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Papyrus Summer 2003

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Papyrus Summer 2003

Papyrus Summer 2003

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    Papyrus Summer 2003 Papyrus Summer 2003 Document Transcript

    • I N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M FA C I L I T Y A D M I N I S T R AT O R SVOLUME 4NUMBER 3 PAPYRUS SUMMER 2003The Auckland Art Gallery Toi o Tamaki Opensits Doors to Virtual Visitorsby Catherine Lomas, David Reeves and Patricia MorganThe Wellesley Wing at the Auckland Art Gallery.“Love the website! What a marvellous site — easy to read, These are just a few examples of the kind of responses weeasy to use and most importantly, easy on the eye.” are receiving for the Auckland Art Gallery’s Web site, which has been redesigned and relaunched. It now incorporates an“I want to congratulate you and the entire team on what online database which enables users to search and browseyou’ve achieved in putting the collection online. It’s through the Gallery’s collection of more than 12,500 worksabsolutely wonderful and I’ve already heard so many continued on page 2highly complimentary comments.”“It’s lovely to see the collection data base on the Web. INSIDECongratulations on being the first — a great resource.” Letter from the President . . . . . . . . . . . . . . . . 7 Outsourcing for Museum and Gallery“From the reference in Friday’s Herald I found your new Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . 8Web page. Fantastic. Thanks for the obvious time andeffort that has gone into it. Easy to find our way around, A New High for Atlanta . . . . . . . . . . . . . . . . . 11and the pics are good.” Regional Chapters . . . . . . . . . . . . . . . . . . . . . 19“I could spend hours viewing the McCahon collection Major Renovation Project at the Nationalalone . . . the site is excellent, easy to move around Gallery of Scotland . . . . . . . . . . . . . . . . . . . . 22and I know it will be hugely appreciated by art lovers. Be Seen in the Right Light . . . . . . . . . . . . . . . 24Congratulations on a very informative and enjoyable site.” Fighting Mold and Decay in the Twenty-First Century . . . . . . . . . . . . . . . . . . . 29“Thanks for a great website, and thanks for putting thetiger in. Nice to see a very old friend. When I was a kid From the Editor’s Desk . . . . . . . . . . . . . . . . . 32I thought he was painted by William Blake.”
    • The Auckland Art Gallery — continued from page 1of art. The website can be accessed at: The Gallery is owned and man- On average the Gallery attractswww.aucklandartgallery.govt.nz aged by the Auckland City Council, around 200,000 visitors annually, This is the first time a New Zealand which is the largest territorial author- and fields approximately 5,000gallery or museum has been able to put ity in New Zealand. It maintains enquiries from the public and theits entire collection online. It is also the New Zealand’s most significant art international academic communityfirst time the Vernon Web Browser has collection, with over 12,500 works, each year. The Gallery aims to displaybeen used to provide Internet access to and runs a busy schedule of changing at least 10 per cent of its collectionsa major collection. This is the culmi- exhibitions (about 35 per year), as each year through onsite and travellingnation of a 21/2 year project which is well as related educational activities exhibitions. This effectively means thatproducing a wide range of benefits and public programs. The Gallery is up to 90 per cent of the collection isfor the Gallery and the public alike. housed in two central city buildings, the hidden away from the general public, older of which is a significant heritage and only the most determined and landmark. The Gallery also has storage serious researchers and students haveHow the Project Came at a number of off-site locations (soon any idea that these hidden treasuresAbout to be consolidated into a very welcome exist. Although arrangements can beBy the year 2000, the Gallery had specialized storage facility). made for behind-the-scenes access tofallen behind comparable institutions The works in the collection are by specific works related to various areasin New Zealand and overseas in pro- artists from New Zealand and many of study, this assumes that researchersviding electronic access to internal and other countries, and represent a wide already know what the collection holds.external users interested in its collections. variety of media. Among the collection’s The World Wide Web was clearly theStaff use of the collection database had particular strengths are holdings of early best means by which to increasefallen off, due in part to slow technical European prints, nineteenth-century access to the treasures held in storage.performance: the software was six years English paintings, and a number of In October 2000, a group of Galleryold and little investment had been made important seventeenth-century Italian staff met with the City Council’ssince the system’s original implemen- works. The Gallery also has strong col- recently-formed Businesstation. In addition, maintaining and lections of works depicting nineteenth- Improvement Group (BIG) to discussenhancing the accuracy of collection century Maori and colonial settlement, a way forward. The Gallery teamrecords fell behind other priorities. With as well as a wide range of works show- comprised:increasing expectations from both inter- casing the development of regionalnal and external audiences, something and national artistic styles during the • A Research Librarian, representingsignificant had to be done. twentieth century. the interests of public information and research services. • A Photographer, with expertise in image management and systems administration. • The Registrar, who is responsible for the documentation of the Gallery’s collection. • The Manager of Exhibition and Collection Services, to provide program management and liaison with the Gallery’s management team. Value Management The Council had adopted a Value Management methodology for assess- ing and managing new business or business-improvement projects. Under the auspices of the BIG team, the group started on its Value Management journey, first by preparing an Opportunity ValueA snapshot of records on the new Auckland Art Gallery website. Case. The development of a Results2
    • Chain also became a key tool in • Project Manager for Database the deadline would have added sig-establishing basic objectives and Gallery Registrar nificant delays to other projects, whichidentifying benefits which would • Project Manager for Web were dependent on getting the newjustify further work in setting up the Development database up and running. The problemprogram. This high-level diagram Gallery Website Coordinator was solved by successfully seekingprovided graphical representation of approval to vary the rules, thus allow- • P M for Permissions & Data ing electronic submission of proposalsthe key program elements, such as: Enhancement by the closing date.• Key strategic outcomes (drawn Gallery Research Librarian from the City’s own strategies). • Web Developer• General phases of the program Key Project Components (external contractor for initial set-up) with intermediate outcomes. Final approval for the program was • Project Manager for Digital Imaging given in June 2001. We were off! To• Individual initiatives required to Gallery Photographer make sure we could meet the go-live achieve the outcomes in the chain. • Specialist Advisors date of March 2003, there was much• Planning steps required to assess Staff from other City Council groups to be done, including: needs and to get the program started. • Identify new software and replace The Value Management methodology At first glance, the Results Chain was the old collection database, including sometimes seemed overly bureaucratica rather complex net of circles, squares clean-up and transfer of existing data. to Gallery staff, who were impatient toand arrows, perhaps designed to impress “just get on with it.” However, it has • Capture digital images of the collec-(or baffle!) senior management. How- to be acknowledged that, by following tion; a contract photographer wasever, it proved very useful to have such a thorough process, the project hired along with rostered art handlersa picture of the whole project on a received political and management sup- to photograph, over a period ofsingle A3 sheet, showing the general port at a high level. The methodology ten months, the many thousands ofrelationships between the component provided the required level of detail works which had never previouslyparts and the desired outcomes. to comply with the very rigorous and been photographed. (Details of the The second phase of planning thorough scrutiny of our local govern- methods used are now documentedinvolved more detailed work to identify ment stakeholders. Senior Council staff on the Gallery’s website for othersspecific costs and to look at the staffing could see that the individual projects who may be contemplating a similarand other resources which would be were part of a cohesive whole which project, at: www.aucklandartgallery.required to complete each of the sub- met established strategic objectives: a govt.nz/collection/imagecapture).projects. The core team which worked long journey made up of small steps. The new images were captured ason the planning phases continued their If they had been attempted singly, most 18Mb jpeg files, and smaller deriva-involvement by dividing up responsibility of the component (sub) projects would tives were generated for use on thefor various parts of the overall program. probably not have received funding. database. Existing digital images were It was reassuring to realize that, as the re-sized and “cleaned-up” to theKey Resource People and Reporting program got bigger (and more costly), standard screen-quality 480-pixelStructure its chances of being approved got better, size also.• Steering Group — met on a monthly not worse, because the benefits were • Enhance text records — descriptive basis: correspondingly even bigger and better. information and subject search Sponsor; Reps from BIG, Information In addition to Risk Registers, Benefits headings were added to make the Technology & Communications, Realization Plans, Business Alignment database more user-friendly for the Risk Management, City Library & Scores and Programme Status Reports public. This was essential in order Programme Manager + — all required by the methodology, to shift the database from a staff- there was still room for management oriented inventory of “objects”, to• Sponsor by good old-fashioned common sense. a facility supporting public access Art Gallery Director For example, when the tender period to information.• Programme Manager — Gallery unfortunately coincided with the Manager, Collection & Exhibition October 2001 anthrax scares in the • Scan ephemera research material — Services coordinated weekly meetings U.S., it was clear that a number of remote electronic access was seen as of Project Managers and monthly potential U.S. bidders/suppliers/ an obvious way to meet a growing meetings of Steering Group; pre- tenderers would not be able to meet demand for the Research Library’s pared agendas, minutes & reports; the proposed deadline due to a slow- holdings of important material such budget control down in the postal system. Extending continued on page 4 3
    • The Auckland Art Gallery — continued from page 3 as catalogues, newspaper clippings anticipated, but copyright holders were Outcomes and Benefits and biographical information relating generally extremely supportive of the The project has now largely achieved its to New Zealand artists and items in project, and often responded with main aims. Staff are using the database the collection. further information about their works. for a wide range of Gallery management• Obtain copyright approvals — an activities, as well as for answering public extensive project was carried out to The Launch! enquiries. Shifting the role of the data- locate and seek permission from In March 2003, the Gallery’s redeveloped base from a flat inventory to a central individuals and agencies, in order to website was launched by the Mayor management tool is an ongoing process. publish digital images of the works of Auckland City, marking the end of The planning of exhibitions, the gener- on the website. Over 50 per cent of an intensive 21/2-year project, which ation of wall labels, and the automatic the works in the collection are subject resulted in online access to every item recording of exhibition history are to copyright restrictions. As part of in the collection — including 9,000 items now routinely performed by curatorial this project, consultations were held with publicly accessible images. (The staff. Incoming and outgoing loans are with the iwi (Maori tribes) to ensure remaining images will be added as copy- managed on the new system, and the cultural property sensitivities are right permission is gained). We are very Gallery’s conservators will begin record- respected regarding the use of proud to be the first gallery or museum ing condition and treatment details. Many Maori images on the website. in New Zealand — and one of only of these tasks previously involved the• Redesign and develop website a small number internationally — laborious retyping of detailed informa- access, which had remained largely to have our entire collection online, tion on works of art, with the inherent unchanged since the site’s initial alongside other archival resources and problems of transcription errors and launch in 1995–1996. To gain max- information on the Gallery’s activities. decentralized record-keeping. imum benefit from the investment in The redesign of the website — The new software allows much easier digitizing and enhancing the records undertaken to coincide with providing updating of locations: a real issue for in the collection, the Gallery required electronic access to the collection — Registration staff, who are responsible a new “front door”, as well as a set created an opportunity to reassess for 11 separate storage rooms scattered of templates which would provide the other kinds of information offered, in the corners and attics of the 115-year- for future electronic resources and and provided templates for future old building. Audit and evaluation educational/interactive modules. development. requirements can now be met more By April 2002, the new databasewas launched to staff, complete with8,000 images. Following an initial train-ing period, the benefits started to flow.Having a critical mass of availableimages made a huge difference to staffpreviously reluctant to use the database.Interest soared, and with many morepairs of eyes looking at the database aspart of daily work routines, the job ofspotting errors and omissions beforegoing public became a little more man-ageable. The imaging project continued,and by November 2002 the proportionof the collection which had been pho-tographed had reached 99 per cent! Asmall celebration was held to acknowl-edge the efforts of the various permanentand temporary staff who had contributedto the success of the project to date. Work continued on developingthe public access side of the project. Just one of the thousands of records available in the new Auckland Art Gallery onlineCopyright clearances took longer than database.4
    • easily, and having an image of almost what to include or omit, had we And of course there are benefits toevery item in the collection provides gone for only partial digitization of the wider public. Having been fundedgood security information in the event the collection from local government tax funds, ourof loss or damage. There are huge advantages for business case was based on providing The public version of the database, curatorial staff in being able to begin optimum citizen value: aiming toavailable through the website, has also planning exhibitions using digital provide efficient management of anproven useful as a quick and easy tool images on their desktops. Apart from Auckland City asset, and to providewhich the Gallery’s front-of-house and the reduced handling of fragile works the widest possible access to it. Workslibrary staff can use to answer enquiries and the saving of time, works which can be searched by subject or theme,about works held in the collection. have been in storage for many years in addition to title, artist, date andThis means that infrequent users do are now coming to the attention of medium. There has already been annot need training in the use of the curators, who previously lacked time increase in the number of requestsfull system, and the response time to to search through the collections with for reproductions of the works in thesimple queries has been reduced from the depth that the database now allows. collection, due to their visibility on theup to three days to “on the spot”. Richer exhibitions and research projects website, and an increase in sponsorship The early decision to aim for digiti- are sure to follow. enquiries and facilities rentals has beenzation of 100 per cent of the works The copyright clearance part of the recorded since the launch.in the Gallery’s collection has paid project has enjoyed a great deal of The Value Management methodology,off handsomely. While this process success. Rather than copyright being which proved useful in identifying theis not a realistic possibility for some an issue which we had to ”get around” sub-projects and their role in contribu-institutions, we would encourage our or ”deal with”, it has been an excellent ting to overall benefits, also providescolleagues not to discount embarking opportunity to make contact with artists an ongoing role for the Steering Group.on such a project until they have done and their descendants, while also This group still meets regularly to reviewthe figures — it was not as impossible updating details and demonstrating progress in the realization of benefits.as we had first thought. There is great ongoing interest in their work. The This ensures that there is an overviewefficiency, as well as satisfaction, in result has been that 98 per cent of group with the clout to assist if enthu-knowing that the in-house database New Zealand artists that we approached siasm wanes or obstacles present them-has an image of everything in your have been very willing to give consent selves, even after the initial “hiss andcollection. And of course we have for their images to appear on the roar” of the main project has subsided.avoided the inevitable debates about Gallery website. This way, the organization’s investment is protected and long-term benefits are forthcoming. So, really, the project is an ongoing one. The online database is an exported subset of the main Gallery database, sitting on a separate server which is refreshed every two weeks to include additional images or new acquisitions to the collection. And the website itself is a Gallery function of growing importance. What’s Next? With a large bank of digital images to draw on, staff can now think more expansively about educational and interactive modules to be developed alongside the Gallery’s traditional program of exhibitions. We are discovering, as many others have, that the World Wide Web is the equivalent of a whole new wing added to our institution. This new “building”Curators can now search the Auckland Art Gallery’s collection in the early stages of continued on page 6creating a new exhibition. 5
    • The Auckland Art Gallery — continued from page 5has all the needs of an actual gallery its position as an expert resource for David Reeves has held the position ofspace — security, content, maintenance, pictorial information, and can now Registrar at the Auckland Art Gallerymarketing — but there is little additional contribute effectively to a national since June 2000. He manages a teamstaffing allocated to provide these func- database of heritage collections and with oversight of all storage, packing,tions. The challenge is to gain leverage the planned electronic New Zealand freight, insurance and documentationfrom the existing efforts of staff work- Encyclopaedia. Beyond the provision of the Gallery’s collections, includinging in familiar modes, and to convert of information and images of works new acquisitions and works borrowedsome of that effort into creating online of art online, the Gallery has the and lent for exhibitions. He has ancontent as an additional product. The opportunity to review and enhance ongoing interest in managementbenefits of widely increased access the way it meets its fundamental systems which streamline the multipleto the collection, albeit virtual access, mission of increasing understanding uses of collection-related information.don’t come without costs. and enjoyment of the visual arts. The David previously worked at the The uses to which information on valuable knowledge contained in the Museum of New Zealand Te Papathe collections is put can be greatly most significant art collection in New Tongarewa (Collection Management)extended with the inclusion of educa- Zealand is now available to everyone, and at the Alexander Turnbull Librarytion-focussed and interactive modules. regardless of his or her location, or art (Pictorial Collections) in Wellington.These modules will improve the quality expertise. The doors are open, comeof research into, and teaching about, and visit us! Patricia Morgan has held the positionart — particularly New Zealand art Of course we would still love to of Manager, Business Support sincehistory. These resources will be useful see you in person if you are passing September 2001. Her responsibilitiesto both teachers and students, and will our way . . . include Building Management, Assetbe provided through a medium with Management Planning, Security,which young people are familiar and Catherine Lomas has held the position and the Council-Gallery interface.are increasingly using. Web access will of Manager, Collections & Exhibition Her varied career has included localalso benefit the disabled and the elderly, Services since 1996. She has also been government, special education, Auditwho are often dependent on others if Exhibitions Manager at the Waikato New Zealand, the banking industrythey wish to physically visit the Gallery. Museum of Art and History, an and the engineering sector. During its first seven weeks, the Assistant Curator at the Auckland WarGallery’s new website received over Memorial Museum and Programme26,000 visits and a great deal of positive Manager for the QE11 Arts Councilfeedback. The Gallery has cemented of New Zealand.The Auckland Art Gallery is housed in two buildings in central Auckland.6
    • Letter from the President IAMFA President, Bill CaddickMany of us look forward to the summer and dry. Congratulations to Toby asmonths so that we can be outdoors Chairperson, and for preparing such IAMFA Board of Directorsenjoying the warmth of the sun, which an informative article for Papyrus. Presidentwe dreamt about during the dreary Pierre Lepage also mentioned in the Bill Caddickwinter months. Summer is a time for spring issue that two board positions Art Institute of Chicago Chicago, U.S.A.picnics, backyard cookouts, a day at will be open for election this fall. I will wcaddick@artic.eduthe beach and even some boating. miss both Pierre Lepage and CaroleHowever, summer is also the time of Beauvais, both of whom have been V.P., Administrationyear for major construction work. Our extremely devoted to IAMFA. Pierre Guy Larocque Canadian Museum of Civilization andmuseums become hard-pressed during has brought our newsletter Papyrus Canadian War Museumthe summer months to balance their to the forefront, proving that the many Gatineau, Canadaconstruction projects while also ensuring hours required to produce our news- guy.larocque@civilization.cathe safety of our visitors as they enjoy letter have benefited many. Carole has V.P., Regional Affairsthe institutions we serve. also contributed her skills in promoting Carole Beauvais With summer come many different Regional Chapters, and her input as a National Archives of Canada andchallenges for administrators, such as Board Member will be greatly missed. National Library of Canada Ottawa, Canadaair-conditioning demands, special pro- Please consider a position this fall, as we cbeauvais@archives.cajects, landscaping requirements with look for new board members to continuepossible watering restrictions, and our mission as museum administrators Treasurerhigher attendance to our facilities. We willing to share with others, and to bring Kevin Streiter High Museum of Artalso struggle with road construction, value and professional development Atlanta, U.S.A.either to or from our institutions, as to our IAMFA family. kevin.streiter@woodruffcenter.orgwell as local and community events Joe Brenman, our northern Secretary and Papyrus Editorwhich may have an impact on our California Chairperson, has been Pierre Lepagemuseums. Summer brings the most working hard to bring our 2003 Canadian Museum of Civilization andunpredictable weather as well, adding Conference to San Francisco. Please Canadian War Museuma separate set of variables to our daily plan to attend, as we are sure to have Gatineau, Canada pierre.lepage@civilization.caschedules. Whatever lies ahead, I’m sure a memorable and enriching experience.we’ll find a way to move forward. It If you haven’t registered, please do so Chairman — Conference 2003also is reassuring to remember that being today. With our nation and local com- Joe Brennanpart of the IAMFA family allows us to munities readjusting to the threat of San Francisco Museum of Modern Art San Francisco, U.S.A.phone or e-mail another member to terrorism, may our summer bring some jbrennan@sfmoma.orgseek advice or an opinion. relief and enjoyment to what has been In the spring issue of Papyrus, Pierre a very challenging year. Chairman — Conference 2004 Larry Armstrongagain showed his networking skills Let’s plan to reunite in San Francisco, Carnegie Museumsto our IAMFA members. The Ottawa- and continue to develop a stronger Pittsburgh, U.S.A.Gatineau Chapter’s field trip may have IAMFA family. armstrongl@carnegiemuseums.orgbeen bitterly cold and delayed; however, Hope to see you in September.through Toby Greenbaum’s article I For additional contact information, please visit our website atwas able to place myself on this field William Caddick www.iamfa.orgtrip — although I got to stay warm IAMFA President 7
    • Museum and Gallery Maintenance Outsourcing — A Journey by Richard HardingIn 1996, the Canadian Museum Civili- Fortunately, our presentation was our article “Black & McDonald, CMM,zation Corporation (CMCC) chose to successful, and we secured a contract to and Museums, in the Summer 2002outsource the operation of their facility operate and maintain the Corporation’s issue of Papyrus). We combined ourand issued a Request For Proposals electrical/mechanical systems on a observations and experience with a(RFP). At that time, Black & McDonald 24/7 basis. This contract, which came to “life-cycle costing initiative” (LCC) that(B&M) was relatively new to the man- be known as the Plant Services Contract, had been commissioned by the clientagement of critical operations, but the consisted of an on-site Project Manager, with various engineering firms. TheRFP as set out seemed to be a natural fit a Support Clerk, and a support staff of LCC called for millions of dollars infor our corporate “service” profile and 12 tradesmen consisting of Stationary replacement equipment over a ten-strong mechanical and electrical back- Engineers, Maintenance Mechanics, and year period. These replacements hadground. The document concentrated on Maintenance Electricians. been prepared using standard industrythe deliverables that the CMCC expected Following an intense learning curve actuarial tables. Given our on-sitefrom the potential service provider, and at the onset of the contract, B&M set out advantage, B&M staff were able to eval-requested detailed information from the to evaluate the CMCC’s existing systems uate the condition of the individualrespondents on how they would deliver and pre-established maintenance sched- pieces of equipment and to compareeach element. Price was certainly a ules. The former service provider (the them against the LCC. From this infor-strong consideration, but only once the federal government’s Public Works mation, we were able to track theoperational needs were successfully met Department) had their proprietary performance of the various systemsin the contractor’s RFP response. We facility management software in place, vis-à-vis unscheduled repairs. Thiswere convinced that the success of any and we had to transfer the equipment analysis allowed us to recommend abid would rest on a true understanding list and preventative maintenance program of replacement based uponof the client’s operations and needs. routines over to our CMM system (see this performance, and to purchase and keep on hand a minimum of replace- ment parts (which fit well with our “just- in-time” delivery model). For example, the 150 or so electrical motors in the various air-handling units were sched- uled for replacement before the turn of the century. To date, however, over two-thirds of the original motors instal- led in 1988 are still operating well within design parameters! Our next initiative was to review expenditures for replacement materiel, in order to establish a list of the most expensive categories. We then looked at each of the items to determine if there were potential savings through changes in how this maintenance was carried out. For example, we found that the electronic humidification systems attached to each of the 150 air-handling units were absorbing one-third of of our entire material budget! This was primarily due to the replacement of the steam “bottles” which were failing ratherCanada Day at the Canadian Museum of Civilization. quickly under extremely heavy use (due8
    • to the need to maintain important and these initiatives reduced the material consumption. The actual energy savingsfragile collections, air humidity is tem- costs of bottle maintenance from amounted to over $30,000 per year,pered year-round). Our investigations $45,000 per year to less than $20,000! while also reducing wear-and-tear onshowed that the breakdowns were The next step in the journey was the affected systems.due to steel electrode degradation and to look at operational improvements As the relationship and trust betweenexcessive scale build-up. We were able which could lead to potential energy client and service provider grew, so didto find a local metalworker who could savings. Working closely with the the responsibilities under the contract.fabricate the electrodes out of stainless client’s staff, we were able to identify Three years into the first contract, B&Msteel (concerns that these would poten- several initiatives which could lead to was able to secure a contract to overseetially not perform well were shown to substantial energy savings, through a the day-to-day operations of the facility.be false). We then started an aggressive combination of equipment additions This included the direction of snowprogram to look at various ways of and modifications, and/or changes to removal, landscaping, and cleaning sub-disassembling the units and removing operational tasks. These included the contracts, as well as the maintenancethe scale build-up without harming the relocation of an unused speed drive of all security equipment and systems,plastic bodies. We followed this up by from the heating system to the chilled handyman services, and locksmithing.arranging with one of our electricians water system, and modifications to the At present, B&M has a staff of 21 full-to rebuild the humidifier control boards summer hot deck and winter cold deck time employees working for the CMCC,that were no longer being manufac- set-points. These produced exceptional and is an integral part of the client’stured and were thus only available at results which were directly measurable service delivery team.an extremely high cost. The results of through sustained reduced electrical continued on page 9National Gallery of Canada. The lighthouse outside Canada Science and Technology Museum. 9
    • Museum and Gallery Maintenance Outsourcing — continued from page 9 This initial contract and relationship building systems for museums and The critical need to assure that thewith the CMCC has been followed up galleries, and has been successfully country’s valuable historical artifactswith facility management and/or main- applied from our various offices to and collections are protected is notenance contracts with the Canada contracts in the educational field and different than the need to assure thatScience and Technology Museum, the industrial production facilities across a brewery’s production line continuesCanada Aviation Museum, the National Canada. However, this is not based to operate, or that a university lectureGallery of Canada, and the Canadian on a “cookie-cutter” mentality, but theatre’s environmental conditionsMuseum of Contemporary Photography. rather on understanding the particular allow students to study in comfort. This performance model takes a requirements of the client’s business, It is this understanding that is atpragmatic approach to facility man- and customizing our management the heart of business success in theagement and the maintenance of approach to meet these requirements. arena of specialized institutional and industrial maintenance. Each contract builds upon our experience and depth of knowledge, but all can be traced back to that first contract, in which Black & McDonald and the Canadian Museum of Civilization Corporation forged a true partnership, designed to maximize the value of main- tenance costs. This highly successful outsourcing initiative has substantially reduced historic maintenance costs, allowing the CMCC to fund other ini- tiatives under their “core” responsibility: protecting and exhibiting the cultural treasures of our nation. The rest, as they say, is history. Richard Harding is a graduate Architect and Manager, Facility Management and Operations for Black & McDonald Ltd. in Ottawa, Canada. He can be reached atCanadian Museum of Contemporary Photography. rharding@blackandmcdonald.com. Advertisement in PapyrusI would like to remind you that an advertisement policy for made out to IAMFA, and sent to the IAMFA Treasurer, c/oPapyrus was approved at the General Assembly of the Kevin Strieter, High Museum of Art, 1280 Peachtree Street,Membership in London, September 25, 2002. Under this N.E., Atlanta, Georgia, 30309, U.S.A.policy, we can now publish advertisements for services All advertising funds will be used for the production ofrelated to facility management in cultural institutions. the Papyrus journal, and we encourage you all to promote Advertisement space may not to exceed one page, and this opportunity among your local providers of facilitieseach page can be subdivided into 8 quads. Advertising management services.costs $200.00US per quad, for 3 consecutive issues. Sizespace is limited, the demand will be honoured on a first- Pierre Lepagecome, first-served basis, following reception of payment — Papyrus Editorincluding a letter of confirmation from the facility manager pierre.lepage@civilization.caof the institution using these services. Payment should be10
    • A New High for Atlanta by Kevin StreiterWith the groundbreaking scheduled original building is 145,000), will provide of radius walls and other non-linearfor Spring 2003, The High Museum of additional gallery space for the Museum’s surfaces, and the many custom glassArt in Atlanta, Georgia, is embarking on expansive permanent collection; sliders and curtain walls make recon-a two-year construction project which enlarged special exhibition space; and figuring and repair projects a costlyis slated to open in the summer of 2005. improved visitor amenities, including a and time-consuming affair.The original Richard Meier-designed retail shop and coffee bar. The facilities I’ve worked closely with architects,building, which was completed in 1983, will allow the High, which has the largest engineers and project managers inwill be partnered with a group of three and most comprehensive collection of reviewing maintenance and logisticsstructures designed by the Renzo Piano art in the Southeastern United States, issues in the 1983 facility, with an eyeBuilding Workshop of Genoa, Italy. to display more of its rapidly growing toward heading off these issues in the Due to unprecedented growth at permanent collection for the benefit and new Piano buildings.the High during the past decade, the enjoyment of the people of Atlanta The Piano Workshop’s design for theMuseum is working with the Renzo and visitors from around the world. expansion of the High encompassesPiano team to create facilities that will As the Manager of Facilities and three new buildings: a main pavilion,meet the demands of a larger and more Logistics for the High Museum, I’ve a special collections building, and andiverse audience, while also accom- found that managing the original Meier- administrative office building. The mainmodating its growing programs and designed facility for the last five years pavilion will feature an expansive, light-collections. The High’s annual atten- has presented its share of challenges. filled lobby with an outdoor terrace,dance has soared to nearly 500,000 The white porcelain-clad metal panels retail shop, coffee bar and visitorvisitors a year; its collection has nearly on the building’s exterior always seem amenities. The lobby level and twodoubled since 1983; and its member- to need cleaning, or re-caulking, or chip upper gallery floors will have barrel-ship of 41,500 households — which has repair. Keeping the HVAC balanced and vaulted ceilings constructed of pre-castnearly tripled since 1995 — places the the RH level at 50 per cent — in a metal concrete, with all lighting, sprinklerHigh among the Top 10 art institutions and glass-clad building with an open systems, return air plenum and art-in the United States. floor plan and a substantial atrium in hanging brackets fitted in the reveals The High’s new facilities, which will the Atlanta heat and humidity — keeps between each row of vaults. Needlessencompass 177,000 square feet (the my job interesting. The large extent to say, maintenance access will be tight in this ceiling system. One of the most visually exciting ele- ments of the Piano design will be the skylight system on the top floors of the main pavilion and smaller gallery build- ing: 1,000 two-foot-diameter skylights placed in cast concrete “chimneys”, with exterior fiberglass hoods designed to block the harsh southern sun and diffuse a controlled, natural light. My concern for the cleaning and repair constraints posed by this admittedly beautiful sky- light system prompted me to bring in my exterior building maintenance contractor early on in the design process. After examining the ergonomics of these closely-spaced skylights, we were able to project the procedures and costs involved in keeping everything clean and in good repair. Additionally, the new pavilion and gallery building will be connected to the Meier building with a series of glassThe roof cover design — typical roof light, true north south. continued on page 12 11
    • A New High for Atlanta —continued from page 11bridges. The maintenance of thesestructures was studied closely by thebuilding team, and hardened pointswere placed to enable walking on theglass roofs, as were brackets for crewsto tie onto and swing from. The new buildings’ facades will bepaneled with an off-white marmarino: atextured marble-dust stucco selected tocompliment the existing building’s whiteporcelain-clad panels. As is the casein the original building, this exteriorsystem may prove challenging to keepclean in an urban environment. We’vedone extensive test-cleanings on aneighteen-foot mock-up structure withpromising results. It’s the frequency ofthe cleanings in the less-then-pristineAtlanta air that must be taken into A view across the Piazza of the Main Pavilion, which will be one of three new buildingsaccount when creating a new budget designed by the Renzo Piano Building Workshop.for the expanded facility. The art centre will be receiving an plan in place to start staffing on the thin sharing progress on the High’s expan-entirely rebuilt truck bay and loading side, later ramping up hiring as needed. sion project with the IAMFA communitydock facility, with room for three simul- Attending meetings and planning over the next two year — perhaps eventaneous big-rig deliveries, as well as a over the last two years, re-examining, welcoming the group as a conferencewet dock for catering and contractor changing designs and then changing host sometime after our project’susage. This represents the introduction them again: standard stuff for anyone completion.of additional heavy equipment and who has gone through a large construc-systems into the High’s facility budget. tion or renovation process. As for us at Kevin Streiter has over twelve years With an expansion that brings a total the High, knowing that we’d have only of facilities management experience.of 322,000 square feet comes additional ourselves to blame for any maintenance He has also served for five years asstaffing: housekeeping, maintenance, issues that we’d overlooked and were construction project manager in bothengineers and security — all within the now saddled with has really kept us commercial and high rise residentialfacilities operations purview and all pro- motivated. I’m sure that there will be work. He has served as the Managerviding new challenges in the current plenty more to come as construction of Facilities and Logistics at the Highatmosphere of tight budgets. We have a gets underway, and I look forward to Museum for the past five years.South elevation showing new Pavilion on left and existing Richard Meier building on right.12
    • Museums on the Edge IAMFA Conference 2003 in San Francisco — September 21–24, 2003 Joe Brennan Chairman — Conference 2003 For more information on this year’s conference, please contact us at IAMFA2003@netscape.neta The Northern California Chapter invites you to the 13th Annual IAMFA Conference, September 21–24, 2003. Have you made your reservation yet? — Joe Brennan. This Year’s Survey: Museum Benchmarks 2003, Survey of Facility Management PracticesFee: $1,350 US — due upon registration • August 29, 2003: Survey Report mailed to Participating (same fee as last year). Organizations • September 21, 2003: Benchmarking and Best PracticesThe fee includes: Workshop in San Francisco, CA1. Survey Questionnaire Development • approximately 25-40% of the survey will gather data Excuses for not Benchmarking on new subjects • We’re too busy doing projects — i.e., We’re too busy2. Survey Report, including: working hard to learn how to work smart. • Survey data • We participated in a benchmarking survey previously • charts of all data listed under each organization’s and we’re right in the middle of the pack — i.e., We’re name happy to be average. Continuous learning is not • Survey Summary important • summary charts and graphs of industry averages, ratios and trends How Do I Sign On or Get More Information? • Executive Summary Contact Ian Follett at: • a summary that provides comments and Tel.: 1 (403) 259-5964 recommendations on key performance measurements Fax: 1 (403) 255-7116 and practices in facility management E-mail: fmsltd@fmsltd.com3. Full-day workshop, including best practices and Website: www.fmsltd.com networking Reminder:Key Dates Don’t forget to budget for:• Feb.–May, 2003: Receipt of Survey Participation • this year’s benchmarking exercise and IAMFA Conference Agreement • $1,350 US for the Benchmarks Survey, including the• Feb.–June, 2003: Distribution of Survey Questionnaire Workshop (upon receipt of Participation Agreement) • cost of IAMFA conference, travel and accommodation in• July 1, 2003: Return of Completed Survey Questionnaire San Francisco 13
    • @@@@@@@@@@@@ ¡@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@ ?h@@ ?h@@ ?h@@ ?h@@ ?h@@ ?h@@@@ @@ IAMFA 2003 IN SAN FRANCISCO@@@@ @@ @@ Chairpersons@@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@ of Regional Chapters@@ @@@@ @@@@@@@@@@@@@@@@@@@@ The Northern California Chapter @@ @@ @@ @@ @@ @@ @@ @@ @@ Welcomes you!@@@@ @@@@ @@ @@@@@@ @@ @@@@ @@ Los Angeles, U.S.A.@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@ @@ James Surwillo@@ @@@@ @@ September 21–24, 2003@@@@ @@@@ @@@@ @@ @@@@ @@ Japanese American National Museum@@@@ @@ @@@@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@@@ @@ @@@@ @@ New York, U.S.A.@@@@ @@ @@ INTERNATIONAL ASSOCIATION OF MUSEUM@@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ Lloyd Headley@@ @@@@@@ @@@@ @@@@ @@ @@ FACILITY ADMINISTRATORS@@@@ @@ @@ The Brooklyn Children’s Museum@@@@ @@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@ Ⅺ YES! Sign me up to attend the 2003 IAMFA Annual Conference in@@ @@@@@@ @@@@ @@@@ @@@@ @@ @@ Ottawa-Gatineau, Canada@@@@ @@ @@@@@@ @@@@ @@@@ @@ @@ San Francisco, California, U.S.A.@@ @@@@ @@ Toby Greenbaum@@ @@@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@ Public Works & Government Services@@ @@@@@@ @@ @@@@ @@ Name: ___________________________________________________________________________@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ San Francisco, U.S.A.@@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@@@@@@@@@@@@@ Title: ____________________________________________________________________________ @@ @@ @@ @@ @@ @@ @@ Joe Brennan@@ @@@@@@@@@@ @@ @@ @@ @@ San Francisco Museum of Modern Art Institution:_______________________________________________________________________@@ @@@@@@ @@@@ @@ @@@@ @@@@@@ @@@@ @@@@ @@@@ @@ @@ United Kingdom@@@@ @@ @@ Address: _________________________________________________________________________@@@@ @@@@ @@@@ @@ @@@@ @@ Nomination to come@@@@ @@@@ @@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ City: _________________________________________ Postal/Zip Code: _________________@@ @@@@ @@ Washington-Baltimore, U.S.A.@@@@ @@@@ @@ @@@@@@ @@ @@@@@@ @@ @@ Fletcher Johnston@@@@ @@@@ @@ @@@@ State/Province/County: ______________________ Country: _________________________@@@@ @@ @@@@ @@ @@@@ @@@@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ @@ Hirshorn Museum & Sculpture Garden@@@@@@@@@@@@@@@@ Phone: ________________________________ Fax: ____________________________________ @@ @@ @@ @@ @@ @@ @@ @@@@ @@@@@@ @@@@ @@ @@@@ @@@@@@ @@ @@@@@@@@@@@@@ E-mail: __________________________________________________________________________ @@ @@ @@ @@ @ @@@@@@@ @@@@@ @@ @@@@@@@@@@@@@@@@@@ Special dietary requirements:____________________________________________________ @@ @@ @@ @@ @ @@ @@ @@@ Coordinators of Future Chapters@@@@ @@@@ @@ @@@@ @@@@@@@ @@ @@@@ @@ @@@@@@@@@@@@@@@@@@@ ALL FEES ARE PAYABLE IN U.S. DOLLARS @@ @@ @@ @@ @@ @@ @ @@@ Atlanta, U.S.A.@@@@ @@ @@ Ⅺ Member Fee:@@ @@@@@@ @@ @@@@@@@@ $350 @@ @@ @@ Kevin Streiter@@ @@@@@@ @@@@ @@ @@@@@@@@ @@ @@ @@ Ⅺ Non-member@@ @@@@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ @@ High Museum of Art@@@@@@@@@@@@ conference fee: $400 @@ @@ @@ @@ @@ @@@@ Bilbao, Spain@@ @@ @@@@@@ @@ @@ Ⅺ Sign me up as a new@@@@ @@ @@@@ @@ Rogelio Diez@@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@@@ @@ @@@@@@@@@@@@ IAMFA member: $150 @@ @@ @@ @@ @@ Guggenheim Museum@@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@@@@@@@@@@@@@@@ Ⅺ Guest Programme: $250 Guest Name: _________________________________ @@ @@ @@ @@ @@ @@ @@ @@ Boston, USA@@@@ @@ @@ James Labeck Ⅺ Day Attendance: Ⅺ MON Ⅺ TUE Ⅺ WED@@@@ @@ @@ $150 per day@@@@ @@@@ @@ @@@@ @@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ Isabella Stewart Gardner Museum@@ @@@@ @@ Please remit to: International Association of Museum Facility Administrators@@@@ @@@@ @@@@ @@ @@ Chicago, U.S.A.@@@@ @@@@ @@ @@@@ @@ IAMFA@@@@ @@@@ @@ @@ William Caddick@@@@ @@@@ @@ @@@@ @@@@ @@ c/o Kevin Streiter, High Museum of Arts@@@@ @@ @@@@ Art Institute of Chicago@@@@ @@ @@@@ @@@@ @@ @@@@ @@ 1280 Peechtree NE@@ @@@@ @@@@ @@@@@@ @@ @@@@ @@@@ @@@@@@@@@@@@@@@@@@ Atlanta GA, 30309 U.S.A. @@ @@ @@ @@ @@ @@ @@ @@ Pennsylvania, U.S.A.@@@@@@@@@@@@@@@@ I require an invoice: Ⅺ Yes Ⅺ No @@ @@ @@ @@ @@ @@ @@ @@ Victor T. Razze@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ Brandywine River Museum and@@ @@@@@@@@@@@@ SUGGESTED ACCOMMODATION @@ @@ @@ @@ @@ Conservatory@@@@@@ @@ @@ @@@@@@@@ The conference hotel will be the Hotel Milano, located at 55 Fifth Street @@ @@ @@ Seattle, U.S.A.@@@@ @@@@ @@ @@@@@@ @@ @@@@@@@@ between Mission and Market Streets, conveniently near the San Francisco @@ @@ @@@@ Patrick Dowling@@ @@ @@@@ @@@@ @@ Museum of Modern Art (SFMOMA) and Yerba Buena Gardens, and just around@@ @@@@@@ @@ @@ Whatcom Museum of History and Art@@ @@@@ @@@@@@ @@ @@ the corner from the San Francisco Centre and Nordstrom. The Milano is SFMOMA’s@@ @@@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ choice for visiting artists and curators, and the room rate during the conference@@ @@ @@@@ @@@@@@@@@@ @@ @@ @@ @@ Cleveland, U.S.A. will be $109, double occupancy. Conference participants should reserve their@@ @@@@ @@@@@@ @@ @@@@@@@@@@ @@ @@ @@ Tom Catalioti accommodation directly with the Hotel Milano at 1-800-398-7555. We are @@@@ @@@@@@ @@ @@ Cleveland Museum of Art@@ @@@@ @@@@ @@ holding a block of rooms at this price in this convenient location, so please@@@@ @@ @@@@@@ @@ @@@@ @@@@ @@@@ @@ book early. The group room rate will apply to rooms booked from September 19@@ @@ Sydney, Australia@@ @@@@@@ @@ @@@@@@@@ @@ @@ @@ through September 28 for those arriving early, staying later or both!@@ @@@@ @@ Bob Scott@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@ The Powerhouse Museum@@ @@@@ @@@@ For airline bookings and additional travel assistance we recommend Jane Scott@@ @@ @@@@@@ @@@@ @@ @@@@ @@@@ @@ at Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you call@@ @@@@ @@@@@@@@ @@ @@ @@ Pittsburgh, U.S.A.@@ @@@@ @@ the Hotel Milano or Jane Scott.@@ @@@@@@ @@@@ @@ @@@@@@ @@ @@ Larry Armstrong@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@ Please check the IAMFA website for updates at: www.iamfa.org@@ @@@@ Carnegie Museums@@ @@ @@g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?@@@@@@@@@@@@@@@@ @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@? @@@@@@@@? @@@@@@@@? @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?14
    • IAMFA Members Directory 2003 Guy Larocque CALIFORNIA AUSTRALIA Canadian Museum of THE NETHERLANDS Civilization Donald Battjes 100 Laurier Street Los Angeles County MuseumGlen Hodges Jan Abrahamse Hull, Quebec of ArtAustralian Museum Rijksmuseum J8X 4H2 5905 Wilshire Blvd6 College Street Stadhouderskade 42 Canada Los Angeles, CASydney 1071 ZD Amsterdam guy.larocque@civilisations.ca 90036Australia The Netherlands USA2010 jan.abrahamse@wolmail.nl Pierre Lepage dbattjes@lacma.orgglenh@austmus.gov.au Canadian Museum of Civilization Joe Brennan 100 Laurier Street SCOTLAND San Francisco Museum of CANADA Hull, Quebec Modern Art J8X 4H2 151 Third St. W. Anthony San Francisco, CA CanadaCarole Beauvais National Museum of Scotland 94103-3159 pierre.lepage@civilization.caNational Archives of Canada 73 Belford Rd. Dean Gallery USA395 Wellington Edinburgh, Scotland jbrennan@sfmoma.org José Luis OliverosOttawa, Ontario EH4 3DS Centre canadien d’ArchitectureK1A 0N3 w.anthony@nmsk.ac.uk James L. Bullock 1920, rue BailleCanada J. Paul Getty Museum Montréal, Quebeccbeauvais@archives.ca Robert Galbraith 1200 Getty Center Dr., Ste. 1000 H3H 2S6 National Galleries of Scotland Los Angeles, CA CanadaBob Chartrand Chambers Street 90049-1678 jolivero@cca.qc.caCanada Science and Edinburgh, Scotland USA Technology Museum EH1 1JF jbullock@getty.edu Christian Pagé2421 Lancaster Road robert.galbraith@ Canadian Museum ofOttawa, Ontario natgalscot.ac.uk John Coplin CivilizationK1G 5A3 Santa Barbara Museum of Art 100 Laurier StreetCanada Jack Plumb 1130 State Street Hull, Quebecrchartrand@mmstc.ca National Library of Scotland Santa Barbara, CA J8X 4H2 George IV Bridge 93101-2746 CanadaChan Hung Do Edinburgh, Scotland USA christian.page@civilisations.caCanadian Museum of EH1 1EW jcoplin@sbmuseart.org Civilization100 Laurier Street Director, PropertyHull, Quebec ENGLAND SPAIN ManagementJ8X 4H2 Henry E. Huntington Library &Canada Art Gallerychan.do@civilisations.ca Peter Fotheringham Rogelio Diez 1151 Oxford Road National Gallery Guggenheim Museum San Marion, CAIan Follett Trafalgar Square Abandoibarra 2 91108Facility Management Services London, England 48001 Bilbao USA Ltd. WC2N 5DN Spain45 Maryland Place, SW peter.fotheringham@ rdiez@guggenheim-bilbao.es John DonohoeCalgary, Alberta ng-london.org.uk J. Paul Getty MuseumT2V 2E6 1200 Getty Center DriveCanada Dawn Olney Los Angeles, CAfmsltd@fmsltd.com The British Library USA 90049-1678 96 Euston Rd. London, England USAGerry Potoczny jdonohoe@getty.eduCanadian Museum of Nature NW1 2BD ARIZONAP.O. Box 3443 Stn. D Robert A. Marino, P.E. Steven ErnestOttawa, Ontario Graham Pellow Mueller & Associates Inc. Indianapolis Museum of ArtK1P 6P4 Natural History Museum 2127 East Speedway 4000 Michigan Rd.Canada Cromwell Road Tuscon, AZ Stanford, CAgpotoczny@mus-nature.ca London, England 85719 94305-5060 SW7 5BD USA USALucie Lanctot g.pellow@nhm.ac.uk stegreen@stanford.eduCanadian Museum of Nature1740 Pink Rd.Aylmer, QuebecCanadallanctot@mus-nature.ca 15
    • IAMFA Members Directory 2003 Ronald Romo DISTRICT OF COLUMBIA HAWAII USA (cont’d) J. Paul Getty Museum 1200 Getty Center Drive Joe Donovan Robert White CALIFORNIA (cont’d) Los Angeles, CA Carr Real Estate Services Inc. Honolulu Academy of Arts 90049-1678 1850 K Street NW 900 S. Beretania StreetJennifer Fragomeni Washington, DC Honolulu, HI USAExploratorium 20006 96814 rromo@getty.edu3601 Lyon Street USA USASan Francisco, CA jdonov@carramerica.com rwhite@honoluluacademy.org Jeff Sheahan94123 California Academy of ScienceUSA Michael Giamber Golden State Park San Francisco, CA National Gallery of Art ILLINOISSteven Green 6th St. & Constitution Ave. NWCantor Center for the Visual Arts 94118 Washington, DC Mr. BarnesCantor Center USA 20565 Art Institute of ChicagoStanford, CA 111 S. Michigan Ave. Brenda Sheridan USA94305-5060 Chicago, IL Long Island Beach Museum m.giamber@naa.govUSA 60603-6110stegreen@standford.edu 2300 East Ocean Blvd. Fletcher Johnston USA Long Beach, CA 90803 Hirshorn Museum andOren Gray Brendan Berry USA SculptureJ. Paul Getty Museum Advantage Operations, Art brendas@lbma.org Independence Ave at 7th1200 Getty Center Drive Institute Street, SWLos Angeles, CA 125 E. Monroe Will Spencer Washington, DC90049-1678 Chicago, IL J. Paul Getty Museum 20560-0350USA 60603-1073 1200 Getty Center Drive USAogray@getty.edu USA Los Angeles, CA fletchj@hmsg.si.edu bberry@artic.eduJim Hartman 90049-1678Fine Arts Museums USA Richard Kowalczyk National Air and Space Bill Caddick233 Post St., 6th Flr. wspencer@getty.edu Museum Art Institute of ChicagoSan Francisco, CA 111 S. Michigan Avenue94108 James A. Surwillo 601 Independence Avenue, SW Washington, DC Chicago, ILUSA Japanese American National 20560-0303 60603-6110jhartman@famsf.org Museum USA USA 369 East First St. richard.kowalczyk@nasm.si.edu wcaddick@artic.eduDavid Hillbrand Los Angeles, CAYerba Buena Center for the Art 90012 Eugene F. Ramatowski Don Meckley701 Mission Street USA U.S. Holocaust Memorial Museum of Contemporary ArtSan Francisco, CA jsurwillo@janm.org Museum 220 E. Chicago Avenue94103 100 Raoul Wallenberg Place, Chicago, ILUSA Leonard B. Vasquez SW 60611-2604dhillbrand@yerbabuenaarts.org Charles M. Schultz Museum Washington, DC USA 2301 Hardies Ln.Andy Hirshfield 20024-2126 dmeckley@mcachicago.org Santa Rosa, CAExploratorium 95403 USA3601 Lyon Street USA eramatowski@ushmm.orgSan Francisco, CA MARYLAND94123 Kurt Sisson Alan DiricanUSA CONNECTICUT National Gallery of Art Baltimore Museum of Art 6th St. & Constitution Ave., NW 10 Art Museum DriveRandy Murphy Ernest Conrad Washington, DC Baltimore, MDMuseum of Contemporary Art Landmark Facilities Group Inc. 20565 21218-3898250 S. Grand Ave., California 252 East Avenue USA USA Plaza Norwalk, CT k-sisson@nga.gov adirican@artbma.orgLos Angeles, CA 0685590012 USA Jeffery H. GreeneUSA econrad@lfginc.com GEORGIA Banneker-Douglas Museumrmurphy@moca.org Kevin Streiter 84 Franklin Street Director, PropertyMichael Orth High Museum of Art Annapolis, MD ManagementJ. Paul Getty Museum 1280 Peachtree NE 21401-2738 Yale University1200 Getty Center Drive Atlanta, GA USA P.O. Box 2082288Los Angeles, CA 30309 banneker@dhcd.state.md.us New Haven, CT90049-1678 06520-8228 USAUSA USA kevin.streiter@morth@getty.edu woodruffcenter.org16
    • IAMFA Members Directory 2003Alex Petrlik Daniel McCormick Douglas Bowerman TEXASPrincipal George Eastman House Allentown Art MuseumMueller Associates, Inc. 900 East Avenue 5th and Court Streets Henry Griffin1401 S. Edgewood St. Rochester, NY P.O. Box 388 Museum of Fine Arts, HoustonBaltimore, MD 14607 Allentown, PA 1001 Bissonnet, P.O. Box 682621227 USA 18105-0388 Houston, TXUSA USA 77265-6826adirican@artbma.org Harry Soldati operations@ USA Brooklyn Museum of Art allentownartmuseum.org hgriffin@mfa.org 200 Eastern Parkway MASSACHUSSETTS Brooklyn, NY Bob Morrone Jeffery Ryan 11238 Philadelphia Museum of Art Jackson and Ryan ArchitectsDavid Geldart USA 26th & Benjamin Franklin Pkwy. 2370 Rice Boulevard, Suite 210Museum of Fine Arts soldati@brooklynmuseum.org P.O. Box 7646 Houston, TX465 Huntington Ave Philadelphia, PA 77005Boston, MA Stan Zwiren 19101-7646 USA02115 Brooklyn Museum of Art USA jryan@jacksonryan.comUSA 200 Eastern Parkway rmorrone@philamuseum.orgdgeldart@mfa.org Brooklyn, NY 11238-6052 Victor T. Razze VIRGINIAJames S. Labeck USA Brandywine River Museum and John CannupIsabella Stewart Gardner zwiren@brooklynmuseum.org Conservatory Mariner’s Museum Museum P.O. Box 141 100 Museum Drive2 Palace Rd. Chaddis Ford, PA Newport News, VABoston, MA OHIO 19317 23221-246602115 USA USAUSA Paul Bernard vrazze@brandywine.org jcannup@mariner.orgjlabeck@isgm.org Toledo Museum 2445 Monroe Street, Richard J. Reinert Tom L. Peck Scottwood Avenue Affiliated Building Systems Colonial Williamsburg NEW YORK Toledo, OH 2600 Benjamin Franklin Pkwy. Foundation 43697 Philadelphia, PAMichael Ambrosino Williamsburg, VA USA 19130Ambrosino, Depinto & 23187-1776 pbernard@toledomuseum.org USA Schmieder USA rreinert@philamuseum.org lpeck@cwf.org275 Seventh Ave. 21st Floor David NawrockiNew York, NY Columbus Art Museum10001 400 E. Broad St.USA SOUTH CAROLINA WISCONSIN Columbus, OHambrosino@adsce.com 43215 Claudia Beckwith Richard Swainston USA Greenville County Museum Milwaukee Public MuseumMartin Cavanaugh dnawrock@cmaohio.org of Art 800 Wells St.Pierpont Morgan Library 420 College Street Milwaukee, WI29 East 36th Street Mr. Scott Greenville, SC 53233New York, NY Cincinnati Art Museum 29601 USA10116 953 Eden Park Drive USA dick@mpm.eduUSA Cincinnati, OH checkwith@greenville.orgmcavanaugh@ 45202-1596 morganlibrary.org USA William Taylor This list reflects dgearding@cincyart.org Cultural Facilities ManagementWilliam Esposito Jr. membership dues paid GroupAmbient Labs, Inc. 385 Spring Street as of April 30, 2003.55 West 39th Street, 12th Floor PENNSYLVANIA Spartanburg, SCNew York, NY Although we do our best to 2930610018-3803 Larry Armstrong ensure that our Directory USAUSA Carnegie Museums information is as up-to-date tiltay@spartanarts.org as possible, errorswesposito@ambientgroup.com 4400 Forbes Avenue Pittsburgh, PA and omissions can always occur. If you would likeLloyd Headley 15213 TENNESSEE to make any changes to yourBrooklyn Children’s Museum USA listing, please contact145 Brooklyn Ave armstrongl@ Steve Kirby Julie Coderre atBrooklyn, NY carnegiemuseums.org Frist Center for the Visual Arts11212 919 Broadway julie.coderre@USA Nashville, TN civilization.calheadley@brooklynkids.org 46208 Thanks very much. USA 17
    • Become a Member of the IAMFA and Get a Friend to JoinOn behalf of the membership and Board, we invite you to Membership Opportunitiesjoin with other museums and cultural organizations through-out the world in becoming a member of the only organization Join the IAMFA at any of the following levels and enjoy fullexclusively devoted to museum and cultural facility admin- benefits of membership:istrators: the International Association of Museum Facility Regular Member — $150 annually. A regular memberAdministrators (IAMFA). As a member, you will join a growing holds the position of principal administration in directlist of museum and cultural facility administrators in their charge of the management of facilities, and represents theirefforts to provide a standard of excellence and quality in institution(s) as a member of the association.planning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varieties Associate Member — $50 annually. An associate memberof programming. is a full-time facilities management employee (professional, The Association currently has representation in several administrative or supervisor), below the level of the facilitycountries on three continents. Our goal is to increase administrator of the member association.membership in institutions throughout the world. Affiliate Member — $50 annually. An affiliate member is Your involvement in the IAMFA will continue the growth any full-time employee of a member institution who is notof the organization and provide you with excellent educational directly involved in the facilities management department.and networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA. Subscribing Member — $300 annually. A subscribing member is an individual, organization, manufacturer ofCordially yours, supplier of goods services to the institutions who ascribesThe Board of the International Association to the policies and programmes of the Aassociation, andof Museum Facility Administrators wishes to support the activities of the Association. Send in your membership dues by using the convenient form below. Don’t forget to make a copy to give to a colleague.@@@@@@@@@@@@ ¡@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@ ?h@@ ?h@@ ?h@@ ?h@@ ?h@@ ?h@@@@ @@@@@@ @@@@ @@ @@@@@@ @@ @@ YES! I would like to join the IAMFA as a:@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@ @@ Ⅺ Regular Member Ⅺ Associate Member Ⅺ I am interested in joining.@@ @@ $150 $ 50@@ @@@@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@ @@ Please have a member@@ @@@@ @@ Ⅺ Affiliate Member Ⅺ Subscribing Member@@@@ @@ @@ $ 50 $300@@ @@@@ @@@@@@ @@@@ @@ @@ 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 @@ @@ @@ @@ @@ @@ @@ @@@@@@@@ c/o Kevin Streiter, High Museum of Art @@ @@ @@ Ⅺ I enclose a check in the amount of $ ____________________@@ @@@@ @@@@ @@@@@@ @@ @@@@@@@@@@@@@@@@@@ 1280 Peachtree Street N.E. @@ @@ @@ @@ @@ @@ @@ @@@@@@@@@@@@@@@@@@ Ⅺ Please invoice me Atlanta, Georgia 30309 U.S.A. @@ @@ @@ @@ @@ @@ @@ @@@@ @@@@ @@ Website: www.iamfa.org@@ @@@@ @@@@ @@@@@@ @@ @@@@ @@g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?@@@@@@@@@@@@@@@@ @@@@@@@@? @@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@? @@@@@@@@? @@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?18
    • Regional Chapters Carole Beauvais, Vice-President, Regional Chapters No matter what the future brings, as time goes by. Houston/San Antonio Chapter, despite the many attempts of our colleague, Gary Morrison, to reach some potentialAs I write this, the aftermath of the war and the threat of members — to no avail. Collectively, we have to make everySARS are still echoing in the background, and the movieThe Matrix Reloaded is number one across North America. attempt to reach more members and reinforce our presenceAt last, the long awaited summertime is on our doorstep. in various countries. If not, I foresee that the very future I searched for days for inspiration in writing this column of our Association is at stake. As in any other organization,about the regional chapters — and then I heard the song, we must grow and seek out new members, who will bring“As time Goes By”. A few lyrics were quite useful in fresh new ideas to the table and enhance professionalexpressing my general sentiment toward the evolution development. Yes it is becoming a case of do or die.of our Regional Chapters. I don’t want to sound too alarmist, and I truly believe we still have time to act and plan a good recruiting strategy You must remember when . . . hmm-mm-mm-mm- to ensure the future of IAMFA. What if each of us could mm-mm . . . enlist just one new member this year? Yes, I remember when, and why, the Chapters were . . . as time goes by . . .established — and with great enthusiasm from our member-ship. I also remember the dedication of the members who As some of you may be aware, September 2003 involunteered to be the first IAMFA Chapter Chairpersons. San Francisco will be election time. We will need to electThat was almost three years ago. I also remember a great a new VP Regional Affairs, and also renew the two-yearevent in San Francisco in May 2001, which led to the crea- mandate for Chapters Chairpersons and Coordinators. Iftion of a new Chapter under the leadership of Joe Brennan you are interested in a position dealing with regional business,of the San Francisco Museum of Modern Art. The best thing please do not hesitate to contact me at carole.beauvais@of all? The members of this new Chapter who are hosting archives.caus in a very promising venue for the 13th Annual IAMFA I am confident that together we can accomplish ourConference in September 2003. goals, because the IAMFA spirit is here to stay, “no matter what the future brings, as time goes by.” The fundamental things apply . . . For more on what’s happening at some of your current That being said, I sense that some of our Chapters are and future Chapters, read on!evolving very slowly — perhaps too slowly. This is true manyChapters, although there are a few exceptions. To ensure Northern California Chapterthe success of our Regional Chapters, we must return to a Special thanks to Joe Brennan for this reportfundamental approach in reaching potential IAMFA members.Our most successful approach has been the use of personal The Northern California Chapter is meeting bimonthly thiscalls, letters and e-mails to colleagues and individuals from year to prepare for the annual conference in September. Wethe industry, enabling us to reach out and tell them about have been hosted by the Blackhawk Museum in Danville,IAMFA. Despite your hectic schedule and budgetary restraints, the Yerba Buena Center for the Arts, the San Francisco FineI urge every member to take some time to meet their regional Arts Museum’s Legion of Honor and the California Academycolleagues for peer support and sharing. How about a lunch, of Sciences. Each has given us a meeting room, hospitality,a visit, a meeting soon? a presentation and an informative tour, which has benefited the membership because you always come away with an . . . a case of do or die . . . idea or few. IAMFA needs to establish new regional chapters, while Our conference planning is focused on committee work,also reinforcing the existing ones. Just recently, we lost our divided into Program, Logistics and Finance. We are doing continued on page 20 19
    • Regional Chapters — continued from page 19our part to put together a great conference, and we would and a presentation/tour. In this case, we concluded with anreally appreciate it if everyone reading these words did in-depth tour of this significant complex.their part by registering for the conference, before the sun Our next meeting, in January, was the chapter’s fabulousgoes down today! We had hoped to recruit for the chapter, adventure to Montreal, which you can read about in theusing the conference to do so, but this is not as easy as it last issue of Papyrus.appeared when suggested. It is asking a lot for someone The March meeting was hosted by PWGSC in our sleekto learn about, accept and join IAMFA in short order, then new boardroom, which also acts as a “war room” foraccelerate up to staging a conference. We are still hoping emergency situations which might occur in the 1.4-million-to attract some motivated members to join and assist in square-foot complex with 6,000 employees in which wethe effort — if you are out there, please contact us at are located. A PWGSC expert on Infrastructure ContinuityIAMFA2003@netscape.net. Planning gave a timely presentation. In the aftermath of 9/11 there is a particular urgency when it comes to develop- ing and implementing appropriate emergency plans. ThisOttawa-Gatineau (Canada) Chapter presentation was of great interest to those in attendance.Special thanks to Toby Greenbaum for this report Finally, in May, the Canadian Museum of CivilizationIt has been a busy year for the museum community in hosted our final meeting for this season. Guests came fromOttawa-Gatineau, and our chapter’s activities reflect that. cultural institutions in both Toronto and Montreal for thisThe Portrait Gallery of Canada (PGC) announced the afternoon event. Raymond Moriyama, an esteemed elderselection of the architectural team, and is deep into the statesmen within the Canadian architectural communityschematic design phase of the project. This project will be and the architect for the Canadian War Museum, gave ahoused in the old American Embassy — including a new presentation on the War Museum project. This was followedaddition to the existing building — and is located directly by a tour of the CMC, a viewing of a spectacular IMAX filmacross the street from Canada’s Parliament Buildings. Several and a lovely supper with a fabulous view of Parliament Hillof our regional members are involved in this project, with from the CMC’s spectacularly sited restaurant! Wish youTerresa MacIntosh as the Project Leader for the PGC and were here!Paul Caracristi as the Project Manager for Public Works andGovernment Services Canada (PWGSC). The CanadianMuseum of Nature (CMN) Revitalization Project is also com- Western Pennsylvania (USA)pleting its design development phase with Gerry Potoczny Special thanks to Larry Armstrong for this reportas the Project Manager for the CMN and Elaine DeCoursey During the spring of 2003, we began to compile a listas Project Manager for PWGSC. The Canadian Museum of possible organizations that might be interested in theof Civilization Corporation (CMCC) is busy with the new formation of a Western Pennsylvania chapter of IAMFA. WeCanadian War Museum, which is well into the construction have started to meet with some of those organizations tophase, with Guy Larocque as Project Manager for the CMCC. discuss IAMFA and the formation of a local regional chapter.Finally, Canada’s Prime Minister has announced a new In addition, we have met with other local IAMFA memberslegacy museum called the Canadian History Centre, which in Pittsburgh to make them aware that we are chairing andwill be housed in the Conference Centre, which was once hosting the 14th Annual IAMFA Conference in Pittsburgh inOttawa’s central train station, and is located across the 2004. If you are interested in joining our Chapter, pleasestreet from the Chateau Laurier Hotel, where many of you do not hesitate to contact Larry Armstrong at armstrongl@stayed during the 1999 IAMFA conference. carnegiemuseums.org. Our regional meeting schedule began this year in Octoberwith a meeting hosted by the Director of Facilities, GilllesLandry, at the National Arts Centre (NAC). The NAC is located New York Chapterin downtown Ottawa, and houses three theatres: the Opera Special thanks to Lloyd Headley for this report(Southam Hall, named after the first director and founderof the NAC); the Theatre (a smaller theatre for dance and Since the London Conference in September 2002, our Chapterplays) and the Studio (a small, intimate space for more has been hard at work in collaboration with a task force fromcutting-edge works). The complex was built in 1967 to mark the Mayor’s Office O.E.M. (Office Emergency Management)Canada’s centennial. As with all of our local meetings, we on a Disaster Preparedness Plan that will be made availablebegan with networking time over lunch, a business meeting to all museums, libraries and cultural institutions.20
    • Martin Cavanaugh, Director of Operations at The Pierpont been made to stay in contact with counterparts in the manyMorgan Library announced his retirement; his last day was fine museums of this area, but all are reporting the sameMay 30, 2003. Congratulations to Mr. Cavanaugh from all his thing: the leadership of their institutions are not allowingcolleagues and friends. Your leadership will be greatly missed. them to include membership dues in their drastically New York is facing a significant financial crisis that affects slashed budgets.the budgets of all institutions which depend on the state and We hope that with the slowly-improving U.S. economythe city for financial support. Some institutions, such as the our Southeastern museum facilities colleagues will be moreBrooklyn Museum of Art, are planning to close for two weeks able to join our fine organization in the coming 12 toduring the summer while also placing a hiring freeze on 18 months. We will continue to place calls, send out copiesvacant positions. Budgets for professional development are of, etc. in this effort. For more information or to join, pleasenil, and our members are hoping things change, in time to contact Kevin Streiter at: kevinstreiter@woodruffcentre.org.make the 13th Annual IAMFA Conference in San Franciscoa possibility for us. Overall, the New York Chapter is going strong and pro- Bilbao (Spain) Chapterviding much-needed support and guidance for its members Special thanks to Rogelio Diez for this reportduring construction, renovations and training. Our monthly This year’s activities are similar tomeetings are a great venue to network and share ideas. For last year’s. We have contacted severalmore information on the New York Chapter, or to join, museums via mail, but interest isplease contact Lloyd Headley at lheadley@bchildmus.org. not high at present, and we think they may perceive IAMFA as beingChicago (USA) Chapter somewhat “far” from Spain. TheSpecial thanks to Bill Caddick for this report chapter plans to inform Spanish museums (end of this year or begin-The Field Museum has made some administrative changes, Rogelio Diez ning of next) that IAMFA is comingand has announced that Nancy Medina will replace Lou French to Spain for its 2005 annual conference, and that it wouldas Director of Facilities. The Field Museum is currently be a great opportunity for them to learn about the advan-undergoing major renovations, including the installation tages of joining an international organization like IAMFA.of a completely new chiller plant. Ice storage has been For more information please contact Rogelio Diez at:particularly challenging. rdiez@guggenheim-bilbao.es. The Museum of Contemporary Art (Don Mackley) is backon his feet, and seems to handling his daily duties well. Likemost of us, he is pursuing funding for capital improvements. Washington/Baltimore ChapterLife-cycle issues on mechanical equipment seem to be at Special thanks to Fletcher Johnston for this reportthe top of this list. The Museum of Science and Industry has also had a The Washington Region has been enmeshed primarily withchange in leadership, and Greg Prather is the new Director. security upgrades during the past year. At the SmithsonianGreg is currently completing a total renovation of the food Institution (SI), our members have finally begun putting incourt, which many other museums are looking at. place the long-planned reorganization and consolidation The Culture Center of the City of Chicago doesn’t currently of building management functions into eight facilityhave museum status; however, it currently houses a traveling management zones.exhibition of prints and drawings, causing the Center’s The goal is to have all zones fully integrated by JanuaryDeputy Director to request many museum policies, for 2004. In the interim, everyone at the Smithsonian nowwhich he is very grateful to our IAMFA family. reports to two different supervisors: one at their individual For more information on the Chicago Chapter or to join, museum, and another at the Smithsonian Facilityplease contact Bill Caddick at: wcaddick@artic.edu. Management Office. As you can see, this reorganization is still evolving, and more information will be forthcoming. For moreAtlanta (USA) Chapter information on the Washington Chapter or to join pleaseSpecial thanks to Kevin Streiter for this report contact Fletcher Johnston at: fletchj@hmsg.si.eduEfforts to establish an IAMFA chapter in the SoutheasternU.S. have not been successful, largely due to the severebudget cuts in this region’s museum sector. Attempts have 21
    • Major Renovation Project at the National Gallery of Scotland by Robert GalbraithThe National Galleries of Scotland are he built his earlier Academy on 2,500 be raised or lowered at will, in practiceabout to take delivery of the first stage wooden piles, many of which, due the least damaging aim (as here) isof restored exhibition galleries in the to the dry, free-draining nature of the usually to stabilize as found.centre of Edinburgh (the Royal Scottish earth, had oxidized — disappeared in Excavations for the visitor servicesAcademy building), which will open to short: the building was latterly held were, I suppose, fairly straightforwardthe public with a Monet exhibition in up by the stiffened earth between in engineering terms. But when youAugust 2003. The second phase, to be the piles, which were actually doing a see the props keeping them apart andcompleted in 2004, will provide visitor reasonable job until, and unless, water preventing the two buildings from fallingservices in an underground link to the got in and caused them to collapse. into the hole, you may agree that theNational Gallery — which some of you (Where the ground had been persis- engineers were earning their fees.will remember as the building where tently wetter, the piles had survived One of our early concerns had beenwe had our banquet a few years ago. quite well.) the loading capacity of the floors. The Unusually perhaps for buildings The solution we adopted is known Academy had been gutted internallyof their era (1833 and 1855), both the as “soil fractionation”, and is more in 1910 to provide the sort of lofty,National Gallery and the Academy were commonly used above new tunnel top-lit galleries you would expect frombuilt on landfill sites, the earth having excavations to compensate for soil that date — all supported and coveredbeen excavated from the foundations movements, thereby preventing sub- by what appeared to be a daringlyof the (first) Edinburgh New Town — sidence in the buildings above. Thus, flimsy structural system, based onand estimated in 1805 to comprise a trench was excavated along most of the then pioneering Hennebique con-1,305,780 cartloads. The building of one side of the Academy, and from crete technique. When I arrived at thethe later National Gallery coincided it dozens of pipes were then drilled Galleries nine years ago, we routinelywith the tunnelling of railway lines horizontally at two levels through the propped the floors with scaffoldingthrough the bottom of what is still earth and old pile shafts. Grout was before certain exhibitions. However,referred to as “The Mound”, and the released in carefully monitored quan- in the event the simple test was toarchitect built his structure on huge, tities through holes in these pipes, so load up a sample floor with concreteiron, bow-string relieving arches, which that it filled the voids and mixed with weights and see what happened. Itconcentrated on, and otherwise dealt the soil to form a solid mass. Although survived loadings well beyond thewith, the weight of the building in an this is a sufficiently sophisticated tech- British standard and on that basiseffective and lasting way. Unfortunately, nique to allow parts of a building to we have proceeded.Robert Galbraith, Head of Buildings, National Galleries A nineteenth-century engraving of The Mound.of Scotland.]22
    • A Greek temple expects to be viewed of it, many North American classical Robert Galbraith has been Head ofin the round — it has no back door, no buildings are similarly over-looked, Buildings at the National Galleries ofservice approach. So one dramatic — but at least they were there first and Scotland for the last nine years. (Theand in conservation terms, I suppose, can hardly be held responsible for what first IAMFA conference he attended wascontroversial — intervention has been others have done around them.) This in Toronto.) Before that he worked inthe removal of an entire bay of stone- has created challenges in designing private practice, mainly on historicwork, including aedicule, so as to form the disposition on the roof of all the buildings.a loading bay door for the art-work. The service equipment: boilers, air-handlingmassive steel door will be clad in the equipment and day-light louvres, withoriginal stones and will have a complex which we are all familiar, and which weclosing mechanism to ensure that the would all much rather service in a big,shadow gap is the minimum possible. dry, clean plant room. Here the equip- Nor does a Greek temple expect to ment has essentially mostly been stuffedhe seen from above — but these two down what you might call the cleavagesbuildings have always been towered between the gallery ceiling domes.over by the Edinburgh Old Town, How will it all work? Well if any-particularly the castle. (Come to think body is interested I hope to tell you in September. Finally some credits: • Architects: William Playfair (C19), William Oldrieve (C20), John Miller & Partners(C21) • Structural Engineers: WSP and Anthony Hunt Associates • Service Engineers: SVM • The Playfair Project: £29M. Funded by Scottish Executive (central gov- ernment) (£10M), Heritage Lottery Fund (£7M), NGS Fund-raising A view of the new art-handling openingView down an empty pile shaft. (£12M) (upper floor).Where the ground was wetter, some piles A view of excavations for the new visitor services area.]survived fairly well. 23
    • Be Seen in the Right Light: The Value of a Tight Lighting Specification by Mark Rowling In order to help demystify the matter not enough to find a product that lets of lighting product design, and to help you say, “This looks similar.” The fact is you avoid a downgrading of the original that it has to match exactly if it is to pro- specification, we’ve identified the follow- duce the same effect. The only means ing aspects of a lighting specification as of ascertaining the potential of one having particular significance. These product to produce the same effect as should help your professional staff — another, is to look carefully at the light- such as museum and gallery curatorial emission information, which is given staff — to respond more effectively to either in numeric values or graphically issues relating to proposed changes in through light-emission curves.Osaka Maritime Museum, Japan.Architect: Paul Andreu/Aeroports de Paris. the original specifications. The axial and transverse light-Lighting Designer: Lighting Planners The range of equipment covered in emission curves, if both exist, areAssociation, Tokyo. the ensuing article includes recessed identified through the candela intensity luminaires, spotlights and lighting values. The first point of comparison is structures, although the following the prime axis — usually in the nadirHow do you ensure that your lighting information also relates in many ways (downward vertical) direction. This peakspecifications build in the correct to certain other lighting products. intensity — i.e. maximum value —protection for you and your client and the angle at which it is emitted,or premises? And how do you ensure is crucial for any specific type of lightthat you don’t leave contractors in a Light Distribution — distribution which is meant to produceposition to compromise these factors Recessed Luminaires a particular visual effect.for a low-cost option? They won’t know All lighting equipment is selected A further important aspect of lightthe implications — but you should. primarily for the lighting effects that distribution is the half-peak intensity, We all know and appreciate that will be produced. As such, the light which can be indicated clearly by ref-the expertise of lighting designers and distribution of a luminaire is one of its erence to either the nadir value or theplanners is essential in critically impor- key selling points. The most important peak intensity. This is usually usedtant lighting installations such as those aspect of a luminaire’s performance is to identify the beam angle, in degreesencountered in museums and art gal- often its light output ratio. This can be either side of the axis of the light headleries. In facilities such as ours, lighting clearly defined by the total percentage or reflector. This will give a clear indi-effects and conservation go hand-in- output; i.e., the light output of lamps to cation of the beam spread that can behand, and the intentions of both the luminaires. When relevant, this is divided expected, as well as the coveragearchitectural and the design teams are into the proportion that is emitted above which will result from the positioningcrucial in ensuring the effectiveness and and below the horizontal. and spacing of the luminaires. Thisappearance of the completed installation. To achieve a particular lighting effect, value can usually be taken from the All too often during the course the light distribution of the luminaire photometric information provided byof construction, the project staff and must be very specific. This means it’s the manufacturer.directors are prompted to make savingsand to consider cheaper alternatives towhat was originally specified. “Equaland approved” is usually not an ade-quate statement to ensure that only themost suitable equipment is installed.A lack of time and financial resourcesoften precludes further investigation ofequipment, and can result in the accep-tance of equipment which doesn’t matchthe unique or essential characteristics Darklight technology and cut-off angle. If you can’t see the lamp, you can’t see theof the original specification. reflection. A lack of disturbing glare ensures visual comfort.24
    • Cut-off angle is a completely sepa- If the light distribution of a substituted or into a track — has to be entirelyrate and crucial feature of a luminaire’s product deviates from the original distri- safe and secure, both mechanicallylighting characteristic. This has little to bution, its deviations are likely to occur and electrically. In all instances, it isdo with the beam spread, and every- at the edges of the beam. The primary preferable to use compatible spotlightsthing to do with the visual comfort and disadvantage of a lack of control in and track from a single manufacturer,glare protection that is provided. It is peripheral distribution is that spill light rather than combining potentiallydefined as the angle at which neither — or excessive peripheral emissions — incompatible equipment from differentthe lamp nor the reflection of the lamp can create disturbingly high intensities, manufacturers. There are numerousis visible in the reflector. This may not resulting in distracting surface bright- other features involved in the construc-be absolutely identical to the total cut- ness. This significantly influences the tion of recessed luminaires, which ensureoff angle, where zero candelas are balance of illumination and the degree that the product is entirely suitableemitted, but it does identify the glare of uniformity, which was the original for the particular installation. Thesecharacteristics of the luminaire, and design intent. This can make the overall can generally only be appreciated byconsequently the darklight character- appearance of the interior seem inferior. handling the product and having theistic. In numerous less-well-designed A look at the two photometrical features explained.products, the light from the reflector distribution patterns, shown here, clearly Mechanical rigidity is required, how-can be seen even though the lamp is identifies the relevant light distribution. ever, both for the safe and repeatablenot visible, resulting in the distracting It is vitally important that light is pro- locked aiming of the lamp in the caseeffect of seeing bright spots on the jected onto specific areas, in order of spotlights, and for the locking ofceiling, while not creating the darklight to focus the viewer’s attention on a orientation and aiming in the case oftechnology of truly glare-free luminaires. particular area or object. Further, it is washlights and recessed directional The appropriate cut-off angle from important to ensure that the relevant luminaires. All recessed luminairesthe horizontal can be clearly defined area is illuminated in a uniform fashion, should have die-cast mounting rings,on the following basis. A luminaire with so that any distortions in shape or as these are far more rigid and securea cut-off angle of 30° would be entirely emphasis are within the parameters than pressed metal. This is a particularsuitable when people are merely circu- identified by the lighting designer. feature of superior product design, whichlating through the area; a 40° angle can be lost in a less-well-designedwould be suitable when people are Mechanical Construction product, resulting in poor mountingeither standing, sitting or working in and Paint Finish and serviceability.the area; and 50° would be appropriate In order to function effectively, the The exposed surfaces of productsto very high ceilings, or installations mechanical rigidity of a luminaire is are more important for durability thanin which exceptional glare control is important. The mounting of the lighting for appearance. Epoxy-powder coating,required. Another simple rule of thumb equipment — either onto the ceiling continued on page 26is that a 30° cut-off is for room heightsup to 3 metres, 40° for 4 metres and50° for greater room heights. That beingsaid, the best vertical component inthe beam, for modelling purposes, willcome from the downlights, with highercut-off angles. The intrinsic value of identifying lightdistribution in the above terms is that,once a product is selected, the position-ing, spacing and orientation of theproduct will be planned to produce aspecific lighting effect or pattern. Anyvariation to this pattern may well proveunacceptable, as even a negligiblechange can be so significant as tocompletely alter the pattern of light.A prime example of this would beon a wall, where any change in lightdistribution would be highly visible Wallwashing from fluorescent luminaires and tungsten halogen spotlights: photometricand potentially catastrophic. curves and resultant effects. 25
    • Be Seen in the Right Light — continued from page 21if correctly applied, is far superior to mentioned previously. Of particularother simple spray-painting techniques, relevance is the specification of beamand can be used on exterior products spread. This is specified in the sameas well as on interior products with way: i.e., by using half-peak intensitiesthe appropriate surface treatment. to identify beam spread through the It goes without saying that all quality angle on either side of the beam’sluminaires have reflectors. These are axis, where the intensity is half that ofusually of high-grade aluminium, but the the beam’s axis. In most installations,most crucial factor is the micron thick- the use of beam angles is a strongness of the anodized surface, which determinant in the lighting effects that Stella spotlights are designed to provideensures optimum performance. This sub- will be created on wall displays and visual comfort, adaptability, serviceability on free-standing objects. This is also and long lamp life.ject is far too extensive to explain here;however, simply put: “You get what true when a spotlight is fitted with ayou pay for!” Let the buyer beware! particular lens or filter. These criteria ultraviolet radiation will be crucial There are, of course, many other can be grossly distorted when either to the exposure to which sensitivefeatures which can benefit a customer an inappropriate lamp is used or the materials can be subjected.on particular projects. It will always wrong lens has been fitted.be necessary to identify the specific In terms of the application of filters,characteristics or benefits that were the specification criteria become even Heat Dissipationconsidered valuable at the time of pro- wider. The percentage of light transmis- In all cases, the refined design andduct selection, in order to re-confirm sion is important, as is the distribution materials of the luminaire — and intheir significance in any comparison in terms of wavelength. In many cases, some cases, of control gear — will bebetween the originally-selected product ultraviolet and infrared filtration is crucial to ensuring that the luminaireand a subsequent alternative. crucial, and in these cases reference to can handle the heat emitted by the lamp. the transmission and the wavelength This, in turn, dictates the longevity of characteristics of the filter, when used the lamps as well as the replacementLight Distribution — with a particular light source, will be schedule which curators and mainte-Spotlights the means of evaluating alternatives to nance staff will have to accommodate.Specifications for a spotlight’s light the product originally specified. For In most instances, products withdistribution can be clearly expressed conservation purposes, the percentage inferior heat-handling characteristicsthrough the photometric characteristics of the A, B and C bands of excluded will be much less expensive than more effectively- and appropriately- designed products in which die-cast aluminium heat-sink characteristics are designed for a particular lamp wattage. Lamp Life and Lamp Replacement The value to the end user in using a well-designed housing is considerable — although it is difficult, if not impossible, to ascertain accurately. Experience has proven that there are very specific optimum operating temperatures for the various component parts of a lamp. If temperatures are controlled within a product used in normal ambient temperatures (25°C), lamp life will be longer than what has been rated by the manufacturers. This can substantially reduce the frequency of lamp failures and the costs involvedLight distribution presentation formats for spotlights. in their replacement.26
    • All manufacturers whose products Lighting Systems wires hanging down from the ceiling.comply with international standards As with all mechanical systems, theand authorization will have produced When it comes to lighting systems — design will be based on factors oftemperature test reports for at least the either suspended or wall-mounted — safety. A factor of safety of 5 indicatesmost heat-sensitive (highest wattage) all of the above lighting characteristics that the safe loading specified byversion of each size of product. These and heat characteristics are of similar the manufacturer is in fact only 1:5should be available to a user or speci- importance, and can be checked by of the loading, which would causefier if requested. A typical example reference to exactly the same test the components to either distort oris shown. reports. The major difference is that become dislodged and fail. Temperature limits are identified a suspended system will have an The span of a lighting system willeither by the lamp manufacturer or by unsupported span. This can be safely invariably be based on the permissiblethe authorities, and are designed to covered over, and should be clearly deflection, which may be 1:250 ofensure not only the effective operation identified to ensure that the system is the distance between the suspensionof the lamp but, just as importantly, safe when installed, and that appear- points. Under maximum load, thisthe safe operation of the luminaire ance of the finished installation is not will be determined by the permissiblewhen installed. encumbered by a host of rods or deflection. This will inevitably be limited by the permissible load on the suspension points. In many instances, the criteria by which the lighting system is selected for museum and art gallery purposes includes an allowance for additional services to be provided through the lighting system — including loud- speakers, emergency lighting or even sensors. When evaluating alternative options, the lighting system’s physi- cal capacity to accommodate all the wiring, control gear and connections which will be associated with the lighting equipment contained in, or installed upon, the lighting structure is crucial. Frequently, a lighting system is selected for a particular purpose. Subsequent comparison with a cheaper alternative appears at first glance to be suitable, and it is only discovered later that some additional require- ment had been overlooked. Smaller systems often appear more elegant, and the effect is that after original specification, the full requirement is then overlooked — often with dire consequences. Control Gear and Dimming Equipment An original specification will invariably have considered overall compatibility between the control gear which operates the lamps and any dimming equipmentA typical temperature test report. which will be used in conjunction with continued on page 28 27
    • Be Seen in the Right Light — continued from page 27this control gear. Invariably, the com- not be jeopardized by consideration inexperienced people to clearly identifypatibility of the two can be compromised of an alternative offer. the differences which exist between oneby the selection of a product which Normally the selected emergency lighting product and another, it is hopeddoes not have proven compatibility lighting or signage products will have that this article will provide a greateror reliability, resulting in noise or been chosen, not only because of its level of understanding of the potentialother problems. functionality, but also because of its pitfalls, enabling managers to express clear detailing and intelligent non- their concerns about quality and valueExterior-Grade Luminaires intrusive design. In many instances, of lighting equipment when faced with lack of attention to detail will result in alternative, lower-priced offers.and Resistance to Vandalism a less-than-attractive appearance. ThisAll building projects include lighting type of crude design will of course be Mark Rowling has worked in lightingelements which require special stan- detrimental to the appearance of the design since 1970. Since August 1986,dards of ingress protection (IP rating), completed project. he has worked with ERCO Lighting Ltd.due to such factors as dust, moisture Issues surrounding the presentation in London, where he was the Technicalor water. The standards and authori- of alternative offers, once an initial Director and subsequently Sales andzation by which these products are specification has been set and a bill of Technical Director. He qualified astested will be vital criteria in the materials established, is of concern to Chartered Engineer in August 1990,selection of lighting equipment. In lighting designers, specifiers and the and became a Fellow of the Charteredmany instances, the IP rating can be manufacturers of superior equipment. Institute of Building Services Engineersexpensive to achieve when considering Intrinsic value in goods and services in November 1992. Since joining ERCO,the maximum surface temperatures must be a priority for all museum and he has been dedicated to excellence inon glass, etc. This can lead to numer- gallery managers. This ensures not only interior lighting design — particularlyous instances of sub-standard or non- that the original design intent is achieved, in museums and galleries. In Octoberapproved products being put forward but also that the installation operates 1999, he established a training orga-— with serious consequences for the efficiently and can be serviced with nization within ERCO, consisting ofongoing operation and maintenance ease. While it is not necessarily easy for 35 trainers and coaches worldwide.of the equipment. In the same way, resistance to van-dalism is also an important consideration,and only proven equipment and teststandards carrying proper certificationshould be considered. As with all theother topics raised for comparisonpurposes, standardization, testing andauthorization will exist for qualityproducts, and very often will not existfor copycat products.Emergency SignageProducts which are required in aninstallation have to comply with legis-lation for the country, and sometimesfor the local region or city. Frequently,alternative products are offered for theprovision of emergency lighting andsignage. In all cases, the standards andthe authority by which they have beenchecked should have been confirmedby reference to available certification. Georg Schäfer Museum, Schweinfurt. Architect: Volker Staab, BerlinThis is the only way to ensure that the Lighting Designer: Licht Kunst Licht, Bonn/Berlin. Glare-free and invisible, spotlightsintrinsic safety of the occupants will for low-voltage tungsten halogen lamps are installed in an all-round ceiling slot.28
    • Old Buildings, Old Systems and Older Books: Fighting Mold and Decay in the Twenty-First Century by Michael Dixon do not fare as well. The major differ- design standard in 1968 was 75˚F at a ence is in the acid content of the base relative humidity of 50 per cent. Today’s material. The less-expensive material standard is 70˚F at 50 per cent relative Michael Dixon, in brochures and catalogs has a much humidity. More importantly, the means Plant Engineer and Director of higher acid content, and is much more of achieving these standards were much Facility Services, susceptible to the effects of humidity. different as well. Imagine building a Winthur Museum, Much of the paper produced from the library with a design for 100% fresh Garden and air today. Compounding the problem late nineteenth century through the Library, Delaware. mid-twentieth century is highly acidic is a building that does not lend itself and subject to brittleness and chemical to improved thermal efficiency, since deterioration. Leather from the same there are few wall cavities to insulate,As the conservation profession has period, and acetate-based film, are sub- and little glass to replace.developed new and more stringent ject to similar risks, and thus access tostandards for printed materials, many them must be severely limited. Origination of the Projectin the museum facilities profession The chemical reactions that cause The building that houses the Winterthurhave been challenged to implement this deterioration are very sensitive Library is a four-storey structure totalingthese standards in buildings that were to temperature and humidity. When over 68,000 square feet. The top twonever intended to support these con- the founder of the Winterthur, Henry floors house the conservation labs andditions. This is the case at Winterthur, Francis du Pont, commissioned the offices. The second floor is primarilyhome to the greatest collection of construction of the Winterthur library an administrative area, but also housesAmerican Decorative Arts, along with during the last years of his life in the some collections. The first floor isthe documentation to support it. 1960s, environmental standards were primarily a public space that houses The Winterthur Library is well not what they are today. The original collection objects.known, particularly for its collection continued on page 30of rare books and manuscripts whichdescribe life during the colonial andearly republican periods. It also housesthousands of other printed materials,which for years have been the basisof scholarly research in many areasof American culture. These resourcesare regularly used by staff members,visiting scholars, and by students in theWinterthur’s Early American Cultureand Art Conservation programs. Bothprograms are joint initiatives of theWinterthur and the University ofDelaware. Numerous visiting scholarsand collectors also use these programsand resources. With over 500,000 itemsin its collection, the Winterthur is aninvaluable resource in the research ofAmerican decorative arts, American arthistory, and in cultural and social history While well-made books of theeighteenth century may not suffer whenenvironmental conditions are less thanideal, the ephemera that make up vastparts of collections around the world The Crowninshield Building, which houses the Winterthur Library. 29
    • Old Buildings, Old Systems — continued from page 29 The crucial measure of a research however, make a strong case for the film and tape. Add people to the mixlibrary, however, is its ability to store, fact that research libraries will never be and it is obvious that one standardin an accessible manner, its voluminous a fully digital resource. Their research cannot be applied to every space.reference materials. In the Winterthur relies as much on the construction and Thus, the environmental controlLibrary, this is achieved through a five- materials of literary works as they do specification was broken into fourlevel stack that occupies a 3,200-square- on the contents. separate applications.foot footprint at the end of the building, While the quality of the results of • AVERAGE CONDITIONS (suitable forstretching from the basement level imaging efforts has improved greatly most occupied spaces)through the second floor. While this may in recent years, the cost of converting • Temperature of 68–72°F (DB)have seemed like a vast volume of space collections to other media has not • Relative humidity of less thanin 1969, in 1999 it was bulging with fallen. It is still a labor-intensive effort, 55 per centprinted material and suffering from wide whether microfilming or digitizing —swings in environmental conditions. especially given the fragile condition • ARCHIVE STORAGE (paper-based Before embarking on an ambitious of some of these materials. Once an materials, including rare books)project to upgrade the library HVAC institution has committed itself to an • Temperature of 55–65°F (DB)systems, extensive effort was under- imaging media program, the cost of (68° for reading rooms)taken to verify that such an investment that program continues to grow as • Relative humidity of 40 per centwas prudent, given the age and design the collection grows. Most cultural • ARCHIVE STORAGE (art work)of the building. A primary consideration institutions are not in a position to • Temperature of 60–72°F (DB)was whether the building had the space assume additional operating costs, • Relative humidity of 40 per centcapacity to accommodate the growing and the Winterthur is no exception.collection for a period of time that would • ARCHIVE STORAGE (film and tape)allow the desired return on investment. New Standards • Temperature of 65°F (DB)This effort was lead by Dr. Gary Kulik, • Relative humidity of 40 per cent For more than ten years, the WinterthurDeputy Director of Library and Academic has attempted to maintain an environ-Programs. His prospectus, written in ment of 72°F and 50 per cent relative System ChangesApril 1999, established that if steps humidity. But the original system design The major impact of the new stan-were taken to maximize the use of has allowed conditions to vary to dards is the cooling required in orderavailable storage space, the Library 60 per cent relative humidity and to achieve the 40 per cent relativecould exist within the current building higher during the humid summers in humidity specification in the archivefor another twenty years, thus justifying Delaware. At those humidity levels, storage spaces. In order to deliverthe expenditures of over $3,000,000 the Winterthur’s conservators estimate 40 per cent relative humidity, air toto replace the 30-year-old mechanical that a major portion of the at-risk col- these spaces chilled water at 40°F isequipment, while improving compliance lections would severely deteriorate required. However, the current chilledwith environmental standards. within 50 years. water system delivers only 44°F water. The effect of this conclusion was The most aggressive institutions are In order to deliver 40°F chilled water,to expand the project to consolidate currently designing for 35 or 40 per cent an additional chiller and cooling toweradministrative operations, in order relative humidity in modern buildings, would be required at a considerableto create more space for collections and are reducing temperature set-points capital investment and ongoingstorage. With this expanded scope of to 65°F. Library Conservation staff at operating cost.the project, local authorities having the Winterthur estimated that the useful Project Manager Roy Chadwickjurisdiction over fire systems and life of the at-risk collections would worked with Winterthur staff and theelevators mandated other system increase to over 100 years under these engineers of Furlow Associates, Inc toupgrades. The construction period conditions. They believe that, by then, develop a plan to reallocate collectionwas also chosen to complete a long- other preservation technologies would spaces and reconfigure the air-handlingneeded upgrade of the security system. be cost-effective. systems so that all archive materials The argument against investing Complicating the establishment of would be stored within the stacks andin upgrades for a 30-year-old library new standards is the variety of collection the 40 per cent relative humidity con-building is the widely-held belief that, materials within the Library. In addition dition would be maintained only withinin the not-too-distant future, library to published materials, there are pho- that space. In order to do that, a varietymaterials would be fully accessible via tographic and slide collections, maps and of air-cooled glycol chillers wereelectronic media. Library professionals, prints, archived paper-based materials, investigated, that have the capability30
    • of delivering the 40°F water to the these control functions, the systemair-handler for that space. also provides history, trending, alarm A system was eventually selected and emergency call-out capabilities.that utilizes the existing 44°F chilled The calculated payback periodwater supply as the condenser cooling for the additional control features ismedia, instead of air. The package fits 3.3 years. The savings will more thaninto the existing mechanical room, offset the increased cost associatedand will operate at a lower cost than a with the more stringent environ-centrifugal chiller. The major benefit mental specifications for the archiveof the water-cooled chiller is that it storage area.can be placed indoors, avoiding the Until the costs for digital storage ofnoise and appearance issues that fragile materials, and access to thoseaccompany any equipment installed images, is further reduced, collectionadjacent to a public garden. materials must be preserved while also The original system design utilized remaining accessible. Facility managersa single chiller to provide all the cooling must be able to provide environmentalto this building, with a very cumbersome conditions that ensure the long-termbackup procedure in case of a major survival of even the most susceptibleequipment failure. As part of the project materials, maintaining their availability toaimed at increasing cooling capacity to Cooling tower. scholars well into the foreseeable future.the building, that chiller was integrated Wise investment in new technologiesinto a loop with two other chillers within Tying together the whole package for control of HVAC equipment permitsthe same central cooling plant. All three in the chiller plant is a York CPA (chiller the implementation of stricter environ-chillers were retrofitted with new control plant automation) computer system mental standards without proportionalsystems by York, with variable-speed that manages the total cooling load increases in energy costs.drives and their Adaptive Capacity in conjunction with the existingControl that learns and remembers Honeywell DDC system. The CPA Michael Dixon, P.E. is the Plantoptimum motor speed and the position system controls the speed and sequence Engineer and Director of Facilitiesof the pre-rotation vanes for a given set of all three chillers, plus the variable- Services at the Winterthur Museum,of load and water temperature combi- speed drives for the primary chilled Garden and Library in Winterthur,nations. The addition of variable-speed water pumps, the condenser water Delaware. Prior to joining thedrives to the three cells of the cooling pumps and the secondary chilled water Winterthur in 1993, he had 12 years’tower also contributes to a more pumps, as well as the cooling tower fans experience in plant engineering andefficient system. and the isolation valves. In addition to maintenance at General Motors.Chiller with York Millennium Variable-Speed Drive. Digital controller. 31
    • From the Editor’s Desk IAMFA/ Papyrus SUMMER 2003 Pierre Lepage, Editor Editor, Papyrus Pierre Lepage Papyrus Correspondents Carole BeauvaisDear Colleagues, National Archives of Canada Bill CaddickThis is my last column as Editor of the own challenges, and the production Art Institute of ChicagoIAMFA Papyrus journal. It has been a group got it to the press on time for Michael Dixontrue pleasure over the last two years all six editions you’ve enjoyed over Winterthur Museum, Garden and Libraryto revamp and produce Papyrus. The the past two years. Robert Galbraithsuccess of the journal is the result of I would also like to thank all National Galleries of Scotlandwork by a great bunch of enthusiastic of those whom I have approached Richard Hardingpeople who bent over backward to to contribute an article, for your sup- Black & McDonaldensure its production as per schedule. port and prompt delivery on your Pierre LepageThe journal’s success is also attribu- commitment. Canadian Museum of Civilizationable to the many correspondents who I have made it a personal endeav- Catherine Lomas, David Reeves, Patricia Morganhave believed in sharing experiences, our to balance each edition contents Auckland Art Gallerytechniques and best practices, and and stories that are representative of Mark Rowlingwho have taken the time to write all all geographical areas in which IAMFA ERCO Lighting Ltd.these excellent articles about museum has members, and also to ensure Kevin Streiterfacilities’ challenges. diversity in the topics published. I High Museum of Art I would like to take this opportunity trust that you have enjoyed reading Production Coordinationto underline the magnificent work Papyrus and that IAMFA will continue Julie Coderredone by our production team: Julie to ensure its production. Canadian Museum of CivilizationCoderre my executive assistant, who In closing, I would like to wish you Design and Layoutcoordinating all the logistics and all an excellent Annual Conference 2003 Phredd Grafixfinances; Sheila Singhal of Artistic in San Francisco this September.License for a super job in reviewing Editing Artistic Licenseand editing all the texts, and Neena Very best regards,Singhal of Phredd Grafix for her Printed in Canada byinnovations in the design and layout Pierre Lepage St-Joseph M.O.M. Printingof the content. Every issue had its Editor ISSN 1682-5241 Statements of fact and opinion are made on the responsibility of authors alone and do not imply an opinion on the part of the editors, officers, or members of IAMFA. The editors of IAMFA Papyrus reserve the right to accept or to reject any Article or advertisement submitted for publication. While we have made every attempt to ensure that reproduction rights have been acquired for the illustrations used in this newsletter, please let us know if we have inadvertently overlooked your copyright, and we will rectify the matter in a future issue.32