• Structural Engineering and Mechanics
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• v.78 no.3
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• pp.333-350
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• 2021

Motivated by the demand of seismic protection of museum collections and development of performance-based seismic design guidelines, this paper investigates the seismic fragility of sliding artifacts based on incremental dynamic analysis and three-dimensional finite element model of the artifact-showcase-museum system considering nonlinear behavior of the structure and contact interfaces. Different intensity measures (IMs) for seismic fragility assessment of sliding artifacts are compared. The fragility curves of the sliding artifacts in both freestanding and restrained showcases placed on different floors of a four-story reinforced concrete frame structure are developed. The seismic sliding fragility of the artifacts within a real-world museum subjected to bi-directional horizontal ground motions is also assessed using the proposed IM and engineering demand parameter. Results show that the peak floor acceleration including only values initiating sliding is an efficient IM. Moreover, the sliding fragility estimate for the artifact in the restrained showcase increases as the floor level goes higher, while it may not be true in the freestanding showcase. Furthermore, the artifact is more prone to sliding failure in the restrained showcase than the freestanding showcase. In addition, the artifact has slightly worse sliding performance subjected to bi-directional motions than major-component motions.

• Korean Journal of Air-Conditioning and Refrigeration Engineering
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• v.15 no.12
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• pp.1070-1077
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• 2003

This study was undertaken to judge the quality of air-tightened exhibition cases and to predict the dynamic variation of the relative humidity in the showcase. We performed a lot of experiments for the a few conditions and we numerically calculated the air change rate and the relative humidity in the showcase with the Artsorb under the same conditions. In all cases we confirmed that the numerical results about the relative humidity in the showcase had a good agreement with the experimental ones. Through the experiments of humidity control, we found out that the adsorption efficiency is varied with the location and the amount of the Artsorb. And the numerical results showed that the adsorption material is always needed to keep on the appropriate humidity condition in the showcase even though any kind of the showcases are used.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.91-101
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• 2008

The purpose of this study is to suggest the design guidelines of exhibition space for conservation of collection in a museum. With the purpose of this study, examined the concept and a condition of conservation which is focused on deterioration in a exhibition space, investigated the actual condition of total 42 facilities and analyzed the specific instance which is excellent by factor of environment plan. Hereupon, the results of this study are as follows. First, exhibition space should be equipped with sufficient 'Filtering Space' before the outdoor and located central territory in a museum facility. Second, exhibition space should be partition off an area into the quality of collection, and then controlled by each of them. Third, in consideration of the annual air fluctuation of our country, the database which is adaptable for setting up the standard of temperature and RH must be prepared. Fourth, it is necessary to establish a 'Reference Exhibition Room' which is formed cellular type and a 'Garnering Exhibition Center'. Fifth, for the prevention of deterioration which is generated in exhibition space, the showcase must be high air-tight. Sixth, it is necessary to reduce a inside space of high air-tight showcase. Seventh, art-sorb is suitable for control the organic matter of collection and a except of fiber optics is not suitable for lighting of showcase. Eighth, wall-type showcase should be have air-chamber which is formed like museum storage and run over 8 hours a day.

• Journal of Conservation Science
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• v.29 no.4
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• pp.333-343
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• 2013

The exhibition hall of museum has been damaged by abundant dust and mold of the air in the room. Occurrence of microorganisms on the surface of the cultural heritage will cause damages such as coloration, materials degradation, deterioration, etc. In this study, we investigated the temperature/humidity and microbes distribution in exhibition hall, display showcase, and on surface of wall paintings in the Muwisa museum. From some samples collected in exhibition hall and display showcase, we identified so many varieties of micro-organisms such as Aspergillus sp., Penicillium sp., Cladosporium sp.. In particular, we could see a large number of microorganisms in the number 1, 2 exhibition hall compared with the number 3 exhibition hall. The results examining the distribution of the temperature and humidity were showed as $28{\pm}4^{\circ}C$ and 70~80%, respectively. The number 1 exhibition showcase was higher humidity environment than the number 2, 3 exhibition hall compared to the distribution ratio, which considered as correlation with the distribution of microorganism concentration. As these results, we understood that high temperature and humidity in the exhibition hall and display showcase of the Muwisa museum were characteristics caused by environmental management and hermetically-sealed rooms.

• 보존과학연구
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• s.17
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• pp.123-160
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• 1996

There have been many studies and experiments regarding exhibition lighting. Many experiments on photochemical damaging effect and visibility resulted in a practice limited to assigning light levels and adjusting annual exposure time. The three damaging factors to the artifacts are intrinsicsusceptibility to absorb radiant energy, spectral distribution of light source and intensity of illumination and time of exposure. Dividing all the artfacts into three categories to suggest a recommended illuminance level causes some problems. Blue wool, for example, used as the reference material for susceptibility, is not a standard material representing museum artifacts. In the most light sensitive category, ISO class I or anything below have been excluded. The exposure time of one soure can be three times more than another sourece. The spectral distribution of the light source and the relative spectral responsibility of the artifact are not considered in the practice. So in case of very light sensitive material, the recommended illuminance is only the referring value and it is indispensable to check the characteristic of susceptibility of each artifacts. Daylighting is prevailing method to solve the psychological need of the visitors. However, it sould transparent, and should not diffused, and the green-house effect must be considered. llluminance uniformity should based on the maximum illuminance to handle the limitation of exposure for the conservation of a large sensitive object such as a painting. Damage index is not absolute reference for selecting the lighting source because it is experimented from the paper of low grade then calculated. Visibility should be increased by reducing the visual noiseand by planning of appropriate luminance contrast. This paper reviews the problems with the previous studies and experiment sand the current exhibition lighting design practice. The plan for museum showcase lighting is to check the susceptibility and to raise the visibility simultaneously.

• 보존과학연구
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• s.19
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• pp.75-107
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• 1998

The cultural properties of paper made from 11 to 16th century of the Kirimsa temple were found in Birozana Buddhist Statue which was made from 15 to 16th century. These have been stored and exhibited in the exhibition showcase. To examine the environment of conservation and the state of paper, we investigated the temperature and the relative humidity in the inside and outside of the Kirimsa museum and examined the external form and the internal state (water content, acidity and whiteness) of paper. During the investigation period from 27 Aug. to 30 Aug. 1997. The average of temperature and relative humidity were $28.2^{\circ}C$, 67% in the outside and $27.1^{\circ}C$, 73% in the inside, respectively. These indicated the air conditioning was wrong. Among the cultural properties of 79 papers stored in the Kirimsa museum, 37 cases had been repaired but 42 cases not. From the result examining the external form, 20 cases needed to repair. In the internal state of the cultural properties of paper, the water contents were from 11.9% to 16.5%, the average was 15.7%, the acidities from pH 5.7 to pH 6.2 and the whiteness from 37 to 45. From these results, we could see the cultural properties of paper stored in the Kirimsa museum was damaged by the several factors (hydrolysis by fungi, repeated elongation and retraction of cellulose) caused mainly by the high temperature and relative humidity. Therefore, for the conservation of the cultural properties of paper stored in the Kirimsa museum, it need to control the temperature at $18~20^{\circ}C$ and the relative humidity at $55\pm5%$ by the appropriate air conditioning. In order to sterilize fungi occurred to the surface of paper, the cultural properties of paper needed to fumigate. The fungi occurred on the surface of paper were wiped out by using of 70%solution dissolved thymol in ethyl alcohol.

• Journal of Conservation Science
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• v.33 no.5
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• pp.319-329
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• 2017

In this study, formaldehyde concentrations in two exhibition halls were monitored using a passive sampler from May 2012 to April 2013. Formaldehyde concentrations in the exhibition halls were 5 to 36 times higher than concentrations outdoors. Concentrations inside the exhibition room and showcase varied according to pollutant source, HVAC(heating, ventilation, air conditioning)system and environment management. The formaldehyde concentration levels were corrected according to a standard method prescribed by Indoor Air Quality Management Law of the Ministry of Environment, Korea. As a result, Most concentration levels exceeded the exhibition standard of the Ministry of Environment($100{\mu}g/m^3$) and artifacts conservation standard of Tokyo National Museum($50{\mu}g/m^3$). Seasonal concentrations in the exhibition room and showcase were in the order summer>fall>spring>winter. Formaldehyde emissions increased in summer when air temperature and relative humidity are both high. Formaldehyde concentration distribution according to the temperature and relative humidity showed positive correlation. Air temperature showed good correlation because $R^2$ was in the range of 0.8~0.9. Analysis of formaldehyde emission characteristics in the exhibition hall would be helpful in efforts to improve indoor air quality.