{"id":155,"date":"2025-12-01T22:31:55","date_gmt":"2025-12-01T20:31:55","guid":{"rendered":"https:\/\/construcktivist.com\/?p=155"},"modified":"2026-04-16T15:35:11","modified_gmt":"2026-04-16T12:35:11","slug":"kivotio-i-prostateftiki-syskevasia","status":"publish","type":"post","link":"https:\/\/construcktivist.com\/en\/box-or-protective-packaging\/","title":{"rendered":"Box or Protective Packaging"},"content":{"rendered":"
How can you find the best and cheapest type of packaging for transporting an artwork? \nIn practice, the type of packaging depends on:<\/p>\n
\n
the client’s budget and instructions<\/li>\n
the lender’s requirements, if these are considered acceptable<\/li>\n
the technical proposal made during the packer’s visit<\/li>\n<\/ul>\n
It is not always easy to make the right packaging choice, as the range of technical solutions is very broad. \nSince there is no magic formula, we offer a detailed description that will help you decide.<\/p>\n
THREE LAYERS – THE ‘TRIPTYCH’ OF PROTECTION<\/strong><\/h3>\n
Complete packaging, whether it is a crate or protective packaging, requires three layers: \nThe first layer comes into contact with the artwork, protecting the surface from dust, scratches, and fingerprints. \nThe second layer acts as an intermediate cushion, reducing vibrations, absorbing shocks, and mitigating temperature and humidity fluctuations. \nThe third layer, a kind of rigid shell, is designed to be impact-resistant and to facilitate handling. \nDepending on the task and the type of transport, we will see below if these three layers are always necessary.<\/p>\n
MATERIALS<\/strong><\/h3>\n
For the first layer (the one that provides surface protection), the materials that come into contact with the artwork must be chemically and physically neutral. For example, a medium-quality tissue paper will be acidic and, moreover, once crumpled, it will no longer be as silky. The transparency of the material is also appreciated, so that the artwork is visible beneath this first layer. Depending on the case and the budget, we can use tissue paper, acid-free paper, acid-free glassine paper, neutral spider paper, transparent polyester film such as Melinex, or high-density polyethylene fibers, such as Tyvek.<\/p>\n
For the second layer (which acts as a cushion), the most important product is polyethylene foam or polyurethane in all its forms, thicknesses, and densities. This foam is primarily used for lining crates. The other protective packaging materials used are mainly bubble wrap, kraft bubble wrap (aerochart), and aerofibra [a combination of bubble wrap with non-woven fiber], as well as honeycomb paper (e.g., for furniture packaging).<\/p>\n
For the third layer (the one that provides rigidity and resistance to penetration), the main material used for the construction of crates and travel frames is wood, especially plywood. For soft packing, cardboard remains an unbeatable product for completing the third layer, as it is practical, economical, and easy to shape.<\/p>\n
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CRATES consTRUCKtivist E.E.<\/strong> \nCrates group the three layers into a single unit for simple and fast packing. Depending on the artwork and its fragility, consTRUCKtivist E.E. can supply different types of crates adapted to the most frequent uses:<\/p>\n
\n
crates for paintings,<\/li>\n
crates for sculptures (open or closed type),<\/li>\n
crates with slots for framed photographs and drawings,<\/li>\n
crates for objects and small sculptures (with boxes or compartments),<\/li>\n
hand luggage for accompanied baggage.<\/li>\n<\/ul>\n
The quality of these crates depends on the needs of our clients, who can request isothermal crates.<\/p>\n<\/div>\n<\/div>\n
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MUSEUM STANDARD CRATE<\/p>\n<\/figure>\n
ISOTHERMAL CRATE<\/p>\n<\/figure>\n
MUSEUM STANDARD CRATE<\/p>\n<\/figure>\n
CRATE WITH COMPARTMENTS<\/p>\n<\/figure>\n\n
WHAT DO WE MEAN BY THE TERM SOFT PACKING?<\/strong> \nSoft packing refers to all types of packaging and protection used when the crate solution is not suitable and is sufficient for transport by truck. However, the packaging of the artworks must be done carefully. In other words, the three layers must be in the correct proportions. \nA painting, for example, is protectively packed in the following order: \n1. Melinex on the painted surface. \n2. Frame wrapped in kraft bubble wrap or aerofibra. \n3. Cardboard front and back, as well as a foam protective profile.<\/p>\n<\/figure>\n\n
ANOXIBUG SYSTEM FOR DISINFESTATION OF ARTWORKS AND OBJECTS OF HISTORICAL SIGNIFICANCE<\/strong><\/p>\n
We use the AnoxiBug system (known as ZerO2) by Hanwell Instruments Ltd for the total extermination of destructive pests from cultural heritage collections or objects (furniture, wooden objects, paper, parchment, textiles, natural history collections, bookbindings, etc.) in a simple and fast way, without the use of chemicals.<\/p>\n
With the AnoxiBug system, all destructive pests are exterminated, including all their stages (eggs, larvae, pupae, and mature insects) in collections, such as: \n\u2022 Clothes moth (Tineola bisselliella) \n\u2022 Silverfish (Lepisma saccharina) \n\u2022 Carpet beetle (Anthrenus verbasci)<\/p>\n
By using AnoxiBug, objects can be treated immediately in their storage or conservation space. \nThe application process of AnoxiBug is simple and effective, as it can be used easily and on-site. Its operation is based on the total absorption of oxygen, through special scavengers. The zero oxygen level acts protectively on the artworks, preventing oxidation reactions, while simultaneously drastically reducing fungal colonies.<\/p>\n","protected":false},"excerpt":{"rendered":"
How can you find the best and cheapest type of packaging for transporting an artwork? In practice, the type of packaging depends on: the client’s budget and instructions the lender’s requirements, if these are considered acceptable the technical proposal made during the packer’s visit It is not always easy to make the right packaging choice, […]<\/p>\n","protected":false},"author":2,"featured_media":184,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[6],"class_list":["post-155","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-syskevasia"],"acf":[],"_links":{"self":[{"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/posts\/155","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/comments?post=155"}],"version-history":[{"count":19,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/posts\/155\/revisions"}],"predecessor-version":[{"id":272,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/posts\/155\/revisions\/272"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/media\/184"}],"wp:attachment":[{"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/media?parent=155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/categories?post=155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/construcktivist.com\/en\/wp-json\/wp\/v2\/tags?post=155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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