MFAH Rosine Building Field Trip

We were all looking forward to today, when we visited the Museum of Fine Art Houston storage facility, called the Rosine Building. We learned a lot about how the MFAH conserves, restores, and stores the artwork currently not on display in the Museum’s galleries. We met Wynne Phelan, the Head Conservator,  Andrea Guidi di Bagno, the Chief Paintings Conservator, as well as Curtis M. Gannon, the Collections Preparator, who all were very helpful in explaining the current storage and conservation system. The ability to speak with those who use travel frames every day was of great use to the team, for we were able to communicate our concerns and they were able to list their wishes for functions to integrate into our new design.

Tomorrow we plan to take the information we have learned and further research our findings. Here are some specifics we have learned that will help guide us in our research and design process.

What the museum uses and needs as travel frames is different form everything we have seen in our research. They want to be able to hang the travel frame on the current storage system — they don’t want to compact the frame.

Also, the fact that non-antique frames can be fragile was surprising.

Although we have learned a lot today, we are looking forward to our meeting with the preparators, for this will give us even more specific constrains and criteria for our design.

Preparation and the Engineering Design Process

Today’s team-building exercise involved making a pentagram out of a length of yarn. We had five minutes to plan how to “draw” the figure as a group, and the execution of our strategy had to take place in total silence. At first, the yarn wasn’t tied at the ends, so we just had to go through the motions of drawing the typical five-point star. Afterward, Dr. Wettergreen tied the yarn together so that we had to give the process more thought. Ting figured out how, starting from a triangle, we could cross the yarn of one side upon itself and pull it up to form a pentagram (which ended up being easier than our first task). Success!

A part of becoming familiar with the engineering design process involves understanding our project management. Throughout the project, we have several mentors inside and outside Rice. Within Rice, we have the support from Dr. Oden and Dr. Wettergreen, as well as the MFAH head conservator Wynne Phelan and the MFAH Head Registrar Julie Bakke. Dr. Wettergreen is our primary mentor, and will guide us along the process. In order to ensure a successful project, we have to set appropriate deadlines that give us ample time to finalize and perfect each component. Along with clear goals and deadlines, documentation plays an extremely important role. All the work we do must be documented in some form either in our binder, wiki or both. When working with paper, it’s important to use ink and to date and sign each page to secure the page’s integrity. This will allow us or anyone else to follow or process later, and reproduce it. Following this idea, we should never erase ideas that we decide to get rid of. It’s possible that they could prove useful later, or would merely illustrate how we reached our end result.

We had two lectures on the engineering design process. The first one was on the general design process, which is split into two parts: the design analysis and the solution stage. These two stages can be further broken down into five steps.

1a) defining and understanding the problem

1b) brainstorming solutions to the problem and picking the best ones

2) coming up with a design strategy and building our initial prototype based on 1b

3) testing and refining out prototype

4&5) analyze our work from start to finish, and write a final report

Our second lecture focused on the design analysis stage — specifically parts 1a and 1b. We brainstormed the main issues we will have to take into consideration as we come up with the design, and the driving criteria behind creating a new storage. We also discussed the importance of quantifying everything, so we have a basis for comparison and reproduction.

After lunch, we walked through the Museum of Fine Arts Houston to get an idea of the paintings we will be attempting to store in our new design solution. While the museum was filled with many traveling exhibitions, we were able to focus our attention to the modern and contemporary permanent collection works. We noted how the paintings differed in overall size, frame, and media, and we began to consider how these differences would translate into our travel frame design.

Conservation Tour of MFAH

Today, we were given a tour of the Museum of Fine Arts Houston (MFAH) collection and storage areas by Wynne Phelan, MFAH Conservation Director, and Julie Bakke, Chief Registrar of the MFAH. They started the tour by showcasing a variety of pieces in the museum and explaining the conservation issues surrounding these pieces.

One of the things we learned was that the history of the piece’s treatment was often more important than the age of the piece. We also learned about the specific concerns for different materials. They talked about specific needs for the housing of each piece. Some of the main priorities in establishing housing are visibility of the piece, minimizing handling, stabilizing the piece inside the housing, and making efficient use of space in the storage facilities.

They also gave us a behind-the-scenes tour of some of the current storage facilities. The storage of most of the MFAH permanent collection takes place at an off-site facility. We will be touring this facility next week. In the storage areas, we were surprised to find such basic components as cardboard boxes and bubblewrap that were being used to protect priceless works of art. Many of the objects weren’t packed at all, but placed on crowded shelves. This really opened our eyes to the need for a new approach to housing artwork.

After finishing the tour, we were able to sit down with Wynne and Julie and have some of our specific questions answered so that we could get a better understanding of the goals of our project. We need to create housing solutions that will meet the needs of the artwork under all circumstances with the exception of when they are on display. We came away with a better vision of what our project is really aiming for.

One of the most exciting things about our day was having a chance to see some of the pieces that Wynne and Julie had selected as possiblities for us to work with. A few of those pieces are currently on display at the museum, while others are in storage. After our museum trip, we had a chance to sit down and discuss which pieces we should design housing for. Choosing the actual pieces that will be the basis for our project was an important step, and is really making the project start to come to life.