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    Papyrus Fall 2010 Papyrus Fall 2010 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 F A C I L I T Y A D M I N I S T R AT O R S PAPYRUS VOL. 11, NO. 2 SUMMER–FALL 2010 Celebrating Years The 20th Annual IAMFA IAMFA Conference Reflections onThe First Twenty Years in San Francisco, CA Papyrus
    • ContentsLetter from the Editor Facility Managers Lead the Move1 to Green with Improvements in Energy EfficiencyMessage from the President / 30Mot du président /Mensaje del Presidente Benchmarking:2 A Comparison over Time 35IAMFA . . . The First Twenty Years6 Reflections on Papyrus 37The Twentieth Annual IAMFA Conferencein San Francisco / Auckland Art Gallery Toi o T¯ amaki:La Vingtième Conférence de lIAMFA Building Development Updateà San Francisco / 39La Vigésima Conferencia Anual de IAMFAen San Francisco Regional Updates/Member News15 422010 IAMFA Conference Schedule IAMFA Members—Organizations24 46The National Gallery: Puzzle PageCasting New Light on Old Masters 4828Cover photo: San Franciscos famous Golden Gate Bridge. Photo: Joe MayIAMFA BOARD OF DIRECTORS REGIONAL CHAPTERSPresident Secretary and Papyrus Editor Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada —John de Lucy Joseph E. May High Museum of Art Ian MacLean, Canada Science and Technology Museum CorporationThe British Library Sustainability Engineer imaclean@technomuses.caLondon, United Kingdom Los Angeles, CA, USA Australia — Ray McMaster, National Maritime Museum Philadelphia, USA — John Castle, Winterthur Museum & Garden jcastle@winterthur.orgV.P., Administration Chairman — Conference 2010 Bilbao, Spain — Rogelio Diez,Alan Dirican Guggenheim Museum San Francisco, USA — Joe Brennan, Joe Brennan San Francisco Museum of Modern ArtBaltimore Museum of Art San Francisco Museum of jbrennan@sfmoma.orgBaltimore, MD, USA Modern Art Chicago, USA — William Caddick, Art Institute of Chicago United Kingdom — Jack Plumb, San Francisco, CA National Library of Scotland j.plumb@nls.ukV.P., Regional Affairs Los Angeles, USA — Randy Murphy,John Castle Los Angeles County Museum of Art Washington/Baltimore, USA — Head of International Affairs Maurice Evans, SmithsonianWinterthur Museum, Guy Larocque InstitutionGarden and Library New England, USA — John H. Canadian Museum of evansma@si.eduWinterthur, DE, USA Lannon, Boston Athenaeum Civilization For more information on Gatineau, QC, Canada New York, USA — Mark Demairo, becomming a member of theTreasurer Neue Galerie International Association ofLarry Bannister Museum Facility Administrators,Milwaukee Public Museum For additional contact information, New Zealand — Patricia Morgan, please visitMilwaukee, WI, USA please visit our website at Auckland Art Gallery patricia.morgan@aucklandcity.govt.nzIAMFA/ Papyrus Vincent Magorrian Editing Statements of fact and opinionVol. 11, Number 2 Joe May Artistic License (English) are made on the responsibility ofSummer–Fall 2010 Patricia Morgan Guy Laroque (French) authors alone and do not imply an Marla Neustadt opinion on the part of the editors, Printed in the U.S.A. by officers, or members of IAMFA. TheEditor David Redrup Knight Printing editors of IAMFA Papyrus reserve theJoe May Steve Vandyke right to accept or to reject any Article Thomas A. Westerkamp or advertisement submitted forPapyrus Correspondents ISSN 1682-5241 publication.John Castle Design and LayoutDaniel Davies Phredd Grafix While we have made every attempt toPeter Fotheringham ensure that reproduction rights haveGuy Larocque Translation been acquired for the illustrationsJohn de Lucy Marina Pascal (French) used in this newsletter, please let us know if we have inadvertentlyMaurice Evans Jeanne Pascal (Spanish) overlooked your copyright, andPierre Lepage we will rectify the matter in a future issue.Past issues of Papyrus can be found on IAMFAs website:
    • Letter from the EditorJoe MayEditor, PapyrusGreetings from Los Angeles! Pierre was responsible for turning the I haven’t missed an IAMFA confer- original two-page Papyrus newsletter into ence since attending my first one inI AMFA is celebrating a significant the journal that it is today. He was also San Francisco in 2003. By the end of birthday this year: Twenty Years! one of the early members of IAMFA, and that conference, I knew that I wanted The Association’s origins date back his article provides some interesting to become an active member of theto a first meeting at the Art Institute background on the Association. organization. If you’ve attended anof Chicago in 1990, organized by the As always, we also have some great IAMFA conference before, you alreadyInstitute’s Director of Facilities, George articles on the nuts and bolts of what know the benefits of belonging to anPreston. To begin our twentieth anni- organization made up of colleaguesversary celebration, I hope you will read with responsibilities similar to yours.the retrospective article in this issue of If you haven’t attended before, nowPapyrus, which looks back over our first IAMFA is thriving, and it is the time to get involved. Details oftwenty years. And please . . . if you have this fall’s 20th Anniversary conference will continue to be thespecial memories of your involvement in San Francisco can be found in thiswith IAMFA, I encourage you to send leading organization for issue. If you haven’t made your plansthem to me so we can add them to the yet, please make them soon. The blockAssociation’s official record. IAMFA is facilities professionals at of rooms at the Sir Francis Drake Hotelthriving, and it will continue to be the is limited, and there is an early regis-leading organization for facilities pro- cultural institutions for tration discount if you register soon.fessionals at cultural institutions for Don’t wait to secure your reservationsdecades to come. Our twentieth anni- decades to come. —and be sure to show the guest agendaversary is a good opportunity to gather to your family. San Francisco is anthe best possible historical record of amazing city for our fall conference,those early years for future members we do, including Steve Vandyke’s article and you won’t find a better value forof the organization. on blind controls at the National Gallery this level of learning and networking. In addition to the retrospective a in London, Tom Westerkamp’s article Lastly, thank you to everyone whofew pages on, you are certain to enjoy on energy conservation, and Patricia contributed content to this issue ofPierre Lepage’s reflections on the orga- Morgan’s update on the Auckland Art Papyrus. I hope you enjoy learning aboutnization. For those of you who have Gallery building project. You will also our history, and I look forward to seeingbeen members of IAMFA for a few years, find an article from Stacey Wittig with you this fall in San Francisco!you may recall Guy Larocque intro- some interesting trends from the firstducing Pierre Lepage at the closing ten years of the IAMFA annual bench- Joe MayGala of the 2007 conference in Ottawa. marking exercise. Editor, Papyrus PAPYRUS SUMMER–FALL 2010 1
    • Message from the President Message du président Mensaje del PresidenteJohn de LucyPresident / Président / Presidente,IAMFASan Francisco— San Francisco, ¡San Francisco—Here We Come! on y va! Estamos en Camino!T L E he U.K. Chapter has had such a e chapitre du Royaume-Uni, j’ai l Capítulo del Reino Unido ha successful year that, I understand, entendu, a eu tellement de succès experimentado tanto éxito este there will be 14 members plus qu’il y aura 14 membres de plus año que tengo entendido queguests attending from this side of the parmi les invités présents de ce côté asistirán más de 14 miembros de estepond—an excellent turnout. Must be de l’étang – un taux de participation lado del charco a la conferencia—unasomething in the air! excellent. Il doit y avoir quelque chose representación excelente. ¡Debe haber San Francisco in 2003 was my first dans l’air! algo en el aire!IAMFA conference, and Joe Brennan San Francisco en 2003 a été ma pre- La conferencia en San Franciscoand his team are putting together mière conférence de l’IAMFA et Joe en 2003 fue mi primera conferenciaanother fabulous treat for us all this Brennan et son équipe sont en oeuvre de IAMFA, y Joe Brennan y su equipofall. The one activity I particularly pour nous faire une autre tournée fabu- están preparando otra fabulosa experi-remember from 2003 was the California leuse cet automne. L’activité dont je encia para todos nosotros este otoño.BBQ in an old dairy barn on the me souviens particulièrement de 2003 La actividad de 2003 que más me traeRunnymede Sculpture Farm. I am était le barbecue à la Californie à une recuerdos es la barbacoa de Californiadelighted that we are returning there ancienne laiterie dans la Grange aux que tuvo lugar en una vieja instalaciónthis year, so that you will be able to sculptures Runnymede. Je suis ravi que lechera de la Granja con esculturasenjoy a similar event on Monday, nous y retournions cette année, de Runnymede. Me complace saber queOctober 18. This will be a unique sorte que vous aussi pourriez profiter vamos a regresar allí otra vez este añoexperience in a private park that you d’un événement similaire, le lundi para que Ustedes también puedancannot otherwise visit. Members and 18 octobre. Ce sera une expérience disfrutar de un evento parecido, eltheir guests will also have an oppor- unique dans un parc privé que vous lunes 18 de octubre. Será una experi-tunity to walk together across the ne pouvez pas autrement visiter. Les encia única en un parque privado queGolden Gate Bridge on Wednesday membres et leurs invités auront égale- normalmente es de acceso restringido.afternoon, enjoying stunning views of ment l’occasion de marcher ensemble Los miembros y sus invitados tendránthe city and Alcatraz. In the evening, à travers le Pont Golden Gate, mercredi la oportunidad de caminar juntos awe will attend the Gala dinner at the après-midi, profitant d’une vue impre- través del Puente Golden Gate en laMaritime Museum with panoramic nable sur la ville et sur Alcatraz. Dans tarde del miércoles, y disfrutar de unasviews of the bay at sunset. la soirée, nous allons assister au dîner vistas impresionantes de la ciudad y de Along with these unique events, the de gala au Musée maritime avec une vue Alcatraz. Por la tarde, asistiremos a laprogramme is packed with behind- panoramique sur la baie au coucher comida de gala en el Museo Marítimothe-scenes tours, fabulous events and du soleil. con vistas panorámicas del ocaso eneducational visits, making this is a con- Parallèlement à ces événements la bahía.ference that is not to be missed. If you uniques, le programme est emballé En conjunto con estos eventos úni-haven’t looked at the proposed pro- avec des visites dans-les-coulisses, de cos, la agenda esta repleta de giras trasgramme in detail, please do so in this fabuleuses activités et des visites édu- bastidores, actividades fabulosas y visitasissue of Papyrus, or online at www.iamfa. catives, ce qui démontre qu’il s’agit educacionales, demostrándoles así queorg/agenda2010—it is sure to entice d’une conférence à ne pas manquer. no deben perderse esta conferencia. Simembers and, just as importantly, Si vous n’avez pas regardé le pro- no se han fijado bien en el programa,their guests. gramme proposé dans le détail, s’il por favor mírenlo en este ejemplar2 PAPYRUS SUMMER–FALL 2010
    • Joe Brennan has chosen the dates vous plaît faites-le dans ce numéro du de Papyrus, o en la dirección en líneato ensure fabulous weather and a full Papyrus, ou en ligne à—no cabemoon (what, I wonder, is the signifi- agenda2010 – on y est sûr de capturer duda que llamará la atención de loscance of that!). I know he will have l’attention des membres et, tout aussi miembros y sus invitados, quienes sonsomething up his sleeve to surprise important, de leurs invités. de igual importancia para At our April Board meeting, the Joe Brennan a choisi les dates pour Joe Brennan ha escogido las fechaslast activity on the agenda was a Sunday assurer une météo fabuleuse avec la para que coincidan con la luna llena ymorning meeting at 5:00 a.m. to wit- pleine lune (je me demande quelle est asegurarnos un tiempo fabuloso (¡meness an annual ceremony marking the la signification de cela!). Je sais qu’il pregunto cuál será el significado deanniversary of the devastating 1906 aura quelque chose dans son sac pour la luna llena!) Estoy seguro que estaráearthquake and fire. Joe May and I met nous surprendre. En avril, lors de la tramando algo especial para sorpren-Joe Brennan in reception at 4:45 a.m. réunion du Conseil, la dernière activité dernos—en la reunión de la Juntaand walked to a firehouse close to the sur l’ordre du jour a été une réunion Directiva de abril, la última actividadhotel, where sirens sounded to mark dimanche matin à 5h00 pour assister à en el programa era una visita a lasthe event (I pity the poor residents of la cérémonie annuelle marquant l’an- 5:00 a.m. a una ceremonia anual quesurrounding hotels). We then had to niversaire de terribles tremblements conmemora el aniversario del terre-have a glass of port, and Joe Brennan de terre et feu de 1906. Joe May et moto e incendio devastadores de 1906.gave us a keepsake of a black handker- moi avons rencontré Joe Brennan à la Joe May y yo nos reunimos con Joechief covered in red and orange flames. réception à 4:45 am et nous sommes Brennan en la recepción a las 4:45 a.m. This year’s conference hotel, the allés vers une caserne de pompiers à y caminamos hacia una estación deSir Francis Drake Hotel, already has proximité de l’hôtel où les sirènes son- bomberos cerca del hotel, donde sona-firm bookings for 40 of the allocated naient à l’occasion des événements (je ron las sirenas para marcar el evento50 rooms available at the reduced con- suis désolé pour les pauvres habitants (lo lamento por los pobres ocupantesference rate. So, if you have not already des hôtels environnants). Ensuite, il de los edificios cercanos). Luego nosbooked, make sure you register soon a fallu que nous buvions un verre de tomamos una copa de vino oporto, yfor one of the last 10 rooms! porto et Joe Brennan nous a donné Joe Brennan nos regaló como recuerdo Our American and Canadian col- comme souvenir un mouchoir noir un pañuelo negro cubierto con unleagues suffered badly last year with couvert de flammes ardentes en rouge diseño de llamas rojas y anaranjadas.cutbacks, yet the very successful 2009 et orange. El hotel de la conferencia de esteWashington conference had a record L’hôtel de la conférence de cette año, el Sir Francis Drake, ya tiene reser-turnout, so let’s hope this year’s con- année, le Sir Francis Drake, a déjà vaciones para 40 de los 50 cuartosference in San Francisco can be prior- des réservations fermes pour 40 des disponibles, a los precios reducidositized above any other conferences 50 chambres disponibles, allouées au de la conferencia. Así que si no hanyou may be considering attending. If taux réduit de conférence. Donc, si reservado todavía, asegúrense de reg-your boss is having trouble with the vous n’avez pas déjà en réservé, assurez- istrarse pronto para uno de los últimosword “conference”, assure him/her vous de vous inscrire rapidement pour 10 cuartos!that this is the best training session l’un des 10 dernières chambres! Nuestros colegas americanos y cana-value of the year! Nos collègues américains et cana- dienses han pasado por tiempos difíciles The last 18 months have focused diens ont beaucoup souffert l’an este último año debido a recortes deour minds on matters financial—none dernier en raison des compressions presupuesto, sin embargo la asisten-more so than those related to facilities budgétaires, mais l’édition très réussie cia a la muy exitosa conferencia demanagement. Reducing costs and add- de la Conférence de Washington 2009 Washington 2009 rompió record, asíing value for money has been one way a eu un taux de participation record; que esperemos que al hacer la listain which facilities managers have proven alors, espérons que celle de cette année de prioridades de este año le den mástheir worth to organisations, particu- à San Francisco puisse être priorisée peso a la conferencia de San Franciscolarly in a time of economic crisis— au dessus d’autres conférences que que a todas las demás. Si a su super-but is it a fair picture of all that you vous envisagez assister. Si votre patron visor le incomoda la palabra “confer-as facility managers could achieve for a des problèmes avec le mot « confé- encia”, ¡explíquele que ésta será layour cultural organisations? There are rence », assurez-lui que c’est la plus sesión de entrenamiento más valiosaopportunities ahead that we will need précieuse session de formation de del año!to address in order to continue main- l’année! Los eventos de los últimos 18 mesestaining our vital role within our organi- Les 18 derniers mois ont porté notre han enfocado nuestras mentes ensations. We need to take this changing attention sur les questions financières, asuntos financieros—sobre todo enworld into account, and realign our mais plus encore sur celles liées à la el caso de los relacionados con mante-roles and purpose if we wish to deliver gestion des installations. Réduire les nimiento de instalaciones. Reducirsustainable value to our organisations. coûts et maximiser le côut-bénéfice costos y maximizar costo-beneficio esHow are you going to improve your a été une des façons dont les gestion- una de las maneras en que los gerentesgame? Come to San Francisco and tell naires d’installations ont pu démontrer de mantenimiento han demostrado PAPYRUS SUMMER–FALL 2010 3
    • us, or send Joe May an article for the leur valeur aux organisations, en par- su importancia a las organizaciones,next edition of Papyrus. ticulier en temps de crise économique especialmente en los tiempos de crisis So, as the next generation of Facili- – mais est-ce que c’est une image fidèle económica—¿pero realmente es unaties Managers, are you prepared to be de tout ce que vous, en tant que ges- imagen representativa de todo lo queworkplace enablers, become carbon- tionnaires d’installations, pourriez Ustedes como gerentes de mantenimi-driven, link energy to maintenance, be atteindre pour vos organisations cul- ento pudieran lograr para sus organiza-led by partnerships, invest in relations turelles? Il y a des opportunités à venir ciones culturales? Hay oportunidadeswith suppliers, ensure that you become auquelles nous devons faire face afin en el futuro que nos veremos obligadosa Board Room item, be smart about de maintenir notre rôle vital au sein a enfrentar para mantener nuestrosasset transfers, be intelligent about ser- de nos organisations. Nous devons papeles críticos dentro de nuestrasvice delivery, and become integrated prendre en compte ce monde en mu- organizaciones. Necesitamos tomar enwith your colleagues in HR, Finance tation et réaligner nos rôles et nos cuenta este mundo que está en procesoand IT? And that’s just for starters! buts si nous voulons offrir une valeur de cambio y rediseñar nuestros papeles durable pour nos organisations. Com- y objetivos si queremos seguir sumi- ment allez-vous améliorer votre jeu? nistrando valor sostenible a nuestras Venez à San Francisco et dites-nous organizaciones. ¿Cómo pueden mejorarThis conference will ou envoyez à Joe May un article pour sus estrategias de juego? Vengan aprovide an opportunity sa prochaine édition du Papyrus. San Francisco y dígannos, o mándenle Donc, comme la prochaine généra- un artículo a Joe May para su próximato exchange ideas and tion des gestionnaires d’installations, edición de Papyrus. êtes-vous prêt à: dynamiser le milieu Así que, como la próxima generacióndevelop a learning de travail, devenir un « conducteur-à- de gerentes de mantenimiento, estánpartnership . . . carbon », lier l’énergie vers l’entretien, Ustedes preparados para: ser capaci- être guié par des partenariats, investir tadores del lugar de trabajo, tomar dans les relations avec les fournisseurs, decisiones en ¿base del manejo de laCette conférence sera veiller à ce que vous devenez un élé- huella de carbono? ligar la energía all’occasion d’échanger des ment discuté par le Conseil, être à mantenimiento, ser guiados por equipos puce sur les transferts d’actifs, être de trabajo, invertir en relaciones conidées et de développer un intelligent sur la prestation des services los proveedores, asegurar que sus metas et vous intégrer avec vos collègues des formen parte de la agenda de la Juntapartenariat éducatif . . . ressources humaines, des finances et Directiva, saber llevar a cabo las trans- des TI? Et ce n’est qu’un début! ferencias de bienes con inteligencia,Esta conferencia nos Au Royaume-Uni, le nouveau gou- optimizar el plan de suministros, e vernement de coalition a annoncé une integrarse con sus colegas de Recursosbrindará la oportunidad réduction minimale prévue de 25 % Humanos, Finanza, e Informática? ¡Y dans les budgets de toutes les institu- todo esto es solamente el comienzo!de intercambiar ideas y tions culturelles; nous sommes donc En el Reino Unido, el nuevodesarrollar un equipo confrontés à réfléchir sur la façon dont gobierno de coalición ha anunciado nous offrons nos services avec une que prevé un recorte del 25% mínimode aprendizaje . . . réduction importante des ressources de todos los presupuestos de las insti- financières. Profitez de cette occasion tuciones culturales, así que nos vemos à la conférence pour aider vos cousins forzados a enfocarnos en cómo pode- In the U.K., the new coalition gov- du Royaume-Uni avec les expériences et mos suministrar nuestros servicios conernment has announced an intended les idées novatrices que vous avez trou- una reducción realmente significativaminimum 25% cut in the budgets of vées! Voyons comment nos membres de los recursos financieros. Aprove-all cultural institutions, so we are faced ont réussi à maintenir les services dans chen esta conferencia para ayudar awith having to think hard about how we un environnement de réduction sévère sus primos del Reino Unido con lasdeliver our services with a major reduc- des coûts. experiencias e ideas innovadoras exi-tion in financial resources. Do use this Je crains que notre gouvernement tosas que han descubierto! Discutamosconference opportunity to help your pourrait essayer de fusionner nos insti- cómo nuestros miembros han logradoU.K. cousins with the experiences and tutions afin de réduire le nombre de seguir suministrando servicios eninnovative ideas you have found that musées individuels. Quelqu’un d’entre un contexto de reducciones severaswork! Let’s discuss how our members vous a eu cette expérience dans votre de costos.have managed to keep services going in propre pays? Le ministère britannique Temo que nuestro gobierno intentean environment of severe cost reduction. de la Culture, des Médias et du Sport unir a nuestras instituciones para redu- I am apprehensive that our govern- a demandé des précisions sur toutes cir la cantidad de museos individuales.ment might try to amalgamate our les dates de la fin de nos contrats indi- ¿Alguno de Ustedes ha experimentadoCONTINUED ON PAGE 29 SUITE À LA PAGE 29 SIGUE EN LA PÁGINA 294 PAPYRUS SUMMER–FALL 2010
    • IAMFA . . .The First Twenty Years2 010 marks the twentieth anni- attend the meeting, but had no idea Washington, D.C. —1991 versary of IAMFA, and our what to expect. At the time, Vinny was Greg Reynolds was in charge of mak- San Francisco conference host a member of the Building Owners and ing preparations for this inauguralJoe Brennan thought it fitting that we Managers Association (BOMA) and IAMFA conference, with help frompublish an article about the Associa- remembers that, while BOMA did colleagues at other local museums.tion’s history. Many of us have been provide the means to keep abreast of What was obvious at this first IAMFAmembers of IAMFA for years, but I changes in technology, it was geared conference was that the early membersthink most would agree that we really more toward commercial buildings. This were very eager to share their ideas.don’t know exactly how IAMFA came left him feeling that he needed more. Included were educational sessionsinto existence. Fortunately, there are The host of the meeting in Chicagostill active members who were present was George Preston, who was Facilitiesduring those initial years, and they have Director at the Art Institute. He was ahelped us document IAMFA’s history. large man—not just physically, but intel-One of these individuals is Vincent lectually—and he was very determined.Magorrian, who is the retired Facilities George believed that this group couldDirector for the Museum of Modern organize and become the first trueArt in New York City. Vinny is a charter museum facilities organization. Allmember of IAMFA, and also served as of the individuals in attendance intro-President of IAMFA during the Asso- duced themselves, and spoke aboutciation’s early years. Please read on to their own institutions, then collectivelylearn more about IAMFA’s history. spent a lot of time brainstorming about what kind of organization they could be. Above all, George wanted to charterChicago —1990 the organization, and he wanted bylawsIn 1990, Vinny Magorrian received like APPA (the Association of Physicalan invitation from the Art Institute Plant Administrators). From the firstof Chicago to attend a meeting in day, George worked to establish bylaws;Chicago, along with representatives and if George wanted to accomplish The National Gallery of Art in Washington,from other museums. He decided to something, he did. D.C.The Art Institute of Chicago. The individuals at this first meeting inChicago decided that their next meeting would be in Washington, From an early IAMFA meeting. Front left: Vinny Magorrian; right:D.C., and in the year leading up to that meeting, IAMFA was Ron Puska; back centre: Myro Resnick. The two others areincorporated as a not-for-profit organization. unknown.6 PAPYRUS SUMMER–FALL 2010
    • focusing on museum environmental IAMFA wanted to grow interna- everyone always shared problems (andrequirements, and conference organi- tionally, and our first success was with solutions) from their institutions. Itzers invited guests from other museum Canada. The Canadians were very inter- seemed that technology was advancingdepartments to discuss what facilities ested in having a museum facilities so fast that, if you missed these sessions,departments did to achieve optimal organization, and it is likely that, with- you could be left behind. Membersenvironmental conditions. There were out their help, we would not have grown also decided at this meeting that theyvendors who made presentations, into the organization that we are today. would volunteer to make a presenta-as well as conservators and curators. We had our second annual banquet, tion at the American Association ofAccording to Vinny, this was the begin- which became the traditional closing Museums annual conference.ning of our becoming professional in of the conference; in future we wouldthe eyes of directors, curators, and call it a Gala, and it truly was every year.conservators. The attendees visited Kansas City was the first meeting Toronto —1994several local museums for behind-the- attended by Peter Fotheringham, who Our next meeting was hosted by the Artscenes tours, and enjoyed sessions dur- at the time was Facility Director at the Gallery of Ontario and Ron which curatorial members explained National Gallery in Scotland. Peter This was the first time IAMFA includedworks of art through their eyes. would go on to host a conference, and vendor displays the night before the later became IAMFA’s President. Peter annual general meeting. A few vendors remembers the friendly coercion that had become members by this time, andKansas City—1992 they made presentations at the confer- went into his accepting the 1998 con-The following year, the IAMFA confer- ence, but were always careful to focus ference date for Edinburgh, but heence was hosted at the Nelson-Atkins on educational content, rather than was delighted to do it, having beenMuseum of Art, and began with a sales. We were progressing as an orga- warmly welcomed by everyone in Kansasgeneral session as it did in subsequent nization. We discussed problems expe- City. With Canadian members now—conferences. Members reviewed meet- rienced by Russian museums at the and with Peter, who soon attracteding minutes and introduced the Board time, and discussed sending IAMFA individuals from other European coun-of Directors to attendees. We learned in delegates to Russia to offer our support. tries—we began gaining recognitionKansas City that everyone who attended At the closing banquet, there were two as a growing museum organization.needed to have a hand in the confer- members—Mark DeMairo and Martyence if we were to be successful. We Cavanaugh—from the New York Citywent on to have educational sessions Cincinnati—1993 delegation who were away from theirin areas such as controls, codes and In 1993, we were hosted by the Cincin- table for a few minutes. When theyregulations, curatorial-defined differ- nati Museum Center at Union Terminal. returned, they found out that theyences required for different art media, It was a museum centre composed had volunteered to host the nextand many others. We also planned free of several museums. It was a history year’s conference!time so we could network with each museum, a science museum, and aother, and began to set up focus groups. children’s museum, and it also had anIt was challenging, as we were just OMNIMAX® Theater. This was Vinny New York—1996starting to grow. We met for breakfast, Magorrian’s first year as IAMFA’s When it sank in that New York Cityand visited various museum facilities, President. George Preston, IAMFA’s would be the next conference host,which would become our custom in founder, had retired by now. As usual, the chapter began monthly meetings,future conferences. We observed that we began with our general meeting, according to Vinny Magorrian. Withby doing this, our membership began then split into educational groups— Marty Cavanaugh, Myro Resnick, andto expand. which were really sharing groups, as Mark DeMairo, they worked togetherThe Nelson-Atkins Museum of Art in The Cincinnati Museum Center at Union The Art Gallery of Ontario in Toronto,Kansas City, Missouri. Terminal in Cincinnati, Ohio. Canada, following renovations completed in 2009. PAPYRUS SUMMER–FALL 2010 7
    • to develop a program, and began to did that thinking it would give them we visited too, but the Getty Centerschedule speakers and solicit support the true feeling of an opening. was overwhelming in its grandeur.from member facilities. The banquet The highlight for many during the This was the first year awards werewas to be held at the Guggenheim, April 1996 conference was a boat trip presented at the Gala; and the firstand our meeting would be at Doral to Ellis Island. It was amazing to walk presented was the George PrestonHotel in Manhattan, with visits to the halls where so many came to the Memorial Award. It was presented tovarious museums. United States. But it was also eerie as Ron Puska, who had served in several Peter Fotheringham made a pre- members went to areas not open to capacities within IAMFA, and who wassentation about emergency prepared- the public, such as hospital rooms with always willing to offer his time to theness, in which he related events at the a single light bulb, and crumbling walls. organization. Vinny Magorrian wasNational Gallery and an attack with According to Vinny, you could feel the proud to receive “The Member of theexplosives by the IRA, as well as collec- hurt of those who were sent back to Year Award”, which Vinny thinks Marktion storage practices in salt mines dur- their original countries because of DeMairo had something to do the Second World War. There was illness; the most common cause being Maybe the time will come soon toa major opening of Matisse’s work at pink eye, which is so easily treated resurrect the George Preston Award?the Museum of Modern Art (MOMA), now. Vinny remembers feeling many Without George, there would be noand Vinny got tickets for attendees; emotions while visiting those areas IAMFA. George was a mentor, and ahowever, he reports that he is still in where families were broken up, and felt driving force in establishing IAMFA,trouble with his wife and others for he was changed from then on. The and he always pushed the officers tohaving them wait in line, and says he team shared a sense of pride for the make IAMFA better. success of the New York conference. Edinburgh, Scotland —1998 Los Angeles—1997 Our next IAMFA annual conference Our next conference was held at the was held in Edinburgh, and was hosted Getty Center, which was still under by Robert Galbraith, with help from construction in Los Angeles at the Peter Fotheringham. Peter had agreed time. It was a beautiful site, and mas- to host the 1998 conference while in sive, and knowing that there was not Kansas City, but moved to the National really a budget made us all envious. Gallery in London in 1994, leaving The host was Lloyd Randolph. We Robert with the responsibility! The con- also visited the Old Getty Museum in ference in Edinburgh was a big step Malibu, and celebrated Cinco de for IAMFA, as we now had a presence Mayo at the Museum of Contempo- in Europe. In the year leading up to rary Art. There were other museums the May 10–13, 1998 conference inThe Museum of Modern Art in New York City.The Guggenheim Museum in New York City. The new Getty Center in Los Angeles.8 PAPYRUS SUMMER–FALL 2010
    • Edinburgh, Pierre Lepage conducted and, above all, we were now a truly inter- Randolph found out that the Buffalo a year-long benchmarking survey with national organization. Following the Bill Museum Center in Cody, Wyoming, 66 museums, and presented the results Edinburgh conference IAMFA mem- which was to have hosted the confer- at the Edinburgh conference. It was bers, along with Ian Follett’s company, ence in 1999, could not do it due to then that a proposal was made for Facility Management Services, Ltd. spent delays with their museum construction IAMFA to support this activity as an nearly two years developing the first project. Pierre Lepage was asked if he ongoing endeavor. The Edinburgh formal benchmarking questionnaire could chair the conference in Ottawa- conference was a great one. We visited of 89 questions. Gatineau—with a year to prepare. The Edinburgh Castle and viewed the crown conference organization committee jewels of Scotland, and even had bag- included Pierre Lepage of the Canadian pipers at the Gala, which was truly fit Ottawa, Canada—1999 Museum of Civilization and Canadian for a king. The sessions were informa- During the 1998 conference in War Museum, Jim Trim of the National tive, we all learned from one another Edinburgh, IAMFA President Lloyd Gallery of Canada, Carole Beauvais of the National Archives and Library of Canada, Gerry Potoczny of the Cana- dian Museum of Nature, and Toby Greenbaum of Public Works Canada historic properties. Conference participants and their spouses stayed at the Chateau Laurier, a historic landmark in Ottawa next to Parliament Hill. The welcoming recep- tion took place at the Chateau Laurier on the Sunday evening, and the con- ference sessions were hosted at the Museum of Nature, the National Gallery of Canada, the newly opened National Archives facility, and the Canadian Museum of Civilization, where the closing ceremonies and Gala were hosted. During the conference, there was an evening dinner in the restau- rant of the House of Commons on Parliament Hill, with the Minister of Public Works Canada as keynote Edinburgh Castle. speaker. The guest program included a day trip to Upper Canada Village on the St. Lawrence Seaway: a sixty-acreHARRY FOSTER, CMC historical site with forty heritage build- ings, where one can experience the traditional life of the mid-nineteenth century. Guests also enjoyed a tradi- tional afternoon tea on the Mackenzie King Estate in Gatineau Park. It was a very successful conference, with splendid weather and lots of sun for this May event held on both sides of the Ottawa River. Chicago—2000 Our next conference was held in Chicago at the Art Institute, and our host was Bill Caddick. There were many highlights at the Chicago conference, including a speakeasy gangster dinner, The Canadian Museum of Civilization from the opposite side of the Ottawa River. The a river tour, drinks atop the Hancock domed building contains the public galleries; to its right is the curatorial and administrative Building, and the Tutankhamun Exhi- building, which also houses all collection storage. bition. Bill Caddick went on to become PAPYRUS SUMMER–FALL 2010 9
    • United Kingdom Washington, D.C./Baltimore Washington, D.C.—2001 The Washington, D.C. conference was originally scheduled for September 2001, but was cancelled due to 9/11. The Committee, led by Fletcher Johnston and coordinated by Marla Chanin Tobar (now Marla Neustadt),The Field Museum: one of the featured sites faced a challenge: reorganize and The Natural History Museum in Washington,of the 2000 IAMFA annual conference. reschedule all the arrangements, or D.C. during the 2001 IAMFA conference. let the D.C. conference slip away. TheIAMFA’s President in 2002. Regional choice was to pull ourselves up by the the first benchmarking exercise werechapters were formally established at the bootstraps—as many others did in the presented to participating members onIAMFA annual conference in Chicago wake of 9/11—and put together another Sunday, December 2, 2001. Today, thisin September 2000. amazing program for December 2–5. valuable exercise is in its tenth year. Over the years, regional chapters An Indian summer welcomed memberswere founded in metropolitan areas to to tours, the benchmarking workshop, educational sessions, and festivities at London—2002give local members an opportunity tomeet on their own, both to learn from the Smithsonian, Meridian International Peter Fotheringham was the organizerone another and to network. Regional Center, and the Holocaust Museum, of the 2002 London conference. Thischapters have become effective forums among others, and an infamous clos- was Peter’s final year as President offor the exchange of information among ing Gala at the National Gallery of Art. IAMFA, and Bill Caddick from thelocal members, while also attracting IAMFA’s members showed their resi- Art Institute of Chicago was electednon-members and encouraging them lience and spirit by absorbing the impact new President during the join our organization. Today, IAMFA of 9/11 and rallying to attend the D.C. The program spanned three days,has 13 local chapters, located in: conference in December. The results of and included the National Gallery, the British Museum, and the British Library. Atlanta Pierre Lepage recalls the meeting as Australia being a very informative one and, Bilbao, Spain among other things, remembers the Chicago stunning new geodesic dome over the Los Angeles British Museum’s inner court and New England library, as well as a presentation on New York City operations and maintenance at the New Zealand British Library’s new St. Pancras com- Ottawa-Gatineau, Canada plex. We visited the newly opened Tate Philadelphia Recent meeting of the Washington, Modern Gallery, and learned about San Francisco D.C./Baltimore Chapter. lighting and natural light control atRecent meeting of the U.K. Chapter in Liverpool. Philadelphia Chapter members meeting at the Winterthur Museum and Country Estate in nearby Delaware.10 PAPYRUS SUMMER–FALL 2010
    • Boston—2004 The 2004 conference was held in Boston, Massachusetts. Jim Moisson led this incredible effort. A hotel room had been booked for vendors to display their products and services. We toured Boston Harbor by boat, and visited the Isabella Stewart Gardner Museum— known as the site of the biggest art theft in history. Shortly after midnightThe British Library during the 2002 IAMFA on the morning of March 18, 1990, The Fogg Museum of Art at Harvardconference in London. thieves disguised as police officers University in Boston, Massachusetts. talked their way into the Museum. They handcuffed the two securitythe National Gallery. A highlight for guards on duty and stowed them sentations from the architects andmany was the bus trip to the conference out of sight, then stole 13 works of engineers responsible for design anddinner in a Routemaster Bus: the art valued at over $500 million. The construction of the Guggenheim, itselftraditional London doubledecker. crime still remains unsolved. a fabulous work of art. In addition to We visited the Boston Athenaeum, our annual general meeting, we also had a brainstorming session aimed atSan Francisco—2003 had lunch at the Union Club, then walked across Boston Common. We shaping future strategy for IAMFA, andThe conference in San Francisco was we will do this again in San FranciscoJoe May’s first, and he says he knew learned about LED lighting at this conference, and at the 2010 confer- this fall at the 2010 IAMFA the end of the conference that he We visited the Maritime Museum, thewanted to become an active member ence in San Francisco, LSI Lighting will once again make a presentation Fine Arts Museum and Old Town, andof IAMFA. There was a presentation we heard from Pat Morgan on planson security requirements in the post- on new developments in LED lighting. We visited the Museum of Fine Arts, for the redevelopment project at the9/11 era, and on base isolation as a Auckland Art Gallery Toi o T¯ maki ameans of protecting buildings in seis- and the Peabody Essex Museum. Guy Larocque was elected the next IAMFA in New Zealand. We’ll see this projectmically active areas. We visited the firsthand in the fall of 2011 whendeYoung Museum—then still under President in Boston, and he went on to become our longest-serving President. New Zealand hosts the 21st IAMFAconstruction—to see a base isolation conference, and you can read moresystem being installed, and we will be One big question from the Boston con- ference was whether the lobster boil about recent developments in thisvisiting the deYoung again during the issue of Papyrus. We headed into the2010 IAMFA conference. We visited in the countryside was the highlight of the conference, or whether it was Spanish countryside for dinner, andthe Cable Car Museum, had lunch at heard about the Getty Center’s recentFisherman’s Wharf, and travelled by the Fogg Museum of Art at Harvard University for the Gala. Both were LEED-EB Certification, as well as theboat to Alcatraz Island. We visited the British Library’s plans to build a low-Aquarium in its last months, prior to amazing! oxygen storage facility near York. His-the site being cleared for construction tory has shown that we’ve often hadof the New California Academy of Bilbao, Spain—2005 opportunities to visit places we’veSciences. We visited SFMOMA and IAMFA’s 2005 annual conference was heard about in IAMFA conferenceother institutions in San Francisco. held in Bilbao, Spain. We heard pre- presentations.Joe also remembers that the Legionof Honor, where the conference Galawas held, was the most elegant settinghe had ever seen.The Legion of Honor, site of the closingGala for the 2003 conference inSan Francisco. The Guggenheim Museum in Bilbao, Spain. PAPYRUS SUMMER–FALL 2010 11
    • Los Angeles—2006 the Canada Aviation Museum, and British Museum, the National Gallery,In 2006, the conference was held the Canadian War Museum. We had the British Library, the Maritimein Los Angeles at the Getty Villa and dinner one evening at the l’Orée du Museum and Royal Observatory andCenter, the LA County Museum of bois Restaurant in the countryside. We the Natural History Museum. TheArt (LACMA), the Museum of Con- stayed next door to Parliament Hill at conference reception was held in thetemporary Art (MOCA), the Disney the Chateau Laurier Hotel. We learned King’s Library at the British MuseumConcert Hall, the Petersen Auto- about fire-suppression systems, micro- and, following the opening program,motive Museum, and the Japanese climate displays, preparing for redevel- we wandered through the dimly litAmerican Art Museum. Guests also opment programs, maintenance issues galleries to see such exhibits as thevisited Universal Studios and the today and tomorrow, and the Library of Rosetta Stone and the Elgin Marbles.Reagan Presidential Library. We heard Congress’s new Audio Visual Center, It was a great kick-off to a memorablepresentations on the renovation pro- which we would have the opportunity conference. We attended presentationsject at the Getty Villa (the predecessor to visit in 2009. The conference closed focusing on several themes, includingof the Getty Center), building com- with a very elegant Gala Dinner at the energy savings and performance audits,missioning, fire-protection strategies, Canadian Museum of Civilization. facilities management and contracts,and an FBI agent discussed art theft During 2007, we also saw Papyrus capital projects, and climate change.issues that museums face. We heard printed in full color for the first time. This year, the conference was extendedpresentations on LACMA’s construc- an optional fourth day, and memberstion program, and the Smithsonian’s London—2008 and guests traveled by rail to York tonew asset management system, and In 2008, we met in London for the visit the new British Library low-oxygencruised Marina Del Rey for dinner, IAMFA conference hosted by the storage facility. We also traveled downcomplete with a rumored marriageproposal at dinner (sorry, no updateavailable). We toured MOCA and theDisney Concert Hall, which is anotherFrank Gehry design (as was the Guggen-heim in Bilbao). Facility Issues Inc.,led by Keith McClanahan, took overthis year as facilitator of the museumbenchmarking exercise.Ottawa-Gatineau,Canada—2007In 2007 we met in Ottawa-Gatineau,where we visited the National Gallery,the Canadian Museum of Civilization,the Library Archives Canada GatineauPreservation Centre, the Canada The closing Gala of the 2008 IAMFA conference in London, held in the Earth Gallery at theScience and Technology Museum, Natural History Museum.Members and guests at the Getty Center during the 2006 IAMFA Members and guests on the plaza at the Canadian Museum ofconference. Civilization during the 2007 IAMFA conference.12 PAPYRUS SUMMER–FALL 2010
    • the Thames by boat to Greenwich, We visited war memorials and monu- the United States. This year the confer-where we walked the Meridian Line ments at night under a full moon. This ence was extended an optional fourthand attended a presentation in the year, guests visited Baltimore while mem- day again, with a visit to the new LibraryPeter Harrison Planetarium. Refresh- bers attended the Sunday benchmarking of Congress National Audiovisual Con-ments afterward were at the Trafalgar workshop at the Baltimore Museum servation Center in Virginia. Follow-Pub, a well-known institution where of Art, hosted by Alan Dirican. During ing lunch at a winery, we visited thewe all enjoyed a pint or two. Confer- their visit, guests were given guided Smithsonian Institution’s Air andence guests had a very busy agenda, tours by BMA Director Doreen Bolger Space Museum near Dulles Airport.including a visit to the Tower of of the exhibitions Edgar Allan Poe: A During 2009, Papyrus was givenLondon, a private meeting with the Baltimore Icon and Matisse as Printmaker. another facelift, becoming more like aQueen’s Jeweller, a viewing of the crown They also visited the Baltimore Aquar- magazine, and members increasinglyjewels, a visit to Kensington Palace— ium. The opening ceremony was held contributed content.and with numerous other activities, at the Donald W. Reynolds Center, andthere was still ample time to shop the first full day began with breakfastLondon! The 2008 conference at the National Gallery of Art, where T hese were our first twenty yearsculminated with a very memorable we heard a summary of the museum of IAMFA—and IAMFA has nowclosing Gala in the Earth Gallery at benchmarking exercise, which also set grown to more than 200 membersthe Natural History Museum. John a record for participation. We heard in eight Lucy was elected President at the presentations on building automation But . . . where in the world willannual business meeting during the systems, sustainability, budget planning IAMFA go next?London conference. and reliability-centered maintenance. In 2008, IAMFA also became an We visited the National Museum ofAffiliated Association of the International the American Indian, which was in the San Francisco—2010Council of Museums (ICOM). process of applying for LEED Certifica- We will be meeting in San Francisco tion. We toured the Library of Congress, on October 17–20, 2010. You can readWashington, D.C.—2009 the National Archives Building, and the more about the upcoming conferenceIn 2009, IAMFA members met in new Capitol Visitor Center, as well as in this issue of Papyrus. See you there!Washington, D.C., attending venues the oldest Smithsonian Building, Thein both Washington and Baltimore. Castle. The closing Gala was held inNancy Bechtol was our host, and we set the Thomas Jefferson Building of theattendance records again this year, just Library of Congress, which containsas we had the previous year in London. some of the richest public interiors in The New LEED Platinum California Academy of Sciences in San Francisco. Auckland, New Zealand— 2011 The 2011 IAMFA conference will be heldThe closing Gala for the most recent IAMFA annual conference was held in the Great Hall of in Auckland, New Zealand on Novemberthe Library of Congress Thomas Jefferson Building in Washington, D.C. in November 2009. 13–17, 2011. PAPYRUS SUMMER–FALL 2010 13
    • Mid-Atlantic, U.S.—2012 We believe doing so will allow our From Pierre Lepage, the original members to be better educated and editor of IAMFA’s Papyrus publication, better equipped to serve the mission “This Association has taken a quantum of their institutions. leap in the development of its annual In pursuit of these goals, the associa- conferences. The change of location tion sponsors an annual conference, and each year creates tremendous potential communicates quarterly with its mem- for conference organizers to diversify bership and friends around the world conference activities, making each through the IAMFA journal Papyrus. conference unique and memorable. For the organizers, it also becomes a Membership and truly collegial experience, giving mem- bers of the organizing committee an Educational Benefits, opportunity to work closely with oneThe 2012 IAMFA conference is set for Annual Meeting andthe U.S. Eastern Seaboard, including another during the two years it takesthe Winterthur Garden and Museum in Conference to prepare for the event. The confer-Delaware. IAMFA brings museum facility adminis- ence is also an opportunity to show- trators together to promote creativity case the best cultural institutions in theBoston—2013 and foster dialogue within the interna- host city. In addition, participants get tional museum community, in order an unequalled chance to learn from to better serve the missions and goals colleagues about different management of all museums and cultural organi- approaches, to witness progress on con- zations. Member museums host the struction sites, and to find out about annual conference, which includes successes with recent museum renova- seminars, meetings, roundtable dis- tions and museum-related construction cussions and panels on topics chosen projects around the world.” by the membership. These educational sessions draw upon the knowledge and Contributors: talents of many well-respected experts John Castle, Director, Facility Services, in their fields. The variety of host cities Winterthur Museum & Garden, Winterthur, and facilities affords members the Delaware, U.S.A.The 2013 IAMFA conference is planned opportunity to see, experience and Daniel Davies, Zone Facilities Manager,for Boston, Massachusetts. learn from the world’s most renowned National Zoo, Washington, D.C. cultural institutions. Sponsorship from John de Lucy, Head of Estates & Facilities,IAMFA Statement of the businesses that provide support to British Library, LondonPurpose our museums, along with an oppor- Peter Fotheringham, Head of Estates,The International Association of tunity to see their latest products and University of Greenwich, LondonMuseum Facility Administrators is an technologies, round out the Guy Larocque, Director, Facilityinternational educational organization conference experience for members. Management and Security Services, Canadian Museum of Civilizationdevoted to meeting the professional According to John Castle, current Corporation, Ottawa-Gatineau, Canadaneeds of museum facility administra- Vice-President of IAMFA Regional Pierre Lepage (retired), Canadian Museumtors—especially their efforts to set and Affairs, “One of the great things that I of Civilization Corporation,maintain standards of excellence and love about IAMFA is that each year it Ottawa/Gatineau, Canadaquality in the design, construction, holds an annual conference where up Vincent Magorrian (retired), Museumoperation and maintenance of world- to a hundred delegates plus their guests of Modern Art, New York Cityclass cultural facilities. meet in one of the world’s great cities Joe May, Sustainability Engineer, IAMFA earnestly desires to promote to share their experiences of managing Los Angelesand foster communications between the hard and soft facilities services in Marla Neustadt, Operational Supportfacilities professionals at museums some of the most iconic institutions in Services, NASA Headquarters,as well as other cultural facilities. the world.” Washington, D.C. Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG14 PAPYRUS SUMMER–FALL 2010
    • The Twentieth Annual IAMFAConference in San FranciscoLa Vingtième Conférencede l’IAMFA à San FranciscoLa Vigésima Conferencia Anualde IAMFA en San FranciscoT L E he 2010 IAMFA San Francisco ’équipe de la Conférence de l equipo de trabajo de la con- conference team looks forward l’IAMFA à San Francisco se réjouit ferencia anual de IAMFA del to welcoming all IAMFA members d’accueillir tous les membres et 2010 en San Francisco están conand guests to the Twentieth Annual leurs invités à la 20ième assemblée ganas de darle la bienvenida a la vigé-IAMFA Conference. Everyone involved annuelle. Tous les participants ont sima conferencia anual de IAMFAhas worked hard to develop a program travaillé fort pour développer un pro- en San Francisco. Todas las personaspacked with educational content, tours, gramme riche en contenu éducatif, involucradas han trabajado duro paraand networking opportunities that you des visites guidées et des possibilités de desarrollar un programa repleto dewill be able to use in managing your réseautage que vous seriez en mesure contenido educacional, giras, y opor-facility. And the city of San Francisco d’utiliser dans la gestion de votre éta- tunidades para trabajar en las redesoffers a stunning setting that is virtually blissement. Et la ville de San Francisco de contactos que podrán utilizar paraunrivaled in the wealth of its cultural offre un cadre somptueux qui est pra- la administración de su instalación.institutions. tiquement inégalisé dans la richesse Y la ciudad de San Francisco ofrece The members’ program includes de ses institutions culturelles. un entorno increíble con un númeronumerous presentations on topics in Le programme des membres inclut infinito de instituciones culturales casiwhich you have expressed an interest, de nombreuses présentations sur des sin igual.including: sujets dans lesquels vous avez exprimé El programa de los miembros incluye un intérêt; notamment: numerosas presentaciones sobre temas• LED Lighting in the Museum en los cuales Ustedes han demostrado Environment • L’utilisation d’éclairage LED dans un interés, incluyendo:• Seismic Resistance and the History les musées of the Cantor Arts Center • el uso de luces LED en los museos • Résistance séismique et l’histoire• Forward Planning: IAMFA’s Next du Centre d’arts Cantor • la resistencia sísmica y la historia Five Years del Centro de Artes Cantor • Planification du future: l’IAMFA• The de Young Museum: Five Years dans les cinq prochaines années • planificación para El Futuro: los of Lessons Learned próximos cinco años de IAMFA • Le musée de Young : cinq ans de• Summary of the 2010 Benchmarking leçons apprises • el Museo de De Young: cinco años and Best Practices Exercise • Résumé de l’analyse comparative de lecciones aprendidas• Green Historic Preservation: The 2010 et les meilleures pratiques de Mint Project • resumen del ejercicio de 2010 de l’exercise du ‘Benchmarking’ evaluación comparativa (bench-• Operating a LEED Platinum • Préservation historique orientée marking) y mejores prácticas del Building au développement soutenable: le ejercicio• Annual IAMFA Business Meeting projet Mint • la preservación histórica orientada• Innovation in the Exploratorium’s • Fonctionnement d’un bâtiment al desarrollo sostenible: el proyecto New Plans LEED Platine Mint PAPYRUS SUMMER–FALL 2010 15
    • • Award-Winning Historical Preser- • Assemblé annuelle des affaires de • la operación de un edificio LEED vation—The Walt Disney Family l’IAMFA platino Museum • Innovation dans les nouveaux plans • reunión anual de IAMFA de de l’Exploratorium planificación A range of fascinating behind-the- scenes and gallery tours are also on • Prix gagné pour préservation histo- • innovación en los nuevos planos the agenda, along with a great guest rique – le Musée de la Famille de del Exploratorium program. This year’s conference venues, Walt Disney • un ejemplo de preservación histórica in and around San Francisco, are ganador de premio—el Museo de described below. Une gamme fascinante de tournées La Familia de Walt Disney « dans-les-coulisses » et de visites gui- San Francisco Museum dées sont également dans l’itinéraire, Una gama de giras fascinantes tras of Modern Art avec un programme excellent pour bastidores y de galerías también está en The San Francisco Museum of Modern nos hôtes. Les lieux de rendez-vous à el itinerario, además de un programa Art celebrated its 75th anniversary in l’intérieur et autour de San Francisco excelente para los invitados. Los en- January 2010 (now, doesn’t that sound pendant la conférence de cette année sont décrits ensuite, ci-dessous. tornos de la conferencia de este año, like an oxymoron: Modern and 75 dentro de y alrededor de San Francisco, years?). The Museum was originally se describen a continuación. housed in the War Memorial Building Le Musée d’art moderne in the Civic Center across the street de San Francisco El Museo de Arte Moderno from City Hall, sharing the building Le Musée d’art moderne de San de San Francisco with veterans’ organizations and the Francisco a célébré son 75e anniver- Herbst Theater. When it opened its saire en janvier 2010 (ça ne sonne El Museo de Arte Moderno de San doors in January 1935, it was consid- pas comme un oxymoron: moderne Francisco celebró su 75a aniversario ered a pioneer in the field of modern et 75 ans?). Le musée fut installé dans en enero 2010 (¿no suena un poco art collection and display. It also had l’édifice commémoratif de la guerre contradictorio los términos moderno one of the first photography collections dans le Centre civique en face de y 75 años?). Originalmente el Museo in the museum world, acknowledging l’Hôtel de ville, partageant le bâtiment se encontraba en el Edificio Conme- photography as an art form well before avec des organisations d’anciens com- morativo de la Guerra en el Centro many of its contemporaries. battants et le Théâtre Herbst. Lorsqu’il Cívico en frente del Ayuntamiento, y By the 1980s, the Museum had out- a ouvert ses portes en janvier 1935, il compartía el edificio con las organiza- grown its original quarters, and planning a été considéré comme un pionnier ciones de los veteranos de las guerras began for a new purpose-built facility. dans le domaine de la collection d’art y el Teatro Herbst. Cuando abrió sus Architect Mario Botta was selected to moderne et d’affichage. Il était égale- puertas en enero de 1935, se lo con- design the signature building on Third ment l’une de premières collections sideró un pionero en el campo de la colección y la exhibición de arte moderno. También a través de una de las primeras exhibiciones de foto-HENRIK KAM grafías en el mundo de los museos, reconoció a la fotografía como arte antes que muchos de los otros museos. Para los 1980s, el Museo había cre- cido demasiado para su alojamiento original y se comenzó a planear una nueva instalación construida expresa- mente para museo. El arquitecto Mario Botta fue seleccionado para diseñar el edificio único en la calle tercera., al sur de la calle Market. Para algunos miembros de la sociedad de San Francisco, esta idea les pareció herejía, no era aceptable ir al “sur de la ranura” (“la ranura” se refería a la ranura en la calle para el tranvía) Sin embargo, la selección de este vecin- dario resultó visionaria, ya que este área al sur de la calle Market estaba The San Francisco Museum of Modern Art. en proceso de expansión y de revitali- 16 PAPYRUS SUMMER–FALL 2010
    • Street, south of Market Street. For some de photographie dans le monde des zación, en el cual tomaría un papel members of San Francisco society, this musées, en reconnaissant la photo- importante el museo. Cuando el edifi- was heresy: one just didn’t go “south graphie comme une forme d’art bien cio actual se inauguró en enero 1995, of the slot” (“slot” referring to the avant que ses contemporains. recibió la aclamación de los críticos, y cable car slot in the street). The move Dans les années 1980, le Musée avait hasta la fecha nunca ha frenado en was visionary, however, as the “South dépassé ses limites d’origine, et on a su afán de mantener un programa of Market” area was undergoing an commencé à planifier une nouvelle atrevido de exhibiciones y un alto expansion and revitalization, in which installation construite à cet effet. nivel de excelencia en conservación. the Museum was to play a pivotal role. L’architecte Mario Botta a été choisi The Museum opened in its current pour concevoir le bâtiment signature Exploratorium building in January 1995 to rave reviews, sur la rue 3e, au sud de la rue du El Exploratorium es un museo experi- and has never slowed down in provid- Marché. Pour certains membres de la mental diseñado para fomentar la ing both a bold exhibition program and société de San Francisco, ce fut une curiosidad a través de la interacción a high standard of curatorial excellence. hérésie: on ne va pas tout simplement física del visitante con las exhibiciones aller « au sud de la fente » (se référant —sin importar la edad del visitante o Exploratorium à la fente téléphérique dans la rue). su conocimiento de la ciencia. Atrae a The Exploratorium is an experimental, Le déménagement a été visionnaire, los mayores, los jóvenes, los artistas, hands-on museum designed to spark toutefois, et la zone au sud de la rue los científicos, los individuos que han curiosity—regardless of a visitor’s age du Marché a été l’objet d’une expan- sido premiados con el premio Nobel, or familiarity with science. It attracts sion et d’une revitalisation, dans lequel las familias, y a todos los demás. Este the old, the young, artists, scientists, le Musée a joué un rôle central. Le museo que parece combinar elementos Nobel laureates, families, and every- Musée a ouvert dans son bâtiment de una galería de máquinas de traga- one in between. Like a mad scientist’s actuel en janvier 1995 avec des cri- perras de un científico loco, una casa penny arcade, a scientific funhouse, tiques élogieuses, et n’a jamais ralenti de espejos de índole científica, un estu- an art studio and an experimental l’offre d’un programme d’expositions dio de arte y un laboratorio experi- laboratory all rolled into one, you can audacieux et, à la fois, d’un haut niveau mental ofrece la oportunidad de tocar, touch, play, and tinker with hundreds d’excellence de conservation. jugar y manipular centenares de exhi- and hundreds of exhibits. In short, biciones. En breve, es una institución it’s a public educational institution L’Exploratorium educacional pública para visitantes de for visitors of all ages. L’Exploratorium c’est un projet expé- todas las edades. This innovative museum of science, rimental, un musée aux-mains conçu Este museo innovador de ciencias, technology, art and human percep- pour éveiller la curiosité, indépen- tecnología, arte, y la percepción tion provides the general public— damment de l’âge du visiteur et de sa humana provee al público en general familiarité avec la science. Elle attire —aun con un conocimiento limitadoAMY SNYDER © EXPLORATORIUM – EXPLORATORIUM.EDU les vieux, les jeunes, artistes, scienti- de ciencias—de una experiencia que fiques, lauréats du prix Nobel, les les ayuda a entender mejor la ciencia y familles et tous les autres. Comme le la naturaleza. Para el 2010, el público savant fou Penny Arcade, le scienti- del Exploratorium se estima en más fique drôle, un studio d’art et un labo- de 20 millones para las exhibiciones ratoire expérimental tout en un, vous en los centros de ciencia y otros lugares pouvez toucher, jouer et bricoler avec alrededor del mundo. Más de 575,000 des centaines et des centaines d’expo- visitantes vendrán al Exploratorium sitions. En bref, ceci s’agit d’un établis- en San Francisco en 2010 para inter- sement d’enseignement public pour actuar con las exhibiciones originales; les visiteurs de tous ages. 6,000 maestros participarán en los Ce musée innovant de la science, programas de desarrollo profesional; la technologie, l’art et la perception 110,000 estudiantes y maestros harán de l’homme prévoit le grand public, excursiones escolares y 5,000 estudi- même ceux qui ont très peu de con- antes más, muchos que provienen naissances scientifiques, avec une expé- de los vecindarios de bajos recursos, rience qui les aide à mieux comprendre recibirán beneficios por medio del la science et la nature. Pour 2010, les Programa de difusión pública para la visiteurs à l’Exploratorium sont estimés Educación de Jóvenes. Todos los años à plus de 20 million pour les exposi- se venden 5,000 ejemplares de las publi- tions dans les centres de sciences et caciones del Exploratorium, y su sitio d’autres endroits dans le monde entier. de Internet recibe 24 millones de visitas Inside the Exploratorium. Plus de 575 000 visiteurs viendront à durante el año. En el 4to Congreso PAPYRUS SUMMER–FALL 2010 17
    • even those with very limited scientific l’Exploratorium lui-même en 2010 Mundial de Centros de Ciencias enknowledge—with an experience that pour interagir avec les originaux expo- Río de Janeiro en 2005, los centros dehelps them to better understand science sitions les mains sur les pièces; 6 000 ciencias de cinco continentes le con-and nature. For 2010, the Explorato- enseignants feront partie des pro- cedieron al Exploratorium el primerrium’s audience is estimated at more grammes de perfectionnement profes- puesto.than 20 million for exhibits at science sionnel; 110 000 étudiants et professeurscenters and other locations worldwide. se rendront sur des sorties scolaires et Las Bibliotecas de laMore than 575,000 visitors will come un autre groupe de 5 000 étudiants Universidad de Stanfordto the Exploratorium itself in 2010 to d’un grand nombre de quartiers insuf- Fue fundada en 1885 por Jane y Lelandinteract with the original, hands-on fisamment desservis de San Francisco Stanford, en honor de su único hijo.exhibits; 6,000 teachers will participate va se bénéficier du Programme d’exten- La Universidad de Leland Stanfordin professional development programs; sion educative pour l’enfance. Chaque Junior abrió en 1891. El primer presi-110,000 students and teachers will visit année, 50 000 exemplaires de publica- dente de Stanford, David Starr Jordan,on school field trips; and another 5,000 tions de l’Exploratorium sont vendus escribió que “una gran biblioteca esstudents, many from San Francisco’s et son lauréat site Web reçoit 24 mil- el elemento más importante en la for-underserved neighborhoods, will bene- lion de visites durant l’année. Lors du mación de una gran universidad.” Lasfit from the Children’s Educational 4e Congrès mondial des centres scien- colecciones de la biblioteca crecieronOutreach Program. Each year, 50,000 tifiques à Rio de Janeiro en 2005, les lentamente pero sin parar durantecopies of Exploratorium publications représentants venus des cinq continents el próximo cuarto de siglo, mientrasare sold, and its award-winning website ont classé l’Exploratorium comme la biblioteca padecía de dificultadesreceives 24 million visits during the le numéro un parmi les centres de financieras después del terremotoyear. At the 4th Science Center World sciences du monde. devastador de 1906. Un edificio centralCongress in Rio de Janeiro in 2005, sci- para la biblioteca que fue construidoence centers from five continents ranked Bibliothèques de l’Université específicamente para ese propósito ythe Exploratorium as the number one de Stanford que ahora se conoce como el Ala Bingscience center in the world. Fondée en 1885 par Jane et Leland de la Biblioteca Green abrió en 1919. Stanford, en souvenir de leur enfant Hoy, hay 20 bibliotecas en el campus:Stanford University Libraries unique, l’Université Leland Stanford cinco bibliotecas independientes (Leyes,Founded in 1885 by Jane and Leland Junior a ouvert ses portes en 1891. Le Administración de Empresas, Medi-Stanford as a memorial to their only premier président de Stanford, David cina, el Centro de Aceleración Linealchild, Leland Stanford Junior Univer- Starr Jordan, a écrit que « une grande Stanford, y el Instituto Hoover) quesity opened in 1891. Stanford’s first bibliothèque est l’élément le plus reportan a su decano o director; mien-president, David Starr Jordan, wrote important dans la formation d’une tras que las demás bibliotecas estánthat, “a great library is the most impor- grande université ». Les collections de consolidadas como las Bibliotecas detant element in the formation of a great la Bibliothèque ont augmenté lente- la Universidad de Stanford y RecursosUniversity.” The Library’s collections ment mais régulièrement au cours de Información Académica (SULAIR)grew slowly but steadily over the next du prochain quart de siècle, puisque y reportan a la bibliotecaria de laquarter century, as the University strug- l’Université luttait avec des difficultés universidad.gled with financial difficulties in theaftermath of the devastating 1906 earth- El Centro de Arte Cantorquake. A purpose-built main library Las colecciones diversas del Centrobuilding, now known as the Bing Wing de Arte Cantor abarcan continentes,of Green Library, opened in 1919.Today, there are 20 libraries on campus: RICHARD BARNESfive coordinate libraries (Law, Business,Medicine, the Stanford Linear Acceler-ator Center, and the Hoover Institution)report to their dean or director, whilethe remaining libraries are organizedcentrally as the Stanford UniversityLibraries and Academic InformationResources, or SULAIR, reporting tothe University Librarian.Cantor Arts CenterThe Cantor Arts Center’s diverse col-lections span continents, cultures, and The Green Library at Stanford University. The Cantor Arts Center.18 PAPYRUS SUMMER–FALL 2010
    • 4,000 years of art history, and include financières après le tremblement de culturas, y 4,000 años de historia de the largest gathering of Rodin bronzes terre devastateur de 1906. Le bâtiment arte e incluyen el grupo más grande outside Paris. The Center’s distinguished de la bibliothèque construit à cet effet, de esculturas de bronce de Rodin outdoor art collection includes impor- maintenant connu comme l’aille Bing fuera de París. tant figurative and abstract works in a de la Bibliothèque Green, est ouvert variety of media by artists of the late en 1919. Aujourd’hui, il existe 20 bib- Museo Contemporáneo Judío nineteenth century to the present. liothèques sur le campus: cinq biblio- Con la apertura de su nuevo edificio en thèques coordonnées (droit, commerce, junio 2008, el Museo Contemporáneo Contemporary Jewish Museum médecine, le Centre Stanford d’accel- Judío comenzó un nuevo capítulo With the opening of its new building in eration linéaire, et l’Institution Hoover) después de más de 20 años de invo- June 2008, the Contemporary Jewish se rapportent à leur doyen ou direc- lucrar al público y a los artistas en una Museum ushered in a new chapter in teur, alors que le reste des bibliothèques exploración de perspectivas contem- more than 20 years of engaging audi- sont encore organisées de manière poráneas de la cultura, la historia, ences and artists in exploring contem- centralisée, comme les bibliothèques el arte, y las ideas judías. La nueva porary perspectives on Jewish culture, de l’Université de Stanford et les Res- instalación premiada, diseñada por el history, art, and ideas. The new award- sources d’information académique ou arquitecto de fama mundial, Daniel winning facility, designed by interna- SULAIR, dépendant du bibliothécaire Libeskind, es un centro dinámico tionally renowned architect Daniel de l’Université. donde todos pueden reunirse para Libeskind, is a lively center where people experimentar el arte, compartir per- of all ages and backgrounds can gather Centre des arts Cantor spectivas diversas, y participar de lleno to experience art, share diverse per- Les diverses collections du Centre des en exhibiciones prácticas sin importar spectives, and engage in hands-on activ- arts Cantor couvrent des continents, la edad ni el origen de los visitantes. ities. Inspired by the Hebrew phrase des cultures, et 4 000 ans d’histoire Inspirado en la frase hebrea “L’Chaim” “L’Chaim” (To Life), the building is a de l’art, et notamment le plus grand (A la Vida), el edificio es una mani- physical embodiment of the Contem- rassemblement des bronzes de Rodin festación física de la misión del Museo porary Jewish Museum’s mission to en dehors de Paris. Contemporáneo Judío de unir la tra- bring together tradition and innova- dición y la innovación en la exploración tion in an exploration of the Jewish Le Museum juif contemporain de la experiencia judía en el siglo veinte experience in the twenty-first century. Avec l’ouverture de son nouveau bâti- y uno. ment en Juin 2008, le Musée juif con- de Young Museum temporain a inauguré un nouveau Museo de Young The de Young Museum, housed in a chapitre de plus de 20 ans d’engage- El Museo de Young, ubicado en un landmark building designed by Herzog ment avec le public et les artistes explo- edificio de reconocida importancia & de Meuron and located in Golden rant les perspectives contemporaines diseñado por Herzog & de Meuron y Gate Park, is the fourth most-visited sur la culture juive, l’histoire, l’art et les situado en el Parque Golden Gate, es idées. Le nouvel établissement lauréat, el museo de arte número cuatro en conçu par l’architecte internationale- cantidad de visitantes en los EEUU, yBRUCE DAMONTE/COURTESY OF THE CONTEMPORARY JEWISH MUSEUM ment renommé Daniel Libeskind, est tiene el puesto décimo sexto en visitas un centre animé où des personnes a los museos a nivel mundial. Sus de tous âges et origines peuvent s’y exhibiciones contienen arte americano retrouver pour vivre l’art, à partir de desde el siglo diez y siete hasta el siglo leurs perspectives différentes, et de veintiuno; arte textil y vestimenta inter- s’engager dans des activités pratiques. nacional; arte de África, de las Américas, Inspiré par l’expression hébraïque la región de Asia y del Pacifíco. « L’Chaim » (à la vie), le bâtiment est un mode de réalisation physique de la mission du Musée juif contemporain de réunir la tradition et l’innovation dans une exploration de l’expérience juive dans le XXIe siècle. Le Musée de Young Le musée de Young, abrité dans un bâtiment conçu par Herzog & de Meuron et situé dans le Parc Golden Gate, est le quatrième musée d’art le The Contemporary Jewish Museum plus visité aux États-Unis, et le 16e musée The de Young Museum. PAPYRUS SUMMER–FALL 2010 19
    • art museum in the United States, and d’art le plus visité du monde. Il met en La Academia de Cienciasthe 16th most-visited art museum in the valeur l’art américain du dix-septième de Californiaworld. It showcases American art from au vingt et unième siècles, les arts tex- Hogar del Acuario Steinhart, el Museothe seventeenth through the twenty- tiles et des costumes internationaux de Historia Natural Kimball, el Plane-first centuries, international textile et l’art des Amériques, de la région tarium Morrison, y programas dearts and costumes, and art from the du Pacifique et de l’Afrique. investigación y educación de calidadAmericas, the Pacific Rim, and Africa. mundial, la Academia de Ciencias de L’Académie des sciences California es uno de los destinos. DesdeCalifornia Academy of Sciences de la Californie los pingüinos chapoteando hasta lasHome to the Steinhart Aquarium, the Accueil de l’Aquarium Steinhart, le flores silvestres en el techo, el edificoKimball Natural History Museum, the Musée d’histoire naturelle Kimball, está rebosante de vida.Morrison Planetarium, and world-class le planétarium Morrison, et des pro- Un bosque tropical de cuatro pisosresearch and educational programs, grammes mondiaux de recherche et y un magnifico sistema ecológicothe California Academy of Sciences is éducatifs, l’Académie des sciences de de coral deleitarán a los visitantesone of San Francisco’s must-see desti- la Californie est l’une des destinations de todas las edades, mientras que elnations. From the splashing penguins à voir à San Francisco. Des éclabouss- programa del espacio sumerge a suin African Hall to the wildflowers on ures des penguins à la salle de l’Afrique público en una experiencia que trans-the roof, the building is bursting with jusqu’aux fleurs sauvages sur le toit, le porta a los participantes más allá de laslife. A four-story living rainforest and bâtiment est plein de vie. Une forêt de fronteras de nuestra planeta. Abundanawe-inspiring coral reef ecosystem will vie de quatre étages et un impression- las oportunidades para conocer a losdelight visitors of all ages, while immer- nant écosystème de récifs coralliens científicos de la Academia, compartirsive Space shows transport audiences raviront les visiteurs de tous âges, tandis sus descubrimientos y sumarse albeyond the boundaries of our planet. que le spectacle de l’espace immersif movimiento para convertir a nuestroOpportunities abound to meet Academy transport le public au-delà des limites de mundo en un lugar donde vivamos enscientists, share in their discoveries, and notre planète. Les débouchés abondent armonía ecológica de una manerajoin the journey to make our world pour se rencontrer avec des scienti- sostenible.a greener, more sustainable place in fiques de l’Académie, partager leurswhich to live. découvertes, et rejoindre la route pour Museo de la Familia rendre notre monde plus vert, un lieu de Walt DisneyWalt Disney Family Museum plus durable pour vivre. Walt Disney fue uno de los personajesWalt Disney was one of the most influ- más influyentes del siglo veinte y suential figures of the twentieth century, Le Musée de la famille popularidad mundial sigue hasta laand his worldwide popularity lives on de Walt Disney fecha. Con la ayuda de películas deto this day. Through animated and Walt Disney a été l’une des personna- dibujos animados y de acción en vivo,live-action films, television shows and lités les plus influentes du XXe siècle, programas de televisión y parquestheme parks, Disney created global et sa popularité vit dans le monde entier temáticos, Disney creó símbolos glo-symbols, stories and characters that are à ce jour. Grâce aux films animés et les bales, historias y personajes que sonan indelible part of our popular cul- films d’action, des émissions de télévi- una parte indeleble de nuestra culturature. The Walt Disney Family Museum sion et des parcs thématiques, Disney a popular. El museo de la Familia de Waltwas conceived to present the real story créé des symboles globaux, des histoires Disney fue concebido para presentarThe California Academy of Sciences. The Walt Disney Family Museum.20 PAPYRUS SUMMER–FALL 2010
    • of Walt Disney the man, as told by him et des personnages qui font partie indé- la verdadera historia de Walt Disney, eland by others who knew him well. The lébile de notre culture populaire. Le hombre, contado por él y por quienesMuseum is located in the Presidio of Musée de la famille de Walt Disney a lo conocían bien. El museo se ubicaSan Francisco: a former U.S. Army base été conçu pour présenter la véritable en el Presidio de San Francisco; unathat is now a National Park. The three histoire de Walt Disney l’homme, telle base de la armada de EEUU que ahorabuildings that house the Museum are on que racontée par lui et par d’autres qui es un parque nacional. Los tres edi-the National Register of Historic Places. le connaissaient bien. Le Musée est situé ficios que contienen el museo están en dans le Presidio de San Francisco: une la lista nacional de lugares históricosSan Francisco Maritime Museum ancienne base de l’armée américaine de EEUU.The San Francisco Maritime Museum qui est maintenant un parc located in the Aquatic Park Historic Les trois bâtiments qui abritent le El Museo MarítimoDistrict: a National Historic Landmark musée sont sur le Registre national de San Franciscolocated on San Francisco Bay. The des lieux historiques. Ubicado en el distrito histórico delPark’s distinctive Streamline Modern Parque Acuático en la bahía destyle WPA building stands at the foot Le Musée maritime San Francisco, el Museo Marítimoof Polk Street. It was originally built de San Francisco de San Francisco aparece en la listaas a public bathhouse in 1936, and Le Musée maritime de San Francisco nacional de edificios históricos. Elnow houses the Maritime Museum. Its est situé dans le district historique du edificio WPA del distintivo estilointerior is decorated with fantastic and Parc aquatique: un point historique aerodinámico se encuentra al piecolorful murals. Although the Museum de répère national situé sur la baie de de la calle Polk. Originalmente seis currently under renovation, IAMFA San Francisco. Le distinctif bâtiment construyó como una sauna pública enis fortunate to be able to host the Gala du Parc (un des « WPA buildings ») à 1936, y ahora es el hogar del Museodinner of its 20th annual conference style « paquebot », se trouve au pied de Marítimo. Las paredes en su interioron the Museum’s third floor, before la rue Polk. Il a été construit comme están decoradas con pinturas muralesit is returned to its main function as un bain public en 1936, et aujourd’hui fantásticas y coloridas. Aunque ahoraa visiting exhibitions gallery. abrite le Musée maritime. Son intérieur se halla en renovación, IAMFA podrá est décoré de peintures murales fan- celebrar el banquete y la cena de galaRunnymede Sculpture Farm tastiques et colorés. Bien que le musée de la vigésima conferencia anual en elMembers and guests will visit Runny- est actuellement en rénovation, l’IAMFA tercer piso del museo, antes de quemede Sculpture Farm for a tour and a la chance d’être en mesure d’accueillir vuelva a su función normal de galeríaCalifornia BBQ. le dîner de gala de son 20e Conférence para las exhibiciones prestadas de annuelle sur le troisième étage du otros museos.Golden Gate Bridge Musée, avant qu’il ne soit retourné à sa principale fonction de galerie La Finca con esculturasThe Golden Gate Bridge was the long- d’exposition visitante. Runnymedeest suspension bridge in the world whenit was completed in 1937, and has be- Los miembros e invitados visitarán acome one of the most internationally La Grange aux sculptures la finca con esculturas Runnymederecognized symbols of San Francisco, Runnymede para un paseo y una barbacoa de tipoCalifornia, and the United States. Since Les membres et leurs invités se rendront California.its completion, the span’s length has à la Grange aux sculptures Runnymedebeen surpassed by eight other bridges. pour une visite et y profiter d’un El Puente Golden GateIt still has the second-longest suspen- barbecue à la Californie. El Puente Golden Gate era el puentesion bridge main span in the United suspendido más largo del mundo JOE MAYStates. It is estimated that about ninemillion people from around the world JOE MAYvisit the Bridge each year.The San Francisco Maritime Museum. Runnymede Sculpture Farm. The Golden Gate Bridge. PAPYRUS SUMMER–FALL 2010 21
    • Letterman Digital Arts Center Le Pont Golden Gate cuando se terminó en 1937 y se haThe Letterman Digital Arts Center seam- Le Pont Golden Gate était le plus long convertido en uno de los símboloslessly integrates motion picture, visual pont suspendu du monde quand il a más reconocidos de San Francisco,effects and gaming technologies on one été achevé en 1937, et il est devenu California y de los EEUU. Luego de suworld-class digital arts campus. The 23- l’un des symboles les plus reconnus terminación, ocho puentes alrededoracre campus is the new San Francisco internationalement de San Francisco, del mundo le han superado en largo,home of Lucasfilm Ltd., bringing en Californie et aux États-Unis. Depuis pero solo uno dentro de los EEUUtogether Industrial Light & Magic, son achèvement, la longueur de la en cuanto a su tramo en suspensión.LucasArts and Lucasfilm’s corporate travée a été dépassée par huit autres Se estima que más de 9 millones deactivities for the first time in the ponts du monde. Mais aux Etats-Unis, il visitantes acuden al puente desdecompany’s nearly 40-year history. détient la deuxième place par la taille diferentes puntos del mundo cada año. de la portée suspendue. On estime queSir Francis Drake Hotel près de neuf millions de personnes El Centro de Artes DigitalesFew hotels in the country are as synony- de partout le monde entier visitent le Lettermanmous with the city they call home as pont chaque année. El Centro de Artes Digitales Lettermanthe Sir Francis Drake Hotel. Known by integra sin dificultad las tecnologíaslocals as “The Drake”, the hotel defines Le Centre des arts digitaux de películas, de efectos visuales espe-San Francisco: exciting, romantic, and Letterman ciales, y de juegos de video en un soloa little offbeat. Take in the ornate lobby Le Centre d’arts digitaux Letterman campus de artes digitales de calidadand the romantic clang of the cable intègre de façon transparente le cinéma, mundial. El campus de 23 acres es elcars—it’s all part of the legendary les effets visuels et les technologies nuevo hogar de Lucasfilm Ltd., el cualSan Francisco experience. When this de jeu sur un campus de classe mon- consolida las actividades corporativashistoric hotel opened its doors in 1928, diale des arts numériques. Le campus de Industrial Light & Magic, LucasArtsthe city had never seen anything like de 23 acres est la nouvelle maison y Lucasfilm por primera vez desde queit. Although the city boasted a number à San Francisco de Lucasfilm Ltd, se fundó la compañía hace 40 años.of luxury hotels, the Sir Francis Drake réunissant Industrial Light & Magic,Hotel was something else entirely: a LucasArts et les activités de la société El Hotel Sir Francis Drakesleek state-of-the-art marvel reflecting Lucasfilm pour la première fois dans Pocos hoteles en el país tienen unathe dynamic spirit of a new metropolis une entreprise de près de 40 ans imagen tan representativa de la ciudademerging from the devastating 1906 d’histoire. en que se ubican como el Hotel Sirearthquake. Francis Drake. Conocido por los resi- The Starlight Room is located on L’Hôtel Sir Francis Drake dentes locales como “The Drake”, elthe 21st floor of the Sir Francis Drake Peu d’hôtels dans le pays peuvent être hotel define a San Francisco; emocio-Hotel in San Francisco, location of the considérés le synonyme de la ville nante, romántico y un poco excéntrico.opening ceremonies for the twentieth qu’ils appellent maison comme le fait Observen el vestíbulo ornamentada yannual IAMFA conference. l’Hôtel Sir Francis Drake. Connu par los estruendos de los tranvías—todo es parte de la experiencia legendariaState Railroad Museum de San Francisco. Cuando este hotelLocated in Old Sacramento, the abrió sus puertas en 1928, la ciudadCalifornia State Railroad Museum is nunca había visto nada parecido.a complex of historical facilities and Aunque la ciudad ofrece varios hotelesunique attractions. Widely regarded as de lujo, el Hotel Sir Francis DrakeNorth America’s most popular railroad es algo completamente diferente: unmuseum, there is something here for hotel elegante con toda la tecnologíaeveryone, including lavishly restored más corriente que refleja el espíritu dinámico de una nueva metrópolis que emergió del terremoto devastador de 1906.The Letterman Digital Arts Center. The Sir Francis Drake Hotel. The Starlight Room.22 PAPYRUS SUMMER–FALL 2010
    • trains, engaging exhibits, and unique les habitants comme « Le Drake », El Salon “Starlight” se ubica enspecial events. l’hôtel définit San Francisco: passion- el vigésimo primer piso del Hotel nante, romantique, et un peu décalé. Sir Francis Drake, el lugar de la cere-Crocker Art Museum Profiter du superbe salon et des roman- monia de apertura de la vigésimaThe Crocker Art Museum in Sacramento tiques tintements des sons métalliques conferencia anual de IAMFA.has embarked on the most monumen- des câble-voitures qui font tous partie detal endeavor in its 125-year history. An l’expérience légendaire de San Fran- El Museo Estatal del Ferrocarrilexpansion project is underway, not only cisco. Lorsque cet hôtel historique a Ubicado en Viejo Sacramento, eltripling the size of the current facility ouvert ses portes en 1928, la ville n’avait Museo Estatal del Ferrocarril es unbut spanning all facets of the organiza- jamais rien vu de pareil. Bien que la ville complejo de instalaciones históricas ytion, from collection and endowment comptait un certain nombre d’hôtels atracciones únicas. Es considerado elgrowth to enriching every aspect of the de luxe, l’Hôtel Sir Francis Drake a museo de ferrocarril de Norte Américavisitor experience. The new Crocker été tout une autre chose: un état mag- más popular, hay algo de interés paraMuseum is set to open to the public nifique et impeccable de l’art qui reflète todo el mundo, incluyendo trenes res-on October 10, 2010. l’esprit dynamique d’une nouvelle taurados con mucho esmero, exhibi- métropole qui sort du dévastateur ciones interesantes, y eventos especialesState Capitol tremblement de terre de 1906. únicos.At the State Capitol in Sacramento, the La salle Starlight est située au 21epast, present and future of California étage de l’Hôtel Sir Francis Drake, à El Museo de Arte Crockerinteract. The building serves as both San Francisco, le lieu de la cérémonie El Museo de Arte Crocker en Sacra-a museum and as the state’s working d’ouverture de la vingtième conférence mento se ha embarcado en la obraseat of government. Visitors to the annuelle de l’IAMFA. más monumental de su historia deCapitol can experience California’s 125 años. Un proyecto de expansiónrich history, while also witnessing the Le Musée du chemin de fer está en progreso, que no solamentemaking of history through the modern de l’État triplica el tamaño de su instalaciónlawmaking process. Situé dans le Vieux Sacramento, le actual sino que abarca todas las facetasCONTINUED ON PAGE 26 Musée du chemin de fer de l’État est un de la organización, desde el crecimi- complexe d’installations historiques ento de sus colecciones y de sus anfi- et des attractions uniques. Considéré triones hasta el enriquecimiento de comme l’un des musées du chemin de todos los aspectos de la experiencia de fer en Amérique du Nord les plus los visitantes. El Museo Crocker está populaires, il y a ici quelque chose programado para abrir al público el pour tout le monde, y compris les 10 de octubre de 2010. trains somptueusement restaurés, l’engagement des expositions, des El Capitolio del Estado événements spéciaux et uniques. El pasado, el presente, y el futuro de California se interactúan en el Le Musée d’art Crocker Capitolio del Estado. El edificio sirve Le Musée d’art Crocker à Sacramento tanto de museo como de sede oficial del a lancé l’entreprise la plus monumen- gobierno. Los visitantes al Capitolio tale de son histoire de 125 ans. Un pueden experimentar la historia rica de projet d’agrandissement est en cours, California, mientras observan la cre-The State Railroad Museum. non seulement triplant la taille de ación de historia a través del moderno l’installation actuelle, mais couvrant proceso de crear leyes. SIGUE EN LA PÁGINA 26 tous les aspects de l’organisation, de la collecte et la croissance de dotation jusqu’à l’enrichissement de tous les aspects de l’expérience du visiteur. Le nouveau Musée Crocker est prêt à ouvrir au public le 10 Octobre 2010. Le Capitol de l’État Au Capitole de l’État à Sacramento, le passé, le présent et l’avenir de la Californie interagissent. Le bâtiment sert à la fois de musée et de siège deThe Crocker Art Museum. SUITE À LA PAGE 26 The State Capitol. PAPYRUS SUMMER–FALL 2010 23
    • 2010 IAMFA Con DELEGATE PROGRAM SUNDAY, O 8:00 am Benchmarking Registration and Breakfast Sir Francis Drake (SFD) Hotel, 450 Powell 12:00 pm Conference Registration and Bag Pickup for Sir Francis Drake Hotel, Mezzanine Everyone Lobby 6:00 pm Ice Breaker Reception and Welcome Harry Denton’s Starlight Room, SFD MONDAY, O 8:00 am Travel to Breakfast at SFMOMA San Francisco Museum Of Modern ArtThe new rooftop Garden at 9:30 am Benchmarking Recap, LED Lighting Presentations, SFMOMA’s Phyllis Wattis TheaterSFMOMA. Tour 11:30 am Travel to Lunch at Stanford University To Stanford Bing Wing Library 1:30 pm Tour and Seismic Presentation Stanford Libraries 4:30 pm Tour Cantor Art Center with Guests Cantor Art Center 5:15 pm Travel to Runnymede, Walking Sculpture Tour Runnymede Sculpture Farm and BBQ 8:30 pm Travel to Hotel To Sir Francis Drake Hotel TUESDAY, OThe Stanford University campus. 8:00 am Travel to Breakfast at De Young Museum To Golden Gate Park 9:30 am IAMFA Master Planning Session, DeYoung De Young Museum Presentation, Tour 12:30 pm Lunch in the Forum Facing the Shakespeare Garden California Academy of Sciences 2:00 pm Green Historic Preservation, LEED Platinum Bldg., California Academy of Sciences Tours 5:00 pm Return to Hotel for Free Evening To Sir Francis Drake Hotel 6:00 pm Board Meeting Sir Francis Drake Hotel WEDNESDAY,The deYoung Museum, open nowfor nearly five years. 8:00 am Travel to Breakfast, Annual Business Meeting Contemporary Jewish Museum and Tour 10:45 am Innovation in the Exploratorium’s New Plans Exploratorium and Tour 12:30 pm Lunch at Letterman Digital Arts Center Letterman Digital Arts Center 1:45 pm Historic Preservation Award Winner and Tour Walt Disney Family Museum 3:30 pm Walk across Golden Gate Bridge, W5 From North toward City 4:45 pm Travel to Hotel, Dress for Gala Dinner Sir Francis Drake Hotel 6:00 pm Group Photo and Wine, Gala Dinner Maritime MuseumThe new LEED Platinum California 10:00 pm Bus back to HotelAcademy of Sciences. THURSDAY, OCTOBER 21 — “A CAPITAL IDEA” 8:30 am Day Tour to Sacramento Bus Departs SFD 9:30 am Benicia for Coffee Old State Capitol 10:00 am Travel onward and Facilities Tour State Railroad Museum 12:00 pm Lunch Aboard Delta King 1:30 pm Tour Museum Crocker Art Museum 3:00 pm Travel to Capitol for Tour Architectural TourThe Exploratorium, a hands-on 5:00 pm Drinks and Tour, Depart for Hotel at 6:00 pm Historic Governor’s Mansionexperience for all who visit.24 PAPYRUS SUMMER–FALL 2010
    • ference Schedule GUEST PROGRAMCTOBER 17 12:00 pm Conference Registration and Bag Pickup for Sir Francis Drake (SFD) Hotel, Everyone Mezzanine Lobby 6:00 pm Ice Breaker Reception and Welcome Harry Denton Starlight Room, SFDCTOBER 18 8:00 am Travel to Breakfast in the Garden Court Palace Hotel 9:30 am Narrated SF Walking Tour—Ends at SFMOMA Downtown The Garden Court at the famous Palace Hotel. 11:30 am Travel to Lunch at Stanford with Delegates To Stanford Bing Wing Library 1:30 pm Shop, Stroll, Meander Downtown Palo Alto 4:30 pm Join Delegates on Docent tour of Cantor Art Center Cantor Art Center 5:15 pm Travel to Runnymede, Walking Sculpture Tour Runnymede Sculpture Farm and BBQ 8:30 pm Travel to Hotel To Sir Francis Drake HotelCTOBER 19 8:30 am Head for the Napa Valley Bus Transfer with Snacks on Board One of many sculptures at 10:00 am Champagne and Light Picnic on the Terrace Gloria Ferrer Runnymede Farm. 11:30 am Transfer to Lunch/Wine Pairing and Tour Nicholson Ranch 3:30 pm Transfer to Hess Collection Tour and Tasting The Hess Collection 5:30 pm Return to Hotel To Sir Francis Drake Hotel 7:00 pm Free EveningOCTOBER 20 8:30 am Light Tea Breakfast Near Hotel The Golden Gate Bridge. 9:30 am Walk/Bus Transfer to Chinatown Chinatown 10:00 am Explore Chinatown with Author Shirley Torres Chinatown 1:30 pm Travel to Disney Family Museum for Tour Walt Disney Family Museum 3:30 pm Walk across Golden Gate Bridge, W5 From North toward City 4:45 pm Travel to Hotel, Dress for Gala Dinner Sir Francis Drake Hotel 6:00 pm Group Photo and Wine, Gala Dinner Maritime Museum The vineyards at Gloria Ferrer 10:00 pm Bus back to Hotel winery.— EXTRA DAY TOUR (Additional Cost of $75) See Delegate Schedule for Sacramento Wine-tasting at The Hess Collection winery, located atop Mount Veeder. PAPYRUS SUMMER–FALL 2010 25
    • THE TWENTIETH ANNUAL IAMFA CONFERENCE LA VINGTIÈME CONFÉRENCE DE L’IAMFA LA VIGÉSIMA CONFERENCIA ANUAL DE IAMFACONTINUED FROM PAGE 23 SUITE DE LA PAGE 23 VIENE DE LA PÁGINA 23Historic Governor’s Mansion travail du gouvernement de l’État. Les La Mansión histórica delCalifornia’s executive mansion, pop- visiteurs du Capitole peuvent connaître Gobernadorularly known as the Governor’s la riche histoire de la Californie, tandis La Mansión Ejecutiva de California,Mansion, was built in 1877 for Albert qu’ils assistent aussi à la réalisation conocida popularmente como laand Clemenza Gallatin. Albert was a de l’histoire à travers du moderne Mansión del Gobernador, fue con-partner in the Sacramento hardware processus législatif. struida en 1877 por Albert y Clemenzastore of Huntington & Hopkins. The Gallatin. Albert era socio en la ferre-State of California purchased the house La Masion historique du tería de Huntington & Hopkins, enfrom Joseph and Louisa Steffens to Gouverneur Sacramento. El estado de Californiause as a home for California’s first La Maison executive de la Californie, compró esta casa a Joseph y Louisafamilies in 1903 for $32,500. populairement connu comme la Maison Steffens para usarla como un hogar du Gouverneur, a été construite en para las primeras familias de 1877 pour Albert et Clemenza Gallatin. California en 1903 por $32,500. Albert était partenaire de la quin-Guests of IAMFA members attending caillerie Huntington & Hopkins, àthe conference this year will have their Sacramento. L’État de la Californieown agenda as usual, offering an expe- acheta la maison à Joseph et Louisa Los invitados de los miembros derience of San Francisco that they won’t Steffens pour l’utiliser comme un IAMFA que asisten a la conferenciasoon forget. Guest activities include: foyer pour les premières familles de este año tendrán también su propio• Breakfast at the Palace Hotel la Californie en 1903, pour 32 500 $. itinerario como de costumbre, que les ofrece una experiencia de San Francisco• Tour of the Walt Disney Family que no se olvidarán pronto. Las Museum (Delegates and Guests) actividades de los invitados incluirán:• Walk across Golden Gate Bridge Les invités des membres d’IAMFA toward San Francisco (Delegates • un desayuno en el Hotel Palace assistant à la conférence de cette and Guests) una gira al Museo de la Familia de année auront leur propre ordre du Walt Disney (delegados e invitados)• Annual Gala Banquet at the jour comme d’habitude, offrant une Maritime Museum (Delegates expérience de San Francisco qu’ils • un paseo por el Puente Golden Gate and Guests) n’oublieront pas de sitôt. Ces activités hacia San Francisco (delegados e comprennent: invitados)• Tour of Runnymede Sculpture Farm plus California BBQ (Delegates and • Petit déjeuner à l’Hôtel Palace • cena y fiesta de gala en el Museo Guests) Marítimo (delegados e invitados) • Visite guidée du Musée de famille• Champagne and Light Picnic on de Disney Walt (délégués et invités) • una gira a la Finca con esculturas the Terrace of Gloria Ferrer Winery Runnymede y una barbacoa estilo • Traverser le Pont Golden Gate vers California (delegados e invitados) in Napa Valley San Francisco (délégués et invités)• Interactive Lunch and Wine • champaña y una merienda liviana Pairing and Tour at Nicholson • Le banquet de gala annuel au Musée en la terraza del viñedo de Gloria Ranch in Napa Valley maritime (délégués et invités) Ferrer en el valle de Napa• Hess Collection Tour and Tasting • Tour de la Grange aux sculptures • una merienda interactiva y guía de in Napa Valley Runnymede plus le barbecue à la combinar vinos con una gira en el Californie (délégués et invités) rancho Nicholson del valle de Napa • Pique-nique Champagne et Lumière • una gira de la colección Hess y sur la terrasse de la cave Gloria degustación en el valle de Napa Ferrer dans la vallée de Napa Tour • explorar el Barrio Chino con • Tour de la Collection Hess et Shirley Fong-Torres, autor de The dégustation dans la vallée de Napa Woman who Ate Chinatown (La Mujer • Explorer Chinatown (quartier que comió al Barrio Chino) chinois) avec Shirley Fong-Torres, • paseo a pie narrado de San Francisco auteur de La femme qui mangea Chinatown (The Woman who Ate • almuerzo en la Universidad deThe Governor’s Mansion. Chinatown) Stanford (delegados e invitados)26 PAPYRUS SUMMER–FALL 2010
    • • Explore Chinatown with Shirley • Visite à pied et commentée de • salida de compras en el centro de Fong-Torres, author of The Woman San Francisco Palo Alto who Ate Chinatown • Déjeuner à l’Université de Stanford • gira con docentes del Centro• Narrated San Francisco Walking (délégués et invités) de Artes Cantor (delegados y Tour invitados) • Les Grands magasins au centre-ville• Lunch at Stanford University de Palo Alto • visita a las instalaciones del Museo (Delegates and Guests) del Ferrocarril Estatal (jueves— • Tour d’enseignants au Centre delegados e invitados)• Shopping Spree in Downtown d’arts Cantor (délégués et invités) Palo Alto • gira del Museo de Arte Crocker • Visite des installations du Musée (jueves—delegados e invitados)• Docent tour of Cantor Arts Center du chemin de fer de l’Etat (jeudi – (Delegates and Guests) délégués et invités) • gira al Capitolio del Estado con énfasis en la arquitectura (jueves—• Visit State Railroad Museum for • Tour au Musée d’art Crocker (jeudi – delegados e invitados) Facilities Tour (Thursday—Delegates délégués et invités) and Guests) • visita a la histórica Mansión del • Visite architecturale du Capitol Gobernador (jueves—delegados e• Crocker Art Museum Tour (jeudi – délégués et invités) invitados) (Thursday—Delegates and Guests) • Tour à la Maison historique du• State Capitol Architectural Tour Gouverneur (jeudi – délégués et Deseamos darle la bienvenida a (Thursday—Delegates and Guests) invités) todos los miembros de IAMFA y sus invitados a San Francisco. Por favor• Historic Governor’s Mansion Tour Nous sommes impatients d’accueillir consulten, y regístrense (Thursday—Delegates and Guests) tous les membres de l’IAMFAet leurs antes del 17 de agosto para conseguir invités à San Francisco. S’il vous plaît el descuento de registro temprano. We are eager to welcome all IAMFA voir et inscrivez-vous Por favor llamen a 800-795-7129 ymembers and their guests to San Fran- avant le 17 août pour obtenir le rabais mencionen a la conferencia anual decisco. Please see, and pour toute inscription. S’il vous plaît IAMFA para reservar su cuarto en elregister before August 17 to get the appelez également 800-795-7129 et Hotel Sir Francis Drake. Hay un precioearly registration discount. Please also mentionnez la Conférence annuelle de negociado por cuarto de $169 porcall 800-795-7129 and mention the l’IAMFA pour réserver votre chambre noche para un cuarto “King Deluxe”,IAMFA annual conference to reserve à l’Hôtel Sir Francis Drake. Il y a un pero por favor no esperen hasta elyour room at the Sir Francis Drake frais négocié de 169 $ par nuit pour último momento para reservar suHotel. There is a negotiated room rate une chambre King Deluxe, mais nous cuarto, para evitar que excedamosof $169 per night for a King Deluxe vous prions de ne pas attendre la nuestro bloque de, but please do not wait until the dernière minute pour réserver votrelast minute to reserve your room; we chambre; nous pourrions dépasser le ¡Nos vemos en San Francisco!could exceed the room block. bloc de chambres. El Equipo de la ConferenciaSee You in San Francisco! Voyez-nous à San Francisco!The Conference Team L’équipe de la Conférence Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG or See page 34 for details and enrollment form PAPYRUS SUMMER–FALL 2010 27
    • The National GalleryCasting New Light on Old MastersBy Steve VandykeL ondon’s National Gallery is now better equipped to present its Old Masters in the best possible light—quite literally. Through the employ-ment of Andrew Reid & Partners andits own Trend Building ManagementSystem (BMS), the National Gallery’sTechnical Services department hasdeveloped and begun implementinga new strategy for controlling galleryroof blinds. This new system will allowthe collections to be viewed in naturallighting for longer periods, whilst stillprotecting them from direct sunlight.In addition to enhancing the viewer’sappreciation of a painting, the use ofdaylight to provide illumination reducesthe need for artificial lighting, thussaving energy. The Trend BMS provides close con-trol and monitoring of environmental The National Gallery as seen from Trafalgar Square.conditions throughout the NationalGallery’s main building. In doing so,it plays a vital role in preserving the When modulating the motorized The BMS also incorporates an exter-Gallery’s priceless collection of Western blinds to achieve set-points for light nal lux sensor that shows whether it isEuropean paintings from the thirteenth levels, the controllers must ensure sunny or overcast. When it is overcast,through nineteenth centuries, includ- that no direct sunlight is admitted. In the output from the max/min angleing masterpieces from virtually all the most galleries, there was previously just algorithm is overridden, and the blindsgreat artists. Most of the building’s a maximum opening angle for each sea- can move to their fully open position.40-plus galleries have glazed roofs, son of the year, with no account taken This also happens if the programand here the system regulates the of the Sun’s movement during the day. determines that the roof light will belight levels through coordinated As a consequence, blinds were often in shadow from an adjacent buildingcontrol of picture lighting and the not opened as far as they could have or another part of the roof structure.rooflight window blinds. been, which unnecessarily restricted Since the blinds need to be closed The galleries’ individual Trend IQ the amount of natural light allowed during the hours of darkness, thecontrollers will only switch on the arti- into the galleries. program also calculates the hoursficial lighting if the optimal illumina- The new blind-control program of sunset and sunrise.tion level cannot be achieved with overcomes this limitation by using the Light levels in each gallery are mea-natural light alone, through control time and date to continually calculate sured by several sensors, and the galleryof the blinds. Generally, a gallery has a the changing position of the Sun. From controller works from an average ofthree-circuit lighting track: one com- this, it repeatedly computes maximum readings taken over the previous min-prising blue lights simulating daylight, and minimum safe opening limits for ute. It also reacts to high or low instan-and another made up of conventional each set of blinds, taking into account taneous values, by disabling or enablingclear lamps. The first come on if the their orientation and slope. The limits the artificial lighting. In addition, it usesaverage light level falls to a preset value for each set are updated in rotation these values to calculate cumulativeand, if this is not sufficient, the second every two to three minutes. Calculations light exposure levels, which shouldset is switched on as well. The third are made to a resolution of less than 1°, not exceed 12,500 lux-hours per week.circuit is used for after-hours patrol although blind movements are made Ideally, the pictures are displayedlighting. in increments of 2.5° or 5°. with daylight to an average of 200 lux.28 PAPYRUS SUMMER–FALL 2010
    • The motorized external blinds are This can be summarized as follows: XNC controller, which has sufficientcontrolled via the BMS to ensure the software capacity to carry out the exten- • If daylight drops below 150 lux, thelight level is between 150 to 210 lux. If sive trigonometric calculations. This com- blues turn on (1st stage).daylight is insufficient, the blue lens municates with the galleries’ existinglight fittings are switched on to provide • If the combined light level of day- controllers via the BMS additional 60 lux. If the light level light and blues drops below 150 lux, The program, which was tested usingis still insufficient, the clear lens light the clears turn on (2nd stage). an architectural software package thatfittings provide a further 90 lux. • If the light level exceeds 210 lux, includes solar simulation, is initially the clears turn off first. being applied in seven galleries. It is expected to be rolled out to the • If the light level continues to exceed remainder later this year, which will 210 lux, the blues turn off. require the installation of a second • As a safety function, if light levels IQ3xcite XNC controller. Together, exceed 350 lux, all picture lighting the two controllers will calculate and is turned off. supply settings for around 100 sets of blinds of varying design and orienta- • If light levels fall below 90 lux, then tion. The energy savings that result both stages of lighting are turned on. could be significant. The first elements of the National There are delays built into the strat- Gallery’s Trend BMS were installed egy, in order to prevent the lighting more than 20 years ago. Today, it incor- cycling on and off due to sudden porates over 100 IQ controllers, all changes in light level, as might be operating within a single fully inte- experienced on a bright sunny day grated system. A number of graphics- with fast-moving clouds. based supervisors provide the Gallery The new blind-control strategy was engineering staff with access to control devised by building services consultant settings and system-monitored data. Andrew Reid & Partners which, like Trend Control Systems Ltd., has worked Steve Vandyke is Head of Technical ServicesOne of the galleries, employing both with the National Gallery for many years. at the National Gallery on Trafalgar Squarenatural light and artificial illumination. It has been installed into an IQ3xcite in London.MESSAGE FROM THE PRESIDENT MOT DU PRÉSIDENT MENSAJE DEL PRESIDENTECONTINUED FROM PAGE 4 SUITE DE LA PAGE 4 VIENE DE LA PÁGINA 4institutions in order to reduce the num- viduels; donc, je pense aussi qu’ils peu- esta situación en sus propios países?ber of separate museum bodies. Has vent décider que toutes les institutions El Departamento de Cultura, Mediosanyone had experience of this in their culturelles dans la ville fassent un appel de Comunicación y Deporte del Reinoown countries? The UK Department of d’offres commun pour les services des Unido ha pedido detalles de las fechasCulture, Media and Sport has requested installations pour que, par exemple, de terminación de nuestros contratosdetails of all end dates of our indi- il n’y ait qu’un contrat de nettoyage individuales, así que también sospechovidual contracts, so I also suspect that unique dans tous les musées et galeries. que van a intentar que todas las insti-they may try to make all the cultural Est-ce que ceci est arrivé à l’un de nos tuciones culturales de una ciudadinstitutions within a city jointly tender membres? soliciten sus servicios de mantenimi-their facility services—this might Cette conférence sera l’occasion ento juntos—para que tengamos, pormean that we have, for instance, a d’échanger des idées et de développer ejemplo, un solo contrato de limpiezasingle cleaning contract across all un partenariat éducatif entre les en todos los museos y galerías. ¿Hanmuseums and galleries. Has that membres, ce qui nous permettrait experimentado esta situación algunoshappened to any of our members? de nous entraider et de partager des de nuestros miembros? This conference will provide an expériences. Donc, assurez-vous que Esta conferencia nos brindará laopportunity to exchange ideas and vous seriez là – même si cela signifie oportunidad de intercambiar ideas ydevelop a learning partnership amongst que vous deviez à la considérer desarrollar un equipo de aprendizajemembers, allowing us to help each other comme temps de vacances! entre los miembros, que nos permitaand share experiences. So make sure ayudarnos y compartir are there—even if it means you Así que no falten—¡aun si tienen quehave to treat it as vacation time! ocupar ese tiempo como vacaciones! PAPYRUS SUMMER–FALL 2010 29
    • Facility Managers Lead the Move to Green with Improvements in Energy EfficiencyThomas A. Westerkamp By Thomas A. WesterkampF acility managers are challenged to meet increasing The best place to start documenting the power-distribution energy demands while holding the line on energy system layout is at the incoming power service entrance. This costs. This article discusses key cost elements, load is where the power company’s high-voltage service entersprofiling, sub-metering opportunities, links to other build- your facility, passes through a high-voltage switch in youring management systems, energy efficiency checks, and substation, then continues through a transformer wheretraining opportunities, as well as the rewards for successfully the voltage is stepped down to the highest voltage distributedmeeting the difficult challenge of being green. in your facility—typically 440 volts. From the main switch gear, the power-distribution system branches out into feeder circuits. Typical groupings of power users are: boiler andLoad Profiling steam systems; building heating and cooling; compressedEnergy consumption in the U.S. has increased almost air; data centers; hot water; lighting; plant operating equip-without interruption for more than four decades, from ment, motors and drives; refrigeration; and security systems67.8 quadrillion BTU in 1970, to a peak of 101.5 quadrillion and alarms. Each feeder may be divided into several branchBTU in 2007 before the global recession—and even in circuits, which provide electrical power to individual equip-2009, was over 94 quadrillion BTU. Since the 1950s, U.S. ment items such as HVAC air supply and exhaust driveenergy consumption has exceeded production. We are now motors, lighting, heating devices, computer data centers,dependent on foreign sources for over 20% of our energy. and operating equipment. The layout should show each The energy users in your facility are the many standard circuit and the equipment served, along with nameplateand special equipment components arranged in a one-of-a- information, such as volts, amps, horsepower, cycles, watts,kind, unique physical layout, linked together by the power design factor, and the like, for each equipment item.distribution system. In many facilities, especially older ones, As an alternative to preparing a blueprint schematic ofthe exact arrangement is not well known, because the dis- your power-distribution system, you can use a CAD systemtribution system blueprints or schematics have either been software package—one that has electrical symbols in thelost, or systems have been altered piecemeal over time with- database, such as AutoCAD or Microsoft Visio—and createout the alterations being documented each time. This is a an up-to-date schematic using it (Figure 1). These tools havevery common, but nonetheless serious, disadvantage to the distinct advantage of offering quick and easy revision.facilities manager seeking opportunities for improvement: Thus, if you add to the system or move equipment aroundyou have to know what you have before you can make it as needs change, you have a much better chance of keepingbetter and quantify benefits. Measurement must come the layout up-to-date, because it is so much easier and quickerbefore control. to do. The discipline of entering each field change when it Do you know where the top energy-users are located in is implemented must be maintained by making this docu-your facility, and how much energy they consume? Even if mentation a mandatory part of the work order authorizingyou’re fairly confident about this, an annual energy check the change.may be in order to guard against creeping change. The firststep to start, or upgrade, an energy-monitoring system isto get together all available system layout information. It Power-Monitoring Equipment Revealsis necessary to check all information by walking the system that Measurement is Essential to Controland marking up the old piping and electrical distribution Power savings come from two sources: demand-rate reduc-system schematics, noting additions and modifications. If tion and lower energy consumption. Demand rate is the rateyou do not have the original drawings, there are standard per kilowatt-hour (kw-hr) charged by the power company.power-distribution system layout sheets, available from your This rate is based on the peak demand that occurred duringelectrical equipment vendor or your electric utility company the period in which your rate was calculated. The higherrepresentative, which you can use to simplify the process that peak demand was, and when it occurred, determinesand ensure that all key components are considered. the rate you pay your electric utility company for all of your30 PAPYRUS SUMMER–FALL 2010
    • power during the ensuing contract period. Energy consump- sub-metering on each feeder circuit. These sub-meters willtion is the cumulative kw-hrs consumed during the billing show which feeders generate the greatest lighting, motorperiod. The more kw-hrs consumed, the higher the bill. and heating loads. Sub-metering individual branch loadsBoth the rate and consumption are controllable expenses, will identify the specific electrical equipment from which theand the resulting energy cost can often be reduced by most potential savings may be gained. An individual motor20% with proactive power management, as opposed to low load can be measured by simply clamping an ammeter, alsoor no power management. Other benefits are shown in called a tong tester, on each of the phases at the line switch.Figure 2. Lowering your peak demand, or shifting your peak By sorting the loads in descending order, you can createdemand away from the power company’s peak demand time a Pareto analysis—for example, 80% of the load may beof day, lowers your rate. Lowering consumption by installing concentrated on 20% of the equipment—that highlightsmore energy-efficient electrical devices—for example, replac- the best savings incandescent with compact fluorescent lamps—also helps. Energy consumers want to improve benefits from energySo does cleaning fixtures and going back to lower-watt bulbs consumption, reduce lifecycle costs, and keep the systemthat were used before the fixtures got dirty. reliably consistent in providing a light-, temperature-, and The next step, after system documentation, is to upgrade humidity-friendly environment for the art collections. Fac-the power-monitoring program to evaluate the system you tors you want the meters to identify are peak demand amounthave documented, and to assess opportunities. Where would and time of day, the source of the greatest demands, andmonitoring likely provide the most benefit? The main service disturbances that might cause critical interruptions, envi-entrance switch gear is usually metered by the power com- ronmental problems or power-quality problems. Powerpany—or in-house, if you generate your own power. These meters basically measure volts and amps and convert thesources provide a reading of the overall load, but don’t readings internally to other metrics such as power factor: adetail the individual loads that contribute to it. To obtain a measure of the efficiency of the power delivered. The lowerbreakdown, install some form of temporary or permanent the power factor, the greater the losses (reactive kilovars), Lowering consumption has cost and other benefits: • Museums are showing their energy usage on a website dashboard to demonstrate tangible evidence of their contribution to a better environment. • The U.S. Energy Policy Act of 2005 (PL 109-58) provides tax deductions for design and instal- lation of energy-efficient commercial building systems, including lighting, heating, cooling, ventilating, hot water and building envelope systems. • The U.S. Energy Independence and Security Act of 2007, H.R. 6, calls for incandescent light bulb phase-out and replacement by more energy-efficient compact fluorescents, halogens, and LEDs. The phase-out, to be completed by 2020, could save $18 billion annually in electric bills in the U.S. • According to the U.S. Department of the Environment, converting to NEMA premium motors would save 5,800 gigawatts and prevent the release of 80 million metric tons of carbon into the atmosphere over ten years—or the equivalent of keeping 16 million cars off the road.Figure 1: Power distribution schematic. Figure 2 PAPYRUS SUMMER–FALL 2010 31
    • and the more you pay for the same useful power. For If you have introduced new CAD electrical-distributionexample, induction motors tend to lower power factor, software, now is a good time to broaden familiarity with it,sometimes to as low as 80%. Induction motor circuit power so that more than one person in the organization can updatefactor is corrected toward unity (PF = 1, or 100%) by instal- it or retrieve sections for planning purposes.ling variable-power factor-correction capacitors in the circuit, If you order new power-monitoring software and sub-which automatically adjust power factor for that circuit load. metering equipment for your upgraded system, it is veryDepending on the variations read by the meters, power factor important to get complete sets of operating and maintenancecan be increased to the high 90s, saving a lot of energy and manuals, including parts lists and preventive maintenanceat the same time reducing the peak demand, if related plans, in sufficient copies. To ensure this, list these itemsequipment is the cause of the peak demand. This adjust- in the purchase order specification as a separate line item.ment, therefore, has the potential to save both the total After the order is placed, it may be very hard to go back andamount used and the rate paid. get the missing documentation. Specific vendor training is The same meters that detect peak demand and power another important line item in your specification. Every-factor can be used to track disturbances and energy cost one has had the experience of the vendor coming in forby department, tenant, process or output. They can also a day or two, when the software and equipment are new,provide 24/7 load profiles, and automate load control and to provide some training—but some of the features mayload management. By tying the system into your building not be used for quite a while. When the maintenance folksautomation system (BAS), you can more easily monitor attempt to use those features later, they often find that theyboth systems. If the construction specifications included have forgotten the training.interoperability standards such as BACNet (ASHRAE’s To prevent this, and to get the most from vendor traininginteroperability process standard), you can integrate several offerings, smart managers have the training done in at leastsystems spread over one or more buildings, campuses, or two phases. The first phase is introductory training that rep-states, so that all systems—and the total energy consumption resents a first contact with the new material. It includes anof all facilities—can be monitored from one central point. overview of the whole system and detailed training by example Meters have integrators that store readings, so that in on the features that will be used first. Each trainee shouldthe event of a power interruption, you don’t lose any data. have plenty of hands-on practice with the new equipmentWhen power returns, the stored data is accessed and logged. at this point. Between the first and second training sessions—perhapsSoftware Opportunities a month or so apart—each trainee should keep a notebook and log any problems, glitches and things they don’t under-Power-management meters and sub-meters comprise the stand. Of course, if the new equipment includes some fairlysystem hardware. Coupled with the software, you have a high-tech features, you’ll want to add a service agreementpowerful energy-data collection, management and control to the bill of material, so that you can get online or telecomsystem. Each meter represents a measurement and control help when you need it for urgent problems that cannot waitpoint. The data from that point is fed back to the computer, for a second round of training.converted into the various metrics you are measuring, and The second training session—and other future sessions—is displayed on a real-time graphic display at one or several review the entire system, with concentration on the featurescontrol points. The graphic shows your power-distribution that are most important in your installation. Sometimes itsystem. Each control point is represented symbolically and, is hard to get the vendor to depart from a canned trainingnext to the symbol, a data display box registers the real-time program. Their instructors are taught specific coursevariation in kilowatts at that point, as well as other metrics content, and are often not prepared to depart from it inthat you have selected. The meters are scalable, so you can order to resolve your specific problems. It is good to knowadd more metrics and read them at more or less frequent this ahead of time, and make your interest in site-specificintervals as required. training known in advance, to avoid unrealistic expecta- tions and disappointments, and ensure that the trainingSystems Training Needs does meet your needs.Having completed the specification for power-distribution Energy conservation spans all building systems, structural,upgrades and monitoring, that spec list is also your list mechanical and electrical. An energy-efficiency check canof very important training opportunities. You can use the reveal many opportunities for tuning up your facility. Aupdated schematic to bring all the electricians and elec- checklist of items that influence energy efficiency is showntronic technicians who work on the system up-to-date on in Figure 3. Facility managers can use this list as a startingthe current layout, and point out the current load-balance point to focus their energy-improvement efforts. Each faci-situation: where there are bottlenecks in the capacity that lity is unique, and will have other opportunities that can belimit further loads on that phase, feeder or branch, and added to customize the list. Repeated annually, this energy-where further loads are okay. You can also begin, just by efficiency improvement check will provide details that helpinspection of the load distribution, to make improvements to prioritize your continuous improvement reduce the load—such as premium efficiency motors A coherent energy strategy, based on detailed knowledgeand low-wattage lamps replacing older less-efficient ones. about your energy load and rate basis will ensure that your32 PAPYRUS SUMMER–FALL 2010
    • facility finds it easier and more eco-nomical being green. You will achieve Energy Efficiency Improvement Checklistall of your energy conservation objec- □ Refrigeration system lines/valves properly Boilers, Steam and Electrictives: reducing consumption, preserving insulated Generationresources, reducing pollution, and □ Time, temperature, turbulence and □ Ice storage used for peak-demandlowering lifecycle costs. There is also oxygen balanced for optimum efficiency optimizationa public relations benefit in keeping □ Cogeneration to optimize fuel use □ Pumps/motors/blowers/drives checkedemployees and visitors aware of your with vibration analysis □ Steam/electric load vs. capacity balancegood stewardship. optimized □ Belt drives are tightened, belts replaced per annual schedule □ Boiler feedwater treatment optimized □ Water sub-metering used to optimizeTom Westerkamp is President, Work □ Annual tube check/cleaning, boiler water useManagement Division of the Westerkamp re-insulation completed on schedule □ Hot water temperature set optimallyGroup, LLC. He is a consultant, speaker, □ Annual pressure relief valveauthor, co-founder and former CEO of checks/rebuilds per schedule □ Hot water tanks/lines insulatedProductivity Network Innovations, LLC. □ Steam pressure optimized/no leaks □ Water heaters off when not neededHis book, Maintenance Manager’s □ Economizers optimizing heat recovery □ Special purpose areas; e.g., kitchen, lab,Standard Manual, 3rd Edition, 2007, is cold storage optimized for HVAC and □ Boiler blowdown timing/amount asdistributed by BNi Books, Vista, CA. The R control4th Edition is scheduled for publication recommendedin Fall 2010. He can be reached at □ Steam/condensate piping insulation Compressed inspected/repaired annually □ Compressor cycling optimized per baseline □ Condensate return recovery % □ Lines and valves checked, and leaks fixed □ Traps/strainers cleaned/checked □ Pressure regulators/filters/oilers □ Condenser tubes cleaned per annual cleaned/checked per schedule Other Resources schedule □ Condensate blowdowns completed per □ Electrical distribution/contacts checked schedule • American Society of Heating, with thermal imaging and cleaned Refrigeration, and Air Conditioning □ Air tools cleaned, no line leaks, and annually Engineers (ASHRAE) operating efficiently □ Motors blown out per schedule □ Multi-compressor systems cycling most □ Premium motors used efficiently • EPA Energy Star “Guidelines □ Power factor optimized by metering and for Energy Management” adjustable capacitors Lighting □ Sub-metering employed to identify high □ Lighting levels optimal for space use • Institute of Electrical and energy areas per standards Electronic Engineers (IEEE) □ Net-metering sell-back program used to □ Replace incandescent with compact 3 Park Avenue, 17th Floor optimize energy costs fluorescent lamps New York, NY 10016 □ gram used to optimize energy costs □ Clean fixtures for high efficiency per 212-419-7555 annual schedule Building Heating, Ventilating and □ Optimal use of natural light, occupancy Air Conditioning sensors • International Association of □ High-efficiency lamps used in high-bay □ Insulation adequate Electrical Inspectors (IAEI) areas □ Window/door seals working P.O. Box 830848 □ Wall/ceiling coatings optimize reflectance Richardson, TX, 75083-0848 □ Proper air supply/exhaust balance 972-235-1455, □ Proper air-volume change rate Other □ Proper thermostat settings used □ Facility-wide annual lube program □ Building automation-systems controls optimizes lube quality/quantity/frequency • National Rural Electric Co-op Association (NRECA) resets □ Annual PM/PdM system coverage and □ Proper filter maintenance scheduled schedule compliance >95% 4301 Wilson Blvd. Arlington, VA 22203 annually □ Total lifecycle management practiced. □ Sunny-side window shades closed Compare alternative purchases using 703-907-5500 Lifecycle Cost Analysis □ Zones/heating/cooling not competing □ Investigate renewable energy sources; □ Economizers returning seasonal hot/cold • U. S. Department of Energy e.g., solar air temperature □ Your facility-specific checkpoints: □ Use of variable air volume, variable-speed • Westerkamp, Thomas A., drives instead of dampers □ —————————————————— Maintenance Manager’s Standard □ Peak-demand reduction opportunities □ —————————————————— Manual checked annually □ —————————————————— 3rd Edition □ Chilled water system operating efficiently BNi Publications, 2007 □ —————————————————— □ Cooling towers/spray nozzles cleaned per annual schedule □ —————————————————— Figure 3 PAPYRUS SUMMER–FALL 2010 33
    • Become a Member of IAMFAAnd get a friend to joinOn behalf of the membership and Board, we invite you Membership Opportunitiesto join with other museums and cultural organizations Join the IAMFA at any of the following levels and enjoythroughout the world in becoming a member of the only full benefits of membership:organization exclusively devoted to museum and culturalfacility administrators: the International Association of Regular Member — $150 annually. A regular memberMuseum Facility Administrators (IAMFA). As a member, holds the position of principal administration in directyou will join a growing list of museum and cultural facility charge of the management of facilities, and representsadministrators in their efforts to provide a standard of their institution(s) as a member of the association.excellence and quality in planning, development and design, Associate Member — $50 annually. An associate member isconstruction, operation and maintenance of cultural a full-time facilities management employee (professional,facilities of all sizes and varieties of programming. administrative or supervisor), below the level of theThe Association currently has representation in several facility administrator of the member association.countries on three continents. Our goal is to increase Affiliate Member — $50 annually. An affiliate member ismembership in institutions throughout the world. any full-time employee of a member institution who is not directly involved in the facilities management department.Your involvement in IAMFA will continue the growthof the organization and provide you with excellent Retired Member — $50 annually. A retired member iseducational and networking opportunities. As your retired, and no longer involved in facilities management.colleagues, we look forward to welcoming you to Subscribing Member — $300 annually. A subscribingmembership in IAMFA. member is an individual, organization, manufacturer ofCordially yours, supplier of goods services to the institutions who ascribesThe Board of the International Association of Museum to the policies and programmes of the Association, andFacility 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 Don’t forget to make a copy to give to a colleague. ¡ YES! I would like to join IAMFA as a: Ⅺ Regular Member $150 Ⅺ Retired Member $ 50 Ⅺ Affiliate Member $ 50 Ⅺ Subscribing Member $300 Ⅺ Associate Member $ 50 Ⅺ I am interested in joining. Please have a member contact me. Institution: __________________________________________________________________________________________________________________ Name: ______________________________________________________________________________ Title: ________________________________ Address: ____________________________________________________________________________ City: _________________________________ State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________ Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________ Please remit to: ALL FEES ARE PAYABLE IN U.S. DOLLARS International Association of Museum Facility Administrators P.O. Box 277 Ⅺ I enclose a check in the amount of $ ____________________ Groton, MA 01450, USA Ⅺ Please invoice me Website: www.iamfa.org34 PAPYRUS SUMMER–FALL 2010
    • Benchmarking: A Comparison over TimeBy Stacey WittigT his year marks IAMFA’s tenth benchmarking exercise. Electric Cost per GSF The 2010 report will soon be released, and the longevity The median cost per GSF for participants reporting in 2001 of the exercise begs the question: how have we was 1.73 USD. That grew to 1.69 USD for 2006, and 2.28 USDchanged? Have we as a group become more efficient over for 2009. These figures do not tell the whole story withoutthe years? showing the cost per kWh. For instance, the average Retail To answer those questions, it is important to recognize Price of Electricity to Commercial Customers of .0789 USDsome important variables. First, data collection and report- per kWh grew to .1036 per kWh in 2008, according to theing has changed over the years. Initially, Facility Management U.S. Energy Information Administration. UK Power reportsServices Ltd. managed the study. Their first questionnaire that the cost of electricity in Europe “fluctuates wildly fromwas issued in April 2001, and included information from state to state.” Unfortunately, the 2001 IAMFA Benchmark-“the most recent 12-month reporting period,” measuring ing Report did not capture the cost of electricity per kWhdata for the year 2000. They averaged the data collected in or electricity consumption.their reports. When Facility Issues took over the study for The median cost per kWh in the 2006 IAMFA Bench-the 2005 report, data was compared to the median, rather marking Report was .0836 USD, compared to .113 in 2009.than the average. Median electrical consumption per GSF was 21.86 kWh in The questions have also changed over the years, and 2006 and 23.73 kWh in 2009. At the 2009 Best Practicessome of the data points were not collected in the early days. Workshop, participants noted that increased electricityFor instance, comparisons of electric consumption in kilo- usage during times of energy-saving practice implementa-watt hours (kWh) per gross square foot (GSF) over time tions could be due to the increased use of computers andmight better answer the efficiency question above. We video and audio components in exhibitions.have early data on electricity costs, but not consumption. The second variable is, of course, inflation. I haveadjusted the costs shown here based on inflation figures Total Utilities Cost per GSFfrom* Perhaps others have a more The 2001 report shows that the adjusted median cost foraccurate method. utilities was 2.48 USD per GSF. This rose to 3.05 USD in In 2001, facility administrators reported that the 2006, and 3.75 USD in 2009.important issues facing them were:• funding for lifecycle replacement of building elements, Building Maintenance Cost GSF• doing more with less, According to a 2001 Papyrus article, the 2001 report showed the average cost of building operations at 11.47 USD per• customer satisfaction/service, and square foot. When you multiply that by 1.25 for inflation, it• strategic planning. adjusts to 14.34 USD. The 2006 report shows “Total Oper- ating Costs” at 14.91 USD per GSF x 1.10 for inflation, Some things haven’t changed much. Elements that have adjusted to 16.40. The 2009 report shows the median totalchanged are outlined below. operating cost down to 14.87.Change in Temperature and Relative RelativeHumidity Temperature HumidityThe most drastic change in temperature and relative humid- 2001 Average °F °C (%)ity settings is seen in winter average relative humidity (see Exhibition Areas 70 21 48Figure 1). The group’s median for average relative humidity Office/Administration Areas 71 22 46dropped from 48% in 2000 to 45% for permanent displayareas, but then was back up to 47% in 2009. It will be inter- Conservation/Lab Areas 70 21 47esting to watch for changes in that data table in the upcoming Collection Holding Areas 69 21 492010 report. Average temperatures crept up slightly to 72°F Building Mechanical Areas 72 22 47during the summer months. Public Amenities 71 21 46 Underground Parking 63 17*According to, $1.00 in 2000 had the same Library 70 21 46 buying power as $1.25 in 2008 (data from the 2009 report.) Annual inflation over this period was 2.81%. Figure 1: 2001 Temperature and Relative Humidity PAPYRUS SUMMER–FALL 2010 35
    • Median Cost of Custodial Services (adjusted for inflation) was up to 96%. Of those who had a plan, 81% reported2001: 1.93 USD per SF using the plan due to bomb threat or severe weather. It is2006: 2.68 USD per SF interesting that only 78% of those institutions with a disaster2009: 2.85 USD per SF recovery plan had practiced it within the previous 12 months.Area Cleaned per FTE Worker CMMS2001: 26,600 square feet In 2002, Computerized Maintenance Management Systems2006: 18,960 square feet (CMMS) were used by 53% of participants. By 2009, almost2009: 18,683 square feet 90% of participants used CMMS for repair work requests.“Disaster Management” changed to Stacey Wittig is the Marketing Director for Facility Issues. Places are still available for observers at the 2010 “Benchmarking Practices“Disaster Recovery” to “Emergency and Learning Workshop.” www.facilityissues.comPreparedness Plan”In 2002, participants were asked if they had an up-to-datedisaster management plan. 83% said yes. In 2009, that figure Reserve this space to Please contact the advertise in a future Editor of Papyrus for details issue of Papyrus Past issues of Papyrus can be found on IAMFAs website www.IAMFA.org36 PAPYRUS SUMMER–FALL 2010
    • Reflections on Papyrus By Pierre LepagePierre LepageP apyrus: not a word you’d have in produced mostly once a year—primarily structured form of written communi- the back of your mind—or have to promote the annual conference. It cation with members. Accordingly, at an opportunity to use in daily consisted of a two-pager mailed out the 2001 Washington, D.C. conference,conversation—unless you happened to IAMFA members. There was no then-President of the Association, Peterto be the editor of IAMFA’s newsletter. real commitment in these early years Fotheringham, directed the Board to Papyrus is actually a type of paper, to produce a journal; the energies of revamp the Papyrus newsletter in orderfirst manufactured in Egypt 5,000 years the Board were directed to keep the to provide IAMFA with a true journalago. Processed fibers from the stem Association alive, and to ensure the highlighting the achievements of theof the three-meter-tall papyrus plant, holding of an annual conference. At Association and its members. The inten-which grew along the banks of the Nile, times, the newsletter might include an tion was to give members a means ofprovided a writing surface that was article written about facilities issues or sharing their initiatives for the benefiteasier to produce and handle than the achievements, but this was largely left of others, while also promoting bestparchment made of animal hide. The to the goodwill of members. practices and keeping members inplant was also used in the making of The first annual conference held touch with activities at the regionalboats, mats, ropes, sandals and baskets. in Europe—the highly successful 1998 level. The goal in implementing a well- The heritage of this medium as conference in Edinburgh, a venue out- structured and professional journala communication tool—along with side North America, with members was not only to promote IAMFA, butIAMFA’s mandate of promoting knowl- from five countries in attendance— was also a means of encouraging newedge and communication among mu- awakened members to IAMFA’s poten- members to join the Association. Toseum facilities professionals—made tial. For perhaps the first time, members achieve those goals, Papyrus had toPapyrus the ideal name for IAMFA’s realized that they truly belonged to an include articles dealing with the nutsnewsletter. international organization. From then and bolts of facilities management, the The Papyrus newsletter evolved in on, there was a major change in how articles had to be credible and pro-a way that parallels IAMFA’s growth. IAMFA conducted its business and fessional, and the journal had to beIt takes time to build an organization membership activities. The annual con- published with consistency at regularfrom an informal group of a few like- ference began to include an annual intervals throughout the year. Asminded people, into an internationally benchmarking exercise, making the IAMFA’s newly elected Secretary,recognized organization. And let us membership more active and partici- and Editor of Papyrus, I was the onenot forget that this non-profit and patory. The position of Vice-President, mandated to make it happen.unsubsidized organization is managed Regional Affairs was created, with the I remember taking the opportunityby a Board of Directors composed of election of Carole Beauvais, who suc- of having IAMFA members captive atfacilities management professionals. cessfully promoted IAMFA, and was the conference to obtain commit-These elected Board members volun- instrumental in initiating a number of ments for articles for the new versiontarily dedicate time over and above their new regional chapters. This expansion of Papyrus. Upon returning from theregular duties at their respective insti- brought a tremendous need to open conference, the structure of the journaltutions, in order to maintain IAMFA’s up communication with members in was sketched out, Sheila and Neenaviability. It is worthwhile remembering, order to share achievements and acti- Singhal of Artistic License/Phreddas well, that these individuals are gen- vities initiated by members within their Graphix were approached to discusserally from different countries, conti- respective chapters. Around the same design and layout options, determinenents, and even different linguistic time, Richard Kowalczyk created and feasibility costs, and come up with abackgrounds. All that being said, the posted the IAMFA website: a highly realistic production schedule for threestature of the Association and Papyrus successful medium that allowed mem- issues in, after only 20 years, is a remarkable bers to remain connected with their The first edition of the new Papyrusachievement. Association on an ongoing basis. came out in February 2002, designated Let me recount a little bit of history This expansion and evolution of the as the Winter 2002 issue, volume 3,in the evolution of Papyrus. During its Association’s business and activities at number 1. The result was a 20-pagefirst ten years or so, the newsletter was the end of the 1990s warranted a more issue printed in two colors, promoting PAPYRUS SUMMER–FALL 2010 37
    • the 2002 12th annual IAMFA confer- ties on a daily basis, and to promote • First issue introducing theence in London, and including eight better management practices in cultural production of an article in threearticles—two of which were submitted facilities at an international level. languages: English, French,from sources outside the Association. I have been retired now for five years, Spanish The Board of Directors took the and it is interesting to observe from a Winter 2008opportunity represented by the re- distance the quantum leap that IAMFA • First glossy full-colour issuevamped Papyrus to promote IAMFA and Papyrus have made over the past Spring 2009more heavily, and to seek the recruit- 10 years. It is more evident all the timement of new members. For that pur- that this organization has a solid raison • First issue with more than 40 pagespose, the first print run was 1,000 copies d’être. I also believe that the effort Summer 2009with 874 mailed to individual cultural invested in promoting effective com- • First issue with paid advertisinginstitutions in 46 countries. munication with the membership— Winter 2009 Since that first issue of the revived primarily through Papyrus—has gal-newsletter, Papyrus has evolved and is vanized the fundamental base of the • First issue with a puzzle pagestill published three times a year. It has IAMFA organization, and that it con- Spring 2010become a reflection of the Association tinues to promote the professionalism ofthat it serves, which is why Papyrus its members on an international scale. My best wishes to IAMFA andcontinues to evolve. It has become a In conclusion, let me highlight some Papyrus on their 20th Anniversary!truely professional communications fun facts about Papyrus:tool, meant to broadcast IAMFA’s man- Pierre Lepage is a former Secretary of • First revamped issue of Papyrus IAMFA and Editor of Papyrus, and is thedate, to recognize its membership’s Winter 2002 retired Director of Property Management,achievements, to bring perspective Security, and Client Services for theto the challenges that facilities profes- • First issue with colour Canadian Museum of Civilization andsional must deal with in cultural facili- Summer 2007 the Canadian War Museum in Ottawa- Gatineau, Canada.38 PAPYRUS SUMMER–FALL 2010
    • Auckland Art Gallery Toi o T¯ amakiBuilding Development UpdateBy Patricia MorganT hose of you who were at the 2005 it has unfolded over the past 22 months. IAMFA conference in Bilbao The following pictures provide a snap- may recall that I gave a presenta- shot of what we have achieved sincetion on the major building development construction began.Auckland Art Gallery Toi o T¯ maki a Achieving what you can see in thewas about to undertake. The focus was images has involved over 500,000 hourson the constraints and challenges of work onsite to date, with around 160the site: its heritage/historical context personnel now working on the site onand location, as well as limited oppor- any given day. This does not take intotunities to increase the building’s foot- account the people involved in offsiteprint. It was in response to that pre- fabrication of the beautiful kauri soffitssentation that I was invited to host a or other aspects of the building. Overfuture IAMFA conference, which we 20,000 m3 of excavated material hasare now well into planning—so mark been removed from the site to createyour diaries for November 13–17, plant rooms—and above that, a full2011 in Auckland New Zealand! lower ground level of mainly back-of- Back at the Guggenheim in Spain— house space. 5,000 m3 of concrete hasor was it the Maritime Museum?—I been used on the site, as has 400 tonnesoptimistically titled my presentation of structural steel. In creating the beau-“Auckland Art Gallery 2009”, which tiful kauri ceilings and columns, 200 m3was when we expected to re-open. of fallen New Zealand kauri timber hasWell . . . it would be another three been used—a story in itself that I willyears before work commenced on the save for another time!—and the glasssite, as we suffered a number of delays walls of the north atrium, an innovative Auckland Art Gallery Toi o Tamaka. ¯working through the consents process. tensioned façade system, will be theIt was not until September 2008 that the largest in southern hemisphere. Hawkins me that there are 15 different façadeconstruction team, Hawkins Construc- project manager Grant Thomas tells types in the building design!tion, was finally onsite and commencedwork. With construction estimated totake around 30 months, and with a fur-ther three months for our opening exhi-bition installations and relocation insidethe building, we are now expecting tore-open to the public in mid-2011. We were always determined thatAucklanders would be able to see theprogress onsite as it occurred, as ourratepayers are funding 46% ($56M) ofthis $121M project. So one of the firstthings we did, as part of our commu-nications strategy, was to set up a web-cam from a building across the road.This gave people a very good overviewof the northern end of the building, Key:where the major construction activity Red dotted line = boundarywould occur ( Dark grey = heritage buildingsThis webcam, which renews every White & pale grey = new build15 minutes, has given us an amazingrecord of the building construction as The site of the Art Gallery building. PAPYRUS SUMMER–FALL 2010 39
    • September 2008: Demolition of the 1970s November 2008: Demolition continues. November 2008: The remaining heritagebuilding begins. buildings.May 2009: The new building starts to go up! September 2009: Twelve months into construction.March 2010: Roofs under construction—the race is on to make it July 2010: The roofs are going on!watertight!40 PAPYRUS SUMMER–FALL 2010
    • Materials for the building have come south atriums; American white oak for will be a world-class art museum—the from a variety of sources, in order to the floors of the gallery spaces; and spe- largest building in New Zealand dedi- achieve the quality finish that has always cialized glass which was sourced from cated to the display of visual arts—and been fundamental to the project. These Europe, America and Asia, to provide we know life can only get better. include kauri wood from New Zealand the building with transparency and light, The benefits of the redeveloped art for the spectacular ceilings in the north and to enhance the connection between gallery can be seen at a glance in the atrium, the external canopies and the the adjacent park and cityscape. graph below. barrel vault ceilings of the daylit con- A fundamental component of the Although a key driver for this temporary gallery on Level 2; jura stone design that architects FJMT+Archimedia $121-million project was to seismi- from Germany for the exterior walls of presented to us at the concept stage was cally strengthen the 1887 building and the new build; Portuguese moleanos the building’s relationship with the park. to bring it up to building code stan- stone for interior walls in the north and Their early concept design captured dards, when we complete the project what has become a major aspect—the we will have much more than a stronger fourth dimension—of the building. building capable of withstanding seismicFJMT+ARCHIMEDIA The canopy of trees in Albert Park, activity. Not only will Auckland have a particularly the Pohutakawa trees, public art gallery that values its archi- formed the basis for the design of the tectural heritage and its unique site, soaring roof canopies of the north but we will also have an iconic con- atrium, which protrude beyond the temporary building appropriate to building to the east and west, forming house the country’s finest art collec- Roof concept design—FJMT+Archimedia. canopies over external areas adjacent tion—a collection of around 14,500 to the building. works. The juxtaposition of restored It is only in the last few weeks that and reinstated heritage and modernFJMT+ARCHIMEDIA the kauri soffits, which are being fabri- public exhibition spaces will combine cated offsite, have started to be installed to offer an enjoyable visitor experience —inch by painstaking inch. Although that enriches the understanding and only a few are yet visible in situ, due to meaning of art. the forest of scaffolding in the north We cannot wait to share with you atrium, it is already clear what a feature some of the stories of our building of the finished building they will be. redevelopment—be it the re-creation Recent site visits have given us an oppor- of the 1916 daylit gallery, the Maori tunity to get up close and personal to dimension of the building, the kauri Concept sketch for the building’s kauri the kauri soffits. story, or myriad other tales that have roof canopy. With 12 months to go before we open evolved with the building itself. to the public, there is no likelihood So do join us in November 2011 that life is going to get any quieter for in Auckland to see and experience us—but there is no doubt that excite- Auckland Art Gallery, Toi o T¯ maki a ment is mounting for Gallery staff! for yourselves! Our recent staff tour of the site drew an overwhelmingly positive response. Patricia Morgan is Manager, Business Just to be back together in one place, Support at the Auckland Art Gallery— Toi O Tamaki in Auckland New Zealand. ¯ instead of spread over four different Pat will host the 21st IAMFA Annual sites, will in itself be a relief. Fold in to Conference scheduled for November that the opportunity to work in what 13–17, 2011. Scaffolding in the north atrium. Installation of kauri soffit in the north The benefits of the redeveloped art gallery. atrium. PAPYRUS SUMMER–FALL 2010 41
    • Regional Updates/Member NewsNew York Chapter Update year. This success has put © HAYES DAVIDSON AND HERZOG & DE MEURON pressure on our existing facilities and program. Different kinds of gallery spaces are need- ed to better display the works in the Collection. Film, video, photog- raphy and perfor- mance have become more essential strands of artistic practice, and artists have embraced View of the Tate Modern from the new technologies. south at dusk. Ambitious and imagi- native installations are now pushing traditional galleryMeeting of the New York Chapter at the Cooper-Hewitt National spaces to their limits.Design Museum. Switch Station and Oil Tanks: An Ideal Opportunity to ExpandA chapter organizational meeting was held in New York City The opening of the Tate Modern in May 2000 was intendedon June 16 at the Cooper-Hewitt National Design Museum. as the first stage in the development of the former BanksideThe turnout was terrific, with representatives from several Power Station. It was always envisaged that the derelict oilorganizations. tanks and the switch station to the south of the site could John Castle started off with a brief history of IAMFA, dis- eventually be integrated into the gallery.cussing chapter activities and annual conferences. Nancy The electrical switch station is still used to power a largeBechtol from the Smithsonian Institution then talked about part of the City and South London. EDF, which owns theher perspective on benchmarking. She was followed by Jeff station, is modernising its equipment so it will take up aRidgeway, also of the Smithsonian, who discussed what bench- smaller part of the building. This provides us with an idealmarking means to him operationally. Finally, John got up opportunity to expand the Tate Modern, with the oil tanksagain and showed what he presents to his Buildings Com- forming the foundation of the new building.mittee and Trustees regarding benchmarking, and whatthey need to know regarding facilities management at the A Transformed Tate ModernWinterthur Museum. It was clear to all what an important The expansion will create a less congested, more welcom-benefit benchmarking is to IAMFA members. ing environment. The exhibition and display space will be After a superb lunch of sandwiches and chips, there was almost doubled, enabling us to show more of our Collection.a question-and-answer session—more like an open-mike There will be more cafes, terraces and concourses in whichmoment—then a house tour of the Cooper-Hewitt. to meet and unwind. Jeff Ridgway and Mark DeMairo will work in concert onthe next chapter meeting. In fact, two people volunteered COURTESY LOBSTER PICTURES LTD 2010, © TATEtheir respective facilities to host a meeting. So it looks veryencouraging that the New York City Chapter will become avery active player within IAMFA.U.K. Chapter UpdateBy David RedrupThe next U.K. Annual IAMFA meeting will be hosted by theTate Modern on April 13, 2011. This meeting will focus onthe exciting new project that will transform the Tate Modern.The Reasons for Transforming the Tate ModernThe Tate Modern was designed for two million annual Live image feed of new building project at the Tate Modern,visitors. It now receives around five million visitors each July 15, 2010.42 PAPYRUS SUMMER–FALL 2010
    • Learning will be at the heart of the new Tate Modern, progress and changes that have occurred at our venues. It reflecting the Tate’s commitment to increasing public knowl- also gets us out of the office on a regular basis! Amazingly, edge and understanding of art. There will be a range of we already have a draft programme for delegates, although new facilities throughout the building for deeper engage- the guest programme is proving more challenging, as there ment with art: interpretation, discussion, private study, is simply too much choice! Nevertheless, we will focus on participation, workshops and practice-based learning. what can be humanly achieved and experienced within three–four days, but with the absolute prerogative to give Closer to the Community you a taste of what Aotearoa (New Zealand) is all about! The Tate Modern is part of the neighbourhood. Its presence Last month we met at MOTAT: the Museum of Transport has made a major contribution to the ongoing revitalisation and Technology. I am embarrassed to confess that it is many of Southwark, and it recognises the importance of building strong links with the local community. The Transforming Tate NICK SERVIAN Modern project will be a catalyst for engaging local audiences more deeply, and broadening access to the museum. The new development will continue to bolster the growth of the borough. A public walkway through the building will make possible a direct route from the City to the heart of Southwark. There will also be two new public squares to the south and west of the building. And finally, To the east, a new planted area will be created especially for the use of the local community and staff.© HAYES DAVIDSON AND HERZOG & DE MEURON Kapa Haka group. PETER MORETH View of the Tate Modern from the southeast. New Zealand Chapter Update The Southern Alps. By Patricia Morgan Kia ora IAMFA members! NICK SERVIAN IAMFA 2011, here we (and hopefully all of you) come! The Auckland-based organising committee for the November 2011 conference—IAMFA’s “coming of age” conference, its 21st—has been meeting and planning since the end of 2009. The organising committee is comprised of: Patricia Morgan (Auckland Art Gallery), Paul Ivory (Auckland City Council), Natalie Hansby (Auckland Zoo), Paul Evans (Voyager, NZ Maritime Museum), Bridgette Robinson (Museum of Transport and Technology) and Adam Taylor (Auckland Museum). We meet monthly at each venue in rotation, which gives us all an opportunity to refamiliarise ourselves with all the Alfresco dining in Wellington. PAPYRUS SUMMER–FALL 2010 43
    • years since I visited MOTAT—not since my adult sons were young, and fascinated by all things mechanical (how simple life was then!). What a difference and what a great venue for you all to visit and to be charmed by! The fact that it is right next door to the Auckland Zoo means you will enjoy a wonderful day at Western Springs, visiting both of these absorbing venues! Meetings at the Auckland Art Gallery are far less inter- esting at the moment, as the majority of Gallery staff are housed in a Council highrise. Thankfully, however, we are within five minutes of the Gallery building site—and before too long the organising committee will be able to have a guided tour of what is very quickly becoming a recognisable art gallery. (Check out the story on progress elsewhere in Papyrus.) Front entrance of the Baltimore Museum of Art. We are currently considering what we can present you with at the San Francisco conference, in order to whet your appetites and make a trip to Auckland next November 2011 annual conference in San Francisco, where they will get a a “must-do” in all your diaries. I am not sure we can reach chance to meet up with old friends and participate in the Joe’s poetic heights—the bar has been set rather high—but all the festivities the planning committee has planned! The we will do our best! In the meantime: a few images of our next Washington, D.C.-Baltimore Chapter meeting will beautiful country to capture your imagination, so that you take place in January 2012. will start preparing your travel business case! Haere r¯ . a New England Regional Chapter Meeting On June 14, members of the New England RegionalGARETH EYRES KIERAN SCOTT Chapter met to tour the new 230,000-square-foot addition at the Museum of Fine Arts in Boston. The Museum is installing artwork in over 50 new galleries, and will display its “Art of the Americas” collection in exquisite new case- work manufactured by Laboratorio Museotecnico Goppion, of Milan, Italy. A behind-the-scenes tour included the new 39,000-square-foot plant area which houses three new high temperature hot-water boilers, three 600-ton centrifugal chillers with plate and frame heat exchanger, and new 13.8 KV 8,000 amp electric service. Air-handling units are equipped with new “fan wall” technology and gas filtration. Humidifi- cation is generated by four Cemline unfired steam boilers. The new glass-enclosed courtyard is heated and cooled by a combination of radiant floor and high-velocity air curtain The Bay of Islands. Auckland Central Business along glass. Group discussions included issues with new District. display vignettes, lighting, and energy consumption. The New Wing is scheduled to open in mid-November 2010. Washington, D.C.-Baltimore Chapter By Maurice Evans The Washington, D.C.-Baltimore Chapter will be holding its last chapter meeting for the year on August 26 at 11:00 a.m. The meeting will be hosted by Alan Dirican of the Baltimore Museum of Art. Vicky Kiechel who is an Architect AIA, LEED AP, a Professor at the University of Maryland, and a member of the environmental firm The Cadmus Group, will be the guest speaker for this meeting. Vicky will be giving a dynamic presentation on LEED Certification for a Facility Manager. The Chapter is looking forward to another great meeting, and will be returning to the Baltimore Museum of Art, where we held the annual benchmarking during last year’s conference. Members of the Washington, D.C.- Members of the New England Regional Chapter at the Museum Baltimore Chapter are looking forward to attending the of Fine Arts in Boston. 44 PAPYRUS SUMMER–FALL 2010
    • Richard Day Retires DAN DAVIESBy Maurice EvansOne of the longtime members of the Washington, D.C.-Baltimore Chapter hasdecided to retire. Richard Day has decided to call it quits, and retired from theSmithsonian Institution on July 30, 2010 after working there for 37 years. Richard began his career in October of 1973 at the Smithsonian as a laborer.Since then, he has held numerous positions during his illustrious career, includingbuilding manager and facilities manager, and he retired as the Deputy Director ofthe Office of Facilities Management and Reliability. When Richard was asked what he will miss the most about IAMFA, he said itwould be the annual conferences—although you can be assured that Richard isn’tleaving IAMFA! When asked what he plans to do with all of his free time, Richardsaid he is looking forward to sleeping in, spending more time with the family, andworking on the farm. He will be truly missed by the Smithsonian. We all wish Richard the best as he starts this new chapter of his life, away from Richard at the IAMFA conferencethe hustle and bustle of the world of facilities and into the world of retirement. in 2006.See you in San Francisco! PHOTOS: JOE MAYThe Garden Court at the Palace Hotel. The San Francisco Museum of Modern Art. The “LEED Platinum” California Academy of Sciences.The Contemporary Jewish Museum. The de Young Museum. PAPYRUS SUMMER–FALL 2010 45
    • IAMFA Members — Organizations National Gallery of Canada English Heritage Baltimore Museum of Art AUSTRALIA Ottawa, Ontario London, England Baltimore, MDAustralian Centre for the Nova Scotia Museum Imperial War Museum Berkeley Art Museum/Moving Image Halifax, Nova Scotia London, England Pacific Film ArchiveMelbourne, VIC Berkeley, CA Physical Resource Bureau The National ArchivesAustralian National Maritime Ottawa, Ontario Richmond, Surrey Boston AthenaeumMuseum Boston, MA Royal British Columbia National Galleries of ScotlandSydney, NSW Edinburgh, Scotland Museum Brooklyn Museum of ArtMuseum Victoria Victoria, British Columbia Brooklyn, NY National Gallery, LondonCarlton, Victoria London, England Royal Ontario Museum Camfill FarrNational Gallery of Australia Toronto, Ontario North Grafton, MA National Library of ScotlandCanberra, ACT Edinburgh, Scotland Chicago Children’s MuseumNational Gallery of Victoria FRANCE National Maritime Museum Chicago, ILMelbourne, Victoria Greenwich, England Cleveland Museum of Art Bibliothèque Nationale Cleveland, OHNational Library of Australia de France National Museum of ScienceCanberra, ACT Paris and Industry Columbus Museum of ArtNational Portrait Gallery London, England Columbus, OH International Councilof Australia of Museums National Museums Liverpool Cooper-Hewitt, NationalCanberra, ACT Liverpool, England Paris Design MuseumSteensen Varming New York, NY National Portrait GallerySydney, NSW NEW ZEALAND London, England Corporate Care Houston, TX Natural History Museum CANADA Auckland Art Gallery — London, England Cypress Security, LLC Toi o T¯ amaki San Francisco, CABlack & McDonald Limited Auckland TateOttawa, Ontario London, England Delaware Art Museum Christchurch Art Gallery Wilmington, DEBureau de la transformation Te Puna O Waiwhetu University of Greenwich Christchurch, Canterbury London, England DFI Resources, LLCde la DGSDEOttawa, Ontario Austin, TX The Wellcome Trust RUSSIA London, England Energy Maintenance ServicesCamfil Farr Canada Inc.Ottawa, Ontario Houston, TX A. A. Bakhrushin State UNITED STATES Ewing ColeCanada Science and Central Theatre Museum Philadelphia, PATechnology Museum MoscowCorporation AFS Chemical Filtration ExploratoriumOttawa, Ontario Group San Francisco, CA SPAIN Burlington, MACanadian Museum of Facility IssuesCivilization Allentown Art Museum Munds Park, AZGatineau, Quebec Museo Guggenheim — Allentown, PA Bilbao Fine Arts Museum ofCanadian Museum of Nature Bilbao, Viz Caya Anacostia Community San FranciscoOttawa, Ontario Museum San Francisco, CA Washington, DCFacility Management UNITED KINGDOM Freer Gallery of Art andServices LTD Architrve PC Architects Arthur M. Sackler GalleryCalgary, Alberta Washington, DC Washington, DC British LibraryGroupe Smi-Enerpro London, England Arkansas Art Center Friends of Iolani PalaceLongueuil, Quebec Little Rock, AR Honolulu, HI British MuseumLibrary and Archives Canada London, England Art Institute of Chicago Glide FoundationGatineau, Quebec Chicago, IL San Francisco, CA Camfil LimitedLundholm Associates Haslingden, Lancashire Arts and Industries Building Hagley Museum & LibraryArchitects Washington, DC Wilmington, DE Creative ConsultingToronto, Ontario Partnership LLP London, England46 PAPYRUS SUMMER–FALL 2010
    • Harley-Davidson Museum Museum of Contemporary National Museum of the Smithsonian InstitutionMilwaukee, WI Art — Chicago United States Army Washington, DC Chicago, IL Fort Belvoir, VAHarvard Art Museum Smithsonian InstitutionCambridge, MA Museum of Fine Arts — National Portrait Gallery Building, The Castle Boston Washington, DC Washington, DCHenry Ford Museum Boston, MADearborn, MI National Postal Museum Smithsonian National Air Museum of Fine Arts — Washington, DC and Space MuseumHenry Morrison Flagler Houston Suitland, MDMuseum Houston, TX National Zoological ParkPalm Beach, FL Washington, DC Solomon R. Guggenheim National Air and Space MuseumHigh Museum of Art Museum Neue Galerie New York, NYAtlanta, GA New York, NY Washington, DC Stanford University GreenHirshhorn Museum and National Air and Space Newark Museum LibrarySculpture Garden Newark, NJ Museum — Stanford, CAWashington, DC Udvar-Hazy Center Norton Museum of Art Chantilly, VA U.S. Holocaust MuseumIsabella Stewart Gardner West Palm Beach, FL Washington, DCMuseum National Gallery of Art —Boston, MA Office of Facilities The Whiting-Turner Washington Engineering & Operations Washington, DC Contracrting CompanyJ. Paul Getty Trust Washington, DC Baltimore, MDLos Angeles, CA National Museum of African Peabody Essex Museum American History and Winterthur Museum, GardenThe Jewish Museum Salem, MA Culture and LibraryNew York, NY Philadelphia Museum of Art Winterthur, DE Washington, DCLandmark Facilities Group, Philadelphia, PA National Museum of African Yale University Art GalleryInc. New Haven, CTNorwalk, CT Art Questions and Solutions Washington, DC Engineering, Inc.Library of Congress Chaska, MNWashington, DC National Museum of This list reflects American History Renwick GalleryLighting Services Inc. Washington, DC Washington, DC membershipStony Point, NY dues paid as of National Museum of Marine Rutherford & Chekene July 15, 2010Los Angeles County Museum Corps San Francisco, CAof Art Although we do our best Triangle, VA San Francisco MaritimeLos Angeles, CA to ensure that our National Museum of Natural National Historic Park Directory information isMariner’s Museum History San Francisco, CA as up-to-date as possible,Newport News, VA Washington, DC San Francisco Museum of errors and omissions canMcGuire Engineers National Museum of the Modern Art always occur. If youChicago, IL American Indian San Francisco, CA would like to make any Washington, DC changes to yourMilwaukee Public Museum Smithsonian American ArtMilwaukee, WI Museum listing, please contact National Museum of the Larry Bannister at American Indian — Washington, DCMorikami Museum and bannister@mpm.eduJapanese Gardens George Gustav Heye CenterDelray Beach, FL New York, NY Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG PAPYRUS SUMMER–FALL 2010 47
    • Puzzle Page48 PAPYRUS SUMMER–FALL 2010