UK Museums at 'Sharp End' of Climate Change Challenge

Tannis Davidson, Head of Zoology and Science collections at the Grant Museum of Zoology in London, holds a device displaying the temperature inside the display cases in the museum, in central London on June 26, 2026. (Photo by CARLOS JASSO / AFP)
Tannis Davidson, Head of Zoology and Science collections at the Grant Museum of Zoology in London, holds a device displaying the temperature inside the display cases in the museum, in central London on June 26, 2026. (Photo by CARLOS JASSO / AFP)
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UK Museums at 'Sharp End' of Climate Change Challenge

Tannis Davidson, Head of Zoology and Science collections at the Grant Museum of Zoology in London, holds a device displaying the temperature inside the display cases in the museum, in central London on June 26, 2026. (Photo by CARLOS JASSO / AFP)
Tannis Davidson, Head of Zoology and Science collections at the Grant Museum of Zoology in London, holds a device displaying the temperature inside the display cases in the museum, in central London on June 26, 2026. (Photo by CARLOS JASSO / AFP)

As visitors peered at skeletons and preserved animals in a London zoological museum during a UK heatwave, staff focused on a different attraction: a computer screen glowing with red and green temperature indicators.

With each one linked to a sensor in a different display case, the system allows staff to see when an exhibit is in danger of overheating.

Last year during a hot spell, staff arrived one morning to find an antique specimen jar -- containing a nearly two-centuries-old tabby cat -- had "blown out" amid the heat.

By monitoring temperatures in the display cases, staff at the Grant Museum of Zoology hope they can prevent damage to other exhibits by identifying any needing to be preventively decanted.

"They are very precious and valuable to us," said Tannis Davidson, head of zoology at the 200-year-old collection home to some 100,000 specimens covering every major animal group.

"We want to safeguard them for the next 200 years at least so students and researchers and members of public can enjoy the collection and learn more about the natural world," she told AFP.

But she said curators were having to deal with a whole "new set of challenges due to climate change and extended long periods of high temperatures within our spaces".

Emma Howard Boyd, chair of the independent National Heat Risk Commission, says the impact of climate change is no longer a distant threat but a present-day reality with the cultural sector at the "sharp end".

Last month's UK heatwave forced the closure of a number of London cultural attractions including the Young Victoria & Albert (V&A) museum, The Cutty Sark museum ship, Tower Bridge and some galleries at the V&A.

And the Met Office said Monday that the UK was entering its third heatwave of the year, although it was not expected to break any records.

Art works also require careful monitoring of temperature and humidity levels to prevent damage, according to Claire Teasdale of the National Trust heritage body.

"We're having more storms. We're having more wet weather and more extreme weather which is affecting everything," said Teasdale who manages the collections at Cragside, a 19th century mansion in northeastern Northumberland.

Cragside is home to an important art collection that includes works by J.M.W. Turner and John Everett Millais.

It was built to cope with "Victorian rainfall levels and not with 21st century rainfall levels," she said, adding rain and sunshine both hiked levels of potentially damaging humidity.

Six of the UK's 10 wettest years have occurred since 1998, the Met Office says.
Flooding poses another threat to cultural treasures.

The Museum of Making in the central city of Derby suffered major flooding in October 2023 during Storm Babet.

None of the industrial heritage museum's collections were damaged, but the cost of damage to the building was estimated at over £100,000 and the museum closed for nearly three months.

"Heat waves often end with flash flooding because of intense rainfall," added Howard Boyd who chaired a 2024 review of London's preparedness for more extreme weather commissioned by mayor Sadiq Khan.

John Calautit, lecturer in sustainable and low carbon technologies at University College London, said installing air conditioning was not a silver bullet for large spaces and historic buildings often subject to highly restrictive building regulations.

But he said experts were developing alternatives to provide ventilation and cooling based on the "windcatcher" principles used for centuries in architecture.

It is "a ventilation system which is attached to the roof which can capture air at higher altitude. It brings air flow into the space at higher volume ... and extracts air out of the space," he told AFP.

Modern-day systems incorporated some form of low energy cooling and had already been commercially produced and used in Middle Eastern countries, he said.

Howard Boyd argues museums and historic properties need to explore all options for climate resilience.

She envisages a future in which venues become community hubs offering people a refuge from the heat.

A joint UK-wide initiative launched last month by organizations including the British Film Institute highlights venues where people can find local spaces to keep cool.



Egyptian Mummy Portraits Show Antiquity's Piercing Gaze in New Rome Show

Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time.  Andreas SOLARO / AFP
Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time. Andreas SOLARO / AFP
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Egyptian Mummy Portraits Show Antiquity's Piercing Gaze in New Rome Show

Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time.  Andreas SOLARO / AFP
Some of the masterpieces in the Rome exhibition were allowed to leave Egypt for the first time. Andreas SOLARO / AFP

An elegant woman gazes out from her portrait with expressive eyes, a gilded wreath worn in her hair and a gentle, questioning look on her face.

She is one of the 2,000-year-old "Faces of Fayum", startlingly realistic funerary -- or mummy -- portraits painted after Egypt became part of the Roman empire.

The fragile portraits dating from the first to third centuries AD -- painted on thin wooden panels and designed to be placed over the face of mummies -- will go on display in Rome in what organizers hail as a "milestone" collaboration between Italy and Egypt, AFP reported.

"Egypt and Rome, the Faces of Fayum", opening Wednesday at Rome's Ara Pacis museum, also includes mummies, masks, shrouds, jewelry, marble busts and statuary.

The majority of the artefacts come from Egypt, with some allowed to leave the country for the first time.

Such is the case of the "Tondo of the Two Brothers" from Cairo's Egyptian Museum, a freshly restored double portrait from the time of Emperor Hadrian that depicts two curly-haired young men, possibly brothers, with soulful eyes.

Rome's top official for cultural heritage, Claudio Parisi Presicce, called the work an "absolute masterpiece, perhaps the most important pictorial work to have survived from antiquity".

"These are simple wooden panels, often just a few millimeters thick, made of wood... and they were used to depict, through extremely naturalistic painting, the faces of the individuals who were being buried," Parisi Presicce told a press conference Monday.

Rooted in the tradition of Hellenistic painting, the portraits placed over the head of the mummy and secured into its wrappings come from a relatively brief period between the first and third centuries AD, after Egypt became a province of Rome.

In a fusion of two great civilizations -- Egyptian and Roman -- the men, women and children portrayed often bear Egyptian features, but wear Roman dress.

Their faces are vivid, and haunting, whether bearing signs of greying hair and wrinkles, or the long eyelashes and chubby cheeks of a child.

"These people are not dead," Italian figurative painter Amedeo Modigliani once said of the Fayum portraits.

"They are more alive than those who gaze upon them."

- Ushering the dead -

Works from the Louvre, the Metropolitan Museum of Art, the J. Paul Getty Museum, the Landesmuseum Württemberg and other international museums round out the exhibit.

A fertile area of Egypt on the edge of the desert, Fayum's arid climate helped preserve the delicate painted wood, textiles and papyrus on display in the exhibition.

One work, on loan from the Louvre, is a spectacular, near-pristine linen shroud depicting a man standing between the mummy he will become and Anubis, who helped usher the dead into the Afterlife.

Some of the female portraits are adorned in sumptuous jewelry, such as that of the woman "Isidora" from the first century AD, whose three-tiered gold necklace adorned with precious stones, pearl earrings and elaborately curled hairdo project her status.

Parisi Presicce said that "countless questions" remain about the compelling portraits.

"Were they made earlier and kept until the moment of death? Were they painted at the time the deceased was buried? Were they panels that were hung in homes, in residences?" he asked.

A nail found at the top of one of the portraits makes this theory plausible, he said.

Hisham El-Leithy, secretary-general of Egypt's Supreme Council of Antiquities, said the images from so long ago have an uncanny power to move us.

"They are people like us, we look at them, they look back at you across 2,000 years," he said.

"That is the power of the portrait."

The exhibition runs until May 2.


Museum Sold Kandinsky for $62,000. It May Fetch $80 Million At Auction

“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 
“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 
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Museum Sold Kandinsky for $62,000. It May Fetch $80 Million At Auction

“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 
“Betonte Ecken” is guaranteed to set an auction record for Kandinsky's work when it goes on sale at Christie's later this month. (Christie's) 

Some 15 years after Solomon R. Guggenheim died, the foundation managing his extensive art collection concluded that it owned more Wassily Kandinsky paintings than it knew what to do with.

The late American businessman had been among the Russian painter’s most prominent and dedicated patrons.

But in 1964, despite operating its namesake museum in Manhattan, Guggenheim’s foundation placed 50 of its 170 Kandinsky works — characteristically colorful, geometric takes on abstraction — on sale “for want of space,” according to CNN.

Announcing the decision, his nephew, Harry F Guggenheim, said trustees feared the art would otherwise remain hidden away “in our vaults,” according to reports at the time. “We have concluded that this should not be the fate of these paintings,” he added.

It was a noble sentiment but perhaps, in hindsight, a costly one.

At a London auction later that year, the 50 paintings fetched a combined £536,580, then equivalent to around $1.5 million.

Many of them have since reappeared on the market at significantly higher prices.

And now one of the works — “Betonte Ecken,” which in 1964 attracted a winning bid of just £22,000 (then around $62,000, or $540,000 in today’s money) from a New York art dealer — is returning to auction with an estimate of $60 million to $80 million.

“The Guggenheim had such an embarrassment of riches back then,” said Max Carter, global chairman of 20th and 21st century art at Christie’s, the auction house behind this month’s sale.

The foundation “sold tremendous masterpieces, which would be unthinkable to sell today,” he added, speaking over the phone from New York.

“Betonte Ecken” is not just poised to break the auction record for Kandinsky’s work — it is certain to do so. Christie’s said a guarantor has confirmed an offer exceeding the record £37.2 million ($44.55 million) paid for his painting “Murnau mit Kirche II” in 2023.

The dramatic appreciation in the value of Kandinsky’s work is a testament to his status in today’s art market. While his reputation was well-established by the time of the Guggenheim sale (at which point he had already been dead for two decades), “Betonte Ecken” was, then, “still very forward-looking,” Carter said.

“Now it’s become canonical,” he added, calling the painting “quintessential” Kandinsky.

“If you were to go on the street and ask the first 10 people who’d heard of Kandinsky to close their eyes and describe what one of his masterpieces looked like, it would be this.”


Makkah Heritage Returns to Home Designs with Traditional Architectural Details and a Modern Touch

Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA
Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA
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Makkah Heritage Returns to Home Designs with Traditional Architectural Details and a Modern Touch

Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA
Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes - SPA

More Makkah residents are turning to the city’s traditional architectural style for inspiration when designing homes and villas, reflecting the community’s enduring connection to its architectural heritage.

Features of traditional Makkah architecture are becoming increasingly prominent in modern home designs. These include wooden rawashin (ornate bay windows) featuring geometric patterns, architectural arches, ornate wooden doors, mashrabiyas (projected wooden balconies), and internal courtyards, SPA reported.

Some contemporary designs are also reviving the internal courtyard, a key feature of traditional Makkah homes. It provides an open family space at the center of the house, balancing privacy with natural ventilation.

In this context, some architecture enthusiasts are combining heritage elements with modern technologies by preserving exterior designs inspired by old Makkah houses while incorporating contemporary engineering solutions for space planning, lighting, thermal insulation, and air conditioning systems. This approach meets modern comfort and sustainability requirements without compromising the building’s visual identity.

Architecture and heritage enthusiasts believe reviving the Makkah architectural style is one way to preserve the city’s urban identity, particularly amid rapid urban expansion and the growing diversity of modern construction styles.