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Guideline 3.3

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==Guideline 3.3: Temporary object-holding, storage and work areas meet collection care standards for security and environment control==
What basic precautions should be instituted for temporary object-holding areas?
:The exhibit coordinator should ensure that a clean, secure, and environmentally controlled space is dedicated to serve as the object holding area during exhibit development, construction, and installation. The coordinator should make the following provisions for any space used to store or work with objects:
:• Enclosed cabinetry is provided for object storage whenever possible. This is especially important for the most vulnerable objects, but provides an extra level of protection for all objects. It will prevent dust and particulates from settling on objects and necessitating vacuum cleaning, which could be damaging. Sealed cabinetry can be converted to provide the conditions that have been recommended by the conservation requirements. If it is not possible to provide enclosed cabinetry, objects should be protected in lidded boxes, or at least covered with clean tissue paper or clear polyethylene sheeting.
:• Security is provided for the storage area. Security should be commensurate with the objects’ value and significance to the museum collections. Precautions include ensuring that storage area doors are kept locked and that access is limited to appropriate staff members; such staff members must sign in to gain access; and authority for moving objects is clearly assigned.
:• The storage area is appropriately maintained. Object holding areas should be kept clean and uncluttered to prevent dust and contaminants and deter pests. Overall environmental conditions are controlled or objects are held in climate-controlled enclosures.
:• Objects are protected from construction debris. Painting, sanding, sawing or filing are confined to a separate area. Work that must be done in the vicinity should be kept as far as possible from the storage area. The objects should be protected in enclosed cabinetry or a lidded box, or covered with clean tissue paper or clear polyethylene sheeting.
:• Food and drink is banned from object holding and exhibit areas.
:• Smoking is prohibited in all areas where objects are located.
:• A work space is provided nearby for design work, for mock-ups of layouts and object groupings, and for fitting mounts. This reduces the need for the object to travel to staff work areas and run the risk of damage while in transit.
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Category:Exhibit Planning
Category: Standards & Guidelines
Guideline 3.5

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==Guideline 3.5: Objects are protected from excessive handling and from radiation exposure during photography==
What risks does photography pose to objects?
:Photographs provide an important part of an object’s documentation. They may also be needed to illustrate the exhibit catalogue or to aid with the reproduction of vulnerable objects that cannot be exhibited. However, precautions should be taken to prevent photography itself damaging objects. Sources of risk include:
:• Heat exposure: An object may be exposed to excessive temperatures from hot studio lights. As little as 30 seconds of exposure can harm thermo-sensitive objects. 
:• Light exposure: Flash photography and bright studio lights can greatly add to an object’s cumulative light exposure, damaging both component materials and colorants
:• Physical damage: An object can be damaged by improper handling and insufficient support during the photographic process.
General guidelines for photographing exhibit objects safely
:• Consult a conservator to determine which objects will need supports and/or special protection from light exposure.
:• Use camera equipment and settings that do not require flash or bright studio lighting. High-speed film and long exposures are recommended since these require less light. Photographic backgrounds that reflect light and contrast well with the object can also be used.
:• Provide trained staff for object handling. Whenever possible, schedule a staff person knowledgeable in collection practices to handle and position the objects being photographed.
:• Ensure adequate support for objects. Avoid removing essential padding and support from an object when trying to expose it for photography. 
:• Provide safe handling instructions to everyone who will take photographs of objects. (See Guideline 3.1)
:• Keep the objects on-site. Objects should be photographed on-site, whenever possible. Exhibit team staff should supervise the activities when contract photographers are utilized.
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Guideline 4.1

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Back to STANDARD 4: Transportation of Objects
==Guideline 4.1: Objects are transported only when necessary and always according to a pre-established plan==
How can transportation of collection objects be kept to a minimum? 
:• Arrange for all work to be performed in-house within the storage area and thus under controlled conditions. (Contractors will often require reimbursement for travel to the object so this expense should be included in the budget.)
:• Instruct exhibit team members to travel to the object for viewing and work activities. Dedicate a space near the storage area for design work and for mock-ups of layouts and object groupings, and for fitting mounts.
:• For fragile objects, provide 2-D renditions such as photographs and drawings and 3-D replicas to serve as substitutes for the originals during the exhibit’s design development. 
:• Restrict an object’s trips to a few essential locations:
::• The prepared planning/staging area for documenting, examining, measuring the object, etc.; and also for design layout and mountmaking.
::• The conservation facility for object treatment.
::• In certain instances, the object may need to travel to an outside workshop to be replicated. (In this instance the conservator or curator must accompany the object.)
::• The exhibit location for final installation.
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Category:Exhibit Planning
Category: Standards & Guidelines
Guideline 5.2

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Back to STANDARD 5: Exhibit Object Selection
==Guideline 5.2: The curator (or appropriate team member) considers the significance and value of each object to determine its security needs.==
Why is the ability to provide sufficient security a top conservation priority? 
:For those objects robust enough to withstand the rigors of exhibition, the possibility of theft remains a serious threat. The disappearance of an object is the ultimate failure in terms of object care. A stolen object is usually lost permanently; and even those that are recovered may well have been damaged by exposure to rough handling or harmful conditions. 
:During exhibit object selection, the curator (or appropriate team member) should rate the value of each object to the collection and thus establish the level of security it will require. In some cases the exhibit conservator can determine what safeguards will be necessary to protect the object; at other times, a security specialist from the museum or outside firm may be needed. 
:If highly valuable objects are to be selected for exhibit, exhibit planners should consider whether the project would be able to provide the appropriate level of security for them.
How is the significance of an object used to determine its security needs while on exhibition? 
:• Assessing object significance: An object’s value and significance to the museum collection provide good indicators of that object’s security needs during exhibition: the higher the significance, the higher the security needs. A curator, historian or other subject area specialist may assess an object’s significance using the following criteria:
::• Rarity
::• National or international importance
::• Historical associations
::• Relevance to the local collection
::• Purchase cost or replacement cost
:• Determining security needs based on object significance: Museum administrators and curators have created various schemes to categorize object significance. The system recommended below is based on the British Museum and Galleries Commission ranking system. This system assigns an object to one of four levels of significance and value within the museum collection and indicates the level of security it requires:
::• High (requiring tight control)
::• Moderate (requiring moderate control)
::• Limited (requiring limited control)
::• Basic (requiring basic control)
Sample Form
* Exhibit Object Significance Assessment: Rating Object Significance and Value to the Collection
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Category:Exhibit Planning
Category: Standards & Guidelines
Guideline 6.1

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Back to STANDARD 6: Object Conservation Assessment
==Guideline 6.1: The assessment of exhibit objects is conducted by the conservator who will recommend conservation strategies and mitigation features for the exhibit.==
Why is it advisable for object assessment to be conducted by the conservator who will also recommend conservation strategies for the exhibit?
:• Ideally, assessment will be performed by the conservator who will set the Conservation Requirements for the exhibit objects and advise on the exhibit’s conservation features. The conservator gains intimate knowledge of the objects and their vulnerabilities by conducting the object assessment. And this will be invaluable when s/he comes to establish the objects’ conservation requirements and helps to devise conservation strategies for meeting these requirements. By following the objects through the entire exhibit process, the conservator is best positioned to advise on appropriate conditions for the collections going onto display.
:• Exhibit conservators are specifically qualified to fill this role because they are experienced in both object assessment and damage mitigation: they are able to evaluate the current condition of potential exhibit objects and, in a general way, to outline the conservation treatment objects will need before going on display. They are also able to predict the hazards an object will be vulnerable to during exhibition and to suggest appropriate damage mitigation features.
:• The exhibit conservator will generally consult the curator’s ‘Assessment of Object Significance’ to help establish an object’s vulnerability to vandalism or theft.
What other conservators may be involved in object assessment?
:• Highly specialized conservators, such as paper, painting and textile conservators, may also be required to consult with the exhibit conservator for especially significant objects, depending upon the exhibit conservator’s breadth of training and experience. 
:• Assessments for object treatment will generally be written by a conservator who specializes in treatment: It should also be noted that a conservator who specializes in object treatment rather than the exhibit conservator will generally write the highly detailed proposals that describe the treatment an object requires. This individual will also perform object treatment, usually during the exhibit production phase.
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Guideline 6.4

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Back to STANDARD 6: Object Conservation Assessment
==Guideline 6.4: A conservator writes a comprehensive treatment proposal for each object selected for exhibit.==
What information should be included in the treatment proposal?
:Before treatment of an object is carried out, the conservator will write a treatment proposal that should be submitted to the curator who will review and approve it with the concurrence of the museum director.
:The proposal should:
::• Address all the problems identified in the examination report
::• Include a treatment plan that states the objectives and benefits of treatment as well as the limitations and risks
::• Provide a general description of the properties of materials to be used
::• Include a statement that minor variations in treatment may be required as treatment progresses.
::• Include a time estimate and cost estimate (when appropriate)
::It should be noted that the treatment proposal usually will not list all the technical details that are listed in the treatment report.
When should treatment be conducted?
:Object treatment is usually performed during the fabrication phase of exhibit development. Sufficient time should be allotted to ensure that treatment can be completed before object installation is scheduled.
Sample Treatment Proposal
* Supplement: Museum Object Treatment Proposals
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Category:Exhibit Planning
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Guideline 8.1

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Back to STANDARD 8: Exhibit Conservation Requirements
==Guideline 8.1: Conservation Requirements are established by a qualified conservation specialist.==
Why are the Conservation Requirements essential to creating an object-friendly exhibit?
: The Conservation Requirements outline the specific conditions that are needed to protect each exhibit object from damage during exhibition. They thus provide the key for incorporating the appropriate damage mitigation strategies into an exhibit. Such damage mitigation can be provided through exhibit design, museum policies, and, in some cases, modifications to the exhibit building (See Standard 9). The conservation requirements also emphasize particular precautions that should be taken during installation and mountmaking.
::• Exhibit Design. By outlining the conditions necessary to preserve objects while on exhibit, the Preservation Requirements inform the designer of the particular type and range of conservation safeguards s/he should incorporate in the exhibit design. For example, the requirements will specify the acceptable amount of light that objects can be exposed to and will thus alert the designer to choose appropriate lighting controls and design elements that will work with the required light levels. 
::• Museum Policies and Procedures. The conservation requirements will communicate to museum staff that certain safety measures may be needed to protect exhibit objects. These could range from instituting a pest management program and installing environmental controls throughout the museum, to providing staff with security training.
::• Installation, Object Preparation and Mountmaking. The conservation requirements alert installers and mountmakers to any unique conditions, such as the extreme fragility of a particular object component, that will affect handling or mounting.
Why should the Conservation Requirements be set by a qualified professional?
:The Conservation Requirements are the essential foundation for creating an object-safe exhibit and therefore should be established by a qualified individual. Ideally, s/he will be an exhibit conservator. At the very least, s/he will be a conservator who can combine knowledge of conservation and current research with an understanding of exhibit design, specifically the methods by which good design can mitigate wear and tear on objects. This is the area of expertise of an exhibit conservator. (For more information on how to locate an exhibit conservator please see Standard 2, Guideline 2.3.) 
How to identify a qualified exhibit conservator
See Standard 2, Guideline 2.3
Sample Exhibit Conservation Requirements Form
* Exhibit Conservation Requirements: Preservation requisites which require mitigation
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Category: Exhibit Planning
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Guideline 8.2

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Back to STANDARD 8: Exhibit Conservation Requirements
==Guideline 8.2: Conservation Requirements are established for each new exhibit and address the needs of each exhibit object.==
Why should Conservation Requirements be established for each object?
: The material components of exhibit objects are as diverse as museum exhibits themselves. Because objects vary one from another in their material composition they also vary in their response to environmental conditions and the rate at which they deteriorate. In an exhibit of religious icons, excessive light levels will do little harm to stone icons but could quickly damage the decorative surface of a polychrome wooden carving. Even seemingly similar objects could nonetheless possess very different vulnerabilities and suffer different rates of deterioration due to slight differences in their manufacture and processing. For example, the way a metal object was worked and the specific percentage of alloy in its composition, and the particular binder used with pigments in a painting will affect the deterioration rates of those objects.
Why should Conservation Requirements be established for each new exhibit?
: Even within the same building, conditions will vary from one exhibit area to the next. One gallery or exhibit space may have windows and exterior walls with higher levels of light and greater fluctuations in temperature and humidity than another. And the exhibit plan itself could propose greater numbers of visitors, a longer exhibit duration, or more hands-on contact with objects than a previous exhibit.
: Therefore, if preservation criteria are to be effective, they must provide conservation recommendations that are specific to each new exhibit. And a conservator should examine each object, the proposed exhibit location and the object’s curatorial value to the collections to determine its particular conservation requirements.
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Guideline 8.4

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Back to STANDARD 8: Exhibit Conservation Requirements
==Guideline 8.4: The Conservation Requirements are set as early as possible in the exhibit development process.==
Why is it essential to set the Conservation Requirements as early as possible in the exhibit process?</Big>
:The conservation requirements should be established early in exhibit development if they are to provide effective guidance for incorporating damage mitigation into the design and layout of the exhibit:
::• Ensuring conservation is covered by the budget: If the conservation requirements are delayed, the exhibit budget may not include sufficient funds to pay for the recommended mitigation features and specialized equipment.
::• Ensuring sufficient time in the schedule for conservation: If the conservation requirements are set late, it may now be impossible to schedule adequate time for fabrication and delivery of the conservation features. 
::• Ensuring conservation is incorporated efficiently into exhibit design: As exhibit design progresses, it becomes more and more difficult and costly to add in or change features aimed at object protection. An object’s exhibit case, for example, cannot provide maximum protection against humidity unless it is initially designed with the appropriate seals and air exchange features. In such a situation, where a case cannot be retrofitted with the necessary safeguards, the exhibit team may be faced with the costly alternative of providing climate control throughout the larger exhibit environment.
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Guideline 8.5

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Back to STANDARD 8: Exhibit Conservation Requirements
==Guideline 8.5: The Conservation Requirements must be summarized in writing and provided to the exhibit team to guide hazard mitigation strategies for exhibit objects.==
How should the Conservation Requirements be documented?
: A written document is the most effective means of communicating the exhibit’s Conservation Requirements to the exhibit team. The document should describe in sufficient detail the protection required for each object. It should also include a summary of the overall requirements. This could be provided in the form of a statistical analysis stating the percentage of objects requiring a certain type of protection; for example, the percentage of objects requiring extremely controlled lighting versus the percentage requiring moderately controlled lighting. 
: The Conservation Requirements should always provide sufficient information to communicate the level of protection needed for each object; the format, however, may vary from project to project. Approaches include:
::• Ten Agents of Deterioration: The conservator indicates the level of protection an object requires from each of the nine agents of deterioration while on exhibit.
:::1. Direct Physical Forces
:::2. Thieves, Vandals, Displacers
:::3. Fire
:::4. Water
:::5. Pests
:::6. Contaminants
:::7. Light
:::8. Incorrect Temperature
:::9. Incorrect Relative Humidity
:::10. Custodial Neglect
::• Narrative Description: The conservator provides a more narrative description of the type of protection required, such as advising the designer to place certain objects in a sealed case that will reduce their exposure to fluctuations in relative humidity. 
Conservation Requirements Form
* Exhibit Conservation Requirements Form: Preservation requisites that require mitigation. A conservator can use this form to indicate the level of protection an object needs from each of the nine agents of deterioration.
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Guideline 9.2

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== Guideline 9.2: The exhibit team collaborates with technical specialists to identify effective options for meeting the Conservation Requirements ==
=== Which technical specialists can assist in selecting safeguards to meet the Conservation Requirements? ===
* Exhibit Conservator: As described in previous standards (see Standards *), an exhibit conservator is key to effective integration of conservation into exhibits. An exhibit conservator serves as the essential liaison between the fields of object preservation and those of exhibit design. They can therefore identify the design strategies and preservation features that will best fulfill the conservation requirements while meeting the interpretive and aesthetic goals of the exhibit. S/he can provide advice on conservation questions concerning modifications to the physical space, the gallery layout, environmental controls, exhibit case design, object mounting techniques, construction materials and exhibit props that are compatible with object safety. 
Depending upon the size and complexity of the exhibit and the number and value of the exhibit objects, the exhibit team can consult a variety of other specialists who focus on different aspects of preservation. Such specialists include:
*Lighting Specialist: can advise the designer on lighting techniques that will meet the conservation requirements for protecting objects from damaging light and heat. The key variables to be manipulated include: electrical current, light and fixture type, lamp wattage and type of beam, lighting distance, type of filters and louvers. 
* Security Specialist: can advise the designer and museum staff on security measures that will provide adequate protection relative to the risk being faced. [For information on security risk assessments see Standard 16.] The security specialist can advise on fabrication techniques and materials selection for cases, staff training, and technological controls. 
* Fire Prevention Specialist: can give advice on fire-rated and resistant materials, such as drapes and coatings and treatments for wood products. The specialist can also advise on technological controls such as alarms and sprinklers. [For information on fire risk assessments see Standard 17.]
Category:Exhibition
Category: Exhibit Design
Category: Standards & Guidelines