• Title/Summary/Keyword: Museum showcase

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Seismic fragility analysis of sliding artifacts in nonlinear artifact-showcase-museum systems

  • Liu, Pei;Li, Zhi-Hao;Yang, Wei-Guo
    • 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.

Analysis of Dynamic Humidity Control Characteristics of Museum Showcase with Adsorption Material (조습제 적용 박물관 전시케이스의 동적 습도조절 특성 해석)

  • 김재용;오명도
    • 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.

A Study on the Environment Planning of Exhibition Space for Conservation of Collection in a Museum (박물관자료의 보존을 위한 전시공간 환경계획에 관한 연구)

  • Jung, Sung-Wook
    • 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.

The Characteristic Study of the Microbial Habitat in the Muwisa Museum, Gangjin (강진 무위사 성보박물관 전시실의 미생물 서식환경 특성 연구)

  • Seo, Min Seok;Lee, Sun Myung;Hong, Jin Young
    • 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.

An Approach to the Theoretical Design Standard and Effective Practice of Museum Showcase Lighting (진열장 조명의 이론적 기준과 시설에 대한 고찰)

  • Kim, Hong-Bum
    • 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.

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The investigation on the actual conditions and the conservation on the countmeasure paper cultural properties stored in Kirimsa temple (경주 기림사 소장 지류문화재의 보존실태 및 대책)

  • Han, Sung-Hee;Lee, Kyu-Shik;Chung, Young-Jae
    • 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.

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Monitoring of Formaldehyde Concentration in Exhibition Hall Using Passive Sampler (Passive Sampler를 이용한 유물 전시관내 폼알데하이드 농도 모니터링)

  • Lee, Sun Myung;Lim, Bo A;Kim, Seojin
    • 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.

Changes in Domestic Perception of Overseas Korean Cultural Heritage Explored through Exhibitions Held in Korea (국내 전시 사례로 본 국외 소재 한국 문화재에 대한 국내의 인식 변화)

  • Shin Soyeon
    • Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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    • v.1
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    • pp.330-355
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    • 2024
  • There are two main perspectives in Korea on Korean cultural heritage located overseas: one views it as items that need to be repatriated since they were scattered abroad under unfortunate historical circumstances. The other considers them as a means to more widely promote Korea's culture and long history. A shift in perspective has gradually been taking place in the decades since Korea's liberation from Japanese colonial rule in 1945. This can be noted through three major types of exhibitions. The first type is exhibitions of repatriated cultural heritage that showcase items that were illegally removed from the country but later returned or otherwise acquired through purchase or donation. The Special Exhibition of Returned Cultural Heritage, which was held in 1966 on the occasion of the normalization of diplomatic relations between the Republic of Korea and Japan, emphasized the legitimacy of reclaiming cultural properties that were illegally removed from Korea during the period of Japanese colonial rule. Around the 1990s, special exhibitions of private donations were held, which also highlighted the legitimacy of repatriation. The special exhibition of the Oegyujanggak Uigwe (Royal Protocols of the Joseon Dynasty from the Outer Royal Library) held in 2011 was seen as an opportunity to raise public interest in repatriation, heal the wounds of history, and restore the nation's cultural pride. The second type of exhibition involves borrowing and displaying overseas Korean cultural heritage in accordance with a theme as a means to reenergize and provide a comprehensive view of Korean culture. The exhibitions National Treasures from the Goryeo Dynasty in 1995 and National Treasures from the Early Joseon Dynasty in 1997 (both held at the Hoam Museum of Art) and the Masterpieces of Goryeo Buddhist Painting held at the National Museum of Korea in 2010 underscored the importance of overseas Korean cultural heritage for exploring Korean cultural history. The third type is special exhibitions on the history of the collection of Korean cultural heritage. With Korea's economic growth in the 1980s and the increase in exhibitions and the number of galleries featuring Korean cultural heritage in overseas museums in the 1990s, interest in the history of acquisition also grew. Exhibitions like The Korean Collection of the Peabody Essex Museum in 1994 and Korean Art from the United States in 2012 introduced overseas galleries focused on Korean art and the diverse history of collecting Korean cultural properties. They also examined the perception of Korean art in the United States. These efforts heightened public interest in establishing and supporting Korean galleries abroad. The initiation of more systematic surveys and research on Korean cultural heritage located abroad and the contribution of overseas Korean cultural heritage to the enhancement of the local understanding and promotion of Korean culture have resulted in changes to the perception of overseas Korean cultural heritage in Korea.