Papyrus Winter 2003
Upcoming SlideShare
Loading in...5

Papyrus Winter 2003



Papyrus Winter 2003

Papyrus Winter 2003



Total Views
Views on SlideShare
Embed Views



0 Embeds 0

No embeds



Upload Details

Uploaded via as Adobe PDF

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
Post Comment
Edit your comment

    Papyrus Winter 2003 Papyrus Winter 2003 Document Transcript

    • I N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M FA C I L I T Y A D M I N I S T R AT O R SVOLUME 4NUMBER 1 PAPYRUS WINTER 2003San Francisco Calling — The 13th Annual IAMFAConferenceIAMFA 2003 welcomes you to the City by the Bay! The Tuesday’s theme is “Museums in the Park”, hosted at the13th Annual IAMFA conference will be held this year in California Academy of Sciences in Golden Gate Park and theSan Francisco, from September 21 to 24, 2003. September Palace of the Legion of Honor in Lincoln Park. On Tuesdayis a great time of year to visit. Although San Francisco enjoys evening, we’ll gather to enjoy a true California barbecue.a mild Mediterranean climate year-round, our best months Wednesday’s Theme is “Museums on the Water”, featuringare September and October, when the weather is warm and the locations at the Presidio (guardian of the Golden Gate,clear, and relatively fog-free! where the Pacific Ocean meets San Francisco Bay), the We are excited to be hosting this year’s IAMFA conference, San Francisco Maritime Museum at Aquatic Park, andand we look forward to welcoming all of you and your guests Alcatraz Island on the Bay. Wednesday evening culminatesto our museum-rich environment. The host institutions will in the traditional conference closing festivities and the San Francisco Museum of Modern Art, the California The main subject areas for this year’s conference will be:Academy of Sciences, the San Francisco Fine Arts Museums • Seismic Issues — the building, retrofitting and operationand the Yerba Buena Center for the Arts. of Museums in Earthquake Country Each day has a specific theme to keep things livelyand interesting. Monday’s theme is “Museums in the City”, • The Role of Museums in Redevelopment andhosted at the San Francisco Museum of Modern Art and the Community Building — museums as agents of changeYerba Buena Center for the Arts. Following a tour of the new • Museum Security issues — what has changed in thehome for the Asian Art Museum on Monday afternoon, you’ll past two years and what practices, procedures andenjoy a cocktail reception and a free evening. equipment support those changes? continued on page 2 INSIDE Letter from the President . . 4 Regional Chapters . . . . . . 5 Lighting: Control and Innovation . . . . . . . . . . . 8 Benchmarking Review . . 13 Heritage Loss Post 9/11 . . . 18 Crystal Design for ROM Renaissance . . . . . . . . . . 20 From the Editor’s Desk . . . 24The San Francisco Museum of Modern Art.
    • San Francisco Calling — continued frompage 1• The Museum as Sanctuary: Facilities Revenue, Golden Goose or Deal with the Devil?• The Storage and Archiving of Electronic Media — the entry of digital art into art conservation, storage and retrieval The California Academy of Sciences. One of San Francisco’s famed cable cars — the only mobile National Monuments in the world. Sponsors will be exhibiting theirproducts and services in concert with for lunch. On Tuesday afternoon, guests each additional person. Conference par-our sessions on Monday and Tuesday. travel down the Peninsula to the huge ticipants should reserve their accommo-In addition, we will be offering highlight tudor Filoli Mansion and Gardens, set dation directly with the Hotel Milanopresentations on the facilities stories amidst the huge Crystal Springs Preserve. at 1-800-398-7555. We are holding abehind three of our main historic land- The Preserve contains two large lakes block of rooms at this price in thismarks. The intricacies of maintaining atop the San Andreas Fault, which are convenient location, so please bookthe Golden Gate Bridge, San Francisco’s part of San Francisco’s water supply early. The group room rate will applycable cars and the former federal system. The guest program will then to rooms booked from September 19prison on Alcatraz Island will be rejoin conference delegates for the Tues- through September 28 for those arrivingcovered, showcasing the stories day evening barbecue. Wednesday will early, staying later or both!behind the faces we all know. be unscheduled for guests, with the rec- For airline bookings and additional This year’s guest program will include ommendation that they join the delegate travel assistance I recommend Jane Scotta fabulous trip to Wine Country on group for our tour of Alcatraz Island. at Art of Travel, 1-800-948-6673. Be sureMonday, highlighted by a visit to Copia The conference hotel will be the to mention “IAMFA” when you call the(the American Center for Wine, Food Hotel Milano, located at 55 Fifth Street Hotel Milano or Jane Scott.and The Arts), and a winery (or few). between Mission and Market Streets, We look forward to hosting youTuesday features a narrated walking conveniently near the San Francisco all at this year’s Annual IAMFAtour of the downtown area, beginning Museum of Modern Art (SFMOMA) and Conference!across the street from Hotel Milano at Yerba Buena Gardens, and just around Joe Brennanthe old U.S. Mint, and ending at the the corner from the San Francisco Centre Chairman — Conference 2003classic Garden Court in the Palace Hotel and Nordstrom. The Milano is SFMOMA’s choice for visiting artists and curators, For more information on this year’s and the room rate during the conference conference, please contact us at will be $109 for a single, $20 more for IAMFA2003@netscape.netThe Golden Gate Bridge Alcatraz Island.2
    • @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@@@ ?h@@@@ ?h@@ ?h@@@@@@ ?h@@@@ ?h@@@@ ?h@@@@ @@ IAMFA 2003 IN SAN FRANCISCO@@@@ @@ @@ Chairpersons@@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@ of Regional Chapters@@ @@@@ @@@@@@@@@@@@@@@@@@@@ The Northern California Chapter Welcomes you! @@ @@ @@ @@ @@ @@ @@ @@ @@@@@@ @@@@ @@ @@@@@@ @@ @@@@ @@ Los Angeles, U.S.A.@@ @@@@@@@@@@@@@@@@ September 21–24, 2003 @@ @@ @@ @@ @@ @@ @@ James Surwillo@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@ Japanese American National Museum@@@@ @@ @@ INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY@@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@@@ @@ @@@@ @@ New York, U.S.A.@@ @@ ADMINISTRATORS@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ Lloyd Headley@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@ Ⅺ YES! Sign me up to attend the 2003 IAMFA Annual Conference in@@ @@ The Brooklyn Children’s Museum@@@@ @@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@ San Francisco, California, U.S.A.@@ @@@@@@ @@@@ @@@@ @@@@ @@ @@ Ottawa-Hull, Canada@@@@ @@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ Toby Greenbaum@@ @@@@ @@@@@@@@@@@@ Name: ___________________________________________________________________________ @@ @@ @@ @@ @@ Public Works & Government Services@@ @@@@@@ @@ @@@@@@ @@@@ @@@@ @@ @@ Title: ____________________________________________________________________________@@@@ @@@@ @@@@ @@ @@@@ @@ San Francisco, U.S.A.@@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@ Institution:_______________________________________________________________________ Joe Brennan@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@@@ @@ @@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ San Francisco Museum of Modern Art Address: _________________________________________________________________________@@ @@@@ @@@@@@ @@@@ @@@@ @@@@ @@ @@ United Kingdom@@@@ @@ @@@@@@ @@@@ @@ @@ City: _________________________________________ Postal/Zip Code: _________________@@ @@@@ @@ Nomination to come@@@@ @@@@ @@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@ @@@@@@@@@@@@@@@@@@ State/Province/County: ______________________ Country: _________________________ @@ @@ @@ @@ @@ @@ @@ @@ Washington-Baltimore, U.S.A. Fletcher Johnston@@@@ @@@@ @@ @@@@@@ @@ @@@@ @@ Phone: ________________________________ Fax: ____________________________________@@@@ @@ @@@@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ @@ Hirshorn Museum & Sculpture Garden@@ @@@@ @@ E-mail: __________________________________________________________________________@@@@ @@ @@@@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@@@@@@@@@@@@@@ @ Special dietary requirements:____________________________________________________ @@ @@ @@ @ @@ @@ @@ @@ @@@@@@@@@@@@@@@ @@ @@ @@ @@ @ @@ @@@ Coordinators ALL FEES ARE PAYABLE IN U.S. DOLLARS@@ @@ of Future Chapters@@@@ @@@@ @@ @@@@ @@@@@@@ @@ @@@@ @@ @@@ Ⅺ Member Fee:@@@@ @@ @@ $350@@@@ @@@@ @@ @@@@@@@ @@ @ @ @@@ Atlanta, U.S.A.@@@@ @@@@ @@ @@@@@@ @@ @@ Ⅺ Non-member@@ @@@@@@ @@ @@ Kevin Streiter@@ @@@@@@ @@@@ @@ @@@@@@@@ @@ @@@@ @@ @@@@@@@@@@@@@@@@ conference fee: $400 @@ @@ @@ @@ @@ @@ @@ High Museum of Art@@ @@ Ⅺ Sign me up as a new@@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@ Bilbao, Spain@@ @@ @@@@@@ @@ @@@@@@ @@ @@@@@@@@@@@@@@ IAMFA member: $150 @@ @@ @@ @@ @@ @@ Rogelio Diez@@ @@@@@@ @@ @@@@ @@ Guggenheim Museum Ⅺ Guest Programme:@@@@ @@ @@@@@@@@@@@@@@@@ $250 Guest Name: _________________________________ @@ @@ @@ @@ @@ @@ @@@@ @@ Ⅺ Day Attendance: Ⅺ MON Ⅺ TUE Ⅺ WED Chicago, U.S.A.@@@@ @@ @@ $150 per day@@@@ @@@@ @@ @@@@ @@@@@@ @@ @@@@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ @@ William Caddick@@@@@@@@@@@@@@ Please remit to: International Association of Museum Facility Administrators @@ @@ @@ @@ @@ @@ @@ Art Institute of Chicago@@ @@@@@@@@@@@@ IAMFA @@ @@ @@ @@ @@ Houston-San Antonio, U.S.A.@@@@ @@@@ @@ @@@@@@@@@@ P.O. Box 1505 @@ @@ @@ @@ Gary Morrison@@@@ @@@@ @@ @@@@ @@@@@@@@@@@@@@@@@@ Washington, D.C. @@ @@ @@ @@ @@ @@ @@ @@ McNay Art Museum@@@@@@@@@@@@@@@@ 20013-1505 U.S.A. @@ @@ @@ @@ @@ @@ @@ @@@@@@@@@@@@@@@@@@ I require an invoice: Ⅺ Yes Ⅺ No @@ @@ @@ @@ @@ @@ @@ @@ Pennsylvania, U.S.A.@@@@@@@@@@@@@@@@ @@ @@ @@ @@ @@ @@ @@ @@ Victor T. Razze@@@@@@@@@@@@@@@@ SUGGESTED ACCOMMODATION @@ @@ @@ @@ @@ @@ @@ @@ Brandywine River Museum and@@@@@@@@@@@@@@ The conference hotel will be the Hotel Milano, located at 55 Fifth Street @@ @@ @@ @@ @@ @@ @@ Conservatory between Mission and Market Streets, conveniently near the San Francisco@@ @@@@ @@@@@@ @@ @@ Seattle, U.S.A.@@@@ @@@@ @@ @@@@ Museum of Modern Art (SFMOMA) and Yerba Buena Gardens, and just@@ @@ @@@@ @@@@@@ @@ @@@@ Patrick Dowling@@ @@ @@ around the corner from the San Francisco Centre and Nordstrom. The Milano@@ @@@@@@ @@ @@@@@@ @@ @@ Whatcom Museum of History and Art@@ @@@@ @@@@ is SFMOMA’s choice for visiting artists and curators, and the room rate during@@ @@ @@@@ @@@@ @@@@ @@@@@@ @@ @@ the conference will be $109 for a single, $20 more for each additional person.@@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@ @@ Cleveland, U.S.A. Conference participants should reserve their accommodation directly with the@@@@ @@@@ @@@@ @@ @@@@@@ @@ @@@@ @@ Tom Catalioti Hotel Milano at 1-800-398-7555. We are holding a block of rooms at this price@@ @@@@@@ @@@@@@ @@ @@@@ @@ @@ Cleveland Museum of Art@@ @@ in this convenient location, so please book early. The group room rate will@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@@@ @@@@@@@@@@@@@@@@@@ apply to rooms booked from September 19 through September 28 for those @@ @@ @@ @@ @@ @@ @@ @@ Sydney, Australia@@@@@@@@@@@@@@@@ arriving early, staying later or both! @@ @@ @@ @@ @@ @@ @@ @@ Bob Scott@@ @@ For airline bookings and additional travel assistance we recommend Jane Scott The Powerhouse Museum@@ @@@@ @@@@@@ @@ @@@@@@ @@@@ @@ @@ at Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you call@@ @@@@@@ @@@@ @@ @@@@@@@@ @@ @@ @@ Pittsburgh, U.S.A.@@ @@@@@@@@@@@@@@@@ the Hotel Milano or Jane Scott. @@ @@ @@ @@ @@ @@ @@ Larry Armstrong@@ @@@@ @@@@@@ @@ @@ Please check the IAMFA website for updates at: @@@@ @@ @@@@ Carnegie Museums@@ @@ @@g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?@@@@@@@@@@@@@@@@ @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@? @@@@@@@@? @@@@@@@@? @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@? 3
    • Letter from the President IAMFA President, Bill CaddickWith the London Conference behind us provide a report on membership at theI, like other members, returned home 2003 conference in San Francisco.with thoughts of how our many diff- I have been in contact with Joe IAMFA Board oferent and diverse institutions compare Brennan, the Chairperson for our 2003 Directors— not only with the ever-impressive Conference, and the program sounds PresidentLondon museums and other cultural quite interesting. I hope Joe can con- Bill Caddickfacilities, but also with the facilities we tinue the streak of great weather for Art Institute of Chicagoare individually responsible for. Britain’s the upcoming conference. During Chicago, U.S.A.museums date back centuries, but as our business meeting in London, we wcaddick@artic.educurrent museum administrators they, had the election of three new board V.P., Administrationin common with the rest of us, are members. Enclosed in this issue of Guy Larocquechallenged by today’s high-tech stan- Papyrus, you will find the current Canadian Museum of Civilization anddards and demands. This makes us all listing of our 2002–2003 board of Canadian War Museum Gatineau, Canadarealize that, even though we are all in directors. I encourage all members to guy.larocque@civilization.cadifferent locations, we do have many interact with the board of directors often.things in common. With many of our institutions facing V.P., Regional Affairs Carole Beauvais Again, I would like to express my budgetary difficulties, IAMFA members National Archives of Canada andsincere gratitude to Peter Fotheringham need, now more than ever, to share National Library of Canadafor his dedication to IAMFA, not only their years of experience and use Ottawa, Canadaduring his term as president, but also benchmarking information to support cbeauvais@archives.cafor his ability to successfully guide the ongoing challenges we all face. One Treasurerour membership to where it is today. of our subscribing members, Ian Follett Kevin StreiterI would also like to thank the entire of Facility Management Services in High Museum of ArtLondon Conference Committee for their Calgary, Canada, has a bank of bench- Atlanta, U.S.A. kevin.streiter@woodruffcenter.orgoutstanding job in keeping the con- marking information regarding facilityference and guest program on track. operations. Look for his benchmarking Secretary and Papyrus EditorWe will surely always remember a few update on page 13 of this newsletter. Pierre Lepageoutstanding events which occurred You may also contact Ian at his e-mail Canadian Museum of Civilization and Canadian War Museumwhile we were in London: the march address for assistance Gatineau, Canadaon Parliament, an earthquake, a Tube with your own benchmarking efforts. pierre.lepage@civilization.castrike, a few members getting stuck in As I write this, the holidays are fastan elevator, and late-night fire alarms. approaching, and I would like to take Chairman — Conference 2003 Joe BrennanAll joking aside, I know that hosting this opportunity to wish all a safe San Francisco Museum of Modern Artconferences can drain individuals, both and festive holiday season, and may San Francisco, U.S.A.physically and mentally; however, Peter everyone experience good health and jbrennan@sfmoma.organd the London Conference Committee many blessings in 2003. Chairman — Conference 2004did a fantastic job in hosting another Larry Armstrongsuccessful conference. Bill Caddick Carnegie Museums As outgoing Treasurer, please be President, IAMFA Pittsburgh, U.S.A.aware that although the 2003 member- December 2002 armstrongl@carnegiemuseums.orgship dues forms will be mailed out by For additional contact information,my institution, payment should be sent please visit our website atto our new Treasurer, Kevin Streiter at www.iamfa.orgour P.O. Box in Washington. Kevin will4
    • Regional Chapters • the ongoing establishment of a new Ottawa-Gatineau (Canada) Chapter in Australia, although more Chapter Carole Beauvais, outreach work is required; Special thanks to Toby Greenbaum for Vice-President, • much-appreciated help from Daniel this report. Regional Chapters Davies to design the Regional Chapters Web pages, as well as The Ottawa-Gatineau Chapter meets from Richard Kowalczyk who quarterly and draws its membershipThe text of this article is adapted from designed a first draft; from senior facility management per-a report presented at the Annual sonnel from most of the region’s national • ongoing and active participation from museums and cultural facilities. ThereConference in London, England in our Chairpersons and Coordinators is a membership of approximatelySeptember 2002. The report covered in writing articles for Papyrus about 15 people, but there is still work toregional activities for the year regional activities and various other2001–2002. be done to recruit other local facilities areas of concern to us all. managers. The Chapter also hopes toI think everyone will agree that the year widen its reach to Montreal, which For more on what’s going on in has a vibrant museum community.2001–2002 has been one of many chal- each of our current and futurelenges for most IAMFA members. It has The Chapter met twice in 2001–2002. Chapters, read on! The first meeting was held in Novemberalso been a year of tragedy, with theevents of September 11, 2002 affecting 2001 at the Gatineau Preservation Centremost of us in one way or another. London/Edinburgh (U.K.) of the National Archives of Canada; September 11 also had an impact Chapter the second was in May 2002 at the Special thanks to Karen Plouviez for Victoria Memorial Museum Building ofon regional activity. For many of our this report. the Canadian Museum of Nature. Thechapters, increased security and build- meeting at the Gatineau Preservationing issues made it almost impossible The U.K. Chapter has a steady mem- Centre included a insightful presentationto find the time to meet on a regular bership of about 30 facilities/property on Utility Deregulation and Greenbasis, if at all. It feels as though we may professionals, representing many of Power, a subject that is very topicalactually have lost a year of work, as the the country’s major cultural institutions. with deregulation of electricity in Aprilchapters struggled with greatly increased Meetings are well attended. 2002, as well as an in-depth tour ofworkloads, reduced budgets for external The Chapter’s third meeting in 2001 the Preservation Centre. The focus ofactivities as a result of urgent security took place on November 23 at the British May’s meeting was Emergency Evacu-costs at their institutions, and so forth. Museum. This meeting included a pre- ation and Fire Safety training software,What a year it has been! sentation on, and tour of, the Great which turned out to be a most useful There were, however, many posi- Court, a £98M project funded by the and interesting presentation. Each meet-tive developments over the past year, Millennium Commission, The Heritage ing was well-attended, and proved aincluding: Lottery Fund and sponsorship, and useful way to share information about• a meeting with colleagues from designed to refurbish a number of gal- our individual institutions as well as Amsterdam in April 2002, to begin leries and increase public circulation sharing interests among the participants. a new Chapter in the Netherlands; space. There was also a presentation All meetings are held over the lunch from the Office of Government Com- period and costs are limited and are• a number of publicity blitzes using merce, a newly created department generally covered by those who attend. our revamped Papyrus newsletter. tasked with improving the success of We have yet to use any of the monies Every three months, Chapter Chair- major projects (including construction) earmarked by IAMFA for regional use. persons and Coordinators were in the government sector. Finally, Upcoming meetings will be held at provided with several copies of members updated each other on the the National Arts Centre, the Museum Papyrus to mail out to potential various projects taking place within of Science and Technology and the IAMFA members (many thanks to their organizations. Pierre Lepage!); Aviation Museum. Each meeting will The Chapter is in the process of include a back-of-house tour and a• the establishment of a new Chapter confirming dates for upcoming meet- topic of interest to the group, such as in the Cleveland/Cincinnati area ings. It is hoped that one meeting per a presentation of the design of the new (Ohio), although more outreach year will be hosted by a museum or Canadian War Museum by the design work is required; gallery outside London. continued on page 6 5
    • Regional Chapters — continued from Members of the Smithsonian Institu- The group also toured the outdoorpage 5 tion are also hard at work planning the curator’s shop in a huge old woodenarchitects. A meeting at the Canadian implementation phase of the recently barn used for maintaining both theCentre of Architecture in Montreal announced reorganization and consol- sculptures and a collection of earlycould also be on the agenda. idation of museum building manage- horse-drawn farm implements. It was at ment departments and their staff. The this meeting that the Chapter decidedNew York Chapter actual effective date will be the start of to take on hosting and organizationalSpecial thanks to Lloyd Headley for this the fiscal year on October 1; however, activities for the 2003 IAMFAreport. many museums are expected to be conference in San Francisco. operating under the new plan before The Chapter’s next meeting was slatedThe New York Chapter is very active, that time. The plan is similar to the one for October 2002 at the Blackhawkmeeting 12 times over the past year for that William Brubaker of the Smithsonian Museum in Danville, California.meetings, and four times for social events. outlined during his breakfast talk to con-Monthly attendance is consistent, with ference attendees in December average 25–30 people each time. The Los Angeles/SouthernChapter’s IAMFA group membership California Chapterremains at 6 members, however. There Northern California Chapter Special thanks to James Surwillo forare many other institutions which would Special thanks to Joe Brennan for this this to become members of IAMFA; report. Numerous new security issues followingunfortunately, due to 9/11 and no On February 12, 2002, the Chapter met the events of September 11, 2002 hadbudget for conferences, they are hesitant at the headquarters of the Asian Art a considerable effect on this Chapter’sto commit themselves. Nevertheless, the Museum project for an orientation and activities. This is a relatively smallChapter continues to approach members tour of the old San Francisco Public chapter, but current outreach activitieswith the possibility of joining IAMFA. Library building, soon to be converted include ongoing targeting of a list of The Chapter’s focus over the past into a great venue. The tour was hosted 8–10 facilities with potential interest inyear involved working with a task force by Jim Killoran of the project team. The IAMFA membership.of representatives from the Mayor’s building has a classic Greco-RomanOffice O.E.M. (Office Emergency Man- design with columns across the stone Future Chaptersagement) to develop a Disaster Plan façade and a grand marble staircasefor New York City’s cultural institutions. inside. The design for the new facility Houston/ San Antonio (USA)The goal is to ensure that each institu- optimizes the original skylighting and Special thanks to Gary Morrison fortion has a plan; follow-up will involve adds glass-enclosed escalators for circu- this report.creating suitable resources for mutual lation. Base isolation — a procedure Over the past year, Gary has sent outsupport and assistance in an emergency. in which the building is cut free from personalized letters to about 40 contactsThe Disaster Plan is almost complete and its foundation, raised, then buffered in Texas, along with photocopies ofwas presented to the full committee with one-meter isolators between the a recent issue of Papyrus. This wason October 23, 2002. two layers — has been added to give followed up with a mailing of copies the converted building seismic resis- of the last issue of Papyrus to a largerWashington/Baltimore tance. The Asian Art Museum will be list. The response has been very dis-Chapter ready to open early next year, and appointing, and Gary is open to ideas will be included on the 2003 IAMFASpecial thanks to Fletcher Johnston for on what to try next. conference agenda.this report. On April 20, 2002, the Chapter metThere has been little time to rest in Atlanta (USA) at the unique outdoor sculpture garden, Special thanks to Kevin Streiter for thisthe Washington Region since the 2001 Runnymede, in Woodside, California. report.Annual Conference (first planned This private collection features160 piecesfor September) and actually held in collected over the past three decades Efforts to get this Chapter going haveDecember, and until December 2001, by the Spreckles/Rosenkrans family, been very slow, primarily because ofthe Chapter concentrated its activities and represents both local and inter- severely slashed budgets for all facilitiesaround the planning for the 2001 IAMFA national artists. The event was hosted in this area, particularly since the eventsConference in Washington. In addition, by family friend and IAMFA member, of September 11, 2001. Kevin was ableall of the Chapter’s members have been Terry Zukoski, and included a tour to generate some interest in IAMFA priorbusy working on their Disaster Pre- and barbecue picnic in a lupine-filled to September 11, but the current con-paredness Plans and increasing their meadow atop the property, and was sensus among his colleagues is that theirsecurity awareness. a delightful time for all who attended. tight budgets won’t allow them to pay6
    • dues, etc., let alone attend annual con- The initial goal is to attract the larger Government, and is required to submitferences. As the economy improves he Cleveland institutions: the Cleveland forward estimates to the funding bodywill be making another recruiting effort. Botanical Gardens, the Cleveland on required expenditure each year. Museum of Natural History, the Great With the various government authoritiesSeattle (USA) Lakes Science Center, and the Rock and moving towards the adoption of “TotalSpecial thanks to Patrick Dowling for Roll Hall of Fame. As the Botanical Asset Management Plans” to supportthis report. Gardens and the Museum of Natural funding bids, the benchmarking survey History have just completed, or are soon becomes a useful tool to supplementThis future Chapter will soon be in a to complete, significant renovations, these bids.position to send out contact information the time seems propitious to introduce A number of the Australian institu-to museums in the Pacific Northwest. them to the potential benefits of IAMFA tions’ facilities managers have recentlyThey are currently developing their first participation. To this end Tom has had become IAMFA members and, withcontact list, along with an introduction preliminary discussions with his facilities continued promulgation of the Associa-letter about the national organization, counterparts at both institutions, and will tion’s activities, there is potential forand a call to join the new regional soon have similar talks with the Rock an Australian Chapter in the not-too-Chapter. The Chapter hopes to be up and Roll Hall of Fame and the Science distant future.and running within the next year, and Center. If these larger institutions can bemay be looking for additional infor- formed into a core chapter, then smaller Amsterdam (Netherlands)mation and support from IAMFA to Cleveland and surrounding area institu- A meeting with IAMFA Board membershelp them get off the ground. tions will be contacted and encouraged took place in April 2002 with represe- to participate. These second-phase insti- ntatives from the Van Gogh MuseumChicago (USA) tutions could include the Cleveland and the Rijksmuseum. Following thisSpecial thanks to Bill Caddick for this Children’s Museum, the Cleveland Health meeting, Jan Abrahamse of the Rijks-report. Museum, the Crawford Auto Museum, museum sent out copies of Papyrus toDue to many position changes in the the Akron Art Institute, and the Toledo some major museums in Amsterdam andChicago area, and cutbacks at many Museum of Art. the area. It is hoped that a new Chapterinstitutions, it has been very hard to can be created in the near future.gain support for this Chapter at this Bilbao (Spain)time. However, this group is happy to Special thanks to Rogelio Diez for this As you can see, much work remains toreport that Don Mackly is back at the report. be done to actively promote the growthMCA and is recovering well from his of IAMFA in the regions. To achieve Although conversations with othercancer surgery. Don plans to attend this goal, IAMFA needs the support museums and cultural institutions inthe 2004 conference and more meetings and dedication of not only the Chapters Spain were somewhat minimal overare planned on how to recruit from Chairpersons and Coordinators, but the the past year, there are ongoingthe Chicago area. commitment of all members to recruit efforts to attract Spanish members, new members and to bring forward using the Papyrus newsletter as anPennsylvania (USA) new ideas for activities that might be introduction to IAMFA, along with aSpecial thanks to Victor T. Razze for of interest to other facility managers personalized letter.this report. in your region. In our profession, we are all veryAt present, the goals of Pennsylvania Sydney (Australia) busy people, but if we work together,group are: member expansion within the Special thanks to Bob Scott for this report. we will get better results, and will bepotential Chapter; building an efficient The International Museums and Galleries able to create, maintain and enlargecommunications network for regional Facilities Management Benchmarking the networks of facilities professionalsmembers, and developing an educa- Survey conducted by the IAMFA had a in the regions. These are the colleaguestional initiative. Although success on favourable impact on a number of the who can help us when the going getsthe latter two items has been limited, major Australian cultural institutions. The rough, or be there to celebrate yourthe Pennsylvania region has gained survey opened up a dialogue between successes. For my part, I will continuefour new members this year. facilities managers and promoted discus- to work hard to give you the assistance sion on topics of common interest, you need in achieving this goal forCleveland/ Cincinnati (USA) particularly the issue of funding for 2002-2003.Special thanks to Tom Catalioti for this operational Carole Beauvais. Each of the major Australian museumsWork has begun on the creation of and galleries receives its primary funding Vice-President, Regional Affairsa Northern Ohio Chapter of IAMFA. from its respective State or Federal December 2002 7
    • Lighting: Control and Innovation by Mark Rowling, ERCO Lighting LtdThis is an abridged version of the talk enhancing the experience of visitors, including an information desk, cloak-given at the 12th Annual Conference while conserving our heritage for rooms, a lecture hall, restaurants andof the International Association of future generations. museum shops can be found there.Museum Facility Administrators at the The creation of special events for The question here is: what is essentialNational Gallery in London, England. people is most importantly achieved by for the visitor? The answer is primarily the first impression, by the external and that circulation routes have to be iden-Introduction internal appearance of the building, tifiable, and information has to be including its façade and entrance foyer. clearly provided. Visitors either arriveA comment by Dr David Saunders, the already being familiar with the buildingScientific Advisor at the National Gallery and its layout, or not knowing andin London is particularly relevant in all then having to spend time to decidesituations relating to exhibits of paint- where to go and how to get there.ings, drawings, etc.: “If you can see it Lighting is thus used in relation toyou are damaging it” space, to provide a comfortable tran- This shocking truth indicates that sition and appeal for visitors movinglight itself is detrimental to the survival between galleries. When they arrive inof paintings — in fact, to most forms of the gallery, we can think back to theartwork. This is most evident relative to activity; in this case it is the viewingthe exhibition of watercolour paintings. of the quality of artwork. This requiresAt the Tate Britain, a recent exhibition The pyramid at the centre of the Louvre’s the use of a wide variety of presenta-of the work of watercolourist Thomas Cour Napoleon in Paris is an exceptional tion techniques in order to heightenGirtin (1775–1804), was displayed. example of an architectural statement making a “Landmark of Artistic Heritage” the impact. More on this later.Two hundred years later, the majority Before we consider purpose-builtof the paintings — especially the most buildings we should consider buildingsartistic and popular ones — are bland The Louvre in Paris has a distinctive, which were built centuries ago, suchcompared to what can be seen of their unique and impressive entrance, which as palaces, which have had to be up-original colourful appearance. is created by lamps which are set into graded by the installation of modern the perimeter base of the pyramid. They lighting equipment.Concepts are 90-watt, 12-volt low-voltage halogen The first we will consider is theTo consider the control of museum and lamps installed in a specially developed Hermitage Museum in St. Petersburg,gallery lighting, and continued innova- reflector system, filling the 22-metre-high which uses an additive concept. Builttion in this area, it is worth considering pyramid with light. around the collection of Peter the Great,a number of projects throughout the In all buildings, the size and scale of this museum is characterized by giltworld. Whereas nowadays cities are spaces are important, as is the lighting and marble interiors built over threerecognized by key landmarks, in pre- (the fourth dimension of architecture) centuries ago. The lighting is “additive”vious centuries it was mainly palaces to enhance the appearance of the yet blends in unobtrusively with thethat contained the artistic wealth of the building. At the same time, all lighting splendid classical interior. Track,nation. Now the national artistic wealth design requires that three objectives mounted flat on the cornices carriesis becoming better known through the be achieved: activity, architecture and spotlights and ceiling washlights.“Landmarks of Artistic Heritage”. aesthetics. Thus, it must first be deter- It is important to approach all dis- In our 24-hour society we can make mined what the space’s activities are; play lighting projects by first decidingfull use of our ability to travel, explore then, how the architecture should be how to balance accent lighting levelsand experience the wealth of other integrated and revealed and, thirdly, with ambient lighting. This balancecities and nations. Designers have thus how lighting can set the mood or determines the concentration of light,become aware of the need to create atmosphere of the space. which will make the overall appear-identifiable landmarks. As we all know, The Grand Louvre’s reception ance either more or less dramatic, andit is the ability of those of us involved in concourse consists of a vast facility, can increase focal accents. Some of thethe professions associated with museums approximately nine metres below exhibits are very small. The Gonzagaand art galleries — who are key to ground level. All visitor services, Cameo just such a piece and, as one8
    • of the masterpieces of Hellenistic gem- The optimum angle for the key- either side for increased or reducedcutting requires extremely careful light which is often referred to as the dramatic The use of ambient lighting “Museum Angle” is 30° off the vertical The second palace we will consideralone would result in an inferior light- and preferably 30° to the side to help is the Vatican; a neoclassical buildinging effect, as we see, or rather perceive, avoid glare for viewers. These are which required improved lighting. Inas much by shadows as we do by the only “default” angles, and can be this case, lighting equipment could belight falling on an object. adjusted above and below and to integrated into the ceiling. By using lockable aiming, the servicing and re-lamping of the luminaires became an easy, repeatable procedure. In all galleries — but especially where both wall displays and freestanding dis- plays exist — the concept of lighting design follows a circulation route which, it is assumed, the visitor will follow. So we can ask “where will the focal points be, and when will they be seen?” “Where will the visitor stand to view the object?” Another suggestion is to consider the question, “What do you want to see, and when do you want to see it?” With this in mind, the lighting designer can create perceptual hierarchy. Human perception is attracted firstly by people, so we see faces and people first, after which we see movement, then bright- ness, high contrast, vivid colours and, lastly, strong patterns. At the same time, there is one otherIn the Hermitage Museum, St. Petersburg, Stage lighting teaches us that all three-as part of the museum’s renovation dimensional artwork requires key light from thing that we have to consider: “Whatprogram, discreet lighting was installed a single source, infill light to simulate the is the viewing distance for the object?”from the only available position: the sky and backlight, which normally falls In other words, how do we go aboutcornice. onto a vertical surface but can include avoiding flare (reflected glare) off the an element of silhouette lighting. painting? When the object is small, the viewing distance can be down to 300 mm or less. The angle of light from the spotlight can thus be as close as allowable; i.e., 28° off the vertical to avoid the shadow of the observer’s head on the picture. The larger the painting, the further the observer is likely to stand away from it, in which case the angle can be up to 38°. The limitation being that the lighting does not produce flare. Any seating provided in the gallery where the eye level of the viewer is lowered from 1.75 metres to about 1.25 metres above the floor, can cause a deviation from this and, if possible, should be accommodated in the planning. Virtually all buildings make useFoundation Beyeler Museum, Basle. Accent lighting is usually halogen spotlighting with lightsources positioned to illuminate and to create shadows in the sculpture. The key/accent of windows for daylight, and requirelighting is warmer and more natural, mimicking the sun in the sky. only supplemental artificial lighting. continued on page 10 9
    • Lighting — continued from page 9 is that they produce specular light. of art to light (Table 1). One interesting This accentuates the surface texture innovation is that the Gallery is con-This results in a variety of degrees of paintings, which is particularly sidering special arrangements forof complexity in the design of the relevant for oil paintings but also for selected artwork to be illuminated toexhibition spaces. watercolours, charcoal and pencil far higher levels for special exhibitions. As daylight has a colour temperature sketches — anything, in fact, with This will enable people with poor eye-of ± 4000°K (Kelvin), it can be ideally an interesting surface. sight, or those who want the privilegeintegrated with supplementary, halogen The National Gallery in London has of seeing the works even more clearlylighting at ± 3000°K. This is because, extremely sophisticated means of con- than normal, to better appreciate thein most modern galleries, the intention trolling annual exposure of its works art. We know that visual acuity reducesis to provide a natural feeling lightas a diffused sky. Hence, the colourtemperature of 4000°K for ambient Table 1lighting is ideal. Recommended maximum exposure limits in illuminance hours per year This approach generally results depending on the susceptibility of the object on displayin comfortable, open, clean spaces.Optimal viewing conditions can be European Americanproduced with ambient lighting, pre- Material (Lux-Hours/Year) (Footcandle-Hours/Year)dominantly from the luminous ceiling Highly Susceptible: 54,000 5,000above, reflected off the walls. For textile, cotton, natural 54lx x 8h/day x 125 days/yr 5fc x 8h/day x 125days/yrmodern art, the preference is generally fibres, furs, silk, writing ink, paper documents,for this type of open, clear space, with lace, fugitive dyes,a low component of accent lighting. watercolours, woolNatural light enters the building througha louvre system, internal blinds and Moderately Susceptible: 580,000 48,000 textile with stable dyes, 220lx x 8h/day x 300 days/yr 20fc x 8h/day x 300days/yrsensor control. oil paintings, wood Now let’s consider an integrated finishes, leather, somelighting approach in a modern gallery plasticsspace with recessed fixtures. Even with Least Susceptible: dependent on exhibition dependent on exhibitiona low ceiling, there is uniform wash- metal, stone, ceramic, situation. both horizontally and vertically, most mineralsenabling visitors to view works of artunder consistent lighting conditionsand without glare. Hanging paintingsflat against the wall helps to avoidthe disturbing shadows which deepframes can cause. On the subject of optimal colourrendition, full-colour spectrum halogenlamps have a higher colour temperaturethan incandescent, whereas the colourof fluorescent lamps is inconsistent.This is because specific deficienciesexist in fluorescent tubes, dependingupon the combination of phosphorsthat it contains. Tungsten halogen pro-duces consistent colour, which eventhe best fluorescent lamps cannot match.So, in spite of the high efficiency offluorescent lamps, they lack spectralquality and are less effective for thelighting of artwork. Another advantage of point light Picture Gallery, Berlin. In the Gallery, illumination comes from recessed washlights fittedsources such as tungsten halogen lamps with halogen lamps.10
    • with age; the simple rule of thumb is visible light occurs is 400 nanometers, lamps with either main voltage or lowthat a 60-year-old person requires three beyon which virtually all visible light voltage. Discharge lamps are eithertimes the light of a 20-year-old to see is transmitted. This means a negligible fluorescent or metal halide the same level. reduction in the colour rendering index The selection of lamps should be As was stated at the beginning of and in colour shifts. (See Table 2) based on a number of factors; colourthis article, “If you can see it you are The light sources used in gallery rendition, brilliance, colour temper-damaging it.” Any radiation that has lighting consist predominantly of two ature, photochemical and thermalno visible light should be eliminated; types: thermal radiators and discharge radiation and energy efficiency, eachdichroic filters are ideal for this purpose. types. Thermal radiators are PAR incan- of which should be evaluated for theThe wavelength at which cut-off of descent lamps and Tungsten halogen best presentation of the exhibits. Factors such as flicker, consistency of colour rendering and humming control Table 2 gear are constantly being improved in Data for selected glass ultra-violet filters discharge lighting. This innovation is also making higher efficiencies and Colour Colour longer bulb life a reality. temperature rendering UV Content Moving from lamps to luminaires Filter shift (K) index (Ra) (microwatts/lumen) (or for our North American cousins, None 0 99 165 fixtures), if we consider integrated Window glass +10 100 125 or additive lighting, we know that a Pilkington MR2 -30 99 84 number of options exist. Great effort is ERCO Ultraviolet Filter -110 100 43 made to produce effective light distribu- Schott Oralan Glass -190 99 33 tion in both installation options. The smaller the aperture in a recessed fix- Schott Uvilex 1 glass -170 97 7 ture or spotlight, the lower the light Bausch & Lomb +30 99 <1 output will be. There is great benefit Balzers dichroic -70 99 <1 to be gained from larger reflectors, which can produce higher efficiency and peak intensities in the beam. The Table 3 reflector’s shape and size shape light distribution. This can also be achieved Lamp Types used in Museum Lighting through the use of lenses, which can be Thermal Radiators Fluorescent Metal Halides tinted and coated, as is the case with the set used by the National Gallery. • Point-focused filament • Diffused source gives flat • Point-focused light creates brilliance on illumination, which source similar to They have two versions: clear and blue; reflective and refractive diminishes brilliance, thermal radiators. i.e., nominally 3000°K and 4000°K. Both objects, reinforces modelling and texture. are available in two beam shapes, in modelling and textures. order to produce the lighting for gallery • Continuous spectrum of • CRI is generally low. • Good CRI. walls and paintings from a distance of radiant energy, gives 11 metres. natural colour rendition Culture is no longer regarded as a (CRI). minor attraction, but as an economic • Illuminance level can • Dimming is complicated • Dimming is difficult and force in the post-industrial twenty-first be easily switched and and costly. costly. dimmed. century. In the magnificent Guggenheim building, volume creates its own char- • Low UV and high IR. • High UV and low IR. • High UV and high IR. acteristic interplay of light and shadow, • Colour temperature is • CCT is 3000 K to 6000 K. • CCT is similar to especially effective after dark when warm (CCT : 2700 K to fluorescent. reflected in water. 3100 K). In all of the Guggenheim’s galleries, • 2000 hours lamp life. • Lamp life is 8000 hours. • Lamp life is 5800 hours. there is plenty of light for space- • Good energy efficiency. • Good energy efficiency. consuming art through batteries of • Constancy of CRI and wallwashers and projectors to supple- CCT are subjective. ment the zenithal daylight. In fact, the spotlights which were used in this continued on page 12 11
    • Lighting — continued from page 11project have become standard productsin the ERCO range. They have at leasttwo features which make them unique:the locking facility, and the snoot whichprovides a reduced aperture with highlyeffective glare-control. The lighting is from catwalks, whichare clearly differentiated, technicalelements in the architecture. Paintedto match the walls and ceilings, andwell above the normal field of vision,they become less apparent. As thehuman visual cut-off angle is 40°, thismeans that the catwalks do not normallyintrude into the visitor’s field-of-view.They are shaped to follow the curve ofthe walls, keeping offset distances con-stant, which is essential for consistentwall illumination. Monumental artwork requires careful Controlling light requires the use of efficient well-designed, high quality reflectors.planning in order to create the effectof a single source. This helps replicatethe effect of sun and sky, rather than a design must be taken into account both Technical Director. He qualified asmultiplicity of points, which can look individually, and in conjunction with Chartered Engineer in August 1990,unnatural. At all costs, the goal is to one another. The activity, the aesthetics and became a Fellow of the Charteredavoid a “spotty” appearance. and the architecture are thus unified Institute of Building Services Engineers The visual aspect of lighting for art to produce the desired effects. in November 1992. Since joining ERCO,galleries and museums rests fundamen- he has been dedicated to excellence intally with the co-ordinated approach Mark Rowling has worked in lighting interior lighting design — particularlyof a professional team, working to design since 1970. Since August 1986 in museums and galleries. In Octoberachieve optimal lighting effects for the he has worked with ERCO Lighting Ltd 1999, he established a training orga-visitor. As in all cases of lighting design, in London, where he was the Technical nization within ERCO, consisting ofthe three aspects of interior lighting Director and subsequently Sales and 35 trainers and coaches worldwide.The Guggenheim in Bilbao is gaining worldwide recognition as a Osaka Maritime Museum, Osaka. The Osaka Maritime Museummajor gallery for the display of both two-dimensional and three- by Paul Andreu, Aeroports de Paris, features a beautiful glassdimensional artwork. hemisphere. This presents considerable challenges in lighting design, particularly since it is important for ambient lighting to support the simplicity of the building.12
    • Benchmarking Review by Ian Follett, President, Facilities Management Services Ltd.Museum Benchmarks 2002, 6. Structure of Facility and relative humidity, janitorial/custodialSurvey of Facility Management Department services, utilities, building maintenance, • Separate department (50%) exterior grounds maintenance, buildingManagement Practices • Division of Department (43%) security, cost of building operations,This Survey followed the very success- facility rentals/special functions, telecom-ful first benchmarking survey completed 7. Type of Organizational Design muting, disaster recovery plan, organi-in 2001. Primary performance measure- • Service Design (93%) zational structure, project management,ments were repeated — which allows Definition: organizational design facility management operating approach,for the tracking of trends — and new based on types of service provided, service level agreements, outsourcing,topics added. New topics for the 2002 such as planning & design, project customer satisfaction, chargeback ofSurvey included organizational structure, management, security, etc. facility costs, and important issues facingproject management practices, disaster facility managers. The best practices ofrecovery planning and facility manage- 8. How Select Contractor? • Lowest cost (37%) participating institutions, as listed andment operating approaches. Seventy- briefly described by each institution,six museums and art institutions have • Best value (47%) are also included in the Survey Report.participated in the benchmarking and 9. Facility Management Operatingbest practices Surveys of 2001 and 2002. Approach • Service group with customers Benchmarking and BestAn Annual Exercise (77%) Practices Workshop • FM is our responsibility (20% – This one-day Workshop, part of theParticipants at the benchmarking work- not recognize having internal Museum Benchmarks 2002, Surveyshop in London, England once again customers) of Facility Management Practices, wasvoted to continue the benchmarking 10. Track Internal Customer held in London, England prior to thesurvey as an annual exercise. The Satisfaction? September 2002 IAMFA Conference.Museum Benchmarks Survey for 2003 • Annually to all (9%) The following institutions werewill repeat the tracking of primary • After major projects (36%) represented at this workshop:performance measurements andgather data on new topics. • After minor projects (27%) Auckland Art Gallery Toi o Tamaki 11. Any Chargeback of Facility National Gallery (London) Costs? Yes (37%) Smithsonian Institution — RenwickSome Highlights of the • Outsource vendors must do it. GalleryMuseums Benchmarks Most in-house service groups Australian War Memorial2002 Survey Report don’t. National Library of Canada1. Area Cleaned (per janitorial Smithsonian National Air & Space worker) Purchase of Benchmarks Museum 2002: 25,800 sq. ft. (2,400 m2) 2002 Survey Report Canadian Museum of Civilization 2001: 23,900 sq. ft. (2,200 m2) The Report can be purchased for National Library of Scotland $1,000 US. Please contact Ian Follett, Smithsonian National Museum of2. Have signed an energy supply Natural History Facility Management Services Ltd, at contract? Yes (57%) Canadian Museum of Nature, 1-403-259-5964 or3. Have a UPS system? Yes (69%) by fax at 1-403-255-7116. Newark Museum The Survey Report is the result of a The Baltimore Museum of Art4. Building Maintenance Area Canadian War Museum 31-page questionnaire, and includes a (per worker) Philadelphia Museum of Art five-page Executive Summary of results, 2002: 36,400 sq. ft. (3,400 m2) The Carnegie Museums of Pittsburgh a comprehensive five-page listing of 2001: 33,500 sq. ft. (3,100 m2) National Archives of Canada facility management related operational5. Have a Disaster Recovery Plan definitions and 29 pages of data analysis. Powerhouse Museum (Australia) for facilities? Yes (83%) Data was gathered and analyzed on Winterthur (Delaware) the following topics: description of National Gallery of Art (Washington, facilities, space utilization, temperature D.C.) 13
    • Workshop Highlights • Facility Management Functional • This listing and identification of best Evaluations By External Consultants practices will be repeated in theBenchmarking Presentation (Larry Armstrong, The Carnegie Museum Benchmarks 2003 Survey. Museums of Pittsburgh)• What benchmarking is and isn’t, the Focus Groups do’s and don’ts, and how utilize data • Building Automation System (Kurt Sisson, National Gallery of Art, • Five separate groups discussed theSurvey Results Washington, D.C.) following topics:• Presentation and discussion of • Total Asset Management Planning • Best Facility Management Group survey results including first time (Michael Landsbergen, Powerhouse Award Criteria data and possible trends Museum (Sydney, Australia) • Customer Satisfaction • Continuous Improvement ofBest Practices Presentations Best Practices Identification(in random order) Benchmarking Exercise • Many facility management practices• RFP Process Via the Internet were listed and participants asked • How Do More With Less? (Richard Kowalczyk, Smithsonian whether each practice was a best • Disaster Recovery Plan For Facilities National Air and Space Museum) practice that should be utilized by all facility managers, or not. This Year’s Survey: Museum Benchmarks 2003, Survey of Facility Management Practices Fee: $1,350 US — due upon registration • September 21, 2003: Benchmarking and Best Practices (same fee as last year). Workshop in San Francisco, CA The fee includes: Excuses for not Benchmarking 1. Survey Questionnaire Development • We’re too busy doing projects — i.e., We’re too busy • approximately 25-40% of the survey will gather data working hard to learn how to work smart. on new subjects • We participated in a benchmarking survey previously 2. Survey Report, including: and we’re right in the middle of the pack — i.e., We’re • Survey data happy to be average. Continuous learning is not • charts of all data listed under each organization’s important name • Survey Summary • summary charts and graphs of industry averages, ratios How Do I Sign On or Get More Information? and trends Complete and return the Survey Participation Agreement, or • Executive Summary contact Ian Follett at: • a summary that provides comments and recommendations on key performance measurements Tel.: 1 (403) 259-5964 and practices in facility management Fax: 1 (403) 255-7116 E-mail: 3. Full-day workshop, including best practices and Website: networking Reminder: Key Dates Don’t forget to budget for: • Feb.–May, 2003: Receipt of Survey Participation Agreement • this year’s benchmarking exercise and IAMFA Conference • Feb.–June, 2003: Distribution of Survey Questionnaire • $1,350 US for the Benchmarks Survey, including the (upon receipt of Participation Agreement) Workshop • July 1, 2003: Return of Completed Survey Questionnaire • cost of IAMFA conference, travel and accommodation in San Francisco • August 29, 2003: Survey Report mailed to Participating Organizations14
    • Thank You Awards• All best practice presenters SURVEY PARTICIPATION AGREEMENT• Peter Fotheringham, National Gallery, London, U.K. for great The undersigned institution wishes to participate in Museum hospitality, including workshop Benchmarks 2003, Survey of Facility Management Practices, and room, equipment and catered agrees to: luncheon• All those who helped in question- • Provide complete and accurate data in a timely manner. naire development and the Report’s executive summary • Maintain the confidentiality of the survey questionnaire and survey data.Some Uses of Survey Data • Use the survey data for internal organizational purposes only.• To identify strengths and weaknesses • Not provide the survey questionnaire or survey data to any other• To establish goals and action plans organizations or individuals. (strategic planning)• To justify costs and practices • Pay FACILITY MANAGEMENT SERVICES LTD $1,350 in U.S. funds• To support business cases for change to benchmark one facility.• To identify institutions with best Ⅺ If you require an invoice, please check. practices• To learn from these institutions PAYMENT IN FULL IS DUE UPON REGISTRATION.Key BenchmarkingRequirements and Institution DateObjectivesThe essence of benchmarking islearning from others, including: Signing Authority (please print) Title• humility: others can do some things better Signature Telephone• learning from others is faster (and therefore smarter) than starting from scratch Mailing Address• learning must be a continuous process• it’s not about getting a good report card• “what” (the benchmark) without Fax E-Mail Address “how” (the process) is an empty statement Please fax the completed agreement to:• measurements are overemphasized, Ian Follett, BAA, CFM processes (practices) are President overlooked FACILITY MANAGEMENT SERVICES LTD• a key tool for staying competitive, Tel: 1 (403) 259-5964 supporting customers, effectiveness Fax: 1 (403) 255-7116 and strategic planning E-mail: 15
    • Summaries of Focus Group Exercises — London, September 2002 by Ian FollettHere are the summaries of the focus List: Focus Group #2group exercises held at the bench- • the key performance measurements,marking and best practices workshop and any other requirements that you Customer Satisfactionin London, England. think should comprise the award One half of all participating museums Thanks very much for the active par- criteria and art galleries say that customerticipation of all workshop attendees. It satisfaction/service is an important • why your award criteria are issue facing facility managers.was a great day. We were very surprised appropriate for determining theat the energy shown in the workshop Best Facility Management Group List:despite a 5–9 hour time zone change • the reasons for customer satisfaction/for most of the participants. Answer: service being an important issue And an extra thank you for those • 2 awards: • the aspects of customer satisfaction/that made a best practice presentation — one for large facilities (600,000 service that should be tracked ie.and to Peter Fotheringham for his sq.ft.) what facility management serviceshospitality, including workshop room, — one for small facilities are most important to customersequipment and catered luncheon. • IAMFA member in good standing and therefore what customer • Nomination process or self- satisfaction data should be gatheredFOCUS GROUP EXERCISES nomination • Overall appearance of facility — • the action steps, processes and/orThe following is a summary of the practices that should be imple- clean restrooms, no brokenresponses (in italics) to the focus group mented to track and improve windows or graffiti, groundsquestions as provided at the Workshop. customer satisfaction/service clear of debris, chewing gum etc. • Innovation — implementation • how ensure these action steps,Focus Group #1 of new procedures for best processes and/or practices areBest Facility Management Group practices implemented and take placeAward Criteria • Demonstrated performance consistentlyIf there was an annual award for Best improvement as benchmarked Answer:Facility Management Group in a or supported by data • Reasonsmuseum or art gallery, what would • Testimonials from peers, • gain useful feedbackbe the award criteria? subordinates, supervisors • care about customer’s needs • establishing trends • relationship building • justifies resource levels • marketing your services • helps resource allocation • What Should be Tracked • job request details • when the work will be done (planned) • who will do the work • communication with customer • delays incurred/interim solutions • track different trades • informing customer of completion • encourage customerFocus group participants at the 2002 IAMFA London Conference. comments/suggestions16
    • • Implement Tracking Process • Cleaning Focus Group #5 • reporting mechanisms on data • Recorded in hr./m2 plus collected reference to standard of cleaners Disaster Recovery Plan for Facilities • establish meaningful plus link between cleaning and (DRP) performance targets occupation/visitors Eighty-three percent (83%) of all par- • suggestion box • Special Events ticipating museum and art galleries say • customer satisfaction survey • hours spent they have an up-to-date disaster recovery (electronic/phone etc.) • in-house vs. outsourced plan for facilities. • disseminate information collected, • Health and Safety List: both to providers and customers • pest control • the facility management related • Ensuring Steps Are Implemented • environment management procedures, roles, processes and • assign responsibilities • chemical handling functions that should be identified • inform customer of what to expect and addressed in a disaster • routine meetings with providers Focus Group #4 recovery plan for facilities to set and report on service How Do We Do More With Less? • the people who should be involved outcomes Sixty-seven percent (67%) of all in developing and updating the • analyze problems encountered participating museums and art DRP to find solutions with those providing the services galleries say doing more with less is • the process or practice for ensuring an important issue facing facility the DRP is updated regularly managers. • the important facilities: related dataFocus Group #3 List: that should be stored off-siteContinuous Improvement of • the reasons for ‘doing more with Answer:Benchmarking Exercise less’ being an important issue • Roles/Processes/FunctionsHow can this benchmarking exercisebe improved? • the things (processes, practices, • who is in charge/responsibilities etc.) a facility manager can do to • authorities — purchasing, etc.List, as appropriate: ‘do more with less’ — to be more • PR — who and what said• what additional data on current efficient and effective • damage assessment topics should be collected • response plan/actions • how ensure the most important• what data on new topics would processes, practices, etc. are • categories of events help you do a better job implemented • security of site• what can be done to improve the • alternate sources — resources Answer: • control center Survey Report eg. ease of use, • Reasons • People Involved value of Summary of Results • increase revenue • FM staff (executive summary), listing of • reduction in budget, $/staff • Security Survey Data of each institution, • economy = endowment • Conservation customization of Report (show data • not for profit • IT of each institution beside • Processes, practices • PAO/PR performance data). • outsourcing • Occupational Health & Safety Answer: • technology • Senior Management • Not to comment on whole 2002 • energy management systems • Authorities exercise (EMS) • Updated Regularly • Concentrate on utilities, cleaning, • reorganization (staff, tasks) • scheduled updates special events, health and safety • procedures • exercises • Utilities • Implementation • senior management responsibility • more detailed information • business case (facts, payback, etc.) • insurance reference to kwh/energy instead • not re-inventing the wheel (ie • Off-Site Data of cost based IAMFA, other museums) • plans — as-built drawings NB — record unit cost of utilities, • feedback • operating manuals degree day data for heating/ • list of contractors cooling plus all energy recorded • emergency procedures as Carbon Em. • IT records 17
    • Heritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Cultural Heritage as a Result of 9/11 archives and other collecting institu- Among the Heritage Preservation tions in Lower Manhattan. It reveals survey’s findings: significant lessons that may help • Only 46% of the institutions surveyed protect our nation’s cultural heritage had a written emergency plan, and from future disasters. only 42% had staff trained in disaster The survey, supported by the Bay response procedures. Foundation in New York City and the National Endowment for the Humanities, • Only 60% of respondents had a included questions related to emergency current collections catalogue or preparedness, response and recovery. inventory, and more than half did Heritage Preservation prepared the not keep an off-site record of their report on behalf of the Heritage Emer- inventory. Had the destruction of gency National Task Force, a partnership 9/11 been more widespread through- of 34 federal agencies and national out Lower Manhattan, many collecting associations founded with the Federal institutions would have been left Emergency Management Agency (FEMA) with no complete record of what in 1995 to help protect museums, had been lost. archives, libraries and historic sitesReport of Losses to Artistic, Historic • Although the events of 9/11 wereand Archival Heritage in Lower from disasters.Manhattan and at the Pentagon “While basic emergency response caused by an unprecedented act ofIncludes Results of Survey of Affected procedures worked well to protect terror, the study found that standardInstitutions Regarding Emergency treasured collections on 9/11, the emergency plans and responsesResponse Procedures turned out to be the most effective survey results show that there are significant gaps in preparedness,” way of dealing with the resulting said Lawrence L. Reger, President of damage. Heritage Preservation. “Quick-thinking • A full 80% of survey respondentsWASHINGTON, D.C. (June 3, 2002) — staff members who turned off air intake reported interruptions in commu-Although the nation suffered incalcu- systems saved valuable collections from nications in the weeks followinglable personal and economic losses on corrosive soot and debris. However, 9/11; 67% experienced a decreaseSeptember 11, 2001, little has been writ- more than half the organizations sur- in public visitation. Although theten about the destruction of America’s veyed had only minimal emergency survey did not set out to examinecultural and historical legacy — until response procedures. Our cultural economic impact, respondents indi-now. Heritage Preservation, the nation’s heritage is vulnerable to potential cated that decreased revenue wasleading non-profit advocate for the future disasters.” one of their primary concerns andproper care of our cultural heritage, The organizations that participated was closely linked to communicationshas just published Cataclysm and in the survey included Fraunces Tavern problems and the drop in publicChallenge, a 26-page report offering Museum, Henry Street Settlement/Louis attendance.the first comprehensive study of what Abrons Art Center, Museum of Africanwas lost — both in Lower Manhattan Art, Museum of Jewish Heritage, National • In light of the events of 9/11, 68% ofand at the Pentagon — on that day. Museum of the American Indian, New respondents said their staffs wouldThe report also highlights findings Museum of Contemporary Art, New York benefit from emergency managementobtained from a survey — conducted Public Library – New Amsterdam branch, training; 67% intended to createin the months immediately following South Street Seaport Museum, and new emergency plans or revise9/11 — of 122 museums, libraries, Trinity Church Archives. existing ones.18
    • Based on survey findings and exten- • Thousands of artifacts from an after the disaster, the artist’s grandsonsive follow-up interviews conducted 18th century African burial ground Alexander Rower began distributingby Heritage Preservation, Cataclysm and more than one million artifacts flyers that described the sculpture toand Challenge offers specific recom- from the 19th century working class recovery workers. As a result, moremendations concerning emergency neighborhood of Five Points – dis- than 35% of the sculpture has nowplanning for collecting institutions. Key covered in 1991 during excavation been found.among these are calls for increased for the Foley Square federal court-staff training and for current collections house and one of the most important Selected highlights in the study illus-inventories. The report also calls for archaeological finds in the history trate how individual institutions copedmore effective communications between of Lower Manhattan. with the aftermath of the disaster —the emergency management and cul- • Archives from the Port Authority of ranging from the Seamen’s Churchtural heritage fields. It urges museums, New York and New Jersey dating Institute’s role as a refuge for rescuelibraries and archives to begin a dialogue back to the 1920s, documenting workers to the historic fireboats thatwith local emergency officials before the construction of the World pumped water to combat the blaze.disaster strikes. The Heritage Emergency Trade Center and other New York A special section is devoted to theNational Task Force will address this landmarks. destruction of cultural property at theissue in the next year. Pentagon, which includes historical The recommendations are designed In spite of these irreplaceable losses, documents dating back to the earlyto address any type of emergency, and stories of discovery and resourcefulness 19th century and art collections of thethey apply to collecting institutions also emerge from the report: Army, Navy, Air Force and Marine Corps.throughout the country. The report Heritage Preservation is a nationalencourages professional associations, • At the Museum of Jewish Heritage, non-profit organization based ingovernment agencies and private automated shutdown of outside air Washington, DC. In partnership withfoundations concerned about cultural vents failed when electrical power the FEMA, it sponsors the Heritageheritage to make disaster management was cut off to the area. With the Emergency National Task Force. Fora priority. Twin Towers ablaze in the back- the complete text of the report, go to Cataclysm and Challenge also ground, museum engineers climbed the diverse cultural heritage to the roof, hand cranked the vents Cataclym.htm.universe that existed in and around the closed, and stayed to turn off waterWorld Trade Center before the attacks valves even as police warned of the Reprinted from the Heritage Preservationof 9/11. It provides an overview of the Towers’ collapse and ordered the website,, historic buildings and artifacts, area evacuated. When staff were Used with permission. © 2002 Heritagearchives and libraries that were destroyed able to return to the building they Preservation.or damaged, as well as the condition found not a trace of dust inside.of those that survived. The report • Months after the disaster, 100,000 IAMFA wishes to thank Jane Long,demonstrates that the cultural heritage photographic negatives belonging Director Heritage Emergency Nationallost included not only well known to the Port Authority of New York Task Force Heritage Preservation, for and New Jersey were found at the this article contribution to of art such as Louise Nevelson’ssculpture, Skygate-New York, and Juan World Trade Center site. Ranging inMiro’s World Trade Center Tapestry, condition from ruined to pristine,but also archives and artifacts that these negatives convey a pictorialrepresent the richness of the country’s history of the metropolitan trans-history. Other examples of materials portation system that includes thelost include: building of the George Washington• An estimated $4 million in records, Bridge and the Holland and Lincoln equipment and historical data from tunnels. the archives of the Helen Keller • Bent Propeller, a stabile by Alexander International Foundation — including Calder, was one of the best-known first editions of Keller’s books, price- works of art at the World Trade Center less photographs and original letters. and was presumed destroyed. Shortly 19
    • Renaissance at the Royal Ontario Museum — Daniel Libeskind’s Crystal DesignMuseums in Canada have been exper- this in the “narrative spine” and in LENSCAPE INCORPORATED: ELIZABETH JONESiencing a renaissance through a num- other gallery development principles.ber of new construction and renovation The ROM also requires space toprojects. This trend is the result of renew older galleries, and to liberatenewly available government funding major collections stranded in the the Federal and Provincial levels, (The project will generate an additionalwhich aims to restore ageing buildings 40,000 square feet for galleries throughthat have been the victim of years of reallocations and new construction —neglect due funding constraints during the equivalent of two full floors of thethe past decade. Queen’s Park wing.) And we want to At the federal level, the Canadian display these things using the greatMuseum of Civilization Corporation is advantage of our location on the cornercurrently undertaking the construction of Bloor and Queen’s Park, openingof a new purpose-built Canadian War the museum much more to the streetMuseum to replace several old buildings Daniel Libeskind and and community.which did not meet modern museum Daniel Libeskind’s crystal design the Crystal Design forstandards. In addition, at the federal creates six major new gallery spaceslevel here in the National Capital Region Renaissance ROM directly over Bloor Street, where theirarea, the National Aviation Museum is The architect selected for the Royal contents will be glimpsed through thebuilding an extension to its hangars Ontario Museum’s Master Plan had glass, and where visitors will haveand administrative wing; the Canadian to meet complex requirements, many wonderful views down Bloor fromMuseum of Nature building is under- of them not immediately visible to inside. The dinosaur gallery will begoing a massive interior renovation, a observers. The Architect Selection among these spaces and be a dramaticnew National Portrait Gallery is being Committee kept all these requirements sight from across the street on a coldbuilt in the building that used to house in mind in assessing the candidates. At winter’s night.the American Embassy, and a new facil- the end of the day, Daniel Libeskind’s Four of these crystal galleries willity is being planned for the Canada proposal met most of them well, which merge into the east and west wings,Science and Technology Museum. led to his selection on February 26. creating broader floor plates and good At the provincial level, the Royal circulation. Atriums within the crystalOntario Museum is in the design stages 1. Serving the ROM’s Content Plan design will accommodate larger displays,for a massive nenovation project. The in New and Renovated Galleries such as whales and, perhaps, crest poles.architect who was selected, based The ROM has the luxury — and The crystal design offers direct Blooron an international design contest, challenge — of expressing two great Street frontage to a commodious retailis Daniel Libeskind of Germany. The museum missions — human civilization shop that may include a coffee bar. TheROM Renaissance is the focus of the and natural history. It is both the “Met” Bloor Street lobby will be large enougharticle which follows, included here as of Toronto — an institution of cosmo- to accommodate much bigger example of the recent “renaissance” politan culture — and a leading museum (We intend to double our attendancein the modernization of Canadian of natural history, with strong research to 1.6 million annually.) The main doorsmuseum facilities. components supporting both fields. are angled toward the corner of Bloor These dual missions must sit comfort- Street and Avenue Road. Two intriguingGuy Larocque ably together, distinct but overlapping staircases will lead up to the crystalIAMFA Vice-President, where it makes sense. They need galleries — one themed after nature,Administration places to be on their own, and places the other after culture. There will alsoDecember 2002 to touch. Our content plan recognizes be three elevators. Another staircase20
    • theatre space. The washrooms would permanent stage and build in sound LENSCAPE INCORPORATED: ELIZABETH JONES be moved, linking the Learning Centre systems and lighting capabilities. directly into Samuel Hall-Currelly Gallery. In addition to, the Libeskind plan The B1 level of the east wing would envisions a new family cafeteria at be retained for education programming, grade level along Philosopher’s Walk, including an upgraded ROM theatre. an adjoining bar/café and a restaurant An improved group entrance would be on the roof of the west wing with accommodated within the glass spire a roof garden facing south over the coming down from the roof on the University of Toronto and the city. All south. All galleries will be designed these spaces will be linked through a to better accommodate school and single food service core. group visits. Other program spaces Smaller mini-lounges can also be may be insinuated into various parts designed into gallery spaces, especially of the building. where exterior views are good.will lead down to the blockbuster More elevators will be installed, morespace below, large enough to accom- staircases will be opened and all facilities 3. Public Amenities and Specialmodate the biggest travelling exhibitions. Functions will be accessible to the disabled.This blockbuster space will be connected Libeskind will reopen the link betweenat grade to the loading dock, eliminating Currelly-Samuel and the west wing along 4. Back of Housethe need for elevators to accommodate Philosopher’s Walk. A new rotunda Considerably more office space will bemajor exhibitions. The lobby will work will be created in the west wing, to created in two levels along the roof.very well to express the museum’s echo the original rotunda in the east, Coincident with Renaissance ROM ischaracter, clarify options and distribute which will be fully restored. This will the development of a new ROM-ownedcrowds. Beyond the lobby, public space create a beautiful new east-west spine and designed collection storage facilityopens out toward Samuel Hall-Currelly of public space, excellent for orienta- in Oakville. This will relieve pressureGallery through dramatic new atriums. tion, special programming and special on the curatorial centre and allow for By retaining the centre block, and functions organized by our Museum better space use there.building on the foundations of the Sales department. The current EatonTerrace Galleries, Libeskind creates Court space will be enlarged, so totalsignificant new spaces that can be 5. Architecture contiguous space available for publiceasily integrated into our current Daniel Libeskind meets the program purposes on the main floor will behistoric footprint. The Libeskind plan for architecture by leaving all of the significantly larger.also provides for renovation of the historic structures in place, taking out A catering preparation space is envi-east and west wings, opening their only the Terrace Galleries, and creating sioned in the southwest area of Currellywindows and spaces to light for new a bold new foil to the existing buildings on the restaurant elevator core. We cangalleries. For all its drama, the crystal at Bloor Street. His crystalline structure also plan to build convenient storagedesign provides an eminently practical touches lightly on the north face of space for chairs and tables, create asolution to our program needs. the east wing, and then he intelligently unites the old and new across the entire2. Education, Program Space site by vaulting over the roof and creat- LENSCAPE INCORPORATED: ELIZABETH JONESThe Libeskind plan requires us to elevate ing glass slivers on the west and southeducation facilities from B2. He proposes facades. This avoids the crystal designthey be integrated into a new Learning looking as though it were simply anCentre on the main floor where the addition to the north. It weds the oldlibrary stacks and HR offices are now. and new across the entire fabric of theThis would give much greater profile site, but delicately and the educational mission of the ROM. At the same time, the Bloor StreetThe Learning centre would include the façade is bold, ebullient and confident,library front office, our digital gallery filled with promise and intrigue. Atand resource centre for electronic access night it will be a beautiful glowingto the collections and, perhaps, a small icon for the central city, and the city continued on page 22 21
    • Royal Ontario Museum — continued from page 21itself. Remarkably as well, the Libeskind 7. Relationships teers, security officers, IT gurus, librariansscheme creates another excellent face It is said that we are not only choosing and technicians. We will also continuefor the building from above. Surrounded a vision, or an architect, but a relation- to present our plans for galleries andby high rises and often over-flown, the ship. Everything we know about Daniel amenities to the public. The RenaissanceROM’s new roofscape will offer a won- Libeskind and his business partner wife ROM project itself will be developedderful visual palette looking down, a Nina, give us great confidence in the as an exhibit, with supporting educa-lovely ziggurat in the grid of the city. quality of the dialogue we will have tional content. Our Web site ROM.ON.CA And ROM curator Des Collins with them and their colleagues over will continue to keep visitors abreastreminds us that the crystallized form the next several years. They have lived of our developments.of limestone — of which the historic in Toronto, Nina was raised here, and We are proud to have attracted DanielROM is built — is called a Calcite their three children are Canadian citi- Libeskind to this important project, toRhomb. Daniel Libeskind’s plan can be zens. They know the city and fully share which he has already given so muchdescribed as the crystallized form — our ambitions to create a wonderful intelligent and creative thought.the Rhomb of the ROM. new centre of public purpose and pleasure at this critical place and time. Reprinted from the Royal Ontario6. Cost and Construction Museum website, Next Steps masterplan/studio_crystal.php. UsedEstimates of cost on Daniel Libeskind’s with permission. © 2002 Royalproposal were the lowest among the Many of the ideas now in conceptual Ontario Museum.three finalists. His proposal also creates drawing will be amended over the nextthe least disruption to the museum year as our ROM staff teams exploreduring construction, allowing us to the plans and improve them. Thesekeep more of the museum open. It teams will include curators, teachers,is also the fastest to complete. program and museum sales staff, volun- LENSCAPE INCORPORATED: ELIZABETH JONES22
    • Become a Member of the IAMFA and Get a Friend to JoinOn behalf of the membership and Board, we invite you to Membership Opportunitiesjoin with other museums and cultural organizations through-out the world in becoming a member of the only organization Join the IAMFA at any of the following levels and enjoy fullexclusively devoted to museum and cultural facility admin- benefits of membership:istrators: the International Association of Museum Facility Regular Member — $150 annually. A regular memberAdministrators (IAMFA). As a member, you will join a growing holds the position of principal administration in directlist of museum and cultural facility administrators in their charge of the management of facilities, and represents theirefforts to provide a standard of excellence and quality in institution(s) as a member of the association.planning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varieties Associate Member — $50 annually. An associate memberof programming. is a full-time facilities management employee (professional, The Association currently has representation in several administrative or supervisor), below the level of the facilitycountries on three continents. Our goal is to increase administrator of the member association.membership in institutions throughout the world. Affiliate Member — $50 annually. An affiliate member is Your involvement in the IAMFA will continue the growth any full-time employee of a member institution who is notof the organization and provide you with excellent educational directly involved in the facilities management department.and networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA. Subscribing Member — $300 annually. A subscribing member is an individual, organization, manufacturer ofCordially yours, supplier of goods services to the institutions who ascribesThe Board of the International of Museum Facility to the policies and programmes of the Aassociation, andAdministrators wishes to support the activities of the Association. Send in your membership dues by using the convenient form below. Don’t forget to make a copy to give to a colleague.@@@@@@@@@@@@ ¡@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?e@@@@@@@@ ?h@@ ?h@@ ?h@@ ?h@@ ?h@@ ?h@@@@ @@@@@@ @@@@ @@ @@@@@@ @@ @@ YES! I would like to join the IAMFA as a:@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@ @@ Ⅺ Regular Member Ⅺ Associate Member Ⅺ I am interested in joining.@@ @@ $150 $ 50@@ @@@@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@ @@ Please have a member@@ @@@@ @@ Ⅺ Affiliate Member Ⅺ Subscribing Member@@@@ @@ @@ $ 50 $300@@ @@@@ @@@@@@ @@@@ @@ @@ contact me.@@ @@@@ @@@@@@ @@ @@@@ @@@@@@ @@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@@@ @@@@ @@@@ @@ @@@@ @@@@@@ @@@@ @@ @@@@@@@@@@@@@@@@@@ Institution: __________________________________________________________________________________________________________________ @@ @@ @@ @@ @@ @@ @@ @@@@ @@@@ @@@@ @@@@ @@@@ @@@@@@ @@ @@@@ @@@@ @@ Name: ______________________________________________________________________________ Title: ________________________________@@@@ @@@@ @@@@ @@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@ @@@@ @@ Address: ____________________________________________________________________________ City: _________________________________@@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@@@ @@@@ @@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@ State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________@@@@ @@@@ @@ @@@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@@@ @@@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@ Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________@@ @@@@ @@@@ @@@@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@@@ @@ @@@@ @@@@@@ @@ @@@@ @@@@ @@ ALL FEES ARE PAYABLE IN U.S. DOLLARS@@ @@@@ @@@@@@ @@ @@@@@@@@@@@@@@ Please remit to: International Association of Museum @@ @@ @@ @@ @@ @@@@ @@@@@@ @@ @@@@@@@@@@ Facility Administrators @@ @@ @@ @@ Ⅺ I enclose a check in the amount of $ ____________________@@ @@@@ @@@@ @@@@@@ @@ @@@@@@@@@@@@@@@@ P.O. Box 1505, Washington, D.C. @@ @@ @@ @@ @@ @@@@ @@ @@@@@@@@@@@@@@@@@@ Ⅺ Please invoice me 20013-1505 U.S.A. @@ @@ @@ @@ @@ @@ @@ @@@@ @@@@ @@ Website: @@@@ @@@@ @@@@@@ @@ @@@@ @@g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?g@@ @@?@@@@@@@@@@@@@@@@ @@@@@@@@? @@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@? @@@@@@@@? @@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@? 23
    • From the Editor’s Desk Advertisement in PapyrusAn advertisement policy for Papyrus to be made out to IAMFA and sent towas approved at the General Assembly the Papyrus Editor’s address below. IAMFA/ Papyrusof the Membership in London on Funds received from advertising WINTER 2003September 25, 2002. Under this policy, will be used for production ofwe will soon be able to publish adver- Papyrus. You are all encouraged Editor Pierre Lepagetisements for services related to facility to promote this opportunity amongmanagement in cultural institutions. local service providers of facility- Papyrus CorrespondentsAdvertisements will not exceed one page related services to your institution. Joe Brennanper issue, which can be subdivided Bill Caddickinto 8 quads. Pierre Lepage Carole Beauvais Fees for advertisers will be $200 US Editor Ian Follettper quad, to run in three consecutive Papyrus Mark Rowlingissues. As space is obviously quite 100 Laurier Streetlimited, requests for advertising space Gatineau, Quebec Guy Larocquewill be honoured on a first-come, first- J8X 4H2 Canada Tony Hushion (Royal Ontario Museum)served basis, upon reception of pay- pierre.lepage@civilization.cament, including a confirmation letter Jane Long (Heritage Preservation)from the facility manager of the insti-tution using these services. Payment is Production Coordination Julie Coderre Design and Layout Phredd Grafix New IAMFA Members Editing Artistic License Printed in Canada by St-Joseph M.O.M. Printing The International Association of Museum Facility Administrators is pleased to welcome the following new members: ISSN 1682-5241 Regular Members Mark Dawes — Australian War Memorial, Canberra, Australia Glen Hodges — Australian Museum, Sydney, Australia Statements of fact and opinion are made Gerald Hubbard — Museum of Science and Industry, Chicago, U.S.A. on the responsibility of authors alone and do not imply an opinion on the part Richard Stomber — Newark Museum, Newark, U.S.A. of the editors, officers, or members of IAMFA. The editors of IAMFA Papyrus Marvin Wyatt — Atlanta Botanical Garden, Atlanta, U.S.A. reserve the right to accept or to reject any Article or advertisement submitted Josée Neron — Musée d’Art Contemporain de Montréal, Montreal, Canada for publication. Richard Reinert — Philadelphia Museum, Philadelphia, U.S.A. While we have made every attempt to ensure that reproduction rights have been acquired Christian Pagé — Canadian Museum of Civilization, Gatineau, Canada for the illustrations used in this newsletter, please let us know if we have inadvertently Patricia Morgan — Auckland Art Gallery, Toi o Tamaki, Auckland, overlooked your copyright, and we will rectify the matter in a future issue. New Zealand24