Today, to celebrate the anniversary of the first full-body MRI scan, we took a tour of our Mind Maps exhibition with curator Phil Loring. Phil shared his favourite objects and stories from the exhibition with our followers on Twitter.
In the next of our series of posts linked to The Rubbish Collection, Matt Moore, Head of Sustainable Development for the Science Museum Group, looks at how we measure and minimise the environmental impact of our exhibitions and galleries.
The Science Museum Group places sustainability at the heart of its work. In 2010 we created a sustainability policy that would sit at the heart of all our official work practices, but well before that we were developing ideas and projects that would pave the way for the innovative work we do today.
In 2005 we became the first national museum to install solar panels on the roof – awarded for innovation by the Department for Trade and Industry – which have so far produced over half-a-million kW of energy for the museum. It’s amazing how quickly technology is developing; those original panels produced 80W, our soon-to-be-installed new panels generate 280W and newer designs will be even more energy efficient.
While it’s easy to get carried away with whizz-bang new kit, we need to be conscious that our buildings, subject to changing building techniques over the last 100 or so years, are complicated to heat, light and make suitable for our visitors and irreplaceable objects.
We increasingly look at the ‘fabric-first’ approach to sustainability as we develop new projects and structures. By being intelligent with the building structures we can use the materials they are made from to help passively maintain good conditions for the objects they contain. The Hempcrete Museum Store at our Wroughton site is a fantastic example of this. It uses a hemp and lime construction medium to balance the humidity within the building according to temperature, decreasing the amount of air-conditioning that is required.
This work is not all big innovation though, there are many small, practical steps that have been taken to make the museum more energy efficient; from reprogramming the building management systems and lighting controllers to turning kit on only when it’s needed and changing our light bulbs to ever more efficient versions. This is important work for buildings of this scale and achieves impressive results – the lighting alone at our sister museum, the National Railway Museum, accounted for 44% of the energy used!
It is important when we develop new exhibitions and galleries that we plan and collaborate on the impacts and benefits that materials, electronic equipment and staff activity all have on a project. When the Atmosphere gallery was conceived, considerable effort was spent on understanding the environmental footprint, from the procurement chain to end of life disposal. This has become a core element of exhibitions being developed today; none more so than the Rubbish Collection!
Waste is an inevitable by-product of the Museum’s operation, and we are becoming more agile at dealing and developing new ways to divert this resource away from pointless burial. Our current system ensures that almost no waste is sent to landfill. What can’t be recycled is sent to Grundon’s highly efficient energy from waste plant, where with the increasing value of some of the raw materials means that our waste can become products that have a second, third or even fourth life after leaving the museum. Keeping waste to a minimum is an important part of the story, and through procurement we encourage suppliers to minimise both the travel distances for their products and the packaging associated with them.
Across our group of Museums, sustainability initiatives over the last year have seen many successes: at Wroughton, biodiversity actions have brought two poor-condition County Wildlife Sites into a land management plan. The cafés at all our sites achieved high levels of recognition from the Sustainable Restaurants Association for sourcing food from local and ethical suppliers, along with good practice within the cafés to minimise food waste and energy use. Café development at the Science Museum over the last few months has included innovatively planted walls and herb gardens in the new terrace area. Our procurement team is working hard to ensure that our suppliers and contractors have a good record and work with us to improve sourcing and energy efficiency.
So, what does the future hold for sustainability in the Science Museum Group? An ever-increasing need to be efficient in energy use will see developments in building fabric performance, energy efficiency technology and energy generation at our sites and when we develop our visitor spaces, new materials, efficient interactives and intelligent systems will add to the Museum experience. We’ll also be trying to put more energy back into the national grid than we take out with a 40MW solar project at our Wroughton site – that’s about four times the electricity that the Science Museum Group consumes!
Phase 1 of The Rubbish Collection runs until 15 July 2014. Phase 2 is open from 25 July to 14 September 2014.
Curator Peter Morris shares nine unusual facts about the Science Museum to celebrate our 105th birthday today (26 June 1909).
1. The Science Museum was officially established on 26 June 1909 thanks, in part, to the work of Sir Robert Morant, a Civil Servant who also laid the foundations for the NHS and the Medical Research Council. Both the Science Museum and the Victoria and Albert Museum (our neighbours) were originally known as the South Kensington Museum, which opened in 1858.
2. The Wright flyer, the world’s first heavier than air aircraft to fly, was originally displayed at the Science Museum. Orville Wright refused to donate the aircraft to the Smithsonian museum, instead loaning it to the Science Museum in 1928. The Science Museum had a replica of the aircraft built (on display in the Flight gallery) before returning the original to the Smithsonian in 1948.
3. Some scenes in the Ipcress File, the thriller starring a young Michael Caine, were filmed in the old Science Museum Library in 1964.
4. Stephenson’s Rocket, one of the most famous steam locomotives in the world, was stored at Brocket Hall in Hertfordshire during World War II. Brocket Hall is often used for filming, most notably the BBC TV version of “Pride and Prejudice” starring Colin Firth.
5. For three decades, between the 1930s and the 1960s, the Science Museum planned to put a planetarium on the top floor of the museum. The plans were dropped after Madame Tussauds opened the London Planetarium in 1958.
6. The Science Museum has held temporary exhibitions on typewriters, noise abatement, razors and Dr Who. Current temporary exhibitions feature everything from 3D Printing to Psychology, a giant 27ft horn loudspeaker and an exhibition about rubbish.
7. The Science Museum shared its premises with the Imperial War Museum between 1924 and 1935.
8. An automatic door, originally part of a temporary exhibition on photoelectric cells in 1933, is still on display today in the Secret Life of the Home gallery. It works on by breaking a beam of light shining on a photoelectric cell, and not via a pressure pad which opens most supermarket doors today.
9. The first ‘Children’s Gallery’ in the Museum opened in December 1931. It aimed to stimulate the curiosity of children, and included a large number of working models. The Science Museum’s Launchpad and Pattern Pod interactive galleries still have the same aim today.
All these facts and more can be found in Science for the Nation, a book about the Science Museum’s history which is available in the Museum Shop.
In this week’s blog from The Rubbish Collection, Corrinne Burns, Content Developer at our Antenna Gallery gets a volunteer’s view on the exhibition.
‘Do people just get naked in the Science Museum?’ Katyanna Quach asks me, with a suspicious look in her eyes. Before I have time to give that mental image the thorough probing that it deserves, I’m given a bit of context. “We’ve found a bra, some shoes…”
‘And an entire suit. And money. And a television,’ adds her colleague Hannah Burke. We’re standing in the basement of the Museum, surrounded by the bagged detritus of the previous day – waste from galleries, cafés, offices and kitchens. But they’re here for a good reason: this, friends, is art. Katyanna and Hannah are two of the many volunteers helping artist Joshua Sofaer in his quest to document an entire month’s Museum waste.
Joshua’s Rubbish Collection is an unusual art installation – over the next few weeks, every single item that goes into a Museum bin will be taken out again and publicly documented. Joshua is building a photographic archive of 21st century Museum waste – every receipt, every teabag, every half-eaten potato (and, it would appear, every bra and every television). For the last few months I’ve been watching my colleagues work with Joshua to draw this idea, this ‘contemporary archaeology’ project, out of Joshua’s head and onto the Museum floor. Today, I’ve come to see the result – and to meet the Museum volunteers at the centre of this unique archive.
Joshua hopes that the Rubbish Collection will make us “… consider what we choose to keep, what we discard, and why.” It’s certainly making the volunteers think.
‘I’ve seen whole uneaten lunches from Waitrose. Not touched at all. You just think, “Why didn’t you take it home?”’ says Hannah Tran. ‘Even Museum cafés create food waste – obviously they can’t keep sandwiches forever, but on the night shift we get a lot of completely unopened paninis.’
Katyanna shares Hannah Tran’s unease at the sheer volume of waste we produce. ‘You see how much of it there is and think, “I shouldn’t waste so much. I should recycle more.” Some stuff that could be recycled is just put in with general waste, and then it’s contaminated so you can’t recycle it.’ Katyanna, like many of the volunteers here, was driven to get involved with The Rubbish Collection because she feels that we need to make ourselves think about waste. ‘So much media attention is devoted to wildlife at risk, to species going extinct … but still, some people don’t really care. So this project is an interesting way to talk to the public and get them to think about rubbish, and recycling, differently.’
So what do visitors make of the whole experience?
‘Well, it looks really factory-like in here. Because we’re dressed in boiler suits, I think people come over and think, “Oh, these guys are working!”’ says Katyanna. ‘So I go, “Hi! Do you want to sort rubbish?”, and explain what we’re doing. Some people do really enjoy it and try their hardest to make something pretty out of it. Some people are disgusted by it, but do it anyway.’
Visitors don’t have to get too close for comfort , of course. They’re just as welcome to come and observe the documentation process, and to talk to Joshua and his friendly team of assistants and volunteers. It’s certainly not the sort of gallery you see often. Or, indeed, ever.
‘I don’t think visitors to the Science Museum expect to find an art installation here. Especially this one, because it’s not “done” yet. It’s quite conceptual,’ says Hannah Tran. ‘It’s very different from the other stuff in the Museum. But people are really curious – kids are more interested in the rubbish itself, and older people often want to talk about the kind of stuff we find, but also about just how much waste there is.’
Tempted to take part? Let Hannah Burke convince you. ‘Although it may sound crazy, many of the rubbish bags have their own interesting stories to tell, and that can really make the job of sorting through rubbish worthwhile. It is always exciting to see enthusiastic members of the public become immersed at the task in hand. I can’t wait to see what interesting items the next three weeks have to offer!’
Phase 1 of The Rubbish Collection runs until 15 July 2014. Phase 2 is open from 25 July to 14 September 2014.
By Roger Highfield, Director of External Affairs at the Science Museum and member of the Longitude Committee.
In a few days, the subject of the world’s greatest challenge prize – the £10 million Longitude Prize 2014 – will be unveiled by the BBC after an unprecedented public vote.
However, it became clear at a meeting held in the museum this week that the motivation to reincarnate the Longitude Prize on its 300th anniversary is not just a matter of money, though it is certainly newsworthy, nor is it simply the glory of being the first, or best, or most innovative.
As Jimmy Wales, Wikipedia founder put it, it is also because “we want a culture where kids aspire to be great scientists and get the societal recognition.”
And he hoped the prize, launched last year by the Prime Minister, would motivate those who lie outside the traditional spheres of well-funded grand institutions and specialised scholars and ‘tap into all the other crazy people out there.’
Wales was addressing the Longitude Lounge, organised at the museum by Nesta, the UK’s innovation foundation who are developing and running the Prize, with support from the Technology Strategy Board. The aim is to ‘push innovation on the boundaries of the possible and impossible,’ Geoff Mulgan, Nesta Chief Executive, told leading innovators who had gathered at the museum.
The new prize is open to anyone, anywhere, he said. However, in a departure from the original, it is also down to the public to decide which of six challenges to tackle around low carbon flight, food and water security, and paralysis, antibiotic resistance and dementia (you can vote here).
The prize has been promoted on the BBC. Amazon is emailing its UK customers, estimated to be many millions, to encourage them to take part. And around 300 schools have registered to take part in the Longitude Prize schools programme.
How will the public vote? Wales said that the six challenges all have ‘different levels of public appeal and prizeability’ but, on balance, he backed the paralysis challenge, not least because it could benefit from a wide range of existing computer and machine assisted technologies.
Also speaking was Naveen Jain, entrepreneur and founder of Moon Express, who said he felt the public would back the water challenge ‘but it if is audacious, it has to be dementia.’
The third speaker, designer, artist and writer Daisy Ginsberg, picked the antibiotics and food challenges, though she felt that food was perhaps the more exciting. ‘We should put our money where our mouth is.’
Lord Rees, who chairs the Longitude Committee, said that once the public had voted, an expert group would formulate the rules for the prize (‘that is going to be the difficult part’) but he added that he hoped the remaining areas would find commercial sponsors.
He said that it was inspirational to have the meeting in the Science Museum, ‘the greatest shrine to science, technology and innovation.’
Lord Rees added that he hoped that he would not be as curmudgeonly as his Longitude predecessor, Reverend Dr Nevil Maskelyne who was Astronomer Royal from 1765 to 1811 and sat on the first Board of Longitude.
Project Curator of The Rubbish Collection, Sarah Harvey, considers how art can inspire us to question our everyday relationships with ‘rubbish’.
The newly opened Rubbish Collection exhibition is the latest, and arguably the most ambitious, of the Science Museum’s art commissions. Artist Joshua Sofaer’s exploration of what we throw away, both as an institution and as individuals.
The Rubbish Collection continues our series of thought provoking exhibitions, installations and events relating to the Atmosphere gallery and Climate Changing… programme. Art has had a strong presence throughout this programme, for instance within the Climate Changing Stories (2011-May 2014), David Shrigley’s House of cards (2010) and Tony White’s downloadable novel Shackleton’s Man Goes South (2013).
So, why has art played such an important role in the Science Museum’s exploration of climate science and sustainability? The ability of artists to offer a unique and creative perspective on this challenging subject and to make visible the forgotten or intangible aspects of the world around us is the key.
The Rubbish Collection is an excellent example of this. Sofaer’s concept is deceptively simple: get people to look at what they throw away and consider what happens to it next. It’s certainly not the way a curator would have tackled this topic; it has taken an artist to think the unthinkable and invite Science Museum visitors to help sort piles of rubbish.
Sofaer is cleverly utilising and playing with the recognisable role of the Museum, in collecting, sorting and displaying precious objects, and using them to tell stories. Rather than looking outward, to examine the material production of the world around us, we will be looking at what the Science Museum itself produces in the form of waste and exposing the value of these overlooked materials, both in aesthetic and monetary terms.
The concept is surprising – and in some ways utterly absurd – yet the outcome has the potential to shock as Sofaer brings us face to face with the reality of our daily consumption and waste of resources.
The Climate Changing… programme’s aim was to be thought provoking and The Rubbish Collection certainly fulfils this brief. In the run up to the exhibition it has already stimulated conversations within the Science Museum and it is exciting to know this self-reflection will have an impact on the future decisions the institution makes in relation to sustainability and climate change. As Project Curator of The Rubbish Collection, the project has certainly made me think about rubbish in a very different light. I hope it will inspire all those who take part too.
Phase 1 of The Rubbish Collection runs until 15 July 2014. Phase 2 is open from 25 July until 14 September 2014.
This summer the Science Museum is doing something crazy. It is allowing members of the public to rummage through its bins, writes artist Joshua Sofaer.
The Rubbish Collection is a two-part art installation, which will see every single thing thrown out by the Science Museum staff and visitors for 30 days, photographed in a purpose-built temporary archive in the basement of the Wellcome wing. Members of the public will be invited to open the bags of rubbish and layout the contents on an archive table, photograph their arrangement, before repacking the contents in the bag and sending it on its route towards recycling or incineration.
We will then follow the journey that the rubbish takes and will recall it to the Science Museum at various stages in its transformation, for the second part of the project: an exhibition of waste materials. Visitors will be able to see the elements and quantity of stuff thrown out by one institution.
Humans are avid collectors. We are also nosy. We enjoy investigating the things around us and seeing material culture collated, labelled and exhibited. It was this impulse that was the incentive for the first museums. The Rubbish Collection, which will soon fill the exhibition space below, inverts the idea of the museum preserving what is sacred or unique, asking us to consider what we choose to keep, what we discard, and why.
By handling the waste themselves, I hope the public will notice how recycling bins are often contaminated and also how perfectly good resources are sent off needlessly for incineration when they could be reused or recycled.
Mirroring the conventional museum displays that are adjacent, The Rubbish Collection exhibition will confront visitors with a literal representation of one institution’s waste, while focusing attention on the urgent need for waste reduction.
It’s a step into uncharted territory and a courageous thing for the Science Museum to do; allowing the public to rummage through its bins. It shows that their commitment to tackling issues connected to climate change, sustainability and carbon efficiency, starts with themselves.
Rubbish bags are also repositories for stories of our lives. Opening one and laying out the contents is a kind of contemporary archaeology that stimulates the imagination, as we deduce or invent the histories of the materials before us.
Seeing the towers of paper, above, or mountains of glass sand, is similarly not only about recognising the need for more sustainable living, it is also about acknowledging the aesthetic properties and the wonder of the everyday stuff that surrounds us.
The Rubbish Collection runs from 16 June to 14 September 2014. For more information, click here.
The prowess of the nation’s historic achievements in science and technology is displayed for all to see in the Science Museum – a cathedral to the history of science where visitors can share in the celebration. The Museum is unique in its ability to allow us to reflect on our past achievements, while also inspiring future generations to keep pushing forward the frontiers of science and technology.
I’m pleased to be involved in a new project that I also hope will inspire the next generation of British scientists. Developed and run by Nesta, with the Technology Strategy Board as a funding partner and launched this week on Horizon (Thursday 9pm, BBC2), the Longitude Prize 2014 will give innovators an incentive to grapple with a global problem and to produce a solution that will benefit humankind. Anyone who can find the solution will be rewarded with a multi-million pound prize.
At that time seafaring vessels were vital to the booming economy of Britain, and to prevent massive loss of life from shipwrecks was a government priority. Many intriguing innovations were developed to ‘discover’ longitude. Eventually, the fund was awarded to John Harrison, for his Marine Chronometer.
Today, we live in a period of accelerated change as modern technology revolutionises every aspect of our daily lives: communications, travel and health. There are many challenges that we face both nationally and globally.
The new Longitude Prize gives the chance for everyone to express a view on which area deserves top priority and offers the greatest scope. We’ve identified six challenges for public consideration. Through a text and online vote, anyone can influence which of these six challenges will become the focus of the Longitude Prize 2014.
Water is a finite resource and we must seek to find ways of producing more fresh water. Some 98% of the Earth’s water is too salty for drinking or agriculture and as water requirements grow and as our reserves shrink, many are turning to desalination. However the current desalination technology isn’t optimal for small-scale use.
Antibiotics have changed the face of healthcare for the better; they on average add 20 years to over lives. 80 years on from the discovery of penicillin, we are still unable to distinguish bacterial from viral infections, or the type of bacteria in the clinic, which has caused the overuse of antibiotics and the evolution of multidrug-resistant strains of bacteria.
An ageing population means more people are developing dementia and unfortunately there is currently no existing cure. This means there is a need to find ways to support a person’s dignity, physical and emotional wellbeing and extend their ability to live independently.
Paralysis can emerge from a number of different injuries, conditions and disorders and the effects can be devastating. Every day can be a challenge when mobility, bowel control, sexual function and respiration are lost or impaired. We need to find a way to vastly increase the freedom of movement for people with paralysis.
The world’s population is growing, getting richer and moving to cities. Current estimates suggest that by 2050 there will be about 9 billion people on the planet; moreover our tastes will have turned to more resource-hungry foods such as meat and milk. In the face of limited resources and climate change, we must learn how to feed the world with less.
The rapid growth of carbon emissions caused by air travel needs to be addressed to help tackle climate change. The potential of zero-carbon flight has been demonstrated but it has had little impact on the carbon footprint of the aviation industry, which still relies exclusively on fossil fuels. We need to bring novel technologies into the mainstream to stimulate a significant change.
The Science Museum opens the world of science and technology to everyone. I hope that the Longitude Prize 2014 will stimulate wide interest, as well as encouraging inventors and innovators.
By Will Stanley and Roger Highfield
A major government campaign was launched today at the Science Museum to boost the numbers of young people —especially women — studying science, technology, engineering and mathematics (STEM) subjects.
Announced by George Osborne MP, the Chancellor of the Exchequer, the Your Life campaign has the ambitious aim of increasing the number of students studying STEM subjects by 50% over the next three years.
There is plenty of evidence that women and minorities face an uphill struggle in UK science. As one sign of the prevailing concern, 600 people joined us this morning for the launch of Your Life, which includes a three year exhibition at the Science Museum.
Fewer than 20% of 16-19 year olds take A-Level Maths and half of mixed state schools have no girls study A-Level Physics in 2011. ‘Only two per cent of girls are doing physics A level. That is not good enough. That is something we have got to change,’ said the Chancellor.
Surrounded by some of the most important objects in the history of science, in the museum’s Making the Modern World gallery, the Chancellor spoke about the need to inspire the next generation.
He told the audience that ‘all my life’ he had been visiting the Science Museum. ‘I bring my children to this museum and when you see all the incredible exhibits here, the steam engines, aircraft, early electricity generation and spacecraft, it is easy to think this happened in Britain’s past….that is not true.
One of the key things we are trying to challenge in this campaign is the idea that science engineering and design are all part of Britain’s great industrial past, not our future’
As one example of how Britain is contributing to the future, he singled out the museum’s Collider exhibition, which celebrates the achievements of a vast army of scientists at the Large Hadron Collider in finding the Higgs particle, due to open at the Museum of Science and Industry in Manchester later this month.
To help meet this challenge of attracting more students to careers in STEM, the Science Museum’s director, Ian Blatchford, announced a major three-year exhibition, backed by leading companies and the Royal Academy of Engineering. Watch this space for more news over the coming months.
Mr Blatchford pointed out how of the 3.4 million visitors to the Science Museum, half are women, and that the museum plays a key role in inspiring people to study STEM, for instance with its festivals celebrating the role of women in fields such as Formula 1, energy, space and aeronautics.
Education Minister Liz Truss MP praised the ‘fantastic turnout’ at the museum echoed the Chancellor’s words, citing the common Chinese saying “science and maths can get us everywhere.”
Too many teenagers, especially girls, don’t realise this, she added, saying she wants to ‘eradicate science deserts….if we get this right, the opportunities will be huge.’
The Museum is one of over 170 businesses, universities, schools and organisations supporting the Your Life campaign.
Organisations such as Google, Arup, BP, L’Oreal, Microsoft, Airbus, BSkyB and the Royal Academy of Engineering have also pledged to highlight the opportunities open to those studying STEM subjects, with the commitment to create over 2,000 new STEM jobs.
Edwina Dunn, co-founder of Dunnhumby, Eben Upton, founder of Raspberry Pi and Roma Agrawal, a structural Engineer who worked on the Shard, are all advocates for the Your Life campaign, which was trending on Twitter this morning.
Dunn, who co-created the Tesco Clubcard, and her independent board of eight entrepreneurs and advocates hope to transform the way young people think about maths and physics and the careers to which they lead.
The Chancellor was also joined by David Willetts MP, Minister of State for Universities and Science, Matthew Hancock MP and Financial Secretary to the Treasury and Minister for Women, Nicky Morgan MP. Support was voiced by the Prime Minister and Energy and Climate Change Minister Baroness Verma who said: “My personal commitment is to ensure that 30% of energy company executive board members are female by 2030.
Dr Tim Boon, Head of Research and Public History at the Science Museum, looks back on fifty years of the BBC’s flagship science programme. Read more of Tim’s research on Horizon here.
Fifty years ago today, the very first episode of Horizon, the BBC science programme, hit the airwaves. Two and a half minutes into The World of Buckminster Fuller, the voiceover announces the aim of the series: ‘Horizon aims to present science as an essential part of our twentieth century culture, a continuing growth of thought that cannot be subdivided’.
Behind that confident statement lay 17 months of detailed discussions between a close knit group of TV producers and science writers. They had set themselves a hard task: to produce a new kind of science television programme. And there had been plenty of science on screen in the previous 15 postwar years of British TV.
So they resolutely turned away from the style of earlier programmes such as Science is News or Eye on Research and set out to copy the era’s most successful and popular arts magazine series, Monitor. In copying this, the production team determined to make a programme that was focussed on the culture, ideas and personalities of science. They rejected being driven by the news agenda and they refused to simply teach the content of science.
In the five decades since, more than 1100 programmes have been broadcast. The producers have always seen themselves as televisual journalists, ever in search of the good science story. Some of the programmes have had major impact. For example, Alec Nisbett’s Killer in the Village (1983) brought AIDS to the attention of the world, and Now the Chips are Down (Edward Goldwyn, 1978) revealed the information revolution to come.
There is a long association between the Science Museum and Horizon. In the first Christmas special in 1964, Science, Toys and Magic (Ramsay Short), featured the Museum’s then science lecturer John van Riemsdijk demonstrating antique scientific toys.
Until recently, most of Horizon’s programmes and history have remained in the vault. But now, as the fruit of a 50th anniversary collaboration between BBC History and the Science Museum, 17 former editors and producers have been interviewed about the programme’s five decades, a ’50 Years of Horizon’ ebook will soon be published and there is a good selection of past programmes available online.