HomeMy WebLinkAbout8.1 Review of Findings of the Conservation Assess Prog �,
AGENDA STATEMENT
DCITY oF HERITAGE AND CULTURAL ARTS COMMISSION
UBLIN MEETING DATE: December 11, 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: 8.1
G:\COMMISSIONS&COMMITIEES\HERITAGE COMMISSIONWGNDSTMT�2014\12-11-14 Item 8.1 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.
2 of 2
Dublin Heritag�e Park and Museums
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Introduction
This report is thf: result of an architectural conservation assessment, conducted in July
of 2013 - as a t�wo 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 architec�tural 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 structure:� 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 Desic�n 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 hou:�ing 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 e�hibit 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.
2
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Site History
� ' The Heritage Park site is the
�: " ���� �'A � location of the concentration of
� ' the eariy commercial buildings
forming the nascent origins of
Dublin.
� - - ° �� ,,, All of the buildings fianking
Dublin Blvd. within the Park
.
�- property have been destroyed.
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The remaining historic buildings that are original to the site are the Church, the
Schoolhouse an�� 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
° �° s located behind the Church.
` �� � The Park site is known
�
� �� �z;� ? �\ � �` � ` �' historically as "The Crossing."
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`� ��� � The naming refers to the
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H: ,�-;� ,� ' � Dublin Boulevard and Donlon -
which at the formative years for
�. � ��� � ��, Dublin were the two major
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_. � , � ;. � �;�. roads in the locale.
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�� � �� "�� � � �� ' original Lincoln Highway. In
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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 6ublin was also influenced by the presence
of a natural sprii�g located within the site. With the ability to provide fresh water for
horses traveling the "Crossing" roads, the store and hotel enjoyed increased patronage.
3
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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.
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� �` r` street lamps have been
�� ���5�� ` �� � � installed throughout the Park
�� � �� ���, ;�:
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�_� _���� �,�� ' ,. portion of the site.
A veritable forest of wooden bollards have
� x been installed near the south side of the
'� Kolb House. They appear to have no
historical reference or modern day function.
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Architectural C;onservation Recommendations
The Kolb HouSe
Conservation an�� Interpretation recommendations include:
The front door lock - Reverse the lock, as it has � �aF���
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been installed with the thumb turn on the exterior ` x�& ' � ��'`�° ��_=
and the keyway c�n the interior �' _�
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It may be possible at present, with /ittle effort, to
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surreptitiously enter the house simply by turning the ; '�� :g
exterior thumb tc,�rn. �''� s�'
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Door Lock at Interior Side
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The front door surface - The exterior wood is a �x ' °- � `'`
laminated veneer, the finish of which has � �.
deteriorated. The door exterior should be ���' �,��`� �; f
refinished.
The recommended method is to remove the door g3� � ��
from its vertical frame, hand sand the delicate ;��� .,,� � -� _.:y
veneer, and refinish with several coats of clear t �t ����� a
�� ,� � ��
exterior varnish, lightly sanding between coats. To �`�-� � yyy���
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insure a smooth, unblemished finish this work � j� �
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should be done in a dust free environment. . `� = : � �� � -F�
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The motorized side entry door - This door has a motorized �
door opener/clos�er attached to its head raii. Given the ° - �� , s
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 constructioii. The joints between sash members ��
should be dowelE�d, where possible, and reglued. ��` �`
.�
(Repair, rather than replace, is in accordance with the �_ �;
Secretary of the Interior's Standards for Historic � ��
Preservation.) �4 ;�
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5
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 Glazina - All of the window glass � ��^v ��� „-�
, �
allows ultraviolet natural light to enter the � �
interior rooms to fade and physically ' � � �'
, �;.�
deteriorate the organic artifacts. In Q`�r � '��.��;
I�' > �
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 ' l
�.
often emphasized a strong connection \, �i 4I"'��Ilp��� ���i'�I,�',�� , „�',i���A'�;I;'�'��,
between the interior spaces and the outside � �„ i� : �'��
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 ,�o °,°�°°�����+��ft,����� �
the entry, living, and dining rooms open ' �� q�;;�+�
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 .�rt
windows can be opened periodically to
introduce fresh air into the interior and �"
disperse a musty smell, the window shades
should simply be reinstalled at a higher
position on the window head trim. �`' fT � � .G
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.
6
Stairway Window - A glass window has been
�.:.,� ..
installed at the top of the wall above the stairway, - -:
�9,.- ��� �
separating the stair from the upstairs bedroom area. �� '
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 havF� been added sometime after the ��'�
home as built.
Removal of the qiass 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 - �rry it and see - if ventilation is not improved, the glass can be reinstalled
with little effort.
Bookcase Plexi_la ass - A large panel of clear plexiglass has
been instailed 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 � 1',�
barrier in front ��f the books, to prevent their handling, but ���-��� �`�
allow viewing of the books. � � �° �
The plexiglass panef , which is bowed out from the cabinet � �`�
�
face, is unsightly and not harmonious with the cabinet. It �' `i� �5
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 ��::
opening, not s�rface mounted. Mounted on hinges and � ;��" �
latched/locked, like a casement window, this glazed cabinet �
door will protec# the books and provide a more suitable
appearance.
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Wall Vents - ThE� dining room heater and the
trash burner in the kitchen should have the �m, ; '
.�. . „
wall vent flues reinstalled to provide a more
authentic appearance. Because these two �`�
� � � `� ,
appliances are literally "disconnected" they �� °"�
appear someho�v odd and incomplete. This "�` �`� � �
should be a sim��le fix. ��' ,, �
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Lic�ht Switches & Receptacles - � � � . �
Nearly all of the original light � � ���'h������'����� ��f���y'����"IIIi��Pii�,�'(��
switches and electrical receptacles �
have been replaced with white �'`�`�°` ' '' '
modern devices, which are not � '� � � �� ��
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visually congruent with the vintage '�..�",, r .
of the home. As a result, there is a ' �.� � � :
feeling that something is amiss '
and that the home interior is ' ' ��'"'
somehow less than authentic. ' "°��N�
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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. 1 � 3 ; �
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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.
a
St. Raymond C:hurch
Altar - The original altar has been completely �, ,�,�„ � �,�: -,:
removed. In its place, a wide screen television has " y �?`
� � ,
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been installed, cc�ncealed by a curtain.
If the original alter cannot be reproduced - perhaps, �;�� �-��
something morE. inspiring and special can be �;� � ;
,�-� "„-� �"°��-��
installed, compar�ed to the current display of � � :-
"Our Lady of the Panasonic"! a, � � �
� � �
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Confessional - The historic confessional booth has
been moved fror� a side wall to a rear corner, near the a �
entry door. It has been converted into a coffee bar. ;� : ��eq�� �
Although repurposed to a practical use, coffee can be �;; . ' �,�;�-�
prepared in the room behind the altar wall - allowing , �� � ��� � "
the confessionai to return to its original, traditional � � 3� �
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� � �.
location. This should be considered for both historical _„ �" � �
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and cultural reas�ns. � T���
•Sprinklers - Like the Kolb House, the Church does not
have fire sprinkl�:rs. Installation of a fire suppression
system to protect this historic structure is very strongly
recommended.
•Front Landscaa+� - 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 s�treet. The larger tree in the same location should be trimmed to
increase visibility of the Church front from the rest of the Park.
•Landsc�in� 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 �� A. ��R
significant, particularly if the area can be �
reconfigured to relate to the Schoolhouse, located ��`
�w
opposite the side yard. " � `
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The eucalyptus tree should be removed, as it �:, �;�y� �, �, � .
:<��� �= ��-�
blocks better lan�scaping treatment, is fairly messy ���� -� ���� �
��_� � ��%�;
and is a potential fire hazard.
9
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.
io
Murray Schoolhouse
•Museum Exhibit Area - The exhibits, which explain
the settlement and early life of Dublin, are
extremely well designed. There is a lot of
information pacl<ed in the small space of the ` - � _
original school. ���
From an archi1:ecturai conservation standpoint, � ��.� �
some additional lighting and/or overhead displays _ �� �,�_ ���� ���
raw the viewers e e towards the ceiling, in ��
which d y
order to gain a sense of the overall space, may � � '�-
�� � �
enhance the room. ��
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�� .
•The Littte Classroom - This large room is used for periodic exhibits and as a muiti-
purpose room, fc�r seminars, meetings, and classroom uses.
Generally the room functions well and needs only minor improvements.
The large horizontal display cabinets, which run the length of the rear wall, decrease the
flexibility and functionality of the room. They should be removed; perhaps sold to
another museurri.
New moveable vertical display panels and small portable display cabinets can be
introduced into the space. These exhibit devices can be mounted on wheels for ease of
positioning and :�torage when the room is opened up for large meetings.
A small reception desk, also on wheels, located adjoining the entry vestibule to the room
is recommendecl for occasions when meetings are held. This small desk can perform
double duty as a display table or as a portable serving table.
The sink located on the end wall is a welcome feature. The addition of an InstaHot hot
water flash heat�°r, concealed in the cabinet below the sink, would add the capability to
serve hot bever��ges.
•The Camp Parks Dis�lav Room � There is a small alcove room adjacent to the Littie
Classroom that is screened off from the bigger space via a curtain. The room is
official�y the Archives Library, but it also contains a display case showing some features
of historic Cam�� Parks.
The room appe.ars virtually unused. There is the potential to use the room for one or
more alternative�s.
It can be repurposed as a rotating exhibit room - a new door from the entry vestibule
can be created and the room can be separated from the Little Classroom and slightly
enlarged with a new side wall.
Because the ro��m contains an exterior door, the room can be repurposed as an office
or small meeting room, with exterior access.
11
•Sprinklers - The Schoolhouse does not have fire sprinkiers. Installation of a fire
suppression system to protect this historic structure is very strongly recommended. The
likelihood of a fire in the Schoolhouse or Little Classroom is greater than in the Church
or the Kolb House, due to its function as a meeting space, although chances remain
fairly low.
Sprinklers are designed to save the structure. Insurance policies do not.
•Museum Offices - Currently, the Museum Director's office is located in a large room in
the rear of the Schoolhouse. The volunteer office and the staff office can easily be
relocated from the Kolb House to this room. It appears that there is sufficient space in
the room for three workstations.
Storage Sheds
T h e re a r e tw o s h e d s I o c a t e d b e h i n d t h e '�''f�,;���°�,��r�`���� �' ��`t'«'����"� f'� ` ''
�� �I�, °�I����I,�,i P� �f4�''�' �����o�il�� ��;,
Schoolhouse, which are used by the Museum for �; ;,
collections, furniture storage and storage of an
antique carriage. °
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, ��,��,:;
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Collections Storage Shed
,��.
•Tables and Chairs - A large portion of the shed is s��;-�f� =�(�_ ��;������
consumed by storage of large tables and miscellaneous - � " �:��"'' '�v;,�
items, such as Christmas decorations. It is recommended '`�' �;,."���'�
� �
that these items be removed to create an increased area m.
for collections storage and for exhibit preparation
workspace.
•Liaht - The shed is devoid of natural light. Generally, the
less light the better for collections care. However, if this
shed is to be used by staff and volunteers to work on collections, it is desirable to
provide some natural light and connection to the outdoors. This can be accomplished
economically and with minimal impact to the collections by installing a set of double
glazed doors in lieu of the existing solid doors. The doors should have high
performance, UV blocking glass and security bars to mitigate thievery. Additionally, a
canvas awning should be installed above the north-facing door opening to block any
direct sunlight from entering the shed.
Carriage Shed
•Additional Storaae - A wood framed addition, located at the west side of the existing
shed, should be constructed to house the furniture and miscellaneous items now
located in the Collections Storage Shed. There is an existing concrete slab on the west
side of the building which can be used as a floor for the addition:
12
Sunday School Barn
•Staqe - The stage would benefit from having a , �
�
stage curtain. 1�t present, there is no separation
between the performance space and the audience - � t�
which limits somE� performance capabilities. -�
A flame retardant stage curtain, hand-drawn across -
�_ ,_
seems appropri�te. Additionally a set of at least
two roll-down backdrop curtains, located at the rear �
stage wall, woulcl add a great deal of flexibility.
•Earess Stair f�lear Staae - The code required
egress stair, located to the side of the stage, is
currently used to store a miscellany of items.
Storage in an ec�ress path, of which this stair is one, is hazardous and against the fire
code. The items in the stairway should be completely removed.
•Sprinkiers - As is the case with all of the other historic structures, the Sunday Schooi
Barn should have a sprinkler system installed, when funding will allow.
•Foundation - The historic building is positioned atop a new, shiny, non-historic concrete
foundation. The appearance of the foundation creates a false sense to the building. A
specific Design FZecommendation will address this concern in a following chapter.
Art Studio / Re�strooms ,� a��
� �4�����u
xt rior of the buildin is attractive and has been �
The e e
9
properly moved and restored. The art studio does not �
need any modifications, � �� ° ��� �
� �
� �
�
•Restrooms - The restrooms should be slightly changed in �
appearance to reflect the historic nature of the building.
Currently, the exterior door leading into the bathroom entry � e �.._ . �
vestibule is kept open during pleasant weather. The view �
from the site into the vestibule reveals a rather modern, � J '� �
out-of-place sce,�e of new doors, new hardware and new ���,, �
trim - actually rat.her incongruous. #�� �
:�.�.
At the very leasl:, the vestibule doors and walls should be ��=��
painted a darker color so as to not appear so new. Better
yet, the doors sl�ould be replaced with panel doors, similar to those found in the Kolb
House and the tr�im should be replaced with more historic looking elements.
•Foundation - T�he historic building is positioned atop a new, non-historic concrete
foundation. The appearance is false. A specific Design Recommendation will address
this concern in a following chapter.
13
The Hay Barn
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•North Wall - It is recommended that large rolling doors be added to the central loft
section of the barn on the north side.
Currently, this side is fairly solidly paneled, which creates some problems and misses
some opportunities. As this side is essentially solid, it provides an opportunity for
teenagers to engage in several activities, free from observation, which are not
appropriate.
Opening up the north side, via doors, creates much greater flexibility for the Hay Barn.
Music performances, which may attract a larger audience than can be accommodated
on the adjacent south lawn, can, with new doors, use the much larger north lawn area.
Opening up both north and south sides of the loft area simultaneously may also provide
greater flexibility for some City program uses.
•Backdrop Curtains - Fire retardant treated canvas curtains, mounted on stage drop
booms can be installed at both the north and south loft openings. The drop booms can
be operated via a simple pulley system and can be locked in play to discourage
vandalism.
•Li htin - The Hay Barn should have additional ; ' ' �'��'�`���` "�w
lighting installed. In addition to general illumination y� �'��` � '� d;y �*° .4�
�,.
of the barn interior, stage lighting would greatly ;�a
enhance performance venues. Stage lighting, if '
designed in a simpler fashion than professional ����� � �=
theatrical lighting, would be reasonably affordable. 3 " ,,� :: �«�°�—�� ,..��;,�� ,
� � s�,�..
•Accessibilitv - Currently, the Hay Barn is not
handicap accessible. The floor of the barn is raised -
from the adjoining grassy areas with a concrete
edge.
A sloping ramp or an electric lift should be installed to gain access to the barn interior.
The electric lift is less desirable, as it adds a foreign looking design element to the
building, requires maintenance, and is subject to vandalism in an outdoor location.
A ramp with a gently sloping side berm of grass appears to be the best and least
intrusive solution. The ramp surface can be concrete or decomposed granite.
14
Cemetery
•C�I"(�t - Previous design plans for the cemetery �+�i���� ¢
include an expansion ofi burial plots and a urn crypt �;�t���
wall, located ac:ross the creek from the existing
cemetery. The crypt wall will also act as a sound '
wali, reducing noise from the adjacent freeway. The �` � � "�
crypt/sound wall should be installed in as lengthy a ,� ������� " ��
fashion as the site will allow - in order to minimize ��"� � � � �'�
�� � t .
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freeway noise. .��� ��,„_�
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•Creek - The previous design calls for a small �� �� �"' `��
pedestrian bridgE� crossing the creek in order to gain � ��� ' �
access to the cemetery expansion area. There : �� ; �'�.:
appears to be a portion of the creek embankment .
which is less steE�p and would allow the construction �� °� .-`�;�� X�;���
of a path leadirig downward to a smali flat area � ��' `
beside the creek. Enhancement and access to the ° - ���� -� ° �� : ��=�����W;
����� � ���
creek should be considered in future plans. ��� „� � ���
,E=� :� ����� _ = a
,�. ���
15
Site Design Recommendations
Design Concerns
The current layout and landscape features of the site are amiss in three important
areas:
•the Kolb Ranch structures and the original site Church and Schoolhouse are
disconnected visually and functionally;
•the Ranch structures appear to have arrived via spaceship from Mars - they appear
completely out of place, compared to the manicured lawn landscaping; and
•there is not a hint of the origins or importance of the site itself to the history of Dublin.
The office complex across Donlon from the Park site is slated to be torn down and
replaced with high-density housing. It is highly likely that the residents and visitors to
this housing complex will fill the Museum parking stalls located on Donlon in front of the
Kolb House - negating the Park and Museum's use of this parking almost entirely.
As a part of the assessment, Synthesis has prepared an alternative site design plan,
which takes into account current conditions (installation of the Ranch structures and
loss of parking), and provides some suggestions which address the three issues stated
above.
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16
An Arbor - Linkin�� the Museum Buildings Together
First, given that the parking along Donion will become functionally useless to the
Museum due to E:xtensive use by the housing complex, it is suggested that the parking
be eliminated in favor of a landscape treatment that will create a much stronger and
more interpretive link between the Schoolhouse/Church area and the Ranch structures.
It is proposed that an arbor, extending from in front of the house to the Church, be
installed in lieu of the asphalt parking lot. The Schoolhouse, the Church, and the Kolb
House are all oriented towards Donlon. A strong design element, such as an arbor or
an esplanade of trees along Donlon will provide a visual spine and a walking path to
connect the two ciisparate portions of the Museum.
An Orchard - Buffering the Ranch Buildings from the Big Lawn
The Kolb Ranch operations historically included a fruit orchard near the House. It is
proposed that an orchard be installed, located to the north of the House and north of the
Hay Barn. With ��losely spaced trees, an orchard, winding around the Ranch structures
will provide a visual separation from the Ranch/Museum area and the large expanse of
urban, non-historic, manicured lawn.
A Fence for Safel:y -Along Dublin Boulevard
It was observed and confirmed by Museum staff that the large lawn a�ea flanking Dublin
Boulevard is selciom used. It is considered dangerous for small children, due to the
excessive speeds of motorists along Dublin Blvd.
A simple solution is proposed - install a low (say 30 inch high) metal fence with vertical
pickets and a solid top rail, along the edge of the lawn area and the adjoining sidewalk.
This low fence w��uld provide some measure of safety by preventing small children from
running out into h�igh speed traffic.
A Fresh Water SG�rin
The original landscape plan for the Park site called for a hardscape fountain, located
near the intersection of Dublin Blvd. and Donlon. A modern, urban looking pool and
fountain does noi: in any way recall or remotely relate to the historic springs that were at
the site. A modern fountain has no historic roots for Dublin.
It is proposed that a more rustic water feature, akin to the fresh water springs from
which the town v�✓as born, be installed. The springs feature can be located next to or
within the Hotel framework at the corner of the Park site. Many landscape instailations
of this concept E:xist - most notably the award-winning mountain stream and ponds
located at Levi's Plaza in San Francisco. Certainly worth considering.
»
Anchor the Site to Its History - Outline the Original Buildings
The Park site, originally contained several historic buildings that formed the origins of
Dublin - most notably the Amador Valley Hotel and the Hansen Brothers Garage. As
now designed, there are absolutely no visual remains or clues that the Park site
contained "the Crossing" buildings.
Although it is possible to recreate these buildings (or at least their facades) on their
original locations within the Park site, this approach is not recommended for several
reasons. First, by building replicas of what once was, but is gone, is to create false
history. The buildings are gone - this is not Disneyland. Secondly, to reconstruct anew
the old buildings significantly diminishes the value and historic importance of the real,
authentic buildings on the site and within the historic district. Third, construction of new,
historically mimicked buildings will cost significant sums of money.
It is proposed that an open, painted steel framework, which outlines the shape and
mass of the Hotel and the Garage be constructed at the original location of these two
buildings. The skeleton structures would act as place markers for the Crossing
buildings. Their appearance would invite investigation of the structures and the story of
the Crossing can be told by interpretive plaques near the frameworks.
Additionally, the frameworks can serve as occasional tent structures, used for Farmer's
Markets, festivals, concerts, special children's events, and other City-sponsored
program events. Canvas tarps can be hung from the horizontal beams of the
frameworks to create tent-like structures.
Improve Site Signage - More signs and better graphics
Currently, there is only a single site orientation sign. It is located well within the site,
near the bathroom building. Many visitors, it was observed, did not discover it and
wa'ndered aimlessly without purpose across the site.
It is proposed that several new signs be installed at entry locations to the site.
Additional signs should be located at strategic pathways and intersections. These new
signs should emphasize the connections between the Ranch buildings and the Church/
Schoolhouse area.
Add a Veqetable Garden
The original site for the Kolb Ranch House has a vegetable garden in the front and to
the side of the house. The site plan indicates the location of a reproduced garden.
�s
Building Design Recommendations
Foundations
The Kolb Ranch House, Hay Barn, Sunday School Barn and Art Studio/Restrooms
structures all sit atop new, exposed concrete foundations. This gives the appearance
that the buiidings have arrived from someplace else via spaceship.
'� '�`�" �� ° ` 0. It is strongly recommended that the exposed
faces of the concre#e foundations be clad in
a material that reflects the original
������ � construction of these buildings prior to their
� :y:, ���`: relocation. Concrete was not likely the
��° ��� "�� � �' original material used, given the era of
' ���� ��� ���� ��'� construction - more likely brick. It is possible
#`� � -2 � that the brick used to define the planting
y.��
�-�.M�` � ��' . beds around the House came from the
� N� ��.;� :, �
����� ���� original foundations of the House.
� _ �.�
� .�� ��a���a ;..:
The Craftsman si:yle of the House dictated that the foundations would be constructed of
a natural materi��l, such as brick or stone. Some photographic research should be
conducted to determine the appropriate material. It is suspected that the bricks
surrounding the r�ouse garden, laid in sawtooth manner, my be the original foundation
bricks for the house.
As a fallback position, the foundations can be painted a dark red color to minimize their
visual presence. This solution should be an interim one, untii naturaf material cladding
can be funded.
�� �'� Additionaily, some plantings
��� �� , ,.
� ��� � �° '° can be installed near the
_
�a,..�. � �
�
���� __ �_ � �" _ .�.. _ ���`'� , foundations of these structures � �
� , . ,.���d �-
` to help hide the non-historic
�.,�� ; looking concrete.
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19
CONSERVATION ASSESSMENT
PROGRAM SURVEY
THE DUBLIN HERITAGE PARK
& MUSEUMS
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Survey Dates:July 22"d& 23�d 2013 �
Surveyor: Niccolo Caldararo
Director and Chief Conservator
Conservation Art Service
Caldararo@aol.com
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
Camp Parks................:..........:...................................34-37
Operations and Condit:ions ..............................................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 Colleci:ions Care Needs...................................75
Exhi b its..............................................................................75-76
Specific Collections...........................................................76-77
Photography & Documents............................................77-81
Textiles...............................................................81-91
Meta Is................................................................84
Glass & Ceramics...........................................................84-85
Paintings & Wor!<s of Art on Paper...................................85
2
Basketry...............................................................85
Wood.................................................................85-86
Skin, Bone & Shell.................................................86
Ston e..................................................................86
Works Needing Attention..........................................86-88
StaffTraining..........................................................................88-89
Bibliography..................................................................89-90
Suppliers......................................................................................90
Gra nts.........................................................................................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 �� 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. `✓irginia 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 accompiished in 1970.
Some regional organizations played a role also, for example, the Amador-Livermore Valley Historical
Society. The centrai 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 est:ablish 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 e�ssential tool to tell the local story in my opinion. The group of buildings on
the site tell that story arid 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 corriputer searches for a staff inember to direct me to San Ramon, but she told
me to make a right turn on it instead o#crossing it. It seems clear that the Heritage Park needs more
visibility. In fact, I woulcl 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
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Map 1 Zoning of Dublin with Camp Parks in center, New housing to east
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 580. Here we have the idea of cross
roads, as these two highways carry on 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 countyjail 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 of the civic center of
the City with the 580 freeway as its southern border. To the west is a now near vacant corporate
office building. The initial impression is of a 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. I will discuss the Park and the buildings in it in more
detail below.
The mission of 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 of the report is on the collections and their use.
The central finding of the onsite study of the Museum was the lack of space for storage, curation
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
5
growing slowly and will continue to do so as Dublin grows. The current collections storage buifding is
also being used to store tables, chairs, and a variety of non-collection materials (see Figure 1). This is
not unusual I have foun�� 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 cc�ncrete 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 buildirig and allow for a dedicated work area for curation and preservation activities.
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Most museums run c�ut 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 Arcl�itect's report, by Mr. Klemm, covers details of only the physica) 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 .
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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 vi�wing 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.
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8
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 was the subject
of the 2004 International Institute for Conservation's Meeting, Modern Art, New Museums in Bilbao,
Spain. The demands of the 215t 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
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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 complet��ly 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 fassociation 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 I�/luseum's approach will most likely be quite different from how many
institutions approach th�� 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 riave 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 endo�Nment is a secondary goal behind the fundraising for construction of a new
museum building or mo��ification of the existing one. Museums like yours that are partly or fully
funded by public entitie�� 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 UNESCO 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 NPS 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
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The use of the Kolb Hc�use (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 tractc�r rides and barn activities are social events well adapted in this regard. The
use of the Kolb House, I��wn 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
probiem in providing ser•vices or in caring for the collection as your staff have overcome this obstacle
(see Figure 7). The location of the Kolb House in regard to the Murray School building and the
collection storage area ��resents 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
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1. Coliection 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 urb�in renewal and development that many large and small museums have taken
in recent years.
Removing thE�tables and chairs as well as ali other non-collection materials and moving
them to the stor�age building to the west after placing a new enclosure on the cement pad
would provide adequate space for study and expansion of the coliections. This would
increase the spa��e 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 8j. But you are making due and using best practices to minimize the usual problems
associated with �� lack of space (Figure 9).
14
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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 conservationj. 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�i conservator's time at a central location. This might be possible for your
institution to join with sc�me 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 to me that the Director is doing the job of at least three
people, and is accompli:�hing a phenomenal job in all. However, I think program demands and
c+�llections 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 accomplishme�nt 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 exarriine objects, photograph them or prepare them for exhibition. The space
problem is central ar�d 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
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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
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4. Staff development.
Your staff is composed of one museum professional and a number of dedicated volunteers with
quite diverse backgr�ounds and talents but little is being invested in stafftraining. The best
managed American c:ompanies, like Proctor and Gamble, General Electric and Intel all invest in
both outside trainin€;, conferences and inside training experiences. There are a number of monthly
online courses in a v.ariety 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 superiorjob in maintaining and
operating the facility, to increase your effectiveness in attracting audiences, investments must be
made in staff development.
18
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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
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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 freE�way 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 th�e Church is a property that is now an office park but will be replaced soon
vvith 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 f'ield, the Donlon Lawn, separates the Church from the Kolb House and along
tl�e front of the House, C�onlon Street is provided with diagonal parking. The House is separated from
±he street by a garden (Figure 13).
20
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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 Cemeterv Book: Cemetery Preservation, Restoration and Recordin�, published by the Georgia
Genealogical Association 1989 wit that by the National Park Service, Essentials for Cemetery
Monument Care, 2009.
21
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The Dublin Lawn runs <�II along Dublin Boulevard and is a considerable expanse of open area. To the
West there is a stage an�� 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. TI-ie Lodi (San Joaquin County Historical Society and Museum) collections of
farm equipment have sirnilar 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 Sunda��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 Restroorns buiiding (Figure 17). This appears to be two buildings joined together or
one extended into a larger function.
22
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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 are 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
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Figure 16 _ __ . .
It appears that most c:uratorial 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 piace 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 we�ll organized exhibits that are oriented to educate people about the use of the
House by the original o�niners. Most of the objects are displayed in ways that reflect the time the
house occupied by the f�3mily. 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 or�;anized and has a computer for the purpose of collections management ar�d
you use Past Perfect for this purpose.
24
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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
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There are no large tables for people to examine documents or art, though I understand the back
uvindow galiery area could be used for that purpose. Lighting in the storage area is good but should be
shielded to reduce UV e:�posure 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 ��re 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 ext«�rnal air poilution is
26
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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
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et al. in 2004, mentioned above looked at building materiai 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 car� act a means of attracting people's interest to get involved and donate to the
preservation of the buil��ing and the bu+lding of period coliections for display and enhancement of the
house as an educationa'I exhibit. �
Staff is also clearly aware of the problems of using the building for public events and have made
every effort to reduce tlie 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
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These materials will be valuable in telling any history of Camp Parks in the future.
31
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Main Museum Building
The Murray Schooi 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 rE�duce 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 �3nd 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 conditionirg strategies (published in
Restaurateur in 1988) triat some museums and archives have introduced to reduce structurai
probiems and energy costs as well as potential damage to coilections.
You have adequate p�irking in the adjacent lot. Loading and unloading objects from vehicles should
be accommodated by p��rking 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 stc�rage should be incorporated with this design, you're your current storage
building is close to the main building and has hard pack walkways. Stora�e should be based on past
experience of new acqu sitions, 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 ancl 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 irripediments. 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 coliections 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 inveritory 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.
�he Hay Barn and Sund��y School Barn
These buildings are not used for storage of museum items, but there are vehicles in them that
could be considered arti�facts (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
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This ends the Executive :�ummary. What follows is a detailed examination of the operations and
condition of the collectic�ns and the facility as specific areas impact collections and exhibits.
Operations and Conditions
Addressing the Public as a Museum in the 215t century
In the 20t" century m�aseums & historical societies faced difficult choices in competition for the
public's attention and recreation dollars. While most museums still maintain a core mission e►ement
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 ofthe 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 ini:rusion 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 ali continuously
restored to the most accurate historical context. Here some of your farm equipment might be
utilized. It may be 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.
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Figure 25
A number of instituti��ns 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 d�� this weli 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 corpc�rations to help them preserve their history and their payments can be as
either clients or as major supporters in exchange for services.
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Figure 26
The Murray School H��use building presents challenges to the exhibit of artifacts similar to those
one finds in most al) 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 ��daptable for students of all ages. In the carriage house the walis 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 voluntE�ers. 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 .�s 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 origina) 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 significa�nt amount.
History demonstrate��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 Francisc:o, just to name a few are largely the creations of the purchases of local
philanthropists. What �eople 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 gr�eat benefit to have a permanent storage space that is not crowded. Most
museums are afflicted v��ith 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 necE�ssity.
A first comment on permanent storage is in order. Placing objects on display in offices, is a
temptation best resistec� or at least controlled so that costs and security are kept in line. Local
museums are often callE�d upon to loan art and artifacts to public buildings, which is an acceptable
use, ifthe objects are or� view and proper installation is designed and there is adequate security. Sut
loans to public buildings for office exhibition is 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 st�ady 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, c�ne 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 c�rganized. Often satellite shows can be installed in public or private buildings
for a fee using objects triat 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 ar-tists, 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 ��vell as damage. Bar codes require exit control monitoring which is too
expensive in most locati��ns, however, radio control labels (or RFIDs) are becoming increasingly
versatile for use with museum collections. Presently they are used to track sales of inerchandise but a
number of institutions ai�e experimenting with RFIDs that could be attached to museum objects like
paintings to act as homirig devices in case of theft using GPS technology.
42
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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 inetal 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
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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 battom of frames rest and are slid in and out to reduce damage to frames, and
foam core sheets or oth�er spacers to protect the faces of the frames. What you have stored does
have padding but more :�pace 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 pius. 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
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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 manuat
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
fragite 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 potentia) 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 t:oday.
Too many are sold as museum carts but are light and easily tipped over.
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Figure 30
Frames should be stoi�ed properly face to face and back to back, and, as mentioned above, have
pieces of cardboard or ather separating hard card between them this should be standard practice for
all frames to protect thE� surfaces of unglazed paintings as weli as the finishes of frames and to
minimize scratches to p�lexi-glass. The same may be said for the ffat storage drawers, you are
replacing acidic contain��rs 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 interieaving 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
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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 outsid�e 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, mo�ant-making and painting. It should have ventilation or at least a PACE Extractor
for minimizing fumes arid 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.
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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 cfearly have carried out the primary goals of the institution.
Significant Points
49
* From the Museum'�� history it is clear that there has been a substantial commitment by members
of the community to m��intain 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. Profession��l associations are important, especially those within the community but with
other museum and arch�ives 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 cc�ntexts, 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 ��vith other agencies and institutions in the area fill out this foundation. Your
activities demonstrate this commitment.
*There is always a neE�d 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 shoulcl 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 effc�rts 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 exhibitic�n 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, staft�loyalty is more valuable and cost effective in the long run. Contractors do
not provide continuity arid 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 inembers 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 b�e moved from one area to another given the current layout of the permanent
lights.
4.Cleaning in general sriould 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 ��ppears to be well done, and in general the Museum presents a very
professional, clean and �rderly condition. It is recognized practice that the first task is to provide an
adequate display protec:tion 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 tlieft. 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 indicai:es 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 yea�r and best if 6 months at a time. This is obviously a costly process and
requires periodic funds 1:o achieve.
6. Cleaning and dust removal in general and dirt removal from floors and on other surfaces should
be carried out with as li�ttle interaction with the objects as possible. Vacuuming can simply re-
circulate particles deper�ding 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. A 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 wliich supervises such staff is important and preventative. Instruction should
focus on cleaning and m�ving of the objects, including selected volunteers. Handling should always be
kept to a minimum. Cle��ning 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 cari 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 micr��climates 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 "weel<end 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 indi��ate 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. Usu,�lly 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 Arenstein 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 yearl,y 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 yo 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 is 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 rriust 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 collecitions. Your collections policy is an excellent one and can be the basis for any
substantial changes you desire.
2. The developmerit 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 �olLections 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 signil=icant 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 act�ievement 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. A�ong with the lorig-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 ;reatest 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 grani: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 o�f 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 rieeds to integrate the Camp Parks materials.
GENERAL IN�ORMATION
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 si:aff inembers, City Council or other governing City staff and Board members
56
for a full 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 rela-
tionship 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 su-ccessful 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.
Ullberg (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.
57
A collections policy puts forth procedures for the acquisition, care, exhibition, storage and
deaccessioning of objec:ts. The deaccessions process, however, is a considerable problem for any
museum as was the to��ic 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 sarrie subject. The book is edited by Miguel Angel Corzo and titled, Mortalitv
Immortalitv?The Le�acy of 20th Centurv 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 i�nost of the museum's curatorial work. But the Museum staff in general is
volunteer, with some vc�lunteers 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 are very dedicated
volunteer museum stafi�. 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 expeci:s. 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 ini:ernet (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 aff'ect collections care in both the availability of volunteers and docents and in
direct funding for oper��tions 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 memberst�ip 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).
58
2.You need to expand and update the curatorial/conservation staff
library, which is essential for a functioning museum. A review of
subscriptions to professional journals is 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
archivat 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 inembers 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:
59
1. groups of items in the collection�
�
2. number of items in e�ach group
3. a quantification of what the use of the collection is, which transtates to how much handling is
concentrated in which ;roups.
4. the specific conditiori of the groups
Then, with the help c�f 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 informatior� 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 t:he 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 riow. 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 sysi:ematic manner to guarantee that all objects are on site and in expected
locations. A general bo��k that has had considerable use in the past and seems more accessible that
any more recent book t� many volunteers as a source of information on the condition of objects in
collections and general museum procedures is Frieda Kay Fall's, Art Obiects: Their Care and
Preservation, a Handbo��k for Museums and Collections. Published by Laurence McGilvery, La Jolla,
Cafifornia, 1973. This bc�ok is out of print now, but can be obtained by rare book sites online. The A.
Bruce MacLeisch book, �rhe Care of Antiques and Historical Collections, 2nd edition of Per E. Guldbeck's
text is available and as useful for volunteers.
Photographs and Docurnents
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. Sucti tapes and other
60
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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
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Daguerreotypes and other early photographic images are fragile and sensitive to environmental
conditions and handlin�;. 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 clocument storage boxes, perhaps in locked cases in temporary storage.
Examination of the entir�e collection of documents should be undertaken for condition.
There is a specific neE�d to care for the maps, and other flat large size objects like posters. Some are
sitting on top of boxes (1=igure 35). Some have interleaving
62
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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
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should not be stored wi�th other documents or art. Information on this is summarized in my article in
Archives et BibliothequE�s de Belgique (1993, republished in the International Journal of Museum
Management and Curatorship, 1994). I am providing a copy of this article for the staff which I will mail
with this report. Storag�e 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 c��re. But there are some with too many objects in one box not only making the
boxes heavy but creatin�;conditions for crushing. Some alleviation of these conditions is in order by
reducing the density of k�oxes (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 arid hopefully will be resolved once that collection is integrated.
64
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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
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Metals
Metal objects are exriibited (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 sc:ratch each other. You are doing this. Some of the less important objects
could be placed in acid-i�ree 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 ch�3nges 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. Deterioratiori 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 inetal, 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 vv+th 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 moisi:ure 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 ,3nd infestation
Bone, Shell and Skin
You have a number of objects of bone, shell or skin, sorrie 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 fr��m 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 fo€;on the glass inside the frame. This is not from your collection but is an
example of what can happen.
68
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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
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Staff Training
Staff members shoulc� 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 arid re-housing and cleaning of objects and basic exhibit cleaning. The
Collections Policy and va�rious 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 Srnithsonian 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. lack 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 Bibtiotheques 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
�
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 Public:ations 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 ar�d 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:J/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 galle�ries 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. '34132.
Sir Sandford Fleming CoPlege, Collections Conservation and Management Program, Sutherland
Campus, Brealey Drive, I�eterborough, Ontario, K9J 7B1 Canada.
Conservation Schools
Conservation and Preservation Studies
Graduate School of Library & Information Science
72
SZ6564/D7000 University of Texas at Austin0
�Austin,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 cor�queror. 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 ethr�ographic 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 AssessmE�nt 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 produ��e are first, studies of the corporate culture of an organization and then an
assessment of the stor:3ge 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 thE�y 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 informa�tion 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 institute�d 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 institutioris 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 �/luseum of Fine Arts, Boston, defines long-range conservation
planning as having four categories of prioritized goals:
1. Stabilization of c��llections
2. Preservation and maintenance of collections
3. Restoration of cc�llections
4. Technical examirration and scientific research
CAP surveys fall into tfie 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
lanie 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 tr�eatment, 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 ��ervices was the first comprehensive survey and produced a "Health Index"
for collections management (full report and Index available at www.herita�ehealthindex.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 tong-i:erm 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 collectin€;, 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 collE�ction, 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 Cons.ervator
76
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pf tftr profession's mosl disiiir-
�uiske�cc�ns�r�•ators ti4•zl!rzppear .
�`'� in ttze farzl:�nsrzing thfxri edizic�r�of
:4iuseum R�gistratinn?viethods,h�.=
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Be2oF�+ W'a`t�ittsor�.
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nicr:l pubti�:z�tiurxs. _ _.���_
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c�:z�Nc�hi.t:zr±�ier�tts t1#e:t a-z���alt,trs�;- � � �� �� � � � �
.si�l�a fn.a�•-rkc��tpre pr��ise..T��-era;�- ondit'zc�n refers to the stai� d�p;artanent is a cF�ec�:pouart in[he
/z�r i�LUr�n>•nruY�«rrzigirr i�ri�i� tif prc,trti�atit�n af an c�bject: traffic nf museum objects,a�laee ''
� ada�rzia�t r�;=�±-�n.r rliat ttr���I�ua- �� 'I'}�a*�tat� r�d�r�:rmin��i bu c�4�hzr�:�il�aspir:FS�of cc�n�litian � �
rz+xz�clefir�ir�r.Ti��t�u atcrssctrc�,�� � �,*I�re�h�su:�unsid�i•atiUn�� �}iaulci be s�bser���d'and u»tlrratc�ad�„��
�ntri-J�r I�irt�rtr€��t� .i•zr����lrgt���ec�a�,rr�e: �'� insec�iiri�t°.�I�mage and�tsfigvre� z�-en i�i3t�-ar�ntst all rcc�rd�Cl.
st���xdu,z� C�a,�:.scYi r,rsia�z,r.:l¢�r�r:c �� m�r�t_�.n crl�j�ct may be insE.ctrr� t'I�e Call rc-�nrd s�F��nTTditian:i��lon��'
:�iillfak��euzrz �c!u nrc,je�,siu>arzl because��F��e�knrya t�f rna�rrial r�r in thc�uratvr's ciussier a�tc±in the '
lrrrrgr.�age. ' constru�tinn br�u�h'ab<7ut b*�ci�- rec�rd5 caf pzriariic�nspecric�ns car-
.'Rr diczrd B��ck'a,cc�zfir x�en€;,.. ��ricrrGrtYC3n c��•mechanicat,2re�s::�. risz3 aux hti thr cc�n±r}-��tor.The�� �
art��r,�e*�r�1*=^��r�lcrnhl��.—,fr�px-�cf- It ma�=�i�d�zn��c.,.t bcrrL�sr d�traz- rnr�r�, cictaxtcd rece�r�s cl°�at�icf,Itnvv-
uct oi r tr/z�.trar�r�j ctza�r�sr;a�i.sliezi �raric�n.has t��cr�mc sa ac2�anced �t er.be arailabl��u regi.strare,a�
es�r�rssn���.I�i�7a��e�rFrar rt'�e � thar.t�i�rc��r�*��ctu:�t i��ses c�r�rup- t:�4 ne�d h�ir infczrr�iation e�r���:ns�di- ��'�� �
printed x�cr.siniz ai"thir t�ri�j rr�4tiise tur��,€ar i[ma� hc daml�ed b�, tiz�n ai•i�rs es�l;enei=�z'ubjrc�TS are tz�
u•i71'�ie arz�tle t3aral-c rea4tii,-sz:a:l- mee3ia�ical ur��itti�ic:�1 crir�lenre e�r l�c:fi�ndted nr arr�ngemeTT�s maci4
ch�rnicaf.;han�e.Einalll>�n ahject �zrr chcia•��hibitic�n,stz�rage z�r shig- ,
able tc�curtrl��rs a�ar!tc�re�isirz�rs_" �� � � I !
� �'rnaz b��ciisti�uesd�i��dirt.stains;; rn�at.F+�r ihis reason in��c�ris��i,� � ' ��
' d�;ealcsred znatsngs,patra-�•�s�or:i- an aspect�iP enndi�ion [hat�s af
€aon�c�r bt darnaee.r�comgreh�n- primarti•concern to a re�issrar.Th�
sst•e d�:scri�tion c�f eendition in• resistrar shouid als�be abfe to
�Iudes thesr��hree aspects. teco�nize aa�d ciesc�ibe rec�nt rrr
T)�c�t•e�i�trar sh��31c�b�familiaz• una•epairrti darnage:(7td 3amn�e,
4k-iCh�:vnditinn exan�ina?ion an�1 hicld�:n ssnd�r restoratians.and
������z�ecnrrl�s�b€iausr��the r��isiratir�n'`� disfigur��cnr are gzs�craL2v"�ttf te�� 'r
IL'CY.�'IGGVST '�.19�$ . ZJ.�.
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71
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seerr7 e��k ic�h�3�cite.pa�s"=.�ular3+
if ther�i�an arm,ta�ard is:-�at(a�r
prr�jeectic�r t��r:�sg,hu:ihz4z��ai•+,
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n�ei�h�r�f�tc�t��ss z�3t�ture be�r�-
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'( "��u �hbxuld�� .he�:cetl th n s f 5< tL ;� �
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fsin�ftairiis�t?cracC�.<,.
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tr.��ir�n e3ca���trnent tr��� a t
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t�° � a,d.�rc tt.ru�p�ro�c rl±:�th� their fr���t�c r�r by usir��=u�her a ,�ixi �
� � rce�c.4�;a.^� sicI�s��e af�c�n;3�t� ,
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s�rl�atierz k.��yirrrn�n *�. �nrti�.ul zrEr ir:�at��°t�ni�lu�partcl� tit�t �r�c���aL�E�oP��[h�encEa:
; Inseeuri2s paint'�n��.Th�fr�e m�mbc�rs aE a il���atti�t;�tic��a an+:t ur��,s{ivhtsn_ t:'=
cradtc mi*_=h[kr�i�,t��3 2�see ti2;as tabl�shaa�lci��ctie3� pa;i�La3.r.L;z
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� r_�t �anlr Cc����-u3rect Cr�nie^s,but �i�,:��r�t
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�ast k�sQeEi i�rtc�r�d.�h�s m��;t��� �� theu�,a�l�s ans����tid a�aj�cas anrl �
� pre�5ure�a�<�insT ch�paintin;.Qri ceramics ug•�:s7t2'e�!`rar studt.lt'ith
c�l�ert�5�mens o�da3rrage_'� chc�tt2�r hand.r��uu�tin�s�ftoni��� th�s�c�aupinent ancf a han�'3�n_��.=
�� �Inse�uritv rt���-k��,the r�4r�it vf a r�e�-�r be sra lciz��se tf�a�t6e�s aa-e
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inauec�uait.Ths fit�f ti�c:�:�in#i�i� tz�ean��ieuaus r3efects.su�h J�
r�!whicl�Ct�e�&�ec�:is m;�de:Fab- ia�zz�thi rat�hei ut the��Et�ar��� � ��
rics.p�Fer,bc�ne,l��tll�r.c=arnishes �� ��:ie��aa�i:r.paint�n�s,c32�:ks� � �
shoulc�he c�e�kerl t���eha*chere spiits in ci��backs o`��c�c,d�>.�.a�,�
� :�n�i alme�st��1 or�anic:rnat�riat4 �� is r:o�dan�ez•af che g3aa�tin=f�2tin � ,
�eisd tz�b�ecanr��,veakera�sd�nvre � � � � �'�%here�t���tisuaTtv appear�tir�r�, �
through thz trainc arxel thac th�thio h�Eore breal�in�thrau�h to the
[�#ttle ia¢ime.and�iiax�glzt�anct s�e�i�c�f'thr r�bbc#is nsai cras�k�� � �rcust},ser�tcfi�s flr d�trts i�metafs,
6reaks are�i�ns o�ihcr be�innir��s fa�'brc�ken.ctrr�atcnin��u�Ive t�ar�, atone and'cerarnics.fnxin�or�gap�r�
��`,t�r��r ruptures. Inse�uritk ma�- Insac�arzL4�rna}�be si� I��the��'' � � �
aIarr result Cram a�,ieakness in con- � �nd sc�forth,a110��hich m�y b�
s��ruciion.,�r�s`ns and`re airs shouid � resutt csf an�E�jeet`s m��eria(��c•� szgns at`ins�curitk ur neu��d�a��a�e. '� .
�' desigr��t32ajeccs n�aci�.�f glass.f`c�r It is ihe function of the reaiscr�a•-
aYtivays�ae e�minec�,repas"red �� e�ampte,are ineti�it�bL�insecu��: � � � �
br�aks are part.xcral�-Ixr vuln�raGle. ta'tnspeei an obje�t uptrn it�arrical
' sa, cr��,ar�c�rarr�ic pi���;s ac�d a�'ths n�useum.'t'i�,is#zrst in�pection'
i�ieehanieat scress;fz��,causes c�#�je��s x�>ith free�sEand'i:tt ete-
� inseaurity.Br�c�wc�ad az�d fa�ric '�� rn�nts°�tflne�b��:cts are�ften �,��� is imperrrane iu vi�.=ur Qf possil�tt
expand ac�d contraet ic rzspnnse tc� sargrisineIy insecure.Ston�is insuranc�claims.,�nather inspL�-
season�l chaages.It is saf�r ta usually t�eavter than car�amonly tinn is artvisable at the tirne an
permit some ma�ement chan cc� object Ieav�s a museum.An oLjeet
thou�ht;a cubic fc�vt of znarbie sho�id haye been care€uliy*ex-
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arix�d,i�:�t ihe reaia�r�r rnaices the �������� ;
fiaat'�heckeo-seett�ac�n+abj�c�'is ��`-. `-`
fit t�t.`ai=�1,tc�be haz�dIe�i bt^'
ac�ot:��r sta�.ta en�tir�another
clamate anei ta rnake a s�i�:retu:rn, �
DT°auings sh�rutd be uispect�d to
�a��hat Erames are sound:thar;tla€ � ��.',:
�aa^.Fin�s are stit�enc�n�t�ta iak�a �
m4der�te accici�nta�blo�v cs�4thout
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bui��ting the glasa: that Yhe baLk is
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s�xcautd b�checked to see Yhat th�Y ; � �
arz se�ure pn ttteir fraiz��s but not � ; ' �
oaunil:�}ra� tl�e s�r�tcher ke�s arz ��
ail�t�escn�anc#fira�rz and none has : � °
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sis•��claer�tick;a�d t}i�t,i`r�r larger ��� �'_ �3
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li�hxl�-t:��+�d be�u�e�n�th�eanc=as � � .'� �
anci'thc cc nt�r esE the mad3le ''
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vi�=ac�r�r�c,E th�s;�a,.-as s�€srsu.°,hip- �
rci��tt.C)c:�siunatt�a rt= 5tr.:r m��` ����. �
c�:��vticr;�ome e�icS�;r;�:��rt ir,s�4*�r-
isti~*ctt gresiausl)'s�c�t�ced.It sia,
,
snL�iaz�r���utians niu�t be ta�en `
4n Cta�1t�ts�dtin���`th�atrjeet_ar it � � �� �
tts tsK r��:�wrt Ea�:t�tiithl'��IC�f'r�rrn a}�P- '�.s s �s�*<- ��rt, sas.trar.�rr��r..«ta,fs.aa ..t,r.�,:e�,t+_�_,;r:�r�z�a�l.�„Irs.
rn�nt.
��iture crr��rft�rrrt�he�nal�heck ,�rirnc,�av be g�n�rallr��diszr�t�u�ed, �he e?cact m�th�d�Iie crwrdin�tes
can:hav�seric3ti�:�ean��quenc�s,rsat in�uhi�h c��c�tks�1a�o�•�"�enerat" af tk�e cfefe�t are measured i�
�nt�F,�r tl�saf�:tk•rt�the csbje�x iar ' �+rill s�a�"�ce.t?ccase�naltv sr�tns o�° hei�ht fv�r¢icat ciistance a�a�=e the
scaie)�ut�€5�Fur ih�mu�eum scars ana�be�e«i•i.a�x3 as 1�e3�s batt�am l�tt'corn�r)and widtl�
sh't��+irs�zh��kaiec�.shauld daenaes� ' ••5catcei°�d��neralEc.".�de��ct {he�rizontai distance Fract�zhe same
rr�cisr.Ix�s s��n�nscrra�c�thai��zitic� ���� ap�e�rzn�zn a�perifi�area c�nI� '� point3,just�a�ane�u�aa�c#ptot a
prcitectian�i�t��fer��b�a an�°un- ` may be t�eaced in terms�sf 8h�. painr.ocz a�rap�.Tiit gcyint caf
c��rc�-rit�r.�i€t�r th�#z��t�h�e'�. desi�r—in the bac�rcreszrd.£or r�:terencc xs al�r?s the brattcsrn lefc
e��j�crs shauld Y����st irc a s:�f� exampt���+r"r�t o�n�ar a fr�ure rr' �titn�r af e�ie stretc�er n�pan�1,
stc�rag�ar�until tk�e�c�rer�adti°ta ' other d�sign fea2ure.It m�v alsc� untess ath�r��7�sg��ified.
fi�put xnEc�Th�ix pae�:in�case�. be Pcrcat��in r�ference ta tEre.eve. Tt3��:�ten�r�f a deEec�xiz�t be
thus keepirts;tT��rn out cr�the�ship- �rm sar;tee oE a fi�ar�.2n:tc�atirtg r�ccrrc3ect ae�tirdin�tn�c�nature,
�sin�raa�iraffic a4 I�n�as a cieEert ix�ternis�eE che c��s�ga�,th� ��gfat.a tz�r,a hale ar a stain c.an
passitale, pozn-t of view n�ust��clear.It is iae z�neasvr�d in#�ct�th�r area.But
usefuS to adcr�Y the h�tat€t�e terms abr��i�n.�rime.cIeasa¢e,c���- ,
Re�eorditeg�mndiYicm� "r�e��r"arset"sir�isier"tu de�i� :tes�.hriCtl�n�ss.dtzt�����asTC3 sc�- y
�'hc m�thad oF re�c�rcting coni3i- nate zhe sub�ec�s ri�hz ar i�fi> f��tkz are�ot easiJy mcasur�rl.a�ad �'
��
" ` tian varaes��razn rnus��m i�mt�e- respecu�eTY as.disiirr�u�s�e�.�r�1n ��ecri�es treusL l���s�d.'�h�.€rtt=
�a�r i�tt szrrn�genc:r��insT€uctions �he uienrer's r���or keEr. l�wi�g s�elt��n�e crE�fic�ae��cti��es ��
are�pp?i�tale tia the'�c�nr�n�t�€the For taeatin�s�e�ecis�n�aintin�s, thac repres�nt arbitrar�tte�rees �.
nates.'�f�re i��need�ar breviiv an agpraximat�s�r arc�iact metfiead has t�e�a used with'success:,"ne�i° r:
and accurae�.Everv attempt sht��3d , can be used.In;L�e ap�raxisnate; �iY�le,."'stzgh�,.."mocfe,r�t�,,, � '
be'm�de�o describe�hrec,attrib- mechact ch�su�at�is divided into "rta�r&ed,:,"`extr�me."I'hu�"slight,>, � :
�t�es of an�d�Fect:its nature„ica rrune zr�nes Iike those aE�tie-��toe for eacample.T�s a€air�v speci#zc
F�re�fio��nsi i�s exterit.4s�e ' fi g u r e.T t s e�e T�s�r i t a�t a t p a s i-' m�a n a s a g becau�e it r�fers iv a dt- ?
����a�'e c�£a:defec�as's�����asY tiu�zs are desig�aied le�tl«eente�arttf" f.ect rsx+�re sericu�s cft�t�"n�gli�ible,'� � �
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mas�t�r rsf"urav5.A€lefecE.ti1�� letzers swch�s TI.,C+ar.�R.tr� ' card�atr�a��omatica�ll�in�.rea��
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warp:tiriin�s vn talari�s;€1c7u�eEs cnts.9���t,ai•hr.Jili. r
�ti�plicae�in three�irna€isannal +�.r+ac:�z espeCiattti a��inE film.;��
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����sc}�ins Trre�u�ar,obtrusive�. � �
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i= €, P P ancE orh�r��mi��.T�n���t in ttip�
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tation isa ag�d films_ �,,zi-�r�„i�e furc�;�ur.derneath tht c€suaIlti�lzas a narroz�agert�re an;i
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��int�atlj��ent cnaC�rials.�i�ten����' � �cxnt�ur and I�,�scrn�i��ti•. ��� lamina.:�rtct tki�atF�.�.vhich usuall� �� �
�nsed by water��sr r�th�r�solvents.�, �iz�ped cteavag�oz���upp#n� �t?�pc ��'� haa a reiative��°ivid�apertuce a:cl��
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iness,cvhiee�r b�ue vrhite,;eaused �=t.���5 oF�aint a�re�re�tz��vith fleacripiic�n c�E�rasEtie patzernn -
��'�y r�ois��re p�n�traEtit�g�,surf�e� paiT�c surf��s�b�nr���nc�i,�l����intc� � rtq�i�s tt comp�ax�oca�uL�r�. � �
' �:�atin�c�f varnish. th�shape c�f''c,�tps.' 'Traction cracic2e An"atliaaear"
Ghecit A rupture in waod alang thc {7bscure,blind.or flat cTeavage A patt�sn�f crackl�prodi;ced b��
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fi�uria�. ' phaus or�v�:n putxerizest state: Hecause mnid requires mbtstur�
�?ent.dig,gn�u�>�1� �defect in e�sil�rsbserved in f�brirs paper' for�rc��th,rnald activity m�!r ezs-
tht stir�ace,,causecl t�y a blaw.A �nd leathes. ��Iii tae arrested by mair�eaining a
tts�t�t�s a sinagle cotaca���tv;a di� ���� efrz-et�r➢c��ment.i:e.,be1QZ����
imgti�s�hax some material has Er�rs[oi� �cte�rac3atic�n of th�in- p�rcerrt xelativ�humiditp�
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te�ial h�as bc�n s�:aoped out;a chip �� ai out�r p�rcio��;in G��seq���'c� �
that matrxial h��be�n brr�ken c�E cteca�.�ml�ritt2�m�n€,abra�ian �ri f�ci uch a pa�r�ari�i te�t l� '
a�vav`. �� �� c�r aQi�ati�rn nf a 4veak i�t�nc3. �
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' chrc�m��and usixaktti�t�ith ch�ina�c'to th�au�hc�3,tt,Textit�s ar�usualkv
11�scolar�afi�a�C�a:�r_�€;:��hr��:. � a hi�teer ra�ue,'a�It�n�e oe hu� , ����-�t�s���r rra�ui�ts.t6a��s.
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rr�m��t�t t�a t1��prr i°aili��sr�n� c�sch��susn�s.:hae-e he�n�+r�+t�cYc�E c;r�:�t�xs af an artif��t��
r�t�cir>ns. Cr�rm li�t�t. pentimenta L`aterall�•.r�perstance
U�s3�ing :�def.�ct'st�:th��tretsher ��ake ��zartic�n rrE�iam�na i�c+- ��� a�faanW�caE raind:in a pai�tin�. '
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81
CONSERVATION ASSESSMENT PROGRAM CAP b Ro er Klemm Dub
Item Subject Page Recommended Action Action Item
. . .
1 Security 5 Reverse the lock on the front door as it has been To be completed 2015
installed with the thumb turn on the exterior and
the keyway on the interior.
2 Restoration 5 Refinish the front exterior door. To be completed 2D15
3 Repairs 5 The joints between the sash members of the Door to be replaced in 2015, origin
motorized side entry door should be doweled and
reglued where possible.
4 Preservation 6 The motorized opener/closer should be removed To be completed 2015
and not replaced as it is the source of the doors
physical problems- permitted in the CA Historical
Building Code as there is an attendant who can
assist with opening the door by hand when
building is in use.
5 Historical Accuracy 6 Black-out shades should be raised while visitors Black out shades are raised (they�
are in the house to provide a sense of interior- when assessor was onsite).
exterior connection consistent with the design of UV film to be installed on Back Por
the craftsman style house. A UV coating should
be applied to the window panes to protect
organic materials while shades are open.
6 Repairs 6 The black out window shades in the entry, living This is a contrary recommendation
and dining rooms are mounted too low on the conservator. Keeping windows clo�
window head trim preventing the windows from collection from pollutants.
opening properly. Shades should be installed at a
higher position on the window head trim.
7 Preservation 6 Window screen sash and metal mesh should be This is a contrary recommendation
reproduced, guided by historic photographs, and conservator. Keeping windows clo<_
installed in all operable windows to allow for air collection from pollutants.
flow without risk of insect intrusion.
Page 1 A
CONSERVATION ASSESSMENT PROGRAM CAP b Ro er Klemm Dub
Item Subject Page Recommended Action Action Item
8 Preservation 7 The glass from the window on the top wall above The glass is original and provides li�
the stairway should be removed to see if the staircase, which was the original in
natural convection ventilation will be improved
throughout the home without degrading historic
accuracies. If ventilation is not improved the glass
can be reinstalled.
9 Historical Accuracy 7 The plexi glass panel on the bookcase is unsightly To be completed 2015
and should be moved from the cabinet and
replaced with a narrow sash wood frame glazed
with clear glass and installed with the frame inset
within the opening of the cabinet (not surface
mounted).
10 Historical Accuracy 7 Wall vent flues should be reinstalled in the dining To be completed 2015
room and kitchen to provide a more authentic
appearance.
11 Historical Accuracy 8 Light switches and electrical receptacles should be To be completed 2015
replaced with new reproduction divides so they
appear authentic. The light switches near the
front door are a good example of the originals.
12 Preservation 8 A wet fire sprinkler system with fully charge Fire detection to be installed 2015.
pressurized water and fast-acting localized Alternatives to sprinklers will be irn
sprinklers is recommended to protect the
structure. Sprinklers can be recessed in ceiling
cups that are covered creating minimal
distractions from historical accuracy.
13 Restoration 8 As the home is essentially fully restored the need Complete.The archive room will re
for the two offices is reduced, both rooms should The volunteer/part time office are�
be converted back to bedrooms recreating the made into a bedroom.
original furnishings to the greatest extent known.
Page 2
CONSERVATION ASSES:SMENT PROGRAM CAP b Ro er Klemm Dub
Item Subject Page Recommended Action Action Item
14 Historical Accuracy 8 The modern foundation should be altered as to This is an aesthetic observation anc
appear more historically accurate- please see the however, staff may investigate me�
building design recommendations section for foundation for consideration in fut
more details. cycle.
. . . . . .
15 Historical Accuracy 9 The TV should be removed and the original alter The TV serves multiple functions ar
should be reproduced. If not possible another hidden to preserve historic view
appropriate alternative shou�d be considered for
display there.
16 Historical Accuracy 9 The confessional booth should be returned to it's The booth is not original to St. Rayi
original location for both historical and cultural yet is located in traditional locatior
reasons and coffee can be prepared in the room Church
behind the altar walf.
17 Preservation 9 A wet fire sprinkler system should also be Fire detection to be installed 2015.
considered to protect the structure. Alternatives to sprinklers will be im
18 Landscaping 9 The City should consider removal of the smaller This is being adressed in the Ceme1
tree on the north side nearest the street and the Master Plan.
larger tree in the same location should be
trimmed in order to increase visibility of the
church from the rest of the ark.
19 Landscaping 9 The area with landscaping on the south side of This is being adressed in the Cemei
the Church yard should be considered for Master Plan.
reconfigurations to relate to the school house on
the opposite side of the yard for potential use for
outdoor events.
20 Landscaping 9 The eucalyptus tree should be removed as it Completed
blocks better landscaping treatment is messy and
is a potential fire hazard.
21 Landscaping 10 New shade trees, fountain, attractive outdoor This is being adressed in the Ceme1
lighting and electrical service would greatly Master Plan.
enhance the appearance and utility for the area.
Page 3
CONSERVATION ASSESSMENT PROGRAM CAP b Ro er Klemm Dub
Item Subject Page Recommended Action Action Item
22 Landscaping 9 The side yard could open out onto and be an This is being adressed in the Cemei
integral part of a paved plaza that connects the Master Plan.
Church and School house creating a visual link
between the two.
.. .
23 Additions 11 Add additional lighting and or overhead displays Suggestion conflicts with intenedec
to encourage viewers to take in the overall space. exhibit to draw attention away froi
24 Reconfiguring/Addition 11 Remove long horizontal display cabinets in the This room is now allocated at the�
S little classroom to increase the flexibility and and Gallery.
functionality of the room. Add storage with
wheels and a reception desk with wheels which
can be move for various uses. Add instant hot
water heater concealed below the sink for
meetings.
25 Reconfiguring 11 Repurpose the Camp Parks Display room which is Complete.This area has been repu
virtually unused to a rotating exhibit room, office viewing the welcome video and dis
or small meeting room. for sale.
26 Preservation 12 Add a fire suppression system to Schoolhouse to Fire detection to be installed 2015.
rotect structure. Alternatives to s rinklers will be irn
27 Reconfiguring 12 Relocate volunteer office and staff office from Completed
Kolb House to the Museum Offices.
. �
28 Reconfiguring 12 Remove storage of tables, miscellaneous items to Table and chairs have been relocat
increase collections storage and exhibit prep
workspace.
29 Additions 12 Natural Light should be accessible for working on This recommendation differs from
collections. Double glazed doors should replace Conservation report. Staff is follow
the current solid doors. UV blocking glass to Conservation report.
prevent deterioration and security bars should be
installed for security.
Page 4
CONSERVATION ASSESSMENT PROGRAM CAP b Ro er Klemm Dub
Item Subject Page Recommended Action Action Item
30 Additions 12 A wood framed storage shed should be Table and chairs have been relocat
constructed to house the items removed from the
collections storage shed. The area where an
existing concrete slab is on the west side of the
building is recommended for this space.
. . . .
31 Additions 13 Add a hand drawn stage curtain and two roll- This is a Black Box Theater.A curta
down backdrop curtains to the rear stage wall in be appropriate.
order to offer more flexibility of use.
32 Reconfiguring 13 The items in the stairway should be removed. There are no moveable items in th�
33 Preservation 13 Add a fire suppression system to Sunday School Fire detection to be installed 2015.
Barn to protect structure. Alternatives to sprinklers will be in�
34 Historical Accuracy 13 The modern foundation should be altered as to This is an aesthetic observation an�
appear more historically accurate- please see the however, staff may investigate me
building design recommendations section for foundation for consideration in fut
more details. cycle.
� . .
35 Reconfiguring 13 Vestibule doors and walls in the restroom should Recommendations for bathroom s1
be painted a darker color in order to not appear within the assessor's purview.
so new. House and trim should be replaced with
more historic looking elements. The doors should
be replaced with panel style doors like the Kolb
House.
36 Additions 14 Large rolling doors should be added to the north To be considered under buifding u�
side of the barn for visibility and more flexibility Master Plan. Currently the Hay Bai
for performances in which the lawn can be used for occupancy
for overflow.
37 Additions 14 Fire retardant curtains at both north and south This is not historically accurate.
ends of the loft openings.
38 Additions 14 More lighting should be installed including stage This structure is ot coded for this t�
lighting to enhance performance value.
Page 5
CONSERVATION ASSESSMENT PROGRAM CAP b Ro er Klemm Dub
Item Subject Page Recommended Action Action Item
39 Additions 14 Make handicap accessible using a sloping ramp of To be considered under building us
concrete or decomposed granite. Master Plan. Currently the Hay Bai
foroccupancy
40 Additions 15 A sound wall should be installed to minimize This is being adressed in the Cemei
freeway noise. Master Plan.
41 Additions 15 Consider constructions of a path along the creek This is being adressed in the Ceme1
bed to the embankment beside the creek. Master Plan.
� - . . . .
42 Recommendation 17 Build and arbor extending from the front of the This is being adressed in the Ceme1
house to the Church in lieu of the parking lot or Master Plan.
an esplanade of trees along Donlon to provide a
walking path to connect the two portions of the
Museum.
43 Recommendation 17 Install and orchard north of the house and hay To be considered in future park M�
barn as Kolb Ranch historically included a fruit revision.
orchard near the house.
44 Recommendation 17 Install a low metal fence with vertical pickets and To be considered in future park M�
a solid top rail to provide separation of the lawn revision.
and busy road.
45 Recommendation 17 A rustic water feature which brings the history of To be considered in future park M�
the fresh water springs should be installed instead revision.
of a more modern fountain and pool.
46 Recommendation 18 A simple painted steel framework which outlines To be considered in future park M�
the shape and mass of the hotel and garage can revision.
be constructed at the original location of the two
buildings to act as place markers for the Crossings
buildings.
47 Recommendation 18 Several new signs should be installed at entry To be completed in 2015
locations to the site as well as at strategic
pathways and interactions emphasizing
connections between the Ranch buildings and the
Church Schoolhouse area.
47 Recommendation 18 Add a vegetable garden. Complete.
Page 6
CONSERVATION ASSESSMENT PROGRAM CAP b Niccolo Caldararo Dut
Item Subject Page Recommended Action Action Item
1 Marketing 4 Increase visability with signage leading to park In progress.
from freeways and information at all City
Buildings
2 Storage 6 Create storage space for tables/chairs on Space has been allocated in "Stora
14 concrete slab next to current storage area in strictly for coltections.
order to create dedicated curation and
preservation space (pg6) and for study and
expansion of the collections (pg14).
3 Preservation/ 7 Kolb house does not have an effective air Air Conditioning is not an issue. Th
Conservation 9 conditioning system. Collections should be is kept within archival range.
relocated, replaced with reproductions or
construction of new building/expansion of
existing building (pg7). May be more financially
effective to modify current system to make a
more stable environment (pg 9).
4 Marketing 13 Should use website to highlight objects from the California Digital Archives contain�
collection including letters, furnishings and the collection.
exhibits which can attract more historical objects, This can be also considered for ob
documents and photographs for donation. collection, depending on available
budget resources.
5 Preservation/ 15 Creation of long term preservation/conservation Staff will be pursuing an intern wit
Conservation plan. This should list areas of concern by two years to write this plan.
identifying objects in the collection that are most
fragile and in need special care or restoration.
6 Conservation 15 No established relationship with conservators. Ongoing. This observation is not cc
16 Seek local conservator who can become a has a relationship with Niccolo Cal
resource and is familiar with the collection (pg Getty Conservation Institute. This
15), consider joint agreement with other small addressed under the Emergency P
local museums (pg 16). Plan.
Page 1
CONSERVATION ASSESSMENT PROGRAM CAP b Niccolo Caldararo Duk
Item Subject Page Recommended Action Action Item
7 Staffing 16 Collections Care Specialist is needed due to The report states the collections a
program demands and required care. care and condition.The recommer
specific classificaitons is not in the
assessor as he did not examine thE
organizational structure.
S Cataloging 17 Backlog of storage f.or Camp Parks items. A Storage will be included in Camp P
permanent place for Camp Parks Collection Center exhibit design.
should be determined, cataloguing and condition Exhibit location has been identifie�
reports should be completed. with Camp Parks.
Cataloguing is complete.
Condition reports in progress.
9 Training 18 Museum should develop and implement a staff Ongoing. Staff has attended servei
education and training program. Use of websites training 14-15
like Conservation Online could be effective
resources for development.
10 Preservation/ 22 The Hay Barn is an partially open structure that Tractor and wagon is in covered, �n
Conservation contains historic wagons and farm machinery. area and inspected regularly by th�
How each of these objects is weathering should Volunteer.
be examined.
11 Security 23 The configuration of the Kolb House and Murray Office has been reconfigured and �
School House allows visitors to gain access to the access restroom.
public bathrooms into the office space
compromising security. A security camera
pointed at the bathroom is recommended.
12 Preservation/ 24 The use of more effective barriers and floor The rooms have barriers.They wei
Conservation covers are recommended especially where fragile when the assesors visited so they I
objects are exhibited such china as in figure 18. to the collection.
Page 2
CONSERVATION ASSESSMENT PROGRAM CAP b Niccolo Caldararo Duk
Item Subject Page Recommended Action Action Item
13 Preservation/ 26 Lighting should be shielded using UV Blocking film UV lighting film will be installed or
Conservation to reduce UV exposure. Lights should be kept off porch.
when no one is in the area. Also,there is Blinds are lowered when no one is
inadequate lighting in the smali collections Lights are motion activated and of
storage building- rolling lights may be an is present.
inexpensive solution. Lighting in storage building is adeq
14 Preservation/ 27 Airflow may need adjustments to prevent Based on the size of the collection
Conservation microenvironments and air pollution. Partial air of new acquisitions the current 3-(
conditioning system may not adequately move air building has adequate space to qu
through the building and storage.
15 Preservation/ 28 Some of the carpets in the Kolb house are original Original carpet only exist in the up
Conservation and an effort needs to be taken to protect them located behind ropes
from wear due to foot traffic and cleaning.
16 Collections 29 Camp Parks Collection ownership and relation to Ownership is clear and outiined ir�
the Museum needs to be defined. If kept at the agreement. It is owned by Army ai
Library new storage furniture should be acquired. permanent loan to the City.
Library storage no longer an issue.
addressed in Camp Parks Military i
design.
17 Heating/Cooling 32 Addition of insulation in the ceiling and walls can The temperature is kept within arc
Buildings 33 help reduce heating and cooling. As well as the both the Kolb House and the Murr
addition of dual pained windows (pg 32). The Schoolhouse.
current HVAC unit seems inadequate for the level
of control needed for the space (pg 33).
18 Preservation/Conservat 33 UV absorbing film should be used on the windows UV lighting film will be installed or
ion of the Kolb House or curtains to help preserve porch.
wall coverings and other organic materials such as Blinds are lowered when no one is
wood furniture. The way the house is oriented, the
sunlight with the exceptino of the
Page 3
CONSERVATION ASSESSMENT PROGRAM CAP b Niccolo Caldararo Duk
Item Subject Page Recommended Action Action Item
19 Preservation/ 33 Unbalanced lighting, heating and cooling is an The temperature is kept within arc
Conservation 34 energy liability and can be a danger to the both the Kolb House and the Murr
collections. An audit is recommended in order to Schoolhouse.
determine the needs of the collections (pg 33).
An option to reduce changes in the Murray School
House is a foyer but it would limit installation
space (pg34).
20 Safety 34 Historic items in the Hay Barn and Sunday School The only historic items are in the c
Barn are left unmonitored. Should consider are bolted down.
installing lights that are motion activated or Hay Barn if fully lighted at night.
installing video surveillance.
21 Work Areas 34 Create a dedicated area for packaging/receiving, Based on the size of the collection
conatinment as well as a dedicated area for study of new acquisitions the current 3-1
in both the Murray School House and Kolb House. building has adequate space to qu
22 Collections 37 Expansion of museum audience/appeal: Local Ongoing.The Museum Director ac
38 interests such as ecology, environment, and methods of keeping exibit and intE
39 expansion of the museum's mission could help techniques diverse and relevant. �
produce a comprehensive cultural and assessor's concpets are in line witt
educational institution. Including items such as : approach to interpretive design. F�
Native American & Pioneer Agriculture and Art addition of the garden provides ha
(pg 37) a Botanical Center,Wildlife Information, into pioneer agricultural methods.
and Technology(pg 38), provide stories by the current collections are based c
families who have supplied artifact, linking history the Fallon family and the Kolb Farr
to industry and settlement(pg 39). tour has been produced to highligl
and environmental history.The go
has been a popular actiity that en€
audience in the history of the gold
not included in the permanent col
Page 4
CONSERVATION ASSESS�MENT PROGRAM CAP b Niccolo Caldararo Dut
Item Subject Page Recommended Action Action Item
23 Preservation/ 40 Plexi glass can be used to prevent theft and Theft has not been a problem as v
Conservation vandalism but limits access for educational always accompanied through Kolb
purposes, changes the scene and can produce
micro-environments for air flow.
24 Preservation/ 41 Use of a case for artifacts can be protective Reproduction documents ore on d
Conservation depending on case materials and lighting. for very short terms. Originals are
Another consideration is replacing documents and and acid free containers
objects with reproductions.
25 Preservation/ 41 We should record light levels, temperature and Staff will be pursuing an intern wit
Conservation humidity in the galleries regularly. Some HVAC two years to write a conservation/
allows auto monitoring and gives warnings for plan. It will incfude research monit
dramatic changes. Rotation of costumes is equipment.
suggested on a regular basis.
26 Preservation/ 41 There should be an emergency generator on site This will be evaluated in the Emer�
Conservation in order to prepare for any disasters, as well as
review of our emergency plan.
27 Cataloging 42 To prevent theft,any institutions are Theft has not been a problem as v
experimenting with Radio Frequency Devices- always accompanied through Kolb
RFIDs which can be attached to museum objects artifacts are secured.
to act as homing devices using GPS technology.
28 Collections 43 There is a need for a designated quarantine area Based on the size of the collection
49 for observation of procured items(page 43) and of new acquisitions the current 3-f
for shipments sent by mail to be held until their building has adequate space to qu
safety is established (pg 49).
29 Storage 43 Textile storage is crowded, once table is gone and Space has been allocated in "Stora
other non-collection items are moved there will strictly for collections.
be more space to accommodate reordering.
Page 5
CONSERVATION ASSESSMENT PROGRAM CAP b Niccolo Caldararo Duk
Item Subject Page Recommended Action Action Item
30 Storage 44 The storage of the framed and non framed works Staff to complete 2015
46 is to dense, area should be expanded by 50%.
Also there should be padding to bins and floors
where the frames rest and foam core or
cardboard sheets between to serve as spacers.
There should be several tables,to examine works
and for framing/unframing(pg44). Frames should
be stored face to face or back to back (pg46).
31 Storage 45 Several rolling carts should be available in storage Staff to purchase 2015
for transport from room to room for delicate
items.
32 Storage 46 Paper items in flat storage drawers should be To be implemented by volunteers.
47 separated by acid-free paper or glassine to reduce
damage (pg46). Some posters and drawings are
not in acid free folders and some photos have
been placed in folders that are too dense or
without folders or sleeves for protection. More
flat files are needed for the future.
33 Storage 48 An exhibit Tech's workshop is needed for any Any exhibit and painting of this na
museum in which the space can be used for safely perfromed at the copr yard
various exhibit needs. There should be some sort outfited with vents and extractors
of ventilation or PACE extractor to keep fumes
and particulate out of the museum.
Page 6