According to Janet Swim and colleagues (2017: 102), “climate change is considered by the scientific community to be one of the major environmental issues of the 21st century.” Museums, in turn, can exhibit the risks of climate change, and provide educational resources to create a dialogue between the public and collections, and the opportunity to become an example in reducing greenhouse gas (GHG) emissions from their practices, operations, and maintenance with cultural heritage (Sutton 2020).
In this respect, the Science Museum of Virginia concentrated its efforts on building climate resilience within its audience, through lectures, workshops, and film screenings, among other means (Hoffman 2020). The Smithsonian Institution (2021) developed a Climate Change Adaptation Plan focused on (1) assessing vulnerabilities; (2) increasing resilience; (3) researching the Earth system; (4) adapting to a changing climate; and (5) educating staff and the public about the climate crisis. These efforts to protect the 155 million collection items, two thousand living animals, 2.1 million library volumes, ten thousand live plants, and 19 museums, located in the US states of (1) Virginia—one museum; and (2) New York—two museums; and (3) the US capital, Washington, DC—16 museums, are housed in historic buildings that require hygrothermal stability and flood protection. These local actions, developed in the context of the museum sector, contribute to identifying, understanding, mitigating, and disseminating the effects of climate change, a subject that has been mobilizing the scientific and political communities around the world.
Recently, the Intergovernmental Panel on Climate Change Sixth Assessment Report (AR6) was published from the contributions of three working groups: (1) the Physical Science Basis—current evidence on climate change (Masson-Delmotte et al. 2021); (2) Impacts, Adaptation and Vulnerability—an analysis of ecosystems, biodiversity and communities, and capacity and limit for adaptation (Pörtner et al. 2022); and (3) Mitigation of Climate Change—assessing scientific, technological, environmental, economic, and social aspects through the literature (Shukla et al. 2022).
The different focuses on climate change presented in AR6 show paths for approaches to the theme by the museum sector. Exhibitions, workshops, and lectures can be developed on the human influence on climate variables. Museums and their staff could act as agents in the process of enabling public understanding of climate risks and the need to develop climate resilience, as well as acting as important actors in implementing best operational practices, aiming at greenhouse mitigation. Thus, museums could help to fight climate change and be references for the communities where they are located.
The twenty-sixth session of the Conference of the Parties to the United Nations Framework Convention on Climate Change brought parties together to accelerate actions toward the goals of the convention and the 2015 Paris Agreement. More than 190 world leaders participated in the conference, along with other stakeholders (e.g., negotiators, government representatives, businesses, and citizens) for 12 days of talks (31 October 2021 to 12 November 2021), including Brazilian representatives (UN 2021).
In Brazil, Law no. 12,187 (Brasil 2009a) introduced the theme locally through the National Policy on Climate Change, aiming to make socioeconomic development compatible with the protection of the climate system through measures to reduce anthropogenic GHG emissions. The publication of Decree no. 10,143 (Brasil 2019) recently addressed the National Fund on Climate Change, prioritizing projects related to climate change mitigation and adaptation to its effects.
Brazilian Museums and Climate Change
On 15 February 2022, Petrópolis, a historical city in the mountain region of Rio de Janeiro state, was hit by a volume of more than one hundred millimeters of rain in just one hour, causing floods, landslides, and deaths. The wall around Princess Isabel's house,1 which is close to the Quitandinha river that overflowed, was destroyed. The mud and garbage invaded the exhibition inside on the Germanic colonization of the city. At the Imperial Museum,2 staff and visitors were housed in the library throughout the night, waiting for the water level to go down. Due to a landslide adjacent to the museum, the buildings of the refectory and the staff changing room were severely damaged (Camargo 2022; Costa 2022; Martins and Braga 2022).
Considering the important role in the communication of risks to climate change, and the specific care of the heritage (collections and historic buildings) inherent in the activities of a museum, this article aims to investigate Brazilian museums in the light of climate change. According to Fiona Cameron and colleagues (2015: 10), climate change poses “a whole new set of challenges for museum institutions in their ongoing struggle to be relevant and purposeful in a contemporary world, due to the many ambiguities, complexities and uncertainties, and the scale and pace of the phenomenon.” In this context, Brazilian museums, especially the examples examined in this research, face the challenge of creating a dialogue with society with a heterogeneous level of education based on current situations, high scientific complexity, and the different scenarios found in a continental country such as Brazil.3
In Brazil, exhibits on climate change have been developed to make visitors, especially children and adolescents, aware of the environmental impacts and need for an immediate change in production and consumption patterns. Since the opening of the Museum of Tomorrow4 in 2015, a long-term exhibit has presented visitors with the latest on climate change, such as the impact of GHG emissions on the rise in global average temperature and the consequences for life on the planet (Bonela and Floriano 2022). This museum was created with the aim of provoking visitors by posing questions that connect people and highlighting the need to minimize the impact of climate change (Oliveira 2015).
The short-term exhibition The Next Day, presented from 14 October to 14 November 2021 at the Cultural and Educational Weathervane: Science Museum,5 focused its narrative on the impacts of the climate crisis on large urban centers (Catavento 2021). This was a traveling exhibition, which had already been shown in Rio de Janeiro in 2019. The exhibition was supported by the United Nations Information Center for Brazil.
In the meantime, the exhibition By a Breath of Fury and Hope: A Climate Emergency Declaration was opened to the public from 30 October 2021 to 6 March 2022 at the Brazilian Museum of Sculpture and Ecology (MUBE 2022).6 This exhibition was the result of contributions from artists, activists, environmentalists, scientists, researchers, and writers and presents social, historical, political, and environmental developments in relation to climate change (Imazon 2021).
The project Collections in Hot & Humid Environments, developed by the Getty Conservation Institute to develop alternative climate controls in historic buildings, contributed to cultural heritage preservation in tropical regions through economically viable strategies. In Brazil, the Goeldi Museum7 and the Rui Barbosa House Museum8 (Figure 1) were selected as case studies in Brazil for the Getty project (Maekawa et al. 2015). Additionally, Juliana Saft (2021) corroborates research on paper storage preservation in historic buildings, focusing on the city of São Paulo. This PhD dissertation includes in the discussion the roles of local climate and historical buildings as important variables for paper (documents) preservation. These studies illuminate the adaptive strategies for the conservation of museum collections in humid tropical climates.
Rui Barbosa House Museum, 2018. Photo courtesy of the authors.
Citation: Museum Worlds 10, 1; 10.3167/armw.2022.100105
According to Shin Maekawa and colleagues (2015), the environmental management project had a positive impact on the conservation of the ethnographic collection at the Goeldi Museum. In the case of the Rui Barbosa House Museum library, the thermal comfort conditions recommended as standards were not achieved, but visitors identified greater satisfaction in the environment than in the other internal areas (Maekawa et al. 2015). These actions aim to improve the thermal comfort of indoor environments. The search for alternative solutions to traditional air-conditioning systems should be encouraged for the well-being and health of users (visitors and staff), for providing adequate conditions for the conservation of the collections in historical buildings, and for the mitigation of GHG emissions. As a result, these actions have become challenging as users and collection typologies generally need different parameters of hygrothermal comfort.
Recently, the project Keeping It Modern encouraged the creation of conservation management plans dedicated to twentieth-century buildings worldwide. So far, 77 projects were awarded between 2014 and 2020. In Brazil, the Glass House9 and the São Paulo Museum of Art10 (Figure 2), both buildings designed by architect Lina Bo Bardi, conducted research to establish or improve maintenance procedures and, consequently, the conservation of the built heritage (Getty 2022).
Lina Bo Bardi's design, 2018. Photo courtesy of the authors.
Citation: Museum Worlds 10, 1; 10.3167/armw.2022.100105
To verify the operation and maintenance impacts in facing climate change, the assessment of Brazilian cases based on public data of the voluntary ongoing programs in Brazil were developed to identify museums that adopt strategies for quantification and dissemination of GHG and/or energy efficiency in buildings among other operations and maintenance best practice. The museums presented in this section are in the largest Brazilian metropolitan areas, which are the cities of São Paulo (11,253,503 inhabitants), Rio de Janeiro (6,320,446 inhabitants), and Belém (1,393,399 inhabitants). The gross domestic product of the state of São Paulo corresponds to 31.7 percent of the country's total, and that of the state of Rio de Janeiro corresponds to 10.5 percent. In the state of Pará, in the Amazon region (whose capital is Belém), it corresponds to 2.4 percent (IBGE 2022).
Greenhouse Gas Emission from the Museums’ Operations and Maintenance Perspective
So far, only two museums have disclosed their greenhouse gas inventory: (1) the São Paulo Museum of Art (2019 and 2020); and (2) the Museum of Tomorrow (from 2016 to 2020). Scopes 1 and 311 regarding GHG emissions show significant differences over the years, due to the addition or subtraction of the museums’ operational limits. The São Paulo Museum of Art, an icon of Brutalist architecture resulting from the modernist movement in São Paulo, is currently expanding its facilities, incorporating a “retrofitted” neighboring building, from 10,485 square meters to 17,680 square meters. The new annex, scheduled to open in 2024, will have 14 floors, occupied by seven galleries (a 66 percent increase in the exhibition area), a restaurant, a ticket office, a store, storage, classrooms, and a restoration laboratory. The renovation of the annex building will apply for Leadership in Energy and Environmental Design (LEED) certification (MASP 2022).
The Museum of Tomorrow, a new and contemporary building, which was certified in the design and construction phases, has a reflecting pool that reduces the temperature and generates a microclimate in the surroundings with a lower temperature, thus reducing the use of air-conditioning. The museum also uses photovoltaic cells to generate power. When it is operating, meetings via video conference are encouraged among employees, thus avoiding traveling to and from meeting places. According to the 2018 Museum of Tomorrow general report, a direct expansion air-conditioning system was installed, which allowed a 12 percent reduction in energy consumption. A building maintenance system was also implemented, which significantly increased control over the process. These improvements contributed to the significant reduction in GHG emissions (scope 2) as of 2018. Scope 2 in 2020 had the lowest GHG emission quantification as a result of the museum's closure for five months due to the COVID-19 pandemic. The Museum of Tomorrow also developed projects to offset GHG emissions in 2016 (424,00 tCO2e), 2017 (521,00 tCO2e), 2018 (361,00 tCO2e), 2019 (355,00 tCO2e), and 2020 (159,00 tCO2e) from the purchase of carbon credits resulting from ceramic fuel switching projects (Programa Brasileiro GHG Protocol 2021).
On 23 February 2022, the State Database of São Paulo Museums developed and launched the São Paulo Policy on Museums and Sustainability, whose guideline 9 of the environmental axis refers to measuring, monitoring museum operations, and reducing GHG emissions from the museums’ operations (SISEM-SP 2022). In the future, 20 more GHG inventories may be prepared by museums in the state of São Paulo. This policy searches for efficiency in energy and water use, waste generation minimization, recovery and expansion of green areas, mitigation of impacts on the environment, and mitigation of GHG emissions. Based on the premise that the museum “is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment” (ICOM 2007), the institutional potential for engaging in debate about current issues such as climate change and disseminating information about best practice for mitigating GHG emissions, to visitors, employees, and supporters, should be explored.
The Quest for Energy Efficiency and Other Sustainable Best Practices in the Built Environment
Strategies for achieving energy efficiency and optimizing the use of natural resources in the operations and maintenance phase of buildings can be initiated in the design, construction, or even rehabilitation phases. The ongoing project developed together with the modernization, expansion, and restoration works of the Ipiranga Museum12 (Figure 3), in the city of São Paulo, shows the implementation of more efficient strategies for capturing and disposing of rainwater, adopting passive strategies for thermal comfort through shading, ventilation and thermal inertia, and installing air-conditioning systems limited to a new area designated for temporary exhibitions. Initiatives with multisectoral programs were also investigated to identify museums that sought to adopt best practice in energy efficiency and optimization of natural resources.
Ipiranga Museum, 2021. Photo courtesy of the authors.
Citation: Museum Worlds 10, 1; 10.3167/armw.2022.100105
In Brazil, the Energy Efficiency Indicators Steering Committee was created in 2001. Specifically for buildings, the Technical Group for Energy Efficiency in Buildings in the Country, aims to establish and regulate procedures to evaluate the energy efficiency of buildings built in Brazil, in addition to the rational use of energy (PBE EDIFICA 2022). The classification for commercial, service, and public buildings allows partial labeling of the systems (envelope, lighting, and air-conditioning), which can apply to the building or parts of it. The partial labels refer to the efficiency of the systems separately, while the general label is defined by an equation that contains weights to balance the relationship between the systems. The envelope evaluation is mandatory (ELETROBRÁS/PROCEL 2017).
The design, resulting from the competition for creating Annex 1 of the Environment Museum,13 was the only museum labeled. It achieved the maximum rating (Level A—most efficient) in all individual systems: (1) envelope—14,582.51 square feet; (2) lighting—14,187.26 square feet; and (3) air-conditioning—8,422.44 square feet air-conditioned area. The museum was not built, although it was the result of a national architectural and urbanization project competition, promoted by the Ministry of Environment and organized by the Brazilian Institute of Architects.
To minimize environmental impacts, three museums have been LEED-certified: (1) the Rio Art Museum14; (2) the Museum of Tomorrow; and (3) the Museum of the Portuguese Language15 (Figure 4). The search for minimization of environmental impacts during the life cycle of these buildings is evident, including when attempting to reduce operating costs resulting from the museum in use. The seal of a globally recognized certification adds value to the communication of actions related to climate resilience and sustainability as a whole.
Three Brazilian museums, 2011–2021. Photo courtesy of the authors.
Citation: Museum Worlds 10, 1; 10.3167/armw.2022.100105
Map of Brazil with locations of the museums discussed in this article. Image prepared by the authors, based on Google Maps.
Citation: Museum Worlds 10, 1; 10.3167/armw.2022.100105
The practices adopted in the design and construction process, in accordance with the requirements of LEED for Building Design and Construction: New Construction and Major Renovations, allowed museums to advance in the configuration of a more comfortable microclimate for people, adequate for collections and more resilient to extreme weather events such as floods. Validated strategies were also adopted to reduce future water consumption in facilities, including reducing the volume of effluent to be treated and, respectively, greenhouse gas emissions. The Museum of the Portuguese Language has made alterations to its historic building in accordance with local or national rehabilitation regulations. This is an important strategy for museums, as it engages in a dialogue with the principle of authenticity advocated for the conservation and restoration of cultural heritage.
Regarding “energy and atmosphere,” the Rio Art Museum and the Museum of the Portuguese Language presented evidence to reduce energy consumption by 12 percent (compared to a baseline), as “existing” building renovations. The Museum of Tomorrow showed signs of a 30 percent reduction in energy consumption for operations in the design phase for the new building. This shows that historical buildings, despite the limitations imposed (i.e., construction systems consisting of self-supporting masonry, fragile ornaments, and depreciation of the electrical system in many cases), allow the implementation of energy efficiency strategies to reduce energy consumption. The generation of “on-site renewable energy” at the Museum of Tomorrow represents approximately 7 percent (USGBC 2021) of the energy consumption identified for the building. It should be mentioned that photovoltaic panels were implemented in the mobile elements of the roof. This proved to be an expensive strategy for maintenance, as it involves moving elements and represents a very small percentage of the total energy consumption. The three museums (the Rio Art Museum, the Museum of Tomorrow, and the Museum of the Portuguese Language) had started the commissioning process early in the design process and carried out additional activities after systems performance verification was completed. This activity is crucial to verify compliance with the design specifications and ensure adequate performance in the initial phase of using the facilities. These museums support early compliance with the Montreal Protocol (USGBC 2021) while minimizing direct contributions to climate change, through “enhanced refrigerant management,” and “green power” from involvement in at least a two-year renewable energy contract to provide at least 35 percent of the buildings’ electricity from renewable sources.
The Museum of Tomorrow is also registered for LEED for Operations and Maintenance of existing buildings (version 4). However, the certification process is in progress, according to consultation with the United States Green Building Council (USGBC 2021). Certification in the operations and maintenance phase will validate the museum's best environmental practices and allow the dissemination of their responsible operational practices among their visitors, employees, and supporters.
The certification of the three museums demonstrates possible efforts for the sector regarding the climate resilience process and adoption of sustainable practices in their facilities as part of robust and structured planning that will contribute to the museum sector's purpose of investigating and communicating heritage conservation procedures. These calculations, reductions, and disclosures of greenhouse gas emissions confirm the museum building as a reference for and actor in local transformation.
Pathways to Climate Resilience in the Brazilian Museum Sector
Since a few Brazilian museums present strategies that support the combat against climate change, a broad systematization is necessary to frame the museum sector in the country as an important and active stakeholder, either through climate literacy with visitors and/or through their best operational practices with facilities and collections.
In the Brazilian case survey, low sectoral engagement can be observed in adopting and disclosing strategies that contribute to reducing natural resources, operational optimization, and, consequently, reducing greenhouse gas emissions. This is a result of publicizing just over a dozen museums with practices related to climate change, identified among the 3,899 museums (Museusbr 2022) spread around the continental country. As can be seen in the GHG emissions inventory, there is little rigor in the multi-annual release of data from the emitting sources contained in scopes 1 and 3 operational limits. Therefore, it is unfeasible to compare and use information to help decision-making regarding continuous strategies to reduce GHG emissions. It requires a sectoral commitment for the development of complete inventories, including potential projects to reduce emissions through their operations (Silva et al. 2021) or, at least, internal actions structured in accordance with recognized voluntary programs that will allow for future comparisons, if desired, and a constant practice of shared learning between institutions.
Implementing the above proposition would allow for broader sharing of best practices adopted in museums. It would stimulate the systemic adoption of sustainable practices throughout the museum's life cycle, reducing its negative impacts on the environment and increasing the useful life of the systems, which constitute the built heritage of the museum itself. It would also improve the well-being of visitors and museum staff.
The Brazilian museums (the Rio Art Museum, the Museum of Tomorrow, and the Museum of the Portuguese Language) that have environmentally certified their buildings in the design and construction phases have presented solutions to reduce water consumption by 30 to 40 percent, and their energy by 30 percent in case of the new building and 12 percent in major renovations from existing buildings (USGBC 2021). This widely disseminated information can guide managers’ decision-making to optimize the operations and maintenance of museums.
An opportunity is identified in Brazil to stimulate incentives according to the Brazilian Labeling Program (Programa Brasileiro de Etiquetagem) together with the museum sector as an initial step toward a proven reduction in energy consumption and, consequently, mitigation of GHG emissions among buildings for collective use and those used for culture and leisure. This action will contribute to meeting the country's goal that was announced in the 2015 Paris Agreement.
From the recent launch of the São Paulo Policy on Museums and Sustainability, the 680 existing museums in the state of São Paulo (IBRAM 2020) will be significantly influenced by the guidelines presented. The operationalization of sustainability strategies needs to be expanded, in line with the National Museum Policy (Brasil 2003), the Statute of Museums (Brasil 2009b), the National Sectoral Plan for Museums (IBRAM 2010), and the National Museum Education Policy (IBRAM 2018), to achieve climate resilience for the Brazilian museum sector.
The sustainable strategies that currently cover only a few Brazilian museums located in the most industrialized and culturally equipped axis of the country—southwest region, São Paulo–Rio de Janeiro axis—should be systematically expanded to all museums in the country. These initiatives should include exposure to and learning about the subject and the use of practical examples in old/historical and new buildings and their maintenance and operation procedures.
In Brazil, museum institutions, whether public or private, should join efforts to develop protocols to mitigate climate change in general and their particular impacts on buildings and the collections they house. The country's diversity in socioeconomic, climatic (predominantly a tropical climate) and educational terms is a significant challenge for institutions. The issues related to climate change are important and need to be discussed more widely. Legislation, regulations, and protocols should cover the peculiarities of each region, enabling, and even encouraging, the implementation of relevant and effective strategies in line with local environmental constraints. Considering museum institutions as examples to be replicated, with the possibility of reaching millions of visitors, these different contexts must be seen as urgent public policies based on scientific and academic evidence in progress and available and consistent technical guidelines.
Although several Brazilian museums and their teams are aware of the importance of climate change for their institutions, for the country and for the planet, there are limitations such as (1) the lack of public and private resources to face this challenge based on interventions in the building (respecting the historical and architectural characteristics); (2) few specific studies on the conservation of different types of collection (e.g., paper, wood, fabric, metal, among others) in tropical climates; (3) restrictions on the continuous training of technical staff; and (4) few extensive and regular educational training programs on the subject, targeted at visitors. Part of the Brazilian museum sector—not including the three examples given in this article—try their best to support these issues and have achieved results that are not yet systematically documented or publicized.
Acknowledgments
We would like to thank the Graduate Program in Architecture and Urbanism at the University of São Paulo, where Marcus Vinicius Rosário da Silva is a doctorate student and develops his research related to museums and facility management, with grant process no. 2021/04172-7, São Paulo State Research Foundation (Fundação de Amparo à Pesquisa do Estado de São Paulo). Sheila Walbe Ornstein would like to thank National Council for Scientific and Technological Development (Conselho Nacional de Desenvolvimento Científico e Tecnológico) for the Productivity Grant with process no. 304131/2020-2.
Notes
Located in Petropolis, the neoclassical building was built in 1853.
This neoclassical palace was designed by Júlio Frederico Koeler and built between 1845 and 1862. It was turned into a museum in 1943. In 2019, the Imperial Museum recorded an annual visitation of 446,000 people.
The research presented in this article is partially based on the ongoing doctoral research of the first author and it is authorized by the Research Ethics Committee of the Faculty of Philosophy, Literature and Human Sciences at the University of São Paulo, no. CAAE 50859621.6.0000.0138 and approved on 15 September 2021.
Located in the city of Rio de Janeiro, the Museum of Tomorrow was designed by architect Santiago Calatrava and built between 2011 and 2015. In 2019, the museum received 835,850 people.
Located in the city of São Paulo, the building was designed in an eclectic style by Domiziano Rossi, Ramos de Azevedo, and Ricardo Severo and built between 1911 and 1924. Its facilities were adapted to a museum in 2009. In 2019, the Cultural and Educational Weathervane: Science Museum received 665,452 visitors.
Located in the city of São Paulo, the Museum of Sculpture and Ecology was designed by Paulo Mendes da Rocha and built between 1988 and 1995. Designed in a Brutalist style, the museum opened in 1995.
Located in Belém, in the Amazon region, the house was built in 1879, in Neoclassical style, and has been a museum since 1895. It is the second oldest natural history museum in Brazil. In 2019, the Goeldi Museum Zoobotanical Park received 244,677 visitors.
Located in the city of Rio de Janeiro, Rui Barbosa House Museum was built as a home in 1849 and adapted as a museum in 1930. It is considered the first house museum in Brazil. In 2019, the visitation was 20,008.
Located in the city of São Paulo, the house of the architect Lina Bo Bardi and her husband Pietro Maria Bardi was built in 1951. In 1995, the Glass House was donated to the city and became the headquarters of the institute created by the Bardi couple.
Located in the city of São Paulo, the São Paulo Museum of Art was designed by architect Lina Bo Bardi and built between 1961 and 1968. In 2019, it received 729,325 visitors.
Three “scopes” are defined for GHG accounting and reporting purposes. Scope 1: direct emissions, sources owned or controlled by the company (e.g., boilers, furnaces, vehicles, emissions from chemical production). Scope 2: indirect electricity emissions, purchased electricity. Scope 3: other indirect emissions (optional), sources not owned or controlled by the company (WBCSD 2004).
Located in the city of São Paulo, the monument building, built from 1885 to 1890, to commemorate the Independence of Brazil (1822) was turned into a museum in 1895. In the last nine years, the museum has undergone diagnostics, projects, and site works for reopening during the 2022 celebrations of the bicentennial of Independence and expects to receive five hundred thousand visits per year.
Located in the city of Rio de Janeiro, the project for the Environment Museum's annex was developed in 2010 by André Luiz Padro and Bruno Santa Cecília.
Located in the city of Rio de Janeiro, the Rio Art Museum was designed by Paulo Jacobsen, Bernardo Jacobsen, and Thiago Bernardes between 2011 and 2013, considering the pre-existence of an eclectic building from the 1910s and another modern building from the 1940s.
Located in Sao Paulo, the train station (Estação da Luz) was designed by Charles Henry Driver and built between 1895 and 1901 in an eclectic style. The Museum of the Portuguese Language was opened in 2006 and, after a fire in 2015, was rebuilt and restored. In 2014, the museum received 352,565 visitors.
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