Papyrus Fall 2011


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Papyrus Fall 2011

  1. 1. I N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M F A C I L I T Y A D M I N I S T R AT O R S PAPYRUS VOL. 12, NO. 2 FALL 2011 Benchmarking: 80 Questions Air to Water Schedule for the IAMFAHow to Use Data to Assess the Heat Pump for Annual Conference in as an Agent Productivity of Domestic Hot-Water Auckland, NZ for Change Your Organization Generation
  2. 2. ContentsLetter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . 2 Looking at Art in a New Light—Part Three in a Four-Part Series: Conservation to Conversation . . . 23Message from the President . . . . . . . . . . . . . . . . . . . . 3 2011 IAMFA Conference Schedule . . . . . . . . . . . . . . . 26Update—IAMFA Annual Conference in Auckland . . . 4 Operations Review Reveals Hidden MaintenanceBenchmarking: How to Use Data as an Agent Improvement Resources—Part Three in afor Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Three-Part Series: How to Evaluate YourFade-Testing of Museum Objects at the Operations Review Results . . . . . . . . . . . . . . . . . . . . . 28National Museum of Australia . . . . . . . . . . . . . . . . . . 12 The Smithsonian Institution’s Arts and IndustriesFamily Ties to the Auckland Museum . . . . . . . . . . . . . 14 Building Phase-2 Renovation Project . . . . . . . . . . . . . 42MOTAT’s Aviation Display Hall has More Action Exploratorium Construction Update. . . . . . . . . . . . . . 44on the “Wings” than the All Blacks . . . . . . . . . . . . . . 15 Harvard Art Museums Renovation andAir-to-Water Heat Pump for Domestic Expansion Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Hot-Water Generation. . . . . . . . . . . . . . . . . . . . . . . . . 16Torpedo Bay: New Home of the Royal Chapter News and Regional Updates . . . . . . . . . . . . . 47New Zealand Navy Museum . . . . . . . . . . . . . . . . . . . . 17 IAMFA Members—Organizations . . . . . . . . . . . . . . . . 48Meet Archie, the Four-Legged Pest Controller . . . . . 18 Index of Papyrus Technical and Historical Articles . . . 50National Library of New Zealand BuildingRedevelopment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Cover photo: The silver fern—photographed at the Auckland Zoo—is widely used to represent New Zealand and New Zealanders. Photo: John CastleIAMFA BOARD OF DIRECTORS REGIONAL CHAPTERSPresident Secretary and Papyrus Editor Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada —John de Lucy Joseph E. May High Museum of Art Marc Chretien, Canadian Museum of NatureThe British Library (Retired) Sustainability Engineer mchretien@mus-nature.caLondon, United Kingdom Los Angeles, CA, USA Australia — Ray McMaster, National Maritime Museum Philadelphia, USA — John Castle, Winterthur Museum & GardenV.P., Administration Chairman — Conference 2011 Bilbao, Spain — Rogelio Diez,Randy Murphy Patricia Morgan Guggenheim Museum San Francisco, USA — Joe Brennan,Los Angeles County Museum Auckland Art Gallery San Francisco Museum of Modern Art of Art Toi o Tamaki ¯ Chicago, USA — William Caddick,Los Angeles, CA, USA Auckland, New Zealand Art Institute of Chicago United Kingdom — Jack Plumb, Patricia.Morgan@ National Library of Scotland j.plumb@nls.ukV.P., Regional Affairs Los Angeles, USA — Randy Murphy, Los Angeles County Museum of Art Washington/Baltimore, USA —John Castle Membership Committee Chair Maurice Evans, SmithsonianWinterthur Museum, Guy Larocque InstitutionGarden and Library Canadian Museum of New England, USA — John H. Lannon, Boston AthenaeumWinterthur, DE, USA Civilization Gatineau, QC, Canada For more information on New York, USA — Mark Demairo, becomming a member of theTreasurer Neue Galerie International Association ofAlan Dirican Museum Facility Administrators,Baltimore Museum of Art For additional contact information, New Zealand — Patricia Morgan, please visitBaltimore, MD, USA please visit our website at Auckland Art Gallery patricia.morgan@aucklandcity.govt.nzIAMFA/ Papyrus Bruce Ford Design and Layout Statements of fact and opinionVol. 12, Number 2 Jennifer Fragomeni Phredd Grafix are made on the responsibility ofFall 2011 Pam Harris authors alone and do not imply an Joe May Editing opinion on the part of the editors,Editor Jim Moisson Artistic License officers, or members of IAMFA. The editors of IAMFA Papyrus reserve theJoe May Patricia Morgan Printed in the U.S.A. by right to accept or to reject any Article Mirjam Roos Knight Printing or advertisement submitted forPapyrus Correspondents Nicola Smith publication.Auckland Conference Team Rob Stevens ISSN 1682-5241Joe Brennan Allan Tyrrell While we have made every attempt to ensure that reproduction rights haveSara Carroll Emrah Baki Ulas been acquired for the illustrationsJohn Castle Thomas Westerkamp used in this newsletter, please letJohn de Lucy Stacey Wittig us know if we have inadvertentlyMaurice Evans David C. Wright overlooked your copyright, and we will rectify the matter in a future issue.Past issues of Papyrus can be found on IAMFAs website:
  3. 3. Letter from the EditorJoe MayEditor, PapyrusGreetings from Los Angeles! Please see the articles about the Royal the first step in managing something Navy Museum and the Museum of is to measure it. This basic manage-D uring the time since the last Transport and Technology in this issue. ment principle dates back to the 1800s, issue of Papyrus was published, You’ll also find part-three of two and is attributed to Frederick Taylor, IAMFA’s Board of Directors informative series of articles: “Seeing who is considered the Father ofdecided to open up its LinkedIn Group Art in a New Light” by Emrah Ulas and Scientific non-members, and the Group hasaccordingly grown to 160 members You will notice in this issue offrom 17 countries. The LinkedIn Group Papyrus that we have not translatedis an effective way for IAMFA’s mem- the Message from the President orbers, and others engaged in common Everyone wants to have articles about the upcoming annualinterests, to tap into the collective a productive workforce, conference. This is purely a cost-basedknowledge of the Group. If you haven’t decision, related not only to translation and the first step in costs, but also the added publishing,yet joined the Group, I hope you willconsider doing so now. The more who managing something is printing, and postage costs. We arejoin, the more beneficial the Group to measure it. currently looking into possible wayswill become, and we believe that more to translate an electronic version ofmembers in the Group who do not cur- Papyrus into numerous languagesrently belong to IAMFA will see that using translation software.membership has many advantages. If you have not visited our website Mirjam Roos from Steensen Varming This issue of Papyrus has a record recently, you will find (Australia) Pty Ltd; and “Operationsnumber of informative articles, thanks that we now have an index of past tech- Review Reveals Hidden Maintenanceto the willingness of so many IAMFA Improvement Resources” by Tom nical articles and historical articles withmembers to share their recent expe- Westerkamp. The latter also includes links to the appropriate issue of Papyrus.riences in operating their facilities. a multiple-choice questionnaire to I hope you will take advantage of thisIn this issue, you’ll find an update assess the productivity of your institu- resource to find how other IAMFAon IAMFA’s Annual Conference in tion’s maintenance workforce. Please members have dealt with issues youAuckland, New Zealand, and I hope take advantage of this opportunity; it face will soon finalize your plans to costs you nothing to complete this Finally, thank you to everyone whoattend. In the past few issues of Papyrus, questionnaire, and you can determine contributed material for this issue ofthe New Zealand Conference hosts have your score by yourself. Everyone wants Papyrus, and to the advertisers whowritten articles about their facilities. to have a productive workforce, and support our organization.2 PAPYRUS FALL 2011
  4. 4. Message from the PresidentJohn de LucyPresident, IAMFAA ll six of the Auckland cultural and they are keen to tell you about the whole-life cost of the project, and institutions that are hosting us their experiences. They have had to can make a financial difference of mil- for our November conference take seismic activity into account in their lions over time. I know most of us arewill have been through major refurbish- building works, which has led to many agreed that designers and constructionments, extensions or construction work challenges, and you will learn how inno- companies must provide integratedin the past few years, so there is plenty vative they have been in overcoming solutions that put an end to poor per -to see and learn about for those of you these obstacles. formance of buildings after handoverwho join us. The directors of all six Those of you who know Pat Morgan to clients. Through our conferences,organisations met with the IAMFA will not be surprised to learn that, not we have seen many excellent examplesBoard on their sites at our mid-year only has she been fully engaged in com- of how our members get it right.board meeting, and expressed their pleting a major new extension at the This conference will give you a valu-delight that we were bringing our Art Gallery and arranging to move able opportunity to learn professionallyconference to them. They are fully back in, but she has also put together from our New Zealand members, andsupportive of this conference, and an excellent programme for us all. I also about their culture. The Europeanslooking forward to hosting you all. encourage all of our members to book and North Americans have a relatively All of this construction activity was their hotel rooms and sign up for the mature facilities management pro-of course not for our conference, but conference now, so that she can plan fession and industry, but there is a lotwe are lucky that we will see the recently her numbers. to be learned from the New Zealanders,finished product of major upgrades In addition to seeing the physical who often approach issues in a differ-at Auckland’s museums and galleries. results of a great deal of construction ent way. You are bound to pick upThey are particularly proud of their work, we’ll also be learning about the ideas that are not common in youruse of New Zealand’s ancient kauri fruits of successful collaboration. The country. Knowledge exchange of howwood, which is a delight to look at. New Zealanders seem to have the right things are done elsewhere will helpYou will see fantastic examples of this model for public-sector construction you create improved environments,usage in the ceilings at the Art Gallery procurement, which creates an align- and will help us all do our jobs better.(shown on the cover of the last issue ment of interest between those who You, our members, are the life-of Papyrus), in the “cocoon” at the design and construct a cultural facility blood of IAMFA, and through yourAuckland Museum, and at the Museum and those who subsequently occupy and membership I hope you obtain increas-of Transport and Technology. It is lovely manage it. Pat has plenty of examples ing value to your organisations andto see this handsome wood used so of how, by working together, they have professional standing. Make sure youextensively. produced a fantastic new building that improve your networking and edu- Facilities Managers often bemoan works for everyone! cational opportunities by attendingtheir lack of involvement in the plan- For those of you with similar stories, our conferences!ning of a construction project. Similar I encourage you to write an article for See you in Auckland, everyone!to what we saw in San Francisco last year, publication in Papyrus. It helps us allhowever, those who will be running to learn how others have managed to get John de Lucythe Auckland buildings when finished the message across that the occupation Head of Estates, British Libraryhave been fully involved in the process, of our buildings is a key component in (Retired) PAPYRUS FALL 2011 3
  5. 5. Update—IAMFA Annual Conferencein AucklandP lease finalize your plans now to extra workshop space for art classes. The expansion will increase exhi- attend this year’s exotic, action- Several artists maintained studio space bition space by 50%, resulting in over packed 21st IAMFA Conference in in the complex during the period just 4,200 square meters of gallery space,Auckland, New Zealand. The agenda after the Second World War; weaver which will be able to display up tois full of educational content, oppor- Ilse Von Randow utilized the clock 900 works of art, and will providetunities to network with your fellow tower rooms and created the Art dedicated education, child and familyIAMFA members, and an opportunity Gallery Ceremonial curtains onsite, spaces. As part of the upgrade, existingto see how museum facilities are man- executed as part of a modernization parts of the structure have been reno-aged in a part of the world that many in the 1950s. vated and restored, and what was inIAMFA members have never seen. From 1969 to 1971 the building effect an adaptive re-use building hasPlease review the agenda for the underwent remodeling, and a new wing finally been transformed into a logical21st IAMFA Annual Conference in and sculpture garden were added. In and cohesive twenty-first-centurythe centerfold of this issue. 1971, the public library was moved purpose-built art gallery building. Many of us are challenged these to the new Auckland Public Library The Conference team led bydays with budget constraints, and building, designed by Ewen Wainscott, Patricia Morgan is excited that con-many more are deeply into major in nearby Lorne Street. There have ference goers will have the opportunityredevelopment projects. This spring’s been a number of major and minor to see the amazing new Auckland Art(fall in the Northern Hemisphere) building works since that time. Gallery within weeks of its reopening.conference will be an opportunity to In 2003, Auckland Council con-learn from your peers, who are going firmed its support for the seismic strengthening, heritage protection Auckland Civic Theatrethrough the same challenges that you and reinstatement and extension of The Auckland Civic Theatre is inter-are. Please don’t overlook this tremen- this Category A heritage listed build- nationally significant as the largestdous opportunity to learn from your ing, at a total cost of NZ$121 million. surviving atmospheric cinema infellow IAMFA members. The completed building will re-open Australasia (and also one of the only There are numerous venues partici- to the public on September 3, 2011, seven of its style remaining in thepating in this year’s conference. Here three years from the date construction world), and as the first purpose-builtis a brief history of each of them. commenced onsite. cinema of this type in New Zealand. It is also known for its Indian-inspiredAuckland Art Gallery foyer, which includes seated Buddhas,The main gallery building of the twisted columns and domed ceilings.Auckland Art Gallery was originally The main auditorium was designeddesigned by Melbourne architects in a similar style, imitating a MoorishGrainger and Charles D’Ebro, to garden with turrets, minarets, spireshouse not only the Art Gallery but and tiled roofs, as well as severalalso the City Council Offices, Lecture famous Abyssinian panther statues.Theatre, and Public Library. It was When it opened, it could hold 2,750constructed of brick and plaster in an people, and even with its currentlyearly French Renaissance style and was reduced seating, it is still the largestcompleted in 1887, with an extension— theatre in New Zealand.the East Gallery—built in 1916. It was The Auckland Civic Theatre wasthree storeys high, with an attic in the the creation of Thomas O’Brien, whosteeply pitched roofs, and a six-storey built a movie empire in Auckland’sclock tower. inner suburbs in the 1920s. He first The new building eventually proved brought the atmospheric cinema—atoo small to house all the Council theatre style which gives the impressiondepartments and, following comple- that audiences are seated in an out-tion of the Auckland Town Hall in door venue, complete with twinkling The Auckland Art Gallery, still under1911, all Council departments left the construction in this photo, combines the night sky—to New Zealand when heGallery building. This allowed expan- old with the new, and features beautiful opened Dunedin’s Moorish-stylesion of the Gallery’s facilities, including kauri wood in its new ceilings. Empire De Luxe Theatre in 1928. The4 PAPYRUS FALL 2011
  6. 6. Government Domain, commanding an impressive view of Waitemata Harbour. The building is considered one of the finest Greco-Roman buildings in the Southern Hemisphere. It has an “A” classification from the New Zealand Historic Places Trust, designating it as a building whose preservation is of the utmost importance. Of particular inter- est is the interior plasterwork, which incorporates Maori details in an amal- gam of Neo-Greek and Art Deco styles. Similarly, the exterior bas-reliefs depict- ing twentieth-century armed forces and personnel are in a style which mixes Neo-Greek with Art Deco. The bulk of the building is English Portland Stone, with detailing in New Zealand granite from the Coromandel Peninsula. Two additions were made to the 1929 building, the first in the late 1950s to commemorate the SecondThe Auckland Civic Theatre. World War, when an administration annex with a large semi-circular court- yard was added to the southern rear.Civic opened amid great fanfare in in the Neoclassical style, and sitting This extension is of concrete block con-December 1929, but the onset of the on a grassed plinth (the remains of a struction, rendered in cement stuccoGreat Depression contributed to disap- dormant volcano) in the Auckland to harmonize with the Portland Stonepointing attendance—as did O’Brien’s Domain: a large public park close to of the earlier building. The secondstubborn insistence on showing British the Auckland Central Business District. addition was in 2006, when the innerrather than the more popular American The Auckland Museum traces its courtyard was enclosed in the grandfilms—and O’Brien eventually went lineage back to 1852, when it was estab- atrium at the southern entrance.bankrupt. After several modifications lished in a farm worker’s cottage on the The quotation “The Whole Earth isduring the ensuing decades, the Theatre current site of Auckland University. the Sepulchre of Famous Men” overwas eventually restored to very near its With an initial call for the donation of the front porch is attributed to theoriginal design in the late 1990s. wool specimens for display, it attracted Greek general, Pericles, in keeping with The Theatre also recently gained 708 visitors in its first year.some insider fame when it was used One of the visitors during the 1890sfor the scenes representing a period- was the French artist Gauguin, whostyle New York theater in Peter Jackson’s sketched several Maori items, laterKing Kong remake. incorporating these into his Tahitian- We plan to hold our opening period paintings.reception in the foyer of the Auckland In the early years of the twentiethCivic Theatre. It is a stunning venue, century, the Museum and its collectionsand we promise you will be amazed! flourished under visionary curator Thomas Cheeseman, who tried to establish a sense of order, separatingAuckland Museum the natural history, classical sculptureThe Auckland War Memorial Museum and anthropological collections, which(or simply the Auckland Museum) is had previously been displayed in aone of New Zealand’s most important rather unsystematic way. The need formuseums and war memorials. Its col- better display conditions and extra spacelections concentrate on New Zealand necessitated a move from the Princeshistory (and especially the history of Street site, and eventually the projectthe Auckland Region), natural history, for a purpose-built museum mergedand military history. with that of a war memorial to com- The Museum is also one of the most memorate soldiers lost in the Firsticonic Auckland buildings, constructed World War. The site was a hill in the Atrium at the Auckland Museum. PAPYRUS FALL 2011 5
  7. 7. its commemorative status to affairs of The tower is part of the SKYCITYa martial nature. Auckland casino complex, having Over the past two decades, the been originally built for Harrah’sMuseum has been renovated and Entertainment, Inc. The tower attractsextended in two stages. The first stage, an average 1,450 visitors per day (overin the 1990s, saw the existing build- 500,000 per year).ing restored, and the exhibits partly The upper portion of the towerreplaced for NZ$43 million. The second contains two restaurants and a cafe,stage of this restoration involved the including a revolving restaurantconstruction of a great dome/atrium located 190 meters from the ground,within the central courtyard, increas- turning 360 degrees once every the building’s floor area by 60% Conference attendees will have lunch(an addition of 9,600 m2) for a price Model of the Museum, showing the new in the revolving restaurant during theof NZ$64.5 million. The second stage copper dome/atrium at the rear. Conference. The tower has threewas completed in 2007. observation decks at different heights, The copper and glass dome, as well Innovate NZ Gold Award (Structural each providing 360-degree views ofas the viewing platform/event centre Engineering) for the redevelopment. the city. The main observation levelbeneath it, quickly won the admiration at 186 meters has 38-mm-thick glassof critics and the public alike, being Auckland Sky Tower sections of flooring, providing a viewnoted for “its undulating lines, whichecho the volcanic landscape and hills straight through to the ground. The The Sky Tower is an observation andaround Auckland.” Standing in the telecommunications tower located on topmost observation deck—the Skydeckevent center underneath the top of the the corner of Victoria and Federal Streets —sits just below the main antenna atdome was likened to being beneath the in the Auckland Central Business 220 meters, and offers views of up to“cream-coloured belly of a giant sting- District. It is 328 meters (1,076 feet) 82 kilometers in the distance.ray . . . with its rippling wings hovering tall, as measured from ground level to The tower also features theover the distinctive city skyline.” In the top of the mast, making it the tallest “SkyJump”: a 192-meter jump offJune 2007, the Grand Atrium project freestanding structure in the Southern the observation deck, during whichalso received the Supreme Award of the Hemisphere, and the 15th-tallest mem- a jumper can reach speeds of up toNew Zealand Property Council, which ber of the World Federation of Great 85 km/h (53 mph). The jump is guide-noted it as being “world-class” and a Towers. Due to its shape and height, cable-controlled to prevent jumperssuccessful exercise in combining com- especially when compared to the next from colliding with the tower in theplex design and heritage demands. The tallest structures, it has become an event of wind gusts. Climbs into theMuseum has also received the ACENZ iconic structure in Auckland’s skyline. antenna mast portion (300 m/980 ftThe Auckland Sky Tower. View of Auckland Harbour from the Sky Tower.6 PAPYRUS FALL 2011
  8. 8. heights) are also possible for tour with both native and exotic wildlife. incorporating key conservation issuesgroups, as is a walk around the exterior. Auckland Zoo’s contributions to con- and actions throughout. Te Wao Nui The tower is also used for tele- servation also include a wide range of will be home to more than 100 nativecommunications and broadcasting, research, in-situ and ex-situ wildlife plant species and around 60 differentwith the Auckland Peering Exchange management, and education projects. animal species—many new or never(APE) located on Level 48. The aerial Te Wao Nui, the New Zealand before seen at the the top of the tower hosts the precinct, will open to the public in Auckland Zoo is a full institutionallargest FM combiner in the world, September 2011. This is the biggest member of the Zoo and Aquariumwhich combines with 58 wireless development the Zoo has ever under- Association (ZAA), and received ISOmicrowave links located above the top taken, and is dedicated entirely to show- 14001 accreditation for its Environ-restaurant to provide a number of casing New Zealand’s native flora, fauna, mental Management System in These include television, and culture. The new exhibit encom-wireless Internet, radio transmitter, passes six diverse habitats: The Coast, Museum of Transport andand weather-measurement services. The Islands, The Wetlands, The Night, The Forest, and The High Country, Technology The Museum of Transport and Tech-Auckland Zoo nology (MOTAT) was established inAuckland Zoo opened in 1922, and by 1960 by a number of groups including1930 a sizeable collection of animals the Old Time Transport Preservationhad been assembled. After the Second League, which was formed in 1957World War, the collection grew further, and preserved trams and railwayand in 1973 the Zoo expanded further locomotives. MOTAT was formallyinto the adjacent Western Springs Park. opened in 1964.From the late 1980s to the present day, Exhibits include trains, trams, vintagemany old exhibits have been phased traction engines, carriages, cars, buses,out and replaced by modern natural- trolleybuses and trucks, fire engines,istic enclosures, and Auckland Zoo is electrical equipment, Space flightnow set in 17 hectares (42 acres) of exhibits (including a Corporal rocket),stunning park-like grounds. and general science exhibits. There is Auckland Zoo is a truly modern zoo, also a “colonial village” of early shopsdriven by a passion for wildlife and and houses, including a fencible cot-conservation. Not only is Auckland tage (a style built for retired militaryZoo dedicated to making a difference personnel) and a blacksmith wildlife and the environment, it Known in the past as the Sir Keithjumps at the chance to inspire others to Park Memorial Airfield—named afterdo the same. In today’s world, where Keith Park, the Battle of Britain andmost people live in urban environ- Battle of Malta hero—MOTAT’s avia-ments, zoos play a key role in offering tion collection is on a separate site,experiences for people to connect The new Wetlands habitat in Te Wao Nui. adjacent to Waitemata Harbour andOne of Auckland Zoo’s ambassador cheetahs during a behind-the- New hangar under construction at MOTAT.scenes walking tour. PAPYRUS FALL 2011 7
  9. 9. Auckland Zoo. It contains memorials heritage, so that they honour the con- maritime museum. It is located onto Fleet Air Arm and RAF Bomber tribution New Zealand’s sea warriors Hobson Wharf Auckland, adjacent toCommand pilots, as well as radar and have made to peace, security and pros- Viaduct Harbour. It houses exhibitionsother aviation related material, and perity. The Museum’s mission is to spanning New Zealand’s maritimeincludes workshops for work on other capture and preserve New Zealand’s history from the first Polynesianvehicles. The main feature, however, is naval culture and heritage for current explorers to modern-day triumphs inthe collection of New Zealand civil air- and future generations through col- the America’s Cup. Its Maori name iscraft, as well as some Royal New Zealand lection, preservation, presentation, “Te Huiteanaui-A-Tangaroa”: HolderAir Force aircraft. education, research and scholarship. of the Treasures of Sea God Tangaroa. There is also a military section, which Torpedo Bay, on the shores of the A NZ$8-million extension to therestores and demonstrates a selection harbour at Devonport, is the new northern end of the Museum openedof Second World War military trucks, home of the Navy Museum. The in late 2009, and houses a permanentlight-tracked vehicles and tanks used by move to Torpedo Bay has been both exhibition about Sir Peter Blake, includ-Allied forces. The military section has an outstanding opportunity and an ing the original NZL 32 (Black Magic).regular open days, when the Military incredible journey. The exhibition is called Blue Water,Reenactment Society displays and Torpedo Bay itself is a site of excep- Black Magic.demonstrates the vehicles and uniforms. tional significance, having been a key MOTAT 2 also has an operational part of Auckland’s early defence system,railway with a kilometer of track, as well as having been continuously Mudbrick Vineyardstations and a selection of former occupied by New Zealand military The Mudbrick Vineyard is one ofNew Zealand Government Railways, forces since 1880. Torpedo Bay is the Waiheke’s best-known wineries, andlight industrial locomotives, wagons most substantial and intact surviving includes a Provence-style restaurantand carriages. nineteenth-century mining base in made of mudbrick. The vineyard pro- MOTAT 2 is undergoing a major New Zealand. duces merlot, chardonnay, cabernetexpansion project to increase its Relocating the Museum to Torpedo sauvignon, and Syrah grapes.covered display space. This involves Bay has added a new chapter to the Waiheke Island is an island in themoving and restoring the existing site’s extraordinary heritage, with Hauraki Gulf of New Zealand, locatedblister hangar and constructing a new the original 1896 buildings being about 17.7 kilometers (11.0 miles)and larger building to extend the main redeveloped to accommodate the from Auckland. The island is thedisplay hangar. The project is planned new Museum. second largest in the Hauraki Gulffor completion in late 2011 at an Conference attendees will visit the after Great Barrier Island. It is also theestimated cost of NZ$16.6 million. Royal Navy Museum on Tuesday after- most populated, with nearly 8,000 noon, after enjoying a bird’s-eye view permanent residents, plus another of it during lunch in the Sky Tower. estimated 3,400 who have second orRoyal Navy Museum at holiday homes on the island. It isTorpedo Bay New Zealand’s most densely popu-The Royal Navy Museum’s vision is Voyager New Zealand lated island, with 83.58 people/km2,to enrich the lives of present and Maritime Museum and the third most populated afterfuture generations with an awareness The Voyager New Zealand Maritime the North and South Island. It is theof New Zealand’s naval culture and Museum is New Zealand’s premier most accessible offshore island in the View of the extension centered around NZL32 Black Magic: the boat on which Team New Zealand, led by SirExhibits at the Royal Navy Museum. Peter Blake, won the America’s Cup in 1995.8 PAPYRUS FALL 2011
  10. 10. Langham Hotel The hotel’s restaurant, Partington’s, The Langham Hotel is a five-star hotel is named after the windmill founder, in Auckland, and occupies the historic and has won various awards, including site of Partington’s Windmill, a local Restaurant of the Year in 2006. landmark until its demolition in 1950. The Langham Hotel is located near numerous Auckland attractions and landmarks, such as the Auckland Domain, the Auckland Central Busi- ness District, and the Auckland War Memorial Museum. It offers a compli- mentary city bus shuttle so that guestsDining room at the Mudbrick Vineyard, can easily access various attractions.overlooking the Bay on Waiheke Island.Gulf, due to regular passenger andcar ferry services and some air links.Waiheke translates as “the descendingwaters” or “ebbing water”. Members and guests will travel toWaiheke Island by catamaran at theend of the first day of the Conferenceto enjoy the sunset with cocktails,followed by an unforgettable dinnerand networking with IAMFA membersand guests. Lobby at the Langham Hotel. Typical room at the Langham Hotel. Delivering extraordinary outcomes Coffey Projects is a leading project management company and works in partnership with clients through the project lifecycle. Some of our iconic cultural projects in New Zealand and Australia include the Christchurch Art Gallery, Canterbury Museum, National Gallery of Victoria and the Sydney Opera House facility upgrades. Our expertise includes: • business case development • project scope definition • program management • value management • strategic risk management • design management • negotiations and approvals • contract procurement • project close-out • post occupation studies PAPYRUS FALL 2011 9
  11. 11. Benchmarking: How to Use Data as an Agent for Change By Stacey WittigB enchmarking is more than just data collection. The constraints based in part on how our building operation real value of the IAMFA Benchmarking Exercise costs compared to those of similar facilities.” comes from the understanding of how your peers are May included charts in his presentation to senior man-doing similar jobs for less cost. Indeed, IAMFA participants agement that tracked cost per square foot with both thehave saved US$3.11 per GSF over the past five years by “All Fine Arts Museums” and “All Participants” groups.implementing “pretested” practical solutions. But, you may “The first year our costs were noticeably higher than bothask, how do you motivate others in your organization to of these average groups,” notes May.implement the best practices revealed through bench- “We began a best-practices effort to reduce our operatingmarking? As others will tell you, use the benchmarking costs and, as we added another year’s data to the charts,data as an agent for change. we could see the gap between our costs and the averages A key component to benchmarking success lies in com- narrow, until—six years into the benchmarking exercise—municating the findings to your organization. Benchmarking our costs were near or below the averages of other bench-expert Keith McClanahan recommends three different marking participants. While inflation drove higher operatingstrategies for communicating to the various groups within costs for most facilities, we reduced our costs by a significantyour organization. Here are some quick tips: percentage,” he adds. When communicating to senior management, make apresentation of key findings and action plans. To reach your FM organization: 1) Post key charts from the report in highly visible areas.1) Compare your costs and user satisfaction with your peers using key charts* included in the IAMFA report. 2) Use benchmarking results as a basis for goal-setting— data shared by a collective of institutions helps create2) List the peers. acceptance for change.3) If this is your first time benchmarking, emphasize that 3) The report will identify improved work processes— benchmarking is a learning process, and encourage recognize those involved. them not to overreact to your first-year data findings. 4) Communicate the benefits of benchmarking: for example,4) Present action plans that you have identified from the when auditors see benchmarking results, they will often best practices listed in the report. turn away to focus on other departments. “Benchmarking got a lot of attention with senior man-agement,” says Joe May, Sustainability Engineer and formerManager, Maintenance Planning and Support, for a largeLos Angeles museum. “It was an important factor in budgetallocations. Each year, I would list the most significantimprovements made to reduce each category of buildingoperation costs, and made a presentation with the results tosenior management and functional heads. In turn, seniormanagement overseeing Facilities would provide budget*Key Charts included in the IAMFA Benchmarking Report: • Space utilization: GSF/person • Variable Costs — Electrical usage per GSF — Maintenance cost per GSF — Custodial cost per area cleaned — Total operating cost per GSF • Fixed Costs Implementing handheld devices to dispatch maintenance job — Depreciation or orders improves worker efficiency between 5% and 10% and — Depreciation + Insurance + Taxes + Rent improves response times and customer service.10 PAPYRUS FALL 2011
  12. 12. An effective BMS (Building Management System) will identify Sharing of best practices is a key component of the IAMFAwhere energy is being utilized, as well as opportunities for savings. benchmarking program.5) Benchmarking is a two-way street: ask those in your Stacey Wittig is Marketing Director for Facility Issues, endorsed FM organization for suggestions for improvement. by IAMFA to facilitate the benchmarking exercise. She may be reached at or 928-255-4943. Learn more about benchmarking at “Each month I would meet with Facilities Supervisorsand Shop Technicians to log ideas for improvement, andwould update the log following each meeting to track ourprogress in implementing their ideas,” says May. “By the sixthyear, we had implemented over two hundred ideas to reduce INSPIRED DESIGN, INNOVATIVEoperating costs.” Some of these ideas for improvementwere shared as best practices in IAMFA benchmark reports. ENGINEERINGCommunicate with your Customers/Users by sending ashort, written summary report:1) Include where you stand, and what you are doing to improve.2) Point out improvements since the last report.3) If you have done an occupancy report, respond by e-mail Smithsonian Institution - National History Museum or phone to each employee who provided contact infor- mation. Let them know if you are or are not implementing Our their requests or suggestions. Clients Include: Baltimore “I think any structured program to reduce operating costs For more information, visit Museum of Artmust have certain steps that advance the process from an Delaware Museum ofidea stage through implementation of operating improve- 410.646.4500 Natural Historyments,” says May, who used a Methods Improvement Control Monticello Visitor CenterSystem for twenty years with consulting clients prior to his “Our museum clients, and the National Gallery of Arttenure at the museum. “It is very simple, and it works. If architects they select, are Smithsonian Natural sophisticated and knowledgeable History Museumyou find anyone who would like to learn more about how about their objectives. Weit works, I would be happy to provide more information pride ourselves on being U.S. Holocaust Museum up to the challenge.”individually.” Virginia Museum The IAMFA Benchmarking Practices and Learning Robert Marino, of Fine Arts PE, LEED AP Walters Art MuseumWorkshop will take place on November 13, 2011 in Auckland, President,New Zealand. The workshop is open to benchmarking Mueller Associates Winterthur Museumparticipants. Non-participants are welcome to register as paid observers. PAPYRUS FALL 2011 11
  13. 13. Fade-Testing of Museum Objects at theNational Museum of AustraliaBy Nicola Smith and Bruce FordO ne of the fundamental dilemmas in museums is the It is also the case that 50 lux illumination is often inade- need to exhibit collections, which include objects quate for comfortable viewing, especially for older visitors that are sensitive to light. Light not only fades some (taken as anyone over 40 years of age), or for objects withcolours, but these reactions are cumulative and irreversible.1 fine details, objects that are dark in colour or large in size,Every museum has its most important or most popular and objects with long viewing distances. The over-50 demo-objects that are in constant demand for display; however, graphic comprises 60% of NMA visitors; but interestingly,to paraphrase Oscar Wilde, museums risk destroying that as with other museums worldwide, negative feedback onwhich they most love. exhibition lighting is not a common complaint in visitor Exhibition lighting guidelines at many international surveys. Low lighting is often taken as a sign of the impor-museums still refer to Thompson’s The Museum Environment tance of the artifacts, and an indication the museum is taking(1978) in which he recommends “50 lux for very sensitive good care of its collection. This needs to be reconsidered,objects,” and 200 lux for less fugitive materials. More recent because there are times when exhibition lighting designexposure frameworks have also introduced the element of does not even reach the minimum lighting standards fortime: e.g., the Victoria and Albert Museum lighting guide- public circulation.lines (1999) recommend 50 lux for a 20% exposure period With the increasing use of risk management in museums,(often taken as two years of display over a ten-year period) the NMA has been questioning some of the underlyingfor all potentially light-sensitive materials corresponding to assumptions of its previous lighting guidelines. We areequivalent International Organization for Standardization slowly moving from an “every object is equal” model to(ISO) Blue Wool (BW) standards 1-4; and permanent dis- a risk-management model, in which the significance ofplay at 150 lux for more durable materials equivalent to objects or collections, and the specific risks to which theyBW 5-8. The BW fading standards are standardised swatches are exposed, become the drivers for collection manage-of fabric manufactured for the International Organization ment decisions. To do this we are using a technique whichfor Standardization that fade at known rates under par- involves correlating individual colourants on an object withticular conditions, with BW 8 being the most stable, and the ISO standards.BW 1 the least. The use of ISO Blue Wool standards are In the late 1990s, Dr. Paul Whitmore, a scientist at thehelpful where fading information exists for the specific Carnegie Mellon University Art Conservation Researchobjects or materials. Where data does exist (often European Center, invented a machine for just this purpose. Thefine art), it is usually derived from accelerated aging studies Oriel® Fading Test System is able to provide virtually non-on surrogate samples that are likely to behave differently to destructive fade testing of each colour on a real object inreal objects with their unique histories of production, use 10-15 minutes. Each colour is exposed to a tiny spot of veryand exposure. bright light (5,000,000 lux), and its response is recorded. Many museums, however, including the National Museum The test is virtually non-destructive, because the fadedof Australia (NMA), are full of potentially light-sensitive area is about the size of the head of a pin and, becausematerial for which there is little or no fading informationavailable. We know the amount of fading is dependent onthe specific dye, pigment and/or substrate, the intensity ofthe light and the length of exposure. Because very little isknown about fade rates for specific objects, some conserva-tors tend to recommend that organic materials are routinelydisplayed at 50 lux and rotated off display every two years.This generates a huge amount of work, however, andbecomes unsustainable in terms of staff time, budgets, andobject selection. Applying general rules means that theresources involved in protecting sensitive items are nottargeted to the areas of identified need and, even worse,the small percentage of highly light-sensitive material maynot be adequately protected.1Lightcan also affect the very structure of some materials; however, Bruce Ford and Nicola Smith using the fading test machine onfor the purposes of this discussion the focus is on fading. Azaria Chamberlain’s christening gown.12 PAPYRUS FALL 2011
  14. 14. the extent of fading is carefully limited, it remains below to be very different for different museums and galleries,what is perceptible to the human eye (even if the size of especially those that have most of their collection on per-the area was larger). manent display, or those that regularly rotate exhibitions Although the fading response of an object exposed to for reasons other than limiting light damage. However, alltypical museum lighting will not be exactly the same as that collections would benefit from the identification of objectswhich follows exposure to the very bright light of this accel- most at risk of fading, especially within the group considerederated aging machine, this method allows colourants to be to be the most significant or popular, and thus in constantseparated out across the light-sensitive Blue Wool 1-4 range. demand for display.In fact, it can reliably identify those colourants most at risk The NMA has used this machine in conjunction with aof light damage—the “fast-faders”—from the medium and significance-based assessment to modify and inform ourmore stable ranges. lighting guidelines. This approach provides better pro- In 2008, the NMA purchased the necessary equipment tection for the most vulnerable and significant collectionand began testing many of the objects destined for the per- items at a much lower cost, and recommended illumina-manent exhibition areas illustrating Australian history and tion levels have increased for all but the most light-fugitivesociety. A broad cross-section of the collection was tested objects. The aim is for greater dialogue between lightingacross acrylic paintings, natural and synthetic dyed objects designers, conservators and curators; improved access;and textiles, photographs, inks on historical documents, better-looking exhibitions in which the public can see thefur and resins, and even modern plastics. It was found that detail of objects on display; and more targeted expenditure,exhibition duration recommendations were unchanged for providing value for money.40% of the objects, and that restrictions had to be tight- The next challenge for conservators, lighting engineersened for a relatively small group of fugitive objects, while and facilities managers is how and when to introduce solid-the rest were assessed as being safe for longer display than state lamps. Performance, cost effectiveness and collectionpreviously recommended. safety will all be drivers in the decision-making process. Like At a rough estimate, the average cost of a changeover at the issue of lighting-exposure guidelines, this will requirethe NMA is around A$1,000 (including mounting, fabrica- collaborative effort across the various disciplines involvedtion, text panels, graphics and lighting). The Museum has in protecting and displaying our common heritage.around 3,000 objects on display in its permanent galleries,and each time an object can be extended on display from Nicola Smith is Deputy Manager Conservation, and Bruce Ford istwo years to five or even ten years, this can save the Museum Conservation Scientist, Art & Archival at the National Museum ofa considerable amount of money. These figures are likely Australia in Canberra.Fade data for Azaria Chamberlain’s christening gown. The effect of micro-fade testing results on exhibition duration, as compared to previous recommendations. Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG PAPYRUS FALL 2011 13
  15. 15. Family Ties to the Auckland MuseumA t our recent Board meeting in Auckland, IAMFA President John de Lucy came face to facewith a stunning piece of family history.One of the Museum’s exhibits is anornate silver bowl, presented to John’sgreat-grandfather Edward Selby Littlenearly 100 years ago. Little was hon- IAMFA President Johnoured for his work hosting and facili- de Lucy at the Aucklandtating—at his Shanghai home—the Museum, holding the beautiful silver bowlChinese peace negotiations that brought presented to his great-an end to the long rule of the Manchu grandfather, EdwardDynasty and its Emperor, and marked Selby Little, for his partthe beginning of the Republic of China in the Chinese Peaceunder Sun Yat-sen. The country’s cen- negotiations that led to the founding of thetennial celebrations will begin next Republic of China.year on February 12, 2012. The Qing Dynasty, also known as theManchu Dynasty, was the last dynastyof China, ruling from 1644 to 1912(with a brief, abortive restoration in1917). It was preceded by the MingDynasty, and followed by the Republicof China. The dynasty was founded bythe Manchu clan, Aisin Gioro, in mod-ern northeastern China (also knownas Manchuria). Starting in 1644, itexpanded into China proper and itssurrounding territories, establishing the Signing of the TreatyEmpire of the Great Qing (simplified at Edward Selby Little’sChinese). house, February 12, Sun Yat-sen (1866–1925) was a Han 1912. This photographChinese doctor, revolutionary and polit- was taken on theical leader. As the foremost pioneer of verandah of 30 Gordon Road, Shanghai, afterNationalist China, Sun is frequently the signing of the peacereferred to as the “Father of the Nation” negotiations that led(國父), a view agreed upon by both the to the founding of thePeople’s Republic of China and the original Republic ofRepublic of China. Sun played an China. Back, left to right: Tong Shao Yi,instrumental role in the overthrow of Representative of thethe Qing Dynasty during the Xinhai Manchu Dynasty andRevolution, and was the first provisional Edward Selby Little. Front,president when the Republic of China left to right: Ameliawas founded in 1912. He later co- Gladys Little (John de Lucy’s grandmother);founded the Kuomintang (Chinese Wu Ting Fang, Repre-National People’s Party) which he served senting Dr. Sun Yat-sen;as its first leader. Sun was a uniting figure and Caroline Amelia Littlein post-Imperial China, and remains (John de Lucy’s great-unique among twentieth-century grandmother).Chinese politicians for remainingwidely revered among people onboth sides of the Taiwan Strait.14 PAPYRUS FALL 2011
  16. 16. MOTAT’s Aviation Display Hall has More Action on the “Wings” than the All Blacks N ew Zealand’s largest clear-span CARTER HOLT HARVEY wooden structure is steadily tak- ing form at Auckland’s Museum of Transport and Technology (MOTAT), with the new NZ$15-million Aviation Display Hall set for completion in time for the anticipated influx of domestic and international visitors in September. The 2,750m2 custom-designed Display Hall is more than double the size of MOTAT’s existing Aviation Hangar. The expanded facility will house around 40 MOTAT aircraft, including the newly loaned RNZAF Skyhawk, Sunderland and Solent flying boats, Lancaster Bomber, DC3, Cessna and Tiger Moth. The construction phase follows stage one of the aviation project: the relo- Inside the new MOTAT Aviation Display Hall. cation and restoration of MOTAT’s original World War II Blister Hangar. our volunteer team, have space to be running around it as well, including The Blister Hangar is the workshop displayed properly in all their glory. tours hosted by some of our aviation used by volunteers who restore the The previous hangar was becoming volunteers.” aircraft in the collection. cramped, and we even had to keep The new building is large enough MOTAT Museum Director Jeremy many of our prized planes, such as the to allow aircraft to be moved within Hubbard says that the new structure Sunderland Flying Boat, outside.” the Hall as the exhibitions change, upgrade will provide enhanced hous- “The Display Hall,” adds Hubbard, while also providing a unique expe- ing for the collection, and will allow “will be a fantastic attraction for rience in a venue that can be hired for the exhibitions to be upgraded both local and international visitors, out for special events. to tell the stories of the aircraft, the where they will be able to learn about The northern façade is a translu- people who flew them, and their New Zealand’s aviation history and the cent skin, which assists in providing contribution to the development of stories associated with our magnificent natural temperature regulation, includ- New Zealand. “We are committed to aircraft collection, housed in a world- ing heating and cooling. The structure ensuring that these historic planes, class structure. We’re working towards contains 440,000 nails, all inserted by which have been lovingly restored by getting more and more activities up and hand, as well as 531 cubic metres of poured concrete.CARTER HOLT HARVEY Mr. Hubbard notes that the Display Hall has been created with the next gen- eration in mind. “We have created some- thing that will last well into the future, and will keep generations of Kiwis coming back to MOTAT to learn all about New Zealand’s aviation history.” Following completion of the Aviation Display Hall, MOTAT will focus on upgrading the existing Aviation Hangar, building a new entrance to the site, and adding washrooms. Exterior view of the new MOTAT Aviation Display Hall. PAPYRUS FALL 2011 15
  17. 17. Air-to-Water Heat Pump for DomesticHot-Water GenerationBy Allan TyrrellT he National Portrait Gallery peratures of up to 50˚C. At present, (NPG) in London recently this unit is providing 2–3 cubic metres installed an air-source heat- of hot water a day. While this is only apump unit in one of its plant rooms, small amount, the unit has capacity forto replace a domestic hot-water calori- future expansion, and it has provenfier. This was undertaken as a trial to that DHW generation from this sourcetest the efficiency claims of the manu- is feasible.facturers, and as part of an overall strat- The risk of Legionella has been dealtegy to reduce the carbon footprint of with through an automatic pasteurisa-the building. tion cycle that uses less expensive over- At the NPG, the boilers operate to night electricity and an electric heaterprovide steam-injection for humidity to raise the water temperature beyond The National Portrait Gallery in London,control, and steam-to-water calorifiers the standard supply temperature. provide low-temperature hot water High levels of insulation allow thefor heating. Domestic hot water is stored water temperature to be main- all savings achieved by the system’sheated by localised electric calorifiers. tained in a storage vessel, and a heat greater efficiency.The steam infrastructure is extensive, exchanger between refrigerant gases Recent replacement of the mainand the cost of removal and substi- and the primary water source removes chillers with higher-efficiency units—tution with other forms of humidity any risk of contamination to the water along with a chiller capacity morecontrol would be high. The boilers supply. While this is still a new instal- closely matched to the cooling require-were replaced in 2006 with high- lation, it has so far proven reliable and ment of the building, using chillers withefficiency units. capable of supplying sufficient capacity. different size capacities—has further The steam plant and pipework have Higher maintenance costs are a down improved matters. LED lighting hasan elevated surface temperature, and side when compared to the system reduced the consumption of powerthere are heat losses to the local space, it replaced, but will still show over- through higher efficiency and lowereven with good levels of insulation. heat output, reducing the cooling loadThis, along with other plant functions, on the plant. Continual developmenthas meant elevated temperatures in of the Building Management Systemplant rooms and, in some cases, heat to control the environmental require-transfer to adjacent areas, which must ments of the building more efficiently,then be countered with cooling. Instal- and rationalization of specialised areaslation of the off-the-shelf air-source heat have enabled us to reduce the mainpump offered us a chance to reduce ventilation plant speeds and runningthe ambient temperatures in the plant times. The installation of voltage opti-room, and to use waste energy to misation equipment has also played agenerate domestic hot water. major role in the reduction of energy Savings of up to 66% have been use at the Gallery.proven in electricity consumption for Discussion with other engineersdomestic hot-water (DHW) generation, and Facility Managers through IAMFAas compared to electric immersion- has often sparked ideas for develop-type heaters (typically 45kwh/week ment, along with the visits to otherfrom 135kwh/week). In addition, plant institutions, while the informationroom temperatures have dropped gained through articles in Papyrus iswith the supply of air as cool as 15˚C generally very useful.from the heat pump, while medium-grade heat from the condenser unit Allan Tyrrell is Engineering Manager at thehas provided a supply of water at tem- The new Altherma Air Source Heat Pump. National Portrait Gallery in London.16 PAPYRUS FALL 2011
  18. 18. Torpedo BayNew Home of the Royal New Zealand Navy MuseumBy Commander David C. WrightI n October 2010, Torpedo Bay, located on the picturesque shores of Waitemata Harbour in Devonport,Auckland, became Torpedo Bay: TeKainga O Te Waka Taonga O Te TauaMoana (Torpedo Bay: “Home of thecanoe of treasures of the Sea Warriors”).After 25 years in temporary accommo-dation, the Royal New Zealand NavyMuseum relocated from its site onSpring Street, Devonport to this historicwaterfront site. The move to Torpedo Bay has beenan incredible opportunity. Torpedo Bayitself is of exceptional heritage sig-nificance: not only was it a key part ofAuckland’s early defence system, but ithas also been continuously occupiedby New Zealand military forces since Aerial view of the Royal Navy Museum at Torpedo Bay.1880. Torpedo Bay is also the most sub-stantial and intact nineteenth-century the lens of the Navy’s values: commit- facilities spanning both sides ofmining base in New Zealand. ment, courage and comradeship. Waitemata Harbour. Relocating the Museum to Torpedo As New Zealand’s only Navy Museum, Since opening in October 2010,Bay has allowed the Museum to leverage the Torpedo Bay facility strongly com- the Museum has welcomed morethe site’s extraordinary heritage value, plements other icons of New Zealand’s than 80,000 visitors, and is on track toby adaptively re-using existing onsite military, maritime and social heritage, welcome over 100,000 people in itsheritage buildings to accommodate the such as the Auckland War Memorial first year of operation. The Museumnew Museum. Inside, in addition to an Museum, the Voyager Maritime is quickly becoming an importantoutstanding café, conference facility and Museum, North Head, Bastion Point component of the cultural landscapeeducation space, completely new per- and the Auckland Art Gallery. Along- in the Auckland area.manent exhibitions showcase the story of side Auckland’s other museums andthe Navy’s contribution to the develop- heritage sites, this creates an unmatched Commander David C. Wright is Director atment of New Zealand’s identity through clutch of valuable national historic the Navy Museum.Torpedo Bay. Gallery 6 at the Royal Navy Museum. PAPYRUS FALL 2011 17
  19. 19. Meet Archie, the Four-LeggedPest ControllerBy Sara CarrollR odent infestations can be damag- ing to an organisation’s reputa- tion, as well as to its bottom line.And in Museum facilities they can alsothreaten the collections. It usually fallsto the soft services team to managethe pest control contract, in conjunc-tion with cleaning. Needless to say,catering areas tend to be vulnerableto rodent infestation because of theready food supplies—despite vigilanceand strict hygiene and cleaning regimes.Another area in which mice are oftenseen is in the educational serviceslunchroom. During the school year,this is a very heavily used resource,where large numbers of schoolchildrenenjoy their packed lunches, supple-mented from the vending machines.And you can imagine the mess andrubbish they leave behind! The binareas in most facilities back onto anexternal roadway, so it is relatively easyfor mice to enter the building. Apparently, mice are developingresistance to rodenticides, and are also Archie visited the British Museum because they can target their attentionslearning how to avoid conventional in June. His handler took him to the on specific areas.traps. A novel solution is required to catering areas, and to the school ser- Staff who watched Archie in actionfight this ongoing battle. And that’s vices lunchroom. Happily, the hygiene were charmed. He never stops moving,where Archie comes in. He is a cute regime in the kitchens must be paying unless and until he senses current miceand lively springer spaniel—and is off, because he showed little interest activity. Only then does he calm down.also on the MITIE (our facilities during his thorough search. The lunch- Otherwise, he wags his tail in perpetualmanagement outsourcing company) room, however, was another matter. motion as he is guided around thepayroll. He has been (expensively) He stood stock-still and pointed his building by his handler.trained to sniff out active mouse infes- nose at several locations in this area,tations, and to indicate regularly used thus identifying the routes used by Sara Carroll is Head of Building Services at“runs”. Often, these cannot be detected mice. After Archie has done his work, the British Museum in other means. As a result, effective the technicians can move in. They placetraps can be placed more accurately. fewer traps and use less rodenticide, Past issues of Papyrus can be found on IAMFAs website www.IAMFA.org18 PAPYRUS FALL 2011
  20. 20. National Library of New ZealandBuilding RedevelopmentBy Rob Stevens and Pam HarrisT he National Library of New Zealand (NLNZ) has recently embarked on a significant modernisation programme. The New Generation programme isaimed at transforming the services the Library offersto customers, both in response to the growing digitalenvironment and to focus on providing improved services. In 2007, the Library published its 10-year strategicpriorities, “Strategic Directions to 2017”, following afundamental review of how its funding baseline wasprioritised, its productivity, and its capacity and capabilityfor change. In 2008, an integrated implementation pro-gramme was established, charged with “repositioning andmodernising the National Library.” The scope and objectives of the change programmeare wide-ranging and touch on all areas of the Library’soperations, but can be broadly categorised as follows: National Library of New Zealand in Wellington.• Delivering improved services: developing and delivering new and improved services. the new Auckland centre (completed in May 2010), as well• Infrastructure: enhancing the National Library’s presence as developing online platforms to support the new services. and supporting infrastructure in Wellington and Auckland, and creating a stronger digital platform. Wellington Facility Upgrade• People: transforming staff capability and organisational The redevelopment of the Library’s Wellington building is culture to sustain the new services, and realigning crucial to the modernisation programme. Designed in the business structures and funding to support the delivery 1970s in the “Brutalist” architectural style and built in the of the new services framework. 1980s, the 2008 business case identified three key problems: • The integrity and safety of the Library collections were at The successful delivery of redeveloped services is critically risk if storage space and service issues were not improved.dependent upon supportive infrastructure, so a key part ofthe New Generation strategy is improving infrastructure, • Aging plant and infrastructure were increasing theboth physical and digital. This includes the redevelopment risk of failure that could cause irreplaceable loss to theof the National Library’s Wellington headquarters building, heritage collections.Concept for the ground floor exhibition area and gallery. Concept for the service hubs in the Alexander Turnbull Library. PAPYRUS FALL 2011 19