Energy and Buildings 95 (2015) 116–123

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Energy and Buildings

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Return to basics—Environmental management for museum

collections and historic houses
Vesna Živković ∗ , Veljko Džikić
Central Institute for Conservation in Belgrade, Serbia

a r t i c l e i n f o a b s t r a c t

Article history: Over the last few decades, research on the impact of environment on the cultural heritage and material
Available online 13 November 2014 response to processes of deterioration and at the same time introduction of risk-based methodology in
developing preservation strategies lead to the revision of the guidelines for environmental management
Keywords: in the field of conservation of cultural heritage.
Museum and historic houses collections Following this approach and taking into account minimal risks to collections Central Institute for
Climate monitoring
Conservation in Belgrade has been working with museums in Serbia on determining the necessary
Passive environmental control
environmental requirements for a specific collection and proposing adequate control strategies. The
recommendations based on surveys of facilities and collections and monitoring of indoor environmental
parameters, focus on eliminating sources of extreme conditions, and improving the existing conditions,
or even maintaining the existing conditions when they are observed as stable both for collections and
building. This strategy favors solutions which do not affect the building as a historical monument or its
integrity or impose excessive investments in museum building. The paper will present issues and solu-
tions for preservation of museum collections set in historic buildings, through several case studies and
from the position of conservators, based on gathered data on collections, building and risks to collections.
© 2014 Elsevier B.V. All rights reserved.

1. Introduction continuous monitoring of relative humidity, temperature, light

In the last ten years Center for Preventive Conservation Diana,
first as a part of the National Museum, now in the Central Institute
for Conservation, has been advising museums and heritage institu-
tions in Serbia on strategies for control of the environment in the
context of preventive conservation for collections. We usually deal
with museums or private collections in historic buildings. The most
often issue raised by museum is the level of relative humidity and
request for recommendation for acquiring climate control equip-
ment (humidifiers and/or dehumidifiers or air-conditioning units).
With a team consisting of a curator, conservators, architects and
on times mechanical engineer, through observation of facilities,
state of collections, history of conservation conditions in which the
collections were kept, consulting old documentation and projects,
interviewing the staff on observed changes in climate conditions
and on objects, as well as gathering data through current or
∗ Corresponding author at: Central Institute for Conservation in Belgrade, Terazije
26, 11000 Belgrade, Serbia. Tel.: +381 11 36 23 042; mobile: +381 64 83 89 884;
fax: +381 11 3626 346.
E-mail address: vesna.zivkovic@cik.org.rs (V. Živković).
and particulates pollution, we are able to determine the necessary
environmental control requirements for a specific collection or a
museum. The data gathered through surveys and monitoring are
compared to the set of indicators for adequate preventive con-
servation of museum collections and processed, in terms of risks
to the objects. Monitoring shows if there are extreme conditions,
when they occur, in which part of the building and to what extent
the building is effective in providing the stable climate conditions
and buffering the outside extremes. The proposed solutions are
directed toward eliminating sources of excess relative humidity
and intervening on the building at the level of openings, existing
heating systems and natural ventilation. Often, recommendations
are made not to change the existing climate conditions, since they
do not, even if unmaintained at the certain level, endanger the
collections or the building itself.
Our work is ɑ demonstration of successful collaboration of an
interdisciplinary team and the importance of conservators input
when making decisions on environmental management, taking
into account the results of the latest scientific research on material
response to changes of environmental parameters, as well as
minimal risk to collections and the building. That approach is also

http://dx.doi.org/10.1016/j.enbuild.2014.11.023
0378-7788/© 2014 Elsevier B.V. All rights reserved.
 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123
in accordance and direct consequence of lack of resources and
investments in museum buildings.
2. Background information on current trends in
environmental control in historic objects and museums
Understanding the importance of environmental impact on cul-
tural heritage, during 20th century, led to publishing of large
number of publications, dealing with “safe” levels of relative
humidity, temperature and light, as well as concentration of pollut-
ants, which were considered adequate and without risk of inducing
damage to museum collections and collections in historic houses
[1–3]. Very narrow specifications for objects, together with the
need to respect human comfort in public institutions, such as muse-
ums, implied the necessity of installing heating, ventilation and
air-conditioning systems and retrofitting of the buildings, often
not taking into account the effect this would have on the build-
ing itself and collections. However, as a result of scientific research
in conservation related to material behavior and mechanisms of
deterioration due to effects of the environment, the proposed spe-
cific appropriate levels for environmental conditions were in past
several decades under scrutiny. Furthermore, in the context of rais-
ing awareness on effects of climate change, global responsibility
and the need to develop and implement sustainable strategies, as
a response to the need for responsible planning and management,
preservation and use of collections, there is a shift in developing
guidelines for environmental management in the field of conserva-
tion of cultural heritage. The shift from prescriptive to evidence-led
guidelines coalesces with the introduction of the concept of accept-
able change and loss to the objects and its influence on object or
collection significance and risk based approach in making decision
in conservation management [4].
This is reflected in a new chapter of ASHRAE Manual dedi-
cated to the museums, galleries, archives and libraries, where,
instead of rigid values for relative humidity and temperature, four
categories for climate control were suggested [5–7], based on
acceptable ranges of relative humidity and temperature and taking
into account existing risks to which materials are exposed. Addi-
tionally, section on the pollution control presented the approach
based on the concept of dose (the concentration of the pollutant
multiplied by the duration of exposure) and option to determine
an acceptable rate of deterioration due to pollutants depending on
cost–benefit analysis [8,9].
Correspondingly, new climate guidelines for Dutch cultural her-
itage institutions, guidelines set by National Museum Directors’
Council in 2009 for collections and finally a technical standard PAS
198:2012 Specification for managing environmental conditions for
cultural collections, published by BSI in 2012, represent a response
to a demand for the change of approach in the environmental con-
trol for collections [10–13]. The proposed guidelines are based on
the integrated approach to environmental management taking into
consideration different categories of objects, conditions in which
they were kept and their specific needs and sensitivity, their use,
relations of both movable and immovable heritage. The approach
implies including information on significance of the building and
the collections and the results of assessment of environmental risks
to materials into decision-making process, allowing an acceptable
degree of loss or deterioration. Finally, the guidelines take into
account the limitations imposed by the need to reduce costs of
energy.
In practice, the shift toward evidence-led approach and reducing
energy cost in developing preservation solutions is reflected in the
development of ultra-low-energy museum storage and strategic
equipment shutdowns [14–16].
117
3. Environmental monitoring and surveys in Serbian
heritage institutions
As a central institution for conservation of cultural heritage,
Central Institute for Conservation in Belgrade is in a position to
influence and to contribute to the development and implemen-
tation of solutions for environmental management in cultural
heritage institutions in Serbia. In the context of the developing
country, lack of investments in preservation of cultural heritage
and due to the global economic situation in the country we are
forced to seek cost effective solutions which coincide with current
trends in planning environmental control in historic objects and
museums.
Out of around 140 museums in Serbia only four building were
purposefully built for museums in seventies, with the central
systems for environmental control outdated or never activated.
Therefore, (un)fortunately, we currently do not have a single
museum using HVAC (active temperature, relative humidity and
pollution control), due to high installation and running costs.
The museums and historic collections are situated in unmain-
tained buildings, built in the period from the end of the 19th century
to the beginning of the Second World War, as private houses or offi-
cial buildings and the most often never fully adapted to the needs
of preservation of collections. In most cases, as once public spaces
were refurbished for exhibition and offices, the collections were
stored in cellars and attics, or spaces without sufficient thermal and
hydro insulation, with low thermal inertia and high air exchange
rate due to the lack of airtight building openings.
The climate of Serbia is moderately continental, with local-
ized variations (the southwestern regions border the subtropical
and continental climate zones) and a gradual change between the
seasons [17]. Past decade saw more and more abrupt change of sea-
sons, as well as increase of number of dry periods followed by short
and heavy precipitation events.
In the past decade many museums recognized the importance
of maintaining adequate conditions for collections and there are
strong initiatives to invest into improving environmental control.
However, tendencies are toward traditional approach in main-
taining specific strict levels on environmental parameters, which
requires active control with its cumbersome, energy devour-
ing installations. Central Institute for Conservation insists on the
approach that different situations call for different solutions and
insists on systematic gathering of data to support the decisions
being made.
3.1. Data collecting and processing – the approach
Surveys, conducted by Central Institute for Conservation,
include visual observations of building and collections, interviews
with staff and gathering existing records and data collecting on
external and internal environment of collections. As a part of every
survey we introduced the use of portable devices for measuring rel-
ative humidity, temperature, humidity content in the walls, wall
temperature, light levels and concentration of particle pollution.
The impact of these factors on collections is usually slow and diffi-
cult to detect, but their effect is cumulative and important for life
expectancy of cultural heritage objects. Additionally, inappropri-
ate levels of relative humidity or light can damage highly sensitive
objects very quickly.
Initial information on history of building and collections, includ-
ing reconstructions and installations, as well as damages to the
objects due to environmental changes, in conjunction with climate,
light and pollution records enable us to make an assessment of
environment in spaces and risks to collections. It also allows us to
determine the effects of outside conditions on the indoor environ-
ment, behavior of the building in terms of thermal insulation and
118 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123

the rate of air exchange. Thus, we can assess characteristics and sta- custom made passive sampling tubes for various gaseous pollut-
bility of each climatic zone in the building and if they correspond ants.
to the needs of collections, light and UV levels, effects of particle
pollution, conditions in fixtures and influence of seasonal heating 4. Case studies’ results and discussion
on the conditions in the space.
4.1. Gallery of Matica Srpska – storage on the top floor
3.1.1. Relative humidity and temperature
Building of Gallery of Matica Srpska was built in 1926–1927
Snapshot measurements of relative humidity and temperature –
based on the design of Lazar Dunderski, for purposes of the stock
are used just for initial observations of environmental differences
exchange, and it is located in downtown Novi Sad. After the adap-
between spaces, changes of relative humidity due to changes in
tation in 1953, the building has been occupied from 1958 by the
temperature and relation of outdoor and indoor environment. The
Gallery. It is a three story building with basement, made up of 60 cm
measurements of the humidity content in the walls and tem-
brick walls with mortar facing.
perature of the walls, at the different heights, complement this
Collections of the gallery comprise around 5000 works of art
information, enabling us to identify existence of microclimate con-
from 15th to 20th century – canvas painting, paintings on wood,
ditions, thermal inertia and efficiency of the existing insulation.
drawings, graphics, oleographs and sculpture, which are for the
However, to be able to observe and document behavior of
most part situated in a storage composed of the three connected
the materials in different environmental conditions, whether in
rooms, occupying around 250 m2 , on the top floor of the build-
showcases in the exhibition space or in storages, during different
ing. The storage is facing north-west and has three external walls
time frames, we stress the importance of systematic monitoring
with series of classical windows which were changed with double
of climate parameters and insist, though it is not always possible,
glazed windows with PVC frames in 2007. The storage does not have
on gathering accurate data on relative humidity and tempera-
any additional thermal insulation and there is no air conditioning
ture over at least a year long period. Data recorded either on
present.
classical mechanical thermo-hygrograph or on data loggers, pos-
The access to the storage is provided through two wooden doors
itioned in previously determined climatic zones in the building,
and it is restricted to the museum staff for the purpose of retrieving
are processed using computer software, permitting analysis and
paintings for conservation, consultations and exhibition (from two
comparison of data en masse. When processing data we take into
to six persons). With the exception of 2007 and 2008 when the
consideration calibration, record faults, important changes in the
storage space was also used for the revision of the collection and
spaces (e.g. opening of an exhibition, opening of windows, start of
documentation process, the time spent in the storage was limited
the heating season) and extreme situations, as well as measure-
to short duration.
ment intervals for the data loggers. To determine characteristics of
The data on relative humidity and temperature were gathered
different climatic zones in the building and extreme climate con-
using Testo 175-H2 devices (internal measuring sensors), with
ditions leading to deterioration or loss of objects, we extract data
measuring range of 0–100% RH and −20 to +70 ◦ C, with accuracy
on maximum and minimum values of the parameters which allows
of ±0.5 ◦ C and ±3% RH at rated T of +25 ◦ C, and memory capac-
us to make estimation of ranges and fluctuation levels over differ-
ity of 16.000 readings. One data-logger (DL1) was placed near the
ent time intervals, i.e. fluctuation with daily, weekly and monthly
northern corner of the storage, on the internal wall, while the other
frequencies. Data are presented in time series plots, illustrating
(DL2) was put also on the internal wall in the center of the storage,
the differences or similarities of conditions in different spaces and
closer to the north-west facade with windows. Analysis of the ini-
indoor and outdoor conditions.
tial data confirmed that entire space, consisting of three rooms,
represents one climatic zone. The outer data-logger was placed on
3.1.2. Visible, UV and IR radiation
the north-east facade of the building, shaded from direct sunlight
Data on illumination is gathered in exhibition spaces, by taking
and precipitation.
current measurements of illumination (in Lux) with Lux meters.
The data on inside and outdoor conditions were gathered,
In the case of artificial lighting, the light dosage is calculated by
with interruptions, in the period from 6.7.2007 until 14.7.2011.
multiplying illumination level with the duration of the exhibition
The yearly recording (Fig. 1) indicates gradual changes of relative
(in hours), which enables us to assess the risk of fading, based on
humidity, with a drop of 20% in certain cases, when heating season
the dosage annual limits set for three different categories of light
starts, which is typical for buildings with central heating. Addi-
sensitive objects [18]. For determining the light dosage in exhibi-
tionally, the radiators in the storage are functional, though partly
tion spaces lit by constantly fluctuating natural light, we are using
turned off. Observed sudden daily fluctuations of relative humidity
LightCheck (dosimeter developed during LiDo project [19]) as an
up to 15% are linked to museum procedures and occasional open-
economical alternative for quantifying the amount of light falling
ing of windows in the storage due to human comfort. The lowest
on an object.
measured temperature was 14 ◦ C, and the highest 31 ◦ C (Fig. 2).
UV radiation is measured with UV meters or UV monitors. In
Comparison with the outdoor recordings implies that the build-
cultural heritage context, the limit for safe exposure to UV radiation
ing naturally stabilizes the temperature and reduces the relative
is set to 75 ␮W/lm [18]. Any measurement above this threshold
humidity fluctuations.
indicates the need for UV filtration. On the other hand, IR radiation
As the museum planned the reconstruction of the storage, the
is not measured directly from the source but rather we need to
issue was raised if it is necessary to install the climate control
ascertain its effect on displayed objects. If the surface temperature
system. However, the review of gathered data, having in mind
of an object rises above 1 ◦ C when the lighting is turned on, the IR
information that in the past there was no damage to collections,
radiation should be reduced.
suggested that, without a system for climate control, with an annual
average of 45% for relative humidity and 21 ◦ C for temperature, the
3.1.3. Pollutants monitoring conditions in the storage correspond to the conditions in a space
Pollutants monitoring consists only of measuring the current with class B of climate control, which allows short-term fluctua-
concentration of airborne particulates, using the Casella Microdust tions of ±10% RH and ±5 ◦ C, with a seasonal temperature change
Pro, which are compared to target concentration found in different of up to 10 ◦ C, but not above 30 ◦ C [20]. Consequently, as there
sources [8,9]. We are currently exploring the possibility of creating is a minimal risk for most of the paintings in the storage, the
 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123 119

Fig. 1. Daily RH ranges from three data loggers (indoor and outdoor) in the storage of Matica srpska.

recommendation was not to introduce climate control installa-
tions and not to allow opening of windows, except in special
circumstances, but preferably to separate working station from the
storage.
4.2. Climate controlled storage and storage without climate
control
The Central Institute for Conservation in Belgrade was estab-
lished in 2009 and in the building which the Institute uses one
of the former offices was adapted for the purposes of temporary
storage of works of art in the process of conservation. The build-
ing, in the city center, was built around 1910 and had different
functions, from office spaces for an insurance company to library
spaces. The building is constructed with masonry bearing double
brick walls of 30 (internal walls)–60 (external walls) centimeters
and reinforced concrete ceilings with steel beams. In 2010, an office
on the ground floor, with the surface of around 20 m2 , was recon-
structed; the walls with openings (two classical windows and a
second door) were closed with 12 cm thick Siporex blocks; the
existing windows’ carpentry is repaired and windows were glazed
with reinforced glass and then closed with Styrofoam panels. Exist-
ing cane ceiling was dismantled and ceiling-mounted concrete slab
was plastered and painted with acrylic paint. The doors of the stor-
age are fire retardant doors, rated to 120 min. The access to the
storage is restricted to the staff and the estimated average is two
to three persons every other day staying in the storage for 5.5 min.
The space is equipped with an inverter air conditioning multi-split
system, set to a temperature between 20◦ and 23 ◦ C in summer
months and between 16◦ and 20 ◦ C in winter months, with esti-
mated energy consumption of 1825 kWh per year. Since summer
2012, portable dehumidifier was installed, with capacity of 46.7 L
in 24 h, processing 350 m3 /h of air, and rated power input of 900 W.
The outer wall of the storage is facing east and a data-logger was
placed on the grill for hanging paintings close to that wall. The data-
logger measuring outside conditions was placed on the same wall,
in the window niche, protected from direct sunlight and precipita-
tion. Testo 174H devices were used (internal measuring sensors),
with measuring range of 0–100% RH and −20 to +70 ◦ C, with accu-
racy of ±0.5 ◦ C and ±3% RH (from 2% to 98%), and memory capacity
of 16.000 readings.
Recorded ranges of relative humidity over nine months (Fig. 3)
span from 25% to 70%, with lower measured maximum relative
humidity after the introduction of dehumidifiers. Minimal temper-
ature is maintained at 14 ◦ C and maximum at 23 ◦ C (Fig. 4). Short
term fluctuations of relative humidity vary from 0.3% to 15% daily

Fig. 2. Daily T ranges from three data loggers (indoor and outdoor) in the storage of Matica srpska.
120 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123

Fig. 3. Daily values of RH in the temperature controlled storage in the Institute and external data-logger.

and from 8% to 20% at the month level, and temperature from 0 ◦ C to
4 ◦ C and 0.9 ◦ C to 7 ◦ C, respectively. As the built in insulation provide
sufficient buffering to the outdoor conditions the short term rela-
tive humidity fluctuations are linked to turning on and off of the
climate system. Taking into account that the storage is built for the
keeping of work of arts waiting and after conservation-restoration
these sudden short term fluctuations could be the reason for dis-
tortion of one conserved panel painting.
On the other side we have an example of museum storage in
the building of University Library in Belgrade, which was built
between 1921 and 1926. Library storages are situated in two under-
ground levels, built in 1984, and the only existing installation is
for ventilation and not in function, which is the only informa-
tion we have concerning the storages construction and current
conditions. One of the storages, occupying around 100 m2 , at the
lower underground level (second basement), is rented to a museum
for the storage of a mixed collection. Access to the storage is
restricted to the museum staff who enter the storage occasion-
ally (at the most once a week) to deposit or retrieve objects or to
check the conditions in the storage. Climate recordings show stable
values of relative humidity and temperature with seasonal fluctu-
ations of relative humidity of ±5% and temperature of ±2 ◦ C, with
no recorded short term fluctuations (Fig. 5). The device used for
recording climate conditions in the storage was Oakton three speed,
battery operated hygrothermograph, KH 37250-00, with measur-
ing range from 5% to 90% RH and −10 to +50 ◦ C, with accuracy of
±3% RH (from 5% to 90%) and ±1 ◦ C, set to 32 days speed. The device
was placed at the center of a square shaped storage, on a pedestal,
about 80 cm of the ground.
4.3. Jevrem Grujić’s house
Jevrem Grujić’s house is located in downtown Belgrade, in the
immediate vicinity of “Atelje 212” theater. This imposing single
storey family villa, built in neo-Renaissance style incorporating
Baroque elements, was built in 1896. Owing to the fact that the
house had not been confiscated by the communist regime, its orig-
inal legacy has been kept intact, over the past two centuries, in
continuity.
The building is made up of bearing brick walls with mor-
tar facing, which thickness is varying from 12 to 60 cm, resting
on the foundation walls. The ceiling above the ground floor is
made of massive wooden beams. The hipped roof structure is
made of wood and the roof is covered with tiles. The roof dates
from the time of construction of the house, and it was recently
repaired. The windows’ carpentry and doors are authentic, but

Fig. 4. Daily values of RH in the temperature controlled storage in the Institute and external data-logger.
 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123 121

Fig. 5. Thermo-hygrograph chart from unconditioned storage in University library.

they require repairs because they do not provide sufficient air-
tightness. The house is resided in by the family of Jevrem Grujić’s
descendants.
Since the current owners had the idea of turning the house into
a thematic museum, we were asked to do a complete condition
assessment of the building and the environment inside the house.
Hence, two data loggers were put in the residential area, on the first
floor, which has in total 128 m2 , one in the living room (heated in
winter time) and one in the room which is rarely used (unheated),
from November 2011 to April 2012 (Fig. 6). The house is equipped
with tile stoves with electric heaters and thermostat is operated
manually, as well as split system air conditioner installed in the
entry corridor of the residential area.
One data-logger was placed in the heated living room, at about
1.5 m from the floor close to the internal wall, while the other one
was placed close to the external wall of the unheated room, approx-
imately at the same height. The devices used were Escort iLog, with
measuring range from 0% to 100% RH and from −40 to +70 ◦ C with
accuracy of ±0.25 ◦ C (above 0 ◦ C) and ±3% for the whole range, and
memory capacity of 32.000 readings.
In the unheated room (room 4) relative humidity ranges from
25% to 55% The minimum temperature measured was 5.3 ◦ C com-
ing very close to the threshold needed for mechanical stability
of certain types of materials [21]. In the other room (room 2),
continuously used as a living room and heated during winter, max-
imum temperatures ranging from 20 ◦ C to 29 ◦ C, during heating
season, and exchanging air through windows (in winter time, fresh
and dry air intake) resulted in very low relative humidity values,
with minimum of 12.9%. Daily averages during winter ranged from
14% to 43%, but in the three weeks period in February, averages
were constantly below 20%. This period is long enough to promote
overdrying of organic objects, which could finally result in cracks
in wooden objects, weakening of textiles, warping and breaking
of unmounted papers and photographs etc. Fortunately, there is a
large amount of organic material in heated room (as well as in entire
house) which serves as the buffer for relative humidity changes.
Humidity content of walls varies from 0.3% to 0.8% which corre-
sponds to the situation in a building with thick walls and recently
renovated facade.
Recommendations were made to keep temperature during win-
ter between 22 ◦ C and 24 ◦ C and use of a portable humidifier in the
living room but with target relative humidity of 30%, as not to cause
any abrupt changes comparing to previous, long-lasting practice.
4.4. City museum of Novi Sad – exhibition space
This exhibition space is located in a pedestrian area of down-
town Novi Sad, close to the city park. The house was built in 1903

Fig. 6. Daily values from heated (room 2) and unheated (room 4) room in Jevrem Gruijić’s house.
122 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123
Fig. 7. Daily values of RH and T from two adjacent places in City museum of Novi Sad.
in neo-renaissance style, with 60 cm thick brick walls. The perma-
nent exhibition is set up on the first floor, while the ground floor is
reserved for temporary exhibitions. Permanent exhibition houses
a whole range of museum objects, from paintings and icons, fig-
urines, clocks, vessels to furniture and tile stoves. It covers an area
of around 250 m2 , and has a circulation of about 3.000 people per
year. The space is not air conditioned.
One data-logger was placed at 2 m, on top of a cabinet in the
corridor, near the entrance to the first floor, while the other one was
also put on the cabinet, in a room with the light attic. Testo 174H
devices were used (internal measuring sensors), with measuring
range of 0–100% RH and −20 to +70 ◦ C, with accuracy of ±0.5 ◦ C and
±3% RH (from 2% to 98%), and memory capacity of 16.000 readings.
Temperature and relative humidity values were recorded every
half an hour, from August 9th to September 5th (Fig. 7). During this
period the temperature values varied between 27.7 ◦ C and 32.3 ◦ C
in the room with the light attic, and between 27.1 ◦ C and 31.2 ◦ C in
the corridor, with average value of 29.3 ◦ C and 28.7 ◦ C respectively,
for the whole period. At the same time the external values were
almost 3 ◦ C lower than inside which could be explained by the great
thermal capacity of very thick brick walls and featured light attic,
serving as a gateway for an enormous amount of solar radiation.
Overnight, the walls are not allowing the inside space to cool down
because of their high thermal capacity, resulting in higher average
temperatures on the inside, but also lesser fluctuations and greater
stability.
When we consider relative humidity, the values ranged from
27.5% to 40% in the light attic room and from 29.5% and 41% in the
corridor. Looking at these ranges as well as the averages, which are
33.9% and 35.7%, it is evident that the light attic room is slightly
dryer than the corridor which corresponds to temperature values.
So, the variations in temperature are manifested in the range of
4.6 ◦ C, and relative humidity in the range of 12.5%. On a monthly
scale these variations do not pose a serious risk of mechanical dam-
age to displayed objects.
Daily variations in temperature are even less significant and
averaging less than 1 ◦ C in the light attic room and even 0.5 ◦ C in
the corridor, with maximum daily variation from 1.3 ◦ C to 3.3 ◦ C.
Relative humidity recordings indicate average variations of 3.5%
and 2.8% respectively, with maximum variations of 6.5% and 6%.
Although the monitoring covered only one month, it is appar-
ent that short-term fluctuations are practically insignificant during
summer, showing an important stability of the indoor climate.
According to the employees in the gallery, during winter time
the heating on the first floor is almost never turned on. In the
coldest periods of winter only one radiator is turned on as to
prevent the temperature to drop below 15 ◦ C. So, by keeping the
temperature between 15 ◦ C and 18 ◦ C, they were probably able to
keep the relative humidity above 30% and certainly below 45% dur-
ing the whole winter. Finally, we could assume that for more than
half of the year the relative humidity is stable between 30% and
45%, so the value in the middle of this range should be the target
value, in the context of stability and sustainability. Additionally, this
gallery operates in unchanged conditions for more than 15 years, so
giving all the data careful consideration it was decided that there
is no sound reason to chase the 50% mark, by installing humidi-
fiers in the exhibition space, which was the initial request for the
recommendation by the museum.
5. Conclusions
In the paper we presented several case studies related to the
environmental management issues, specifically control of relative
humidity, temperature and infrared radiation and illustrating the
process of making decisions on solutions for environment control
in order to achieve the best possible conditions the cultural her-
itage organizations can provide for their collections. The approach
the Central Institute is taken is based on careful gathering of
information pertinent both to collections and the building and mea-
surements of all environmental parameters. It is in accordance with
scarce funding for conservation of cultural heritage and changes
in cultural heritage professional mentality and acceptance of the
need to include preventive conservation methodology in strategic
planning.
The long term recommendations for environmental control
include solutions which do not comprise installation of costly
mechanical equipment, but rather small interventions on building
envelope or cost effective installations. Climate measurements
from Gallery Matica srpska showed acceptable short-term and sea-
sonal fluctuations, but more importantly they did not result in any
significant damage to materials in the storage. Consequently, the
recommendation was to systematically control ventilation through
windows and to keep the shades on windows always down, as to
sustain and improve temperature and relative humidity stability.
We provided another example of stable climatic conditions in the
storage in University library, which allowed us to direct the organi-
zations focus on protection against flooding and physical damage,
instead of indoor climate. On the other side, temperature controlled
storage in the Institute, with current estimated annual consump-
tion of 1825 kWh, is not providing more stable conditions; on the
 V. Živković, V. Džikić / Energy and Buildings 95 (2015) 116–123
contrary, short-term fluctuations are more significant in compari-
son to the storages mentioned above. In this case, we are constantly
trying to improve climatic stability by changing the thermostat
value according to seasonal change as to narrow the relative
humidity ranges, which also reduces the energy consumption.
We also demonstrated the issue of natural light in exhibition
spaces, but not as an agent of deterioration which causes fading
but an agent which has active influence on indoor relative humid-
ity levels. In that specific situation we proposed the reduction of
temperature by using physical barriers instead of portable devices
for air humidification.
Finally, we presented the particular issues of environment con-
trol in a historic house still occupied by ancestors of original owners
where we suggested the use of portable humidifier as simple proce-
dural changes are considered insufficient and no drastic measures
are possible with people living in the premises.
All of these case studies show that the active mechanical con-
trol of the heritage environment is rarely a necessity and always an
important investment for non-profit institutions with limited fund-
ing. It is always more prudent to invest in building maintenance,
enhancing the air-tightness and integrity. Never the less, the pro-
posed solutions are always carefully analyzed, evidence based and
context oriented, which requires constant vigilance of the staff in
charge of collections and evaluation of success of applied actions.
This approach is more difficult for conservators, as it does not imply
readymade solutions, but it saves resources and energy.
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