history

Scandinavia outdoor periods combined

development were created history. outing

Entire

which Visiting with

illustrated these about

Scandinavian on a pleasant

outdoor ones

museums culture In the

learning

and history. United yet States another Whereas site, century the large complex on this at Colonial Williamsliving and the

burg history objects capital still existed. restore tions century with

reflects museum. to of lived their 18th

variation the colonial Virginia. the

outdoor, moved was, 20th

Scandinavians Williamsburg In the

buildings in reality,

century

people still

there,

and many of and which

original

buildings worked to

Archaeologists the to buildings

historians existed.

preserve

and

Archaeologists site looked like

made excavain the 18th

better and to

understand discover furnished open dress to the in

what other

the

structures. (all In

Now about reflecting the and each life on the and site the

30 buildings 18th working is a

carefully are museum in the

interiors public. 18th of century 18th

century) in the

addition, clothes

staff

person history.

specialist talk the to

some aspect while

century are

They

visitors activities excavate where and

visitors which

and explain also living of find.

different to

go on there. and learn what their about the

Archaeologists sites the become techniques

continue site

at visitors

the

site, can

museums

archaeology

how to

interpret

archaeologists

15

CONCLUSIONS Today desire part things, pretty that history of many led of of we have people to seen how modern thing. museums Collecting as a child they It the liked, have grown objects remembers pebbles passion collections time, formed for out of the
to

collect

seems

human small shells to the

nature. simple from the

Everyone things beach. of the that

collecting perhaps collecting or natural core or

was this great which, the world. people With this art in

formation of great

collections of the these of their

world of

the

museums

Once take care

collections collections.

existed,

naturally need began

wanted collection documented an orderly science

to

management. and recorded in

Collection their clean better Private

management

means They

that

people them in of

collections. conditions. restoration collectors they of having other With

stored

manner

the

advancement

and were

technology, developed. their objects, Finally, sulted gave ning in you, of

and also

conservation wanted to

techniques know more

about

consequently the pride to

researched such people With the public,

their

collections. treasures rein the this the turn begin-

beautiful enjoy this them

wanting the

have

which

collector collections museums. see the

prestige. to

developed and with

opening of

formation So, ant roles

we can of the

development

of

the

different

and is They

importto have a

museum. and

The museum's their

responsibility collections. and to this is

collect, responsibility results

document to

preserve their public.

research to the

collections
Sometimes

make the through

available

16

publication, way the tion, to educated of

but

in the

a museum, public are:

exhibition your

is

the

most

important To sum up, conserva-

about

collections. management,

roles

the

museum exhibition,

collection interpretation.

research,

17

INTRODUCTION

TO MUSEUMS AND EXHIBITION LECTURE II 7 April 1995

THE ORGANIZATION Before preparation understand important together those we talk of the specifically

AND MANAGEMENT OF MUSEUMS about I want to the organization sure that and you all is

an exhibition, organization the different an exhibition are. be run

make of

and management departments and you

a museum. the

This

because to different produce

in should

museum work what

understand

parts

Most museum different museum. scholars and display job ly it is is

museums

cannot

by one people

or

two

people specialists to

alone. in the and research

made up of disciplines Larger trained it, to

different all of require care people running the

who are

which not of the

contribute only

running

museums to but take also the

professionals to

collection, good

it whose

who are of the

administrators A task to keep

oversee is that

museum. a staff

frequentthe

overlooked, clean. are

museum needs

museum

What museum?

the

basic

components

and

parts

of

a medium-size

BASIC Let America from the the us is look at the

COMPONENTS OF A MUSEUM way a medium This organization and English are the use the to large sized museum in but in

organized.

may differ museums, same.

some ways most of

organization

in and

French positions

responsibilities In my discussion University of

I will

frequently in

The University States

Museum as an

at

the

Pennsylvania

United

19

example I have

because been based

this at

is

the

museum with

which for

I am most over ten and

familiar. years. 250

The University has about

Museum 120 staff

The University volunteers

Museum who help

members

about

with

many projects. q .ERI~II~IYI structure that includes at

The .lIJiffeye-~.$~ Most least tions. sonnel needs relations; The Curation collection tions cal these cations ple. section services; sections and we will three

&ctions of -..~ .~-.--- .have

museums major

a management

components:

Administration, section of the

Curation museum the includes:

and Operaper-

The Administration (the and person affairs): the library; section management; consists and is facility staffed (or

persons)

who manages and business;

administrative public

accounting

fund-raising:

publications comprises: conservation; of: exhibitions; management with Using at the people all

and membership curators, and

department. office;

registrar's

research. public

The Operaeducation: Each specific techniof qualifias an exam-

and with

security. very

experience. now look and trained

The University different kinds who work positions

Museum of

professionals, in include some of requirejobs are in a mua

specialists scum . I will

technicians the principle

together and

introduce job description

standardized them. ments These will

recommended together of with

by ICOM for their education museum Europe.

descriptions give in you the a sense United

how specialized Canada and

many museums

States,

-The Chief Officer of.__.the .._ Museum _. _--~~~~.-~.- - .-.- ~_~~~- -_ ..~ -_~ The head and United is of the for in museum all Western is called the of the Director. the museum. He oversees In the is

responsible States and

operat3irons Europe,

museum director

expected related tar. A good eas

to to

be a recognized the museum, these may not and two have will

scholar is also

in

an area to

of

scholarship

expected conflict to

be an administrawith each other. wherthe

Sometimes scholar

requirements the not skills always of

manage fully

a museum,

a good

administrator and educational because often

understand

scholarly In a museum while

functions of has his to put Not United time working spend time

the

museum. responsibilities, activities wish Director This Again doing the to aside do this. should task not

addition, director

administrative his all States raising in a lot the of scholarly scholars the money. museum. his to time

he serves Theoretically,

as director. in a lot of the his

have

to

spend

should

be done tunately, rather and

by other

persons does his

unforthis, museum

he usually than devoting out his

and

energy

managing

carrying

own research. of in in the The University Near East. of Museum He is is an archaewho

The current ologist taught known

Director

who excavated for many years

a new Director at a wellof him a

a Department this position,

Anthropology he was Director which

university.

Before

prestigious administrative A job as follows: specialized responsible staffing, ties sional through

archaeological experience. description The director knowledge for directing, the staff. such of

research

institute

gave

suggested provides the

by ICOM for conceptual of the

a museum leadership museum

director through and is

is

discipline and funding,

policy-making and/or

planning, and coordinating

organizing, activifor profes-

supervising is

The director as acquisition,

responsible

practices

preservation,

research,

21

interpretation, financial indirectly area of the

and management. to the

presentation, All

and

may be responsible report advanced work and directly

for or in an of

museum positions His education: Course and

director.

degree evidence is

museum's in years institution Eel at&w

specialization.

participation able. Three

museum management of management is to the required. .!A!* ezS9.r

administration in

desirrelat-

experience

a museum or

ed cultural QSiez_ -EG&E Secretaries __All with his

directors administrative Museum office organize the

should

have needs.

at

least

one

secretary office are

to of

help The trained being tele-

The director's These word-processing, They his also

University in able phone typical to for

has skills: files

two

secretaries. typing,

persons filing,

and and

papers. arrange

answer

the

Director

appointments.

Associate ____~_~ In ciate Director. there group are of

Director medium to large-sized In the museums there is there in Each all usually is an Asso-

Director. In three people with

The University

Museum Galleries

one Associate D-C.

Sackler-Freer Associate or section. and

Washington,

Directors.

oversees the

a particular departments oversees manages

One manages administration. and and all education research. Director) Director. younger

concerned the the

business of

The second and the third

departments curators, (can and

exhibition

conservation also be called to is

The Associate must have similar is getting that

Director education the

Vice the

experience Director

The difference and is still

Associate

usually

experience. 22

CURATION Curators -

EECTIQI'! .are the Their the collections, them, persons directly involved include them articles in taking care of and as

Curators the collections.

responsibilities maintaining publishing

inventorying basis, collec-

cataloging well tions

on a daily about the

as researching and Larger planning museums perhaps

new exhibitions. have at least one curator for each For which managed sections of its

sections in the

and

an assistant there areas. curator Egypt, Other they and the are

curator seven

as well. sections is These the their according stone, ceramics, or

example represent by a are:

University different

Museum cultural

seven curator, Asia, Oceania, entlyof they

Each

section

an assistant the Middle East,

a keeper. Americas, divide

Mediterranean, sections to the differkind and

and Africa. For example, for thus example, have

museums

may be arranged textiles, of bronzes, textiles, is part

object, will

ceramics or

a curator

so forth. and is

Because associated teach function exhibitions. maintenance museums where courses in

The University with in the the the Department

Museum of of research

of

a university its curators Their and is

Anthropology, Anthropology. the of the system the pieces keeper differs

also

Department is to

primary new

museum The primary

create the from daily

function This of and that the

of

the daily of

collection. maintenance the curator to note In

other of the

collections curator.

is

part

responsibility It are often is

assistant in British

interesting called keepers.

museums system,

curators are

American

keepers

23

not

the

same as curators or take the care of the

and

their

primary

responsibility basis. are answer hand, catalogued queries devote They

is They

to

"keep" make

collection are in order, will

on a daily pieces also other

sure

storerooms needs are

and about them-

conservation the collections. to the

met.

They

The curators, of

on the and

selves both

a combination collections whose results

teaching

research. and

research

and do archaeological enhance the

anthropological They also plan

fieldwork exhitions. The

collections.

Registrar The Registrar is head for of the Registrar's all and is objects ask tell about you the the in the for Office. information storing this This about informaof you all go into the the the

person objects tion, the the

is in

responsible the museum's

recording collection

The Registrar's information registrar's should at that on al-l. office be able time. it in the is

Office the and to

central the

storehouse museum. in where is in the If the it

an object exactly object

museum,

registrar museum room, is

is

in

Sometimes the

storage sometimes it has

sometimes

conservation galleries The

laboratory, and registrar

on display borrowed

exhibition museum. be lost. are in larger than small,

sometimes must

it know.

been

by another objects will

Otherwise, If registrar. ity trar's assistants. Job Museum, office the

collections However, which has has with

a museum will for

need

only

one

museums, 1.5 million

example, objects, and three

The Universthe regis-

more three

professionals

trainee

Description:

The museum

registrar

is

responsible

for

24

creating,organizing, ments, ing: files, acquisition, and

and maintaining retrieval accessioning, insurance, organizes, and handling lending and/or systems

orderly associated

forms, with loans, of the

legal the

docufollow-

cataloging, and storage and

packing, objects. all respon(insurance, data so that expected or of in to A as-

shipping,inventory, museum pects sibility shipping, fact have liberal in able and registrar of borrowing for the

documents, objects, packing

coordinates include objects

which of

etc.). ideas

The museum may be usefully in the area she of

registrar extracted. the

organizes

Education: specialization two years

a degree arts.

museum's have had

He or registrar's aspects

should department

experience knowledge-

a museum in all

and must management.

be already

of

collection

THE ~ONSElJQ4~d4t The conservator department science sible sick completed tory, ration. cially niques. the science for or of is works in people of of These the objects. objects are often training the conservation been department. trained in are the responThe

made up of

who have The when

conservation taking damaged. a university continue training as well are more theory are care

conservators the objects

become who have or art and hisresto-

people

professionals in archaeology in conservation of and and

degree, their includes

and then Their Chemistry, They

a knowledge

science,

espetechon

as conservation technicians conservation. enough and send 25 to have

restoration do research

than of large

also

and

Some museums vator. one.

more afford

than to out

one have to

consereven a conser-

Some museums The latter will

are

small to

cannot their

have

objects

vator has work vators objects It scientific restore their

if two for to

their full-time two help

objects

require

treatment. Sometimes

The University when hire there part-time preparing is

Museum too much

conservators. to do, the

people with

museum will task, for

conser-

a particular

example,

for is

an exhibition. crucial conservation for museums techniques to treat them to recognize which regularly are the used in importance not order only to of to prolong

objects, life. A job

but

description

of

a conservator basis,

is examines and

very

complex.

The

conservator, works when kept to

on a scientific prevent their

museum objects, and are repairs them

deterioration, sees

treats objects relative to

necessaryat proper from

The conservator levels air of temperature

that and

fumigated, and

humidity, damaging usually of light has the

protected intensities specialized as paintings, furniture where to

pollutants

and exposure The conservator

and wavelengths. knowledge sculpture, and wood refer work, to treat textiles, books that the

a certain

class

objects, metals, and should

such

ceramics, and cannot art

glass,

on paper, be treated must program have of of

know

materials Education:

in

the

museum

laboratory. training years including rial ship in in the one

conservator

graduate-level two or more

a recognized theory, year's and

conservation principles training a minimum field, conservators should 26 re in

and practice the of principles one year's

conservation, of general or mateintern-

conservation in a specialized to

training

I wish work of the

repeat,

very not

important

to the

the need

museum

and museums

underestimate

to

hire

a scientifically

trained

conservator

as soon

as possible,

ADMINISTRATION~~S~~~.I()1J __--___-_-Administrative Staff staff matters on the needs is of needs at important a museum. of the one for This museum. or calls However, an entire secretaries The University six projects people and two taking staff care can of the

An administrative many or administrative depending the his the it with and Director correspondence, museum's affairs

be large

small

As I mentioned secretaries to keep his to help and grow

above, with thus, larger, office museum such

least

answer in to

phone order, create and money.

and

as museums administrative to

may be necessary a manager, to take with financial care

accountant of its of

manage Museum who

the has

an office in

a staff

approximately grants,

specialize istrative

issues,

other

admin-

matters.

The museum the research of the

should the

maintain in as

a collections the museum. All

of

books primary

related documents

to

objects such to of the

concerning materials Sometimes department library books There in is

museum,

letters,

photographs should also

and other be preserved. in a special a The

pertaining these called which the forms library kinds

objects,

materials

are

preserved

Archives. part are of

The University the entire archaeology staff in library has Library of

Museum maintains system. anthropology. persons, In all addition,

university and three School.

about

a full--time graduate work

professional training in the also

of

whom attended graduate

students

part-time. an Archives where primary

The University

Museum

27

documents and tions

concerning are

the

history in

of the

the

Museum,

such

as letters, condi-

photographs, possible.

preserved

best

environmental

OPERATIONS The -Exhibit In ments tional This is

SECTION Designer to large function to size is museums to work their organizes At there with ideas the are the into Exhibition curators a visual and Departeduca-

medium sole

whose

department the

translate which

format. of the is one

department in the

installation Museum

exhibitions Head Designer art skills,

museum. with The

The University assistants, consists of

there

together students. graphic lighting. and look

several staff skills, must

some of people skills to

whom are

part-time drawing experience about which meaning designer the

who have and learn exhibitions express The to of the produce the objects this of to in the some

design They anthropology

carpentry all in be willing to but by the the

with

archaeology not only and and

order

create which curator.

aesthetically content work and

pleasing, desired with galleries. educational way. for In

educational his staff

closely

curators The role of

new exhibitions is to

renovate the

designer in goal the tell order small

communicate attractive on the curator

meaning order to

an aesthetically he relies objects to to the and

accomplish the meaning wants

understanding the story relies the

for

understanding But exhibit curator for curatorial the

curator

visitor.

curator

on the

designer Inmany

make the the

as beautiful himself puts

as possible. up the designer educational exhibits. is: staff

museums A job

description translates

an exhibit and

The exhibit ideas into

designer

28

permanent, ings, jects duction

temporary, scale

or

circulating lighting,

exhibitions and

through arrangement

renderof the obpro-

drawings, and of signage.

models, The exhibit and should have

designer administrative a degree

may supervise

exhibitions designer

responsibilities. or certificate art, or in communicadesign use. or

The exhibit graphic tion studio arts, arts

have design,

design, or in

industrial architecture, course work

commercial design,

interior in typography

theatre

with -

and media

The Educator ----___.-

The Educator person programs there is in the to

heads

the

Education primary task the devoted

Department is to

and create

is

the

museum whose reach more

educational Often The active. childas a to been Departof parbasis, A

effectively

museum visitors. to this mission. is very

an entire Department of

department in the arrange school day.

Education large ren group selected trained ment ticular or can At also also

The University visitors for to them the to

Museum

percentage whose during parts to teachers the of

museum are visit will guide the

school

museum

The children

be introduced who has

the the

museum by a volunteer museum to and children. for place

explain provides

The Education adults. Tours

guiding in the

tours

galleries be arranged.

museum take

on a scheduled

The University with special lecture series curators description the

Museum, Public programs about and of

the Events and

Education Department for and

Department which adults,

works provides

closely

additional, public the

events

including given

a by

archaeology visiting the head

anthropology

museum's A job

scholars. of the education department

29

is:

the

museum the public

educator museum's access and and materials

develops, educational to

implements, programs and

evaluates, with the goal

and/or of of a

supervises enhancing the

and understand

interpretation which may employ

collections. of media

resources. techniques, such

The programs, may encompass as self-guides, special or other events, outreach

variety tions, classes, er-training

education demonstrations, workshops, programs

exhibi-

printed tours,

films.lectures, school,

teachas well

programs, training.

as docent-guide responsibilities. education, tion. and

The educator should of

may have have the

administrative degree in

The educator knowledge of

an advanced museum's

an area

specializa-

The Public which fall outside has

Events the a special

Coordinator Education party of

organizes Department. to celebrate and

special For its

activities each It is

example, opening. such

new exhibit also and

accompanied music

by a series

lectures Events year,

events

as films

performances. other lecture events series,

The Public during etc. Special--t specialist radio to the

Coordinator culture

also days,

organizes special The

special

Public

Relations Relations and the

The Public local the newspapers events at This informed It learn is

works stations

together in order

with to

the publicize in re-

TV and

museum or is the that

announce

new discoveries people will and

search. stantly ments. they

activity of hoped its

important

so that ongoing

be conachieve-

museum's people

activities the

will

support

museum after

about

activities.

30

The..Securi __--All ies during not steals simple

trm-!3erds must

___. have attendants The objects anything. about tasks the is gallery clean, the job in of the of some sort people and also in is to the galler-

museums opening to

hours. the

these gallery

remind make be able sure to They the checking cases so I do not profes-

people no one answer should number to are that need sionally In receive the is see

touch or

damages

They museum day,

should and such

questions specific in

collections. as checking and night, the wear museum a uniform them. even more

be given of if objects the It visitor tell you

every each

morning sure

floor is

and making that the

clean. the to

important can that staff easily night to around

guards

distinguish security handle the and public. more world, are looked Under do not are rude of This of the

identify requires serious the

trained

emergencies. guards upon are uneducated, rest it of

many museums a very staff that while low

salary the

down these

by the

museum no wonder sleep

and

circumstances, their job to well. visitors.

many guards on duty to create and

perform and pride requires museum that people staff is

They It the tude is

impolite and

important of part also are

a sense

responsibility a change in atti-

in

position on the It is

being of

a guard. the rest to

staff. the security alarms them. The

important only of

remember as the

and

devices

as good the staff

who monitor crucial.

professional ity Museum

level has

security of

The Universas an

a large

security at

guards 2:00

as well a.m. was on.

electronic noticed that

security one of

system. the security

One night

a guard He ignored

alarm-lights

31

it

because

he was

an irresponsible that

guard. three objects

The next had

morning been stolen

the

museum from

director museum!

discovered

the

The Cleaning This must and or its

Staff __is important for responsible The and not cleaned will there all museums. for floors left cleaning must in Every the museum museum the the

department assign cases taken people

who are

on a regular out of the

basis. museum

be swept, and If their about is the visit

garbage cases museum and think

corners, week.

must is

be dusted dirty that and the

everyday unkempt people

and visitors

every not do not a dirty

enjoy care

who work In

their also cause equipa

museum security a fire. ment left

and

their

culture, Rags

addition, left trip in

museum corners

risk. Staff sitting

and garbage could the

the

could and

and visitors around

over hurt

the

brooms

museum and

themselves.

ADDITIONAL-SECTIONS Museum Every the museum for Shop museum to

IN A MUS,EUM WHICH ARE USEFUL ---__

should

have but

a shop. it should

This sell simply

is

an opportunity which are

for

make money, sale the in shop

items tourist of

suitable For the jects, cally items. the

a museum and not could sell slides and

knickknacks. objects of from ob-

example, museum's books relating

reproductions of objects, as well

collections, about to art objects also

postcards as ones

archaeology in sell the museum, things

specifihandicraft which have

and well-made tee-shirts

Many museums name of has the two

like

museum shops.

on it One for

as a souvenir. adults of art which

The University sells books, and teeand

Museum shirts,

postcards,

reproductions

objects,

jewelry

32

handicrafts designed and in games other for

from

other

parts

of and to

the has

world.

The other

shop books, and

is toys

school help of the

children children world.

many educational about people

which parts

learn

cultures

RestauraD_t

..-~_r Cafe today have a restaurant or even meals for and or to the rest cafe its which visitors. and taking sells This visi-

Many museums coffee, is tors cold way drinks, to

snacks, additional chance

a good often

earn the

money sit down

museum, while

enjoy

to

some refreshment. Conclusion -.-----Many skills tehm, to the each dinate different exhibition are and different needed only then this to kinds run will goal, of people with They different must work kinds together In of as a order among with to coor-

a museum. the there in the museum must

function be good

smoothly. communication must speak

accomplish various other their

departments on a regular activities. departments for the of

museum. and have

People regular see next a role

basis

meetings week, in all

As we will the museum

these a new

play

creating

galleries.

33

INTRODUCTION

TO MUSEUMS 61 EXHIBITION Lecture 10 April III 1995 OF EXHIBITION

INTRODUCTION

TO THE PRINCIPLES OVERVIEW

Permanent makes guishes already collect, a museum educate done a museum

collections a museum. from of It

of

objects is these center for

lies

at

the

core that

of

what

collections or the a school.

distinAs we

a museum know, protect, also the on them. to has public part

a research the reason and

museum's these

existence

is

to

conserve, the

research to

collections. with research chosen exhibition very carefully and that

But

responsibility its collections is the the

communicate and the method

about

is

The exhibition with and to of put

unique

by the is

museum a very about

communicate endeavor want purpose

public. must

Therefore, think

serious what they

curators on display

and why. is to the educate, purpose of that of is the to exhibbut

The main teach it in is the visitor

an exhibit new. appreciate of the exhibits

something learn the the to

Maybe the

simply

to

beauty is to etc. put

an object, people a people. out in

many museums history, to our

purpose culture,

educate of

about

technology to

According with

definition, order is about to him in the attract or her United not

simply

objects

cases

no logical The difficulty

an exhibit. and visitor designing to look an exhibit at your is exhib-

planning your to learn States

that it,

you arid In

both you

want want

something and attention Europe to

as well. exhibitions museums, have and many

museums a primary

become

way of

attracting

35

museums

compete

with exhibits.

each

other This

for term

what derives had the to

we have from capability sections

begun the

to huge of

call bombs

"block-buster" used ing in large the

Second sections

World of

War that

destroyas

a city to

(we refer

in it

a city an

"blocks"). "explosive" visitors. visitors popular. Egyptian crowds museum tion. orderly quite are others of is for ruler

When used and The powerful reason

describe exhibition

an exhibition which is theme of the will expected of the

means

attract to exhibit of the

many attract is ancient The forced an exhibicreate an large the many very

why the the the Tut, subject

exhibit or

because example, King

contents or

tomb

a paintings see these

by Picasso. exhibitions structure how to like to

people

which to

came to the had to

designers For way often example, to

re-think they the

way they think about I would

see

exhibition. are and then

add that They even to

these by one different

exhibitions museum

traveling they travel

exhibitions. to others,

created in

countries. criticize too much and this these do not exhibitions provide need of not because enough be true. have they

Scholars entertain tional curator very the the content. and clever visitor. Exhibitions nent want proach show in to

sometimes visitor

educaThe to be

However, designers and must

criticism this kind both

who plan devise

exhibition

a way to

entertain

and educate

can

be "permanent" because if it they three to is

or

temporary. most

I put

permatoday apto the

quotations, rotate is good of the for their

possible, have

museums This visitors gives

collections at least

on display. It allows and it

reasons. the 36 public,

more

collections

objects display. storage, generally objects after tired start labels constantly might our

a "rest". They greater more are

Objects exposed fluctuations dust

can to

suffer higher in

damage light

when levels and

they than humidity

are when

on in

temperature Thus, periods design as the it of

and to keep

and pollution. for the Labels, very long

is time. itself

not

good In

on display several years,

addition, to the in there look cases, the is

exhibition as well The outdated. done

begins inside contained

and weary. to look dirty

fabric

and worn. may become being for of their is

information This by scholars. which is

themselves

because

new research new sites, interpretation aim to

Archaeologists completely change

excavate previous

example,

a civilization. "permanent" because many museums exhibits. on display for

Consequently, exhibits it will is every expensive rotate only five and

many museums years. time In

change this

reality,

difficult

consuming. in

As a compromise, their exhibits They "permanent" remain

some objects Temporary period of time.

an even weeks these in

shorter or as long

may be as short several months. and defined of money

as a few Often staying

as a year. exhibits for "one are

Most

average

temporary your museum travel to the of an create to

traveling.exhibits -----~~(usually a lot it who can

after

venue" Because

as three has usually

months), been to and

they spent

another. a temporary number time exhibit they are it of is

exhibit, people

makes see

economic the exhibition on the and tear

sense

q aximize

the

amount traveling

displayed. puts a lot

However, of wear handled.

other

hand,

also

on the these

objects

because a

constantly exhibit is

being

Despite

drawbacks, to do think

traveling

something

your 37

museum may want

about tions do so. more project process museums the

in from

the

future. foreign

Many western countries and will

museums help

like to

to find is

borrow the

exhibito it The in the the two in is

funds

When an international like a short-term usually there as they States is takes joint three

traveling venture or four scholarly the

exhibit between years to two

planned,

museums. and

organize

considerable jointly or prepare Europe. includes

exchange exhibition is from is planned It the for

between its

travel to

United

A catalogue scholarship conference

prepared both

accompa-

ny the and

exhibit

which

institutions, of the work, to

often

an international to celebrate provide parts of the the the

as part is hard

activities but show it would other

exhibit's

arrival. government history and

Vietnamese world its

opportunity

culture.

DIFFERENT There review 1. The them "Open is are different

APPROACHES TO EXHIBITION approaches to an exhibit and we will

here: Storaqe" when Approa.cc are put you on exhibit have them. This in the the called in a completely is little is is

This random

objects

manner

simply and little

because

There kind United of

organization found not 2. in

explanation. local museums display

approach and

some small, a good Approach

States

considered The Object The object

way to

museum's Aesthetic

collections. Exhibition1

(sometimes as its

approach, is their the most primary

name implies, used is on the

centers approach objects. in

around art In muthis

objects.

This

frequently focus

scums , because approach:

38

1. 2. 3. 4. 5. The sometimes

the they they they they

objects are are are are

are arranged researched given lighted

selected in a case

labels in exhibit an attractive manner but enough because: that the are visitor selected should for the it ideas.

intent focuses

of

the too is

may be educational, without

much on objects also called

The approach 1. appreciate exhibition 2. 'visual generally in In the aim the of

aesthetic is

the

presentation of the objects

beauty

which

on that order to

basis. achieve this aim, and are there other is a minimum of aids discreet, are and

interference'. kept to

graphics a minimum, with of the the or objects.

interpretive and

subservient

no way compete 3. The design all the

presentation, is compatible

i.e.

the with

museum environ-the aim, and an

ment

and

components, is created.

aesthetic 3.

*ambiance'

The Didactic-_BDproach Exhibitions which 'didactic'. encourage the are intended Their visitor to aim to impart is to information instruct in and are to and While exhibinot left through such as to

generally educate. thinking all tion, the the exhibits the objects use of

called They process. can

engage is in the

a learning

Intellectual be broadly

stimulation educational,

important. didactic are exhibition

instructional themselves, specially

and educational but created are built

functions into the

interpretative

materials,

39

labels, cludes a.

graphics, several The

photographs, types.

etc.

The didactic

approach

in-

Systemati-c.Approach this of we can approach objects say that also according it is relies to upon objects, it system. used implies In

Although an arrangement this might sense,

an accepted

didactic. was favored

The system

be taxonomic. and fauna for for could of the the

This

approach for Although scientist, visitor. If, the for

by many natural for an exhibit method necessarily the are live is all in could of on the is very system

scientists, flora and

be used,

example, this it

Vietnam. natural general

display is not

informative interesting used the Bien to the might material

Alternatively, example, groups their You would their clothes way you culture approach nor In the general from specialist what in the you who artifacts put

be typological. culture of

displaying in the Dien

minority display use.

Phu region, types of tools objects similar to point specialists out in

one way to things in they one

according their their and

agricultural ritual contrast like

group, In

another, compare

another. items that in and from this the

this

different kind west of today,

groups. is fact, not

I would favored is it by favored it who It

museum

by anthropologists is will is also not very not for in is Idea the

ethnographers. for very kinds manner.

museum

context,

interesting remember certain this

museum visitor he has who still approach described Approach1 the educational seen.

probably useful only culture today The

much of

research in most

material museums b. This

The preferred "Idea Approach"

so-called (also from

below.

Approach comes

called..Thematic the belief in

approach

40

mission 40 years Now it 1.

of

museums. and was

This

approach to

to

museum display advanced How does what story it or

began at that

about time.

ago is the

considered

be very

accepted curator

as general begins

practice.

work? idea should

by deciding

be presented. 2. 3. them models; 4. concepts 5. he plans or ideas the with the with much the like ideally approach both the exhibit various exhibit "idea so as to teach, emphasizing the from then he decides needed institutions, how the objects or story from uses can the best be put across; or drawings borrows or

he selects other

collections

photographs,

techniques; as a unit. approach" with reality, used. and the is too that it can and of too the

he installs

The problem sometimes few object the time objects. and curator based 1) 2) the the that In to the upon they this based their use the recent the be too

a textbook and is in often

many words a combination

Hence, idea

Using ideas

this at the

approach, same

selects on: significant purposes should years,

objects

objects of your

in museum

the

collections stories or ideas

(what

be put

across). have the begun visitor and more to add in devices. what and interactive the visitor a new dimension This is based is

museums which aid

exhibitions of participatory that in install in the

learning. It they

techniques people the learn process. such exhibit things which 41

idea

about

see when using

participate technique displays

Curators like allow

designers

computerto ask

further Other

questions techniques

about involve

the

exhibit,

or

even

to

test

himself.

interactive-videos. OF A GOOD EXHIBIT outline of the like for stages to you you

CHARACTERISTICS Before must a few in 1. tion going to over the

planning

go through general while should of its you other for

make an exhibition, which your and the not you are

I would recommended

introduce to keep

guide-lines you plan

mind It

exhibit. It the live not must staff, ordinance fragile people provide for the protecFor museum. like touch

be safe objects, would hand,

secure. museum,

and visitors. in a war objects, could easily

example, On the costumes, them. 2. It

exhibit would in

display so that

example,

a way

should and

be visible. shown with not in

The exhibit a minimum have to to take see of

must

be lighted, and to the

unobdistracmuseum, have glass to or be

structed tion, lean careful museum 3, It

inconvenience

You should over tables with case should the (also catch

a flashlight an object.

order

You also striking the

glare called the

cased

by sunlight

on a

vitrine). eye. An exhibit that visitors pass by is

a failure. 4. It should look the the good. visitor. visitor's produce purpose grab attention. emotion, time. An exhibit entertain, means that must To each or An exhibit that is dirty and crudely

made will 5. It

repel hold

should

educate, accomplish display

stimulate, this unit must

and even This attention

requires the visitor's

and make him

42

her then 6. It

stop will

for the

a few display

moments

to

read

the with

label the visitor he or

and visitor.

to

look.

Only

communicate

should his of

be worthwhile. attention, we can with to his the visit. has the visitor

When the say that

stops she of has the

and

gives

the into the

exhibit a kind

entered contract,

contract give of

museum.

As part of

museum must for the time

something In summary,

value exhibit is

in

exchange uses sig-

a good and

nificant

objects,

an important

purpose,

well

planned.

THE BASIC A. Concept

STEPS YOU MUST GO THROUGH TO CREATE AN EXHIBIT or-Initial what who upon what means is is the your Planning-Stage theme primary or story audience. of the exhibit.

Phase

1. Decide 2. 3. 4. exhibit. visitors 5. so that your Decide Decide Decide This should Meet

a title. you you want your visitors think when talk the about they about visual to the leave your learn from your your exhibit. with him of

should to answer

questions the

be able the

with

designer to think

and about

ideas

he can

begin

interpretation

ideas. 6. 7. Make a preliminary a preliminary to allow This budget. time to of the schedule 24 months time is for for the exhibition organizing especially a lot can of a if consermore own and a

Create We try

work. major

18 months amount if

new exhibit. is or if if it being money is you

needed need

catalogue vation, quickly collection,

produced, has to

objects Exhibits objects

be raised. and create if the

be done your

necessary decide to

come from oriented

an object

exhibit,

43

the under order

curator these to

does

not

need

to

do a lot of

of six

research. months is

However, needed with

even in

circumstances

a minimum

produce labels.

an attractive,

well-organized

exhibit

meaningful B.

Secondary-~Planning 1. Develop

Phase-_ researched of your your from in outline exhibit story. your your exhibit collections exhibit outline. you which can This may wish be is to and for the the exhibition of ob-

a complete, the to content illustrate objects the list. objects. is not really you ideas

- this jects

includes your 2. want

kinds

Make

a list

used the add

to

illustrate

preliminary or subtract step

As your

develops,

This time ing as #l. with 3. all the

second, should

but know

is your at

done

at

the

same

As curator ideas

objects the

and be work-

both In

and object if they their

selection

same time. does not contain to

some museums, of objects other borrow other visit

own collection they or then even you

kinds objects are able

need,

make arrangements private must collections. also

borrow If you

from to of to

museums pieces, collections,

do research Eventually final selec-

on the you tion. 4. exhibit. ings, will

content have

and make a list. to make the

these

collections

Develop This

a list list charts, a list want will

of

"support" include

materials things even like things

needed

for

the drawand music. to the

photographs, like films

models, 5. Develop you will

maps, of to the

and

supplementary such

components

exhibit logue,

produce, a lecture

as an exhibition a film series.

catathese

a guide,

handouts,

series,

44

items

are

usually Stage-of you should clean

produced Planning have

for

a special

exhibit.

C. ___Third

1. After each vator needed. object will

made your

final by the do any

selection conservator. conservation

of

objects The conserwork which is

be inspected the object and

The conservator can under be exhibited what kinds (if of

will too

also fragile,

decide the

whether decision

or

not

the

piece and

might

be no),

conditions. should a long exist, If begin time. photographs a catalogue be taken should is
after

Conservation it will
2.

work take do not exhibition. photographs

as soon

as possible,

because

sometimes If in they the

be taken be written, the piece

of

each then

object

to

professional been cleaned 3. write the 4.

should

has

and

conservednow begins to research the pieces in order to

The curator labels. Labels The curator

must into

be able

to

take

scholarly

essays English

and the

"translate" general public There 1,

them

simpler,

straightforward

which

can are Primary In

better three text

understand. levels panel maximum the Panel 75-100 or words at the most. They of introduce a of 250 words main theme of the exhibit labels:

English, introduce Sub-text have temple

These

labels 2.

These specific

should site or

a particular

cluster

artifacts.

45

These

labels

treat 3. I.D. the have basic

the

sub-themes labels

of

an exhibit

These object providing object's what where it's it's it is date

are

individual this kind

labels of label. about

for

each They the

object can

and each brief,

should only name is it

be very

information

piece:

made from from

accession We will

number talk more in specifically greater detail At you the about labels, their content

and

their 5.

production Catalogue to write

later. same time that you the research cata-

production. the the the labels, exhibition. amount of you kinds,

and logue

begin to

should

be preparing

accompany

Essentially, mine number quality the of of kind of

your can

available produce.

funds This of

will

deterthe the

catalogue the quality of

includes essays,

photographs, paper, that the

the printing have

number in

of you

general. had in a lot Hue. of experiyou

I am sure ence could What to in tell are the publishing

most scholarly

already here of in in

monographs the process

Perhaps here. a catalogue

me something steps you

about would In prefer

publication

go through Europe to and

planning North

accompany most time true

an exhibit? publishers to for produce Vietnam

America 9 to with work

(and 12

in

China) months Is this

have

approximately monograph

a good-quality as well? If

photographs. on the cata-

so,

then

46

logW?

must Just

begin

early

on in

the

exhibition of after know from the the

planning objects object

stage. which has been will be

as a reminder, should

photographs be taken I also it very in

in

the

catalogue and

cleaned publishers or her

conserved. do not like

experience the curator and catalogue publisher at

that changes the last his

much when the exhibition in for out that the

mind wants is often

about to

an object include this

minute This

object

as well. to in of do. United

physically also like today to

impossible point not

the

I would States but are and

catalogues picture books

the

Europe with

are

simply

objects,

books research

scholarly on the part

essays. of This the is

They authors why they

represent and take in two that are

new and regarded longer languages the foreign to also as

serious important create takes language 6.

scholarly and more produce. time

worksProducing of

a catalogue must guarantee

because is your

you

version After

properly objects you

translated. have are been selected to with and research the designer of the they are your at laagain exhibi-

conservation, bels, and tion. You should with him. you begin

and while should to at the

beginning meet

same time detailed

produce

a more

visual

design

go over for

the you to work

"story exhibit what

line"

as well have of cases

as the already are what

object8 been available. the could also of

The space and you

should kinds

selected,

have will like.

know

The designer exhibit be placed the could and look

up several He will suggest could to 47

sketches where

of the

objects It is

how the of

exhibition the designer

be organized. guarantee the

responsibility

stability

each

object. of

Some objects, bracket inside and might to hold the

especially them cases. stand to in

small place

objects, - either

may require on the Neolithic wall,

some kind or on the is

blocks unstable pots of

Round-bottomed by itself

pottery stand, bags.

cannot need

without inside with

a frame sand

or

other All

be weighted

these will

issues also other

should help graphic

be considered. plan the materials should design you have want in designs I will of the text to use in who

The designer panels the can and labels

and

plan

exhibition. help to design like in

The designer's the to charts point today to out have

office

an artist to the include.

and diagrams-you that very to some exhibits elaborate fabricate.

I would States require two 1. and

United

Europe time

which provide

a long

design

and

examples. The Museum forms for objects. in the of Mankind of the in British London is the ethnographic Their to museum staff display market all are

which famous their created the

part creating

Museum cultural

complex. environments

complete

One such mid goods the which the 1970's. sold

memorable

exhibition

was an Arab with

The exhibit in the market.

came complete As the smell and

food

and

museum visitor see tape all the wonmusic

wandered derful together

through things with

market were sold of exhibit

he could there. voices they the in

An audio the

played

sounds

background. was one which The designers intro-

Another duced the wares the the inside and altars

wonderful Mexican of their they Festival

created Dead. with

of

fabricated household

Mexican altars placed

houses to all their the

complete

all In

their the used

ancestors. special objects

houses during

and this

on

48

very

important

festival The exhibit

when

Mexican

people

honor music

their and

deceased a videojust

ancestors. After been 2. the to

had many photographs, the exhibit the he felt festival

visitor and

left

as though itself.

he had

Mexico

experienced Museum did

The University America. of

an exhibit and designer living in the who

on the created jungles lived

use the of in

of

feathers ecological

in

South habitats and the

The curator several tribes of the

South

America in

placed large

mannequins people-sized

people

these wore

jungles and the with the music

cases. every day were

The clothing put into the

they

objects birds exhibit played

they that

used gave

cases

along

them with the

their a tape groups.

feathers. playing

A video the

accompanied flute

together by many of

haunting

D. Pr.od.uction 1. Building After the designer the

and .FabrJcat$.o.n the designer and his of the staff Exhibition and the

Stage Parts curator to agree upon and the design, the

begin

fabricate

produce

different We will the exhibit, 2.

parts

exhibit. later the installing that fabricating labels and the of text the different parts of

discuss including and time

panels. in have the been and exhibition. working repaired: charts is in on the and fin-

Mounting the

objects you been

Now is comes text together. panels

everything have

The objects and labels together

cleaned

with the to with the

photographs of the exhibit

and exhibit is

diagrams ished

have

been

completed; necessary together in each of

design make the the

and everything Now the curator,

place. to in-

designer, or in the

begins spaces

stall

the

objects

cases

created

49

for the Once have

them. walls all to

At

the

same time with are correct in greater any

you other

are

hanging

the

text

panels and

on

together the create lighting objects the

labels, and for in the the

photographs labels exhibit. lecture. in

chartsyou

installed, lighting detail Staqe you process, are

place We will

discuss E.

a later

Supplementary During the the to For people materials in

Actiyi.ties whole exhibition time

For. Speciaa_Exhibits working there are on the other scholarly things which

aspect you

of

have 1,

prepare. example, know called the when about an exhibit it. In kit" and order to the opens to you have to have must in This press a way pre-

to pare

let

do this to

you

a "press radio station

send

reporters

newspapers, kit should 1. 2. 3. 4. 5. worked 6. opening

TV station.

contain: to to the the museum exhibit. from or to slides the most the the exhibit of objects important curator(s), to in the exhibit who

An introduction An introduction A list Selected A short on the A list of the of

"highlights" photographs

introduction exhibit, of events for

people the celebrate

example which are

designer. the

scheduled

exhibit. should have these materials require want time of for the 50 the your the several a press exhibition exhibition the can weeks before

Reporters the exhibit

opens. in their the

Some magazines advance magazine if you at the

announcement to be

several mentioned Just will

months in

opens. museum see the

before hold

official

opening

exhibition, They

a special

gathering

press.

exhibit exhibit. it the 2. the

in

advance Then, the it

and

interview

the can

people

who worked a review of

on the the exhib-

newspapers opens. also plan

publish

day Most

that

museums of the

a party

or

reception

to

celebrate

opening 3.

exhibit. with the opening of activities we opened a new exhibition to an exhibit Museum, in about complement about we had the most the history of Asia mu-

finally, several for

seums exhibit, of

plan

educational when at

example, in Asia

Buddhism

The University about Buddhism films

a series parts of

lectures

by specialists

different Buddhism. in

and we showed invited special educational give subject planned lectures of to the members opening

some documentary of and the Buddhist

We also to as an also have on the is to a

community them of and the to to use exhibit

Philadelphia exhibit might

encouraged The curator

the

tool. for

the

public

write

some articles

exhibition. the topics

Sometimes

an academic of the

conference exhibit.

discuss

and themes

51

INTRODUCTION

TO MUSEUMS & EXHIBITION LECTURE IV 12 April 1995

CONTENTS OF THE EXHIBITION I. As you tion approach probably is which display one is OBJECT SELECTION have that primarily can the guessed, is based art, AND PREPARATION my preference on themes a more or for ideas. an exhibiEven and inin

an exhibit formative

educational

approach I introduced go through museums slightly

be used. general they over-all plan planning new exhibitions. approach no matter otherwise and at. How you stages

On Monday museum Obviously this kind specialists different of plan

when and

different differently.

individuals However, plan it,

planning your

how you will end

exhibit, an "open of objects

you

must

still display

up with group this to

storage" put out

- a confused people to look

meaningless can we avoid In based order

for

happening? avoid this, plan, your you selection probably plan" is or she of want which objects to will It want the ask should me? for up to be

upon

a plan.

What

Unfortunately every the exhibit, curator(s)

I cannot because to to to decide learn

give every what when you the

a "model exhibit idea he or

work is their museum.

different. they to of

theme comes

museum visitor I can do is

What

provide for

with

some examples I have to go in

how I made and the

preliminary process of

plans

exhibitions objects

curated

how I selected

them.

THE BUDDHIST The idea for this

EXHIBITION exhibition

AT THE UNIVERSITY began 53

MUSEUM to several

as a response

different museum the had

needs just

and been

ideas.

First,

the into Asian

Asian one

Section section.

in

the

consolidated and Southeast had been

Previously, (mostly separate did enough not to make warrant Thai from

Indian

materials

materials

archaeological the much Chinese sense and

materials) Japanese the and both under the

administratively This was not system large

materials. collection

because curators

separate our all

keepers.

It

was decided and administratively head

we could

maximize by putting

strengths, of Asia

economically one section. The head It

was the curator,

curator

who first and museum an

came up with Indian at that specialist time,

idea.

an archaeologist Director idea all of to the the

who was also decided that it

Associate would which

be a good unified

mount different

exhibition parts of

illustrating Asia. Buddhism during the Asia

a theme

was such late 1970's

a topic. and early Laos 1980's, many had Chinese Philadelphia arrived in the refubeen and for

Second, gees from

Southeast in

(Cambodia, We already had lived

and Vietnam) a large around

resettled Japanese many years, late dhism also about 19th could help the Third, needed ful had hire 19th not

Philadelphia. which Chinese It

had and

community (the century).

in for

community, was decided to this

example,

that community. in of

an exhibition Ideally, learn it

on Budcould more

be a service the non-Asian and

community traditions exhibition to clean

Philadelphia its

customs we used

new neighbors. to write a muchbeautiwhich to

this grant

as an excuse and lacquer This grant staff restore Buddhist gave to

conservation century been stored

some very sculpture us the

Japanese properly-

wooden

funds and

an outside

conservator

and

her 54

do detailed

difficult clean and These

work

on pieces under were the

which regular

we would

not

have

been

able

to

conserve then

circumstances. motivating was early - about began they forces Spring two years. for us to 1983 the after many and

preliminary

do an exhibition we had an opening work

on Buddhism. date on the object work. thing the would to I was exhibition, be used first You see, know the to asked of

The time 1985 pieces because

November Japanese list

conservation we had months

immediately required

a preliminary of tedious first for

The story objects do this, the did first knew been for in line

to

do was to

write

an overall list In objects Museum of order in and to

including illustrate myself

a preliminary the with story. the

which I had

familiarize

collection. not yet

I was new to very work there alone,

The University well. the Fortunately, Associate an older Asian

collections not and

on this Director

exhibition, the Indian

I did pieces, with and

was also Museum's Keeper.

woman who had collections me immensely

associated many years

The University served as our

She helped

this At

process. the same time to I was becoming the storyline. to illustrate to wanted Buddhism, along although all show to familiar with the collecwas of

tions, first, Buddhism spread es the

I began historical-

develop

The storyline the the development places the and

I wanted the

and wanted it two left major depict India.

exhibition I also of routes that and

Buddhism differenc-

illustrate Mahayana

branches the

Theravada, Another a unifying it also was

and visually theme, religion was to which

which

they

spread. was that

demonstrate crosscut

Buddhism of Asia,

linked

55

a vehicle culture. absorbed place it

to

illustrate

the as you

individual know, was

character strongly and in or

of

each

Asian by and of each from In each

Buddhism, aspects went in to. Japan, of

influenced philosophies China in differs

the

local

religions Buddhism in Thailand

Consequently, in Tibet, has

Buddhism of these

Cambodia. and

areas

Buddhism to

a distinct to tradition our

personality museum visitors for in the faith. began how to plan major to people West not

character. that

Finally, Buddhism today, western but

I wanted was still in had

illustrate

a living Asian adopted this our

only that

in

Asia

also

communities the storyline, designer In of to Buddhist

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many

people

As I developed nary ideas visually dhism and meetings into with a visual show have temple collections to for to the the Far the

I also discuss

have

prelimimy to Budfrom a

translate I wanted of

display. development both climax lots

my original the in two full-size for

branches altars this

them

- one display

Japanese of the

(we had of

of of

material the century

because who had sculplater

a turn to

Philadelphian and Buddhist temple have create the (this

traveled ture proved

East and

collect from

minerals a Thai not to

museum),

one

be a problem from purchasing in to Thailand do this),

because with

we did which

Buddhist an alter. and our not wanted not want as a have each We

paraphernalia thought colleagues the of funds the of

Thailand modern

Buddhist but

paraphernalia in the

approved,

end we did I also I did

As an anthropologist, to convey I wanted been used meaning. the

objects objects which

we selected displayed. have

isolated groups Buddhism.

objects

displayed practicing

would

together these

by people ideas,

The designer

agreed

with 56

and because

we

already offered we could actually preliminary

knew

which

space

in

the and

museum we would guidelines Before of the as to the

be using,

he

me some suggestions accommodate begin to

how many objects could a

comfortably. produce list, sketches So, that

designer

display, next select

he needed immediate objects Obviously task. which we

object problem

was our how to effectively. cultural historical the

Now the could needed illustrate to

was to themes from

decide most each the

these objects

select that others specific

area

and we wanted of of that the Bud-

some objects dhism, country's objects object selection one ple. to of its and

illustrated which

development unique nature

illustrated of

development had as the to consider condition

Buddhism. aesthetic the object.

As we selected nature of the the was for

we also as well of

the of

Sometimes there

an object Our and

was pre-determined early Indian Buddhism we did a number two of

because material, not early

only

kind. limited, However, In part this of

exam-

was make.

consequently, have

have

many choices basat basic of they the this

we did instance, the

Gandharan Because the stories because the

reliefs. beginning tenets life of of

we had

criteria. introducing and

exhibition with

we were the

Buddhism Buddha, things birth.

together

history relief

the

we selected - for In

some bas one we paid

depicted mother beauty

these giving of the

example,

showed

Buddha's to the

addition,

attention

carvings. other amulets choices, principles. hand, and in the Tibetan statues section, and tankas of the we had to abundant from. and sta-

On the examples of

small we used

choose

To make these ethnographic

a combination with

aesthetic

Obviously, 57

gilt-bronze

tuettes gods the or

we tried goddesses

to

select

ones

which

both and in

illustrated good condition. which those been contents the kinds than of

important For reflectby

and were

beautiful to

amulets,

however,

I wanted those

make

a selection

ed the women. i.e. In

difference I also they had way, placed to describe which in could

between selected already

worn

by men and had already their

worn

some which been show opened to the

desecrated, examined. things on

and visitor

this

I could inside

actually words objects altar Tibet of is the

thege In

amulets, the Tibet together fortunate to

rather section,

relying

them.

I also they

selected were of on an the

be grouped home. I was

as though in

someone's

my planning in the

section nearby

because Newark

I had Museum.

access Their For their

photographs

archives collection

Tibetan a small

photograph fee, in the

extensive other

and world-famous, museums to use

museum will and the in their

allow

photographs which used

exhibitions

publications. religious daily lives With from, best and the here objects

I found

many photographs being

illustrated

I displayed 1949. section,

by Tibetans

before

Japanese the

we almost select

had

too those

much to items had

chose which been

problem our storyline,

was how to Certain so these

illustrated for were

objects definitely

already be used. of the

selected These pieces. tected not of want the in

conservation, also some of the

would

largest

and most these

beautiful would

The decision large our cases

was made that designed work to to

objects them

be prowe did

accommodate be in vain.

because

conservation section books

However, a large altar

as part using we

Japanese from

we physically temple 58

built

pictures

on Japanese

architecture.

Then

selected age. complete conservation. me because In

items this

of

temple

paraphernalia we selected the least and

from those

among pieces of

our which

vast were

stormost

instance,

and which Both they were

required the both

amount Japanese and

cleaning

and satisfied

Tibetan historical however, art

sections

ethnographic. difficult. in nature. We had a very few The Chinese

The China collection Our amount from out other exhibit of

section,

proved

was much more weakest things section from Because

historical

was Southeast Burma, this Thailand exhibit not the

Asia. and

Cambodia to

and nothing illustrate pieces from the

Vietnam.

was designed supposed time to

own collections, museums. I went items

we were Because to Thailand, to supplement during

borrow

we were permission for

preparing to

I obtained the

purchase I went amulets.

some small to the

exhibit, different precious of

example, of

amulet

market were all

and purchased recent obtain (not

kinds antiques)

The amulets tion criteria of in

and my selecthe many Buddhist robe, of illustrate the his monk this

was to the

a range I also went such these and

types to one

reflecting of the

purposes stores bag today part

amulets. and

Bangkok

purchased All of

items items

as a monk's are typical to

and eating in of

bowl.

Theravada living

Buddhism

could

be used

Buddhism.

THE CHINESE The planning flexibility necessity your objects of curators always to see of

ANCIENT this need going if they

JADE AND BRONZE EXHIBITION is a good example of and ideas the the and

exhibition when back planning and

an exhibition, between your

forth

agree.

59

In having months. in very begun. together Center tion. passed es, for and

May of been

1989

I returned

to field

The University work in and

Museum Yunnan for if I had

after 15 step away,

doing

ethnographic a slight

The museum had help them out plans woman Director with

crisis

asked

I could been

an exhibition. an exhibition earlier

While

preliminary The older with for the

for

on Chinese had been

jade the

had curator, Science secand had

I mentioned of

MASCA (the to

Museum Applied a technical ill Under that other winter

Archaeology) this was in

who was

contribute very

Tragically, away (she the

woman became her late would some kind by late mount for 70's). not of

circumstancbut to be

delaying important in months have

exhibition

have exhibition

been

a problem, on jade had

reasons, the museum

installed short even

November. this the to

We had exhibition

only

a few not a

- about

6 - to plan list! exhibit began

and we did together with do a time. my idea

a preliminary object for this

storyline say,

preliminary catalogue

Needless because work curator

we could was not

not

there

enough

I immediately ideas to the al not with only the

on a storyline, from of about MASCA. jade the in use

coordinating My first in China of the 19th this collection any

technical the to

was

show but

development also Burma after talk

throughout traditionand 20 I in sort ages Shang

centuries, jade trade

theme the late

between However,

and China a week or

centuries, had to give

so of that enough

pursuing the to the for jade

idea,

up.

First,

I discovered strong jade in

The University of in chronological China.

Museum was not display strongest of

support different example,

through-out early jade,

We were

60

and

Zhou

with (due jumped

a few to to

items

which

could

now be re-classified excavations with a collection So, It also the in

as China), of not very

Neolithic and then

recent the ornate to stop

archaeological 20th century modern and of jade

attractive, curator ent the to that objects depend already However, museum's Chinese this in and

highly I had the

pieces.

technical apparhave have

re-evaluate. was theme interesting, and the

became we did not

while to upon

idea

trade this

illustrate a lot of

exhibit text.

would This,

photos is not

and written a good curator

as we

have

discussed, both the also ritual we decided

way to and

do an exhibit. I knew that the of early With We would both and jade Chinese illusthe to keep same these

technical contained

collection bronze mind,

a respectable kinds of

number objects. theme. display bronze the early would during we had

vessels upon solely I would

and other a more on jade,

traditional but the would role of

no longer bronze played state trate time two and in

concentrate jade. the

illustrate and and ritual the

political and Zhou), of in mind. because

systems technical

(Shang the period. objectives Once,

curator

development Thus, in again,

these

two our

technologies objects,

selecting

of

the

limitations we chose an example used we could

of because of what

the that

collection was all

itself, there

sometimes was. If

we chose we were

what

lacking we found

was or

considered drawing. to the tight from borrow retime our own a

an important Under piece straints schedule. different from of

item,

then

a photograph have arranged

circumstances, museum. small

another a very We had,

However, budget

this

exhibit with

had

together only 61 to

a very objects

by necessity,

use

collection. Other hooks tion of (which bronze curator times, from and for example, of in view our choice of Eastern the in daily which silver Zhou belt

my point its more

illustrated use particular gold inlaid the and

de-ritualizalife), the

widespread in

technical with pieces important Thus, belthooks beauty. Other objects. goblet objects servation What illustrates which cannot even curator the reality if ideas this

focused pattern This

on one of inlaid use of for

was covered with a few was an

a beautiful of turquoise. technical particular because

precious Eastern over

metals Zhou period.

innovation belthook of its

was

selected technology

other and its

plainer aesthetic

distinctive

times, There

conservation was one bronze was too have busy selection necessity play a storyline have the for off used to

concerns ritual fragile required complete process flexibility, of that objects and and with the one

determined vessel, to put a kind

our of

choice wine

of

called that lab the is

gu,

which

on display, and our

Other con-

we could was too object the

cleaning, the of work this

we required. particular and the exhibit manner in

and

objects to not

another.

A curator to change it. his The themes and it,

be so tied he does must

he refuses to forth illustrate between his plan

constantly of his

go back

collections meet

adjust

accordingly. Our purpose

On Friday, will tion be to in the to

I will

museum group. plan for have the

come up with Long begin

a preliminary Only of to when items

museum exhibiwill you

An Palace. the like selection to turn

you for

a plan,

be able

display. discussion of

Now I would

a more

detailed

62

the line

next and to

phase selected write

of

the your

exhibition. objects, text panels you

Once

you

have begin

made your to do the

storyre-

should labels.

search

your

and

II. Writing Labels The text drawings, storyline write be able late" al than to them public this. the maps, of your panels

TEXT PANELS,

LABELS AND GRAPHICS

and

labels etc.)

together and

with

the are more

graphics crucial difficult curator and the to

(i.e. the to must "transgenerof ask are . a

charts,

photographs are also is

exhibition. think. are

They The essentially straightforward

curators take into can what

reason

that

the ideas

scholarly English all

simpler, better

which are labels to see if

understand. I have done when to If week.

Not

scholars

capable is to they

doing

What volunteer

I am writing my labels

some of clear volunteer university gy, if their school. but

guides

read

and understandable. to you last and

you They

recall, are in

I described usually

these

women who have and able try in anthropoloto tell to write

degree are not are for

an interest specialists.

archaeology They are

academic too the

me

my labels labels

scholarly. education

Some museums level of children

even

secondary

The curator because plain charts, can you learn need he knows your story

is

always

in It

danger is

of

having to more models read

too learn use

many words how to of maps, people If ex-

so muchwith fewer

important making and even have your to label,

words,

drawings with

and photographs their eyes to and not write

so that

so many words.

so many words

some museum special-

63

ists

say In

than the

you

should

write

a book

or

article. for labels: These and if to are the the major They example, one are in the curators

University labels. There is to

Museum we have are three

guidelines of panel. itself

for 1.

their The first

levels text

level panels

the the within

primary exhibition the themes

introductory sections used the for or to or

divisions the

exhibit of the

necessary. For text of

introduce

main

exhibit.

E?uddhist the region over-all (i.e.

exhibition

I had

several and one

primary for Asia, asked to if at graphic, each

panels, the

introduction India, Using China, English,

country's and ourselves to too

Central

Tibet, to limit they all.

Japan limit

Southeast to

Asia). of

we are asked tired reading of

a maximum

250 words. people will will skip

We are get any

ourselves have to read

250 words much often graph, and are for These to draw

because then they

These a map or

panels a photo-

accompanied example. panels to see level the

by some kind

should your the is

be attractive exhibit

and eye-catching want to read

in

order the

people and to

and make them

panels 2. or The labels

exhibit. called the of or sub-text an exhibit. temple if or panel. For These example, panels they cluster objects introduced a

second treat

sub-themes site in

might of

introduce

a specific In the

a particular of was

artifacts. one in

museum

China, then, Uuddhist Tibetan

a cluster the site

came from briefly sub-panel another and dance

archaeological In

site, the

a sub-panel. for the case

exhibit, amulets. music have for 75-100

I created I wrote the

containing

sub-panel masks.

on Tibetan These labels

religious should 64

instruments at the

words

most. 3. The third These object providing object's what where it's it's If its If obviously example, one been needed of the it is date accession a gift, an object the in the jade in I.D. number then should has name the donor. or special to exhibit, of is the very explain the about this. surface cloth rare it it, then For of had and are level the have basic is the identification labels of label. about for (I.D. each They the for object can short) label,

individual this kind

and each brief,

should only name is it

be very

information

piece:

made from from

something should jade bore and

unique be longer bronze

label

Chinese halberds the burial.

an impression This phenomenon

wrapped

an explanation.

Production In to

of--Labels producing labels, readable it is also obvious that you want them consider

be as easily

as possible. One of face); of the

To do so you requisites of typeface: for

must

legibility is consistency of which kinds to use

and visibility. (of and clear type spacing and

legibility size; a type it with

design line.

type select mix

length face other not will

line is of all

You should and It

straightforward in your labels.

do not is also

typeface capital to

recommended is too too small close

letters. read

A typeface which

which are

be difficult

and words 65

spaced

together

will

be illegible. refers to the capacity Three labels: to of the panels the the text in of factors illumination, amount type will of being seen or distingood and which with the the I.D. is kind vis-

Visibility guished ibility contrast. shown of on the It type. the against and

a background. for refers The obvious sub-text size that

determine size, light vary should size the is

readability Illumination label. is

label.

panels a smaller with it

be in and the

largest labels printing the 3/4"

The

smallest. system, text for than but panels

I am not in the

familiar States

Vietnamese recommended type that (about be

United

primary high

be no smaller letter). and letters letters I.D. be 30-point and

than or if

a 72-point object labels

a capital 24-point the

should Finally,

no smaller the strong best, wider of the contrast

possible.

between

the

background

should

be as are the a

as possible. although variety text But, The reasons the If not well ease the recently of panels it is for with type lighted,

Black

on a white designers have

background preferred Often with the the

museum for the

to

use colour

colours is

their

background. coordinated color. care is can small, will them. obvious. read or not the not

same or a light of this

wall

colour.

always all

You have labels spaced to from

to a

think distance. ly, labels or

of

which face then will

people is too people ignore

correctread the

be able

comfortably

and

Making

the

Labels professional labels. way to make method the is labels also is the to most silkexpen-

The most screen the

type-set

This

66

sive. phase

It

is

also

becoming

common to type which

eliminate instead. give you

the

type-setting are of many type-

and use

computer

generated software like the

There a variety in

"desk-top" face. ton, They wall,

publishing Some museums,

Sackler-Freer in panels to is their

Gallery Design onto

Washing-

has are

silk-screening able to silkscreen

specialists text the

Department. the panel. typeset, type gallery

directly have to

thereby Another

eliminating way to

need labels

a separate have then them

make the or even

them

on a computer of larger them

a typewriter can be mounted

and

make enlarged or a hard

photocopies board for

which

on cardboard

text

panels.

67

INTRODUCTION

TO MUSEUMS AND EXHIBITION Lecture 17 April V 1995 PRODUCTION

THE ELEMENTS OF DISPLAY I. Revi~.9~.-_D_e_~~~~ Using designer sketches 1. exhibition 2. like. where the has storyline, now worked objects, up sketches and of

space the

available, exhibition.

the In his

he has: presented will indicated He has the made a general look like. the cases will stand for and what each case they look picture of what the design of the

where

individual and mounts of the

sketches are

and marked

pedestals placed all

placed. inside the cases or outside on

3. their

objects

pedestals 4. indicated and For a short indicated

and dais. where any other to put all text panels, material the video maps, used if charts, in you the are

photographs exhibition. showing 5. tern). II. Ciroulation It visit not is your unusual

supplementary where to put

example, video. the flow

of

visitors

(called

circulation

pat-

Ro.u.ues important exhibition. to text place panel to consider At the how you entrance object to draw the want to the your visitor it an the to is

exhibition with into

an interesting in order

together visitor

attractive exhibition.

69

It time they at walk

has the

been

observed of the this part of for of

that,

people

tend and

to less of

spend and task

a lot less of not

of time the to on rush as

beginning through

an exhibition, It is

exhibit. tendency, the

part

the

designer through different oped basic 1).

to the

modify last

encouraging In one and doing

people

exhibit. routes, types comb: chain:

research has

kinds

circulation circulation

specialist has identified and block

develfive

a typology types: the

arterial:

star

(figure

The __.. _-- .-- is arterial straight, alternative This buster" designer to take The alcoves. off the kind of angular and put or

basically curving. pressure

a continuous It offers visitor been the

path; visitor to used walk in

it

can

be

no other only certain the to forward. "block museum turn back

on the has are walk

circulation where them look always at

pattern there to

exhibitions wants a second

so many people forward or and not

an object of the

painting. path supplemented of can providing objects a two-way for a by areas

comb pattern This main being

consists has where if

a main

arrangement traffic jostled, In route and addition,

advantage visitors permits, alcove

study

without flow of

space each

may allow can be used

traffic. topic. chai..n However, of path is

particular The linear. series varied galleries. The

similar it is

to more

the

arterial

pattern it

because consists may have used

it of a

is

complex and

because each is

self-contained within it.

spaces, This

space frequently

a more by art

pattern

star

or

2-a-a pattern

presents

the

visitor

with

a series

70

of the

alternatives advantage central The block of

radiating separating which in

from topic can

a central areas,

point. and can

This create

pattern a very

has

busy

area, is,

be pleasant. a non-pattern relies upon the because wish it of provides the visi-

a sense, which

free, tor.

random

circulation

All with each

of

these

patterns

can

be used

individually

or

combined

other.

III. A.

Exhibition The Museum Every

Components Display Case use of display which or Because they period cases. were precious display reflect during used The display in the found are the past in used furniture they were in case to

museum makes in the of

has house

its

origins collections

cabinets curiosities homes.

items cases both

churches both and made.

and private homes

private architectural

and museums design of the

which

The development duced the in display large pieces

of

high

quality

glass for

which the in in the

could

be proof

was also technology

important appeared advancements for example, 'invisible' slim-line cases.

development the late 19th

case. Recently, the inside

This

century. influenced lighting the


form

additional case, display light, elements appearance despite of these

technology ability glass to

have include and which

display the of

case, strong, of

cements, sections all

fabrication the structural the

metal These have cases.

improved

and

changed

museum display improvements, 71

Nonetheless,

museum visitors

I:

often not

complain like them They

about because say the to that

the the they

excessive cases cannot the

use distance get sunlight

of

display the visitor close coming

cases. from to in the the

They the object,

do

object. and it

really

sometimes difficult

glare see is the to

from object. put

windows trend in

makes

Unfortunately, and more security and to objects of the

American cases. keep from serve follows: -yunctions 1. able Others several possible a case 2. temperature, protect sects, into is to

museums This is from and

more for the the

inside object the does,

display - to object in fact, as

primarily touching

hands dust

objects

protect case

other important

pollutants. functions

The display which can

several

be summarized

of ____- the To protect be are bolts to locked

Display objects (the

Case: from theft and damage. be as invisible you the have case. in cases, will Some cases as possible). to It unscrew is also if are

lock in

should such

constructed and install or screws

a way that to open

in

order

electrical moved in

alarm any way, in and

systems

so that sound. levels of to inbuilt

touched

an alarm which can

To provide relative objects etc. from

a micro-climate humidity ultra-violet have special

constant

light light, trays

be maintained dust, get

pollutants, for silica

Some cases structure.

their
3.

To provide that the

a 'setting' case forms

in part

which of

objects the design

can of

be seen. the place-

This ment

means of 4. the

object. objects safely conveniently. 72 and position them in a way in

To support

which

they

may be viewed

5. scale and the 6. lery. or

To act

as a design a very small

element object,

which such

will

bridge the

the

gap

in

between room. To act The case

as a coin,

viewer,

as visual serves

and

physical of

components three-dimensional so it has

within

a galsculpture

as a kind a room. the visitor.

furnishing and 7.

within attract

By doing

the

capacity

to

interest

To be used pattern we can part they itself can

as an element within see of that the

to gallery.

assist

in

establishing

circulation Thus, an important creative, exhibit

display

cases

do, and part

in if of

fact, the the

constitute designer design of is the

museum exhibitions, an interesting just

form

and not are you having should

be an obstacle. made for them your display to make or purchasthat which from as

When you ing they are well new ones, have been

cases check carefully

carefully incorporate should produced

sure

designed for

and They cases

features

important as better

museum cases. display

be different for shops.

made than

Display~a_~~---~~~~~~~~~.-~~a~~~ 1. They vibrate. 2. such They are or are adequately alarms accessible and removed secure as are and incorporate necessary. and permit and safely, is objects subject recommended, are less to to any devices are normally level, completely stable and do not

as locks 3. They

deemed

when both Note:

necessary, easily in theory cases

be placed the but security in

within

precautions.

this

practice

many museums

construct

which

73

convenient. doors. wooden takes or to

It

is

expensive cannot a sealed afford

to

have this,

cases

with of

special, our cases

hidden are It

My museum bases a team put At the it with of back museum

so most unit to take

plexi-glas four base. University, people

placed off

on top. the

three

or

plexi-glass

on the at very

Peking

however,

we had cases from

the Germany them. after

money which Our ones

to were

purchase designed also in the

expensive you wall Hong

free-standing could cases Kong. easily which These back

so that designed in

open were cases and forth

and

close

architect he saw

modeled were

a museum glass

construct-

ed so that and included If accessible your without 4. indirectly This used any from and to case it the will case. 5. They means to gases life the

could door cases from if

be pushed panel contain the you the display are able which light

on a runner

a hidden display separate much easier to are

could

be locked. these It will should make bulb be

fixtures, case to itself. change the

a burnt-out case. directly displayed the kind or

having They

disturb made of

objects

inside which

materials effect to It

do not objects with

have that the

a harmful you have

on any

within. of time made wood for

be very should (for

careful be dried if

make or

cabinet. fumes uses

out, the

given case to is

chemical which

example,

plywood should seal of in any not

glues with The

and other or used must also with

chemicals) a white, to cover be tested the objects

dissipate, paint of the

be covered the acids. in

shellac fabric case

latex-based the base to

stands have

the

make sure placed in

a harmful

reaction

maintain

good

light

levels. 74

6.

They

take and the

into the object

account nature is used life of seen

both the easily

the viewer

nature (height,

of

the eye

object level),

to to

be displayed ensure 7. able for


8.

that

and of

comfortably. construction are suit-

The materials the They and intended are should safe,

and method of the case.

without of

sharp

corners

or the

dangerous normal

protruwear and

sions, tear of
9.

be capable

withstanding

visitors. They or permit clean the basic the maintenance without - i.e. putting about you can the change contents light at risk.

fittings,

case

One of already This light. cases using is

most

common complaints is the of glare glass first does

display get

cases, on the to glass. reflect display In must the case so

mentioned caused This near

above, by the

often

ability can

and plexi-glas by not not strike the to placing

problem windows

be avoided sunlight person for

so that light, the

them.

artificial with does of Display not

who does the light

lighting strike

experiment that Shapes it

the

best

way

produce

a reflection. Cases come spheres, of ease in all kinds cylinders of geometric and the pyravast

Museum Display cases sizes

theoretically (including for are can reasons rectilinear. be divided The

shapes mids). majority

and

domes, of

However, of cases cases

construction,

Display cases of or wall unit

into

standard or

(free-standing) case cases keep this consists can in

cases.

free-standing upper four portion. sides.

standard Up-right

a base

and glazed from all

usually

be seen

You should

75

mind labels

when

placing least case

your two is of case.

labels. sides attached this, They you are

You will and maybe to the

want four wall,

to side or

repeat of the

your case. set into from meaning

on at The wall

actually the objects cases,

the the that

wall. front they

Because of can the not

can

only

view

obviously Most of to

fixed

be moved of the these large

around. two wall kinds cases

museum exhibitions cases. install In the Beijing items of Chinese to

contain museum, illustrating archaeology particularly B.

a mixture we used the and

those

fundamental the free-standing objects. Colours.

chronological cases to

development draw attention

beautiful the Right the of the right

Choosing Selecting

colours of is the

for

your

exhibition Usually this the

is is

an imdone by

portant the

part

design it simply

show.

designer Colour

because is not

an integral concerned with and the

part

of

design. visual may also colour colours In the and is need

superficial symbolism of certain of style. black, believed colours years a stark

effect. consideration, colour also early as the did not

Aspects

such and is

as psychology of

a knowledge necessary. which very to oil with dark

science of our

theories subject 20the to

The use go in and

trends

century,

colours,

even People

was preferred that used it black in been

background "interfere" are to generally display It with light is

paintings. the art. lighter. works that values exhibition of the in art

Today In

the recent against

museums popular background. "interfere" reflects

much modern believed colour the

has white not

white the space,

colour paintings while

does

the around

and that absorbing

it W

76

rays.

However, light stark painting. In choosing possible, exhibit. certain about

the grey and

current

trend

is

to

display people to see

modern say the that

paintings the grey

on a very is of less the

background. allows the

Museum viewer

still

true

colours

colours try For religions that try to

for

other

kinds the

of

exhibitions, with the

designthemes use colours colour. the colours earth and

ers, of the

if

coordinate

colours themes with

example, are religion to draw

agricultural associated might

might

tones,

specific that between

an exhibit Designers and the In gallery reflect example, which drew

incorporate

may also physical the

a relationship of the for The of objects example, colour in light

characteristics in Beijing, color. the kind gallery, of

themselves. we painted was the intended room. brown and and was pale Zhou ritual greenish patinas again the of each to For chosen

exhibition a different of

(room) the in

majority the upon of on the

object a very

Neolithic the the

warm tones Neolithic hand, Here the Sui-Tang were

the

reds,

greys,

yellow-browns galleries, vessels blue the

pottery. contained

The Shang mostly very

other

bronze pale

and weapons. which complemented In objects the

we chose very

a very,

beautiful

green-blue where figurines once

bronzes. of

Galleries, tomb to

majority surface cooler the

un-glazed back

with colour.

some With the

colour, Ming

we switched

a tan-buff grey

porcelains, we lined linen for and its

we used our cases

a light and light it

colour. the pedestals This

Throughout with fabric dyes that is

exhibit,

covered tan

natural completely or

(undyed) safe

(a very

colour). contains

objects colour

because was very 77

no harmful - this means

chemicals,

neutral

the could more er well.

colour use

was the

suitable same fabric but the

for

every everywhere. if the

one

of

the

galleries this

and we because the gallery it was

We did you have used the

convenient, change

sometimes colour of

money, in each

designas

will

fabric

It mosphere and lows create ers other are

is in

common knowledge the exhibition. warm with

that

colours

contribute

to

the

atwarm

You can colours of pale

make your reds,

exhibition oranges or

inviting or earth a "cool" careful and

by using tones

(pale

and yelyou can Designwith each

a touch with colours effect. have

a warm greens are

colour)

environment to select a pleasing experiments For louder in a violet room in where audiences, in the

and blues. harmonious

which

provide

Interesting effects 1. of colour. sounded heard in

been

done

on the

psychological

example: to a listener room. the room. twenty-minute in a blue group that the theater said lecture they lectures and felt was were one bored interesting in a and heat up four degrees than in a white room than the

A noise

same noise 2. People

a blue sitting

turned a red identical one "blue" said

those 3. In

people

a situation to the in the passed blue two

presented red one,

people "red"

people and 4. tical time

group

quickly! packing case yellow. are many interesting So far some of 78 things to learn about have from other been seemed to feel heavier than an iden-

A dark crate Clearly

coloured there its effect

colour

and

on people. but

no experiments the results

made with

museum

audiences,

experiments Lighting design week, installed. IV. of the

could the

be used exhibition

by museums. is another important discuss after this the element topic objects in next are the

exhibition, the lighting

and we will is arranged

because

The Exhibition While putting is necessary best are to

Environment together to the remember i.e. and the focus different the to parts exhibition protect, while safe of the exhibiand

tion, to

it do your they

environment both they the objects are

safeguard,

while the the

on exhibit Here

visitors on the

inside for

exhibition. object. As we all

we will

environment

know, be dust,

light, air living of that

heat

and humidity (especially for

can

be damaging chemicals moths, in cock-

to

objects the air)

as can and and It is

pollution things,

attacks other

by kinds

example

roaches

insects. questions about should already should conservation in of the

recommended they are

objects tion objects, conservator. A. with

while the before

on display

be answered mentioned,

conjuncthat all by the

conservator. they

We have

go on exhibition

be inspected

Humidity All museums are concerned as well Relative in the air about as their humidity relative the relative humidity rooms. is the a measure amount For half the inside What of air the is if vapor is

their relative amount capable the air

storage

areas

exhibition (RH) to

humidity? of of at moisture holding, a particular

expressed

as a percentage. contains

example, water

temperature

the

79

it The

can

hold

at is: of

that

temperature,

the

relative

humidity

is

50%.

formula

RH L- amount maximum The museum ous

water

in of

a given water air about

quantity can the hold

of at

air

x 100% temperature of the

amount for

a given humidity

reason

concern is because of organic

relative level of It

environment

a high

RH has can

a deleterimake metals Different

effect

on many kinds dyes fade and in and

museum objects. materials as well with

corrode, kinds also of

deteriorate. kinds

fungus

moulds,

as different a high RH. keeping a relative on or the

of

pests,

flourish In

environments climates

temperate about Not for I have, mentions

we recommend with been done where a chapter

a stable humidity published is

temperabetween about always who that in the

ture 45-558.

of

66-72O enough tropical

F (19-22'C) work has

conditions higher. briefly it would the

climates read

humidity

however, tropical to rooms

by one and the

specialist

environments try or to the lower exhibition trying

he acknowledges relative rooms in humidity the

be a mistake storage Instead

either to 55%.

tropics 65%.

he recommends he make this

to

keep

RH around

Why does are normally are

recommendation? all a more If year humid you itself carving round. climate introduce will of region to Yunnan

Tropical Consequently, and are

countries the acclimated suddenly For China to a

hot

and

humid in

objects to drier example, which humid elephant

"happier" more

containing

moisture. the dryness a wooden

them cause

environment, I was given was made environment, back to in

damage. in

an elephant of in Yunnan, 1991. winters

the

Xishuangbanna visit in

a tropical, I brought are cold my

on one my room

Beijing. 80

Beijing

and very we can ment. can

dry. see that

My poor

elephant

developed in limits

a large a more to

crack. humid

Thus, environthe RH

my elephant are there

was happier recommended

However, be in tropical in

how high

environments? tropical at the countries least RH at 80% or is almost always and it above is 65 8

Humidity with ed to reason most try for days and this to

being keep is

higher,

recommendThe 6565% is fungus. that means they that

65% and no higher have

than discovered

70%. that

because

specialists threshold. the

70% seems a problem Thus, try during different steady to it

be a critical it

A constant growth in year will to of

RB above and

because is

encourages for

moulds regions This

recommended their rainy

museums 65% all it

tropical round.

keep the

RH around or to wet

season, the

be necessary try and keep

to it

use at a

methods level.

lower

RH and

Ways to more Another play ing in tive case materials display humidity

do this

include ventilation

air-conditioning systems, and

systems, dehumidifiers. inside of

fans

and

sophisticated solution (also is

to

create the

a "micro-climate" vitrine). and textiles will Should act The use in their

the

dis-

called such

moisture-retainconstruction against relaor

as wood

supports,

as these

as buffers control

fluctuations. such can to range monitor know of is very what for

strict gel might your

be necessary,

chemical

dessicants you

as silica

be used. museum environment, For anyone, Everyone facts? In example, in fact,

Before it what know says is essential is what that the

and modify is your your of but

environment. area? Does Hue? the

RH is the

exactly Hue is

range

RH for what
81

always addi-

humid,

are

tion, Does from cant shifts, to turn

does the one

anyone humidity season to

know change the

what

are

the

shifts from latter more This

in

humidity to the is than why it it might

in

Hue? or

radically next? in The

one week information harmful is

next signifigradual is

because or

sudden even

shifts

RH are RH. night,

a constant off an air measure you sling

higher at

harmful be better

air-conditioners not to use to

and why at all.

simply In ity in

conditioner both can the use

order your They and

temperature several kinds recording already order to

and of

relative simple

humidinstru-

museum, are:

ments. graphs your

psychrometers; I have items in

thermohydrorecommended begin and that the use in

dial

hygrometers. these discuss

museum

purchase We will

monitoring their

environment. detail B- 1I&&t Light too others. ceramics, which is in the

these

instruments conservation.

workshop

on preventative

damaging Light does however, surface things painted completely you can

to not

many kinds cause organic colour like surface

of

museum objects, to stone, especially effected. leather, Although can not you see

but metal

not and

much damage materials are particularly textiles,

glazed rials category and

and

mateThis feathers cannot exhi-

have

includes with light but

paper,

pottery

designs. you by doing (W) (like

eliminate bition), 1. ble. over

(otherwise damage

your

reduce

three radiation

things: as possiwhich the W most filters also fits

eliminate

as much ultra-violet can all of or place W filters lights. is have

To do this, bulb) over source windows,

a sleeve is place

fluorescent W, not so it to

Daylight to all.

dangerous over the

recommended windows 82 at

You should

place ble.

light

sensitive

objects

as far

away

from

sunlight

as possi-

2. specific Bone, leather dyed tiles

In

addition, of

there material: (where and oil

are

recommended

light

levels

for

kinds horn,

ivory

there paintings:

is

surface lo-15 prints

colour), footcandles

lacquer, (150 lux) tex-

(undyed) leather, (including

furniture, costumes

manuscripts, and (50 tapestries) lux). in s the is

and drawings, and natural history

specimens: Light level way meter used from "Lux" discuss conservation 3. fluorescent of heat from to In to of

5 footcandles exposure illumination) the light is

measured as well exposure

terms

of

illuminance of the The exposure., kind of

(the The light unit is

duration to use

measure used

by professional United light name of levels seminar. addition lights, lights. fluorescent Although are very hot to the States

photographers. and is one the foot unit detail amount away used during

footcandle light the

in

the

of from in

projected object. We will

a standard is the light

source the in

measuring greater

Europe. preventative

the

harmful also lighting

rays

emitted the

from

sunlight effect include, low-voltage W to volan

and

we should Museum lights, these and the living

consider systems

damaging

usually and harmful close even that

in

addition spotlights. tage, object. lights small and they

tungsten lights should do not not these tell

lights emit

be placed lights, you whenever

To understand used pieces in of our

heat rooms,

in

ordinary I often dry hot

I can of in a light Hue).

laundry (I

on top do this

I am in I have

humid

countries

On occasion

burned long! close thus starter ing

my laundry This to can the make units can

if happen

I have in They

left

it

too

close cases if

to the in

the

bulb bulbs cases cry.

for are and The

too too

your also

museum heat inside tubes

object. the of do not exhibition with to in the be able

the the also

air cases get

the too

environment fluorescent usually

hot.

This

is

someth-

people In the

think area, the the

about. harmful visitor the labels. effects to see of the light exhibit discuss this have to

be balanced clearly problem and more

need to

of read

We will

Wednesday's

lecture.

C. Pollution As our problem ly the of final pollution which topic in for the poses today, exhibition the we will briefly consider Dust to is the general-

gallery. threat

pollutant

commonest

museum ob-

jects. Dust sulfur also your keep has contains and with which atmospheric hydrogen grease is pollutants, sulfide and oils (bad and for form it and substances Dust surface if your you like can on can

dioxide be mixed objects the specific

metals). a sticky is best

harmful. and windows which you

Obviously closed. will have

museum

doors

However, to resolve.

museum

problems

84

114

The exhibition

environment

I I I *---- a,-- - - *\I I : ----- \ \ - s-0 ,I I1 \ ,------ y---w *\ \ I W-M--8 \ .--- I ~~ I


t

(a) Arterial .\ ----. \\ i ,---\; ;: -

(b) Comb

(c) Chain

(d) Star/Fan

(e) Block

Linear
Figure
1974) 9.1

Free
Examples

Corridor
of typical circulation

Alcove
patterns

Composite
(after Lehmbruck

85

INTRODUCTION

TO MUSEUMS AND EXHIBITIONS Lecture 19 April VI 1995

INSTALLATION I. At rules pieces proper now their the in or this time

OF THE EXHIBITION OBJECTS be useful After the often meet the careful, are useful to forget rules to to your pieces people the review the

RULES FOR HANDLING that handling is time it would objects. to install Very trying installing most These is very then.to always easy

I feel for it the

guidelines in place, inside

exhibition in their often of

are place

exhibition. they are

are

a hurry opening

because date. you objects know, It

to

deadline is

However, have to

objects because which

exactly you are

time

when the already

be the

handling you all

themselves. but is it also and

I am sure knowledge not are to

review or

we already follow the during these

have.

decide These the

guidelines you should

break when you

an object. work with

same rules inventory. Before

follow

objects

bringing the room

objects should

into

the

exhibition clean also or place: objects

area, and

it ready they in

is for are case

obvious the clean should ready. put the them

that

be completely should stands and in

objects. both

The display inside and with is their case. do this time. you Never time out;

cases any

be ready: used

inserts labels into the

the be

be covered Now it into

fabric to bring

should the

your put

gallery, and close

correct

place,

in

labels

display As you

should Rush.

remember:

1,

Take

your

87

2.

Begin

with the

clean is

hands. very are

It

is

best like

to

wear

white

gloves bowl for and

unless example. these and

object Our hands

slippery, constantly pottery

a porcelain grease stone the salts surface. and (stone in

exuding and Sweat even and its

sweat, is sweat This

can absorbs

stain dirt

unglazed and It

porous can sweat

grease). etch disease. object which move it

damage can 3,

metals.

can

lines

into

accelerate Check or condition restored

bronze of areas

t&ore

touching

it. than object

Look other

for parts

damof

aged the parts. 4.

may be weaker do pick the

object.

When you

up by these

Do not it

move an object will it. lids or other over be moved.

until Make

you sure

have the

prepared object is

the stable

space

to

where leaving 5. 6.

before

Remove Keep the

movable the table

parts or

before other

moving padded

objects. surfaces as

object

much 7.

as possible, an object, as a support kind Try object equipment to is of always for the use both hands. Never One hand grasp it a handle might

When grasping be used

should or

object. object of

some other off. the have object. When moving padded

protrusion grasp such and

on the the body

because the object. then

break 8. you the 10, used vehicle. example If

always heavy, ready

as Cham sculpture, prepared yourselves

make sure how to move

have

objects

out

of

storage or dollies. most should

into

the Do not

exhibition overload for

room, your for

trays, Stand

push-carts objects on their

stable

base

moving, down

a bowl

with

a wide

mouth

be turned

upside

88

when

moving. Even and leave

When pushing the movement them

your of to the fall

cart, cart off.

remember can

to

walk weak

slowly, parts of

do

no run. the 11. object Never

loosen

cause

an object

sitting II.

directly LIGHTING an exhibition

on the

floor.

Lighting It the ranks basic it with

is

essential colour,

to

and and one of

is

a key

factor. of

shape,

form, It is

space also of

texture the most

as one

design involves

elements,

complex as

because well light gy of the sired mended

an understanding It must they is also very and

behavioral

psychology People in the who are technoloto

as aesthetics. specialists the equipment

technical. be trained

understand are using, involved lighting with to the

as well in order are

as be able to'achieve it

master de-

technical effects. that

calculations If you obvious easier the

the is

plans an electrical put lights

complex, engineer.

recom-

consult reason for

The visibility well nical well create sections,


Call

in

the

museum

is as just

to YOU a effect

make all techas can

museum visitor, of lighting also effect are

However, more than

know,

the

techniques Lighting

assignment. as

produces on the dark

an aesthetic visitor.

a psychological pensive highlighting warm feeling

Lighting in

a sombre, while a being

environment, others. in the

and mysterious other hand, simulating

some

On the exhibition, day. light

lighting the

create of

effect

outdoors "what point of

on a nice is of the view

The question, from On the an aesthetic subject

correct has

for

an object?" levels. that to

answers

on different argue

European

painting,

some curators

89

be historically similar Others kind person historical in in a kind a light of to argue light who first the

accurate, kind that that the it owned the

the artist painting was it. seen

painting used should when it would that today's its beauty.

should when

be seen creating in

using it. the

light

he was

be seen sat in

today the

same the

home of with

Others suggest helps

disagree painting to

these be seen clearly

arguments of light

and which

the

should see it

visitor

which

accentuates as we have you Certain have must

Of course, at of the the same time, object. should the

already also

discussed consider such the

briefly

on Monday, needs

conservation

objects, very low

as textiles, of is light which

and paintings will not

on paper, damage

levels it into place. be done.

object.too putting lights the

much while the objects be in can

on display. cases, after the the basic objects that sure manner. the each are

Before system present, detailed individual A. Kinds ..-__~_ There rescent 1). light. to buy of

their Then,

should

"fine-tuning" of is lighting lighted

This

means making

aspects object of .Lights are

should in the

be done, best

possible

two and

main

types

of

artificial

illumination:

fluo-

lamps

incandescent lamps extremely and "warm" One of

lamps. provide economical a limited lights problems and do not to provide 90 is an even (i.e. shadowless they range of are cold not they parallel illumination. emission inexpensive or warm of

Fluorescent They and to are use) (the

come in

white able focused of

colour in

fluorescent their

might that

be availcannot be

Vietnam). on particular They are

objects best used

project general

beams

light.

This cent people Thus, the

means lights agree most

that to

the create

room

or

cases

can well-lit is will

first

be lit atmosphere.

using

fluoresMany

a general, atmosphere

that lighting

this

bland create

and

lacks

drama. effects using

specialists lights. most serious of

special

incandescent One of the

concerns

with rays

fluorescent which are with wooden that is like filter They to

lights harmful pigments objects the cover way the to

is

that organic (colour) textiles prevent lights fits sheet around cover These and

they

emit materials,

alot

ultra-violet organic museum the

especially In risk. from your

materials painted mentioned objects are W up. should output to to is

on them. are these with around called at

and to

We have damaging with filters

already your

rays UV lights the

which of

a sleeve is can thin

which plastic

tube. which tubes. of to the use,

A common type is sold rolled

UF-3

be used enough to

fluorescent the are ends easy them

The sleeves where you you good


W

be long the to

tubes but

highest. take them off

have need points

remember change and the the

put Let

back

on when the

tubes. points of

us summarize lights: they they its they they they they produce produce unattractive have do not have use

bad

fluorescent 1. 2, 3. 4. 5. 6. 7,

a minor

heat

output amount are

- good of ultraviolet hidden - good - bad

a significant fixtures life a long color

often

a long cast poor energy

- good ray of light - bad - good - bad

rendering

efficiently

91

2).

Incandescent is a more of of

lights,

produced light

by tungsten-filament They problem this you objects also have emit is that only they a very

bulbs, small produce So, the the cool

interesting W heat, rays, but I also kinds away of

source. main

amount alot using far does the

their

mentioned lights the

problem to

on Monday. to heat keep from to

when lights light down

these enough not air.

remember the

from

so that create

hurt

them.

You can

ventilation

Incandescent types come general create at such in

lights

include reflector

come

in

a variety and are

of

different They to give also a or beam to light

as spotlights, of one light. distance objects higher give lamp will off

floods The They floods

floods. used large throw and are

a variety light pools in of

strengths. direction. Low-voltage with with

highlight

objects a light ideal For

spotlights sharp shadows bright

a considerable small farther, lamps

illuminate to two but travel loo-watt the

a beam of is

light. so for

wattage the throw problems expensive kinds different

required;

example, lamp,

same light the light of both of

as one further.

200-watt

200-watt the

One of that er, of it they is are the

additional also use to more of

incandescent to buy that of you and to

lights use. you

is Howevthe kind in

these

l.ights kinds if create to

give

flexibility

create

lighting only use

effects fluorescent

an exhibition. lamps flood the in of object or your light. labels, any

Your exhibition,

should

remember, you will be able lights will for

an even see not your the create exhibit.

(shadowless) and special On the other read

People but of

will the

objects any

effects

kind

environment

92

hand, dramatic,

should but

you the the

only

use

spot will

lights, not have

the

effect

will general the

be very light labels to

visitors exhibit

enough to read

move through clearly. Often (show gallery. system lights position them tracks space of that

comfortably

and

incandescent which are

lights are

are built for you

part into use in

of the

a system ceiling

of of

"tracks" the The as few track focus for a to

illustration) Others tracts you

designed that

fixed

position.

means want. you

can also to

attach

as many or along you the

You can want

move them be, of the

them on one

where

them or clips

so that objects. front

can

specific have addition

object small of filters, wiring It can

group in

Fixtures that such is provide

generally for the

additional This and only

equipment track adaptors system

as diffusers also for equipped the who have

and neutral-density with special electrical lamps.

designed

incandescent trained

be installed

by people

as electricians. To sum up the 1. 2. 3. 4, 5. 6. 7. 8. they they they they produce have have pluses a lot insignificant a controllable a wide and minuses of heat W of incandescent lamps:

- bad - good - good fixtures have - good of the (i.e. object they - good are expensive) - good a short life - bad

focus range but of they light

come with are

dimmers they their they - bad cast

available, a long the

beam of truer

show use

colours

energy

inefficiently

If

the

lighting

system

in

your

museum has

no flexibility

93

(and

I think

the then

Long

An Museum will think

lack

flexibility highlighting can

- but

I may objects

be wrong), is ever to design you

one way we might mounted

about which

lights

on panels

be placed

where

need

emphasis.

B - Li~h_t_ing If that lighting considers Let University and like light almost modern came how the to point the done

T~c.MWzues carefully, can lighting be seen do his the Sackler example lighting that the of job in can be done at way. are the kind safe levels How does of things so a he

objects specialist

a flattering and what

as he lights me use the

exhibition? Museum of Art & Archaeology system First of all, at Peking

as one final out the

how a lighting

was created I would

was done. museum designed He was always the

required museum the that of in of

artificial so that principles this the the there of principle museum. In was

because

architect light. but with all of the the

no natural museum into

following

design,

it

was my opinion economic objects ceramics reality displayed - none have

conflict almost bronze

addition, pottery, light allowed quently,


system -

museum were are highly to have

and

glazed it light.

which

sensitive. more the natural

So,

would

not However, designed

been

unreasonable done.

this with

was not

Conselighting

museum was also

an elaborate

It and

was

decided

to lights.

use

a system Because of

which the of

combined expense of

fluorescent using when incandthey that

incandescent lamps out,

escent burned the most

as well the

as the

expense designed light 94

replacing
system.

them This

architect exhibition

a dual
system

means

beautiful

would

be the

one where

both if the

incandescent

and

fluorescent to save money,

lamps it

were could still been

turned just

on. use the

However, fluoalthough include spot

museum wanted lamps and the

rescent not

exhibition wall case

would had

be visible, designed to

as beautiful. fluorescent on a track. a thick not spot see lights layer them.

Each lamps They of

several lamps behind could for

as well were

as several in each

incandescent of the wall

installed

cases you

shatter-proof was of

opaque fitted fixed

glass with rows lamps

so that of set

The ceiling as rows

tracks into the

as well

flood

ceiling. When Richard, Galleries leries and work


q ent

the

lighting D.C. was had way. need in

specialist came to place, been Beijing and

of

the to

Sackler-Freer light the flood He began all of the gallamps his eguipalready of to out He This cut was to out of a of

in the

Washington, system lamps following he would tall with take put

track

the

fixed

fluorescent in and the parts

already First, to

installed.

he assembled do his lighting.

He had lift for

asked

us to

prepare ladder

ladders, a basket all of lamp small the

a mechanical large lamps its for enough and

(a kind a person fixtures fixture.

mechanical stand their also filter, very the in fine in) boxes asked

and

to

their

and us to

each

inside filters was

correct each

prepare

lamp. circle

which mesh

we made ourselves, screen. of each lamps in the lamp. with the their museum. this number The purpose spotlights.

a round this small

of This

filter filter

soften

brightness front All of the

was placed

fixtures Each

were room

then

brought

into a certain

the

different number of

rooms lights

was in

assigned each of

and

was placed 95

the

rooms.

Now Richard's atmosphere totally tracks, light. were on the to create dark for the room.

.job was exhibition, After illuminated

to

create Richard

the

artistic liked to

and begin

dramatic with a

installing the walls,

the

spotlights to bathe text and the light of finally cases. the

on the room in

he first Next found at

he concentrated the entrance cases and effect each to

on the each

primary room, inside

panels

which

he focused He wanted with During to avoid

individual

labels of

a harmonious ligbting he worked glare or of

general of groups

together objects. care of the

dramatic the time

object lighting, reflection

on the light

he took on the

great glass

creating cases.

display

As you Shang designs. fluorescent but it and

know,

the

surface are

of

bronze with

ritual

vessels and

from

the

Zhou

dynasties

covered tflece

elaborate and of the there object

intricate

When we installed lighting, was only appeared with clear the the

objects shape of the

was only was clear, that the

general addition sharp.

spot-lights was very

designs able.

and

The effect

notice-

C, Some Gene.ral - _--.-..-. _. 1). If be lighted effectively. strongly highlight ray of light Lighting items are

Principles for to

and

Guidelines Modeling to their features drawn

for_ Lighting

Emphasis_md be viewed special is always of without in

best are to the Lighting,

advantage brought brightest therefore, Sometimes can draw

they out

must most

so that

their

The eye accented the parts

and most should a strong your

a scene. being a dark

objects

overdone. environment

on an object

attention, object "hide" ones. from dull +

but

at

the seen of

same time clearly. the

it

can Lighting

prevent can and give for

details also

of

the to bright such will

being corners even light and the

be used to

exhibition

contrast flat objects effect of

is

generally whereas and

desired a more surface

as paintings emphasize mensional Light the true

textiles, solidity

dramatic qualities

form,

three-di-

objects. can shape should to general by the diffused and dull or be used and to model of the an object, object. to see this means to reveal the of

texture each

The person what

doing

lighting the object In achieved Highly detail

study emphasize. we can direction light the woven lighting

object

characteristics

say

that and

the dominant flatten

effect angle shape of metals, other

of

modeling of and the light

is flow. suppress and many

tends sheen fabrics. can or

to

form,

glaze

ceramics hand,

embroidered sharp, person using most direct doing his

On the give must an very experiment which

excessively The and looks

harsh with

appearance. the and lights angle

the

lighting

own judgment

decide

direction

flattering.
2).

.CoL_o_r_ s% L&?l_t _-and ..Backs.r~wd to consider of or the cool. the light. color of the light and the intensicolors

You have ty are or brightness

We have

already this trait

mentioned, in

either

warm used for

We mentioned the walls.

discussing exists are warm. will Most

colours with This look the

painting themselves. warm colors,

The

same contrast lamps and

lights that red

Tungsten for than

incandescent reds do in

means more

example they

oranges,

and more

orange

daylight-

97

fluorescent such to as blues render the

lamps and true

are

"cool". In of best

They your the

will exhibition

emphasize you but uses with Kinds also both both. of

cool will to warm

colors
both want

greens. colors the

objects, lighting

create and cool

effects. colours 3). Gostumms: which

Once and the

again, specialist

experiments for Specific should rendering,


some

Some Guidelines Low light true levels color use

Gbiects choose in a lamps

be used. If

However, shown to

provide

costumes lamps

3-dimensional shape.

manner,

incandescent

highlight

Glass: -_.-_.-. Spotlighting best treated ing seen against

glass a dark with

will

emphasize

facets Opaque

that glass

are should

often be model-

background. strong front

as a ceramic, a slightly

or

side

light

for

against

rough,

neutral

background.

Las@-Met-sl Qbiect :
plemented objects blue ground. or by spotlights which grey look

These to

works pick will Gold

well

with

general

lighting
Metal by

sup-

up luster frequently looks best

and modeling. be enhanced against a dark

silvery

a pale back-

background-

PECQ.% : t we
displayed W rays for

General alone the or

lighting in small

is

usually

alright
We must

for

furniture with

groupings* in the

be careful

painted

furniture

Long

An Museum.

Sxlpture

Some

directional (means you

lighting can 9x see

looks the

good sculpture

on sculpfrom all

ture-in-the-round

sides) the

- adding sculpture, Avoid Very shallow lamps looks lamps. best

spotlights with direct most of

will it

help. coming lighting. are best above of

Use from

light one

"modeling" side, and not

on from

behind.

frontal panels

carved located with

lighted them. fluorescent

by means Carving and in

of high

fluorescent relief cent

slightly a combination

incandes-

D. Different -----__ Kinds-of Lighting lights when for 4. the use for should working exhibition should either

Lightii.Syst.emg consist and is cleaning open of the to of three separate display and fail. systems: lights, emergency house for lights

purposes; the public: systems

other

Maintenance-of Lighting

-hishtJ-ns systems need change

5~stems to the in the be designed bulbs when with they maintenance burn to out? change in were in in Do you the your used

mind. have bulbs? city? in the the

Is

it proper

easy

to

equipment bulbs that this

museum necessary are is not are using often yet very easily made. readily expensive. as part through each not time do it. of

Are

the

you mistake are they are

available Lamps available

Surprisingly Beijing and when In cases bulbs to

museum which they are, bulbs usually up the you these forget

China,

where are open bulb, that

designed accessible

the

case

itdoor. to

self, If you

the had

a special you

display probably are the all simple

case would

wanted

change

a light I realize

simplistic and obvious issues.

recommendations, things because

but

very they

often are

people concentrating

on more

complex

99

INTRODUCTION

TO MUSEUMS AND EXHIBITION Lecture 24 April VII 1995

MUSEUM SECURITY I. Museum Securie. ___---Now let management. would with are States from sionals. When we talk out that the in topic a broader about the topic more of than security, the the problem need for also talking the I wish of to theft. to be that the of point like theft not to and problems and Europe us talk This is about the another problem that are to of important museum with all Recently thefts thefts of were topic security. security, over in the the for collection First, especially world. United paintings of profesThese I

emphasize vandalism, unique there museums.

problems problems

Vietnam. been

have

important the work

well-known

These

includes sense and fire

Security safe when security people from

includes as well. we are

museums

vandalism about the

We must not just

remember about security

we talk of

security, but the staff

objects, both

we must

safeguard

as well,

and visitors.

II.

FIRE Fire is the it which completely from years, of wood most is is terrible always the enemy possible victim of for to objects. find Why is a stolen can seconds, this?

This and but if it

is

because

object,

an object fire is In can made recent

vandalism in

be repaired, especially

destroy or cloth have increased

an object or paper.

fires the

increased use
101

in

museums.

This wiring

is in

partially

because

of

electrical

modern

day

life. Safeguard think your that from Museum I have fires. to to tell Prevent you work Fires about in have you how to safecomplex lived with

A. Ways to I do not guard whose the your

museum are fire.

You all wood

a cultural always to tell

buildings danger of

made from So, today and

so you like

I would entire

me what Complex similar to the see know workers them? or have

regulations concerning with if in

your fire

museum prevention. in other are Are they the

the

Hue Monuments they will be very also to

I think countries. written posted regulations, the out where

regulations these the regulations complex?

I would and given

like all can

everybody and are there

How do people penalties for

learn people the

fines

who break following

regulations? things to do in order to

I present make our 1. about the

as minimal

museums Check plugs etc.? to

as fire-proof: insure on all Make that of sure your to the electrical appliances, check the wiring such sockets is safe. What fans, walls as

as lamps, on the

computers, well. 2. This greasy These people items oily This burn.

Remove to

all things

combustible such tins accumulate example

materials as sawdust, of paint, in in corners basements the of old

from

around

the oily

museum. and

refers rags, items rarely catch rags, means If

papers,

half-empty tend go, fire can if to for quickly. begin the rags drops

containers of and the

of

gasoline.

museum where These the

corridors. for example,

Some of because hot

items,

burning become

spontaneous they is will not

combustion. begin completely to

enough, which

someone

a cigarette 102

extinguished, It areas the of goes the

these without museum,

things saying,

will that

also

quickly should

catch

fire. in most

there the

no smoking the storage

especially

qalleries,

area,

laboratories. 3. In general, tidy. and maintain and .to~~ut~~~~ review they start. the maintain _fUs basic Again, can kinds I think tell of equipment you are used familiar to put out all in of fire detection to put equipment, out fires. good fire prevention is to keep the museum

clean

and 4. 5.

Install Install

equipment

B - Esuisment I will fires this your if

with you keep

equipment, buildings. There kinds extinguishers them. they should of

and you The are fires. are On the are

me which equipment kinds, and them, that the fire. use is

equipment still are is the

standard different With light

fire for

extindifthat them and

guisher. ferent the carry small, people should still trained present all been 1. extinguisher. paper caused

they it people

good important

all enough

of

can

lift are

other for

hand,

if

extinguishers More them. to

too several

useless

a real

important, All

also

be trained at least

how to once

extinguishers they staff are are persons guards have

be checked functioning. how to every trained For certain use day

a month

make sure current Are the

How many people the in the fire

on the

extinguishers? I assume

these night

museum? use of good not them. the for put

how to parts is will oil.

museum, putting out will

you out

can fires

use

a water by fires

fire

Water It or

caused fires or

and wood. by grease

electrical also damage

Water

museum objects,

103

so it the

is storage

not

recommended rooms. version sprinkler a fire put the


for

for

used

in

the

exhibition

galleries

and

Another tomatic activated


system,

of

the

water

fire This

extinguisher system decide area is to

is

the

au-

water when you

system.. begins. it in the If

automatically install this work of

you office

should

and other

spaces. the for even newest cause persons 2. amount are

Recently, Society security.

Museum,

Library

and Archive Security using they drew

Committee up guidelines
systems

American museum in

Industria-1

They and

recommended because

sprinkler believe and that

galleries
systems

storerooms technically objects with this

that they

the do not

are

more to

advanced as a fire

as much damage still Carbon of oxygen for disagree dioxide in

does.

Many museum

recommendation. (Co2) in fires, They turn work puts and they do not
they

extinguishers the air and does. which oil

by reducing out the fire.

the They

effective

grease

do not any

damage residue. to human

objects However, life.

as much as water because


they

leave are

deplete

oxygen,

harmful

3- Recently, dry chemicals. It

many leaves,

specialists however,

favor

fire

extinguishers residue which

with must

a powdery

be cleaned 4.
system

up afterwards. You may have heard about all gas.


system

a kind
the

of

fire out

extinguishing of the the room and

which it

works with

by taking halogen This

oxygen is
protects

replacing extinguishing than which the


may

This

called the use

halogenated better or chemicals kill

system.

objects water will

other harm

systems

because

it

does

not this

the

objects.

However,

system

people on. This rooms.

if Thus, system In

they it

are is

trapped

in for to

the the

room

when

the

system in but the

is the in

turned museum. store-

dangerous meant halogen of

people in

who work galleries;, to

was not addition, Kinds are

be used gas is

harmful

atmosphere.

C. Different There fires, review 1. storage


system.

Prevention

Devices kinds of with devices used to detect I will

many different you are

and them

I think briefly.

familiar

many of

them.

Smoke detectors: rooms and galleries. begin, it

You

should They

place should sign flames,

smoke

detectors to If will

in

the

be attached is smoke. the fire

an alarm you can

When fires the fire before and

the bursts

first into

stop less

be much

serious 2. Heat

cause

less It also detect

damage. would attached changes but also to be useful a fire in to alarm have
system.

detectors: which which which seen fire are can is

heat These can alert

detectors, are you devices to

temperature you cannot

and yet

a fire

starting, extinguishers also have

which in your

see. even relaDeon fire

I have hose tionship partment? a regular breaks D. out


systems.

buildings What the is

and the

Do you the the

fire

alarms? Centre
come

between Does basis? in one

Hue Monuments Fire the Department Fire buildings?

and

Hue Fire inspections a large

and make
come

Does of

Department

if

the

General Everyone

Guidelines in people the museum should should know what to do in and case they of should in the the

fire. have

Some

be assigned if marked there is

as leaders a fire. visitors

more

responsibilities be clearly

The exits can leave

museum

should

so that
105

museum something tices III.

quickly called they

if

there a fire should

is

a fire. This there is

In

many countries that everyone

there prac-

is

drills. do if

means a fire.

what TIEFT How can

a museum defend you are all to

and protect familiar theft

itself with

against the

theft? basic For exam-

am sure

that

completely prevent

guidelines ple, the 1.

recommended
most

and vandalism.

important sure If the

being: collections is belongs at stolen, to this it are all inventoried you have the and docu-

To make

photographed. ments to prove

an object object to of digress 1970

then you. point means

the

I would

like

to for

introduce cultural

the proper-

UNESCO Convention ty. A.

and what

UNESCO Convention

of

1970 Means of Prohibiting of and Ownership I will need your for introyou to Preof

The UNESCO Convention venting Cultural duce have and this the Illicit Import, was ratified and its

on the Export in

and Transfer November 1970. to of the all

Property convention

relationship photographs

thorough immovable Before

inventories cultural beginning, Public

with property. it law is and

movable

necessary second Public what law towards the right

to

explain a convention

first

what means total In the

is in of all

International legal terms.

International of they they

refers each to act

to other. in

the

the rights and duties ' 8.) States believed that wanted to achieve what

states had

past

any way they the 16th

wanted.

Beginning

around

106

century, tions what to one

some statesmen this State that not freedom. may legally one State unless

began Gradually

to

believe a set another attack attacked not

that of

there

were

limitadefining it Force is

rules

emerged Generally State.

do to should you not are

State. another

believed should general, domestic such several interference tarian

be used International affairs internal of

by another interfere political Cambodia, this policy right

state. with the

In

Public States. struggles call it conflicts

Law does However, in into

recent

events, and of to nonhumani-

as the

Yugoslavia, question with

African

States, because

a state's

assistance. There are two major sources (also recognized (in States. or several contracting States the world) Treaty agreements) (multi-lateral) States who signed most of the (this the for called and as law International Convention) permanently legally (treaties are treaties States. means treaty). and Public Law. applied binding. are also It Law: Customary by the is called

Customary law consists

Law and Treaty of States to all rules

majority applicable conventions, two only binding is

of

covenants or for for for cultural and thus the the

made between They they Treaty regulations level are conare are law

(bi-lateral) binding only

important

us because property are not

rules

protecting ventions,

on an international applicable to all

States.

107

1970 Convention ____.on the -___-Means of _-_ -._. . Prohibitinq and Preventing the ---.-.-_--_--Illicit Imort, Export-and Transfer-of Ownership-of Cultur_a_!, -__----_ PrPs~x9 What is illicit trade and traffic of cultural property? Cultural objects, because objects this transfer is objects etc. of can their are such goods beauty of claim of as paintings, which or the the
some

antiquities, want to

archaeological buy and collect

individuals value. heritage to all Public national identity is free to of

economic cultural right or

These of the

same cultural a country, trade and and

be part

why States of ownership to

control cultural Law,

objects. States property the people which State have when the these in right

According to declare are

International objects for the


the

some cultural important Thus, belong to

objects
the

the

living cultural and to

state.

State cultural regarding of


the

decide of the

objects laws and If these illicit Illicit operations objects of it cultural is

heritage their objects then this

make

regulations
the

ownership. is transferred is contrary considered to

ownership and illegal. traffic or single museums, objects easy to

laws or

regulati.ons,

transfer

of

objects

can They

be large-scale involve sites, stealing etc.

criminal or Illicit business looting traffic because to another. the of it the is

events.

from

archaeological has become

an international objects from over in the


from

very Once

transport has loses do not


some

one

country to

an object origin origin to have in

moved control apply kind to of

one
the

country object.

another, The laws

country country important among

of of

new country. law prohibit and this

Thus,

international and

cooperation traffic.

countries

order

prevent

I 08

The UNESCO Convention Import, (hereafter prevent version ratified art-importing not yet signed France, States, legislative domestic law. is after this was Export called traffic. adopted and Transfer the

of of

Prohibiting Ownership of initiated 1970. 1970) in

and of is

Preventing

Illicit Property to final has been help

Cultural an attempt and

Convention It was

1962 The

the

on 14 November

convention important

by some 75 countries. countries the remain

However, skeptical for example,

several and

consequently Japan, Thailand, other it

have

convention, Germany and

England, United various into

Switzerland. have for

On the ratified its

hand, and

the

Canada

and

Australia necessary

adopted

measures

implementation

The Convention is bound to it only that

non-retroactive the time years it

- this has before cannot

means

that Objects

a State which even using as the

signed. the

may have short treaty is illicit co-operation cultural What 1. to

entered month

country

signing,

as one as sole reinforce traffic

before

signing,

be retrieved of order the to

justification. international in between cultural States

The objectives solidarity property and the in

Convention combat a system and selling of

by establishing ethics of buying

property. are the -_ most _--.-._--State its has importantprovisions - -~ to take appropriate patrimony of and according These measures the Convention? measures standards to

Every

practical to the include:

protect established a. b.
C.

own cultural in the

convention.

establishment of inventories supervising trade of cultural adoption of ethical standards collectors and art dealers. ! 09

objects for museums,

private

2.

The

State

must

require the also

certificates export requires should States

for

the

export

of

cultural

objects, 3.

otherwise

be prohibited. to prevent museums and

The Convention institutions State has

similar in another

from and been which signed in

acquiring has been

cultural illegally State. States, but

property exported

originating after like the

Convention the

by their the United

Some museums, The University have signed

museum where not only

T work abide drawn that

Museum, tional unhappy States their acquired. 4. for

by the

Convention, IJnited

addiI am

legislation to which purchasing admit

up by the are by the

States in

government. the are been United notorious illicitly

there abide cultural

other

museums

do not of

Convention which

and has

for

property

The Convention the restitution property for example) it

furthermore (return stolen even of from if it

requests property a museum is in

States to or the its similar

to

take

measures owner) of

rightful

cultural (Angkor

institution of someone

possession

who acquired

legally. JF THE STOL,EN OBJECT who purchased know that the are the object was to HAS

NOTE: THIS PROVISION TS ONLY APPLICABLE BEEN REGISTERED TN AN INVENTORY. In "in good this faith" is case, (i.e. as well, he or to the she person did not (i-e.

object entitled

stolen), money). 5.

entitled

compensation

they

The Convention

also

expects or looting import Cultural

that that bans

if

a particular States who have kinds in

site

is the to

endangered Convention help of the

by pillage should State adopt whose

signed measures The

or

other is

of

Heritage

danger.

United Khmer it to 6. will

States art. If

is

in

the

process

of

doing of

this art

with

regard

to law, then

a ban for art.

on the

import

Khmer

becomes by the

be illegal Khmer

museums

who do not

abide

Convention

purchase The most is

important attitudes. is

result

of

the

Convention this Convention,

should the

be the internaand coun-

change tional tries One of museums In Return Restitution the

By adopting exerting the has way been moral they the

community to the in re-evaluate results

pressure buy and of

on people sell ethics cultural adopted

objects. by many

codes

industrialized the

countries.. Committee its Countries for of Promoting Origin or its by the

1978 of

"Intergovernmental Property Case of Illicit of is of Forms legal for and to

Cultural in

Appropriation" It is

was established composed negotiations of 20 Member for the has recom-

General It's or

Conference function

UNESCOto facilitate

States. return devised mendations cases. In

restitution

cultural such diplomatic

property. requests and

The committee has for adopted specific

Standard for

procedures

1984

UNESCO asked of law) of to

UNIDROTT draft

(Rome-based Convention The main

institute for problems the

for

the

harmonization and restitution 1. 2. 3. The will final

another property.

return are to:

cultural States of rights of rules for negotiations. this

define the define the define the diplomatic draft of

origin a bona-fide purchaser judicial settlement has already

instead

of and

convention

been

presented shortly.

probably

be adopted

by an International

Conference

111

2. of the

After museum This

doing director is all

the

inventory, to make sure

it his

is

then museum and you

the is

responsibility as secure things that as with the

possible. which first You you line should

an obvious familiar. against you physical have

statement, For theft strong example, is to

includes all know

are of

defense sure

have

a secure doors,

building. secure

make A strong This floor,

walls, will

strong deter

windows. thieves. the doors museum interior well-lit 3. the ground are

barrier

many amateur on the windows use on

defense

includes sure

putting that You

bars the should

and making as possible. checking on inside so that protection still to topic, It the have at

locks

you

on your

as sound

go through roof

your and be

carefully, barriers outside The best is

doors, of

windows, museum. the

on outside,

The museum should guards can and see theft in the in clearly.

night against

vandalism

during museum a lecture to

daytime

well-trained I will repeat be useful and to

guards what to feel watch the so if in They objects. their the should questions etc. in they

galleries. given take two

On this weeks ago. in They to make

I said teach the

would galleries

guards of public

an interest

a sense the

responmost

sibilities. closely

are

the they

people do not get just

who will touch bored, sitting

sure

The guards ties will guides, about can include alert they museum, could

frequently more and should where than

responsibiligalleries, not replace visitors have they

be more but the Guards

responsible. be able facilities a list and to

answer are, of

be given each

objects

the

galleries check to

they

protect,

and

morning

evening

should

112

make sure In of tion there visitors and are Guards are. This 4. daytime least per six night

all most

the

objects, it is

and

parts for

of

objects to

are

in

place. the bags

museums and staff

common

guards should

inspect

as well. comply,

This

be a stated the staff,

regulaso that

everyone no bad should will

should feelings. wear

especially

a uniform a sense be even usually

so that of more men, staff. plus

you

know and

who the

guards

also guards They guards two

create must are

pride

respect. than should the be at shifts

Night guards. night with

well-trained and There two there

on your shift,

should men in of

be two reserve. the

men per must the the

The night both inside People guns? that and its if the This the and

guards outside ask

make periodic museum question, question at

rounds irregular night

museum,

intervals. guards Many will have argue guns arm

often is

should to the your they or kinds kill of protect cannot strong

a difficult carry will it they is

answer. thieves

people carry to

guards

guns,

then If that injure

violence then so that

escalate. essential do not

museum decides have professional

guards,

training 5. devices er, of the you security

themselves electronic your replace

or security

others.

There and must

are alarms

many different which can help devices with

to

museum. a good barriers doors

Howevstaff around and

remember guards i.e.

these

together strong locks

physical with strong

museum,

on doors

protected Let 1.

windows. us review some of (closed in these devices: TV system): and 113 In this system video are

CCTV System are placed

circuit the galleries

cameras

storage

rooms.

They

attached set duty than up in must one

to

a "closed

circuit"

TV, as the

a television security

screen center. There is

which The guard usually

is on more

a room watch

designated the TV screen and the parts system moments, Because the kinds

continually. guard of is can the that change

TV screen, different with for this a few

the at guard

channel the

so that

he can

watch

building if not the

same time. away from

The problem the enters beings screen the to

turns if for

he will it is very for

notice difficult

a thief human the as well. are

gallery. sit

and watch have other item

screen of

hours security

and hours, systems Some of

museum must Let me add

back-up

one more with

about devices, happens more

CCTV systems. so that in the you museum. and

them

available filming kind of

recording which is even

are

continually However, say that this it is

everything system of The time. doors

expensive,

critics

a waste 2. that more thief the if

should enters

also one of

be attached the doors, there transmitted

to the is

an alarm alarm no alarm goes

system, off. the

so In

someone

technically hears. security

advanced Instead center know that

systems, is the has

which

a signal so that a door

electronically on duty will

to

security been

person opened.

immediately Museum's the

In The University diagram electronic opened. not act know of In he is of

security its

center, galleries. clearly will security

we have

a large flash door

electronic on the has been

museum and indicating the

Lights where the the

diagram this there, stealing. 3. way

thief the

think guards

that can

museum does him in

then

catch

the

Motion

detectors:

you

can

also

install

motion

detectors

114

which has

lets moved 4.

you

know

that

someone

is

either

in

the

galleries

or

an object. for are opens individual wired with or display electronic even moves cases: Sometimes security it, certain so or

Alarms

cases that if

themselves someone is

devices, alarms This go off technique

a case, to very however, of are in these not the

a signal is obviously In emphasize guards deterrent building. in

transmitted used for

security

center. objects.

valuable most devices doing end, is

conclusion, that the to none museum theft,

museum will their the

security

specialists if the

be effective job. presence

The greatest of guards in the

the

115

INTRODUCTION

TO MUSEUMS AND EXHIBITION Lecture 26 April VIII 1995 AND MARKETING COMPLEX of the is has use translate come parties. and of (as from The the

VISITOR I. INTERPRETATION In importance one two of the many of of the the

INTERPRETATION

IN THE MUSEUM AND THE HUE CULTURAL previous role of of good lectures education interpretation. closely or to the in I raised the the topic

museum.

Education

results which 1) language

Interpretation museological and word 2) to

meanings

relate to to

interpretation: from Latin museum, one

explain another).

clarify; The root

wterpres two

and means in

a negotiator is

or

mediator between

between the

a sense,

mediating

collections

museum visitor. In tion reveal objects, rather In it a little 1. meanings, 2. animate or in 1957, the an American museum and as "an museum specialist activity through and by the defined which use of interpretaaims original media, to

educational

meanings

relationships experience, to communicate is

by firsthand than 1995 simply this to

illustrative information". but

factual still valid,

definition the seeks

we can

expand

on

include

following to teach

elements: certain truths, to reveal

Interpretation to impart

understanding. is based or on original man-made; objects, aesthetic, have whether historical, innate

Interpretation or inanimate; Objects impart and

natural when inform. is

scientific. to 3.

properly

arranged,

powers

Interpretation

supported

by sound

scientific

or

his-

117

torical museum's as to

research audience, more

that and

examines evaluates

each its

museum object; methods of

analyses presentation

the so

secure 4.

effective makes hearing,

communication. use, smell, where taste, ever possible, and touch. in exhibitions not actually of This London's in this tell exhiand you felt sensory

Interpretation - sight, is of in illustrated

perception approach Museum museum you bition spices

beautifully I described

by exhibits some of I think the I did time. with through a real sensory

Mankind. earlier them

lectures, because an Arab of the

but

about

lack

of

One memorable all the "suk" the good

created and

market

complete

sounds. you were

As you walking This

wandered through

exhibit, (market), does

as though plete replace together the visitor with

comnot but they works hope

smells!

use

of

perception of from display,

words with will

and more them to

traditional create

methods

an experience

which

learn. done informal It's in the manner of London's the Museum of restrictions something of new a these because

Interpretation Mankind the more special he is provides

education is It the to is

without make hoped

classroom. enjoyable

purpose

learning that will

experience. that an active are to using creating above, the the

by creating remember more

environments, engaged So what in then

visitor

learning methods the

experience. museum uses The task to of "interpret" interpretaIn such as the a

the tion

collections is done to

museum visitor? of techniques

a variety

and effects. environments

addition one

three-dimensional which or draw the

mentioned

visitor period,

into

a new culture,

natural

environment

a historical

museum specialists

118

today videos,

make use

of

all

sorts

of

multi-media and the

technology latest of in

such computer

as

audio-visual The more

productions traditional include and

technology. used

techniques tour-guides, publications.

interpretation demonstrations, All of these are

by museum

specialists lectures for

self-guided important Let niques. people for at for and there the

tours, methods me briefly

interpretation. expand on a few of these traditional performance For techby example, held

By demonstrations, doing something related

we mean a living to of the exhibition.

an exhibition The University a potter demonstrate every days day the visit from

on pottery Museum one of

American's years ago,

Southwest the to curator come to

Indians

several the Indian

arranged the Museum

groups pottery. days

how she - only potter the

made her on special

The potter - and her it was craft,

was not hoped that that more on

when

was demonstrating museum. tours are like

people

would The

so-called museum

self-guided visitors stay in

often to they stay like you this

preferred in to a group. see

by They

Western do not museum experience very all

who do not a group

like at

to their in

because

the guiding It to is them and

own pace. the to Citadel keep

I think may have

many of run into

who have problem. and of speak

difficult at the

western Because relies

groups

together

same time. in the Citadel

interpretation on guides, for the visitor who strays i.e.

your it

museum suffiabout the learn

buildings cient citadel tour,

lacks learn from

educational on his often she or

information her a lot from own, of the the

to

the

person

guided as much

loses could

information visit (I
119

and does know this

not from

as he or

my own ex-

perience

bringing of

museum groups this particularly for the to

to

Asia). Western visitor habit, to text learn our museums own labels, free of Each In have

Because developed while each to the

many

strategies In addition have In

on his and offered form

visiting. gallery visitor. boards produced might

the

usual pamphlet

panels is the

a detailed these do not English,

which take from the

France, you

pamphlets remove

laminated text is

which in

room.

French, offer

Spanish

and German. tour using to to your that the turn linger allow. do not is not

addition, (tape

many museums recorder takes and with the

a self-guided which on a route information. because allows tour tour he 'or the guide and you

a walkman belt). of the

earphones visitor similar

attach

The tape guide, can

similar

provides his or her off. than the the the

However, she can to normally tour

visitor the tape longer In include enough exhibat

go at

pace This the

recorder one display

on and case both in With

visitor might

addition, everything time). its can in the once the

guided museum

the

taped

(usually the

because visitor With then the the look

there is

tour not it In

guide, discuss. off this

rushed

by the the not

guide again taped with

does turn tour. the

walkman, at things labels she

visitor included the

and

case,

museum he or in the

provide needs. is

visitor

additional of

information interpretation

Another who is your

aspect audience, and

museum, interpret museums as the

knowing your

so you

best For

know a long

how to time

collections seem to education realization care

exhibitions.

did role

not of

who was their interpretation museums

audience. in had to the

However, museum grew, better

and

so did their

the visitors,

that

understand 120

so as to years, emerged. the

serve idea

them of

better. using

Hence, a marketing

during approach

the

past in the

15 to

20 has

museum

II. It even in is very popular where the to

MUSEUM MARKETING talk current to about "toi develop what does "marketing" moi" policy to these days -

Vietnam and the mean?

encourages stimulate and

individuals promote really

institutions However,

new ways the term

economy.

"marketing"

Many

people for the

incorrectly museum, and i.e. the their to

believe drawing various

that the

marketing attention of

simply of the the

means

publicity public so that important, exactly marketing, the to

their

museum people is visit

activities Although that making

museum job is is of

more it

museum. believe

this publicity is part

a mistake

same things but is is (this marketing does in which your your not really the

as marketing. same thing. the the science people is want of

Publicity

Marketing is your market and

trying

to your to

understand product or

who

means

who buy supposed

service), such the

research market with the the

answer you best

questions provide is the you

as what people

and

how can they

market from of following

services world activity. cycle: of

want?

Marketing which puts

a concept customer must 1.

comes centre the

business

at

the

To do marketing,

go through do market ; you

you

research

(to

find

out

what

the

customer

needs

or

wants) 2, then

develop

a service

or

product

to

meet

this

need;

121

3. 4.

then

you

sell you

and

promote

the you or

product: maintain quality does after-sales the or wants first service this two not fail service. items is reversed. control the to needs of

afterwards that

make sure product also order

guarantee the

the

service

customer; In

and you the have

provide of

many cases already the

Maybe to will see

you if

a product needs of or

and you product

do research or service. I

customer

provide For the

some examples first market. possibility Let city

both I will

possibilities. provide you have but an example the idea have and you that very creating to first find using you little

the want

tourist to

us suppose for Before it tourist tourism,

develop in for kinds

your tourists. your of

you hotels for

experience services out what

building will like.

tourists, hotels survey. kinds bracket of the plan luxury houses. expect in of (i.e.

be wise

You can probably depending is the salary

do this discover on the level)

by conthat nationaland and archiwant have are Hotel the is itself service

ducting there ity, are age.

a marketing different income level then

You will "markets" what

educational tects to end can

tourists. the kinds

The urban of nor also hotels. do you

planners

better with

You do not want to only

up only

hotels, You must their tourists but

inexpensive services criticized as a first expected

guest tourists

understand The Century it the

what

hotels. because it lacks

by many European class by tourists provide in Hue. luxury in hotel, luxury

advertises superior

hotels. of the second approach the village based of on a Sinh.

I can situation

an example Last Thursday

I visited

122

As you

all

know, it ritual using Bureau,

the has

village produced

is

well-known prints the

because which people

for are no

many used print the it

generations mostly the for

wood-block Although

occasions. the from traditional

longer from

pictures

methods, talk about

many people how wonderful and prints the the

Cultural would However, traditional not this these these were not think

UNESCO etc., the use of

be to to

restore make the

traditional and to

dyes do the

methods. in the do in for for and or wise do a not what

natural alot of

dyes time

way takes it is

and many of to make tourist pay

villagers prints market prices dyes

economically there might were

profitable is a possible

manner. prints. prints made to put in if

However, Tourists they

be happy quality, In the

to

good natural

good

used order

the

traditional into restoring

way.

to

decide methods,

whether the would or at

money would

traditional survey. determine and was the

investor survey they cost. someone restore ods. The should already meeting quests museums

first tourists want

do a marketing visiting to buy

He or

she

among would If

Hue to these that into and

whether if so,

really the data invest more

prints, there

suggested money

a "market", village

then artisans to meth-

could the

helping time

expensive

consuming

traditional

second

possibility The product, The question of its

is i.e.

also the you

the

one museums and ask its is what "is

in

general

take. exists. the

museum to if

services, the museum of refor to

want

needs

public This

and, kind in these


123

not, of

kinds

do the began

people in the

have?" mid-1960's In

marketing when

approach began many

America surveys

museums asked

do many visitor

surveys.

museums

questions they you 1. wanted will General

to

their from to

visitors their find

to

find Here your

out is

who they a list from of

were

and what things

museum. out people about have

general a survey:

want

museum your

attitudes

towards

museum and

its

services. 3 _-. Why people 3. Why people of do.n't do visit the come to your your museum - this (do they know to it exists?) an

museum strengths.

helps

provide

evaluation 4.

museum's of the positive of

An evaluation negative

image

currently factors).

projected

by your

museum

(both 5.

and

A critical lavatories,

appraisal etc.)

existing

visitor

services

(i.e. or

cafe, omis-

shop, sions. 6.

- identifying

any weaknesses

An evaluation of

of

existing - this design guided groups

professional includes as well

services an evaluation as additional

together of the

with text

an appraisal panels, such 7. as labels, lectures the is too While lect like they now, they often data

demand general and

services

tours. which make up the service. the survey, You will level your they of potential Is cost the of you want cost other will to consumer of your

What

various to Too are

market entry

willing high? you

pay low?

for

good What out

about your

services? also know colthings do job If how

carrying

on the they how did course part visit

people are, they

themselves. what travel or is their to not

how old live, of are they

education, what is

where their

museum, are you

note of the your

whether local

a man or will want

a woman. to know

population,

museum.

However, something to meet In museums were ethnic the the was about

once it

you - to of

have try the

your and

data change

is

it

important you do in

to your

do museum

what

requests United that at

people. one elitist white and especially were not tried and of of the stronger complaints whose about services

States, they were

institutions visitor. the

aimed

a well-educated, in said America, that

The many other black to and Hispanic their lives. image which In addition, museums community than to address will and

groups

communities, Since to pay during sprang museums museums, some of that

museums

relevant to change activities groups. community States. community specifically

time

many museums exhibitions to and cities the 80's in

have

their

include attention the

programs, more 1970's many were created cultural things For you example,

other

needs several the

these small,

up in which were their

United like

These centers

sometimes by the needs. discover for

more

communities

Other concrete. United people that special can also all

on your a long did is time not the

surveys most

might buildings easy the

be mOre in the for States

States,including using public bathroom visit the wheelchairs. buildings facilities

museums, Now it construct

provide law in

access United

special people

ramps who are

and in

have wheelchairs

so that

museum.

III. Marketing ried out for surveys, years. which are

HOW TO DO A VISITOR including Consequently, used in visitor

SURVEX surveys, have methods and been have carbeen your

well-defined planning,
125

established

taking

analyzing

survey. and has

Once received steps

your

museum has permission

decided the

to

take

a visitor to do so,

survey the

from

Director

following A. Conceptual This useless should 1. survey This (have used? future? on the 2. should and why purpose, ful study. 3. i.e. data not wish

should Planning stage

be taken:

planning data in

is

important manner.

so that

you

do not planning

collect you

an incorrect

To do proper

do the first and team other set will

following: organize up the then the team who will be responsible of is your for study. necessary the study for the based be the

parameters determine already information museum really in of general the the if been

(boundaries) the study

really

studies the is the

done?), help the willing study? survey. terms, Having

how will

How will And,

museum plan to

make changes

information define briefly it will is the state, being help

gathered purpose in

The planning the topic of the

team study of meaning-

conducted. to insure

a clear

statement and more

a well-constructed

define the the

the

general and of

and

specific

information topics you to want answer. of

categories, to collect These are you

define on and the to

general kinds

specific

questions but the

you

wish

specific find out.

questions,

categories

information

You also consists (which based of

need

to

decide

if

you

wish

to upon

do a survey sets of

which

open-ended qualitative

interviews data) questions

based or

questions

produces upon

closed-ended (quantitative).

interviews

multiple-choice

126

4. different phone

prepare ways

to to

collect collect mail

the data: surveys

information. face-to-face and partial in the Hue,

There

are

several tele-

interviews; self-administered you can only

interviews,

questionnaires, the face-to-face

For

your

purposes and type

consider

interviews The the latter

partial that

self-administered a person is present This

questionnaires. to distribute is her if decide not role the

means to the

questionnaires to offer filling plan to

selected or in read

visitors. the questions. the

person His or

expected is to

do interviews assistance it out

completing problems. data. think use

ques-

tionnaire 5. have for this B.

person how you

has the must

analyze you Most

Even about

before and plan to do

you

written data entry

your and and

questionnaire, analysis. usually

people with and

a computer

analysis, Writing In

consult Questions

a computer Designing survey use the with

specialist. Questionnaire meaningful

Standardized order it is to

do an extensive that

visitor the team

results, which tative about useful depth speak difficult useful It ly short is

recommended to be analyzed and the

a questionnaire means (i.e. about it interview the it visitor is very is very might in a quantitoday be *eater to is

able

by statistical information I will

analysis), the to with more quantitative select

talk

questionnaire. sample questions of

However, people which to allows Although information

a small

"open-ended" freely to quantify

and m0re this data. that 10 or

extensively. data, the

obtained

supplementary is recommended about

you

keep

your This

questionnaire is for the

relativeconven-

- to

15 minutes.

127

ience alot refuse expect then

of of

the their

visitor time.

- you If It to select This yield the

cannot survey is also

expect takes for your

him too

or

her

to they

give will If results,

up

long,

to your you

participate. survey to

convenience. significant which could

you

statistically sample people the will data of

have people, your are and

a sizable number collecting categories of

be as many considerable

as 1000 time of

occupy and for

team two

for

analysis, open-ended

There questions

major

questions:

closed

questions. Questions: own words. these They before end questions are allow begin other the visitor the inter-

1. Open-Ended to view - or kinds analyze those number For least three 2. in answer - to in their the

a way to the

relax

visitor way to are,

beginning

questions These and

as a pleasant of questions using experienced of responses you

a face-to-face difficult In to addition,

interview. interpret it that is you

however, methods.

statistical in

advised limit the

by

creating a person

these

surveys, in

can make to your ask visit the

an open-ended "What

question. was the up to

example,

might part

want of

visitor

satisfactory comments

today ? (you

may write

below)". This is the and question it usually the type most takes person from kind are which of easier the often the form taking they used of the must is the are 1)

Closed

Questions.

standardized

questionnaires Closed a set of questions

multiple-choice. survey choose easier person uniform. with the for giving There

provide responses This

predetermined answer(s). the code

most the

appropriate person the are taking to broad

question for data

survey, and

and

survey two

analyze of

because closed

categories
128

questions:

checklists, a, tions the

and

2)

scales. offers the of one or person another. responses your visitor about interviewed several op-

a checklists are and

that choices

independent chooses At the

one

The person according survey your

examines to you the first for their

more of

instructions. want to collect his or etc.

beginning

demographic her age group,

information educational

visitor, what is

example, nationality Examples: [ [ I:


[

level,

The highest

level

of

schooling

you

completed

is:

] Grade School ] Some High School ] High School


] Some College

[ [ [

] College ] Graduate Degree ] Other (please describe) that the question you there offer. what question. includes cannot will If a response describe be several you is do not all called the people provide "other". possibiliwho do not them they

Notice This ties fit with will Another is in into

important your the

because and

question categories to not say

you specifically the

a space probably

their

situation,

answer

example: this think museum holds? appropriate), (You


may

Which collections do you believe choose as many responses as you [ ] I do not know [ ] Photography [ ] Drawings [ ] European Paintings [ ] American Art [ ] African Art [ ] Asian Art [ ] Greek and Roman Art b. Scales Scales are used when asking

visitors

to

describe

values

such

129

as frequency, two to extremes the opposite

quantity, of the

quality spectrum

and

intensity. at even

A scale spaces,

includes from one

and moves, They can

extreme. example: of

be designed

as multiple-choice

questions. Indicate each AUD AUD AUD AUD the statement

For

intensity below. to to to to view know know know

your

opinion

by circling

one

letter

for

A = Agree: art without

U = Uncertain; written of art is in

D = Disagree

I like I like I like I like by the

explanations. important. a work of art. used

why a work the about story the

depicted materials

and techniques

artist. Follow vocabulary When Writing using jargon Questions: words and all your visitors will

Guidelines 1.

to

Use simple

understand. 2. 3. 4. 5. 6. Keep the

Avoid questions and only sure the one

using

abbreviations. than 25 words.

short, clear. thought

no more

Be specific Include Make Use

per do not

question. overlap Not Use", "None of the Above"

responses Know",

"Do Not

"Other", when

"Did

as possible C. Sampling: Select Them? First museum, visitors. then alize sample you it

answers

appropriate. Should You Survey? How Should You

How many People

you might Once must

must

define

who makes members, decided of

up your

population. and even

With non-

include you have

museum visitors who is your

targeted in order only too

population, to use genera In

take

a sample entire

this

population Most is surveys

about

your the

population. population

because

entire

usually

large.

selecting method

a sample which select the your produces

of

your

population, sample. random.

you

must

use

a sampling does not

a random at has

Random It chance you have does of

sampling mean that being

mean you person complete plan the tion. There of your for more in

respondents population questionnaire respondents. it is to

every to firm sample popula-

an equal and that In

selected a very

devised the

selecting likely

general, of

large(the whole

be representative

the

are

established such

methods as using

for

selecting

a random

sample

population, table.

a Computer-generated

random

numbers D.

Pretesting Once you you have can designed do to you to help your questionnaire, success problems the is or to most importit.

ant

thing

guarantee any

pretest

Pretesting with E. the Coding

allows questionnaire Your Data things is

discover you

ambiguities it.

before

actually

administer

The next questionnaire converting tabulate, assign more F.

you code into or to

have the

to data.

do after Coding which data.

administering is the process be used thus

your of to to data

to

responses to count

numbers the

can

then

analyze each

To code, This

means the

one number easily

possible

response.

makes

quantifiable. Your you If your Data have to analyze is under the data using statistical then get you probably

Analyzing Finally,

analysis. do not sample, need you

sample

100 people, in order than to

a computer. will probably

However, have

a reliable and then a

more
131

100 people

computer statistical museums stage. G. Using Once the the for

is

very

useful. which from

There you

are can

different carry out

kinds on your specialists

of

standard Many this

analyses seek help

data. at

a computer

analysis

The Data your analysis mean for You will based upon is your also your completed, museum you have to interpret what

statistics findings. change

and write

a report and

explaining

make suggestions findings.

recommendations

What the tourists is

I am recommending to meeting with what cost you are of the Citadel the needs they are

is to of

for find the

you out

to

do a small the Are certain

survey

among

whether

Hue Monuments the tourists lack-

Centre satisfied ing? I know making sibility

tourists. Are high to

given? too

services they

Is

the

admission not permitted you

for

what

receive? about the pos-

that

make any perhaps

decisions suggest

a survey. to your

However, leaders.

could

132

UNESCO WORKSHOP ON COLLECTION MANAGEMENT & PREVENTATIVE CONSERVATION Heather Peters

This workshop will be held three times per week, three hours The purpose of the workeach session for nine or ten sessionsshop is to review standard collection management and preventative conservation techniques for the Guardian staff and to encourage Doing so will greatly enthem to practice them at all times. The workshop hance the preservation of the existing collections. will stress the need to use methods which do not rely on expensive technology.
move

Rather than hold a series of lectures, the workshop will Among the from monument site to monument site each session. sites we find similar problems together with problems and topics specific to a particular site. SCHEDULE OF UNESCO WORKSHOP 10 May 1995 - Opening Ceremony The Storeroom: Lecture: Conservation Signage 12 May 1995 Lecture: Environmental Monuments: Humidity, 15 May 1995 17 May 1995 19 May 1995 -- Tomb of - Bao Dai's - Hon Chen - Tomb of - Tomb of - a.m. p.m. Khai The First Step in Preventative

Conditions Light, and Dinh House

in the Pollution

Museum

and

Mother's Temple Tu Due Dong Khanh

22 May

1995

24 May 1995 26 May 1995

Thai Hoa Palace & The Mieu Closing Ceremony

133

STORAGE MANAGEMENT b PREVENTATIVE CARE OF COLLECTIONS: Today Antique bition. duce the we begin group. the THE ORGANIZATION 10 May 1995 second In the

CONSERVATION OF STORAGE ROOMS for the Hue on exhito introan

UNESCO workshops first workshop of that

Museum

we focused was to create

The most kinds and of

important planning

goal and

workshop needed

programs for is to

attractive

educational of this

exhibition

your review

museum. the principles However, in the this workshop of of

The goal collection more to

new workshop and what preventative I say,

management than put care are into with tempted when

conservation. everyone basis

important to

I want on a daily

begin

practice which they

principles

collection everywhere basic I hope realize best

are to

familiar. put aside or is or

Museum workers ignore for of these time. your to to do your for somethin What

everyday they in this you you are

principles to

rushed

pressed for all

accomplish each one

workshop has are the very should Then will it

that everyday,

of

responsibility busy. become will not

even for think

when

The guidelines a habit, not

handling ing your I. A. you

objects, have to

example, about. collections

be a burden

lives,

and your

be happier.

THE STORAGE-_-ROOM---ANDCOLLECTION Collection essentially be regarded There of Management means as the are your proper three is taking first primary a term good level

MANAGEMENT used care in the to by museum of your specialists collections. of care oband It

which can jects.

ways

conservation I insure good

management 1.

collections: environmental conditions in your storerooms

Keep

135

and museum relative 2. to handle and 3. tion does

in

general. light training properly

This levels for

means and al.1

controlling pollution. in the

the

temperature,

humidity, Provide objects how to clean require

persons sure

museum as to follows conservation. recommendacare. the

how

and make

everyone needs This time

rules,

recognize and

when' an object storerooms. money, just

Keep not

organized a lot of

and

B . Ir_h_e_~--g.tore.r-oom The Many put storage tend rooms to think pieces form of an important storage are rooms not part of the museum. where However, not think and vital as such. Not the and for of you

people the "less could

as closets

good"

which from the rooms. and can

on display. We should are a living

nothing the part all rest in

be farther rooms total as

truth. They should

storage of parts of such the the of

"dead"

collections collection should it can

be treated

the

be on exhibit. in

Consequently, good and condition scholars

collection so that other

be maintained be used

a way and

by curators

research

purposes. a new museum, space be used museum's shop for It is often suggested 30-40% i.e. these for that 30-

When planning 40% of and tories, see the that the total for

exhibits,

storage laborawe can space that in the

20-40% the the

rest

of the

functions, etc. From

offices, statistics of i.e.

library, storage This not

occupies

a significant what dirty If it is, I said room then

amount above, containing it

museum. is

re-emphasizes merely of a dusty, things.

storage ized

an unorgana dead and

hodge-podge room.

becomes

unusable

C . FxnsZLws_.-o_f_

-.t_h.e~~Ws3~3e Row

136

The the the

function object, can

of to

the

storage it role

room for of is kind is

is the

to

lengthen in

the order the for

life that

of

museum object

preserve in the

future

be used or not

interpreting well of preserved storage if the

past the for is

and

culture. future Expensive returned is

Whether very

an object on the treatment

dependent

provided object

it.

conservation after it its is

wasted

treatment important also of

to to

a damaging understand on two staff

storage that initial itself.

environment. part of the which are: object over the

However, condition lie outside P. the 2. course of the its of

an object the control

depends the

factors These of the

museum of the arrival be done used

materials environment life very the the it prior little

and methods to to which its can having

manufacture object in to

was exposed the correct museum. the or the

Sometimes the ship. object its maker of

results craftsmanlife of

of

object

poor can

materials lengthen

However, after environment, What about

museum in

specialist the museum

the

arrives thereby the

by carefully deterioration.

controlling

stabilizing of the the

history

environment and the

of

the

object? can make

By

having better excessive condition its life

this

information,

curator to store

conservator object. the

decisions dampness for in

as how best is not objects. humid levels dry

For best

example, storage

usually

considered However, the in and if

wooden a very

an object recommended Europe cause also it

has

spent of

environment, for for storerooms the object for

range

relative America Japanese

humidity will and be too Chinese

and North to crack. higher

lacquers,

example,

require

137

levels servators, their

of

relative in recent

humidity years, preferring

than in

is fact to

normally have evaluate

recommended. less rigid

Conin needs

become each

prescriptions,

object's

individually.

1. area

It

is

important

to

monitor and means storeroom to

the

climate its

of

your

storage to meet what exam-

as closely

as possible, This in know just your is

modify should during

conditions know precisely For relative

acceptable are ple the you

standards. conditions should not

you

the

year. and

what the

range

of

temperature relative plan to

humidity, day. In

temperature can

and

humidity manage

on one your

this

way you

make a better

storeroom. Basements storage and and are the more storage 2. and are because and they attics are are closest to considered to any in the the exterior of worst of places the for building humidity locations given it of is to even

consequently

exposed Unfortunately,

extremes most

relative these usually

temperature. the only space

museums, space is

available. and to

The best offices. to

exhibition important rooms. The

galleries to create will room to keepers other

Consequently the detail to of the climate below. general

methods

improve in

your

This

be discussed should be closed number registrars. who are and study

storage only

public for

accessible curators, from

a limited and

staff However,

members, visiting

example scholars should tions.

institutions to they examine should

doing objects

scholarly from the

research collec-

be permitted Naturally,

always

be accompanied

by a member

138

of

the

museum

staff

who controls Museum rather that examine the for office the area" leisure.

that began than scholar his the

particular policy the to know (he the of

storage. bringing scholar in does inventory ,to examine office is a little the who is to

Rethe the what with cards are where more socurinot

cently, objects objects. obj..ects the and then help

The University to the This he needs of the scholar, means to

bringing has research by using

advance this

registrar's The objects

computer). brought examine the to

scholar in the This

wishes registrar's method

a "viewing them at of his the each

he can work ty part for

keeper that

collection, time the you

but bring

eliminates someone area. of Art in

concerns of the

occur staff the Gallery

museum

into

storage Museum Art the in

Some museums, the Sackler-Freer also use

Metropolitan of Asian in The of to

New York, D.C., or with into for parts the the which the

or

Washington, area,

example, of

certain

rooms

storeroom

storerooms, brings in

as classrooms. the for in learn are the students them

curator, art and and From museums. area not they bring

together archaeology examine this

professor, storerooms are not

order

study

pieces experience

on display can also

galleries. about

students 3. or any

more in They

When people sharp It is the the This to objects. even

storage should that

should in any

not food

use or

pens

drink.

recommended It rooms goes or

women

remove saying

jewelry that where from there

which is NO

may damage
SMOKING

objects. storage is the a fire

without in the the

in

galleries pollution

objects the smoke

are can

kept.

hazard

and

do damage

objects.

134

E. Arrang.ement --.-I wish objects fol,lows. a matter fluenced research at all divide regional to further in to your The of

of. -Qb&-c.ts..-in ~. -the emphasize storeroom. arrangement by the of which of that

Storeroom is is not one way to which the arrange the

there There objects

no model within

every

museum rooms is

storage is

choice

curators. the the the collections

The arrangement as well are are first region. and Sometime keeper the put. large thing Then, has to

in-

by the and uses

nature to

as by the For and example, come from to each how

collections collections the

The University over the them world.

Museum,

Consequently, to geographical curator

we do is within decide are

according area, the to

storage arrange according sometimes

each objects. material

collections

arranged period, even curator, needs keepers of

object

is site,

made from, by ethnic choice.

sometimes group, You, the upon the or

by

by archaeological object. There best is

by type must the and Sometimes

of

no right

make the collections. curators the of

possible This

arrangement usually

based reflects

choice

how the

use material

the

collections. the object for is made from overrides they relative than decide they area to are all are

other organic humidity stone take from

issues

storage. sensitive require ceramics. in the and

Textiles, to

example, and

because levels of

and more and objects all or textiles what better light, or

temperature, storage the

stricter Therefore, collection, keep them

conditions keeper of in one might where storage

regardless together over

period, control

so that conditions.

can

be exercised

their

environmental

140

In nam, the

your

museum, to the

because Nguyen

the

objects and are date the

mostly to the

come 19th

from

Viet-

belong mid 20th

Dynasty

through and to arrange

century from

(exceptions France) to the you type lacquer to

Champa probably

material want

objects your glass, have to

imported objects textiles, decide

will of

according wooden how you think each

material: etc. objects

porcelains, Then within the you will

and want of

objects, the

arrange

each

category. might choose, cabinets can easily However, arrangement tain change it

I can with should should know

many possibilities, However, and labeled organized. on the

and whatever

system

category.

way you and so that you

be systematic all their be clearly contents. are are you other

Drawers outside

there which

aspects in in

of

the

layout and

and physical there are your cer-

more

general keep

nature while

guidelines

should

mind

arranging

storerooms. 1. Do not storerooms purposes. between also you the forget that have to you or cabinets the people take have objects always people to go in in and plan to to and out out for of the

and will Consequently, shelves space

various space

should for

enough walk.

There the doors. is

must If the will or

be enough do not

between these

cabinets suggestions,

open then or

consider you will

simple

there the doors

possibility knock glass into objects At problem. final one, the

bump into This

your action

cabinets, can cause

the

cabinets. to breaklG$I) your that

porcelains

moment I am aware

storage the

arrangement current your

currently is to

has not this

this the recom-

arrangement attention

so I am simply

drawing

141

mendation. 2. each the time each objects. each problem stances, bowl and 3, that of the the your other of it If possible, and and behind the each objects other. the risk should This of not be piled is the on top harmful objects of for each on top the inside your circumthe of

other objects you other,

practice damaging

increases If

move them. then I have in your you seen

some objects put

have

to

be stacked

should

protective of

padding porcelains I sympathizes

between stacked with present

many examples storerooms. space, but to

present cabinet too

limited is not to

even put

in

the

difficult them.

some padding

between

plates The

protect cabinets easily

storage can

themselves reach the allow to that this this

should objects. the keeper

be constructed Unfortunately to is can support reach to

so many easily

keeper storage

cabinets The only

do not solution I know so all to purchase

objects.

problem problem do is to

purchase be your cabi-

new storage solved request nets.($yrr> 4. in to the set The

cabinets. Director, Centre

only

by your to the

I can more

appropriate

storage

storage so it

area is

also very a good moved

serves useful light. about to

as a one to It the the or like create is not

of

the

workspaces in for the the each if time room

museum,

a space good

up a table to

with

objects you need vation if to do, to

be constantly is potential

museum because object. inspect we are it Thus, it for

there put

damage

you conserto see

a new number or include using look it

on an object, at in an object an exhibition, in the 142

purposes, to work

doing,

we want do this

should

be possible not

a table

storeroom.

You should

have F.

to

remove

the

object

from

storage. Do You--Need furniture out to above, the in. you the particular stored in there t.~-~....~t.o~~-~~~-~~~ will need in of and

What -_--. .~ind.~._f_~st~-~ag_ What are the room? a storage the function. the differs large which shapes kinds I estimate kinds of from sculpture. consist and of that deeper more will finish can of then the what better detail need sizes. kinds

Feurnirtu.re of storage

your objects

storage in upon

As we pointed room is unique of

arrangement museum

depends with their

on the If

kinds the storage that in

materials specializes

together and of are have come have in this

museum

paintings

drawings, furniture primarily collections different different

furniture

and

arrangement collections included, which have to

a museum whose yours of you

Many museums, of many types Therefore, furnitureffiY.3) will need and kinds your a variety

objects will

storage you

of

cabinets, In order

flatto and

drawer estimate cabinets first finished, what age data will

files, in you have to you

drawers the in

open and

shelves. numbers you When your of will

shelves obviously inventory there what etc. furniture

storeroom,

your

inventory.

is are, and

determine objects percentage the are

how many objects big, are kinds are small,

percentage are you need In the textiles, can and

percentWith this you

porcelains, of storage

estimate

how many. let need us talk based because should for not upon you about the the kinds want different of objects light kinds of

meantime, will

furniture you have.

you In the

I know effect your is light,

general, cabinets

do not glass are

objects, especially

have which

doors. sensitive

This to

important

objects

143

such

as textiles, In countries it is

leather where recommended This

and wood humidity that will the help important is

with not doors to

paint

on its

surface. a problem as

as serious on cabinets eliminate than dust.

in

Hue,

be as tightdust. In Hue,

fitting ventilation the ists

as possible. is probably

more

Consequently, some special-

cabinets recommend

should that linen also

allow items or

air-flow. like muslin. the the object way They Hang textiles

In

addition, could method have

be covered will ventilation. which are keep

with out

undust

bleached and light, Figure good inside

cotton, but

This to that can has

allow

#@,,$llustrates can cabinet, robes, be stored. or could

costumes be hung suggested, padded then than the

in hangars

condition the

on padded traditional wooden

as Ms.

Vietnamese through a specially blind to keep or the

be hung These robes

by putting could

rollers inside

sleeves. designed

be suspended a door,

cabinet. be used dust. to

Rather cover

a Venetian to the the cabinet can

curtain out to to light store hang

can and

opening beneath

The drawers or

cabinet are the too drawer

be used damaged should muslin

smaller and must in

textiles lie flat.

costumes Each textile or

which in

be wrapped or linen.

acid-free

tissue

paper

unbleached

cotton,

However, tions can the possible. close relative is to the tightly

objects Most and

made from specialists add of

metal

require

the cabinets

driest which gel low. This to

condiyou keep

recommend such

chemicals the "micro

as silica

humidity use "the

environment" box" system.

Another means is that

method you within

box-within-a object inside cabinet.

place the

bronze

a smaller The box

box which inside the

placed

tightly

closed

cabinet

acts insulate

as a buffer it Many of can "open that against your sit

zone the

between

the

object

and

the

air

and

helps

to

environment. for shelves is often example, without cheap which the porcelains, doors and can height your prevent (figure glass, 2). wooden This

objects, on open

objects, kind,of recommend the It are off frame might like the

shelving" you make you

convenient. be moved between shelves objects up or the so that from rule, rows of

I would down shelves. they falling your obon on

shelves adjust

so that also shallow shelf and It

can to

be useful drawers. (figure%). cabinets

construct This In will addition,

as a general than shelf two could

shelves jects. both

should ideal

be no deeper if -the open

would

most

be reached

sides. Another recommendation with for open of shelves to then be attached out. and course, this need to is that the the shelves objects. of front of of

should If there

be lined are for

some kind in fishnet, pieces they are your

padding country,

cushion

earthquakes example, to prevent is The that first it

some kind to the

barrier, the open with shelves

should from more is,

falling dirty of

A disadvantage dusty than cabinets your is not

shelving doors. and possible protect was the holes from solution,

solution dust free.

.io seal solution consider in not or you plastic

storeroom always way There place with object this to

make in the

However, So you dust as to and whether

many museums. objects in in in from

another air.

pollution or bags, to

the

a debate objects punched dirt

museums loosely them dust.

should bags the recommend

tied (for Most

plastic ventilation) specialists do not

protect

and and

no longer it for

I especially

recommend

the

145

museum high, that the begin might to

at and

Hue. even

The

levels

of holes form with

relative in the

humidity bag, there of the

in

Hue are is bag the the

too

by putting would addition, get

danger

condensation object. to melt In

on the high Thus,

inside

and damage plastic solution or muslin can

temperatures, another

and

sticky. from of best the kept

possible cotton, linen

be to over

make curtains the fronts are

unbleached open in

place Small

shelves. drawers rule, place or in if them boxes you in placed have co-tton, small on

objects inside

shelves m objects

or such

drawers.

As a general do not wrap cloth. however, it is or

as jewelry, tissue paper heavy

Use acid-free Very cabinets objects most or large or off specialists

or

and

objects, Because environmental placing already and

often very

cannot

fit to get

into

onto the

shelves. floor for

important security

and them

reasons, wooden solution in store recommend to keep the recombe too dais for your your the

recommend Mr. Son has jars

on a sturdy this

platform. porcelain

suggested bonsai plant

large

water and

containers also

collection, Cham sculpture covering dust and the dirt

I completely in this manner.

agree.

You should

I personally unbleached I would not

would cloth

Cham sculpture off the for if

with

sculpture. the you porcelains remove

necessarily it might

mend this easy to

strategy break them

because cloth

the

carelessly. Storag.?_F.~yni.ture? the cabinets. made from important to kinds of mate-

G. )Jhat-fla-teri.als There rial ists But one in has should

.Shou.ld been use a lot to

You. Use._to_M_akethe. of discussion shelves prefer corrode, about and shelves it is

make the

Specialmetal. that

conservation metal can

frequently rust or

because

146

the have burn the to jects you

metal been off cases emit

cabinets baked the to harmful at

be enameled. temperatures components This which

However, high of the that enough

enamel and

cabinets long enough

must to want cases obafter

harmful off-gas. gases then.

paints. you do not react

You do not want with the the that for the

means will

chemically usually you In at to in the

and purchase

damage

Conservators metal objects made, cabinets, in and pay them.

recommend air them

new enamel putting be well purchasing, hurt

several metal door sharp

months cabinets spaces. edges

before should Before which Wood is

addition, corners, rough

sealed

edges, and\or

attention

could

people less

working desirable harmful

storeroom. for other to cabinets elements water are

considered acidic

as a material resins also case blocks less likely it, more of and

because which and

it can

is

and exudes

damage damage

artifacts. and can burn

Wood is in the It are not

subject a fire.

insect

There if or

some advantages objects than with are

to

wood, on it, if does

however. they does conduct

out

light; to it chip is It

dropped and it in

break

metal, since

fire not

consume heat like

more is also

protective less

metal.

expensive It is with acids

many countries. that sealer harming but the not if to wood reduce objects. oak. is used, the it should be also of also the recom-

recommended an inert from

coated wood's

possibility Specialists

mend using but wood, layer. harmful you it must

a hardwood, used only

Plywood

can

be considered, type I. of Like protective is not that

exterior with

adhesive-grade layers using danger of shellac. lies in the

should Many to

be coated

some kind Shellac

people

recommend but the

objects,

possibility

147

the

layers

of and wood

shellac contracting. will

will

crack

as a result happens, people latex to

of

the the

wood acidic

itself fumes layers for of

expanding from latex objects, between white of or the

When this Other Although

be released. paint. considered and the colors which objects.

recommend paint is safe

(rubber-based) it the is not

by everyone However

be a good paints

barrier which are

wood

latex

other

light

generally does neutralize

include acid. against or Europe.

a high

proportion white in wood. know

calcium paint not

carbonate can provide

Thus the acid

latex It is

some protection North American

expensive

in

I do not

about

Vietnam. At the moment, called professionals most epoxy epoxy is commonly and that recommend using poly-

something ethane. exactly several wood. expensive for your

a two-component with the this directions that of these it

a moisture-cure is must

The problem according layers. In addition, and not to

be mixed applied to the are Thus, shellac as in

and very is two even I would not easy

carefully to apply barriers America. using

I am told both widely here in

recommended in North

available Hue,

purposes on wooden

recommend

a barrier

shelves. to perhaps painting the shelves to with them, latex is to line

One more paint the or are know or shelves something very if For recommend thin they the shellac,

alternative or

as a supplement such as (a "Mylar" laminated

with called foils are

materials Marvelseal which available you

(polyester metal impermeable. foil).

sheeting) These I do not

are in should

completely Vietnam. put (also

padding

on your called

shelves, ethafoam).

specialists In addi-

foamed

polyethylene

148

tion have know means the

cotton, not the you been

linen,

nylon

and with

polyester processing of to and any

fabrics

are

safe

if

they

contaminated

chemicals. you factory fabrics

You must This how

manufacturing will is probably made.

process have Undyed

fabric the

purchase. to are inquire the

go to unsized

textile

safest.

H. ---Rules In guidelines s.

for our

Handling storeroom for handling are

Cbjeets session objects in the on Friday I am going to review the

and make everyone storeroom These or harm are the you the will

practice. have you in any to pick

When you up objects follow 1.

working

and move them you do not Never

around. damage rush.

rules

must way.

so that

pieces

TAKE YOUR TIME.

2. Begin with object is the realize people and that sweat, stone (stone and salts can its surface. disease. 3. for

unless clean hands. It is also best to use gloves very slippery, a porcelain bowl for example. Few that our hands our constantly exuding grease and these things can stain unglazed pottery and even is porous and absorbs dirt and grease). The sweat into also harm bronzes and can actually etch lines The sweat from you hands can also accelerate bronze object areas before which touching the may be weak. object. Look

Check condition of damaged or restored

4. Do not move an object until you where it will be moved. This should the edge of a table. Make sure that leaving it. 5. ble. the In

have prepared the space to be a clean space away from the object is stable before and as seldom as possipotentially dangerous for objects as and

general, move artifacts as little Each time you move an object is object. lids or are certain

6. Remove unless you 7. much 8.

before moving other movable parts that they are firmly attached. over lifting the table an object, or other always padded use both

the object Keep as possible. and

surface hands

When grasping

use one as a support for the object. Never grasp a handle or extension on object because it may break off. Always grasp the body of the object. Again, look for existing damaged areas before picking up an object. 9. If the object have trained ture, large and heavy, cial, equipment. is large people then is and heavy, such as a Khmer stone sculpand equipment ready. If object is very best to bring in specialists with spe-

10. When moving objects out of the room, use padded trays, pushcarts, or dollies. Do not overload your vehicle. Objects should from the vehicle. their most never protrude Stand objects on for moving, for example, bowls are often wider at stable base mouth than at base, therefore invert them during moving. Try to objects of one type and one size together. Remove movable keep parts like lids. When pushing your cart, remember to walk slowThe movement of the cart can cause loose do not run. parts lY, of an object to break and fall off. 11. floor. Finally, never leave a piece of art sitting directly on the

In simple, storage good

conclusion, it is
good

the

most

important This dirt your humidity leak. for what and

of

good

storage you garbage

is keep

very your in for

housekeeping.

means dust

that and

room order. in

clean,

free

from check and

and

You should temperature such kinds in future your

storage and for

areas any

frequently, damage also which

changes have check will while

may

occurred, certain discuss inspecting

as a water of objects sessions objects.

You should conservation things you

regularly We look for

problems. should

150

----__~-__--.A?==-

III

L.------

-4

+ !

\ \.\ .. -\

151

FIG. 7. Systbme combink ?I rayonnages ouverts et A tiroin.

FIG. 8. Systhme de tiroin en bois pcu profonds et ouverts. Fro. 9. SystCme de stockage A tiroirs plats.

FGuf-e

153

MANAGEMENT OF STOREROOMS 61 PREVENTATIVE The Environment Session II: 12 May 1995 I. A. Teemperatur.e-and. What Let it is is Relative Relative Humidity again to just what artifacts. and our is in is relative As you H+i-.l&ty

CONSERVATION

us review

humidity probably

and why already Even ourPlants surprismois-

so damaging water is found

museum everywhere

know selves and ing ture. for will The that

everything. weight so it also from objects, is

as much as 65% of contain products a lot made from away too of

own body as well,

water. is not

animals that If example, shrink fibres the

water organic

materials

contain

you

take wooden

much moisture or result lacquer in it

organic then or flexible in cause our

objects the object

objects, will or brittle. on the

and which in textile leather is

splitting less easily can

cracking. and we say hands. to

textiles It

become crumbles other change hand

Too much moisture, swell this, very closed, conditions fungi. Specialists different 1. 2. 3. modes Change Chemical and in doing that the it that it

objects does

so they warps. door is to

can

shape. when

When wood the

we say humid

For your

example, house swells

temperature be with moulds damp and

is

and

and cannot problem of

we say is

warped. are

Another ideal for

serious the

they

growth

sum up the of in deterioration: size reaction and

changes

influenced

by RH into

three

shape (chemical

(physical mode) mode)

mode)

Biodeterioration

(biological

157

Because has for and such the

the

amount

of effect

moisture

in

the

air

(i.e. it how to controlling is

humidity) impor.tant it

an important museum it. specialist Most

on museum objects, to be able to know that the in

measure

control more agree

specialists than

agree

humidity They is more

is.even also

important controlling the

centrolling wide swings

temperature. the humidity

that than

important Let relative amount warmer can hold of the

specific

humidity. of humidity and why we talk This is because of the The 10C air

us review humidity moisture temperature, ab0u.t at water

some principles and not air can the absolute hold more

humidity. depends water it on its can of

temperature. hold. air, at hot dry) also as the ones. is measuring holding meaningful the the air At

10 gallons 3@C'over vapour is is

per

cubic This (and

meter

206C about air than with cold that as

17 g/m)and lOg/m'of air with

30 g/m? dryer too

means possibly

that too

lOg/m'which can from the actually daytime formula

damp. out

This of to the

principle air

means cools

moisture it does

condense temperatures for of the

nighttime humidity

Thus,

relative air.

a percentage,saturation the water i,t can for of at us,

Air

at This

50% RR is is than at you more

half

any the

temperature. museum the air specialist is

information lute at amount a specific last

knowing a specific the for

abso-

moisture temperature.

holding gave it

moment for RR

I already I will give

formula the

during ple.

workshop,

but

again

new peo-

RR = amount

of

water

in of

a given water

quantity the air

of

air can

x 100% hold at that

Maximum amount temperature

which

158

This general and

question principle, areas and at and in

is
most

not

as easy
museum

to

answer

as it agree try to

once that

was. the

As a storage steady the of ob-

specialists should They

exhibition

in

the

museum humidity.

maintain keeping

temperatures temperature temperature jects found However, in tropical


come

relative and

suggest This

18-21C relative museum this is

the

RH at
seem

45%-55%.
to

range for
most

humidity collections not In that the case

be good

in

temperate museum

climates. collections found

with

climates. to realize

addition, individual

recently items
may

many conservators have have different envienvironorigi-

have

ronmental mental nate than

histories requirements.

and

consequently example, require drier areas. higher split.

differing which of

For might from

organic higher

objects levels Asian

from organic

the

tropics objects

humidity are Lower now levels

lacquers of RH.

generally will cause

accepted them to

as needing crack
most

levels

and

I emphasize than shifts a very levels tion treme with of a high (i.e. short in the the

that

professionals humidity level and stability for

agree is to

that have

more

damaging

temperature changes) time in

or

extreme within

temperature Thus, important temperate between

relative of

humidity relative the of

period. is In

humidity good the coupled


that

museum objects. in

maintaining because and

condiex-

climates winter

shifts major try

temperature in allow humidity, for RH of

summer

shifts to

specialists shift as 60%.

now recommend from a winter-time

museums

a gradual as high

RH of

40% to

a summertime

159

Once cialists ral climatic

again, are

I repeat,

that to are

for agree

tropical that to

climates, because the keep

many RH in museum

spenatu-

now beginning conditions or exhibited and objects.

so high, at

try

and

objects only most

stored be difficult organic

an unnaturally but probably most experts

low even

RH would harmful that and the

not for

expensive,' Nonetheless,

agree for mold

somewhere fungus should C. Basic There relative 1. Mould tiles 2.

between

65% and

70% RH the so even in

potential tropical

greatly be to

increases, hold the

climates, 60-65%.

goal

RH around

a constant

Damage ---- .__ - Created are humidity and mildew several is

by -_Humidity -.. basic constantly harmful above effects 70%. leather and texwhich occur when the

form mode).

on paper,

parchment,

(biological Objects change made their causing (physical metals mode). is

from

cellulose

(paper, structure.

wood),

protein of

(silk) the

and fibers

bone

internal them to

The tension soft and soggy.

may change also 3, expand Ferrous

become

They

might

mode). (iron) and copper alloys (bronze) corrode

(chemical 4. There

a movement their

of

salts

within

stone mode).

and

ceramic

objects

which 5.

damages

surface opaque (this

(chemical is called

Glass

becomes

crizzling).

D.Wgs -___---- MeasureTemperature to During several RH. the last workshop which can should

and Humidity I briefly be used be kept to not mentioned measure only that there are and

instruments These instruments

temperature in the

storerooms

160

but

also

in

certain

exhibit regularly

cases to They

and

galleries the

as well. climate

They in to RH

should your insure

be checked particular that they If

determine must also the

patterns regularly and

museum. are not, This checks still they is all

be checked temperature

recording must

accu,rately. 1 . psychrometer. for the when taking sling you

be adjusted. instrument the you museum. "sling" The it sling bulb called which It is around can also in be used called the air

a small over

spot

psychrometer are of taking two of reads is kept the

because

temperature. thermometers. kept as it is

psychrometer (end the bulb, of dry called fabric yield the bulb. the

consists thermometer) It wet which a lower between determine The used must simply bulb, is

ordinary one the is air with with

The and The is

temperature. a small distilled than sleeve water. the

second wick

fitted wet

or

made from bulb will

The wet dry bulb.

temperature the the sling two

reading (called the

The difference is then used to

wet-bulb a chart is

depression) or table. highly a little

RH by consulting psychrometer However, in mind distilled it when instrument the

considered it takes

reliable practice.

when You

correctly. also 1. keep Use only change the

using

following: wa-ter for the wick. Keep the wick

clean

and 2.

necessary. away from body and walk slowly

Whirl the

around 3. (you

room. hands take strong that and breath the temperature light the away wet bulb from away from of the bulbs. not dry out. the thermometer not your bulbs body).

Keep to Keep Insure

want 4. 5.

room,

does

6. 7, ature If with

Take Read

several the to wet rise.

readings. bulb quickly before it dries out and temper-

begins used

correctly

the

sling

psychrometer mastering conservators However, the

is

quite technique

accurate ,takes

a ~2% RH accuracy. Recently generated they are

However,

practice. battery because

many museum psychrometers. frequently

have do not

preferred buy cheap ones

inaccurate. This device over attached This galleries tracks a period to kind and are the of relative one, and seven graph is at than

2 - R_e_cor_dj.w ~Yygrothermograph

humidity or thirty-one

and

temperature days. records the

continuously The device is

a pencil of is more

paper left

which inside

the

information. room and

instrument checked expensive ranges

storage

appropriate psychrometers, $500 3. to

intervals. but they

Hygrothermographs are very important.

(cost

between

$1000). hyqrometetrs: or paper are strips less are Made with impregnated expensive only for around exhibition described general devices $100) hair, polymer, with cobalt (as that cases. above cheap can or coiled paper these - and the

Dial

sensors instruments most

salts, as $10

expensive readings the

be used are

for less

suppleaccuare

mentary rate useful tions. do not vanced reliable. than

and

They and not

instruments

consequently specific and their condi-

for

indicating

conditions, are very 30 or consensus

However, go above models,

many models 70% RH or but the

limited 40%. is

needles more are adnot

below

There that

are they

general

162

4.

Non-Mechanical.JHygrometers: indicating with cobalt Their cards. chloride. colour

These These

devices are

include of

things patches with dry change

such

as humidity impregnated RH in blue,at between

a series patch pink the it point is is

Each ranges read is It

labeled at the of

an to

10% steps. the pink

from at

end

100% end. and blue. accurate 57% and

The RH is The problem reading.

that is This at

impossible to distinguis are

to

do a completely ish highly a. cheap range E.mys between

impossible kind best, of of but the

59% for is

example. a 5% accuracy a general

device they general

not

accurate, and of to What at RH. least

there can

provide

idea

Contrq_l_.~tf?_e_.~-~-idLty _--.-...-.. then are the method, climate the ways to control in have (called System). is it building the dust this to kind out washed, through including and your the better monument money and the environment in

the

storerooms, The best

museum or if control you

building? technology, - means system, then pipes This is Humidity, the air or ducts

centralized Ventilation coming cooled to not keeps the only dirt However, seums, into before rest

HVAC System With cleaned a system the this and of

Air-Conditioning the building sending of the

heated and

storage.

system but

controls and

temperature a minimum of system

relative

humidity,

as well. is not possible because It building system to would it not for costs many mua lot of

The University

Museum

included,

money to install, run and maintain. &r youc ~u-rulkrl~ Not only is it expensive, but the open fore, windows the and spaces lies for in the

be practical has too many Thereclimate

itself

be effective. of localized

solution

devising

systems

163

control. Where open ant still humidity tion is (like humidity your is a problem to use good air. the in and the room is too the or large most and importStale, the solu-

monuments) is to create

dehumidifiers, ventilation proper drops.

improvement air is is to

airflow.

humid, lowered

moldy and fans when

With temperature

ventila-tion

One simple

install method

the

windows. are using cases which air around for inside certain can Silica it too has wet, to or also gel for resist it. the or objects help to can is

Another to. use "buffer" be any paper, part of buffers.

you are

Buffers in the

anything the

a change kind cotton. the case gel, of

RH of

The buffer example the wood, case or

moisture-absorbent These objects can In

material, be placed

be

structure. absorb inside in when which it

addition,

chemicals, be used to

such create either

as silica a drier

which

moisture, a case. case comes

environment agent, an oven

can

be used out

as a drying ing II. it in

be dried

by heatagent.

as a buffering

&jg_h_ting All light

_.j,~.i$~c&.. the Monument ._~ ..-. is damaging with it to

_Build.ings especially Why is called rays, this to so? textiles, Light rays. lights with also heat is

artifacts, on it.

paper harmful Sunlight contain or ic

and

anything

paint

because contains ultraviolet

contains these rays.

something

ultraviolet fluorescent combined of

ultraviolet Ultraviolet

light,

humidity, materials, light it

speeds causing fades also

up oxidation them and to

and deter*ioration bleach and harden. textiles, increasing

many organ-

Too much ultradyes, and var-

violet nishes;

embrittles discoloration

paper, and

causes

insolubility

164

in

varnishes out. Objects

and

oils.

Objects

made of

wood

may either

darken

or

bleach

which

are

particularly for such and example,

sensitive wood,

to paper silk,

light and wool,

are

ones

which tiles: ivory;

contain organic and paint

cellulose, materials pigments

some texbone,

as leather, coatings. or photographic to that measure you than

You can is your objects Stones candles source the unit the lux. the A simple building test do the 1. The using does sensitive buildings. at

use to

a photometer low It light is level can levels suggested of

light light keep 5 to light

meter levels

which inside

sensitive

a light

no more at

8 footcandles. (A footlight we use In

and metals is one the foot

be kept of from light the to

20 to

30 footcandles. from In the a standard America of light.

amount away

projected object). measure is from 10. kind and of to called

North amount

called unit Thus,

footcandle of

Europe = ten multiply

measurement to convert by see the

the

lux. to

One footcandle lux, you simply

footcandles

footcandles way to to the of

damage the

the

light is blue

inside to make

your a You

objects cardboard

furniture with dark

pieces

covered

cloth.

following: guardians boards each attach light of each monument should make two or three card-

board 2. 3. not board. 4.

measuring board to to with the

8 x 30 cm. dark blue cloth. of about some type 1 to 1.5 which cm of will the

Cover Then allow

board

a covering Expose

penetrate.

Attach

the

boards

to

the

wall

in

different

parts

of

the

room.

165

5.

Every

two

or

three regularly

days

expose for if the

another

1 to

1.5

cm of

the

board. 6. light At

Do this the end of

30 days. there blue is sunlight will or fluorescent in a

30 days, board,

striking

your pattern.

cloth

be faded

progressive 7. Place one and By doing The your damage building Because control inside natural quite many watch windows concerned temples objects. However, are then at the modern light. dark sensitive for is where

board use this it

at to

the

beginning with you

of the can

the

30 days boards. better can tell

in

direct

sunlight

compare test and

other first you light.

simple by light, is objects of light where

understand where in

caused there your amount

second, with

a problem sit in

historic

buildings, as people decide to

you

can

not

as carefully they most damaging What you which direct which as well might of the sunlight

who work eliminate monuments not fall all are on too must from

museums

Fortunately, inside, so that

historic does

objects. to keep will

as guardians are light

and keepers sensitive away

objects be in

they the

sunlight. hang as any inside of the

I am especially the ancestral wooden

about each

textiles

monument,

painted

because with the

the

interior problem the to of

of

the

monuments make are it inside with

is

dark, for monu-

you

faced to see

how to which

possible the

visitors ments about have and the used

some of them

objects read noticed text

to

enable

panels that if

information of the monuments I just

monument. fluorescent

I have lights.

several you

However,

remember,

said rays.

that

fluorescent is bulbs. in the for These very the also easily. future example kinds hot. objects cause

lamps

were

another place

source

of

ultraviolet over the

There

a solution.

You can

UV filters

fluorescent If the room,

you

decide

to

use

other you emit to will

kinds have

of

lights

in

spotlights, of So, lights you must they they

then do not

another W rays, far but enough These which

problem. they away bulbs .. catch are from can fire

harmful keep

remember do not are too

them damage. to

so that fires if

do any close

objects

You should clean and free dirt is

try from and

to dust dust to

keep and

the dirt is

interior

of

the

monuments Dirt and of the

as dust, oil altar and

as possible. mixed to the the walls or object with any

especially grease tables, Stone, become

which

kind to

damaging

everything, as to of

objects, of the

furniture textiles, permanently your dust

as well any kind

monument. bamboo can

paper

made from

damaged buildings and dirt

by dirt. are is that all open to the outside, perhaps this keeping an imposis

Because them sible tedious This tops B. free task. and means and Pollution Pollution of

a difficult the solution clean the the floors, the

task, to

I am afraid boring. cleaning of

problem everyday.

You should everything, any cases inside

monuments the

furniture even the

and walls.

the

sides

building,

is

becoming

a growing

problem

for

the

better

care

167

and

preservation may find which in highly kinds form all

of

objects.

With next to to their

growing factories objects. in

industrialization, which For China burning or in expel example, are coal. with "rhese paper, plant to and fumes the exposed

museums and waste

themselves is the damaging Liaoning

collections daily to These water poisons decay aquatic tion vapor, attack leather, life. problems. Without of pollution across is

Museum fumes

northern from alone

sulfurous of polluting

created gases,

combination rain.

sulfurous metals

acid except

and gold, and from

sometimes as well destructive add

acid

as bleach to greatly

erode Exhaust

buildings, emissions

are

cars

pollu-

having in the the

proper air of

data, Hue is the

suspect

that all of the the

the time. river of

amount

increasing south side

Riding north large exhaust away the will

bridge a highly

from

to the out lie

the

already of

unpleasant buses the

experience

because which belch still

numbers fumes. from number also this of

trucks, Fortunately,

and motorbikes monuments However, and

tombs

kind buses,

of

pollution.

as tourism arriving at

increases, your in door air the

cars and you will

and motorbikes bring with off it

increase Because air, to one

an increase the the monuments area

pollution. outside monuments be requested Inside materials textiles of the

cannot is to

close restrict

from the buses

solution and

around and

people to the park

bicycles. away. you into the inside also

Cars,

motorbikes

can

farther

monuments, introduce for

should

be careful for cases

with example or in the

any

new and

you used buildings.

building, the

cases

decoration You must

other kind

parts of

be careful

with

168

paint And

which finally, inside harmful inside

is

used

for you

the or

inside the

and visitors

outside should Not only

of

the

building. to

neither or around to the the

be permitted is the and hazard. smoke to ob-

smoke itself jects

the wall

monuments. surface but it of is

the also

monuments a fire

monuments,

Sling Psychrometer Recording Hygrothermograoh

leter,

Figure 7.5 Tem&rure,

Ii+ measuring.and humidity measuringdevices ------

1 0 20% ._ --..a171

COLLECTION Workshop

MANAGEMENT & PREVENTATIVE at the Queen Mother's 17 May 1995 Former

CONSERVATION Residence

I.

Care

of

Photos photos are the focus of our workshop today.

The historic A.

Explain process of what in poor environmental 1. sunlight 2. heat 3. humidity 4. pollution

happens to conditions.

photographs

and negatives

Because photographs are printed on paper, the kinds of you also find with photographs. damage you find on paper, For example, light will cause chemical changes in paper resulting in fading, darkening, bleaching and breakdown of the cellulose (are from plant fibers in the paper). browning and fading of paper on which Signs of damage: yellowing, photo printed. It might be surprising are much more permanent than are one of the few kinds of ness! With black and white It is the paper on stable. tible to damage. the lower the ASA the Also, to learn that black and white photos Color photographs and slides color, artifacts to fade in complete darkthe image is relatively photos, which image is found that is suscepmore permanent the photograph.

as we already High humidity, which will destroy both the paper (it destroys the emulsion on top negatives in RH less than 50% and tion. Acids in pollution also hydrogen oxides of nitrogen, lignin in wood-pulp papers also tarnish the silver used graphs.

know, can cause growth of mould and the photograph image itself Try to keep of the photograph). prints in place with ventila-

Sulfur dioxide, harm photographs. sulfides and ozone react with the Pollution can make them more acid. in the process of making photo-

and film are on of the kinds of Photographs and negatives, Thus, artifacts which are more severely effected by temperature. recommendations is between 208-508 RH, in storage conditions, have the following temperature recommendations: 1, 2. 3. B. glass film: paper plates: below prints: 15 to 21 C 15-25 Conditions 25 C C

Exhibition

173

(see

levels 1. low light 2. short periods of 3. mount on acid-free photocopy). 4. cover with glass for

(c. 10 footcandles or 100 lux) time - up to a few months, board protected with a mat window" - make sure currently glass does not touch print.

C. Recommendations tive

photos

displayed

then would do a copy of original nega1. if had negative, and make exhibition prints from the copy negative 2. because do not have negatives, it is urgent to store historic photographs in proper conditions to prolong what is left of their life. have professional photographer take photos of the 3. thus, Make prints photos inside a photo studio using proper equipment. for exhibition from the new negative. Then store negatives and historic prints under proper conditions. 4. prints of Queen Mother's funeral gets too much direct Might consider moving to another sunlight at main entrance. Would also recommend remounting. location. C. Storage Conditions for Photographs and Negatives

1. Humidity: 20% - 50% RH 2. Temperature: 15 - 25 C. 3. Clean and dustfree room separated by acid-free 4. Place photos in acid-free folders, paper and placed in acid-free boxes. 5. Place negatives in acid-free paper (in US and Europe we now have special sleeves made from uncoated polyester). For 35 mm film can leave negatives in single roll or cut into strips. Avoid use photographs Keep away of glues, sticky and negatives. areas that tape might with and paper leak photos water. or negatives, wear gloves. clips when storing

from working

Whenever II. Works

directly

on Paper has nature to paper: a number of of works humidity, pollution of foxing and staining - does it have paper a musty on paper - royal decrees(?)

Second A. B.

floor

Introduce Damage

paper

light,

Paper objects in house show evidence evidence of mould growth. Smell the odor? Look loss out for of color traces of in certain insect activity: small areas,

small holes in surface, raised dark brown spots.

174

C. Recommendations 1. 2. look keep at frames darker - need with remounting? a curtain if possible?) and put copy on

room

3. make good photocopy (color display and store original. III. Wood

Wood objects in house seem to be in relatively good condiAt moment, tion. simply recommend keeping it clean, while watch-ing for evidence of insect or termite infestation, or rot from too much humidity. Cleaning: dust wooden objects regularly with vacuum use it first with brush attachment. Carved areas - use soft brush soft cloth - if have

With beds, tables, might consider applying a thin coat of hard paste wax (beeswax, carnauba or candelilla wax). Do not apply more than once a year. Buff (i.e. rub surface of wood with soft cloth} regularly. Do not want surface of wax to attract dust and dirt. I would test layer of wax on one object and see how it responds to heat and humidity. Does it get sticky? Do dirt and dust cling to surface of the object, making it even more dirty? (Dust in air is also mixed with grease and other kinds of polluttherefore is not considered good for a layer of this to ants, adhere to object). IV. Keep Bat V. Paintings surface problem? Textiles Wall eyes. lofty height "Birthday Poem" - would take down from its would try to keep dust and sunlight away from it - not sure about covering with glass for fear of condensation. At the least, would cover with a dark cloth which could be lifted when guests visit home. Textile behind altar - ripped as well as faded. because it is historically tion in its place. - it is already in quite bad condition Might take down and put in storage - put a modern reproducsignificant hangings are fading and disappearing before our very clean

175

COLLECTION

MANAGEMENT & PREVENTATIVE Workshop at Hon Chen 19 May 1995 group into four Temple

CONSERVATION

Today, Each Chen Then ings

we will

divide

the

teams.

team will be assigned to monitor the situation in the Hon They will be given the first 50 minutes to do thistempleduring the second hour each group will present their findand recommend simple solutions to the problems they find.

Each team will be responsible for making a simple sketch of There are two levels to the main building at Hon Chen temple. Each team will use the temperature and humidity this building. instrument and will mark the temperatures and humidities at To do this, you different parts of each building on the drawing. should take a reading in each corner of the upstairs and downstairs space as well as in several places in the central space. Each team will be allowed to use the temperature and humidity instrument for 10 minutes. Each team will be assigned a different kind of object, and they will look for evidence of mould b fungus, insect damage, pollution damage and general dirt on sunlight damage, corrosion, You will practice wearing gloves when you pick up these objects. any object to examine it. Team I Team II Team III Team IV Wooden Textiles Ceramic Metal Objects Objects & Paper Objects Objects

176

COLLECTION

MANAGEMENT 6 PREVENTATIVE Workshop at Lang Tu Due 22 May 1995

CONSERVATION

people

Today we will each: Thanh Nghe Binh Sau Trong,

divide (Khai Dinh,

the

group leader), Anh, Tinh Binh,

into Dy, Muon, (office), Hieu,

five Ly, Thanh

teams Xe, Lien

of

five

Team I: Team II: Team III: Team IV: Team V: Assignments Teams Teams

(leader), (leader), (leader), Lot,

Nhi Huy,
Nam,

(Hon Thiet,

Chen), Quang

Sat

Thuong

Hoei,

Ha,

Tuong

I & III: II 6r IV: Assigned

Assigned Assigned to

to to

Hoa Khiem Luong Khiem

Palace Palace

Team V:

Nha Bia

and MO Vua

As you did drawing of the you will check tures. You will the structure, these readings

each team will make a simple at Hon Chen Temple, structures to which they are assigned. As before the temperature and humidity inside your strucdo this by taking a reading in several parts of Mark including the corners and central area. on your drawing. Ho-a Khiem Pal-ace and Luong Khiem Pal-ace:

Teams ~assigned.to-m -

1. Provide a general assessment of the condition of the building. In your assessment, tell me where are dampest parts of building, and where are the areas which receive the most sunlight. 2. Then I want each member of your team to I want you to give me the following each. object: 1) 2) 3) 4) 5) 6) In examine you have select two information objects about the

name of object date or period of object what object is made of Does it receive where object is located in building. Is the location dark and damp? a lot of sunlight? Any evidence of pests or insects in area of object? description of what the object looks like description of the condition of the object order to describe the condition of the object you must using light and the magnifying glass. If it carefully, please use gloves and follow the to handle the object,

177

rules

for

handling

objects. make three of the

3. Based upon the problems you find, each team will recommendations how they would improve the condition building and objects in the building.

1. Make an overall of the Stele House In your condition

assessment and stele report pay

of and

the the

condition tomb of to the

of the two parts the Emperor Tu Due. following things:

attention

1) the condition of the fungus growing on the stone? Use your magnifying glass to Is there evidence of physical ing pieces from the stele or tion of the mosaic decorations? 2) Is there tures or stele? names)? 3) What is

stone. Do you see evidence of Is there evidence of deterioration? look closely at the stone. damage (this means cracks or missWhat is the conditomb structure)? Is there graffiti? of the next-to itself? of structhe

evidence of graffiti on any part Is it new or old (look for dates the condition of the stele pavilion

2. Based upon your findings recommendations on what you the Stele House and tomb of Would House? you make additional

make three or four your team will would do to improve the condition the Emperor. signs for the tomb and Stele

COLLECTION

MANAGEMENT & PREVENTATIVE Workshop at Lang Dong 24 May 1995 the group leader), Anh, Tinh into Trong, Muon, Thanh

CONSERVATION

Khanh

five

Today people

we will each: Thanh Nghe Binh Sau Dy,

divide (Khai Dinh,

the

same five Ly, Xe, Lien

teams

of

Team I: Team II: Team III: Team IV: Team V:

(leader), (leader), (leader), Lot, Hoa,

Nhi Huy,

(I-Ion Chen), Thiet, Quang

Sat

(office), Hieu,

Nam, Binh, Ha, Tuong

Thuong

We will begin our workshop by hearing two reports of the Dien visit to Lang Tu Due: 1) on the condition and 2) the condition of the Nha Bia and the MO Vua. Today's Teams I, Team II: The Dien Assignments IV & V: III, Assigned to N.N.wgBy survey survey and and examine examine objects objects Assigned to the Dien the San Chau and the Nhung Hy Nha Bia

from Luong

our Khiem

This team will Team I: lacquer and bamboo. wood, Team III: This made of textiles. This Team V: and paintings team will

made of primarily made of metal

team will on glass

survey and and mirrors

examine

objects

This time, I would like the teams which are inspecting the condition of the objects to assess as many objects as possible Please try to make an informed generalization during the hour. Then I would like about the condition of each kind of object. each team to introduce the most damaged object they have examPlease include the following information about this obined. ject: name of object date or period of object what object is made of Does it receive where object is located in building. Is the location dark and damp? a lot of sunlight? Any evidence of pests or insects in area of object? 5) description of what the object looks like 6) description of the condition of the object 1) 2) 3) 4)

In order to describe the condition of the object examine it carefully, ,using light and the magnifying you have to handle the object, please use gloves and for handling objects. Finally, I would like each mendation about how to preserve Team IV: itself. plan and part team to make a realistic better this object.

you must glass, If follow rules recom-

This team will assess the condition of the temple This team will make a simple drawing of the temple take the temperature and relative humidity readings. indicate which of the columns roof leaks. You can mark this also indicate where there is which parts the greatest of

floor

Please of the

are damaged and which on your drawing.

Please dampest and

the temple are the amount of sunlight.

I know that there Tomb. Please indicate bats and where in the

is a problem with bats at the Dong Khanh how we know that there is a problem with temple the problem is the most serious. realistic problems, such and light

Finally, I would like Team IV to offer three recommendations for solving some of the building as the roof problem, the bat problem, the humidity problems.

Team II: San Chau groups. Nha Bia. In things:

This team will survey and assess the condition of and the Nha Dia. I suggest dividing your team into One group should assess the San Chau and the other your condition report pay attention to the following

the two the

1) the condition of the fungus growing on the stone? Use your magnifying glass to Is there evidence of physical ing pieces from the stele or tion of the mosaic decorations? 2) Is there tures or stele? names ) ? 3) What tion the Please of the surface is

stone. Do you see evidence of Is there evidence of deterioration? look closely at the stone. damage (this means cracks or misstomb structure)? What is the condiIs there graffiti? of the strucnext to the itself? the condi.-mould on of which

evidence of graffiti on any part Is it new or cld (look for dates the condition of the stele pavilion

try to be specific in your fl%cription of structures. Don't just say that there is of the stone, please indicate the surface

part

of the structure. If might be easier with a drawing. You can also be more if the damage is on the north, south, east structure (use my compass).
lems

to indicate the probspecific by indicating or west side of the

2. Based upon recommendations the Salutation

your findings your team will make three or four on what you would do to improve the condition Court and Stele House.

of

What do you think about the kinds of signs which currently are found at the site? Would you recommend putting additional signs? What kinds signs could improve the cleanliness, security and general preservation of the structures?

183

COLLECTION

MANAGEMENT & PREVENTATIVE Inside the Imperial 26 May 1995 divide Dinh, Nhi Huy,
Nam,

CONSERVATION City

Workshop

of

Once again we will five people each: Thanh Nghe Binh Sau (Khai (leader), (leader), (leader),

the leader), Anh, Tinh Binh, Hoa,

group Trong, Muon, (office), Hieu. Tuong

into Ly,

the

same five Lien Chen), Quang

teams

Team I: Team II: Team III: Team IV: Team V: Today's Team Team Team Team Team I: II: III: IV: V: We will

Xe, (Hon

Thanh

Sat

Thiet, Thuong

Ha (leader) Assignments Assigned Assigned Assigned Assigned Assigned


meet,

Dy,

Lot,

to to to to to back

the the the the


Huu

Ngo Mon Thai Hoa The Mieu Thai Binh Lau Vu and courtyard Dien Thai
Hoa at 9:OO a.m.

at. the

We have done enough looking at objects and condition of Today I want each team to buildings during the past two weeks. examine each building assigned to them and think about how they. This assignment includes would better present it to the visitor, the way each room is thinking about every part. of the building: what is put in it, the number of containers for garbage arranged, and what these containers look like, the number of and kinds of even thinking about whether or not the signs in the citadel, guardians should cook and play music while visitors are in the What would make the landscape around the buildings monument. Below I give each team some things to look the most attractive? think about for each of your buildings. 1. Ngo Mon Please think about the following: about the Ngo Mon? a. what is the best thing b. why is the room at the top of the Ngo Mon empty? better use he made of this space? signage lighting, inside and outside 2. Dien Thai Hoa Please look at and think left. a. the shop on your b, t.he t.wo shops behind about the following: as you enter the palace the throne

Could

C.

d. 3.

the cabinets signage

filled

with

objects

inside

the

Dien

Tien

Hoa

The Mieu Please look at and think about the following: a. the restoration work of the altars b. the kinds of textiles used for the parasols the quarters of the guardians C. d. signage Thai Binh Lau Please look at and think about the a. the shop b. the room with the exhibits the front room with photographs C. d. the bonsai area e. signage following:

4.

5.

Huu Vu Please think about the following: shop a. the drinks b. the daily arrangement of furniture in the room C. the objects sitting in the cases d. the courtyard area leading from rear of Dien Thai to space in front of Huu Vu and Ta Vu e. signage I would like everyone to consider the following

Hoa

In addition, questions:

1. Why do the buildings better cared for than 2. When you visit life of the former make the buildings

the

inside the Dai Noi look temples at the various

cleaner tombs?

and

the Dai Noi do you get a feeling why not? If not, Nguyen kings? more interesting for the visitor?

of the rich What would

1!?4

BOOKS PRESENTED TO THE HUE MONUMENTS CONSERVATION FROM: UNESCO DATE: JUNE 1995 History.-o-f ___-.--Alexander, 1979 Mu.se.w-s...and General Mmuseolcgic.al to for the State

CENTRE

Edward, PMuseums in Motion: An Introduction History and Functions of Museums Nashville, TN: American Association and Local Museums 8th pri.nting, 1993

Burcaw,

G. Ellis Introduction to Museum Work 1983 TN: American Association Nashville, and Local History Second Edition Susan M. 1990 Archaeological Washington, Curatorship Smithsonian D-C.:

for

State

Pearce,

Institution

Press

Dudley,

Irma Bezold Wilkenson Dorothy, 1979 Museum Registration Methods Washington, D-C.. - American Third Revised Edition

and

others of Museums

Association

Conservation

Americr?n
19634

Association of Museums Caring for Collections Washington, D-C.. - American Barbara Guide to Madison,

Association of

of

Museums

Appelbaum, 1991

Environmental Protection CT: Sound View Press

Collections

Kenworthy, Mary Ann, Eleanor M. King, Mary Elizabeth Ruwell & Trudy Van Houten Archival Techniques for 1985 Preserving Field Records: Archaeologists and Anthropologists PA: The University Museum Philadelphia, MacLeish, 1985 A. Bruce The Care of Antiques and Historical Nashville, TN: American Association Local History Second Edition Collections 'for State

and

Security ASIS Standing Committed on Museum, Library n.d. Suggested Guidelines in Museum and Archive Security Security

Exhibition --Belcher, 1991 Witteborg, 1991 tions Michael Exhibitions Washington, Lothar P. Good Show! in Museums Smithsonian D-C.: A Practical Guide

Institution for Temporary

Press ExhibiPress

Washington, D.C .: Second Edition Ethics --

Smithsonian

Institution

American Association of Museums Professional Code of Ethics n-d. Museum News Reprint Package Association Washington, D.C .: American

of

Museums

186

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