Abstract:OpportunityforthePackagingofCeramics

This Request for Proposalintroducesanopportunityforthepackagingofceramics.TheGardiner

Museum, which is a nationally recognized ceramics museum, strives to draw interest towards the artof
ceramics [1]. The communities of interest are the curatorial staff andtheinstallationcrew,whomanage
displays, package and unpack the art, organize their storage, and
install the pieces into the display cases. Most of the art displayed
holds significant monetary value, as well as historical value [2,3].
Every four months, thetemporaryexhibitattheGardinerMuseum
is replaced by a new exhibition, which requires weeks of
preparation. The current temporary exhibition features over 100
pieces(Fig.1).
Presently, the method for the packaging of the art is a
tedious process. Firstly, theshapeandsizeofeachandeverypiece
must be considered and measured. For smaller pieces that can be
handled by one person,foamorothercushioningmaterialsarecut
to size and wrappedaroundtheceramicpiece.Eachwrappedpiece
is placed into a separate cardboard box or wooden crate, which is
then covered by more cushioningmaterialandplacedintoalarger
box. For bulkier pieces,awoodenframeisconstructedtomaintain
its upright position, and it is then placed into a large wooden
crate. The estimated average time required to package each small
pieceis15minutes,whilelargerpiecescantakehours[4].
As for unpacking, the materials usedareoftendisposedto
save space. This results in a large amount of waste and more
materials required to be purchased. Even with the tiresome and meticulous processes, there have been
incidencesoftheceramicartbeingdamaged[4].
Evidently, an opportunity exists to implement an alternative process that will minimize the
damage during packaging, transportation, storage, and unpacking process; simplify the packing and
unpacking processes; increase the convenience of transport and storage; and reduce the cost of
packaging. This alternative process may include, but is not limited to a physical device, a scanning
apparatus,andasoftwaresolution.

[1]GardinerMuseum.(2017).AbouttheMuseum [Online]Available:
https://www.gardinermuseum.on.ca/the-museum/about-the-museum/[Feb.10,2017]
[2]Forexample,aMeissenMonkeyOrchestrasetwhichisondisplaycostsupwardof$50000CAD
MeissenMonkeyOrchestraCompleteVintagebyJ.J.Kaendler,circa1850-1870[Online].(n.d.).Available:
https://www.1stdibs.com/furniture/dining-entertaining/porcelain/meissen-monkey-orchestra-complete-vintage-jj-k
aendler-circa-1850-1870/id-f_3919752/?utm_content=control&currency=cad&gclid=CjwKEAiAoaXFBRCNhautiPvnq
zoSJABzHd6hedbqGt4nc4Clsxwkhcz7BV5k5Xnmdryi0emeQOExpBoCx-fw_wcB[Feb.18,2017].
[3]AccordingtoTourGuideattheGardinerMuseumonFebruary3,2017.
[4]AccordingtoMs.ChristinaMacDonald,CollectionsManagerattheGardinerMuseumonFebruary16,
2017.

1

TABLEOFCONTENTS

1.Introduction:CeramicsandtheGardinerMuseum 4

2.Background:TheCommunityofInterest,AboutCeramics,andCurrentPackagingMethods 6
2.1TheCommunityofGardinerMuseum 6
2.1.1GeneralDescription 6
2.1.2LivedExperienceofStaffMembersRelatedtotheShippingofArtworks 7
2.2PropertiesofCeramics 8
2.2.1PhysicalProperties 8
2.2.2CulturalandHistoricalValueinCeramics 9
2.3CurrentPackagingMethods 10
2.3.1Overview 10
2.3.2FoamCasting 11
2.3.3TissuePaper,Tyvek,Newsprint,andBubbleWrap 11
2.3.4CardboardBoxesforStorageandLocalShipping 12
2.3.5WoodCratesforInternationalShipping 12
2.3.6ShippingandUnpackingInstructions 13
2.4PastSourcesofDamage 13

3.Opportunity:ThePackagingofCeramics 15
3.1OpportunityStatement 15
3.2TheScopeoftheOpportunity 15

4.Stakeholders(RefertoAppendixCforClassificationofStakeholders) 16
4.1PrimaryStakeholders 16
4.2SecondaryStakeholders 16

5.EngineeringRequirements:Objectives,Metrics,Constraints,andCriteria 18
5.1High-LevelObjectives(HL) 18
5.2DetailedObjectives(DO) 18
5.3Metrics(M) 18
5.4Constraints 21
5.5Criteria 22

6.ReferenceDesigns 24

7.Conclusion 25

References 26

APPENDIXA:TranscriptsandFieldNotes 43

APPENDIXB:EmailCorrespondence(inreversechronologicalorder) 49

APPENDIXC:StakeholderPrioritizationJustification 57

APPENDIXD:StakeholderContactInformation 59

2
1.Introduction:CeramicsandtheGardinerMuseum

Ceramics, including china and pottery,
are commonly foundsolidpiecesmadefromclay
and hardened by the intense heat of a kiln [1].
For millennia, ceramics have been used to serve
food and drink, and have been displayed as
decorative pieces of fine art. As seen in Fig. 1,
precious metals were used to line the dishware
of nobility, as this indicated power and wealth
(Appendix A [1]). Not only are some ceramics
costly, but they are priceless due to their rich
history.
The Gardiner Museum, which is located
at 111 Queens Park, is a home of permanent
ceramic exhibits donated by private collectors
and temporary displays on loan from other
museums [2]. Over the past thirty years, the
permanent collection has been expanded from
approximately 600 to 900 pieces. The primary goal of
the Gardiner Museum is to promote public interest by
portraying beautiful ceramic galleries. Temporary
exhibits typically rotate every four months (refer to
Appendix A [2]). Throughthesetemporaryexhibitions,
visitors are able to view collections regarding specific
topics; currently, A Canadian Bestiary by Janet
Macpherson is featured (Fig. 2). According to Ms.
Malek, who has been working at theGardinerMuseum
as a receptionist since last August, there are more
visitors when the temporary exhibitions are open
(refertoAppendixA[2]).
However, the setup process requires transporting
pieces to the museumfromlocalregionsorabroadand
unpacking the ceramics as they arrive. Ceramics from
the previous temporary exhibit have to be stored and
then transported elsewhere. Aside from thetemporary
exhibits, the ceramics may also need to be moved and stored during renovations. Since the

3
ceramics are brittle, safe packaging is crucial during the transportation process [3]. Presently,
the packaging method requires painstakingly measuring the art and wrapping it with different
types of materials, which is time-consuming and
requires various resources (see Section 6 for more
information on thecurrentmethodofpackaging;Fig.
3). Moreover, there have been breakage incidents
during transportation in the past, even with the
rigorous preparation procedures (see 2.4). Therefore,
an opportunity exists to refine this process (refer to
AppendixB).

4
2. Background: The Community of Interest, About Ceramics, and Current
PackagingMethods

2.1TheCommunityofGardinerMuseum

2.1.1GeneralDescription
The Gardiner Museum, shown in Fig. 4, is a nationallyrecognizedmuseumspecializing
in ceramics. It is located inthe
Greater Toronto Area and was
founded in 1984 byGeorgeand
Helen Gardiner in order to
exhibit their personal
collections [4]. Since the
museum was established, the
institution has accepted
numerous donations from
different collectors [5]. Their
permanent collections range
from ceramics of ancient
Americans to contemporary
artworks [6]. Not only do they
display artworks, but they also
house workshops where
visitorscanmaketheirownpotteryartworks.
According to the Gardiner Museum website,thestaffsmaingoalistoconnectdifferent
communitiesthroughclayartworks[2].TheteamattheGardinerMuseumconsistsof[7]:
curatorialspecialistswhoorganizethedisplayedcollections
aninstallationcrewwhoinstallstheartworksinexhibitions
commercialandmarketingstaffwhopromotepublicinterestsinceramicartworks
educationmanagerswhoencouragepeopletolearnaboutceramics
workshopinstructorswhoorganizestudios
administrativeandfinancialmanagerswhomanagedonationsandfinances
volunteers who generously donate their time in order to support the museum (refer to
AppendixA)

5
2.1.2LivedExperienceofStaffMembersRelatedtotheShippingofArtworks
At the Gardiner Museum, the following teams play a crucial part in the organization,
handling,andshippingoftheceramicart:
1. Curation specialists are responsible for organizing artwork in the temporary
exhibitions. They contact other museums or private owners and negotiate the pieces
that will be displayed at the GardinerMuseum[8].Curationsspecialistsvaluethesafety
of the artworks received and displayed in order to maintain a long-term relationship
withotherinstitutions.
2. Theinstallationcrewisresponsiblefor:
a. Informing artists on a preferred method of sending their artworks to the
museum(refertoAppendixA[3]).
b. Unpacking artworks. Theyarerequiredtoobservethepackageofincomingitems
closely before making each action, since unpacking in the wrong order may
damage the artwork. The packaged ceramics are accompanied with unpacking
instructionswithvariousdegreesofdetailsfromthesender.Moreover,theyhave
to take pictures of each step, since artworks broken during shipment must be
covered by insurance,andtheyhavetoprovethatthedamagetakesplaceduring
transportation,notduringtheunpackingprocess(refertoAppendixA[3]).
c. Packaging. The installation crews are responsible for packaging artworks
accordingtoitsspecificsizesandshapes(refertoSection6formoredetails).
d. Storing and maintaining a file record of the inventory. When artworks are
required to be stored for an extended period of time, for example, when the
building went through renovation from 2004 to 2006, artworks were needed to
bekeptinanenvironmentwithaconstanthumidityandtemperature,awayfrom
accidental disturbances [4]. However, since the storage space does not offer
sufficient protection, the curatorial crews have to maintain such conditions by
packaging. According to Ms. McDonald, she put a measurement instrument
along with the artworks, and there is a smaller temperature change inside the
packagingthanintheoutsideenvironment(refertoAppendixA[3]).
e. Moving the artworks from the basement storage room to the third floor
temporary exhibits (refer to Appendix A [4]).The installation crew values the
physical integrity of the pieces, as they oversee the physical handling of all
pieces.

3. Administrative and financial managers make governing decisions related to the

maintenance and development of the museum, including temporary exhibitions,
additions to the permanent exhibitions, and renovations. They also maintain the

6
 financial balance and therefore value the safety of all pieces, which are valuable assets
ofthemuseum.

2.2PropertiesofCeramics

2.2.1PhysicalProperties
Ceramics are composed of inorganic solids, and have the properties seen in Table 1
below:

Table1:PropertiesofCeramics

Property Description

Hardness Ceramics tend to be very hard: according to the Vickers scale, it scores a
12-22incontrasttostainlesssteelsvalueof5[9].

Strength Ceramics are weak in tension but strong in compression. This isduetothe
inevitable presence of internal flaws, which cracks can propagate through
intension,butnotincompression[10].

Brittleness Ceramics tend to be very brittle due to theirmolecularstructure.Theionic

and covalent bonds forming the ceramics tend to fracture before
deformation [11]. As a consequence of being brittle, ceramics lack
flexibility.

Temperature Temperature resistant. Fine ceramics are capable of withstanding

temperatures above 2000 [12]. In comparison, steels melting point is
1425to1540[13].

Ceramics are made
from a mixture of clay
and flux, which lowers
its melting point [14].
After being shaped into
a desirable
configuration, it is put
into a kiln, and then it
is cooled down to
hardenit.

7
 In particular, china is very thin, being only a few millimetres in thickness (Fig. 5). This
makes it very easy to break. At the Gardiner Museum, the sizes of the piecesvary:someofthe
larger pieces were measured to be more than 100 centimetres in height, while some smaller
pieceswerelessthan10centimetresinheight(AppendixA[3]).

2.2.2CulturalandHistoricalValueinCeramics
The earliest tracesofceramicsdatebacktoapproximately29000yearsago[15].Around
20 000 years later, ceramicsstartedtoberecognizedforfunctionalusages.Itsabilitytocontain
water and insulate heat allowed food to be stored over an extended period of time. This
innovation has accelerated a civilizations
conversion from vagrancy to settlement by
allowing large amount of resources to be
reserved[16].
The history of ceramics started off
from earthenware [17], which absorbs
water. As time progressed, techniques of
ceramic production also evolved: for
example, the application of glaze became
common [16]. After the first firing is
completed to harden the clay, a glaze (Fig.
6), which contains fine grains of glass, is
applied onto the piece which is fired again
to produce a glass coating, allowing it to
hold liquids [17]. Another improvement is
the introduction of refractory: a kind of
ceramics developed to withstand high
temperature.Thisbroughtimprovementsin
furnaces used to smelt steel, which laid one of the backgrounds for the industrial revolution
[16]. Therefore, ceramics have played a crucial role in the history of mankind. The Gardiner
Museum hashistoricalpiecesthatshowthelivingexperiencesofpeopleinthepast,andgiveus
accesstotherichhistoryduringthesestagesoftechnologicaldevelopment.

8
2.3CurrentPackagingMethods

2.3.1Overview
The first step is to consider where the ceramics
will be shipped, as climate varies in different regions,
and there may be custom issues when shipping abroad
(referto2.4).
It is also important to consider the
transportation method, as additional care during
packaging is necessary for certain modes of
transportation. For instance, the museum occasionally
uses UPS due to their limited budget, although UPS has
alowercredibilitythanprofessionalartshippers.
The next step is to consider the dimensions of
the ceramics. If the shape is fairly simple, it is typically
packaged by foam casting (refer to 2.3.2). If the artwork
consists of different parts, such as a pot with alid,then
those pieces are packaged separately. If the ceramic is
irregularly shaped, for example, in Fig. 7, the general
procedure is to carefully wrap around the ceramic with
tissue paper and a layer of bubble wrap (refer to 2.3.3).
For short-distance transport, the ceramics are then placed inside a cardboard box (refer to
2.3.4). If the collection must be shipped internationally, they would be secured in a crate
instead(referto2.3.5).

The parts of the ceramic pieces that are

more resilient or vulnerable to pressureshouldbe
considered when placing the ceramics inside the
cardboard box. For example, disks are most
resistant to pressure on their sides; therefore,the
disks should be stored vertically so that the
pressure isontheiredges(refertoAppendixA[3];
Fig. 8). Another example is a teapot with a
repaired handle, where the connection between
thebodyandthehandleistheweakpoint.
The surface of the artwork should be
considered as well. For instance, some have a

9
metal componentontheartwork,soglovesshouldbeusedduringthehandlingprocessinorder
toavoidthetransferofoilsfromhumanskintoitssurface.
Moreover, the person unpacking the ceramics should also be considered as their
experiencemaydictatethelevelofinstructionsrequiredtounpack(referto2.3.6).

2.3.2FoamCasting
For porcelains and ceramics with regular shapes (not projections), foam casting isused
to secure its structural integrity under stress. The cast is cut out from a stack of ethafoam,
which offers various degrees of compressive strength, tear-resistance and protection against
water [18]. This particular kind of foam is acid free and does not gasify; it will notdamagethe
artwork.
In order to make a foam
casting, a relatively accurate
measurement of the artwork is
required. This is done through two
methods. Oneisdonebyplacingan
artifact on top of a stock foam and
drawing an outline of it directly
onto thefoam.Theothermethodis
done through measuring of the
artworkbyaprofiler(alsoknownas
a profile gauge; seen in Fig. 9),
which allows the staff to measure
the curved sides of the artwork
accurately. After getting an idea on the shape of the artwork, foam is cut using a hand knife
[19]. Although art shippers typically have a packaging division whopossessesspecializedfoam
cutters,theGardinerMuseumcannotaffordit.
The downside to this method is that since the cast is cut from solid foam, theprofiling
of the artwork must be accurate or it may leave a gap between the cast and the artwork. This
process requires a longtime,takinganywherefromfiveminutesto30minutesforsmallpieces,
according to Ms. McDonald (refer to Appendix A [3]). Also, the complicated procedure of
measuring and cutting limits the shape of artwork that can be casted to simple geometry.
Pieces with sensitive surfaces require a layer between the piece and theprofiler,whichfurther
increasesthenumberofprocedures.

2.3.3TissuePaper,Tyvek,Newsprint,andBubbleWrap
Artworks are first wrapped up with acid-free tissue paper, Tyvek,ornewsprintinorder
to prevent any scratches to the surface [20]. Then, several layers of bubble wrap are applied,

10
which acts as cushioning. After that, tape may be applied. The quality of the wrapping can be
tested with the feel test, whichreferstocompressingeachspotwithfingersandaddingmore
padding if the spot feels relatively unpadded (refer to Appendix A [3]). Any projections or
protruding parts should not be wrapped underneath as the unwrapping process may cause
damage. However, according to Ms. McDonald, many people are not aware of this. Although
some people put cushioning inside the hollow artworks as well, Ms.McDonalddoesnotregard
this as a good practice, since it may impose risk when the cushion is taken out during the
unpacking process. Moreover, some artists tend to reuse materials multiple times, even after
thematerialhascompletelylostitscushioningcapability.

2.3.4CardboardBoxesforStorageandLocalShipping
After artworks have been appropriately
wrapped, they are placed inside a
cardboard box, which is stored inside
another cardboard box with some
paddinginbetween(Fig.10).
During the renovation process, some
boxes are stacked together due to the
lack of space. Heavier pieces are put at
the bottom while heavy-load bubble
wrapisputbetweenboxesforcushioning
[18].

2.3.5 Wood Crates for International

Shipping
Crates are used to transport
artwork when extra durability is
required. For somelargepieces,rigid
supporting beams, called braces, are
attached between the inside of the
crate and the artwork to secure its
position,asseeninFig.11.

11
 Crates are relatively expensive. The Gardiner Museum typically buys supplies from the
ULine company , where the prices of each crate ranges from fifty to five hundred Canadian
dollars (refer to Appendix A [3]) [21]. However, the museum is not abletoreusethemmultiple
timesduetospacelimitation.
When shipping internationally, the
crates must satisfy the laws of the
destination country, and also countries
that the crates will be shipped through.
For example, as mentioned by Ms.
McDonald, there was an incident where a
wooden crate from Europe could not go
past the Canadian custom as the wood
had not beentreatedforpests,i.e.didnot
follow D-98-08, entry requirements for
wood packaging material into Canada
(refer to Appendix A [3]) [22]. The
artworks arrived without their original
packaging andwerecompletelyshattered.
A claim was made to the insurance
company as the contents of the cratewas
worthseveralthousanddollars.

2.3.6 Shipping and Unpacking

Instructions
Common signs include this side up and
do not stack. However, some couriers
have disregarded those signs and caused
damage en route totheGardinerMuseum
(refertoAppendixB).
Unpacking instructions are typically providedbythesender(Fig.12).Itusuallyincludes
pictures of the ceramics so that the receiver has a general idea of the shape and its condition.
However, those instructions are usually not sufficient to unpack quickly, and detailed
instructionscantakeasignificantamountoftimetowrite.

2.4PastSourcesofDamage

According to Ms. McDonald, the most common type of damage to ceramics is

shattering; scratching is uncommon duetotheprotectionofpaperandbubblewrap.Moreover,
there are some unexpected factors due to the handling of couriers, the custom checks and the

12
receiver. The tight budget of the museum imposes constraint on the packaging method. In
conclusion, there is space to either refine thecurrentmethodortoproposeanewdesign(refer
toAppendixB).

13
3.Opportunity:ThePackagingofCeramics

3.1OpportunityStatement

Ceramics in museum exhibitions must be transported and stored safely when they are
not ondisplay.Thereisanopportunitytoimplementanalternativeprocess,whichmayinclude
a physical device and/or a software, that can ameliorate the current methods of packaging
ceramicartworks.

3.2TheScopeoftheOpportunity

Although the distance that artworks travel is an important factor in the decision of
packaging [19][20], this request for proposal does not limit the design solution to a particular
situation. It may involve storage inside the museum during renovations, localtransitforitems
donated to and acquired from the museum, national or international transportation for
temporary exhibitions and items on loan to other museums (refer to Appendix A [3]) [5]. The
opportunitywhichexistsfocusesonwhatisdirectlyincontactwiththepiece.
A potential solution to this opportunity can be but is not limitedtoaphysicaldevice,a
scanningdevice,orasoftwaresolution.

14
4.Stakeholders(RefertoAppendixCforClassificationofStakeholders)

4.1PrimaryStakeholders

1. The Gardiner Museum is responsible for packaging ceramics that have to be shipped
elsewhere and safely unpacking ceramics delivered to them. Damaged ceramics will
detract fromthepublicimageoftheGardinerMuseumandactasadeterrenceforfuture
loans and donations to the museum. Thus, they would value a solution that could
ensure the safety of artworks. Furthermore, theGardinermuseumhasalimitedbudget;
consequently, they prefer a cost-effective solution. Ms. McDonald, the collections
manager, mentioned that she learned packaging methods by experience; however, the
museum sometimes asks artists to ship their works, and some artists do not package
their works appropriately. Therefore, a packaging process that is easy to learn would
alsobebeneficial(refertoAppendixA).
2. Curatorial installation employees hold great accountability in storing, moving, and
installing displays, while improper handling is a major source of damage to artworks
[23]. When an item isdonatedtothemuseumbyalocaldonor,themuseumstaffwillgo
to the donors house and package the item there. It is preferred if the transportation
materials that the staff have to carry are lightweight. They would value a solution that
increases the maneuverability of ceramics within the building. As there is a possibility
that the transportation companiesmishandletheceramics,theywouldpreferasolution
that minimizes the damage inflicted upon the ceramics. They would also value a
solution that offers greater ease of unpackingtheceramicstominimizethepreparation
timerequiredbetweentwotemporaryexhibitions.
3. Transportation companies are responsible for safely delivering the ceramics to and
from the museum. However, they cannot be expected to exercise the same degree of
care asthetrainedmuseumstaff[24].WhentheGardinerMuseumhastoshipextremely
large-sized items,professionalartshipperswerehiredtohandleboththepackagingand
the transportationprocess(refertoAppendixA[3]).Althoughmostcouriersdonothold
responsibilities for any broken artworks, they would prefer safer packaging methods in
order to avoid any potential conflicts with customers [25]. On the other hand,someart
shippersprovideinsuranceservicesandtherebyvaluingasaferpackagingmethod[26].

4.2SecondaryStakeholders

4. Museum guests and visitors pay admission fees to view and enjoy the exhibitions.
Damaged ceramics due to poor packaging may reduce the number of displayed items

15
 that visitors can enjoy, thereby reducing the quality of the experience. The potential
solutions will not directly affect them, but ensuring safe packaging may promote
exhibitionsofbetterqualities.
5. The pieces in temporary exhibitions are owned by privateownersorothermuseums
,
who are willing to share their artworks. Poor packaging may instill the unfavourable
impression that the museum does notprovideenoughcareintermsoftheircollections.
Thus,theywouldvalueasolutionthatensuresthesafetyoftheirartworks[27].
6. Museum sponsors and patrons donate significant sums of money in order to support
the Gardiner Museum [28]. The sponsors confidence in supporting the museum is
reliant on the quality of care of the artworks, which can be enhanced with better
packaging methods [8]. They would alsopreferalowercostofpackagingmaterials,soit
canbespentonitemacquisitioninstead.
7. Insurance Companies have to pay for damaged ceramics given that appropriate
evidence is present. The qualityofpackagingmaydeterminethefrequencyinwhichthe
insurance companies have to coverthedamage;therefore,theypreferasaferpackaging
method.Moreover,apotentialraiseintheinsurancefeemayapplytothemuseum.

16
5.EngineeringRequirements:Objectives,Metrics,Constraints,andCriteria

5.1High-LevelObjectives(HL)

Consideramethodofpackagingtheceramicswhichwill:
1) Minimize potential damage during packaging, transportation, storage, and unpacking
processes(S1,S2,S3,S4,S5,S6,S7)
2) Simplifytheprocessofpackagingandunpackingceramics(S1,S2)
3) Beconvenienttotransportandstore(S1,S2,S3)
4) Reducethecostofpackaging(S1,S4,S6)

5.2DetailedObjectives(DO)

InordertoachieveHighLevelObjectives,consideramethodwhichwill:
1) Protecttheartworksfromexternalelements(HL1)
2) Minimizedamagetotheartworksuponimpact(HL1)
3) Increasethesafetyofceramicartworksduringpackagingandunpackingprocess(HL1)
4) Reducethematerialrequiredforthepackagingprocess(HL2,HL4)
5) Reducethetimerequiredforthepackagingandunpackingprocess(HL2,HL4)
6) Reducetheamountoftrainingrequiredfortheemployees(HL2,HL4)
7) Fitthroughmostexhibitionentrances(HL3)
8) Besuitableformostmodesofvehiculartransportation(HL3)
9) Belightweight(HL3)
10) Bereusable(HL4)

5.3Metrics(M)

1) Abilitytoprotecttheartworksfromexternalsolidsandliquids(DO1)
Please refer to [29] for Ingress Protection rating details. The first digit in the Ingress
Protection ratingindicatesthelevelofprotectionfromsolidforeignobjects,whichmayinclude
pests,whiletheseconddigitindicatesthelevelofprotectionfromforeignliquids.

17
 Unacceptable Satisfactory Good Outstanding

Only protects Protects the ceramics Shields the ceramics The container is
artworksfromobjects from objects larger from dust and larger completely dust
larger than 2.5 mm, than 1 mm, and particles, and is tight, and is able to
and does not offer dripping or spraying resistant to water withstand water
protection from water; i.e. first digit jets; i.e. first digit is immersion; i.e. first
liquids; i.e. first digit is 4, and second digit 5, and second digit is digit is 6, and second
is 3 and below, and is1to4 5or6 digitis7or8
seconddigitis0

2) Degree to which the packaging protects artworks from humidity and temperature
changes(DO1)
As seen in section 2.2.1, ceramics are often not sensitive to minor changes in
temperature and humidity in short-term situations. However, it has to be taken into account
for international shippingandlong-termstorage(referto2.1.2.2.dforaninstanceoflong-term
storage).Referto[30]forinternationalstandardsforhumidityandtemperature.

Unacceptable Satisfactory Good Outstanding

No protection from Maintains the Maintains the Maintains the

temperature and temperature from 5 temperature from 15 temperature at 21
humidity to 22degreesCelsius, to 25degreesCelsius, degrees Celsius, and
and the relative and the relative the relative humidity
humidity from 40 to humidity from 47 to at45%
70% 53%

3) Abilitytomaintainthecorrectorientationoftheartduringtransportation(DO2)

Unacceptable Satisfactory Good Outstanding

Does not satisfy The packaging As per Satisfactory; As per Good; the
Satisfactory ensures the correct the packaging has a packaging grips the
orientation provided mechanism that surface and will not
that the crate or box prevents the art from fall over when a
is placed inside the being put in the horizontal force is
truck or other wrongorientation exertedonit
vehicles in the
correctorientation.

18
 4) Vibrationsabletobewithstoodinhertzwiththeprotectionofthepackaging(DO2)
The collections managers take the vibrations that ceramics need to withstand into
account, including vibrations from the transporting vehicles and vibrations in the air (refer to
AppendixA[3]).
5) Protectionofceramicsfromdynamicshock(DO2)
According to D1596-14 (the accuracy of the testmethodisconfirmedinDaumspaper),
a platen with rigidflatimpactsurfaceandamountedaccelerometerisdroppedfromaspecified
height onto the test specimen of the packaging material, and an acceleration-time graph is
obtained [31, 32]. This process is repeated five times with various loading, drop height, and
cushionthicknessandthencomparedtothecurrentethafoambeingused.
The table below may be used as an alternative metric when certain apparatus, e.g.
accelerometer,isnotavailable.

Unacceptable Satisfactory Good Outstanding

Unable to withstand Protects the ceramics As per Satisfactory; As per Good; also
any horizontal or from stacking, forces also protects the protects the ceramics
vertical forces, or appliedvertically ceramics from forces from a drop from a
drops exertedhorizontally height of 75 cm
(height of an average
table,[33])

6) Effect ofpackagingmaterialsandinstrumentsusedduringthepackagingandunpacking
process(DO3)

Unacceptable Satisfactory Good Outstanding

Includes chemicals Does not damage the As per Satisfactory; As per Good; has a
that will damage the artworks if being flexible to be used specific mechanism
surfaceofceramics usedappropriately regardless of shapes that reduces therisks
and sizes of the caused byprojections
ceramics ofartworks

7) The number of the following properties of the artwork that must be considered by the
person packaging the ceramics; i.e. they are not automatically considered by the
packagingprocess,software,ordevice(DO3,5,6):
i)materialproperties,e.g.sensitivesurface
ii)shape,e.g.projections
iii)size,e.g.over-sizeditems
iv)thestrongandweakpoints,e.g.handlesofteapots

19
 v)weightoftheartwork
vi)ageandcondition
8) Clarity of unpacking instructions (DO3, 5, 6; refer to 2.3.6 for current situation of
instructions)

Unacceptable Satisfactory Good Outstanding

Doesnotexist Picture of the As per Satisfactory; As per Good;

unpackeditem accompanied byclear instructions
steps with special integrated into the
mentions of any packaging (see Fig.
sensitivecomponents 12onpage12)

9) Number of types of materials required to package each item while offering the same
degreeofprotectionasthecurrentmethodoutlinedin2.3(DO4)
10) Dimensionsofcratesorboxesininches(DO7,DO8)
11) Weightofthewholepackaginginpounds(DO9)
12) Compressionset(definedbelow)ofthepackagingmaterial(DO10).
The following is a simplified version of test method outlined in ISO 1856: five
25-mm-thickpiecesofdimensions50x50mmaretakenandthenbeingcompressedto12.5mm
for fifteen minutes. Then, they are left at room temperature to recover for 30 minutes. The
original thicknessthickness af ter recovery
compressionsetiscalculatedas(theaverageoffive) original thickness 100 [34].

13) The storage space that the packaging material occupies when they are not under use
(DO4,DO10)
14) Cost of materials in Canadian dollars for five temporary exhibitions and separate
shipment for twenty items, which is an estimate of the museums annual packaging
requirement(HL4)

5.4Constraints

1) MUST NOT be Unacceptable when assessed by M1 (ability to shield from solids and
liquids).
2) MUST NOT be Unacceptable when assessed by M2 (ability to shield from temperature
andhumidity).
3) MUSTNOTbeUnacceptablewhenassessedbyM3(abilitytomaintainorientation).
4) MUSTNOTbeUnacceptablewhenassessedbyM6(effectsonceramiccontents).
5) MUSTNOTbeUnacceptablewhenassessedbyM8(clarityofunpackinginstructions).
6) MUSTbelowerthannumbersspecifiedbelowwhenassessedbyM10.

20
 All Bysea Byair

Height(inches) 104 89 96

Width(inches) 87 84 96

Note: The dimension ofpalletjacksandothertransportationvehiclesSHOULDbetaken

into account as well. For instance, a typical pallet jack adds around 3 inches to the original
heightofthecrate[35].
According to Smithsonian Institution Traveling Exhibition Service crate specifications,
allfinalpackagingshavetofitintothedoorsizeofastandardtractortrailer,i.e.104Hx87W.
Seacontainersandplanesalsohavespecificdimensionrequirement[19].

7) MUST NOT exceed 30,000Canadiandollars(forfivetemporaryexhibitionsandseparate
shipmentfortwentyitems)whenassessedbyM14.
According to the 2014 audited financial statement, around $80,000 was spent on the
curatorial department, $20,000 of which were used in item acquisition [28]. The number given
here is justanestimate,asMs.McDonaldsuggestedthatitisinconvenienttodisclosetheexact
amountofsuchexpense.

5.5Criteria

1) AhigherscoreispreferredwhenassessedbyM1.
2) AhigherscoreispreferredwhenassessedbyM2.
3) AhigherscoreispreferredwhenassessedbyM3.
4) AwiderrangeispreferredwhenassessedbyM4.
5) A longer time period of deceleration and smaller deceleration value arepreferredwhen
assessed by M5; a higher score is preferred if qualitative measurementaccordingtothe
tableisusedinstead.
6) AhigherscoreispreferredwhenassessedbyM6.
7) AlowernumberispreferredwhenassessedbyM7.
8) AhigherscoreispreferredwhenassessedbyM8.
9) AlowernumberispreferredwhenassessedbyM9.
10) SHOULD be smaller or equaltothan33inchesinwidth,40inchesindepth,30inchesin
heightwhenassessedbyM10.
This is the typical size that allowstwopeopletohandlethecrate;itisalsomore
space-efficientbecauseitallowsstacking[19].
11) SHOULDbelowerthan300poundswhenassessedbyM11.
This is the typical weight thatallowstwopeopletohandlethecrateandallowsstacking
duringtransportation[19].

21
 12) AlowernumberispreferredwhenassessedbyM12.
13) AlowernumberispreferredwhenassessedbyM13.
14) AlowernumberispreferredwhenassessedbyM14.

Fig.13:RequirementsGraphforEngineeringRequirements

22
6.ReferenceDesigns

6.1Styrofoam(Fig.14)
Styrofoam, technically referredtoasfoamedpolystyrene,isacommonmaterialusedfor
packaging. It fulfills HL1, HL4, DO1, DO2, DO3, DO8 and DO9. The limitations ofstyrofoamis
the difficulty inmoldingthestyrofoamaroundthemoreintricatelyshapedceramics.Thus,HL2
is not fulfilled and a poor mold may compromise HL1 as wellsincedelicatepartsarenotbeing
sufficientlyprotected.

6.2PackagingPeanuts(Fig.15)
Packaging peanuts are a common loose-filled packaging and cushioning material. It
fulfills HL1,HL4,DO1,DO2,DO3 and DO9. However, a disadvantage is that packing peanuts are
inconvenient to use as there are many small pieces. Thus, it doesnotfulfillHL2,HL3,DO4and
DO5.

6.3Airbagpackaging(Fig.16)
Air bag packaging refers to inflated bagsofairthathascushioningproperties. Itfulfills
HL1,HL3,HL4, DO1,DO2,DO3 and DO9. However, thesebagsareincapableofcoveringintricate
details of the ceramics so in certain situations, HL1 may not be fulfilled. Some book-shipping
companiesusethis.

23


7.Conclusion

The current method of packaging during transportation and storage requires careful
analysis of the art to be shipped and a large number of materials, and it maybealongprocess
that requires much practice to master.Hence,anopportunityexistsforanimprovedmethodof
packaging which will improve the lived experience of all those in direct contact with the
ceramic art. With the development and implementation of a physical device or process which
conforms to the requirements above, the ceramics will be better protected throughout the
process.

24


References

[1]G.Geiger.(2001,Feb.20).IntroductiontoCeramics[Online].Available:
https://web.archive.org/web/20060815173829/http://www.newi.ac.uk/buckleyc/ceramics.htm
[Feb4,2017].

[2]GardinerMuseum.(2017).AbouttheMuseum[Online]Available:
https://www.gardinermuseum.on.ca/the-museum/about-the-museum/

25
[3]TheAmericanCeramicSociety.(2014,May21).StructureandPropertiesofCeramics[Online].
Available:http://ceramics.org/learn-about-ceramics/structure-and-properties-of-ceramics

[4]GardinerMuseum.(2017).MuseumHistory[Online].Available:
https://www.gardinermuseum.on.ca/the-museum/about-the-museum/museum-history/

[5]GardinerMuseum.(2016).2015AnnualReport[Online].Available:
https://www.gardinermuseum.on.ca/wp-content/uploads/2015_Annual_Report-Final.pdf[Jan.
28,2017].

26
[6]GardinerMuseum.(2016).Collections&Research[Online].Available:
https://www.gardinermuseum.on.ca/collections-research/

[7]GardinerMuseum.(2017).StaffDirectory[Online].Available:
https://www.gardinermuseum.on.ca/the-museum/about-the-museum/staff-directory/
[8]SmithsonianInstitution.(2002,Oct.)TheMakingofExhibitions:Purpose,Structure,Rolesand
Process[Online].Available:
http://www.si.edu/content/opanda/docs/rpts2002/02.10.makingexhibitions.final.pdf

27


[9]Kyocera.FineCeramicsWorld.Physical.Hardness[Online].Available:
http://global.kyocera.com/fcworld/charact/strong/hardness.html

[10]SanJoseDelta,Inc.(2016).CeramicsforStrength[Online].Available:
http://www.sanjosedelta.com/ceramics_strength.html

[11]TheAmericanCeramicsSociety.(2014,May21).StructureandPropertiesofCeramics
[Online].Available:
http://ceramics.org/learn-about-ceramics/structure-and-properties-of-ceramics

28
[12]Kyocera.Thermal[Online].Available:
http://global.kyocera.com/fcworld/charact/heat/heatresist.html

[13]TheEngineeringToolBox.Metals-MeltingTemperatures[Online].Available:
http://www.engineeringtoolbox.com/melting-temperature-metals-d_860.html

29


[14]AZOMaterials.(2006,Jul.21).Fluxes-TheRoleofFluxesinCeramicFormulationsandSome
CommonFluxMaterials.[Online]Available:http://www.azom.com/article.aspx?ArticleID=3507

[15]AustralianMusem.(2016).TheVenusofDolniVestonice[Online].
Available:https://australianmuseum.net.au/image/the-venus-of-dolni-vstonice

[16]TheAmericanCeramicSociety.(2015).HistoryofCeramics[Online].Available:
http://ceramics.org/learn-about-ceramics/history-of-ceramics

30


[17]ENCYCLOPEDIAOFART.WhatisCeramics?[Online].Available:
http://www.visual-arts-cork.com/ceramics.htm

[18]SealedAirEthafoam.(2012).FirstinFoams,LeadersinInnovation[Online].Available:
http://www.sealedairprotects.com/la/pg/pdf/ethafoam.pdf

31


[19]SmithsonianInstitutionTravelingExhibitionService(2005,February).CrateSpecifications.

32

[20]C.McDonald.HandlewithcarePowerpoint:Museumstandardsforpacking.

33
[21]Uline.
StandardWoodCrates[Online].Available:
https://www.uline.ca/BL_427/Standard-Wood-Crates?keywords=crate

34
[22]CanadianFoodInspectionAgency.(2016,May17).D-98-08:
EntryRequirementsforWood
PackagingMaterialintoCanada[Online].Available:
http://www.inspection.gc.ca/plants/plant-pests-invasive-species/directives/forestry/d-98-08/e
ng/1323963831423/1323964135993

[23]RunningaMuseum:APracticalHandbook.(2004)[Online].Available:
http://icom.museum/uploads/tx_hpoindexbdd/practical_handbook.pdf[Feb.4,2017].

[24]UNESCO,temporaryandtravellingexhibitions,UnitedNations,Fontenoy,Paris,
CUA.62|X.10|A,1963.

[25]GoldenArtistColors.(2003,Nov.).InsuranceConsiderationsWhenTransportingArtwork
[Online]Available:http://oldsite.goldenpaints.com/justpaint/jp11article3.php

[26]Armstrongfineartservices.(2015).SafeandSecurityMatterMost[Online].Available:
http://shipfineart.com/fine-art-services/insurance-services/

35

[27]GardinerMuseum.GuidetoDonations.[Online].Available:
https://www.gardinermuseum.on.ca/wp-content/uploads/Guide_for_Donations.pdf

[28]TheGeorgeR.GardinerMuseumofCeramicArt[Online].(2014,Dec.31).Available:
http://ckc.torontofoundation.ca/sites/ckc.torontofoundation.ca/files/finance-governance/2014
%20Audited%20Financial%20Statements.pdf[Jan.28,2017].

36

[29]TheEnclosureCompany.IPRatedEnclosuresExplained[Online].Available:
http://www.enclosurecompany.com/ip-ratings-explained.php

37
[30]JonathanAshley-Smith,AndreasBurmesterandMelanieEibl.(2013).
Climatefor
Collections:StandardsandUncertainties[Online]Available:
http://search.library.utoronto.ca/details?9001780

38


[31]M.Daum.(2011).Evaluationofpredicteddecelerationvaluesfromstress-energymethodcompared
toactualdecelerationvaluesfromtheASTMD1596testmethod,JournalofTestingandEvaluation
[Online],vol.39(6).Available:www.astm.org[Feb19,2017].

39
[32]StandardTestMethodforDynamicShockCushioningCharacteristicsofPackagingMaterial[Online]
D1596-14,May2014.Available:ASTM[Feb.19,2017].

[33]Uline.PackingTable-72x36,CompositeWoodTop[Online].Available:
https://www.uline.ca/Product/Detail/H-1138-WOOD/Packing-Tables/Packing-Table-72
-x-36-Composite-Wood-Top?pricode=YA692&gadtype=pla&id=H-1138-WOODQ2&gcl
id=CjwKEAiA_p_FBRCRi_mW5Myl4S0SJAAkezZruErF1Ls75OZNd3rxYmR9s4wXXi-Wrh
ywI50ocqvHGhoCh3Pw_wcB&gclsrc=aw.ds

40
[34]ISO1856-Flexiblecellularpolymericmaterials-Determinationofcompressionset
[Online].(2000,Nov.1).Available:
https://subscriptions-techstreet-com.myaccess.library.utoronto.ca/products/256535[Feb.19,
2017].

[35]U.S.GlobalResources.(2015).Standard2.9,3.125PalletJack[Online].Available:
http://www.usgr.com/pallet-jacks/standard_29_pallet_jacks.php

41
APPENDIXA:TranscriptsandFieldNotes

[1]Informationfromthetourguide,Feb.3,2017.
SomeEuropeannobilitybuilttheirownceramicfactoriestoshowtheirwealth,andthey
likedtoputtheircoatofarmsoneverypieceofceramics.

[2]Fieldnotes:interviewwithMs.Malek,Jan.24,2017.

[3]Fieldnotes:meetingwithMs.McDonald,Feb.16,2017.
Redindicatesmaterialsreferencedfrom2.3.1
Blueindicatesmaterialsreferredfromsection2.3except2.3.1
Greenindicatesmaterialsreferredfromothersections

42


43


44


45


46
[4]Siteplan

47
APPENDIXB:EmailCorrespondence(inreversechronologicalorder)

HiMrs.MacDonald,
Wehavereceivedyourfile.Thanksforgivingusyourtime,andwewillbesuretoask
questionsifwehavesomemore.
Sincerely,

OnThu,Feb16,2017at12:03PM,ChristinaMacDonald
<christina@gardinermuseum.on.ca>wrote:
Hello,
Itwasnicemeetingyouallthismorning.IhopethatIwasabletohelpwithyour
project!ImgoingtosendyouafewthingsviaWeTransfer,asthefilesizeofthepower
pointpresentationistoolargetosendviaemail.Youshouldreceivethelinksoon.
Pleasefeelfreetocontactmewithanyquestions,
Bestwishesandgoodluckwithyourproject!
Christina

YouwillbemeetingChristinaMcDonald.Iwillinformher.
Thanks,
Siobhan

Sent:Tuesday,February14,20173:59PM
To:SiobhanBoyd
Subject:RE:FutureVisitPlans
Imeanttosay9:30,sorry.

OnFeb14,20173:41PMwrote:
Wewillmakeplanstocomeat8:30.

OnFeb14,20172:35PM,"SiobhanBoyd"<sboyd@gardinermuseum.on.ca>wrote:
Nounfortunately,themuseumclosesat6andthecollectionmanagerworks8:30-4:30.
Thanks
Siobhan

48
Sent:Tuesday,February14,20171:31PM
To:SiobhanBoyd
Subject:Re:FutureVisitPlans
HiMs.Boyd,
Is6:30pmokforthisThursday?
Manythanks.
Sincerely,

OnTue,Feb14,2017at9:10AM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>
wrote:
Thursdayisfine.Whenareyouabletocome?
Siobhan

Sent:Monday,February13,20176:28PM
To:SiobhanBoyd
Subject:Re:FutureVisitPlans
GoodeveningMs.Boyd,
Thanksforyourreply.OurRequestforProposalisduethisSunday,soisthereany
chancethatwecanseethereservestoragethisweek?Ifnot,wewillstillbevisitingon
eitherThursdayorFridaytotakesomemorepictures.
Again,thanksforyourhelp.

OnMon,Feb13,2017at3:16PM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>
wrote:
HiAll,
DoyouguyshaveanytimeTuesdayorThursdayofnextweek?
Thanks,
Siobhan

Sent:Friday,February10,20176:04PM
To:SiobhanBoyd
Subject:Re:FutureVisitPlans
Yes,wewouldbeinterestedinseeingyourreservestorage.
Wouldwebeabletomeetwithsomebodyresponsiblefortheinstallationoutsideof
installationtime?Thanksforyourtime!

49
OnFri,Feb10,2017at5:56PM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>wrote:
HiAll,
Weactuallydonthaveanyunpackingornewinstallationsforawhile.Wejustfinished
installingournextshowandwonthaveanythingelsehappeninguntiltheendofMay
unfortunately.
Oftenthingsarealsoreallystrictintermsofwhocanbeinthespacewhenthistypeof
workishappening.Whenweborrowfromotherinstitutionstheyeachhaverulesand
sometimesnoonebutcuratorialareallowedin.Iftheyarenothappytheyoftenwont
letlendshappensounfortunatelythatisntoftenallowed.Icanaskourcollections
managerifisokaytoseeourreservestorageandifshecanansweranyquestionsfor
youbutIwonthaveananswerforyouuntilMondayPMattheearliest.
Sorryaboutthis,
Siobhan

Sent:Friday,February10,20175:49PM
To:SiobhanBoyd
Subject:FutureVisitPlans
HiMs.Boyd,
Weneedsomemoreevidencetosupportouropportunity.Wewerewondering:
Canweobservetheprocessofunpacking(orpackaging)andtakepicturesofthe
process?Whatdayordaysaresuitable?
Canwebrieflyinterviewyourinstallmentstaffduringourvisit?
Canweseewhereandhowtheceramicartisstoredbeforeitisunpacked?
Also,woulditbeokifweusedsomeofyourpicturesonsocialmedia(Facebook,
Instagram)inourRequestforProposal?
Thanksforyourhelp!
Sincerely,

Manythankstoyouandyourteam!Wewillletyouknowifwehaveanymore
questions.
Sincerely,

Hopefullythisishelpful,thiswascomposedbyourcuratorialteam.
Siobhan

50
Isthereaprocessordeviceusedtoprotectthepieceswhenmovingthem?
(Packing)
WetrytofollowthepackingguidelinesfromtheSmithsonian(attached).
Wewillusuallystartbywrappinganobjectinaprotectivelayer(tyvec),andplaceinto
acustomboxmadeofheavydutycardboard,orplasticbin.Insidetheboxiscarved
foam,measuredtofittheobject.Weuseanobjectprofilerandcalipersformeasuring
thesizeofanobject,andweuseaspecializedlaserfoamcutter.
Oncefittedinthecustomfoam,wewouldusemorefoamorair-filledpackingmaterials
toensuretheobjectdoesntmoveessentiallyfillinganyemptyspaceremainingin
thebox.Wewouldthenbuildwoodencratestohousetheboxes,forextraprotection.
Wealwaysindicatefragileboxeswithasticker,andmarkonthebox/cratewhetherit
canbestackedortilted.Wehireprofessionalartshippers
tohandletheseboxesand
cratesoncetheyleavetheMuseum.

Arethereanyconcernsthatyouhaveamongthoseprocedures?
NonethatIcanthinkof,thoughIamsuretheycouldberefined.

Howquickarechangesofexhibitionsneededtobe?
Weusuallytakeoneweektopackupobjectsfromanexhibition.Twoorthreeweeksto
deinstallentirely(thisincludesdemolitionofwalls,movingcases,repainting,etc)
Ittakesabouttwoweekstounpackincomingobjectsandinstallthemforanexhibition.
Uptofourweeksforinstall(includingbuildingwalls,painting,furniturefabrication,
etc)

Hasanythingeverbeendamagedorcompromised?
Yes,sometimesshipperswilldisregardinstructionsontheboxsuchasdonot
stackorthiswayupandanobjectwillbreak.

Isthereanythingelsethatyouareconcernedwithrelatedtothemoving
process?
Again,nonethatIcanthinkofatthemoment.

HiAll,
Ihavepassedallofthesequestionsontoourcuratorialinstallationcrew.
S

51
Sent:Tuesday,February07,20176:32PM
To:SiobhanBoyd
Subject:Follow-upandSomeQuestions
DearMs.Boyd,
Sorryforthefrequentemails,butwebelievethatourpreviousemailwasburiedinyour
busyinbox.
Duringourvisitlastweek,webegantobeinterestedintransportationofartworks
withinthemuseum,andhowtemporaryexhibitionsswitchesfromonetoanotherina
limitedtime.Basedonourinterestandapplicabilityofengineeringskills,wewouldlike
topursuethismatterandwriteanRFPonit.Todoso,wewouldliketoknowthe
following;
Isthereaprocessordeviceusedtoprotectthepieceswhenmovingthem?(Packing)
Arethereanyconcernsthatyouhaveamongthoseprocedures?
Howquickarechangesofexhibitionsneededtobe?
Hasanythingeverbeendamagedorcompromised?
Isthereanythingelsethatyouareconcernedwithrelatedtothemovingprocess?
Wearestilltryingtodecidewhetherwecandothisopportunity,soifitisnotsuitable,
wearewelcometootherideasfromyourstaffandvisitors.
Thanks,

DearMs.Boyd,
Ourgrouphavejustvisitedthemuseumandwasagainamazedbythehospitalityof
yourstaffandvolunteers,whoallowedustohavedeeperunderstandingonyour
museumthroughdetailedanswerstoourquestions.Duringourvisit,webegantobe
interestedintransportationofartworksfromoutsideandwithinthemuseum,andhow
temporaryexhibitionsswitchesfromonetoanotherinalimitedtime.Basedonour
interestandapplicabilityofengineeringskills,wewouldliketopursuethismatterand
writeanRFPonit.Todoso,wewouldliketoknowthefollowing;
1.Pleasetellustheprocessonhowartworksarecarriedintothemuseumuntilitleaves
thebuilding.Isthereanyconcernsthatyouhaveamongthoseprocedures?
2.Howquickarechangesofexhibitionsneededtobe?
3.Hasanythingeverbeendamaged?
Wewouldliketohearfromyousoon.
Sincerely,

52
OnFri,Feb3,2017at9:59AM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>wrote:
Also,whenyouarrivepleaseidentifyyourselftothefrontdeskstaff.
Thanks,
Siobhan

Hi,
Yesthatisfine.Makesurethatyouintroduceyourselvesandaskpeopleiftheydont
mindyouaskingthemquestions.
Intermsofsetup,thepottersusuallysetuptheroomaftertheirafternoonclasses.But
youcanlookthroughthewindowtoseewhattheyhavedone.
Thanks,
Siobhan

Sent:Thursday,February02,20178:28AM
To:SiobhanBoyd
Subject:AboutVisitingGardinerMuseumAgain
HiMs.Boyd,
Thankyouverymuchforyourinformation.Ourteamplanstovisitthemuseum
between5pmand6pmthisFriday,andperhapsaskthepeoplewaitingforthedrop-in
classafewquestions.Isitokay?Wealsowonderifit'spossibleforustoobservethe
setupprocessforthestudio.
Regards,

Hi___,
Ifyoucanpassthisontotherestofyourteamaswell.Ifollowedupwithfinancere
yourquestionaboutthe2016annualreport.Itprobablywillnotbemadepublicuntil
mid-2017.Wehavetostillgothroughouryearlyauditandthenithastobeapproved
byourboard.SoyouarelookingatJune2017.Sorryaboutthatprobablybesttoget
neededinfofromour2015annualreport.Itwontbethesamebutwillbethemostup
todate.
Allthebest,
Siobhan

Thanksforyourtime,andwewillseeyounextweek!

OnJan24,201710:53AM,"SiobhanBoyd"<sboyd@gardinermuseum.on.ca>wrote:
53
Yesthankyou.Whenyouarrivecheckinwiththereceptionistandletthemknowyou
haveameetingwithme.Thenproceedupstairstothesecondflooroffices.
Thanks,
S

Sent:Tuesday,January24,201710:40AM
To:SiobhanBoyd
Subject:Re:GardinerMuseum
Yes,mygroupisavailable.Justtoconfirm,wearemeetingat10:15amonTuesday,Jan.
31.Isthereaspecificlocationtomeet?Also,wehavetoleaveforclassat10:55,soI
hopethatwecanhaveanicediscussionwithinthosetimes.

OnTue,Jan24,2017at10:21AM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>
wrote:
Hi___,
Canwemeetat10:15am?
Thanks,
Siobhan

Sent:Tuesday,January24,201710:19AM
To:SiobhanBoyd
Subject:Re:GardinerMuseum
HiMs.Boyd,
NextTuesday,wewillbeavailablebefore11am,orfrom1pmto2pm.Whatwould
suityoubest?
Thanks,

OnTue,Jan24,2017at9:10AM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>
wrote:
Dear___,
Thanksforyouremail.Unfortunately,Idonthaveanytimetodayandwontbe
availabletomeetuntilnextTuesdayinthemorning.Thanksfortheattached
documents,althoughIamnotreallysurewhatsortofprogramthatyouhaveinmind
forus.
PleaseletmeknowifnextTuesdaywillworkforyou.
Allthebest,
54
Siobhan

Sent:Monday,January23,20175:50PM
To:SiobhanBoyd
Subject:Re:GardinerMuseum
DearMs.Boyd,
Hi,mynameis___;IhopethatyoudonotmindthatIreplyonbehalfof___andthe
restofmyteam.
Weareplanningonvisitingthemuseumtomorrow(Jan.24)duringourlunchbreak
at1pmjusttolearnsomemoreaboutit,soitwouldbeniceifwecouldmeetthen.
However,ifyouareunavailableorthisemailisnotreadintime,pleasetelluswhat
daysandtimesyouareavailable.Inthemeantime,Ihaveattachedtwofilestothis
email:ourteamprofileandadocumentfromourprofessors.
Wehopetohearfromyousoon!

OnMon,Jan23,2017at1:02PM,SiobhanBoyd<sboyd@gardinermuseum.on.ca>
wrote:
Dear______,
Iwouldliketomeetwithyourgrouptofindoutmoreinformationaboutwhatyou
requireandtheprojectitself.Fromthismeetingwecanseeifwecanaccommodate
yourrequestasweareaprettysmallmuseumwithnotalotofstaff.
Allthebest,
Siobhan

55
APPENDIXC:StakeholderPrioritizationJustification

Category
Stakeholder
Power Interest Influence Impact

Gardiner High Medium Medium-High High

Museum -TheGardiner -Havingsafer -Wouldprobably -Hasgreat
Museumhasthe packagingwould discussthe influenceonthe
highestauthority beabenefitbut effectivenessof project,ifthey
theirprimary newpackaging donotlike
priorityseemsto methods potential
beattracting decisionson
morevisitors packaging,they
caneasilyvetoit

Curatorial Medium High Medium Medium

installation -Theemployees -Havingbetter -Wouldbe -Hassome
employees havesome packaging involvedinthe influenceonthe
authority directlyaffects discussionsof project,the
theiroccupation newpackaging directionofthe
methods projectmainly
reliesonwhere
theywanttolead
it

Transportation Low Medium Low Low

Companies -Minimal -Better -Wouldprobably -Cannotreally
authorityin packaging notbeinvolved influencethe
ceramicrelated reducesthe inany project.
subjects effectofboxes discussions
slidingand
collidinginthe
truck

MuseumGuests Low Low Low Low

-Noreal -Theyare -Onlythereto -Hasno
authority unawareofthe visitthe influenceonthe
packaging museum,willnot project
process. beinvolvedin
theproject

Private MediumLow Medium MediumLow MediumLow

Owners/Other -Hassome -Wouldbe -Maybeinvolved --Iftheydonot
Museums authorityasthey concernedabout inthe liketheproposed

56
 contributetothe howtheceramics discussionsof packaging
museum theycontribute themethods methods,they
arebeingtreated availableto wouldprobably
packagetheir havesome
ceramics influencein
rejectingthe
idea.

Donors/Sponsors MediumLow Medium Low MediumLow

-Hassome -Wouldbe -Wouldprobably -Iftheydonot
authorityasthey concerned notbereally liketheproposed
areanecessity whetherthe involvedin packaging
forthemuseum ceramicsbought discussionsof methods,they
tooperate withthedonated potential wouldprobably
moneyarebeing packaging havesome
treatedproperly methods influencein
rejectingthe
idea.

Insurance Low Medium Low Low

Companies -Insurance -Wouldprefer -Notreally -SIncetheyare
companiesdo saferpackaging involvedinthe notreally
nothave toreduce project involvedinthe
significant likelihoodof project,they
authorityonthe coveringthe cannotinfluence
packagingof costsofdamaged keydecisions
ceramics ceramics

57
APPENDIXD:StakeholderContactInformation

GardinerMuseum111Queen'sPark,Toronto,OntarioM5S2C7
W:gardinermuseum.com
1. SiobhanBoyd(Shuh-vahn)
SeniorManager,Education&Programs/AdjunctCurator
T:
416.408.5064E:sboyd@gardinermuseum.com
2. ChristinaMacDonald
CollectionsManager
T:
416.408.5067E:christina@gardinermuseum.com

58