By Garry Thomson
The Museum atmosphere is in components; half I: meant for conservators and museum curators and describes the rules and methods of controlling the surroundings in order that the doubtless harmful results of sunshine, humidity and pollution on museum indicates should be minimised. half II: the writer brings jointly and summarises details and information, hitherto greatly scattered within the literature of numerous fields, that's necessary to employees in conservation research.
Since the well timed e-book of the 1st variants of this booklet in hardback, curiosity in preventive conservation has persisted to develop strongly making ebook of this paperback version the entire extra welcome. these whose accountability it really is to deal with the precious and lovely gadgets within the world's collections became more and more conscious that it really is larger to avoid their deterioration, via making sure that they're housed and displayed within the absolute best environmental stipulations, than to attend till recovery and service are precious. The alterations for the second one variation were normally targeted within the sections on digital hygrometry, new fluorescent lamps, buffered situations, air-con platforms, information logging, and keep an eye on inside historical structures. a brand new appendix, giving a precis of museum specificiations for conservation, presents an invaluable, fast reference
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Extra resources for The Museum Environment
It is easy to find out with a diagram whether particular lamps will reflect into the viewer's eyes (Figure 17). When the whole o f a ceiling is a translucent light source the objects with the strongest reflections may be the tops o f visitors' heads, and you cannot get the reflection o f your head out o f the way i f you are looking straight at a showcase. g. with a reflector) so as to soften the edges o f shadows (Figure 18). Pictures with very deep frames may require a larger angle. e. only moderate efficacy, see p .
Glare must be rigorously avoided. The eyes must be adapted to the light before the viewer enters the room. Lighting objects and leaving viewers in the dark is not usually the best solution. DIFFUSION O F LIGHT Objects lit by a point source o f light throw sharp and dark shadows. Objects lit by completely diffuse light — light that comes from all directions equally throw no shadows at all. We depend a great deal on shadows for our comprehension o f surfaces. On a large scale shadows delineate the contours o f a sculpture, on a small scale, in textiles for example, they in- 28 Figure 14 A hanging rug lit (a) directly and (b) diffusely.
In fact in the days before fluorescent lamps 5 0 lux was supposed a good artificial lighting level. More recently the taste for bright lights has been boosted by cheap energy and industrial interests, so that the task o f control is difficult. Museums are expected to be lit as brightly as shops. Nevertheless it has been found that, provided glare is skillfully eliminated, 5 0 lux gives satisfactory lighting even o f small objects with low contrast (Figure 11). T h e danger to fugitive materials in museums is so apparent that the 5 0 lux level has been fairly generally accepted as a necessary measure for conservation.
The Museum Environment by Garry Thomson