The Museo Chileno de Arte Precolombino in Santiago, Chile, is located in the historic center of the city. The building, which served originally as the Courthouse, has a central patio surrounded by porticoes at both street and first floor level. The latter were closed by the installation of windows to form the actual exhibition galleries. The earthquake that shook Santiago de Chile at 7.46 p.m. on 3 March 1985 reached an intensity of eight degrees on the Merkalli scale. The vibrations caused the shauering of all the glass panes in the windows enclosing the galleries as well as damaging the air-conditioning system. As a consequence, all objects located in these galleries had to be accommodated in a spare room while the exhibition areas were reconditioned with new glass for the windows and a new air-conditioning system. In proportion to the intensity of the earthquake, relatively few pieces, only 34, were damaged in the galleries. This small number of casualties can be attributed to the fact that the galleries had, and still have, many rather small showcases with Plexiglas covers that fit into a groove cut around the baseboard. Neither the Plexiglas covers nor the cases moved or slid during the earthquake: the covers, because they fitted tightly into the case grooves; the cases because of their weight. In these small showcases, the objects that toppled during the quake remained caught between the base and the enclosing Plexiglas cover, thus preventing their final fall. The main damage to the collection can be attributed to the type of mounts used in the installation of the pieces for exhibit. Metallic blocks served as bases for the objects, and in many instances several cubes were piled to obtain different exhibition levels. During the quake, the various blocks in a given pile tended to slide in different directions, enhancing the vibration received by the object on top of them. The most spectacular damage occurred to a large ceramic statue, representing the XipeTotec deity of the Tolteca culture. The piece, dating from 1100 A.D., measures I09cm in height. The statue had been placed standing on a platform at the end of the '''gallery, and was only held by clamps at the ankles. Furthermore, one of the ankles had been previously broken and restored. To keep the public from touching this piece, a metal guard was placed in front of it. When the earthquake shook the building, the restored part did not resist the vibration, causing the piece to shake loose from the clamps, fall forward on top of the guard and literally shatter. In the store room, only one ceramic piece that had been put too near the edge of a shelf fell off and broke. All other pieces were prevented from sliding off the shelves during the tremors by the rubber runners that line them. The nightmarish experience of this earthquake prompted the development of a new approach to the design of appropriate stands for objects. This approach consists in having a mount accomplish a two-fold function, providing an elegant presentation for the object in question and protecting it in case of a quake. The key points to be taken into account in the design of an installation can be summarized as follows:
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