smart art | preventive conservation in China

Based on a nationwide investigation of the current state of preservation of museum objects in China, around 51% of the 35 million museum objects show different degrees of deterioration.

In China’s present situation, preventing damage to museum objects is much more cost-effective than allowing damage to happen and then treating it.

By 2013, the number of museums in China had increased to 3354 from 3055 in 2012, among which the number of private museum is 811. The number of museum visitors annually is 600 million.

Based on China’s national long-term outline plan for museum development (2011‒2020), we expect that by 2020 there will be one museum for every 250 000 people, compared to one per 400 000 in 2014, and that 20% of museums will be privately funded.

Owing to the impressive number of museums opened in the twentieth century, a large number of objects has been accumulated and has often been left in unsuitable environments, resulting in irreversible damage. Treatment of individual objects cannot meet the ever-increasing demand.

Rather than treatment after they show signs of degradation, looking for preventive conservation solutions becomes the most important museum function.

See:

Overview of preventive conservation and the museum environment in China” | Nan Feng, Research Center for Chinese Frontier Archaeology, Jilin University, Changchun, China, published online on 12 August 2016

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art & smart engineering | protecting art from natural disasters

Architect Renzo Piano’s new Whitney Museum of American Art opened on May 1, 2015. Construction on the new museum building, located at the intersection of Gansevoort and Washington Streets in Manhattan’s West Village and Meatpacking District, began in 2010 on a previously city-owned site. The museum site marks the southern entrance to the High Line.

Reviews of the Whitney’s new design have been wonderful. One design feature, extraordinarily important yet perhaps most often not noticed, is the custom flood-mitigation system.

The flood-mitigation system was designed after Hurricane Sandy brought a 13-foot storm surge to the shores of Manhattan in October of 2012, flooding the museum’s construction site with more than five million gallons of water. The system includes a perfectly balanced,  15,500-pound, 14-feet-tall by 27-feet-wide door designed by Walz & Krenzer engineers who build water-tight latches for the U.S. Navy’s Destroyers.

The Whitney’s system, with its technical sophistication and aesthetic sleekness, is proving to be a model for other U.S. art museums asking the same questions.

While the country has been stuck in a surreal debate over the reality of climate change, disaster-preparedness has become a matter of pressing concern, and institutions in vulnerable areas are having to respond in real time.

The museum’s actions—turning to specialists in naval engineering, for example—augur an era of improvised ingenuity, of localized efforts to address a problem in dire need of a global solution.

See:

Whitney Museum of American Art

The High Line

Walz & Krenzer

Protecting Priceless Art From Natural Disasters” | How Renzo Piano’s New Whitney Museum Protects Its Art From Climate Change, John Whitaker, The Atlantic, 27 May 2015

Whitney Museum of American Art” | Wikipedia

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