Arts Council England - Sustainable production 30.04.14
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Please see the following amendments: - Green Theatre Guide was created by the Mayor of London's culture team (please note that the guide was created in 2008)
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Arts Council England - Sustainable production 30.04.14
- 1. WEBINAR STARTING AT 12.30PM Today’s Topic: Sustainable Production and Exhibitions A reminder of the environmental reporting requirements including how to add new data to the IG Tools, plus a special focus on : Top tips on how to identify, manage and reduce the environmental impacts of your productions and exhibitions.
- 2. Sustainable Production and Exhibitions Lucy Latham Environmental Sustainability Coordinator Luke Ramsay Environmental Sustainability Coordinator Julie’s Bicycle th
- 4. Webinar Series • Weekly webinars for NPOs, MPMs, Bridge Organisations • Now until May (reporting deadline is May 30th) • www.juliesbicycle.com/resources/ace-npos/Webinars-2014 4 Going further: Sustainable Touring 30/04/14 Going further: Sustainable Productions and Exhibitions 30/04/14 Communicating success: how to effectively communicate your initiatives and stories 07/05/14 Staff engagement: planning, engaging, acting and maintaining momentum 14/05/14
- 5. Agenda • Introduction to Julie’s Bicycle • Environmental reporting requirements – a reminder • Reporting to Julie’s Bicycle • Sustainable exhibitions • Sustainable production • IG Tools – Production tab • Further Resources • Discussion
- 6. 3-year partnership with Arts Council England to support major funded organisations – 2012 to 2015 Julie’s Bicycle Research Networks Consultancy Resources Training Events Thought Leadership
- 7. 7 Results – Year 1 www.artscouncil.org.uk/media/uploads/pdf/Sustaining-Great-Art.pdf
- 8. Arts Council Requirements 1. Update your environmental policy and action plan. – Notify us using the IG Tools 2. Collecting data on emissions from energy and water use from April 2013 to March 2014 – Submit using the IG Tools Reporting deadline: 30th May 2014 8
- 9. Timeline 9 Input your 2013/2014 data and review results Policy and Action Plan update Notify JB on your Policy and Action Plan by 30th May (IG Tools) Annual submission for Arts Council England - Portal opens 1st May and closes 13 June To do now
- 10. Adding a new entry 10
- 11. Environmental Policy and Action Plan: Informing us
- 13. Production compared to other impacts Production impacts = 19% = 9,500 tonnes CO2e a year Including rehearsal = 47% NOT including audience or business travel. Important to focus on auditorium and FoH energy use too.
- 14. Environmental impacts of production Embodied carbon emissions Sourcing Design Construction Materials Stage lighting Automation Sound Projection Energy Equipment hire Equipment procurement and delivery Materials/pr ops/costume procurement Cast, crew and creative team Travel Set and props disposal Waste
- 15. Towards a circular economy
- 17. Production Management • Build sustainability into planning from day one • Involve everyone from the outset – director, producer, designer, PM, TM etc. • Create a sustainable production policy • Keep sustainability on the agenda • Think about how to manage waste early on • Monitor your environmental impacts • Evaluate and share learning
- 18. Lighting What do we know? • 9% of energy use in a venue (conservative) • Royal Opera House – 15%
- 19. Top Tips • Maintain equipment – it’s worth the investment • Use existing stock efficiently • Hire locally • Use alternatives to PVC tap – Velcro, bungee chords, fabric ties • Design efficiently – use the right luminaire for the job • Consider LED where it is fit for purpose • Dim where possible • Conduct rehearsals under working lights • Switch off after the rig check until the half Further reading • Sustainable Production Guide • White Light Green Guide • BBC Low Energy Lighting Guide
- 20. Sound, AV and Automation What do we know? • Rechargeable batteries – 32 times less harmful • Automation in larger venues can exceed energy supply capacity • Early stages – we need more data
- 21. Top Tips Sound and AV • Switch off when not in use • Choose the most energy efficient equipment available • Use rechargeable batteries • Hire locally Automation • Update inverters • Voltage Power Optimisation • Manage Peak Demand • Explore renewables
- 22. Set Materials What do we know? • Calculating emissions for each production • Timber and steel emissions fluctuated between 19-68 tonnes CO2e – equivalent of 2% and 10% of overall emissions • Banned tropical hardwood ply • Disposing of waste materials responsibly Beyond carbon • Sourcing issues • Treatments • Disposal
- 23. Top Tips • Avoid tropical hardwood ply (lauan) • Buy from FSC certified sources with a chain of custody • Use materials you know can be recycled • Build with disassembly in mind • Use nails and glue sparingly • Minimise toxic treatments and seek natural alternatives • Work with a disposal company that recycles • Explore other reuse options – Community Paint • Connect with local communities, schools, and Freecycle initiatives
- 24. Materials: Green Theatre Choices www.moolelo.net/green
- 25. Challenging Aesthetics Paule Constable Soutra Gilmour Arcola Theatre
- 26. Developing and Testing Technology Prue Lang fanSHEN Theatre Company Kacie Hultgren Powerful Thinking
- 27. • Venue consortia • Touring consortia • Sustainable production/exhibition pilots • Cross-industry initiatives • New technology trials • Audience engagement Sustainable production responses
- 28. Case study: Central School of Speech and Drama GREEN CABARET http://www.juliesbicycle.com/resources/case-studies/production/cssd-cabaret
- 29. Case study: Young Vic, After Miss Julie • 34% reduction in relative energy emissions per audience member • A reduction of 68% in transport emissions • Overall 99% reduction in absolute emissions from paper use compared to previous shows
- 32. Case study: Scenery Salvage • On average 80% of props and 40% of scenery is saleable
- 33. Sustainable Exhibitions Current impact of exhibitions: 10,184 tonnes CO2e per year
- 34. Top tips Transport: • Avoid air freight – switch to road where possible if fully loaded • Avoid couriers • Investigate rail and sea freight • Look for shipping transport collaborations with other galleries/local organisations • Improve load utilisation and logistics – full loads, intelligent route planning, no empty journeys Display: • Design exhibitions to minimise use of temporary walls • Design walls of standard dimensions to accord with the dimensions of timber and plasterboard • Reuse timber and plaster where possible Buildings: • Set thermostats to lower temperatures in workshops and storage areas • Introduce zonal control and times • Relax temperature and humidity controls • Switch to LED lighting and light sensors • Switch off exterior lighting during the day
- 35. Case study: Victoria and Albert Museum • Modified set-points • Optimised free cooling • Passive environmental control Outcomes • No humidification or refrigeration equipment required • Environmental control achieved through ventilations and heating systems • Up to 30% energy saving possible compared to traditional close controlled mechanical air con system • Reduced running costs • Reduced emissions Source: Arup, Museums & art galleries survival strategies
- 36. Case study: Baltic • Travel – engaging with transport agents Flexible HVAC controls – decided on a case-by-case basis • Sustainable exhibition build • Timed switching
- 37. Organisations and networks • The Happy Museum • Sustainable Exhibitions for Museums • Operation Green Museums • Visual Arts and Galleries Association Museums Association • Greener Museums • Sustainable Exhibitions for Museums Group • Museum and Art Gallery Survival Strategies
- 43. 43 What does my data tell me?
- 44. What does my data tell me? • IG Tool pie chart – Prioritising impacts – Using different metrics e.g. per m2
- 45. • Good for drawing comparisons between different productions What does my data tell me?
- 46. Further support • www.juliesbicycle.com/resources/ace- npos/help-guidance • Email or phone support from Julie’s Bicycle • Further webinars • Practical Guides and Fact sheets – Sustainable Production Guide – Green Theatre Guide – Green Visual Arts Guide – Better Batteries Campaign 46
- 48. Any questions? • Reporting deadline 30th May 2014 • Allow 4 – 6 weeks for reporting cycle to take place within • support@juliesbicycle.com • www.juliesbicycle.com 48
Editor's Notes
- We are currently developing and re-developing lots of new guides so keep an eye on the website. And we have created some how-to instructional videos which are on the website._______________Julie’s Bicycle is a charity, founded in 2007 now working with hundreds of arts organisations in the UK and abroad.Our mission is to make environmental sustainability intrinsic to the business, art and ethics of music, theatre and the creative industries.To do so we’ve developed a range of practical resources and tools, such as the IG Tools, our free carbon calculators that you’ve been using to submit your data for your reporting, as well as a range of guides, toolkits and other publications. We also offer bespoke consultancy services, facilitate networks, as well as work with universities to develop research publications on a particular topic of interest to the sectors we work with e.g. touring, digital, etc.www.juliesbicycle.com
- http://www.artscouncil.org.uk/media/uploads/pdf/Sustaining-Great-Art.pdf
- Exactly the same as for 2012/13Input Energy and Water consumption for 2013/14 into the IG Tools - covering buildings, offices and eventsData provided for buildings and offices needs to cover 12 months. Strongly encouraged to go beyond the minimum requirements as well if you can, and provide data on waste, travel, tours and productions using the IG Tools. Let us know that you have your policy and action plan in place or are revising them – the documents themselves don’t need to be submittedDeadline30th May 2014Please get in touch asap if you think 30th May will be difficult If you are coming into this fresh, then you will need to retrospectively add in data for the 2012/13 year as well.
- You need to enter and submit your data to JB – which we will double check and then sign offYou only need to report on outdoor events, not indoor. And only buildings/offices that you have control over i.e. that you pay bills for. You will need to update your policy (if appropriate) and revise your action plan, which does need to be done at least annually. You can use the IG Tools to update us on this as well.
- If you are about to input your data, you will need to add a new entry onto your IG Tools account.
- Log into your IG Tools Account Go to the ‘Account’ tabCheck the relevant boxes to let us know you have an environmental policy and/or action plan in place Opportunity to explain when you’ll be expecting to have your policy and/or action plan in place or when you’re expecting to be revising them in the Notes box below, especially if that will be after the 30th May deadline.You can edit this text at a later point.These tick boxes and data fields will only be visible if you’ve ticked the ACE funded box and picked your relevant funding sources – either NPO, MPM, BRIDGE. You can multiple funding sources. And don’t forget to hit save at the bottom.
- Pie chart taken from Green Theatre Guide Carbon Footprint from London Theatres. Total emissions (excluding pre-production and audience travel) are approximately 50,000 tonnes per year, which is roughly equivalent to 10% of London’s bus emissions, or the yearly energy consumption of almost 9,000 homes.
- The main environmental impacts associated with production
- Circular economy:The material economy needs to movefrom a disposal model to one that puts regeneration at its heart.The linear ‘take, make, dispose’ model relies on large quantities of easily accessible resources and energy, and as such is increasingly unfit for the reality in which it operates. Simply working towards efficiency i.e. a reduction of resources and fossil energy consumed per unit of manufacturing output,will not alter the finite nature of their stocks but can only delay the inevitable. A change of the entire operating system seems necessary. The circular economy principleThe circular economy refers to an industrial economy that is restorative by intention; aims to rely on renewable energy; minimises, tracks, and hopefully eliminates the use of toxic chemicals; and eradicates waste through careful design. So this includes “designing out” waste, usingbiological materials whichare designed to be returned to nature, and creating and using technical materials which are designed for perpetual cycles of use by industry. It means working towards using energy from renewable sources, and thinking in ‘systems’ and cyclesi.e. understanding how different parts influence and interact with one another and with the system as a whole.What can we do?• Understand our impacts - JB IG Tool for Production (which I’ll talk about later)• Work collaboratively and with other industries to find sustainable solutions – and find out what others are doing • Use technology to reduce energy, new aesthetics and production processes. • Use frameworks being established by other companies and sectors to move towards a circular economy, where our waste streams are diverted from landfill, we adopt a culture of resourcefulness and awareness of the value of the materials we use, and develop a shared infrastructure to use what we have more effectively. Find out more by looking at the Ellen Macarthur Foundation and work around Cradle to Cradle – lots of books and resources online to look at.
- The productions that most successfully implement new ways of sustainable working have two fundamental things incommon: the environment is on par with artistic and financial considerations, and everyone involved in the productionis engaged and invested in the goal of sustainability from the outset. The stronger the commitment across the team –from the director to the technical crew – the greater the willingness to experiment, takerisks and try new productsand ways of working will be.Strong leadership is crucial to establish a vision and practical framework for sustainable production that is achievableand relevant to the production.You need to create and Environmental Policy that represents you. It needs buy-in, if people are involved with agreeing targets and actions, they are more likely to help meet them. The best environmental policies are in line with the ethos of the production, is unique to the production and the people in the room, it should use the best of your talents and creativity. There are some examples of production policies from Sydney Theatre Company and Arcola Theatre, the links will be in the presentation notes which will be circulated afterwards. www.greeningthewharf.com/projects/theatre-productionwww.arcolatheatre.com/greenarcola/greening_theatreWaste management – build in disposal to the procurement process Monitor – you can use the Julie’s Bicycle IG production tools, also consider use of submetersEvalutation – Analyse the success of the production’s sustainability post production, celebrate successes and achievements with the team and look at ways you can continue to explore new approaches – share all your learnings, the good, bad and ugly.
- Pie chart taken from Green Theatre Guide 9% conservative approximation, Royal Opera House found that lighting equated to 15% of their carbon footprint.
- No research about embodied carbon of LED lights, best practice is to utilise your own lighting stock efficiently, keeping them well maintained, and consider LEDs when hiring our renewing stock.The National did replace tungsten lights (a total of 120 units) used on average for 10 hours per day, with LEDs and this cut energy user by 88%.Hiring locally, helps buoy local economy and reduces transport emissions.In terms of dimming – dimming to correct levels draws less energy, you can also get fully dimmable LED lighting.Switch off after the rig check until the half – Switching off your stage lighting after the rig check until the half an hour before the show starts. A lot of people are scared to do this, incase something gets messed up, but it is an advocated practice by lighting manufacturers such as Veri-lite and The National Theatre has been doing it for 6 years without issue. This makes an estimated annual saving of £1,200, and 30% of typical lighting use.Software -FocusTrack is a database system designed for keeping track of how lights are used in shows. PowerTrack will tell you when and how long each light is on, what level it is at,the power consumption of each of those lights,the load of each cue, and the total power consumption of your show. Was used very successfully by Katie Oman for Seattle RepFurther reading: Julies Bicycle Sustainable Production guide is really recommended, including a lot of technical information as well as behavioural. Look at the other two for specific on lamps and fixtures etc.
- It’s key to make sure automation is designed with energy capacity and peak demand in mind. You could also consider using renewables as a temporary power solution.Updating inverters is always helpful. Whenever you add a new motor to your network – always good to check how old inverters are and if they’re doing the right job. Whenever your changing the motors and the demand within your building also good to do a power correction factor survey and look at getting voltage optimisation, such as powerperfector.com which will make sure the power in your building is being managed and distributed well. Aldeburgh Music fitted a powerperfector voltage optimisation system and reduced energy use by 16% per year. Get a free quote. Sound and projection for us is a relatively new area, so we haven’t yet been able to get enough data and information from technicians to establish top tips for best practice. We’d love to hear from anyone who is working on practices that are making a difference in this area. Some anecdotal feedback that switching to digital sound seems to decrease energy use, but other feedback hasn’t been so sure – so we’re open to suggestions on this!However, we do know that for sound mics and other portable battery-powered equipment rechargeable batteries are without a doubt a good move – 32 times less impact on the environment, save up to approx £42 per battery per year and tonnes of waste to landfill by recycling batteries after use via schemes such as Battery Back. All information about the switch, including suppliers, recycling schemes and case studies of organisations who have trialed this can be found at www.betterbatteries.info
- Simon York and The Royal Court looked at the embodied carbon of timber and steel materials used, including disposal. It was found that emissions fluctuated between 19 and 68 tonnes of carbon dioxide equivalents.They made reductions by using reclaimed or recycled steel, reclaimed or FSC timber and using scenery salvage – a company which allowed them to recycle 100% of their material – case study on Scenery Salvage later on in the presentation.Royal Court have now committed to using only FSC timber and have an ongoing contract with Scenery Salvage. They also use the Industry Green Production tool, which I’m going to talk you through later in the presentation.Although the impact of materials can vary hugely, they offer significant money saving potential and a really good engagement tool with staff throughout your organisation who currently might not be involved in the dialogue around sustainability.Looking beyond carbon, look at paints with low VOCs (Volatile Organic Compounds) and minimise use of toxic materials – more information about this in the Sustainable Production guide.In terms of disposal, promote resource re-use and good stock management practices. Also investigate sharing materials with other local theatrres…
- Key resource for understanding impacts of various materials is the Green Choices Toolkit, developed by Mo’olelo Theatre Company. They created a traffic light system for all of the detailed materials used in set production – example from paper and adhesives section. Very helpful for planning stages and working with designers to give them options that are very clearly articulated in terms of their positive or negative environmental impact.
- Paule Constable - One of the UK's leading, Olivier award winning, lighting designers, Paule Constable has worked for Glyndebourne, The Royal Opera House, English National Opera, Welsh National Opera among many others. The image here is taken from Warhorse which she designed the lighting for. She considers sustainability to be about challenging the “more is more” assumption – that audiences want big and spectacular effects, she believes in a more paired down aesthetic, but using excellent knowledge and skills to create atmosphere by knowing what lamps are really fit for the job, and designing rigs with maximum efficiency in mind. This isn’t just in terms of energy efficiency, which is actually the result of designing an efficient and well considered rig where every lamp is there for a reason. Soutra Gilmour – Really well regarded production designer, she created the production design for Macbeth, which starred James McAvoy. She also who won the Best Design award at last year's Evening Standard theatre awards. Commitment to exploring what eco-design means for her work, and that manifests itself differently with each show she works on. For instance, Macbeth, which had a fairly minimalist set, offered the biggest opportunity in costume design – she sourced 90% costumes second hand.Arcola theatre – installed a hydrogen fuel cell to power café/bar lighting and selected main house shows. Fuel cell operates almost silently producing nothing but electricity and clean water. 5kW fuel cell system is situated in the foyer of the theatre to spur discussion. Arcola has also delivered low-energy lighting and fuel cell power to Latitude Festival, providing lighting for the entire theatre arena, cutting power by 70%. They also have a blog and ongoing campaign arcolaenergy.com.In 2008, Arcola Theatre demonstrated that there is no artistic compromise required to deliver low energy naturalistic lighting for classic works. Mehmet Ergen's critically acclaimed production of Ibsen's An Enemy of the People is lit on under 5kW.The challenge was to light a naturalistic piece of theatre with a peak lighting load of just 5kW. For a previous show at Arcola Theatre The Living Unknown Soldier, LED and fluorescent sources were used to cut power consumption to this level, however the colours, dimming profiles, and quality of light given from the previous generation of LEDs and fluorescents madeit difficult to use them in naturalistic pieces where the lighting should go unnoticed.Lighting designer Michael Nabarro instead used a combination of lower-wattage and lower-voltage tungsten sources provided by Selecon, ETC and White Light to trim the overall power, without artistic compromise.The show was lit on significantly less power than it might otherwise have been using traditional equipment yet the quality of the finished product did not suffer and the show was in no way "under lit", proof that it is possible to provide effective theatre lighting with a low energy budget.LED technology has moved on significantly since 2008 and there are companies that purport to provide LEDs which produce a naturalistic lighting effect.
- This slide is giving some examples of the kind of opportunities that the cultural sector have for connecting with, using and piloting, new technology, innovation,and material science.Prue Lang: Innovating choreographer who uses technology – in November 2013 she worked with Grafitti Research Lab (France) on the Timeproject production, where dancers wore a new prototype of piezoelectric shoes, that harness the dancer’s energy throughout the performance.Kacie Hultgren: scenic designer in the theatre. uses her 3D Printer to create scale set models and Sells 3D printed scale furniture. Not necessarily sustainable but certainly presents a lot of opportunities as materials get greener and more innovations are made in material science.Powerful Thinking: Powerful Thinking is a not-for-profit industry think-do tank working towards an energy efficient, low carbon and cost effective future for festivals. Lots of resources about efficient power, sourcing, temporary power structures, use of renewables for events – an excellent resource, also see the Power Behind Festivals Guide. FanSHEN: Theatre company who place environmental sustainability at the heart of performance-making practice in a way that doesn’t compromise aesthetics, but aims to actively enhance it. Their latest production “Cheese” used electricity generated by people on exercise bikes at a nearby gym, stored in batteries and transported by bicycle to the performance space. While this process caused a greater power restriction on the show, FanSHEN admit that actively integrating these limitations early on in the creative process, also helped unify other elements of the production. The production was shown in a disused office space in Oxford Street, so a lot of the work of the design was re-organising the space so that it felt like a neutral office again. The JB team went to see it, and it was inventive and unconventional, and they established a really individual, efficient, and very memorable aesthetic.
- Consortia e.g. Newcastle Gateshead Cultural Venues (NGCV), London Theatre Consortium (LTC)Sustainable Production pilots:Central School of speech and drama – case study on next slidesAfter Miss Julie at the Young Vic - case study on next slidesArcola – Talked about them previously, they also used rechargeable batteries to power all of the radio mics in Arcola’s production of Sweet Smell of Success (2012)Polka Theatre - educational performance, The Planet and Stuff, aims to inform young people about the problems of climate change and what they can do to help solve it.
- The Royal Centre School of Speech and Drama (Central) decided to trial a more sustainable approach to theatre production, using their annual musical theatre show as the first step in the process. They staged CABARET in March 2013 with support from Julie’s Bicycle.Central had already implemented several sustainable production initiatives, including:- LED house lights in the Exchange Theatre auditorium;- 100% production waste recycling through Scenery Salvage;- A Bristol Water Aqua Service Unit for washing painting equipment which separates the toxic paint residue for responsible disposal and filters and reuses the water used for washing;- A waste vegetable oil (WVO) biofuel generator used to power the school’s studio space;- Partnerships with lighting suppliers to give students the opportunity to work with new low-energy lighting technology;A commitment to use FSC certified timber where possible. They built on this, with Caberet, and they also:Tracked company travel and production deliveriesMonitored lighting energy draw using FocusTrack softwareUsed only house lighting stock to light the showRecorded what materials were used and assessed sustainability of each oneLocal sourcing wherever possible across all departments and minimum van delivery usedFSC certified timber used from construction where possibleExperimented with alternatives to silicone mouldResearched paint with lower VOC quantitiesCostumes hired, reused and upcycled from Central and National Theatre stores, and/or constructed from fabric purchased locallyAll set recycled through Scenery Salvage or kept for future productions in the Central storeReusable water bottles used by company throughoutCommunicated aims and objectives via policy displayed in working areas
- After Miss Julie at the Young Vic:HVAC-they decided to avoid heating and cooling the space and ventilate with fresh air as much as possible. This was done by keeping the ventilation fans on at a low speed and relaxing the boundaries for the theatre’s optimum environment settings, for example, setting them at 18 – 24 degrees, rather than a fixed optimum temperature of 22 degrees. Audiences were advised to bring extra layers “just in case”.Lighting-lighting designer focused on using the lighting stock that the Young Vic already had available in-house, to reduce transport emissions from external hires. This didn’t include any specifically energy efficient bulbs or LEDs, but the Maria studio was fitted with new low energy house lights. Rehearsal hours were shifted from 10-6 to 9-5 to make best use of daylight.Set design – second handCostume - Most of the costumes were vintage items sourced within London or the South of England and some items were hired. Props and costumes were mostly put away in storage for future shows, and any remaining materials were recycled and taken to a reclamation centre by Scenery Salvage.Paper use -The marketing department took the step of sending press releases electronically and not printing flyers. Posters for display outside the theatre were still printed.Paper use was further reduced by piloting a paperless ticketing system where reusable tokens were given to audience members to gain entry. The audience were also given the option of hiring their programme for a reduced price of 50p (compared to the full price of £3), handing it back after the performance to be reused. Programmes were printed on recycled paper with vegetable inks.
- After Miss JulieAlso used their programme to really engage with their audiences.The cast and staff biographies included information about their most interesting environmental challenge during the production the programme also featured a section on rationing, a list of what was being rationed in the war (the time the play is set) and what resources were rationed in the production of the play.
- An Infographic was designed by David McCandless (author of Information is Beautiful) to creatively depict the carbon footprint of various products and services and the interventions and actions taken by the Young Vic.The Young Vic created a mural so that at the end of the show audiences exited through a ‘green walkway’ which included the mural painted onto the wall to minimise the environmental impact compared to vinyl stickers or boards.Additional material was available on the Young Vic’s website and in blogs
- Scenery Salvage provides a service that re-uses and recycles scenery and props at no additional cost than you would pay otherwise. They remove unwanted scenery and props so that they can be re-used or recycled therefore negating use of landfill and need for other clients to construct new scenery. Clients can buy and hire second-had set pieces.Items are sorted, firstly into their useful pieces which are sold back to the industry at cheaper rates, and the remaining materials are recycled. Timber is chipped and becomes chipboard, animal bedding, insulation products, mulch etc. Plastics are made into pellets and reused for manufacturing all numbers of items in plastic industry. Metal is crushed and sent for smelting to become the raw product for multiple uses.Their clients include Britain’s Best Dish on ITV to Eastenders.
- Pie chart taken from Green Visual Arts Guide – Julie’s Bicycle resource. The pie chart on the left summarises the estimated 2009 emissions of the visual arts sector in London – which is around 22,442 tonnes of co2e. If you remove audience travel (as it is not under direct control of the sector) the total is 96,435 tonnes co2e – which you can see on the right-hand side.
- Manchester Art Gallery did some pioneering work on re-negotiating temperature settings/parameters required for arts works- Blanket conditions should no longer apply. Instead conditions should be determined by the requirements of individual objects or groups of objects and the local climate - Care of collections should be achieved in a way that does not assume air-conditioning or any other current solutions. Passive methods, simple technology that is easy to maintain, and lower energy solutions should be considered; -Natural and sustainable environmental controls should be explored and exploited fully;
- In 2010V&A decided to revise its environmental guidelines so that a wider band of relative humidity is allowable. The updated guidelines specified a RH of 45 +/- 10%, with less than 10% variation within a 24hr period. This replaced a much stricter range of 50 +/- 5% with a temperature control of 22 degrees +/- 1 degree. By prioritising object conservation over occupant comfort the perimeter heating and ventilations system can be used to provide adequate environmental control. SOURCE: file:///C:/Users/Lucy/Downloads/Museum_and_Gallery_Survival_Strategy_Guide.pdf
- The BALTIC in Newcastle has created a specific policy document for creating a sustainable exhibition. TravelEngage these agents in assessing ways they can reduce their own environmental impact without compromising the safety and care of the artworks. Where possible, using trucks rather than planesHiring or re-using cratesUsing sea or rail freight as opposed to airConsolidating shipments and managing the geography of exhibitions intelligently so that objects are not transported needlesslyHVAC controls: BALTIC considers what is appropriate for each exhibition and loan rather than having a standard environmental monitoring policy, to ensure requirements are not unnecessary and unsuitableExhibition build:A system of re-usable wall panels has been developed in house to increase the re-cycling of materialsWhere possible, exhibition layout design is developed with an eye to minimizing constructionSteel work, sheet materials and timber are re-used Use of FSC (Forest Stewardship Council) certified woodAvoidance of harsh cleaning products and use of solvent free paintsLighting:The lighting control system allows for timed switching of the lighting in the galleries, as in the rest of the building. Lighting is therefore turned off when the galleries are not occupied and the building is closed to the public.
- The Happy Museum is an action research project testing out the potential to re-define museums as spaces for people to be active, learn new things, look at the world differently, make friends and give something back. It proposes viewing people not as audiences but as collaborators, not as beneficiaries but citizens and stewards, seeing museums as participative institutions in which individuals are co-creators of their own space.The Happy Museum Project has commissioned 22 projects so far.They have also commissioned London School of Economics, to create the paper shown on the slide which is looking at valuing well-being in response to cultural activities. The following initiatives provide tailored support to the visual arts sector: Visual Arts and Galleries Association http://www.vaga.co.ukMuseums Association - http://www.museumsassociation.org - which has a carbon footprinting section for membersGreener Museums - http://www.greenermuseums.org/ - a consultancy focusing on museums and galleries.Sustainable Exhibitions for Museums Group – which runs a yahoo forum to share efficiencies and best practiceMuseum and Art Gallery Survival Strategies: a guide for reducing operating costs and improving sustainability – http://www.renaissancenw.org.uk
- The IG Tools Production tool is slightly different from the others, in that it doesn’t have tabs for energy, water or general waste – the production tool is specifically for the production itself, with tabs for set design and lighting sound and effects. So for energy, water and waste, you would create a separate entry under the Venues/cultural buildings “activity”.This screenshot shows the General tab where you enter general information about the production. It’s important to fill this out to the best of your ability and quite a few of the data fields are necessary to do the backend carbon calculations, e.g. rehearsal days, average show length. When you go on ‘View Results’ tab, it will list any required information you are missing. Several of the data fields also are needed to view your data using metrics, for example inputting your budget information will allow you to view your emissions per £1000 spent.
- The set design and management allows you to input information about your materials used – timber and steel – the steel section is further down the page.The plusses and minuses allow you to add and remove additional rows.As you go through each section, guidance notes will appear on the right hand side to help you.The section shaded in blue refers to what you do with the materials after the production – you have to make sure these % all add up to 100, otherwise the calculation won’t work.
- The next tab is for Lighting, sound and effects, so you use this section to input data on kW for your different rigs – rehearsal, show, and maintenance (or working lights).Further down the page you can input kW for sound, projection and automation.
- Then we have the last two tabs, Innovation and View Results – same as the other IG Tools activities.
- IG Tools functionality – See our video Understanding Data on the website, http://www.juliesbicycle.com/resources/ace-npos/ig-tools-how-to-videosResults table:All your results summarised in a table. You can tick multiple entries to have them summed together. You can pick productions from different years to do a chronological comparison if that’s appropriate- changes in emissions will appear in green.You can pick different metrics from the drop down menu for example per m2, per employee . This is contingent on you putting in all the correct information previously within the Tool.You can also download your results and your entry data into CSV files
- New functionality on the IG Tools to help present results visually – graphs:Pie chart – You can click on each pie chart segment to zoom in and see the breakdown e.g. I have selected steel.Again, you can view your data by different metricsYou can also save and export the graphs and use it for communications.
- Bar chart – can be used to compare different entries (i.e. years of data) or different activities (i.e. events, buildings, tours, productions, offices).
- http://www.juliesbicycle.com/media/downloads/green-theatre-report.pdfhttp://www.juliesbicycle.com/media/downloads/practicalguides/JB-Better-Batteries-Campaign-Practical-Guide.pdfhttp://www.juliesbicycle.com/media/downloads/practicalguides/Sustainable-Production-Guide-Final-2013.pdfhttp://www.juliesbicycle.com/media/downloads/Green-Visual-Arts-Guide_web.pdf