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HomeMy WebLinkAbout8.2 Review Findings of CAP AGENDA STATEMENT CITY OF HERITAGE AND CULTURAL ARTS COMMISSION DUBLIN MEETING DATE: July 10, 2014 SUBJECT: Review of Findings of the Conservation Assessment Program (CAP) Prepared by Elizabeth Isles, Director Heritage Center ATTACHMENTS: 1. Architectural Assessment Report 2. Conservation Assessment Report 3. CAP Architectural Priorities 4. CAP Conservation Priorities RECOMMENDATION: Receive report and provide input on priorities. FINANCIAL STATEMENT: None DESCRIPTION: In 2013 the Dublin Heritage Park and Museums (DHPM) was selected to participate in the Conservation Assessment Program (CAP); a program of the National Institute for Conservation — Heritage Preservation. The institute is a mission-driven, independent, public policy organization dedicated to preserving the cultural, historic, and scientific heritage of the United States. By identifying risks, developing innovative programs, and providing broad public access to expert advice, Heritage Preservation assists the museums, libraries, archives, organizations, and individuals that take care of our heritage. Prior to the CAP program, the DHPM participated in three of the Museum Assessment Programs (MAP) that included Organizational Assessment (2003), Collections Stewardship (2006) and Community Engagement(2010). These programs are necessary steps to accreditation. CAP provides a general conservation assessment of the museum's collection, environmental conditions, and site. The suggested conservation priorities were identified by professionals who spent two days on- site and three days writing the report. The report will help the City to develop strategies for improved care of the collections at the Heritage Park and provide a tool for long-range planning and fundraising. A site visit was conducted on July 22 and July 23, 2013 by Conservator Niccolo Caldararo and Architectural Historian Roger Klum. During the visit they examined collections, displays, storage, buildings and overall conditions of the site. The assessors reviewed the park and looked for conditions that might be detrimental to the buildings collections. They also met with personnel and key stakeholders. Following the site visit, each of the assessors prepared a report of their observations and recommendations. COPIES TO: ITEM NO: 8.2 GACOMMISSIONS&COMMITTEES\HERITAGE COMMISSION\AGNDSTMT\2014\07-10-14 Item 8.2 Review of Findings of CAP.doc As was done in the past with the MAP reports, Staff has subsequently reviewed the report to prioritize the recommendations based on the following rating scale using distinctions of "important" or "urgent" as defined by historical preservation and conservation standards: A — "Important" to the historical integrity of the historical resources and "urgent"for prevention of deterioration. B — "Important" but not"urgent". C — Neither"urgent" nor "important," or may not apply to the City's historical resources. N/A— Individual opinions of the assessor that are not relevant to the assessment, not within the purview of the assessor, and/or neither "important" or "urgent" RECOMMENDATION: Staff recommends the Heritage and Cultural Arts Commission receive the report and provide input on priorities. 2of2 Dublin Heritage Park and Museums AL- Introduction This report is the result of an architectural conservation assessment, conducted in July of 2013 - as a two day survey of the Park and Museum site and buildings. Sponsored by Heritage Preservation, a Washington D.C. based organization, a collections assessor and an architectural conservator worked in tandem to provide guidance as to future improvements, and to provide recommendations for alleviating some existing problems. The major issue, from an architectural historical design standpoint, is how the Museum Ranch structures appear out-of-context within the large grassy site. Secondly, the two original buildings, the Schoolhouse and the Church, are hidden from most visitors - a lost opportunity to convey the town's early heritage. Additionally, the site completely lacks any visual linkage to its historic importance for Dublin: namely "The Crossing," the location of the town's first commercial buildings. All of the structures appear in good condition. Only minor building components need some attention. Some of the architectural issues deal with appearance, rather than preservation or restoration. Synthesis Design Group, specialists in historic preservation, has provided a large number of conservation assessments and new museum designs for a wide variety of museums over the past 20 plus years in western states. Synthesis has designed historic restoration projects ranging from historic theaters to city halls to community centers and housing projects. Attachment 1 History of the Architecture The Museum structures are clustered in two groups: the Historic Kolb Ranch buildings, and the zone containing the Historic Murray Schoolhouse, St. Raymond's Church, and the Dublin Cemetery. The two groupings appear apart and distinct from each other. The Kolb Ranch buildings feature, most prominently, the original Kolb House, which visually dominates the entire Park site. Additional ranch structures include the Hay Barn, The Sunday Schoolhouse Barn and a workers home, converted to public bathrooms and a pottery studio. All of these structures were moved from the original ranch site, which is located across the 580 freeway, approximately 1/2 mile away to their current location in Heritage Park. The 1911 Kolb House is a large, handsome Craftsman style home, which has been re- sited and fully restored to its original condition. The House is furnished using original, authentic artifacts and furniture from the Kolb family that were present in the house. As a house museum, its interior does a very effective job of portraying the affluent and sophisticated lifestyle of its former residents. The other ranch buildings have been modified to varying degrees to suit their repurposing for the City Parks program activities. The exterior of the worker's shed and the two barn buildings appear to have been reconstructed well and in keeping with their original appearance. The building interiors and accessibility ramps modify the appearance of the ranch structures from their original condition. The 1859 St. Raymond Church, original to the site, has been well preserved. Lack of public access to the building interior, other than for church services, is a missed opportunity for interpretation and community uses. The 1856 Murray Schoolhouse is also a well preserved structure. The interior of the main schoolhouse room, having been modified for use as a museum exhibit hall, has changed the character of the space significantly, although it is still possible to "read" the volume of the room and to view its architectural details. The adjoining "Little Classroom" has been somewhat modernized to accommodate use as a multi-function meeting/exhibit/classroom area. It retains original window detailing and some original molding features. The two 1800`s Victorian era buildings stand in stark contrast to the early 20th century farm buildings and home. Building of differing eras can successfully coexist within a museum setting - it requires careful interpretation, site design and signage to have their proximities make sense. This report will offer some suggestions. Site History The Heritage Park site is the location of the concentration of a , the early commercial buildings forming the nascent origins of Dublin. -ANN All of the buildings flanking a;4 - Dublin Blvd. within the Park property have been destroyed. O The remaining historic buildings that are original to the site are the Church, the Schoolhouse and the non City-owned Green general merchandise store, located at the southeast corner of Dublin Blvd. and Donlon Way, across from the Park. Additionally, the original pioneer cemetery is located behind the Church. The Park site is known historically as "The Crossing." The naming refers to the intersection of currently named Dublin Boulevard and Donlon - which at the formative years for Dublin were the two major roads in the locale. r` a p Dublin Blvd. was part of the original Lincoln Highway. In response to the concentration of travelers along these roads, several commercial buildings were constructed on the site: The Dublin Hotel and the Hansen Brothers Garage, were two major structures on the Park site. They are gone. Placement of the commercial hub of early Dublin was also influenced by the presence of a natural spring located within the site. With the ability to provide fresh water for horses traveling the "Crossing" roads, the store and hotel enjoyed increased patronage. n"- ,,. r ', The historic Kolb House and associated Kolb Ranch structures were imported to the site several years ago from their original location, approximately one-half mile to the south of the Park site. Subsequent to the relocation of the Kolb Ranch buildings, new landscaping, including large swaths of manicured grass and a network of concrete and decomposed granite pathways � were installed. 3 ' Additionally, a set of tall, urban street lamps have been ' installed throughout the Park portion of the site. A veritable forest of wooden bollards have been installed near the south side of the Kolb House. They appear to have no historical reference or modern day function. Architectural Conservation Recommendations The Kolb House Conservation and Interpretation recommendations include: The front door lock - Reverse the lock, as it has been installed with the thumb turn on the exterior and the keyway on the interior x It may be possible at present, with little effort, to surreptitiously enter the house simply by turning the exterior thumb turn. ' Door Lock at Interior Side The front door surface - The exterior wood is a �' w laminated veneer, the finish of which has deteriorated. The door exterior should be refinished. The recommended method is to remove the door from its vertical frame, hand sand the delicate veneer, and refinish with several coats of clear exterior varnish, lightly sanding between coats. To insure a smooth, unblemished finish, this work `°{ should be done in a dust free environment. y� The motorized side entry door - This door has a motorized door opener/closer attached to its head rail. Given the light and delicate wood members used originally to construct this door, the motorized closer is over-stressing the door sash joints. The door should be repaired, rather than replaced with new construction. The joints between sash members should be doweled, where possible, and reglued. j (Repair, rather than replace, is in accordance with the Secretary of the Interior's -Standards for Historic - Preservation.) The motorized side entry door - The motorized door opener/closer appears to be the source of the double door's physical problems. It should be removed and not replaced. The door closer was installed to provide a means of handicap accessibility into the house, during hours of visitation. As the front desk, which is located directly beyond this door, is manned during all of the times when this door would potentially be used by someone with accessibility issues, the California Historical Building Code will allow the house attendant to assist with opening the door by hand. Window Glazing - All of the window glass «t - allows ultraviolet natural light to enter the interior rooms to fade and physically :, ti deteriorate the organic artifacts. In { response, the Museum staff keep the dark, opaque roll-down shades drawn down over the glazing. Part of the design style for Craftsman homes was that these houses often emphasized a strong connection yI�E iad1°, between the interior spaces and the outside world: a "back to nature" mentality. The large - front porch is a reflection of this attitude. When visitors view the home, the black-out shades should be raised - to provide a sense of this interior-exterior connection. In order to minimize UV light deterioration, the interior surfaces of the window panes should be coated with a clear film that blocks the harmful light rays. 3M makes a suitable window film that is non-reflective, and there are local companies who can provide installation. Window Shades - The casement windows in the entry, living, and dining rooms open towards the interior of the home. The black- out window shades are mounted too low on the surrounding window head trim to allow the windows to open properly. So that these windows can be opened periodically to introduce fresh air into the interior and disperse a musty smell, the window shades g' should simply be reinstalled at a higher position on the window head trim. a Window Screens - Once the windows can be opened, there is currently no means of preventing insect intrusion. The original home construction included window screens, set in wooden sash, which was mounted to hinges on the window exterior trim. New window screen sash and metal mesh should be reproduced, guided by historic photographs, and installed at all of the operable windows. Stairway Window - A glass window has been ' installed at the top of the wall above the stairway, separating the stair from the upstairs bedroom area. E` . The window casing and trim construction do not appear to match any of the other window surrounds in the building. Although conjecture, this window appears to have been added sometime after the home as built. Removal of the glass from the cased opening will improve natural convection ventilation throughout the home and would not degrade the historic nature of the home. This is recommended - try it and see - if ventilation is not improved, the glass can be reinstalled with little effort. Bookcase Plexiglass - A large panel of clear plexiglass has been installed over the books in the downstairs central hallway, after the home was moved to its current site in the Park. The purpose of the plexiglass is to provide a physical barrier in front of the books, to prevent their handling, but allow viewing of the books. The plexiglass panel which is bowed out from the cabinet i= face, is unsightly and not harmonious with the cabinet. It should be removed. A narrow sash wood frame, glazed with clear glass, not , plexiglass, should be installed in the cabinet opening in front of the books. The wood frame should be inset within the i opening, not surface mounted. Mounted on hinges and latched/locked, like a casement window, this glazed cabinet door will protect the books and provide a more suitable appearance. Wall Vents - The dining room heater and the trash burner in the kitchen should have the y wall vent flues reinstalled to provide a more A authentic appearance. Because these two appliances are literally "disconnected" they appear somehow odd and incomplete. This should be a simple fix. Light Switches & Receptacles Nearly all of the original light switches and electrical receptacles r have been replaced with white PMAR`01 modern devices, which are not visually congruent with the vintage of the home. As a result, there is a a r feeling that something is amiss and that the home interior is somehow less than authentic. .. The modern switches and receptacles should be replaced with new, reproduction devices. These are readily available, fully functional and safe. The light switches near the front door are a good example of what was original. Fire Sprinklers - The Kolb Home does not have a fire suppression system, aka sprinklers. Although not a code requirement, the installation of a sprinkler system is strongly recommended to protect the City's investment in the structure. In addition to providing protection for the structure, an approved sprinkler system should reduce the fire insurance rates considerably. Certainly worth considering. A wet system (one that is fully charged with pressurized water), using fast-acting localized sprinkler heads is recommended. Additionally, the sprinkler heads need not be exposed - they can be recessed in ceiling cups that are covered with a fusible link metal cover. These small, white ceiling discs create minimal distraction from the historic appearance of the rooms. Bedroom Offices - Upon initial relocation of the house from the ranch site, the two downstairs bedrooms at the rear of the house were (and continue to be) used for docent and conservation staff offices. As the home is now essentially fully restored, the need for these offices within the home itself is greatly reduced. The two bedrooms should be vacated as offices and reused as historic bedrooms, recreating the original furnishings to the greatest extent as known. By doing so, the home will provide a richer visitor experience with more rooms to view, and also provide a more authentic experience, by eliminating modern uses from within the building. Foundation - The historic home sits upon an exposed, new, non-original, non-authentic, stylistically inaccurate, concrete foundation. The appearance of the foundation should be altered - which will be discussed in detail in the Building Design Recommendations section. St. Raymond Church Altar - The original altar has been completely removed. In its place, a wide screen television has been installed, concealed by a curtain. If the original alter cannot be reproduced - perhaps, something more inspiring and special can be 4 installed, compared to the current display of "Our Lady of the Panasonic"! Confessional - The historic confessional booth has been moved from a side wall to a rear corner, near the s' a entry door. It has been converted into a coffee bar. ` Although repurposed to a practical use, coffee can be , prepared in the room behind the altar wall - allowing rs ' the confessional to return to its original, traditional location. This should be considered for both historical ' ryay �f, a+�a �p and cultural reasons. -Sprinklers - Like the Kolb House, the Church does not have fire sprinklers. Installation of a fire suppression system to protect this historic structure is very strongly recommended. -Front Landscaping - Currently, from the remainder of the site and particularly from the intersection of Dublin Blvd. and Donlon Way, the visibility of the Church is significantly blocked by several large trees, located on the north side of the church. The City should consider removal of the smaller tree located on the north side, the one nearest to the street. The larger tree in the same location should be trimmed to increase visibility of the Church front from the rest of the Park. -Landscaping at South Side Yard - The existing landscaping at the Church side yard facing the Schoolhouse is less than ideal. The potential to use this portion of the site for outdoor events is i significant, particularly if the area can be reconfigured to relate to the Schoolhouse, located opposite the side yard. The eucalyptus tree should be removed, as it blocks better landscaping treatment, is fairly messy s and is a potential fire hazard. New shade trees, a fountain, attractive outdoor lighting and electrical service would greatly enhance the appearance and utility of this area. Additionally, the side yard could open out onto and be an integral part of a specially paved plaza that connects the Church with the Schoolhouse - creating a strong visual linkage between the two historic structures. CONSERVATION ASSESSMENT PROGRAM SURVEY THE DUBLIN HERITAGE PARK & MUSEUMS i 9 Survey Dates:July 22"d& 23rd 2013 Surveyor: Niccolo Caldararo Director and Chief Conservator Conservation Art Service Caldararo @ool.com 1 Attachment 2 TABLE OF CONTENTS TitlePage ....................................................................................1 Tableof Contents.........................................................................2-3 Executive Summary.....................................................................4-42 Collection Storage........................................................19-20 Collection Care...........................................................20-21 Cataloging of Collections............................................. 21-23 Staff Development.......................................................24 Location and Facilities..................................................25-29 Other Buildings & Expanded Use of Expertise..........................29-65 KolbHouse................................................................29-31 Sunday School Barn &Art Studio.....................................27-28 St. Raymond Church.....................................................25 HayBarn...................................................................40-41 Murray School House (Main Museum Building)...................37-40 Historic Cemetery.......................................................41-44 CampParks...............................................................34-37 Operations and Conditions ..............................................43-61 Storage Facilities..........................................................50-61 Significant Points............................................................61-63 Short-term Recommendations..................... .................................63-70 Long-term Recommendations.......................................................70-72 General Information........................ ..........................................72-100 Collections Management Goals/Role and Use of Collections.....73-74 Staffing...............................................................................74 Planning and Collections Care Needs...................................75 Exhibits..............................................................................75-76 Specific Collections...........................................................76-77 Photography& Documents............................................77-81 Textiles...............................................................81-91 Metals................................................................84 Glass & Ceramics...........................................................84-85 Paintings &Works of Art on Paper...................................85 2 Basketry...............................................................85 Wood.................................................................85-86 Skin, Bone & Shell.................................................86 Stone..................................................................86 Works Needing Attention..........................................86-88 Staff Training..........................................................................88-89 Bibliography..................................................................89-90 Suppliers......................................................................................90 Grants.........................................................................................90 List of Appendix Articles...............................................................91 Museum Studies Programs............................................................91 Conservation Schools...............................................................91-92 Conservation Survey History................................................93-95 Condition Reports............................................................96-100 3 EXECUTIVE SUMMARY This report contains a variety of information, and is the result of my visit to the City of Dublin Heritage Park and Museums and the Kolb Historic House and Museum . I will refer to the institution in the report as the "Museum." Your institution has had a long history, founded in 1975 in the form of the Dublin Historical Preservation Association (DHPA) and located in Historic Downtown Dublin. Some of the history of the area is contained in publications by local residents like "Dublin Reflections and Bits of History," by Ms.Virginia Smith Bennett. It is obvious that preservation activities by local citizen grounds predates this foundation as the restoration of the Old St Raymond's Church demonstrates. This was accomplished in 1970. Some regional organizations played a role also, for example, the Amador-Livermore Valley Historical Society. The central role, however has been played by the DHPA in organizing preservation activities, raising money and working with local agencies in preserving buildings as well as identifying historical locations. The DHPA also represents a dedicated group of local citizens who have also held elective office and worked to establish the city of Dublin. It is clear that the location of the Heritage Park has had a complex history since the arrival of Native Americans, followed by the Californios and then the American settlers. The "cross roads" theme of the Heritage Park is an essential tool to tell the local story in my opinion. The group of buildings on the site tell that story and the current museum building has had former uses and was renovated to function as a museum. One obvious problem is the lack of visibility for the Heritage Park. Dublin does not have a city center. There are no freeway signs indicating a city center or directing one to the civic center with the city offices and library. When one comes off the freeway there is no signage leading to the Park until you are almost onto San Ramon Ave. You have to know what you are looking for to find the Park. If you do stop at the city offices there is also a sign for a Visitor's Center on the premises, but it is not staffed. When I asked in the Police Department about the Museum they drew a blank and it took at least 10 minutes of calls and computer searches for a staff member to direct me to San Ramon, but she told me to make a right turn on it instead of crossing it. It seems clear that the Heritage Park needs more visibility. In fact, I would argue that Dublin's civic center needs more visibility. The town is laid out as a long irregular, but narrow near triangle, with a west and east segment and the old Camp Parks in the center. See Map 1 for details, this is an official City of Dublin zoning map. 4 Mo Map 1 Zoning of Dublin with Camp Parks in center, New housing tneast Highway 580 runs along the lower or southern edge of the City and Highway 680 bisects the City on the west side just west of the civic center which abuts Highway 58O. Here we have the idea ofcross roads, as these two highways carryon the history of cross roads in the area. However, Dublin's history cannot be understood without reference to the military installations that have occupied a large area in the center of what is now the northern and central segment of the City. Added to this presence has been a county jail I will discuss the potential benefits and other impacts of this history in a later section. The Museum and Park is situated in the western section of the City, and west ofthe civic center of the City with the 580 freeway as its southern border. To the west is now near vacant corporate office building. The initial impression is of grassy landscaped park, which separates the main building from other buildings including the historic Kolb House which is another building that makes up the Museum and its exhibition programs. | will discuss the Park and the buildings initinmore detail below. The mission nf the founding group was clear, to preserve the history of the area, acquire collections and provide educational exhibits, as found in your mission statement. While this report is structured like a typical CAP /Conservation Assessment Program) survey for institutions like museums, archives and historical societies it is tailored to the specific needs of the Museum, the Park and the Kolb House, their relationships with other local institutions and cultural organizations and the locality. The focus nf the report ison the collections and their use. The central finding of the onsite study of the Museum was the lack of space for storage, ouration and preservation activities. This is a lack of dedicated space, not a lack of available space. Your collections are small and are mostly in use as exhibitions materials or have educational roles. They are growing slowly and will continue to do so as Dublin grows. The current collections storage building is also being used to store tables, chairs, and a variety of non-collection materials (see Figure 1). This is not unusual I have found many institutions with such a mix of objects and purposes in storage. It is just not what is considered to be "best practices."The small building just next to the collections storage building has a concrete slab adjacent to it (Figure 2)that could be built on as an addition for the tables and chairs and other materials stored in the collections building. This would free up space in the collections building and allow for a dedicated work area for curation and,preservation activities. � Y) N h, T' Figure 1 Most museums run out of space even if their buildings are planned as museums. Built in 1856 by early pioneers, your main museum building, the Murray School House, was originally designed for a very different function. The Conservation Architect's report, by Mr. Klemm, covers details of only the physical structure and mechanicals of the buildings (e.g., HVAC system). I will comment on the structures mainly as a reference to their role as envelopes for the storage or exhibition of art and artifacts. The Kolb House's 6 condition and will be cited now and then where pertinent in this regard. Information regarding the main museum building has been provided from my own experience of over 40 years with museums . a .«,«wow: Figure 3 Storage Building Adjacent to Collections Storage with slab in foreground The large rooms of the main museum building originally designed for classrooms have served the Museum well as exhibition areas. Most of the floor space has been used for exhibitions while the large western room (see Figure 4, the floor plan where only part of this room is illustrated as the library where there is also a video viewing area) appears to be mainly used as a meeting room. The building is air conditioned and seems to operate properly, but I will leave the assessment of that to Mr. Klemm. The small collections building to the northwest just behind the Murray school house is also air conditioned. This is an excellent situation as in both cases the collections materials are provided with stable environments. The Kolb House does not have such a well functioning system and the collections materials in it should either be considered for relocation or replacement with reproductions with is a process you seem to be already carrying out at least on the third floor, or a long term solution in the construction of a new building or the expansion of the existing building. Mr. Klemm has proposed some means of 7 passive reduction of the heat in the third floor, but air conditioning of historic houses can introduce new problems so this should be addressed in a comprehensive analysis of the building's condition. C 04 Vwtor Traffic Flow M w .. 3 p i s y* M vw s tiF Yr SA fl YI 7 Figure 4 Floor Plan 8 r Problems associated with modifying old buildings for museums or with new museum buildings, collections of all kinds and the special problems of contemporary art and exhibition of varied collections, as well as demands for events and different kinds of educational activities were the subject of the 2004 International Institute for Conservation's Meeting, Modern Art, and New Museums in Bilbao, Spain. The demands of the 21St century on museums are greater than ever before and the kinds of buildings museums are now in (especially those recycled from other uses or built for limited activities) present substantial challenges for management. I had the honor of delivering a paper on conservation of modern art at the conference, but what was of most interest were the discussions with museum conservators and curators from around the world on the problems of adapted old buildings and new museum buildings relating to storage, operations, and exhibition. One of the most constructive papers was by Andreas Burmester and associates from the Pinakothek in Munich. They describe the extensive planning and testing that went into the HVAC system of the new museum complex. The design was aimed at reducing costs and minimizing micro-climates and humidity gradients/air layering, especially regarding the retrofit of an existing building as a museum. What was of most interest was how less expensive it is to retrofit existing buildings, or to build "passive" structures that use little energy but use their structure of materials to buffer climate changes, than it is to build entirely new buildings as museums. Since the main building has a partial air conditioning system it might be possible to modify it to produce a more uniform environment in concert with some modifications to the building that could make it more stable as a passive structure regarding heat loss and cooling. Collections are the most important part of a museum. For an institution to claim cultural significance over an entertainment center, like Epcot Center, it must have "real things," objects that evoke place and root a community in its historic and cultural background. Care of collections assures that such objects will be able to be presented in a manner that retains their unique elements of this background. You have a small collection of valuable objects and are using them to educate children and to tell local history. This is similar to major museum programs like the museum school Elsa Cameron set up at the De Young Museum in the 70s. Such programs are effective ambassadors of art and art history education for a community. Executive Summaries are designed to present the most important information in outline form for the leadership of the institution. It has been found in recent museum studies, that such outlines provide an effective and efficient means for developing plans for improving museum operations related to collections care (see the Conservation Survey Introduction I sent prior to my visit). CAP reports are designed to function as tools to provide materials and direction for institutions to achieve goals. Usually these goals include accreditation and fundraising. Progress is believed to be the essential element in institutional history. Bigger was not always deemed better by many organizational scholars after Harvard Business School professor, Rosabeth Moss Kanter's 1989 book, When Giants Learn to Dance criticized middle management and growth projections as central or desirable goals. On the other hand, Theodore Levitt, also a Harvard Business School professor has demonstrated that the UK's Department of Trade data show that about 70% of all companies are in stasis, neither growing nor shrinking. Still it is generally assumed that improvements indicate an institution that is assessing and correcting deficiencies is effectively managed. 9 x Ff �i Figure 5 Rear of Kolb House In this regard, CAP reports present areas for change and improvement that can guide a museum to achieve its goals, especially those related to collections management and conservation. No institution can be expected to implement all the recommendations listed in any such survey or, for that matter, to accept them completely without due consideration. However, your response to the recommendations contained in the CAP can be used for fundraising and grant applications to demonstrate progress and awareness of problems. MAP I & II reports can also be useful. I have read over your 2011 MAP 1 by Ms. Olsen and will refer to it in those areas of operations where it is appropriate. They are funded by the Institute of Museum and Library Services (IMLS) but administered jointly by the American Association of Museums. These grants can be effective sources of information for improvements in organization and curation services. Many museums use recommendations as starting points for planning and grant writing, or as themes for fund-raising. I urge you to read the entire document before undertaking any recommendation. The Museum's approach will most likely be quite different from how many institutions approach the assessment since most institutions are attempting to serve different audiences, and differ in their competition for entertainment, arts and education dollars, both public and private. Recommendations include a number of capital outlays for repairs and other investments in the building and the collections. Your efforts thus far have been exemplary, demonstrating prudence, energy and organization. Most museums today are involved in either fundraising for endowments or capital improvements or both. The creation of an endowment is a secondary goal behind the fundraising for construction of a new museum building or modification of the existing one. Museums like yours that are partly or fully funded by public entities often run into a contradiction when creating an endowment or produce 10 revenue streams from their services to the community or other institutions public or private. Government agencies that have been funding such museums see endowments or outside revenue as signals to reduce or withdraw their support. This is unfortunate and mistaken. Endowments should function as any public trust, as a foundation resource for future needs both of an emergency nature and when specific new needs are identified by the community. An article by Simone Keiran (@http//artsociety.suite101.com/article.cfm/economic_viability_of_arts_for_public-funding) cites two studies one by the British Columbia government another by of that show how non-profits, especially cultural institutions bring more money into their communities than the money they receive from public funds. For each public dollar most agencies returned between $1.04 and 1.35. Thus the reports argue that public funding for the arts should be seen as investments in private business development, especially small local business. In general, a museum or historical society, park, archive or zoo will have one central mission and a well-identified audience. Many smaller museums in metropolitan areas also face life in the shadow of larger well-defined institutions, with comprehensive collections possessing national or international reputations. Your museum falls into this category. To succeed in this situation most small museums either survive due to municipal support or private endowments supplemented by substantial volunteer loyalty and energy. Others survive due to unique collections that garner considerable local, national or international interest. A few thrive and expand by having elements of all these factors and talented management and boards of directors. In this last category, the ability to raise funds and use them effectively have been skills Heritage Preservation and the AAM have strived to make available through a variety of programs. CAP is one of these. Most institutions are engaged in CAP to acquire recognition of their operations by the award of accreditation by organizations like the American Association of Museums or to use the survey to achieve fund- raising goals from public or private sources. Your museum has a unique and relatively long history, especially a history of active involvement in the community since its founding. You have a director, Ms. Isles, who is not only a talented and creative administrator but who has other museum experience and is a graduate of a NIPS museum studies program. Mentioned in the MAP report was the fact that at that time the only paid staff member was Ms. Isles. However, I met Ms. Ann Mottola, the Heritage and Cultural Arts Manager for he town of Dublin. Her role is a central one in the development of the public programs on the site and in other areas of the town. She demonstrated a specific interest and dedication of the town in the Heritage Park and Museum. Other town employees appear to be involved in the programs, and also facilities staff who work to maintain buildings and set up program activities in the Barn's theater and other buildings. Many staff members have a variety of arts education and training experience in other institutions. This mix of training and experience is a vital resource in the current environment. This background provides abilities that will be especially useful in the near future with the challenges we all face due to the recent recession. The history of your museum has produced a great wealth of contacts across the county. Your association with the museums in Pleasanton and the historic house organization in the Bay Area is particularly important as an example of the use of your institutional skills, the flexibility of your staff and willingness to expand services to other institutions and projects. Your children's program is especially effective in linking with schools and producing a bridge to parents for support and input. Other events like your Traditional Music Night are lively means to bring people to the museum and introduce them to your institution. The website is particularly oriented in this effort. 11 r 5 a uT o e z r a �a Figure 6 Art Studio Class The use of the Kolb House (Figure 5)the Murray School House, the St Raymond Church Hay Barn and Sunday School Barn (see Map 2) are both a historical draw and provide social opportunities for people to gain access to the institution and establish relationships with staff and programs. The tea and Tour program tractor rides and barn activities are social events well adapted in this regard. The use of the Kolb House, lawn areas and Church for weddings and other special events is also a means of introduction and with the Teas are also income generators. The separation of the Kolb House and the other buildings from the museum does not seem to be a problem in providing services or in caring for the collection as your staff has overcome this obstacle (see Figure 7). The location of the Kolb House in regard to the Murray School building and the collection storage area presents several areas of collections and collections care activities. Your staff is handling this dispersal of objects and services well, but the heavy reliance on volunteers care produce difficulties as it seems staff time is spread thin and training of volunteers and their time 12 appear to be just adequate to maintain standard care. Your MAP 1 report suggests more staff to alleviate this situation. Your success with the local business association is obvious given the public's response to events and businesses like the Spring Faire, vendor booths and other events. I assume these are linked with out door plays and music. Turning these contacts into active support is a difficult task for any institution, as it requires projecting the idea of need without that of self-promotion over other valid community goals. In these economic times maintaining membership at current levels and at categories that provide significant support will be difficult. However, the Museum can become a leading element in the Town and the County's efforts to bring more residents to become used to shopping locally and spending time in Dublin as well as attracting tourist dollars to the area. This survey for the Museum will be most valuable in addressing current problems in housing the collection and its use as a resource for new experience products for display, online access or other kinds of intellectual property and innovation that can be brought to the public as a unique venue to visit in person or as an online experience. Some institutions are also finding online availability can result in a considerable revenue stream. You effectively use your website for this, highlighting events but should be also used to celebrate objects from the collection including letters, furnishings of the House and exhibits. You have the website set up to do this, so the first step is taken. Your newsletter is also a handsome device for connecting with members and potential customers for your publications which are also another source of funds and a means of interesting the public. For example, you have produced the handsome booklet, The Kolbs of Dublin with the help of the DHPA. Maximizing this effort can be achieved by making the collections a showcase online. To make this possible,the collection must be properly photographed, housed, inventoried, curated and preserved. But also,the collections can act as a kernel to attract more historical objects, documents and photographs. When people see other families' history is preserved they are more likely to donate their own. As mentioned in my CAP history summary, the CAP assessments grew out of a concern in the 1960s that the nation's cultural heritage was deteriorating rapidly and that there were no uniform practices for their care or national standards for assessing condition and needs for preservation. In the next four decades several national surveys were taken of the nation's museums both public and private to develop these needed practices and standards. Public and private funds had been spent to purchase, preserve and display objects that were found to be in seriously degraded condition. Findings strongly suggested the establishment of guidelines for collections care and museum practices in order to assure the continued use of collections for which public and private money had been spent to preserve for future generations. A summary of these studies was provided in the pre-visit mailing with appropriate references. The CAP assessments are a means to determine these conditions and to recommend improvements so that future expenditures can be responsibly placed to achieve these goals. Central areas of concern in this report fall into the following categories. 13 gank Dawn Redwood Circle *Ib Law I o aY Barn � � ;T 1 'CT t Axe Std � i Sunday Sduvt Berra ., ik%KtB+?CY;p I Dublin Lawn � 9 i I Donlon taLawn Kolb House 1J i utr ? St. zone a Schoolhouse Figure 7 1. Collection storage. As mentioned above your storage area is adequate for the size and quality of your collections but is not being used effectively. As a valuable resource, your collections, and collecting efforts can return a substantial return if used more intensively. The plan to renovate a museum is a strategy for urban renewal and development that many large and small museums have taken in recent years. Removing the tables and chairs as well as all other non-collection materials and moving them to the storage building to the west after placing a new enclosure on the cement pad would provide adequate space for study and expansion of the collections. This would increase the space in the current collections room by 100%totaling perhaps as much as 500 or as much as 600 square footage. This is needed to improve storage, provide for future acquisitions and create preparation areas. Present conditions in storage are very cramped (Figure 8). But you are making due and using best practices to minimize the usual problems associated with a lack of space (Figure 9). 14 y �r u Ps MIA mow: 's Figure 8 2. Collections care. It is clear your organization dedicates an amount of funding and staff resources to the maintenance of the collection. This amount seems sufficient for the collection at present. The collection, like any inventory for any private business, requires modern accounting (in the case of museums this includes cataloging and condition reporting), advertising (which in museums means research and catalogue generation as well as other public relations and education efforts) and maintenance (which in the museum means conservation). A primary goal should be the creation of a long term preservation/conservation plan. You should list areas of preservation concern and describe conservation projects by identifying those objects in the collection that are most fragile and need of special care or restoration. You have no established relationship with conservators; you should seek conversations with a local conservator who can become a resource and be familiar with your collecttions. Recently some institutions have had donors fund "chairs" for curators and conservators where public funding was failing to support such activities. Other institutions have formed cooperative joint agreements where 15 they fund 1/2 or 1/4 of a-conservator's time at a central location. This might be possible for your institution to join with some regional museums and historical societies like the Intermuseum Conservation Association, located in Cleveland, or the Upper Midwest Conservation Association at the Minneapolis Museum of Art. It seems tome that the Director is doing the job of at least three people, and is accomplishing a phenomenal job in all. However, I think program demands and collections care should be enhanced by the addition of at lease one collections care specialist. You have completed some inventorying and cataloguing the collection as mentioned in your MAP 1 and should extend this and plan to make photographs of all the collections objects. This is a major accomplishment that few small museums or historical societies achieve. Most of the collection is properly housed (Figure 9), the space problem creates conditions for inefficient labor costs and there is so little space to store materials there is no space to move objects to get at what is wanted or to examine objects, photograph them or prepare them for exhibition. The space problem is central and needs to be solved. There is simply no room in the storage room for safe and adequate handling of objects. 3. The cataloging of the collections is a continuous process but records are being transferred to electronic form and one set should be stored off-site in case of a disaster. This process is underway and is to be commended. It is taking place along with a project to photograph the 16 µ .r + a � g y �* y. ids 40PO Figure 9 Collection. It is obvious that the condition of the records is well developed, both in terms of the preservation of the documents themselves as well as the housing (cards, binders, folders, etc.). Attempts to locate objects using the electronic system were successful and demonstrated an effective system. Mr. Minniear was essential in this effort. An electronic system should function as an opportunity to integrate museum records and storage locations on one database. Using a digital camera with such a program is wise, as each item can then be associated with a number, an image and a location. This can enhance security and condition efforts, make inventory less time consuming and all this would work to reduce insurance costs. You are engaged in "best practices" here. There seems to be some minor backlog both related to other City agencies like space for the Camp Parks material stored in the Library. I understand that at the present these materials which are very important in telling the history of the area, are not officially part of the collection and that their residence at the Library is only temporary. These issues need to be resolved. All objects must be catalogued and have condition reports made for them, this applies to objects located in some of the off-site storage areas (Figure 10), but the use of Past Perfect as a program is a wise choice. 17 �d y r s � v fk f i Rik i Figure 10 4. Staff development. Your staff is composed of one museum professional and a number of dedicated volunteers with quite diverse backgrounds and talents but little is being invested in staff training. The best managed American companies, like Proctor and Gamble, General Electric and Intel all invest in both outside training, conferences and inside training experiences. There are a number of monthly online courses in a variety of museum training subjects taking place now. These are usually listed on websites like Conservation Online. The Museum needs to develop and implement a staff education and training program. Your present staff is doing a superior job in maintaining and operating the facility, to increase your effectiveness in attracting audiences, investments must be made in staff development. 18 �Yli i11 i Wfflll Figure 11 the Church seen from the Murray Classroom across the parking area 5. Location and Facilities The main building (the Murray School House), is laid out within the Heritage Park (see Figure 7) with a number of other buildings, some were moved here from a local farm, others like the Church were originally located there. The Bank building is also owned by the City and is intrusive, creating a visual distraction. There is some indication that the building might be integrated at some time in the future when the lease is up. 19 u ,r.. -' yew � •t!, r`+. t , SY" E Figure 12 Donlon Street looking toward freeway 580 Museum on right The St. Raymond Church is a historic structure (Figure 11) that faces Donlon Street that runs perpendicular to the freeway and dead ends at a fence that cuts off access to the freeway shoulder (Figure 12). The Church is separated from the Murray Classroom by a small parking lot to the south. Across the street from the Church is a property that is now an office park but will be replaced soon with housing that will be designed to match the general look of the Park's historic buildings. At the corner of Donlon and Dublin Road is a building that has historic value and may be purchased at some time in the future by the City and added to the Park. No artifacts are displayed at the Church so I will not discuss it. A grassy field, the Donlon Lawn, separates the Church from the Kolb House and along the front of the House, Donlon Street is provided with diagonal parking. The House is separated from the street by a garden (Figure 13). 20 i ..r a i r - c - 3 p�g�yyaica�, s , �g Y9° yir ulu4°°Bi WAR vT Figure 13 Looking towards the Kolb House from the Church To the west of the Church and Kolb House is another grassy area and to the south of this is the historic cemetery Figure 14). Preservation of a historic cemetery is a difficult task as the community of historians, preservationists and the public have differing concepts of how these areas should be cared for and viewed. One needs only compare the experiences and information in Ted O. Brooke's The Cemetery Book: Cemetery Preservation, Restoration and Recording, published by the Georgia Genealogical Association 1989 wit that by the National Park Service, Essentials for Cemetery Monument Care, 2009. 21 s- T✓ i 3..a9 �a Figure 14 The Dublin Lawn runs all along Dublin Boulevard and is a considerable expanse of open area. To the West there is a stage and then the bank parking and the bank. South of the stage and bank parking is the Kolb lawn and to the south of this are the Hay Barn and Redwood Circle (Figure 15). The Hay Barn is rather a partial open structure and contains some historic wagons and other farm related machinery both inside and out in the adjacent area. How well this building provides shelter for these objects is of concern. The Lodi (San Joaquin County Historical Society and Museum) collections of farm equipment have similar problems and might be of help. A condition report should be made on the objects. East of the Hay Barn is another expanse of lawn that is divided into two parts by three buildings. The largest is the Sunday School Barn that has been modified as a performance venue (Figure 16). There are no areas of exhibition I saw in the building. To the North of the Sunday School Barn is the Art Studio and Restrooms building (Figure 17). This appears to be two buildings joined together or one extended into a larger function. 22 g �< Fes•„ f r a Q Figure 15 These buildings all are situated in a rolling slope that is well drained. I asked about floods and the information available indicates that the creek that runs along the south has not overflowed in memory. I am unsure of the seismic stability of the buildings but will leave that to Mr. Klemm. Currently the collections furniture is all on risers or pallets holding them off the floor. At present there are Museum administration offices concentrated in both the Kolb House and the Murray School House. There are plans to consolidate some of the office space in the Kolb House into the Murray building and provide more space in the Kolb for display. The configuration of both buildings allows visitors to gain access to the public bathrooms into office space. This compromises security and a security camera pointed at the bathroom door area might be prudent. 23 S I h Y x,I�s'Ix Sx,. � o >a ' 3 .u...,,, ,,..:�, `: ,.WU,_.�,YGd'mf:�,.»; �1�i�,�r>>��' �,;x�,�, ._!if."�.�,� ....__...� w%.:a;�a�a ., _✓..✓ .. ..,. .�..� » .. ... Figure 16 It appears that most curatorial activities where handling of documents and photographs is concerned take place in the storage and office area between the bathrooms and the galleries, while most other activities where objects are handled take place in the gallery during preparation of exhibitions or in the collections storage building to the rear of the Murray School House. Since this building is also alarmed there does not seem to be an obvious security problem. Moving objects in bad weather would be a problem from building to building but this can usually be avoided by scheduling. The art building seems efficiently used and appears as a popular and well organized enterprise. The Kolb House The Kolb house has well organized exhibits that are oriented to educate people about the use of the House by the original owners. Most of the objects are displayed in ways that reflect the time the house occupied by the family. Most are either out of reach of the average visitor or are replicas. The use of more effective barriers and some covers to protect the floors might be in order, especially where fragile objects are exhibited (Figure 18). There is a room dedicated to curatorial activities in the building and it is well organized and has a computer for the purpose of collections management and you use Past Perfect for this purpose. 24 a a Figure 18 The storage room is well organized and materials are carefully accessed but there are some areas of stacking typical of all museums (Figure 19). Adjacent to this research and storage room the Kolb House also has a staging area for exhibits preparation and where visiting scholars could study the collections. Nearby there is a specially installed textile storage locker. This is also well organized (Figure 20) and the textiles have been wrapped in acid-free materials. Rolled textiles are often the best way to store them. Documents and objects are stored in acid-free boxes with for easy handling and photographs are stored in sleeves or acid-free folders. 25 Figure 17 There are no large tables for people to examine documents or art,though I understand the back window gallery area could be used for that purpose. Lighting in the storage area is good but should be shielded to reduce UV exposure and lights are kept off when no one is in the area.This applies to the small collections storage building as well. The light fixtures do not illuminate the work areas adequately where they are now and using rolling lights might be an inexpensive alternative to reinstalling the lighting. It is "best practices" housekeeping for you to be using UV blocking film around the fluorescent fixtures. You are replacing boxes that are composed of acidic materials with acid-free. Where a HVAC system does not produce significant air flow or replacement, microenvironments can develop, usually external air pollution is 26 2:aa Y�pp s y / •r'If 4 3 i" / 1 2 S, � X31 / Figure 19 A central problem that can be minimized by activated charcoal filters. In your case the partial air conditioning seems capable of reducing temperature swings but may not adequately move air through the building and storage. Mr. Klemm noticed the hot conditions in the attic and will recommend removal of the glass in the hall window to provide better air flow. As the building is old and is in reuse you might want to have air sampling done to determine if pollutants are being generated from the building itself. Air filters in the HVAC can be sampled and tested for this determination. This problem was first quantified by a study undertaken by Stephen Hackney in 1984 while at the Tate Gallery. Other studies as in the case by Burmester, 27 f� fi V( Figure 20 et al. in 2004, mentioned above looked at building material generated pollutants and collection materials. The staff has adapted a cleaning program to the more difficult situation where the House is the venue for a variety of events including weddings and events. While these events are obviously income generators they also can act a means of attracting people's interest to get involved and donate to the preservation of the building and the building of period collections for display and enhancement of the house as an educational exhibit. Staff is also clearly aware of the problems of using the building for public events and have made every effort to reduce the effects of wear, vandalism and accident. While some artifacts of the Kolb family are on display, these are carefully placed as to limit access and the degradation effects of lighting, moisture and heat. Some of the carpets are original and an effort needs to be taken to protect them from wear introduced by foot traffic and cleaning. Camp Parks Materials The Camp Parts collection is a unique fragment of a complex history of the area. Its ownership and relation to the Museum needs to be clarified. The current location seems temporary, though the 28 conditions are appropriate for a collection of its kind. If it is to be kept at the Library new storage furniture should be arranged for, especially as much of the collection is of textile of one kind or shape or another. As a project for the people of the City this also presents opportunities both to increase the visibility of past events and history and culture of the area and to expand the role of the Museum to different audiences. It was the result of considerable foresight and sense of civic duty to arrange for this material to be collected and the DHPA should be proud that their efforts have been so rewarded. There is little area to work in the space and it will need to be reorganized if the collection is to stay in this room (Figure 21) the space needs a work table and lights for examination purposes. Mr. Minniear demonstrates a considerable knowledge in preservation techniques and has a dedication to the collection. He has executed appropriate treatment and rehousing protocols. This collection contains a vast number of different kinds of objects from the military uniforms of three branches (Figure 22) to the medical furniture of the hospital. It needs more resources to be dedicated to its preservation. 29 3 4 30 \ t f a ti �v a 4 x' was; ti, l r' 9 � Figure 21 These materials will be valuable in telling any history of Camp Parks in the future. 31 �M K r lisp 5 V K °, Figure 22 Main Museum Building The Murray School House is a historic structure that is partly air conditioned, as mentioned above. I do not know its status in terms of if it is insulated in the windows, walls and ceiling but this does not appear to be so. This will appear in Mr. Klemm's report. There are what appear to be several additions to the sides of the original structure. Insulation added in the ceiling and walls can reduce the cost of heating and cooling and double paned windows can produce significant savings. Since the City pays these costs one would assume that if and when they focus on their level of support this issue could be addressed to reduce costs in this area. 32 The current HVAC unit seems inadequate for the level of air conditioning and heating needed to be delivered to the space. I was not able to examine weekly and month charts to understand the environmental conditions the HVAC system provides. The Museum building design shields the main exhibition area from receiving too much light. A balance must be achieved between what is necessary to illuminate the exhibits and what will damage sensitive organic materials, especially colorants over time. Most external light is limited by curtains and shades or various kinds. Internal light sources produce a light level in most rooms, and especially the galleries that is about that recommended by the Smithsonian scientists. Light levels have been a concern for the past 80 years, but especially since the 50s when a series of experiments resulted in norms being set. Raymond H. Lafontaine published a comprehensive environmental pamphlet for the Canadian Conservation Institute in 1981, but Gary Thomson's book,the Museum Environment contains the most thorough discussion of lighting and light damage. For a time in the 60s and 1970s it was thought that if UV could be blocked then light levels could be kept at viewing comfort for the public since UV light is the most damaging. Experiments in the 1980s and 1990s, however, proved this was misguided and the damage curve of light where UV is blocked is simply lower but objects are damaged by their overall light exposure. This work was conducted by Saunders in 1993 at the National Gallery in London. In addition, however, some materials demonstrate what is called "induction curves" where damage increases dramatically after so many hours of exposure. Most museum texts argue that light levels should be kept at 50 lux, while the Smithsonian scientists have recently set levels at 200 to 300 in certain situations. Since most museums and historical societies have light levels above these marks and the public comments negatively when forced to view under these conditions, curators have a difficult situation to deal with. In 2000 Chris Cuttle of the Rensselaer Polytechnic Institute demonstrated that by varying the correlated color temperature of light damaging effects of light at higher levels could be reduced by using combinations of light sources that reduced heat and color effects of light. Since the Smithsonian scientists had also shown that if heat and humidity were held at low levels less damage resulted from higher light levels. The windows of the Kolb House, could be covered with a UV absorbing film. These films are known to have 10 to 15 year lives of effective blocking. These films degrade and become ugly, often historic houses simply use curtains. This preserves wall coverings and wood in furniture and other organic materials and colorants. An energy audit designed to capture the needs of collections on display and in storage as well as comfort of staff and visitors is in order. Unbalanced lighting, heating and cooling is an energy liability as well as a danger to art and artifacts due to the amount of light present and the fading and embrittlement that would result. This situation exposes objects to daily light and dramatic changes in heat and humidity over a year's seasonal change. Most European museum buildings are designed fitted with foyers that can function to buffer outdoor-indoor environmental gradients. You could have a foyer of sorts in the entrance to the 33 Murray School House, but the space is limited for such an installation. Outdoor weather changes are reduced by such foyers and they increase security potential and reduce energy and security costs. Cycling of temperature and humidity can have very destructive effects on building materials and artifacts. Condensation in the walls is always a potential problem and can lead to a number of destructive conditions. I refer the architectural conservator to work by Hugo Stehkamper's on "natural" air conditioning strategies (published in Restaurateur in 1988)that some museums and archives have introduced to reduce structural problems and energy costs as well as potential damage to collections. You have adequate parking in the adjacent lot. Loading and unloading objects from vehicles should be accommodated by parking designed to make this efficient and safe in all weather conditions. You have this and given your hard pack walkways carts can be used to bring objects to any of the buildings in the Park. Plans for storage should be incorporated with this design, you're your current storage building is close to the main building and has hard pack walkways. Storage should be based on past experience of new acquisitions, but also on the possibilities of new rates of acquisitions garnered by a more visible building or due to advertising or new signage. As the collections and archives function as a resource for designers, advertising staff and the public, the costs of movement and other operations as well as exhibitions curators' needs must be considered as costs and potential impediments.Also one should keep in mind that the storage functions of museums today have changed dramatically, becoming de facto study centers, and shipping facilities. The building design should include both a dedicated area for packaging and receiving and a dedicated area for study. Most museums today have developed such dedicated areas as a means of ensuring inventory control and collections integrity from contamination. You have study and work areas in both the Murray School House and the Kolb House but no dedicated containment and packaging area. You might consider creating such an area in one of the buildings. A review of your inventory supplied in the CAP questionnaire shows that most of your collection is in the areas of historic objects, library/archive materials and photographic materials. Textile and furniture, wood artifacts, and glass and ceramics also provide another major segment. The Hay Barn and Sunday School Barn These buildings are not used for storage of museum items, but there are vehicles in them that could be considered artifacts (Figure 23)The same is true for the Art Studio where the art is the property of students there is no area presently allocated for museum storage. There is farm equipment and some carriage parts here and there on the property(Figure 24). They seem secure and do not have a history of vandalism, though his might change. Lights that are activated by motion detectors could be installed or a video camera. 34 a� a y .....,y. Figure 23 35 dl r .w Figure 24 This ends the Executive Summary. What follows is a detailed examination of the operations and condition of the collections and the facility as specific areas impact collections and exhibits. Operations and Conditions Addressing the Public as a Museum in the 21St century In the loth century museums & historical societies faced difficult choices in competition for the public's attention and recreation dollars. While most museums still maintain a core mission element 36 of educating the public, often the most successful fund-raising activities are organized as entertainment. When I first came to work at the California Academy of Sciences in 1970, its mission was much like traditional natural museums parallel with that of the Field Museum in Chicago and institutions like the Glyptotek in Copenhagen. These combined the education of the public established in the Enlightenment with the scientific responsibility to maintain live collections with those of preserved specimens, historical and often also, archaeological collections. Departments of these institutions were directed to conduct research on the collections and to make them comprehensive in nature as defined by the specific collection strategy of the institution. In the past 35 years all this has changed. Your institution has taken the role of conveying to the public the history of area's people. Cooperation with existing institutions can be of great value. The National Park Service operates a number of historic site facilities, as the John Muir site near Martinez and the Eugene O'Neill house near Danville. What is of possible interest is the Hearst house designed by Julia Morgan, called the Hacienda del Pozo de Verona. Certainly the history of Dublin is as rich and pioneers like the Kolbs who had lives rich in the drama of the time. Like the legendary life of Joaquin Murrieta who was active in the Santa Clara and San Jose areas, the Kolb House is the starting point for a number of exhibits and tours, as well as advertisements for tourist visits that already tie in with this history and is demonstrated by your exhibits. An expansion of the Museum's mission could produce a comprehensive cultural and educational institution. As there is a substantial local interest in ecology and the environment and your efforts to cover this topic in more detail might enhance the Museum's appeal and audience attraction as a destination and a volunteer center especially in how you meld your children's classes into local history studies. Mr. Klemm has suggested a water feature with tule grass. The history of the historic garage (now incorporated into another building) and the hotel and saloon (now used for commercial purposes but still visible) and the history of the area can be woven together in archaeological "digs" and partial reconstructions of other buildings and uses linking past and present into an active learning center laboratory. On the one hand, you could link to the existing biological collections at the local colleges and engage in the presentation of native plants in the context of Native American, pioneer and contemporary agricultural use of the County's botanical variety in association with the County Fair. You could also bring a unique focus to the history of garden concepts and the use of architecture in garden development, celebrating local gardeners and historic gardens. Also you might link these efforts to immigrant agricultural products and home flora. You already do an effective and creative job linking local farmers to agricultural history. An annual event that showcased garden architecture might attract architects who specialize in this area and homeowners. Construction of botanical gardens or collaborations with the professionals and scholars in the area could produce a new center for study of gardens and garden history. One aspect of your area's public art is its gardens. Some cities, like San Jose, have mixed city buildings with parks and outdoor art and artists' interpretations of natural settings like earthworks, and drainage areas with plants and mazes. A variety of this is seen in the Getty Museum grounds. In some cases the effects of weathering (as in the new De Young Museum) are designed into the artistic statement as well as graffiti, plant volunteers 37 (weeds) and animal intrusion as in the case of gophers. An expanded museum botanical center might partner with wildlife organizations like Wildcare to bring educational exhibits on wild animal life to a broader audience. In a more dramatic and concentrated attempt to place the processes of technology in a context, Colonial Williamsburg recreates the buildings of the time with costumed actors all continuously restored to the most accurate historical context. Here some of your farm equipment might be utilized. It maybe that you will want to focus some creative attention on the history of commerce and technology in transition. The history of the railroad might be one focus. k 1 3 L c 3 nu" 3d y. t.- z,Y a (q/ a Figure 25 A number of institutions have produced series of exhibitions and lectures following the lives and letters of local families stretching the history of individual family members from the locale to Europe or the East Coast. You do this well with your immigration story in the Murray House exhibits.The preservation of the past into the present is exhibited in our architecture, as in the case of Eichler Homes, for example. We often think of"period homes" as being those dating to the Victorian or Edwardian architectural eras. However, the public has other ideas and period architectural 38 constructions filled with period furnishings have produced very popular exhibits for many museums, like the "modern" 50s "period" rooms of the Sherborne Museum. You have a long history of involving the public in exhibitions as described in your exhibition history. Also, you have done some collecting of family documents and history. Here local families have often supplied artifacts and documentation to build certain shows, these families can also provide a continuous stream of stories to widen both local interest and regional involvement. With regard to exhibition of new art in the Murray School House and objects of your household and technology collection (for illustration of the way the Kolb family lived in each of the rooms of the house) are the comments of Heinz Althofer, conservator in Dusseldorf, Germany who has had to maintain aspects of contemporary art and artifacts made of new synthetic materials. Althofer mentions, in a 1981 address, that the public often wishes to see objects in a new or pristine state, complete and without losses, while the object may, in fact, only retain a fragment of the original, stained and broken. This is very often true of original scientific instruments and the models of inventors. In your case, used objects in the kitchen or in the bathrooms may present this condition. To change them alters the state in which the hand of the innovation took place in the case of inventors or artists, but in the house replacing originals with replicates that are "new" looking, that is not worn, falsifies history. Some museums focus on the daily routine of technology, like the Chicago Museum of Science and Industry or London's museum of the same name. The London museum uses its exhibits as thought- provoking devices and integrates the National Railway Museum with other collections and exhibits like the Creative Planet and the Science Museum to place human activity in a long historical thread. You do have a local history of railroads and the development of transportation in the context of the agriculture industry. Presently you are using the main exhibition hall for a display related to this history. Linking this history to industry and settlement is one effective means of broadening your story of the local history and you have done this effectively. A capacity to exhibit diverse materials and to store and maintain collections is an essential factor in any facility. All the above examples demonstrate a great variety of potential sources of both excitement and interest for the public as well as involvement for the companies and communities that hold and own the documents and objects. You have long been engaged attempting to cover most of these aspects, as is demonstrated by your exhibition history. They are also examples of the diverse problems in storage and exhibition design and installation which will accrue to an active and engaged museum staff. A major focus of your planning,therefore, must be on the skills and training needs of your staff and the development of more space and safe work areas and storage. In the area of dealing with corporate history and museums, the American Association for State and Local History has a corporate history initiative aimed at facilitating corporations developing archives and museums as well as online presences for museum-like purposes. They also provide guidelines and advice for producing alliances between local museums and corporate entities. You have skills that can 39 be offered to local corporations to help them preserve their history and their payments can be as either clients or as major supporters in exchange for services. f } S k S� @E, wxar f At R M - Figure 26 The Murray School House building presents challenges to the exhibit of artifacts similar to those one finds in most all buildings not designed for museum use due to their design and construction as spaces for other activities. Artifacts are exhibited in mainly wall panels or diorama style installations and framed works of art (Figure 26). It provides a rich area for engagement of many different kinds of visitor, but is especially adaptable for students of all ages. In the carriage house the walls provide excellent viewing space for framed works or art. The Kolb House is displayed as a typical historic house (Figure 25). Typical objects of all kinds are exhibited and are unprotected except for the watchful eyes of volunteers. In the 1980s we experimented with motion detectors and electric eyes to protect objects from being touched or stolen in the De Young, and Legion of Honor. These proved more trouble than help as they were too sensitive and went off when a heavy person walked by some sensors or a big truck drove down the street. Some historic houses place plexi-glass shields up in door ways to prevent theft or vandalism. This can be protective but also limits access for educational 40 purposes and also changes significantly the scene. They also change air flow and can produce micro- environments. We find a variety of exhibited materials, including metals, paper, wood & clothing in these rooms as in the main exhibit gallery. Since, as Gary Thomson demonstrated in his book,The Museum Environment (1978), the micro-environment inside a case varies less than that in a room, cases can be protective, but this also depends on the amount of light present and the materials of which the case is fabricated. In some cases, original documents and objects in the rooms have been replaced with facsimiles; many original objects are no longer utilized, having been replaced with reproductions. Recent research has focused on the benefits of some purposefully created micro-environments and some museums have used glass doors or plexi-separators to limit air exchanged in some parts of museums or archives. The Contributions to the Bilbao Congress of the International Institute for Conservation (published in 2004) contains a number of reports of this type and special museum problems of climate. Some original objects are present both in costume where we see original clothing without protection from handling in the Kolb House. My light level readings indicated that the level of light used at that time was appropriate in most rooms and in the museum. Use of a temperature and humidity device to read the internal environment of the buildings and rooms is necessary. Rotating other costumes to the same or similar location would also be advisable even if light levels are reduced, and you do this on a regular basis. You can use such devices for surveillance of temperature and humidity variations in the buildings in general and they can be jointly monitored by one computer system integrated into a security computer. The building has some level of reception so some degree of security is apparent to any visitor. I noted that entry is monitored by the reception person. It would be helpful, and is considered good museum practice, to record light levels on a routine basis along with temperature and humidity from the galleries. You are using a Micro Lab data recorder, and looking over the April 2011 user guide it seems it might be able to be integrated into your security and HVAC systems and allow for automated monitoring which can give you immediate warnings for dramatic changes, such as accidental discharge of the fire sprinklers or a flood. You might want to speak directly with their technical staff. Floor sensors can be placed in strategic locations and give warning of flooding, breaks in pipes, overflow of sinks, etc. There should be an emergency generator on site. Given the Katrina disaster in the New Orleans area, the AIC is concerned about the functioning of existing emergency preparedness plans for museums and archives. The AIC has information describing such plans and equipment and is distributed through Heritage Preservation. Reviewing your emergency plans now is in order. Storage Facility The current status of storage reflects years of collecting and preserving local history. In recent years this situation has undergone considerable change with an emphasis on rehousing and a concern for storage conditions. You should be proud of what has been accomplished. Your staff has done an 41 excellent job of rehousing and inventorying objects; though much is to be done you have accomplished a significant amount. History demonstrates that cities have always built local collections with an eye to establish their cultural institutions among the great cities of the world. Not only is the local story impossible to tell if it is not preserved, but the collecting talents of local connoisseurs can be lost if it is not recorded. The collections of America's great museums from the Metropolitan in New York, to those of Cleveland, Atlanta and San Francisco,just to name a few are largely the creations of the purchases of local philanthropists. What people decide to collect and why is a part of the local story. However, caring for what people donate is a singular responsibility and one that is central to any museum. Nevertheless, it is a great benefit to have a permanent storage space that is not crowded. Most museums are afflicted with jammed collection areas, with ill-defined accessions, poorly stored and only partially accounted for objects, as noted in the survey history outline in the Appendix. Space to expand storage is a necessity. A first comment on permanent storage is in order. Placing objects on display in offices, is a temptation best resisted or at least controlled so that costs and security are kept in line. Local museums are often called upon to loan art and artifacts to public buildings, which is an acceptable use, if the objects are on view and proper installation is designed and there is adequate security. But loans to public buildings for office exhibition are not rewarded with either substantial care or consideration. Many objects are often lost or damaged. In my experience with the Fine Arts Museums of San Francisco, public entities find it difficult to locate such loaned materials in private offices later on. The same experience occurred with San Francisco's Art Commission loans to public offices, as well as San Jose and other museums public and private. I just completed a study for a major American private corporation where the corporation's art was displayed in offices prior to my visit and is now being removed to storage. Two major problems accrue to this practice, one is the loss of objects and the second is damage. All major museums are eliminating this practice or have already done so. However, there are some benefits to the institution from this process if it is organized. Often satellite shows can be installed in public or private buildings for a fee using objects that have no or very little value. Handsome exhibits can be constructed around a number of interesting fragments of tools, clothing or minerals. Also, rentals of artist works, especially local, living artists, has proven to be both beneficial to promoting local art and producing income for artists and museums. The central question is how to design such installations and loans to protect the art. The Portland Art Museum was one of the early experimenters in this field, establishing their rental art program in 1959. Therefore,the use of collections in public spaces not designed for display is tempting and does have some justification. Of course, if you had a bar code or a radio frequency identification system (RFID) collections control system the problem would be somewhat diminished, though one might expect loss even in this situation as well as damage. Bar codes require exit control monitoring which is too expensive in most locations, however, radio control labels (or RFIDs) are becoming increasingly versatile for use with museum collections. Presently they are used to track sales of merchandise but a number of institutions are experimenting with RFIDs that could be attached to museum objects like paintings to act as homing devices in case of theft using GPS technology. 42 I MI w �t '"x ado s < r b I fl! x M� & Figure 27 The organization of your storage is well thought out; the storage room locations are matched with the information in your inventory(Figure 27). We were able to locate more than three-quarters of the objects we searched for from the catalogue. Storage bays are numbered and shelves labeled effectively (Figure 27). The storage is a bit crowded as noted above in regards to the textiles in the Kolb House, but expansion of the storage space in the collection building once the table etc. are gone will easily accommodate reordering and more space. This is not unusual in the museum world, but a crowded storage makes it difficult to find things, becomes dependant on time and a waste of effort as locations become more expedient, limiting access and compounding movement related to other projects. The storage space is divided into bays of different kinds of metal shelving. The area is effectively laid out but simply overwhelmed with non-collections materials (Figure 28). Your staff shows they are well trained and up on best practices in how they use the small space they have, they are careful and prudent and they monitor the storage for Rh and temperature changes and pests. They are well versed to the dangers of incoming loans and gifts and I discussed the need to have designated a quarantine area for the observation of such objects for insects, etc. 43 i 1 F h it,, a✓ ,;��,@ Z ;>.'6 3 3 6 .f-_ .. 1� y ��z e �u € .�,s` Ii�IWWWif Figure 28 You benefit from staff using "Best Practices" methods like replacing acidic tissue and when possible acidic boxes. Your framed work however needs more vertical space with padding applied to storage bins floors where the bottom of frames rest and are slid in and out to reduce damage to frames, and foam core sheets or other spacers to protect the faces of the frames. What you have stored does have padding but more space is needed to reduce density, and some framed works are stored with unframed objects (Figure 29). You need to expand this framed storage space by at least 50%to provide adequate space.The large drawers for flat storage are a great plus. Storage needs several tables especially long ones, as they provide a large flat space on top for the examination of works and perhaps also unframing and other kinds of examination work needed in storage. 44 r k y �.r+�. - � � III ��,': �t. 1��11�� �,.•:. i I r, b � - - aY ,rcr x ti y, 6 f 5 � Figure 29 Some people plan for rolling storage for frames (Figure 30) or other forms of"compact storage" like those from Space Saver;these should be carefully considered as they have some limitations. Rolling "cage" storage can be adapted to other objects (like rolled rugs) and is another excellent element as long as training cautions staff to potential problems of damage when objects are hung on both sides of the "cage." In an earthquake works of art can bang against each other or be knocked off the cage wire if they are not secured. Cages have been known to move during an earthquake and floors can buckle making movement impossible. Other forms of compact storage require cabinets that roll on tracks and pack against each other to reduce the "lost" space between bays of storage. These kinds of storage can be difficult to move if on a hand crank only, but the ones that are motorized can break down leaving only the manual crank as a means to move the cabinets. Many models to have manual cranks and one must be careful to investigate the most durable systems as some of the tracks fail. Several rolling carts should be available in storage for transport from room to room of delicate or fragile objects. They are also available from some manufacturers where you may load a cart and move it to the stairs or elevator and then the top of the cart is removable like a tray and be used to transport objects to loading areas or vehicles. Sometimes these are used to transport objects from building to building in some museums to reduce potential damage in rehandling. Since your storage is 45 on the same level,though a different building as the galleries such rolling carts would be quite useful. Rolling carts could also be useful on the hard pack walkways unless a "casino" electric cart were available. Such rolling carts can assist in the movement of heavy objects from place to place and to minimize the need to carry bulky or heavy objects. Obtaining such carts of a heavy duty nature is becoming difficult and expensive today. Too many are sold as museum carts but are light and easily tipped over. P�- a Figure 30 Frames should be stored properly face to face and back to back, and, as mentioned above, have pieces of cardboard or other separating hard card between them this should be standard practice for all frames to protect the surfaces of unglazed paintings as well as the finishes of frames and to minimize scratches to plexi-glass. The same may be said for the flat storage drawers, you are replacing acidic containers with permalife or lignin-free folders (Figure 31) (available from Conservation Resources at 1-800-634-6932) or other archival quality folders (You should obtain a copy of Gaylord's Pathfinder#2 booklet on storage materials) for the paper art stored in each drawer and when more than one object is stored in a folder there should be an interleaving sheet of glassine or acid-free paper separating them. These measures reduce damage to prints, drawings and poster materials, minimizing folds, creasing or tears caused by shuffling when people search through them. You are already using these materials. 46 de, '3 �£ y.. �i %5 � r Figure 31 Some posters and drawings are not in acid-free folders and while most photographs have been placed in sleeves others are in too dense folders and others without sleeves or folders (Figure 31). Though this is not a problem now, more flat files will be needed in the future. I will discuss specific object types under the headings below. In general, the storage furniture is of metal or wooden type, characteristic of older facilities. It seems adequate and well maintained, though seriously crowded in some cases. Air exchange can bring in pollutants though a building can give off significant gases that can damage art and artifacts. You can get an idea of the activity of your cases and building by placing a freshly cleaned piece of silver into the case and note any change in its surface. If it tarnishes quickly, a week to two weeks, you need to think about what kinds of materials can be put into it, if you place a sea shell into a case and it begins to develop surface changes, and then you should limit organics. While moisture could be a problem for any of the organic materials on display, objects may suffer due to their availability for touching. Since the gallery is being carefully monitored by staff, any changes can be noticed immediately. 47 There is very little temporary storage for exhibition furniture, materials like traveling crates and related wood, lighting supplies, etc in most museums. An Exhibit Tech's workshop is necessary for any museum, even if outside contractors are planned for most exhibitions. There will always be a need for some in-house adjustments. The Exhibit Tech's shop should be designed for a multipurpose center. Usually space is dedicated within a museum for such uses, especially for sawing, fabrication of cases, plexi-glass forming, mount-making and painting. It should have ventilation or at least a PACE Extractor for minimizing fumes and particulate from the work area. Such a device would also limit the spread of such fumes and particulate to the museum. At present it appears that the rooms in the Kolb House and the galleries of the main building are used as exhibition preparation areas for staff for some preparation. e wt IF v s a Figure 32 48 PACE makes an excellent and inexpensive unit (about$1,500). Comparison with Exhibit Tech's spaces in other museums would be valuable for any adaptation of the present spaces. Some space should be dedicated for an isolation room in this building too, where objects brought in by donors, or have been sent by mail, or other kinds of shipments could be held until their safety is established. This especially applies to objects that might be potential gifts or donations; this allows you to place them in plastic bags or storage boxes while you inspect them for insects or other problems. One way to increase support for museum operations and to encourage the public to "adopt" staff (that is, endow positions) is to provide museum services to the public. A conservator day could be established, a day to meet the curator and see a display of their skills, etc. Another opportunity we see in many museums, for example, the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, offers one day a month where a curator provides authentication for the public. People bring in their artwork and the curators (rotate by month by specialty, i.e., drawings one month, paintings the next) provide information as to the artistic nature of the works. This is not "Antiques Road Show" as no valuations are given, but artists are identified, information provided, and the condition of the work is assessed. Usually a conservator is on hand to provide condition assessments and to take in work for treatment. Often this is a private conservator who volunteers their time. An arrangement with a local conservator could provide a cooperative relationship resulting in reduced costs for Museum conservation services in exchange. This authentication service often also results in gifts to the museum or new members or volunteers. With responsibility for maintaining a collection and the variety of events you sponsor, I am amazed at the competent and professional job you do with so little staff. I cannot imagine that there are any areas not fully used. No two rooms seem to duplicate function and lead to underutilization. Rentals of various spaces in the buildings can be used to provide additional financing, as are the open spaces for events these usually provide significant income. They also can place considerable stress and demands on staff time. Such rentals do increase the visibility of an institution in a community, though one must prevent the role of the institution from being blurred with other simply entertainment organizations. As a museum site you have authenticity which scientific and preservation values provide. These are salable concepts and they bring most institutions a very different kind of loyal audience from other competitors for entertainment dollars. These activities do have security problems and can bring unique kinds of damage to collections, as when we found after the Irish show at the Fine Arts Museums of S.F., that a cigarette had been put out in a Rembrandt painting. Staff monitoring such events is always necessary and a prudent security provision of any rental agreement. The buildings and present operations give one the feeling of a well-run and organized institution, effectively focused on its primary function to exhibit local historical information and conditions, art, history and culture, as stated is your mission statement. In this role, the Museum,Town and its Board and volunteers clearly have carried out the primary goals of the institution. Significant Points 49 * From the Museum's history it is clear that there has been a substantial commitment by members of the community to maintain the Museum and to enhance its role in the community. The long history of the various museum elements that joined together to form the present organization is impressive. Professional associations are important, especially those within the community but with other museum and archives and scientific organizations. All are essential for developing both local and national standing. Such national and local recognition leads to national respectability. The ability to tell your story as an institution is a central component in the process. Achievements must be described in different contexts, but they help build the base that all institutions require today to succeed. Being an institution firmly rooted in the community is a necessary part of this base. A well- managed facility, with a professionally recognized staff and a staff spirit and commitment as well as the improved relations with other agencies and institutions in the area fill out this foundation. Your activities demonstrate this commitment. *There is always a need to create a forum for dialogue and action between the business community, the City, libraries, schools, historical societies and museums. You have been successful in these efforts and future opportunities will accrue from these initiatives. In general, there are differences of focus and emphasis, which should be worked into common agendas and responsibilities. * The Museum should develop a 5, 10 and 15 year plan focused on collections care, collecting needs (how the collection should grow and plan for space and preservation needs), and staff growth and development. * The Museum should enhance its relationships with professional conservators and have a collections survey done to establish a conservation plan that would prioritize conservation efforts. I have gone over some of the collections with staff and will discuss the results of my sampling of collections under specific types of objects later on in this report. However, a fuller more comprehensive survey should be done as the basis for specific grant applications for objects. Records of past conservation efforts will be valuable in applying for conservation grants as well as exhibition grants that request conservation funding. Many institutions now include conservation in their applications for exhibition funding as a means of making collections more accessible for the future. Conservation activities should always be documented, as they are evidence that your institution is actively involved in conservation work and in prudent action in the case of damage or change in art works. * Organizational diagrams are sometimes useful in understanding the culture of an institution. They seldom accurately reflect how an organization operates, but in general can provide clarity to how authority and responsibility function and are shared among personnel. It should be kept in mind that many organizations today are becoming more "horizontally" managed, though this can lead to reduced responsibility in immediate governance. The fact that some institutions depend heavily on contractors is fashionable, even in industry, but the best run companies, like GE and Proctor & Gamble avoid such reliance, staff loyalty is more valuable and cost effective in the long run. Contractors do not provide continuity and dependability in many cases. 50 * Special interests of the volunteers, organization of interest in specific functions of the Museum complex, as in permanent collections, office management, gallery interaction with the public, seem obvious. You are doing a good job motivating volunteers and fitting them with assignments they are interested in. Significant interest also exists surrounding the needs of collecting, collections care of the various individual kinds of collections. Some of the specific focus of these interests appears to emanate from the community. I wondered how often surveys of the local population are done to develop public relations strategy. The relationship of the museum to the town government, as a part of the Park and Recreation Division, seems to reflect a regard by the town and the Council of the importance of the museum to the town. Town staff members I spoke with were highly interested in the organization, knowledgeable of operations and concerned about future stability. The American Association of Museums has a number of publications for educating governing town council members or Board members about their roles and how to develop their participation. These might prove useful for other or new members. * Volunteer committees exist within many museums as organizational devices. At the Museum, volunteers help with specific duties, which address the needs of the organization as a whole. Committees often help focus work and aid in recruitment. Such volunteer committees can act as community organizers for the institution. Here local businesses are encouraged to "adopt" a work of art in need of conservation, or to provide funding for the maintenance of a permanent exhibition or to research and mount new exhibitions. The before and after images are then used to raise funds for further works of art, exhibitions or conservation, or other programs, and the results are also used to market the program or they can be used to spearhead more substantial fund drives like an endowment and a Capital Campaign committee. Your talks are a good source of new members and funding, I understand some of these are video taped and could be placed on your website for downloads or on social media like Youtube. Your webpage is already a useful resource for the community. However, while the committee structure often works in some museums, it can result in more time spent in meetings and less productive use of volunteer time. It is not my intention to change the culture of the Museum, which appears to be working quite well. Committees are not necessary, but can in some situations be a constructive focus or organizing efforts. What is important is that they are focused to the needs of the institution and its mission. Attending meetings is often equated with participation. Meetings should function partly to instill a sense of community and esprit de corps. Funding is the essential factor. Volunteers can have a dramatic affect on operations and collections care but such benefits depend on time a professional staff can dedicate to supervision and to instruction. Some video tapes can be used for some operations, like those available from the Smithsonian, but direct instruction is necessary when it comes to collections. This is why funding stability is so important for collections care. The Town and Board must address the long-term and short-term costs of collections care. A good starting point would be to establish several funds: a building fund, a collections care fund and a collections/exhibits endowment. You have established budget lines for collections care which is more than many organizations your size have done. Institutions like the California Academy of Sciences have been quite successful having local businesses endow certain exhibits. 51 Short-term recommendations 1. Storage More space for housing of the collection is necessary. 2.The facilities for preparation/exhibits are inadequate and should be expanded -as for examination and unframing of works, packing and assembling and there is need for a floor lamp that is on wheels and can be moved from one area to another given the current layout of the permanent lights. 4.Cleaning in general should be approached in an area by area process specific to each kind of exhibit or object and the environmental conditions and limitations of staff and materials. Cleaning of exhibits appears to be well done, and in general the Museum presents a very professional, clean and orderly condition. It is recognized practice that the first task is to provide an adequate display protection while allowing for the setting to be recognized by the public and act as a learning device. 5. Some materials on display(as mentioned above) are vulnerable to touching, handling and perhaps vandalism or theft. The use of vitrines or- plexi-glass covers, ropes or other devices to keep the public from objects also limit viewing. A balance must be reached, and since you are obviously involved in the use of such devices in other shows as your storage and my discussions with staff demonstrate this indicates a sophisticated understanding of the complexities of the conservation problems. Some objects have been on display too long and should be rotated out. Whole displays need not be dismantled, but specific sensitive objects, especially those with feathers, basketry, textiles and dyes or colorants should be only exhibited for short periods, on a specific case by case basis, but generally less than a year and best if 6 months at a time. This is obviously a costly process and requires periodic funds to achieve. 6. Cleaning and dust removal in general and dirt removal from floors and on other surfaces should be carried out with as little interaction with the objects as possible. Vacuuming can simply re- circulate particles depending on the equipment used and the filters employed. Pest strips have been examined regularly and installed in dark areas of the exhibition and storage areas to attract any insects that are unnoticed in the day. Cleaning agents for floors and walls can produce chemical changes in artifacts and paint and paper art. Knowledge of the reagents used, can prevent problems in the future. All cleaning should be done after a short workshop with a conservator. Here the presence of janitorial staff or staff which supervises such staff is important and preventative. Instruction should focus on cleaning and moving of the objects, including selected volunteers. Handling should always be kept to a minimum. Cleaning by any contract workers should be monitored closely and cleaning equipment should be dedicated to the facility. This is very prudent and in line with "best practices" in museum management. When contractors or janitorial personnel use the same equipment to clean several facilities they can contaminate yours with the dirt collected from another, especially by the 52 use of vacuum cleaners. Particulate from rugs is likely to be re-circulated by the HVAC system to all parts of the Museum along with residual cleaning materials used in shampooing rugs and cleaning other surfaces. I was unable to examine particulate from the HVAC filter. Microscopic examination and chemical testing can determine what kinds of pollutants are in the air. 7. Protective measures should be applied to the Kolb House in the area of rugs that are original, and some furnishings. A great deal of thought has already gone into the preservation of the Kolb House and the staff should be complemented for their efforts and expertise. 8. A description of the condition of each object in the collection is a necessity useful for monitoring long term changes but also for loan documentation. Random checks of your records it was found that this was a process you have been following. Testing of the inventory should continue as a routine. This is especially important in regards to objects like the contents of the permanent collection and the Kolb House. This should be combined with other efforts as when exhibits are organized, but some objects, especially textiles and metals, need routine examination to do this properly. I have included in the Appendix copies of directions for conditioning objects. Routine staff walks in the galleries can monitor materials on exhibit and should also be able to record changes as often when damage occurs it is due to changes taking place over a long time with little immediate gross change.The main purpose is to have a base line on each object to be able to track changes over time. If it is reported in a condition report (on an artifact card, accession card, etc.) that an object had no cracks on such and such a date and later it is found to be cracked, this damage can be determined to be associated with some event, for example, an exhibit or loan. The same can be said for damage resulting from failure of adhesives. As glues age they fail and failure can be charted. Some glues are less susceptible to this situation, mainly these are emulsions of PVA sold as "white" glues under a variety of trade names. Look for"archival" in the sales literature. 9. The heating and air conditioning unit needs to be monitored more carefully. Regular readings are made to determine the effectiveness of the system in maintaining temperature and humidity within acceptable levels to avoid damage to the collection. These were not available for the kinds of variations one sees over a year's time. Recent readings you have undertaken showed a fair degree of stability (see above). Collections isolation will limit problems. I provide a link to recent new findings by the Smithsonian Institution's MCI laboratory for an explanation of levels of temperature and humidity allowable for museums (http://www.si.edu/mci/english/research/consulting/MuseumEnvironment.html). I mentioned use of the Arten temperature and humidity reader in cases, which is a portable device for reading conditions (temperature and humidity) but the digital devices you have are more than adequate. I suggest that the galleries and storage be monitored once a month for a year using the recording device you have to give a basic picture of how the HVAC system is working and how temperature and humidity change day to night. You are using a digital device system which is just as good. I will leave the overall assessment of this to Mr. Klemm. It would be helpful to know what the variation is in each part of the buildings for one week as well just to get an idea of the variation in the structures in order to identify potential microenvironments. Or less monitoring could be done in just several areas to establish a norm for the year. I found that the design of the HVAC system may allow 53 for the creation of microclimates of some difference. We would want to know also if there is any carry over within the system some HVAC systems move into periodic service reductions or what is sometimes called "weekend skip" due to capacity loads or programmed energy limitations. Knowing the behavior of your system is important to acquiring both loans as well as donations. Such limitations in operation may provide a savings in energy, but it is short sighted, given the potential for damage. Finding out the best range of performance of the system and how it can maintain that performance is the best strategy, as a wider variation zone is preferable to periods of down-time Data should be collected as in the chart below. This data was collected during my visit at another facility. Date Time Humidity Temperature Location Daily Change 6/30 4:15pm 28% 84 F Permanent 7/1 10:30am 34% 71 storage Rh= 6% T= 13 degrees 7/2 2:45pm 30% 70 Temporary storage Rh= 4% T= 1 degree 7/3 n/a 28% 70F Gallery 3 7/5 n/a 30% 70F Gallery 2 Rh=22% 7/14 n/a 50% 73F Gallery 1 T= 3 degrees 8/2 am 42% 78F Offices Rh=O 8/2 pm 42% 79F Offices T= 1 degree These results will indicate when the greatest amount of humidity change takes place in the general area of the Museum and Kolb House, and usually less so in the storage areas. International exhibits agreements establish 50 to 55 % Rh as the basis levels. What is important is that you be able to maintain a stable range without dramatic swings. Certainly in our area humidity will be a seasonal problem, but some objects, like wood and paintings on canvas could experience severe damage even at low Rh (below 40%). Isolated galleries with humidification can solve the problem, or cases designed to hold specific Rh. Usually a temperature range of 68 to 78 or 64 to 74 is considered optimal. The most important point is to avoid swings in either temperature or Rh, say 10% Rh or 15 degrees in temperature. Reference to Garry Thomson's, The Museum Environment is useful for examples and details. In general, one wants to limit variation in the environment of the Museum buildings and compress any swings in temperature and humidity to narrow ranges. Stability is what is most important, less so than absolute numbers. While most museum scientists argue that 70 degrees Fahrenheit and 55% Rh are best, recent work has shown that keeping conditions within acceptable limits, but avoiding wide swings on a daily, weekly, monthly or seasonal basis is a more realistic goal to achieve. 54 University Products carries a variety of data logger systems. A Technical Bulletin number 4 of the SPNHC (Society for the Preservation of Natural History Collections) was written by Rachael Aronstein in 2002. It is out of date already but has some useful information about a number of the systems available today. Many people like the Hanwell product, others the Image Permanence Institute monitor system. 10.The Museum should arrange for additional interns from both museum studies programs and conservation training programs. The staff has had a number of successful experiences with interns from programs and proven to possess the ability to supervise them and place them on projects, which they can adequately fulfill, which is a necessary requirement for placement. Many university programs will not place students into organizations without the presence of trained and experienced staff, so you are well placed in this regard. These students can also be very effective in assisting the implementation of re-housing and cleaning projects, condition reporting and collections management tasks as well as exhibition planning, organization and installation. 11. Fire security and response is the responsibility of the Fire Department, but it is prudent to align your emergency preparedness plan specific to the Museum and related areas especially today and to review these on a yearly basis as fire departments and local emergency budgets are undergoing substantial changes. You are working on an emergency preparedness plan. Many of the policy areas you lack plans for are available in general form from AAM. You should also execute a few fire and disaster drills. Releasing fire extinguishers is always an educational experience for staff. This should be discussed with the Fire Chief. Chemical fire extinguishers are not recommended but are effective for some small fires. CO2 extinguishers are seldom used today but are effective and do not damage art. I will leave the analysis of fire suppression systems to Mr. Klemm as well as the use smoke detectors. A detailed workshop on disaster procedures would also be of help, especially focusing on how to minimize damage to the collections in various scenarios. I have included readings on disaster planning and disaster equipment vendors in the Appendix. 12. External light from the windows is a minor problem for fading of some pigments and embrittlement of some organics. I have made comments on lighting above. I do not recommend UV films or coatings. If you use them one must test for performance of the coating. This can be done by renting a UV monitor and taking readings during the day. The nature of UV blocking or absorbing coatings or films is that they are not 100%effective and they tend to age and lose effectiveness. As little art is displayed in the immediate entrance area this is minimized. It is obvious that the Museum is aware of this problem and will take steps in the future to retard its effects. The installation of gallery lighting seemed adequate, though light levels were varied in some areas. Reduced levels for works on paper and textiles are in order. 13.A water sensor can be wired to the security system to alarm for either flooding or water leaking from the roof, sprinklers, or plumbing. 55 Long-term Recommendations 1. The Museum must establish goals to achieve to improve the policy conditions in a 10 to 15 year plan. The 5-year growth target is only one strategy, each institution should plan for increased collections. Your collections policy is an excellent one and can be the basis for any . substantial changes you desire. 2. The development of a long-term funding drive for library collections (photographs, family letters, maps, etc.), which should enhance an endowment and include other areas like your recent efforts in copying originals. Perhaps an equipment fund, and a collections care fund, would be best in the near future. The library/archive portion of your collection is a valuable arm of your institution. The use of its resources for real estate purposes, genealogy and local history has significant potential. You should build on this. We are losing too many family histories, photos, pioneer letters, etc. 3. A public relations plan to engage a wider and more focused segment of the public (as outlined above) in the achievement of these goals is worth investigating. A survey of the public and their recognition of the museum's existence, services and the public's ideas on new services would be a valuable aid in fund raising. 5.Along with the long-term fund drive, a series of grants should be developed to provide funds for collection re-housing, a conservation survey of all objects in the collection and treatment of those objects in greatest need of stabilization. I would advise the preparation of a grant to the Institute for Museum and Library Services. This grant should include funds for new furniture. Flat draws, shelving, etc... And you can build on your excellent past history and current practice. A second grant for a conservation survey of the collection should be developed and sent to the Getty Center and the National Endowment for the Humanities. This survey would result in an assessment of every object in the collection, producing a prioritized list with the collection broken into type of material (e.g., wood, metal, glass, etc.) and by need for treatment. This list can then be referred to when objects are requested for loans (indicating whether it is safe for them to travel) and for developing grant applications to other agencies for conservation treatments (e.g. to the National Endowment for the Arts). 6.The Museum needs to integrate the Camp Parks materials. GENERAL INFORMATION The above Executive Summary and Recommendations contain the main recommendations resulting from this assessment. The body of the report, however, contains substantial information that should be read by staff members, City Council or other governing City staff and Board members for a full 56 understanding of the basis for long-term conservation planning and the impact of such planning and changes on current practice at the Museum. I do present some further recommendations, which should be acted on at some time in the planning process. The unique relationship of the Executive Director, City, Board, staff and volunteers and members is a positive achievement. The Museum's role as a central focus to gather together and to inspire the preservation and celebration of the area's ecology, industry and history should be pursued. Current support sustains the institution. Public support for museums has fallen in recent years (at the De Young by more than 70%since 1978). While it is well known that museums can play an important part in tourism, they also can function effectively as a means of communication and revitalization within communities. The City management staff might benefit in this regard from a workshop organized toward identifying such potential outcomes of a strategic historic preservation plan and partnership with the Museum seeing the Museum as a key institution necessary to overall area cohesion and identity. The topics listed in the Executive Summary relate to several projects already part of current planning of the Museum, for example, the question of collections storage and re-housing. A concern often voiced is public input. This is a topic which could be addressed by applying for a MAP II grant. This would allow your Museum to hire a professional who has dealt with this issue and apply current methods to resolve what kinds of uses would be most of interest to increase public support. If any objects are not clearly owned by the City this should be resolved. It would be prudent to consult with a lawyer and have letters drawn up and sent to donors who still retain ownership stating clearly that the Museum is not responsible for loss or damage due to fire, earthquake, flood, or theft. You should consult also with your insurance carrier to determine if the Town has any liability in this situation. It is most impressive how volunteers work together on operations and how successful the Museum has been in developing a considerable volunteer and membership base. This base has been utilized to fund and staff the operations for many years and could be approached in the future for specific funding projects as is currently done by organizations like the Save Our Sculpture (SOS) group in other cities. Collections Management Goals/Role and Use of Collections The Museum needs a professional collection preservation and procedures plan. The present staff should be encouraged to attend meetings of the American Association of Museums, the Western Association of Museums or the mayor assemblies of the International Institute for Conservation or its sections and take part in workshops and career development opportunities to enhance the Museum's organizational strengths. Private funds could be sought to support such activities. The staff is correct to note the responsibility the institution has to maintain the collections and copies of a talk by Alan D. Kullberg (then associate general counsel for the Smithsonian Institution) and Robert C. Lind,jr. (Professor of Law at Southwestern University School of Law) are available from AAM that addresses the liability issues. A collections policy puts forth procedures for the acquisition, care, exhibition, storage and deaccessioning of objects. The deaccessions process, however, is a considerable problem for any 57 museum as was the topic of a recent conference at the Getty Museum in 1998. The proceedings of this conference are available in book form and contain summaries of discussions at other international conferences on the same subject. The book is edited by Miguel Angel Corzo and titled, Mortality Immortality?The Legacy of 20th Century Art and is available from the Getty Museum. Other similar documents are available from the AAM (http://www.aam-us.org/). Staffing The present paid staff consists of the management element and the leadership staff which also supervises or executes most of the museum's curatorial work. But the Museum staff in general is volunteer, with some volunteers engaged in collections and exhibits activities under direction of the professional staff. Considering the size of the Museum's role, the professional staff is quite small. The Museum appears to have only 1.0 full time staff positions. Added to this is very dedicated volunteer museum staff. The programs are significant and one of the programs staff should be full time and a collections specialist should be full time, as registrar duties are thinly spread. These staff positions are obviously well executed as the institution displays the appearance of the kinds of organization one expects. Each individual presented a most professional case for their aspect of the Museum's operations. Staff training should be on-going with workshops provided by local registrars and conservators in a variety of skills, including: object handling,working with integrated pest control methods, cleaning and monitoring of a variety of objects, storing objects. You can contact the AIC for up-coming training opportunities. Some of these are one-day events; others take place over a weekend or during a conference or on the internet (see the online dislist Conservation Online). Some are free but otherwise they can be expensive, but should be considered for the long-term benefit they can bring. Planning and Collections Care Needs Exhibits will be discussed briefly and their individual collections. A few topics to note first. 1. Membership goals affect collections care in both the availability of volunteers and docents and in direct funding for operations and specific project funding. Often museums find that surveying their membership and the public at large about the museum and its role and functions can act as a means of increasing membership and improving the image of the museum volunteers and docents in the eyes of the community. Bigley, Lane, Fesen, Maier and Stewart describe how such a survey resulted in increased membership at the Witte Museum in San Antonio (1991). 2.You need to expand and update the curatorial/conservation staff 58 library, which is essential for a functioning museum. A review of subscriptions to professional journals are in order. Internet resources are not sufficient for a professional staff. Exhibits The history of past exhibits reflects a unique collection of concepts and types of approaches to local culture and industry. The current exhibits appear well planned and installed but the use of some special exhibits from private collections that are showcased in the press might lead to more donations and community involvement in collections use and growth. I noted only a few problems with any of the exhibits and installation materials. There are no original documents or original photographic images in the gallery. There are some original objects in the museum exhibits and in the Kolb House and other historical materials are unprotected from touch or vandalism. In both buildings you have only one mannequin. This slightly detracts from your exhibit's appearance and could be improved by full or half figures. Two half mannequins without heads are in the Camp Parks storage and could be used. Mannequins can be expensive, but the American Association for State and Local History has a Technical Leaflet (#64) that provides detailed directions for a motivated volunteer or committee of volunteers to produce a professional appearing mannequin. Specific Collections There is also a need for the involvement of a conservator, either part-time or on contract for the photographs and documents (Figure 29). Since there is no archivist or librarian on staff I assume some archival services can be arranged with the librarians at the local library, though the Ms. Lange seems to have skills that provide her with the ability to act as an archivist in some situations. A Paper or Photographic Conservator is needed to consult with the staff. But in general, the staff should be allowed to widen their skills or have staff members attend training to provide the Museum with more archival/librarian expertise given the demands on the collection and its needs. It is evident that Mr. Minniear has acquired considerable preservation expertise. This should be encouraged in other volunteers. A conservation program should be developed for the collections. This begins with a survey of the collections dividing the materials into parts: photographs, documents, textiles, etc. Your catalog database project could be the framework for such a listing. You already have begun to note condition as Mr. Minniear showed me. Then each section should be given the total number of objects in each group. Then each group should be assessed as to what the loan and research demand is on the objects,that is, how many requests per year for objects from group A, B, etc.? Finally, with the help of a conservator the collections are assessed for present conservation needs, how many re-housings are needed, how many specific items require treatment to stabilize them. This will provide you with several types of information: 1. groups of items in the collectionN 0 2. number of items in each group 59 3. a quantification of what the use of the collection is which translates to how much handling is concentrated in which groups. 4.the specific condition of the groups Then, with the help of an appraiser you would assign values to the objects in these groups indicating which are of most monetary and historic value to the Museum and of exhibition interest. You then have all the information you need for a conservation plan. You can use this information to prioritize the objects and groups of the collection for yearly treatment and preservation activities. One would focus, for example, on the most used objects or most fragile like the paper art, and allocate a certain amount of money per year to re-house them in Mylar enclosures and acid-free files. You have begun to use these materials now. Money to support such surveys is available from the Getty Grant Program and the NEA and IMLS. All of this could be done as part of a re-housing project to save time and money. An inventory should be done on a routine basis to give confidence to the records. Tests of the card catalogue with demonstrated that most objects were in their proper locations. However, this should be done in a systematic manner to guarantee that all objects are on site and in expected locations. A general book that has had considerable use in the past and seems more accessible that any more recent book to many volunteers as a source of information on the condition of objects in collections and general museum procedures is Frieda Kay Fall's, Art Objects:Their Care and Preservation, a Handbook for Museums and Collections, Published by Laurence McGilvery, La Jolla, California, 1973. This book is out of print now, but can be obtained by rare book sites online. The A. Bruce MacLeisch book,The Care of Antiques and Historical Collections, 2nd edition of Per E. Guldbeck's text is available and as useful for volunteers. Photographs and Documents The photographic collection at present seems to be of a documentary nature. These have largely been placed in Mylar enclosures, which reduce handling,finger-prints, etc., and with acid-free files and photograph boxes. You have undertaken much of this work of re-housing photographic materials already(Figure 33). It should continue. Backings and envelopes of photographic materials often have pressure-sensitive tapes on them, or the residue of tape. Such tapes and other 60 i x 3 JMI! __ xu h Figure 33 attachments are found on the photographs as well. These tapes and adhesives should be removed as they will cause browning and embrittlement to the photos. Other photographic and documentary materials may need re-housing due to the acidic materials they are presently in contact with. Photographs are often mounted on acidic board and documents often are on acidic papers. These acidic materials will cause image degradation and embrittlement of the supports. Photos on such mounts should be placed in separate Mylar envelopes. Large paper art objects in drawers can be creased or otherwise damaged and I would suggest the investment in a large flat file. Again you are doing this and most of your archival boxes and storage drawers demonstrated considerable rehousing activity (Figure 34). 61 . s f 3 �f L„ S n Figure 34 Daguerreotypes and other early photographic images are fragile and sensitive to environmental conditions and handling. As you collect these you will want to isolate these and professionally house them. A search through all your files should be made to separate historic documents that relate to the origins of the Museum. Xerox copies of originals should be made to retain completeness of the files and the originals set in document storage boxes, perhaps in locked cases in temporary storage. Examination of the entire collection of documents should be undertaken for condition. There is a specific need to care for the maps, and other flat large size objects like posters. Some are sitting on top of boxes (Figure 35). Some have interleaving 62 ma �¥ 4 V r s t x q _ Figure 35 In general you should avoid stacking boxes or art on the floor. The collections room in the Kolb House needs more tables and storage furniture to avoid this situation (Figure 36). Newspaper clippings make up a segment of many of the country's museum files, especially where they document museum shows and other activities. Various donor files we examined in storage have a variety of paper materials. These can be a source of acidic migration and should be stored in Hollinger boxes from Conservation Resources. Their degradation can result in acid migration to the rest of the collection, in fact,through the air conditioning system. They 63 y i 7n i s \ z aj� � rrSz 3 A5 4 Y$ a „A 2 \ .ate J 3 � � Al MW RE Figure 36 should not be stored with other documents or art. information on this is summarized in my article in Archives et Bibliotheques de Belgique (1993, republished in the International Journal of Museum Management and Curatorship, 1994). 1 am providing a copy of this article for the staff which I will mail with this report. Storage of materials on top of each other should be avoided. A good general work for caring for paper art is Ann Clapp's, Curatorial Care of Works of Art on Paper, 1987. It is a concise work of basic methods. Textiles You have a good size collection of textile objects, examples range from ethnographic to fashion and historic. Textiles require special storage and handling. Your textile collection has received a good deal of proper professional care. But there are some with too many objects in one box not only making the boxes heavy but creating conditions for crushing.Some alleviation of these conditions is in order by reducing the density of boxes (Figure 37). But more shelving will help. You will most likely acquire more textile art or costumes in the future. I understand that this is mainly a problem regarding the Camp Parks collection and hopefully will be resolved once that collection is integrated. 64 ,1 b% 1 j/ z. OW �.. Figure 37 Some types of textiles have been found to be preserved best if they are stored in certain ways, especially clothing, fabrics such as coverlets and rugs, hang others on padded hangers and place others in acid-free boxes. You have instituted these procedures and need more funding to continue it. Your storage is too dense for handling some boxes. A number of special pamphlets on textile collections are available from the American Association for State and Local History (see their website). An excellent reference for textile care is a manual by Sheila Landi,The Textile Conservator's Manual, 1998 revised edition. The textile boxes you now have are often too short for some of the contents and may be causing creasing and permanent folds that will produce irreversible damage. New boxes should be acquired and more shelving. 65 ( n� L^ /I y� h sv, N I111969U�4VII�III�io: p , t ANK aT � $y �F Figure 38 Metals Metal objects are exhibited (Figure 38) or stored on the shelves and in some other locations and as display sculpture,this includes composite objects. These objects need to be wrapped in ethafoam and separated as they can scratch each other. You are doing this. Some of the less important objects could be placed in acid-free boxes and stored on the overhead shelves or stored in cut out areas in ethafoam blocks which could be set into the cabinets in temporary storage which would create more vertical storage space without resulting in stacking objects on each other or in contact. The collection shows that you have had someone apply these techniques for some time and proper care has been instituted. You need to continue this investment in this resource. Metals require frequent monitoring to detect changes in corrosion. Some objects are entered in the inventory with poor descriptions and little in identification of materials. These should be examined and the media identified. Deterioration can originate in the proximity of different kinds of objects, electrolytic cells can be produced by some metals touching, etc.The Guldbeck book mentioned above has general 66 advice for collections with metals and a publication by the Smithsonian, Conservation Concerns: A Guide for Collectors and Curators, 1992 is very useful as a general resource. Glass and Ceramic The above comments about metals apply to glass and ceramics. They are in the collection as diverse as dishware on display and in tiles around the fireplace of the Kolb House.They should be separated with ethafoam sleeves in storage, the ends of which can be closed by sewing with linen thread. Such storage prevents vibrational damage from street traffic and limits damage from earthquake. Many items of metal, glass and ceramic are stored as part of the permanent collection, larger objects appear in the main storage or on display in the Kolb House.There are some composite glass or ceramic and metal objects in the collection. Many are of quite valuable historic interest and should be on display or online to let the world know of the interesting collection you do have. Paintings and Works of Art on Paper The storage for framed objects should have frame protection on the floor of each slot, which should be lined with rug to reduce abrasion to the frames. Each frame should be separated by cardboard to protect the frames and painting surfaces as mentioned above in the discussion on storage. Paintings stored without frames makes them quite vulnerable. A survey of all the paintings in the Museum should be undertaken and a priority list created. This survey of the paintings should present a report on major problems with a treatment plan. This should include all works on paper, watercolors, painted photographs, etc. Basketry Many of the items are Native American and documented as collected, some vary in condition, most are in storage and properly set on shelves. Some few are mainly historic items of household interest. These objects should be monitored for pests and to determine if any changes are noted in the weaving materials. Mould can grow and produce discoloration and embrittlement can proceed from drying caused by heat and light. Baskets should never be stored inside others; this is a dangerous condition and can result in serious damage. Baskets should never be picked up by the rims and often they are stored with acid-free tissue inside and ethafoam collars. Keeping dust off is important and some museums hang plastic sheeting over the front of shelving to reduce this problem. Other people feel this impedes observation for damage. Wood Wood objects in the collection may appear as composite parts, as in the furniture in the Kolb House and historic collection. Wooden objects should be examined periodically for wood pests and cracking from environmental conditions. There are likely to be microenvironments in the Museum that might cycle enough to cause dimensional changes in wooden and other sensitive organic objects. Wood is 67 most sensitive to moisture loss and in your area cracking and stress on other composite objects might result over time. Monitoring is necessary. It is, nevertheless, important to have wood periodically inspected for changes and infestation Bone, Shell and Skin You have a number of objects of bone, shell or skin, some of two or more including wood and metal as in composite objects.These are quite easily damaged by abrasion, chemical attack and crushing. They need protection. These are sensitive to moisture and to loss of it Stone There are a number of stone objects in the collection; some are sculpture. A couple of these are on display. Any in storage should not be allowed to touch and abrade against each other. All stone needs to be monitored to make sure that chemical reactions are not taking place in them due to moisture, outgassing from furniture or other objects in storage or nearby other stone. Works of Art in Need of Treatment Most of the works of art in your collection are in fair to very good condition. There are a few exceptions. Works on paper especially could use attention, especially in those in storage and not in the House or library, some prints and other art often have no mats, have suffered some folding or creasing, when these are seen they should be either matted in archival materials or poor quality mats removed. Poor quality mats can off gas acidic or transfer substances that can be damaging. In Figure 39 you can see the results where acidic degradation chemicals from the mat and Arsenic from the glass have created a fog on the glass inside the frame. This is not from your collection but is an example of what can happen. 68 5se ,fry y�. Figure 39 Framed works of art on paper without mats should not be left framed right against the glass. This is a damaging situation. Pigments can transfer to plexi-glass, or stick to plexi and glass, microorganisms can grow on the moisture which condenses on the glass, etc. Some objects can transfer other substances, like fats, oils or other substances that may leak at room temperature or under various environmental conditions over time. Figure 40 shows how an object at the Camp Parks storage has transferred an oil to the envelope it is stored in and this now can transfer to other objects. 69 4 xc ......... y Figure 40 Staff Training Staff members should be encouraged to benefit from professional training initiated by the Museum organization. This is be essential in the development of"best practices" procedures according to AAM guidelines and other professional organizations for museum professionals I understand that the Museum conducts training for the volunteers on a variety of tasks at present.These efforts should be expanded to include workshops by conservators in art and artifact handling, care of photographic materials, documents and re-housing and cleaning of objects and basic exhibit cleaning. The Collections Policy and various Staff Manuals produced by staff are a reflection of your commitment to professional standards. You are using Pastperfect in your effort to catalogue the collection, produce yearly inventories and to add photographic documentation. This is a considerable effort by staff and requires access to training opportunities and contact with other professionals doing the same work at conferences and workshops. If time is a factor,training videos on conservation and collections care are available from the Smithsonian Institution and the Canadian Conservation Institution. Some local museums have these tapes in their libraries and may allow for them to be borrowed for short periods of time. Others are available from Mr.Jack Thompson at 1-503-725-3942. 70 Bibliography Bigley,James D., Lane, Mark, Fesenmaier, D. &Stewart, W. P., "Meeting members' expectations: a case study", Curator, 34/3. Sept., 1991:199-209. Caldararo, Niccolo, "The Solander box: its varieties and role as an archival unit of storage for prints and drawings in a museum or gallery setting", Archives et Bibliotheques de Belgique, v. 64, n 1-4, 1993:359-383. Saunders, David, "The environment and lighting in the Sainsbury Wing of the National Gallery", International Committee for Conservation Preprints, 1993: 630-635. Sease, Catherine, "Lighting piping: a new lighting system for museum cases", Journal of the American Institute for Conservation, 32/3, 1993:279-291. Young,Janie Chester, "The state of the art and the artifact: A regional survey of museum collections", Technology and Conservation, Summer-Fall, 11/2-3, 1992:10-16. Stehkamper, Hugo, "'Natural' air conditioning of stacks," Restaurator, v. 9, 1988:163-177. Suppliers Gaylord Co., 800-634-6307. Ethafoam from Preservation Products, Gladon Company, Inc. 178 West Boden St. , Milwaukee, Wisconsin, 53207, 800-448-6070, Light Impressions 1-800-828-6216 Spacesaver Corporation 1450 Janesville Ave. Ft. Atkinson, Wi. 53538. Verilux, UV filtered fluorescent lamps. 1-800-786-6850. The Packaging Store 1-415-558-8100 Grants 0 The Getty Center, grants for non-profits with ongoing exhibition programs for surveys and treatment of the collections. Getty Grant Program 310-440-7320. 71 National Historic Publications and Records Commission provides grants for State Historical Records preservation and access. 202-501-5610 National Endowment for the Arts, Heritage and Preservation Grants. 202-682-5442. Institute of Museum and Library Services. 202-606-8536 Appendix of Articles Richard D. Buck, "Describing the condition of art objects", Museum News,July/August, 1978:29-33. Niccolo Caldararo, "Conservation Assessment Program", n.d. Ellen McCrady, "Temperature and Rh Guidelines challenged by Smithsonian", (with Smithsonian amended guidelines),Abbey Newsletter, Aug-Sept., v. 18, n 4-5, 1994:44-5. Disaster planning information can be found online at the Stanford University Conservation Online website:ttp://palimpsest.stanford.edu/bytopic/disasters/ And also at this site: http://cpc.stanford.edu/which is the California Preservation Clearinghouse. May Cassar and William 0. Clarke, "A pragmatic approach to environmental improvements in the Courtauld Institute galleries in Somerset House", Preprints, ICOM Committee for Conservation, 1993:595-600. Museum Studies Departments Museum Studies Department,San Francisco State University, Burke Hall, c/o Dr. Linda Ellis, 1600 Holloway Ave., S.F., Ca. 94132. Sir Sandford Fleming College, Collections Conservation and Management Program, Sutherland Campus, Brealey Drive, Peterborough, Ontario, K9J 761 Canada. Conservation Schools Conservation and Preservation Studies Graduate School of Library& Information Science 72 SZB564/D7000 University of Texas at AustinM MAustin, TX 78712-1276 512-471-8290 Queen's University Art Conservation Program Art Centre Extension Kingston Ontario K71 3N6 Canada Conservation Center of the Institute of Fine Arts New York University 14 East 78th St. New York, N.Y., 10021 State University College at Buffalo Art Conservation Dept. RH 230 1300 Elmwood Ave. Buffalo, N.Y. 14222 Archive Management and Conservation Issues Related to General Survey Projects and Conservation Survey Work The current problem of archiving art, artifacts and information from electronic communication can seem impossible, but the general archives of organizations present considerable difficulties as well. This is certainly a significant issue, but one that institutions have been assessing for perhaps more 73 than 5,000 years since administrative records became a storage task. In the 18th century B.C.E. the governors and kings of Mani, a Mesopotamian city-state, produced tens of thousands of clay tablets, of which more than 20,000 survive today only because the palace in which they were kept was destroyed by a conqueror. Some Mesopotamian archives of the same period had drains which traversed the buildings so water could be introduced to create environmental conditions for the proper preservation of documents on skin. I have done 20 ethnographic studies of corporations, museums, archives and other.institutions from large organizations like Nike to small museums. This work includes assessments of their records, industrial artifacts and art work and antiquities. These reports evolved through the Conservation Assessment Program surveys of the American Institute for Conservation, have been made to nearly 4,000 organizations since the inception of the program in the early 1980s. The assessments I have done for institutions, both public and private have often been the result of discoveries that copies of original documents on a variety of paper products, like Xerox, or electronic copies, as in scanned images of documents, have failed to survive in readable form or been capable of being retrieved. Retrieval is the central issue and it is a most costly dilemma. The reports I produce are first, studies of the corporate culture of an organization and then an assessment of the storage materials, then the buildings in which they are kept and the containers and furniture housing them. Most organizations have found in recent years that they cannot find documents, cannot use them due to their deteriorated condition and/or cannot retrieve them from the system in which they were transferred from originals. This applies to intellectual properties in the form of drawings, notes, tape recordings, electronic copies, mechanical models or mockups and other forms of information that could be mined for new products or methods for services or in legal cases regarding priority of design. The CAP program, and a similar one administered by the Institute for Museum Services, were instituted after several national studies in the U.S. and Canada beginning in the 1960s and culminating in two in 1985 and 1987, found that the condition of a significant percentage (reported as 40%) of the nation's collections was unknown. 72% of those institutions participating in one study had no long-range conservation/preservation plan. The conclusions of these studies were in general agreement that the survey of collections and environmental conditions, including the development of long range conservation plans was the highest priority of future funding options. Arthur Beale, of the Museum of Fine Arts, Boston, defines long-range conservation planning as having four categories of prioritized goals: 1. Stabilization of collections 2. Preservation and maintenance of collections 3. Restoration of collections 4. Technical examination and scientific research CAP surveys fall into the first category and are assumed to provide an overall assessment of collections and the environment in which they are housed. The recommendations provided from the survey are designed to help significantly slow serious deterioration of the collections. This type of information covers suggestions for easily implemented environmental improvements, proce- 74 dural changes, staff education and emergency conservation treatment. However, in a survey by Janie Chester Young in 1992 of 113 institutional collections selected at random in 6 New England states, she found that the most serious and common problem faced by institutions was the lack of trained professional staff. Damaging conditions to collections could be attributed in many cases to the lack of training and current educational information on museum procedures. From my work I have found a similar pattern in for profit corporation collections. Her study found 8 other general, but common, problem areas: 1. Inventory and catalog deficiencies and a need to modernize (computerize). 2. Object density vis-a-vis collection storage. 3. Climatic conditions experienced by collections, especially cycling, dead air, etc. 4. Collection security. 5. Risk management and insurance practices. 6. Effect of recession of collection funding. 7. Collections rank in overall financial planning. 8. Personnel concerns. 44%of the institutions surveyed in Young's study were uninventoried, 74%of the history museums were uninventoried and they had the largest collections and smallest staff. 56% of all institutions were not fully catalogued. The quality of inventories was not explored. Overall, 56% of the institutions had inadequate space for their current collections and of all types of collections, costumes suffered the greatest density in storage. Density was equated with damage, both physical damage and fading of colors. While environmental controls were cited as a major problem in all the studies of collections in recent years, only 24% of the institutions in Young's study had total climate controls. This is not as serious as it at first appears, since inexpensive and practical solutions of total controls have been developed in some cases as described recently by Richard Kerschner, and published in the Institute's Journal. The main problem results from the low priority of budget allocations for records and intellectual property of all kinds unless legal issues arise requiring documentation of patents. Corporations need to plan for the preservation of all forms of intellectual property but most specifically, for the obsolescence of information systems. Jane Hutchins, of the Museum of American Textile History, summarized the results of conservation needs reported in surveys of collections up to 1985. Hutchins' survey was preceded by two questionnaires mailed to over 700 museums coordinated by the American Association of Museums summarized by Jane Slate in the mid 1980s. Both focused on conservation, preservation and management needs as well as building needs. Hutchins noted that over 38% of all collections surveyed had a serious need for conservation treat- ment. She points out that the first, and most important step in the conservation of these works of art, is the recognition by museum directors and trustees that a conservation survey needs to be done. The external report generated by a conservator is focused, not on treating those 38% of objects that have the serious need for treatment, but on immediate and practical interventions which can deter further damage and deterioration. Reducing future damage is the most cost 75 effective action that any institution can take at the present moment. As noted in the CAP Handbook, ratings for individual objects examined during a survey may indicate the need for immediate treatment, or deficiencies in care endangering objects. Still, the focus of the CAP survey is on the general collection conditions. A recent reexamination of the condition of the nation's museums conducted as a joint effort by Heritage Preservation and the Institute of Museum and Library Services was the first comprehensive survey and produced a "Health Index" for collections management (full report and Index available at www.heritage health index.org). Over 30,000 organizations were covered including over 4.8 billion objects. When compared with the Young study,this new survey found only 26%of all institutions have no environmental controls of any kind. While about 40% have environmental controls in collection areas, a small improvement. Any survey for long-term conservation planning must begin with the stated goal of the institution as its purpose for existence. The stated goal of the most museums is its dedication to collecting, preserving and making available materials on local history, art and technology. As an archive and a museum the institution collects objects, cares for them, stores them and exhibits them. It also loans objects to other institutions. However, to accomplish the general mission of the survey we need to know what the priorities of the institution are and how it goes about fulfilling its separate goals. We should begin with the archive aspect. What types of objects are in the collection, how are they housed and arranged, catalogued and used? Peoples responses to the CAP questionnaire indicate general divisions. Other more specific categories may be informative. Niccolo Caldararo, Ph.D. Director and Chief Conservator 76 i,iescribing the Condition of I Art Objects T Richard D. Buck a"Lint ". °en` v., This arf Wr'c b'«One „'10'ei inn s dx'.:6>:m- !:Vr�Methods - : . ��; t�-lcisa• 4ir,�;.lrF*r�s. 1 e,r,t 3,1 his .ex;f r"X£hexr � � 6"tar„k as w adat.$Per Vr t v r"Y ,.e ,3.aa<s e .o-9', n $.-� dire. o r < I.arrditicrt z°af r4: ttr the statt,. d+apari Mertz is a chec po nt in the r<«=r==,y trz. ri prc rt%'31t -n of an obicrt >rrt?a t>r mtt :u e31?jLet€,a}dicr a roma_-, r!• 17'hae 4trate i�CfCt C t,n a2 b �.e7r�,a 0.€an,"i##C'n x,.,"% hr r E`•'s-:: °e ttie ctittr }s xaic e v«utl atsz€ arlilr '_cax2. artrx t ,t=..z:, .t.4 :.' F. ;x t ctz m. .9,sra and di ific at v. Ir Tzztx arc t3t =2 rn _i.,. h...,t Mt Jv he on±=e:,�ltre The! .€3.,,�. rd of r s�.f#y r e �,a9 .:.a,a +e§.:.3rri;i asf4>c t i °t t:ne as s st�tnrraa or in GYrc:a ai,;ar'4 yica* ii° trs s ?hr r ra 9s;^r, r qtr=x Islas br«rs h,aab as h� de, tit 8 p,rr'islzli9„t .clloi'aI Ion<<rr T73.zclhaT vai 5s:t.`4�L:'�. .st.l: t lit by lb .,;s3S$Scr%atmr' far_ �K � r+tta� ta,lte n�sards�Ia�,,€€d. ra��� hati beoIirw so atd.Joce i o,.be s,tai rt !a vogislmrc. a. l t e.';re ra z F 7 hxrr;d 11f k� t'9,at t3acsv� t ay,u'a�4�. 'ra��a €he nee 4 C a= t 2:t'tta 10 t't ap a.3di � pf# Pe',d s C° a xa d>«y �;1 7Y,.y{s"r, Eu 4.1.�fT so h *3..S tT ssgz`>[l roams,t2'4 tf .^S7€`€i'7 g's}ti(Z in t+ it 4'he rrZade t<,br t zak r,.rs..tat lTl�t.t.ozfl9a l r. pf . a€>.io'l nce or 4, ntncl able:u cwlvft.r> �1 ft ztz; at �rslrFF _l",na€ty in ubjeci ittr them exh bitil>tl,str.ara tar �ha i'V'f i41:e6.)!- ?t ti(Yf7.,M'..'s R t" na°, ar hv iP:r«, taans, t°vnt For this^�a-zors inse:atsit4 6, i4a,}ii-rr al sa,r*t ,1W ar r€sto ra. ;u:aspc%,t of wn itt om ihat tw of ? t,un,S or bY u,tmapc A;=vm rrh . � primary,cni,ert±.v.arr i4rrrlr,."Tltc Sive description rzf a sarttiit crrt in- 9•r�tiOT-Ar-i19ouiJ aSo be :aff,er 2i? e€udv�111>;w Owe- rr.cilc xzr and Jcscribe rec Int o-,- Thi• a., ae sh(Iuld he lanai iar u^t=.-mired c.%ma r.old 4atttagr> �Ittr�<�ur.°Ett9�ri::+t,.r,-tirtatsar�art,l ttia€cc;t under res'.aratitan+.;tom ta:vsarcis lx�W..a<z.a;tii� ._,.�t:atitxtt �ia�(�cr.mcfit:3rr s rt<l:ti'`;«Vt�lea,~! 29 77 i 1a«6411Saht t 175 Pounds.A-saarue of sewr;tl cubic feet it:vaa t.-ne mw, § seem casy to handle,}tartieulariv i if there ii,an arttte_ttead or other profoction to rasp,but the :arc almost always zoo w"k tia stYar i the sttess of Fifting Tr is thr mfo stcd ifsat t?'aa; Weight arf'staarae sa ulfrtum be rr- + 'pcsssibw Paai€iiw of piww 3 Ne weakness itr st arte ohiei s „,sp sht*A!he checked:°he pre emLa<0 real vveakness m rrxcated by id ti, fyinp bait Urw crack,. Frs ur°aty is nort aj, l wraEx 1 in cletaiF the Curator:aatal c c,n. sEYt`' tor,fit berz tjiwz f.hit;aegis, tration de rtment°s nice ass a checkpoint to thaw_to raffic of�,t?usruna esbw ers.it is aaaioecs of corditi:an with which thr °<c 4. �;i qt€€he thorou hty familial. tospecting for Condition To Paty c.va rtt t'he-:=emt=ot_cle to tstt xt`s Gkstkc£Y'ea k4aala r<swc!o.a.tt are dcnrtcri by the puilat tnt,A' art Able for mipcc zcans k registrar c?rr�ra co*:414"Wn should have a tared -blc over %tich arc fitted at toast nvo' ammcd c it iptir*a nc>to the rega�- thwara it ilita intin into �aot beam light-.To vcal th(, t a°an'd are np,rte tha their IrA cs or by using,ofhr r rigid uccrssart-e aidence_of s�itturr�.hc mnccrn of the curatorial crnos«, Pistea mps.Room for expansion is lights 4hautd headiwitahle�o etaat wvatiom particularly important for parrot they are c able of bat getter°Yal paimin .vv frs -rs of a €llumit tmn ts'tcsass l htang_Tli taautc rtty waffle Might he tested tosc e that table Otoold r well padded,net, lax ccuritv is often tltc r€sr4st d"air I tws arc not tacked,the wow. r they Mini„«to protect t frames.but also to ;uft aslwo of condition kt detect are;the better for aw panel,Metal prat paiatmgt and ataa as€iti s An4.40critic.it Is Indicated by a -.lips orboard bactim cbootd tic turtted fare dawn fora scrutmv of wide r -q"oms,in the pry,not levers c%crri4 mat kheir backs and solid objects past twvwv ignored,that may Fat pressure%against the painting,()ta cirratta cs upctad d for stud:+asti-th takers as aatnearis of damaw, the Other hand,tmourra inp sltaauld this equipment and a harts:ions it Insecurity may be the result of a aeftr be so looft Clint they are; is Possible to observe even strsai axtarat weakening of the materials i equatc.'T fit,4 the psiming, ine awipicuous elefects.such is of which,thoobiect,is as sail.,tiab. into the ralibut of the f eleavarga:in paintings,ch ks" « por,b ,leather,,varatishr* should be cb�.,to that tyre gifts i m the blacks 4 W &`seek Aral'alowst.allax'poi"-mat is isw danger of the,pr t` falling (Where they WAW ,Oppar first, lend to because masker and Marc ' through the frame And that the thin before breakir through,to the brittlt.lit dam,and tiny splits And step of Che rabbet Is twat cracked trorttl, tchei or'dem,In mews. ,breaki are signs of the beonolaga, or broken,threatening to Pee aay sum and Offantles.'f-ing on paper of 1r r huts-.Inseewily May 'Tuseturitymaybesimptytht sash;sit forth,alt of which may be alp r"Ult-from a weakam in car. result of an ohl ect,'s tuawrisit or 'MS"ofirmcurity or new danmave. str�.1dias and repairs should w�.Ob�a ma of .f tie,et a ef the r . always be repajred, example.are eneti««it bty Insecure, aftt aa`c'parx°tixl uvlrmerxtr y to impact tr object upon its arrival W,too. at.lac `b"f" wow * frecsiandlosawl. WiMlOrtantittlOW tfP �tf 9b1th"woad and ftbric men ts SU#*objects at&ohm it tr ~emu in pes expaw tad Vii%ft cr In tarter to rprT ly inSOCUMS100046 trort la m seasonal cbxqvs� halt t3itt silt it is sayer to usually hea+rrasar,than oonm tnty afar" av a's,imamm An 4blect vomit sonto w&anvmt testa to ;a cubic floor of marble'' ?air basis�ti�ly 78 ant~'d ht-fore its shipment is author artre Yens the registrar rrtakes the. ar=,h ck to scr tbar:eta ublect is «i €t,t-ravcl.w?w handled b,, sat"Wr staff,to endure a-art3*,rz a5a ,^tA t r ta-aak a safe retaarrt. Ei ,aa �shouid be ara-5pM-md to >hz_fram-as at`c s0lmd that the h:, kun2s are+011 e:t=.just:to take a rSSs,4erat ti r,l aaaa blow Uithut<'t tea t-2 thc g, ;: that the ha,,:k t, z " c � fri7S Painling,, s1 ut a b�e wked tat ew that the :c 3r e:!E I tS'1<tica but CS4t _,-d that t,,e stry Cher kz,'s are fie"Ien di'mr;}vbind the 1t ass as and-tKar.(or d.az`st'="' .. r e� d ,ittnzs,'a-ma= ' t,i s` Ott xt is s tiahzte°t vrtatittuee"ahecattt,as and t%u': of the 3P7>:`.:atta,.r"• t9r_'.'c:`54. ttk. ? r r ? u 4 sOmx .,$#ttsc.^c:aa- " 14 vid €«.t"i t' 't,Jr ft =;j,•.,.roe a.,+ ua e-..xfa`aaL,e:r;„Fx? `�" ' fx-°-x�shit,. k. _ ,� w ✓sir.,. .t,..,,,:: Fxllurc:t,nc7ftj tat t o tina-1 Alec k methc,,el the zo rdinaw, -«ata ha°�'e .�t°.Y;�u:�a,f a9ia. . .:ra:i:'c:a,a4r�3t in uhith 4 .,w 4i 19r 7.,,--=r*-'.3-a::)•:. r_:t the c',eirt:t.a'.`*:ntr:a*t2Tt'd ti«« ;5 I u r the,xaI-Rs-t§. me orb jt Ct,`; will sufftar, .„+t height tvcraital distance Above the the t 3e are scare nay 1,4-Je w-n e-'N hJnw hottotu left Comen and width should d:artn€ e' -5mtwr d g,zTw.ralla Aee:izct. thearzontal Ji,1a1s4 fr,.tM tihe.,sa,=n4a.: ate It is an insurance that t+.c°s arne'; -0 in spec s aria vast: pomt1,lust 3,One would trust a � rolccnon not e°OVTe M ht v ant unn Mat lie%xitca,�- rt'r at tnt, a rio a grail.The t7omr,t# dcmritert Aft.:a lbe roar:ehe>A de-sian-t th-c back ^aano,f:,r r&ererioc is always the b tttem lets (A icet,thocO d by ep-in a safe exampte,or an,or near a tigove of corner,of tdas stretcher or pa€:ct srura,ev scram.eIA thev are:ends'to 4th"des "f"cure It mat aBss unless Otherwise� ahud. lie peat knr,their packLna,:ace% be Iticalra in refercrs,te to the rVc. The extent of a defect r::tast be thtsc f Wilting them out of the*hip, am tea of a figure In locaung rewried according to its nature Ping, rrwrn t:'atf L a lorte as a defect in terms of that sdcsil,n,the A spur,a tear,at dttale Or a wain cats aitrtc., paint a viow must be clear It t, tar measured m hm th or area that useful'to adopt the heraldic tt-gars abrasior,gTime,ei"vagvtsvcuk. �r '"treater`°and'sinister"t?i ctastp, rtess,1?rittECtPe�;.o,da€lttit:ss and w> Recording Co"dtt�itt The method or nreordsnp.:Dress- hate the sash, ct'e right or ief:. forth arr not easily measured,and titan Vary from n'tttseuM to muse, rrspmhvefv,a,�s'diAtrat�rut hed tstarn adjective,,tromt be uscit Th, tot- am,but same-gen oral instructions the viewer's right or teft. lowtop sequencC of ti e adjs»Ei cs :sec Applicable,to tt c content of the For locating dcfrets on pautimscs, the t represent arbitrary defrecs notes.There is a:need for brrelrc an apprasimate;or an exact meItod itas been used with success."nogtt and accuracy,Every attempt 4houfd can!be ersed.to the.approximate gible shuht be made it)deveriho throe attrx':b- method the surfer is divided into 'marked,"-cm ret w—Thin"Qi ht," utrs Oi any cdefc tat'its nature~its niatc zones like,thosw of a tic-tac-tom for mampIr.As a fairly slicei fi' location and its extent.As the figure The three haritontal posi mcaning b usa:it retcrs to dc, r tom of a detect ak often Mott tions are designated left,center and, feet more seats than`nor tig'tlzlc.' difficult to z cy itw,it will be too, hot*the three vertical position, and less serious than"m ratr.,. idered dais:, tags,canter and bottom,Thus,any The use of atty rwtanc tcrmi. Lttwton may be described: in a zono cast be desiWated ca Tat nalogysaves'tttne in writing rec- number of wav, A delta.Hke letters sucix as TL.C or BR,In ordx and autotratically utereases 3i 79 , t . urttw4.avch attrie�a�"stapfat ' �er�c}u�1�;:frrckMm�s�t eat c�r2�tt`ltratc�v 4a�+mot�:xs•lits< ss+�ttran�.1s.i�.� n l dullness","i ked i s of swv.-the past V vears_ g6 ry t ek garc ref W"Ole aysxsta�� p airrt.si7c,of a itm ti.61,-,in, wrots u�to zkscr r Conditftari ��fs racy L etc t Who,�� �iitrrt , �'zaa.. �z 'pis#gist a¢c t r I ow)r Zrtsan s aria toward rrt 2'�.cza€aft rar rr`,"Ali boo r ra dear xr stanstaa`dizatitins The try of€bl!fI—.,4f ix3ts�.dd a ntic mcawnW-, ru"IfisiNed in the fir's oditvon of forms now in s santssawl tM9 t �°ttc:`i:twre of a clefs t dtts tztam „i t rich vt €€od% ka€extkte s3as >&ttt uatr thank, €- 'rP�in a wtnN1 or two with tv 4.'�t'�."v`a' t t=*r�a !�� <:^%:�*t'€a'a:�iti:Z£f;: c;s¢rsvuatsl�.wilful--"Shen§,t . s ific mcaninws'Much of the An.4 n ti�ha at�ta�s tdzrtat o ars h� tsrtt rs g�: ,tan.?ilsitt t f t ac't�tr< aodcrr ndins a,hoot condi€Tttl is ' x �f��a ttt. snolt�„ tiun of ttws&€cans fs a mWov staccxbtr to ant alte of test tsar;i �,ai tt i`ttt aft tvr ttitct<that MOW tatr tscrr ru for et (tOiras fccta.'titt n4;s fitr -411e4.N"4a� _,,.,twat ,ran G;otip This c°tided and rc+lile rant thert'Ar'a &itraE r attrmvtt:ty tv esn in Chit''tai�t on ar tta� _*a �2r- ,fails that at a t'tv�sd art ors:tittsd, a'C't t �'i7Ys'tt+'., -ttrat'tt�sua,. 'tttds�yttfiSica•t�:.c"fTP .R,%+.§ ts°ttrw 1 xrKI in-ood that has c� est a z tar a��afa,ath�r a s��?tt s . tar tjty dtn sheik-,sreww ap. on!"d is as he , 440 as br ke.- ` rh�Ar arsw'hert a z o€ iha ia a4 a 1114CCL11 and Potters' straw £4 Cbi -ark s€of inch treatincttt r°a e. ta, it � .t ,tl�:rs stla+� rratsa�tt<,artr+vt, Carrt2t as separation tu'olett or trt i r �" Clog 1t hr�ad-xemir*c rn sss �! s -hit Um a+ of 4 sualift0d Cis rlurvttk1eiaaitf al 4actrt , .� g a x x t au is t rt a r tarA tltr �i€fit Otto ty of c-ecaswn;a st- sara€it.4,i°v"-'smite,�' hon sn�c�luss as d to s a � art 4 ko i t t; is h1c��� r��atics'n 4orroatutt Thv ,acnt�at ats� s a-,ors i 8°tktion On t .irnish,pautt tin' „t o)O r„rr,a.d n+si?sb c %!.acing i V'touw jo a;vainbn%.on th-€ Migzr a ca nt .'°s 3 as stns .3 sysit.r! ar tai Li- x a'.<<f nt t cts ra nose ai r acc,rt'its the,A<INiri Ament or by atcrml or the supP..tr a drat,.^ x�€tee zs l rc at train sprat r t�or print,. the fits c,f furs i- v ,.res attr az its„v tf°,r m �c � *urpst3 t a cure.S*-ml tture or Quart Obl t, Wolor atvti tsa utc sx t rnetat stsxfatm ArtttKt, r tv be ct t uw ni t atiao At ,allcd%Ctts txetat.ttv;P. �, 9 ceuattts ct:cr Of c Blister onv tips.yr 4-inat dis� xn i f ass it thane is ar intrealc Aecrellon taa zc m,w4fttial<m the'orface€tt are°a=apt azza? s ivaxnd qtr the ao ins the an<tia` i 2 that attars ttas a�ri irtai is tx e tataps i w�Vr arts cn� Err t ets,as in the�Y�Cur, an'obi .t at-i�e s the 0 trs 1 lea,I"cr�aN!rw��s.� it ail *ar, r ion of Chines+:brorb It the i tit wdalct .xtn41-t0"Vlat buigr Noi.,t products a Iry atteChme tts StatcriatIS Or n sera,",to and f u," r rcowe,hard rwftke or s,ruits s.o t t'UCtloans fastened to an Art I. jaRv t=uA''ed by heat.In are for ttcd on metal sttrfaaces At sr, fact with the wataim of dam€- Ilia.it appe4fi.as im s ted ckin: 1led FirlN_t,ErRVrTMK PATI ,%, tribu n strength and stabiti , a, is p o'Auccd When th"filth is -j*Lt pgfi N,x,CtH t *E3CVS . . On potwis to r train ma&pjastit:ni±ehe action of 40tv• ,Crack A fracturt or Assure in waTW,Jimap on fabrics;cot wt1s oft*heat ot both.. 'A"face„opecially a paint,a.Ncv and Splinesin thtft di-ensionaI t€(e d€a orbucl Ung One torsi is,its p ied. objecis of wood or sionc, t> isf tairmmoi disruption ut whist Cradde X perwndicutar disrupt too Shmmufar 1"a"Ur,obtrusive, 10owncNI Lavers take n contotma, 'of i i .Cra to is,common,in for"akv ass in paint or tibnO pblcbkKt ri t3%0 eAROd old intin"and Mal,also occur vxarnisit;not'a su iati td-sect 1 a ns.t t�t,� rusty�� ct `,i�tic glans ac -s om.but a�scats of light h rw iiri11dAanApefpet14iVAaf and ww bmiioc ift flap from m,ictopsrrtait Of#ranu- di t tiption mad m4vbo by iatcdz c3 tic os t ccr which lat h in.agrd£'hats. tomprewOvs:forecs Un rtvteath the u attar•fiat a rratrow aperture am Shwhig The suffusion of,a color I x4tinat,T Wig•are recovaind by Often Penetrates moto th It one joliaadjacent matetW often can toor A14ti Ivy sona -- lamina;and,ttte Rata,x bicit u� ' causerd by Water at otter solvents. cup' d eEaava se air€u all ►� hos a 1AUVWY ortdar aperiore and t ciaE suriacv ctoud. tamisual disruption in ah perietra c only a si 0 at3t . Super whit , us rfrtc .of paint are vo tOd With k riatkm of �PAtnn mss.w or t it"a ca�c tctbl ty mtisturr penetrating a vir6loo pak a wrfaccs bent cocaar4AY iat rraatinf tat saralsh. tip of cuts. Tractim IsApwr, Cat t A ru ptut*in wood iota obecom 4w fat A pattern of eoc pt*UK*d i a ks3 the sad evidcat t tTus eye to stttrinka 17 rail bits° rlra ' the u tat .__ b}rthe auxamizratf butsoittelimaes uplt i s#v ara d by saw- ink phada to stn Of e tp gad Oct.grixtl_tai ate» A repair that in ' tt t tt' tx a 3tvw4wtr at $ lu 80 # T coniptIm Lr:anchits ,and the Sperm grabrittiei nt A perceptible dv- t: ,Until mature..MOW or rsal- tares are frequentiv Wide and dis- Cline Of firm,pliant area tiuppl>a dew y nett he det tahle except i.upe crgar ,ntaterl;ti ta�va'AI'd an.3ToUr° tsv the ��r,�cr��ttc" sssscy' Ear, il#eat,did.go"".chip i de a is trhaa s u*a+.era ptlt L Tier ui.t a 0c,: Because growth, �acres tmoi, ter.:ttri<a ,cauaci Ivy a Meaty.� -asil�observed zax taht tcA_p i w€' a c te3fher. tea$li� 3.r4s€`ai by aint:aininga en-[1 a simptit`conctivit,a 'is; S"a rrry t?'t.Y533'7n rEi i dam. '. ;s`;_ r 3tr iia k that ors material ba-* Erosion #degs.udat:r,rt of th M.- percent IIVIa tsc httrrtidirv, n a:a ik d.a u that ma- t euni r t rf all ' tc:ial htss been,sCoO acd rat:3 chi? Of e ttt a ptI.MOns alp cam�.q Wrt.AC Mount A repair 0132 imvoh:,n,L 3=, i maf# a tnal oa�hai been broker. 4€ecav s1'74"d rzleTrVT!j aora 'Do ".ke3k Ica aura " �3r a ur�trat c,c weak Nerd, wet£2u as such h 3,: aloe r and textile tr"t-attims.With paper,at schMcn, Did sec"rr a Fading 1d€s rrlartcraantart�3t �S.w� r;-�s i trxentsvadhesio- -mrfts a ai tri rtlt t>kl tir k �n�Ft! c.: 1c4ttla >a t ual saturatiocat< # ttih s'waFzae;a 3zass of ha ate +hr FCt .d rue lean a�r�- e?" mw'y sa tse the t atttrnx0s x3 ses. es rs a rb3t£ic2'tr zmj i'rolat may alp GmI h a..Zvt ate nay 9e�t�9w;�tl rt�cF�ah3t frta s awuiarrL to t xtxi s s�tr r _ 9r aa ,+aUsf s a b szurtts ,o the�Im,%adlara�;�tone �tslt-� T.r.c i.,-rrt to-?�-r- re-r.atkm - e nF6ar a tifah z ,taaatL t *_' rilshin d�fzt t. .r= t_1er' Pent3merrtn I iturait xsc� s s<u: � Flake !�a�a°zirat "ri�szu�rara s­4 Ehhv.".ac r,i a drays rl Gated;raj�oaami fad hs ur<, rtak,:" a�.tsiGsle cw'se c scs Let an�atr de, mas lase g'sa:G`&leis Iscolunsf than ar_'.�-rat v�asa r a *a rsrts pl na, i .a a G<rA: reaa,ad ' It the tgct rz d a4 t # is fr ztc.03 rtlt pu tat a a Mme a1a} s=u.a'i r,,sGla l 2t t u far 1 r YCr akrb t:tr4G d a t t�5t s a Yt 3 eta xse"�.«. .# nct tv trsral �.ira „r;:.talt fjakhlg.lialtcd loss tn I A c,t aiaX,It n =.r .�.a:.i. i• t.�, ..rt''xa� 'k.�T':-...x.N- Disjoin A Tao t<al"a �3,rr PkIh .-*:n,,1 r� . 1„�.P��°t g r5sr Cs W r dt'llor MA rr e °�t t s rrt caa at Fniias 5 Gt*,t at E tsaL cgs r,4a a ;tear €� a a a f fit€:vOmma i ftg T bt r x^ earl(of ,:a..,r un elated >! e u���€ssaul fa aE �v»f� rr€ ed” Dr.% A ..t..r�+,i?.•x, ....,a:*'�+A# r,:�a�.ata.rr�^t�4rlata,,,..h _3:#:'.. ��`utd ' -':a .. .,_;'nr: 'u e _a._al" v: art Pr=" 38rtL$ L rw tc +�iGaza 0 . a ­J s p rt..=,<,,, r.r___t -s it,' bete ac,,;"u awe .„r Dust Lcm,K, Ji i- i . j n Y4 fi.ako i%� 'jf t Goose "?t:3:".i:'y� ,'-'li 1 3 a4£' surl a a is Insect ini,Asion Stg ;;_w isa is or �criasz 3a?urar3 Sir,fingerprint Tvp." ot ItieI Fareee, t r c oraszramc tsSaESa*tlim MAy talc to "^ halt Y r€' .ra'raper r 3 isacal sG apt r8.v zr.'Sl�§ a.3.r.ra i 6 r tr th9a haxsfz T are otivif c1car 2:7 oo 5m+l% }' x 4e uGi,s-r *mot=to 3rwv a dr-v a g tuare to rt �r_>an tct.4truptcvn rrt ve<ar� in arisir Leal Va ni t tr,(tost. r Lacuto X vojt a�the tnte_uttuta, Spatter,run suvam D"va dr.:rpla% r r a ndin e ties wrm rs-tart r z ,r rest as t t 4 r sadrt nxaw at r,, r as tai s3 rt :pexs4atcrf or ylasllos of f�irti M.alcrizi. .tt rli to r ts�.rcvnitttt t:.r�• test his 3vf) r5fa8taa t AL lor.o ion tqx acrztde «_ire«,°s€tr«e,t,�,ta.Ft7.a sots iarc�ratrf��'�� tu3.rflug A rt*.iatt is rt 9a t..dvrs an ari6,c',ns tic.xt6l?58atta°w"'rrf;4CE"�TCd-- r :tatsiltaf xtraca t dpl+4it s3 trs a f4,( smaki or spars-Its appra° L xt P° 4�te-r,re.ramiLs sir mma. -y rd:air*cret has tea rt a tl to r p ar rttra t vu h as seat„e” r do rtds� r rte tar2stacazx tv t'A drt t three Zccumu tjEtj r-,rr, 't' Ind!e trlta rtuc rB t ar4ara==, material i : u laxck E pant a r ittvcl? ca:v O'Alt:ltv h no,.i ,�d n>j—;Jila' 40' Split A rupture running,Along the s.Se�. ;are-p�t�AS;atssrzt<,wrr rte.>t s° fully r. g�:trts of 3 ptrLrt:i Avota€i trrann end ,VV,4(hfATV,tI %htis h wLtris nt tneasI r Mold,mild ` .A lyarg-gr`au£'of Lea end,oitiaiiy caused by r1lertur ,ECrtunl i r icnt.'m th,mane small fungi,_tr secvtafn, 'truc- tar rar£rC€dsttea . �oteV-4CtitvM with eg Lh Other Or is ath rails:ut sxtu h tri its{e terms`Ori a"W Streteber er4m r A crease or line fit • a tai ro she xci etrtmctat- Cix sbst.arse .dray+.r iisaziltr cam. c>t cxaa€t 11W,rxund'anj pa`inT tri het rcta ,pots-of putvtfer same, 4104sturu is -sent_thee atruc, ,ty'ers of a pwn u ftg on fabric.tvl- dirrrs f mnJ e,”,t;ws,++es and called .urv,so,hkThac prcxtucc enzV"W's faxu,«rp the is*!&edpv tai'aretcher 1irt,nitv des ":Ara:an horel5- that dissolve,or degrade the hoL a me crttaers ur the ed of Crass- extr sera f brY the trausfewma- nutierral,Tbi,chenoeal aclio t mad inert hers.:,f i is.caused by the flexing trr.rt Fr c blalstrzt3c s t rrtasiusia leave wastes,that stain the hove or the fabric against the s a# mtacuprie chiaride.'Thee reaction as,for+rxam ple: fo xNi;marks an these,numbers. requires nuAsiture and can be scyraa paper,On mamr4y,ri prtadmtivit near Abreak na fabric;.poper or trolled by triain€rining a dry On, s,ructurrs vrill appear#yet the sur- usher xlwet"werial as a result Of "un it,Le_.Mow 0 a percent face Of the hctst a-Visible and 01rell tt�tati c humidif V le`#.., t"n a= t�olorcd,furor or weblike ext"rv�� la rrztttrt cu tczrsturt; 81 ARCHITECTURAL ASSESSMENT OF DUBLIN HERITAGE PARK AND MUSEUMS Assessor:Roger Klumm,Architectural Historian,Conservation Assessment Program(CAP) Rating Scale: • A—Tasks that are"important"to the historical integrity of the historical resources and"urgent"for prevention of deterioration. • B—Tasks that are"important"but not"urgent". • C—Tasks that are neither"urgent"nor"important,"or may not apply to the City's historical resources. • N/A—Subjective opinions of the assessor that are neither"important"or"urgent" PRIORITIES SUBJECT ARCHITECTURAL HISTORIAN'S OBSERVATION ACTION ITEM STAFF RATING Cemetery 'Exparcf ery arastxud vl Croce Fire Safety Install Fire Sprinklers in Kolb House The Kolb House was relocated and constructed per N/A the State and City Building and Fire codes. Additionally,sprinklers are a controversial topic within the historic conservator and curator communities due to potential water damage to collections and the inability to install discreetly. Bed l�ttct€rs and-,' urld� �� C Itt Iii y 5a • �iii � ��tt�ns•that arQ�VI� � �� ��t� � `�� �� "_L� % � keegEttT General Enhance access to creek Need to determine alternatives and Americans C with Disabilities Act requirements for an accessible path,which may not be feasible based on the topography. The feasibility will be considered as part of the current update to the Park Master Plan. 6er� "f" tk►rtg r rttur� cts Ag l 3,j" �s3 ,, r K �, dL 3 /' 4 ,a�S�yi '�/`'s�.' {;'sS ,✓ i6- xx„ ....._.. General Expand Orchard • Future phase within the Master Plan will address. C Attachment 3 General Install fence along Dublin Blvd for child safety future phase-within the Master Plan will address. C General Consider a rustic water feature rather than modern, Future phase within the Master Plan will address C urban pool General Install steel framed flat structures to,replicate historic Not within purview of this report ' N/A hotels Hay Barn Remove north wall and install barn door,lighting,and • Hay Barn use to be reviewed in future phase of C ramp. Master Plan. Kolb House Side Entrance Door Remove and stare the existing doers for A Remove mrstorized.ADA mechanism that has stressed preservation. sash and joints-Replace door without,mechanism. Replace with matching new doors and ADA mechanism. Kolb House Front door • Refinish veneer A Restore deteriorated veneer. MCE will correct lock The lock is on backwards and should be reversed. Kalb House-" Bookcase-Ptexiglas is"inharmonious""with the • Remove Plexiglasinctreplacewith locking.hinged-, 8 hiscorfcat materials of the structure ...s cabinet€ i ferrmperes glass Kolb House Connect the wall vent to the stoves for historical • Install vents(This is cosmetic only.Dining Room B accuracy. and Kitchen stoves are not operable) Kolb Mouse.:: Recommended keeping.the shades open since • The current praixlCe i3 to kee„shatles d©wn at itt) �� I� rr raftsman.arch9teetureeriplteeannee tiexfrta ture�rtenrSiCopresapr� nature„and"Oise,the heW the..qt€Itrrfr rrunf hews dews so ihe wsnd 6,Ws a crab r ce IS to>t�rwi cto � _We�� tbr �to py'o ¢ � A Axp Kolb House Remove stairway window This is an original feature of this house and will N/A not be removed. ;""a fl� f *drtpp H j �Tne �si �� eers.vacateaf anc eLNW6iiF r"S00� _ MlQLiFk i3:F a Oewe�',ly^' /s W,/ mgos F !: archival wcuC G t E Rest Rooms Paint doors in restroom vestibule to appear older • Recommendation is not based on any historical N/A or practical basis. "�� ar<si � i s etia #�rceett w I le t br*et B __.... €St / ,.. �y / r Storage Dedicate building to collections. • Collections space to be reviewed. C Install window or door with window for work • Assessor's particular recommendations for environment. renovating the existing space is subjective. JU Cbts ap4c � �hoof,, trntu€vier a# 14j POO e€ Ckoltk*r, y' Vegetable Garden Historically accurate and depicted on Master Plan • Completed February 2014. B CONSERVATION ASSESSMENT OF DUBLIN HERITAGE PARK AND MUSEUMS Assessor:Niccolo Coldoraro,Conservator, Conservation Assessment Program(CAP) Rating Scale: • A—Tasks that are"important"to the historical integrity of the historical resources and"urgent"for prevention of deterioration. • B—Tasks that are"important"but not"urgent". • C—Tasks that are neither"urgent"nor"important,"or may not apply to the City's historical resources. • N/A—Subjective opinions of the assessor that are neither"important"or"urgent" PRIORITIES SUBJECT CONSERVATOR'S OBSERVATION ACTION ITEM STAFF RATING Camp Parks Integrate the Camp Parks cottectiort within the City's- to Process A cokdfon liitanagemerit:Polict. Collections Records The cataloging of the collections is a continuous • Create process for regularly scheduled backup on A and Catalog process. Store back-up off-site in case of a disaster. City network Collections Storage. "7*central finding of the onsite study of the Purchase. B and Work Areas. Museuv r was the lack of space for storage,curatiorr: ' - 4c66r ti ;Part taosr#tall ana'peservat ion activities. workTabte> Notes This pertains to collections stored in nurdular >rart Arc Stara ttrrrt,isl burtdfng tarhich is also used to share program tterraYs . y Arehaual collections-are Stared tn,thE*(fol#bcrtasse arrrf no�recorrimended. Condition Report for Establish a baseline on each object to be able to track Ongoing B each object changes over time Conser�r services :- rtfa� atiomhip wit-tt professional conservators Altowficr # impt i c€rrrertt AP cixl#ectiorrs su vet€dome to establish a reconmeg ns,anct,fta}}} vin compl Ml tlrat would prmritrze conservation KW seek Gonse ator wo o Raxr ,1-5 its,Yearo�ron ' Attachment 4 Disaster The Emergency Preparedness plan is a concise • During 2015 Staff to attend training in which plan B Preparedness document that lists who to call in the event of a will be completed. Emergency Response disaster. It fits into a wallet and contains the phone Plan numbers of conservators in the areas of textiles, paper,furniture etc.and lists resources and techniques to immediately deal with an emergency. This is a Core Document Required for Accreditation. rnooeton M, Ta€s a mctnitsr '' sysferri to mamta� tempertyare art{ k t�72 w A� i///l i Internships Arrange for additional interns from both museum Ongoing B studies programs and conservation training programs light tntr usutn Exteliftat'll'iftfrom the Inc it probIl th' / � � tp prate e�y rf� I to d t � Organizational Organizational diagrams(useful in understanding the Staff is developing C Diagram institutional culture) r pi nt beia` a�l kT �z�i �„ ...?' y a a" � �* r fyz ,,;:::w, , w•. �� � �, 1/,y�h�_ ..,•cam� i ,lfa�,t�, � €a ,,,em�n,.,.. -m,...?u sxxwzca;,,,,, •, .•, ii v,,,.,.,,_ nvy. �'t ..W .,.. Staff Development Develop and implement a staff education and training • Ongoing A program. Ail f / K . Fzr.��.;: