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Papyrus Fall 2007
 

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Papyrus Fall 2007

Papyrus Fall 2007

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    Papyrus Fall 2007 Papyrus Fall 2007 Document Transcript

    • I N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M FA C I L I T Y A D M I N I S T R AT O R SVOLUME 8NUMBER 3 PAPYRUS WINTER 2007–2008The Seventeenth Annual IAMFA Conference inOttawa: A Profusion of Culture, Learning andHospitalityby Joe May2007 marked the 150th anniversary of Ottawa’s selection as capital, and this was also going to be an IAMFA conferenceCanada’s capital city. Like many other IAMFA members, this to remember for years to come.was my first trip to Ottawa-Gatineau—and what a pleasant This year’s conference began, as it has in the past, with thesurprise it was. My first impression of Ottawa came before Sunday Benchmarking Conference, involving those membersI even reached the hotel on the evening prior to the start who participated in the 2007 benchmarking exercise. Thisof the conference. It was during my trip into the city center year’s 49 participants represented a significant increasefrom the airport that it became very clear how clean and over recent years, and suggested that efforts to increasewell manicured this city truly is. Along the route, there was participation were paying off. Each participant broughta smattering of color in the trees, as Fall was making its to the Sunday conference a summary of their institution’sattempt to take over the warm summer evenings. Upon activities, major changes which had occurred over the pastarrival at the Chateau Laurier Hotel, I noticed that my year, and one best practice to share with the group. As in thehome for the next five days was going to be next door to recent past, there was a significant focus on uncovering op-Canada’s Parliament Buildings. I had a feeling right then portunities for energy savings, as well as on issues affectingthat this was going to be a very special stay in Canada’s security. Our benchmarking coordinator, Keith McClanahan continued on page 2 INSIDE THIS ISSUE Message from the President . . . . . . . . . . . . . . . . 5 Regional Chapters . . . . . . . . 8 A Footnote to History . . . . . . 11 The Art Institute of Chicago Unique Fan Wall System . . . 12 The British Library Centre for Conservation . . . . . . . . . 16 Special Shopping Days . . . . . 17 Members Directory . . . . . . . 18Conference Attendees on the Plaza outside the Canadian Museum of Civilization’s mainexhibition building. Letter from the Editor . . . . . 27
    • The Seventeenth Annual IAMFA Conference in Ottawa — continued from page 1from Facility Issues, provided an overview of the results ofthe 2007 benchmarking exercise, and Jack Plumb from theNational Library of Scotland gave us an overview of progresswith the Organization’s Building Labeling System, which isaimed at measuring participant institutions’ progress withrespect to sustainability and the efficient use of resources.There were numerous other presentations throughout theday, as well as plenty of discussion on a variety of topicsfacing our members. Day One wrapped up Sunday evening with the IAMFAConference Opening Ceremony at the Fairmont ChateauLaurier, complete with canapés and a jazz band. Openingcomments by IAMFA President Guy Larocque offered aglimpse of what was in store for us during the next threedays of the conference. A bird’s-eye view of the Preservation Center interior and Monday morning brought the start of the IAMFA Confer- conference attendees.ence itself, beginning with breakfast at the National Galleryof Canada. A short walk from the hotel brought the spec- received a thorough tour of the facility, and were able totacular facility into focus, complete with an eight-legged see firsthand how the facility is operated and maintained.sculpture guarding the entrance. (Didn’t we see this same In the meantime, participants in the conference guestspider at the Guggenheim in Bilbao two years ago?) program attended breakfast with the members at the Presentations by Nick Artim on fire protection and Keith National Gallery, then spent the remainder of the dayMcClanahan on this year’s benchmarking effort, along with touring Parliament and seeing the city by boat cruise.a tour and lunch in the rotunda of the National Gallery, On Monday evening, we all boarded coaches and traveledcapped our Monday morning on Day One of the conference. to L’Oree du Bois Restaurant, located deep within GatineauFollowing lunch, members traveled by coach to the Library Park for a wonderful dinner at a delightful farmhouse turnedand Archives Canada Preservation Center. This facility, located haute cuisine. The turn-of-the-century farmhouse is nowin Gatineau, Quebec, houses all of Library and Archives home to one of the most respected French cuisine restaurantsCanada’s preservation laboratories. In addition, there are in the National Capital Region. It was a marvelous eveningrecords storage vaults which accommodate a significant that included local delicacies and great regional wines.portion of Canada’s documentary heritage. The Preservation Day Two of the conference began with breakfast at theCentre is a building-within-a-building. An outer shell of glass Canada Science and Technology Museum, between twoand steel creates an environmental buffer zone for the interior steam engines in the Locomotive Bay. What a surprise thisconcrete structure, which comprises preservation laboratories, was; it felt like being transported back in time to anotherrecords storage vaults and other operations. Members world from the one in which we live today.Maman [Mother] by French-born artist Louise Bourgeois, in front Breakfast in the Locomotive Bay.of the main entrance of the National Gallery of Canada.2
    • Jerry Shiner from Keepsafe Systems made a very inter- Members began Day Three of the conference travelingesting presentation during the morning on the application to the Canadian War Museum. This museum opened inand advantages of using microclimate display case systems, May of 2005, and presents visitors with some of the mostthen we split up into smaller groups for a detailed tour of powerful, moving and harrowing records of war ever dis-the Museum offered by members of the staff. I lost count of played. The design team, including Guy Larocque, set outhow many buttons I pushed, dials that I turned, and levers to create an intense, emotional, memorable and, above all,that I pulled while experiencing all the technology-related honest presentation of the military events which have helpedexhibits. define Canada’s national identity. It was a moving experi- Late in the morning, we traveled on to the Canada ence touring the museum, and it was clear that the designAviation Museum, where we had a thorough tour and lunch team succeeded in evoking Canadian military heritage within the hangar, right alongside vintage aircraft. The Canada both passion and respect.Aviation Museum’s mandate is to collect, preserve, depict Members then participated in IAMFA’s annual businessand display aviation-related objects of all types, and interpret meeting and listened to reports from each member oftheir significance to Canada and the world. the board of directors. We all thank Dan Davies from the The Canada Aviation Museum is recognized as having National Zoo in Washington for his efforts over the pastthe most extensive aviation collection in Canada, and one two years as editor of Papyrus and Secretary of IAMFA,of the best in the world. and also I want to thank IAMFA members for their vote of In the afternoon, members headed over to the Library confidence in my election as Dan’s successor in this excitingand Archives Canada Exhibition Hall for a presentation role as Papyrus Editor.from James Duda, who is the Facility Management Officer At the War Museum, members heard presentations fromat the U.S. Library of Congress, on the Library’s new National Michael Lundholm, who is the principal architect withAudiovisual Conservation Center. This facility is the first Lundholm Associates Architects. He discussed the processcentralized facility in America specially planned and designed of museum design, and how architecture has tremendousfor the acquisition, cataloging, storage and preservation potential to enrich the museum visitor’s experience, whileof the nation’s heritage collections of moving images and also providing a productive and healthy environment for asound recordings. museum’s work. Richard Harding, Divisional Manager for Conference guests spent Day Two of the conference Black & McDonald Limited, also made a presentation totraveling to Montreal for a marathon day of shopping and members regarding the state of today’s new maintenancetours. The IAMFA Board of Directors met during the evening models which incorporate preventive, predictive, and pro-to discuss the organization’s finances, business objectives active maintenance, life cycle replacement systems, all withinand strategies for the upcoming year, while members and a world of tightening maintenance budgets.guests ventured out on their own to explore Ottawa’s Guests of IAMFA members toured the Royal Canadiandining alternatives. Mint and the Governor General’s Residence during the continued on page 4Conference attendees inside the hangar at the Canada AviationMuseum. Outgoing IAMFA Secretary and Papyrus Editor Dan Davies. 3
    • The Seventeenth Annual IAMFA Conference in Ottawa — continued from page 3morning of Day Three, and rejoined the members at theCanadian War Museum after having lunch and trying theirluck at the Casino Lac Leamy. Could it really be true thatall of the guests were winners at the Casino? After a tour of the War Museum, members and guestsreturned to the Chateau Laurier for an opportunity to relaxfor a while before leaving for the closing gala dinner, heldthis year at the Canadian Museum of Civilization. TheCanadian Museum of Civilization is recognized as one ofthe premier cultural facilities of the twentieth century, andis also home to the Canadian Postal Museum, the CanadianChildren’s Museum, and an IMAX® theatre. The Museumhouses more than 3.75 million artifacts spanning the disci-plines of history, archaeology, folk culture, ethnology,postal communications and various other areas of heritage John De Lucy making a presentation at the closing gala.study. After our arrival and group photo, members andguests had an opportunity to walk through many of thesets used to display these amazing artifacts, prior to being feeling our British colleagues have something up theirseated for the gala dinner. Live musicians, intricate lighting sleeve in store for IAMFA members next year. We’d betterand the wonderful atmosphere of the Museum’s Grand stay tuned to future editions of Papyrus for more details.Hall, all made for an unforgettable evening. Numerous other speakers entertained the audience during Guy Larocque served as Master of Ceremonies, and pre- the evening of festivities, and as the evening wound downsented a history of the seventeen years of IAMFA conferences. we began to say our goodbyes to all of our colleagues andJohn De Lucy was handed the torch to continue with his friends that we visit and benchmark with each year.team’s preparations for the 18th Annual Conference, to be Yes, Ottawa, this was a conference that will remain inheld next September in London, England. I have a funny our minds and hearts for years to come.Closing gala in the Canadian Museum of Civilization’s stunning Grand Hall.4
    • Message from the President gates themselves. Yes, you: our valued peers in the field of facility management IAMFA members who actually partici- of cultural institutions, and partake in pate in the annual conferences. Your the learning, the networking and the active participation in these activities camaraderie that will once again make is the true measure by which success this conference a great success. I look Guy Larocque, is determined for our conferences. forward to seeing all of you in London President of IAMFA Some of the Executive members of in September 2008. local museums who came to the gala dinner observed that IAMFA members Guy Larocque, P. Eng.The Key to a Successful are a dynamic group of people who President, IAMFAIAMFA Conference appear to be passionate about theirAs I write this, ten weeks have now professions, and who truly seek out IAMFA/ Papyruspassed since the end of our most networking opportunities with their WINTER 2007–2008recent annual conference held in peers. I am not sure if they happened EditorOttawa-Gatineau, Canada, and we to be sitting next to the tables where Joe Mayhave just had our first winter snowfall. the folks from the U.K. or the folks J. Paul Getty TrustIt seems like only yesterday when we from the Smithsonian were sitting, and Papyrus Correspondentssaid our goodbyes, but the memories thus hearing a lot of chuckling, but Joe Brennanof those four intensive days will remain truly I must concur that, all kidding William Caddickwith me for a long, long time. And, as aside, if you haven’t yet attended an John de LucyI received e-mail messages from many annual IAMFA conference, you are Peter Fotheringhamof you in the days and weeks following missing out on a tremendous learning Guy Larocque opportunity and a chance to share Joe Maythe conference to tell me how much information and trade stories on your Michael Murphyyou learned from and appreciated this successes and challenges that you William Stangelandevent, I couldn’t help but wonder Harry Wanlessabout the elements that resulted in would not obtain anywhere else inthis successful IAMFA conference. our specialized field of work. Design and Layout In particular, I would once again like Phredd Grafix Certainly, there was all of the plan-ning, the dedication of the organizing to thank Ian MacLean of the Canada Editingteam who brought their creative ideas Science and Technology Museum and Artistic Licenseand expertise to the table, the call for Pierrette Lagroie of the National Gallery Spanish Editortechnical presentations, the quest for of Canada, who made tremendous Fernando Pascalsponsorship support and the coordi- contributions, and on whom I was able to count on when the going got Printed in the U.S.A. bynation of all of the logistics—to name Lake Lithobut a few of the tasks that went into tough. I would also like to thank Edorganizing this kind of event. These Richard of the National Gallery of ISSN 1682-5241elements must be performed compe- Canada, Terresa McIntosh andtently, often in difficult circumstances, Dominique Hébert of Library andand are very time-consuming for the Archives Canada, Jean Allard of theorganizers. It is also important for the Gatineau Preservation Centre andConference Chair to act as Master of Marc Chrétien of the CanadianCeremonies, which requires four days Museum of Nature. Statements of fact and opinion are madeof concentration, a certain amount As we close the chapter on this last on the responsibility of authors alone andof improvisation to cover slip-ups, successful conference, we turn our do not imply an opinion on the part of the editors, officers, or members of IAMFA. Theand even personal sacrifice at times. attention to London, England and next editors of IAMFA Papyrus reserve the rightAlthough these elements are para- September. This will be an opportunity to accept or to reject any Article or advertisement submitted for publication.mount for the proper production of an for our European friends to come in While we have made every attempt to ensureIAMFA conference, however, what is it great numbers, along with the IAMFA that reproduction rights have been acquired for the illustrations used in this newsletter,that makes a conference truly successful? members from other corners of the please let us know if we have inadvertently Upon further reflection, it came to world, to take advantage of another overlooked your copyright, and we will rectify the matter in a future issue.me. It is the involvement of the dele- extraordinary opportunity to meet their 5
    • Mot du président essentiels à la réussite d’une conférence autres régions du monde, pour profiter de l’IAMFA, n’y a-t-il pas un autre d’une autre belle occasion de ren- ingrédient qui assure le succès? contrer leurs collègues du domaine de À force d’y penser, j’ai conclu la gestion des institutions culturelles, qu’il s’agissait de la participation des d’acquérir de nouvelles connaissances, Guy Larocque, délégués eux-mêmes. Oui, vous, les de tisser des liens et de se divertir. Cette President de l’IAMFA prochaine conférence sera, j’en suis cer- membres de l’IAMFA qui participez avec enthousiasme aux conférences tain, une réussite éclatante. Je me réjouis annuelles. Votre participation à ces déjà à l’idée de tous vous rencontrer àQu’est-ce qui fait le manifestations est la mesure du succès Londres en septembre 2008!succès d’une conférence de nos conférences.de l’IAMFA? Certains membres de l’exécutif de Guy Larocque, ing.Dix semaines déjà on passé depuis nos musées locaux assistaient au dîner Président de l’IAMFAla fin de notre dernière conférence de gala. Ils m’ont fait remarquer queannuelle, qui s’est tenue à Ottawa/ les membres de l’IAMFA formaientGatineau, au Canada. En ce jour de un groupe dynamique, semblaient IAMFA Board of Directorsnovembre, tandis que je rédige ce mot se passionner pour leur profession età l’intention de nos membres, nous cherchaient véritablement à resserrer President Guy Larocqueavons droit à la première neige de leurs liens avec leurs pairs. J’ignore si, Canadian Museum of Civilizationl’hiver. Il me semble que nous nous par hasard, ces membres de l’exécutif and Canadian War Museumsommes quittés hier à peine, et le sou- se trouvaient à proximité des tables de Gatineau, Canadavenir de ces quatre journées intenses nos collègues du R.-U. ou de la Smith- guy.larocque@civilization.cam’accompagnera encore longtemps. sonian et s’ils ont saisi quelques bribesDans les jours et les semaines qui ont de toutes ces conversations animées! V.P., Administration Blague à part, si vous n’avez pas encore Richard Kowalczyksuivi la conférence, j’ai reçu de nom- Smithsonian Institutionbreux courriels de membres qui me assisté à une conférence de l’IAMFA Washington, D.C., USAdisaient à quel point la manifestation vous avez laissé échapper d’excellentes kowalczykr@nasm.si.edules avait enrichis. Je n’ai pu m’empêcher occasions d’apprendre et d’échangerde me demander quels éléments avec des collègues venus de tous les V.P., Regional Affairsavaient permis de si bien réussir cette coins de notre univers de spécialistes. John de Lucy J’aimerais en particulier remercier à The British Libraryconférence de l’IAMFA. London, U.K. Évidemment, il faut compter sur tout nouveau Ian MacLean, du Musée des john.delucy@bl.ukle travail de planification et le dévoue- sciences et de la technologie du Canada,ment d’une équipe organisatrice pleine et Pierrette Lagroie, du Musée des Treasurerde talents et d’expérience, les demandes beaux-arts du Canada, pour leur contri- Jim Moissonde communications techniques, la bution exceptionnelle et l’aide qu’ils Harvard University Art Museumsrecherche de commanditaires et la coor- m’ont apportée dans les moments de Cambridge, MA, USA crise. Je me dois également de men- james_moisson@harvard.edudination de tous les aspects logistiques,pour ne mentionner que quelques-unes tionner l’appui des personnes suivantes : Secretary and Papyrus Editordes tâches nécessaires à l’organisation Ed Richard, du Musée des beaux-arts du Joseph Mayde ce type de manifestation. Tout ce Canada, Terresa McIntosh et Dominique J. Paul Getty Trusttravail doit être fait avec compétence, Hébert, de Bibliothèque et Archives Los Angeles, CA, USAsouvent dans des circonstances diffi- Canada, Jean Allard, du Centre de pré- JMay@getty.educiles, et il faut y consacrer beaucoup servation de Gatineau, et Marc Chrétien, Chairman — Conference 2008de temps. Il importe également que le du Musée canadien de la nature. John de Lucyprésident de la conférence remplisse Forts du succès de notre dernière The British Librarybien son rôle de maître de cérémonie, conférence, nous pouvons maintenant London, United Kingdomce qui lui demande quatre jours de con- tourner nos regards vers Londres, au john.delucy@bl.ukcentration, un certain talent pour l’im- R.-U., où nous serons en septembreprovisation afin de couvrir les impairs, et prochain. Nos amis européens pour- For additional contact information, please visit our website atquelques sacrifices personnels à l’occa- ront y venir en grand nombre, tout www.iamfa.orgsion. Pourtant, outre tous ces éléments comme les membres de l’IAMFA des6
    • Mensaje del Presidente pensar los errores y, en ocasiones, Tras poner punto final a esta última cierto sacrificio personal. Sin embargo, conferencia exitosa, dirigimos nuestra aunque todos estos elementos son atención a Londres (Reino Unido), fundamentales para asegurar el buen donde se celebrará la conferencia de Guy Larocque, funcionamiento de una conferencia de 2008 el próximo mes de septiembre. Presidente de la la IAMFA, ¿qué es lo que realmente Será la oportunidad para que nuestros IAMFA determina su éxito? amigos europeos participen con una Tras reflexionar más a fondo sobre fuerte representación, junto con otrosLa clave para una la cuestión, me di cuenta. Es la partici- miembros de la IAMFA de otros rincones pación de los propios delegados. Sí, de del mundo, a fin de aprovechar otraConferencia de la Ustedes, nuestros codiciados miembros ocasión extraordinaria para reunirseIAMFA exitosa de la IAMFA que asisten a las confer- con sus colegas del campo de laAl momento de escribir estas líneas, encias anuales. Es su participación administración de instalaciones deen este día de noviembre, con la pri- activa lo que determina el éxito de instituciones culturales, y participar enmera nevada del invierno ya en el nuestras conferencias. las actividades de aprendizaje y estable-suelo, han trascurrido diez semanas Algunos de los directivos de nuestros cimiento de contactos, y el ambientedesde la celebración de nuestra última museos locales que asistieron a la cena jovial que harán una vez más de estaconferencia anual en Ottawa/Gatineau de gala observaron que los miembros conferencia un éxito rotundo. Aguardo(Canadá). Parece que fuera ayer cuando de la IAMFA constituyen un grupo con impaciencia verlos a todos ennos despedíamos, aunque guardaré dinámico, apasionados por su profesión septiembre de 2008.por mucho tiempo el recuerdo de esas y que realmente buscan oportunidadescuatro jornadas intensas. En los días y para establecer contactos con sus Ing. Guy Larocquesemanas que siguieron a la conferencia colegas. No estoy seguro de si, por Presidente de la IAMFArecibí mensajes electrónicos de muchos casualidad, se sentaron cerca de lasde Ustedes para decirme cuánto habían mesas en las que estaban los miembros Regional Chaptersaprendido en el evento y cómo lo del Reino Unido o del Smithsonian y Atlanta, U.S.A.habían apreciado, y no pude evitar apreciaron su ambiente risueño pero, Kevin Streiter, High Museum of Artreflexionar sobre cuáles fueron los risas aparte, coincido en que si todavía Australiaelementos que contribuyeron al éxito no han asistido a una conferencia anual Kim Reason, Museum Victoriade esta conferencia de la IAMFA. de la IAMFA, están desaprovechando Bilbao, Spain Sin lugar a dudas, tengo que men- una extraordinaria oportunidad para Rogelio Diez, Guggenheim Museumcionar todo el trabajo de planificación, aprender y para intercambiar infor- Chicago, U.S.A. William Caddick, Art Institute of Chicagola dedicación del equipo organizador mación y experiencias profesionales de sus éxitos y desafíos, que no podrían Hawaii, U.S.A.que contribuyó a la conferencia con Robert White, Honolulu Academy of Artssus ideas creativas y conocimientos obtener en ningún otro lugar en Los Angeles, U.S.A.especializados, la convocatoria de nuestra área de trabajo especializada. Joe May, J. Paul Getty Trustpresentaciones técnicas, los esfuerzos En particular, quisiera expresar mi New England, USApara obtener apoyo de patrocinio y agradecimiento una vez más a Ian John H. Lannon, Boston Athenaeumla coordinación de todos los aspectos MacLean, del Museo de Ciencias y New York, USAlogísticos, por no mencionar más que Tecnología de Canadá, y Pierrette Mark Demairo, Neue Galeriealgunas de las tareas que requirió Lagroie, del Museo Nacional de Bellas New Zealand Patricia Morgan, Auckland Art Galleryorganizar este tipo de evento. Todas Artes de Canadá, por su importantísima contribución y por el apoyo que me Ottawa-Gatineau, Canadaestas funciones, que deben ser desemp- Ian MacLean, Canada Science andeñadas de forma competente y, a ofrecieron cuando surgieron dificultades. Technology Museum Corporationmenudo, en circunstancias difíciles, Gracias también a Ed Richard, del San Francisco, U.S.A.exigen a los organizadores mucho Museo Nacional de Bellas Artes de Joe Brennan, San Francisco Museum of Modern Arttiempo. Es importante también que el Canadá, Terresa McIntosh y Dominique United KingdomPresidente de la Conferencia ejerza las Hébert, de la Biblioteca y Archivos de Jack Plumb, National Library of Scotland,funciones de maestro de ceremonias Canadá, Jean Allard, del Centro de Edinburghdurante el evento, lo que requiere Preservación de Gatineau, y Marc Washington/Baltimore, USA Chrétien, del Museo Canadiense de Robert Evans, Hirshhorn Museum &cuatro días de concentración, una cierta Sculpture Gardencapacidad de improvisación para com- la Naturaleza. 7
    • Regional ChaptersNorthern CaliforniaChapterby Joe BrennanOn November 14, IAMFA’s NorthernCalifornia Chapter convened at theUniversity of California Berkeley ArtMuseum (BAM) and Pacific Film Archive(PFA) for a fine lecture on ElectricalSafety. Keith Gershon, Electrical SafetyOfficer of the Lawerence BerkeleyNational Laboratory, put the provisionsand implementation of NFPA 70E inperspective for us vis-à-vis CaliforniaOSHA and Federal OSHS. This focusedon safety work-related practices, train-ing, personal protective equipment andwork on energized equipment. The gistof his message is that NFPA technicallyhas not been adopted into either CalOSHA or Fed OSHA, but it is on its way,and as managers we are best served The front of the building, where an iconic work of art is expressed in steel.by conforming to it as it protectsemployees, equipment and property,as we are elsewhere legally (and staff in one capacity or another since The innovation was a string linkagemorally) mandated to do. the facility opened in 1970. The tour from the doorknob to the light switch, Following Keith’s excellent Power- included their art vaults, where we saw which turns the lights off as you leavePoint presentation, our host John an ingenious conservation initiative— the room: literally going green on aDowning led us on a tour of the facility. proof once again that, despite the vast shoestring! The museum building getsJohn is BAM and PFA’s Technical and number of facility tours one takes, there steam from a central plant and usesTraining Supervisor, and has been on is always something to be learned. an absorptive chiller for their HVACThe back of the building, where steel has been added to Attendees gather prior to entering the facility.seismically strengthen the compromised structure8
    • needs. In the mechanical spaces, wesaw the most beautiful transformerany of us have ever witnessed instainless steel, beauty being in theeye of the beholder . . . and art beinganything you can get away with. Attending were: Jeff Phairas Chief Engineer, SFMOMA Joe Brennan Director of Facilities, SFMOMA Robert Larmon Facilities Director, Contemporary Jewish Museum Jennifer Fragomeni Exploratorium Andy Black Exploratorium Terry Zukoski Director of Facilities, Glide Memorial continued on page 10 Keith Gershon doing what he does very well.Innovative light-switching to mimic occupancy sensor control of lighting. Feast your eyes! 9
    • Regional Chapters — continued from page 9Northern California Chapter Tour of the We also visited the pump and filter room for the waterLetterman Digital Arts Center feature: an imported stream running through the campusby Joe Brennan with its own pond at its base. It is “imported” in that the rocks were all picked from a streambed in NorthernThe IAMFA Meeting at the Letterman Digital Arts Center California and transported to the site and reassembled in awas well attended and much appreciated. Many thanks to manner best recreating the original, a painstaking effort ofour hosts Andres Noyes and Orlando Castro! perfectionism by landscape architect Lawrence Halpren We began the tour atop the complex, where we saw its and George Lucas. The stream and pond are maintainedmassive chillers and cooling towers, along with the exten- clear and clean without chlorine by the use of sand andsive measures taken in the construction to isolate their noise biological filtration plus ozone in an amazing maze ofand vibration from the occupants of the building just below. stainless steel piping, allowing the stream to gain volume We then wound down through the complex, seeing many along its course just as it would in nature.sights along the way until we reached the garage level, where Following the tour, we were treated to an opportunity tothere are eight emergency generators capable of producing lunch in their cafeteria, with its world-famous views of thenine megawatts. In addition, we visited their huge battery Golden Gate, Marin Headlands and San Francisco Bay. Iroom, designed to provide power for the switchover period guess the company and food were so good I stoppedbetween loss of commercial power and full output of the taking pictures at that point.generators coming online to carry the load. Thanks again to Andres, Orlando and the LDAC!On the roof of the Letterman Digital Arts Center. Battery Room in the Letterman Digital Arts Center.Emergency generators in the basement of the Letterman Digital The “imported” stream which runs through the campus, featuringArts Center. rock brought from a streambed in Northern California.10
    • A Footnote to History by Peter Fotheringham Peter FotheringhamOn June 1, 2007 I left the National will recollect a memorable talk on Committee meetings allowed us toGallery in London to take up a new disaster preparedness in a fairly grim visit and enjoy the hospitality of col-post at the University of Greenwich, New York hotel room. Still, onward leagues like Kevin Streiter in Atlantawhere I am now happily plying my and upward, and the following year and Joe Brennan in San Francisco, bothtrade (gre.ac.uk for a quick look!). I was co-opted to committee as the of whom were duped into giving theirThe following reminiscence is unre- forthcoming co-host of the Edinburgh time to become committee memberssearched and may offend through conference. Despite doing my best to and, in Joe’s case, to take on a con-omission or inaccuracy! In particular, I dump this on Robert Galbraith by ference. I also remember spendinghope I have got name spellings correct. moving to the National Gallery in a rather surreal day in what felt like I joined the Museum and Galleries London in 1994, I was stuck with it. a gothic chapel in the depth of thesector in 1989, when I was appointed I have to own up to the fact that Rijksmuseum in Amsterdam. All toBuilding Manager at the National Robert and his staff did the work, spread the IAMFA message.Galleries of Scotland. The cultural shock and the conference gave me a great My committee duties ended afterof dealing with staff in the gallery was excuse to get back to Edinburgh for the London conference in 2002, and Iput into focus when Nick Artim, who regular meetings without too much of have since enjoyed the annual gather-was then advising the National Library the pain. The event itself in 1997 was ing in San Francisco and Los Angelesof Scotland, recommended I join a the organisation’s first foray beyond in a more relaxed frame of mind.support group: IAMFA. So, in 1992, I North American shores and, given Pressure of work forced me to misspacked my bags for a conference in the proximity of a number of world- out on Bilbao and Boston. My finalKansas City to meet like-minded facility famous golf courses, was a resounding contribution has been to attend themanagers. The relief was immediate; success. initial organisational meetings for theit turns out that museum staff are the In the same year, the then-president London conference in 2008. Oncesame the world over, and I was able Lloyd Randolph left the Getty after again, I have ducked out and left it toto swap and share tales that no one hosting a conference at which we got others to complete the work, but theoutside of IAMFA would even begin our first look at that wonderful new good spirits of the meetings with Johnto believe. I was so enthused by the building, and I found myself, by De Lucy, Harry Wanless, David Saunders,whole experience (it may also have default, President for the remainder Stephen Gill, Frank Brown and othersbeen late at night and in a bar when of his term. My time as President was have reminded me that IAMFA is aboutit happened), that I volunteered to then extended for a further term when forming friendships and having fun,organise a conference in Scotland in the membership elected me to the post while offering a network that may1997. It seemed a suitably long time in until September 2002. There were no help solve some of your problems.the future and Miller Lite was a new other candidates! This meant attend- I think I made 11 of the last 15and deeply beguiling experience. ing conferences in Ottawa, Chicago, conferences, and I will miss IAMFA. It From memory, which is of course Washington, and my swan song at is a nice-sized group and it has a greatdimming with age and fallible, the London, in an official capacity. Time membership which has turned overnext trip was to Cincinnati, followed on committee has its benefits. Friend- relatively slowly, which means therethe following year by Toronto, then ships blossomed as a small group are lots of friendly, familiar facesNew York, then suddenly Los Angeles battled to keep everything on an even around. I wish you all success in thewas upon me. I was being slowly keel. Vinny Magorrian, Randy Murphy, future, and I will try to meet you insucked in to the organisation: I was Pierre Lepage, Carole Beauvais, Marla London next year. If anyone wants toasked to recruit in the U.K. and, in Channon and Bill Caddick were all keep in touch please send an e-mailNew York, was asked to speak at one part of that group, and each contri- to p.fotheringham@gre.ac.uk.of the sessions. Those of you present buted to the growth of the organisation. 11
    • The Art Institute of Chicago’s Unique Fan Wall System by William Caddick, William Stangeland and Michael MurphyWhen the aging air-handling units atthe Art Institute of Chicago (AIC)needed to be replaced, C. Lee, projectmanager at the AIC; William Caddick,executive director of the physicalplant for the AIC, and the team atMcGuire Engineers (MEPC®) developeda unique solution that Tony McGuireof MEPC had previously learned aboutwhen he consulted on a project forCook County Prison. McGuire advisedCaddick to try a fan wall. The decision to install fan walls inthe AIC was a unique solution, sincethe technology had never been usedin museums—nor, for that matter, inChicago. As part of a major overhaulof the museum’s mechanical, electricaland structural systems, Lee performeddue diligence on the concept and pro-vided overall supervision and manage-ment of the process. The curators andconservators of the museum participatedby advising on the temperature and The Art Institute of Chicago.humidity conditions that needed tobe maintained. William Caddick andthe MEPC team studied the approach became necessary to upgrade and intensive. Many were nearing the endcarefully and designed and executed replace existing air-handling units of their useful lives. Replacement ofthe design and installation. which served the galleries throughout these units became a necessity when The project has been a resounding the building. Not only do the fine adequate control of temperature andsuccess. The fan wall solved many of artwork and artifacts require proper humidity conditions became less reliablethe problems associated with upgrading temperature and humidity conditions to due to the increasing possibility of athe air handling units in an older struc- preserve their appearance and physical critical component failure in the agingture, while also adding efficiency and integrity, but the building needs to equipment.unprecedented control over temperature maintain comfortable conditions for In pre-emptively replacing theand humidity conditions. the public. The structure itself is a mix old air-handling units, the engineers of old and newer architecture, includ- needed to consider a number of factors,The Museum Structure— ing various spaces that had been added from the small size of the entryways toMixing the Old with in the last several decades and a com- the interstitial spaces used for mecha-the New pletely new wing which is currently nical and other equipment, to future under construction. The entire project accessibility of the system for mainte-The Art Institute of Chicago (AIC) is a at the AIC was purely an engineering nance and repairs. This difficult taskmagnificent structure built in the 1890s effort with mechanical, electrical, was made even more challenging byon top of rubble from the Great Chicago structural and commissioning needs. the location of the units within theFire of 1871. Located in the heart ofdowntown on Michigan Avenue, it structure, and the physical size of theanchors the southern end of the newly Meeting the Challenges units being replaced, which range frombuilt Millennium Park. The air-handling units had been in 10,000 CFM to 30,000 CFM. William As might be expected, the building service for 50 years in some instances Caddick and MEPC developed a planpresented many challenges when it and, as a result, became maintenance- to replace the aging units in a planned12
    • sequence. The idea was to assure that facilitate replacement of the such that each separate replacementthere would be minimal disruption to equipment. air-handling unit would have built inmuseum exhibit spaces and that there A fan wall uses many smaller fans, N+1 redundancy. This meant that eachwould be no impact on scheduled rather than units with one or two system could suffer a fan failure andevents. Removal and replacement supply fans. This approach incorpo- continue to deliver the required designrequired precision scheduling and rates multiple, specially designed, airflow for space conditioning. Thestaging of equipment and labor in high-efficiency, small-diameter, direct- direct-driven fans used in this tech-order to minimize the downtime for driven plenum fans. These are mounted nology also eliminate costly, and some- in an array within the airway tunnel times troublesome, maintenance of faneach system and area being served of the air-handlers. bearings, belts, and sheaves.by the unit being replaced. The engineers’ recommendation to After detailed analysis, MEPC rec- Benefits of the System move forward with the multiple-fanommended a fan wall as the best of approach also makes the positioningseveral potential solutions for replace- In addition to meeting the challenges of the replacement air-handlers—ment of the air-handlers. Newly avail- of installing the new system within the knocked down for field re-assemblyable from HuntAir, these fan walls had existing structure, designers also identi- by factory supervised crews—muchbeen used for a number of applications fied other major benefits of the multiple easier than a conventional fan system fan array solution. The unique systemin which temperature and humidity are would require. All components, includ- features extremely low radiated andcritical, such as scientific labs. William ing the fans, were transported to the airborne noise levels, and virtuallyCaddick, MEPC and HuntAir devel- assembly sites using existing routes of eliminated vibration due to rotor im-oped a strategy to bring the fan wall access, including building elevators, balance and airway tunnel turbulence.technology to the AIC. Other features of the design included catwalks and service corridors, with- Of the several potential solutions portability of components, reduced out necessitating any building demo-for the AIC, the fan wall option posed air-handling unit footprint and, perhaps lition. According to MEPC, that alonethe least risk of downtime and offered most importantly, offered redundancy was a huge factor in maintaining athe best opportunity for a rapid return and reliability that was simply unachiev- tight replacement schedule for eachto normal system operation. It also able with conventional fan system air-handler, and greatly reduced theminimized or eliminated the need to replacement options. Per the direction overall project costs compared toremove or demolish any of the public of William Caddick, the replacement alternative solutions. In addition to thespaces within the AIC in order to air-handling units were configured benefits achieved with reliability and ease of installation, higher energy efficiency, reduced low-frequency noise, and minimal vibration levels have also been achieved. To date, seven systems have under- gone replacement of their air-handling units over the course of two-and-a-half years. Results have been highly praised: curators and conservators are not only happy with the temperature and humid- ity conditions, but with the improved acoustical conditions as well. AIC staff is now requiring that this technology be used in its new, modern wing which is being designed by world-renowned architect Renzo Piano. William Caddick is Executive Director of the Physical Plant at the Art Institute of Chicago and a member of IAMFA; William Stangeland is Senior Vice- President of MEPC, and Michael Murphy is a Project Engineer at MEPC.Construction of a fan wall at AIC. 13
    • Ottawa — The 17th Annu14
    • Annual IAMFA Conference 15
    • The British Library Centre for Conservation by John de Lucy and Harry WanlessThe British Library Centre for Conser-vation (BLCC) is an exciting newextension of the main building and isthe first major building project sincethe St. Pancras site opened in 1997.The Library took ownership of the build-ing—which has been completed onbudget and on time—on January 17,2007. The Centre provides purpose-builtaccommodation designed to meet thespecific requirements of the two mainoccupant groups: Book Conservationand Sound Archive Technical Services. The Centre has been designed tomeet very specific technical require-ments for the activities that are to takeplace there. For example:• The top floor of the BLCC will house the four Book Conservation studios. Here there is a requirement for good, Interior of the new British Library Centre for Conservation. even north light all year round; hence, the sawtooth roof is specifi- cally designed to maximise light • In a key area on the middle floor, the technologies are constantly coming into the conservation studios. boxes are manufactured to house changing and developing.• Separate areas are provided for wet and protect collection items. Mounts • The British Library Centre for and dry conservation processes and for works of art on paper and for Conservation is not just a building, for finishing (decorating and lettering) collection items that are to be however. The British Library Centre the books, with provision for visitors exhibited will also be cut using for conservation represents new to observe processes in all areas. state-of-the-art computer-aided opportunities for behind-the-scenes cutting machines.• Casual visitors to the Centre can tours and access for the public, for learn more about book conserva- • The high-tech purpose-built theme public information and learning tion and sound preservation from continues on the lower floor, which programmes, and for specialist the exhibition in the entrance houses the British Library Sound training in conservation and sound display, entered from the terrace Archive’s Technical Section. preservation. joining the new building to the main British Library building. • The sound studios on this floor Book Conservation Studios float to ensure that the sound• Also on the top level, there is pro- recordings are not compromised There are three conservation studios vision for seminars, training work- by sounds and other vibrations accommodated in a large studio space. shops and master classes that will from adjoining sites, or from within Each studio has 12 fixed conservation be programmed throughout the year. the new building. benches specifically designed for users’• The middle floor of the develop- requirements. Running alongside these ment provides Conservation with • The work carried out in these studios is a dedicated wet area for essential support areas such as studios enables greater access to washing and other aqueous treatments technical examination areas, materials the Sound Archive’s collections, of collections items. There is an addi- store areas and areas equipped and ensures that the content of tional studio—more flexible than the with fume extraction units for existing collections is preserved others—to accommodate project work, specialist conservation treatments. and remains accessible even though workshops and demonstrations and16
    • training programmes. In recognition of nical expertise and equipment, while In order to provide greater informa-the need to train book conservators, a also improving access to BL collections tion to the public and readers on thetwo-year Foundation Degree in Book through greater onsite and remote important work carried out by theConservation—offered by Camberwell access to Sound Archive holdings. BLCC, there is an exhibition that pro-College of Arts as part of the Univer- vides insight into the types of problemssity of Arts London, and run in asso- Public Tours and Visitors associated with the deterioration ofciation with British Library and other collections, and the range of solutions Visitors to the Centre will gain greaterpartner organisations—commenced in available to preserve collections for insight into what keeps books onSeptember 2007. future use. This work employs modern shelves and sound recordings avail- technologies and considerable knowl- able, through a programme of weeklyThe Sound Archive Studios edge of material science, alongside public tours, school programmes, centuries old craft skills and this willDesigned to meet the exacting stan- themed tours and seminars. They will be reflected in the exhibition design.dards required for high-quality sound be able to see that collections have If you attend the IAMFA Conferencepreservation, remastering and copying, lifecycles—pasts, presents and futures— in London from September 15 to 17,the Sound Archive Studios are housed and that, in order to maintain them 2008, you will have an opportunity toon the lower floor of the building. and make them accessible to people, visit this building and experience itsThere are eight transfer channels, one the British Library uses blends of unique design qualities.recording studio, two transfer studios, modern knowledge, traditional skillsa small workshop, and a laboratory. and a continuum of technologies.These facilities will have the direct As well as a greatly improved work- John de Lucy is Head of Estates andbenefits of improving the Library’s ing environment for staff, the building Facilities, and Harry Wanless isability to produce in-house preservation provides optimum conditions to show- Property and Construction Projectcopies of recorded sound items to an case the work that is undertaken by Manager, at the British Library inarchival standard with appropriate tech- Conservation and Sound professionals. London, England. Special Shopping Days by John de Lucy Joe Brennan of our Northern California Chapter recently shared a coupon with me that SFMOMA uses each year to offer special discounts to friends and family. Participants need only print out the coupon and write in “Joe Brennan, Facilities” to take advantage of a 20% discount on all merchandise in the Museum’s store throughout the day on Saturday, December 1. Using Joe’s coupon also gives him the chance to win a gift certificate which he can either keep or pass on. I know that many museums have special shopping days for members and patrons, but this seems a unique way to thank the people who support us in a more personal way throughout the year. I would be interested in hearing if anyone else out there has a similar programme. 17
    • IAMFA Members Directory 2007 Carole Beauvais Richard Harding Jose-Luis Oliveros AUSTRALIA Bureau de la transformation Black & McDonald Limited Canadian Center for de la DGSDE 2460 Don Reid Drive ArchitectureDan Mackenzie 300 Avenue Laurier Ottawa, Ontario 1920 BailesSteensen Varming Piece B2104-I K1H 1E1 Montreal, Quebec160 Sailors Bay Road Ottawa, Ontario Canada H3H 2S6Northbridge K1A 0M7 rharding@ CanadaSydney, NSW Canada blackandmcdonald.com jolivero@cca.qc.ca2063Australia Dominique Hébert Ed Richarddan.mackenzie@ Leo Bourque Library and Archives Canada, National Gallery of Canada steensenvarming.com.au ATCO Frontec Corporation Portrait Gallery of Canada 380 Sussex Drive 1200 Montreal Road 395 Wellington Street Ottawa, OntarioDean Marshall Building M-19, Room 328D 4th floor KIN9N4National Gallery of Australia Ottawa, Ontario Ottawa, Ontario CanadaGPO Box 1150 K1A 0R6 K1A 0N4 erichard@gallery.caCanberra, ACT Canada Canada2601 leo.bourque@atcofrontec.com dominique.hebert@ Jon RoodbolAustralia lac-bac.gc.ca Royal British Columbiadean.marshall@nga.gov.au Chan-Hung Do Museum Canadian Museum of Guy Larocque 675 Belleville StreetTony van Noordenburg Civilization Canadian Museum of Victoria, British ColumbiaNational Gallery of Victoria 100 Laurier Street Civilization V8W 9W27259 St. Kilda Road VIC 8004 Gatineau, Quebec 100 Laurier Street Canada180 St. Kilda Road J8X 4H2 P.O. Box 3100, Station”B” jroodbol@royalbcmuseum.bc.caMelbourne, Victoria Canada Gatineau, Quebec3004 chan.do@civilisations.ca J8X 4H2Australia Canada FRANCEt.van.noordenburg@ Ian Follett guy.larocque@civilisations.ca ngv.vic.gov.au Facility Management Services LTD Pierre Lepage Gérard BaillyAnthony Williams 45 Maryland Place SW musée de quai BranlySydney Opera House Calgary, Alberta 329 Carpenter’s Point 222 Rue de l’UniversitéBennelong Point T2V 2E6 PO Box 135 Paris, 75343GPO Box 4274 Canada Wolfe Island, Ontario CEDEX 07Sydney, NSW fmsltd@fmsltd.com Canada France2000 pierrelepage8@msn.com gerard.bailly@quaibranly.frAustralia Mario Gasperetti Library and Archives Canada Pam Lowings Nadim Callabeawilliams@ 550 Boulevard de la Cité Royal British Columbia musée de quai Branly sydneyoperahouse.com Gatineau, Quebec Museum 222 Rue de l’UniversitéShaun Woodhouse K1A 0N4 675 Belleville Street Paris, 75343Australian Center for the Canada Victoria, British Columbia CEDEX 07 Moving Image mario.gasperetti@lac-bac.gc.ca V8W 9W2 FrancePO Box 14 Canada nadim.callabe@quaibranly.frFlinders Lane Alain Gendron plowings@royalbcmuseum.bc.caMelbourne, VIC Canadian Museum of8009 Civilization Ian MacLean THE NETHERLANDSAustralia 100 Laurier Street Canada Science & Technologyshaun.woodhouse@acmi.net.au P.O. Box 3100, Station”B” Museum Corporation Gatineau, Quebec P.O. Box 9724 Station T Karen Keeman J8X 4H2 2421 Lancaster Rd. Rijksmuseum Amsterdam Canada Ottawa, Ontario P.O. Box 74888 CANADA alain.gendron@civilisations.ca K1G5A3 Hobbemastraat 20 Canada Amsterdam,Jean Allard Toby Greenbaum imaclean@technomuses.ca 1070 DNLibrary and Archives Canada Physical Resource Bureau (SRD) The Netherlands550 Boulevard de la Cité Dept of Foreign Affairs and Terresa McIntosh k.keeman@rijksmuseum.nlGatineau, Quebec Int’l Trade (DFAIT) Library and Archives Canada,K1A 0N4 125 Sussex Drive Portrait Gallery of CanadaCanada Ottawa, Ontario 395 Wellington Streetjean.d.allard@lac-bac.gc.ca K1A 0G2 Ottawa, Ontario Canada K0E 1J0 toby.greenbaum@ Canada international.gc.ca terresa.mcintosh@lac-bac.gc.ca18
    • IAMFA Members Directory 2007 Ray French Joe Brennan NEW ZEALAND Tate UNITED STATES San Francisco Museum of Millbank Modern ArtMike Heinemann London, England Fernando Pascal 151 Third St.Christchurch Art Gallery Te SW1P 4RG Smithsonian Institution San Francisco, CA Puna O Waiwhetu UK Smithsonian Tropical Research 94103Worcester Boulevard ray.french@tate.org.uk Institute USAPO Box 2626 APO AA, 34002 jbrennan@sfmoma.orgChristchurch, Canterbury Robert Galbraith USANew Zealand National Galleries of Scotland pascalf@si.edu Kelly Bridgemike.heinemann@ccc.govt.nz 73 Belford Road Dean Gallery J. Paul Getty Trust Edinburgh, Scotland 1200 Getty Center DrivePatricia Morgan EH4 3DS Los Angeles, CA ARIZONAAuckland Art Gallery -Toi O UK 90049 Tamaki rgalbraith@ Keith McClanahan USAP.O.Box 5449 nationalgalleries.org Facility Issues kbridge@getty.eduAuckland, Auckland PO Box 1447New Zealand Stephen Gill Flagstaff, AZ Jim Bullockpatricia.morgan@ The British Museum 86002-1447 J. Paul Getty Trust aucklandcity.govt.nz Great Russell Street USA 1200 Getty Center Drive London, England keithmcc@facilityissues.com Suite 100 WC1B 3DG Los Angeles, CA UK 90049-1678 SPAIN sgill@thebritishmuseum.ac.uk USA ARKANSAS jbullock@getty.eduRogelio Diez Jack Plumb John PaganMuseo Guggenheim — Bilbao National Library of Scotland George Calvo Arkansas Art CenterAbandoibarra 2 George IV Bridge Huntington Library P.O.Box 2137Bilbao, Viz Caya Edinburgh, Scotland 1151 Oxford Road Little Rock, AR48001 EH1 1EW San Marino, CA 77023-2137Spain UK 91108 USArdiez@guggenheim-bilbao.es j.plumb@nls.uk USA john.pagan@arkarts.com gcalvo@huntington.org David Sanders Natural History Museum William Carr UNITED KINGDOM Cromwell Road CALIFORNIA Huntington Library London, England 1151 Oxford RoadFrank Brown SW7 5BD Gordon Bailey San Marino, CANational Gallery, London UK Asian Art Museum 91108Trafalgar Square d.sanders@nhm.ac.uk 200 Larkin Street USALondon, England Room 2211 wcarr@huntington.orgWC2N 5DN Harry Wanless San Francisco, CAUK British Library 94102 Brenda Cobb-Williamsfrank.brown@ 96 Euston Road USA Asian Art Museum ng-london.org.uk London, England gbailey@asianart.org 200 Larkin Street NW12DB Room 2211John de Lucy UK Donald Battjes San Francisco, CABritish Library harry.wanless@bl.uk Los Angeles County Museum 9410296 Euston Road of Art USALondon, England Ian Williams 5905 Wilshire Blvd bwilliams@asianart.orgNW12DB National Museums Liverpool Los Angeles, CAUK 127 Dale Street 90036 John Coplinjohn.delucy@bl.uk Liverpool, England USA Santa Barbara Museum of Art L2 2JH dbattjes@lacma.org 1130 State St.Peter Fotheringham UK Santa Barbara, CAUniversity of Greenwich ian.williams@ Noreen Bergin 92101Avery Hill Campus, Southwood liverpoolmuseums.org.uk PlanReady, Inc. USA Lodge 17500 Depot Street, #200 jcoplin@sbmuseart.orgAvery Hill Road, Eltham Morgan Hill, CALondon, England 95037SE9 2UG USAUK nbergin@planready.comp.fotheringham@gre.ac.uk 19
    • IAMFA Members Directory 2007 Patty Lacson Linda Simons Richard Moore USA (cont’d) Fine Arts Museum of Lavi Industries Yale University Art Gallery San Francisco 27810 Avenue Hopkins P.O.Box 208271 CALIFORNIA cont’d 50 Hagiwara Tea Garden Drive Valencia, CA New Haven, CT Golden Gate Park 91355 06520-8271John Donohoe San Francisco, CA USA USAJ. Paul Getty Trust 94118 lindas@lavi.com richard.moore@yale.edu1200 Getty Center Drive USASuite 100 placson@famsf.org Gerry Socco Cindy SnarskiLos Angeles, CA Yerba Buena Center for the Mystic Seaport Museum90049-1678 Joseph May Arts 75 Greenmanville AvenueUSA J. Paul Getty Trust 701 Mission Street PO Box 6000jdonohoe@getty.edu 1200 Getty Center Drive San Francisco, CA Mystic, CT Suite 100 94103-3138 06355John Downing Los Angeles, CA USA USABerkeley Art Museum/Pacific 90049-1678 gsocco@ybca.org cindy.snarski@mysticseaport.org Film Archive USA2625 Durant Avenue jmay@getty.edu Will SpencerBerkeley, CA J. Paul Getty Trust DELAWARE94720-2250 Mike McCaughin 1200 Getty Center DriveUSA ProPM, Inc. Suite 100 Bruce Canterjdown@berkeley.edu 3470 Mt. Diablo Blvd. Ste.A205 Los Angeles, CA Delaware Art Museum Lafayette, CA 90049-1678 2301 Kentmere ParkwayJennifer Fragomeni 94549 USA Wilmington, DEExploratorium USA wspencer@getty.edu 198063601 Lyon Street mikem@propminc.com USASan Francisco, CA Nils Welin bcanter@delart.org94123 Gary McKean Cypress Security, LLCUSA J. Paul Getty Trust 457 Minna Street John Castlejfrago@exploratorium.edu 1200 Getty Center Drive San Francisco, CA Winterthur Museum, Garden Los Angeles, CA 94103 and LibraryRoger Fricke 90049 USA Building 37Matt Construction Corporation USA nwelin@cypress-security.com Winterthur, DE9814 Norwalk Boulevard gmckean@getty.edu 19735Suite 100 USASanta Fe Springs, CA Randy Murphy CONNECTICUT jcastle@winterthur.org90670 Museum of Contemporary ArtUSA — Los Angeles Jose Branco Michael Downsrfricke@mattconstruction.com 250 S. Grand Ave. Yale University Art Gallery Hagley Museum & Library Los Angeles, CA P.O. Box 208271 P.O. Box 3630Oren Gray 90012 New Haven, CT Wilmington, DEJ. Paul Getty Trust USA 06520-8271 19807-06301200 Getty Center Drive rmurphy@moca.org USA USASuite 100V jose.branco@yale.edu 27299@udel.eduLos Angeles, CA Ann Roche90049-2600 Rutherford & Chekene Ernest ConradUSA 55 Second Street suite 600 Landmark Facilities Group, Inc. DISTRICT OF COLUMBIAogray@getty.edu San Francisco, CA 252 East Avenue 94105 Norwalk, CT Dan DaviesJim Hartman USA 06855 Smithsonian InstitutionFine Arts Museum of aroche@ruthchek.com USA General Services Building – San Francisco econrad@lfginc.com Level 2 MRC 5512Golden Gate Park Michael Rogers 3001 Connecticut Avenue NW50 Hagiwara Tea Garden Drive J. Paul Getty Trust George Conte Washington, D.C.San Francisco, CA 1200 Getty Center Drive Yale Center for British Art 20013-701294118-4501 Suite 100 P.O. Box 208280 USAUSA Los Angeles, CA New Haven, CT ddavies@si.edujhartman@famsf.org 90049-1678 06520-8280 USA USA Richard Day mrogers@getty.edu george.conte@yale.edu Smithsonian Institution 10th and Constitution Ave NW Washington, D.C. 20056 USA dayr@si.edu20
    • IAMFA Members Directory 2007Jim Duda Kurt Sisson ILLINOIS IOWAThe Library of Congress National Gallery of Art —101 Independence Ave., S.E. Washington Thomas Barnes Ed MahlstadtWashington, D.C. 6th & Constitution Art Institute of Chicago Des Moines Art Center20540-9420 Washington, D.C. 111 South Michigan Avenue 4700 Grand AvenueUSA 20565 Chicago, IL Des Moines, IAJDUDA@LOC.GOV USA 60603 50312 k-sisson@nga.gov USA USAWayne Field tbarnes@artic.edu emahlstadt@Smithsonian Institution Larry Stuebing desmoinesartcenter.org4720 Opp-Metro Support Smithsonian Institution Bill Caddick Branch PO Box 37012 MRC 908 Art Institute of ChicagoWashington, D.C. 7509th Street NW Suite 5200 111 South Michigan Avenue MARYLAND20560-0908 Washington, D.C. Chicago, ILUSA 20013-7012 60603 Alan Diricanfieldwa@opp.si.edu USA USA Baltimore Museum of Art stuebla@si.edu wcaddick@artic.edu 10 Art Museum DriveJon Gibbons Baltimore, MDOffice of Facilities Engineering Charles Ingles 21218-3898 & Operations FLORIDA Advantage Operations USASmithsonian Institution 111 South Michigan Avenue adirican@artbma.org750 8th Street Bob Evans Chicago, ILWashington, D.C. 1101 River Reach Drive 60603-6110 Maurice Evans20560 Apt 405 USA Smithsonian InstitutionUSA Fort Lauderdale, FL chuck_ingles@msn.com 4210 Silver Hill Roadgibbonsj@si.edu 33315 Suitland, MD USA Patrick Jones 20746Neal Graham evansro48@gmail.com Art Institute of Chicago USAThe Library of Congress 111 South Michigan Avenue evansma@si.edu101 Independence Ave., S.E. Vincent Magorrian Chicago, ILRoom LM-225 306 Lexingdale Driev 60603 Jeffrey GreeneWashington, D.C. Orlando, FL USA Banneker Douglas Museum20540-9420 32828 pjones@artic.edu 84 Franklin St.USA USA Annapolis, MDNGRA@LOC.GOV pets375@aol.com Anthony McGuire 21401 McGuire Engineers USALarry Grauberger 300 S. Riverside Plaza jgreene@mdp.state.md.usSmithsonian Institution Chicago, IL GEORGIAOffice of Facilities 60606 Richard Kowalczyk Management and Reliability Sean Flynn USA Paul E. Garber Facility900 Jefferson Dr. SW Linc Facility Services tony@mcguireng.com 3904 Old Silver Hill RoadPO Box 37012 (MRC 412) 4394 Millwater Crossing Building 10Washington, D.C. Douglasville, GA Don Meckley Suitland, MD20013-7012 30135 Museum of Contemporary Art 20746USA USA — Chicago USAgraubergerl@si.edu sean.flynn@lincfs.com 220 E. Chicago Ave. kowalczykr@si.edu Chicago, ILRon Hawkins Kevin Streiter 60611 John StandishSmithsonian Institution High Museum of Art USA Smithsonian Institution12th & Independence SW 1280 Peachtree NE dmeckley@mcachicago.org 26833 North Sandgates RoadWashington, D.C. Atlanta, GA Mechanicsville, MD20024 30309 Jennifer Christakes 20659USA USA Museum of Science and USArhawkins@qfac.si.edu kevin.streiter@ Industry standishj@si.edu woodruffcenter.org 57th Street & South LakeFletcher Johnston Shore DriveHirshhorn Museum & Chicago, IL Sculpture Garden 60637Independence Ave at 7th St. SW HAWAII USAWashington, D.C. Robert White Jennifer.Christakes@20560 Honolulu Academy of Arts msichicago.orgUSA 900 South Beretania Streetfletchj@hmsg.si.edu Honolulu, HI 96814 USA rwhite@honoluluacademy.org 21
    • IAMFA Members Directory 2007 Sarah van Benten Daniel McCormick PENNSYLVANIA USA (cont’d) Boston Athenaeum George Eastman House 10 1/2 Beacon Street 900 East Avenue Douglas Bowerman MASSACHUSETTS Boston, MA Rochester, NY Allentown Art Museum 02108 14607 Fifth and Count StreetPaul Bellenoit USA USA P.O. Box 388Widener Library, Harvard vanbenten@ dmccormick@geh.org Allentown, PA University bostonathenaeum.org 18105-0388Room G-40 Thomas Scally USACambridge, MA Metropolitan Museum Of Art operations@02138 MINNESOTA 1000 5th Avenue allentownartmuseum.orgUSA New York, NYpbellen@fas.harvard.edu Rebecca Ellis 10028 Walt Crimm Questions and Solutions USA Ewing ColeDavid Geldart Engineering, Inc. tom.scally@metmuseum.org 100 North 6th St.Museum of Fine Arts — Boston 1079 Falls Curve 6th Floor465 Huntington Avenue Chaska, MN Thomas Shannon Philadelphia, PABoston, MA 55318 The Morgan Library and 1910602115 USA Museum USAUSA Rebecca.Ellis@QSEng.com 225 Madison Avenue wcrimm@ewingcole.comdgeldart@mfa.org New York, NY 10016-3405 Vince DiPieroJames Labeck USA Allied SecurityIsabella Stewart Gardner NEVADA tshannon@morganlibrary.org 3606 Horizon Drive Museum Russell Simonov King of Prussia, PA2 Palace Road Nevada Museum of Art Frantz Vincent 19406Boston, MA 160 West Liberty St. Brooklyn Museum of Art USA02115 Reno, NV 200 Eastern Parkway vince.dipiero@USA 89501 Brooklyn, NY alliedsecurity.comjlabeck@isgm.org USA 11238 rsimonov@nevadaart.org USA Jeffrey HirschJohn Lannon frantz.vincent@ Ewing ColeBoston Athenaeum brooklynmuseum.org 100 North 6th Street10 1/2 Beacon Street 6th FloorBoston, MA NEW JERSEY Philadelphia, PA02108 OHIO 19106 Richard StomberUSA USA Newark Museumlannon@bostonathenaeum.org Tom Catalioti jhirsch@ewingcole.com 49 Washington Street Newark, NJ Cleveland Museum of ArtJames Moisson 11150 East Blvd Bob MorroneHarvard University Art 07102-3176 Cleveland, OH Philadelphia Museum Of Art Museums USA 44106 P.O.Box 764632 Quincy St. rstomber@newarkmuseum.org USA 2600 Benjamin Franklin PkwyCambridge, MA tcatalioti@clevelandart.org Philadelphia, PA02138 19101-7646USA NEW YORK Paul Krenisky USAjames_moisson@harvard.edu Cleveland Museum of Art rmorrone@philamuseum.org Mark De Mairo 11150 East BlvdFrancis Pedone Neue Galerie Peter Poncheri Jr. Cleveland, OHWorcester Art Museum 1048 5th Avenue Foundation for the Reading 4410655 Salisbury Street New York, NY Public Museum USAWorcester, MA 10028 500 Museum Rd pkrenisky@clevelandart.org01609 USA Reading, PAUSA markdemairo@neuegalerie.org 19611-1425franpedone@worcesterart.org USA Daniel Gelman OREGON Lighting Services Inc. pete356@aol.comWilliam Powers III Michael McKnightClark Art Institute 2 Kay Fries Drive Stony Point, NY The High Desert Museum225 South Street 1000 NW Harmon Blvd.Williamstown, MA 10980-1996 USA Bend, Oregon01267 97701USA d.gelman@maillsi.com USAbpowers@clarkart.edu mike@riverwestbuilders.com22
    • IAMFA Members Directory 2007Richard Reinert TEXAS Dave Samec Canadian Museum ofPhiladelphia Museum of Art Smithsonian Institution CivilizationP.O.Box 7646 Bruce Causey 9401 Wooded Glen Avenue Gatineau, Quebec2600 Benjamin Franklin Pkwy Corporate Care Burke, VAPhiladelphia, PA 3530 West T. C. Jester Blvd. 22015 Library and Archives Canada19101-7646 Houston, TX USA Gatineau, QuebecUSA 77018 samecd@si.eduRReinert@philamuseum.org USA Library and Archives Canada, bcausey@corporatecare.com Portrait Gallery of CanadaJim Sutton WASHINGTON Ottawa, OntarioPhiladelphia Museum of Art Henry GriffinP.O.Box 7646 Museum of Fine Arts - Jeffrey Tosh National Gallery of Canada2600 Benjamin Franklin Pkwy Houston Seattle Art Museum Ottawa, OntarioPhiladelphia, PA PO Box 6826 100 University Street Seattle , WA Royal British Columbia19101-7646 Houston, TX MuseumUSA 77265-6826 98101-2902 USA Victoria, British Columbiajsutton@philamuseum.org USA hgriffin@mfah.org jefft@seattleartmuseum.org Mike Pierce FRANCE RHODE ISLAND WISCONSIN Museum of Fine Arts — Musée de quai BranlyCurtis Genga Houston Larry Bannister Paris, 75343Preservation Society of 5600 Fannin Milwaukee Public Museum Newport County PO Box 6826 800 W. Wells Street424 Bellevue Ave. Houston, TX Milwaukee, WI 77265-6826 THE NETHERLANDSNewport News, RI 5323302840 USA USA Rijksmuseum AmsterdamUSA mpierce@mfah.org bannister@mpm.edu Amsterdamcgenga@newportmansions.org VIRGINIA NEW ZEALAND SOUTH CAROLINA Brent Chubb Auckland Art Gallery —William Taylor Mariner’s Museum ORGANIZATIONS Toi O TamakiThe Arts Partnership 100 Museum Drive Auckland, Auckland385 S. Spring Street Newport News, VASpartanburg, SC 23606 AUSTRALIA Christchurch Art Gallery Te29306 USA Puna O WaiwhetuUSA bchubb@marinersmuseum.org National Gallery of Australia Christchurch, Canterburybiltay@spartanarts.org Canberra, ACT James Lee Lee Construction Consultants National Gallery of Victoria Melbourne, Victoria SPAIN LLC TENNESSEE 700 East Main Street Museo Guggenheim — Bilbao Suite 1503 Steensen VarmingSteve Kirby Bilbao, Viz Caya Richmond, VA Sydney, NSWFrist Center of the Visual Arts919 Broadway 23219-2604Nashville, TN USA UNITED KINGDOM37203 jlee@lee-cc.com CANADAUSA British Library Ken Myers ATCO Frontec Corporationskirby@fristcenter.org London, England Valentine Richmond History Ottawa, OntarioJohn Leach Center The British Museum 1015 East Clay Street Black & McDonald LimitedThe Hermitage, Home of London, England Richmond, VA Ottawa, Ontario President Andrew Jackson4580 Rachel’s Lane 23219 National Galleries of Scotland Canada Science & TechnologyHermitage, TN USA Museum Corporation Edinburgh, Scotland37076 kenmyers@ Ottawa, Ontario richmondhistorycenter.com National Gallery, LondonUSA London, Englandjleach@thehermitage.com Canadian Center for Architecture National Library of Scotland Montreal, Quebec Edinburgh, Scotland Natural History Museum London, England 23
    • IAMFA Members Directory 2007 Frist Center of the Visual Arts Milwaukee Public Museum San Francisco Museum of ORGANIZATIONS Nashville, TN Milwaukee, WI Modern Art (cont’d) San Francisco, CA George Eastman House The Morgan Library and Rochester, NY Museum Santa Barbara Museum of Art UNITED STATES New York, NY Santa Barbara, CA Hagley Museum & LibraryAllied Security Wilmington, DE Museum of Contemporary Art Seattle Art MuseumKing of Prussia, PA — Chicago Seattle , WA Harvard University Art Chicago, ILArkansas Art Center Museums Smithsonian InstitutionLittle Rock, AR Cambridge, MA Museum of Contemporary Art Washington, D.C. — Los AngelesArt Institute of Chicago The Hermitage, Home of Los Angeles, CA7 Valentine Richmond HistoryChicago, IL President Andrew Jackson Center Hermitage, TN Museum of Fine Arts — Richmond, VAThe Arts Partnership BostonSpartanburg, SC High Museum of Art Boston, MA Widener Library, Harvard Atlanta, GA UniversityAsian Art Museum Museum of Fine Arts — Cambridge, MASan Francisco, CA Hirshhorn Museum & HoustonBaltimore Museum of Art Sculpture Garden Houston, TX Winterthur Museum, GardenBaltimore, MD Washington, D.C. and Library Museum of Science and Winterthur, DEBanneker Douglas Museum Honolulu Academy of Arts IndustryAnnapolis, MD Honolulu, HI Chicago, IL Yale Center for British Art Huntington Library New Haven, CTBerkeley Art Museum/Pacific San Marino, CA Mystic Seaport MuseumFilm Archive Mystic, CT Yale University Art GalleryBerkeley, CA Isabella Stewart Gardner New Haven, CT Museum National Gallery of Art —Boston Athenaeum Boston, MA WashingtonBoston, MA Washington, D.C. J. Paul Getty TrustBrooklyn Museum of Art Los Angeles, CA Neue GalerieBrooklyn, NY New York, NY This list reflects Landmark Facilities Group, Inc.Clark Art Institute Norwalk, CT Nevada Museum of Art membership duesWilliamstown, MA Reno, NV paid as of Lavi IndustriesCleveland Museum of Art Valencia, CA Newark Museum November 2007.Cleveland, OH Newark, NJ Lee Construction Consultants Although we do our bestCypress Security, LLC LLC Office of Facilities Engineering to ensure that ourSan Francisco, CA Richmond, VA & Operations Washington, D.C. Directory information isDes Moines Art Center The Library of Congress as up-to-date as possible,Des Moines, IA Washington, D.C. Paul E. Garber Facility errors and omissions can Suitland, MDExploratorium Lighting Services Inc. always occur. If youSan Francisco, CA Stony Point, NY Philadelphia Museum of Art would like to make any Philadelphia, PAFacility Issues Los Angeles County Museum changes to your listing,Flagstaff, AZ of Art PlanReady, Inc. please contact Los Angeles, CA Morgan Hill, CAFine Arts Museum of San Jim Moisson atFrancisco McGuire Engineers Preservation Society ofSan Francisco, CA james_moisson@ Chicago, IL Newport County harvard.edu Newport News, RIFoundation for the Reading Metropolitan Museum Of Art Thank you very much.Public Museum New York, NY ProPM, Inc.Reading, PA Lafayette, CA24
    • IAMFA Members Directory 2007 NEW YORK PHILADELPHIA WASHINGTON- MEMBERS BY Douglas Bowerman Peter Poncheri Jr. BALTIMORE CHAPTER Jose Branco Richard Reinert Bruce Canter AFFILIATION George Conte Jim Sutton John Castle Walt Crimm Brent ChubbATLANTA Mark De Mairo SOUTHERN Dan DaviesSean Flynn Vince DiPiero CALIFORNIA Richard DaySteve Kirby Daniel Gelman Donald Battjes Alan DiricanJohn Pagan Daniel McCormick Kelly Bridge Michael DownsKevin Streiter Richard Moore Jim Bullock Jim DudaWilliam Taylor Bob Morrone George Calvo Bob Evans Thomas Scally William Carr Maurice EvansAUSTRALIA Thomas Shannon John Coplin Wayne FieldDan Mackenzie Richard Stomber John Donohoe Jon GibbonsDean Marshall Frantz Vincent Roger Fricke Neal GrahamTony van Noordenburg Oren Gray Larry GraubergerAnthony Williams NEW ZELAND Joseph May Jeffrey GreeneShaun Woodhouse Mike Heinemann Mike McCaughin Ron Hawkins Patricia Morgan Gary McKean Fletcher JohnstonCHICAGO Randy Murphy Richard KowalczykLarry Bannister NORTHERN Michael Rogers John LeachThomas Barnes CALIFORNIA Linda Simons James LeeBill Caddick Gordon Bailey Will Spencer Ken MyersJennifer Christakes Noreen Bergin Fernando PascalRebecca Ellis Joe Brennan SOUTHWEST Dave SamecCharles Ingles Brenda Cobb-Williams Keith McClanahan Kurt SissonPatrick Jones John Downing John StandishEd Mahlstadt Jennifer Fragomeni SPAIN Larry StuebingAnthony McGuire Jim Hartman Rogelio DiezDon Meckley Patty Lacson NO AFFILIATION Michael McKnight TEXAS Gérard BaillyCLEVELAND Ann Roche Bruce Causey Nadim CallabeTom Catalioti Russell Simonov Henry Griffin Jeffrey Hirsch Gerry Socco Mike Pierce Pam LowingsHAWAII Jeffrey Tosh Vincent MagorrianRobert White Nils Welin UNITED KINGDOM Jon Roodbol Frank BrownNEW ENGLAND OTTAWA-GATINEAU John de LucyPaul Bellenoit Jean Allard Peter FotheringhamErnest Conrad Carole Beauvais Ray FrenchDavid Geldart Leo Bourque Robert GalbraithCurtis Genga Chan-Hung Do Stephen GillJames Labeck Ian Follett Karen KeemanJohn Lannon Mario Gasperetti Jack PlumbJames Moisson Alain Gendron David SandersFrancis Pedone Toby Greenbaum Harry WanlessWilliam Powers III Richard Harding Ian WilliamsCindy Snarski Dominique HébertSarah van Benten Guy Larocque Pierre Lepage Ian MacLean Terresa McIntosh Jose-Luis Oliveros Ed Richard 25
    • Become a Member of the IAMFA and Get a Friend to JoinOn behalf of the membership and Board, we invite you to Membership Opportunitiesjoin with other museums and cultural organizations through-out the world in becoming a member of the only organization Join the IAMFA at any of the following levels and enjoy fullexclusively devoted to museum and cultural facility admin- benefits of membership:istrators: the International Association of Museum Facility Regular Member — $150 annually. A regular memberAdministrators (IAMFA). As a member, you will join a growing holds the position of principal administration in directlist of museum and cultural facility administrators in their charge of the management of facilities, and represents theirefforts to provide a standard of excellence and quality in institution(s) as a member of the association.planning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varieties Associate Member — $50 annually. An associate memberof programming. is a full-time facilities management employee (professional, The Association currently has representation in several administrative or supervisor), below the level of the facilitycountries on three continents. Our goal is to increase administrator of the member association.membership in institutions throughout the world. Affiliate Member — $50 annually. An affiliate member is Your involvement in the IAMFA will continue the growth any full-time employee of a member institution who is notof the organization and provide you with excellent educational directly involved in the facilities management department.and networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA. Subscribing Member — $300 annually. A subscribing member is an individual, organization, manufacturer ofCordially yours, supplier of goods services to the institutions who ascribesThe Board of the International Association to the policies and programmes of the Association, andof Museum Facility Administrators wishes to support the activities of the Association. Send in your membership dues by using the convenient form below. Membership payments and conference registration can also be made online at www.IAMFA.org Don’t forget to make a copy to give to a colleague. ✁ YES! I would like to join the IAMFA as a: Ⅺ I am interested in joining. Ⅺ Regular Member $150 Ⅺ Associate Member $ 50 Please have a member Ⅺ Affiliate Member $ 50 Ⅺ Subscribing Member $300 contact me. Institution: __________________________________________________________________________________________________________________ Name: ______________________________________________________________________________ Title: ________________________________ Address: ____________________________________________________________________________ City: _________________________________ State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________ Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________ ALL FEES ARE PAYABLE IN U.S. DOLLARS Please remit to: International Association of Museum Facility Administrators Ⅺ I enclose a check in the amount of $ ____________________ P.O. Box 277 Groton, MA 01450, USA Ⅺ Please invoice me Website: www.iamfa.org26
    • Letter from the Editor able to attend this year, I hope you editions of Papyrus and the rest of us will take time to read the article in this can also benefit from your efforts. Papyrus about the Ottawa conference, It was apparent from our visit to Joe May and join me in thanking our hosts for Ottawa that there is a “greening” under- Editor, Papyrus all their efforts in making this year’s way in our cultural institutions. I will conference such a great experience. never forget our visit to the CanadianGreetings everyone, from the Getty In upcoming editions of Papyrus, you War Museum, and how Guy and hisCenter in Los Angeles, California. can expect to see several articles about fellow members of the design team This is my first edition of Papyrus incorporated sustainability into the new the Fall 2008 conference in London,as editor, and I want to thank all of you facility. As many of us continue our England. Plans for the conference arefor your vote of confidence in Ottawa, journey down this path to more sus- well underway, and the London confe-electing me Editor of Papyrus and tainable facilities, please share your ideas rence team appears to be on a missionSecretary of IAMFA. I will do my best with fellow members so that we can to make next year’s conferenceto continue the level of excellence seen all benefit from your innovations. In a unforgettable, just as with the Ottawain past editions thanks to Dan Davies future edition, I will give you an update conference. I know our friends in thefrom the National Zoo in Washington, on our progress at the Getty Center United Kingdom have much to do toand his predecessors who also held regarding the LEED-EB certification get ready for next September’sthis exciting position. that I spoke about in Bilbao. conference, and somehow I have a Just having seen many of you in Lastly, I want to invite members to feeling that our British colleagues willOttawa at this year’s annual confer- send any photos that they believe would have a few surprises in store for us.ence, I was reminded of how close interest the rest of us. Of course, photoswe are as an organization of museum As we return to our normal duties, I would like to ask each of you to can be of a new addition at your facility,professionals. Because of our close an improvement recently implemented,association, I heard from many of you think of your fellow IAMFA members when you implement a new practice or may just be something like belowrecently when Los Angeles experienced that you think others might enjoy.the worst wildfires that California has at your institution which others might benefit from hearing about. During This photo was taken last week byever seen. The Getty properties that Anne Watson, our Grounds Supervisormany of you visited a little over a year our Sunday benchmarking day in Ottawa, it was obvious that we are all at the Getty Villa. The Villa has theago were spared from damage thanks to most courteous deer: this one lookedthousands of firefighters from California striving for improvements in how we both ways before crossing the street.and surrounding states. We owe much maintain our respective facilities, and Thanks again for your vote ofto these individuals, who risked their Papyrus is the perfect way to share confidence, and I hope you enjoy thissafety to protect our lives and property your ideas with your fellow members. edition of Papyrus.during this recent emergency. I want Please take time to write about improve-to thank so many of you who expressed ments you make to your operations, Joe Mayconcern for our safety as you saw the so that we can include these in future Secretary, IAMFA and Editor of Papyrusfires on newscasts around the world.To me, this is further evidence that ourorganization has bridged our geograph-ical differences, and we continue tobe a close organization of colleaguesand friends. Thank you again. With the Ottawa conference still freshin our minds, it is a great opportunityto thank Guy Larocque and his confer-ence team for the wonderful experienceof visiting Ottawa, and the opportunityto learn so much about Canada’s nationalcultural institutions, and how they areoperated and maintained. It is obviousthat a lot of planning went into makingthe Ottawa 2007 Conference a resound-ing success, and one that IAMFA mem-bers will not soon forget. If you weren’t 27
    • IAMFA LONDON to be there! 200814–17 September: you know you want For more details see http://www.iamfa.org/