We are thrilled that the Burrell Collection won the Art Fund Museum of the Year 2023 Award for its refurbishment. The award highlights the remarkable transformation of the museum, and we at Orbis are proud to have played a part in this exciting project.
Orbis were tasked with designing, fabricating, and installing mounts for over 1000 objects of various sizes and materials as part of the Burrell Collection's re-display. The Burrell collection houses thousands of artefacts and art objects from the personal collection of William Burrell, a Glasgow shipping magnate. Burrell was a keen collector with particular interest in the Medieval and Early Renaissance periods, as well as Chinese and Islamic art, of which the museum holds many historically significant examples. Our objective was clear – to emphasise the beauty of each object through seamlessly integrated mounts that could make the objects stand out and hold their own in the eclectic museum. The goal was to create a harmonious and standardised design aesthetic that permeated throughout the exhibits and that described everything together as a “collection”.
Through close consultation with exhibition designer Event and the client’s team of conservators, designers and curators, the Orbis team were able to arrive at a series of mount types and designs. Specifications were agreed in advance with the client to provide consistency across the entire collection and synchronise with the museum’s new aesthetic language.
Initially slated for a 14-month duration, the project timeline was halved to 7 months due to the unforeseen impacts of the Covid-19 pandemic on the progress of the museum’s refurbishment. Through meticulous planning and robust project management, we met the revised schedule, ensuring the mounts were ready for the grand reopening.
A series of representative sample mounts in each type were produced for assessment and approval by the client conservators and design team before the project began. Designs and approaches for the visible components and shapes of mount supports (rods and bases etc) were also standardised as far as possible. This allowed design decisions for the bespoke mounts to be made without repeated consultations, which was essential for such a large project with a limited time frame.
We implemented a detailed tracking and reporting system for each of the 1000+ multi-component object mounts, tracking design to installation. We communicated with the Burrell collection through weekly updates and specific object-related inquiries. In advance of our mount makers templating the objects on site, mount reports for all objects in each mount maker’s phase of objects were prepared and distributed. These included the object details and accession number, as well as links to case or open display designs, which the mount makers then amend and send back to the office. These reports would be updated digitally and made available to the mount maker and project manager, providing a ‘live’ view of the progress for each object’s mount. The fabrication stages were also noted on a spreadsheet within each phase, providing an overview ‘at-a-glance’ and helping to identify if any mounts were behind schedule and how that might affect the program.
Given the 400-mile distance between our workshop and the museum, efficient on-site planning was key. We set up a mobile workshop onsite at the museum, which ensured we had all necessary tools and materials on hand, reducing the need for frequent transportation. Our dedicated driver and fine arts van ensured safe and efficient transportation of mounts where necessary, keeping up with the output of our mount makers.
All our mounts were made from Oddy tested materials to ensure they were safe for long-term display. These were designed to be as unobtrusive as possible while maintaining a standardised aesthetic that complemented the overall exhibition. All points of contact between the object and mounts were ‘softened’ with either a plastazote cushion or heat shrink plastic, cut carefully to the shape of the mount so as not to be visible when on display.
The Burrell Collection is an extremely diverse collection and as such represented a challenge for mounting. The building itself is Grade A listed by Historic Scotland. The visual language of the mounts had to remain consistent throughout the collection, whilst each bespoke mount was required to be as unique as the objects they were supporting - from tapestries to stone columns, and suits of armour to classical sculpture and weapons. Our primary goals were to provide optimal support and ensure long-term stability while maintaining a consistent visual language. Close consultation with the client's conservation team was key and helped identify and address specific structural or practical handling concerns for fragile objects.
Conservation issues would range from areas of previous restoration or structural weakness to lifting or friable surface decorations and limited display orientations. The objects of concern were then given special attention at templating and design phase, ensuring that all parties were part of the design procedure and happy with the decisions, to make sure that the best possible solution was found that satisfied the designers and conservation staff.
Orbis are honoured to have contributed to the Burrell Collection's successful refurbishment, culminating in the prestigious Art Fund Museum of the Year 2023 Award. Our ability to deliver high-quality, bespoke mounts within a condensed timeframe showcases our commitment to excellence and innovative problem-solving. We look forward to continuing to support such inspiring projects in the future.
Do get in touch using our website or social media if you feel our bespoke mount making service can be used in your museum, gallery, or private collection, on any scale.
