Conservation After Conditioning

Part 1: Keeping the World Out

Part one of this article dives into the world of art conservation, a field primarily concerned with the protection of artworks from potentially harmful elements such as UV exposure or moisture. The museum archive is, in all its efforts to keep the world out, a large consumer of energy. In the past, preservation researchers have stated that any change to the atmosphere around an art work will eventually, inevitably, lead to damage. Yet in more recent years, it has been found that art is more durable than previously thought. It is also increasingly important to museum institutions that they decrease their energy consumption, which they see as preventative conservation–preventing drastic weather changes which would impact their archives. Moreover, climate controlled rooms can have just as much damaging fluctuation in temperature as non-conditioned rooms. The use of powerful HVAC technology can damage the very walls of the containing structure, the museum itself, compromising the architecture and putting a ticking clock on a very expensive and energy consuming building.

Ahern, Mal, “Conservation After Conditioning Part 1 & Part 2” in After Comfort: A User’s Guide, e-Flux Architecture, November 2024, https://www.e-flux.com/architecture/after-comfort/616851/conservation-after-conditioning-part-i-keeping-the-world-out/, https://www.e-flux.com/architecture/after-comfort/624766/conservation-after-conditioning-part-2-letting-the-world-in/

Part 2: Letting the World In

Part two of the article questions how many of the conservation strategies in use today are actually helpful, and which ones are the most effective. It critiques the typical museum aesthetic–bare, white plaster walls–as part of the problem. Older paintings are better preserved when surrounded by other materials that can absorb and emit water, a method of autonomous humidity regulation. But the museum aesthetic also affected the art that was produced, which adapted to the white box gallery, and now depends on its climate control. As the seemingly innate air conditioning comes into question, so does the entire museum aesthetic and design. Ahern suggests that museums change their approach to gallery design and maintenance, and start investing in the skills of their staff to promote labor-intensive rather than energy-intensive conservation. It is also important for artists to know more about the materials they use, how they react to different environments, and the life cycle of each material. If even the most valued, sensitive artifacts can withstand changes without air conditioning at all times, so can humans.