| ■Tokyo National Research
Institute for Cultural Properties |
■Center for Conservation
Science |
| ■Department of Art Research,
Archives and Information Systems |
■Japan Center for
International Cooperation in Conservation |
| ■Department of Intangible
Cultural Heritage |
|
During the Conference (speech by FUJIWARA Takumi)
Over the past few years, white LED technology has progressed dramatically. Improved color rendering and increased variation in color temperatures have reached the level where installing white LEDs as lighting for exhibitions can be considered. Such lighting requires color reproduction and creation of various lighting effects. That said, many museum staffs have expressed concerns about the effects of such lighting on materials, differences between objects viewed under that lighting and under conventional lighting, and whether power consumption can be reduced commensurate with the costs of installation. Given the need to share information on the development of white LEDs and the current state of exhibit lighting, a conference on reducing energy use in museums was held on Feb. 18, 2013.
The Conference featured respective talks by two experts on development of LED technologies and two curators from art museums that installed white LEDs as exhibit lighting. One expert on the development of LED technologies, FUJIWARA Takumi, President of Light Meister Co., Ltd., discussed the basic principles of white LEDs and the latest technological trends. The other expert, MIYASHITA Takeshi of CCS Inc., talked about the development of new type of white LEDs, stimulated by violet LED, which emit light that is closer to natural light than that emitted by conventional white LEDs. MIYASHITA also talked about the installation of those LEDs in museums. The Yamaguchi Prefectural Art Museum installed white LEDs as exhibit lighting a while back. KAWANO Michitaka of the Art Museum described exhibits and staging that fully capitalized on the features of LED light sources, such as control of color temperatures. TAKANASHI Mitsumasa of the National Museum of Western Art described reduced energy use based on measurements. In addition, TAKANASHI described the characteristics of white LEDs from the perspective of someone who is constantly in contact with artworks, i.e. differences between oil paintings viewed under that lighting and under conventional lighting.
Over the past few years, production of energy-inefficient incandescent bulbs has gradually diminished and halted as a step to combat global warming. In addition, the Minamata Convention on Mercury, which is expected to be adopted globally this October, is expected to dictate reduced production of products containing mercury after 2020. Continuing to use fluorescent lighting may no longer be limited. Installation of alternative lighting is inevitable for facilities handling cultural properties. Reflecting this fact, the Conference was attended by 130 individuals from around the country. The question-and-answer portion covered a range of topics, from issues concerning materials conservation such as elimination of ultraviolet radiation and temperature changes to issues concerning color temperatures and staging. In order to deal with issues raised during the Conference and to meet the needs of relevant personnel, we will continue to gather the latest information on organic electro-luminescence, the next generation of lighting to follow white LEDs, and we will continue to study and assess that lighting from the perspective of conservation. We will also convey the needs of museums and art museums to lighting developers and facilitate the use of these light sources as exhibit lighting.
Conference in session
Opening remarks by Takashi ISHIZAKI
In the summer of 2011, electricity users served by Tepco and Tohoku Electric Power were asked to reduce power use (from 9 AM to 8 PM) by 15% from peak levels in 2010. How would museums and art galleries that handle important cultural properties survive? And what problems would they face as a result? The Center for Conservation Science and Restoration Techniques held a conference to review temperature and humidity settings in the exhibition and storage spaces of museums and art galleriess with a supplemental focus on “Reducing Energy Use in Museums and Art Galleries” (the event took place on February 17 (Fri.), 2012 in the Institute’s basement seminar hall and had 66 attendees).
A Survey on Measures Taken to Reduce Museums’ Power Consumption in the Summer of 2011 was conducted from December 2011 to January 2012 with the cooperation of curators who had completed training for museum curators in charge of conservation. Results of the survey were summarized by Chie SANO. In most museums or art galleries, curators seek to avoid changing environmental conditions in storage rooms. At institutions that change the temperature of their galleries, the visitors experience discomfort and their stay in the galleries tends to be short. In some instances, insects and mold infestation and , odors are increased, and metal objects are corroded. In addition, there are concerns about a lack of temperature and humidity control resulting from changes in environment control settings.
Mr. Osamu FUKUNAGA of the National Art Center, Tokyo discusses views on temperature and humidity settings at art museums. Cultural properties vary widely, lending institutions have different views, and local climates, building structures and designs, and curating vary. These facts preclude the establishment of uninform criteria for exhibition conditions, but communication to reach an agreement on those conditions is crucial, as Mr. FUKUNAGA noted. Ms Mitsue NAGAYA reported on controlling conditions following closure of a special exhibition gallery to reduce daytime power consumption in the summer of 2011. Ms NAGAYA presented examples of items that were kept in good condition through nighttime climate control.
Takeshi ISHIZAKI reported on current trends and approaches overseas with regard to temperature and humidity settings to conserve cultural properties. ISHIZAKI cited reports of experiments on the extent of deformation in mock specimens intended to ascertain the effect of changes in humidity on the components of cultural properties. ISHIZAKI also indicated the extent of brief fluctuations in a well-controlled environment and he provided examples of research into an approach that allows some fluctuations in accordance with seasonal changes (temperatures are adjusted but humidity is constant).
Last, Mr. Takashi MATSUO of the Shimizu Institute of Technology described the latest energy-saving technologies used in office buildings. Mr. MATSUO new techniques being tested in relatively large areas to efficiently use energy, such as utilizing shade and reducing peak energy use in conjunction with neighboring areas.
New methods of controlling temperature and humidity by allowing temperature adjustments at a constant humidity or allowing greater fluctuations must be carefully assessed to determine if they truly have no effect on cultural properties, and assessments must be repeated, discussed, and understood by all relevant personnel. The Conference on “Reducing Energy Use in Museums Considering Environments for Conservation of Cultural Properties” provided a valuable opportunity to see the steps in risk management: new information on risk assessment is now available, and risk communication, or how that information is evaluated and shared among stakeholders, is becoming evident.
Lecture at the workshop
On October 19 (Tuesday), 2010, the National Research Institute for Cultural Properties, Tokyo hosted a workshop titled as in the above, with the co-host being the Kyushu National Museum. This workshop was intended for the persons in charge of conservation at the museums, art museums, etc. and the persons in charge of protection of cultural properties in local governmental organizations in the Kyushu, Chugoku and Shikoku districts. During this workshop, the colors of five Japanese paintings which changed due to the tent fumigation in the warehouse by use of a drug with the active ingredient of aluminum phosphide, which is not allowed to be used for the fumigation of cultural properties, was discussed. In response to this accident, we considered the urgent need to promote understanding of the fumigation of cultural properties, and held the workshop in cooperation with researchers whom are collaborative members of the Center for Conservation Science and Restoration Techniques. The following presentations were made: “Management of borrowed art objects for exhibitions” by Mr. Asaka Hiroshi, the Cultural Property Conservation Instructor at the Arts and Culture Section of the Agency for Cultural Affairs; “Details on the chemicals designated by the Japan Institute of Insect Damage to Cultural Properties” by Mr. Miura Sadatoshi, the Director of the Japan Institute of Insect Damage to Cultural Properties; “Characteristics of gas fumigant and impacts on cultural properties” by Ms. Sano Chie, the Head of the Conservation Science Section in the Center for Conservation Science and Restoration Techniques at the National Research Institute for Cultural Properties, Tokyo; and “Fumigation performed in museums – as part of IPM (Integrated Pest Management)” by Ms. Honda Mitsuko, the manager of the museum science section of the arts and culture department at the Kyushu National Museum. We reconfirmed that safety comes first for cultural properties, and appealed to the participants to take part in training, etc., collect information and improve techniques in order to facilitate the safe execution of gas fumigation used as an insecticide and fungicide (at the Kyushu National Museum, with 126 participants).
Science for Conservation No.48
The latest issue of Science for Conservation, the research bulletin of the Center for Conservation Science and Restoration Techniques and the Japan Center for International Cooperation in Conservation of the National Research Institute for Cultural Properties, Tokyo was issued on March 31, 2009. The latest study results of various projects implemented by the Institute, such research information on the conservation of the Takamatsuzuka Tumulus and the Kitora Tumulus and research studies on the conservation of the Dunfuang Mogao Caves, are released and reported therein. Please take a look at the documents, which are available in their entirety on our website (PDF version). (Visit the visit Conservation Section of the Center for Conservation Science and Restoration Techniques at our website:
http://www.tobunken.go.jp/~hozon/pdf/48/MOKUZI48.html).
THE 31st INTERNATIONAL SYMPOSIUM ON THE CONSERVATION AND RESTORATION OF CULTURAL PROPERTY-Study of Environmental Conditions Surrounding Cultural Properties and Their Protective Measures-
We issued a report on the 31st International Symposium on the Conservation and Restoration of Cultural Property, Study of Environmental Conditions Surrounding Cultural Properties and Their Protective Measures, which the Institute held from February 5 to 7, 2008. A wide variety of study results were summarized, including reports on case examples of damage and the methods to measure, investigate, and evaluate them, as well as environmental analyses including simulation and case examples of protective measures to conserve the mural paintings of the Lascaux Caves, the Takamatsuzuka Tumulus, and other sites. A number of activities in various foreign nations such as Italy, France, and Germany are described. The drawing up of conservation plans for mural paintings are especially valuable as case examples. We were able to transmit solid and informative study results overseas as the basis of future study exchange.
On December 15 and 16, we held trial training for 40 curators who are in charge of conservation in museums and art galleries: They studied the characteristics of atmosphere and indoor air contamination materials, damage examples, control methods, monitoring plan drafts, and examples of countermeasure implementation.
We continued difficult lectures and demonstrations, including state-of-the-art research results and technical content, in order to teach the ability to establish specifications for measuring contamination materials, read reports, evaluate the results, and determine countermeasures with architects and air-conditioning engineers. All participants worked diligently and earnestly.
The provision of a glossary, acquisition of information on necessary equipments and spaces, and other aspects of the workshop were highly regarded, and there were many requests for future disclosure on the Internet (38 of the participants expressed 100% satisfaction).
In the panel discussion, there was a lively debate on new interpretations regarding the manufacture of the triangular-rimmed bronze mirrors with mythical figure and animal designs.
In-depth studies on the materials and manufacturing techniques of cultural properties provide important information that contributes to their conservation and restoration as well as their historical studies. This time, the triangular-rimmed bronze mirrors with mythical figure and animal designs, which have been excavated in large quantities from early tumuli, were selected as the topic of study. There has been an ongoing dispute about whether they are Wei mirrors or Japanese mirrors. We examined how historical information, such as when they were produced, can be derived from a study of information related to their manufacture, such as their materials and shape. As lecturers, we invited Professor Fukunaga Shin’ya, who brought epoch-making progress in the study of the triangular-rimmed bronze mirrors with mythical figure and animal designs by introducing the method of categorizing such mirrors according to the shape of knob holes and the lines on the outer circumference, and Dr. Mabuchi Hisao, who reached a new interpretation regarding the material of the mirrors by measuring the lead isotope ratio of many bronze wares. Mr. Namba Yozo and Mr. Saito Tsutomu joined the panel discussion and there was a lively exchange of views. Dr. Mabuchi suggested a new interpretation regarding the time of manufacture of the mirrors. It was truly a meaningful seminar that enabled us to understand the profoundness of historical study using natural scientific methods. (Friday, June 20, 2008 at the seminar room of the National Research Institute for Cultural Properties, Tokyo; 60 participants)
Oral presentation by Mashiko Noboru, “Corrosion of Metals - from the Point of View of Metallurgy”
The purpose of the project, “Studies on Environmental Conditions Surrounding Cultural Properties,” is to establish methods for investigating and analyzing environmental conditions surrounding cultural properties for a better understanding of the present condition and improvement of the conservation environment. In this conference (March 3, 2008; 33 participants) presentations were made on investigation by exposure of metal samples to evaluate how atmospheric pollution and materials used for the interior of buildings affect cultural properties, with emphasis on the history and limitations of such an investigation. Mashiko Noboru (Professor Emeritus, The University of Tokyo) spoke on the influence of nitrogen oxide, sulfuric oxide, volcanic gases, sea salt and other elements on cultural properties based on studies in the field of metallurgy. Kadokura Takeo, researcher emeritus of the Institute, spoke on the history of investigation of metal exposure tests for the study of the influence of air pollution on cultural properties. Inuzuka Masahide, researcher of the Institute, reported on the development of a dosimeter that evaluates the influence of environmental conditions inside buildings on cultural properties. This conference was very beneficial from the point of view of cooperation in research and the advancement of research.
An IPM workshop was held jointly with the city of Kawasaki on January 31, 2008 at the Seminar Room of the Kawasaki City Museum Two lectures were given: on the fundamental concept of IPM and the methods for executing IPM Participants exchanged opinions on how difficult it is to prevent bees from invading outdoor museum complexes. They were also introduced to insects at various stages of life and handled materials and tools for preventing invasion of insects into museum buildings.
