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 9NUMBER 2   ...
Letter from the EditorJoe May — Editor, PapyrusGreetings from Los Angeles!                changes were good, and Jim Bullo...
Message from the President                                  Mot du président                               Mensaje del Pre...
Message from the President —                         Mot du président –                            Mensaje del Presidente ...
relevance for our Association. It will       créer des réseaux de l’IAMFA partout       seguiré forjando las redes de IAMF...
The Smithsonian’s Approach To                  Condition Assessment—         Deferred Maintenance Parametric Estimating   ...
Ratings vary from “1” (functional failure has occurred                   The final step is to associate the condition rati...
Transformation at the                                                     Los Angeles County Museum of Art                ...
Become a Member of the IAMFA                              and Get a Friend to JoinOn behalf of the membership and Board, w...
IAMFA Annual Conference • September 14 –17   Congrès annuel de l’IAMFA • Du 14 au 17 septembre  Conferencia Anual de la IA...
digital laser projectors in the world —       dans l’espace s’effectue avec une netteté      una claridad asombrosa al via...
IAMFA Annual Conference • Congrès annuelHistory of the National                       National Gallery, Londres           ...
de l’IAMFA • Conferencia Anual de la IAMFA   consider Wilkins’ proposals and agreed       propositions de M. Wilkins, conv...
IAMFA Annual Conference, National Gallery     Congrès annuel de l’IAMFA, National             Conferencia Anual de la IAMF...
absurdities and bad taste of the                    de l’extérieur […] Il est pénible                   Las salas . . . es...
IAMFA Annual Conference                                               Congrès annuel de l’IAMFA                           ...
Regional ChaptersPhiladelphia Chapter                                                energy and to the city               ...
Regional Chapters, Ottawa-Gatineau — continued from page 17   Our second tour was of the area under construction on       ...
Papyrus Summer 2008
Papyrus Summer 2008
Papyrus Summer 2008
Papyrus Summer 2008
Papyrus Summer 2008
Papyrus Summer 2008
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Papyrus Summer 2008

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Papyrus Summer 2008

  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 9NUMBER 2 PAPYRUS Time is running out to register for SUMMER 2008 IAMFA LONDON 2008 14 –17 September You know you want to be there! http://www.iamfa.org/ August 13, 2008 – cut-off date has been extended for the special hotel rates 13 août 2008 – date limite repoussée quant aux tarifs spéciaux de l’hôtel 13 de agosto de 2008 – la fecha límite se ha extendido para las tarifas especiales de hotel August 20, 2008 – cut-off date for early-bird conference rate 20 août 2008 – date limite du tarif « Réservez-tôt » au congrès 20 de agosto de 2008 – fecha límite para la tarifa de preinscripción de la conferencia INSIDE THIS ISSUE Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 IAMFA Annual Conference / Congrès annuel de l’IAMFA / Message from the President / Mot du président / Conferencia Anual de la IAMFA . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Mensaje del Presidente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Regional Chapters Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Smithsonian’s Approach To Condition Assessment— Member News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Deferred Maintenance Parametric Estimating . . . . . . . . . . . . . . . 6 IAMFA Members—Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Transformation at the Los Angeles County Museum of Art . . . . 8
  2. 2. Letter from the EditorJoe May — Editor, PapyrusGreetings from Los Angeles! changes were good, and Jim Bullock, disappointing change, given the friend-The English writer Alexandra Louise the Getty’s Director of Facilities, deserves ships that I have developed with IAMFA the credit for improving the Facilities members over the past seven years.Breed said, “When change stops, you’re Department while managing these But, like most changes that we face,dead.” As busy as we are dealing with changes. Many of you met Jim in 2006 when we embrace them, the outcomechanges at our institutions, her words when Los Angeles hosted the annual can be very positive. My immediatecan serve as a reminder to embrace conference. Jim is a true professional, plans are to assist others to achievechange! We deal with change all the someone I am proud to know, and LEED certification. I believe this is atime as facilities professionals; and someone from whom I learned a lot worthy pursuit, and one that manysometimes when it happens, it happens over the years. At the start of 2008, IAMFA members will want to focusfast, and we’d better be ready! Embrace Jim Bullock retired as Director of on in the future. Cultural institutions,it, and change keeps things fresh, it Facilities: a change that the Getty Trust because of their limited funding sources,keeps life interesting, it keeps us from had to address. During Jim’s tenure, in will be asked to reduce operationalgetting bored with the same old thing addition to reducing operation costs costs. We can turn this challengeday after day. Let me share a few by 20%, the Getty Center became around and lead by example in thesignificant changes with you. the first facility in the USA to become upcoming years as we see a Greening You will notice a few changes with LEED-EB (Leadership in Energy andthis edition of Papyrus. We all want in our society. The Green movement Environmental Design, Existing BuildingIAMFA to grow and prosper, and to is a change that we must all support category) certified, following the LEEDattract more international, and pos- to preserve the fundamentals of exis- pilot program. LEED-EB is administeredsibly non-English-speaking, members. tence for future generations. Many by the U.S. Green Building CouncilBecause of this, you will see more of you have already taken steps to (www.usgbc.org). In April of this year,Spanish and French text alongside become Greener, but we can all do the Getty Center achieved another firstEnglish in this edition. You will also more. Those of you that haven’t, by becoming the first facility in thesee information in this edition about embrace the change, and join the nation to be recertified in LEED, thisthe fall annual conference in London. time at the higher “Silver” level. Jim movement to Green your facilities.The hosts are busy looking at ways Bullock, his staff, and the J. Paul Getty So fellow members, while myto provide simultaneous translations Trust are very proud of this accomplish- future has greater uncertainty, I dointo French and Spanish at this year’s ment. I am grateful that Jim asked me to look forward to the future. I wish allconference for an expected increase be project administrator for the LEED of you the best, and I look forward toin non-English speaking attendees. project. I really do believe it is one of seeing you in London. The plans forThese are good changes that should the most important projects that can the conference are spectacular!help our organization grow. be undertaken by an organization. I would like to finish by thanking As you know, The J. Paul Getty Trust There is another change I must all of you who contributed to thishas been my home for the past seven tell you about. In May of this year the edition of Papyrus—please enjoy it,years, and it has been a catalyst for Getty Trust eliminated me, my depart- and I hope you learn something newmany changes. This is the seventh year ment, and over one hundred other while reading it.that the Getty has participated in the positions to reallocate funds. Yes,annual IAMFA Benchmarking Exercise. change can be abrupt! While this Joe MayDuring that time, the Getty Trust sig- change (my departure) does not have Secretary, IAMFA and Editor of Papyrusnificantly reduced building operation an immediate impact on my positioncosts to bring them in line with the as IAMFA Secretary and Papyrus If you have articles for future issues,average operation cost per square foot Editor, it will possibly have an effect please send them to my new e-mailof other member institutions. These in the long term. In one way, this is a address, joemay001@hotmail.com2
  3. 3. Message from the President Mot du président Mensaje del Presidente Guy Larocque President / Président / Presidente, IAMFAIn the Service of IAMFA Au service de l’IAMFA Al de IAMFAThis is my last address to you in Ce sera mon dernier article dans Este es el último discurso que les dirijoPapyrus as President of IAMFA. As you Papyrus à titre de président de l’IAMFA. en Papyrus como Presidente de IAMFA.know, I will not be seeking re-election Comme vous le savez sans doute, je Como saben, no buscare la reelecciónto the Board of Directors at this fall’s ne solliciterai pas de nouveau mandat a un cargo en la Junta Directiva estebusiness meeting during the London au conseil d’administration à notre otoño en nuestra sesión de trabajoconference. It has been an honour and séance de travail, cet automne, à la durante la conferencia de Londres. Haa privilege to serve you, the members, conférence à Londres. Ce fut pour moi sido un honor y un privilegio servirlesduring these past few years. I greatly un honneur et un privilège de vous a ustedes, los miembros, durante estosappreciate the confidence that you servir et de travailler avec vous, les últimos años. Agradezco enormementehave shown in allowing me to lead a membres, au cours des dernières la confianza que han mostrado al per-group of museum facility professionals années. J’apprécie la confiance que mitirme dirigir un grupo tan magníficowith such integrity. I am proud of the vous m’avez manifestée quand vous de profesionales de instalaciones degreat strides that IAMFA has accom- m’avez élu pour diriger ce groupe museos de tanta integridad. Me enor-plished with your support, enthusiasm de professionnels de musée de la gullecen los grandes avances que haand tenacity, and I feel very privileged plus haute intégrité. Je suis très fier logrado IAMFA con su apoyo, entu-to be associated with you. des grands progrès que l’IAMFA a siasmo y tenacidad y me siento muy Together, we have accomplished so accomplis grâce à votre soutien, à privilegiado de estar asociado a ustedes.much during these past four years— votre enthousiasme et à votre ténacité Juntos, hemos logrado muchísimostarting with our strategic planning et je me sens très privilégié d’être durante los últimos cuatro años. Empe-workshop in Bilbao, where we laid associé à vous. zando por nuestro taller de planifica-the groundwork for IAMFA’s priorities Ensemble, nous avons accompli ción estratégica celebrado en Bilbao, enduring the ensuing five years. Since d’énormes progrès au cours des quatre el que realizamos el trabajo preliminarthen, we have increased our member- dernières années. À notre atelier de para las prioridades de la IAMFAship by 10% per year to about 200 mem- planification stratégique, à Bilbao, nous durante los siguientes cinco años. Desdebers in eight countries. Participation avons jeté les bases des priorités de entonces hemos aumentado nuestroin the annual Museums Benchmarking l’IAMFA pour les cinq années suivantes. número de miembros en un 10% alsurvey has increased to over 60 partici- Depuis, l’effectif de notre association año hasta alcanzar 200 miembros enpants, thanks to the good work and a augmenté de 10 % par année et ocho países. Hemos incrementado lasupport of the IAMFA Benchmarking nous comptons aujourd’hui quelque participación en la encuesta anual deCommittee. A Display Energy Certificate 200 membres dans huit pays. Au cours Evaluación comparativa de museos awas developed by IAMFA’s Building des dernières années, grâce à l’excellent más de 60 participantes durante losLabelling Committee. We have started travail et au soutien du comité de últimos años, gracias al gran trabajopublishing our once English-only l’analyse comparative de l’Association, y apoyo del Comité de EvaluaciónPapyrus newsletter with articles written nous avons réussi à accroître à plus de Comparativa de IAMFA. El Comité dein French and Spanish as well. We are 60 le nombre de participants au sondage Etiquetado de Edificios de IAMFA creóalso now publishing this newsletter in annuel sur les indices de référence. un Certificado de Energía de Muestra.full colour. A Yahoo Group was set up Le comité d’appellation des édifices Hemos empezado a publicar nuestroon IAMFA’s website to provide a secure de l’Association a créé un certificat boletín informativo Papyrus, anterior-members-only discussion forum. In d’énergie. Notre bulletin d’information, mente sólo en inglés, con artículos continued on page 4 suite à la page 4 sigue en la página 4 3
  4. 4. Message from the President — Mot du président – Mensaje del Presidente –continued from page 3 suite de la page 3 viene de la página 3addition, IAMFA has recently become Papyrus, jadis publié en anglais seule- escritos también en francés y español.affiliated with the International Council ment, compte aujourd’hui des articles Asi mismo estamos publicando ahoraof Museums (ICOM), which has resulted en français et en espagnol ainsi que este boletín a todo color. Se creó unin increased international exposure and des images en couleurs. Dans le site grupo de Yahoo en el sitio Web de Web de l’Association, nous avons créé IAMFA para ofrecer un foro de debate un groupe Yahoo pour offrir un forum seguro sólo para miembros. IAMFA se IAMFA/ Papyrus de discussion sécurisé accessible aux ha afiliado recientemente al Consejo SUMMER 2008 membres seulement. L’IAMFA s’est Internacional de Museos (ICOM), lo récemment associée au Conseil inter- cual ha dado como resultado una mayor Editor Joe May national des musées (ICOM), ce qui exposición y relevancia para nuestra a permis d’accroître la pertinence et la asociación en el ámbito internacional. Papyrus Correspondents visibilité internationales de notre asso- Será importante hacer un seguimiento Donald Battjes ciation. Il sera important d’assurer le de estos logros para que la IAMFA Joe Brennan John de Lucy suivi de ces réalisations pour veiller à la pueda seguir sobreviviendo y desarrol- Merida Fitzgerald survie et au développement de l’IAMFA lándose como asociación profesional. Jennifer Fragomeni en tant qu’association professionnelle. El éxito que IAMFA ha tenido durante David Geldart L’IAMFA n’aurait pas pu connaître los últimos años no habría podido Larry Grauberger Guy Larocque tout ce succès sans le dévouement et lograrse de no ser por el duro trabajo Ian MacLean les efforts assidus de mes collègues y la dedicación de mis compañeros de Joe May membres du conseil d’administration. la Junta Directiva. Me gustaría reconocer James Moisson Jim Moisson a amélioré l’intégrité et la las enormes contribuciones de Jim Patricia Morgan transparence des comptes de l’IAMFA et Moisson, que ha mejorado la integridad Rich Reinert Charles Saumarez Smith/Charles Ross la tenue des données sur nos membres y la transparencia de las cuentas de Kevin Streiter au fil des années. Richard Kowalczyk IAMFA y el mantenimiento de los Stacey Wittig a contribué des solutions pratiques et datos de los miembros a lo largo de Design and Layout ingénieuses à la gestion du site Web et los años, a Richard Kowalczyk, que ha Phredd Grafix a exercé un jugement exemplaire dans contribuido con soluciones inteligentes l’administration de l’Association. John y prácticas para la gestión del sitio Web Translation Dominique Fortier, Valencia Léger (French) de Lucy a mis à contribution sa vaste y su criterio sólido en la administración Carmen Pelaez (Spanish) expérience dans les milieux internatio- de la Asociación, a John de Lucy, que ha naux et sa capacité d’influence pour contribuido con su amplia experiencia Editing favoriser la croissance de notre effectif. en círculos internacionales y en apti- Artistic License (English) Fernando Pascal (Spanish) Je ne saurais oublier Dan Davies, qui tudes de influencia para promover el a récemment quitté le Conseil, et son crecimiento de nuestra membresía, a Printed in the U.S.A. by extraordinaire dévouement ainsi que Dan Davies, que se retiró recientemente Lake Litho sa créativité novatrice pour la produc- de la Junta, por su tremenda dedicación ISSN 1682-5241 tion de notre bulletin Papyrus et enfin, e innovaciones creativas en la produc- Joe May qui atteint avec Papyrus de ción del boletín informativo Papyrus, nouveaux sommets d’excellence depuis y a Joe May, que ha llevado Papyrus qu’il est devenu membre du Conseil. a nuevas cotas de excelencia desde Je suis plein d’admiration à l’égard du que ocupó el cargo de miembro de travail prodigieux et de l’engagement la Junta. Como miembros voluntarios dont ils font preuve, à titre de membres de la Junta, los admiro por todo su Statements of fact and opinion are made on the responsibility of authors alone and bénévoles du Conseil, et de l’attention duro trabajo y compromiso para hacer do not imply an opinion on the part of the apportée à l’essor de l’IAMFA. Je que la IAMFA tenga el éxito del que editors, officers, or members of IAMFA. The editors of IAMFA Papyrus reserve the right continue de chérir la camaraderie que disfruta actualmente y seguiré valorando to accept or to reject any Article or nous avons partagée au fil des ans. la camaradería que compartimos advertisement submitted for publication. C’est donc avec tristesse que je durante años. While we have made every attempt to ensure that reproduction rights have been acquired quitte mon poste au Conseil. J’ai hâte Por tanto, me entristece dejar mi for the illustrations used in this newsletter, toutefois de continuer mon travail puesto en la Junta, pero aguardo con please let us know if we have inadvertently overlooked your copyright, and we will rectify au sein du comité international de interés continuar mi trabajo en el the matter in a future issue. l’Association où je m’emploierai à Comité Internacional de IAMFA, donde4
  5. 5. relevance for our Association. It will créer des réseaux de l’IAMFA partout seguiré forjando las redes de IAMFAbe important to follow up on these dans le monde et à trouver des occa- en todo el mundo e intentaré atraeraccomplishments, in order for IAMFA sions d’accroître l’effectif de notre nuevas oportunidades de crecimientoto continue to survive and develop as association. Pour terminer, je voudrais de nuestros miembros. Invito a todosa professional association. inviter tous les membres de l’IAMFA à los miembros de IAMFA a participar The success that IAMFA has enjoyed s’impliquer davantage dans les activités más en las actividades y conferenciasover these past few years could not de l’Association, notamment aux confé- de nuestra asociación, a contribuir enhave been accomplished were it not rences, en contribuant des articles à artículos de Papyrus y en la creaciónfor the hard work and dedication of Papyrus et en tissant des liens avec de redes de contacto con otras insti-my fellow Board members. I would d’autres établissements culturels. tuciones culturales. Siempre se nece-like to acknowledge the tremendous L’Association aura toujours besoin de sitarán sus contribuciones en serviciocontributions of Jim Moisson, who has vous pour grandir et s’améliorer. de IAMFA.improved the integrity and transparencyof IAMFA’s accounts and the keeping Guy Larocque, ing. Guy Larocque, Ingenieroof membership data over the years; Président, IAMFA Presidente, IAMFARichard Kowalczyk, who has contrib-uted intelligent and practical solutionsto the management of the website and IAMFA Board of Directors Regional Chaptershis sound judgment in the administra- Atlanta, U.S.A. Presidenttion of the Association; John de Lucy, Guy Larocque Kevin Streiter, High Museum of Artwho has contributed his extensive Canadian Museum of Civilization Australiaexperience in international circles and and Canadian War Museum Kim Reason, Museum Victoriainfluence skills to promote the growth of Gatineau, Canadaour membership; Dan Davies, recently guy.larocque@civilization.ca Bilbao, Spainretired from the Board, for his tremen- Rogelio Diez, Guggenheim Museumdous dedication and creative innovations V.P., Administration Chicago, U.S.A. Richard Kowalczykin producing the Papyrus newsletter; Smithsonian Institution William Caddick, Art Institute of Chicagoand Joe May, who has taken Papyrus Washington, D.C., USA Hawaii, U.S.A.to new heights of excellence since kowalczykr@nasm.si.edu Robert White, Honolulu Academy of Artsbecoming a Board member. As volun-teer Board members, I admire them for V.P., Regional Affairs Los Angeles, U.S.A. John de Lucy Joe Mayall of their hard work and commitmentto making IAMFA the success that it is The British Library New England, USA London, U.K. John H. Lannon, Boston Athenaeumtoday, and I will continue to cherish john.delucy@bl.ukthe camaraderie that we have shared New York, USAover the years. Treasurer Mark Demairo, Neue Galerie So, it is with sadness that I leave my Jim Moisson New Zealandposition on the Board, but I look for- Harvard University Art Museums Patricia Morgan, Auckland Art Galleryward to continuing my work on IAMFA’s Cambridge, MA, USAInternational Committee, where I will james_moisson@harvard.edu Ottawa-Gatineau, Canada Ian MacLean, Canada Science andcontinue to forge IAMFA’s networks Secretary and Papyrus Editor Technology Museum Corporationacross the globe and try to attract Joseph Maynew opportunities for growth in our Sustainability Engineer Philadelphia, U.S.A.membership. I invite all members of Richard Reinert, Philadelphia Museum Los Angeles, CA, USA of ArtIAMFA to become more involved with joemay001@hotmail.comour Association activities, conferences, San Francisco, U.S.A.Papyrus articles and networking with Chairman — Conference 2008 Joe Brennan, San Francisco Museum ofother cultural institutions. Your contri- John de Lucy Modern Art The British Librarybutions will always be needed in the United Kingdom London, United Kingdomservice of IAMFA. Bill Jackson, National Library of Scotland, john.delucy@bl.uk EdinburghGuy Larocque, P. Eng. For additional contact information, Washington/Baltimore, USAPresident, IAMFA please visit our website at Robert Evans, Hirshhorn Museum & www.iamfa.org Sculpture Garden 5
  6. 6. The Smithsonian’s Approach To Condition Assessment— Deferred Maintenance Parametric Estimating By Larry GraubergerFor the past decade, the Smithsonian Institution has been facilities includes the National Zoo and animal conservationperforming detailed, traditional Facility Condition Assessments research center, a tropical research institute in Panama,(FCA), incorporating the principles of Reliability-Centered an environmental research center on Chesapeake Bay inMaintenance (RCM) into the process. In 2007, we changed Maryland, and astrophysical observatories in Arizona andour approach to condition assessments, and adopted the Hawaii. This diversity leads to a wide range of facility typesDeferred Maintenance (DM) Parametric Estimating technique and sizes—from public museums and galleries to collectionto calculate DM—the backlog of maintenance and minor storage, laboratories and research, housing and dormitories,repair costs—as well as the System Condition Index (SCI), animal enclosures, and other support facilities. Our newand Facility Condition Index (FCI). The maintenance, repair approach allows us to survey and assess the condition ofand upgrading of Smithsonian facilities is primarily funded this wide variety of maintained property within a relativelyby the U.S. Congress (some private funding is used for major short period of time.upgrades), which puts the Smithsonian in competition withother federal agencies for U.S. taxpayers’ dollars. As a result, The Deferred Maintenance Approachwe adopted an approach used by other federal agencies, Traditional condition assessments were project-driven.defining the condition of our facilities in terms of deferred Specific deficiencies were identified, and the cost to correctmaintenance and FCI. these deficiencies was established. Unfunded projects then The Smithsonian extends well beyond the museums on became our maintenance and repair backlog. The approachthe Mall in Washington, D.C., with a scientific research and now used is based on a rating of the overall condition ofeducation mission throughout the world. We have over 600 eight systems in a facility, and an application of parametersfacilities and over 950,000 gross square meters to maintain. correlating this condition rating to a degree of deterioration,In addition to the museums in the Washington D.C. area and and then to the value of the facility. The result is an amountNew York (Cooper-Hewitt Design Center), our inventory of of deferred maintenance expressed in dollars (USD).The Smithsonian Castle6
  7. 7. Ratings vary from “1” (functional failure has occurred The final step is to associate the condition rating to thisand replacement is required) to “5” (is fully functional and distributed CRV. This is done using established weightingwill continue to be so with routine maintenance). The factors for each condition rating and for each system. Usingeight systems rated are: RSMeans™, the System Condition CRV percentage values • Structure were developed by comparing cost estimates for various • Exterior levels of facility system repair work to cost estimates for • Roofing facility system construction. This allows the calculation • HVAC of Deferred Maintenance to take into account a “degree • Electrical of significance” for the severity of deterioration within • Plumbing each system. Both a System Condition Index (SCI) and a • Conveyances Facility Condition Index (FCI) can then be calculated. • Interior FCI = [1 – (DM/CRV)] X 100%.A facility can thus be scored by rating each of the eight The Resultssystems from one to five, using the criteria below (or zero In 2007, the Smithsonian had a total Current Replacementif a specific system does not exist; i.e., no elevators). Value of 5.3 billion USD and a total Deferred Maintenance of 778 million USD, which resulted in a FCI of 85.3%. Using criteria from other federal agencies and APPA, an FCI below Condition Rating Criteria 90% is considered to be in the “Poor” condition category. The three systems that fared the worst were Roofing (60.4%), 55 Excellent Normal preventive maintenance required. HVAC (70.5%) and Conveyances (82.3%). The components 4 Good Some minor repairs could be required. Safe to in the best condition were Structure (95.4%) and Interior 4 use, meets all codes. (93.9%). The $778 million in Deferred Maintenance represents 3 3 Fair More minor repairs required. Wear and tear the degree of deterioration that has occurred in a dollar noticeable. Meets most codes. amount. Another way to look at this number is as the amount 2 Poor Significant repairs required. Broken elements. we would have to invest in our facilities to raise them from 2 Wear and tear excessive. their current state to an overall Good (5) condition. 11 Bad Replacement required. Unsafe to use. Pros and Cons We, as facility managers, have an intuitive sense of what The other key component is establishing a Current condition our facilities are in. The problem rests in quanti-Replacement Value (CRV) for a facility. This is a difficult fying this condition and communicating it to the budgetbut key step (what, for example, would be the cost of and finance people. This approach does that. In FY2009,replacing the Smithsonian Castle on the Mall?). Fortunately, the Smithsonian is expecting a substantial increase in main-we have recent construction data from our new National tenance and revitalization funding, based in part on thisMuseum of the American Indian, and from our new Air and data. This approach will not tell you which specific repairSpace Museum in Virginia. However, collecting realistic or replacement projects are needed, but it will direct youcost data for the wide variety and location of our facilities to the facilities and systems that need the most attention. Inrequired research into published cost indices such as the our case, our Capital Revitalization Program is now lookingEngineering News Record Building Cost Index, recent real at directing more funding to repairing Roofing and HVACestate assessments (New York), and GSA square-meter cost systems, and to the buildings that need this attention. Itdata for similar types of facilities. The real value of the CRV can be easily kept up to date, as upgrades are made andis to assign a degree of significance to a facility. periodic resurveys can be done using 2007 as a base year. Once a CRV is established, it is distributed over the eight This approach does need a fairly large inventory ofsystems, depending upon the type of building. This is where facilities to make the data statistically significant. If anyou have the flexibility to give weight to certain systems, organization has one or two large facilities, it is better todepending upon the type and use of the facility. For example, identify the projects that are needed to correct deficienciesfor a laboratory you may want to give a higher percentage and develop a backlog from this list of projects. Thisdistribution to your HVAC, Electrical and Plumbing systems, backlog can be updated as needs are identified and anyand reduce the significance of Interior. For collection storage, unfunded projects then become deferred maintenance.we gave increased weight to Roofing and HVAC, due tothe contents of these facilities, and for museums the same Larry Grauberger, P.E. CMRP, is in the Systems Engineeringfor Interior as well. We developed 35 separate facility types Division, Office of Facilities Management and Reliability, atwith varying distribution of the CRV. the Smithsonian Institution in Washington, D.C. 7
  8. 8. Transformation at the Los Angeles County Museum of Art By Donald Battjes The Los Angeles County Museum of Art Phase I opened in February 2008, • Reconfiguration of the Ahmanson (LACMA) recently announced “Trans- and included: Building, with major refurbishments formation”: a three-phase expansion to the central atrium and the addi- and renovation project which will dra- • The Broad Contemporary Art tion of a grand staircase that has matically change LACMA’s six-building, Museum, BCAM: a new building reorganized the flow of visitors 20-acre campus over the next ten years, with 60,000 square feet of gallery through the building. The plaza level unifying it into a coherent whole. space specifically designed to exhibit of the building included reinstallation Key elements include creation of modern and contemporary art. of the Museum’s collection of Modern the Broad Contemporary Art Museum • The BP Grand Entrance: an 8,100- Art, featuring paintings, sculpture (BCAM) at LACMA, with some 60,000 square-foot, open-air pavilion which and works on paper by artists such square feet of gallery space dedicated will serve as the Museum’s main as Picasso, Kandinsky, and Matisse. to modern and contemporary art; the entrance, orientation space, and The reinstalled floor will also include creation of additional galleries, public public art plaza. galleries devoted to German and spaces, and gardens; site-specific out- Austrian Expressionism and Abstract door artworks; new parking facilities; • Chris Burden’s Urban Light: an Expressionism. a trans-campus concourse linking the installation of more than 200 • A new parking garage on two east and west sides of the grounds; antique, cast-iron street lamps underground levels, allowing for and the revitalization and reinstallation recovered from Los Angeles, the expansion of Hancock Park of the Ahmanson Building, including powered by solar panels installed and connected green spaces the addition of a grand staircase to atop the BP Grand Entrance. above ground. organize the flow of visitors through • Robert Irwin’s palm garden, which the building. In addition, by freeing Donald Battjes is Chief of Operations & uses carefully-selected palm trees gallery space in the existing museum Facility Planning at the Los Angeles to build upon the architectural rigor buildings, the creation of BCAM will County Museum of Art in California. of Renzo-Piano’s design, creating a enable LACMA to reconfigure and natural space surrounding BCAM reinstall much of its permanent collec- RENZO-PIANO BUILDING WORKSHOP and the BP Grand Entrance. tion, giving new prominence to the art of Latin America and Asia. Project • The Dona S. and Dwight M. Kendall architect for the first two phases of Concourse: a covered walkway link- Transformation is the Renzo-Piano ing the eastern and western sections Building Workshop. of the 1/3-mile-long campus.RENZO-PIANO BUILDING WORKSHOP Broad Contemporary Art Museum at the Los Angeles County Museum. RENZO-PIANO BUILDING WORKSHOP BP Grand Entrance of the Los Angeles The Los Angeles County Museum of Art site plan. County Museum. 8
  9. 9. Become a Member of the IAMFA and Get a Friend to JoinOn behalf of the membership and Board, we invite you to Membership Opportunitiesjoin with other museums and cultural organizations through-out the world in becoming a member of the only organization Join the IAMFA at any of the following levels and enjoy fullexclusively devoted to museum and cultural facility admin- benefits of membership:istrators: the International Association of Museum Facility Regular Member — $150 annually. A regular memberAdministrators (IAMFA). As a member, you will join a growing holds the position of principal administration in directlist of museum and cultural facility administrators in their charge of the management of facilities, and represents theirefforts to provide a standard of excellence and quality in institution(s) as a member of the association.planning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varieties Associate Member — $50 annually. An associate memberof programming. is a full-time facilities management employee (professional, The Association currently has representation in several administrative or supervisor), below the level of the facilitycountries on three continents. Our goal is to increase administrator of the member association.membership in institutions throughout the world. Affiliate Member — $50 annually. An affiliate member is Your involvement in the IAMFA will continue the growth any full-time employee of a member institution who is notof the organization and provide you with excellent educational directly involved in the facilities management department.and networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA. Subscribing Member — $300 annually. A subscribing member is an individual, organization, manufacturer ofCordially yours, supplier of goods services to the institutions who ascribesThe Board of the International Association to the policies and programmes of the Association, andof Museum Facility Administrators wishes to support the activities of the Association. Send in your membership dues by using the convenient form below. Membership payments and conference registration can also be made online at www.IAMFA.org Don’t forget to make a copy to give to a colleague. ¡ YES! I would like to join the IAMFA as a: Ⅺ I am interested in joining. Ⅺ Regular Member $150 Ⅺ Associate Member $ 50 Please have a member Ⅺ Affiliate Member $ 50 Ⅺ Subscribing Member $300 contact me. Institution: __________________________________________________________________________________________________________________ Name: ______________________________________________________________________________ Title: ________________________________ Address: ____________________________________________________________________________ City: _________________________________ State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________ Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________ ALL FEES ARE PAYABLE IN U.S. DOLLARS Please remit to: International Association of Museum Facility Administrators Ⅺ I enclose a check in the amount of $ ____________________ P.O. Box 277 Groton, MA 01450, USA Ⅺ Please invoice me Website: www.iamfa.org 9
  10. 10. IAMFA Annual Conference • September 14 –17 Congrès annuel de l’IAMFA • Du 14 au 17 septembre Conferencia Anual de la IAMFA • 14 -17 de septiembreWe have some fantastic venues Nous disposons de lieux fantas- Tenemos unos lugares fantásticosfor the IAMFA 2008 London tiques pour le congrès 2008 de para la conferencia de Londresconference. Here is a taste of l’IAMFA à Londres. Voici un aperçu de la IAMFA 2008. Aquí tienenjust three of the venues we will de trois des endroits que nous una muestra de sólo tres debe visiting in September. See the visiterons en septembre. Voir le los lugares que visitaremos enwhole conference programme programme complet du congrès septiembre. El programa completoat http://www.iamfa.org/ à http://www.iamfa.org/ de la conferencia puede verse en http://www.iamfa.org/Royal Observatory, Royal Observatory, Real Observatorio,Greenwich Greenwich GreenwichMonday, September 15 Le lundi 15 septembre Lunes, 15 de septiembreThe National Maritime Museum (NMM) Le National Maritime Museum a ouvert El Museo Marítimo Nacional (NMM)opened the final element of its £16- le dernier élément de son réaménage- culmino la ultima fase del reacondi-million redevelopment of the Royal ment du Royal Observatory, Greenwich, cionamiento del Observatorio RealObservatory, Greenwich — the culmi- au coût de 16 millions de livres – point de Greenwich de 16 millones de librasnation of five years’ work — on Friday, culminant de cinq années de travail – le esterlinas – la culminación de cincoMay 25, 2007. vendredi 25 mai 2007. años de trabajo– el viernes, 25 de mayo de 2007.The eye-catching central feature of the L’élément central, accrocheur, de ceredesigned site is the futuristic, bronze- lieu reconfiguré est le Peter Harrison El llamativo elemento central rediseñadoclad, 120-seat Peter Harrison Planetarium Planetarium, un bâtiment futuriste es el futurista Planetario Peter Harrison,— now the only live public planetarium revêtu de bronze comptant 120 sièges – revestido de bronce y con 120 asientosin London — which provides a spectacular désormais le seul planétarium public –ahora el único planetario públicointroduction to the night sky and beyond. en activité à Londres – qui constitue en Londres– que proporciona una une introduction spectaculaire au ciel espectacular introducción al cieloThe Peter Harrison Planetarium is nocturne, et plus encore. nocturno y más allá.equipped with one of the most advanced Le Peter Harrison Planetarium est équipé El Planetario Peter Harrison está equipado de l’un des projecteurs laser numériques con uno de los proyectores digitales les plus avancés au monde – le seul de más avanzados del mundo – y el único sa catégorie en Europe –, et le voyage de este tipo en Europa – que proporcionaSouth Building entrance leading on toPlanetarium Foyer. Exterior of Peter Harrison Planetarium (Bronze Cone and Terrace).10
  11. 11. digital laser projectors in the world — dans l’espace s’effectue avec une netteté una claridad asombrosa al viaje por eland the only one of its kind in Europe — saisissante. Ce sont de vrais astronomes, espacio. Las proyecciones están presen-providing startling clarity to the journey à l’emploi du Royal Observatory, qui tadas por verdaderos astrónomos quethrough space. The shows are presented animent les présentations, et ils sont trabajan en el Real Observatorio, y queby real astronomers working at the Royal également à la disposition du public también están disponibles para responderObservatory, who are also on hand to pour répondre aux questions au sujet a preguntas sobre el firmamento.answer questions about the heavens. de la voûte céleste. El cono revestido de bronce platinado deThe 45-ton, patinated, bronze-clad cone Le cône à revêtement de bronze patiné 45 toneladas que alberga el Planetariowhich houses the Planetarium is a de 45 tonnes qui loge le planétarium es un nuevo y espectacular elemento dedramatic new addition to the skyline. Its représente un ajout de première impor- los edificios perfilados contra el horizonte.dramatic geometry embodies celestial tance à la ligne d’horizon. Sa géométrie Su espectacular geometría incorporaco-ordinates familiar to navigators and remarquable intègre les coordonnées coordenadas celestiales que les sonastronomers down through the ages. célestes familières aux astronomes et familiares a los navegadores y los astró-Tilted at 51.5 degrees (the latitude of navigateurs à travers les âges. Incliné à nomos a través de los tiempos. InclinadoGreenwich) it stands astride the Prime 51,5 degrés (la latitude de Greenwich), il a 51.5 grados (latitud de Greenwich) seMeridian (Longitude 0º). Its south ele- se trouve à cheval sur le méridien origine erige por donde pasa el meridiano cerovation points upwards directly to the (longitude 0º). Son élévation sud pointe (Longitud 0º). Su elevación sur apuntaPole Star and its north elevation to the vers le haut, précisément en direction directamente a la Estrella Polar y suastronomical zenith, while its truncated de l’étoile Polaire et son élévation nord elevación norte al cenit astronómico,roof represents the celestial equator in vers le zénith astronomique, alors que sa mientras que su tejado truncadothe form of a reflective glass disc. toiture tronquée représente l’équateur representa el ecuador celestial en céleste sous la forme d’un disque de forma de disco de vidrio refractante. verre réfléchissant. Peter Harrison Planetarium Auditorium Interior. Sky Tonight show description Description de la causerie « Sky Descripción de la presentación “Sky As part of the member and guest Tonight » (le ciel ce soir) Tonight” (“El cielo esta noche”) programme on Monday, September 15, Au programme le lundi 15 septembre Como parte del programa para miembros you’ll enjoy a fantastic tour of what pour les membres et les invités, une e invitados el lunes, 15 de septiembre, you can see for yourselves in tonight’s merveilleuse tournée du ciel que vous disfrutarán de una fantástica visita de night sky, presented live by a Royal pouvez voir le soir même, présentée lo que ustedes pueden ver por sí Observatory astronomer. Which sur place par une astronome du Royal mismos en el cielo nocturno de hoy, constellations and planets, cosmic gas Observatory. Quels constellations et presentada en directo por un astrónomo clouds, comets or shooting stars can we planètes, nuages de gaz cosmiques, del Observatorio Real. ¿Qué constela- see? Many of the planets in our solar comètes ou étoiles filantes pouvons- ciones y planetas, nubes de gas cósmico, system can be seen with the unaided nous voir? On peut observer plusieurs cometas o estrellas fugaces podemos eye — can we see them tonight, and if des planètes de notre système solaire à ver? Muchos de los planetas de nuestro so, where? These questions, and many l’œil nu – peut-on en voir ce soir, et dans sistema solar pueden verse a simple more, are answered in the Sky Tonight l’affirmative, où? On trouvera réponse vista sin ayuda, ¿podemos verlos esta presentation. à ces questions, et à beaucoup d’autres, noche, y si es así, dónde? Estas preguntas, à la présentation « Sky Tonight ». y muchas más, se responden en la presentación Sky Tonight. 11
  12. 12. IAMFA Annual Conference • Congrès annuelHistory of the National National Gallery, Londres Historia de la GaleríaGallery, London — (son histoire) – Nacional, Londres –see more of the National pour en savoir plus, véase más de la GaleríaGallery on Monday, se reporter au lundi Nacional el lunes,September 15 15 septembre 15 de septiembreConstruction of the Wilkins Construction de l’édifice Wilkins Construcción del Edificio WilkinsBuilding Par Charles Saumarez Smith (The Por Charles Saumarez Smith (‘The Building, juillet 2006); abrégé et Building’, Julio de 2006); abreviadoBy Charles Saumarez Smith (‘The publié par Charles Ross (juin 2008) y editado por Charles Ross (JunioBuilding’, July 2006); abridged and de 2008)edited by Charles Ross (June 2008) La maison Angerstein, sur Pall Mall, a été le premier édifice à abriter le musée El primer edificio que albergó la GaleríaThe first building to house the National des beaux-arts (National Gallery). Il s’agit Nacional fue la casa de Angerstein enGallery was Angerstein’s house in Pall d’une habitation familiale courante à Pall Mall: una vivienda domésticaMall: a standard, three-bay, domestic trois baies comportant une grande estándar de tres salientes con unadwelling with a large room on the first pièce au rez-de-chaussée. Il est devenu habitación grande en el primer piso.floor. It was immediately evident that évident, dès le départ, que les lieux Fue inmediatamente evidente que lathe house was hopelessly inadequate étaient totalement inadéquats pour casa era totalmente inadecuada parafor its task as England’s National Gallery. loger le National Gallery de l’Angle- albergar la Galería Nacional de Inglaterra.An engraving was published soon after- terre. Une gravure, parue par la suite, Poco después fue publicado un grabadowards which compared Angerstein’s compare la maison Angerstein à la en el que se comparaba la casa dehouse to the splendours of the south splendide aile sud du Louvre, qui Angerstein a los esplendores del ala surwing of the Louvre, stretching as far as s’étend aussi loin que la vue peut del Louvre, extendiéndose hasta dondethe eye could see (figure 1). porter (figure 1). puede llegar la vista (figura 1).In August 1831, William Wilkins proposed En août 1831, William Wilkins propose En agosto de 1831, William Wilkinsthat the King’s Mews should be adapted que les écuries royales soient adaptées propuso que las caballerizas del Rey sein such a way that it might house both pour pouvoir accueillir le National Gallery adaptaran de tal forma que pudieranthe Royal Academy and the National et la Royal Academy. Le 16 septembre albergar la Real Academia y la GaleríaGallery. On September 16, 1831, the 1831, les administrateurs du National Nacional. El 16 de septiembre de 1831, losTrustees of the National Gallery met to Gallery se réunissent pour examiner les miembros del Consejo de AdministraciónFigure 112
  13. 13. de l’IAMFA • Conferencia Anual de la IAMFA consider Wilkins’ proposals and agreed propositions de M. Wilkins, conviennent de la Galería Nacional se reunieron para that Angerstein’s house was clearly que la maison Angerstein ne fait vraiment considerar las propuestas de Wilkins y inadequate and that Wilkins’s ideas pas l’affaire et que les idées proposées acordaron que la casa de Angerstein provided the best possible, as well as par M. Wilkins constituent la meilleure era claramente inadecuada y que las the most economical, solution. They solution et la solution la plus écono- ideas de Wilkins ofrecían la mejor wrote to the then-Prime Minister, Lord mique. Ils écrivent au premier ministre solución posible, además de la más Grey, suggesting that the proposal was de l’époque, lord Grey, et mentionnent económica. Escribieron al entonces ‘the most practicable that has hitherto que c’est cette proposition, « parmi Primer Ministro, Lord Grey, sugiriendo been offered to them and well adapted celles qui leur ont été présentées, qui que la propuesta era ‘la más viable que to that purpose’. est la plus susceptible d’être réalisée et se les había presentado hasta entonces y qui répond le mieux aux besoins ». estaba bien adaptada para ese propósito’. In May 1832, Lord Duncannon established a committee to consider the whole ques- En mai 1832, lord Duncannon met sur En mayo de 1832, Lord Duncannon tion as to how best to house the National pied un comité pour étudier dans son estableció un comité para considerar Gallery and the Royal Academy. Three ensemble la meilleure manière d’abriter la cuestión de cómo albergar mejor la architects were then invited to submit le National Gallery et la Royal Academy. Galería Nacional y la Real Academia. proposals: John Nash, C.R. Cockerell Trois architectes sont invités à présenter Tres arquitectos fueron invitados a and William Wilkins. un projet : John Nash, C. R. Cockerell et presentar propuestas: John Nash, William Wilkins. C.R. Cockerell y William Wilkins. Nash put forward a proposal for a long, colonnaded building, akin in character M. Nash propose un édifice en longueur, Nash presentó una propuesta de un à colonnades, semblable à ceux de ses edificio largo y con columnatas, parecido to his terraces around Regent’s Park. terrasses autour de Regent’s Park. Le en su carácter a sus terrazas alrededor Cockerell’s magnificent proposals for a superbe projet de M. Cockerell, qui de Regent Park. Las magníficas pro- gallery 400 feet long over an arcade of prévoit un musée de 400 pieds de long puestas de Cockerell para una galería shops were thought to be too expensive. au-dessus d’un passage voûté occupé de 400 pies (unos 122 m) de largo por Wilkins’s initial idea, on the other hand, par des boutiques, est jugé trop coûteux. encima de una galería comercial de was, as before, a matter of adapting C’est sur la base de sa première propo- tiendas se consideraron demasiado the old Royal Mews building, and it was sition, qui vise à transformer les anciennes caras. Por otra parte, la idea inicial de on this basis that he was selected: as an écuries royales, que l’architecte Wilkins Wilkins, fue como antes una cuestión architect who was prepared to be est choisi : il est prêt à se charger de adaptar el antiguo edificio de las responsible for a relatively economical du réaménagement relativement Caballerizas Reales, y sobre esta base makeover of an existing building. économique d’un bâtiment existant. fue seleccionado: como arquitecto que However, by June 1832, the committee estaba preparado para ser responsable Toutefois, dès juin 1832, le comité de una transformación relativamente had become slightly more ambitious in devient légèrement plus ambitieux et its ideas and Wilkins was asked, instead, económica de un edificio existente. l’on demande plutôt à M. Wilkins de to put forward proposals for a free- travailler aux plans d’un édifice auto- Sin embargo, para junio de 1832, el standing building which would re-use nome qui récupérerait les colonnes et comité se había vuelto ligeramente más the columns and entablature of Carlton l’entablement de Carlton House, le palais ambicioso en sus ideas y se pidió a House: the palace of the Prince Regent, du prince régent démoli depuis peu. Wilkins que presentara propuestas para which had recently been demolished. un edificio autónomo que reutilizaría M. Wilkins propose un édifice long et las columnas y el entablado de la Casa Wilkins proposed a building that was bas, plutôt utilitaire, qui combine, dans long and low and somewhat utilitarian, Carlton: el palacio del Príncipe Regente, une façade unique, le National Gallery que había sido demolido recientemente. combining the National Gallery on the à l’ouest et la Royal Academy à l’est. west and the Academy on the east, into Wilkins propuso un edificio que era largo a single façade. De nombreuses personnes se plaignent, y bajo y un tanto utilitario, combinando alors et depuis, de son faible sens de la la Galería Nacional en el oeste y la Many people both then and since have monumentalité. Il est difficile aujourd’hui Academia en el este, en una sola fachada. lamented the absence in his design of a de rendre l’atmosphère d’hostilité qui proper sense of monumentality. It is entoure la construction de n’importe Mucha gente tanto entonces como desde hard now to reconstruct the hostility quel édifice important durant la période entonces, ha lamentado la ausencia en which faced the building of every major de travaux publics qui a suivi les guerres su diseño de un verdadero sentido de project during the period of public works napoléoniennes : l’acharnement à écono- monumentalidad. Es difícil ahora which followed the Napoleonic Wars: miser les deniers publics à tout prix et reconstruir la hostilidad a la que hizo the determination to save public money le dégoût pour tout ce qui a un petit air frente la construcción de todos los continued on page 14 suite à la page 14 sigue en la página 14 13
  14. 14. IAMFA Annual Conference, National Gallery Congrès annuel de l’IAMFA, National Conferencia Anual de la IAMFA, Galería— continued from page 13 Gallery — suite de la page 13 Nacional — viene de la página 13at all costs, and the distaste for anything de « folie des grandeurs ». M. Wilkins principales proyectos durante el períodowhich might smack of folie de grandeur. saisit bien ce que veulent ses clients. Il de obras públicas posterior a las GuerrasWilkins judged his clients correctly. There ne glisse qu’un soupçon de « grandiose Napoleónicas: la determinación dewas just enough of a hint of grandeur » dans la partie centrale de la façade. ahorrar fondos públicos a toda costa, yin the central section of the façade. Le fait qu’il n’ait rien de pompeux est la aversión a cualquier cosa que pudieraOne of the reasons why the design was probablement la raison pour laquelle oler a locura de grandeza. Wilkins juzgójudged acceptable in the political cir- son concept est jugé acceptable dans le correctamente a sus clientes. Habíacumstances of the early 1830s — and contexte politique du début des années justo un toque suficiente de grandezahas been viewed with some affection 1830 – et qu’on le regarde avec une en la sección central de la fachada. Unaever since — is probably its lack of certaine tendresse depuis. Il n’est pas de las razones por las que el diseño sepomposity. It is not much different in bien différent, sur les plans du style et consideró aceptable en las circunstanciasstyle and character — nor, indeed, in de l’inspiration – ni, non plus, du coût –, políticas de principios de la década decost — to a moderately grand, Greek d’un manoir moyennement grand de 1830 – y se ha visto con cierto afectoRevival country house. It was planned style néogrec. Il devait coûter 41 000 livres desde entonces–, es probablemente suto cost £41,000 if built of brick, and s’il était construit en briques et 10 000 falta de pomposidad. No es muy diferente£10,000 more if built of stone. livres de plus s’il était érigé en pierres. en estilo y carácter – ni, de hecho en costo – a una casa de campo moderadamente En janvier 1833, les dessins du National grande de Renacimiento griego. SeBy January 1833, Wilkins’s design of the Gallery de M. Wilkins sont pratiquement planeó que costaría 41,000 libras si seNational Gallery was nearly complete. In terminés. De manière à préserver la vue construía de ladrillo, y 10,000 librasorder to protect the view of the façade de la façade de St. Martin-in-the-Fields, más si se construía de piedra.of St. Martin-in-the-Fields, the front la façade principale est placée en retraithad been set back 50 feet further north Para enero de 1833, el diseño de Wilkins de 50 pieds plus au nord de ce quethan Wilkins had originally planned. de la Galería Nacional estaba casi com- M. Wilkins avait prévu à l’origine. pleto. Para proteger la vista de laIn August, Lord Duncannon was forced En août, lord Duncannon est forcé fachada de St. Martin-in-the-Fields, elto admit in the House of Commons that d’avouer à la Chambre des communes frente se había puesto 50 pies más althe costs had now risen to £70,000 and que les coûts s’élèvent maintenant à norte de lo que había planeado Wilkinssuggested that the whole scheme should 70 000 livres et suggère que l’on rejette originalmente.perhaps be scrapped. Wilkins was, not le projet en entier. M. Wilkins est, cesurprisingly, devastated and wrote to qui n’a rien d’étonnant, anéanti, et il En agosto, Lord Duncannon fue obligadoLord Duncannon that ‘Your Lordship écrit à lord Duncannon que « messire a admitir en la Cámara de los Comunescannot be expected to be fully aware of ne peut être parfaitement au courant que los costos habían subido a 70,000this change of plans on my professional de l’effet de ce changement de plans libras y sugirió que quizás deberíapractice but I know it must be such as sur l’exercice de ma profession, mais abandonarse todo el proyecto. Comowill leave me no option but that of je sais qu’il est tel qu’il ne me laissera es lógico, Wilkins estaba devastado yretiring altogether from practice.’ For aucun autre choix que de quitter le le escribió a Lord Duncannon que ‘Nowhatever reason, this was a temporary métier ». Pour une raison quelconque, debe esperarse que su Señoría estéglitch and, on August 30, 1833, the le problème n’est que passager et, le totalmente enterado de este cambio deTreasury approved the scheme. 30 août 1833, le ministère des Finances planes en mi ejercicio profesional pero (Treasury) approuve le projet. sé que debe ser tal que no me dejaráIn August of 1833 the Treasury finally otra opción que la de retirarme total-gave approval for Wilkins scheme and En août 1833, le Treasury approuve mente del ejercicio ’. Por cualquierworks commenced in the autumn of enfin le projet de M. Wilkins et les razón, esto fue un problema técnicothat year. Wilkins’s creativity faced a travaux commencent à l’automne. La temporal y el 30 de agosto de 1833,number of constraints, not least having créativité de M. Wilkins subit un certain el Tesorero aprobó el plan.to incorporate columns from the nombre de contraintes, en particulier celle d’avoir à intégrer à sa façade les En agosto de 1833 el Tesorero dioportico of the demolished Carlton colonnes du portique de Carlton House finalmente la aprobación para que seHouse into his façade. après sa démolition. iniciaran el plan de Wilkins y las obras empezaron en el otoño de ese año. LaThe building was finally available for L’édifice est finalement prêt à être creatividad de Wilkins se enfrentó ainspection by Queen Victoria on April 7, inspecté par la reine Victoria le 7 avril varias limitaciones, entre ellas el tener1838, and the National Gallery opened 1838 et le National Gallery ouvre ses que incorporar las columnas del pórticoto the general public two days later. The portes au grand public deux jours plus de la demolida Casa Carlton a su fachada.Times greeted its opening as follows: tard. Le Times salue ainsi l’événement : El edificio finalmente estuvo disponible The rooms . . . are but badly calcu- Les salles […] sont mal calculées para la inspección por la Reina Victoria el lated for the purpose, and the pour l’usage, et l’intérieur du plan 7 de abril de 1838 y la Galería Nacional interior of the plan is more than est plus que comparable en défauts abrió al público general dos días después. commensurate in defects with the aux absurdités et au mauvais goût El Times recibió su apertura como sigue:14
  15. 15. absurdities and bad taste of the de l’extérieur […] Il est pénible Las salas . . . están mal calculadas outside . . . It is distressing to see de constater la manière dont les para el propósito, y el interior del the manner in which the pictures œuvres sont cachées dans de petits plan es totalmente acorde en los are hid in little receptacles. réceptacles. defectos con lo absurdo y el mal gusto del exterior . . . Es penoso verThackeray, meanwhile, described it as ‘a M. Thackeray, entre-temps, le décrit la manera en que están escondidoslittle gin-shop’. And King William IV is comme un « petit estaminet ». Et l’on los cuadros en pequeños recipientes.said to have described it just before his dit que le roi William IV l’aurait décrit,death, in his last recorded utterance, as juste avant sa mort, dans sa dernière Thackeray, mientras tanto, la describió‘a nasty little pokey hole’. Some feel intervention notée, comme un « vilain como ‘una pequeña licorería’. Se dicethat from that point onwards, most of petit boui-boui, un trou ». D’aucuns que el Rey Guillermo IV la describióthe efforts of all subsequent building pensent qu’à partir de ce moment, tous justo antes de su muerte, en su últimaprojects at the National Gallery have les projets de construction touchant le declaración registrada, como ‘unbeen intended to correct, as far as National Gallery ont visé à corriger, par pequeño y feo agujero’. Algunos creenpossible, the defects of William Wilkins’s la majorité des efforts consentis et que desde ese punto en adelante, laoriginal design. autant que possible, les défauts du mayoría de los esfuerzos de todos los projet original de William Wilkins. posteriores proyectos de construcción en la Galería Nacional han tenido como propósito corregir, en la medida de lo posible, los defectos del diseño original de William Wilkins. Left to right: Jonathan Pearson, London De gauche à droite : Jonathan Pearson, De izquierda a derecha: Jonathan Pearson, Business Unit Director, Norland Managed Directeur du centre de profit de Londres, Director, Área de Negocios de Londres, Services Ltd. presenting John de Lucy (Head Norland Managed Services Ltd., remet un Norland Managed Services Ltd. presentando of Estates & Facilities, The British Library) chèque à John de Lucy (chef des Successions a John de Lucy (Jefe de Propiedades e with a cheque for sponsorship of the et Installations, The British Library) à titre Instalaciones, La Biblioteca Británica) un IAMFA 2008 London conference. Norland is de commandite pour le congrès 2008 cheque para el patrocinio de la conferencia the 2008 conference’s largest sponsor. de l’IAMFA à Londres. Norland est de IAMFA 2008 de Londres. Norland es el le commanditaire le plus important principal patrocinador de la conferencia du congrès. de 2008. 15
  16. 16. IAMFA Annual Conference Congrès annuel de l’IAMFA Conferencia Anual de la IAMFAOptional Visit to British Visite facultative de Visita opcional al EdificioLibrary Additional Storage l‘édifice d’entreposage de almacenamientoBuilding/York supplémentaire de la adicional de la BibliotecaThursday, September 18 British Library à York Británica/YorkDue to generous sponsorship, we are Le jeudi 18 septembre Jueves, 18 de septiembreable to offer this visit for ONLY US$50!!! En raison d’une généreuse commandite, ¡Debido a un generoso patrocinio,Please register for this visit if you haven’t nous sommes à même d’offrir cette visite podemos ofrecer esta visita poralready at http://www.iamfa.org/. ommandite, nous sommes à même d’offrir SÓLO US$50! Inscríbase en estaThis is an incredible value. We have cette visite pour seulement 50 $ US!!! visita si no lo ha hecho todavía enarranged a fabulous programme for Prière de vous inscrire pour cette http://www.iamfa.org/.the day — from a visit to the British visite si vous ne l’avez déjà fait à Este es un precio increíble. HemosLibrary’s world class, fully automated, http://www.iamfa.org/. organizado un programa fabulosohigh density storage building (protected Voilà une activité drôlement avantageuse. durante el día: desde una visita alby a low-oxygen atmosphere) to lunch Nous avons organisé un fabuleux edificio de almacenamiento de laat the 650-year-old Merchant Adven- programme pour la journée – qui va Biblioteca Británica, de gran densidad,turers’ Hall in York, followed by a de la visite de l’édifice d’entreposage à totalmente automático y de tallaguided walking tour of this lovely stockage compact (protégé par une mundial (protegido por una atmósferamedieval walled city. atmosphère contrôlée faible en oxy- baja en oxígeno) hasta un almuerzo en gène) complètement automatisé et de el Merchant Adventurer´s Hall en York, niveau international de la British Library que tiene 650 años, seguido de una au goûter au Merchant Adventurers’ visita a pie guiada de esta hermosa Hall, vieux de 650 ans, suivi d’une visite ciudad medieval amurallada. guidée à pied dans les murs de cette magnifique cité médiévale qu’est York.British Library Additional Storage Building,Boston Spa. Merchant Adventurers’ Hall, York. Internal — The Great Hall.Internal — high-bay, high-density racking. The Shambles, York. York Minster. York Gate. YORK PHOTOS COURTESY OF / PHOTOS DE YORK GRACIEUSETÉ DE / LAS FOTOS DE YORK SON CORTESÍA DE http://photoeverywhere.co.uk16
  17. 17. Regional ChaptersPhiladelphia Chapter energy and to the city after the 1906 earth-By Richard Reinert quake, and the Museum’sOn April 2, the members of the Philadelphia Chapter mission to be a livelygathered at the newly renovated Perelman Building. The center for engagingPerelman Building is a new addition to the Philadelphia audiences with JewishMuseum of Art and houses prints, drawings and photographs, culture. The architectcostumes and textiles, to name a few. based the extension’s The group toured the Museum’s new galleries and conceptual organizingback-of-house areas. After the tour, chapter members principals on the twoengaged in lively discussion to promote IAMFA among symbolic Hebrew lettersother area museums. representing chai (life): chet and yud. From the outside, the extensions are most remarkable for their unique shape, as well as their skin: vibrant blue metallic steel, which changes color depending on the time of day, weather or one’s vantage point. The CJM is a vibrant new member of the dozen museums now surrounding the Yerba Buena Gardens, and a most welcome addition to our city’s rich cultural heritage. Facilities Manager Robert Larmon has recently joined IAMFA and will be hosting an IAMFA tour of the new facility on August 13, 2008. For more information and photos of the CJM, please see www.thecjm.org.Left to right: Bruce Canter, Delaware Museum of Art; John Castle,Winterthur Museum; Mike Downs, Hagley Museum and RichReinert, Philadelphia Museum of Art. Atlanta Chapter By Kevin StreiterSan Francisco Chapter We are pleased to welcome Benjamin Webb from theBy Joe Brennan Woodruff Art Center here in Atlanta to our chapter.New Museum opens in San Francisco! The ContemporaryJewish Museum opened the doors of its new home onYerba Buena Gardens on June 8. Since its founding in Ottawa-Gatineau Chapter1984, the Contemporary Jewish Museum has engaged By Ian MacLeanaudiences of all ages and backgrounds through dynamic On April 25, the Ottawa-Gatineau Chapter met at theexhibitions and programs that explore contemporary Canadian Museum of Nature. Seventeen members wereperspectives on Jewish culture, history, art and ideas. in attendance to have lunch and socialize. Our hosts were Formerly housed in small rented facilities on Second Marc Chrétien and Martin Leclerc.Street, their new 63,000-square-foot facility is architect’s Following lunch, we spilt into two groups to tour theDaniel Libeskind’s wonderful adaptive reuse of a historical facility. The first tour was of the recently renovated westbuilding. What started life as a Willis Polk-designed electrical side of the Museum. We visited all floors and were givenpower substation in 1907 now manifests Libeskind’s design, a behind-the-scenes look at the Mechanical and Electricalcombining the history of an early-twentieth- systems. We also had an opportunity to see new exhibitscentury San Francisco landmark with the dynamism of and the type of construction used to control temperaturecontemporary architecture. and relative humidity. Wall construction consists of an The building embodies a number of symbolic references interior wall with vapour barrier on the exterior, an interstitialto Jewish concepts. Most notably, Libeskind was inspired space of two feet which is conditioned, and the originalby the Hebrew phrase L’Chaim (To Life), because of its exterior wall of stone.connection to the role the substation played in restoring continued on page 18 17
  18. 18. Regional Chapters, Ottawa-Gatineau — continued from page 17 Our second tour was of the area under construction on The Canadian Museum of Nature occupies the Victoriathe east side of the building. As you can see from the photos, Memorial Museum Building, which was constructed almostseismic reinforcement is part of the project. Correction of one hundred years ago. It is considered one of the mostfoundation settlement is another aspect of the project, as you significant heritage structures in Canada.can see from the curvature of the floor in one of the photos. ALL PHOTOS: © PCL CONSTRUCTION]18

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