A survival manual for museums

Will we really one day see photovoltaic panels shine on the roof of the Uffizi, or small wind turbines twirling in the gardens of the Venice Biennale, perhaps transformed into an art installation? What seems like a scenario worthy of a fantasy novel could actually soon be the subject of discussions on the future of museums, their comparison with the climate crisis and the consequences of extreme events. Because all over the world, not only in Italy, directors, heads of superintendencies and ministers of culture and the environment are called to become the protagonists of what will be a revolution in one of the most strategic sectors of many countries: the relaunch of museums . Places that are no longer dusty, but able to create a link with the external community. Witnesses of the past and of art in general, they must be spokesmen for cultural messages and exemplary approaches. Thus, if on the one hand they will have to find management practices that minimize the impact on the environment, on the other they are called from now on to offer their own contribution to the growth of environmental awareness. And never before, will it be necessary to find a balance between the protection of the artistic heritage and the conservation of the landscape and environmental heritage.

Art and sustainability: where to start?

But how do we warm up museums in times of energy crisis and how do we face the storm that has begun to impact the already complicated budgets of museums? And how much does the lighting in the rooms consume? How can we spread the culture of sustainability? And above all, how will the money that the culture chapter of the PNRR allocates to museums be spent? “Basically, the question we have to ask ourselves is: what will the museum of the future look like in light of the challenges posed by sustainability and climate change?” Maurice Vanni, museologist and professor at the Tor Vergata University of Economics is considered an expert in museum marketing. On the subject, Professor Vanni wrote Biomuseology. The museum and the culture of sustainability (Celid, 2022). It is a sort of “survival” manual for museum directors and all operators involved in transforming one of the world’s most classic institutions into a modern public service that produces culture but is also inclusive, environmentally friendly, economically and socially sustainable.

Abroad? L’Hermitage in St. Petersburg which recently reduced its energy consumption by 60%. It was enough to replace the traditional lighting system with energy saving systems and the California Academy of Sciences in San Franciscocomplex of 11 buildings has a green roof designed by Renzo Piano. Not only is it a source of energy, but it keeps the building at a constant temperature. The San Francisco museum also ranks high in environmental education and promoting sustainability.”

Turning off the light is not a solution

“Stunning and unique elephants in the world, but with problems of old systems, humidity and non-renovated lights that consume a lot of energy and have a lot of impact”, is how Maurizio Vanni describes the situation of the great Italian and European museums in a few lines. Just think that 85% of the Italian ones are located inside a building of historical importance and therefore restricted. So the directors do what they can: above all they avoid waste, turn off the lights at night, turn down the heating, remove plastic and reduce the use of paper”.

Abroad too, things are no better. Last year the Louvre has communicated its intention to reduce its consumption by 10%, but in five years. To the Guggenheim in Bilbao the director focuses on the recycling of materials. Not much, considering the climate emergency. For the real turning point, explains Professor Vanni, funding is needed. “Because sustainability must first of all be designed”.

An interdisciplinary team: a single director is no longer enough

“The directors proceed slowly and with common sense, but to really transform the great museums, money and investments are needed. This is why it is important that the directors are supported by managers or officials who know how to open up to forms of financing. And that they do not derive only from funds such as Art Bonus and the Pnrr. No longer a single director, but an interdisciplinary team. New skills are needed, new professional figures who have specializations not only in Art History, or in Conservation and Restoration, but also in Economics, Marketing and Communication, Museum Management, Sociology and Information Technology”.

Vanni is sure: “The territories will also benefit from this evolution, as the new functions will transform even the less famous museums into real tourist destinations. There are no alternatives and this is the only way to save museums from bankruptcy”.