The Carbon Footprint of Museum Loans A Pilot Study at Amgueddfa
The Carbon Footprint of Museum Loans A Pilot Study at Amgueddfa
The Carbon Footprint of Museum Loans A Pilot Study at Amgueddfa
To cite this article: Simon Lambert & Jane Henderson (2011) The carbon footprint of museum
loans: a pilot study at Amgueddfa Cymru – National Museum Wales, Museum Management and
Curatorship, 26:3, 209-235, DOI: 10.1080/09647775.2011.568169
MANAGEMENT
The carbon footprint of museum loans: a pilot study at Amgueddfa
Cymru National Museum Wales
Simon Lambert* and Jane Henderson
By using carbon footprints, museum staff can manage the impact of their loan
programs on climate change. To measure the environmental impact of loan
activities, a new carbon footprinting methodology has been developed. The
methodology includes an Environmental Impact of Loans performance indicator,
encouraging museums to set and achieve efficiency targets for loan activities. The
methodology was developed using data from the Art Department of Amgueddfa
Cymru National Museum Wales. Based on this experience, evidence-based
recommendations have been formulated to help museums reduce their impact on
global warming.
Keywords: sustainability; climate change; carbon footprint; collections mobility;
collections management; museum loans; museum registration; museum manage-
ment; museums and social responsibility
Introduction
Global awareness of climate change is on the rise and a growing number of sectors
are being engaged including museums. The museum sector in the United Kingdom
(UK) has begun to expect improvements in the environmental friendliness of the
exhibitions industry (Mellor 2008; National Museum Directors’ Conference 2009),
and its professionals are asking for tools to measure sustainability (Museums
Association 2009, 8). In the years to come, this demand is likely to extend worldwide
as museums recognize their responsibility to limit the collateral effects of their
activities on the environment.
The ‘carbon footprint’ is a simple metric that shows how an activity contributes
to climate change. It takes into account carbon dioxide (CO2) and other greenhouse
gases (GHGs) such as methane and nitrous oxide. A museum’s complete carbon
footprint should reveal how all its operations affect climate change. It is reasonably
easy for museums to measure on-site activities, such as gas and electricity use, by
using online tools or specialized auditing agencies. However, this represents only part
of their impact. Little information exists to help museums measure off-site, complex
operations such as loans.
The aim of this article is to suggest a new carbon footprinting methodology
designed specifically for museum loan activities. It also includes a performance
indicator for the environmental impact of loans (EIL) to encourage museums to
balance their environmental responsibility with the growing demand for increased
access and collections mobility. To design the methodology, initial data were
collected at the Art Department of Amgueddfa Cymru National Museum Wales.
Carbon footprinting
The unit of measurement
A carbon footprint indicates the expected effect of an activity on global warming,
spread out over a 100-year period. To make it easier to add up the effect of different
GHGs, they are assigned relative values, enabling comparisons with carbon dioxide
the most important (Intergovernmental Panel on Climate Change [IPCC] 1996). For
this reason, carbon footprints are expressed in metric tons of carbon dioxide
equivalents (tCO2e).
GHG protocol
The Greenhouse Gas Protocol Corporate Standard (World Resources Institute [WRI]
2004) is the primary international reference for company-level GHG accounting and
reporting, and is accompanied by several peer-reviewed calculation tools.2 Given its
widespread acceptance, the Protocol was used to design the museum loan carbon
footprinting methodology, along with the British Standard Institute’s Publicly
available specification for the assessment of the life cycle greenhouse gas emissions
of goods and services (British Standards Institute 2008).
Defining boundaries
To ensure the relevance of a carbon footprint, it is important to define the elements it
includes and those that are left out. To help organizations identify and implement
emission reductions, the Greenhouse Gas Protocol recommends using the ‘control
approach’ (WRI 2004, 21). This helps narrow down the footprint to the operations
that can be controlled or managed by the organization. The other approach, ‘the
equity approach’, focuses on profit and ownership. The control approach will be used
in the loan carbon footprinting methodology.
Museum Management and Curatorship 211
Emission sources are generally classified according to their origin (Figure 1). For
official mandatory reporting, it is always necessary to count emissions produced by
an organization’s own activities (sources 1 and 2), but it is optional to count those
produced by third parties that support its activities (source 3) (WRI 2004). In the
case of museum loans (nonmandatory reporting), even source 3 emissions should
be counted to ensure that the carbon footprint remains representative of this activity,
as several third parties are involved.
Figure 1. Emission sources. Source: WRI (2006), copyright of the New Zealand Business
Council for Sustainable Development. Reproduced with permission.
212 S. Lambert and J. Henderson
three-dimensional works grouped under ‘applied art’ (ceramics, sculpture, etc.), but it
could be applied to other types of collections.
To better understand how the carbon footprint is distributed, it is useful to divide
loans into four loan components: wrapping materials, packing cases, transport and
couriers. These reflect different areas of responsibility in the loan process, which is
consistent with the control approach.
Wrapping materials
Calculations of the environmental impact of wrapping materials depend on
quantities used and on whether they are reused. Since it may be impractical to
measure the quantities of wrapping materials used for every object, a simple
estimation equation based on the size of the objects can be developed (see Step 4:
Wrapping Materials on page 11).
Packing cases
Calculations for the environmental impact of packing cases depend on what they are
constructed from, their life expectancy and how they are initially delivered to the
lending institution. It would require disproportionate effort to count materials used
in the construction of each individual case; so it is advisable to standardize a few case
types and determine which materials are replaced and how frequently. Then, an
estimation equation can be developed based on the size of the objects and of cases,
and the frequency of replacement of certain elements (see Step 4: Packing Cases on
page 11).
Transport
Since calculations for the environmental impact of transport require distances, it is
important to select a simple and consistent method to collect these data. To avoid
the time-consuming task of gathering exact distances traveled from transporters,
these can be calculated with online calculators (see Online Distance Calculators on
page 22) using all known locations on loan itineraries.
In addition to distance, calculations for airfreight emissions require the weight of
the cargo. However, packing cases are not always weighed individually by airport
personnel and may be grouped with the cases of other institutions. If this is the case,
214 S. Lambert and J. Henderson
couriers supervising these operations can ask airport personnel to weigh cases
individually. Otherwise, the case weight estimation approach described in the
Transport section (page 12) can be used.
Whenever trucks are boarded onto trains or ships, calculations for rail and sea
freight require the weight of the entire truck (including cargo). Since exact truck
weights may not be available, museums can establish an average truck weight by
examining the most frequent types of vehicle used and obtaining their gross vehicle
weights (GVWs) from transport agents. This value can be used every time loans
travel by rail or sea.
Research in the food industry has shown that climate control during the transit of
freight trucks certainly increases environmental impact (Tassou, De-Lille, and Ge
2009). For the transport of museum loans, this impact would likely be lower since the
temperatures are not as low. Nonetheless, the international exhibition industry is
now encouraging museums to consider relaxing climate specifications for loans to
lower carbon footprints (National Museum Directors’ Conference 2009). Although
it was not possible to include the impact of climate control in transit here, museums
can do this by establishing a ‘climate control factor’ to be multiplied by the distance
traveled. This can be done by making a few test journeys with climate control ‘on’
and ‘off’ and noting the differences in fuel consumption possibly at different times
of the year.
Couriers
Calculations for the environmental impact of couriers are most influenced by how
staff travel, where they stay and what they eat. When accompanying airfreight,
museum couriers generally travel in Business Class. When accompanying road
freight, couriers can either travel inside the vehicle or in a car following the vehicle.
Nonaccompanying couriers generally travel in Economy Class.
Where staff travel with the loans by road, their journey can be ignored because,
contrary to air travel, an empty seat would not significantly reduce carrying
efficiency of the vehicle. Distances for passenger travel can be estimated using the
same online tools as for freight transport, but additional passenger car journeys must
be counted between
For simplicity, these distances can be standardized by fixing a typical distance per
journey (see Step 4: Couriers on page 12). To calculate accommodation and food
consumption, many museums stipulate the amount of hotel nights and per diem
allowances to be provided for their couriers in their conditions of loan.
likely that country-specific conversion factors do not exist. Until they are available,
the ones suggested in this study can be used.
Conversion factors for wrapping and packing case materials used here include
emissions in the product’s life up until only it leaves the factory gate ‘cradle to gate’
(Hammond and Jones 2008). When available, conversion factors that consider the
entire life cycle of a product’s life (‘cradle to grave’) would be preferred.
To select conversion factors for freight and passenger transport, museums must
consider the characteristics of the vehicles used, including fuel type, weight and load.
It is advisable to limit the number of vehicle categories considered to avoid
complicating the data collection process for example, one ‘average’ freight truck
and one passenger vehicle. All available conversion factors worldwide have been
integrated into the regularly updated Greenhouse Gas Protocol tool for mobile
combustion (WRI 2008). At the time of writing, country-specific transport
conversion factors are available only for USA and UK; all other countries must
use those provided by the IPCC.
The conversion factor for hotel accommodation was calculated by multiplying
the average electricity consumed per night in European hotels (SQW Consulting
2007), by the UK grid rolling conversion factor (Department for Environment, Food
and Rural Affairs [DEFRA] 2009). The conversion factor for food consumption was
sourced from the Web site of Carbon Fund, a US-based, nonprofit organization. For
simplicity, a selection of GHG conversion factors is presented in Appendix 1 and has
been included in the standalone calculation spreadsheet (Appendix 4).
Figure 3. Example of a loan process map for three borrowing venues Paris, London and
Barcelona (Lambert 2009).
to a museum’s collection. Although the authors are not aware of specific data
correlating loan numbers to increased access and public benefits, it has been asserted
that increasing the mobility of museum collections encourages the dissemination of
knowledge, international cooperation and cultural dialog (National Board of
Antiquities, Finland 2006, 1). To account for the inherent social value of loans
and encourage museums to balance environmental costs with access requirements,
this methodology includes a performance indicator for the EIL. As an efficiency
ratio, the EIL shows how many objects a museum is able to send out on loan for
every ton of carbon dioxide it emits (objects/tCO2e). Because the most efficient loans
will contain more objects, the EIL is based on the number of objects rather than the
number of loans.
It should be noted that the inverse (tCO2e/objects) is a productivity ratio that shows
the carbon emissions embodied in each object. Using this metric may lead to
reducing the footprint by reducing activities, which would go against current
priorities. To reflect the diversity inherent in loan operations, the EIL should be
separated by destination category (national, regional, international, etc.), indicating
as many qualifiers as are relevant to the museum’s operations. If destinations were
grouped together, the EIL would be biased toward short-distance, national loans. By
measuring the environmental performance of loan programs, museums can develop
time-bound targets for improved access and lowered environmental impact.
Museum Management and Curatorship 217
(1) Reduce the carbon footprint maintaining the same level of access (no. of
objects);
(2) Increase access (no. of objects) maintaining the same carbon footprint;
(3) Offset carbon emissions.
Data from a real loans program were used as a pilot study to design the loan
footprint methodology. Amgueddfa Cymru National Museum Wales has eight
different sites throughout Wales, but this study focused on the loans of one
department (Art) at one of these sites (National Museum Cardiff). In 2006, the
chosen base year, the Art Department approved 29 outward loans for a total of 216
objects (Figures 46). This year was selected based on the completeness of the loan
documentation available.
calculate the Art Department’s 2006 loan carbon footprint and evaluate its
environmental performance;
identify the relative impact of each loan component;
218 S. Lambert and J. Henderson
Figure 4. Number of objects loaned out annually by the Art Department (Lambert 2009).
These objectives were achieved by applying the eight-step loan carbon footprinting
methodology (detailed below) and the EIL performance indicator, which shows the
carbon efficiency of loan activities.
Packing cases. The side panels of cases used by the Art Department are made
of plywood and strengthened with softwood battens. The interior is lined with
polyethylene foam and fitted with polyurethane cushioning foam. These cases have a
considerable life span. A group of 37 cases built 20 years ago is still in circulation
today. While polyethylene foam linings practically never need to be replaced, about
35% of polyurethane foam cushioning is replaced every year (K. Amey and J. Roffey,
personal communication).
As carbon footprints refer only to one year’s activities, the impact of packing
cases was small enough to be practically irrelevant over such an extended lifespan. In
fact, the yearly impact of one of these cases (excluding the polyurethane foam) is
about 3.5 kg of carbon dioxide (see Appendix 2). This is equivalent to about a third
of the footprint of a month’s incoming emails (Berners-Lee 2010, 15). Thus, except
220 S. Lambert and J. Henderson
for polyurethane foam, case construction materials were omitted from the footprint
calculations. Museums using single-use, purpose-built, packing cases should include
all construction materials in their footprint.
Overall, the quantity of packing materials depends on two variables that can be
retrieved easily from the documentation: the outer dimensions of the case and the
dimension of the object it contains. All packing materials physically lie somewhere
between these two dimensions.
In the Art Department pilot study, the quantity of polyurethane foam (QPUF) was
estimated by subtracting the object’s volume from the inner volume of the case
(excluding the thickness of the outer shell and of the inner polyethylene foam lining;
see Appendix 1). Whenever other materials must be accounted for, a similar
approach can be used for each layer of the packing case (outer shell, polyethylene
lining, etc.). Any other method can be used, as long as it produces a final quantity
expressed in kilograms.
Transport. To simplify the selection of GHG conversion factors, all freight trucks
were assumed to have the same characteristics: average GVW and average load,
diesel-fuelled and rigid (nonarticulated). Whenever the weight of trucks was
required, it was assumed to be 5 metric tons (Lambert 2009).
Since packing cases traveling by road are not weighed by the Art Department, an
average density was used. This made it possible to assign an indicative weight value
for any full case using its outer dimensions. The known weight and dimensions of 54
full cases from other years were used to calculate an average density of 0.1273 tons
per cubic meter. Whenever case weights were required and were unknown, this value
was simply multiplied by the case’s volume (m3).
Ideally, museums should weigh their cases by filling them with different types of
objects. This will help them develop indicative density values for different types of
collections.
Couriers. For the pilot study, it was assumed that two journeys of 2 km were made
daily (between hotels and warehouses or exhibition venues), with an additional 5-km
travel to work (Lambert 2009).
In 2006, the Art Department’s outward loan carbon footprint was 53 tons of
carbon dioxide equivalents (Table 1). The transport of objects had the largest impact
on the environment, producing 52% of the total footprint (Figure 7). Couriers are
close behind at 45% of the total footprint. Figures 810 show a breakdown of the
impacts of the various elements within each loan component. It is significant that
transport (freight and passenger) represents 95% of the Art Department’s environ-
mental impact. Therefore, improving the carbon efficiency of transport is essential to
reducing its impact.
By way of comparison, 53 tons of carbon dioxide is equivalent to only about 20
return flights in Business Class between London and New York (DEFRA 2009),
to the personal annual carbon footprint of six UK residents (DEFRA 2008, 7) and
to the hourly operation of the UK postal service (Royal Mail 2008, 2009). Closer to
museums, the transport emissions alone of a traveling exhibition organized by the
Smithsonian Institution (USA) amounted to 38 tons of carbon dioxide (Warden
2007). Thus, 53 tons seems like a large amount of carbon dioxide, but placing it in
context with other activities reveals how society readily accepts activities that are far
more carbon-intensive.
Table 1. Summary table of the Art Department’s carbon footprint for 2006.
Wrapping materials
Polyethylene sheeting 12.4 km 0.021
Packing cases
Polyurethane foam 151 kg 0.453
Case deliveries 1368 km 1.097
Transport
Road freight (all) 29,601 km 23.000
Air freight 73,540 km 3.562
Rail freight 500 km 0.080
Sea freight 484 km 0.938
Couriers
Road-passenger 4071 km 0.917
Air-passenger 117,677 km 19.998
Rail-passenger 12,725 km 0.777
Hotel accommodations 75 nights 2.265
Food 143 days 0.179
Total carbon footprint 52.904
222 S. Lambert and J. Henderson
Figure 7. Breakdown of the Art Department’s total carbon footprint for 2006, by loan
component.
and its National EIL (United Kingdom) to 22. To do this, it would have to increase
its loan activities and/or reduce its environmental impact. The section How to Reduce
the Carbon Footprint of a Loans Program (below) offers suggestions on how this can
be achieved.
Figure 8. Breakdown of the Art Department’s carbon footprint for 2006 (packing case
component only).
Museum Management and Curatorship 223
Figure 9. Distribution of the Art Department’s carbon footprint for 2006 (transport
component only).
Figure 10. Distribution of the Art Department’s carbon footprint for 2006 (courier
component only).
224 S. Lambert and J. Henderson
Table 2. EIL performance indicators for the Art Department’s outward loans for 2006.
tons of solid waste. Where leasing is not yet viable, museums should keep and refit
their cases as much as possible.
(1) the maximum number of cases that can fit inside a truck;
(2) the maximum number of cases that can be supervised by a courier.
Large loans may require a larger, heavier truck and/or an additional courier, thus
increasing the environmental impact. The maximum number of packing cases that
can fit inside a truck is difficult to quantify because of the variability in case and
truck sizes, and because of the sharing of transport with other institutions.
Nonetheless, museums could set formal limits based on these two thresholds to
Museum Management and Curatorship 225
lower their environmental impact, minimize costs to the borrower and use their own
staff effectively. For example, they could decide to approve only those loans that do
not require more than one courier.
Benchmark performance
Following their first assessment, museums should create their own internal bench-
marks by monitoring yearly carbon reductions or increases, or by demonstrating
how the loan footprint relates to that of other museum functions. It is useful to
remember that any carbon reduction is a step forward to making outreach activities
more environmentally sustainable. It is not necessarily possible, and may actually be
misleading, to define what constitutes an ‘acceptable loan footprint’. Further
research is required into what impact can be expected from ‘average’ loan programs
that ensure a good level of access on a reasonably low footprint.
Museums may already be following many of the above-mentioned recommenda-
tions to save resources. Financially motivated decisions can be accompanied by
environmental benefits. Museum managers can make a positive difference by
integrating concerns for their carbon footprint into everyday decision making, in
loan policies and procedures.
Discussion
While interest in minimizing environmental impact is increasing in the museum
sector, so does the pressure to improve collections mobility (European Commission
2007; Museums, Libraries and Archives Council 2009). At the same time, the
current economic climate may be threatening the capacity of museums to deliver
these services (Kaufman and Bailey 2009). Instead of reducing total activity to
reduce the carbon footprint, this assessment shows the importance of aiming for
environmental efficiency while still allowing the museum to create socially and
economically attractive activities, such as loans. Carbon footprints address only one
of the three pillars of sustainability (environmental, social and economic). Museums
wishing to assess their overall sustainability should find meaningful ways of
integrating environmental impact into a wider matrix of social and economic
impacts.
Museum Management and Curatorship 227
The methodology described within this paper offers a relatively simple way to
calculate the environmental impact of museum art loans, including a performance
indicator to correlate activities to benefits. However, it does require a commitment to
collect and interpret data, and to act upon these findings. Many museum
professionals already feel that they are being asked to carry out an increasing
multiplicity of tasks with decreasing resources. The authors provide a tool to help
museums better understand how their activities affect climate change and how
to minimize this impact. It is for the profession to gauge its importance and priority.
Is monitoring environmental impact an unwelcome distraction or an essential step in
ensuring the relevance of museum practice in society?
Conclusion
The generous participation of Amgueddfa Cymru National Museum Wales in the
pilot study has made it possible to test the eight-step carbon footprinting
methodology and refine the data collection and calculation sheets to allow any
museum to conduct its own carbon footprint assessment. Based on the methodology
used, the Art Department’s outward loan footprint for 2006 was 53 tons of carbon
dioxide equivalents 95% of which resulted from freight and passenger transport. It
is impressive that its current environment-friendly practices have contributed to
savings of more than 15 tons of carbon dioxide equivalents, and encouraging that the
review of transport practices could save even more.
Museums in general should reexamine couriering practices and policies,
transport operations, exhibitions itinerary planning and the reuse of materials.
This study considered outward loan activities from one lending institution to several
venues. A further extension of this work will be to use the methodology to determine
the total impact of traveling exhibitions, including a component for visitor travel.
According to the UK Museums Association’s fifth draft sustainability principle,
museums must ‘make the best use of energy and other natural resources and
minimize waste, setting targets and monitoring progress towards them’ (Museums
Association 2008, 6). By using this tool, museums worldwide can formulate informed
strategies for loan programs while serving the diversity of established aims for access.
To grow sustainably, museum loan activities in the twenty-first century should aim to
balance environmental, social and economic concerns, and the EIL is offered to
contribute to this vision.
Acknowledgements
The authors thank the staff of the Art Department of Amgueddfa Cymru National Museum
Wales (AC-NMW), especially Clare Smith, Tim Egan, Lee Jones, Kate Lowry, Bryony
Dawkes, Andrew Renton, Rachel Conroy and Judi Pinkham. The authors also thank Lea T.F.
Warden, Stephen Mellor, Rebecca Hellen, Kate Bellamy, John Roffey, Kathy Amey, Craig
Jones, Tim Sutton, Diane Gwilt, Veronica Bullock and Katriina Similä for their input and
comments. The authors are indebted to the Editor-in-Chief and reviewers of the journal for
their timely and insightful comments.
Notes
1. In this article, ‘carbon’ is used as shorthand for all other GHGs associated with global
warming.
228 S. Lambert and J. Henderson
2. The Greenhouse Gas Protocol is based on guidelines and accounting principles defined by
the IPCC (1996) and is the basis of International Standard 14064 (International Standards
Organization 2006).
3. For utilities and transport, GHG conversion factors (also called ‘emission coefficients’ or
‘emission factors’) are calculated using energy and fuel efficiency statistics, technical
characteristics and use patterns of sources (DEFRA 2009). For manufactured products,
emissions arise from a variety of sources along a complex chain, and therefore, ‘embodied
carbon dioxide coefficients’ are used; these are specific to each country and industry sector
(Hammond and Jones 2008).
Notes on contributors
Simon Lambert received an MSc in Care of Collections from Cardiff University, Wales, in
2009, with a dissertation on the environmental impact of museum loans. For this work, he was
awarded the 2010 ICON (Institute for Conservation, UK) Student Conservator of the Year
award as well as Cardiff University’s School prize. Simon holds a BA in art history and Italian
literature from McGill University, Canada, and a Laurea in paintings conservation from the
University of Urbino, Italy. He is currently engaged as a project assistant in the Collections
Unit of ICCROM (International Centre for the Study of the Preservation and Restoration of
Cultural Property) in Rome.
Jane Henderson, FIIC, is an accredited member of ICON, and has been studying and working
in conservation and collections care in Wales since 1984. She has a BSc in Archaeological
Conservation and an MSc in Collections Care. Jane has worked in conservation in both public
and private sectors, including as Conservation Manager for the Council of Museums in Wales.
Jane now teaches on Cardiff University’s BSc in Conservation and MScs in Collections Care
and Conservation Practice. Jane is the stewardship representative on the Welsh Federation of
Museum and Art Galleries, and the Trustee representing Wales for ICON.
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All measurements entered into the equation (x, y, z, . . .) must be expressed in cm.
Area multiplier: 3
PES thickness: 0.01 cm PES density:
0.925 g/cm3 (ASTM 2000)
Constant to give result expressed in
QPES xy 3 0.01 0.925 } 1000 kg: 1000
xLength of frame (cm)
y Height of frame (cm)
Example: 70 1503 0.01 0.925 } 1000 0.29 kg PES
GHG conversion factor for wrapping and packing case (after Hammond and Jones 2008).
GHG conversion
Material Function factor (kgCO2/kg)
GHG conversion factors used for freight transport and passenger transport.
Description, as GHG
written in published conversion
Freight Region sources factor Unit Source
Air
Rail
Sea
All
All
All
international
Short-haul
international
Diesel
Large RoPax Ferry
Description, as
1.4183
0.0319
0.3875
GHG
kgCO2e/(t×km)
kgCO2e/(t×km)
kgCO2e/(t×km)
} DEFRA
2009
}
‘average’
GHG
Coefficient conversion
Activity Region description factor Unit Source