Deterioration refers to damage resulting from frequent or heavy use. For instance, floors and stairs wear away under heavy traffic, while the spines of historic books can break if handled carelessly and exhibits can be damaged by improper mounting. As use is often also associated with dirt (brought in from outside, perspiration from hands, stains from food, etc.), dirt should also be included in the category of deterioration. The removal of dirt also brings the risk of wear, as the action of brushing or wiping causes abrasion. Even if performed gently, it contributes to the gradual or rapid wearing away of the surface, depending on the technique used. The extent to which cultural property is susceptible to deterioration depends on its construction and the materials used as well as on the type and degree of use.

Overview of cultural property and damage caused through use

To realistically assess how susceptible the cultural objects in your care are to deterioration, you need to regularly determine the frequency of use and the actual condition of the objects. This may be based on records of visitor numbers, for example, plus the close inspection and documentation of intensively used areas or objects. This documentation then makes it easier to determine the degree of deterioration, forecast the likely course of further wear, and plan specific preventive measures.

The public can bring dirt, dust and moisture into the building on their footwear and clothing. Under the soles of visitors' shoes, dust acts on flooring like sandpaper, causing the surface to be abraded. Frequent cleaning or the removal of tough stains likewise causes noticeable wear over time. Dirt, especially in conjunction with moisture, also acts as a nutrient medium for pests and microorganisms. A concept for preventing the traffic of dirt from the outside covers measures such as mats installed at the entrance or other methods of cleaning the soles of footwear.

Dirt and dust can also be carried into a building in the air. This usually takes the form of fine mineral particles, soot and pollen which are often difficult to remove. Frequent cleaning or the removal of tough stains causes noticeable wear over time. Dirt, especially in conjunction with moisture, also acts as a nutrient medium for pests and microorganisms. A concept for preventing the ingress of airborne contaminants includes controlling all building apertures. This means that doors and windows can be tightly closed and are mostly kept closed, areas housing collections are separated from the entrance by several sets of doors and - if present - the ventilation system is fitted with a multi-stage fine dust filter system.

Example: Glass walkways

Regularly cleaning floors reduces the spread of dirt and the amount of dust deposited on exhibits and furnishings. Providing conservatorial standards are followed, care and cleaning can help to preserve cultural assets. However, excessive cleaning or the use of conventional cleaning agents and equipment can cause damage.

Providing conservatorial standards are followed, care and cleaning can help to preserve cultural assets. However, excessive cleaning or the use of conventional cleaning agents and equipment can cause damage.

During building work involving drilling, sawing and sanding, very fine dust is produced which can quickly spread in the air - also through open windows or door gaps. Mineral dust in particular adheres strongly to surfaces, and on contact with moisture can form a crust of dirt that is very difficult to remove. Caution: Building materials may be contaminated with pollutants that are dispersed in the room with the dust (see also Pollutants section).

Very large groups are difficult to control and often develop a dynamic of their own. This can result in unwanted - intentional or inadvertent - behavior such as people stepping off the designated walkways, leaning or sitting on fragile objects, or touching historic walls.

The flow of visitors within an institution usually fluctuates. Visitor numbers can increase dramatically, particularly on public holidays or for events such as Museum Nights. As evidence of the public's interest, this is of course to be welcomed, but the chance arrival of several busloads of visitors at the same time can quickly overwhelm the available spatial capacity.

Many visitors would also like a haptic experience of exhibits. However, repeated touching causes wear. In addition, perspiration on hands (water, oil, acids, salts) can chemically attack many materials and create a stubborn film of dirt on surfaces. Showcases, protective screens or barriers can be used to prevent touching.

When looking at exhibits, visitors can quickly lose awareness of things they are carrying themselves. As a result, objects can be inadvertently scuffed, torn or knocked over. Shoulder bags with long straps, rucksacks and umbrellas are particularly prevalent and dangerous in this regard.

Special events include, for example, filming and professional photoshoots, as well as events such as celebrations, receptions or concerts. The risk of damage arises as visitors may be distracted by their present tasks or impressions, or they may lack awareness about appropriate behavior in historic structures. Overcrowding also poses a risk.
The building and its furnishings can therefore easily be damaged as a result of carelessness. Particular threats are posed by excessive numbers of chairs, temporary fixtures, refreshments (buffet, drinks), and the impact on the room climate (heat radiated by lamps and large groups of people, as well as the damp vapors they give off).

A certain risk is posed every time an object is handled. Touching with bare hands transfers moisture, oils, acids and salts onto the surfaces via perspiration. This can lead to corrosion on many types of metal. Gilding is very quickly worn away by sweaty hands. In addition, this creates layers of greasy dirt which are very difficult to remove from rough and porous surfaces (stone, paper, colored mounts).
Chalky colors adhere to bare hands. Artworks and cultural artifacts should therefore only ever be touched or handled when wearing gloves. Vinyl or nitrile gloves are preferable to conventional cotton gloves as they also ensure a good grip on smooth objects and they do not leave any fibers on rough surfaces.

Gloves for handling cultural artifacts. Pros and cons of different materials.

By their nature many items in collections are not very stable or have been weakened through aging. Flexible materials bend or crease, and deformation can occur when they are stacked. Grips or handles can break off, while thin points can easily fracture. It is therefore advisable to move objects individually, support them from below, and only grip them at stable points. When transporting objects, they should be protected against jolts and vibration in particular. Lifting an object at unsuitable points can also cause damage. Before moving objects, make sure certain conditions are met. First check the condition of the artifact; only stable objects should be transported if possible. It must be possible to reach the destination without having to pick up and put down the object several times. Depending on its size and weight, this will require one or more people to hold the object securely from below and another person to open and close doors if necessary. Everyone who touches the object should wear gloves and should take off any sharp-edged belt buckles, wristwatches and the like. If you want or need to move several objects by yourself, you should transport them in a box with lots of cushioning or on a utility or paintings cart with air-filled tires. In the case of vulnerable, damaged or flexible objects, it is advisable to have a special storage mount made. On this mount, you can then transport the object without touching it, or even exhibit or store it.
Particularly vulnerable and/or valuable objects should only be moved by conservators or trained personnel!

Gloves for handling cultural artifacts. Pros and cons of different materials.

It is important to provide appropriate support for objects to be exhibited in order to avoid structural damage and ensure material integrity. Even lightweight and structurally sound exhibits are at risk of irreversible deformation if they are not lying flat and supported as appropriate for their shape or, when hung, if they are secured at only a few points. In the case of mountings with few securing points, only lightweight loading should be permitted at these points. The points of contact should be cushioned to avoid pressure marks or indentations.

Professional handling is essential to ensure artworks and other cultural artifacts are properly protected when loaned to other institutions. This is usually the case when conservators plan and implement the transport. If several or very large objects are to be transported, specialist art transport companies can be employed. Prior to transporting, an object condition report should be completed which should be cross-checked against the object's appearance at the destination and on its return. Valuable or fragile cultural artifacts in particular should be accompanied by a courier to the destination.

Well-constructed packaging can protect artworks and other cultural artifacts during transit from abrasion and scratches, pressure, vibration and jolts, moisture or extreme climatic fluctuations. The longer an object is in transit, the greater the need to use conservatorially appropriate materials and robustly constructed packaging.

Since all handling contributes to the gradual deterioration of cultural artifacts, the use of archives, research collections and libraries should be reserved for people who can show evidence of a genuine (academic) research interest. It is therefore advisable to note the person's particulars and the reason for their visit on a form and to verify this information. Although knowing who the person is alone will not necessarily preclude careless handling of cultural artifacts, the removal of anonymity allows a person to be identified and they are therefore more likely to handle objects with care. Knowing what the visitor is seeking can also help staff direct them to specific holdings.
This makes both the visit and the use of the archive materials more efficient, and consequently avoids frustration.

Sample user registration form

Not every visitor is sufficiently aware of how to handle cultural objects. To avoid the most obvious inappropriate behavior, you should summarize the most important points in user rules and have visitors sign these.

Not every visitor is sufficiently aware of how to handle cultural objects and able to handle archive materials or books with care. Copying and scanning should therefore only be carried out by archive staff or other competent personnel.