Job Posting: Head of Conservation Treatment and Collections Care – New York Public Library (Long Island, NY)

Head of Conservation Treatment and Collections Care

Position Description:
Overview:
The Head of Conservation Treatment and Collections Care manages activities, workflow, and production of NYPL’s treatment programs, the work of which serve to protect and ensure immediate and long-term access to the Library’s vast and important special and general research collections. The Head ensures the smooth integration and timely completion of conservation and collections care activities, including coordination for exhibitions, processing, and digitization. The Head serves as the Library’s lead expert on all facets of conservation for the entire range of special and general collection formats.
Program Context
Within the New York Public Library’s Barbara Goldsmith Preservation Division, the Conservation Treatment unit is responsible for: advanced physical and chemical conservation treatment of special collections across NYPL; addressing the conservation needs of special collections in processing or digitization workflows; review, treatment, and preparation of all collection items for exhibition at NYPL or for exhibition loan to borrowing institutions; construction of custom-designed housings; consultation to curatorial and other library staff on conservation concerns; and for management of all internal and external conservation services for artifactual items in any format across the institution. The unit’s focus is on single-item treatment of objects of unique, rare or high value that hold world-wide significance.
The Collections Care unit is responsible for: stabilization, repair, and treatment of non-circulating general research collections; creation of automated and handmade custom housings; item-by-item and mass deacidification; and mold remediation. Unit staff also carry out collection preservation surveys; participate in environmental monitoring, as well as emergency preparedness, response and recovery. The unit’s focus is batch production with high quality deliverables.
Both units’ development and outreach activities align with the Preservation Division’s efforts to safeguard the Library’s collections and support the Library’s strategic priorities for widespread and ongoing physical and digital access.
Applications should include a cover letter and resume.

Principal Responsibilities:
  • Under the direction of the Aaron and Clara Greenhut Rabinowitz Assistant Director for Preservation (ADP), the Head of Conservation Treatment and Collections Care manages the treatment programs in the Barbara Goldsmith Conservation Laboratory and the Collections Care Laboratory.
  • Serves as the Research Libraries’ lead expert on the conservation of NYPL’s library, archival and artifact collections. Designs, develops, and implements comprehensive, efficient, productive and effective special and general collections conservation programs based on the Research Libraries’ requirements and policy guidelines. Establishes treatment specifications and procedures for general and special collections. Ensures that treatment standards, protocols and production/project deadlines are met.
  • Works closely with the ADP and other Barbara Goldsmith Preservation Division managers to maintain preservation programs and standards of treatment. Works closely with exhibitions, digitization, and processing program areas in the preparation and treatment of collection items.
  • Works closely with the Research Libraries’ curatorial units to determine conservation treatment priorities and available options and coordinates treatment quotas and activities between the research centers and the treatment labs.
  • Develops, reviews and updates procedures and systems for the intake of items for treatment, housing, or other conservation activities including setting priorities. Reviews all treatment proposals and evaluates conservation treatment work.
  • Maintains program metrics and prepares reports. Maintains treatment records and reporting systems.
  • Contributes to grant applications, supervises grant-funded conservation work, and writes or contributes to final reports for funders.
  • Serves as the technical lead on treasures projects. Performs complex conservation treatments on a wide range of paper-based formats, including full written and photographic documentation in accordance with the AIC Code of Ethics and Guidelines for Practice.
  • In coordination with the Preservation team, advises, participates in and may lead disaster planning and recovery activities.
  • Encouraged to participate in all facets of professional activity. Maintains membership in AIC the Professional Associate level or above. May represent the Division and Research Libraries at professional conservation meetings and organizations.
 Managerial/ Supervisory Responsibilities:
  • Supervises conservators, technicians and students assigned to treatment of special collections and general library research collections in all of the NYPL research centers. Hires, trains, supervises, and evaluates lab staff. Assigns and evaluates work. Leads, coaches, and supports staff through regular feedback and performance reviews.
  • Oversees the research, evaluation, recommendation and procurement of highly specialized equipment and supplies for the highly technical and innovative Goldsmith Conservation Lab.
  • Manages expenditures for grants, special projects, supplies, small and large laboratory equipment (including scientific equipment), and contractual conservation work.
 Minimum Qualifications:
  • ALA-accredited master’s degree in library/information science with a conservation certificate or a master’s degree in conservation.
  • Demonstrated thorough working knowledge of conservation theory, practice and treatment procedures.
  • Professional experience in the conservation of paper-based materials, as demonstrated by a portfolio.
  • Demonstrated success in the management of conservation programs, with a minimum of five years supervisory experience.
  • Demonstrated knowledge of preservation issues in large cultural institutions.
  • Demonstrated successful administrative, supervisory and organizational skills, including the ability to train, supervise and assess work; to plan, organize, and direct workflow and physical space.
  • Demonstrated mastery of written and oral communication.
  • Demonstrated skill with computer technology, scientific equipment and other technology as it applies to the efficient management of all conservation operations.
  • Experience in disaster recovery procedures for library/archival/museum materials.
  • Ability to work collegially across a large, complex, and dynamic organizational setting.
 Preferred Qualifications:
  • Experience with emerging technologies in conservation practice.
  • Experience with conservation research and testing.
  • Working familiarity with museum collections.
  • Ten years of supervisory experience.
 Physical Duties:
  • Position involves some lifting and exposure to dust and mold. Must be able to lift up to 40 pounds.
  • Travel to all Research Libraries sites required.
  • Performs other duties as assigned.
Union / Non Union:
Non Union
Apply: https://jobs-nypl.icims.com/jobs/9109/head-of-conservation-treatment-and-collections-care/job

44th Annual Meeting – Sustainability, May 16, "Sustainable Energy Reductions without Relaxed Environmental Criteria for a Hypothetical Museum in Montreal" by William Lull

Annoyingly, my computer thought it would be a great time to crap out, but luckily I come equipped with multiple electronic devices. So, as to not let my computer get the best of me, I snapped pictures of a number of his slides, so I would catch the gist of his talk. It also helps that Bill came to Yale to give a much more extensive version of this talk to collections and facilities staff.
Good news? The talk in its entirety is available as a paper on Bill’s web site: http://publications.garrisonlull.com
Bill set up a hypothetical building scenario (10,000 sf) using Montreal as its home. Montreal uses hydro power (so cool and GREEN) for its utilities so carbon footprint isn’t a concern here, so he doesn’t talk about emission reduction in this scenario.
Institutions want to save money, so naturally, their first thought is to cut back on HVAC settings. Same with energy savings: if we change our parameters, we’ll save money AND energy! But at what risk to our collections?
The scenarios that were hypothesized were the following:

  • Change lighting energy use – reduce by 1 w/sf
  • Change the T/RH to the relaxed AAMD (Association of Art Museum Directors) standards
  • Change the energy loads and other proposed criteria without changing the environment set points

The scenarios were tried in a collections storage space and a gallery space in the proposed building.
Now, granted, the AAMD “standards” were proposed so that we’d be more lenient in our loaning practices, and not about energy savings or anything like that. Plus, I am not sure what “science” was used to determine these guidelines, since as far as I know, no conservators or conservation scientists were part of the conversation. But that’s a bone I can pick on a different blog post. 🙂 Anyway, Bill was just using it as an example of relaxed conditions.
One important element to examine are the alternative loads and how they might affect these numbers. Reducing these loads on a system will save energy and money:

  • Internal Loads
    • e.g. humans, lights, computers
    • turn off lights, change lamps, turn off computers not in use
  • Envelope Loads
    • e.g. radiant heat from the sun, glass, insulation, vapor barrier (or lack thereof)
    • seal up cracks, add insulation, vapor barrier
  • Outside Air Loads
    • how much outside air is being let in?
    • check and see how much outside air is being let in
    • you need some due to ASHRAE and OSHA standards

Visual demonstrating the different types of energy loads on a collections space
Visual demonstrating the different types of energy loads on a collections space

 
Another visualization of loads that drive energy use
Another visualization of loads that drive energy use

My favorite – and simplest – solution is to change the amount of air being pushed through your HVAC system. If you don’t have constant volume supply/ return fans, slow the fans down! You’ll maintain the environment you want, and save money and energy! Just make sure air is still being distributed evenly so your conditions stay constant. And BTW, supply and return fans are NOT the same as VAV fans. Those are smaller fans that are used the condition one room at a time based on how you set the thermostat in a single room.
Reducing air flow by reducing supply and return fan speeds = energy and money savings!
Reducing air flow by reducing supply and return fan speeds = energy and money savings!

 
Math and Physics for reduced air flow :)
Math and Physics for reduced air flow 🙂

Other recommendations have been to shut down equipment during unoccupied times and then turn the equipment back on. Bill doesn’t recommend this for a variety of reasons:

  • Wear and tear on equipment (e.g. motor belts)
  • The conditions are less than ideal, especially in the summer (I’ve experienced this issue)

Why not just shut the equipment off?
Why not just shut the equipment off?

 
Conditions are not maintained as well if you just shut the equipment off overnight
Conditions are not maintained as well if you just shut the equipment off overnight

 
Savings in the hypothetical gallery space
Savings in the hypothetical building’s gallery space

Bottom line? There are other ways to be smart with energy savings and STILL maintain the environmental conditions you want in your collections and exhibit spaces. So, don’t assume you need to relax your environmental standards to be a greener museum. Examine your overall building and systems with your facilities folks and see what you can find that might save you money in the long run without compromising your collections.
Super smart and super practical. This HVAC nerd gives this talk two thumbs up!

Job Posting: Mellon Postgraduate Fellowship in Decorative Arts & Sculpture Conservation – Philadelphia Museum of Art (Philadelphia, PA)

MELLON POSTGRADUATE FELLOWSHIP IN DECORATIVE ARTS AND SCULPTURE CONSERVATION – PHILADELPHIA MUSEUM OF ART
The Philadelphia Museum of Art is offering an Andrew W. Mellon Postgraduate Fellowship in Decorative Arts and Sculpture Conservation, beginning September 1, 2016 to August 31, 2017.  The fellowship may be extended, not to exceed three years. The applicant should be a graduate of a recognized conservation training program or have equivalent experience. The Fellow will examine, conduct research, and perform treatment on a variety of materials (e.g. stone, metal, ceramic, polychromed wood) in the Museum collections (European, American, East Asian, South Asian, Modern, and Contemporary Art) and will participate in preservation activities relating to Museum exhibitions and storage.
Each fellowship includes a stipend of $36,621, participation in the Museum’s health insurance plan, $3,000 in travel funds and $2,000 for research support. Applications should be sent electronically and include the following: pdf files containing statement of interest, resume, transcripts of graduate courses, and four examples of examination reports and treatment records with photographs.  Please include any published treatments or research.
Confidential supporting letters from three conservation professionals familiar with the candidate’s work should be sent directly by the referee to Melissa Meighan, Conservator of Decorative Arts and Sculpture, Philadelphia Museum of Art, P.O. Box 7646, Philadelphia PA  19101-7646.
If you have questions regarding the position or application process, please contact Renee Ward at 215.684.7543.
All application materials must be received by June 15th.
To apply, please use the link below to submit your application materials.
Application Link:
https://workforcenow.adp.com/jobs/apply/posting.html?client=philadmoa&jobId=112928&lang=en_US&source=CC3

We are not doing a good enough job

According to Claire Voon writing on May 23, 2016 for the website Hyperallergic, at the Shanghai Museum of Glass, two adults stood and videotaped the two children who were with them as they played with and broke the art work, “Angel Is Waiting” by Shelly Xue. The museum is now playing surveillance footage of the incident next to the piece. Whether this will serve as a lesson on what not to do or will inspire copycat actions remains to be seen. As these four were visitors to a museum of GLASS, it is clear is that we are not doing a good enough job educating the public on how to interact with different kinds of works of art.

Job Posting: Research Lab Associate – The Getty Conservation Institute (Los Angeles, CA)

Job Opening: Research Lab Associate
The Getty Conservation Institute (GCI), located in Los Angeles, California and the Getty Villa in Malibu, is one of the operating programs of the J. Paul Getty Trust, working internationally to advance conservation practice in the visual arts, broadly interpreted to include objects, collections, architecture, and sites. The GCI serves the conservation community through scientific research, education and training, model field projects, and the broad dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and dissemination of knowledge that will benefit the professionals and organizations responsible for the conservation of the world’s cultural heritage.
The GCI’s Science Department is seeking an individual to fill the position of Research Lab Associate, a three-year, limited-term position within the Modern and Contemporary Art Research Initiative. This research focuses on the characterization of paints used on contemporary outdoor painted sculpture, the degradation of plastics used in cultural heritage, and the effects of cleaning treatments on modern paints. Please see: http://www.getty.edu/conservation/our_projects/science/modcon/
Responsibilities: Reporting to the Associate Scientist, Modern and Contemporary Art research, the Research Lab Associate will perform a range of activities in support of scientific analysis on this project, including: performing sample preparation, run routine analysis on samples, compile and interpret analytical data collected, organize reports and data files; and perform literature searches and gather background information on a variety of projects. Successful candidates will be expected to conduct scientific analyses and research on works of art using the wide range of chemical and instrumental techniques available at the GCI.
Qualifications: The Research Lab Associate must have a Bachelor’s degree in chemistry, physics or other natural science; 3-5 years of scientific laboratory research experience. Experience with analytical instrumentation, ideally FTIR, SEM-EDS and PyGCMS. and knowledge of scientific research and the conservation issues of contemporary paintings and sculpture strongly preferred. The successful candidate must be adaptable, analytical, and a creative problem-solver and thinker; able to work effectively in a highly collaborative and variable environment, conservation training or experience working with conservators in a conservation science laboratory strongly preferred; and possess excellent organization, data management, communication, and writing skills.
An excellent benefits package and salary commensurate with experience will be provided. This position is limited-term (three years).
To apply, please see: https://jobs-getty.icims.com/ . All applicants should be prepared to upload a cover letter and curriculum vitae as a single file (either a PDF or a Word document) when prompted to upload a Resume online. Candidates who successfully complete the online application process will receive an automated message from “autoreply@icims.com”. If you have specific questions about the Research Lab Associate position, please email gcistaffing@getty.edu. Deadline for applications is June 13, 2016.

Job Posting: Assistant Scientist – The Getty Conservation Institute (Los Angeles, CA)

Job Opening: Assistant Scientist
The Getty Conservation Institute (GCI), located in Los Angeles, California and the Getty Villa in Malibu, is one of the operating programs of the J. Paul Getty Trust, working internationally to advance conservation practice in the visual arts, broadly interpreted to include objects, collections, architecture, and sites. The GCI serves the conservation community through scientific research, education and training, model field projects, and the broad dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and dissemination of knowledge that will benefit the professionals and organizations responsible for the conservation of the world’s cultural heritage.
The GCI’s Science Department is seeking an individual to fill the position of Assistant Scientist, to join our newly launched Built Heritage Research Initiative, in collaboration with the University of Oxford, UK, undertaking scientific research and analysis on stone and other traditional building materials to explore their performance and deterioration. This research focuses on the development of testing protocols to improve conservation practice of built heritage (buildings, monuments and sites) from ancient to modern and across the world; and to disseminate our findings through professional publications and conferences.
Responsibilities: Initially reporting to the Head of Science, the Assistant Scientist will work primarily on evaluating conservation treatments for sandstone, and undertake routine analysis and testing of traditional building materials. The successful candidate will: propose and develop research strategies to test building materials and their conservation treatments, undertake routine analysis on samples, assess a range of field-based evaluation techniques to provide additional information on treatment effectiveness, compile and interpret analytical data collected, and organize reports and data files.
Qualifications: The Assistant Scientist must have a Bachelor’s degree in chemistry or other natural science, Master’s degree preferred; 1-3 years of experience in scientific research, preferably in the field of cultural heritage or a related field. Hands-on familiarity with: taking and analyzing samples; instrumental techniques such as SEM-EDS, XRF, FTIR, mechanical testing, and surface characterization, is strongly desired. The successful candidate must be adaptable, analytical, and a creative problem-solver and thinker; able to work effectively in a highly collaborative and variable environment; have experience working with conservators in a conservation science laboratory; and possess excellent organization, communication, and writing skills.
An excellent benefits package and salary commensurate with experience will be provided.
To apply, please see: https://jobs-getty.icims.com/ . All applicants should be prepared to upload a cover letter and curriculum vitae as a single file (either a PDF or a Word document) when prompted to upload a Resume online. Candidates who successfully complete the online application process will receive an automated message from “autoreply@icims.com”. If you have specific questions about the Research Lab Associate position, please email gcistaffing@getty.edu. Deadline for applications is June 13, 2016.

44th Annual Meeting, General Session (GO – Emergency Response), May 16, “The Emergency Response Team at the Centre de conservation du Québec” by Eloïse Paquette

The Centre de conservation du Québec (CCQ), in Québec city, is a unique institution. Founded by the Ministère de la Culture et des Communications in 1979, its mandate is to protect and preserve Quebec’s cultural heritage and to make sure that this valuable heritage is recognized as such, and made as widely available as possible. The CCQ, which provides a variety of services (ranging from restoration to raising awareness about conservation issues and to emergency response), employs thirty conservators. One of these professionals, Éloïse Paquette, Paintings Conservator at the Centre, was at the joint 44th annual meeting and 42nd annual conference on May 16 to let us in on the secrets of the CCQ’s well-rounded Emergency Response Team. I had been looking forward to this talk: as a Quebecoise, and an aspiring conservator, this was a valuable occasion to get to know the workings of the CCQ, as well as how prepared they are to face disasters that threaten cultural heritage in the Belle Province. What I found out is that the members of the Emergency Response Team of the CCQ are, as Paquette pointed out, as ready as they can be.
The ice storm of January 1998, which paralyzed the Montreal region, acted as a catalyst for the coming into being of an official Emergency Response Team at the CCQ. The crise du verglas, as it is known in Quebec, caused massive power outage. At the Lachine Museum, 10 km from downtown Montreal, leaks appeared from previously frozen pipes when the power came back on, and the storage area was flooded with hot, dirty water, critically damaging the Museum’s collections. The CCQ was called for help, and three conservators were on site two days later. 254 of the affected objects demanded immediate care: the exhibition space of the museum was turned into examination rooms, many textiles were dried or frozen on site, and others were washed then and there. 87% of the textiles were saved, and half of them can be displayed today. Some of the textiles, paintings, works on paper, ethnological objects and furniture were restored in the following years.
This disaster prompted the Lachine Museum to revise its storage space (they installed a gas heating system and revised the classification of the objects) and the CCQ to put into place a more detailed and comprehensive emergency plan. Paquette explained to the audience what this plan is, and, most importantly, how good organization and communication make it an effective one. The CCQ’s Emergency Plan, which is revised and put up to date during regular meetings, relies on cooperation between team members as well as with other institutions and museum employees. The CCQ has agreements with the Musées de la civilisation and the Musée National des Beaux-Arts in Quebec City, as well as with Centre des services du Québec – Parcs Canada.
The first aspect of the Emergency Plan which Paquette unveiled was the Telephone Pyramid, a diagram in which a network of names and phone numbers are linked one to the other, in such a way that when a member of the team receives a call telling them about an emergency, they know exactly which other members to call. Hence, everyone is quickly in the know and ready to act. Like every other document related to the Emergency Plan, this Pyramid is available in a binder at CCQ, and every team member has a copy at home. The Pyramid was also printed in credit card format, so that it is carried around at all times (as Paquette pointed out, she had her copy in her wallet during the talk). This goes to prove what is seemingly obvious, but can never be stressed enough: communication is key for efficient emergency response.
The members of the emergency team also own a pocket-size summary of the plan. In the Emergency Plan, nothing is left to chance: the sequence of events is detailed, designated facilities are pointed out, the responsibilities of each team member is exposed, contact information for CCQ’s partners in case of disaster is listed, floor plans of institutions and museums are provided, etc. The document is made complete by a few annexes, the first of which being “Salvage Material Lists.” The materials of the Emergency Response Team, which are regularly inspected, are housed together in a secure area at the Centre, in well identified boxes. On each box is taped a list of the material it contains. The materials are visible, easily accessible, and very well organized. At the end of the talk, an attendee asked Paquette, who had provided us with an example of the list of materials contained in two of the boxes (box #1: aluminum paper, waxed paper, Ziploc bags, plastic fasteners, garbage bags, polythene, and box #4: security helmets, first aid kit, security glasses, dust masks, disposable gloves, dishwashing gloves, latex gloves), what they used aluminum paper for. Paquette stated that most of the materials have no specific, set use. Instead, they are to be brought on site just in case they are needed. This whole organization of the material makes for a quick and efficient disaster response.
The emergency plan has been put to the test a few times since its inception. Paquette told the audience about two disasters that – as someone who grew up in Quebec City – I remember vividly: the burning of the Quebec’s Armoury (2008), and the fire at the Musée de la civilisation de Québec (2014).
The Voltigeurs de Québec Armoury, a Gothic Revival drill hall, was built in the later part of the 19th century. As Paquette pointed out, on top of its historical significance, the manège militaire (as it is known in Quebec) also had architectural value: it was the largest wooden structure in America without columns. Iqn the night of April 4th, 2008, as the whole of Quebec City was still preparing for the celebration of the city’s 400th birthday, the Armoury, which was to have been one of the venues of the festivities, burned to the ground. As Paquette pointed out, the building was completely lost, except for the façade and the Voltigeurs de Quebec’s Museum, located to the left of the building. Several conservators were called on site on April 5th and tried to carry out the drying of archives and paper on site, until the federal government took over the conservation of the artifacts. 90% of the collection, which was mostly archives, was saved, and the museum was relocated.
Six years later, in 2014, an electrical fire broke out on the second floor of the Musée de la civilisation de Québec. Two exhibition rooms were flooded. In the first exhibition, one that contained about 300 First Nations artifacts, the objects were quickly protected and sustained minimal damage. The second exhibition was composed of Pierre Gauvreau’s paintings, which were rapidly covered with polythene to prevent ashes from settling on the surface, since there was no more storage space available. Except for the floors of the rooms, which had to be replaced, everything remained in good condition.
After the fire at the Museum, the CCQ’s Emergency Response Team went over their performance and commented on everything that went right, and everything that went wrong. Paquette concluded her talk by sharing some of the conclusions they drew from this exercise: everyone should have a cellphone and be in constant communication during transportation and intervention; a police escort should be demanded by the team in order to avoid traffic; frontal lamps are a must; the basic needs of the team need to be taken care of; it is necessary to monitor what other people are doing on the site (for example, cleaning company employees will sometimes use products that are dangerous for the collections); and the team (and their material) should be identified. Paquette showed the blue vest that the members of the Emergency Response Team wear when they work on the site of a disaster, which makes them recognizable but also distinguishes them from firefighters and other professionals.
What really makes the Emergency Response Team at the Centre de Conservation du Québec shine is the emphasis that is put throughout their emergency plan on good communication and obsessive organization. With the material always ready to be packed in a car and brought on site, and everyone easily reachable on their phones, it seems like this team could serve as an example for other institutions that have not yet fully embarked on the emergency preparedness train. In this regard, I would like to suggest that it might be worth considering for the CCQ to make the entirety of their emergency plan publicly available. All of their hard work and planning could greatly benefit conservation professionals all over the world.

44th Annual Meeting – Research and Technical Studies, May 17, "Investigation of Fogging Glass Display Cases at the Royal Ontario Museum" by Helen Coxon et al

This was one of the sessions I tweeted (@taradkennedy), so this won’t be a long post, but I will give you a summary with lots of slide images!
So the problem: these brand-new exhibit cases were mysteriously fogging up for no apparent reason. And even better: once they were cleaned, the fog would roll right in; coming right back like a bad check. Some awesome examples of what was popping up on the inside AND the outside of the glass:

Hazing visible in China gallery case
Hazing visible in China gallery case

 
More fun hazing in brand-new cases.
More fun hazing in brand-new cases.

 
Like stars in the heavens... or crystalline structures that screamed salts to me...
Like stars in the heavens… or crystalline structures that screamed salts to me…

 
This one has track marks of some sort... totally bizarre.
This one has track marks of some sort… totally bizarre.

So what was this mysterious fog? Turns out it is a mix of things (it always is): definitely free sodium from the glass along with lactic acid, plasticizers, aromatic hydrocarbons… the digital shots of the GC/MS results are mostly illegible unless you have the peak locations memorized, but I did get a shot of where all of this stuff came from:
2016-05-17 11.22.46
So, everything from the air around the cases to the materials that they were cleaned with to the goo that they lubricated big, heavy machines with that moved the glass pieces around like this:
Images of glass during the manufacture process
Images of glass during the manufacture process

So, now what? Luckily Stephen Koob, King of the Glass Conservators, had a nonionic formula that worked!
Here’s the recipe. I hope you can read it.
Stephen Koob's Magic Glass Cleaning Solution (tm)
Stephen Koob’s Magic Glass Cleaning Solution ™

Hilariously, the glass manufacturer felt bad and came up with this six-stage cleaning kit for the museum to use. The museum was like… um, thanks, but no thanks. Yeah, not even the fussiest of conservators wants to do that much cleaning.
This talk was one of my favorite talks of the conference: folks presenting a practical problem in an accessible way that was thoroughly researched with a practical (nonionic) solution… SOLUTION, get it???
OK, I’ll stop now.

44th Annual Conference – Pre-Conference Workshop, May 14, "Choosing and Implementing a Fire Suppression System for a Collecting Institution" by Nick Artim et al

OK, I’ll be honest. The reasons why I went to this pre-conference workshop were:

  1. I had a business meeting in the afternoon and thought I’d better go to another session so I don’t look like a lazy git
  2. Nick Artim, Fire Protection Guru, was on the panel

Man, this would be a useful group to chat with back when we were trying to figure out which fire suppression system to go with for our rare book library years ago. For those of you not well-versed in fire suppression systems, this is a fairly comprehensive look at the different fire suppression systems available for cultural institutions. It also examines different investigations and processes looking into fire suppression systems for different cultural institutions.
Sprinklers at the Archives of Manitoba – Ala Rekrut
About the building itself: the Winnipeg Civic Auditorium was built in 1932; redeveloped in 1973 into Archives Building; new storage vault was created from the old concert hall that was part of the auditorium.
In 1994, the water micromist sprinkler systems were recommended, but they were too new and untested to be implemented at that point. So, they chose a wet pipe system and a dry pipe for cold storage in 1998.  However, there was limited sprinkler coverage in the public areas and they wanted to re-investigate the possibilities of installing a fire suppression system.
One of the biggest hurdles in this project was that the building is managed by another entity, so the Archives can’t really make any changes. Here’s the timeline:

  • Pre-2007: Building Conditions Assessment – recommendations included replacing HVAC systems, and installation of new sprinkler systems – so that they come close to building code (always a good thing)
  • 2007: Vault renovation for HVAC, but no sprinklers, sadly
  • 2010: Risk Management independent inspection: you should have 100% automatic sprinkler coverage, dudes. Bureaucracy stalls these things, you know
  • 2013: Fire system alarm upgrade – still no sprinklers…
  • 2015: Started project over again because the earlier estimates were way over budget – new team – what about sprinklers NOW? Finally YES we can investigate; water mist still not allowed, but they would investigate;who else has done this? Winnipeg Art Gallery had! What’s needed for water mist systems?
    • Filtered city water; high pressure mist; 1 meter clearance needed; low ceilings are out
    • Pump equipment sits on concrete slab 18” thick

A water-based conventional fire suppression system would be fine as well, but they will most likely go with a nitrogen gas (Inergen) system. It is still a work in progress…
You might be wondered how all of these recommendations could be ignored. Well, the answer is bureaucracy! The layers upon layers of government is why the building owners can ignore these recommendations. For example, recommendations from the province do not have to be heeded by the city government, for example. Also the building is grandfathered in due to its age.
 Sprinklers at the Peel Library at University of Alberta – Carolyn Morgan

This project was to be an expansion of fire suppression systems in the Library at the University of Alberta. There were some systems in the basement of Library buildings: Halon in the public area and front office, but not storage; there was also a decommission wet pipe system in the same areas as the Halon. There was also an Inergen system in the audiovisual vault. Storage “fire suppression” protection in main collections storage consisted of a fire hose. They do have heat and smoke detectors.
The expansion project was to start May 2015, so staff had four months to sort the entire expansion project including choosing an appropriate fire suppression system. Nothing like a little bit of pressure to make one be decisive!
So, the goal with this project: protect and preserve our collections.
What are our choices?

  • Gas systems: Inergen, Sapphire, FM-200
  • Water systems: Sprinkler systems, wet pipe, dry pipe, water mist – pre-action or no pre-action?
  • Hybrid: Victaulic Vortex

The chose the Victaulic Vortex system.
How did we come to our decision?

  • Eliminated gas systems because of lack of space for tanks; expensive; lack of airtight integrity
  • Eliminated water mist because of its unproven effectiveness where dense combustibles are present and the library lacked 1 meter ceiling clearance
  • One of their biggest challenges was the limited head room: could not run sprinkler system – but maybe they could? No wet or dry pipe systems –
  • selected Victaulic Vortex and double interlock pre-action sprinkler heads

Vicaulic Vortex – what’s that?

  • Nitrogen and water
    • Removes O2 and water and N2 65Km/ hour ; 10 microns drops of water
    • Very little wetting; doesn’t require airtight rooms; few heads; quick system recharge
    • High initial capital costs; need backup tanks; not widely used; may require a variance for acceptance by authority having jurisdiction

Double interlock pre-action heads – what’s that?

  • Basically like dry pipe but water is held by electronically-operated valve
  • You need: a detector system that must ID fire and open valve and the individual sprinkler heads are then activated
  • Complex system and require attachment to fire detection system

Sprinklers in Historic Houses – Canadian Conservation Institute – John Ward
This was a summary of considerations and case studies involving historic buildings and fire suppression systems, including what you can do when you have no fire suppression system.
Eldon House, Ontario

  • Typical house museum; very vulnerable; few have fire suppression system installed; usually fire detection system and that’s it
  • Historic buildings can have passive measures, or can have passive measures added without drastically changing the building itself. Some recommendations:
    • Compartmentalize buildings (fire-rated firewalls)
    • Consider reinstalling doors in the house and close them in off-hours
    • Check for vertical and lateral voids and fire-seal as required

They did review available fire suppression systems (eight of them) for the Eldon House and came to the following conclusions:

  • Eliminate clean systems (not a tight enough seal in building)
  • Water mist seems the safest but complicated to install; really best for rooms with special needs
  • Options within that list; feasible to consider for this historic house:
    • Pre-action dry pipe
    • Water mist (Marriott Hi-Fog)
      • Initially made for the cruise ship industry
    • Hybrid nitrogen and water mist (Victaulic Vortex)
      • For electronics/ computer rooms
      • New: only around 10 years
      • Doesn’t have to be ceiling mounted, moves around the room like a fog;
    • Wet pipe still viable; simplest

Sinclair Inn; earliest wood frame building in Canada, Nova Scotia

  • Victaulic Vortex doesn’t need to be used in a heated building!

Another hint mentioned: Keep at 15% O2 levels in high density storage to reduce fire risk – this is being used at the British Library’s high density storage building.
Canadian Centre for Architecture – Israel Dube-Marquis

  • Replacing an automatic fire protection system
    • Evaluation Before Choosing
      • Define needs
      • Context
      • Construction type
      • Area covered
      • Space available
      • Electrical emergency power
      • Detection systems
      • Security monitoring
    • NFPA
      • NFPA 750 for water mist
    • System evaluation criterias

[Unfortunately, I had a difficult time understanding this presenter, so I didn’t take many notes – if anyone has anything to add to this presentation, please add the information in the comments!]
Heritage Protection Group – Nick Artim
His talk basically covers elements one should consider when deciding upon a fire suppression system for your cultural institution and which choices are available to you at this time.
But first: a funny quote: “Disaster: an emergency we screw up.”

  • Best fire suppression system?
    • What do you want to have left after the fire?
    • What’s the building like?
      • What’s it made of?
    • What are the collections?
    • What is the recovery capability?
    • How are the collections arranged?
    • The people who occupy and visit the building? How many?
    • Rural or urban?
    • Fire safety elements
      • Fire prevention
      • Life safety
      • Fire resistance
      • Fire detections
      • Fire suppression
      • Recovery
    • NFPA
      • Codes 909; 914 – historic structures and cultural properties
      • Not prescriptive; all of us stakeholders are to become part of the process to become part of the solution
    • Smoldering phase can last for several hours
    • British Library – did the low O2 system because of its size; there is no good choice for fire suppression system
    • The better the Fire Department knows your building, the better off you are
  • Automatic Fire Systems
    • Standard pressure sprinkler
      • Gets everything wet so it doesn’t burn
      • Prevents fire from growing
      • Failure tends to happen: in piping material and fitting
      • A LOT of water
      • Wet load: HEAVY for paper
    • Water mist
      • Developed from the maritime industry
      • Water droplet and cause it to explode
      • Microdroplet with more surface area which becomes the coolant – engineering finesse required for it to work well
      • Air suspension – more flexibility
      • Mist can be drawn into the combustion process – more like a gas than rain
      • More precise fittings; very durable
      • Works pretty well – Monticello has it
      • Excellent in remote area where it’s hard to get water source
    • Wet pipe, dry pipe, pre-action, deluge
      • Water is always in a pipe; dry pipe is for areas where freezing is a possibility
    • Gas Systems (“clean system”)
      • Control fire without water damage
      • Not exactly damage-free – discharge speed, e.g. – be careful where you put the nozzle for discharge
      • Details on where those discharge nozzles go
      • Compartment application systems – air tight or gas will not stay in concentration
      • CO2, Nitrogen, aerosol – Potassium-based solid – post-damage potential? What does all that potassium do to the art? Halocarbons (FM-200; Novec)
    • Hybrid (Nitrogen and Water)… and we ran out of time.

44th Annual Meeting – Book & Paper Session, May 17, "Soft Matter: Gel development for conservation treatment," Mylène Leroux

Following Hughes and Sullivan’s talk,  Mylène Laroux, Master 2 Student at Paris 1 Panthéon-Sorbonne, reiterated the composition and advantages of gellan gum other rigid gel systems, highlighting the fact that they are simpler and safer for both the object and the conservator. She then compared these physical gel systems to the newly-developed Nanorestore® gel.
Nanorestore® gel was developed by the Nanoforart project, whose main objective, according to their website, is “the development and experimentation of new nano-materials and responsive systems for the conservation and preservation of movable and immovable artworks.” Nanorestore® is a chemical gel with high internal cohesion. It is available in pre-made sheets which are ready to use for aqueous treatment or they can be soaked in organic polar solvents for 12 hours and then used as a solvent gel. As with other gel systems, the Nanorestore® (soaked in ethanol) allowed Leroux to perform local adhesive stain removal without the formation of tidelines. Initial studies indicate that Nanorestore® has higher liquid retention rate than the polysaccaride gels. It’s also a sustainable option, since the gel can be placed back into solvent and reused multiple times.
At this time, Nanorestore® is not widely available and only comes in a few small sizes, so practical application in paper conservation labs is currently limited. However, it’s exciting to see new products being developed and tested, since we conservators are always looking to expand our toolboxes.