Packaging in cultural heritage conservation includes the set of techniques, materials and procedures intended to protect heritage objects during their handling, storage, transportation and display. Its main objective is to mitigate physical, environmental and chemical risks, guaranteeing the stability of the object and minimizing deterioration during periods of immobility or movement. Packaging is considered an essential strategy within preventive conservation.
Definition and objectives
• - Protect cultural property against mechanical damage (shocks, vibration, abrasion).
• - Control or dampen environmental fluctuations (temperature, relative humidity).
• - Avoid contamination by dust, biological agents or incompatible materials.
• - Facilitate safe and standardized handling by technical teams.
• - Guarantee traceability and identification through labeling systems.
Historical context
Cultural property packaging as a formal practice within heritage conservation is relatively recent when compared to other areas of the field, such as painting restoration or archaeology. Until the middle of the century, museums, archives and collections used traditional methods based on locally available materials, such as unsealed wooden boxes, various papers or non-standardized textile fillings. These techniques provided minimal protection and, in many cases, contributed to accelerate deterioration processes due to acidity, abrasion, trapped moisture or biological contamination.[1].
Beginning in the postwar period (1945–1960), with the growth of large international museums and the mass transportation of works of art, the need arose to establish formal protocols to mobilize collections, especially for temporary exhibitions and international loans. Institutions such as the Smithsonian Institution, the Metropolitan Museum of Art, the National Gallery of Art (Washington) and the Victoria & Albert Museum began to develop internal manuals that raised protection standards through technical padding, reinforced boxes and stable chemical materials.[1][2].
Monitoring of cultural assets
Introduction
Packaging in cultural heritage conservation includes the set of techniques, materials and procedures intended to protect heritage objects during their handling, storage, transportation and display. Its main objective is to mitigate physical, environmental and chemical risks, guaranteeing the stability of the object and minimizing deterioration during periods of immobility or movement. Packaging is considered an essential strategy within preventive conservation.
Definition and objectives
• - Protect cultural property against mechanical damage (shocks, vibration, abrasion).
• - Control or dampen environmental fluctuations (temperature, relative humidity).
• - Avoid contamination by dust, biological agents or incompatible materials.
• - Facilitate safe and standardized handling by technical teams.
• - Guarantee traceability and identification through labeling systems.
Historical context
Cultural property packaging as a formal practice within heritage conservation is relatively recent when compared to other areas of the field, such as painting restoration or archaeology. Until the middle of the century, museums, archives and collections used traditional methods based on locally available materials, such as unsealed wooden boxes, various papers or non-standardized textile fillings. These techniques provided minimal protection and, in many cases, contributed to accelerate deterioration processes due to acidity, abrasion, trapped moisture or biological contamination.[1].
Beginning in the postwar period (1945–1960), with the growth of large international museums and the mass transportation of works of art, the need arose to establish formal protocols to mobilize collections, especially for temporary exhibitions and international loans. Institutions such as the , the , the and the began to develop internal manuals that raised protection standards through technical padding, reinforced boxes and stable chemical materials.[1][2].
In the 1960s and 1970s, the development of petroleum-derived materials—such as closed-cell polyethylene foams (Ethafoam), polypropylene, and barrier films—radically transformed packaging, allowing controlled cushioning, precise internal immobilization, and reduction of vibro-impacts during transport. At the same time, the concept of “museum grade” emerged, which identifies stable, inert materials free of compounds harmful to objects.[3][4].
With the founding of organizations such as ICCROM (1959) and ICOM-CC (1967), preventive conservation was formalized as a discipline, incorporating packaging as one of its main areas. During this stage, pioneering guides such as Packing and Shipping Art and Artifacts and the first CCI Notes were published with systematic recommendations for the safe packaging of collections.[5].
In Latin America, normalization began between the 1980s and 1990s, driven by the institutional strengthening of state museums. In Chile, the National Center for Conservation and Restoration (CNCR) played a fundamental role in the professionalization of packaging and collection handling, generating manuals, instructions and training that introduced materials such as Tyvek, acid-free papers and multi-layer systems adapted to the local context.[2].
At the beginning of the century, packaging evolved towards more efficient models, with emphasis on ergonomics, safety, sustainability and waste reduction, driven by the discussion on the environmental impact of the cultural sector. European and North American museums began implementing reusable boxes, recyclable foams, and durable modular systems, while new technologies such as 3D printing, computerized foam cutting, and shock and vibration sensors introduced higher levels of control and monitoring.[6].
Today, packaging is considered an essential component of preventive conservation and constitutes a highly specialized practice that combines knowledge of materials, basic engineering, risk analysis, ergonomics and museum management.
Preventive conservation principles applied to packaging
Contenido
El embalaje dentro de la conservación preventiva se basa en un conjunto de principios que buscan mitigar riesgos físicos, ambientales y químicos que puedan afectar a los bienes culturales durante su manipulación, almacenamiento o transporte. Estos principios han sido descritos en manuales internacionales como los de ICCROM, AIC, CCI y el Smithsonian Institution, y constituyen la base fundamental de las prácticas museológicas contemporáneas.[7][4][8].
Structural stability
The packaging must provide a stable support that prevents deformation, undue pressure or twisting of the object. The external structure of the packaging, whether a box, tray or container, must resist impacts, vibrations and the stresses of transport. Manuals such as the AIC's Guidelines for Packing and Transport[9] emphasize the need for rigid structures and adequate densities in technical foams to comply with this principle.[10].
Chemical Compatibility
The materials used must be chemically inert, free of acidity, plasticizers, lignin or volatile compounds that can be transferred to the object. Studies by the Canadian Conservation Institute (CCI) and ICCROM have shown that materials such as Ethafoam, Tyvek and acid-free papers present stable long-term behavior.[11][9].
The use of non-certified materials may cause stains, oxidation, embrittlement or surface alterations.
Controlled immobilization
One of the most important functions of packaging is to restrict the internal movement of the object within the container. This is achieved through wedges, niches, cavities, custom supports and multi-layer cushioning systems. According to the Smithsonian, immobilization significantly reduces cumulative damage from micro-vibrations during transportation.[12].
In archeology and paleontology, techniques such as foam “nests” or adapted supports have been documented by authors such as Vital et al. (2013).[6].
Cushioning
Damping absorbs mechanical energy produced by vibrations or impacts. Closed cell polyethylene foams, Volara or technical polyurethane are used to create progressive absorption systems. The manual Packing and Shipping Art and Artifacts (Brown & Rose) notes that cushioning should be distributed evenly and avoid pressure points.[13].
Environmental isolation
Packaging acts as a barrier against fluctuations in relative humidity (RH), temperature, dust and atmospheric contaminants. Techniques recommended by the CCI and AIC include:
• - Aluminum barrier bags.
• - Internal chambers with silica gel.
• - Protective layers of Tyvek or barrier papers.[11][14].
This principle is essential in international transport, where climate changes can be extreme.
Modularity and ergonomics
Modularity facilitates standardization in warehouses and collections, reduces unnecessary handling and allows for balanced weight distribution.
Ergonomics has become a key aspect in contemporary conservation, supported by studies from ICCROM and AIC that indicate that safe packaging must also consider the safety of personnel.[11][9].
Reversibility and maintainability
In line with ethical conservation criteria, packaging systems must be easily reversible, allowing the object to be removed without causing damage. In addition, they must be maintainable, that is, allow periodic inspections, partial replacement of materials and adjustments according to changes in the state of the object.[15].
Sustainability
Sustainability is a growing principle in the last decade. Recent manuals from ICOM and the AIC Sustainability Committee recommend:
• - reduction of disposable materials.
• - use of reusable packaging.
• - modular systems with long useful life.
• - replacement of plastics with recycled or bio-based polymers.[19][20].
This approach responds to the global commitment to sustainability in museums.
• - Embalaje terciario: Embalajes de transporte o envío: cajas reforzadas, contenedores climatizados, sistemas anti-vibración.
Packaging according to type of heritage material
• - Ceramics.
• - Bone.
• - Lithic material.
• - Archaeological metals.
• - Large and small fossil bones.
• - Microfossils.
• - Packaging with plaster, bandages or 3D supports.
• - Packaging for sensitive pictorial surfaces.
• - Frames, racks, outstanding elements.
• - Acid free folders.
• - File type boxes.
• - Rigid support for transport.
• - Textiles.
• - Photography.
• - Ethnographic objects.
Associated risks[20]
• - Vibrations and shocks during transport.
• - Pressure or deformation due to poorly adjusted packaging.
• - Trapped moisture.
• - Chemical contamination from inappropriate materials.
• - Biodegradation due to incorrect organic materials.
• - Human errors in handling or labeling.[19][17].
Regulations and standards
• - ICCROM – Guidelines for packaging and handling.[7].
• - ICOM-CC – Preventive conservation documents.
• - IIC – Recommended practices for art transportation.
• - AIC – Guidelines for Packing and Transport.
• - Chilean regulations of the SNPC / CNCR for collections.[17][16][18][19].
• - Preventive conservation.
• - Transport of cultural goods").
References
[1] ↑ a b Romão, Xavier; Rouhani, Bijan (3 de octubre de 2023). Disaster Risk Assessment Strategies for Cultural Heritage. Routledge. pp. 74-93. ISBN 978-1-003-26364-7. Consultado el 20 de noviembre de 2025.: https://doi.org/10.4324/9781003263647-5
[2] ↑ a b «Inicio | Centro Nacional de Conservación y Restauración». www.cncr.gob.cl. Consultado el 20 de noviembre de 2025.: https://www.cncr.gob.cl/
[3] ↑ «Museum Conservation Institute | Museum Conservation Institute». mci.si.edu (en inglés). Consultado el 20 de noviembre de 2025.: https://mci.si.edu
[4] ↑ a b Walthew, Jessica; Singer, Martha; Barack, Sarah (2 de septiembre de 2025). «Caring through decline: palliative and bereavement care for unstable plastics». Journal of the Institute of Conservation 48 (3): 192-205. ISSN 1945-5224. doi:10.1080/19455224.2025.2547343. Consultado el 20 de noviembre de 2025.: https://doi.org/10.1080/19455224.2025.2547343
[5] ↑ Brown, G., & Rose, C. Packing and Shipping Art and Artifacts. Publications in Preservation, USA.
[6] ↑ a b Vital, A., Davidson, A., Zdinak, A., & Brown, T. (2013). Stabilizing Fragile Fossils for Transport and Preparation. Journal of Vertebrate Paleontology.
[7] ↑ a b «Homepage | ICCROM». www.iccrom.org (en inglés). 18 de noviembre de 2025. Consultado el 20 de noviembre de 2025.: https://www.iccrom.org/
[8] ↑ «Home - American Institute for Conservation». www.culturalheritage.org (en inglés). Consultado el 20 de noviembre de 2025.: https://www.culturalheritage.org/home
[9] ↑ a b c ICCROM. Movable Heritage: Packing and Transport Guidelines.
[10] ↑ Canadian Conservation Institute (CCI). CCI Notes 1/4: Packing and Shipping Art and Artifacts.
[11] ↑ a b c Canadian Conservation Institute (CCI). CCI Notes 1/4: Packing and Shipping Art and Artifacts.
[12] ↑ Ashley-Smith, Jonathan. (2003). Caring for the past: Issues in Conservation for Archaeology and Museums by Elizabeth Pye. Studies in Conservation. 48. 284-285. 10.2307/1506920.
[13] ↑ Brown, G., & Rose, C. Packing and Shipping Art and Artifacts. Publications in Preservation, USA.
[14] ↑ Smithsonian Museum Conservation Institute. Collections Care: Packing Guidelines.
[15] ↑ Pye, E. (2001). Caring for the Past: Issues in Conservation for Archaeology and Museums. London: James & James.
[16] ↑ a b c d Centro Nacional de Conservación y Restauración. (2022, mayo 24). Catálogo de materiales VF [PDF]. Servicio Nacional del Patrimonio Cultural. https://www.cncr.gob.cl/sites/www.cncr.gob.cl/files/2022-05/20220524_catalogo_materiales_VF.pdf.
[17] ↑ a b c d Consejo de Monumentos Nacionales. (2014). Manual : Estándares mínimos de registro y conservación preventiva de colecciones arqueológicas y paleontológicas. Gobierno de Chile. https://www.monumentos.gob.cl/sites/default/files/manual_estandares_de_conservacion_web.pdf.
[18] ↑ a b Nagel Vega, L., & Fernández Luco, A. (2008). Manual de registro y documentación de bienes culturales. Santiago, Chile: s.n.
[19] ↑ a b c d Corporación del Patrimonio Cultural de la Región de Coquimbo. (2022, diciembre). Manual de documentación [PDF]. https://www.cdbp.gob.cl/sites/www.cdbp.gob.cl/files/2022-12/Manual%20de%20Documentacio%CC%81n%20%28DIC%2C%202022%29.pdf.
[20] ↑ Centro Nacional de Conservación y Restauración. (2023, abril 25). Depósitos de colecciones: Guía metodológica para su diseño [Guía]. Servicio Nacional del Patrimonio Cultural. https://www.cncr.gob.cl/sites/www.cncr.gob.cl/files/2023-04/20230425_guia_depositos_VF_0.pdf.
Smithsonian Institution
Metropolitan Museum of Art
National Gallery of Art (Washington)
Victoria & Albert Museum
In the 1960s and 1970s, the development of petroleum-derived materials—such as closed-cell polyethylene foams (Ethafoam), polypropylene, and barrier films—radically transformed packaging, allowing controlled cushioning, precise internal immobilization, and reduction of vibro-impacts during transport. At the same time, the concept of “museum grade” emerged, which identifies stable, inert materials free of compounds harmful to objects.[3][4].
With the founding of organizations such as ICCROM (1959) and ICOM-CC (1967), preventive conservation was formalized as a discipline, incorporating packaging as one of its main areas. During this stage, pioneering guides such as Packing and Shipping Art and Artifacts and the first CCI Notes were published with systematic recommendations for the safe packaging of collections.[5].
In Latin America, normalization began between the 1980s and 1990s, driven by the institutional strengthening of state museums. In Chile, the National Center for Conservation and Restoration (CNCR) played a fundamental role in the professionalization of packaging and collection handling, generating manuals, instructions and training that introduced materials such as Tyvek, acid-free papers and multi-layer systems adapted to the local context.[2].
At the beginning of the century, packaging evolved towards more efficient models, with emphasis on ergonomics, safety, sustainability and waste reduction, driven by the discussion on the environmental impact of the cultural sector. European and North American museums began implementing reusable boxes, recyclable foams, and durable modular systems, while new technologies such as 3D printing, computerized foam cutting, and shock and vibration sensors introduced higher levels of control and monitoring.[6].
Today, packaging is considered an essential component of preventive conservation and constitutes a highly specialized practice that combines knowledge of materials, basic engineering, risk analysis, ergonomics and museum management.
Preventive conservation principles applied to packaging
Contenido
El embalaje dentro de la conservación preventiva se basa en un conjunto de principios que buscan mitigar riesgos físicos, ambientales y químicos que puedan afectar a los bienes culturales durante su manipulación, almacenamiento o transporte. Estos principios han sido descritos en manuales internacionales como los de ICCROM, AIC, CCI y el Smithsonian Institution, y constituyen la base fundamental de las prácticas museológicas contemporáneas.[7][4][8].
Structural stability
The packaging must provide a stable support that prevents deformation, undue pressure or twisting of the object. The external structure of the packaging, whether a box, tray or container, must resist impacts, vibrations and the stresses of transport. Manuals such as the AIC's Guidelines for Packing and Transport[9] emphasize the need for rigid structures and adequate densities in technical foams to comply with this principle.[10].
Chemical Compatibility
The materials used must be chemically inert, free of acidity, plasticizers, lignin or volatile compounds that can be transferred to the object. Studies by the Canadian Conservation Institute (CCI) and ICCROM have shown that materials such as Ethafoam, Tyvek and acid-free papers present stable long-term behavior.[11][9].
The use of non-certified materials may cause stains, oxidation, embrittlement or surface alterations.
Controlled immobilization
One of the most important functions of packaging is to restrict the internal movement of the object within the container. This is achieved through wedges, niches, cavities, custom supports and multi-layer cushioning systems. According to the Smithsonian, immobilization significantly reduces cumulative damage from micro-vibrations during transportation.[12].
In archeology and paleontology, techniques such as foam “nests” or adapted supports have been documented by authors such as Vital et al. (2013).[6].
Cushioning
Damping absorbs mechanical energy produced by vibrations or impacts. Closed cell polyethylene foams, Volara or technical polyurethane are used to create progressive absorption systems. The manual Packing and Shipping Art and Artifacts (Brown & Rose) notes that cushioning should be distributed evenly and avoid pressure points.[13].
Environmental isolation
Packaging acts as a barrier against fluctuations in relative humidity (RH), temperature, dust and atmospheric contaminants. Techniques recommended by the CCI and AIC include:
• - Aluminum barrier bags.
• - Internal chambers with silica gel.
• - Protective layers of Tyvek or barrier papers.[11][14].
This principle is essential in international transport, where climate changes can be extreme.
Modularity and ergonomics
Modularity facilitates standardization in warehouses and collections, reduces unnecessary handling and allows for balanced weight distribution.
Ergonomics has become a key aspect in contemporary conservation, supported by studies from ICCROM and AIC that indicate that safe packaging must also consider the safety of personnel.[11][9].
Reversibility and maintainability
In line with ethical conservation criteria, packaging systems must be easily reversible, allowing the object to be removed without causing damage. In addition, they must be maintainable, that is, allow periodic inspections, partial replacement of materials and adjustments according to changes in the state of the object.[15].
Sustainability
Sustainability is a growing principle in the last decade. Recent manuals from ICOM and the AIC Sustainability Committee recommend:
• - reduction of disposable materials.
• - use of reusable packaging.
• - modular systems with long useful life.
• - replacement of plastics with recycled or bio-based polymers.[19][20].
This approach responds to the global commitment to sustainability in museums.
• - Embalaje terciario: Embalajes de transporte o envío: cajas reforzadas, contenedores climatizados, sistemas anti-vibración.
Packaging according to type of heritage material
• - Ceramics.
• - Bone.
• - Lithic material.
• - Archaeological metals.
• - Large and small fossil bones.
• - Microfossils.
• - Packaging with plaster, bandages or 3D supports.
• - Packaging for sensitive pictorial surfaces.
• - Frames, racks, outstanding elements.
• - Acid free folders.
• - File type boxes.
• - Rigid support for transport.
• - Textiles.
• - Photography.
• - Ethnographic objects.
Associated risks[20]
• - Vibrations and shocks during transport.
• - Pressure or deformation due to poorly adjusted packaging.
• - Trapped moisture.
• - Chemical contamination from inappropriate materials.
• - Biodegradation due to incorrect organic materials.
• - Human errors in handling or labeling.[19][17].
Regulations and standards
• - ICCROM – Guidelines for packaging and handling.[7].
• - ICOM-CC – Preventive conservation documents.
• - IIC – Recommended practices for art transportation.
• - AIC – Guidelines for Packing and Transport.
• - Chilean regulations of the SNPC / CNCR for collections.[17][16][18][19].
• - Preventive conservation.
• - Transport of cultural goods").
References
[1] ↑ a b Romão, Xavier; Rouhani, Bijan (3 de octubre de 2023). Disaster Risk Assessment Strategies for Cultural Heritage. Routledge. pp. 74-93. ISBN 978-1-003-26364-7. Consultado el 20 de noviembre de 2025.: https://doi.org/10.4324/9781003263647-5
[2] ↑ a b «Inicio | Centro Nacional de Conservación y Restauración». www.cncr.gob.cl. Consultado el 20 de noviembre de 2025.: https://www.cncr.gob.cl/
[3] ↑ «Museum Conservation Institute | Museum Conservation Institute». mci.si.edu (en inglés). Consultado el 20 de noviembre de 2025.: https://mci.si.edu
[4] ↑ a b Walthew, Jessica; Singer, Martha; Barack, Sarah (2 de septiembre de 2025). «Caring through decline: palliative and bereavement care for unstable plastics». Journal of the Institute of Conservation 48 (3): 192-205. ISSN 1945-5224. doi:10.1080/19455224.2025.2547343. Consultado el 20 de noviembre de 2025.: https://doi.org/10.1080/19455224.2025.2547343
[5] ↑ Brown, G., & Rose, C. Packing and Shipping Art and Artifacts. Publications in Preservation, USA.
[6] ↑ a b Vital, A., Davidson, A., Zdinak, A., & Brown, T. (2013). Stabilizing Fragile Fossils for Transport and Preparation. Journal of Vertebrate Paleontology.
[7] ↑ a b «Homepage | ICCROM». www.iccrom.org (en inglés). 18 de noviembre de 2025. Consultado el 20 de noviembre de 2025.: https://www.iccrom.org/
[8] ↑ «Home - American Institute for Conservation». www.culturalheritage.org (en inglés). Consultado el 20 de noviembre de 2025.: https://www.culturalheritage.org/home
[9] ↑ a b c ICCROM. Movable Heritage: Packing and Transport Guidelines.
[10] ↑ Canadian Conservation Institute (CCI). CCI Notes 1/4: Packing and Shipping Art and Artifacts.
[11] ↑ a b c Canadian Conservation Institute (CCI). CCI Notes 1/4: Packing and Shipping Art and Artifacts.
[12] ↑ Ashley-Smith, Jonathan. (2003). Caring for the past: Issues in Conservation for Archaeology and Museums by Elizabeth Pye. Studies in Conservation. 48. 284-285. 10.2307/1506920.
[13] ↑ Brown, G., & Rose, C. Packing and Shipping Art and Artifacts. Publications in Preservation, USA.
[14] ↑ Smithsonian Museum Conservation Institute. Collections Care: Packing Guidelines.
[15] ↑ Pye, E. (2001). Caring for the Past: Issues in Conservation for Archaeology and Museums. London: James & James.
[16] ↑ a b c d Centro Nacional de Conservación y Restauración. (2022, mayo 24). Catálogo de materiales VF [PDF]. Servicio Nacional del Patrimonio Cultural. https://www.cncr.gob.cl/sites/www.cncr.gob.cl/files/2022-05/20220524_catalogo_materiales_VF.pdf.
[17] ↑ a b c d Consejo de Monumentos Nacionales. (2014). Manual : Estándares mínimos de registro y conservación preventiva de colecciones arqueológicas y paleontológicas. Gobierno de Chile. https://www.monumentos.gob.cl/sites/default/files/manual_estandares_de_conservacion_web.pdf.
[18] ↑ a b Nagel Vega, L., & Fernández Luco, A. (2008). Manual de registro y documentación de bienes culturales. Santiago, Chile: s.n.
[19] ↑ a b c d Corporación del Patrimonio Cultural de la Región de Coquimbo. (2022, diciembre). Manual de documentación [PDF]. https://www.cdbp.gob.cl/sites/www.cdbp.gob.cl/files/2022-12/Manual%20de%20Documentacio%CC%81n%20%28DIC%2C%202022%29.pdf.
[20] ↑ Centro Nacional de Conservación y Restauración. (2023, abril 25). Depósitos de colecciones: Guía metodológica para su diseño [Guía]. Servicio Nacional del Patrimonio Cultural. https://www.cncr.gob.cl/sites/www.cncr.gob.cl/files/2023-04/20230425_guia_depositos_VF_0.pdf.