Climate change, presumably, will affect the way buildings will be designed and managed. Also museums are challenged by such risk and a new kind of approach needs to be studied.
Among the wealth of websites and papers that the internet web allows to read about the climate change issue,Managing Indoor Climate Risks in Museums has the gift of explaining the big picture and, at the same time, giving practical tips to the many professionals that need to be supported in studying and applying real-world solution to a new problem.
Climate change can be threaten Cultural Heritage in differeny ways. One of the concerns that must be taken into account is due to the growing aggression to wood structures and artefacts that Xilophagies (animal eating wood) pose to historical wood objects.
Surprisingly, fire protection systems can be useful to improve the environment of museums and galleries, like the active fire protection measures that replaces the air within a protected space with inert air that has reduced oxygen concentration.
The different concentrations of the components of air are slightly altered (typically, five percent of the oxygen content can be substituted by nitrogen) and are safe to breathe for most people but prevent fire ignition in many materials.
Even if in the specific case of the Florence gallery low oxygen concentration systems weren’t used, the typical problems of improving the environment are similar to the ones faced by the Florence Galleria degli Uffizi, that has decontaminated by termites more than 400 masterpieces. The war on insects in one of the most famous museums in the world is in full swing. Xylophagous, a presence in typical environments with wooden structures such as museums or collections, will be eradicated by a new conservation work carried out by management and the staff of the Gallery. Will be cleared also the doors of the Gallery Room of the precious miniatures.
Uffizi Gallery is currently organizing the chemical treatment of all the doors of the Gallery and restoration of wooden decorations of the Hall of Miniatures. But the works of greatest importance and size are the altarpiece The Coronation of the Virgin by Lorenzo Monaco, Coronation of the Virgin by Botticelli and the triptych with the Adoration of the Shepherds by Hugo van der Goes. Such interventions are urgent and delicate and have to be carried out without moving the artifacts and without hindrance to the public, since two of these paintings are housed in a room which is relevant to Botticelli.