Sunday, May 1, 2016

Old State House Museum Final Project

The Old State House:


The Old State House, OSH, was built in 1713. It is the oldest surviving public building, and was built to house the government offices of the Massachusetts Bay Colony. A Merchant’s exchange was located on the first floor, and the basement was rented out to be used by a warehouse by people like John Hancock. The Council Chamber of the Royal Governor was located upstairs on the second floor, and James Otis argued against the Writs of Assistance in there in 1761. The second floor was also the meeting place for the Massachusetts Assembly. The west end of the building housed the Courts of Suffolk County and the Massachusetts Supreme Judicial Court for many years as well. Outside the Old State House, the Boston Massacre occurred on March 5, 1770. The balcony of the building was also the site for a historic moment, when the Declaration of Independence was first read in the United States on July 18th, 1776. Later on that day, the statues of the lion and unicorn which were on the building and represented symbols of British royal authority were burned by the crowd.


The Old State House served as the location for the seat of Massachusetts government until a new state house was built on Beacon Hill in 1798.  From 1830-1841 the building was used as Boston’s city hall. From 1841 onwards until the 1870s, the building was used for commercial use. In 1879, a group of concerned citizens formed the Boston Antiquarian Club after it became evident that the building was being considered to be demolished by the city of Boston. In 1881, the group renamed themselves the Bostonian Society and started preserving and restoring the building, as well as starting to use the building as a museum for Boston History.  From 1909-1947, the Old State House let the Boston Maritime Museum borrow space in order to display their own collections. Currently, the Old State House museum focuses on the American Revolution, particularly about Boston and the Old State House. It’s one of the main attractions on the Freedom Trail, and is a National Historic Landmark. 

Restoration/Preservation:


The original restoration of the building was led by George Clough in 1881, with the goal being to return the Old State House to its 18th century appearance. Clough removed the east portico which had been added in 1830, and removed the late 19th century mansard roof. The lion and unicorn symbols which were burned in 1776, were added to the east gable, and an American eagle and the Massachusetts seal and motto were added on the west end. From 1903-1904, subway tunnels were added beneath the Old State House. These subway tunnels, the State street stop, have the orange and blue line run through it. Sometimes, if it’s super quiet in the gift shop, you can actually hear the noises from the subway and sometimes feel a rumble from the train coming through. In 1908, the city of Boston hired Joseph Everett Chandler, a renowned restoration architect, to further restore the Old State House. He used a 1793 engraving of the building as his guide, and restored the north, south, and west doorways, replaced the granite around the foundation with brick, replaced window sash, and removed the paint from the exterior brick walls. In 1943, the architectural firm Perry, Shaw, and Hepburn restored the Council Chamber to a more colonial appearance by changing Clough’s designs to reflect a more 18th century look.

In 2006, the American Association for State and Local History presented the Bostonian Society a national award for its preservation project on the northeast corner, which was featured on an episode of the History Channel’s series Save Our History. In 2008, another award by the Boston Preservation Alliance was given due to the restoration of the tower. Recently in 2015, the Bostonian Society was honored with a BPA Preservation award for the restoration of the iconic lion and unicorn statues on top of the east parapet of the Old State House. This project was completed in 2014 and was a joint effort with Skyline Studios. In 2014, work was finished on the restoration and repair of the west façade, which included resetting all loose bricks and replacing isolated deteriorated bricks, and repairing windows to prevent water leak issues. From 2014-2015, work was also done to restore the balcony where the Declaration of Independence was read. This included replacement of the decayed wooden corner posts and rails, resurfacing of the copper deck, repair of the doors and surrounds, re-flashing and sealing of areas connecting the masonry and wood and repainting of all woodwork.

The focus on preservation and restoration fits perfectly with the Bostonian Society’s mission statement. [2]

Disaster Planning:

The D-team consists of seven staff members, including the Facilities and Operations Manager, Matt O., Collections Manager, Tricia, and my two bosses Alex and Grace. They meet every other week to discuss upcoming weather events and train. Last Thursday the meeting consisted of planning for actions to be taken if an active shooter walked in. When a problem arises, this team surveys the problem and fixes it as soon as possible. For example, one of the days I was scheduled to work when I first got hired, a pipe burst making it so the entire building was 100 degrees Fahrenheit, which is unsafe for people and extremely harmful to the collections and building. So, the museum was closed for the day and I actually got to have the day off while the D-Team worked to fix the problem.

Accessibility:

I got to talk with Matt O. the Facilities and Operation Manager directly about accessibility. He informed me that they are actively trying to figure out how to make the 300-year-old building more accessible. Some ideas include changing the entrance door in order to make a ramp. Another idea is constructing a lift in order to help handicapped people go up to the second floor of the museum. He also expressed the desire to make it more accessible to blind, deaf, etc., He also informed me that we used to have Braille guides for the exhibits, but once the exhibits were changed significantly, the guides were then outdated. All of our material is in English, but we do have a hand-out outlining the history of the building in a few languages which include Spanish, Greek, French, Italian, and Japanese. 

Governance:

The Bostonian Society is a non-profit organization that receives support from the Massachusetts Cultural Council, which is a state agency. The current President and Executive Director of the Bostonian Society is Brian LeMay. Also a board of directors with 18 members on it. Non-profit dedicated to the Old State House. Mission Statement: The Bostonian Society is dedicated to studying, and preserving Boston’s uniquely important history, embodied in materials, records, and structures such as the Old State House, and in sharing an understanding of the revolutionary ideas born here. [3]. The Old State house is actually owned by the City of Boston and operated by the Bostonian Society, The Bostnian Society works with the City of Boston and the National Park Service in their efforts to preserve the building. [4]

Membership[5] :

People can become members of the Bostonian Society somewhat easily if one is willing to pay a decent amount of money.

Benefits of membership include:
  • Free admission to the Old State House museum;
  • Free admission to the Society's research library;
  • Invitations to lectures, programs, and special members-only events;
  • A 20% discount on purchases at the Society's Old State House, Quincy Market and Faneuil Hall museum shops;
  • A 20% discount on photograph orders from the library;

The different membership levels are:
  • Individual ($50);
  • Senior 62+ ($40);
  • Teacher or Student ($25);
  • Family ($80)
  • Supporter ($150), which includes a 20% discount on the cost of memberships
  • Benefactor ($500), which includes all of the benefits listed above, plus a 50% discount on the cost of memberships and a 20% discount on the rental of the Old State House for private functions

Functions/Services:

You can rent out the Old State House for parties and weddings. These take place in Representatives Hall. One fun thing that is special for weddings is that the bride can actually go out on the balcony, which is something not normally allowed due to safety concerns.

School groups can also schedule visits to the Old State House, and have special tours given to them.

Many events take place around and in the Old State House. One upcoming even is the play
Blood on the Snow, with performances from May 13 - June 5 at 7:00 pm in the Old State House. The description is below:
Synopsis: Many know the story of the Boston Massacre, but few know of the events that took place the day after, on March 6, 1770. Blood on the Snow is a new play by Patrick Gabridge, set and staged in the Council Chamber of the Old State House. Almost 250 years ago, in that very room, the leaders of Boston struggled to heal their town and unwittingly placed Massachusetts on the road to revolution.[5]
Another upcoming event is Rum + Revolution, Thursday, June 9, 2016 from 6:00pm-8:00pm. The synopsis is below:
Synopsis: New Revolutionary Characters will be revealed during this rum and chocolate tasting at the Old State House.Sample specialty rums and gourmet chocolates while meeting: 
  • John Singleton Copley, painter
  • William Baker, the doorkeeper
  • Robert Love, the warner of strangers
  • Benjamin Sault, a cooper
  • Jacobina Day, Illegitimate daughter of a sewing teacher
  • Peggy Moore, widowed tavern keeper [7]

Collections/Exhibits:

The collections are mostly American Revolution and 18th century focused. We have paintings, scupltures, textiles, archival materials, records, and artifacts. We have some items on display in the museum, like John Hancock’s coat. We have a lot of print material, and actually have an original print of Paul Revere’s Boston Massacre, that only comes out to the public on the anniversary of the Boston Massacre. The print material all comes from the Librarian and Archivist Elizabeth Roscio. 90% of the collections are not on display. There are portraits, some furniture, and many objects. Most of it is in a warehouse that is off-site. We still have material from the Maritime Museum, as well as unsolicited and irrelevant donations from the time when the collections managers were not good about saying “no”. De-accessioning is the main goal, since we have too many items stored off-site. We recently gave the Omni Parker Hotel one of their doors we had, and they have it on display. Collection is mostly donations. We have a lot of John Hancock’s object, including his bible, door, and chair which makes sense since he used to use the building as a warehouse. These aspects of the collection are not that accessible. The collection is mostly in good condition. The Collections Manager and Exhibitions Coordinator is Tricia Gilrein. Most of this information is from the Revolutionary Characters Manager Daud Alzayer and Education Assistant Ben. I tried talking with Tricia, but we were both busy at work the one day we tried to communicate and I haven’t been able to reach her via e-mail.

The Bostonian Society has a library and archive. There is a research library and a collection of over 7500 books, 350 maps, and over 30,000 photographs [8]The link to view their online catalog on the official website doesn’t work. It’s open to the public by appointment, Monday through Friday. It houses historical documents like manuscripts, newspapers, broadsides and photography. The library and archives have a very small staff, and only can answer reference questions regarding,"...the history of the Old State House, 18th century Boston, Boston's role in the American Revolution, and to questions that relate directly to our manuscript collection and photographs" [9].

Museum Today:

The museum is open almost every day from 9-5, except for major holidays. Prices for the museum are $10 for general admission, $8.50 for students and seniors, and members, children under 18, and military are free. You can also buy tickets online at http://www.revolutionaryboston.org/revboston/visit/, which isn’t that common. We also offer ticket packages, like the Freedom Trail Combo Ticket which is for OSH, Old South Meeting House and the Paul Revere house. We also accept Old Town Trolley, Groupon, and Go Boston passes. We also sell Super Duck Tours, Upper Deck Trolley, and Old Town Trolley tickets.  Once a guest pays admission they are given a “Character Card” which is based on a real person from the American Revolution in Boston. The cards give background information on the person, as well as fun facts and an indication as to whether or not they were a Loyalist or Patriot. Throughout the exhibits, there are questions asking the guests to figure out how their character would feel or react to a certain situation. Besides being an interactive idea, it also helps staff to know who paid entrance for the museum.

The first floor in the museum is a small gallery with exhibits and much historical information giving the guest the background of the Revolutionary War with a focus on Boston and the Old State House. Up the stairs on the second floor in the museum there are “Hands-on History” rooms which are interactive for children and adults. Includes a small puzzle and “smell” timeline. The Boston Massacre Multimedia Room has a short video about the Massacre playing. The Council Chamber and Representatives Hall are designed and set up to look as they would have back in the 18th century colonial period. They aren’t exact replicas since we don’t have images from back in the 18th century, but they follow colonial designs and styles. In the basement there is a display about the preservation done on the building, restrooms, and staff offices. On the 3rd floor, which is inaccessible to guests, houses more staff offices. Access to the tower is prohibited, except for staff.


The museum is designed to be self-guided, but guided talks are offered throughout the day from 10-4. The first is the Old State House tour, which gives a history of the architectural changes in the building. The second tour is the Boston Massacre tour, which gives the Bostonian Society’s interpretation of the Massacre, and brings guests outside to the actual site when the weather is nice. At 3 PM. every day is the daily special, which is one of the Education Assistant’s special tours they designed. For example, Education Assistant Deidre’s special tour is the “Road to Independence”, and Ellie’s is about “Revolutionary Women”. During the summer, Revolutionary Characters Live is offered, which entails an actor portraying a person from Boston during the American Revolution and giving guests an overview of their life, and offers an opportunity for guests to ask questions to the character.


Social Media:

The Old State House maintains a pretty engaged presence on social media. There is an active blog post. There's also a Facebook page, a Twitter page, an Instagram page, and a YouTube channel. There are two different websites, which is a little confusing. One is clearly nicer and easier to navigate than the other. I was informed, after asking my supervisor, that we are in the process of updating and changing the website which is why it's a little confusing. 

Conclusion:

Overall, the Old State House Museum has a defined focus on representing the history of the building itself, and the American Revolutionary time period in Boston. The Bostonian Society is dedicated to preserving and maintaining the building as best as possible. Ideas have been presented to make the museum more accessible, but finding a viable one is difficult due to the delicate nature of the 300 year old building. The social media presence is impressive, since it's updated relatively often. The exhibits themselves fit in with the goal of presenting Revolutionary War history, and the guided talks offered throughout the day at the museum also add to the goal of providing the guest accurate information about the Old State House and it's important role during the American Revolution. I unfortunately was unable to talk with the Collections Manager directly, but was able to gleam information from other coworkers regarding the collection. I was wary of disclosing much of the collection information due to not being able to talk with her to make sure it was okay for me to talk about it and that it was accurate. Doing this project helped me understand more about how a museum is run, and helped give me a better understanding of my workplace. 

Hammond Castle Museum Assessment pt. 2

The Hammond Castle Museum is a unique house museum located in Gloucester, MA. It is a popular tourist destination, and is ranked as the number three top "thing to do" in the Gloucester by Tripadvisor. Its bizarre history and eccentric designer John Hays Hammond Jr. make it a fascinating visit, but it is clear upon visitation that the museum is somewhat struggling with its identity. It tries to straddle the line of being a kitschy destination known for its supposed supernatural nature while also existing as a tribute to John Hays Hammond Jr.'s career as an inventor and his remarkable collection of medieval and renaissance artifacts. Using the topics we have learned about throughout the semester, I am going to analyze the Hammond Castle Museum's current state and assess what can be done to improve it.

FOCUS

One major downfall of the Hammond Castle Museum is that it tries to be too many things. It actively touts its connection with supernatural investigation tv shows, haunted tours and Halloween festivities. While this connection actually would probably have pleased Hammond, as he was curious about the supernatural during his life, it leads to the neglect of Hammond's great antiquities collection as well as his life's work, even though most of the space in the museum is devoted to those things. I see no general issue with using supernatural activity as an attraction or of a topic of discussion for tours, but when it is advertised over the rest of the museum contents it becomes misleading.

VISION

The Hammond Castle Museum does not have a mission statement on either its website or its facebook which leads me to believe it does not have one. Crafting a mission statement would be a good way to hone in on the museum's vision for the future, as well as assist the museum in deciding its focus and pinpointing what it is offering to visitors. The museum rests on its past success and prestige within the area to draw visitors. This is not the way to ensure future success and relevance as a museum, which is why I see the museum generally trying to capitalize on the haunted supernatural aspect of its history. Sensationalist tactics like this are used to try to draw in crowds and while it is working for the time being (the museum sees many visitors around the Halloween season for their late night tours), there will be a time when they do not, and it is important to keep that in mind.

The uniqueness of the Hammond Castle Museum is its biggest draw, and it should not forget this when it comes to crafting the vision of the museum. People come because they are interested in the bizarre John Hays Hammond Jr., his work, and his abode which reflects his life. Being able to incorporate the true history of the house and Hammond's work into the museum's vision is integral, as both are rather contested. When I searched for information about the museum for the earlier assignment, I found several resources with major conflicting information, and even the information released about the museum and Hammond from the museum itself seems sensationalized. Establishing a truthful narrative regarding the history and Hammond should be of top priority for the museum since they have the authority on Hammond and his home. 

The museum should look to other similar unique house museums as guides for creating the vision and focus of the museum. Museums with comparable backgrounds that are already established such as the Winchester Mystery House.

OUTREACH

There is little to no information about Hammond Castle online in reference to its reach as a museum. While the museum maintains its own website and facebook profile (which is not linked to the museum website), they are neglected and the website is particularly in disrepair. These online access points act as the first visit prior to the visit in person and need to provide accurate and easy to find information for potential guests.  They should act as a portal to the museum and should incite curiosity. Being able to extend their reach could do wonders for the museum. 

The website looks as if it was designed by someone in the past, but all recent updates have been made by someone who merely obtained access to the html and started typing without using a style guide. It looks unprofessional and is difficult to read, as all the information is just stacked on top of each other. Currently, they have information related to the museum's opening times as well as the cost of entry and accessibility information listed far below the welcome information on the homepage. All of these items are must know information for someone planning a visit to the museum and burying them makes them practically worthless. Further, this information has simply been copied and pasted onto each linking page, but because of the large amount of white space after the text that actually belongs on the page (according to the page naming convention), it is not noticeable. Quantity does not equal quality. They need to put a little money into hiring someone to fix their website and make it overall more welcoming. Added links need to properly relate valuable information related to visitation such as opening times, cost, etc. 

Social media is perhaps the best way to go about getting in contact with the general public, and while the Hammond Castle Museum runs a Facebook page, it is very underused. It is fairly inactive, especially during the times when it is open for the season. There were two posts in April and the last before that was done in February, which is too much time between posts. The museum needs to shift its focus to engaging with page visitors by posting prompts, photos, articles, etc; items that will encourage the public to participate with the museum online. 

When the museum does post, people who follow the page are very active with their feedback, as many of the posts have quite a few likes and comments. However, the museum does not interact with these people. Through a quick survey of their posts it appears the only time the museum does interact with guest questions is regarding their "Castle of Nightmares" Halloween event. It is important to respond to guests throughout the year in this fashion. 

Using social media to make the public more aware of the collections housed within the museum is an excellent way to interest visitors in what the museum contains, rather than just supernatural entities. Posting photos of some of the oddities, or early technological equipment created by Hammond, for example, and giving some information about the objects or asking questions encourages participation on the Facebook page. 

The museum also must make museum visitors aware there is a Facebook page. Encouraging visitors to interact with the page after their visit is integral to getting them to return. By sharing photos of visitors visits, to informing people who have liked the page to new programming, it is important to make visitors feel like they had some sort of a connection with the museum, even if this needs to be coaxed out of them. A post from the museum appearing in their newsfeed reminds them of the museum, or, seeing their photo posted by the museum makes them feel like a valued part of the museum community. People like seeing their posts shared and in this digital age, it allows corporation type entities to invoke a friendlier face. Social media interaction makes people happy and the museum should capitalize on this. 

CONSERVATION

The Hammond Castle Museum is located right next to the ocean. This lends beautiful views, a wonderful soundtrack of gulls squawking and waves hitting rocks on the shore, and thick, salty, humid air. While these things are part of the draw of the museum, it needs to take care of its artifacts. When I was there, windows were open in nearly every room in the house, and this is an issue when many of the artifacts within the museum are from medieval times, which means they need more preservation and a more controlled environment. 

The pipe organ in the great hall built by Hammond himself used to be the site of organ recordings for albums and concerts for visitors, is now rendered useless due to the air quality. Hammond Castle was known for this organ for quite some time, and mostly likely attracted organ enthusiasts to come for a visit to see and hear the organ.

Closing up the museum and installing proper ventilation and air conditioning systems is a must. I get the resistance to installing these items as projects of this nature are expensive and take time, but the museum will be able to get more visitors (and thus more money) the longer they keep their artifacts in good condition. 

ACCESSIBILITY 

Ensuring Hammond Castle Museum is accessible for all guests is very important. It would be hard to restructure parts of the house or install lifts, but if it was done in a manner that complimented the parts of the house it would be a good addition to the house. A boardwalk type feature could be added to the grounds so that they are accessible as well. As many weddings and events are held on the grounds, ensuring access for all guests regardless of their abilities is a must. 

The Old Schwamb Mill (Final Project)

The mission of the Old Schwamb Mill (OSM) is essentially “to keep the mill alive on the landscape as a unique educational resource.1 And to that end they have done well. However, it could be said that this has been done to the detriment of preservation. In the end, there is information that is readily accessible, but not necessarily in the way a LIS student would expect.
There are two kinds of cultural heritage, tangible and intangible. OSM is an instance of both tangible and intangible cultural heritage, however the focus of OSM is on the intangible aspects. OSM calls itself “the nation’s oldest continuously operating mill site”2. The mill is considered to be “a living document”3, and it is operated by a “trust which maintains the mill's traditions”.4 It certainly is a different interpretation of the meaning of “document”, but one that is implied by Briet’s definition.5
The key is, it is not the wooden oval frames (which the Schwamb family produced) manufactured here which are being persevered. It is the methods and skills, those arts “that cannot be touched but which can be felt through other sensory organs”6 which are being preserved here. In this instance, one could literally tag and bag the entirety of OSM and everything in it, but the sum of the parts would be lost. The methods by which tools and skills and machines combine to make a product is the intangible object that is being preserved and archived at OSM. Because the efforts of those who manage the mill have been to perverse the tradition, the information is largely based in the physical house and machine, rather than in more traditional forms. As a result, there are many things the LIS student would find disquieting.
            Take for example, questions of the environment in OSM. In regards to environmental controls, there are little to none none. The house is subject to New England weather, and has been standing since before 1864. As OSM is a registered historic landmark changes must be made with care. The process of building a second staircase to the second floor, took 12 years and had been on the agenda for nearly 20. A revamping of the interior, as would be necessary for a proper archive, would be out of the question then. Naturally, as OSM is filled with wood and saw dust, the most pressing environmental concern is fire. There are fire alarms and sprinklers, but the staff admit that all it would take is one bad day for it all to go up in smoke. Those who run OSM could make an effort to fire-proof the mill. However, a large part of that would be to stop production of fames, which would defeat the purpose of OSM. As a result, those who run OSM are simply resigned to the facing that constant danger.7
            Speaking of nature of OSM, that brings up questions of preservation. The building itself is old, and so has all the problems of a building over 200 years old. However, there is more to is then that. There is also the question of how to care for the machines which shape the wood. The original lathes, for example, have been there since 1864. “They are the original machinery and have survived because of constant care and tending.”8 They cannot be archived, as then they could not be used. As a result, they must be repaired, and well looked after. In short, OSM does not practice preservation in the academic sense, they practice up-keep and repair. Perseveration, at least in the LAMs sense, would imply the end of the use of the machines which would be counter to the efforts of OSM to preserve the craft of frame making.9         
            Naturally, this upkeep and maintenance at OSM is a highly specialized trade. In fact, of the employees, the one who tends to the machinery is has a professional job as a Victorian clock repair man, another lost art. (On Tuesdays anyone is welcome to come in and which him (David Graf) work.) The argument could be made that the staff are their own set best practices, as not lathe repair is better suited to the realm of a mechanic or woodworker, then it is an archivist.10
I mentioned above there are between three and four staff members. OSM is much like any other organization, in that is relies heavily on volunteers. The staff and volunteers of OSM communicate dominantly by email and face to face work. One of the volunteers was retired Smithsonian employee, who was good enough to make an index of most of the objects in the Mill. This index is by no means robust though. Furthermore, this index though beneficial, is not necessarily ideal for helping support OSM’s mission of keeping the tradition of wooden frame making alive.11   
OSM does take in some money aside from gifts, grants, and contributions. The upstairs space is rented out to architects and engineers engaged in historic preservation, as well as functioning as a gallery for local artists in our gallery which they make commission off of. Additionally, the barn is rented out as retail showroom. The local artist especially, have the effect of drawing a verity of people in, who might not otherwise visit.12
Finally, I want to talk a bit about the collections. There are arguably four or more collections in OSM. All of them are accessible, and it is hard to imagine how they would be otherwise, as OSM is a working mill. There are machines on which the wood is worked, which have weekly demonstrations. They are essential to OSM and I have mentioned how that could not be persevered without inconveniencing OSM. There is a large set of a mold cutting knives, which the Smithsonian did make an offer to purchase, however that offer was refused, despite the fact that the molding machine is no longer in the mill.13
There is in fact an archive in the more traditional sense as well. It was recently moved to a room with a good deal less sun in it. While all in one place, the archives are not organized. It consists largely of the paper work -the internal records of production at of mill- and is accessible to anyone who should wish to examine it. (Any willing intern, would be welcome to organize it.) I would image it is not dissimilar to the contents of the unfortunate Textiles Museum. Unfortunately, those documents are not the primary concern of the OSM. While all such documents could be digitized, that would not be ultimately beneficial the OSM’s oval all goal.14
Finally, (I know this sounds silly) there is also a great deal of interesting memorabilia just stuck to the walls. Scattered all of the building walls; are pin-up-girls from the 60s, baseball schedules from the 50s, maps from the 30s and employee safety documents from the 70s. The collection of items on the walls alone is likely worth a study in and of itself. Again, this too could be archived and digitized, but it would not serve the purpose of OSM’s mission, and therefrom the memorabilia themselves would be deprived of the context of the current location.15
The majority of the information OSM has to offer is the kind that is either contextual or intangible. Thus OSM shares the information best, when people are physically able to visit the mill. Tours are available to all who visit, which only makes more clear the embedded nature of the information. To put indexes, archive or catalogs of OSM up on line would be beneficial only in the abstract academic sense. Technology cannot capture information of the kind OSM can provide. I think this is why the technology of OSM (Facebook and Twitter) serves more to let people know that they exist, then to bombard the viewer with data. That information must be transmitted in person. Perhaps this is why OSM works so closely with the community. OSM works with local artists and the town, and finding ways to blend their mission with the spirit of the times. As an example, in November they plan to start an annual craft show. To me, OSM seems to be at least part of what Carson is looking for in his Plan B. OSM draws people in, not by the flash of its websites or the latest technologies, but by offering a unique experience that can only be gained first hand.16 


2.      Old Schwamb Mill brochure
3.      Old Schwamb Mill brochure
5.      Buckland, M. K. (1997). What is a “document”?. Journal Of The American Society For Information Science48804-809.
6.      Chowdhury, G. G., Ruthven, I. (2015) Managing digital cultural heritage information. Cultural Heritage Information: Access and Management Retrieved from: http://moodle.simmons.edu/pluginfile.php/647214/mod_resource/content/0/CHIchowdhuryCh1.pdf
7.      Old Schwamb Mill Newsletter 2015, Old Schwamb Mill Tour
9.      Old Schwamb Mill brochure, Old Schwamb Mill Newsletter 2015, http://www.oldschwambmill.org/preservation/preservation.html
10.  Old Schwamb Mill brochure, Old Schwamb Mill Newsletter 2015, Old Schwamb Mill Tour
11.  Old Schwamb Mill Tour
13.  Old Schwamb Mill Tour
14.  Old Schwamb Mill Tour
15.  Old Schwamb Mill Tour
16.  Carson, C. (2008). The End of History Museums: What's Plan B?. The Public Historian, (4). 9. doi:10.1525/tph.2008.30.4.9.


Final Project












The Nichols House has stood atop Beacon Hill since 1804 displaying its beautiful architectural design elements to the outside world. During the residency of the Nichols Family from 1885 to 1961, the house was filled with a diverse art collection, and was occupied by accomplished and significant owners, making it an important house that has earned a place in the pages of Boston’s history. Since 1962, the Nichols House Museum has preserved the home and the collections within “as an historic house museum reflecting the domestic life of a typical family of Beacon Hill at the turn of the last century.”[1]  The house museum’s collection includes fine 17th to 19th century furniture, art, tapestries, sculpture, and other pieces of decorative art from both America and abroad.[2] Everything in the museum’s collection was owned and collected by the Nichols family and Rose Standish Nichols, the last family member to reside in the house, specified in her will that the house shall remain open for public viewing thus creating a historic house museum.

Ashley Jarhling Bannon, the Head of Stewardship and Interpretation, was interviewed for this paper so that further data could be gained regarding the museum’s institutional priorities, environmental controls in place to protect the overall conditions of the collections, and the policies in place for preservation and disaster planning. Ashley was an excellent source of information and provided facts that were not readily available online or at the museum.

Characteristics

Governance Structure & Institutional Priorities:

The Nichols House Museum is overseen by a 19-member board of governors and run by an executive director; the current executive director having taken up the position in spring of 2015. Three additional employees are listed on the museum’s website: the Head of Stewardship and Interpretation, a staff member in charge of visitor services, and a Curatorial and Administrative Specialist. The museum’s institutional priorities, or strategic plan, contain four main points that act as goals for which the museum is striving to achieve in the future. The main points are:

1.       Enhance visitor experience by expanding educational programs and creating specialized tours
2.       Become an accredited museum in 2016 through the AAM's accreditation program
3.       Maintain and preserve the 1804 building structure and its contents
4.       Maintain financial strength

Progress towards reaching these goals can be found throughout the museum’s annual reports; the last two are made available to the public on their website, 2013-2014 and 2014-2015. Additional sources containing institutional information are the newsletters, also available on the website, and information regarding preservation projects can be found under the “Preservation” tab nestled under the “House & Collection” drop down menu.

Despite the presence of these institutional documents on the museum’s website, the Nichols House Museum’s efforts to appear transparent to the public have been limited over the past few years. The “Preservation” page on nicholshousemuseum.org features project descriptions and images for only four of these undertakings, the last of which was completed in 2010. This page has not been kept updated and in order to find discussions on more recent preservation efforts one must comb through the annual reports and newsletters, and the information within those are often just brief updates rather than full project descriptions, making it difficult to gain a full understanding of what exactly each project described. The newsletters provided on the website also do not seem to be have been updated recently as the last one posted was from October 2015; the timing for the release of newsletters is unclear and is not consistent.  

Characterization of site in terms of collections:        

Elaine Heumann Gurain suggests in her article exploring the meaning of objects preserved in museums, historic sites, museums, and similar institutions of memory are “the tangible evidence of the spirit of a civilized society.”[3] This statement holds a particular truth when considering the collections preserved by the Nichols House Museum. The historic house, the art objects in contains, and the historical documents relating to the house and its prior inhabitants can be characterized as tangible objects that contain the spirit of the Nichols family, particularly Rose Standish Nichols, and the 20th century Bostonian society in which they lived. As Gurain also suggests, it is not the objects themselves that evoke the essence of the museum or characterize their collections; instead, she proposes that essence of a museum is found by thinking of the museum as being “a place that stores memories and presents and organizes meaning in some sensory form.”[4] That being said the Nichols House Museum should be characterized as a place that makes use of the original objects collected by Rose and the other members of the Nichols Family to tell the story of their lives and the lives of those who lived atop Beacon Hill in the early 1900s.

Services offered & functions served:

As explained above, the objects found within a museum do not characterize the institution, instead, the characterization comes from what is accomplished using the objects. Gurian states, “For it is the story told, the message given, and the ability of social groups to experience it together that provide the essential ingredients of making a museum important.”[5] This suggests that the visitor’s experience at a historic house museum should be treated as one of the most important priorities; therefore, a museum’s audience should drive the creation of rich services and public programming. Vagnone and Ryan also stress this concept in their Anarchist’s Guide to Historic House Museums as they consistently point out throughout their chapters the importance of collaborating with visitors on the type and quality of programming provided and connecting the site with the community surrounding it.[6]  

Obviously, the main services offered to the visitors of the Nichols House are guided tours by knowledgeable docents. The guided tours cover topics such as, American and European Antiquities, American History, Beacon Hill or Boston History, and Women’s History. As suggested in the newsletters, the themes of these tours are consistently in flux with new thematic tours emerging every so often. The creation of these specialized tours follows the museum’s strategic plan for expanding their educational programs and visitor experiences. Other public programs include lectures by prominent museum professionals and a book club that has focused its reading list on the private library collected by Rose Standish Nichols. Upcoming public programing and various museum events are consistently posted on the museum’s website and on their social media pages. Themes for guided tours, however, are not publicized widely, and are only occasionally mentioned in a monthly newsletter.

Apart from public programming and the services provided by the museum to visitors who are capable of physically visiting the house, the Nichols House museum is also striving to reach audiences through the web and thereby providing greater accessibility to their collections. However, meeting the demand of museum audiences for greater accessibility to their collections is not as simple as digitizing collection records and images of the collection objects and creating a link to the image repository from their website.[7] And yet, as of now, this is exactly what the Nichols House has done. Their collections management system, PastPerfect, is made publically available online to help further educate those interested in learning about specific pieces in the collection.

For a small house museum, their online system and amount of collection images available to view seems fairly robust though lacking in standardized metadata and proper descriptive titles for collection objects. Central to image cataloging, and particularly important in a digital environment, are complete descriptive information and subject cataloging records attached to each image of an object. This is because it is the cataloging of the image that makes images available for search and retrieval.[8] For example art objects within their collections management system appear to be given titles that are truly just identifiers for what type of object is it; such as, drawing, tapestry, bowl, etc. This lack of descriptive titles for each individual object may result in inaccurate search retrievals when a user is trying to locate one specific tapestry, or one specific drawing. Coburn and Baca state that “access to collections should be data driven” and that by standardizing metadata and adhering to best practices for descriptive cataloging the museum is increasing access to collection records to diverse audiences with varying needs, both in and outside of the museum.[9]

Environment

Controls in place:

Environmental controls are set up to protect the objects in the museum’s collection from potential damage or harm.  Ashley Bannon, pointed out that as a historic structure, the building envelope is not a perfect seal and there are fluctuations in temperature and humidity; however, these are the conditions the objects are used to, and they expand and contract with the seasons. At the Nichols House there are data-loggers in every room that are recording the temperature and relative humidity which are downloaded every two months so that the data may be analyzed. The windows are covered with UV filtering panels, and the house has heat and A/C. There is also a dehumidifier in the cellar which helps a lot in the summer months, and bug traps which are checked twice a year. Additionally, security and safety systems throughout the house have been upgraded to include the protection of important objects in our permanent collection.[10]

Pressing environmental concerns:

Ashley Bannon stated that the most pressing environmental concern currently facing the physical art collection is light damage, and the most pressing projects are the reproduction of the third floor curtains and the front portico restoration project.

Preservation & Disaster Planning

Disaster Plan:

Ashley Bannon provided the fact that the Nichols House Museum does have a disaster plan in place through the dPlan website program, and just like other institutional plans and policies, this plan is not made publically available. The Online Disaster-Planning Tool for Cultural and Civic Institutions is a free online tool and template that was created to simplify and assist in the process of writing a disaster plan. The disaster-planning template was prepared by the Northeast Document Conservation Center (NEDCC) and the Massachusetts Board of Library Commissioners (MBLC) and the development of the template was funded by the Institute of Museum and Library Services (IMLS) and the National Center for Preservation Technology and Training (NCPTT). Institutions only need to enter information about their institution into the fill-in-the-blank template and once completed, dPlan generates a printed disaster plan specific to your institution. “The resulting plan contains contact information for staff and key personnel, preventive maintenance checklists, salvage techniques, and much more.”[11]

Preservation Efforts:

The museum makes an effort to provide the public with information on preservation projects through their website which contains a page detailing several past projects and through their newsletters and annual reports which can also be found on their website. As stated previously, the “Preservation” page, however, appears fairly outdated with the last project documented having been completed in 2010. More recent preservation projects can be found discussed in newsletters, the last published in fall of 2015, and in the museum’s annual reports. The 2013-2014 annual report states that a Historic Structures Report was completed during that year which provides the outline for a long-range Preservation Project Plan for the Museum.[12] The following information collected describes preservation efforts and projects by the Nichols House Museum.

In terms of the art collection and other artifacts displayed throughout the museum the following preservation procedures have been undertaken and completed. Reproductions of all the prints are on display, while the originals are stored away; the same goes for the Parents’ bedroom bed hangings and all original rugs which were cleaned and stored away, with replacements now in the rooms, with the exception of the parlor rug, that original rug is still the. The tapestries throughout the house and Rose’s original bed hangings have been cleaned and stabilized. All wooden furnishings, a total of 27 pieces, have been conserved and stabilized; a project funded through a grant from the Conservation Project Support program of the Institute of Museum and Library Services and carried out by the conservation team from Robert Mussey Associates.[13]

In 2013, the museum received a generous grant from the Institute of Museum and Library Services towards the conservation of all 42 prints in the Museum’s collection.[14] The conservation was conducted by the Northeast Document Conservation Center and efforts proceeded in two rotations so as not to remove the entire collection from the museum at any one time.[15] The prints returned from the Northeast Document Conservation Center in February of 2015.[16] With the work completed, the original prints are now in archival storage and archival reproductions are on display, and labeled as such, in accordance with the strong recommendation of the NEDCC.[17]

These preservation efforts of the art collection have resulted in the displaying of reproductions, rather than the original object, and it must be considered whether the display of reproductions dilutes the visitor’s experience. Gurain points out that museums have frequently displayed copies of their holdings and that historically, these reproductions are treated with the same respect accorded to the real thing and though there are differences between the original object and its reproduction, both have a place within a museum’s walls.[18] 

As a historic house museum the Nichols House is not only responsible for the care and preservation of their collection holdings, but also of the historic Bullfinch designed townhouse that was constructed in 1804. With the support of grants from the Massachusetts Historical Commission and various private foundations, and with the fundraising efforts of board members, the Nichols House Museum has been able to undertake several major preservation projects that address some critically needed work on the historic house museum’s structure. Images documenting these preservation efforts and projects undertaken by the museum can be found on their website on their “Preservation” page.

The first of these projects was completed in 2005 and involved the complete replacement and restoration of the slate roof, which had not been replaced since its construction in 1804.[19] The next major preservation effort was completed in 2008 and entailed the conservation and rehabilitation of two rear utility sheds, or urban dependencies, which were used for storage and as a kitchen and laundry space in the hot summer months.[20] In 2013, the George B. Henderson Foundation for the City of Boston awarded the museum a grant that will provide for the preservation of 27 of the museum’s historic window frames and sills.[21] The 2014-2015 annual report stated that the project is slated for completion by the end of 2015.[22]

Conclusions

The most conclusive assessment I was able to discern from my research into the Nichols House Museum was an inconsistent use of online technologies with limited or poor quality information being provided to the public regarding:

·         The institution and its governing plans and policies
·         Public programming offers and upcoming events
·         Metadata attached to objects records in the public collections management system
·         Up to date resources discussing preservation efforts and projects

There is a distinct lack of consistency of information the museum shares across its many online platforms and information sources; including, its own website and blog, the online accessible annual reports and newsletters, social media, and other user experience rated sites, such as Yelp or Trip Adviser.   

Bibliography

Coburn, Erin and Murtha Baca. “Beyond the Gallery Walls: Tools and Methods for Leading End- Users to Collections Information.” Bulletin of the American Society for Information Science and Technology 30, 5 (2004): 14-19.

dPlan: The Online Disaster-Planning Tool for Cultural and Civic Institutions. “About dPlan.” Accessed April 16, 2016, http://www.dplan.org/aboutdplan.asp.

Gurian, Elaine Heumann. “What is the Object of this Exerice? A Meandering Exploration of the Many Meanings of Objects in Museums.” Daedalus 128, 3 (Summer 1999): 163-183.

Pearman, Sarah Jane. “From Lantern Slides to Slide Libraries to Image Collections.” In Art Museum Libraries and Librarianship, edited by Joan M. Benedetti, 118-123. Maryland: Scarecrow Press, Inc., 2007.

Vagnone, Franklin D. and Deborah E. Ryan. Anarchist’s Guide to Historic House Museums. Walnut Creek, CA: Left Coast Press, Inc., 2016.



[1] “A Brief History of the Museum,” Nichols House Museum, 2010-2016, http://www.nicholshousemuseum.org/.
[2] Ibid.
[3] Elaine Heumann Gurian, “What is the Object of this Exerice? A Meandering Exploration of the Many Meanings of Objects in Museums,” Daedalus 128, 3 (Summer 1999): 163.
[4] Ibid, 165.
[5] Gurain, 182.
[6] Franklin D. Vagnone and Deborah E. Ryan, Anarchist’s Guide to Historic House Museums (Walnut Creek, CA: Left Coast Press, Inc., 2016).
[7] Erin Coburn and Murtha Baca, “Beyond the Gallery Walls: Tools and Methods for Leading End- Users to Collections Information.” Bulletin of the American Society for Information Science and Technology 30, 5 (2004): 14.
[8] Sara Jane Pearman, “From Lantern Slides to Slide Libraries to Image Collections: The View from the Cleveland Museum of Art,” in Art Museum Libraries and Librarianship, ed. by Joan M. Benedetti (Maryland: Scarecrow Press, Inc., 2007), 121-122.
[9] Coburn and Baca, 16.
[10] The Nichols House Museum, “Annual Report 2014-2015,” 3.
[11] “About dPlan,”accessed April 16, 2016, http://www.dplan.org/aboutdplan.asp.
[12] The Nichols House Museum, “Annual Report 2013-2014,” 2.
[13] “Preservation of the Nichols House Museum: Roof Restoration,” Nichols House Museum, 2010-2016, accessed April 16, 2016, http://www.nicholshousemuseum.org/preservation.php?content=roof05.
[14] “Annual Report 2013-2014,” 2.
[15] Ibid, 5.
[16] The Nichols House Museum, “Spring 2015 Newsletter.”
[17] “Annual Report 2014-2015,” 6.
[18] Gurain, 170.
[19] “Preservation of the Nichols House Museum: Roof Restoration.”
[20] Ibid.  
[21] “Annual Report 2013-2014,” 2.
[22] “Annual Report 2014-2015,” 3.