Papyrus Summer Fall 2012

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Papyrus Summer Fall 2012

Papyrus Summer Fall 2012

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  • 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 F A C I L I T Y A D M I N I S T R AT O R S PAPYRUS VOL. 13, NO. 2 SUMMER–FALL 2012 Carbon Management at National Museums Liverpool Who’s Afraid of Introducing the American The Philadelphia Green Museums: Institute for Conservation of Museum of Art—Fear and Loathing Artistic and Historic Works— One Venue for the IAMFA and HVAC Collection Care Network Annual Conference
  • 2. Positive Varming Environments since 1933Steensen Varming and Varming International Alliance provideunrivalled expertise in museum, gallery and archive projects. The Clore Gallery, Tate, London Nomura Gallery, Tate, London Building Services Solutions Holy Sepulchre, Jerusalem Casula Powerhouse Museum, Sydney Tate in the North, Liverpool Museum of Modern Art, London Art Gallery of New South Wales, Sydney Chester Beatty Library, Dublin Australian War Memorial, Canberra The Mint Building, Sydney Victoria & Albert Museum, London Buildings Sir John Soanes Museum, London Science Museum, Wellcome Wing, London Whitechapel Art Gallery, London Frederikborg Castle, Copenhagen Sculpture Museum, London Auckland Art Gallery, Auckland National Portrait Gallery, Canberra National Gallery of Australia, Canberra National Library of Australia, Sydney Physiology Australian Museum, Sydney Royal Scottish Academy / Playfair, Edinburgh Guinness Storehouse Visitor Centre, Dublin Prehistoric Museums Arhus, The Utzon Centre, Aalborg Strategies Sydney Opera House, SydneyAustralia Denmark Hong Kong Ireland (Varming) United Kingdom (SVM) www.steensenvarming.com
  • 3. ContentsLetter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . 2 The National Geographic Society is a LEED-EB Recertification Star. . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Message from the President . . . . . . . . . . . . . . . . . . . . 3 2012 IAMFA Conference Schedule . . . . . . . . . . . . . . . 20Introducing the American Institute for Carbon Management at National MuseumsConservation of Artistic and Historic Works— Liverpool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Collection Care Network . . . . . . . . . . . . . . . . . . . . . . . 4 Awards for the Auckland Art Gallery . . . . . . . . . . . . . 28Who’s Afraid of Green Museums: Fear andLoathing and HVAC . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Architect of the Capitol’s Office of Security Programs Recognized for Excellence inBenchmarking Options: New Energy Survey Customer Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30and Classic Comprehensive Survey . . . . . . . . . . . . . . . 12 IAMFA Environmental Group Meeting—The Philadelphia Museum of Art . . . . . . . . . . . . . . . . 14 Manchester Museum . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Regional Updates and Member News . . . . . . . . . . . . 34Yo, Philly! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 IAMFA Members—Organizations . . . . . . . . . . . . . . . . 36External Vertical Shade Automation Projectat the California Academy of Sciences . . . . . . . . . . . . 16 Index of Papyrus Technical and Historical Articles . . . 38Cover photo: Inside the Conservatory at Longwood Gardens, venue for the 2012 IAMFA Conference. Photo by Joe MayIAMFA BOARD OF DIRECTORS MEMBER REGIONSPresident Secretary Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada —John de Lucy Patricia Morgan High Museum of Art Ed Richard,The British Library (Retired) Auckland Art Gallery Toi o Tamaki ¯ kevin.streiter@woodruffcenter.org National Gallery of Canada ERichard@Gallery.caLondon, United Kingdom Auckland, New Zealand Australia — Ray McMasterjohn.delucy@btinternet.com patricia.morgan@ rmc.master@bigpond.com Philadelphia, USA — John Castle, aucklandcouncil.govt.nz Winterthur Museum & GardenV.P., Administration Chicago, USA — William Caddick, jcastle@winterthur.orgRandy Murphy Assistant Secretary/Editor Art Institute of ChicagoLos Angeles County Museum of Art Joseph E. May Northern California, USA — wcaddick@artic.edu Joe Brennan,Los Angeles, CA, USA Sustainability Engineer San Francisco Museum of Modern ArtRMurphy@lacma.org Los Angeles, CA, USA Los Angeles, USA — Randy Murphy, jbrennan@sfmoma.org joemay001@hotmail.com Los Angeles County Museum of ArtV.P., Regional Affairs and rmurphy@lacma.org United Kingdom — Jack Plumb,2012 Conference Chair 2013 Conference Chair National Library of ScotlandJohn Castle Nancy Bechtol New England, USA — j.plumb@nls.ukWinterthur Museum, Smithsonian Institution John H. Lannon, Boston Athenaeum Washington/Baltimore, USA —Garden and Library Washington, DC, USA Maurice Evans, lannon@bostonathenaeum.orgWinterthur, DE, USA bechtna@si.edu Smithsonian Institutionjcastle@winterthur.org New York, USA — Mark Demairo, evansma@si.edu Neue GalerieTreasurer For more information on becomming For additional markdemairo@neuegalerie.orgAlan Dirican a member of the InternationalBaltimore Museum of Art contact information, New Zealand — Patricia Morgan, Association of Museum FacilityBaltimore, MD, USA please visit our website at Auckland Art Gallery Administrators, please visitadirican@artbma.org www.iamfa.org patricia.morgan@aucklandcity.govt.nz www.iamfa.orgIAMFA/ Papyrus Maurice Evans Printed in the U.S.A. by Statements of fact and opinionVol. 13, Number 2 Joe May Knight Printing are made on the responsibility ofSummer–Fall 2012 Patricia Morgan authors alone and do not imply an ISSN 1682-5241 opinion on the part of the editors, Jack Plumb officers, or members of IAMFA. TheEditor Rich Reinert editors of IAMFA Papyrus reserve theJoe May Ian Williams right to accept or to reject any Article Stacey Wittig or advertisement submitted forCorrespondents Elizabeth Wylie publication.Michael Arny While we have made every attempt toHershow Al-Barazi Design and Layout ensure that reproduction rights haveChris Bailey Phredd Grafix been acquired for the illustrations Past issues of Papyrus canNiall Cooper used in this newsletter, please letDan Davies Editing be found on IAMFAs us know if we have inadvertentlyJohn De Lucy Artistic License website: www.IAMFA.org overlooked your copyright, and we will rectify the matter in a future issue.
  • 4. Letter from the EditorJoe MayEditor, PapyrusGreetings from Los Angeles! and construction, as well as in ongoing Ian Williams and Chris Bailey of the operations. Museum of Liverpool describe some ofA s I write this, we are now just You’ll read about the Philadelphia the actions taken over the past 12 years two months from IAMFA’s 22nd Art Museum, which is a venue for the in understanding, managing and reduc- Annual Conference in the Mid- IAMFA Conference in September, and ing energy consumption, as well as theAtlantic region of the United States. Theconference organizing committee reports you’ll be able to practice up on your carbon impact of National Museumsthat progress in planning this year’s colloquial Philadelphia terminology so Liverpool (NML) on society. These actionsconference is on track, and both the that you can be prepared to speak as the have culminated in NML recently beingcommittee and the IAMFA Board are locals do . . . you never know when this placed joint first in the UK Carbon Reduc-eager to see IAMFA members again in may come in handy while in Philadelphia tion National League Tables. NationalSeptember at venues in Philadelphia for the 2012 IAMFA Annual Conference! Museums Liverpool is a group of nineand the surrounding region. Hershow Al-Barazi has contributed museums and galleries from Liverpool. Please make sure you read John an interesting article about the External You’ll also read about recognition ofDe Lucy’s Message from the President in Vertical Shade Automation Project at the the Architect of the Capitol’s Office ofthis issue of Papyrus, as this will be his greenest museum on Earth. Many of you Security Programs by Building Operatingfinal one. John has been a superb leader visited the California Academy of Sciences Management Magazine with its FMXcel-for IAMFA during the past four years, during the 2010 IAMFA Conference in lence Award for excellence in customerand we all look forward to seeing him San Francisco, but may not be aware service. The FMXcellence awards recog-and wife Livi this September at the con- that they received their second LEED nize facilities management teams thatference. We all hope that, despite his Platinum award in 2011. You will also find “spearhead and execute stand-out projectsretiring from the British Library, John an update from Pat Morgan about the and programs.” You may remember thatwill continue to remain active in IAMFA. many awards received by the Auckland we visited the U.S. Capitol during our In this issue of Papyrus, you will find Art Gallery during the past year. The 2009 IAMFA Conference.a variety of articles both from IAMFA Auckland Art Gallery was a venue for the Please make sure you also read themembers, and non-members who are 2011 IAMFA Conference, and host of a update about the latest U.K. Regionalleaders in their field. Please read the truly unforgettable closing gala at the Meeting hosted by Nicola Walker, Headarticle in this issue contributed by the 2011 Conference. We will never forget that evening; I wish everyone reading of Collection Care and Access at theAmerican Institute of Conservators. This Manchester Museum. There is more newsarticle provides an introduction to AIC— this could have been present. Michael Arny, President at the about the growing movement to reassessand, we hope, the beginning of a grow- Leonardo Academy, writes in this issue temperature and RH settings. Please alsoing collaborative effort between AIC and about LEED certification at the National see Stacey Wittig’s update about the IAMFAIAMFA members to evaluate possible Geographic Society. You may remember Annual Benchmarking Exercise—andrevisions to environmental specifica- Michael from when he joined us in Bilbao, make sure you plan on attending thetions, and how this could foster higherlevels of energy conservation at cultural Spain at the 2006 IAMFA Conference. Benchmarking and Learning Workshopinstitutions in America and beyond. Michael and I made a joint presentation September 16 in Philadelphia. You will also find an article by Elizabeth about the Getty Center’s new LEED-EB One last thing; I’d like to report thatWylie and Niall Cooper titled “Who’s Certification in 2005, which was the first IAMFA’s LinkedIn Group continuesAfraid of Green Museums: Fear and post-pilot LEED-EB Certification in the to grow, now with 358 members fromLoathing and HVAC”. This article is a nation. Michael actually chaired the com- 31 countries. If you know someone whomfollow-up to a session at the American mittee that developed LEED for Existing you think may benefit from learningAssociation of Museum’s (AAM) Annual Buildings. You will read about the organi- more about IAMFA, please encourageConference in Minneapolis in late April zation that received the very first LEED- them to join our LinkedIn group, and2012. During a provocative forum, experts EB Certification in the nation during to also visit our new website,examined many of the questions that the LEED-EB pilot program back in www.NewIAMFA.ORG.arise when museums undertake a capital 2003. Congratulations to the National There’s more in this issue; I hope youproject and want to pursue environ- Geographic Society on their new LEED enjoy it. Thank you so much to everyonementally sustainable practice in design recertification at the Gold level. who contributed articles.2 PAPYRUS SUMMER–FALL 2012
  • 5. Message from the PresidentJohn de LucyPresident, IAMFAT his will be my last “Message from learning from our peers how they have The excellent guest programme for the President” before I hand over improved delivery of facilities services, our partners, I know, is also an enormous to your new President at our Mid- so we can return home and make our attraction. Please do everything you canAtlantic conference in September. I have own improvements—ample justification to attend, learn what others are doing,really enjoyed the past four years, and for attending our conference! and renew friendships with your col-thank you all for your support—both The third benefit has been participa- leagues. The hard times and financialto me, and to our organisation—during tion in the benchmarking group to com- pressures you currently face are not likelythis period, particularly through your pare how we were managing our costs to abate in the year ahead, so it is essentialparticipation at our conferences in against similar cultural organisations, that you and your facilities departmentsWashington, San Francisco, and Auckland, and learning from them how to manage continue to demonstrate where you addall of which have been such a success. better. The fourth is the strong bonds value to your organisations—hopefully John Castle and his team have put and friendships you build up with like- reducing the risk of your role beingtogether a wonderful programme for minded professionals—both to discuss questioned or removed. Hopefully youthis year’s Mid-Atlantic conference in ideas and help solve problems at your have learned enough through IAMFA toPhiladelphia and Delaware. We will be show that you are not just a cost centre, own organisation—again supported byvisiting eight top museums and galleries, but can have a highly positive business Joe May in his management of a largewhich I know you will find fascinating impact on your cultural organisation. and growing LinkedIn group.and helpful in solving some of your local Have you delivered a material reduction At this year’s conference, you willfacilities problems. I understand that we in operating costs over the past two not be able to resist Monday’s tour ofalready have 120 people booked into years, and are you seen as an integratedhotels, so this one might even be bigger the Philadelphia Museum of Art, which business manager by the rest of yourthan the London conference in 2008! is an amazing building that has just corporate colleagues? It has been tempting to want to expand finished a major extension. Following Many thanks again to our Board forIAMFA into a much larger association. that tour, we’ll be heading to the newly supporting me over the past four years,I have belonged to large associations in refurbished Rodin Museum, and a brand- and helping make IAMFA a much morethe past, however, and they do lose the new museum: The Barnes Foundation, professional organisation. Also to myclose friendships which we build together completed during this summer. previous PA, Merida Fitzgerald, for beingat IAMFA, as well as requiring costly Tuesday will be a real treat, as we the power (engine?) behind the role, andadministration and infrastructure. It is tour and learn about four museums in Harry Wanless for his help and supportthe close relationships, friendliness and Delaware, three of which are linked to at the British Library (mostly rewritingwillingness to help—plus the fun that the Du Pont family. We’ll all end the day everything I did)! Harry, rude as always,we have when we meet—that has made with a lovely dinner in the Longwood did think Merida was the real President,this organisation my favourite of all Gardens Conservatory, followed by a and I was just the frontman!the professional organisations to which stunning Fountain Show. The huge One minor achievement: I think II have belonged. fountain pump house will excite even have persuaded my American friends to I have received four key benefits from those without an engineering bent! be more adventurous in wearing colour -my association with IAMFA. The first is the Wednesday is based around the ful socks—but unfortunately not to undopublication of Papyrus, which contains Independence National Historical Park. the mistake they made in 1776.such relevant and interesting articles—and We’ll go behind the scenes of a newly I hope to see you all at the conferencehas been made such a success by Joe May finished museum, tour the National in September, when you can tell me howover the past four years. The second is the Constitution Centre, and visit the Liberty you are managing in these tough times.learning opportunity in going behind Bell (still with a crack, thank goodness!), When you receive this issue of Papyrus,the scenes of the world’s best museums before our Gala dinner in the National I will be in Tuscany preparing for my fulland galleries at each annual conference, Constitution Center. retirement—see photo above! PAPYRUS SUMMER–FALL 2012 3
  • 6. Introducing the AmericanInstitute for Conservation ofArtistic and Historic Works—Collection Care NetworkBy the AIC Collection Care NetworkH ave you ever had difficulty worked to support the critical work of become available since its previous obtaining professional conser- collection care by bringing together print edition. Moving the publication vation advice on a specialized preservation organizations, profes- to the web will expand access and im-topic? Would you like easy-to-navigate sionals, and information resources. prove timely integration of new infor-access to the conservation community? The Network’s aim is to foster dynamic mation. Review and critique of draftDid you know that many conservators exchange among those engaged in segments will be possible on-line. Lookhave wanted to be better connected to preventive care, to expand the body for the STASH link in 2013 on thethe professional facility management of preventive care knowledge, and to Conservation OnLine (CoOL) websitecommunity? disseminate this knowledge in order to at www.cool.conservation-us.org. To facilitate this kind of connection support the work of all collection care Future collaborative projects onand communication, the American practitioners and allied professionals. other collection-care topics are alsoInstitute for Conservation of Artistic and In May 2012, AIC CCN was launched being developed. One such projectHistoric Works (AIC) recently estab- at the aptly named 40th annual AIC seeks to team AIC CCN with alliedlished its Collection Care Network meeting, Connecting to Conservation: professionals to develop a wiki-based(CCN). Created in early 2012, the Outreach and Advocacy in Albuquerque, publication on exhibition standards andCollection Care Network combines New Mexico (USA). As part of the guidelines. The entries will describethe preservation knowledge and skills “Outreach to Allies” session, attendees key steps in planning, developing, andof AIC members, and links them with were invited to share ideas and sugges- maintaining exhibitions from a preser-allied professionals. The AIC CCN is tions for future projects. The format vation point of view. The project willcommitted to advancing the critical included brief videos of various stake- build upon the work of former U.S.importance of preventive conservation holders in the preservation field National Park Service conservatoras the most effective means of promot- discussing the dilemmas they faced. Toby Rafael and museum consultanting the long-term preservation of cul- Among these videos, a lighting designertural property, and recognizes that both and an architect presented building-preservation and stewardship rest upon related issues. It is vital that this discus-the talents and skills of numerous sion continues beyond that nationalprofessionals and volunteers. AIC meeting. Please visit the AIC blog The AIC CCN serves people in every at www.conservators-converse.org/preservation profession: archaeologists, where you will soon have an oppor-architects, archives staff, art handlers, tunity to view the videos and addcollection care specialists, collection your voice.managers, conservators, curators, engi- One of the major goals of AIC CCNneers, entomologists, exhibit designers, is to pursue collaborative projects infacilities staff, historic house museum collection care. Recently, the Societystaff, library staff, mount makers, for the Preservation of Natural Historypreparators, preventive conservation Collections (SPNHC) and AIC CCNmaterials vendors, registrars, techni- announced that the Kress Foundationcians, and the many others who aid in has funded the development of apreservation. For more on our man- web-based resource entitled, STASH:date and purpose, please visit our Storage Techniques for Art, Science,website at www.conservation-us.org/ and History collections. Based on acollectioncare. former SPNHC publication, this ven- Since its first meeting at Winterthur, ture will present an expanded range The SPNHC book, STASH, which will beDelaware (USA), funded by a gener- of storage solutions, and integrate reproduced and expanded in a jointous grant from Tru Vue, AIC CCN has the many new materials which have partnership between AIC CCN and SPNHC.4 PAPYRUS SUMMER–FALL 2012
  • 7. Felicity Devlin. Some modules havealready been posted on the AIC wiki, Board of the AIC Collection Care Networkwith more expected later this summer.This topic, along with many others, can Joelle Wickens, Chair 2012–2014 Robert Waller, Editor 2012–2015be found at www.conservation-wiki.com. Winterthur Museum, Protect Heritage Corp., Ottawa, ONThe direct link to Conservation Stan- Wilmington, DE rw@protectheritage.comdards & Guidelines for Exhibitions jwicke@winterthur.org Patricia Silence, Founding MemberUtilizing Museum Collections is Rebecca Fifield, Vice-Chair Colonial Williamsburg Foundation,www.conservation-wiki.com/ex. 2012–2014 Williamsburg, VA We invite you to collaborate in Metropolitan Museum of Art, psilence@cwf.orgdeveloping our next projects, and New York, NYto consider joining us at upcoming Julia Brennan, Founding Member Rebecca.fifield@metmuseum.org Private Practice, Washington, DCnational meetings. “Contemporary Wendy Claire Jessup, Secretary textilefixer@yahoo.comIssues in Conservation” is the theme 2012–2013for the May 29 to June 1, 2013 meeting, Rachael Perkins Arenstein, Private Practice, Arlington, VAplanned for Indianapolis. We welcome Founding Member prevcon@verizon.netsuggestions to help us shape a Private Practice, Scarsdale, NYworkshop to present at this meeting. Karen Pavelka, Treasurer 2012–2015 Rachael@amartconservation.com Looking ahead to our 2014 national University of Texas at Austin, Catharine Hawks,meeting in San Francisco, we envision Austin, TX pavelka@ischool.utexas.edu Founding Membera conference program focusing on National Museum of Natural History,preventive care, incorporating the ideas Gretchen Guidess, Communications Washington DCof many of our preservation allies. & Outreach 2012–2015 cahawks@aol.com We look forward to beginning a Historic New England, Haverhill, MAlong and enriching exchange between Gretchen.guidess@gmail.comour organizations. Delaware Delaware Maryland New Jersey w Pennsylvania Pennsylvania Virgina Virgina a New York York Ohio Massachusetts Massachusetts chusetts New Hampshire Co Connecticut onnecticut Construction Services Construction Services Energy Sustainability Energy & Sustainability Environmental Environmental Geotechnical Geotechnical Grant Writing Writing Laboratory Testing Laboratory Testing Test Landscape Architecture Landscape Architecture Materials Testing Inspection Materials Testing & Inspection c MEP Municipal Planning Site Design Structural Structural Survey Geomatics Survey & Geomatics Transportation Transportation Water/Wastewater Water/Wastewater Water/WW Winterthur Museum, Garden & Library, Winterthur, DE Providing Engineering Services Since 1966 Providing Engineering s www w w.pennoni.com www.pennoni.com om PAPYRUS SUMMER–FALL 2012 5
  • 8. Who’s Afraid of Green Museums Fear and Loathing and HVAC By Elizabeth Wylie and Niall Cooper T his article is a follow-up to a session at the American a design brief? We have an 1880s building—won’t greening Association of Museum’s (AAM) Annual Conference cost too much? in Minneapolis in late April 2012. In a provocative Top-flight experts—all of whom either have been, or are forum, experts examined many of the questions that arise currently involved in some of the country’s most high-profile when museums undertake a capital project and want to museum building projects—offered valuable experienced- pursue environmentally sustainable practice in design and based perspectives. The primary outcome was that participants construction, as well as in ongoing operations. were empowered to ask questions, question assumptions, Capital construction projects are not a common occur- and push for excellence. The saying goes that the best rence within the career trajectories of most museum pro- buildings are the result of the best clients. This session was fessionals. The session aimed to empower museum leadership aimed at helping participants be better clients, getting the to ask and seek answers to tough questions. The challenge results that they want and that the museum field needs: of designing, building and operating environmentally sus- green buildings that perform and make a positive contribu- tainable museums (new, existing, and historical) is a multi- tion to the fabric of their communities. We wanted to help headed hydra that sows conflicts around budget and need, to make the connection between the design and construc- desire and reality, vision and capacity. The job of articulat- tion process and mission-fulfillment, underscoring long-term ing goals, matching budget and schedule, and keeping the thinking, and the power of green for branding and education, vision and intended outcome in sight is a tall order. Add as well as environmental responsibility. in new green technologies, differing metrics, and shifting The idea for this forum was born of a conversation we collections care standards, and you end up with a brew of had when we wanted to collaborate on an AAM session. challenges and opportunities. While brainstorming, we kept circling back to the same There are significant barriers to greening museums, many basic issue: Why aren’t museums greener? They are here for of which arise from confusion related to costs and technolo- the long haul, right? Their missions revolve around saving gies. The session’s format provoked a candid exploration collections for the “future”, right? This results in the expen- of barriers and points of conflict. Onsite questions, as well diture of untold resources on energy and water—resources as those pre-solicited from the field, stimulated a frank that are at risk, and which are harmful to the environment examination of the issues. Sample questions included: in their production/extraction. Other industries are already How important is LEED certification to achieving a green positioning themselves to adapt to climate change in museum? Given the current discussion about collections innovative, systems-based ways that can serve as models. care standards, how do you design for a situation in flux? Museums have started this process, but . . . Can you provide an example of when you have questioned We looked at the LEED program (www.usgbc.org), just one of many metrics, and where museums fall within the nearly 10,000 LEED certified projects. Certified is the lowestCOURTESY: BURO HAPPOLD COURTESY: BURO HAPPOLD This sample of 60+ LEED certified museums shows distribution LEED-certified museums over a ten-year period. across the rating levels, with Silver predominant. 6 PAPYRUS SUMMER–FALL 2012
  • 9. The Experts Since we designed the session in an unconventional way, each expert provided an unconventional bio. Elizabeth Wylie LEED AP BD+C, Principal, Niall Cooper CEng MCISBE BEng (Hons) MSt, WYLIE projects Associate Principal, Buro Happold Elizabeth is a museum-oholic art historian who dreams Niall is an engineer, thinker and tinkerer with seventeen that museums will start adopting a longer strategic view, years of engineering, thinking and tinkering under his and position themselves to adapt to climate change with belt. He has engineered, thought about and tinkered with resource-efficient buildings and sites, for the ultimate in museums across the United States. Of all the buildings mission-fulfillment. he has engineered, thought about and tinkered with, museums are his favorite. Veronica Szalus, Director of Exhibits, National Nico Kienzl, DDES, LEED AP BD+C, ASHRAE HBDP, Children’s Museum Director, New York, Atelier Ten Veronica is a director of exhibits by day, and an installation Nico is a recovering architect, as well as a sustainability and artist by night. She focuses on green practices in both building physics expert who enjoys seeing art in natural fields, utilizing repurposed materials in many of her daylight and museums that connect to their surrounding installations, and fighting the good fight for incorporating environment. Too tightly controlled museum environments sustainable practices in exhibit design and daily operations give him “museum head” and reduce his attention span to at the Museum. about 30 minutes. Matthew Siegal, Chair, Conservation and Collections Meredith Mack, Executive Vice-President, Management, Museum of Fine Arts, Boston Rise Group LLC Meredith likes to make things work, and get things done. As Trained as a ceramist and a glassblower, Matthew manages a result, she often finds herself a project manager or admin- one of the largest art collections in North America. He istrator at fascinating places like museums, learning how longs for the museum community to be able to set aside to implement new systems and ideas like “green building”. the minutiae of daily operations, and embrace broader discourse—such as, how do we, as a society, determine the appropriate share of resources to commit to preservation Sarah Brophy, LEED AP EBOM, Principal, bMuse: of our material culture? As collection stewards, what do Sustainable Museums we owe the present generation, what do we owe future Sarah’s coolest green experiences as a volunteer include generations, and how do we use the finite lives of the planting grasses to rebuild habitat in the Chesapeake Bay, objects we collect? training as a marine-mammal-stranding team member (unfortunately we get the dead ones), and building trails on conservation land. She is dreaming of the day when James Alexander FAIA LEED AP, Principal, museums operate as ecosystems! Finegold Alexander Jim is an architect and reuse pioneer, who is delighted to Christopher Mekal, Principal, Mekal Consulting see early preservation efforts joined with environmental Chris looks forward to the day when green design is as sustainability. He sees how this merger can positively shape unquestioned in building programs as electricity. In the community through architecture, and wonders what new meantime, he keeps a sharp (and sometimes skeptical) eye “green” expression will mean for the built environment. on the bottom line.rating and Platinum is the highest (or most resource efficient). museums get to deep green; as a whole, however, the industrySilver is little more than what is required by code in some has been behind the curve in getting there. What are thestates. In a sample of 60+ LEED certified museums, Silver barriers? What are the solutions to help museums get tois the predominant target. fearless green? If you look at the rate of adoption, there was a precipitousfalling-off of deep green around the time stricter energyrequirements were rolled out in the 2009 version of LEED. The Project Kick-Off MeetingIt seems that museums are interested in—and indeed, For the session, we tried something new: a roleplayingare—going green; but they just aren’t reaching higher, exercise. Audience members were invited to become “flieswhich is something other sectors (colleges, universities and on the wall” during a project kick-off meeting. This wascorporations, for example) are already doing. Why aren’t followed by a randomized Q&A to keep it lively and edu-museums—trusted and valued institutions with smart staff cational. The approach was intended to explore a seriousand leadership—similarly positioning themselves to adapt? subject in a fun way, in order to cut through the fear andThe technology and professional expertise exists to help confusion, and show how to get where museums want to go. PAPYRUS SUMMER–FALL 2012 7
  • 10. The scene is 45 minutes into an hour-long project kick- representation on the Building Committee—includingoff meeting. The team has already introduced itself, shared staff working in collections care, exhibits, advancement and,existing documentation, and reviewed schedule and budget, yes, facility management—was seen as important. Estab-and program goals are being discussed. We enter as the lishing a Green Team is optimal for developing, managingarchitect has just asked for specifics on what the Owner and monitoring museum-wide green practice going forward.broadly described as “Green” approaches. Making a commitment and embedding sustainable practice As the scenario played out and the audience asked into your organizational values can have a substantialquestions, the themes below emerged as areas that pose impact on how you design, operate, fund, and interpretpotential barriers to museums reaching for fearless green. your green building.How do I know what Green is? The LEED Certification process scares me. I feelWithout exception, every member of the panel agreed that overwhelmed? What can I do?early definition of sustainability goals is one of the single LEED is a recognized brand, and your audience and finan-most important factors affecting costs—and ultimately per - cial supporters likely know and appreciate that there is someformance—down the line. There was also agreement that verification of sustainability. The LEED process has beeneach museum needs to educate itself about sustainability, and streamlined over time: documentation is less onerous (newwhat it means for them as an institution—not just within online tools help, as has LEED’s adoption in the market-the context of a building project, but also going forward place), and professionals are more skilled. There is still somein terms of operations and education. Cross-disciplinary concern about what is sometimes called a LEED premium. The Roleplay Scenario Committee with leadership on the project. He has never been through a major capital project. Owner Emerald Museum and Gardens, a beloved local, private Head of Building Committee (Sarah) non-profit institution. Long-time Trustee and potential major donor. She is a self- made gazillionaire (invented a portable composter that Program has taken the marketplace by storm). She is Art museum with non-living, “encyclopedic” collections, knowledgeable about sustainability principles, but has plus living botanical garden and designed landscape. never been through a major capital project. Existing Building CFO (Chris) 20,000 sf Beaux Arts style, built in 1896; includes galleries, New to position (about six months). His last museum closed offices, and 5,000 sf of collection storage. one year after the new building opened. He is traumatized by capital-project cost overruns and lack of operational planning. Expansion He is watchful of the bottom line and a green skeptic. 15,000 sf, to include visitor services, café, gift shop, social space, special exhibition galleries, performance and Exhibition Designer (Veronica) education spaces. Head of the Museum’s Green Team and a sustainability Systems advocate. She has never been through a major capital Air-conditioning installed in 1950s; steam heating system project. with scattered upgrades over the years. Collections Manager (Matthew) Site Long-time staff person with conservation background. He has Five acres in tight urban setting in the Minneapolis/St. Paul been through minor storage and gallery-upgrade projects. metropolitan area. Facilities Manager Total SF With a military background and 30 years at the museum, 35,000 sf (renovation and new construction). he has been through small-scale, patchwork capital upgrades. He couldn’t make the meeting, as he had to attend to an Total Project Budget: $36.4 million emergency systems failure. Hard costs: $28 million (@$800/sf) • Soft costs: $8.4 million (@ 30%) Design Team (Jim, Niall and Nico) An architect, an HVAC engineer, and a sustainability consul- tant. All are experienced and possess award-winning talent The Players and technical expertise. Director Former Chief Curator, in position one year, following the Owner’s Project Manager (Meredith) 25-year tenure of the former Director. In Sweden visiting Savvy and experienced, she has been in the trenches both the family of the museum’s founders and positioning for as a client and as an OPM. She knows her way around all campaign ask, he has entrusted the Head of the Building aspects of capital projects.8 PAPYRUS SUMMER–FALL 2012
  • 11. Studies show, however, that working with a truly integrated the budget by looking at the following three areas ofdesign team—and establishing and committing to green opportunity with increasing order-of-magnitude costs.goals early in the process—can minimize or even eliminate 1. Don’t forget the big picture and your long-term goals.any premium for sustainable design and construction. Look well beyond simple payback by examining larger There is also general recognition that some of the LEED investments that keep paying for the life of the buildingcriteria are not geared towards the special requirements of (ground-source heat pumps, etc.).museums. To begin to address this, members of PIC Green(AAM’s sustainability committee: www.facebook.com/ 2. Look at the interface and integration between thePICGreen) have formed an ad hoc committee on LEED historical building and new construction.in museums. Encouraged by the U.S. Green Building 3. Design a super-efficient new-build component throughCouncil (USGBC), the group has started reaching out to integrated systems and building-envelope strategies.LEED-certified museums to foster an evaluation mindset, tocomment on LEED 2012 (now v4.0), and to make recom- Benchmarking was also mentioned, as was IAMFA’smendations for LEED and ways to increase its effectiveness annual benchmarking report. Participants in the exercisefor museums. This work parallels similar conversations know how useful that kind of data can be over time, as itbetween PIC Green, AAM and Energy Star (the Environ- has resulted in significant savings in operating expenses.mental Protection Agency and Department of Energy’s Knowing how your museum currently sits in relation toenergy-efficiency program: www.energystar.gov/) to find its contemporaries is important. Tracking overall energyways in which the museum community can better use this usage (often referred to Energy Usage Intensity, or EUI)online tool. provides a useful benchmark for how well the building When asked if LEED is necessary for the Emerald Museum fabric and systems are working together as a whole.and Gardens expansion project, the roleplay engineer It’s not easy to obtain a true apples-to-apples comparisonresponded that “it’s not necessary, but is a good framework in EUI between museum buildings, given the wide varietyfor our approach as a design collective.” For the Emerald of spaces and program configurations. However, carefullyMuseum and Gardens, the idea is to “choose our own destiny measuring where and how energy is used (when comparedwith goals that make sense for what we are trying to do.” to similar building programs and geographical locations)From an engineering perspective, the team could work up can provide an extremely useful guide in forensic engineering PAPYRUS SUMMER–FALL 2012 9
  • 12. efforts, which can improve both climate control margins a green skeptic, did concede that, as environmental respon-and overall energy usage. It can also be used to set realistic sibility becomes more important to museum audiences,EUI-improvement targets for renovations, as well as sensible they expect and are looking for evidence that resourcesgreen-stretch exercises for new building components. Such are being used wisely.assessments can be hugely beneficial prior to engaging insignificant capital development programs of expansion or Can we succeed in a fundraising campaign if weupgrade. These exercises can help tune the system design aren’t green?and prioritize upgrades, in order to obtain the “biggest The roleplay major donor said she would absolutely supportbang for your buck”. green approaches, saying she would work with the advance- The take-away is about looking holistically at your institu- ment office to target asks around the kinds of things thattion, your project, locale and culture. It is also about mea- motivate donors. She suggested that “some are only inter-surement and goal-setting. Return-on-Investment (ROI) was ested in green bling” (e.g., PV panels that can be easilycited as one decision-making tool that can help museums identified), while others understand that integrated greencome to terms with what is sometimes described as a “green approaches aren’t necessarily visible. Showing leadership,premium”. A truly integrated design team can work with she noted, has tremendous benefits, and can be leveragedenergy modelers and cost estimators to test scenarios for for more support. There is also the compelling argumentvarious building and systems schemes, and can lead the for donors that raising money for green-building purposescharge in discussing trade-offs. is in fact front-loading operating costs, since capital sup- port is traditionally easier to raise than operating funds.There is a dizzying array of products and technologies This kind of thinking is again looking holistically at anout there. How can I measure the cost-effectiveness of institution’s needs.installing these? Telling the green story before, during and after con-Again, measurement plays a role in understanding how the struction can educate and inform, while also generatingbuilding is being used and how to continually adapt and support both internally and externally. What are the sus-improve energy efficiency as space use shifts and changes. tainable design features inherent your existing historicalAn example is sub-metering. By monitoring every compo- building that you are restoring and/or reactivating in yournent of energy use in the building, facility managers can renovation project? How is the new construction designedgather and analyze data, and respond by changing the way to take advantage of passive green-design strategies (solarin which the building is operated, in order to maximize and wind orientation, envelope design, etc.)?opportunities to save even more energy. You can also get a lot of mileage out of things you don’t An important point was made here about operating a see, which can also capture the imagination. While thatgreen building. As the roleplay sustainability consultant geothermal heat-pump system might be kind of “techy”,put it, “We can design a great sustainable LEED Platinum it is interesting to think about the principles of the system.project, and still have a really crappy building if we don’t Standing-column wells that are 1,500 feet deep can berun it right.” Making sure the building is actually operated described as measuring the height of the Empire Stateand maintained over time, the way it was designed to be Building—underneath your building. You can furtheroperated and maintained, is critical. The panel reinforced explain that this means you can avoid giant cooling towersthe fact that engaging facility staff at the beginning of a on the roof, which might mar the building’s historical con-capital project can have a substantial impact on the outcome. text, which in turn feeds into a preservation story. Sharing Commissioning—a systematic assessment of building- the ideas behind sustainable-design strategies provides oppor-system design and post-occupancy performance—is required tunities to connect energy efficiency to mission-fulfillmentby the LEED program, and is a good idea whether LEED and the true cost of collections care.certification is pursued or not. Retro-commissioning is also Greening heritage buildings is not as daunting as oneuseful for existing building systems. In each case, commis- imagines when thinking about historic district commissionssioning ensures that the building is operating as efficiently and the Secretary of the Interior’s Guidelines. Often it isand safely as possible, and that it is operated and maintained simply about letting the historical building do what it wasby well-trained staff. This activity can also address some of designed to do, in terms of thermal mass, ventilation, andthe fear that springs up when the design team is specifying day lighting. Comparative studies of historical windows andhighly interactive design strategies and sophisticated insulation strategies support restoration and retrofitting forcontrol systems. preservation-oriented green building (www.english-heritage. org.uk/professional/research/buildings/energy-efficiency/How do I convince my museum to become energy thermal-performance-of-traditional-windows/).efficient? How do I make sure that the art is not Preservation of collections, and the compatibility of thissacrificed in the process? with sustainable design, has been demonstrated by leader-Internal buy-in was identified as a significant barrier, with ship among collecting institutions that have led the wayleadership questioning the costs, and staff reticent to adopt with deep-green buildings that conserve resources whilenew approaches that seemed at odds with commonly accepted also carrying out the mandate-based work of preserving thecollections care and exhibition practices. The roleplay CFO, objects, creatures, plants, and structures in their care. This10 PAPYRUS SUMMER–FALL 2012
  • 13. has been, and will continue to be, facilitated by new thinking reliant on increasingly at-risk resources in order to fulfillabout collection-care practices. The conservation community their mandates to preserve collections forever. Acceptinghas ramped up the conversation and, indeed, has begun to that—and understanding that energy and water are critical,outline new risk-based parameters for conditioned spaces if we are to continue to enjoy and learn from our collec-for objects (www.iiconservation.org/sites/default/files/ tions—is the first step towards fearless green. And thatdialogues/plus-minus-en.pdf). requires leadership and a longer view. This has created discomfort for some who have rigidly The good news is that museums across the globe haveheld to the 50%RH/72°C formulation that many museum already shown leadership and a willingness to step onto thecurators and collection managers have had seared into their green road and follow it for the long term. The examplesbrains. Scientific research, education, and honest discus- set by these early adopters and continual adapters aresions within the field are shifting practice. This greater important in encouraging others, large and small, to follow.flexibility has also extended to day lighting. Increased day Professional training programs with embedded sustainability,lighting (direct, reflected, and diffused), in galleries as well as well as a general green zeitgeist, have also begun toas in museum public spaces, reduces energy use and cooling break down barriers. Finally, it is up to those who design,load, while also improving the visitor experience. build, and run museums—architects, engineers, directors, The visitor experience lies at the heart of these issues— curators, facility managers, et al—to demonstrate that theyafter all, what else is the point of saving all this stuff? As the are connecting the dots between mission-fulfillment androleplay collections manager put it, “As far as I am concerned, the health of the planet, and that they are taking action tothe objects we collect have no value without the human secure a bright future for both collections and people.component. They have no relationship to one another inour absence. The value they have is for our access and our Elizabeth Wylie LEED AP BD+C is Principal at WYLIE projects, ainteraction with them. If we were to be simply concerned consultancy providing strategy, marketing, development, andwith the preservation of our objects, we would never sustainability planning for the A/E/C industry and for museum, cultural and preservation organizations.display them, we would never loan them out, and theywould live forever in a dark storage vault.” Niall Cooper CEng MCIBSE BEng (Hons) MSt is an Associate Clearly, museums have already made the decision that is Principal at Buro Happold, an independent internationalnot what we want to do. Within that context, museums are practice of consulting engineers. ATKIN OLSHIN SCHADE ARCHITECTS The Anne d’Harnoncourt Sculpture Garden and Parking Facility 125 SOUTH NINTH STREET, SUITE 900 | PHILADELPHIA, PA 19107 | 215.925.7812 | blog.aosarchitects.com PAPYRUS SUMMER–FALL 2012 11
  • 14. Benchmarking Options: New Energy Survey and Classic Comprehensive Survey By Stacey WittigT he IAMFA Benchmarking Steer- One way to really measure this is to translation for the survey and brochure, ing Committee just released a new participate in the IAMFA benchmark- which was distributed in the handouts energy survey to help facilities ing exercise and attend the annual to each attendee.reduce energy costs and consumption. benchmarking workshop. Recognizing In May, the IAMFA Energy SurveyThe IAMFA Energy Survey gives IAMFA that this is not practicable for all mem- was presented to the IAMFA Environ-members a second benchmarking bers, IAMFA has proposed a shorter mental Group Meeting held at theoption. The new survey was designed energy survey, which will at least record Manchester Museum. According toto meet the needs of smaller museums energy consumption and compare that participants, Jack Plumb providedand conservators who are looking for consumption with their peers,” said an excellent overview of IAMFA andbenchmarking data to support changes Jack Plumb, Facilities Manager, National benchmarking at the joint Conserva-in environmental conditions. Library of Scotland. tion and Estates/Facilities meeting. The IAMFA Energy Survey measures The IAMFA Benchmarking Steering The concept of benchmarking wasresults from the same survey questions Committee formed a subcommittee, new to some of the participants fromfound in the energy section of the conducted a pricing survey, and dis- smaller institutions.classic IAMFA Benchmarking Survey. cussed definitions and appropriate Not only will conservators and facilityThe essential difference between the survey questions. The subcommittee managers, new to IAMFA benchmark-two surveys is that the IAMFA Energy included Guy Larocque, Keith ing, get a tool to help meet the demandsSurvey does not collect cleaning, main- McClanahan, Randy Murphy, Jack of government mandates for measuringtenance, landscaping or security data. Plumb, David Redrup, David Sanders and reducing energy cost and con- Both IAMFA benchmarking surveys and Stacey Wittig. sumption, but longtime participantscollect more data on summer/winter With International Council of of the classic study will be able to addtemperature and humidity setpoints Museums (ICOM) conservators and sites for which measuring energy isthan in previous years. The Steering European Bizot Group museum direc- crucial, but a full survey is not warranted.Committee looked at the feasibility of tors becoming more focused on envi- For example, Plumb completes thean energy study over a year ago, after ronmental guidelines, the subcom- complete survey every year for his mainfacility managers in the U.K. brought mittee recommended questions about facility, but is looking to benchmarkthe need to the Committee’s attention. temperature and humidity setpoint other sites for the Energy Survey alone.Additionally, the Committee had been variances in different types of spaces. Participants of the Energy Surveyinterested for years in increasing par- Hence, setpoints are collected for will also be able to print out an IAMFAticipation from small institutions, which Exhibition Areas—Permanent Displays; Energy Label to display in their build-have neither the budget nor the man- Exhibition Areas—Temporary Exhibi- ings. Four years of data are neededpower for the complete survey. The tions; Conservation/Lab Areas; Collec- for a valid energy label. The IAMFAEnergy Survey, offered at a reduced tion Holding Areas, not including any Energy Survey is offered at one-thirdfee, appears to meet the needs of off-site storage; Collection Storage; the fee of the complete benchmarkingboth groups. and Library space, among seven other survey. Enrollment and results will be “I think it is absolutely vital that space categories. The data collected is available year round. Read more at:Facility Managers not only keep energy very specific to museums, libraries and www.facilityissues.com/Museums/consumption under very close scrutiny, archives, unlike other benchmarking E_IndexE.htmbut also benchmark that energy con- studies. Harry Wanless, retired fromsumption with their peers. With much the British Library, called it “comparing Stacey Wittig, Marketing Director at Facilitywork currently underway to make the apples to apples.” Issues, is an IAMFA member and sits on the IAMFA Benchmarking Steering Committee.environmental control of collection The subcommittee completed the She can be reached at Stacey.Wittig@spaces more sustainable, energy con- IAMFA Energy Survey in time for the FacilityIssues.com or 928-255-4943sumption should be reducing. So the annual European meeting in Paris last (GMT -7 hours).real question is: Is it reducing enough? March. Guy Larocque edited the French12 PAPYRUS SUMMER–FALL 2012
  • 15. INSPIRED DESIGN, INNOVATIVE ENGINEERING CLIENTS INCLUDE: Baltimore Museum of Art Delaware Museum of Natural History Hagley Museum and Library Monticello Visitor Center National Gallery of Art Smithsonian Natural History Museum U.S. Holocaust Museum Virginia Museum of Fine Arts Walters Art Museum Winterthur Museum Walters Art MuseumIS A PROUD SPONSOR OF THE 22ND ANNUAL IAMFA CONFERENCE, MID -ATLANTIC, USA “Our IAMFA clients are knowledgeable and sophisticated about their design objectives for museum spaces. We are proud to support these unique environments with our specialized engineering expertise.” Robert Marino, PE, LEED AP President Mueller Associates For more information, visit www.muellerassoc.com 410.646.4500 Walters Art Museum
  • 16. The Philadelphia Museum of ArtBy Rich ReinertT he Philadelphia Museum of Art is housed in a unique and spectacular landmark building that is as much a symbol of the greatness of the City of Philadelphiaas Independence Hall or the Liberty Bell. As intense asource of civic pride today as it was when it first openedover eighty years ago, the building has always stood asthe physical expression of Philadelphia’s most ambitiouscultural aspirations. When it first opened in 1928, only ten percent of thegalleries were fully completed and installed. The decadessince have been characterized by extraordinary and steadygrowth, and by the late 1970s acquisitions of great works ofart and donations of legendary private collections filled all The Philadelphia Museum of Art.available physical space. In 1981, the Museum completed anarchitectural master plan, intended to maximize the Museum’sfacilities for collections and programming. Among the most In 2002, the Philadelphia Museum of Art started bring-notable results of this undertaking were the reinstallation ing the objectives of the master plan to fruition. Variousof 90 galleries of European Art, completed in 1995, and the projects were implemented in phases:expansion of our art-handling facility, which will open soon. • Purchase of a 50,000-square-foot building, which was The master plan identified the limitations of the Museum’s converted to an art storage facility in 2004.physical plant. There was a very real need—exceeding theMuseum’s existing capacity—for significantly expanded • Purchase of the Reliance Standard Life Building, whichspace in which to display and store the collections adequately, was converted to the Perelman Building in 2007.house the Library, and provide work areas for staff. • Main Building Exterior Envelope Project in 2009. Simply put, there was no room left to grow, which is per-haps the most troubling reality for a Museum fighting to keep • Opening of the newly constructed Parking/Sculpturepace with the ever-expanding needs and interests of the Garden facility in 2009.public it serves. While annual attendance and demand for • Expansion of the main building art-handling facilityour internationally acclaimed programs continue to increase, involving 38,000 square feet of new structure and 24,000adequate space is not always available to accommodate more square feet of renovated space in 2012.visitors. The legacy of deferred maintenance was also apparent,as was the lack of sufficient parking for our visitors. The expanded art-handling facility, which will open in The creation of new physical space consistent with August 2012, will include a dedicated art-loading dock, athe integrity, beauty, and architectural significance of the dedicated loading dock for general materials, a collectionPhiladelphia Museum of Art was a priority in preparing the area for recyclable materials, various workshops, IT labs,institution for tomorrow’s visitors. The expanded facility will and a distance-learning broadcast studio.provide for the future growth of collections and programs, During the September 2012 IAMFA conference, wealong with state-of-the-art facilities for art storage and con- look forward to showing you around the new art-handlingservation, a technologically advanced library and learning facility.center, and adequate staff and back-office operations. Itwas estimated that 150,000 square feet would be required Rich Reinert is Facility Contracts Manager at the Philadelphiato meet all of the needs cited within the master plan. Museum of Art.Expansion of main building art-handling facility, opening in August 2012.14 PAPYRUS SUMMER–FALL 2012
  • 17. Yo, Philly!By Rich ReinertY o! Prepare to learn a unique version of the English language. The key is to train your brain to fill in the blanks—so, when trying to speak Philly slang, putyour brain on half-speed and have at it. Here in Philly, we are so excited to be welcoming ourfriends from IAMFA that I thought we had better pass alongthis little translation guide. If you’re bringing one of thosetranslator dictionary dingies, you can put that jawn—er,book—away. My advice, if you get into a Philly slangdiscussion, is to watch for clues in body language. By the way, “jawn” pretty much means anything. It’s aword used in Philadelphia to describe any noun when theright word cannot be remembered within a reasonablespace of time. Let’s try a few words, just to get you acclimated.A-needing: AnythingBaffroom: BathroomConfer-bill: ComfortableDo-inn: Doing—greeting, as in “Hal-yu-do-inn”. Respond by saying “Hal-yu-do-inn” in a deeper tone.Fildelfia: PhiladelphiaFi-dollar: Five DollarsGa-head: Go aheadGet-in: GettingHaf: One-halfI-dear: IdeaIce-in: IcingJeeet?: Did you eat?Kant: CannotLy-berry: LibraryMayan: Mine. Not those ancient Indians.Nut-in: NothingOff-en: OftenPock-a-book: PurseRoun: AroundSow-filly: South PhiladelphiaTawk: TalkTo-mara: TomorrowUnderneef: UnderneathWooder: WaterWit: With (When ordering a cheese steak you may be asked wit or wit-out. That means Cheese Wiz. Or not).You-ze: The plural version of “you”. I hope this helps you-ze. If you need a-neding, ga-head n LANDSCAPE LANDSCAPE ARCHITECTURE / URBAN DESIGN / PLANNING REsend me an email. You-ze kant wander roun Filedelfia wit-out speaking the language. 215.440.0030 PHILADELPHIA / 215.440.0030 LOS 323.387.3598 LOS ANGELES / 323.387.3598 Of course I’m over-exaggerating. You’ll have a great info@theolinstudio.com info@theolinstudio.comtime here. www.theolinstudio.com www.theolinstudio.comRich Reinert is Facility Contracts Manager at the PhiladelphiaMuseum of Art. PAPYRUS SUMMER–FALL 2012 15
  • 18. External Vertical Shade AutomationProject at the California Academyof SciencesBy Hershow Al-BaraziT he California Academy of Sciences has exterior shades installed on the east, south, and west façades of the Research, Collection, and Administration (RC&A)buildings. Yes, they do help provide some relief from thesun’s glare, but mostly they prevent heat-loading from thesun. Reducing the heat load = reducing the amount ofcooling needed = energy savings! Until recently, the shades were on a timer to extend/retract, depending on the time of day. The shades wouldbe lowered regardless of actual conditions. For example,some floors that require shade during the summer may notrequire shade during the winter, and the time of day thata floor requires shade changes throughout the year. Ourbeloved fog may have enveloped the building, and it may Fig. 1: Southeast weather station with solar sensors.be raining—regardless, the shades would be lowered onschedule. We needed to automate the shades to extend or retract angles (angle from the horizon, and the angle from eastbased on the sun’s actual intensity and position. We also to west).needed to integrate this automation into the Building The building’s orientation and the effect of the canopyManagement System (BMS). creates shade on the different floors. With this information, We mounted three solar irradiance sensors (facing east, we calculated a range of elevation angles for each floor,south and west) to measure the sun’s direction and angle and a range of azimuth angles for each wing.relative to the roof’s surface. Finally, we created an interface screen on the BMS to Using the sensor’s signals and vector analysis, the monitor the signals coming from each of the solar sensors,system calculates the approximate position of the sun and provide a visual indication of the shades that shouldthroughout the day, in terms of the elevation and azimuth be lowered.Fig. 2: Building orientation. Fig. 3: Canopy shade angles.16 PAPYRUS SUMMER–FALL 2012
  • 19. This screen also allows the Operations Departmentto remotely extend or retract the shades for regularmaintenance. Employees are still given the choice (via the manualshade controls on each floor) to lower the shades whenthey are not required, but the system controls the need forthem to be down on sunny days. Academy employee Hershow Al-Barazi, under the watchfuleye of Ari Harding, Director of Building Systems, completedthe installation and programming.Hershow Al-Barazi was part of the CAS LEED O&M Certificationteam, and works primarily with the Air Handling and BuildingManagement system to help monitor and maintain ambientconditions in the administrative offices, live exhibits, andcollections. Figure 5: Rear of the Academy, with the shades up.Figure 4: BMS vertical shade interface. Past issues of Papyrus can be found on IAMFAs website www.IAMFA.org PAPYRUS SUMMER–FALL 2012 17
  • 20. The National Geographic Societyis a LEED-EB Recertification StarBy Michael ArnyT he National Geographic Society is one of the world’s largest non- profit scientific and educationalorganizations. Founded in 1888 to“increase and diffuse geographicknowledge,” the Society works toinspire people to care about the planet.It reaches more than 400 millionpeople worldwide each month throughits official journal, National Geographicand other magazines, as well as theNational Geographic Channel, tele-vision documentaries, music, radio,films, books, DVDs, maps, exhibitions,live events, school publishing programs,interactive media, and merchandise.The National Geographic Society hasfunded more than 10,000 scientificresearch, conservation and explorationprojects, and supports an educationalprogram promoting geographic literacy. the rating system is all about maintain- History of LEED The National Geographic Society ing existing building performance, Recertificationalso works to provide a model for cor- while also having a continuous improve- The first cycle of recertification led toporate sustainability. The Society has ment program in place to improve Gold recertification being earned inbeen involved from the very beginning performance over time. 2009, under the LEED-EB v2.0 ratingin Leadership in Energy and Environ- system. The Society started the recerti-mental Design (LEED®), a rating fication cycle as soon as the USGBCsystem developed by the U.S. Green started to define the process and theBuilding Council (USGBC) to promote “The LEED program is a requirements for recertification.building sustainability. The National The second cycle of recertificationGeographic Society headquarters build- great tool for maintaining led to the earning of Gold recertificationing was, in fact, the first building to be the high performance of our in 2010, under the LEED-EB v2.0certified under the LEED for Existing headquarters building, and rating system.Buildings (LEED-EB) pilot program, The third cycle of recertification ledearning Silver certification in 2003. This is very consistent with the to the earning of Gold recertificationbuilding is a multi-purpose building values of the National in 2012, under the LEED-EB Operationmeasuring 746,237 square feet, with Geographic Society.” and Maintenance v2008 rating systemoffices, museum space, a gift shop, (LEED-EB O&M 2008).a cafeteria and meeting spaces. The —Robert Cline, Vice President, Over the nine years since the build-museum space is about three percent General Services, at the National ing’s initial certification, the Nationalof the building’s total floor area. Geographic Society Geographic Society has implemented Robert Cline, Vice President, General continuous sustainability improvementServices, at National Geographic, said, measures, guided by the LEED-EB rat-“The LEED program is a great tool for ing system. It uses Leonardo Academymaintaining the high performance The National Geographic Society as its LEED consultant for ongoingof our headquarters building, and is has been an early adopter of both recertification efforts. The Nationalvery consistent with the values of the initial LEED-EB certification and Geographic Society has now earnedNational Geographic Society.” ongoing recertification. The Society Gold certification twice under LEED- LEED-EB requires recertification has recertified its headquarters on a EB v2.0, and once under LEED-EBevery one to five years. This is because regular basis. O&M 2008.18 PAPYRUS SUMMER–FALL 2012
  • 21. During the past nine years, the • Formation of a corporate Go Green Michael Arny, President ofNational Geographic Society has steering committee and five Leonardo Academy, said, “Theimplemented many green actions subcommittees. National Geographic Society hasto increase its sustainability taken a strong leadership position inperformance, including: demonstrating the importance of• Recycling 56.4% of all waste through “We take great pride in our ongoing recertification under the LEED-EB rating system as a tool for a comprehensive diversion program, LEED status. Being able to including cafeteria recycling and maintaining and increasing building say we are LEED-EB Gold is performance over time. All building- composting. a badge of honor. Yet, we owning organizations face the challenge• A comprehensive alternative trans- of institutionalizing continuous improve- portation and commuting program, have a target out there ment of building performance into their including flexible schedules, tele- called LEED Platinum organizations’ DNA, and LEED-EB commuting, bicycle racks and pre- that serves as a constant provides a robust framework for ferred parking for carpools and achieving this while maintaining the alternative-fuel vehicles. reminder that we can market value of the facility asset.”• Fixture water-use reduction 30% always do better.” Michael Arny has been a leader on energy, greater than LEED requirements environmental and sustainability issues for —Hans Wegner, Chief Sustainability (with a calculated savings of more than 30 years. He is the President Officer at the National 1,133,057 gallons per year). and founder of the charitable, non-profit Geographic Society organization Leonardo Academy, which• A multi-phase plan to upgrade advances sustainability and puts the com- building control systems over petitive market to work on improving several years. • Purchase of wind RECs covering the environment. Mr. Arny chaired the 100% of energy use. committee that developed LEED for• An overhaul of the major mechanical Existing Buildings. He can be reached systems that led to a 20% decrease • Participation in an energy demand- at www.leonardoacademy.org in energy use. response program. BUSINESS INSURANCE FOR CULTURAL INSTITUTIONS Tailored Solutions for Treasured Institutions Property | Liability | Auto | Workers Compensation | Umbrella Fine Arts | Directors & Officers | Employment Practices Fiduciary | and more Please visit us online at www.chubb.com/culturalinstitutions. The IAMFA LinkedIn Group now has 360 members from 31 countries. Join the Group and see what everyone is talking about, Think EXPERIENCE. Think Chubb. and PLEASE...join in the discussions; wed like to hear what you have to say. Chubb refers to the insurers of the Chubb Group of Insurance Companies. Actual coverage is subject to the language of the policies as issued. Chubb, Box 1615, Warren, NJ 07061-1615. © 2012 Chubb & Son, a division of Federal Insurance Company. linkedin.com PAPYRUS SUMMER–FALL 2012 19
  • 22. 2012 IAMFA Con IAMFA DELEGATE PROGRAM 2012 SUNDAY, 8:00 am Benchmarking workshop Ritz-Carlton—Petite Ballroom NOTE: This is a separate workshop for benchmarking participants only, and not part of the main IAMFA Conference.INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS 3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room 5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange Room MONDAY, 8:10-9:00 am Trolleys depart for Philadelphia Museum of Art, Timothy Rub or Gail Harrity Opening Remarks/Notes 9:00-9:25 am Presentation 1: Making Museums & Cultural Institutions Safer Stacy Irving, Philadelphia Crime Prevention Council 9:30-9:50 am Presentation 2: Master Planning at the PMA Aegis Property Group 9:55-10:40 am Presentation 3: Construction Challenges at the PMA Atkin, Olshin, Schade 10:40 am Coffee and Break Sponsored by Hess Corporation 11:00-12:30 pm Tour Options: BAS, Behind-the-Scenes & Art Gallery Tour, Philadelphia Museum of ArtIndependence Hall Self-Guided Tour 12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant— Sponsored by Tri-Dim Filter Corp. 1:30 pm Walk to Barnes Foundation Welcome 2:00-2:25 pm Presentation 4: TBD 2:30-2:50 pm Presentation 5: Designing a Positive Environment: Steensen Varming Sustainable Approaches 3:00-4:00 pm Tour Options: Exterior Building Architecture and Landscaping The Barnes Foundation 4:00-4:45 pm Open time to walk the Museum The Barnes Foundation 4:45-5:00 pm Walk to the Ritz-Carlton 5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBDNational Museum of American 5:30 pm IAMFA Board Meeting/Dinner Ritz Carlton—John Adams RoomJewish History TUESDAY, 7:30-8:30 am Bus Depart to Delaware Welcome from Danielle Rice 8:40-10:30 am Annual General Meeting, Tour Collections Delaware Art Museum 10:30-12:00 pm Bus trip to Winterthur, Welcome, Guided Museum Tour Winterthur or Tram Tour 12:00-1:00 pm Lunch & Stanley Steamers too! Winterthur—Sponsored by Mueller Associates 1:15-2:30 pm Brown Horticulture Learning Center Project, Winterthur Stanley Steamers, Garden Tram Tour 2:45-3:15 pm Bus trip to Hagley Museum Opening Remarks: Geoff Halfpenny 3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley MuseumNational Constitution Center 5:00 pm Buses depart for Longwood Gardens 5:30-6:30 pm Tour Options: Pump Room, Conservatory with Longwood Gardens, Conservatory guide, tunnels 6:30-9:30 pm Cocktails, Dinner in Conservatory, Fountain Show Longwood Gardens, Conservatory— Sponsored by Pennoni 9:30 pm Buses depart for Ritz-Carlton WEDNESDAY, 7:30 am Trolleys depart for National Museum of American Opening Remarks—TBD Jewish History 8:15-9:00 am Presentation 6: Using Benchmarking Results to Benefit K. McClanahan, G. Larocque, your Organization K Gastright, J. PlumbHagley Museum 8:15-9:00 am Board Meeting with new Board Members National Museum of American Jewish History 9:00 am Coffee Break 9:20-10:10 am Presentation 7: Advancements in Fire Protection Speaker: Jack Mawhinney, Hughes Associates 10:10-12:00 pm Tour Options: Facilities Tour, Collections Tour, National Museum of American Building Tour, open time to tour Jewish History 12:00-1:00 pm Lunch National Museum of American Jewish History 1:15-4:00 pm Walk to Independence Visitor Center, self-guided Independence National Historical Liberty Bell Tour, guided tours of park, or free time National Park 4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off 4:30-6:30 pm Free timeLongwood Gardens 6:45 pm Trolleys depart for Gala (show, cocktails, dinner, speakers) National Constitution Center 11:00 pm Buses depart for Ritz-Carlton20 PAPYRUS SUMMER–FALL 2012
  • 23. ference Schedule GUEST PROGRAM IAMFA 2012SEPTEMBER 16, 20123:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange RoomSEPTEMBER 17, 20128:45 am Gather in hotel lobby for trolley departure (9:00)9:00-11:00 am Trolley tour of Philadelphia Trolley Tours11:00-12:30 pm Break and Self-Guided Gallery Tour/Visit Museum Store Philadelphia Museum of Art12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant— Philadelphia Museum of Art Sponsored by Tri-Dim Filter Corp.1:30 pm Walk to Barnes Foundation Welcome1:50-2:30 pm Museum Tour Mystery Museum2:30-4:45 pm TBA TBA4:45-5:00 pm Walk to the Ritz-Carlton5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD The Delaware Art MuseumSEPTEMBER 18, 20127:30-8:30 am Bus Depart to Delaware Welcome from Danielle Rice8:40-10:30 am Tour Museum and hands-on activity in Studio Room Delaware Art Museum10:30-12:00 pm Bus trip to Winterthur, Welcome, Garden Tram Tour Winterthur12:00-1:00 pm Lunch & Stanley Steamers too! Winterthur—Sponsored by Mueller Associates1:15-2:30 pm Guided Museum Tour Winterthur2:45-3:15 pm Bus Trip to Hagley Museum Opening Remarks: Geoff Halfpenny3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum Rodin Museum5:00 pm Buses Depart to Longwood Gardens5:30-6:30 pm Tours Longwood Gardens, Conservatory6:30-9:30 pm Cocktails, Dinner in the Conservatory, Fountain Show Longwood Gardens, Conservatory— Sponsored by Pennoni9:30 pm Buses depart for Ritz-CarltonSEPTEMBER 19, 20127:30-10:45 am Free Time Winterthur Museum and Country Estate10:00 am Gather in hotel lobby for trolley10:15 am Trolley departs for National Museum of American Jewish History10:30-12:00 pm Tour gallery spaces National Museum of American Jewish History12:00-1:00 pm Lunch National Museum of American Jewish History1:15-4:00 pm Walk to Independence Visitor Center, self-guided Independence National Historical Liberty Bell Tour, guided tours of park, or free time National Park4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off4:30-6:30 pm Free time Ritz-Carlton Philadelphia6:45 pm Trolleys depart for Gala (show, cocktails, dinner, speakers) National Constitution Center11:00 pm Buses depart for Ritz-Carlton PAPYRUS SUMMER–FALL 2012 21
  • 24. Become a Member of IAMFAAND GET A FRIEND TO JOINOn behalf of the membership and Board, we invite you Membership Opportunitiesto join with other museums and cultural organizations Join the IAMFA at any of the following levels and enjoythroughout the world in becoming a member of the only full benefits of membership:organization exclusively devoted to museum and culturalfacility administrators: the International Association of Regular Member — $200 annually. A regular memberMuseum Facility Administrators (IAMFA). As a member, holds the position of principal administration in directyou will join a growing list of museum and cultural facility charge of the management of facilities, and representsadministrators in their efforts to provide a standard of their institution(s) as a member of the association.excellence and quality in planning, development and design, Associate Member — $75 annually. An associate member isconstruction, operation and maintenance of cultural a full-time facilities management employee (professional,facilities of all sizes and varieties of programming. administrative or supervisor), below the level of theThe Association currently has representation in several facility administrator of the member association.countries on three continents. Our goal is to increase Affiliate Member — $75 annually. An affiliate member ismembership in institutions throughout the world. any full-time employee of a member institution who is not directly involved in the facilities management department.Your involvement in IAMFA will continue the growthof the organization and provide you with excellent Retired Member — $75 annually. A retired member iseducational and networking opportunities. As your retired, and no longer involved in facilities management.colleagues, we look forward to welcoming you to Subscribing Member — $400 annually. A subscribingmembership in IAMFA. member is an individual, organization, manufacturer ofCordially yours, supplier of goods services to the institutions who ascribesThe Board of the International Association of Museum to the policies and programmes of the Association, andFacility Administrators wishes to support the activities of the Association. Send in your membership dues by using the convenient form below. Membership payments and conference registration can also be made online at www.IAMFA.org Don’t forget to make a copy to give to a colleague. ¡ YES! I would like to join IAMFA as a: Ⅺ Regular Member $200 Ⅺ Retired Member $ 75 Ⅺ Affiliate Member $ 75 Ⅺ Subscribing Member $400 Ⅺ Associate Member $ 75 Ⅺ I am interested in joining. Please have a member contact me. Institution: __________________________________________________________________________________________________________________ Name: ______________________________________________________________________________ Title: ________________________________ Address: ____________________________________________________________________________ City: _________________________________ State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________ Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________ Please remit to: ALL FEES ARE PAYABLE IN U.S. DOLLARS International Association of Museum Facility Administrators P.O. Box 454 Ⅺ I enclose a check in the amount of $ ____________________ Bel Air, MD 21014, USA Ⅺ Please invoice me Website: www.iamfa.org
  • 25. www.lfdriscoll.comwww.lfdriscoll.com m 610.668.0950
  • 26. Carbon Management at NationalMuseums LiverpoolBy Ian Williams and Chris BaileyN ational Museums Liverpool (NML) is a group of museums and galleries, with diverse venues that attracted over three million visitors last year. Ourcollections are among the most important and varied inEurope, containing everything from Impressionist paintingsand rare beetles, to a lifejacket from the Titanic. Membersof the public have free access to these collections in thefollowing venues across Merseyside: Merseyside Maritime Museum, which also houses the The UK Border Agency Museum, and the International Slavery Museum.The Walker Art Gallery. The Conservation Centre.World Museum Liverpool. The County Sessions House.24 PAPYRUS SUMMER–FALL 2012
  • 27. The Piermasters House. Museum of Liverpool.Lady Lever Art Gallery. Sudley House. NML has some of the most interest- NML realised at a very early stage a period of two years. This system pro-ing and important buildings in the that improvements could only be vided the information to map trendsregion in which to show off its magnifi- assessed if a baseline of information in electricity, gas and water use, bothcent collections; however, the historical was collected, and targets set using for buildings as a whole, and—in thenature of these buildings have pre- that information. NML made a major case of the larger venues—by area,sented a challenge when it comes to investment in installing half- hourly through sub-metering.energy/carbon management. monitoring throughout its Estate over These actions assisted NML to gain This article provides a brief over- re-accreditation from the Energyview of some of the actions taken over Foundation in 2005 and 2008, andthe past 12 years to understand, manage Carbon Trust Accreditation in 2010and reduce energy consumption and and 2012.by doing so, reducing the carbon The most significant energy use inimpact on society. These actions have NML’s buildings is the “Base Load”. Asculminated in NML recently being many of the buildings require environ-placed joint first in the UK Carbon mental control for the protection ofReduction National League Tables. artefacts, the Base Load exists 24 hours When preparing an Energy and a day. Managing this has requiredEnvironmental Policy 12 years ago, careful analysis and reference to theNML put in place energy-saving envi- half-hourly data.ronmental measures, which led to There was an increasing trend Ian Williams (left) and Chris Bailey (right)accreditation as an energy-efficient receiving the Carbon Champions award in energy usage until 2008, with con-organisation from the National at the recent Merseyside Environmental sumption peaking at approximatelyEnergy Foundation in 2002. Awards. 13 gigawatts of gas and 16 gigawatts PAPYRUS SUMMER–FALL 2012 25
  • 28. of electricity across the venues. This sentation from an Executive Director. Nations Climate Change Conferencewas due, in part, to the physical growth This was designed with a much broader in Durban (2011), hailed the Museumof the Estate and the opening of new scope, in order to engage the organisa- of Liverpool as “one of the greenestgalleries throughout the first half of tion’s whole approach to sustainability. museums on earth”.the decade. Although energy consump- The Forum has created a Vision State- The Carbon Reduction Commit-tion had increased, energy consumption ment, a Sustainability Policy (which ment Energy Efficiency Scheme (CRC)per square metre was being reduced. has superseded the previous Energy in the UK is a new regulatory incen- The electrical infrastructure of the and Environmental Policy), and an tive to improve energy efficiency inEstate, given the age, nature and use Action Plan. The group meets on a large public and private organisations.of the different venues, had been regular basis to discuss and develop This mandatory scheme aims not onlyaltered and added-to over the past the organisation’s green credentials. to improve energy efficiency, but also40 to 50 years, leading to (in places) NML has (in line with government to reduce the amount of carboninefficient electrical performance. requirements) continually assessed dioxide (CO2) emitted in the UK.This has led, in turn, to two specific and reported energy/water usage over Every organisation whose annual half-schemes: the introduction of power- time. The result of this—in addition hourly metered electricity was abovefactor correction equipment, to reduce to the development of energy-efficient 6,000 MWh in 2009–2010 was obligedthe adverse effect of motors and flu- initiatives and prudent management— to participate. NML’s energy andorescent lights on the system; and, is that the targets originally set in 2002 facilities team submitted energy datamore recently, the introduction of a have been exceeded, as verified through reports, and evidence of accreditedVoltage Optimisation system. accreditations from the Energy energy management systems in the At World Museum Liverpool (where Foundation and Carbon Trust. summer of 2011.energy consumption is highest), an NML’s newest Venue “The Museum A Performance League Tableenergy-stabilising and -reducing system of Liverpool” has been designed as a including 2,104 participants haswas installed, which delivers a fixed twenty-first-century building, and has recently been released (December222 volts, reducing energy and main- received much acclaim for its green 2011), placing NML joint first with antenance to machinery. The system is initiatives. The Museum is powered emissions level of 9,207t CO2. Thisdelivering an average 7% reduction in using state-of-the-art renewable and high standard was achieved throughelectrical consumption at the venue. energy-efficient technologies. Its com- the initiatives taken over time in orderNML funded the scheme through a bined heat and power (CHP) system to improve how energy use is measuredUK Government Energy Savings Loan, at full capacity will reduce carbon and, more particularly, managed.which is repaid from NML energy emissions by 884 tonnes each. The Since 2011, NML has set new targetssavings over four years. building also benefits from a rainwater- based on the Government’s Sustainable To develop staff involvement and harvesting system, which supplies Development in Government guid-commitment, NML initially launched “grey” water to the Museum’s toilets. ance. Although these targets are chal-an Energy Champions forum, which Prior to opening in July 2011, the build- lenging, the organisation believes it iswas specifically geared to localised ing achieved an A-rated energy per - well placed to drive towards meetingenergy watch and action. This group formance certificate, and has recently these in the coming years.achieved a limited number of successes won the Museums & Heritage Awardover the years. In 2010, a broader for Sustainability. CNN, in its climate- Chris Bailey is Estate Manager for National Museums Liverpool. Ian Williams is Director“Green Forum” was created with staff change television documentary, The of Estate Management at National Museumsfrom each building, representing all Road to Durban: A Green City Journey Liverpool, and has been a member oflevels of management, including repre- produced in preparation for the United IAMFA since 2008 EPIDEMIC PREVENTION AT WORK AlliedBarton Security Services | AlliedBarton.com It all starts with healthy habits: s Maintain a balanced diet. s Cough or sneeze into your s Exercise regularly. sleeve, not hands. s Get plenty of rest. s Routinely clean and disinfect desks and common areas. s Wash hands thoroughly—for at least 10–20 seconds—and often. s Keep up on immunizations. s Stay home when you are sick. s Avoid close contact with those who are ill.26 PAPYRUS SUMMER–FALL 2012
  • 29. Awards for the Auckland Art GalleryBy Patricia MorganT he Auckland Art Gallery has been winning a number Award at the 2012 Property Industry Awards: the highest of awards in recent weeks, and we are all feeling very accolade a New Zealand commercial property can receive. proud! We thought this might interest IAMFA members Gallery director Chris Saines said, “We set out to develop—particularly those who attended the 21st IAMFA Conference a world-class gallery, and FJMT+Archimedia’s elegant andlast year in Auckland. considered design has been instrumental in achieving that Auckland Art Gallery Toi o Tamaki has won the ¯ goal. Judging by the response of the near 600,000 visitorsInternational Award for Architectural Excellence from to date, this restored and expanded heritage building hasThe Royal Institute of British Architects—the first time a become a flagship for the city’s architectural and urbanNew Zealand building has won. The awards are given to design future.”only 12 buildings a year, and recognise some of the world’smost imaginative, dramatic and green buildings. Other Full list of awards won by Auckland Artwinners in 2012 include the world’s tallest building: theGuangzhou Finance Centre. Gallery Toi o T¯ amaki in 2012: This international award comes within a month of the 2012 Royal Institute of British ArchitectsGallery also winning the New Zealand Architecture Medal • International Award for Architectural Excellenceat the New Zealand Architecture Awards, and the Supreme 2012 NZ Museum Awards • Project Achievement Award for Museum or Gallery Development 2012 NZIA Awards • New Zealand Institute of Architects incorporated, NZ Architecture Award, Heritage—May 25, 2012 • New Zealand Institute of Architects incorporated, NZ Architecture Award, Public Architecture—May 25, 2012 • New Zealand Institute of Architects incorporated, NZ Architecture Medal—May 25, 2012 2012 Property Council New Zealand Property Industry Awards • Education and Arts Property Award • Heritage and Adaptive Reuses Property Award • Supreme Award Patricia Morgan is Head of Learning & Gallery Services at AucklandThe New Auckland Art Gallery. Art Gallery Toi o T¯ amaki.Entrance to the Art Gallery. IAMFA members tour the galleries.28 PAPYRUS SUMMER–FALL 2012
  • 30. Architect of the Capitol’s Office ofSecurity Programs Recognizedfor Excellence in Customer ServiceT he Architect of the Capitol’s of the U.S. Capitol Police’s buildings changed, there was, on average, a Office of Security Programs was and grounds, while also providing cus- backlog of 380 work orders, and it recently recognized by Building tomer service and support related to would take an average of 55 days toOperating Management Magazine with its the physical security of the Capitol complete a work order request. AfterFMXcellence Award for excellence in campus. To improve its customer ser- the new process was put in place, therecustomer service. The FMXcellence vice concerning issuing, tracking, and were fewer than 20 outstanding workawards recognize facilities management responding to customer work orders, orders, and it would take only threeteams that “spearhead and execute Office of Security Programs staff imple- days to complete a customer request.stand-out projects and programs.” The mented a new and improved work “In addition to rolling out the newhonorees are chosen for demonstrating order system, in conjunction with the work order system, OSP staff initiatedthat they add significant value to their U.S. Capitol Police. The new work an educational campaign to inform ourcustomers by helping to achieve their order process eliminated the use of customers about the services we pro-broader goals. redundant systems across the two agen- vide, and the improvements we made “Providing extraordinary customer cies by consolidating all work orders to the work order process,” notedservice and going the extra mile are into one system. In addition, it created Kenneth Eads, Director of the AOC’samong our agency’s strategic goals, a new customer service center as the Office of Security Programs. “Our teamand receiving this award, which recog- central point of contact for all customer did a great job of analyzing the changesnizes that we are achieving our mission, requests, ensuring timely response and that needed to be made. They workedis a great honor,” said Architect of close-out of work orders, and imple- closely with the U.S. Capitol Police tothe Capitol Stephen T. Ayers, FAIA, mented a “Pulse Survey” that provided implement the changes, and they haveLEED AP. immediate feedback from customers as successfully made this process more The AOC’s Office of Security to the quality of the service they received. effective and efficient—as demon-Programs (OSP) is responsible for the The improvements were dramatic. strated by this award for excellencecare, maintenance, and operations Before the work order system was in customer service.” Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG or See page 22 for details and enrollment form30 PAPYRUS SUMMER–FALL 2012
  • 31. IAMFA Environmental Group Meeting— Manchester Museum By Jack PlumbA nother sunny day, another fantastic venue—it must To come up with a basic sustainable design, the design be the latest gathering of UK IAMFA members. team identified a number of fundamental proposals, which And so it was, the occasion being the latest IAMFA were accepted by the University:Environmental Group meeting, where over thirty IAMFA • Provide gallery space that did not need air-conditioning.members and preservation professions get together todiscuss common themes. • Provide a view of parkland at the rear of the Gallery to David Redrup, our IAMFA colleague at the Tate Gallery, bring the Gallery closer to the public.held the first meeting following a request from UK members • Move current archive storage to an existing basementto work more closely with our preservation colleagues to location, improving the environmental stability of themove towards a more sustainable environmental control of collection.collection spaces and archives. This was our third meetingof this group, and I do think that these meetings are starting • Achieve a BREEAM (Building Research Establishmentto lead to a better understanding all round. Energy Assessment Method) “Excellent” rating. We are very grateful to our host for this meeting, NicolaWalker, Head of Collection Care and Access at the Manchester The design team, working with Museum staff, identifiedMuseum/The Whitworth Art Gallery. Nicola is also on the existing underground vaults as the most environmentallyManchester University Sustainability Group, representing stable location within the Museum. Following a satisfactorythe Museum. analysis of the flood risk, these were accordingly deemed Nicola provided the first presentation on the £12-million adaptable as an ideal location for the archive store. Thisdevelopment of the Whitworth Art Gallery. Nicola explained left the main hall, formerly used as an archive store, as anthat the Whitworth Gallery became part of the University ideal place to form new galleries. The hall also had anin 1959, so this major development is being managed by unbroken gable end, which could be opened out onto athe University. The University is a signatory to the 2005 public park, thereby meeting one of the fundamentalTallories Declaration: an official commitment to environ- principles of the design brief.mental sustainability in higher-education establishments. As The design team then turned its attention to decidingthe Museum representative with the University Sustainability the environmental control parameters for the archiveGroup, Nicola has a seat at all design team meetings. store and new galleries. The design team looked at the BIZOT (NMDC) standards—16°C–28°C (61°F– 44°F) and 30%–70% RH—and also VAM (Victoria and Albert Museum) standards—18°C–25°C (65°F–77°F) and 40%-65% RH. Using these broader parameters, and theGallery front exterior: Whitworth Art Gallery at MUMA design for WAG park entrance—Whitworth Art GalleryManchester University. at Manchester University—showing proposed extension. PAPYRUS SUMMER–FALL 2012 31
  • 32. latest guidance documentation—PAS 198 and PD5454— attend the 2008 IAMFA conference in London would havethe design of the new galleries will have a passive approach seen—there can be problems. Patrick explained that, oncewith no air-conditioning, and will be naturally ventilated. the plant was in operation, despite the fact that it was main- Dean Whiteside, also of the Manchester Museum, pro- taining the correct environmental conditions, energy con-vided the next presentation on how the Museum went about sumption was still considerably higher than predicted. Thisinstalling a green roof over its canteen area. The green roof even included boilers running through the summer andwas funded with European finance, provided through a chillers operational through the winter. With close obser-Manchester Council initiative. He explained how a detailed vation of the BMS controls, it was noticed that the differentstructural investigation of the roof was required to ensure plants were actually fighting one another: as one unit wentthat the existing roof could support the green roof. The into cooling mode, it caused the adjacent unit to go intoMuseum managed to persuade the University to bring for- heating mode. The solution was simple enough: the deadward planned maintenance of the roof, in order to install band for the environmental control regime was increased,a new roof membrane with an anticipated 20-year lifecycle. leading to a considerable reduction in plant operation. ThisThe Museum took considerable time to decide on which amply demonstrates the benefits of having an intelligentplant to use, and eventually decided on sedum as the plant client managing the contractors who are generally in chargethat best met their requirements. on a daily basis. Dean also spoke about other initiatives that the Museum The final presentation was made by Paul Davies, Headhad started, including the establishment of a small allotment of Estates and Facilities at the National Archive. Paul hasgarden to demonstrate what could be grown in Manchester’s been working for a number of years with Kostas Ntanos,city centre. The garden is cared for by staff, volunteers and Head of Conservation and Development at the Nationalstudents, who together have managed to grow over 30 vari- Archive, to establish the most effective balance betweeneties of vegetables, herbs and fruits. Another initiative, controlling an archive’s environmental parameters andinvolving the installation of beehives on the roof of the long-term protection of the collection stored within thatWhitworth Art Gallery, sounds very similar to the Grand archive. In his presentation, Paul described how he took thisPalais in Paris. great work by Kostas and turned it into a control regime for Patrick Dixon of the British Library was next up, telling an air conditioning system, which he has called “seasonalus how even with a brand-new building—the fully automatic drift”. I won’t go into the details of this presentation here,storage facility, which some colleagues fortunate enough to as the work by both Paul and Kostas fully deserves a more detailed explanation. Perhaps something to look forward to in a future edition of Papyrus. The meeting was wound up by David Redrup of the Tate, who expressed his thanks to Nicola Walker and the Manchester Museum for being our hosts for the morning. On a final note, David Sanders announced that he will be retiring from his post as Director of Estates and the Natural History Museum in June. David has made a significant con- tribution to IAMFA, and I am sure that all of our IAMFA colleagues around the world will miss David as much as we will miss him here in the U.K. David has supported the Benchmarking working group for a number of years now, and I know that group will be the poorer for his absence. The good news is that David will be Philadelphia—no doubt to tell us all how difficult it is to be retired, and the challenges that brings!UK IAMFA members gather for the third meeting of the UK Jack Plumb is Head of Estates at the National Library of ScotlandEnvironmental Group. and is the U.K. Region Chair for IAMFA. Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG32 PAPYRUS SUMMER–FALL 2012
  • 33. From Fire Protection Systems Design to PerformanceBased Approaches to Meeting the CodesHughes Associates – We Understand Your Needs…Planning Your Next Fire Protection System Upgrade – Avoid Costly Mistakes!The fire protection system for your facility has reached or soon will reach the end of itsoperational life cycle. Now you must upgrade the system. You will want to ensure thesystem upgrade meets your budget, meets the requirements of the state and local codesthat govern your facility, and that the upgrade meets your corporate fire protection goalssuch as: Life Safety Property Protection Mission Continuity Heritage Preservation Environmental ProtectionHughes Associates can help…With innovative approaches to Code compliance – We listen.Widener Gallery, National Gallery of Art, Washington, D.C Philadelphia Museum of ArtHughes Associates, Inc.3610 Commerce Drive | Suite 817 | Baltimore, Maryland 21227Tel: 410.737.8677 x 221 | jack.mawhinney@haifire.com | www.haifire.com
  • 34. Regional Updates and Member NewsBaltimore-Washington, D.C. afternoon sessions focused on applying some of that theoryMember Region in Personal Protective Equipment (PPE) assessments, and Job Hazard Analysis (JHA) exercises. Fully half of the OFMRQuarterly Meeting of the Baltimore-Washington, D.C. staff at NZP participated actively in this Safety Stand Down.Member RegionBy Maurice Evans United Kingdom Member RegionThe Baltimore-Washington, D.C. Member Region held its John De Lucy’s Fourth of July Updatequarterly meeting on Wednesday, June 6, with over 35 mem-bers in attendance. The meeting was held at the National On July 5, 2012, Randy Murphy wrote to the IAMFA Board:Museum of the American Indian (NMAI), SmithsonianInstitution. John Bixler, a Zone Facilities Manager at the Hope all had a great Fourth of July, particularly you John—Smithsonian Institution, presented a captivating presen- I assume there were huge celebrations in London!tation titled “An Overview of NMAI LEED Certification RandyAccomplishment”. John’s presentation provided an overview of the obsta- John’s reply:cles and challenges they had to endure in order to achieveLEED certification. His presentation initiated plenty of On July 4, all I heard was wailing and the gnashing of teeth.discussion concerning LEED certification. Roger Chang How can you celebrate the madness of our shared King George thewas also introduced on behalf of the AAM Green Third? Don’t forget he was your king too, for 16 years! In 1776, myBuilding Initiative. town here—ROYAL Tunbridge Wells—was celebrating 170 years During the meeting, IAMFA members were also informed of history. The Pantiles, next to where I live, was the first street inof the exciting news that Washington, D.C. will host the the world to be built for the sole purpose of perambulation in 1660,2013 IAMFA Annual Conference. Planning for that con- and has never carried any traffic of any kind. If any of you care toference will start soon, but in the meantime, members of visit me, I will happily take you for a perambulation on the Pantiles!!the Baltimore-Washington, D.C. Member Region are look- One walks on the Pantilesing forward to seeing everyone at the upcoming annual to show off one’s fine clothes!conference in September. My two pith helmets, one white and one brown, worn by my father in Malaya and TanganyikaSmithsonian Office of Facilities during colonial times (which IManagement & Reliability Hold know you remain jealous of),Safety Stand Down at the National cause quite a stir on the Pantiles.Zoological Park I know you will not be able toBy Dan Davies resist, so let me know when you IAMFA President John De Lucy plan to visit. We can have lunchThe Smithsonian Office of Facilities Management & looking very dapper in one of on my Mediterranean Terrace atReliability (OFMR) held a Safety Stand Down at the his pith helmets. the back of my garden.National Zoological Park (NZP) on Monday, June 5, 2012.They celebrated 221 days without an OFMR lost-timeinjury—a site record dating back more than five years. Theevent was inspired by a brief burst of near-miss incidentsthat could have caused injuries but, due in part to enhancedawareness, did not. Among these incidents were timely responses to a freonrefrigerant spill, a fuel oil spill, and a pallet jack accident.The Stand Down, organized by Mary Lariviere, InterimNZP Safety Coordinator, included a crowd-rousing sessionwith Nancy Bechtol, Director, OFMR, and welcomingremarks from Dennis Kelly, Director NZP. Morning presentations on safety policy and theory weregiven by Steve Walden and Chuck Fry, and by Mary Lariviere,all from the Office of Safety Health & Environmental Man- The Mediterranean Terrace at the De Lucy house, decorated for theagement (OSHEM). After burgers and dogs in the alley, Fourth of July.34 PAPYRUS SUMMER–FALL 2012
  • 35. Please visit www.visittunbridgewells.com/site/discover-the-town/the-pantiles for more images and information on the Pantilesin Tunbridge Wells. Yours, JohnNew Zealand Member RegionBy Patricia MorganFollowing the 2011 conference in Auckland, there washeightened enthusiasm from New Zealand members tomeet on a regular basis. At Cliff Heywood’s kind invita-tion—and through his proactive approach in actuallyencouraging us to get together—a group of us met at hisfacility, the Navy Museum in Devonport, on May 24. Thisdate coincided with a visit to Auckland by Rob Stevens andPam Harris from the National Library of New Zealand inWellington, so they joined us as well. Others in attendancewere John Glen (Auckland Museum), John Manning(Te Papa, Wellington), Murray Dick (Voyager MaritimeMuseum), and Patricia Morgan (Auckland Art Gallery). The day included a welcome from David Wright,Director of the Navy Museum, and his interesting presen-tation on the Museum’s long-term development plan. Wewere also given a tour of the Museum’s collection store andthe Navy base, including the Armoury. An update on the 2012 conference (which John Glenwill attend) and upcoming Board vacancies was given, andthose present also wanted to note their appreciation forJohn De Lucy’s leadership as President of the Association.Discussions were held on how we can increase New Zealand’smembership in IAMFA, and there was a roundtable dis-cussion on issues and developments occurring at eachattendee’s institution. It was agreed to hold the next session in Wellington inlate October, so that there would be feedback on the 2012conference in Philadelphia. All in all, it was a great firstmeeting—and Cliff even ensured that the sun was shining,so the views over the Waitemata Harbour were spectacular!Patricia Morgan is Head of Learning & Gallery Services at AucklandArt Gallery Toi o T¯amaki.Left to Right: John Glen, Rob Stevens, Patricia Morgan (seated),Pam Harris, John Manning, Cliff Heywood. PAPYRUS SUMMER–FALL 2012 35
  • 36. IAMFA Members — Organizations Physical Resource Bureau AUSTRALIA Ottawa, Ontario UNITED KINGDOM UNITED STATESAustralian Centre for the Royal British Columbia British Library AFS Chemical Filtration GroupMoving Image Museum London, England Burlington, MAMelbourne, VIC Victoria, British Columbia British Museum Alaska State MuseumMuseum of Old and New Art Sir Sandford Fleming College London, England Juneau, AKBerriedale, Tasmania Peterborough, Ontario Camfil Limited Anacostia CommunityMuseum Victoria Haslingden, Lancashire MuseumCarlton, Victoria FRANCE Compton Verney House Trust Washington, DCNational Gallery of Australia Compton Verney, Warwickshire Aquarium of the Bay GrandpalaisCanberra, ACT Paris San Francisco, CA Creative ConsultingNational Library of Australia Partnership LLP Architect of the CapitolCanberra, ACT London, England Washington, DC NEW ZEALANDNational Museum of Australia Historic Royal Palaces Architrve PC ArchitectsAldgate, South Australia Auckland Art Gallery Molesey, Surrey Washington, DC Toi o T¯ amakiNational Portrait Gallery Auckland, Auckland The National Archives Arkansas Art CenterCanberra, ACT Richmond, Surrey Little Rock, AR Auckland CouncilQuestacon, The National Auckland National Galleries of Scotland Art Institute of ChicagoScience and Technology Edinburgh, Scotland Chicago, IL Auckland MuseumCenter AucklandCanberra, ACT National Gallery, London Arts and Industries Building London, England Washington, DC Camfil Farr, New ZealandSteensen Varming AucklandSydney National Library of Scotland Atlanta History Center Edinburgh, Scotland Atlanta , GA Christchurch Art Gallery Christchurch, Canterbury National Museum of Science Baltimore Museum of Art CANADA Baltimore, MD & Industry Coffey Projects London, MiddlesexCanada Science & Technology The Barnes FoundationMuseum Corporation The Department of Internal Merion, PAOttawa, Ontario National Museums Liverpool Affairs Liverpool, England Wellington, North Island Beyer Blinder BelleCanadian Museum of New York, NY National Portrait GalleryCivilization Hawkins Construction Ltd London, EnglandGatineau, Quebec Auckland, Boston Athenaeum Natural History Museum Boston, MACanadian Museum of Nature National Library of London, EnglandOttawa, Ontario New Zealand Brooklyn Museum of Art Wellington Tate Brooklyn, NYCofely Services Inc. London, EnglandMontreal, Quebec Royal New Zealand Navy California Academy of Devonport, Auckland University of Greenwich SciencesLundholm Associates London, England San Francisco, CAArchitects Te Papa Tongarewa MuseumToronto, Ontario of New Zealand Victoria & Albert Museum Carnegie Museums of Wellington London, England PittsburghNational Gallery of Canada Pittsburgh, PAOttawa, Ontario The Wellcome TrustNova Scotia Museum QATAR London, England Cleveland Museum of Art Cleveland, OHHalifax, Nova Scotia Qatar Museums Authority Doha Cooper-Hewitt, NationalPeterborough Museum & Design MuseumArchives Qatar National Museum New York, NYPeterborough, Ontario Doha Cypress Security, LLC San Francisco, CA36 PAPYRUS SUMMER–FALL 2012
  • 37. Delaware Art Museum Lighting Services Inc. National Museum of Natural Smithsonian InstitutionWilmington, DE Stony Point, NY History Washington, DC Washington, DCDelaware Museum of Natural Longwood Gardens, Inc Smithsonian InstitutionHistory Kennett Square, PA National Museum of the Building, The CastleWilmington, DE American Indian Washington, DC Los Angeles County Museum Washington, DCEwing Cole of Art Smithsonian National Air andPhiladelphia, PA Los Angeles, CA National Museum of the Space Museum American Indian, George Suitland, MDExploratorium McGuire Engineers Gustav Heye CenterSan Francisco, CA Chicago, IL New York, NY Sodexo Waltham, MAFacility Issues Milwaukee Public Museum National Portrait GalleryFlagstaff, AZ Milwaukee, WI Washington, DC Sodexo Canyon Country, CAFine Arts Museum of Minnetrista National Postal MuseumSan Francisco Muncie, IN Washington, DC Solomon R. GuggenheimSan Francisco, CA Foundation Mueller Associates National Zoological Park New York, NYFolger Shakespeare Library Baltimore, MD Washington, DCWashington, DC Stanford University Green Museum of Fine Arts — Neue Galerie LibraryFreer Gallery of Art and Boston New York, NY Stanford, CAArthur M. Sackler Gallery Boston, MAWashington, DC New York Hall of Science Synthesis Incorporated Museum of Fine Arts — Queens, NY Columbia, MDFriends of the High Line HoustonNew York, NY Houston, TX Oakland Museum of California Thomas Jefferson Oakland, CA Foundation, Inc.Getty Center Museum of Modern Art Charlottesville, VALos Angeles, CA New York, NY Pacific West Region of the National Park Service United States HolocaustHagley Museum & Library National Air and Space San Francisco, CA Memorial MuseumWilmington, DE Museum Arlington, VA Washington, DC Philadelphia Museum of ArtHammer Museum Philadelphia, PA Winterthur Museum, GardenLos Angeles, CA National Air and Space and Library Museum, Udvar-Hazy Center Questions and Solutions Winterthur, DEHarvard Art Museums Chantilly, VA Engineering, Inc.Cambridge, MA Chaska, MN Yale University Art Gallery National Archives and New Haven, CTHigh Museum of Art Records Administration Renwick GalleryAtlanta , GA College Park, MD Washington, DCHirshhorn Museum and National Constitution Center Salvador Dali MuseumSculpture Garden Philadelphia , PA St Petersburg, FLWashington, DC Although we do our best National Gallery of Art San Francisco Art Institute to ensure that ourJ. Paul Getty Trust Landover, MD San Francisco, CALos Angeles, CA Directory information is National Museum of African San Francisco MaritimeThe Jewish Museum American History and Culture National Historical Park as up-to-date as possible,New York, NY Washington, DC San Francisco, CA errors and omissions canLee Construction Consultants National Museum of San Francisco Museum of always occur. If youLLC African Art Modern ArtRichmond, VA Washington, DC San Francisco, CA would like to make anyLibrary of Congress changes to your National Museum of The Sixth Floor Museum atWashington, DC listing, please contact American History Dealey Plaza Washington, DC Dallas, TXLibrary of Congress Alan Dirican at(Packard Campus for Audio National Museum of Smithsonian American ArtVisual Conservation) adirican@artbma.org American Jewish History MuseumCulpeper, VA Philadelphia,, PA Washington, DC PAPYRUS SUMMER–FALL 2012 37
  • 38. Index of Papyrus Technical and Historical ArticlesTitle Author(s) Issue2009 Engineering Excellence Awards—Recovering the Lost Stream at Winterthur Pennoni Associates Winter 20092010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 20102012 IAMFA Annual European Meeting Jack Plumb Spring 2012The A.A. Bakhrushin State Central Theatre Museum Dmitry V. Rodionov Spring 2009A New High for Atlanta Kevin Streiter Summer 2003Air Quality Standards for Preservation Environments Chris Muller Winter 2010Air Tightness Strategies—The British Library Additional Storage Program John de Lucy and Julian Taylor Summer 2006Construction ProjectAir-to-Water Heat Pump for Domestic Hot-Water Generation Allan Tyrrell Fall 2011Apprenticing in Facilities Management Kate Hickman Summer 2006Architect of the Capitol Begins Restoration of the Capitol Dome Skirt Architect of the Capitol Winter 2012Architect of the Capitol Begins Conservation of Statue of Freedom Architect of the Capitol Spring 2012The Art Institute of Chicago’s Unique Fan Wall System William Caddick, William Strangeland, and Winter 2007 Michael MurphyAuckland Art Gallery Toi o Tamaki—Building Development Update ¯ Patricia Morgan Summer 2010Auckland Art Gallery Toi o Tamaki—The Kauri Ceilings ¯ Patricia Morgan Winter 2010The Auckland Art Gallery Toi o Tamaki Opens its Doors to Virtual Visitors ¯ Catherine Lomas, David Reeves and Patricia Morgan Summer 2003Be Seen in the Right Light: The Value of a Tight Lighting Specification Mark Rowling Summer 2003Benchmarking: A Comparison over Time Stacey Wittig Summer 2010Benchmarking: Are We Still Relevant? Stacey Wittig Spring 2012Benchmarking: How to Use Data as an Agent for Change Stacey Wittig Fall 2011Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011Benchmarking Workshop Reveals Best Practices that Save Money Stacey Wittig Winter 2012Best Practices Daniel D. Davies Summer 2002Best Practices in Recycling San Francisco Department of the Environment Winter 2010Beyond Hipopta agavis—Wet Collections Facility Design Walter L. Crimm and Bryan L. Stemen Spring 2004Black & McDonald, CMM, and Museums Richard E. Harding and Edmond Richard Summer 2002Boiler Replacement at the Natural History Museum in London Glynnan Barham Fall 2008British Library: An Energy-Saving Case Study Patrick Dixon Spring 2011British Library Additional Storage Program John de Lucy Summer 2007The British Library Centre for Conservation John deLucy and Harry Wanless Winter 2007The Canadian War Museum—River Water for Sanitary Use: Richard Harding Summer 2006Trials and TribulationsCarbon Saving at the Natural History Museum London CIBSE— Glynnan Barham Spring 2008100 Days of Carbon SavingCool Efficiency at Chicago’s Museum of Science and Industry—Careful Elizabeth Miller, Anthony B. McGuire, Winter 2009Planning and Analysis Leads to Successful Installation of New Central Plant David M. Brooks and Michael J. MurphyThe Delaware Art Museum Celebrates its 100th Anniversary Bruce Canter and Molly Keresztury Spring 2012The Donald W. Reynolds Center for American Art and Portraiture Opens in Daniel Davies and the Reynolds Center Public Summer 2006Washington, D.C. Affairs StaffElectrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004Energy Management Improvements at the Canadian Museum of Civilization Guy Larocque and Todd Keeley Winter 2002Energy Star Roofs are Cool Richard Stomber Spring 2008Existing Building Commissioning Rebecca T. Ellis Spring 2008Experiences of a Facility Manager during the Evolution of Building Automation Vincent Magorrian Spring 2010Exploratorium Construction Update Jennifer Fragomeni Fall 2011Facility Managers Lead the Move to Green with Improvements Thomas A. Westerkamp Summer 2010in Energy EfficiencyFade-Testing of Museum Objects at the National Museum of Australia Nicola Smith and Bruce Ford Fall 2011Family Ties to the Auckland Museum John deLucy Fall 2011Fire Protection and the British Library Repository John de Lucy Spring 2006Getty Center Becomes First Facility in the U.S. to be Rated “Green” Joe May Spring 2005through LEED-EB CertificationGrand Prix Winner for Architecture in Scottish Design Awards 2002— Alastair Cunningham and Chris Mclaren Summer 2002Engineering the Sustainable Museum Environment at the Museum ofScottish Country LifeGreen vs. Sustainable Rebecca T. Ellis Spring 2012Hagley Museum and Library Michael Downs Spring 2012The Harley-Davidson Museum—The First Museum to Gain GREENGUARD Tim Dotson Winter 2009Certification38 PAPYRUS SUMMER–FALL 2012
  • 39. Title Author(s) IssueHeritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Heritage Preservation Winter 2003Cultural Heritage as a Result of 9/11History, Legacy in the New Canadian War Museum Raymond Moriyama Spring 2003IAMFA . . . The First Twenty Years IAMFA Members Summer 2010The Importance of Evacuation Plans Peter Fotheringham and Peter J. Gyere Spring 2002Improving and Adding Value for Benchmarking Participants—A Year in Review Stacey Wittig Spring 2009In the Light of Day—Daylight in Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Spring 2011The Installations of the Guggenheim Museum Bilbao: A Dialogue Between Rogelio Diez and Luis Pablo Elvira Summer 2002Engineering and ArchitectureIs Outsourcing Right for Your Organization? Guy Larocque Fall 2006It Began Just Like any Ordinary Day—A Museum Facility Manager’s View of Lloyd O. Headley Summer 2002September 11Lean Green Means Museum Restroom Sustainability and Savings Thomas A. Westerkamp Summer 2009Lean Leadership in Facility Management Stephanie Wurtzel and Judie Cooper Spring 2012LED Use in the Museum Environment Ken Kane Winter 2010LEED Certification for the National Museum of the American Indian John Bixler Winter 2012The Library of Parliament—Ready for a New Generation Mary F. Soper Spring 2005Light Culture and Light Typology Mirjam Roos and Emrah Baki Ulas Winter 2010Lighting: Control and Innovation Mark Rowling, ERCO Lighting Ltd Winter 2003Long-Term Preservation at the Library of Congress Nancy Lev-Alexander Spring 2010Looking at Art in a New Light—Conservation to Conversation Mirjam Roos and Emrah Baki Ulas Fall 2011Looking at Art in a New Light—Greening Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Winter 2012Major Renovation Project at the National Gallery of Scotland Robert Galbraith Summer 2003Making Light Work: How to Fit a Drum into a Rectangle—The full story behind Mark Rowling, ERCO Lighting, Ltd. Spring 2003the lighting of the Great Court in the British Museum, LondonManagement of Energy Consumption—A Best Practice? Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004 David ErhardtMeet Archie, the Four-Legged Pest Controller Sara Carroll Fall 2011Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010Members Share Benchmarking Success—How to Use Benchmarking Results Stacey Wittig Summer 2009Microclimate Control in Museums Jerry Shiner Summer 2005More than Just a Pretty Façade: Exterior Cleaning Richard P. Kadlubowski and Coleman H. Bynum Winter 2002Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006Museum and Gallery Maintenance Outsourcing—A Journey Richard Harding Summer 2003Museum Environmental Standards in a Changing Environment Vicki Humphrey and Julian Bickersteth Winter 2012The Museum of Fine Arts, Boston Reopens its Huntington Avenue Entrance David Geldart Summer 2009The National Air and Space Museum Goes to Dulles with its Second Facility Lin Ezell Spring 2002The National Gallery—Casting New Light on Old Masters Steve Vandyke Summer 2010National Library of New Zealand Building Redevelopment Rob Stevens and Pam Harris Fall 2011National Museums Liverpool Ian Williams Fall 2008The National Portrait Gallery: A Plant Replacement Strategy Allan Tyrrell and John Crane Fall 2008The National Portrait Gallery in Canberra, Australia Chris Arkins Summer 2009Networking and Sharing of Information: Our True Purpose Vincent Magorrian Spring 2009New Building for the National Library of Greece John de Lucy Spring 2010New Environmental Guidelines at the Smithsonian Institution Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004 David ErhardtOld Buildings, Old Systems and Older Books: Fighting Mold and Decay in the Michael Dixon Summer 2003Twenty-First CenturyOperations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Winter 2010Part OneOperations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Spring 2011Part TwoOperations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Fall 2011Part ThreeOptimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Simon Lambert Winter 2012Around the WorldOverview: Application of Molecular Filtration for Artefact Preservation Chris Ecob Spring 2008Pandas Up-Close and Personal: A Tour of the Smithsonian National Zoo’s Alana Housholder Fall 2006New Asia Trail PAPYRUS SUMMER–FALL 2012 39
  • 40. Index of Papyrus Technical and Historical Articles (cont’d)Title Author(s) IssuePeriodic Electrical Inspection and Testing—A Different Approach Jack Plumb Winter 2010Preservation Of A National Treasure: The Australian War Memorial Mark Dawes and Risden Knightley Spring 2002Proposals for the Labelling of Buildings Jack Plumb Summer 2007Proposals for the Labelling of Buildings Jack Plumb Spring 2008Protecting the Historic Thomas Jefferson Building from the Footsteps of Time Gregory H. Simmons and Christopher Mile Spring 2012Recent Activities in Indoor Air Quality and Climate in Cultural and William A. Esposito Winter 2002Heritage InstitutionsRecord Attendance at Best Practices Workshop—Benchmarking Stacey Wittig Winter 2009Continues to be an Indispensable ToolReflections on Papyrus Pierre Lepage Summer 2010Renaissance at the Royal Ontario Museum—Daniel Libeskind’s Crystal Design Royal Ontario Museum Winter 2003Renovating the Baltimore Museum of Art C. L. Taylor Spring 2012Restoring a Landmark: Conservation Projects at Tudor Place Alana Housholder and Jana Shafagoj Fall 2006Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010The Royal Exhibition Building in Melbourne Kim Reason Winter 2004Safeguarding Cultural Heritage: Partnerships and Resources Jane S. Long Spring 2003The Security Challenge Keeping Museums and Similar Facilities Secure Bill McQuirter Spring 2002in Challenging TimesSmart Chilled Water at the National Portrait Gallery Allan Tyrrell and Kevin Dunn Spring 2012The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006The Smithsonian Institution’s Arts and Industries Building Phase-2 Maurice Evans Fall 2011Renovation ProjectThe Smithsonian’s Approach To Condition Assessment—Deferred Maintenance Larry Grauberger Summer 2008Parametric EstimatingA Sustainable Design Approach to Preservation Centres Martin Turpin Winter 2012Tales from the British Library—A Year of Energy Opportunities Paddy Hastings Spring 2010Transformation at the Los Angeles County Museum of Art Donald Battjes Summer 2008Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009An Unexpected Attendance at the Lighting Designers Academy Awards Alan Dirican Winter 2012United States Library of Congress—Archival Storage Facility, Fort Meade Jon W. Netherton and Neal Graham Spring 2008Protecting the Past, Present and FutureThe United States Library of Congress Archival Storage Facility— Jon Netherton Winter 2009Protecting the Past, Present and FutureUrban Bird Control: A Green Alternative Stacey Wittig Fall 2008Using Thermal Imaging to Diagnose Water Penetration and Condensation Marion F. Mecklenburg and Alan Pride Summer 2005of the Walls at the Hirshhorn MuseumThe Visitor Experience Project at the British Museum Sara Carroll Spring 2009Work Management Center Communication John L. Standish, Sr. Fall 2006 Reserve this space to advertise in a future Please contact the Editor of Papyrus for details issue of Papyrus40 PAPYRUS SUMMER–FALL 2012
  • 41. McGuire Engineers is a diverse and experienced team ofdedicated individuals whose primary goal is to partnerwith our clients in developing their building engineeringsystems with effective, efficient, economic and innovativesolutions. We offer engineered excellence through a fullrange of in-house engineering services in Heating,Ventilation and Air Conditioning (HVAC), Electrical,Plumbing, Sprinkler and Life Safety Systems. In addition McGuire Engineers is ato traditional services, McGuire Engineers also providesengineering consultation in feasibility, energy and proud affiliate membersustainability studies, peer and code review, due diligence of IAMFA since 2001.and reserve reports, forensic and expert witnessconsultations, LEED consultancy, construction www.mepcinc.commanagement administration, and commissioning.McGuire Engineers has become increasingly dedicated toand specialized in the design of engineering systems formuseums and cultural centers. This includes historicrenovation and preservation, artifact storage, specialexhibits, and base building systems.
  • 42. The 22nd Annual IAMFA Conference MID-ATLANTIC, USA September 16–19, 2012 IAMFA 2012 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS