Papyrus Summer 2005

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Papyrus Summer 2005

  1. 1. 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 6NUMBER 2 PAPYRUS SUMMER 2005Destination: Bilbao Bilbao and the Basque region, where the ultra-modern And what a Guest Program! Walking tours, bus tours, aaspects of this fascinating region, as represented by the new trip to the ocean, and exotic animals (attention all birders:Guggenheim Museum, intertwine with a history as old as the Urdaibai Biosphere Reserve is bird heaven — bring yourEurope itself! First, there is medieval Bilbao with its cobble- binoculars!) as well as lots of the local “color”! Combinedstoned streets, ancient ruins, and classical façades that represent with a wide variety of seafood and other traditional dishesmuch of the last 500 years of its history. Savour a glass of found throughout the Basque region, one might ask: “Howwine from the nearby Rioja region while slowly drinking are we ever going to keep the conference attendees at thein the citys ancient beauty, or get caught up in the busy conference sessions?”hustle and bustle of the famous Ribera Market! What do the From the intriguingly old to the spectacular new! We willgothic St. Anton church and the new Guggenheim Museum walk in the footsteps of the mysterious founders of the Basquehave in common? As Juan Carlos Totorikaguena, a local region, while marveling at the ultra-modern architecturearchitect stated, “Bilbao is an example of how, through and design houses that Bilbao is famous for.design, one can help to create the conditions for a city It promises to be a great conference, with lots to discoverto offer a higher quality of life, as well a s a more solid for everyone!historical and cultural image.” INSIDE THIS ISSUE Using Thermal Imaging to Diagnose Water Penetration and Condensation of the Walls at the Hirshhorn Museum . . . . . . . . 2 Message from the President . . . . . . 5 Microclimate Control in Museums. . 6 IAMFA Members Directory . . . . . . 10 Ottawa Regional Meeting . . . . . . . 16 Regional Affairs . . . . . . . . . . . . . . 18 Letter from the Editor. . . . . . . . . . 20
  2. 2. Using Thermal Imaging to Diagnose Water Penetration and Condensation of the Walls at the Hirshhorn Museum by Marion F. Mecklenburg and Alan Pride Introduction lens, which allows the operator to focus on details from Settlement and condensation on exterior walls has usually fairly long distances away. been associated with older historical buildings used as One excellent example of a large building with serious museums. Sometimes, however, the same problems can be water penetration problems through exterior walls is the found in newer buildings, and thermal imaging is proving Smithsonian’s Hirshhorn Museum. a great help in determining the root causes of moisture problems. An article on thermography in the March 2000 Water Penetration issue of the ASHRAE Journal shows how reading differences Water penetration of walls at the Hirshhorn building is a in temperature can be a powerful diagnostic tool, especially result of 50–55% RH, combined with the positive pressure in electrical and mechanical systems.1 The article also points of the building’s HVAC system. Water penetration is largely out that air within buildings can leak out through the wall localized in the balcony area, where creep has settled that perforations used for chases, electrical wiring, and cracks portion of the building and seams have opened. This is seen along sealed joints, and that temperature gradients resulting in Photos 1 and 2, which were taken during the winters of from these leaks are detectable. 2003–2004 and 2004–2005. The Smithsonian maintains certified thermographers, given Interior wall penetration can also be a possible source that thermography is used extensively as a diagnostic tool of moisture. Features such as electrical outlets and lighting in its extensive HVAC and electrical systems. Thermography tracks can cause penetration of exterior walls from the was adapted to diagnose wall leaks in very large wall systems, inside out. as a means of helping to identify problem areas in the large Images taken of the balcony area with infrared thermog- wall systems of the Smithsonian’s museums and storage raphy indicate that the moisture originates inside the building, facilities. The system used at the Smithsonian is a FLIR, since the area of water penetration is warmer than the outside Therma CAM P40 Infrared Camera, and all of the thermal ambient atmosphere. Photo 3 shows that there may be an images in this article were taken with this system. One of interior wall penetration at the upper lefthand corner of the the features that proved very useful is the camera’s zoom balcony, as viewed from the outside. KEVIN GUIFFREDA AND GARY JOHANNSEN, SMITHSONIAN INSTITUTIONKEVIN GUIFFREDA AND GARY JOHANNSEN, SMITHSONIAN INSTITUTION Photo 1. Water penetrating the walls in the balcony area at the Photo 2. Water penetrating walls in the area of the balcony at the Hirshhorn Museum, during the winter of 2003–2004. Hirshhorn Museum, February 1, 2005. 1Eads, L.G., Epperly, P.E., and Snell, J.R. Jr., “Practical Guide to Thermography,” ASHRAE Journal, 42(3):51-55. (2000) 2
  3. 3. Probable deflection of structural floor over balcony Gaps in the seam between the floor Open seams Open seams Open seams and the drywall Balcony Structural Flooring System Outer Wall Leaks Illustration 1. This schematic shows the possible deflection of the structural flooring above the balcony at the Hirshhorn. The shape of this deflection may explain the locations of the open seams at Gaps in the seam between the cehg the area of the balcony, and also explain why the leaks are largely and the drywall localized in the balcony area. Hirshhorn Outer WallsKEVIN GUIFFREDA AND GARY JOHANNSEN, SMITHSONIAN INSTITUTION Illustration 2. Schematic of a typical wall section at the Hirshhorn Museum. Note that the structural floors extend to the outer surface of the building, providing minimal insulation to the interior spaces. likely that there is moisture penetration through electrical outlet boxes and, wall penetrations caused by track lighting in the ceilings of the interior spaces. Condensation on the interior surfaces of exterior walls Condensation on the interior surfaces of the Hirshhorn’s exterior walls is another problem. The condensation usually Photo 3. Infrared thermographic image of the balcony area at the Hirshhorn Museum, taken February 3, 2005. The lighter areas occurs at the upper sections of the walls and at the junction of the image indicate warmer areas than the surrounding wall. of the floor and the lower wall. Wall condensation typically This indicates that there is warm air exiting the building from the occurs during the winter, when the temperature of the interior inside. The infrared image also suggests that the sizes of the gaps surfaces of exterior walls drops below the dew point of are significant and that they are located at the ceiling of the balcony floor east of the balcony, and at the junction of the floor the inside environment. When the inside air is 21˚C (70°F) and wall above where there is storage. There is a high probability and the relative humidity is 50%, the dew point is approx- that the wall insulation is saturated and has lost considerable imately 10˚C (50°F). On very cold winter days, this can efficiency as an insulator — thus the widespread heat zone. happen. The images shown on the following page indicate the lower wall temperatures on moderate winter days in Washington, D.C. If one looks at a schematic illustration of the wall con- struction it is possible to visualize the areas of moisture Marion F. Mecklenburg, Ph.D. is a senior research scientist leaks. Illustration 2 shows the exterior wall in cross-section. with the Smithsonian Center for Materials Research and The illustration also shows the structural flooring system Education. and Alan Pride is associate director of the and the interior wall systems, and indicates the locations Office of Faciltiies Reliability in the Smithsonian’s Office of some possible sources of moisture penetration. It is also of Facilities Engineering and Operations. continued on page 4 3
  4. 4. Using Thermal Imaging to Diagnose Water Penetration — continued from page 3 JOHANNSEN, SMITHSONIAN INSTITUTIONALL IMAGES ON THIS PAGE: KEVIN GUIFFREDA AND GARY Photo 4. Interior spaces at the Hirshhorn Museum. This is Room Photo 5. An infrared image of the same space. When this image 205c, showing the floor where it meets the interior surface of an was taken, the interior space was heated to 21˚C (70°F). The low exterior wall. temperature reading — approximately 14˚C (57°F) — at the seam where the floor meets the wall, has two possible explanations. One is that there is either a lack of insulation, or minimal insulation, in the structural flooring system; the other is that there is a gap allowing cold air to infiltrate the wall and the building’s interior spaces. The presence of a gap is reinforced by the water exiting the building at exterior wall/flooring junctions as seen in Photos 1 and 2. Photo 6. Interior space at the Hirshhorn Museum. This is Room Photo 7. An infrared image of the same space. The upper part of 205c, showing the ceiling area where it meets the inside surface this image (above the wall seam which crosses the central portion of of an exterior wall. this image) shows the structural flooring system and is cool due to the minimal insulation of the structural system. The four very dark spots below the wall seam suggest that there are four gaps in the wall system where cold air can infiltrate the interior of the walls and building spaces. One other point to be made here is that if the surface temperature of this and any other wall like it drops to 10˚C (50°F), condensation will occur when the interior space is climate- controlled to 21˚C (70°F) and 50% RH. If the humidity in the interior spaces is allowed to get to 60% RH, then the surface temperature of the wall only has to drop to 13˚C (55°F). 4
  5. 5. Message from the President Guy Larocque, President of IAMFAAll Eyes on Bilbao of excellence in the field of facilitiesAs this latest edition of Papyrus goes management of cultural institutions. IAMFA Board of Directorsto press, all eyes are turning towards This is IAMFA’s vision statement, and PresidentBilbao and our 2005 Annual Confer- it will serve as the inspiration for an Guy Larocqueence. There are already a good number exciting new session at the conference Canadian Museum of Civilization andof IAMFA members who have registered, this year. All members will be tasked Canadian War Museumas well as a fair number of participants to participate at a brainstorming session Gatineau, Canadafor the Spouse Program who are on on strategic planning. This will be your guy.larocque@civilization.caboard for this event. Excitement is opportunity to provide your ideas andbuilding for the trip to Spain among insights on issues that are fundamental V.P., Administrationthe IAMFA members that I have been to IAMFA’s mission. Groups consisting Richard Kowalczykin communication with over the past of eight to ten members will be asked Smithsonian Institution to come up with as many ideas as pos- Washington, D.C., USAseveral weeks, and everyone is antici- kowalczykr@nasm.si.edupating a truly wonderful conference. sible, related to one of the followingOtoño en Bilbao (España). ¡No te lo issues: IAMFA internal strengths and V.P., Regional Affairspuedes perder! weaknesses, risks and opportunities Toby Greenbaum The members of your Board of outside the IAMFA environment, and Library & Archives of Canada and theDirectors have all been very busy guiding principles that IAMFA should National Museumswith their IAMFA responsibilities, and adopt. Your contributions to this process Gatineau, Canadaare all looking forward to seeing every- will form the basis for further analysis, toby.greenbaum@pwgsc.gc.caone at the conference. As you may from which IAMFA may draw specificbe aware, there will be two Board objectives to be accomplished over Treasurerpositions opening up in September. the next three to five years. This session Jim MoissionThey are the positions of Secretary promises to be both enlightening Harvard University Art Museums and fun. Cambridge, USAand Papyrus Editor currently held by james_moisson@harvard.eduLarry Bannister, and Vice-President Finally, I would be remiss if I did notof Regional Affairs currently held by acknowledge the very difficult times Secretary and Papyrus EditorToby Greenbaum. Both Larry and that our colleagues in London must be Larry BannisterToby are to be commended for their living with during recent attacks on their Milwaukee Public Museumhard work and valuable contributions city. As your colleagues and friends, Milwaukee, USAto IAMFA, and they will be missed as we hope and pray that you are doing bannister@mpm.eduBoard members. I invite all IAMFA well, and extend our support and anymembers to take up the challenge of help that we can provide. As the world Chairman — Conference 2005submitting their candidacies for these “shrinks” due to the global information Rogelio Diezpositions at the elections that will take network and a world economy without Museo Guggenheim-Bilbaoplace during the Business Meeting at borders, it is ever more important that Bilbao, Spain we share our experiences, expertise, rdiez@guggenheim-bilbao-esthe conference. As always, an organi-zation is only as successful as YOU and support so that all our institutionsmake it! We know that we can count can benefit. For additional contact information,on your continuing support! please visit our website at The ultimate goal of IAMFA is to Guy Larocque, P.Eng. www.iamfa.orgbecome the world leader in the devel- President, IAMFAopment, education and promotion 5
  6. 6. Microclimate Control in Museums by Jerry ShinerAsk a climatologist, and he will tell you tect the artifacts in their care. Theirthat a microclimate means the particular concern is the creation and mainte-local weather pattern of a city or region. nance of stable relative humidities,Ask a winemaker, and your answer and not temperature. While changeswill be the climatic characteristics of in temperature may, in theory, causehis vineyards. A heating and cooling expansion or contraction in an artifact,engineer in a museum might describe the actual amount of change is usuallythe conditions he creates and controls microscopically small, and essentiallywithin a building or a room as micro- inconsequential at normal temperatures.climates, but a conservator in the same However, many artifacts (especiallymuseum would be talking specifically organic materials) are particularly proneabout the environments created in dis- to damage from internal stresses causedplay cases, storage boxes, and glazed by changes in their moisture content.picture frames. A fundamental aspect of climate Conservators have long been aware control is that variations in air temper- This unit is capable of providing a positivethat the environment surrounding the pressure flow to a large number of display ature will affect relative humidity levels,objects in their care has the greatest or storage cases, up to hundreds of meters even though the absolute moistureeffect on the condition of those objects. away from the central unit. content remains the same. ConstantMore precisely, it is the thin layer of relative humidity may be an admirableair immediately surrounding the artifact Passive microclimate control has been goal, but building envelopes, machinery,(the microenvironment) that interacts a mainstay of preventive conservation and other factors may make the pro-with the object. Moisture, dust, corrosive techniques in museums for much of the vision of ideal conditions difficult, orpollutants — even oxygen and other past 30 years. Recently, an increasing just plain impossible. In many situations,elements in the air — can react with number of conservators, designers, when tighter standards than those thatan object to create chemical changes and architects have been specifying could be created by the gallery envi-and mechanical stresses. Control the active microclimate solutions for new ronment were needed, conservatorsmakeup of the microenvironment, and institutions, renovations, and individualyou can limit the air’s interactions with display case installations, and facilitiesthe artifact. The easiest way to do this is managers are taking a keen interestto create a controlled microclimate in in an area that was once seen as thethe general area surrounding the object. limited concern of conservation staff. For the purposes of this article, a If your museum is not already usingmicroclimate will generally refer to a some sort of microclimate control (pas-conservator-acceptable environment sive buffering or active system), youthat is created and maintained in a can expect to see it soon. This articledisplay or storage case. This can be will introduce you to both passive andaccomplished by: active microclimate control, compare• Using the building‘s HVAC system to them, and explain some of the mechan- provide a whole gallery environment ical concepts behind active microclimate that permeates the cases. control systems. With this informa- tion, you will be better able to advise• Using passive microclimate control, your institution on the installation which relies on a quantity of buffer- of appropriate systems. ing material (usually some form of silica gel) and a very tightly sealed display case. The Case for Microclimate• Using an active microclimate control Control device, which uses mechanical For years, conservators have pleaded This exhibition of the Dead Sea Scrolls with, cajoled, and threatened their used a positive pressure central unit means for maintaining constant delivering air through pipes concealed in relative humidity in a reasonably museum partners to create gallery the banners next to the cases — Grand well-sealed display case. climate conditions that will better pro- Rapids, Michigan, 2003.6
  7. 7. have experimented with the creation that very little energy will be needed to had been used extensively during theof closely controlled microclimates in maintain stable conditions. With some Second World War as a catalyst forthe display cases surrounding their sensitive objects needing a constant chemical reactions, and as a desiccantmost sensitive artifacts. humidity that could not be provided to keep machinery dry.) The use of As in the wider world, the most by facilities management, conservators silica gel as a buffer for humidity changesimportant vector of change in these seized upon the natural stability of a is unique to museum applications,miniature enclosed environments is the sealed enclosure, and developed their as it uses only a small portion of theflow of air in and out of the structure. own methods to maintain constant adsorptive capacity of the material. AsEven well-sealed exhibition cases were humidity, using passive buffering and a consequence, correct sizing of thefound to have measurable air flows. miniature microclimate-control devices. buffer to the case conditions, andAs in the relationship of a building to regular reconditioning of the silica gelits environment, the rate of leakage was Protecting Display Cases buffer, are critical to its effectiveness.seen to be clearly dependent upon the using Passive Buffering Passive buffering can be effectivedifferentials between the conditions when given the appropriate quantity Long before studies determining case-inside and outside the enclosure, as well and type of silica gel, a display case leakage rates were undertaken, conser-as the size and location of the openings. with a reasonably low leakage rate, a vators understood that creating a sealed In the very tightest of super-sealed properly designed system for the modi- case would protect artifacts from air-enclosures, changes in atmospheric fied air to promote diffusion, and an borne pollutants. Early attempts at pro-pressure proved to be the main driver adequate schedule for reconditioning viding humidity buffering (beginning infor air exchange. In almost all other the gel to the correct levels. Unfortu- the 1930s) involved the use of saturatedsituations, small cracks, holes, and nately, any combination of a poorly salt solutions. As the salts could them-voids in gasketing, driven by “stack selves be harmful to the objects, complex designed display case, a high air leak-pressure” (caused by differences in air systems had to be developed to move age rate, or inadequate reconditioning,density between interior and exterior), the humidity-buffered air from the salt make humidity buffering with silicawere found to be enough to drive a to the display chamber containing the gel an unreliable solution.surprising amount of air through the object. Needless to say, relatively few ofenclosure. A practical result is that while these systems were constructed or used.a modern, tightly sealed case can have Inventing Active In 1959, silica gel was first recomm- Microclimate Controlan air exchange rate as low as one-tenth ended as an agent for buffering humidityof an air exchange per day when orig- Systems changes. (Silica gel, patented in 1919,inally installed, the slightest change in Faced with the successes and difficultiesalignment or gasketing can easily create of supplying passive microclimatea leakage rate ten times as great. control systems, efforts were begun in Just as a building’s environment the 1970s to develop alternate methodsis affected by the weather outside, a using mechanical devices to add anddisplay case’s microclimate is influenced subtract the very small amounts ofby all of the conditions in the gallery moisture needed to maintain a constantthat surround it. While a well-sealed humidity level. The engineers and con-case may prevent the influx of air, the servators developing the early micro-interior of a case cannot be isolated climate control faced many challenges.from temperature changes. Heat can Tried-and-true concepts of humidityenter or leave the case by radiation control needed radically new means ofor conduction. As noted above, the application. Why did the developmentresulting minor changes in display case of microclimate control prove suchtemperatures are usually of little con- a challenge?cern to the conservator, but the changes The basic principles that are used toin relative humidity (as a consequence build and operate a large HVAC systemof changes in air temperature) can have hold true for a tiny microclimate system.serious consequences for some artifacts. The difference is one of scale, and Given a tightly sealed display case This early microclimate control device the differences are unexpected andin a climate-controlled gallery, one can utilized a container of saturated salts and dramatic. HVAC systems engineers an electric air pump to maintain constantexpect that the microclimate in the case humidity around the enclosed stone bust measure airflow in cubic meters perwill drift slowly away from a given at the Museum of Fine Arts in Bostonhumidity over an extended period, and in 1939. continued on page 8 7
  8. 8. Microclimate Control in Museums — continued from page 7minute, in which torrents of air are dis- equipment). By using a microclimate are similar in operation to those in atributed through complex ductwork. system to “trim” the case humidities, large HVAC system. The greatest dif-Microclimate control systems typically building HVAC systems could be used ferences are to be found in the methodsuse flows that are measured in mere to create temperatures and humidities of modulating the air stream. As thelitres per day, distributed through small that were comfortable for visitors (the humidity-control input air flows aretubes or hoses. Display-case entry flows job they were designed to perform), much smaller, humidity modificationthat correspond to a gentle breath of rather than being tuned and tweaked can be done using processes that wouldair, and moisture removal rates of a to provide a conservation-quality envi- be impractical on a larger scale. Forfew drops per hour, are the norm for ronment throughout the entire gallery. example, if the air in a gallery is too dry,microclimate control. Engineers were freed to create condi- an HVAC system will add an appro- Rather than using large blowers, tions that balanced out both cost savings priately amount of moist air, allow thesteam generators, hundreds of meters and comfort. Temperatures and humidity moist air to mix with the existing roomof ductwork and freon compressors, as levels could be allowed to vary from air, and then stop the flow of moist airone would find in a large HVAC system, season to season, while the microclimate when the desired relative humidity levelthe first successful miniature microcli- systems would continue to provide is achieved. While most HVAC devicesmate devices used materials from the unchanging humidity levels in the cases. work on this principle of “climate controlelectronics industry: small computer by addition”, modern active microclimatecooling fans and thermoelectric cooling Operating Principles of devices maintain humidity levels in adevices to deliver miniscule quantities an Active Microclimate treated enclosure by completely dis-of moisture-modified air to cases. Unlike placing, not by modifying, the existing Systemprevious efforts using the output from air in the enclosure. Active microclimate devices are alwaysindustrial machines, these small and The process of displacement humidity used to provide humidity controlseemingly ineffectual devices worked! control is simple: supply an incoming on sealed enclosures such as display, Of course, another reason they airflow at the desired humidity level, storage cases, or archives. Air-exchangeworked was that massive HVAC systems and displace the existing air until the rates of less than four air changes perwere already maintaining relatively desired level is reached. Displacement day are typically found in these enclo-stable conditions in the air surrounding systems are possible only in the realm sures. (Some of the newest display casesthe display cases, so all the microclimate of microclimate control, where enclo- typically have leakage rates of less thansystem had to do was to control a very sures have a total of volume of a few 0.1 air changes per day when installed).small quantity of air inside the display hundred litres within a protected gallery. The result is that, for a microclimatecase. The major benefit of using two It is simply not practical where HVAC device to compensate for the leakagesystems was that facilities managers now systems must cope with large and highly through a one-cubic-meter displayneeded only to provide generally accept- variable loads. A displacement system case that is leaking at one air changeable humidity and temperature levels. can never overshoot the humidity set- per day, the microclimate device needs Providing less stringent levels led to tings. Safe operation is easy to maintain: to supply less than a liter of air perimmediate savings in operating costs, the constant flow of modified air is minute. Contrast this with typical galleryand ultimately to savings in capital simply stopped if the input goes out air exchange rates in excess of overexpenditures as well (for improving of range. four air changes per hour.building envelopes and replacing To deliver this tiny flow of air, some devices use miniature air pumps, others small fans; generally, however, all these devices deliver air via hoses or pipes. Some devices recirculate display-case air through supply-and-return hoses. In many microclimate control devices, a single small input hose provides filtered positive pressure air and, in addition to controlling the humidity, the slightly pressurized display case keeps out pollutants and dust. Typical results from a test cycle. Note theCentral MCG30 units provide temperaturesensitive humidity control for many cases As mentioned above, many of the stable humidity levels as temperatures risein a gallery. mechanisms in a microclimate device and fall.8
  9. 9. This constant flow of air in an active climate control in most museums seemsmicroclimate device offers a further to have been left to the conservationadvantage, as it breaks up stratification staff. This is changing.due to density differences in the display While the impetus for researching andcase. This offers a substantial advantage creating active microclimate controlwhen compared to passive buffering, in may have been willingly generatedwhich humidity modification through- by the conservation community, theout the case must be accomplished responsibility for maintaining microcli-by diffusion of air out from the silica mate control has been only grudginglygel mass. All components and wiring in the control accepted. Conservators would rather Although the output from an active panel have been designed for robust spend their time caring for their artifactsmicroclimate device is miniscule when operation and easy replacement. than contacting suppliers, refillingcompared to an HVAC system, the reservoirs, or recording data. A fewpower of a microclimate device when meters away, and will feed multiple conservation departments have nowcompared to a passive system is equally cases in a gallery. realized that competent assistance indramatic. Think of the differences be- maintaining microenvironments is —tween a searchlight, a battery-powered Potential Problems of and always was — close at hand.flashlight (UK: torch), and a candle. Microclimate Systems Not only have conservators reachedWhile the flashlight cannot compare in Microclimate control is not a universal out to facilities management staff forpower to a pulsed Xenon searchlight, or care-free solution. While these systems assistance in maintaining microclimates,there is an equal gulf between a candle are generally designed and built to be but microclimate control system manu-flame and the focused and efficient quite robust, the devices must be cor- facturers have also developed increas-source of light offered by a simple flash- rectly monitored and maintained. This ingly sophisticated control systems.light. Even a small active microclimate is easily accomplished by scheduling, Manufacturers are now including user-system can effectively maintain constant and made more convenient by the friendly control systems, and in somehumidity in a leaky display case that addition of indicators, alarms, and situations are supplying devices completewould quickly overwhelm the capacity connections to building management with output for connection to facilitiesof a silica gel buffer. This becomes more systems now offered on most active management control systems.pronounced as enclosures get larger. microclimate devices. By adding expertise in active micro- Microclimate control devices come Poorly designed or poorly installed climate control to their repertoire ofin a variety of sizes, from miniature microclimate systems share a problem heating, cooling, pollution control, anddevices the size of a shoebox, to stand- with the control of larger buildings: the building management systems, facilitiesalone units as big as a household tendency of control systems to occasion- managers can now define and controlrefrigerator. Some are designed to fit ally overshoot their target. The result their building’s microclimates withbeneath or beside a single display case; is a system that is constantly going more precision than ever before. In aothers can be located hundreds of beyond its set points, cycling above and number of institutions, the responsi- below the target, and never remaining bility for maintaining microclimates in constant. In theory, a microclimate display cases is now the responsibility control system should be designed to of their facilities management team. cope with these environmental swings; This is likely part of a natural progres- however, some of the older designs sion that will follow to other institutions, may have a tendency to exacerbate both large and small, as active climate the problem. control system technology matures, and as more conservators turn to facilities staff to assist in the installation of Microclimate and Facilities these systems. Managers Is microclimate technology really some- Jerry Shiner represents Microclimate thing new for facilities managers? Very Technologies International Inc. He can few challenges of active microclimate be reached at info@microclimate.ca or control are different from those which 1-800-683-4696, and will be attending facilities managers have faced for many the IAMFA meeting in Bilbao as a sub-This smaller microclimate control unit is years. Whatever the reason, with some scribing member. He looks forward toused for individual and closely grouped exceptions, the choice, installation, and discussing microclimate applicationsenclosures. maintenance of active and passive micro- with other attendees. 9
  10. 10. IAMFA Members Directory 2005 Dale Cameron Ian MacLean AUSTRALIA National Archives of Canada – Canada Science & Technology NEW ZEALAND Preservation Branch Museum CorporationGlenn Hodges 344 Wellington St P.O. Box 9724 Station T Mike HeinemannAustralian Museum Room 5080 2421 Lancaster Rd. Christchurch Art Gallery6 College St. Ottawa, Ontario Ottawa, Ontario Te Puna O WaiwhetuSydney K1A 0N3 K1G5A3 Worcester Boulevard2010 Canada Canada PO Box 2626Australia dcameron@archives.ca imaclean@technomuses.ca Christchurch, Canterburyglennh@austmus.gov.au Teresa McIntosh New Zealand Ian Follett mike.heinemann@ccc.govt.nz Portrait Gallery of Canada &Michael Landsbergen Facility Management Service LTD National Archives of CanadaPowerhouse Museum 45 Maryland Place SW Patricia Morgan 344 Wellington Street500 Harris Street, Ultimo Calgary, Alberta Auckland Art Gallery – Ottawa, OntarioSydney T2V 2E6 K1A 0N3 Toi O TamakiNSW 2007 Canada Canada P.O.Box 5449Australia fmsltd@fmsltd.com tmcintosh@archives.ca Aucklandmichael@phm.gov.au New Zealand Toby Greenbaum Nancy Nauss patricia.morgan@Kim Reason Parliamentary Precinct Facility Management Services LTD auklandcity.govt.nzMuseum Victoria Directorate 45 Maryland Place, SWGPO Box 666E Birks Building 107 Sparks Street Calgary, AlbertaMelbourne, Victoria 6th floor, Station 624 T2V 2E63001 Ottawa, Ontario Canada SPAINAustralia K1A 0S5 fmsltd@fmsltd.comkreason@museums.vic.gov.au Canada Roberto Cearsolo toby.greenbaum@pwgsc.gc.ca Jose-Luis Oliveros Canadian Center for Architecture Museo Guggenheim – BilbaoTony van Noordenburg Abandoibarra 2National Gallery of Victoria Richard Harding 1920 Bailes Montreal, Quebec Bilbao, Viz Caya7259 St. Kilda Road VIC 8004 Black & McDonald Limited 48001180 St. Kilda Road 2460 Don Reid Drive H3H 2S6 Canada SpainMelbourne, Victoria Ottawa, Ontario rcearsolo@guggenheim-bilbao.es K1H 1E1 jolivero@cca.qc.ca3004Australia Canada Christian Page Consuelo Ciscart.van.noordenburg@ rharding@blackandmcdonald.com Canadian Museum of Civilization IVAM – Institut Valencia d’Art ngv.vic.gov.au 100 Laurier Street Modern Chan Hung Do Gatineau, Quebec 118 Guillem de Castro StreetRobert Webb Canadian Museum of Civilization J8X 4H2 ValenciaPowerhouse Museum 100 Laurier Street Canada 46003500 Harris Street, Ultimo Gatineau, Quebec christian.page@civilisations.ca SpainP.O. Box K346 Haymarket 1238 J8X 4H2 direccion.consuelociscar@ivam.esSydney Canada Ed RichardNSW 207 chan.do@civilisations.ca National Gallery of Canada Rogelio DiezAustralia 380 Sussex Drive Museo Guggenheim – Bilbao Jean-Guy La Jeunesse Ottawa, Ontario Abandoibarra 2 Canadian Museum of Civilization KIN9N4 Bilbao, Viz Caya 100 Laurier Street Canada 48001 CANADA P.O. Box 3100, StationB erichard@gallery.ca Spain Gatineau, Quebec Julie Sevigny rdiez@guggenheim-bilbao.esJean Allard J8X 4H2 Canada Traveling ExhibitionsNational Archives of Canada Canada IndemnificationLibrary Room 132 jean-guy.lajeunesse Program/Canadian Heritage344 Wellington Street @civilisations.ca 15 Eddy Street 15-3-A UNITED KINGDOMOttawa, Ontario Gatineau, QuebecK1A 0N3 Lucie Lanctot K1A0M5 Willie AnthonyCanada Canadian Museum of Nature Canada National Museums of Scotlanddmcaron@archives.ca P.O. Box 3443 Station D julie_sevigny@pch.gc.ca Chambers Street Ottawa, Ontario Edinburgh, ScotlandCarole Beauvais K1P 6P4 EH1 1JFNational Archives of Canada Canada UKCorporate Services THE NETHERLANDS w.anthony@nms.ac.uk344 Rue Wellington Guy LarocqueRoom 5076 Canadian Museum of Civilization Karen Keeman Rijks Museum Frank BrownOttawa, Ontario 100 Laurier Street National Gallery, London P.O. Box 3100, StationB P.O. Box 74888K1A 0N3 Trafalgar Square Gatineau, Quebec 1070 DN AmsterdamCanada London, England J8X 4H2 AmsterdamCarole.Beauvais@lac.gc.ca The Netherlands WC2N 5DN Canada UK guy.larocque@civilisations.ca k.keeman@rijksmuseum.nl frank.brown@ng-london.org.uk10
  11. 11. IAMFA Members Directory 2005Alastair Cunningham William Carr Jim HartmanHopetoun House Preservation UNITED STATES Henry E. Huntington Library and Fine Arts Museums of Trust Art Gallery San FranciscoHopetoun House Fernando Pascal 1151 Oxford Road Golden Gate ParkSouth Queensferry, Scotland Smithsonian Institution San Marino, CA 50 Hagiwara Tea Garden DriveEH30 9SL Attn: STRI 91108 San Francisco, CAUK Unit 0948 USA 94118-4501alastair.cunningham@ APO/AA wcarr@huntington.org USA hopetounhouse.com 34002 jhartman@famsf.org USA Brenda Cobb-WilliamsJohn de Lucy pascalf@si.edu Asian Art Museum Andy HirshfieldBritish Library 200 Larkin Street Exploratorium96 Euston Road Room 2211 3601 Lyon StreetLondon, England ARKANSAS San Francisco, CA San Francisco, CANW12DB 94102 94123UK John Pagan USA USAjohn.delucy@bl.uk Arkansas Art Center bwilliams@asianart.org andyhh@exploratorium.edu P.O.Box 2137Peter Fotheringham Little Rock, AR John Coplin Sherin KyteNational Gallery, London 77023-2137 Santa Barbara Museum of Art Fine Arts Museum ofTrafalgar Square USA 1130 State St. San FranciscoLondon, England jpagan@arkarts.com Santa Barbara, CA Lincoln ParkWC2N 5DN 92101 100 34th AvenueUK USA San Francisco, CApeter.fotheringham@ CALIFORNIA jcoplin@sbmuseart.org 94121 ng-london.org.uk USA Gordon Bailey John Donohoe skyte@famsf.orgRobert Galbraith Asian Art Museum J. Paul Getty TrustNational Galleries of Scotland 200 Larkin Street 1200 Getty Center Drive Joseph May73 Belford Road Dean Gallery Room 2211 Suite 100 J. Paul Getty TrustEdinburgh, Scotland San Francisco, CA Los Angeles, CA 1200 Getty Center DriveEH4 3DS 94102 90049-1678 Suite 100UK USA USA Los Angeles, CArobert.galbraith@ gbailey@asianart.org jdonohoe@getty.edu 90049-1678 natgalscot.ac.uk USA Donald Battjes Michael Falarski jmay@getty.eduGraham Pellow Museum of Contemporary Art – Computer History MuseumNatural History Museum Los Angeles 1401 N. Shoreline Blvd. Mike McCaughinCrownwell Road 5905 Wilshire Blvd Mountain View, CA ProPM, Inc.London, England Los Angeles, CA 94043 3470 Mt. Diablo Blvd. Ste.A205SW75BD 90036 USA Lafayette, CAUK USA falarski@computerhistory.org 94549g.pellow@nhm.ac.uk dbattjes@lacma.org USA Jennifer Fragomeni mikem@propminc.comJack Plumb Joe Brennan Exploratorium San Francisco Museum of Randy MurphyNational Library of Scotland 3601 Lyon Street Modern Art Museum of Contemporary Art –George IV Bridge San Francisco, CA 151 Third St. Los AngelesEdinburgh, Scotland 94123 San Francisco, CA 250 S. Grand Ave.EH1 1EW USA 94103 Los Angeles, CAUK jfrago@exploratorium.edu USA 90012j.plumb@nls.uk jbrennan@sfmoma.org Mitchell Gaul USAHarry Wanless San Diego Museum of Art rmurphy@moca.orgBritish Library Greg Brown P.O. Box 12-2107 The Tech Museum of Innovation Ann Roche96 Euston Road San Diego, CA Rutherford & ChekeneLondon, England 201 South Market Street 91112-2107 San Jose, CA 427 13th Street, 2nd floorNW12DB USA Oakland, CAUK 95113 mwgaul@sdmart.org USA 94612harry.wanless@bl.uk USA gregb@thetech.org Oren Gray aroche@ruthchek.com J. Paul Getty Trust James Bullock 1200 Getty Center Drive J. Paul Getty Trust Michael Rogers Suite 100 J. Paul Getty Trust 1200 Getty Center Drive Los Angeles, CA Suite 100 1200 Getty Center Drive 90049-1678 Suite 100 Los Angeles, CA USA 90049-1678 Los Angeles, CA ogray@getty.edu 90049-1678 USA jbullock@getty.edu USA mrogers@getty.edu 11
  12. 12. IAMFA Members Directory 2005 Ernest Conrad Michael Giamber DELAWARE USA (cont’d) Landmark Facilities Group, Inc. National Gallery of Art – 252 East Avenue Washington John Castle CALIFORNIA (cont’d) Norwalk, CT 6th & Constitution Winterthur Museum, Garden 6855 Washington, DC and LibraryJeff Sheahan USA 20565 Building 69California Academy of Sciences econrad@lfginc.com USA Winterthur, DE Golden Park m.giamber@nga.gov 1973555 Concourse Drive George Conte USASan Francisco, CA Yale Center for British Art Joseph Neal Graham jcastle@winterthur.org94118 P.O. Box 208280 The Library of CongressUSA New Haven, CT 101 Independence Ave., S.E. Michael Downsjsheahan@calacademy.org 06520-8280 Room LM-225 Hagley Museum & Library USA Washington, DC P.O. Box 3630Gerry Socco george.conte@yale.edu 20540-9420 Wilmington, DEYerba Buena Center for the Arts USA 19807-0630701 Mission Street Richard Moore NGRA@LOC.GOV USASan Francisco, CA Yale University Art Gallery 27299@udel.edu94103-3138 P.O.Box 208271 Ron HawkinsUSA New Haven, CT Smithsonian Institutiongsocco@ybca.org 06520-8271 12th & Independence SW FLORIDA USA Washington, DC Herb LustigWill Spencer richard.moore@yale.edu 20024 INVISAJ. Paul Getty Trust USA John Rutchick Sarasota, FL1200 Getty Center Drive rhawkins@qfac.si.eduSuite 100 Mystic Seaport Museum, Inc.Los Angeles, CA 75 Greenmanville Avenue Fletcher Johnston PO Box 6000 Hirshhorn Museum & Sculpture GEORGIA90049-1678USA Mystic, CT Garden Kevin Streiterwspencer@getty.edu 6355 Independence Ave at 7th St. SW High Museum of Art USA Washington, DC 1280 Peachtree NELeonard Vasquez john.rutchick@mysticseaport.org 20560 Atlanta, GACharles M. Schulz Museum USA 303092301 Hardies Lane fletchj@hmsg.si.edu USASanta Rosa, CA DISTRICT OF COLUMBIA kevin.streiter@95403 Kenneth Olmstead woodruffcenter.org Daniel Davies Smithsonian InstitutionUSA Smithsonian Institutionleonard@schulzmuseum.org 750 Ninth Street NW 750 Ninth Street NW Room 5200, MRC 908 Ste. C300 HAWAIINils Welin Washington, DCCypress Security, LLC Washington, DC 20560 Robert White220 Sansome St. 20560-0201 USA Honolulu Academy of ArtsSuite 500 USA OlmstKe@opp.si.edu 900 South Beretania StreetSan Francisco, CA ddavies@opp.si.edu Honolulu, HI94104 Eugene Ramatowski 96814 Richard Day U.S. Holocaust Museum USAUSA Smithsonian Institution 100 Raoul Wallenburg Pl SW rwhite@honoluluacademy.orgMary Wong 10th and Constitution Ave NW Washington, DCJapanese American National Washington, DC 20024 Museum 20056 USA IOWA369 East First St. USA eramatowski@ushmm.org Day.Richard@NMNH.SI.EDU Ed MahlstadtLos Angeles, CA Kurt Sisson Des Moines Art Center90012 Robert Evans National Gallery of Art – 4700 Grand AvenueUSA Smithsonian Institution Washington Des Moines, IAmwong@janm.org Freer Gallery of Art & Sackler 6th & Constitution 50312 Gallery of Art Washington, DC USA 12th & Independence, SW 20565 emahlstadt@ CONNECTICUT Washington, DC USA desmoinesartcenter.orgJose Branco 20024 k-sisson@nga.govYale University Art Gallery USAP.O. Box 208271 robert.evans@asia.si.edu Michael Solfield ILLINOISNew Haven, CT Smithsonian Institution Wayne Field Thomas Barnes06520-8271 Washington, DC Smithsonian Institution Art Institute of ChicagoUSA USA 4720 Opp-Metro Support Branch 111 South Michigan Avenuejose.branco@yale.edu Washington, DC Chicago, IL 20560-0908 60603 USA USA fieldwa@opp.si.edu tbarnes@artic.edu12
  13. 13. IAMFA Members Directory 2005Brendan Berry MARYLAND John Lannon MICHIGANAdvantage Operations Boston Athenaeum125 East Monroe Alan Dirican 10 1/2 Beacon Street Denis BouchardChicago, IL Baltimore Museum of Art Boston, MA Detroit Historical Museums60603 10 Art Museum Drive 2108 5401 Woodward AvenueUSA Baltimore, MD USA Detroit, MIbberrjci@artic.edu 21218-3898 lannon@bostonathenaeum.org 48202 USA USAWilliam Caddick adirican@artbma.org Daniel Lohnes bouchardd@hist.ci.detroit.mi.usArt Institute of Chicago Essex Alarm & Security111 South Michigan Avenue Jeffrey Greene 7 Quincy ParkChicago, IL Banneker Douglas Museum Beverly, MA NEW HAMPSHIRE60603 84 Franklin St. 1915 Annapolis, MD David GrimardUSA USA 21401-2738 Currier Museum of Artwcaddick@artic.edu USA Michael Lynch 201 Myrtle WayPaul Huber greene@dhcd.state.md.us Simpson Gumpertz and Heger Inc. Manchester, NHAdvantage Operations 41 Seyon Street 31041831 Lewis Lane Richard Kowalczyk Building 1, Suite 500 USANew Lenox, IL Smithsonian National Air and Waltham, MA dgrimard@currier.org60451 Space Museum 2453USA 3904 Old Silver Hill Road USApshuber@telocity.com Building 10 NEW JERSEY Suitland, MD Emily MikolayunasCharles Ingles 20746-7012 Eric Carle Museum of Picture Ted ChappellAdvantage Operations USA Book ERCO Lighting Inc.111 South Michigan Avenue kowalczykr@si.edu 125 West Bay Rd. 160 Raritan Center ParkwayChicago, IL Amherst, MA Suite 1060603-6110 Robert Marino, P.E. 1002 Edison, NJUSA Mueller Associates, Inc. USA 8837chuck_ingles@msn.com 1401 S. Edgewood emilym@picturebookart.org USA Baltimore, MD t.chappell@erco.comAnthony McGuire 21227 James MoissonMcGuire Engineers USA Harvard University Art Museums Richard Stomber300 S. Riverside Plaza Rmarino@MuellerAssoc./com 32 Quincy St. Newark MuseumChicago, IL Cambridge, MA 49 Washington Street60606 2138 Newark, NJUSA MASSACHUSETTS USA 07102-3176tony@mcguireng.com james_moisson@harvard.edu USA Chris Carberry rstomber@newarkmuseum.orgDon Meckley Massachusetts Historical Society Robert MonkMuseum of Contemporary Art – 1154 Boylston Street Peabody Essex Museum Chicago Boston, MA East India Square NEVADA220 E. Chicago Ave. 2215 Salem, MAChicago, IL USA 1970 Kenneth Christian60611 ccarberry@masshist.org USA Nevada Museum of ArtUSA robert_monk@pem.org 160 West Liberty St. Charlie Cochrane Reno, NVdmeckley@macchicago.org Cochrane Ventilation Inc. William Powers III 89501Jennifer Christakes 154 West Street Clark Art Institute USAMuseum of Science and Industry Wilmington, MA 225 South Street christian@nevadaart.org57th Street & South Lake Shore 1887 Williamstown, MA Drive USA 1267 Aurore GiguetChicago, IL iaqcvi@aol.com USA UNLV Marjorie Barrick Museum60637 bpowers@clarkart.edu 4505 Maryland Parkway David Geldart Las Vegas, NVUSA Museum of Fine Arts – Boston John Stark 89154Jennifer.Christakes@ 465 Huntington Avenue Eric Carle Museum of Picture USA msichicago.org Boston, MA Book gigueta@unlv.edu 2115 125 West Bay Rd. INDIANA USA Amherst, MA dgeldart@mfa.org 1002 NEW YORKSteven Ernest USAIndianapolis Museum of Art James Labeck William Esposito johns@picturebookart.org Ambient Group, Inc.4000 Michigan Road Isabella Stewart Gardner MuseumIndianapolis, IN 2 Palace Road 55 W 39th St. Peter Stein 12 Floor46208 Boston, MA Sensicast Systems, IncUSA 2115 New York, NY Needham, MA 10018sernest@ima.art.org USA USA jlabeck@isgm.org USA 13
  14. 14. IAMFA Members Directory 2005 David Leach RHODE ISLAND Ken Myers USA (cont’d) Columbus Art Museum Valentine Richmond History 480 East Broad St. Curtis Genga Center NEW YORK (cont’d) Columbus, OH Preservation Society of Newport 1015 East Clay Street 43215 County Richmond, VADaniel Gelman USA 424 Bellevue Ave. 23219Lighting Services Inc. dleach@cmaohio.org Newport News, RI USA2 Kay Fries Drive 2840 kenmyers@Stony Point, NY Douglas Bowerman USA richmondhistorycenter.com10980-1996 Allentown Art Museum cgenga@newportmansions.orgUSA Fifth and Count Street Tom Peck P.O. Box 388 Colonial WilliamsburgMark Malekshahi Allentown, PA SOUTH CAROLINA FoundationCosentini Associates 18105-0388 P.O.Box 1776 William Taylor2 Penn Plaza USA Williamsburg, VA Cultural Facilities ManagementNew York, NY operations@ 23187-1776 Group10121 allentownartmuseum.org USA 385 S. Spring StreetUSA Spartanburg, SC tpeck@cwf.org PENNSYLVANIA 29306Daniel McCormick USAGeorge Eastman House Walt Crimm biltay@spartanarts.org WASHINGTON900 East Avenue Ewing Cole Cherry Brott Jeffrey ToshRochester, NY 100 North Sixth St. Seattle Art Museum14607 TENNESSEE 6th Fl 100 University StreetUSA Philadelphia, PA Steve Kirby Seattle , WAThomas Scally 19106 Frist Center of the Visual Arts 98101-2902Metropolitan Museum Of Art USA 919 Broadway USA1000 5th Avenue wcrimm@ewingcole.com Nashville, TNNew York, NY Vince DiPiero 3720310028 USA WISCONSIN Allied SecurityUSA 3606 Horizon Drive skirby@fristcenter.org Larry Bannistertom.scally@metmuseum.org King of Prussia, PA Milwaukee Public Museum 19406 800 W. Wells StreetThomas Shannon USA TEXAS Milwaukee, WIThe Morgan Library 53233 vince.dipiero@alliedsecurity.com Bruce Causey29 East 36th St. USANew York, NY Corporate Care Robert Morrone 3530 West T. C. Jester Blvd. bannister@mpm.edu10016 Philadelphia Museum Of ArtUSA Houston, TX P.O.Box 7646 77018 Spence Stehnotshannon@morganlibrary.org Philadelphia, PA Milwaukee Public Museum USA 19101-7646 bcausey@corporatecare.com 800 W. Wells StreetFrantz Vincent USA Milwaukee, WIBrooklyn Museum of Art rmorrone@philamuseum.org 53233 Henry Griffin200 Eastern Parkway USA Museum of Fine Arts – HoustonBrooklyn, NY Peter Poncheri Jr. spence@mpm.edu PO Box 682611238 Foundation for the Reading Houston, TXUSA Public Museum 77265-6826frantz.vincent@ 500 Museum Rd USA This list reflects brooklynmuseum.org Reading, PA hgriffin@mfah.org 19611-1425 membership dues USA paid as of OHIO pete356@aol.com VIRGINIA September 2, 2005.Tom Catalioti Richard Reinert Brett ChubbCleveland Museum of Art Affiliated Building System Mariner’s Museum Although we do our best to11150 East Blvd 2600 Benjamin Franklin Pkwy 100 Museum DriveCleveland, OH ensure that our Directory Philadelphia, PA Newport News, VA44106 information is as up-to-date 19130 23606USA USA USA as possible, errors andcatalioti@cma-oh.org omissions can always occur. Jim Sutton James Lee If you would like to makeIan Herron Philadelphia Museum of Art Lee Construction Consultants LLCCleveland Museum of Art Benjamin Franklin Parkway any changes to your listing, 700 East Main Street11150 East Blvd PO Box 7646 Suite 1503 please contact Jim Moisson atCleveland, OH Philadelphia, PA Richmond, VA44106 james_moisson@harvard.edu 19101-7646 23219-2604USA USA USA Thank you very much.herron@cmaoh.org jsutton@philamuseum.org jlee@lee-cc.com14

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