http://www.cnr.it/ontology/cnr/individuo/prodotto/ID198932

Long-term hygro-mechanical monitoring of wooden objects of art (woa): a tool for preventive conservation (Contributo in atti di convegno)

Type

Contributo in atti di convegno (Classe)
Prodotto della ricerca (Classe)

Label

Long-term hygro-mechanical monitoring of wooden objects of art (woa): a tool for preventive conservation (Contributo in atti di convegno) (literal)

Anno

2012-01-01T00:00:00+01:00 (literal)

Alternative label

Ottaviano Allegretti; Matteo De Vincenzi; Paolo Dionisi Vici (2012)
Long-term hygro-mechanical monitoring of wooden objects of art (woa): a tool for preventive conservation
in 5th International Congress "Science and Technology for the Safeguard of Cultural Heritage in the Mediterranean Basin", Istanbul, 22-25 november 2011
(literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#autori

Ottaviano Allegretti; Matteo De Vincenzi; Paolo Dionisi Vici (literal)

Pagina inizio

79 (literal)

Pagina fine

84 (literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#titoloVolume

\" Proceeding of 5th International Congress \"Science and Technology for the Safeguard of Cultural Heritage in the Mediterranean Basin\". Vol III Diagnostics and Restoration (2nd part) (literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#numeroVolume

III (literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#pagineTotali

6 (literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#affiliazioni

CNR-IVALSA San Michele all'Adige; CNR-IBIMET Sassari; The Metropolitan Museum of Art New York (literal)

Titolo

Long-term hygro-mechanical monitoring of wooden objects of art (woa): a tool for preventive conservation (literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#isbn

978-88-905639-8-0 (literal)

Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#curatoriVolume

Angelo Ferrari (literal)

Abstract

Various monitoring campaigns on wooden objects have been conducted for many years. In some studies the monitoring was limited, for longer or shorter periods, to air Temperature and Relative Humidity logging, which can show if extreme values and rates of variation occur. In other cases mechanical monitoring was combined with microclimatic logging, which provides quantitative information directly related to the microclimate; these data are useful to validate mathematical models that eventually may predict the long-term behaviour of the objects. Although the quality of the information obtainable by combined mechanical-hygrothermal monitoring is more directly usable, due to the actual physical-mechanical response to the microclimate, while using simply logged microclimatic data it is possible to formulate a statistical analysis aimed at defining microclimate variance, obtaining a very efficient schematization of the greater or lesser stability of the climate according to the presumed lower or higher sensitivity of the artifact under consideration. Museums all over the world are engaged in lively discussions regarding the long-term conservation of works of art made out of hygroscopic materials, which are sensitive to microclimate fluctuations, that can be a potential cause of damage. The current preventive approach is based on trying to keep the climate as stable as possible around standard values, with strict fluctuation ranges usually defined as 20ºC +/-2 and 50% RH +/-5. There is considerable pressure in favor of widening the allowable ranges, for different reasons not necessarily connected to the welfare of the objects. Although we have long-term evidence of the generally positive effects of a microclimate within the standard range of allowable fluctuations, we lack experimental data regarding the effects under broader ranges. Wooden works of art are useful in representing the complexity of possible reactions. Due to the specificity of each artwork, both from its structural point of view and from its previous microclimatic history (for the most part totally unknown), the analysis of an artifact's response to short- and long-term variations can supply useful information about its \"individual\" sensitivity to the exhibition microclimate, suggesting the adoption of more or less rigid parameters. The aim of this paper is to demonstrate how delicate the widening of allowable ranges is and how misleading a generalized approach can be, while the eventual choices of standards relaxation should be based on careful analysis of the long-term response of the objects (literal)

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