The paper shows the process and the results of surveys1 conducted in several Serbian museums, carried out in accordance with their actual needs. The data obtained through the analyses led to written reports with recommendations for improvement of the conditions, which were only partially realised.2
The paper consists of general information, description of the museums where the surveys wereconducted, building and environment description, as well as organisation and functioning of theseinstitutions. The methodology used for the data processing is presented together with conclusions.
The analysis method, based on indicators and a criteria system, was applied so as to obtain ageneral picture of conditions in Serbian museums through the given sample.
MUSEUM DESCRIPTIONAmong the eight museums in Serbia3 whose data were processed, there were regional and citymuseums, one of a complex type and one open-air museum. Variety of museums means variety of collections, therefore variety of material as well (ceramics, metal, stone, glass, organic materials,archives), which further implies a need for diverse safekeeping and exhibiting conditions.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
1 [
Aleksandra D@IKI] NIKOLI], Tatjana NEDELJKOVI], Maja @IVKOVI], Vesna @IVKOVI]National Museum in Belgrade – Department for Preventive Conservation DianaSerbia
UDK 903.2 »632/638« (497.11)
SAFEKEEPING AND EXHIBITING CONDITIONS IN SERBIAN MUSEUMS
Abstract. The paper presents the results of the safekeeping and exhibiting conditions assessment carriedout in eight museums in Serbia. Department for preventive conservation Diana of the National Museumin Belgrade was asigned to conduct surveys and provide recommendations for improvement of museumcollections safekeeping conditions. Apart from general information, the paper covers short description ofthe museums where analyses took place, description of the museum buildings, working areas and theorganisation of work in the museums, description of methods used in data processing, as well as a finaldiscussion. The methodology was based on the system of indicators and criteria reffering to functionalityand organisation of museum facilities, surroundings and planning and organisation of preservation.
The assessment results show the need for introduction of organized preservation system in order to improve safekeeping and exhibiting conditions in museums in Serbia. Systematic assessments, as the basis of future plans and activities in the conservation field, are also indispensable.
1) The survey was conducted by the Department for Preventive Conservation Diana – National Museum in Belgrade, inthe period between 2003 and 2006.
2) No data were obtained on the current situation in terms of safekeeping and exhibiting conditions in these museums.
3) City Museum in Belgrade, City Museum in Vr{ac, Regional Museum in U`ice, Regional Museum in Kru{evac,Museum Staro selo Sirogojno, Regional Museum in Leskovac, Regional Museum in Aleksinac, Museum of Nikola Tesla.
BuildingsThe majority of the museums are housed in historical buildings built for different purposes in the XIX and XX century.4 They vary in architectural concepts, which provides adequatemuseological context but limits the possibilities for proper safekeeping and exhibiting. In mostcases, the buildings were not well adapted even upon the foundation of the museum, and all laterinterventions were within the urgent measures carried out to solve some current problems. Thereare no loading and unloading bays in any of them.
All the museum buildings, save the open-air museum, are located in city centres, surrounded by parks and streets with heavy traffic.
The museums have well-organised guards services, but there is no technical security system,such as video-cameras, intrusion detectors, alarms. The buildings are partially illuminated; the weak points, such as ground floor windows, are not secured; some of the museums have an additional function which makes the access more difficult to control; there are also problems of multiple passages, backyards and other specific surroundings.
No inundation possibilities are registered, except in two museums. There is a river near one of them, while the other is exposed to heavy rains and thus there is a possibility of torrent due to the ground slope.
Functional zones in the museum buildings are not defined and in most cases, various functional areas are not separated (for example offices are also used for safekeeping and research). At the same time, there is no continuity of area because rooms with the same function are often partitioned.
The buildings do not have adequate connection between separate functional zones (in somecases they are in separate buildings); there are no elevators while the staircases and corridors are narrow. This makes access to storages or the exhibiting area more difficult.
Existing conservation workshops are mostly situated in small utility rooms.As to climate, all the museums are subject to at least one of the negative climate conditions
– capillary water action in walls, roof damages, mechanical damage on facades and lack of thermalinsulation.
The museums have functional fire protection equipment, but also a high level of fire risk due to old wooden building constructions, lack of maintenance of electric system, storage andexhibiting equipment.
StoragesStorages are located in every part of the museum buildings (cellar, attics, ground floor and other floors). Existing space is mostly insufficient for the collection volume and usually there is nopossibility of adaptation. Moving through storages is difficult because of a non-functional usage ofspace (disposition and arrangement of furniture), rooms overcrowding and narrowness of passages.
The existing number of pieces of furniture suitable for the safekeeping of certain types ofobjects and materials is insufficient and of inadequate size and thus cannot support the weight of objects and is not modular.
Collections are organized by type of material, typology and historical and cultural period,without regard to sensitivity of material and size of objects. The objects are not functionally stored,not all of them are reachable; many of them are placed on top of the others, mostly without any
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
2 [
4) The Regional Museum in Leskovac is among the few museums in Serbia that were built as museum buildings.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
3 [
support or box and placed on open shelves. Some parts of the collections are in cardboard or wooden boxes, which were not originally made for museum preservation purposes. Some ofthem are in wooden cabinets or wooden shelves without adequate physically and chemically stablesupports. Still, there have been no alterations caused by chemical reactions between organic acidsfrom storing materials and collections (Fig. 2).
It has been noted that there is no adequate equipment (boxes, trolleys, ladder…) for objectshandling in the museums.
It is also noted that there are no uniform and standardised systems of marking collections andsignalization in the storages. Existing systems are usually applied only to a part of a collection or on some of the collections in the museums.
Exhibiting areasIn the museums where we had access to the exhibiting area, safekeeping was either in the serviceof the exhibiting concept or completely neglected. Existing display cases are old, difficult to handleand maintain. They are badly maintained and unsealed and not protective enough for objects on display. There are cases of direct sunlight in exhibiting area and the artificial lighting is notadapted to light-sensitive materials (Fig. 1).
Organization and functioning of the museums None of the surveyed museums had a climate control and regulation system subject to regularchecks, processing of collected data, equipment maintenance, even though some of them havemeasuring devices.
There is a high probability of pest problems, having in mind that the buildings are badlymaintained and that they have many openings suitable for pests. Additionally, no museum has an organised system of preventive measures against pests.
The majority of museum buildings are maintained and cleaned not more than the everyday workof a certain number of employees requires. This does not satisfy the needs of safekeeping andexhibiting of museum collections. Collections condition surveys are not carried out regularly or systematically and conservation treatments are mostly a result of current needs (Fig. 3).
No museum has a developed conservation plan, or an emergency plan. Most of the museums have conservation departments, but they do not cover all the museum
materials and are inadequately equipped. Museums that do not have a conservation servicecooperate with other institutions or engage conservators for special conservation projects.
A certain number of museums do not have enough professional staff, while most of them lacktechnicians to handle the collections or the exiting technicians lack training for proper objectshandling. Nevertheless, some of the museums support training in the field of collectionspreservation through participation in professional meetings and specialised courses.
METHODOLOGYSafekeeping and exhibiting conditions diagnosis is based on a referential system developed on the bases of data collected in museum surveys and existing information and experience in the field of collections preservation. Even though the specific characteristics of individual museums weretaken into consideration, the application of the method led to an obvious exclusion of certainmuseums from the average picture, but this has not influenced the conclusions.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
4 [
The referential system enables comparison of the registered situation with an imagined, idealone. It consists of 24 indicators referring to functionality and organisation of museum facilities,environment and preservation planning and organization.
Each indicator is estimated according to four criteria, standing for four value levels establishedagainst an optimal situation, which would absolutely fulfil the following requirements:
– Museum facilities are sufficiently spacious, adequate for safekeeping and exhibiting purposes;they are interconnected and organised in the way that follows the moving and treatment sequence,and they are completely secured;
– Safekeeping and exhibiting conditions are regularly monitored and controlled with specialisedequipment; all the museum facilities are regularly cleaned and maintained in accordance withsafekeeping requirements; facilities are used in an optimal way, there is enough furniture andcollections are safely placed in it;
– There is a sufficient number of professionals, well trained for collections preservation, as wellas all the other necessary museum services, well-organized and functioning according to officiallyestablished procedures.
Value four refers to a situation where the majority of requirements for collections preservationare fulfilled; value three refers to a situation where one part of the requirements is fulfilled; valuetwo denotes a situation fulfilling a minimal number of requirements, and value one applies to asituation that does not fulfil any of the requirements.
Facilities functionalityFacilities functionality is assessed according to the existence of separate functional areas in a museum building, characteristics of communications within a building, the organisation of building areas, the extent to which storerooms and exhibiting space meet the requirements for adequate object storing and exhibiting and finally, according to characteristics of access to a museum building.
Functional zones in a museum have to be rooms clearly divided according to their purpose (materials delivery, storerooms, exhibiting space, consultations), mutually connected and arranged in a way that follows the requirements of treatment and transport of museum objects. Condition assessment in the Serbian museums determined that the zones are partially divided and organised according to specific purpose, where the space positioning and organisation often do not suit its function. Spaces are frequently used for different purposes, while the complementarity of their basic functions is fully neglected. Thus, their organisation is much too complicated due to which the moving of objects through the museum is hindered, which can subsequently lead to object damaging.
The communications within the building should be spacious and they should have a simplegeometry without sharp angles and obstacles that would make movement difficult and could be thecause of mechanical damages of objects. On the basis of the analysed museum sample it has beendetermined that the use of communications within the building was difficult due to the existenceof narrow hallways and numerous staircases, and particularly due to the fact that the museumareas are often located in various buildings. Most often there is no possibility for space adaptationsince the adaptation of buildings in question would not improve the space organisation andcommunications, or it is impossible because the buildings in question are historical monuments so their appearance must not be violated, or would demand great financial investments.
The depot area and the exhibition areas should also provide for the undisturbed movement of employees and museum artefacts, as well as adequate accommodation and exposition. It is
necessary for the space capacity to be sufficient and that, in case of collection increase, theexpansion or adaptation of the existing space is possible. It was determined that most of themuseums in Serbia do not have the space that facilitates mobility, that they do not have enoughcapacity for the accommodation of all artefacts belonging to the museum fund and that they do nothave adequate conditions for the exhibition of the collections. In most of the museums there is no possibility for expanding the available areas, which would enable the suitable placement andexhibiting of the existing artefacts and future acquisitions.
When it comes to the access to the museum building, it is necessary for access to be simple and safe, with an access ramp, and a special entrance of proper dimensions for the delivery and shipping of materials, so that the delivery of large-sized objects may be performed undisturbed. It was determined that there are no special entrances for delivery of materials in the museums where the condition assessment was done, and the existing access entrances to the buildings do not suit the stated demands, which is a result of the fact that the museums are situated in city centres and of buildings whose characteristics do not correspond to protection requirements. It was noted, however, that the level of the artefact security is mostly acceptable thanks to the commitment of the employees (Radar 1).
The space organisation The values which are related to the space organisation are established on the basis of access to the collections, the functional exploitation of the furniture and its characteristics, the existence of equipment for the artefact manoeuvring, as well as on the basis of the organisation and locationof the artefacts and their labelling and identification system.
The existing communications in the building should enable an uncomplicated approach to thecollections, because physical obstacles may cause mechanical damage to the artefacts. Consideringthat most of the museums in Serbia are located in partly adapted buildings with a different originalpurpose, access to the collections is mostly made difficult because of narrow staircases, smalldimensioned doors, partitioned spaces, a great number of small rooms and hallways; however, the existing limitations are taken into account during the process of moving and manoeuvring the artefacts and the process is adapted to their physical safety.
The whole collection should be placed in standard, modular furniture, whose capacitycorresponds to the collection size, while the depot space should be used to the maximum. It was
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
5 [
Functional zones
Building entrance Communication and movingthrough the building
Storeroom and exhibiting space
RADAR 1
established that in the museums where the state assessment was done, improvised or temporaryfurniture is being used, acquired without planning and insufficiently adjusted to the space. Becauseof the dysfunctional usage of the furniture and the depot space, more than a half of the artefactsare situated on the floor, often in inadequate, temporary packaging, that is to say cardboard orwooden boxes, which results in difficulties in access and artefacts manoeuvring, as well as theendangerment of their physical safety.
It is necessary that the characteristics of the furniture for holding and displaying be inaccordance with the peculiarities of the artefacts or the collection, taking into account the materialfrom which the artefact was made, its height, width, and solidity. The furniture has to have theappropriate carrying capacity and physical stability, to be suited to the artefact dimensions andmade out of stable materials, which do not discharge harmful fumes. It was determined that thefurniture in museums has just one of the necessary characteristics or is partly adjusted to thecharacteristics of the artefacts. It is obvious that the insufficient capacity of the furniture andspace are the primary problem, along with the use of improvised furniture, which compromises the physical stability of the artefacts. Most of the furniture is made of wood, while only thesmallest proportion is made of adequate, stable materials.
It is necessary for the equipment for artefact manoeuvring to be diverse and adjustable to the space, the way of placing and to the artefact characteristics. The existence of adequate equipment (crane, cart, ladder, cardboard boxes, plastic packaging, and folders) and its consequent usage reduces the risk from mechanical damage to the artefacts. Adequate equipment usage is particularly significant in handling artefacts that have mechanical and structural damages, whose state is unstable or which are made of sensitive materials. The museums in Serbia are supplied with simple manoeuvring equipment, but it has been determined that it is rarely used, even when manoeuvring sensitive artefacts and when the depositories are fully loaded and the artefacts are hard to reach.
A good organisation of the storage and display of artefacts means that all the artefacts are easily accessible and neatly sorted by category and sensitivity of artefact/material, type of artefact,historical or cultural period and dimensions. Because of the disfunctionality and insufficientcapacity of the existing furniture, just a portion of the artefacts are stored and displayed in avisibly accessible manner in the Serbian museums, while the other artefacts are stored on the floor, one on top of the other or inside one another or their setup is not subordinated to thedemands of form and dimensions, bringing risks of mechanical damage. The collections arecommonly organised by material type and historical or cultural period.
The usage of a uniform, standardized and clear system of labelling and identifying the artefactsshould be applied to the entire museum fund. Since there is no standardized system of labellingand identifying of museum artefacts in Serbia, no unified system is being used, other than that of artefact identification number. And in cases when the museum or the curators have establisheda specific labelling system, it encompasses only parts of the fund or several collections within themuseum (Radar 2).
The immediate ambient of the collections The immediate ambient of the collections is considered on the basis of climate conditions regulations,lighting, storage mode and artefact conditioning, security level and protection from fire and flood.
When it comes to climate condition regulation, it is necessary that the building have maximal thermal inertia and proper isolation, which will secure minimal climate oscillations. Although there are
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
6 [
not any data on climate conditions in the museums where the condition assessment was performed, on the basis of a visual overview of the rooms where the collections are kept, the found traces of water penetration, the fact the depots are most often located in parts of the building most exposed to the effects of climate changes and interviews with employees, it was concluded that significant climate oscillations exist in the museum buildings, which is a danger to the bigger part of the funds.
Natural and artificial light should be regulated with filters and shutters so that direct objectexposure to light may be prevented, since it causes gradual decay of specific, especially sensitivematerials. However the analysed sample of museums in Serbia showed that the light is at bestpartially regulated with curtains or coatings on the glass.
Artefact storage and conditioning means that the furniture, packaging and braces/supportsshould be completely adjusted to the peculiarities of the artefacts, their size, weight, form, andmaterial from which they are made, and made out of stable, hard and lasting materials, with thepossibility of moving the artefacts inside their packaging without having to handle them directly.Since artefact storage and conditioning in the museums in Serbia is mostly done in improvisedfurniture and packaging, without adequate supports adjusted to the artefact characteristics, it was concluded that the artefacts are not entirely mechanically secured. On the other hand, the materials that are used are not harmful for the artefacts, in fact they do not release dangerousfumes, because they have been in use for quite some time.
When security is the issue, an organised security system presumes the existence of a burglaryalarm, perimeter security and equipment for the personnel. It was determined, however, that the only organised security was the physical security of the museums.
On the fire protection security level it is necessary for the museum to have smoke detectorsinstalled and an automatic fire extinguishing system, even if all the particular and usual risks from fire are eliminated, such as defective or old electrical installations. According to the Law on protection against fire, there are operational fire extinguishers in the museums in Serbia; however, that is the only line of defence in rooms where different risks from fire are imminentbecause of the state of the buildings, installations and interiors.
The risks from floods should be eliminated or brought to a minimum, whether they originatefrom a flooding river nearby or from roof leakage, cracked pipes, or as a result of impropermuseum building maintenance. In the museums where the condition analyses were done, the risks from flooding or roof leakage, or installations and sewage problems are credible (Radar 3).
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
7 [
Access to collections
Object storing and furnitureadequacy for the space
Adequate capacity,stability anddimensions of furniture
Organisation and the manner in which the objects are stored and exhibited
Marking in the storeroomsand object identification
RADAR 2
Equipment for object handling
Protection planning and organising The evaluation of the level of protection planning and organising was performed through ananalysis of the expert staff, procedures and technical possibilities for handling the collections,climate conditions and pest control, museum area cleaning, emergency situations procedure,checking the collection state and organising the conservation-restoration service in the museums.
For the museum expert staff, besides the number of the employees needed for an unobstructedfunctioning of the institution and the work quality, it is necessary to possess a consciousness about the significance of the influence of safekeeping conditions on the collection state. Thisdemand applies to curators as well as to custodians, because both should equally participate in thedecision-making related to the protection of museum collections. The analysed museums mostlyhave sufficient numbers of employees for the basic expert functions. Their work is mostly orientedtowards collection research, but the lack of training, information, and, thereby, engagement in the field of protection is evident.
The existence of procedures or regulations related to museum collections handling is one of the preconditions for reducing risks from mechanical damages. For the same purpose a museum should own certain technical means for artefact manoeuvring. This mostly means various types of carts, palettes and smaller cargo vehicles – forklifts, used for carrying heavy and bulky objects, but also for all types of trays and packaging that are used for safe collection handling. The results acquired during the museum condition assessment show a general absence of any documents prescribing modes of artefact handling. The museum workers did not have the opportunity to acquire the knowledge about the necessary measures and possible consequences of inadequate artefact handling, although the museums have some technical means for manoeuvring and the employees use them, mostly when it is physically impossible to move something without aid. This practically means that the mode of artefacts handling depends on the needs of the employees, and it is not adjusted to the needs of artefacts protection.
Toward the goal of maintaining the optimal conditions for safekeeping and collection exhibition,the control and analysis of climate condition should be performed in continuity. Most of themuseums where the condition assessment was done do not have the means of acquiring theequipment or of monitoring climate conditions so, at best, climate control comes down to currentmeasuring either with classical or digital instruments, and the data is not recorded or analysed.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
8 [
Climate conditions regulation
Light
Object storing and conditioning
Safety
Protection against fire
Flood risk
RADAR 3
The usual maintenance of museum buildings in our conditions is not different from themaintenance mode of the government administration buildings or similar institutions withdifferent functions. So, the needs for maintenance are not being fulfilled even in the quantitynecessary for the normal performing of museum work and the everyday work of the employees,although regular cleaning of the museums’ public and administrative chambers, and the depots isnecessary for the purposes of safekeeping museum collections, with full attention and familiaritywith methods that do not endanger the collection state in any way.
The needs of protecting the collections against pests, from insects and rodents tomicroorganisms, do not require only regular inspection control (control of entrances, collections,etc.), but preventive and curative protection measures as well. In the case of a large number ofSerbian museums, microorganism infestation and the presence of other pests is usually attested,but no systematic treatment is applied or, if it is, inadequate means are used, which are harmful to the artefacts.
As is the case with artefact handling rules, there are no documents, not even for emergencysituations, which give detailed instructions to the museum workers in case of fires, floods, andother catastrophes, and the knowledge of rules of behaviour in emergency occasions among themuseum workers is entirely basic. Ideally, there should be special, obligatory procedures in case of such dangers, by which potential damages are reduced to the smallest possible degree.
Although a check of the state of conservation should be performed at least once every threeyears, and ideally once a year thoroughly, the analysed museum sample showed that collection state control was done only generally, either in the process of takeover or during inspections, which means that in most cases the museum artefacts were systematically checked once or not at all. The usual practise is that the conservator responds to the call of a curator, whose need forconserving a certain number of artefacts comes from the wish to prepare them for exhibition,having only the aesthetic sense in mind.
In the end, the great part of the responsibility for the control of safekeeping conditions rests on the museum conservation services, which need to be not only numerous and expert enough tocover all the material types the museum owns, but to be aware of the significance of preventiveconservation and have the necessary knowledge to monitor and control the state of the collections
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
9 [
Professionalpersonnel
Handling procedures and technical possibilities
Control of climate conditions
Cleaning of collections and spaces
Pest and micro-organism control
Emergency procedures
Control of collections state
Organization of conservation and restoration service
RADAR 4
and their surroundings. The analysed museums mostly have at least one conservator andtechnicians who with their knowledge and experience cover the conservation treatment needs of a greater number of materials in their museums, but with only modest technical and financialmeans, coupled with a lack of awareness for the need of securing adequate conditions forsafekeeping and display, as well as for reducing the need for conservation treatment to theminimum (Radar 4).
THE RESULTSThe results for the each indicator are presented in the pie chart where the blue field corresponds to the values obtained by examining 24 indicators.
Most of the indicators, 19 indicators to be exact, received the evaluation mark of 2, which represents a situation where the minimum of the demands was fulfilled. These are theindicators that include the problems of building and depot and exhibition space, which implies thatan equal number of problems is emerging in the domain of functionality and space organisation,safekeeping conditions and collection exhibition, as well as the system protection planning area,and that in some cases these are directly tied to the problems of insufficient financial funding.
Four indicators received the evaluation mark of 1, representing a situation that does not fulfil even the minimum of protection demands. Those are indicators related to depot space and exhibition space (because of the fact that these are mostly unsuitable buildings), the cleaning of the space and the collections, pest control and emergency procedures (due to lack of planning and organisation).
In one case the evaluation mark of 3 was given, representing a situation in which one part of the demands was fulfilled and this is the indicator related to the museum expert staff.
CONCLUSIONThe results of analysing and determining the state of safekeeping condition and display on a selectsample of museums in Serbia show that in most of these museums the solution for improving thesafekeeping and displaying conditions requires the introduction of an organised protection systemthat would represent an optimal proportion between necessary investments and wanted results.This would mean:
– Safekeeping conditions improvement planning through the gradual introduction ofappropriate materials for collection conditioning;
– Regular controls and conservation plan preparation;– Preparing the documents that would facilitate the organisation of collection preservation
and collection handling; – Reorganisation of collection space and displays;– Channelling available resources toward securing the necessary equipment for safekeeping
conditions control and regulation; – Additional training for expert staff in the field of preservation.However, this kind of analysis gives only a picture of the general state. On the one hand, its
limitations lie in the small number of analysed museums and, on the other, it should representmerely the first phase of a systematic analysis and condition assessment in the museums, whichwould form the basis for establishing priority systems and action sequences in the context ofmuseum preservation. In this regard, it is the state that should both make the initiative andprovide the necessary support for their execution.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
10 [
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
11 [
SPA
CE
FUN
CT
ION
ALI
TY
Fun
ctio
nal
zon
es
The
re is
dif
fere
nti
atio
n b
etw
een
fu
nct
ion
al z
ones
(st
orer
oom
s, e
xhib
itin
g an
d w
orki
ng
spac
e)4
The
re is
dif
fere
nti
atio
n b
etw
een
fu
nct
ion
al z
ones
bu
t th
eir
orga
nis
atio
n is
com
plic
ated
3
Fun
ctio
nal
zon
es a
re p
arti
ally
dif
fere
nti
ated
an
d th
eir
orga
nis
atio
n is
com
plic
ated
2
The
re is
no
diff
eren
tiat
ion
bet
wee
n f
un
ctio
nal
zon
es1
Com
mu
nic
atio
ns
and
mov
ing
thro
ugh
the
build
ing
Com
mu
nic
atio
ns
wit
hin
the
bu
ildin
g ar
e sp
acio
us,
sim
ple
and
wit
hou
t ba
rrie
rs4
Com
mu
nic
atio
ns
wit
hin
the
bu
ildin
g is
hin
dere
d bu
t th
e sp
ace
can
be
adap
ted
3
Com
mu
nic
atio
ns
wit
hin
the
bu
ildin
g is
hin
dere
d an
d th
e sp
ace
can
not
be
adap
ted
2
Com
mu
nic
atio
ns
wit
hin
the
bu
ildin
g ar
e co
mpl
icat
ed a
nd
impa
ssab
le (
acce
ss is
blo
cked
)1
Stor
eroo
man
d ex
hibi
tin
gsp
ace
Spac
e ch
arac
teri
stic
s fa
cilit
ate
pass
age
and
adeq
uat
e st
orag
e an
d ex
hibi
tion
, whi
le t
he c
apac
ity
is a
dequ
ate
for
poss
ible
colle
ctio
n e
xpan
sion
4
Spac
e ch
arac
teri
stic
s fa
cilit
ate
pass
age
and
adeq
uat
e st
orag
e an
d ex
hibi
tion
, bu
t th
e ca
paci
ty is
inad
equ
ate
for
poss
ible
colle
ctio
n e
xpan
sion
3
Spac
e ch
arac
teri
stic
s fa
cilit
ate
colle
ctio
n s
tori
ng
and
exhi
biti
ng
but
the
pass
age
is h
inde
red
and
the
capa
city
is in
adeq
uat
e fo
rpo
ssib
le c
olle
ctio
n e
xpan
sion
2
Spac
e ch
arac
teri
stic
s im
pede
pas
sage
an
d ad
equ
ate
colle
ctio
n s
tori
ng
and
exhi
biti
ng
1
Bu
ildin
g en
tran
ce
En
tran
ce is
sim
ple
and
safe
; the
re a
re s
epar
ate
load
ing
and
un
load
ing
bays
; en
tran
ce a
nd
door
dim
ensi
ons
are
adeq
uat
e;th
ere
are
ram
ps4
En
tran
ce is
ada
pted
to
som
e ex
ten
t, w
ith
acce
ptab
le le
vel o
f ob
ject
saf
ety
3
En
tran
ce is
not
ada
pted
bu
t th
e le
vel o
f ob
ject
saf
ety
is a
ccep
tabl
e2
En
tran
ce is
com
plic
ated
an
d n
ot a
dapt
ed; t
here
is r
isk
to o
bjec
t sa
fety
1
SUB
JEC
TIN
DIC
AT
OR
CR
ITE
RIA
SPA
CE
OR
GA
NIS
AT
ION
Acc
ess
to c
olle
ctio
ns
Acc
ess
is s
impl
e an
d sa
fe w
itho
ut
phys
ical
bar
rier
s an
d ri
sks
to o
bjec
ts4
Acc
ess
is s
impl
e bu
t pr
ecau
tion
s m
ust
be
take
n w
hen
han
dlin
g ob
ject
s3
Acc
ess
is h
inde
red
but
wit
h ac
cept
able
leve
l of
obje
ct s
afet
y2
Acc
ess
is h
inde
red
and
com
plic
ated
; obj
ects
are
inac
cess
ible
an
d th
ere
is r
isk
to o
bjec
t sa
fety
1
Col
lect
ion
s/ob
ject
s st
orin
gan
d fu
rnit
ure
ade
quac
yfo
r th
e sp
ace
All
obje
cts
are
stor
ed in
mod
ula
r an
d st
anda
rd f
urn
itu
re; t
he s
pace
is f
ully
use
d4
80%
of
obje
cts
are
stor
ed in
sta
nda
rd f
urn
itu
re; t
he s
pace
is f
ully
use
d3
Less
tha
n 5
0% o
f ob
ject
s ar
e st
ored
in im
prov
isat
ion
al o
r te
mpo
rary
fu
rnit
ure
; spa
ce is
not
fu
nct
ion
ally
use
d2
Less
tha
n 2
0% o
f ob
ject
s ar
e st
ored
in f
urn
itu
re o
r th
ere
is n
o fu
rnit
ure
1
Ade
quat
e ca
paci
ty,
stab
ility
an
d di
men
sion
sof
fu
rnit
ure
Furn
itu
re is
com
plet
ely
adap
ted
to o
bjec
ts/c
olle
ctio
ns
pecu
liari
ties
4
Furn
itu
re is
phy
sica
lly s
tabl
e, a
dapt
ed t
o ob
ject
dim
ensi
ons
and
wei
ght,
bu
t th
e fu
rnit
ure
mat
eria
ls d
o n
ot c
orre
spon
dto
the
obj
ect
pecu
liari
ties
3
Furn
itu
re p
arti
ally
su
its
one
or m
ore
obje
ct c
hara
cter
isti
cs2
Furn
itu
re is
not
ada
pted
at
all t
o ob
ject
s/co
llect
ion
s1
Equ
ipm
ent
for
obje
ctha
ndl
ing
Equ
ipm
ent
for
obje
ct h
andl
ing
is v
ario
us
and
adap
ted
to d
iffe
ren
t st
orin
g m
etho
ds a
nd
mat
eria
l/ob
ject
typ
e4
The
re a
re w
heel
barr
ows,
ladd
ers
and
sim
ple
equ
ipm
ent
for
han
dlin
g si
ngl
e ob
ject
s (c
arto
ns,
pla
stic
con
tain
ers,
fol
ders
,al
l use
d w
hen
han
dlin
g3
The
re is
sim
ple
obje
ct h
andl
ing
equ
ipm
ent,
whi
ch is
rar
ely
use
d2
The
re is
no
han
dlin
g eq
uip
men
t/eq
uip
men
t is
not
use
d1
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
12 [
IMM
ED
IAT
ESU
RR
OU
ND
ING
SO
F C
OLL
EC
TIO
NS
Clim
ate
con
diti
ons
regu
lati
on
Bu
ildin
gs w
ith
max
imal
iner
tia
and
min
imal
neg
ativ
e cl
imat
e in
flu
ence
4
Hu
mid
ity
and
tem
pera
ture
are
con
trol
led
by p
orta
ble
devi
ces
or b
y cl
imat
e re
gula
tion
sys
tem
– c
ontr
olle
d n
egat
ive
clim
ate
infl
uen
ce3
The
re is
no
syst
emat
ic c
ontr
ol a
nd/
or r
elat
ive
hum
idit
y an
d te
mpe
ratu
re a
re n
ot a
dequ
ate;
the
re is
neg
ativ
e cl
imat
e in
flu
ence
an
dth
reat
to
one
part
of
the
colle
ctio
n2
The
re is
no
con
trol
of
rela
tive
hu
mid
ity
and
tem
pera
ture
; bu
ildin
g is
wit
hou
t in
erti
a; t
here
is s
ign
ific
ant
neg
ativ
e cl
imat
e in
flu
ence
thre
aten
ing
the
obje
cts
1
Ligh
t
Nat
ura
l an
d ar
tifi
cial
ligh
t is
reg
ula
ted
by f
ilter
s an
d cu
rtai
ns
4
Pla
nn
ing
of a
sses
smen
t an
d re
gula
tion
of
light
ing
leve
l is
ongo
ing
3
Ligh
tin
g le
vel i
s pa
rtia
lly r
egu
late
d by
cu
rtai
ns
2
The
re is
no
light
con
trol
1
Obj
ect
stor
ing
and
con
diti
onin
g
Furn
itu
re, c
onta
iner
s an
d su
ppor
ts a
re c
ompl
etel
y ad
apte
d to
obj
ect
pecu
liari
ties
(st
able
, fir
m a
nd
dura
ble
mat
eria
ls)
and
enab
lesh
ort-
ran
ge o
bjec
t m
ovin
g4
Con
diti
onin
g is
ada
pted
to
the
obje
ct; o
bjec
t is
mec
han
ical
ly s
ecu
red
and
ther
e is
no
thre
at o
f ch
emic
al r
eact
ion
3
Use
d m
ater
ials
are
obj
ect-
frie
ndl
y, i.
e., t
hey
do n
ot r
elea
se h
arm
ful g
ases
, bu
t ob
ject
is n
ot c
ompl
etel
y m
echa
nic
ally
sec
ure
d2
Obj
ect
is e
nda
nge
red
due
to il
l man
ner
in w
hich
it is
sto
red
and
pack
ed1
Safe
ty
Org
anis
ed s
ecu
rity
sys
tem
– b
urg
lar
alar
ms,
per
imet
ric
prot
ecti
on a
nd
equ
ipm
ent
for
pers
onn
el4
The
re a
re b
urg
lar
alar
ms
and
the
staf
f ar
e tr
ain
ed3
Mu
seu
m is
phy
sica
lly s
ecu
red
2
Mu
seu
m is
not
sec
ure
d1
Pro
tect
ion
aga
inst
fir
e
The
re is
no
spec
ial r
isk
of f
ire;
sm
oke
dete
ctor
s ar
e in
stal
led
alon
g w
ith
auto
mat
ic f
ire
exti
ngu
ishi
ng
syst
em4
Ris
ks a
re m
inim
al; s
mok
e de
tect
ors
are
inst
alle
d; t
here
are
ade
quat
e fi
re e
xtin
guis
hers
3
The
re a
re f
ire
risk
s; n
o sm
oke
dete
ctor
s ar
e in
stal
led;
the
re a
re f
ire
exti
ngu
ishe
rs2
The
re a
re s
erio
us
fire
ris
ks a
nd
the
room
s ar
e in
acce
ssib
le t
o fi
re f
ight
ers
1
Floo
d ri
sk
The
re is
no
obvi
ous
floo
d ri
sk4
Slig
ht f
lood
ris
k3
Pot
enti
al f
lood
ris
ks o
r ri
sks
of w
ater
leak
ing
due
to r
oof
leak
age;
inst
alla
tion
an
d se
wag
e pr
oble
ms
2
Incr
ease
d fl
ood
prob
abili
ty d
ue
to in
stal
lati
on b
reak
dow
n o
r ri
ver
floo
din
g1
SUB
JEC
TIN
DIC
AT
OR
CR
ITE
RIA
SPA
CE
OR
GA
NIS
AT
ION
Org
anis
atio
n a
nd
the
man
ner
in w
hich
the
obj
ects
are
sto
red
and
exhi
bite
d
All
obje
cts
are
stor
ed v
isib
ly a
nd
exhi
bite
d ac
cord
ing
to t
ype
and
sen
siti
vity
of
obje
cts/
mat
eria
ls, o
bjec
ts t
ypol
ogy,
his
tori
cal o
rcu
ltu
ral e
poch
, dim
ensi
ons;
obj
ects
are
eas
ily a
cces
sibl
e1
Mos
t of
the
obj
ects
are
sto
red
visi
bly
and
exhi
bite
d ac
cord
ing
to t
ype
of o
bjec
ts/m
ater
ials
, obj
ects
typ
olog
y, h
isto
rica
lor
cu
ltu
ral e
poch
2
Par
t of
the
obj
ects
are
sto
red
and
exhi
bite
d vi
sibl
y, a
ccor
din
g to
typ
e of
mat
eria
l, hi
stor
ical
or
cult
ura
l epo
ch3
Obj
ects
are
sto
red
and
exhi
bite
d in
a m
udd
led
man
ner
, on
e in
/on
the
oth
er; t
hey
are
diff
icu
lt t
o ac
cess
, dis
orga
nis
ed o
r or
gan
ised
only
acc
ordi
ng
to h
isto
rica
l or
cult
ura
l epo
ch4
Mar
kin
g in
the
sto
rero
oms
and
obje
ct id
enti
fica
tion
The
re is
a u
nif
orm
, sta
nda
rdis
ed a
nd
plai
n s
yste
m o
f ob
ject
mar
kin
g an
d id
enti
fyin
g fu
lly a
pplie
d4
Un
ifor
m s
yste
m o
f m
arki
ng
and
iden
tify
ing
is a
pplie
d to
the
maj
or p
art
of o
bjec
ts/c
olle
ctio
ns
(60%
)3
Syst
em o
f m
arki
ng
and
iden
tify
ing
is n
ot u
nif
orm
an
d it
is a
pplie
d on
ly t
o on
e pa
rt o
f ob
ject
s/co
llect
ion
s (4
0%)
2
The
re is
no
syst
em o
f ob
ject
s/co
llect
ion
s m
arki
ng
and
iden
tify
ing
1
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
13 [
PR
OT
EC
TIO
N (
pres
erva
tion
)P
LAN
NIN
GA
ND
OR
GA
NIS
AT
ION
Pro
fess
ion
al p
erso
nn
el
Nu
mbe
r an
d qu
alit
y of
pro
fess
ion
al p
erso
nn
el m
eet
job
requ
irem
ents
of
a m
use
um
ser
vice
; the
re is
aw
aren
ess
of im
port
ance
of c
ondi
tion
s of
col
lect
ion
saf
ekee
pin
g4
Nu
mbe
r an
d qu
alit
y of
pro
fess
ion
al p
erso
nn
el is
su
ffic
ien
t fo
r ba
sic
fun
ctio
nin
g of
mu
seu
m s
ervi
ces;
litt
le a
tten
tion
is g
iven
to c
ondi
tion
s of
col
lect
ion
saf
ekee
pin
g3
Inad
equ
ate
nu
mbe
r of
pro
fess
ion
al p
erso
nn
el w
hose
wor
k do
es n
ot m
eet
job
requ
irem
ents
an
d/or
who
lack
aw
aren
ess
of im
port
ance
of
con
diti
ons
of c
olle
ctio
n s
afek
eepi
ng
2
Nu
mbe
r of
pro
fess
ion
al p
erso
nn
el is
min
imal
; the
ir w
ork
does
not
mee
t jo
b re
quir
emen
ts a
nd
they
lack
aw
aren
ess
of im
port
ance
of c
ondi
tion
s of
col
lect
ion
saf
ekee
pin
g1
Han
dlin
g pr
oced
ure
san
dtec
hnic
al p
ossi
bilit
ies
Em
ploy
ees
follo
w e
stab
lishe
d pr
oced
ure
s an
d u
se t
echn
ical
dev
ices
exi
stin
g in
the
mu
seu
m4
Em
ploy
ees
follo
w e
stab
lishe
d pr
oced
ure
s fo
r ob
ject
han
dlin
g to
som
e ex
ten
t an
d u
sage
of
tech
nic
al d
evic
es is
bas
ed o
n p
revi
ous
expe
rien
ce a
nd
know
ledg
e w
itho
ut
esta
blis
hed
proc
edu
res
3
The
re is
no
esta
blis
hed
proc
edu
re f
or h
andl
ing
and
the
empl
oyee
s ar
e n
ot f
amili
ar w
ith
han
dlin
g ru
les,
tho
ugh
the
y u
se t
echn
ical
devi
ces
exis
tin
g in
the
mu
seu
m2
The
re is
no
proc
edu
re f
or c
olle
ctio
n h
andl
ing
nor
acq
uai
nta
nce
wit
h ha
ndl
ing
rule
s; m
use
um
doe
s n
ot p
osse
ss t
echn
ical
dev
ices
for
colle
ctio
n h
andl
ing
1
Con
trol
of
clim
ate
con
diti
ons
Mea
sure
men
ts a
nd
anal
yses
of
clim
ate
con
diti
ons
are
take
n r
egu
larl
y4
Mea
sure
men
ts a
nd
anal
yses
of
clim
ate
con
diti
ons
are
take
n r
ando
mly
3
Ran
dom
mea
sure
men
ts o
f cl
imat
e co
ndi
tion
s ar
e co
ndu
cted
wit
hou
t da
ta a
nal
yses
2
The
re is
no
con
trol
of
clim
ate
con
diti
ons
1
Cle
anin
g of
col
lect
ion
san
d sp
aces
Ade
quat
e an
d re
gula
r cl
ean
ing
of m
use
um
spa
ces
and
colle
ctio
ns
4
Spac
e is
cle
aned
on
dai
ly b
ases
in t
erm
s of
cle
an w
orki
ng
spac
e fo
r th
e em
ploy
ees
wit
h oc
casi
onal
cle
anin
g of
col
lect
ion
s3
Spac
e is
cle
aned
on
dai
ly b
ases
in t
erm
s of
cle
an w
orki
ng
spac
e fo
r th
e em
ploy
ees
2
Spac
e is
irre
gula
rly
clea
ned
or
the
clea
nin
g is
not
ada
pted
to
mu
seu
m n
eeds
1
Pes
t an
d m
icro
-org
anis
m c
ontr
olw
ith
esta
blis
hed
exte
rmin
atio
npr
oced
ure
s if
nee
d ar
ises
Pes
t an
d m
icro
-org
anis
m c
ontr
ol is
reg
ula
rly
con
duct
ed; p
reve
nti
ve m
easu
res
are
regu
larl
y ta
ken
; mea
sure
s ar
e ad
opte
d in
cas
eof
mas
s in
fect
ion
4
Pes
t an
d m
icro
-org
anis
m c
ontr
ol is
con
duct
ed; m
easu
res
are
adop
ted
in c
ase
of m
ass
infe
ctio
n3
Pes
t an
d m
icro
-org
anis
m c
ontr
ol; t
reat
men
ts a
re o
ccas
ion
ally
con
duct
ed2
Pes
t an
d m
icro
-org
anis
m a
re id
enti
fied
alo
ng
wit
h ob
ject
dam
ages
; tre
atm
ents
are
not
sys
tem
atic
ally
con
duct
ed;
ther
e is
no
use
of
adeq
uat
e de
vice
s1
Pro
cedu
res
in c
ase
of e
mer
gen
cy(f
lood
, fir
e, e
tc.)
Pro
cedu
res
in c
ase
of e
mer
gen
cy a
re d
evel
oped
4
Pro
cedu
res
in c
ase
of e
mer
gen
cy d
o n
ot e
xist
, bu
t a
shor
t-te
rm e
mer
gen
cy t
reat
men
t is
def
ined
3
Pro
cedu
res
in c
ase
of e
mer
gen
cy d
o n
ot e
xist
, bu
t th
e em
ploy
ees
are
trai
ned
to
reac
t pr
oper
ly in
cas
e of
em
erge
ncy
2
The
re a
re n
o pr
oced
ure
s in
cas
e of
em
erge
ncy
1
Con
trol
of
colle
ctio
ns
stat
e
Con
trol
is c
ondu
cted
reg
ula
rly
and
syst
emat
ical
ly, o
nce
in o
ne
to t
hree
yea
rs o
r in
cyc
les
for
sin
gle
colle
ctio
n4
Con
trol
is c
ondu
cted
occ
asio
nal
ly, b
ut
it is
red
uce
d to
su
perf
icia
l ass
essm
ent
of m
ater
ial m
ass
3
Con
trol
is c
ondu
cted
par
tial
ly a
nd
un
syst
emat
ical
ly o
nly
du
rin
g re
visi
on o
r co
llect
ion
tra
nsf
er2
Con
trol
of
colle
ctio
ns
stat
e ha
s n
ever
bee
n c
ondu
cted
1
Org
anis
atio
n o
f co
nse
rvat
ion
and
rest
orat
ion
ser
vice
Con
serv
atio
n s
ervi
ce h
as s
uff
icie
nt
nu
mbe
r of
exp
erts
to
cove
r th
e tr
eatm
ent
of a
ll m
ater
ials
the
mu
seu
m h
olds
; saf
ekee
pin
gco
ndi
tion
s ar
e ob
serv
ed4
The
re is
a c
onse
rvat
ion
ser
vice
bu
t th
e pe
rson
nel
is s
pars
e an
d la
cks
prof
essi
onal
ism
; no
atte
nti
on is
giv
en t
o sa
feke
epin
gco
ndi
tion
s in
mu
seu
m3
The
re is
a c
onse
rvat
ion
ser
vice
, bu
t th
e ex
isti
ng
equ
ipm
ent
can
on
ly b
e ap
plie
d in
tre
atm
ent
of c
erta
in t
ypes
of
mat
eria
ls;
ther
e is
lack
of
prof
essi
onal
per
son
nel
2
The
re is
no
con
serv
atio
n s
ervi
ce, m
use
um
occ
asio
nal
ly c
oope
rate
s w
ith
con
serv
ator
s fr
om o
ther
inst
itu
tion
s1
SUB
JEC
TIN
DIC
AT
OR
CR
ITE
RIA
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
14 [
U radu su predstavqeni proces i rezultati obrade
podataka dobijenih prilikom analize stawa1
nekoliko muzeja u Srbiji, ra|enih na poziv muzeja
i u okvirima wihovih trenutnih potreba. Na osnovu
dobijenih podataka tokom analiza napravqeni
su izve{taji s preporukama za poboq{awe uslova,
koje su samo u izvesnoj meri bile realizovane.2
Rad sadr`i op{te informacije, opis muzeja
u kojima su ra|ene analize, opis zgrada, prostora
i na~ina na koji su muzeji i rad u wima
organizovani. Predstavqena je i metodologija
koja je primewivana prilikom obrade podataka,
kao i zakqu~na razmatrawa.
Radi dobijawa globalne slike stawa u
muzejima Srbije, na postoje}em uzorku muzeja u
Srbiji primewen je metod analize i dijagnostike
zasnovan na sistemu indikatora i kriterijuma.
OPIS MUZEJA
Obra|eni su podaci iz osam muzeja na teritoriji
Srbije,3
me|u kojima su regionalni, gradski
muzeji, jedan muzej kompleksnog tipa i jedan
muzej na otvorenom. Iz raznovrsnosti muzeja
proisti~e i raznovrsnost zbirki, dakle
i raznovrsnost materijala (keramika, metal,
kamen, staklo, organski materijali, arhivski
materijal), {to name}e potrebu za razli~itim
uslovima ~uvawa i izlagawa.
Zgrade
Ve}ina muzeja sme{tena je u nenamenski gra|ene,
istorijske zgrade iz XIX i XX veka,4
razli~itih
Aleksandra XIKI] NIKOLI], Tatjana NEDEQKOVI],
Maja @IVKOVI], Vesna @IVKOVI]
Narodni muzej u Beogradu – Department for Preventive Conservation Diana
Srbija
USLOVI ^UVAWA I IZLAGAWA U MUZEJIMA SRBIJE
Apstrakt. U radu su predstavqeni rezultati procene uslova ~uvawa i izlagawa zbirki u osam muzeja u Srbiji.
Odeqewe za preventivnu za{titu Dijana Narodnog muzeja u Beogradu bilo je anga`ovano da obavi analizu stawa
i obezbedi preporuke za poboq{awe uslova ~uvawa muzejskih predmeta.
Pored op{tih informacija, rad sadr`i opis muzeja u kojima su ra|ene analize, opis zgrada, prostora
i na~ina na koji su muzeji i rad u wima organizovani, opis metodologije koja je kori{}ena prilikom obrade
podataka, kao i zakqu~na razmatrawa. Metodolo{ki pristup zasnovan je na sistemu indikatora i kriterijuma
koji se odnose na funkcionalnost i organizaciju muzejskih prostora, neposredno okru`ewe zbirki
i planirawe i organizaciju za{tite.
Rezultati procene ukazuju na to da poboq{awe uslova ~uvawa i izlagawa u muzejima u Srbiji zahteva
uvo|ewe organizovanog sistema za{tite i da je neophodno sprovo|ewe sistematskih analiza stawa koje bi
bile osnova budu}ih planova i aktivnosti u domenu za{tite.
1) Analize je obavilo Odeqewe za preventivnu za{titu
Dijana Narodnog muzeja u Beogradu od 2003. do 2006. godine.
2) Ne postoje podaci o sada{wem stawu kada je re~
o uslovima ~uvawa i izlagawa u ovim muzejima.
3) Muzej grada Beograda, Gradski muzej u Vr{cu, Narodni
muzej u U`icu, Muzej Staro selo u Sirogojnu, Narodni
muzej u Kru{evcu, Narodni muzej u Leskovcu, Zavi~ajni
muzej u Aleksincu, Muzej Nikole Tesle.
4) Muzej u Leskovcu je jedan od retkih muzeja u Srbiji
koji ima namenski gra|enu zgradu.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
15 [
arhitektonskih re{ewa, {to, iako pru`a
odgovaraju}i muzeolo{ki kontekst, u velikoj
meri ograni~ava mogu}nosti odgovaraju}eg
~uvawa i izlagawa. Zgrade uglavnom nisu
ni prvobitno u potpunosti bile prilago|ene
funkciji muzeja, a sve naknadne intervencije
svodile su se na brzo re{avawe trenutnih
problema. Samim tim, nije bio obezbe|en
ni poseban prilaz za otpremawe i dopremawe
materijala.
Sve muzejske zgrade, izuzev zgrade muzeja
na otvorenom, nalaze se u gradskim jezgrima,
okru`ene su mawim zelenim povr{inama
i saobra}ajnicama.
U muzejima postoje organizovane ~uvarske
slu`be, ali ne postoji tehni~ko obezbe|ewe,
to jest nema kamera, detektora, alarma. Zgrade
su delimi~no osvetqene, a slabe ta~ke muzeja,
na primer prozori u prizemqu, nisu obezbe|ene.
Zgrade imaju po nekoliko razli~itih funkcija,
{to ote`ava kontrolu pristupa, a postoji
i problem velikog broja prolaza, zadweg
dvori{ta i drugih specifi~nosti okru`ewa.
Nije konstatovana mogu}nost poplava, sem
kada je re~ o dva muzeja. U blizini jednog muzeja
nalazi se reka, a zbog konfiguracije terena
na kojem je drugi i koli~ina atmosferskih
padavina tokom godine mogu}e je formirawe
bujica.
Funkcionalne zone u muzejskoj zgradi nisu
definisane i uglavnom nisu razgrani~eni
prostori nameweni razli~itim muzejskim
funkcijama (na primer kancelarije se koriste
i za ~uvawe i obradu materijala). Ujedno je
naru{ena i kontinualnost prostora, budu}i
da ~esto postoje pregrade izme|u prostora
iste namene.
Zgrade nemaju adekvatnu vezu izme|u
pojedinih funkcionalnih zona (u nekim
muzejima one se nalaze u razli~itim objektima);
liftovi ne postoje, a stepeni{ta i hodnici
su uski. Na taj na~in ote`an je pristup depou
ili izlo`benom prostoru.
Konzervatorske radionice uglavnom
su sme{tene u mawe pomo}ne prostorije.
Kada je re~ o klimi u objektima, u svim
muzejima postoje neki od izvora mogu}ih
poreme}aja klimatskih uslova – problemi
kapilarne vlage, proki{wavawa, mehani~kih
o{te}ewa na fasadi, nepostojawa termoizolacije.
Konstatovano je da u muzejima postoje
funkcionalni protivpo`arni aparati,
ali i visoko po`arno optere}ewe zbog
starih drvenih konstrukcija, neodr`avanih
elektroinstalacija, opreme koja se koristi
u depoima i izlo`benom prostoru.
Depoi
Depoi se nalaze u svim delovima muzejskih zgrada
(u podrumu, tavanskom prostoru, prizemqu,
na spratovima). Postoje}i prostor naj~e{}e
je nedovoqan za sme{taj zbirki i ne postoji
mogu}nost pro{irewa. Kretawe u depoima ote`ano
je usled funkcionalne neiskori{}enosti
prostora (raspored i razme{taj mobilijara),
pretrpanosti i nedovoqne {irine prolaza (sl. 4).
Broj pojedinih vrsta name{taja prilago|enog
tipologiji predmeta i materijalima od kojih
su predmeti izra|eni nedovoqan je, a postoje}i
mobilijar je neadekvatnih dimenzija,
neprilago|en te`ini predmeta i nije modularan.
Zbirke su organizovane prema vrsti
materijala, tipologiji i istorijskom ili
kulturnom periodu, bez obzira na osetqivost
i dimenzije predmeta. Predmeti su uglavnom
nepregledno sme{teni, te{ko dostupni
i nalaze se jedni na drugima ili jedni u drugima,
naj~e{}e bez adekvatnih podupira~a i oslonaca
ili ambala`e, i na otvorenim policama.
Deo predmeta nalazi se u kartonskim ili
drvenim kutijama koje nisu prvobitno bile
namewene pakovawu muzejskih predmeta, a deo
u drvenim ormanima ili na drvenim policama
bez odgovaraju}ih fizi~ki i hemijski stabilnih
podloga. Ipak, na predmetima nisu konstatovane
promene koje su nastale usled hemijskih reakcija
izazvanih dejstvom organskih kiselina iz
ambala`e.
Zakqu~eno je da ne postoje odgovaraju}a
ambala`a i oprema za manipulaciju predmetima
u muzeju (kutije, kolica, merdevine itd.) (sl. 2).
Tako|e je uo~eno da postoje}i sistem
identifikacije predmeta i signalizacije
u depoima nije uniforman, standardizovan
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
16 [
i da obuhvata samo delove zbirki ili pojedine
zbirke u nekim muzejima.
Izlo`beni prostori
Zakqu~eno je da je za{tita u izlo`benim
prostorima, u onim muzejima u kojima smo imali
pristup u taj prostor, podre|ena koncepciji
izlagawa ili da je potpuno zanemarena. Postoje}e
vitrine su zastarele, komplikovane za rukovawe
i odr`avawe, neodr`avane, lo{e zaptivene
i ne pru`aju adekvatnu za{titu izlo`enim
predmetima. U pojedinim slu~ajevima postoji
prodor direktnog dnevnog svetla u izlo`beni
prostor, a ve{ta~ko osvetqewe nije prilago|eno
potrebama posebno osetqivih predmeta (sl. 1).
Organizacija i funkcionisawe muzeja
Utvr|eno je da ni u jednom muzeju ne postoji
sistematska kontrola i regulacija mikroklime,
u smislu redovne obrade, tuma~ewa, kori{}ewa
podataka i odr`avawa opreme, iako u nekim
muzejima postoje merni instrumenti.
Konstatovana je velika mogu}nost pojave
{teto~ina s obzirom na to da zgrade nisu
odr`avane u dovoqnoj meri i da postoje brojni
otvori pogodni za prolaz insekata i glodara,
a ni u jednom muzeju nisu predvi|ene sistematske
preventivne mere za spre~avawe pojave {teto~ina.
Ve}ina muzejskih zgrada odr`ava se i ~isti
u meri koja podrazumeva svakodnevni boravak
zaposlenih, {to ne zadovoqava zahteve ~uvawa
i izlagawa muzejske gra|e. Kontrola stawa
zbirki ne obavqa se ni redovno ni sistematski,
a konzervatorske intervencije uglavnom se
preduzimaju prema trenutnim potrebama (sl. 3).
Nijedan muzej nema razvijen plan za{tite
zbirki, niti plan u slu~aju vanrednih situacija.
Konzervatorske slu`be uglavnom postoje, ali
ne pokrivaju sve materijale i nisu opremqene
u dovoqnoj meri. Muzeji u kojima ne postoji
razvijena konzervatorska slu`ba sara|uju
s drugim institucijama za{tite ili anga`uju
konzervatore saradnike prema potrebi.
Uo~eno je da neki muzeji nemaju dovoqno
stru~nog kadra za funkcionisawe, a u ve}ini
muzeja ne postoji dovoqan broj tehni~kog osobqa
za potrebe rukovawa zbirkama ili tehni~ki
kadar nije obu~en za te poslove. Me|utim,
u nekim muzejima postoji podr{ka za edukaciju
i specijalizaciju stru~nog kadra kroz u~e{}e
na stru~nim skupovima i kursevima.
METODOLOGIJA
Dijagnostika uslova ~uvawa i izlagawa zasnovana
je na referentnom sistemu, razvijenom na osnovu
podataka dobijenih analizom stawa u muzejima
i postoje}ih znawa i iskustava u oblasti
za{tite. Prilikom primene metoda, iako su
uzete u obzir specifi~nosti pojedinih muzeja
u Srbiji, kao i specifi~nosti ovog podru~ja,
dolazilo je do izdvajawa primera koji se nisu
uklapali u prose~nu sliku, ali to nije zna~ajno
uticalo na op{te zakqu~ke.
Referentni sistem omogu}uje upore|ivawe
zate~ene situacije sa zami{qenom idealnom
situacijom. ^ine je 24 indikatora koja se
odnose na funkcionalnost i organizaciju
muzejskih prostora, neposredno okru`ewe
zbirki i planirawe i organizaciju za{tite.
Svaki indikator procewen je na osnovu
~etiri kriterijuma, koja, zapravo, predstavqaju
~etiri nivoa vrednosti ustanovqena u odnosu
na optimalnu situaciju, u kojoj su u potpunosti
zadovoqeni slede}i zahtevi:
– muzejski prostori su dovoqnog kapaciteta,
odgovaraju funkcijama ~uvawa i izlagawa zbirki,
me|usobno su povezani i raspore|eni na na~in
koji prati kretawe i obradu muzejskog predmeta,
potpuno su obezbe|eni;
– uslovi ~uvawa i izlagawa redovno se prate
i reguli{u uz pomo} odgovaraju}e opreme, svi
muzejski prostori se redovno ~iste i odr`avaju
u skladu s potrebama za{tite zbirki, muzejski
prostori su optimalno iskori{}eni, postoji
dovoqna koli~ina odgovaraju}e opreme za
sme{taj zbirki, a predmeti u wima bezbedno
su raspore|eni;
– postoji dovoqan broj stru~nog kadra, obu~enog
za poslove za{tite zbirki, kao i sve neophodne
slu`be, koje su dobro organizovane i funkcioni{u
po ustanovqenim procedurama za za{titu.
Vrednost ~etiri odnosi se na situaciju koja
ispuwava ve}i deo pomenutih zahteva za{tite
muzejskih zbirki, vrednost tri na situaciju koja
ispuwava deo zahteva, vrednost dva ozna~ava
situaciju koja ispuwava minimum zahteva,
a vrednost jedan situaciju koja ne ispuwava
nijedan zahtev.
Funkcionalnost prostora
Funkcionalnost prostora procewena je na osnovu
postojawa razdvojenih funkcionalnih zona
u muzejskoj zgradi, karakteristika postoje}ih
komunikacija unutar zgrade, organizacije
prostora u zgradi, stepena u kojem depoi
i izlo`beni prostori ispuwavaju zahteve
odgovaraju}eg sme{taja i izlagawa predmeta,
kao i na osnovu osobina prilaza zgradi muzeja.
Funkcionalne zone u muzeju treba da ~ine
prostori koji su jasno razdvojeni prema
nameni (prijem materijala, depoi, izlo`beni
prostor, konsultacije) i me|usobno povezani
i raspore|eni na na~in koji prati kretawe
i obradu muzejskog predmeta. Na osnovu analize
stawa u muzejima u Srbiji utvr|eno je da su zone
delimi~no izdvojene i organizovane prema
specifi~noj nameni i da polo`aj i organizacija
prostora ~esto ne odgovaraju funkciji koja
mu je odre|ena. Prostori se naj~e{}e koriste
u razli~ite svrhe, pri ~emu su zanemareni sled
i komplementarnost funkcija koje treba da
ispuwavaju, {to ~ini wihovu organizaciju
komplikovanom, ote`ava kretawe predmeta kroz
muzej i mo`e dovesti do wegovog o{te}ewa.
Komunikacije unutar zgrade treba da budu
prostrane i da imaju jednostavnu geometriju,
bez o{trih uglova i prepreka koje bi ote`avale
kretawe i koje bi mogle da budu uzrok
mehani~kih o{te}ewa predmeta. Na osnovu
analiziranog uzorka muzeja ustanovqeno je
da je kori{}ewe komunikacija unutar zgrade
ote`ano usled postojawa uskih hodnika i brojnih
stepeni{ta, a naro~ito zbog ~iwenice da se
prostori muzeja ~esto nalaze u razli~itim
zgradama. Naj~e{}e ne postoji mogu}nost
adaptacije prostora, budu}i da je re~ o zgradama
~ija adaptacija ne bi doprinela poboq{awu
organizacije prostora i komunikacija ili je
neizvodqiva zbog toga {to su te zgrade istorijski
spomenici, te se wihov izgled ne sme naru{avati
ili bi bila potrebna velika finansijska ulagawa.
U depoima i izlo`benim prostorima tako|e
treba da bude omogu}eno neometano kretawe
zaposlenih i muzejskih predmeta, kao i adekvatan
sme{taj i izlagawe. Neophodno je da kapacitet
prostora bude dovoqan i da postoji mogu}nost
pro{irewa ili adaptacije prostora u slu~aju
pove}awa zbirke. Ustanovqeno je da u ve}ini
muzeja u Srbiji ti prostori nisu lako prohodni,
da nemaju dovoqan kapacitet za sme{taj svih
predmeta koji pripadaju fondu muzeja i da ne
pru`aju uslove za adekvatno izlagawe zbirki.
U najve}em broju muzeja ne postoji mogu}nost
pro{irewa raspolo`ivih povr{ina, ~ime bi
se omogu}ili odgovaraju}i sme{taj i izlagawe
postoje}ih predmeta i budu}ih akvizicija.
Kada je re~ o prilazu zgradi muzeja, potrebno
je da prilaz bude jednostavan i bezbedan,
s postavqenom kosom ravni i posebnim
ulazom za dopremawe i otpremawe materijala
odgovaraju}ih dimenzija, ~ime bi se obezbedilo
nesmetano dopremawe predmeta velikih
dimenzija. Konstatovano je da u muzejima
u kojima je ra|ena analiza stawa ne postoje
posebni ulazi za dopremawe materijala,
a postoje}i prilazi zgradama ne odgovaraju
postavqenim zahtevima zbog toga {to se muzeji
nalaze u gradskim jezgrima i zgradama ~ije
karakteristike ne odgovaraju potrebama za{tite.
Me|utim, uo~eno je da je nivo bezbednosti za
predmete uglavnom prihvatqiv zahvaquju}i
anga`ovawu zaposlenih (radar 1).
Organizacija prostora
Vrednosti koje se odnose na organizaciju prostora
odre|ene su na osnovu pristupa zbirkama,
funkcionalne iskori{}enosti name{taja
i wegovih karakteristika, postojawa opreme
za manipulaciju predmetima, kao i na osnovu
organizacije i na~ina sme{taja predmeta i
sistema wihovog obele`avawa i identifikovawa.
Postoje}e komunikacije u zgradi treba da
omogu}e jednostavan pristup zbirkama jer bi
fizi~ke prepreke mogle da dovedu do mehani~kih
o{te}ewa predmeta. S obzirom na to {to se
ve}ina muzeja u Srbiji nalazi u delimi~no
adaptiranim, nenamenski gra|enim zgradama,
pristup zbirkama uglavnom je ote`an zbog uskih
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
17 [
stepeni{ta, malih dimenzija vrata, pregra|enih
prostora, velikog broja malih prostorija
i prolaza. Prilikom preme{tawa predmeta
i manipulacije predmetima, me|utim, u obzir
se uzimaju postoje}a ograni~ewa i postupak se
prilago|ava wihovoj fizi~koj bezbednosti.
Celokupna zbirka treba da bude sme{tena
u tipski, modularan name{taj, ~iji kapaciteti
odgovaraju veli~ini zbirke, dok prostor
depoa treba da bude maksimalno iskori{}en.
Konstatovano je da se u muzejima u kojima je
ra|ena analiza stawa koristi improvizovan
ili privremen name{taj, nabavqen neplanski
i nedovoqno prilago|en prostoru. Usled
nefunkcionalne iskori{}enosti name{taja
i prostora depoa vi{e od polovine predmeta
nalazi se na podu, ~esto u neadekvatnoj,
privremenoj ambala`i, to jest u kartonskim ili
drvenim kutijama. To kao posledicu ima ote`an
pristup i ote`anu manipulaciju predmetima,
kao i ugro`avawe wihove fizi~ke bezbednosti.
Neophodno je da karakteristike name{taja
za sme{taj i izlagawe budu u skladu sa
specifi~nostima predmeta ili zbirke, pri
~emu treba uzimati u obzir materijal od kojeg je
predmet izra|en, visinu, {irinu i zapreminu
predmeta. Name{taj mora da ima odgovaraju}u
nosivost i fizi~ku stabilnost, da bude
prilago|en dimenzijama predmeta i izra|en od
materijala koji su stabilni, to jest od onih koji
ne emituju {tetna isparewa. Ustanovqeno je da
name{taj u muzejima ima samo jednu od potrebnih
karakteristika ili da je delimi~no prilago|en
karakteristikama predmeta. O~igledno je da je
osnovni problem nedovoqan kapacitet name{taja
i prostora, kao i kori{}ewe improvizovanog
name{taja, tako da je ugro`ena fizi~ka
stabilnost predmeta. Preovladava name{taj
izra|en od drveta, a name{taj od adekvatnih,
stabilnih materijala najmawe je zastupqen.
Potrebno je da oprema za manipulaciju
predmetima bude raznovrsna i prilago|ena
prostoru, na~inu sme{taja i karakteristikama
predmeta. Postojawe adekvatne opreme
(dizalica, kolica, merdevina, kartonskih kutija,
plasti~ne ambala`e, fascikli) i weno dosledno
kori{}ewe smawuju rizik od mehani~kih
o{te}ewa predmeta. Upotreba odgovaraju}e
opreme posebno je zna~ajna prilikom rukovawa
predmetima koji su mehani~ki i strukturalno
o{te}eni, ~ije je stawe nestabilno ili onima
koji su izra|eni od osetqivih materijala. U
muzejima u Srbiji postoji jednostavna oprema za
manipulaciju, ali je ustanovqeno da se ona retko
koristi, ~ak i kada se manipuli{e osetqivim
predmetima i kada su prostori za sme{taj
pretrpani, a predmeti te{ko dostupni.
Dobra organizacija sme{tawa i izlagawa
predmeta podrazumeva da su svi predmeti lako
dostupni i pregledno raspore|eni prema vrsti
i osetqivosti predmeta/materijala, tipologiji
predmeta, istorijskom ili kulturnom periodu
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
18 [
Funkcionalne zone
Prilaz / ulaz u zgraduKomunikacije i
kretawe kroz zgradu
Prostor depoa i izlo`benog prostora
RADAR 1
i dimenzijama. Usled nefunkcionalnosti
i nedovoqnog kapaciteta postoje}eg name{taja
u muzejima u Srbiji samo je deo predmeta
sme{ten i izlo`en pregledno, dok su ostali
predmeti sme{teni na pod, jedan na drugi ili
jedan u drugi, ili wihov raspored nije podre|en
zahtevima forme i dimenzija, tako da postoje
rizici od mehani~kih o{te}ewa. Zbirke su
naj~e{}e organizovane prema vrsti materijala
i istorijskom ili kulturnom periodu.
Kori{}ewe uniformnog, standardizovanog
i jasnog sistema obele`avawa i identifikovawa
predmeta treba da bude dosledno i u potpunosti
primeweno na celokupni muzejski fond. Po{to
u Srbiji nije ustanovqen standardizovan sistem
obele`avawa i identifikovawa muzejskih
predmeta, jedinstven sistem se ne primewuje,
osim prilikom identifikacije predmeta (IB).
Ukoliko su muzej ili kustosi ustanovili sistem
obele`avawa, tada su obuhva}eni samo delovi
zbirke ili nekoliko zbirki u muzeju (radar 2).
Neposredno okru`ewe zbirki
Neposredno okru`ewe zbirki razmatrano je na
osnovu regulacije klimatskih uslova, svetlosti,
na~ina odlagawa i kondicionirawa predmeta,
nivoa bezbednosti i protivpo`arne za{tite
i rizika od poplave.
Kada je re~ o regulaciji klimatskih uslova,
potrebno je da zgrada ima maksimalnu termalnu
inerciju i adekvatnu izolaciju, {to }e
obezbediti minimalne klimatske oscilacije.
Iako ne postoje podaci o klimatskim uslovima
u muzejima u kojima je ra|ena analiza stawa, na
osnovu vizuelnog pregleda prostora u kojima se
nalaze zbirke, konstatovanih tragova prodora
vode, ~iwenice da se depoi naj~e{}e nalaze u
delovima zgrade koji su najvi{e izlo`eni dejstvu
klimatskih promena, kao i na osnovu usmenih
informacija dobijenih od zaposlenih, zakqu~eno
je da u zgradama muzeja postoje zna~ajne klimatske
oscilacije i samim tim opasnost za deo fonda.
Prirodno i ve{ta~ko svetlo treba da bude
regulisano filterima i zastorima da bi
se spre~ila direktna izlo`enost predmeta
svetlosnom zra~ewu koje izaziva postepeno
propadawe nekih posebno osetqivih materijala.
Me|utim, na analiziranom uzorku muzeja u
Srbiji konstatovano je da se, u najboqem slu~aju,
nivo svetlosti delimi~no reguli{e zavesama
ili premazom na staklu.
Odlagawe i kondicionirawe predmeta
podrazumeva da name{taj, ambala`a i
podupira~i/oslonci treba da budu u potpunosti
prilago|eni specifi~nostima predmeta, to jest
veli~ini, te`ini, formi i materijalu od
kojeg je predmet napravqen, zatim izra|eni od
stabilnih, ~vrstih i trajnih materijala, kao i to
da je mogu}e premestiti predmete u ambala`i,
bez neposrednog rukovawa samim predmetima.
Budu}i da se predmeti u muzejima u Srbiji
naj~e{}e odla`u u improvizovan name{taj
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
19 [
Pristup zbirkama
Sme{taj predmeta i prilago|enost
name{taja prostoru
Odgovaraju}a nosivost,
stabilnost i dimenzije predmeta
Oprema za manipulaciju
predmetima
Organizacija i na~in sme{tawa
i izlagawa predmeta
Obele`avawe u depoima
i identifikacija predmeta
RADAR 2
i ambala`u i u wima kondicioniraju, bez
adekvatnih podupira~a koji su prilago|eni
karakteristikama predmeta, zakqu~eno je da
predmeti nisu u potpunosti mehani~ki
obezbe|eni, ali da se ipak koriste materijali
koji im ne {kode, zapravo oni koji vi{e ne
emituju {tetna isparewa jer su ve} du`e u
upotrebi.
Kada je re~ o bezbednosti, organizovan
sistem obezbe|ewa treba da obuhvata postojawe
protivprovalnih alarma, perimetrijske za{tite
i opreme za personal. Konstatovano je, me|utim,
daje jedino organizovano fizi~ko obezbe|ewe
muzeja.
Na nivou protivpo`arne za{tite, potrebno je
da su u muzeju instalirani detektori dima i
automatski sistem ga{ewa po`ara, ~ak i da su
eliminisani svi posebni i uobi~ajeni rizici
od po`ara, kao {to su, na primer, neispravne
ili stare elektri~ne instalacije. U skladu sa
zakonom o protivpo`arnoj za{titi, u muzejima
u Srbiji nalaze se ispravni aparati za ga{ewe
po`ara, ali je to jedini vid za{tite u
prostorima u kojima postoje razli~iti rizici
od izbijawa po`ara zbog stawa u kojem su zgrade,
instalacije i enterijer.
Trebalo bi da rizik od poplave bude
eliminisan ili minimalan, bez obzira na to
da li je re~ o mogu}nosti poplave usled blizine
plavne reke ili zbog proki{wavawa, pucawa
cevi, to jest zbog posledica neodr`avawa
muzejske zgrade. U muzejima u kojima su ra|ene
analize stawa rizici od poplave ili curewa
vode usled proki{wavawa krova, problema sa
instalacijama i kanalizacijom su verovatni
(radar 3).
Planirawe i organizacija za{tite
Procena nivoa planirawa i organizacije za{tite
obavqena je na osnovu analize stru~nog kadra,
procedura i tehni~kih mogu}nosti za rukovawe
zbirkama, kontrole klimatskih uslova
i {teto~ina, ~i{}ewa muzejskih prostora,
procedure za vanredne situacije, obavqawa
kontrole stawa zbirki i organizacije
konzervatorsko-restauratorske slu`be u muzejima.
Pored toga {to je za neometano
funkcionisawe institucije i kvalitet rada
neophodan odre|en broj zaposlenih, potrebno je
da stru~ni muzejski kadar poseduje svest o zna~aju
uticaja uslova ~uvawa na stawe zbirki. Taj zahtev
odnosi se kako na konzervatore tako i na kustose,
s obzirom na to da bi u dono{ewu odluka u vezi
sa za{titom muzejskih zbirki trebalo podjednako
da u~estvuju i jedni i drugi. Analizirani muzeji
uglavnom imaju dovoqan broj zaposlenih za
osnovne stru~ne funkcije. Wihov rad je ve}im
delom usmeren na istra`ivawe zbirki, a
o~igledan je nedostatak obuke, informacija,
pa samim tim i anga`ovawa u oblasti za{tite.
Postojawe procedura ili pravilnika u vezi
s rukovawem muzejskim zbirkama jedan je od
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
20 [
Regulacija klimatskih uslova
Svetlost
Odlagawe i kondicionirawe
predmeta
Bezbednost
Protivpo`arna za{tita
Rizik od poplave
RADAR 3
preduslova za smawewe rizika od mehani~kih
o{te}ewa. Zbog istog tog razloga trebalo bi da
muzej poseduje izvesna tehni~ka sredstva za
preme{taj predmeta. To se, pre svega, odnosi
na razne vrste kolica, paleta i mawih teretnih
vozila – viqu{kara – koji se koriste za
preno{ewe te{kih i kabastih predmeta, ali
i na sve vrste podloga i ambala`e koja slu`i za
bezbedno rukovawe zbirkama. Rezultati dobijeni
tokom analize muzeja pokazuju generalno
nepostojawe bilo kakvog dokumenta koji
propisuje na~in rukovawa predmetima. Muzejski
radnici nisu imali prilike da steknu saznawa
o potrebnim merama i mogu}im posledicama
neadekvatnog rukovawa predmetima, iako muzeji
poseduju neka tehni~ka sredstva za preme{tawe,
a zaposleni ih koriste uglavnom onda kada je
nemogu}e ne{to pomeriti bez pomagala. To
prakti~no zna~i da na~in rukovawa predmetima
zavisi od potreba zaposlenih, a da nije
prilago|en potrebama za{tite predmeta.
Radi odr`avawa optimalnih uslova ~uvawa
i izlagawa zbirki, trebalo bi da se kontrola i
analiza klimatskih uslova odvijaju kontinualno.
Ve}ina muzeja u kojima je obavqena analiza stawa
nema mogu}nost za nabavku opreme i pra}ewe
klimatskih uslova, pa se kontrola klime,
u najboqem slu~aju, svodi na trenutna merewa
bilo klasi~nim, bilo digitalnim aparatima,
te se podaci ne ~uvaju i ne analiziraju.
Uobi~ajeno odr`avawe muzejskih zgrada u na{im
uslovima ne razlikuje se od na~ina na koji
se odr`avaju zgrade dr`avne administracije
ili sli~ne ustanove s druga~ijom funkcijom.
Dakle, potrebe odr`avawa nisu zadovoqene ni
u meri koja je neophodna za normalno obavqawe
muzejskih poslova i svakodnevni rad zaposlenih,
iako bi za potrebe ~uvawa muzejskih zbirki
bilo potrebno redovno ~i{}ewe kako javnih
i administrativnih prostorija muzeja tako
i depoa, uz punu pa`wu i poznavawe pristupa
koji ne ugro`ava stawe zbirki ni na koji na~in.
Za potrebe za{tite zbirki od {teto~ina,
kako insekata i glodara tako i mikroorganizama,
predvi|ena je ne samo redovna kontrola pojave
(kontrola ulaza, pregled zbirki i drugo) nego
i preventivne i kurativne mere za{tite. U ve}em
broju srpskih muzeja zaraza mikroorganizmima
i prisustvo drugih {teto~ina uglavnom se
konstatuju, ali se ne sprovodi sistematski
tretman ili se pri tretmanu koriste neadekvatna
sredstva, {tetna za muzejske predmete.
Kao i kada je re~ o pravilima rukovawa
predmetima, ne postoje dokumenti koji detaqno
predvi|aju pona{awe muzejskih radnika u
vanrednim situacijama, u slu~ajevima po`ara,
poplava i drugih katastrofa. Poznavawe pravila
pona{awa u vanrednim prilikama kod muzejskih
radnika je na osnovnom nivou. Idealna situacija
podrazumeva posebnu, obavezuju}u proceduru u
slu~aju takve opasnosti, kojom se izazvana {teta
svodi na najmawu mogu}u meru.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
21 [
Stru~ni kadar
Procedure rukovawa
i tehni~ke mogu}nosti
Kontrola klimatskih uslova
^i{}ewe prostora i zbirki
Kontrola pojave {teto~ina
i mikroorganizama
Procedure u slu~aju vanrednih situacija
Kontrola stawa zbirki
Organizacija
konzervatorsko-restauratorske slu`be
RADAR 4
Iako je za odr`avawe zbirki potrebno da se
provera stawa konzervacije obavqa bar jednom u
tri godine, a idealno jednom godi{we detaqno,
na analiziranom uzorku muzeja pokazalo se da se
kontrola stawa zbirki obavqa tek okvirno, i to
prilikom primopredaja ili revizija. To zna~i
da su muzejski predmeti naj~e{}e sistemati~no
pregledani jednom ili nijednom. Uobi~ajeno je
da konzervator reaguje na poziv kustosa, ~ija
potreba za konzervacijom predmeta poti~e od
`eqe da se predmeti pripreme za izlagawe,
i to u estetskom smislu.
Na kraju, veliki deo odgovornosti za
kontrolu uslova ~uvawa i izlagawa zbirki le`i
na muzejskim konzervatorskim slu`bama, koje
treba da budu ne samo dovoqno brojne i stru~ne,
kako bi pokrile sve vrste materijala koje muzej
poseduje, ve} je potrebno i da poseduju svest o
zna~aju preventivne za{tite i neophodno znawe
za pra}ewe i kontrolu stawa zbirki i wihovog
okru`ewa. Analizirani muzeji ve}inom imaju
bar jednog konzervatora i tehni~are koji
svojim znawem i iskustvom pokrivaju potrebe
konzervatorskog tretmana ve}eg dela materijala
u muzeju, ali uz skromne tehni~ke i materijalne
mogu}nosti, kao i uz nedostatak svesti o potrebi
obezbe|ivawa adekvatnih uslova ~uvawa
i izlagawa i svo|ewe samog konzervatorskog
tretmana na minimalnu meru (radar 4).
REZULTATI
Rezultati za svaki indikator predstavqeni
su u grafi~koj formi radara, gde plavo poqe
odgovara vrednostima dobijenim u odnosu na
24 razmatrana indikatora.
Ve}ina indikatora, odnosno 19 indikatora,
dobilo je ocenu 2, {to ozna~ava situaciju u kojoj
je ispuwen minimum zahteva. To su indikatori
koji obuhvataju i probleme zgrade i depoa
i izlo`benog prostora, iz ~ega sledi da se
podjednak broj problema pojavquje u oblastima
funkcionalnosti i organizacije prostora,
uslova ~uvawa i izlagawa zbirki, kao i u
oblasti planirawa sistema za{tite, a u
nekim slu~ajevima to se neposredno povezuje
s problemom nedostatka nov~anih sredstava.
^etiri indikatora je dobilo ocenu 1, {to
odgovara situaciji koja ne zadovoqava ni
minimum zahteva za{tite. To su indikatori koji
se odnose na prostor depoa i izlo`beni prostor
(zbog ~iwenice da je uglavnom re~ o nenamenskim
zgradama), na ~i{}ewe prostora i zbirki,
kontrolu pojave {teto~ina i procedure u slu~aju
vanrednih prilika (usled problema nedostatka
planirawa i organizacije).
U jednom slu~aju dodeqena je ocena 3, {to
odgovara situaciji u kojoj je zadovoqen deo
zahteva, a re~ je o indikatoru koji se odnosi
na muzejski stru~ni kadar (tabela).
ZAKQU^AK
Rezultati analize i utvr|ivawa stawa uslova
~uvawa i izlagawa sprovedenih na izdvojenom
uzorku muzeja u Srbiji pokazuju da u ve}ini
tih muzeja re{ewe za poboq{awe uslova ~uvawa
i izlagawa zahteva uvo|ewe organizovanog
sistema za{tite, koji bi predstavqao optimalan
odnos izme|u neophodnih ulagawa i `eqenih
rezultata. To bi podrazumevalo:
– planirawe poboq{awa uslova ~uvawa kroz
postepeno uvo|ewe odgovaraju}ih materijala za
kondicionirawe zbirki;
– redovne kontrole i pripremu plana
konzervacije;
– pripremu dokumenata koji bi olak{ali
organizaciju za{tite zbirki i rukovawe
zbirkama;
– reorganizaciju prostora i sme{taja zbirki;
– usmeravawe raspolo`ivih sredstava na
nabavku opreme za kontrolu i regulaciju uslova
~uvawa;
– dodatnu obuku stru~nog kadra u oblasti
za{tite.
Me|utim, ovakva analiza daje samo op{tu
sliku stawa. S jedne strane, wena ograni~ewa su u
malom broju analiziranih muzeja, dok bi, s druge,
ona trebalo da bude samo prva faza sistematske
analize i procene stawa u muzejima. To bi bio
osnov za uspostavqawe sistema prioriteta
i sleda akcija u okviru muzejske za{tite, pri
~emu dr`ava treba da pokrene inicijativu
i pru`i podr{ku za weno sprovo|ewe.
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
22 [
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
23 [
FU
NK
CI
ON
AL
NO
ST
P
RO
ST
OR
A
Fun
kc
io
nal
ne zo
ne
Po
sto
je i
zd
if
er
en
ci
ran
e f
un
kc
io
nal
ne zo
ne (d
ep
oi
, i
zl
o`
ben
i i
r
ad
ni
p
ro
sto
ri
)1
Po
sto
je i
zd
if
er
en
ci
ran
e f
un
kc
io
nal
ne zo
ne, al
i je w
ih
ova o
rgan
izac
ija k
om
pl
ik
ovan
a2
Fun
kc
io
nal
ne zo
ne su d
el
im
i~
no
i
zd
if
er
en
ci
ran
e, a w
ih
ova o
rgan
izac
ija je k
om
pl
ik
ovan
a3
Ne p
osto
je i
zd
if
er
en
ci
ran
e f
un
kc
io
nal
ne zo
ne
4
Ko
mun
ik
ac
ije
i k
retaw
e k
ro
z
zgr
ad
u
Ko
mun
ik
ac
ije un
utar
zgr
ad
e su p
ro
str
an
e, jed
no
stavn
e i
bez p
rep
rek
a1
Ko
ri
{}
ew
e k
om
un
ik
ac
ija un
utar
zgr
ad
e je ote`
an
o, al
i p
osto
ji
m
ogu}
no
st ad
ap
tac
ije p
ro
sto
ra
2
Ko
ri
{}
ew
e k
om
un
ik
ac
ija un
utar
zgr
ad
e je ote`
an
o i
n
e p
osto
ji
m
ogu}
no
st ad
ap
tac
ije p
ro
sto
ra
3
Ko
mun
ik
ac
ije un
utar
zgr
ad
e su k
om
pl
ik
ovan
e i
n
ep
ro
ho
dn
e (o
nem
ogu}
en
p
ri
laz p
ro
sto
ri
ma)
4
Pr
osto
r d
ep
oa
i i
zl
o`
ben
og
pr
osto
ra
Oso
bi
ne p
ro
sto
ra o
mo
gu}
uju p
ro
ho
dn
ost i
ad
ek
vatan
sm
e{
taj i
i
zl
agaw
e, a k
ap
ac
itet je d
ovo
qan
u sl
u~
aju p
ove}
aw
a zbi
rk
e1
Oso
bi
ne p
ro
sto
ra o
mo
gu}
uju p
ro
ho
dn
ost i
ad
ek
vatan
sm
e{
taj i
i
zl
agaw
e, al
i k
ap
ac
itet n
ije d
ovo
qan
u sl
u~
aju p
ove}
aw
a zbi
rk
e2
Oso
bi
ne p
ro
sto
ra o
mo
gu}
uju sm
e{
taj i
i
zl
agaw
e zbi
rk
e, al
i je p
ro
ho
dn
ost o
gr
an
i~
en
a i
k
ap
ac
itet n
ije d
ovo
qan
u sl
u~
aju p
ove}
aw
a zbi
rk
e3
Oso
bi
ne p
ro
sto
ra n
e o
mo
gu}
uju p
ro
ho
dn
ost, ad
ek
vatan
sm
e{
taj i
i
zl
agaw
e zbi
rk
e4
Pr
il
az / ul
azu
zgr
ad
u
Pr
il
az je jed
no
stavan
i
bezbed
an
, p
osto
ji
p
oseban
ul
az za d
op
rem
aw
e i
otp
rem
aw
e m
ater
ijal
a, d
im
en
zi
je ul
aza i
vr
ata su ad
ek
vatn
e,
po
sto
je k
ose r
avn
i1
Pr
il
az je d
o i
zvesn
e m
er
e p
ri
lago
|en
, s p
ri
hvatq
ivi
m n
ivo
om
bezbed
no
sti
za p
red
mete
2
Pr
il
az je n
ep
ri
lago
|en
, s p
ri
hvatq
ivi
m n
ivo
om
bezbed
no
sti
za p
red
mete
3
Pr
il
az je n
ep
ri
lago
|en
i
k
om
pl
ik
ovan
, p
osto
ji
r
izi
k za bezbed
no
st p
red
meta
4
OB
LA
ST
IN
DI
KA
TO
RK
RI
TE
RI
JU
MI
OR
GA
NI
ZA
CI
JA
PR
OS
TO
RA
Pr
istup
zbi
rk
am
a
.P
ri
stup
je jed
no
stavan
i
bezbed
an
, bez f
izi
~k
ih
p
rep
rek
a, n
em
a r
izi
ka p
o p
red
mete
1
Pr
istup
je jed
no
stavan
, al
i je p
otr
ebn
a o
pr
ezn
ost p
ri
r
uk
ovaw
u p
red
meti
ma
2
Pr
istup
je ote`
an
, al
i s p
ri
hvatq
ivi
m n
ivo
om
bezbed
no
sti
za p
red
mete
3
Pr
istup
je k
om
pl
ik
ovan
i
ote`
an
, p
red
meti
su n
ep
ri
stup
a~
ni
i
p
osto
ji
r
izi
k p
o bezbed
no
st p
red
meta
4
Sm
e{
taj
zbi
rk
i/p
red
meta
i p
ri
lago
|en
ost
nam
e{
taja p
ro
sto
ru
Svi
p
red
meti
su sm
e{
ten
i u n
am
e{
taj k
oji
je ti
psk
i, m
od
ul
ar
an
, p
ro
sto
r je m
ak
si
mal
no
i
sk
or
i{
}en
4
80
% p
red
meta je sm
e{
ten
o u n
am
e{
taj k
oji
je ti
psk
i, p
ro
sto
r je m
ak
si
mal
no
i
sk
or
i{
}en
3
Maw
e o
d 5
0%
p
red
meta sm
e{
ten
o je u n
am
e{
taj, k
oji
je i
mp
ro
vi
zo
van
i
li
p
ri
vr
em
en
, p
ro
sto
r je n
ef
un
kc
io
nal
no
i
sk
or
i{
}en
2
Maw
e o
d 2
0%
p
red
meta sm
e{
ten
o je u n
am
e{
taj i
li
n
am
e{
taj n
e p
osto
ji
1
Od
go
var
aju}
a
no
si
vo
st,
stabi
ln
osti
di
men
zi
je
nam
e{
taja
Nam
e{
taj je u p
otp
un
osti
p
ri
lago
|en
sp
ec
if
i~
no
sti
ma p
red
meta/zbi
rk
i4
Nam
e{
taj je f
izi
~k
i stabi
lan
, p
ri
lago
|en
d
im
en
zi
jam
a p
red
meta i
w
ih
ovo
j te`
in
i, al
i m
ater
ijal
io
d k
oji
h je i
zr
a|
en
n
e o
dgo
var
aju
sp
ec
if
i~
no
sti
ma p
red
meta
3
Nam
e{
taj d
el
im
i~
no
o
dgo
var
a jed
no
j o
d k
ar
ak
ter
isti
ka p
red
meta i
li
ve}
em
br
oju w
ih
2
Nam
e{
taj uo
p{
te n
ije p
ri
lago
|en
p
red
meti
ma/zbi
rk
am
a1
Op
rem
a
za m
an
ip
ul
ac
iju
pr
ed
meti
ma
Op
rem
a za m
an
ip
ul
ac
iju p
red
meti
ma je r
azn
ovr
sn
a i
p
ri
lago
|en
a n
a~
in
u sm
e{
taja i
vr
sti
m
ater
ijal
a/p
red
meta
4
Po
sto
je k
ol
ic
a, m
er
devi
ne i
jed
no
stavn
a o
pr
em
a za m
an
ip
ul
ac
iju p
ojed
in
a~
ni
m p
red
meti
ma (k
ar
to
nsk
e k
uti
je, p
lasti
~n
a am
bal
a`
a,
fasc
ik
le) i
k
or
iste se p
ri
li
ko
m r
uk
ovaw
a3
Po
sto
ji
jed
no
stavn
a o
pr
em
a za m
an
ip
ul
ac
iju p
red
meti
ma, al
i se r
etk
o k
or
isti
2
Ne p
osto
je / n
e k
or
iste se sr
ed
stva za m
an
ip
ul
ac
iju p
red
meti
ma
1
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
24 [
OR
GA
NI
ZA
CI
JA
PR
OS
TO
RA
Or
gan
izac
ijai
na~
in
sm
e{
taw
ai
izl
agaw
a p
red
meta
Svi
p
red
meti
su p
regl
ed
no
sm
e{
ten
i i
i
zl
o`
en
i p
rem
a vr
sti
i
o
setq
ivo
sti
p
red
meta/m
ater
ijal
a, ti
po
lo
gi
ji
p
red
meta, i
sto
ri
jsk
om
i
li
kul
tur
no
m p
er
io
du, d
im
en
zi
jam
a i
l
ak
o su d
ostup
ni
1
Ve}
in
a p
red
meta je p
regl
ed
no
sm
e{
ten
a i
i
zl
o`
en
a p
rem
a vr
sti
p
red
meta/m
ater
ijal
a, ti
po
lo
gi
ji
p
red
meta, i
sto
ri
jsk
om
il
i k
ul
tur
no
m p
er
io
du
2
Deo
p
red
meta je sm
e{
ten
i
i
zl
o`
en
p
regl
ed
no
, p
rem
a vr
sti
m
ater
ijal
a i
i
sto
ri
jsk
om
i
li
k
ul
tur
no
m p
er
io
du
3
Pr
ed
meti
su sm
e{
ten
i i
i
zl
o`
en
i n
ep
regl
ed
no
, jed
an
u/n
a d
rugo
m i
te{
ko
su d
ostup
ni
, n
eo
rgan
izo
van
i i
li
o
rgan
izo
van
i sam
o p
rem
a
isto
ri
jsk
om
i
li
k
ul
tur
no
m p
er
io
du
4
Obel
e`
avaw
e u
dep
oi
ma
i i
den
ti
fi
kac
ija
pr
ed
meta
Un
if
or
man
, stan
dar
di
zo
van
, jasan
si
stem
o
bel
e`
avaw
a i
i
den
ti
fi
kac
ije p
red
vi
|en
je i
sp
ro
ved
en
u p
otp
un
osti
4
Un
if
or
man
si
stem
o
bel
e`
avaw
a i
i
den
ti
fi
kac
ije o
buh
vata ve}
i d
eo
p
red
meta/zbi
rk
i (6
0%
)3
Si
stem
o
bel
e`
avaw
a i
i
den
ti
fi
kac
ije n
ije un
if
or
man
i
o
buh
vata sam
o d
eo
p
red
meta/zbi
rk
i (4
0%
)2
Ne p
osto
ji
si
stem
o
bel
e`
avaw
a i
i
den
ti
fi
kac
ije p
red
meta/zbi
rk
i1
NE
PO
SR
ED
NO
OK
RU
@E
WE
ZB
IR
KI
Regul
ac
ija
kl
im
atsk
ih
usl
ova
Zgr
ad
a s m
ak
si
mal
no
m i
ner
ci
jo
m i
m
in
im
al
ni
m k
li
matsk
im
o
sc
il
ac
ijam
a1
Vl
a`
no
st i
tem
per
atur
a su k
on
tr
ol
isan
i p
ren
osi
vi
m ur
e|
aji
ma i
li
si
stem
om
za r
egul
ac
iju k
li
me–
k
on
tr
ol
isan
e k
li
matsk
e o
sc
il
ac
ije
2
Nem
a si
stem
atsk
e k
on
tr
ol
e i
/i
li
r
el
ati
vn
a vl
a`
no
st i
tem
per
atur
a n
isu ad
ek
vatn
e; p
osto
je k
li
matsk
e o
sc
il
ac
ije i
o
pasn
ost za d
eo
f
on
da
3
Nem
a k
on
tr
ol
e tem
per
atur
e i
r
el
ati
vn
e vl
a`
no
sti
, zgr
ad
a n
em
a i
ner
ci
ju; p
osto
je zn
a~
ajn
e k
li
matsk
e o
sc
il
ac
ije k
oje ugr
o`
avaju p
red
mete
4
Svetl
ost
Pr
ir
od
no
i
ve{
ta~
ko
svetl
o r
egul
isan
o je f
il
ter
im
a i
zasto
ri
ma
4
U to
ku je p
lan
ir
aw
e p
ro
ver
e i
r
egul
ac
ije n
ivo
a o
svetq
ew
a3
Ni
vo
svetl
osti
d
el
im
i~
no
se r
egul
i{
e zavesam
a2
Ne p
osto
ji
n
ik
ak
va k
on
tr
ol
a svetl
a1
Od
lagaw
e
i k
on
di
ci
on
ir
aw
e
pr
ed
meta
Nam
e{
taj, am
bal
a`
a i
p
od
up
ir
a~
i/o
sl
on
ci
u p
otp
un
osti
su p
ri
lago
|en
i sp
ec
if
i~
no
sti
ma p
red
meta (stabi
ln
i, ~
vr
sti
i
tr
ajn
i m
ater
ijal
i)
i d
ozvo
qavaju k
ra}
a p
rem
e{
taw
a p
red
meta
4
Ko
nd
ic
io
ni
raw
e je p
ri
lago
|en
o p
red
metu; p
red
met je o
bezbe|
en
m
eh
an
i~
ki
i
n
e p
osto
ji
m
ogu}
no
st h
em
ijsk
e r
eak
ci
je
3
Ko
ri
ste se m
ater
ijal
i k
oji
n
e {
ko
de p
red
meti
ma, o
dn
osn
o k
oji
vi
{e n
e em
ituju {
tetn
a i
sp
ar
ew
a,al
i p
red
met n
ije u p
otp
un
osti
m
eh
an
i~
ki
obezbe|
en
2
Pr
ed
met je ugr
o`
en
zbo
g n
a~
in
a n
a k
oji
je sm
e{
ten
i
up
ak
ovan
1
Bezbed
no
st
Or
gan
izo
van
si
stem
o
bezbe|
ew
a –
p
roti
vp
ro
val
ni
al
ar
mi
, p
er
im
etr
ijsk
a za{
ti
ta i
o
pr
em
a za p
er
so
nal
4
Po
sto
je p
roti
vp
ro
val
ni
al
ar
mi
i
o
bu~
en
o o
so
bq
e3
Po
sto
ji
f
izi
~k
o o
bezbe|
ew
e m
uzeja
2
Muzej n
ije o
bezbe|
en
1
Pr
oti
vp
o`
ar
na
za{
ti
ta
Nem
a p
osebn
og r
izi
ka o
d p
o`
ar
a; i
nstal
ir
an
i su d
etek
to
ri
d
im
a i
auto
matsk
i si
stem
ga{
ew
a p
o`
ar
a4
Ri
zi
ci
su m
in
im
al
ni
, i
nstal
ir
an
i su d
etek
to
ri
d
im
a, p
osto
je ad
ek
vatn
i ap
ar
ati
za ga{
ew
e p
o`
ar
a3
Po
sto
je r
izi
ci
o
d i
zbi
jaw
a p
o`
ar
a, n
isu i
nstal
ir
an
i d
etek
to
ri
d
im
a, p
osto
je ap
ar
ati
za ga{
ew
e p
o`
ar
a2
Vi
so
ko
p
o`
ar
no
o
pter
e}
ew
e u p
ro
sto
ru i
n
ed
ostup
no
st p
ro
sto
ra za vatr
ogasc
e1
Ri
zi
k o
d p
op
lave
Nem
a o
~i
gl
ed
no
g r
izi
ka o
d p
op
lave
4
Maw
i r
izi
ci
o
d p
op
lave
3
Ver
ovatn
i r
izi
ci
o
d p
op
lave i
li
c
ur
ew
a vo
de usl
ed
p
ro
ki
{w
avaw
a k
ro
va, p
ro
bl
em
a sa i
nstal
ac
ijam
a i
k
an
al
izac
ijo
m2
Razl
i~
iti
r
izi
ci
o
d p
op
lave usl
ed
p
uc
aw
a i
nstal
ac
ija i
li
i
zl
ivaw
a r
ek
e1
OB
LA
ST
IN
DI
KA
TO
RK
RI
TE
RI
JU
MI
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
25 [
PL
AN
IR
AW
E I
OR
GA
NI
ZA
CI
JA
ZA
[T
IT
E
Str
u~
ni
k
ad
ar
Str
u~
ni
k
ad
ar
br
ojem
i
k
val
iteto
m r
ad
a zad
ovo
qava p
otr
ebe p
osl
a m
uzejsk
ih
sl
u`
bi
i
p
osed
uje svest o
zn
a~
aju usl
ova ~
uvaw
a zbi
rk
i4
Br
oj str
u~
no
g k
ad
ra i
k
val
itet w
ego
vo
g r
ad
a d
ovo
qan
je za bazi
~n
o f
un
kc
io
ni
saw
e m
uzejsk
ih
sl
u`
bi
; n
e p
ri
daje se d
ovo
qan
zn
a~
aj usl
ovi
ma
~uvaw
a zbi
rk
i3
Po
sto
ji
m
al
i br
oj str
u~
ni
h l
ic
a, w
ih
ov r
ad
n
e zad
ovo
qava p
otr
ebe p
osl
a i
/i
li
o
ni
n
em
aju svest o
zn
a~
aju usl
ova ~
uvaw
a zbi
rk
i2
Br
oj str
u~
ni
h l
ic
a je m
in
im
al
an
, w
ih
ov r
ad
n
e zad
ovo
qava p
otr
ebe p
osl
a i
o
ni
n
em
aju svest o
zn
a~
aju usl
ova ~
uvaw
a zbi
rk
i1
Pr
oc
ed
ur
e
ruk
ovaw
ai
teh
ni
~k
e
mo
gu}
no
sti
Zap
osl
en
i se p
ri
dr
`avaju ustan
ovq
en
e p
ro
ced
ur
e, uz k
or
i{
}ew
e teh
ni
~k
ih
sr
ed
stava k
oja m
uzej p
osed
uje
4
Zap
osl
en
i se u i
zvesn
oj m
er
i p
ri
dr
`avaju p
ravi
la r
uk
ovaw
a zbi
rk
am
a i
k
or
iste teh
ni
~k
a sr
ed
stvan
a o
sn
ovu zn
aw
a i
i
sk
ustva, i
ak
o
pr
oc
ed
ur
a n
ije ustan
ovq
en
a3
Ne p
osto
ji
ustan
ovq
en
a p
ro
ced
ur
a za r
uk
ovaw
e i
zap
osl
en
i n
e p
ozn
aju p
ravi
la r
uk
ovaw
a p
red
meti
ma, al
i k
or
iste teh
ni
~k
a sr
ed
stva
ko
ja m
uzej p
osed
uje
2
Ne p
osto
je n
i p
ro
ced
ur
a r
uk
ovaw
a zbi
rk
am
a, n
iti
p
ozn
avaw
e p
ravi
la r
uk
ovaw
a, a m
uzej n
e p
osed
ujeteh
ni
~k
a sr
ed
stva
za m
an
ip
ul
ac
iju zbi
rk
am
a1
Ko
ntr
ol
a
kl
im
atsk
ih
usl
ova
Mer
ew
e i
an
al
iza k
li
matsk
ih
usl
ova o
bavq
aju se k
on
ti
nual
no
4
Obavq
aju se tr
en
utn
a m
er
ew
a i
an
al
iza k
li
matsk
ih
usl
ova
3
Obavq
aju se tr
en
utn
a m
er
ew
a k
li
matsk
ih
usl
ova, bez an
al
ize p
od
atak
a2
Nem
a k
on
tr
ol
e k
li
matsk
ih
usl
ova
1
^i
{}
ew
e p
ro
sto
ra
i zbi
rk
i
Ad
ek
vatn
o i
r
ed
ovn
o ~
i{
}ew
e p
ro
sto
ra m
uzeja i
zbi
rk
i4
Pr
osto
r se r
ed
ovn
o ~
isti
, u m
er
i k
oja p
od
razum
eva svak
od
nevn
i bo
ravak
zap
osl
en
ih
, uz p
ovr
em
en
o ~
i{
}ew
e zbi
rk
i3
Pr
osto
r se r
ed
ovn
o ~
isti
, u m
er
i k
oja p
od
razum
eva svak
od
nevn
i bo
ravak
zap
osl
en
ih
2
Pr
osto
r se n
er
ed
ovn
o ~
isti
i
li
~
i{
}ew
e n
ije p
ri
lago
|en
o m
uzejsk
im
p
otr
ebam
a1
Ko
ntr
ol
a p
ojave
{teto
~i
na
i m
ik
ro
or
gan
izam
a
s p
red
vi
|en
im
pr
oc
ed
ur
am
au
sl
u~
aju p
otr
ebe
Red
ovn
o se vr
{i
k
on
tr
ol
a p
ojave {
teto
~i
na i
m
ik
ro
or
gan
izam
a; p
red
vi
|en
e p
reven
ti
vn
e m
er
e r
ed
ovn
o se sp
ro
vo
de; p
red
vi
|en
e su m
er
e
u sl
u~
aju m
aso
vn
ih
zar
aza
4
Po
sto
ji
k
on
tr
ol
a p
ojave {
teto
~i
na i
m
ik
ro
or
gan
izam
a; p
red
vi
|en
e su m
er
e u sl
u~
aju m
aso
vn
ih
zar
aza
3
Ko
ntr
ol
a p
ojave {
teto
~i
na i
m
ik
ro
or
gan
izam
a; tr
etm
an
i se o
bavq
aju p
ovr
em
en
o2
Ko
nstato
van
a je p
ojava {
teto
~i
na i
m
ik
ro
or
gan
izam
a, k
ao
i
o
{te}
ew
a n
a p
red
meti
ma; tr
etm
an
i se n
e sp
ro
vo
de si
stem
atsk
i
i n
e k
or
iste se ad
ek
vatn
a sr
ed
stva
1
Pr
oc
ed
ur
eu sl
u~
aju
van
red
ni
h si
tuac
ija
(p
op
lava, p
o`
ar
)
Po
sto
je p
ro
ced
ur
e za sl
u~
aj van
red
ni
h si
tuac
ija
4
Pr
oc
ed
ur
e za sl
u~
aj van
red
ni
h si
tuac
ija n
e p
osto
je, al
i su p
red
vi
|en
e k
ratk
or
o~
ne ak
ci
je
3
Pr
oc
ed
ur
e za sl
u~
aj van
red
ni
h si
tuac
ija n
e p
osto
je, al
i su zap
osl
en
i o
bu~
en
i d
a r
eaguju ad
ek
vatn
ou sl
u~
aju van
red
ni
h si
tuac
ija
2
Ne p
osto
je n
ik
ak
ve p
ro
ced
ur
e za sl
u~
aj van
red
ni
h si
tuac
ija
1
Ko
ntr
ol
a staw
a
zbi
rk
i
Ko
ntr
ol
a se o
bavq
a r
ed
ovn
o i
si
stem
atsk
i, jed
no
m go
di
{w
e d
o jed
no
m u tr
i go
di
ne i
li
c
ik
li
~n
o p
o p
ojed
in
im
zbi
rk
am
a4
Ko
ntr
ol
a se p
ovr
em
en
o o
bavq
a, al
i se svo
di
n
a p
ovr
{an
p
regl
ed
m
ase m
ater
ijal
a3
Ko
ntr
ol
a je o
bavq
en
a p
ri
li
ko
m r
evi
zi
je i
li
p
ri
mo
pr
ed
aje zbi
rk
e, al
i n
esi
stem
atsk
i i
p
ar
ci
jal
no
2
Ko
ntr
ol
a staw
a zbi
rk
i n
ik
ad
a n
ije o
bavq
en
a1
Or
gan
izac
ija
ko
nzer
vato
rsk
o-
restaur
ato
rsk
e
sl
u`
be
Ko
nzer
vato
rsk
a sl
u`
ba i
ma d
ovo
qan
br
oj str
u~
ni
h l
ic
a k
oja p
ok
ri
vaju tr
etm
an
svi
h m
ater
ijal
a {
to
i
h m
uzej p
osed
uje i
k
oja vo
de
ra~
un
a o
usl
ovi
ma ~
uvaw
a4
Ko
nzer
vato
rsk
a sl
u`
ba p
osto
ji
, al
i je k
ad
ar
n
ed
ovo
qn
o str
u~
an
i
m
al
obr
ojan
i
n
e bavi
se p
ro
bl
em
im
a usl
ova ~
uvaw
a u m
uzeju
3
Ko
nzer
vato
rsk
a sl
u`
ba p
osto
ji
, al
i p
osed
uje o
pr
em
u sam
o za tr
etm
an
p
ojed
in
ih
vr
sta m
ater
ijal
ai
n
em
a d
ovo
qn
o str
u~
no
g k
ad
ra
2
Ko
nzer
vato
rsk
a sl
u`
ba n
e p
osto
ji
, a m
uzej u n
ek
im
sl
u~
ajevi
ma o
stvar
uje sar
ad
wu s k
on
zer
vato
ri
mai
z d
rugi
h i
nsti
tuc
ija
1
OB
LA
ST
IN
DI
KA
TO
RK
RI
TE
RI
JU
MI
CONDITION OF THE CULTURAL AND NATURAL HERITAGE IN THE BALKAN REGION
26 [
Figure 1. Permanent exibition area
Slika 1. Izlo`beni prostor – stalna postavka
Figure 2. Storing system for textile objectsSlika 3. Na~in sme{taja tekstilnih predmeta
1 2
3
Figure 4. Detail from an archaeological storage
Slika 3. Detaq iz arheolo{kog depoa
Figure 4. Organisation of a storage space for art objectsSlika 4. Organizacija depoa umetni~ke zbirke
4