Introduction

Incorrect temperature: Saving KIK-IRPA’s photographic collection by SOS Negatives and NE-ORG

5Until the end of the 1990s, KIK-IRPA regarded its collection of negatives mainly as a tool in the production of positive prints. Photographic negatives were stored in such a way that user comfort was paramount. The supports were preserved in separate boxes according to size: glass plates, cellulose nitrate sheet films, and the more stable cellulose(tri)acetate and polyester negatives were mixed. The storage space was conditioned at around 20 ° C with an RH of 50%. Although common in paper archival contexts, such conditions are far from ideal for photographic supports and foster the decline of the nitrate supports. In 2011 it was discovered by chance that some of the nitrate films in the storage were in an advanced state of degradation: the negatives had become sticky and in most cases the image had become completely unusable. In addition, the deterioration increased rapidly: complete boxes of 50 negatives were affected by nitrate decay in less than 48 hours, without necessarily showing previous signs of damage. Urgent action was needed to prevent worse.

8Preventive conservation is more than just intervening on climate and packaging. It also implies a correct handling of the material. Indeed, most of additional damage on the negatives was due to improper use and bad handling: fingerprints, scratches, etc. Where the negative had been touched, often mould damage was observed. Also, chemical damage was found to have been induced by incorrect use of markers and inks.

9These circumstances lead to the creation of the digitization lab at the urgent request of Hilke Arijs. The staff was instructed in the correct preservation, handling, transport, cleaning, packaging and storage of audiovisual collections, in particular photographic negatives. A structured workflow was designed for the processing of negatives during their digitization, from storage to digitization: in this way a systematic handling, cleaning and packing protocol has been implemented.

10After a few years, constant feedback during the working process and the discovery of very badly damaged negatives indicated the serious problem of climate. The “cold storage” project – initially suggested by Hilke Arijs – emerged again and made it possible to evaluate the measures and actions previously taken during the “SOS Negatives” campaign and in everyday collection management. As the process of decay was observed to be still ongoing on a part of the previously treated collection of negatives, Elodie De Zutter (digit) and Laura Debry (preventive conservation unit) worked together to update the collection analysis and rethink the climate and the physical organization of the space.

11In order to considerably slow down the chemical degradation processes inherent to photographic materials (cellulose nitrate and cellulose acetate), the implementation of a cold storage system appeared to be essential. The collection of negatives not only suffers serious conservation problems, it is also confronted with a problem of storage space in certain areas of the current deposit room. It seemed only logical to attack both problems simultaneously by planning a global review of the storage space using the RE - ORG methodology: in 2017, the “NE -ORG: RE - ORG Negatives” project was born.

12The objective of this project was to review the spatial organization of the KIK-IRPA negative repository. The different theoretical options for the physical reorganization of the repository were defined in function of the global or partial cooling of the negative storage. Balancing the advantages and disadvantages of different options whilst paying particular attention to fire safety, it will finally enable stakeholders (the Preventive Conservation Unit, but also the digitization team, the direction, the technical service and the “Régie des Bâtiments”) and management to choose the solution that best fits the needs and means of the institution.

13By actively focusing on finding compromises between preservation standards, practice and sensitizing the staff to their own role in the conservation of our photographic heritage, we were able to safeguard an important part of our collection with modest means. Those projects are therefore an example that active and immediate intervention with available resources is indeed feasible, even in the case of a large collection. Now is the time to work on long term and extensive solutions for the risk mitigation of the entire negatives collection. In close collaboration with all the stakeholders, a structural and more permanent solution will be worked out.

Incorrect relative humidity: A big project to solve a big problem with big objects

15Degradation in heritage collections due to inadequate relative humidity (RH) can be physical, biological or chemical, depending entirely on the material properties of the objects. (1) Physically: any object made of materials containing a variable percentage of residual moisture will undoubtedly react to the amount of water present in the surrounding air in order to reach a hygroscopic equilibrium with its environment. In other words, the materials absorb and release moisture depending on humidity changes in the environment, and the variation of their moisture content causes a variation in their dimensions and mechanical stress. Objects composed of hygroscopic organic materials such as wood, leather, vegetal fibres or ivory, are therefore very sensitive to inadequate RH. (2) Chemically: humid air can generate corrosion on metal and other non-hygroscopic inorganic materials. A high RH accelerates also the chemical effects of UV rays on organic materials such as textiles, causing faster fading. (3) Biologically: excessive RH promotes the development of biological activity. The speed with which biological activity evolves also depends on the temperature and the culture medium.

16To clarify this third type of degradation – biological attack – we describe below a specific part of a large and long-term project that started in 2012 and was completed only in 2018.

17In 2012, the Preventive Conservation Unit was contacted by Train World Heritage - Railway History & Research, run by the National Railway Company of Belgium (NMBS / SNCB-Holding). Six historic carriages, owned by the Holding, were then stored in a semi-open work depot in Brussels [fig. 1-2]. A few years before, this depot had been declared unsafe and unusable by the fire brigade, as a result of which the heating and the lighting had been shut off and all work teams disappeared from the building. Further maintenance on the building and the rolling stock collection inside as well as visual inspections and controls were completely stopped. For fear of vandalism, the entrance doors of the six historic train carriages were completely locked so that unauthorized persons could not penetrate these valuable trains.

18The six carriages were specially equipped for the royal journeys of Belgian kings. Carriages A1, A2 and B1 belonged to the royal train of King Leopold II and King Albert I and were built in 1901, 1905 and 1912. Carriage B1 was only manufactured in 1912 and was therefore only used by King Albert I. It consists of a luxurious salon, a small dining room, a kitchen, a storage room, a cloakroom and a toilet. The two other coaches are a salon and sleeper coach, and a conference and dining coach. The other three carriages 1, 2 and 3 were part of the royal train of King Leopold III and King Baudouin I. They were constructed in 1939 and are a salon coach, a sleeper coach and a conference- and dining coach. The interiors of all train coaches are particularly rich and have a particularly high national heritage value. These train coaches constitute a very complex type of heritage: large objects (railway coaches) containing small, often difficult-to-access object parts (compartments), with a multitude of different types of materials (wood, marquetry, paintings, textiles, glass, ceramic materials, metal, linoleum, plastic, Bakelite, rubber etc.). Today, two of the six royal carriages can be admired in the brand-new Train World Museum in Schaerbeek. But their way from the depot to this exceptional museum was difficult and long…

19A few years before the construction and opening of Train World, the train carriages and works of art to be exhibited had to be selected by the Train World Heritage team. When the doors of the hermetically sealed royal carriages were opened, in the depot in Brussels, the interiors of all 6 carriages turned out to be completely covered with mould [fig. 3].

20The main reasons for the explosion of mould were:

• poorly equipped storage location: depot with concrete decay, holes and leaks in the roof (raining inside), no electricity, no heating;

• high relative humidity levels in the depot (with an average of around 72%, fig. 4] during at least the whole winter period, because of snow and rain inside;

• low temperatures in the depot (with an average of around 10°C, fig. 4] during the same winter period in the absence of a functional heating system;

• no regular visual inspections by the staff because the entire building had been declared unsafe by the fire brigade;

• no light inside the carriages owing to the turning off of the electricity in the depot;

• out of fear of theft and vandalism, extreme locking/sealing of the carriage doors and windows: no air circulation, no ventilation, no regular visual inspections;

• many microclimates with high RH-levels (above 85%) inside the carriages in difficult-to-access locations (mattresses, carpets, toilets, kitchen furniture…);

• old “dirt” (like grease stains) and severe dust deposition acting as a substrate for mould.

21The exponential mould growth had to be stopped immediately. In 2013, KIK-IRPA started an initial emergency intervention in which air circulation was created inside the trains. The compartment doors and the small swing windows were opened. Alongside providing ventilation, the relative humidity (RH) in the carriages also had to be lowered to below 60%, a critical limit for mould growth.

22Dehumidification with strict climate control was done in collaboration with the external firm BEPA (via public tender). Given the long-term exposure of the interior elements to a humid climate (around 72% RH), the dehumidification had to be set up with caution. The RH had to be lowered by no more than of 3% per 24 hours, to allow the climate-sensitive materials and objects in the coaches the time to adjust. The RH was gradually decreased from 73.5% to 53% over a span of 30 days. 53% RH was decided as the setting point and this average value was chosen since this would reduce the risk of mechanical damage to the most vulnerable textile materials, veneer, modern materials, etc... First, the dehumidifiers were set up to lower the RH value by 3% every four days. From 60% onwards, the RH fell by 1.5% every four days. On reaching the target value of 53% RH, ventilation and a constant air flow maintained the 53% level.

25KIK-IRPA made detailed condition reports for each carriage and compartment. These reports showed the degree and the location of the mould attack and provided a clear picture of the degree of contamination.

27The firm Helicon Conservation Support ltd., specialized in preventive conservation and calamities, was allocated the contract to mechanically remove the mould in all the carriages. The same method was systematically used for the six carriages: from top to bottom (from the ceiling to the floor), compartment by compartment and especially in the direction of the ventilation flow of the dehumidifiers. Helicon staff worked wearing full protection, equipped with a museum vacuum cleaner with HEPA filter, a small bristle brush and a microfibre cloth. They cleaned the same surface several times and in various directions.

28Modern materials such as linoleum, plastic, Bakelite and rubber were dry cleaned or cleaned with demineralized water. Hard materials such as metal, glass and ceramic materials were disinfected with alcohol. Difficult to reach places such as behind ventilation grilles and heating elements were disinfected using an alcohol mist. The practical work in the carriages lasted six months, of which one month of preparatory work and one carriage every two to three weeks.

29Towards the end of the project, KIK-IRPA prepared an extensive advisory report in which we described the general collection requirements. We drew up a list of collection requirements, based on the most significant risks and hazards. Everything was defined: at the level of the location, the building, the storage space, the carriages themselves, and the conservation policy. With the ten agents in the backs of our minds, we succeeded in defining general collection requirements, and action points for the long-term preservation of the carriages. Climate, ventilation, contamination, light, maintenance, inspection and safety were covered. A maintenance and inspection plan was also delivered. A better future preservation of the carriages primarily relies on the employees of Train World. Through regular inspections, calamities and damage to materials can be prevented. Special attention is also be given to a future Integrated Pest Management plan.

Pests: How to manage them in the context of KIK-IRPA’s workflow?

32The results of the survey were used to define the specificities of the institute. Two kind of collections were identified: those that are owned and stored within the institute (archives, negatives, historical furniture) and the others coming from private or public collections that enter the building for specific study and/or restoration. This second case raised specific issues: where information provided by the owners concerning the object conservation conditions is insufficient to decide whether or not the objects should be allowed to enter the KIK-IRPA building or where their current state represents too great a risk (for example if actively infested). Furthermore, the fact that KIK-IRPA proposes multiple services means that, in the process of documenting, analysing and treatment, artworks generally transit via different work spaces within the institution and the risk of spreading an infestation, if not detected beforehand, is therefore significant.

34By setting traps and monitoring the trapped insects and rodents, we get a better picture of the pest population already present within the building. The whole staff plays an important role in this monitoring work: whenever they detect an insect or an animal in the building, they hand it over or report it to the preventive conservation unit with the capture information (where, who, when). These data are registered in a summary table.

Light, UV and IR: Past and future lighting for the Mechelen Enclosed Gardens

38Lighting conditions for heritage objects is a painful dilemma: light is a prerequisite for admiring works of art, but at the same time causes cumulative and irreversible damage. Light is a form of radiation. Three types of radiation are usually distinguished based on their wavelength: visible light (380-740 nm), ultraviolet radiation (UV, 10 - 400 nm) and infrared radiation (IR, 700 nm - 1 mm). In principle, only visible light is needed to observe objects, but depending on the source, UV and IR radiation can co-occur. UV radiation has the highest energy and therefore the highest potential to induce chemical degradation reactions. IR radiation has lower energy and results in the heating-up of surfaces. Examples of damage phenomena related to irradiation are discoloration and fading of pigments and dyes, and the weakening and yellowing of textile and paper fibres.

40Dye analysis was performed on small samples of the historical textile fragments, using HighPerformance Liquid Chromatography with Diode Array Detector. The blue dye was identified as indigo (Indigofera or Polygonum sp.) or dyer’s woad (Isatis tinctoria L.), while the green dye was a mixture of indigo or woad and yellow weed (Reseda luteola L.). Other dyes present were the red dyes Caesalpinia sp. and dyer’s madder (Rubia tinctorum L.).

41Past light exposure was estimated based on colorimetric measurements on the front and reverse sides of 11 fragments: blue coloured grapes and green coloured wine leaves. The measurements were performed with a portable colorimeter with a 4 mm aperture, a spectral range of 400 - 700 nm and a 20 nm resolution (BYK Gardner Colour-Guide 45/0 - 6807, Geretsried, Germany). A standardized light source was selected that simulates natural daylight in Northern and Western Europe (D65). A 10° standard observer modus was selected. To take into account possible gloss difference due to fibre direction, two different orientations were used for each measuring point: parallel and perpendicular to the fibre direction. At least 4 different measurements were performed on each fragment.

42Colour values were registered as L* - ,  a*-  and b*-values (CIELAB-system), from which the colour change ΔE76* is calculated as:

43For the blue fragments, the average ΔE* –  value is 15.0 ± 4.0, for the green fragments, an average ΔE* – value of 13.7 ± 2.5 was obtained. These ΔE* – values give a valuable indication as to the colorant degradation, though one should keep in mind that: (1) the fading of colorants is dependent on different factors. Apart from the intensity and the irradiation spectrum, the discoloration also depends on the colorant concentrations, the use of mordants etc.; (2) the analysed fragments were measured after mechanical dry cleaning. Despite this, remaining dust on the textile fibre can influence the result; (3) the textile fibres themselves could be discoloured due to ageing.

48Translating the results of this extensive study to daily museum practice, the Court of Busleyden museum was recommended to keep future light levels for the Enclosed Gardens as low as possible and the illumination limited in time. For the most light-sensitive materials  –  silk, parchment and paper  – , a maximum of 50 lux was to be established, avoiding all UV-radiance, with a maximum exposure of 10 µW/lm. Introducing a lighting plan can be an option to illuminate different objects during a restricted time, taking care not to induce uneven light damage on the objects. Working with sensors, limiting illumination time to the visitor’s presence can be achieved but is a more costly alternative. When implementing these recommendations, the public’s experience certainly needs to be taken into account. It was advised to lower light levels in adjacent areas to let the visitor’s eyes get accustomed to the dark. In the permanent exhibition setup, the very low light level requirements are met and a special reduced lighting accustomization zone has been installed before entering the exhibition room. In this way the museum allows the public to enjoy the unique Enclosed Gardens while protecting them as much as possible from further light damage.

Physical forces: Music makes you vibrate… but also your building and your collection

50Museums and other cultural heritage institutes are confronted with increasing numbers of situations producing physical forces, in particular vibration. This type of physical force can be damaging for objects but also for architectural structures. The Brussel City Museum provides a good example. As this museum is located in the Grand-Place, the central and historic square of Brussels, many events take place within or near to it: daily movement of people in the museum, variable traffic in the surrounding streets and, above all, noisy and festive gatherings such as concerts or cultural events (Ommegang, music festivals, jazz and rock concerts). The museum staff noticed vibration impact during these events: window panes trembling in the glazing bars of the frames and resonance on the stained-glass windows at the back of the facade.

Working document.

52Given the Museum’s location in a busy neighbourhood, this analysis included the problem of vibration. At the request of KIK-IRPA, under the supervision of Bill Wei (Rijksdienst voor het Cultureel Erfgoed, Amersfoort), the firm Tractebel evaluated, using the DIN 4150 standard (Parts II and III), the potential hazardous effects of acoustic vibrations on the collection, by measuring them with an accelerometer combined with amplifiers and connected to sensors placed in two separate locations of the permanent exhibition room. The DIN 4150 standard allows specialists to determine whether or not the – essentially sound  –  vibrations to which an environment is subjected are or are not problematic in the construction sector. However, current research has not yet established clear guidelines on the effects of vibration on works of art. Generally, the recommended precautionary reference point concerns public nuisance in its low values and a risk of damage to objects and structures such as historic buildings in its high values (2 mm/sec).

53The measurements were made on the window and on the floor, to give an idea of the vibration levels on the walls and also of the effect of the acoustic excitation of the artworks through the windows. Three sensors (X, Y and Z) on the floor and one sensor on the window [fig. 13] were used to register every frequency from 1 or 2 to 100 Hz continuously during 24h, taking into account all the vibration intensity levels. The measurements of the intensity level of vibrations on the windows and floor of the first floor of the museum were translated into graphs [fig. 14].

54The vibration levels measured on the floor increased in all three measuring directions during sound checks and performances, but not to the extent that they can be considered annoying to people or harmful to buildings according to DIN 4150 part II and III [fig. 15]. In the x and y measuring direction, the third band (31.5, 40 and 100 Hz) was most strongly excited. For the z measurement direction this is the 31.5, 40 and 200 Hz third band. These measures, which reflected both the impact of visitor movements in the building and the effects of a concert on the Grand Place, opposite the museum, were compared with the measures recommended by the standards mentioned above. The vibration measurements on the floor were performed close to the side wall. In the vertical direction, it is likely that vibration levels are significantly higher in the middle of the floor. The windows “shook” during the performances and sound checks. The highest measured vibration speed value at the 35 Hz resonance frequency of the window was 80 mm/s (peak particle velocity measured during the sound checks). Vibrations in this order of magnitude can, in combination with material impurities, thermal residual stresses or notching, result in damage.

55The results show that the recorded acoustic vibrations meet the DIN 4150 standard and that they should not cause any risk for the hanging of the tapestry cartoon, even if the latter were to be suspended on one of the sidewalls of the museum. Elsewhere, however, the vibrations could lead to damage to non-homogeneous materials (e.g. glass with impurities), thermal stress, weaknesses and defects. Local damage such as cracks have already been noticed on the windows of the back facade and windows with glazing bars. Similarly, if fixtures such as temporary walls or exhibition furniture (like showcases or screens) were to be installed, they would clearly suffer the adverse effects of vibration. Therefore, it is recommended that the vibration levels measured on all the walls of the room remain lower than the prescribed values of the reference value (2 mm/s).

56In summary, acoustic sources vibrations related to live music are not to be considered as distressing: handling, transit vibration, and the effects of other agents are more relevant concerns in the case of this Museum. With regard to the hanging of the tapestry cartoon on one of the side walls of the building, the vibration levels of the side walls of the building will always remain below 2 mm/s, however, it is recommended to check the resonance of the suspension mechanism in order to avoid vibration reinforcement between the side wall and the tapestry cartoon. Following the same line of reasoning, a backing board was put into the frame with the aim of reducing vibrations, buffering climate fluctuations and protecting the back from handling.

Pollutants: Air-tight showcases can be harmful too…

62Finally, in collaboration with the AIRCHECQ-project from 2014 to 2018 (University of Antwerp, BELSPO-Brain BR/132/A6/AIRCHECQ), an elaborate setup was tested to measure airborne dust (particulate matter, PM), light (illuminance and UV-radiation), and volatile organic gases (VOCs) in real-time. Figures 18-19 give an overview of the instrumentation used.

63Figure 20 provides an overview of the results of this experiment, performed on 12/07/2017. Around 8:55 am all devices were installed on top of the showcase. Around 10:15 am everything was placed inside the showcase, after which the measuring devices were placed back on top of the showcase at 3.40 pm to continue measuring for another 40 minutes. For all parameters, a clear shock can be seen when the setup was placed inside and subsequently outside of the showcase. The showcase, constructed from anti-reflective glass with 2 layers of polyvinyl butyral (PVB), mainly blocks the UV fraction of the light, for about 93%, calculated on the absolute UV values (mW lm^-1). It also limits the illuminance (lux) by approximately 24%. These are both target percentages because data was not simultaneously collected in- and outside the showcase.

64For fine dust, the showcase needs a limited period of time to reach a stable state after opening and closing it to place the measuring devices inside. To get an indication of the percentage of particulate matter that is retained per fraction, calculations were performed with the data from the first period outside the showcase (75 minutes), and data from the last 75 minutes in the showcase. The showcase holds back 100% of the particles larger than 2.5 µm. Furthermore, 99.97% of the PM_1-2.5 fraction (particles with a diameter of 1 to 2.5 µm), and 99.81% of the finest PM₁ fraction (particles with a diameter < 1 µm) are retained.

65The gas sensor, finally, gives a significant increase in signal. This confirms the measurements of the diffusion tubes that an internal source of organic gases is effectively present. This particular display case is therefore not suitable for displaying art objects that are sensitive to organic gases.

Fire, water, thieves and vandals: RE - ORG fights them all!

70Characteristic for the RE - ORG method is that it guides users in systematically dealing with the situation. Each action to be undertaken is methodically elaborated in each of the four phases of the step-bystep method, incorporating the latest knowledge in the field of preventive conservation and collection management. Throughout the working process, risks are mapped, the documentation system is evaluated, the collection management is investigated and the cost-effectiveness of a solution is calculated before implementing it.

71Every institution gains insight by collecting all essential data, but also by quantifying them by means of one of the 15 worksheets. Number of square metres of the floor in use, number of objects divided into 12 different categories, percentage of fullness of furniture, etc.; each of the significant elements at stake are registered to calculate mitigation actions and plan improvement processes. The situation is visually documented as well and literally mapped in different functional plans. As a result, each museum works out a solution adapted to its given situation. This solution is as a consequence achievable with the given space and budget.

72At a single glance, one can see that, following storage reorganization, storage conditions have improved after a RE - ORG campaign, and the same can be concluded by the self-evaluation form. But also in the use of the collection and the storage itself, the effects of RE - ORG can be felt in practice. It is not uncommon for objects thought to have been lost to reappear, as by reorganizing the risk of dissociation is also diminished.

73When looking at the “sudden agents”, the risk of loss of value to the collection in case of a calamity, is reduced as well. Attempts at theft remain less unnoticed in a well-organized storage room and stand less chance when the secure access to the storage is verified and updated. Free circulation through liberated pathways means a crucial gain in time at an intervention in case of a calamity. One of the 21 museums that participated at the RE - ORG Belgium campaign, experienced this during a substantial water damage crisis: at a first incident before reorganizing their storage, 200 artworks were evacuated amongst which 70 were damaged and some totally lost. The extent of an unfortunate second incident after the reorganization project was limited to only three affected objects and none of the objects were lost this time, as there were no more objects on the floor and every object was stored in suitable furniture [fig. 22].

74In Belgium, the RE - ORG strategy already counts three national campaigns or editions coordinated by the KIK-IRPA Preventive Conservation Unit, in which 21 candidate museums have been coached and guided through the whole process. After completely reorganizing their storage areas and being empowered, they can in their turn assist museums in their RE - ORG projects. The RE - ORG method is thus clearly adopted in our country, and the number of completed reorganizations in Belgium and abroad is continuously increasing. A very good sign for all cultural heritage kept in storage and made available again for museum use and  –  last but not least  –  ready to be used to benefit their visitors.

Dissociation: Raising awareness to finally cherish KIK-IRPA’s historic furniture

75Dissociation is the result of the logical tendency for ordered systems to disintegrate over time. This can occur as loss of objects, of object-related data, or of the ability to associate an object with its data. Opposed to the other 9 agents of deterioration, dissociation affects the legal, cultural and/or intellectual state of an object. Bearing in mind that loss in value of one or more objects can increasingly reduce the value of the collection as a whole, both documentation and control of acquisitions and movements of objects are required to prevent this disintegration. Throughout the course of history at KIK-IRPA, an unintentional dissociation of the original furniture has occurred.

76Between 1959 and 1962 the interior design of the KIK-IRPA building in Brussels was carefully planned in the greatest detail. Today, it proves that established taste and well-chosen creativity can stand the ravages of time. The building was conceived by modernist architect Charles Rimanque, while the interior was designed by the leading designers and companies of post-war Belgium. Interior designer Stéphane Jasinski and his Atelier, renowned for their stylish and high standard contemporary interiors, created a design implementing a progressive vision on the American inspired so-called Corporate Design culture. The Ateliers Jasinski were responsible for the institute’s public spaces, and especially the boardroom and director’s office [fig. 23]. The iconic furniture manufacturer Kortrijkse Kunstwerkstede Gebroers De Coene completed the interior. Although the interior looks integrally preserved, over the years dissociation was fed by budget cuts, lack of interest caused by an outdated view on the Corporate Design period, obvious traces of daily wear and the institute’s personnel simply not being aware of the collection’s importance as an architectural ensemble. Until the early 1980s, the furniture was maintained annually with special treatments for different leathers, lacquers and woods. Because of the aforementioned reasons this specific care ceased. Objects and furniture got moved around, worn down or disappeared [fig. 24].

77An awareness today of the significance of the KIK-IRPA’s interior and its acknowledged value as a historic ensemble has led to a change in perspectives. Since 2007, the building and a part of the interior have a protected status. The KIK-IRPA’s interior is divided into several sub-collections such as, for instance, a collection of chairs, a collection considered as a total design for one specific room, or a collection of artworks still displayed as foreseen in the building. To maintain and to conserve this whole collection that is still in use, it was essential to set up a collection plan. Also applied by museums and other institutions possessing one or more collections of different kinds, such a plan is a suitable way to keep track of everything on site and to learn to understand the (un)importance of in-house objects. The challenge was to make an inventory of and valorise a collection that was designed for daily use but is now considered as a remarkable interior collection. This called for a specific approach, different from a museum context where the objects are not anymore used as daily objects.

78The collection plan consisted of an inventory, including a full and detailed description of all the original objects and furniture, enriched with historical documentation. In collaboration with KIK-IRPA photographers, high quality photographs were taken to help documenting, describing and assessing their condition in 2017. After gathering all these data, condition reports were prepared for a number of chairs chosen either for their very poor condition or for their uniqueness (only one or two examples left in the institute) [fig. 25]. These conditions were subdivided into “fit for use”, “to be exhibited” or “to be stored”. The creation of a storage room ensured the preservation of the “to be stored” category. Protective covers in washed bale cotton were created in collaboration with the textile conservation studio, providing them a first layer of protection against potential damage agents such as dust. Acid-free information labels were attached to the objects to facilitate their identification. Since then, the chairs have been stored on metallic shelves in a storage room near the preventive conservation offices. Besides this, some objects, such as the original model of the KIK-IRPA building which was formerly displayed in the management office, received a light conservation treatment by a specialized restorer. The director’s office and adjacent boardroom were, based on original architectural plans, brought back to their foreseen set up, taking contemporary ergonomic requirements into account. As part of this enhancement process, a small exhibition of original furniture and photos was made for KIK-IRPA open days. The project was completed with the development of a protocol for the future use of the original furniture, explaining how to valorise the collection and how to sensitize users and KIK-IRPA staff. Combined with the value assessment of the interior, this collection plan determined priorities for future decisions impacting the preservation of the original design.

79After almost 60 years of operation, the KIK-IRPA’s primary function as a dynamic scientific institute is still more or less the same. Documentation, laboratories and conservation-restoration remain the three principal tasks. This is the obvious reason why its building has kept its original state. It has not become an empty, soulless box like dime-a-dozen office buildings in the capital and has not risked demolition. The collection plan is aimed to safeguard its historic interior ensemble for its future users and to tackle the threats and severe consequences that dissociation may cause. Regarding the history facts and with the achievements of the collection plan, the institute is now aware of its unique position in Brussels architectural landscape and of its valuable interior.

Discussion and conclusion

80In the foregoing, among the projects of the KIK-IRPA Preventive Conservation Unit, one substantial example was selected for each of the ten agents of deterioration. This presentation offers better insights into the framework and illustrates its practical applications. However, it is artificial to select only one agent for each project: usually, multiple risks are at stake. The Preventive Conservation Unit is frequently approached by the heritage field with questions regarding temperature, relative humidity and light. During an on-site visit, the preventive conservation specialist does not focus only on the original request: thanks to the framework of the ten agents, a broader look is taken at the situation, and further risks and hazards are noticed. This broader view can be considered as the first work phase of each project. In order to evaluate priorities and decide on mitigation measures, it must be combined with a risk management approach. It perfectly demonstrates applied preventive conservation, with an integrated vision at project level: theoretical background meets practice to arrive at a global approach. By recapitulating all the agents for each project, specific hazards for each situation are identified. Based on these hazards, the specialist deduces practical recommendations that the heritage caretaker can implement. Such recommendations could consist of actions to avoid or block a certain hazard, but could also encourage the introduction or improving of procedures (e.g., emergency plan, integrated pest management plan, etc.).

81All in all, the framework of the Ten Agents of Deterioration leads to the describing of a wide spectrum of risks and hazards. Even so, in any particular project, strict adherence to the framework may potentially prove insufficient, notably because of the significant difference between sudden and slow agents and the importance of the human factor. Once the risks are identified, they must be analysed through a risk management approach in order to identify the preservation priorities in the project. This systematic procedure has been implemented in every project led by the Preventive Conservation Unit since its creation. The numerous and various activities engaging the Unit today prove the success and positive impact of this method.

The authors would like to warmly thank Elodie De Zutter, Griet Kockelkoren, Caroline Meert and Kaat Sneiders for their involvement in the preparation of this article.