Papyrus Spring 2003

1. The new home for the Canadian War Museum will accommo-
date Canada’s most promising high-profile national institution
today. Its mandate is eloquent: to remember, to preserve and
to educate. So, when our joint venture team of Moriyama
& Teshima Architects of Toronto and Griffiths, Rankin, Cook
of Ottawa was selected to design this new building, we
were understandably ecstatic.
The Inspiration
The Canadian People
For architectural inspiration, our team of architects and
designers first looked to the people of Canada. In order to
ensure that we heard the voices of Canadians, Joe Geurts,
Director and CEO of the Canadian War Museum, and I
travelled across the country to listen to, and learn from,
Canadians. The thoughts and opinions that were voiced
were surprisingly varied, and the greatest divergence was
evident between the male and female perspectives.
We realized that if the Canadian War Museum was to
attract a larger audience, its architecture and its exhibitions
would have to speak to women, youth, new Canadians
from around the world, and Canada’s First Peoples.
We pored over images and stories of war involving
Canadians. We read about the loss of lives at Vimy Ridge,
where Canadian troops led the Allies to a major victory, and
at Beaumont Hamel in France, where so many Newfound-
landers were lost. Over and over, we saw photographs
of heroic Canadian soldiers fighting in devastated foreign
landscapes: ordinary Canadians accomplishing extraordinary
deeds, seemingly modest and gentle, but capable of great
unselfish feats in times of hardship.
PAPYRUSVOLUME 4 SPRING
NUMBER 2 2003
continued on page 2
History, Legacy in the New Canadian War Museum
by Raymond Moriyama
I N T E R N A T I O N A L A S S O C I A T 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 A T O R S
INSIDE
Letter from the President . . . . . . . . . . . . . . . . 6
Museums on the Edge — 2003 IAMFA
Conference . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Regional Chapters . . . . . . . . . . . . . . . . . . . . . 10
Lighting the British Museum’s Great Court . . . 13
Benchmarking 2003 Update . . . . . . . . . . . . . 16
Safeguarding Cultural Resources . . . . . . . . . . 19
From the Editor’s Desk . . . . . . . . . . . . . . . . . 24
The new Canadian War Museum, as it will appear from the south.

2. 2
The Canadian Landscape
Our second source of inspiration was
the diversity and beauty of the
Canadian landscape: the rocky Atlantic
shoreline, the brilliant fall colours of
the eastern provinces, the ancient
Canadian Shield, the vast flatlands of
the Prairies, the Great White North,
and the rugged mountain ranges in
the West.
The Site
The site is located in Ottawa, Canada’s
capital city, which displays a mix of
buildings that are both picturesque and
steeped in history. The most important
of these lie just east of the War Museum’s
site, and include the Parliamentary
Precinct and our national landmark,
the Peace Tower. This is the seat of
our country’s decision-making, in
peacetime and in wartime.
Thus, facing east, the context of the
new building is urban and profoundly
nationalistic. But the site has a second
face — one that is wonderfully pastoral.
Set in the LeBreton Flats, a former
industrial precinct, the new building
will overlook the upstream reach of the
Ottawa River and enjoy a spectacular
display of sunsets. To the north are
views of the Albert and Amelia Islands,
the Chaudière Falls, the Domtar
industrial site, and beyond these,
the Gatineau Hills in Quebec. However,
in spite of its beauty, the site poses
challenges: contaminated soil, which
has now been completely removed,
and a low floodplain.
LeBreton Flats promises to become
a wonderfully active setting for the new
building. To the north, the National
Capital Commission is developing a
Riverside Promenade along the water’s
edge as a major outdoor space for
walking, roller-blading and cycling.
Immediately south of the Canadian
War Museum will be a Common: a
community and festival park with a
Parade Square for civic celebrations.
The Collection
The Collection, much of which is cur-
rently stored in a temporary warehouse,
is impressive: valuable medals, artillery,
vehicles, tanks, written documents, art-
work, and uniforms. Storage of these
valuable artifacts is a critical issue, espe-
cially for artifacts like the 50-tonne
Centurion tank. Equally important,
New Canadian War Museum — continued from page 1
Alfred Bastien, Over the Top, Neuville-Vitasse, 1918, which will adorn the new Museum’s
south elevation.
Landscapes ravaged by wars regenerate, yet the memory of destruction remains.

3. 3
however, is finding a way to provide
public access to as many artifacts as
possible, including the significant
collection of Canadian war art.
Images of War
Another source of inspiration for our
architectural design was the imagery
of landscapes ravaged by wars.
Remembered in a poem by Siegfried
Sassoon — “I died in hell — they
called it Passchendaele” — the entire
Belgian village of Passchendaele was
reduced to a field of mud in 1917 in
only four months. Only branchless
trees remained, looking like lost souls
with missing limbs.
We were also stirred by images of
the undulating landforms at Beaumont
Hamel where over 700 Newfoundlanders
were killed or wounded. The trenches
were only a few hundred yards apart,
the battlefield between, red with blood.
What is astounding is how the landscape
has regenerated, gently healing the rifts
in the earth (and burying unexploded
munitions) with green vegetation. Yet the
six-foot-deep trenches and bomb craters,
like the memories of destruction and
despair, can never be completely erased.
Carl Sandburg described the
regeneration of the landscape in
his poem, “Grass”:
Pile the bodies high at Austerlitz and
Waterloo,
Shovel them under and let me work —
I am the grass; I cover all.
And pile them high at Gettysburg
And pile them high at Ypres and Verdun.
Shovel them under and let me work.
Two years, ten years, and passengers
ask the conductor:
What place is this?
Where are we now?
I am the grass.
Let me work.
The Key Concept: The
Regenerative Landscape
Here, then, is the concept which sug-
gested the central idea for the new
Canadian War Museum facility: nature
may be ravaged by human acts of war,
but inevitably it survives, hybridizes,
regenerates and prevails. From the
healing process emerges hope.
As the landscape emerges gently
out of the Ottawa River, so does the
architecture. But as it rises towards the
east and the urban cityscape, its grass-
covered roof hybridizes into copper to
match the rooftops of Ottawa’s other
principal public buildings. It reaches
up to its maximum allowable height
— 24.5 meters (80 feet) — and forms
a welcoming gateway to Ottawa and
the Parliamentary Precinct when
viewed from the Quebec side of the
Ottawa River.
The concept of the Regenerative
Landscape suggests an attitude of
sustainability. River water will be
used for cooling, concrete for energy-
conserving mass, and recycled fly ash
for concrete mix. The overall window
area is minimized without compromis-
ing function and human need. Native,
low-maintenance grasses on the roof,
recycled and recyclable materials, oper-
able windows, and energy-efficient
systems will all help to achieve overall
savings both initially and in the long
term. In spite of all these energy-saving
strategies, the building will maintain a
vigorously controlled environmental
that will protect the Museum’s delicate
and irreplaceable artifacts.
To connect the future development
of LeBreton Flats with the river, we
designed the building almost like a
bridge. People can, in fact, walk right
over the building’s green roof on a
North-South axis. Passage directly
through the building is provided
in response to a request from the
National Capital Commission. There
is no “front door” or “back door”. The
north entrance facing the river is the
same as the entrance facing south to
the Common. And people can walk
directly through the building’s Lobby
from one entrance to the other.
The public lobby splits the Museum
into two parts. The area to the west of
the Lobby is the non-paying public zone.
Without paying admission, people can
enjoy the waterfront Café with its out-
door patio and wonderful view, browse
in the Museum Shop, attend events in
the 250-seat Auditorium, take classes in
the four Ateliers, and visit the Research
and Reference Library. This allows these
public areas and the exhibition areas
to be used independently.
All areas requiring paid admission
are located east of the Lobby, including
continued on page 4
View into Large Artifacts Collection from the southern end of the building/south side of the
building/southern exterior.

4. 4
the Permanent Gallery, Art Gallery,
Temporary Gallery, Large Artifact Area
(tanks, etc.), and Regeneration Hall.
Administrative offices and the
entrance to pay parking for 300 vehi-
cles are located west of the Lobby.
Back-of-house facilities, shipping and
receiving, and storage are located east
of the Lobby.
Memorial Hall
Located in the Lobby, the Memorial Hall
is a place of quiet remembrance and
reflection. Its walls are incised with a
grid pattern that is proportioned after
First World War Canadian gravestones
— a sombre reminder of Canadians
left behind. On Remembrance Day
(November 11) at 11:00 a.m., the
Memorial Hall will be the site of a
special solar event. Carefully posi-
tioned at the intersection of the view
corridor to the Peace Tower and the
location and angle of the sun each
November 11 at 11:00 a.m., the Memorial
Hall permanently links the Peace Tower
and Remembrance Day — both of great
significance to Canadians — with the
sun. The event should be phenomenal.
Regeneration Hall
Both the building and its roofscape
speak of regeneration, but Regeneration
Hall is the repository of experiences
that speak to the future and to hope.
Located within the Museum’s east-
facing vertical element, Regeneration
Hall is spiritual without being religious.
Regeneration Hall is a place of rest:
sublime and subdued, solemn and
quiet, dramatic and memorable.
Visitors enter the dramatically vertical
space of Regeneration Hall at its upper,
mezzanine level. Subdued lighting slows
the pace, forcing visitors to pause as
their eyes adjust. Straight ahead is a
triangular window, soaring through the
full height of the space and offering
a tightly framed view of the Peace
Tower, silhouetted against the sky.
A staircase leads visitors down
between two expansive walls to
the main level. The north wall of
Regeneration Hall is soft and smooth,
with a warm-coloured finish that
resembles Venetian plaster. The sur-
face is animated by shifting sun spots
spelling out “Lest we forget” and
“N’oublions jamais” in Morse code.The intersection of the viewing corridor to the Peace Tower and to the position of the sun
on November 11.
An interior rendering of the Lobby, looking towards the North.
Looking northwards through the Main Lobby.
Interior view of the Memorial Hall, showing how a beam of light
will strike it at 11 a.m. each November 11.
New Canadian War Museum — continued from page 3

5. 5
The ever-changing dappled light speaks
to the ephemeral and transient nature
of human life. The smooth north wall
contrasts with the industrial, exposed
steel structure of the south wall. This
contrast suggests the duality of war —
“us” versus “them” — a duality that
splits human nature to the core.
As visitors descend the stairs, the
perspective shifts, and the view of the
Peace Tower is lost — just as peace can
so easily be lost. Instead, a compelling
sculptural figure comes into view.
The original plaster maquette of
Walter Allward’s sculpture Hope floats
in front of the window. The glass
behind is translucent, providing a
quiet backdrop and obscuring the
view outside.
Dramatically lit, this compelling
figure of Hope draws visitors down to
the lower level, where more of Allward’s
figures from the Vimy Memorial inject
a sense of human strength and spirit
into Regeneration Hall.
The Structural Module
Wartime references provided inspiration
for the entire 40,000-square-meter
(430,000-square-foot) building — even
the structural system. Our research
revealed that soldiers on land travelled
in a single line because their lives
depended upon a nine-meter band:
4.5 meters (30 feet) to their left and
4.5 meters to their right. Anything out-
side the nine-meter band was considered
a “no mans’ land”. Thus, the structural
module for the Museum is nine meters
by nine meters. Even the Memorial
Hall measures exactly nine meters by
nine meters.
When the building opens in May
2005, some of these references will be
readily apparent. Others may require
interpretation. I believe they are all
part of the stories that must be told
if the Canadian War Museum is to
remember, preserve and educate.
Born in Vancouver and educated
in Toronto and Montreal, Raymond
Moriyama is one of Canada’s most
respected architects. Among his award-
winning projects are the Canadian
Embassy in Tokyo, the Toronto Refer-
ence Library, the Bata Shoe Museum
in Toronto, and the Saudi Arabian
National Museum in Riyadh. Since
founding his own firm in 1958, he
has received many personal honours,
including the Confederation of Canada
Medal, honorary degrees from nine
Canadian universities, the Royal
Architectural Institute of Canada Gold
Medal, and Honorary Fellowship from
the American Institute of Architects,
and the Golden Jubilee Medal.
Raymond Moriyama is also an
Officer of the Order of Canada, a
Fellow of the Royal Society of the Arts
(England), and a Fellow of the Royal
Architectural Institute of Canada.
As Chancellor of Brock University
in St. Catharine’s, Ontario, he is the
first architect in Canada to hold such
a position.
Regeneration Hall, with sculptural figures from the
Vimy Memorial in France.
Alex Colville, Infantry, near Nijmegen, Holland, 1946.
Raymond
Moriyama,
Moriyama &
Teshima
Architects.

6. 6
In my last letter, I ended by wishing
everyone a safe holiday season. Since
then, we have experienced the tragic
explosion of the space shuttle Columbia,
and today we find ourselves with con-
cerns about the impact of the war in
Iraq. With today’s heightened state
of security, and many other measures
that we are taking these days, our
lives as Museum Administrators have
clearly changed.
In my talks with members, it is
clear that many of us have different
views on the war, the economy, the
stability of our institutions and, more
importantly, adjustments in what seem
to be much greater workloads, with
very little additional support — primarily
as a result of budget reductions and
cutbacks, and reorganization. Yes, this
is a difficult time, and as administrators
we can reflect back on both the good
times when the economy was strong,
and on the hard times when growth
has been virtually non-existent.
Whatever the case today, we must
show leadership, and the vision to guide
our institutions into and through these
uncertain times. In my experience,
encouraging staff members and allowing
partnerships in solving many situations
has paid dividends in these trying times.
If we look back on the longevity of our
museums, we see that museums as a
whole have withstood the “test of time”.
Is that because of the fine leadership of
facility managers? I would like to think
so, and I am confident that again we
will succeed.
I recently had the pleasure of con-
ducting a high school group on a tour
through the Art Institute of Chicago and,
as the tour was ending, the guide asked
the students how they viewed their
experience. I was somewhat taken
aback to learn that the majority of the
students said they appreciated the art.
Even more surprising was the fact
that they commented on how safe
and comfortable they felt inside the
Institute. I wondered whether they
would have said the same a year ago.
It’s a proven fact that art galleries and
museums serve as a place to relax, a
place of comfort, a place of learning,
and also a place to stimulate the mind.
As administrators, we can take pride
in knowing that our daily efforts serve
to enhance the well-being of others.
With the 13th annual IAMFA confer-
ence in San Francisco just around the
corner, I trust that the war and any other
difficulties we may be facing will not
discourage our members from attending.
Joe Brennan and his committee are
working hard in preparation for this
important annual event, and there is
no doubt that conferences such as this
provide us with an opportunity to share
the experiences and knowledge of our
many diverse institutions. I would also
like to stress that your support of, and
involvement in, IAMFA as an organiza-
tion is crucial. As President, I see our
future as challenging, and I urge all
members to share in the advancement
of this valuable organization.
Some notes of interest:
• Marla Chanin-Tobar has decided to
move on, and has left the Meridian
Center; she is currently in search of
other employment.
• William Esposito of Ambient Labs is
the proud father of a new baby girl.
Zeo Esposito was a healthy 6 lbs.,
10 oz., and everyone is doing well.
Congratulations!
• Richard Kowalczyk has undergone
heart valve replacement surgery, and
we wish him a speedy recovery.
• Don Meckley is back at work after
cancer surgery and is doing well.
• Vinny Magorrian has relocated to
Florida and is on medical disability;
we wish him all the best.
If any of you would like to share
information about IAMFA members,
or would like to submit an article in
the next issue of Papyrus, please
contact Pierre Lepage at the Canadian
Museum of Civilization.
May springtime bring us closer to the
end of this war, and closer to renewing
friendships, as we plan to reunite in
September for our annual conference.
Bill Caddick
IAMFA President
April 2003
Letter from the President
IAMFA
President,
Bill Caddick
IAMFA Board of Directors
President
Bill Caddick
Art Institute of Chicago
Chicago, U.S.A.
wcaddick@artic.edu
V.P., Administration
Guy Larocque
Canadian Museum of Civilization and
Canadian War Museum
Gatineau, Canada
guy.larocque@civilization.ca
V.P., Regional Affairs
Carole Beauvais
National Archives of Canada and
National Library of Canada
Ottawa, Canada
cbeauvais@archives.ca
Treasurer
Kevin Streiter
High Museum of Art
Atlanta, U.S.A.
kevin.streiter@woodruffcenter.org
Secretary and Papyrus Editor
Pierre Lepage
Canadian Museum of Civilization and
Canadian War Museum
Gatineau, Canada
pierre.lepage@civilization.ca
Chairman — Conference 2003
Joe Brennan
San Francisco Museum of Modern Art
San Francisco, U.S.A.
jbrennan@sfmoma.org
Chairman — Conference 2004
Larry Armstrong
Carnegie Museums
Pittsburgh, U.S.A.
armstrongl@carnegiemuseums.org
For additional contact information,
please visit our website at
www.iamfa.org

7. 7
The Northern California Chapter invites you to San Francisco
from September 21 to 24, 2003 for the 13th annual IAMFA
Conference. We are excited to be hosting you and your
guests in our museum-rich environment. We have planned an
agenda which we believe continues IAMFA’s great tradition
for professional development and networking events.
Our theme this year is “Museums on the Edge” in
acknowledgement of the balancing act Museum Facility
Administrators perform, year-in and year-out. The conference
will focus primarily on three kinds of “edge”: the poten-
tially destructive seismic edge of the continental plates
on which we must design and build, the ever-emerging
technology edge of “green buildings” and, finally, the con-
stantly challenging edge between all of us and the outside
world: Security Operations. Through seminar lectures and
practical tours, knowledgeable and engaging presenters
will delve into these main themes, sending you home with
the information necessary to put you and your institution
on another edge: the “cutting edge”.
Monday focuses on “Museums in the City” and is hosted
downtown at the San Francisco Museum of Modern Art and
the Yerba Buena Center for the Arts. Our main topic presents
seismic issues in the design and retrofit of buildings and the
display of objects. Paul Rodler, of Forrel-Elsesser Engineering,
will speak from his vast experience, including the design of
SFMOMA and the retrofit of San Francisco’s City Hall and
the Asian Art Museum. We have also scheduled a legend in
city planning from the San Francisco Redevelopment Agency:
Helen Sause, who will describe the history and evolving
philosophy of the many components of SFRA’s Yerba Buena
project. This will be a natural follow-up to John Rouse’s
presentation in London on the influence and transformative
power of museums on the community. We will conclude
the day’s sessions with a tour of the recently opened Asian
Art Museum in the Civic Center, followed by an afternoon
cocktail reception. Delegates will have the evening free to
explore the wonders of San Francisco’s vibrant nightlife.
Tuesday’s vision is “Museums in the Park” and we’ll be
hosted by the California Academy of Sciences in Golden Gate
Park. Our focus for the day will be green buildings. This
includes an introduction to the theory of green buildings,
an explanation of the Leed Standards and a practical look at,
and analysis of, two projects: the DeYoung Museum, which
is currently under construction near the Academy, and the
new Academy project, now in final design. We will conclude
the day with a jaunt down the San Francisco Peninsula to
Woodside, where we’ll enjoy a true California Barbecue-
style get-together at a renowned outdoor sculpture museum/
Museums on the Edge
IAMFA Conference 2003 in San Francisco —
September 21–24, 2003
continued on page 8
The Golden Gate BridgeThe Northern California Chapter invites you to the 13th Annual IAMFA Conference,
September 21–24, 2003. I want to see you in San Francisco! — Joe Brennan.

8. 8
park on the private estate of Runnymede. Sponsors will
also exhibit their products and services in concert with
our sessions on Monday and Tuesday.
We are calling Wednesday “Museums on the Water” and
we’ll be hosted by the San Francisco Maritime Museum and
Alcatraz Island, of the National Parks Service. The sessions
will feature presentations on security (for which we have
invited Wilbur Faulk) and preservation, with a tour of that
most challenging of facilities: Alcatraz Island, administered
by the National Parks Service as part of the Golden Gate
National Recreation Area, which will highlight the integration
of all our topics in one facility. On Wednesday evening, the
conference will wrap up with traditional closing festivities
and a final banquet at the beautiful Fine Arts Museums of
San Francisco’s Legion of Honor, a recently-renovated
jewel of a venue set in Lincoln Park, overlooking the
Golden Gate and its spectacular bridge.
We look forward to hosting this event and expect a large
turnout. San Francisco and the Bay Area contain a wide variety
of museums and cultural institutions to enrich your visit. Our
conference will be confined to the City (with the notable
exception of Tuesday’s barbecue) but we will provide infor-
mation and consultation in the packet on outlying attractions.
California boasts sights and wonders too numerous to list;
if possible, you should plan to arrive early, stay later — or
both! In addition, we feature highlight presentations of the
facilities story behind three of our iconic historic landmarks:
the intricacies of maintaining the Golden Gate Bridge, the
San Francisco Cable Cars and Alcatraz Island. Check
www.iamfa.org for some links to California highlights.
Our Guest Program will consist of a fabulous trip to the
Wine Country on Monday, including a visit to Copia: the
American Center for Wine, Food and The Arts in Napa Valley,
and a winery — or few. Tuesday will begin with a narrated,
level-grade walking tour of the downtown area, starting across
the street from the Hotel Milano (conference headquarters)
at the old United States Mint, and ending at the classical
Garden Court of the Palace Hotel for lunch. Later Tuesday
afternoon, there will be a trip down the Peninsula to the
Tudor-style Filoli Mansion and Gardens, set amidst the huge
pastoral Crystal Springs preserve, which contains two huge
lakes atop the San Andreas Fault. Wednesday will feature an
unscheduled morning for guests, with information about
the world-famous Union Square shopping district and a
recommendation that they join us for our afternoon tour
of Alcatraz Island.
IAMFA 2003 welcomes you to everyone’s favorite
destination, the City by the Bay!
You may contact us directly at iamfa2003@netscape.net.
Conference headquarters will be the Hotel Milano, con-
veniently located in the heart of SoMa (the South of Market
district) near the San Francisco Museum of Modern Art and
Yerba Buena Gardens, and just around the corner from the
San Francisco Shopping Centre, home of Nordstrom’s. The
Milano is SFMOMA’s choice for visiting artists and curators,
at 55 Fifth Street between Mission and Market. Our conference
room rate is $109, double occupancy. Participants must
reserve their accommodation directly with the Hotel Milano
at 1-800-398-7555. We are holding a block of rooms at this
price in this convenient location, so please book early.
The group room rate will apply from Friday, September 19
through Saturday, September 28 for those arriving before
the conference, staying after or both! Please book early.
For airline bookings and additional travel assistance we
recommend Jane Scott at Art of Travel, 800-948-6673. Be
sure to mention IAMFA when you call the Hotel Milano
or Jane Scott.
Joe Brennan
Chairman — Conference 2003
For more information on this year’s conference, please
contact us at IAMFA2003@netscape.net
Museums on the Edge — continued from page 7
One of San Francisco’s famed cable cars — the only mobile
National Monuments in the world.
Alcatraz Island.

9. 9
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IAMFA 2003 IN SAN FRANCISCO
The Northern California Chapter
Welcomes you!
September 21–24, 2003
INTERNATIONAL ASSOCIATION OF MUSEUM
FACILITY ADMINISTRATORS
Ⅺ YES! Sign me up to attend the 2003 IAMFA Annual Conference in
San Francisco, California, U.S.A.
Name: ___________________________________________________________________________
Title: ____________________________________________________________________________
Institution:_______________________________________________________________________
Address: _________________________________________________________________________
City: _________________________________________ Postal/Zip Code: _________________
State/Province/County: ______________________ Country: _________________________
Phone: ________________________________ Fax: ____________________________________
E-mail: __________________________________________________________________________
Special dietary requirements:____________________________________________________
ALL FEES ARE PAYABLE IN U.S. DOLLARS
Ⅺ Member Fee: $350
Ⅺ Non-member
conference fee: $400
Ⅺ Sign me up as a new
IAMFA member: $150
Ⅺ Guest Programme: $250 Guest Name: _________________________________
Ⅺ Day Attendance: $150 per day Ⅺ MON Ⅺ TUE Ⅺ WED
Please remit to: International Association of Museum Facility Administrators
IAMFA
c/o Kevin Streiter, High Museum of Arts
1280 Peechtree NE
Atlanta GA, 30309 U.S.A.
I require an invoice: Ⅺ Yes Ⅺ No
SUGGESTED ACCOMMODATION
The conference hotel will be the Hotel Milano, located at 55 Fifth Street
between Mission and Market Streets, conveniently near the San Francisco
Museum of Modern Art (SFMOMA) and Yerba Buena Gardens, and just around
the corner from the San Francisco Centre and Nordstrom. The Milano is SFMOMA’s
choice for visiting artists and curators, and the room rate during the conference
will be $109, double occupancy. Conference participants should reserve their
accommodation directly with the Hotel Milano at 1-800-398-7555. We are
holding a block of rooms at this price 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 arriving early, staying later or both!
For airline bookings and additional travel assistance we recommend Jane Scott
at Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you call
the Hotel Milano or Jane Scott.
Please check the IAMFA website for updates at: www.iamfa.org
¡
Chairpersons
of Regional Chapters
Los Angeles, U.S.A.
James Surwillo
Japanese American National Museum
New York, U.S.A.
Lloyd Headley
The Brooklyn Children’s Museum
Ottawa-Gatineau, Canada
Toby Greenbaum
Public Works & Government Services
San Francisco, U.S.A.
Joe Brennan
San Francisco Museum of Modern Art
United Kingdom
Nomination to come
Washington-Baltimore, U.S.A.
Fletcher Johnston
Hirshorn Museum & Sculpture Garden
Coordinators
of Future Chapters
Atlanta, U.S.A.
Kevin Streiter
High Museum of Art
Bilbao, Spain
Rogelio Diez
Guggenheim Museum
Chicago, U.S.A.
William Caddick
Art Institute of Chicago
Houston-San Antonio, U.S.A.
Gary Morrison
McNay Art Museum
Pennsylvania, U.S.A.
Victor T. Razze
Brandywine River Museum and
Conservatory
Seattle, U.S.A.
Patrick Dowling
Whatcom Museum of History and Art
Cleveland, U.S.A.
Tom Catalioti
Cleveland Museum of Art
Sydney, Australia
Bob Scott
The Powerhouse Museum
Pittsburgh, U.S.A.
Larry Armstrong
Carnegie Museums

10. 10
It was a cold and wintry morning, 40 below, still dark, and
way too early to be huddled at the group entrance of the
Canadian Museum of Civilization in Gatineau. What were we
doing there? Taking a well-deserved field trip to Montreal to
visit three institutions: the National Archives of Quebec, the
Canadian Centre of Architecture (CCA), and Pointe-à-Callière,
the archeological museum of Montreal. What was our objec-
tive? It was threefold: to visit sister institutions and learn
from their experience, to recruit new IAMFA membership
in Montreal, and to have some fun in the middle of a long
Canadian winter.
It was off to the races at 7:00 a.m. sharp when 45 of us
left Gatineau in our well-appointed coach. It was an oppor-
tunity to snooze, do business, or catch up with our colleagues.
Several institutions from the Ottawa region were represented,
including the Canadian Museum of Civilization, the Canadian
Museum of Nature, the Canada Science and Technology
Museum, Public Works and Government Services Canada,
the National Archives/National Library, the Portrait Gallery
of Canada and the private company Black & MacDonald.
But best-laid plans can go awry, and our two-hour bus ride
turned into four when we got stuck behind a car accident
about a half-hour outside of Montreal!
Unfortunately, that meant cancelling our first visit to the
National Archives of Quebec. Located in downtown Montreal,
the National Archives is in a historic building with a new
and exciting architectural addition by Dan Hangenu and
Lapointe Magne Architects. The Archives mandate is to
preserve and make public the heritage of Quebec for all
Quebeckers. We were disappointed about not making it
there, but we have vowed to visit the archives in the Spring.
Another good excuse to plan a trip and get out of the office!
We did finally arrive at the Canadian Centre for Architecture
(CCA). This magnificent building is both a museum and
study centre devoted to the art of architecture, past and
present. It houses a unique collection of works of art and
documentation from cultures throughout the world and
from all disciplines that create and intervene in the built
environment — including architecture, urban planning,
and landscape design. The CCA interprets its collections
for the public through exhibitions, publications, and public
programs that reveal the richness of architectural culture,
and stimulates awareness of contemporary issues in
architecture. This facility is renowned among architectural
scholars from around the world, who visit its impressive
collection of architectural artifacts.
Phyllis Lambert, a local philanthropist, architect (and
Seagram’s heiress) who studied and worked with Mies
van der Rohe, engaged well-known Montreal architect
Peter Rose to design this building, which is connected to a
Regional Chapters
Toby Greenbaum,
Chairperson,
Regional Chapter,
Ottawa-Gatineau
Canada
IAMFA Ottawa/Gatineau Chapter Field Trip to Montreal —
January 2003.
Interior Lobby of the Canadian Centre for Architecture.

11. 11
lovingly restored mansion called the Shaughnessy House,
built in 1874. The Shaughnessy House was one of the last
examples of a family mansion in Montreal, and was saved
with Madame Lambert’s intervention.
Built in 1989, the CCA has won numerous architectural
awards. The 130,000 sq. ft. building houses exhibition
galleries, a theatre and bookstore, as well as the library,
curatorial offices and state-of-the-art conservation and
collection storage facilities, and the Study Centre in the
Alcan Wing.
Jose-Luis Oliveros, a longstanding member of IAMFA
and our only member in Montreal, was kind enough to
organize a morning’s worth of activities, packed into a couple
of hours. We had an extensive back-of-house tour including
everyone’s favourite: numerous mechanical rooms. We also
were able to enjoy a guided tour of the exhibition that was
struck when we visited, Herzog & Meuron: Archaeology of
the Mind. It was an interesting exhibition which articulated
the creative process that this important architectural atelier
from Switzerland used in the development of their projects.
After our visit, we ventured out into the sunshine (still
–25˚C) to get some air, and better yet, some lunch. After a
relaxing lunch, we were off again to our afternoon activities
at the Pointe-à-Callière.
This museum is located in Old Montreal, a stone’s-throw
from the St. Lawrence River and a favorite resting spot for
First Peoples and, later, both the French and English. The
museum itself is built on top of several layers of architectural
ruins that inform the history of Montreal. The mandate of
the Pointe-à-Callière is twofold: to conserve and exhibit the
archaeological and historical heritage of Montreal, and to
enable visitors to understand and love the city as it was and
is, so that everyone can make a more active contribution
to its present and future. It also exhibits archaeological
exhibitions with an international dimension, bringing the
Visit to the Shaughnessy House at the CCA. Exhibit at the Canadian Centre for Architecture.
Plant Room at the Canadian Centre for Architecture. Group Photo at the Canadian Centre for Architecture.
continued on page 12

12. 12
archeological heritage of other societies
from around the world to Montreal.
We were hosted by Luc Thessereault,
the new Facilities Manager of the
Museum. We were also fortunate
enough to be joined by Dan Hanganu,
the architect of this poetic structure.
Dan gave us an architectural tour
par excellence, noting his inspiration
for the design part, and sharing inter-
esting stories regarding the development
of the design. He, along with Luc and
his staff, were kind enough to spend the
afternoon with us, sharing additional
information regarding the running of
this important museum.
Pointe-à-Callière was opened in
1992 and showcases the remains, frag-
ments and objects found at this and
the Place Royale site, which form the
basis of the collection. A walk through
the basement of the building is a walk
through lovingly preserved architectural
ruins, sewers and much more. We also
were lucky enough to enjoy a multi-
media presentation in the main theatre
of the museum, which is generally the
starting point for all visitors touring
this facility.
After an edifying afternoon, it was
off for a walk through Old Montreal, a
historic neighborhood that transports
visitors to eighteenth-century Europe,
then a lovely dinner at Chez Queux.
The choices of French cuisine and
wine were charming, delicious and
well enjoyed by all. Our patient bus
driver, anxious to return us to Ottawa,
was obliged to drag us out of the
restaurant! Fortunately, our return trip
was uneventful and most of us were
in our respective beds by midnight.
It was an excellent adventure, and
we hope to repeat it again soon.
Toby Greenbaum
Chairperson
Regional Chapter, Ottawa-Hull
(Gatineau)
April 2003
Toby Greenbaum trained as an
architect, and has a BArch. from
McGill in Montreal and an MArch.
from the University of Texas at Austin.
She worked in the private sector as
an architect both in the United States
(Austin, Texas and Chicago) and in
Toronto for 13 years, before moving to
Ottawa and joining the public service.
She developed her expertise in the
museum world starting in Toronto
as one of the project managers of the
Art Gallery of Ontario expansion
project and continued to work with
museums in the public sector. She is
now a Client Service Team Director
in Public Works and Government
Services Canada, serving museums
and cultural institutions in the
National Capital Region, and is
married with two teenage daughters.
Regional Chapters — continued from page 11
The Pointe à Callière Facility (Montreal Museum of
Archaeology and History).
Seeing the Pointe à Callière Facility with its architect, Dan S. Hanganu.

13. 13
Some parts of this article have been
reproduced from other sources and
the author gratefully thanks all
contributors named in the article.
Public space is almost certainly the most
valuable asset in urban environments.
By remodelling and re-roofing the Great
Court of the British Museum, Foster and
Partners has presented London with a
space the like of which has never before
existed — in London or any other major
city. In scope, the project is certainly
on a par with such projects as I.M. Pei’s
Grand Louvre installation in Paris.
The area had originally been a
museum courtyard when the building
was completed in 1830; by 1860, how-
ever, the now-famous British Library
Reading Room had been erected with-
in the space. As the Library’s stock of
reading material eventually outgrew the
available space, the courtyard became
a hodgepodge of buildings providing
a repository for the growing collection
of material. The courtyard thus became a
lost space. It was only when the British
Library moved to its new building in
London’s St. Pancras that it became
possible to reclaim the courtyard,
which then provided the British
Museum with a much-needed core
and circulation space.
In terms of the number of visitors —
which exceeds six million each year —
the British Museum is more popular than
either the Louvre in Paris or the Metro-
politan Museum in New York. The
absence of a centralized circulation sys-
tem caused congestion throughout the
building and often resulted in visitor
frustration. The Great Court now forms
the major public meeting point for the
Museum. It is from here that visitors
are directed to the various galleries,
as well as to facilities such as shops,
cafés, restaurants and lecture theatres.
The courtyard has now been re-
roofed, and the dramatic 6,100 m2 glazed
structure consists of a fine lattice of steel
struts and 3,312 computer-generated
triangular glass panels. These compo-
site panels have been designed to
keep more than 75% of the sun’s light
and heat from entering the courtyard.
The first level of environmental
control is provided by passive natural
ventilation through high-level openable
louvres around the perimeter of the
Great Court. These louvres, combined
with a fresh air feed through the floor,
create a large stack effect and wind effect
to self-vent any internal heat gains. The
result is a consistently comfortable
environment, which has the feel of
a fresh-air space: distinctly different
from the majority of over-heated
glazed atriums.
Lighting designer Claude Engle stated
that, as in most of his collaborations
with Foster and partners, his office was
involved in all aspects of the lighting,
including the coordination of artificial
and natural lighting. In the Great Court,
lighting effects combine these compo-
nents, except for the very brightest days
and after dark; thus, a combination of
daylight and artificial light is used most
of the time. The Great Court, Claude
Engle states, is somewhat different to
other daylit design in which his team
has been involved, given that it is not
an interior space into which daylight
has been permitted, but rather an
exterior space which has been glazed
over for the protection of the occupants
through control of the elements.
The lighting design challenge was to
make it appear as though the space had
been glazed with clear glass, when in
actual fact the limits on heat gain during
the day and heat loss at night dictated
that the transmission of actual daylight
had to be particularly low. The secret
to achieving this requirement lay in the
lightweight lattice structure designed
for the courtyard, and the particularly
careful selection of the glazing.
Making Light Work:
How to Fit a Drum into a Rectangle
The full story behind the lighting of the
Great Court in the British Museum, London
by Mark Rowling, ERCO Lighting, Ltd.
The system for illuminating the Great Court:
a combination of floodlight and accent
lighting. The floodlights are fitted with HIT
70W high-intensity discharge lamps and
the directional luminaires are fitted with
QR111 100W tungsten halogen lamps.
The 6,100 m2 glazed roof over the Great
Court is comprised of 3,312 triangular
glass panels. Only the north-south axis
represents a line of symmetry for the roof,
because the Reading Room is off-centre
within the Great Court. However, because
the glass panels are double glazed insulated
units, each glass panel is unique.
continued on page 14

14. 14
In order to achieve the illusion of
transparency, it was decided that clear
glass was to be used, with a pattern of
dots to reduce the transmission of heat
and light. The choice of the size of the
dots and their colour would determine
whether the illusion that it was clear
glass would be achieved, or whether the
glass would simply appear to be dirty.
Another major challenge faced by
Claude Engle and his team was the
development of a concept for artificial
light within the space. At first, it seemed
logical to let the space match the natural
lighting outside, giving it a moonlit
quality after the sun went down. This
was reviewed with the architects and
the Museum Director and it was decided
that a lighting level of about 60 lux
would be the minimum for the walls and
floors of the space whenever it was
occupied, and 150 lux was selected for
hours of activity after dark. Approxi-
mately 200 lux was chosen to be the
supplementary level during overcast
days to eliminate any feeling of gloom.
It was also decided that the major fea-
tures of the newly converted space were
the perimeter walls of the gallery and
the library drum. The latter was not
directly illuminated, but was seen as a
surface punctuated by large windows
through which the interior of the
Reading Room could be seen. It was
also decided that the only position in
which to locate the luminaires was
around the outside, on top of the library
drum. This carried with it the danger
that people entering the Great Court
might experience glare when looking
up at the drum for the first time. The
challenge was to minimize this problem.
The larger the surface emitting a
given intensity, the lower the bright-
ness. To counter this, the first solution
contemplated was to place the lumi-
naires above the glass roof. However,
because of the diffusion of the surface
of the glass, this would have produced
an unacceptable appearance. Although
it would make access for re-lamping
much easier, it had the severe disad-
vantage that the glass near the drum
would then have to have a reduced dot
pattern, which would increase contrast
and the dot density over the remaining
glass. More visible options had to be
employed in order to reduce the bright-
ness of the luminaires. The luminaires
were thus designed to form a continuous
ring, and special optics were developed
to spread the light up the walls and
across the floor, even though the dis-
tance from the walls varied because
the drum was not central to the space.
This was accomplished by moving the
lamps more deeply within the special
reflector. The number of lamps in each
luminaire was geared to suit the different
areas of wall and floor to be illumi-
nated. The lamps were to be switched
individually, in order to produce the
minimum, medium and high levels of
illumination which were required. The
brief for the Court’s lighting require-
ments changed during the building
phase. The Museum had originally
asked only for general lighting to be
provided, but subsequently decided that
a degree of accent lighting was required
from the luminaires. This requirement
was accommodated by incorporating
lampholders for AR111 Tungsten
Halogen lamps within the luminaire,
thereby providing a spotlighting
facility from the top of the drum.
Due to the complicated construction
process involved in erecting the roof,
the scaffolding, which filled the space,
remained in place almost to the end
of the project. Onsite mock-ups of the
artificial lighting system could not be
used to confirm that all the assumptions
had been correctly evaluated. It was
thus only a few weeks before comple-
tion of the project that the fixtures could
be finally tested. The ring of light was
more elegant than had been expected.
Making Light Work — continued from page 13
New lighting for the carefully restored
historic Reading Room: Trion uplights from
HIT 70W high-intensity discharge lamps
illuminate the great dome.
The ring of light around the top of the rotunda provides supplementary lighting on dull days or ambient lighting at night, depending on
how many units are switched on.

15. 15
Once installed, there were no serious
glare problems from the luminaires
but as the luminaires were likely to be
the brightest objects within a visitor’s
field of vision on entering the space
after dark, it was decided that the
luminaires might distract more than
was desirable. Several solutions were
investigated and the solution adopted
was to install vertical louvres on the
luminaires, which would not limit the
vertical spread of light on the walls
but would reduce the brightness for
people entering the Courtyard. The
inclusion of louvres improved the hori-
zontal cut-off angle from approximately
10° to over 55°, which suitably reduced
the brightness. The louvres were rapidly
produced and were installed by the
team as they moved around the ring
of luminaries, focussing the luminaires
and spotlights in the days before the
official opening of the Great Court.
Another challenge, which had been
a source of concern, was the selection
of lamps. The heat load from the light-
ing would be excessive from Tungsten
Halogen lamps, which were the pre-
ferred dimmable source. Had they been
used, it also would have been proble-
matic from an energy conservation point
of view. Metal Halide lamps with ceramic
burners were selected, as they were the
only discharge lamps with suitable colour
consistency. The small size of the arc
tube permitted the design of the precise
optics required to illuminate the walls
and the floor from the requisite distances.
The ERCO project leader was Ralf-
Dieter Wershoven, whose function was
to design the most suitable compo-
site unit, which would meet specifica-
tions and provide the full range of
functionality. Among the requirements
were overall adjustability and locka-
bility of the housing, together with the
internal adjustability and lockability of
the spotlights.
The originally specified, and highly
efficient, combination of specular reflec-
tor and clear glass had to be changed,
following production of the first working
sample, to a semi-specular reflector in
The ring of light was more elegant than had been expected.
The most suitable composite unit, which would meet specifications and provide the full
range of flexibility.
The simplicity of the design allows for easy maintenance.continued on page 18

16. We are very pleased to inform the IAMFA
membership that the following institu-
tions from the United States, Australia,
the United Kingdom and Canada have
already registered their participation in
Museum Benchmarks 2003:
Art Institute of Chicago
Australian Museum
Canadian Museum of Civilization
Canadian Museum of Nature
Canadian War Museum
CarrAmerica
Frist Center
Harvard University Art Museums
National Gallery, London
National Gallery of Art — Washington
National Gallery of Canada
The Getty Museum
National Library and Archives of Canada
National Library of Scotland
National Museum of Australia
National Museum of Natural History
Powerhouse Museum
Royal British Columbia Museum
Please send in your application now,
and join your fellow Facility Managers
in this Best Practices exercise.
This year’s benchmarking question-
naire is now finalized. Each year, approx-
imately 30–40% of the questionnaire
gathers new information on new subjects
of interest to facility managers. This year,
in addition to gathering standardized
cost data on building operations and
maintenance, the focus is on the devel-
opment of a comprehensive listing of
good or best practices in the discipline
of facility management. This is truly a
trailblazing activity.
There are presentations at various
conferences related to facility manage-
ment on individual best practices in
specific functional areas of facility
management. But a comprehensive
listing of facility management best
practices doesn’t appear to exist.
Why is it important to develop a
listing of good or best practices? The
reasons are obvious. A listing of good or
best practices can be used to evaluate
the internal delivery of facility manage-
ment services. A question that may have
16
Benchmarking 2003 Update
by Ian Follett, President, Facilities Management Services Ltd.
Fee: $1,350 US — due upon registration
(same fee as last year).
The fee includes:
1. Survey Questionnaire Development
• approximately 25-40% of the survey will gather data
on new subjects
2. Survey Report, including:
• Survey data
• charts of all data listed under each organization’s
name
• Survey Summary
• summary charts and graphs of industry averages, ratios
and trends
• Executive Summary
• a summary that provides comments and
recommendations on key performance measurements
and practices in facility management
3. Full-day workshop, including best practices and
networking
Key Dates
• Feb.–May, 2003: Receipt of Survey Participation
Agreement
• Feb.–June, 2003: Distribution of Survey Questionnaire
(upon receipt of Participation Agreement)
• July 1, 2003: Return of Completed Survey Questionnaire
• August 29, 2003: Survey Report mailed to Participating
Organizations
• September 21, 2003: Benchmarking and Best Practices
Workshop in San Francisco, CA
Excuses for not Benchmarking
• We’re too busy doing projects — i.e., We’re too busy
working hard to learn how to work smart.
• We participated in a benchmarking survey previously
and we’re right in the middle of the pack — i.e., We’re
happy to be average. Continuous learning is not
important
How Do I Sign On or Get More Information?
Complete and return the Survey Participation Agreement, or
contact Ian Follett at:
Tel.: 1 (403) 259-5964
Fax: 1 (403) 255-7116
E-mail: fmsltd@fmsltd.com
Website: www.fmsltd.com
Reminder:
Don’t forget to budget for:
• this year’s benchmarking exercise and IAMFA Conference
• $1,350 US for the Benchmarks Survey, including the
Workshop
• cost of IAMFA conference, travel and accommodation in
San Francisco
This Year’s Survey: Museum Benchmarks 2003, Survey of Facility Management Practices

17. 17
to be asked is “should we be using
some of these practices” as gathered in
this year’s questionnaire?
A listing of good or best facility
management practices can also be
used to evaluate external consultants,
building contractors and suppliers of
outsourced services. A supplier might
be asked to check all those listed good
or best practices that the supplier cur-
rently utilizes. The listing of good or
best practices can also serve as a “to
do” list, with a supplier or an in-house
group selecting and prioritizing those
best practices they feel are important
but do not currently use.
The headings that make up this good
or best practices section of the bench-
marking questionnaire are as follows:
• Administration
• Alternative Workplace Strategies
• Architectural & Engineering Services
• Building Security
SURVEY PARTICIPATION AGREEMENT
The undersigned institution wishes to participate in
Museum Benchmarks 2003, Survey of Facility
Management Practices, and agrees to:
• Provide complete and accurate data in a timely
manner.
• Maintain the confidentiality of the survey
questionnaire and survey data.
• Use the survey data for internal organizational
purposes only.
• Not provide the survey questionnaire or survey
data to any other organizations or individuals.
• Pay FACILITY MANAGEMENT SERVICES LTD the fee,
as indicated below, to benchmark one facility
Ⅺ Standard Survey Report - $1,350 US currency
Ⅺ Customized Survey Report - $1,875 US currency
• an individualized Survey Report that:
• compares, side by side on the same page,
the performance measurements of the
participating institution to industry average
performance measurements.
• provides additional analysis by type of
museum, eg. fine art, nature, general history,
archives, etc. if there are a sufficient number
of similar type museums to make the
calculations worthwhilePAYMENT DUE UPON REGISTRATION
Please check if you:
Ⅺ require an invoice
Ⅺ would like electronic funds transfer information
Institution Date
Signing Authority (please print) Title
Signature Telephone
Mailing Address
E-Mail Address Fax
Please fax the completed agreement to:
Ian Follett, BAA, CFM
President
FACILITY MANAGEMENT SERVICES LTD
45 Maryland Place S.W., Calgary, AB, Canada T2V 2E6
Tel: 1 (403) 259-5964 • Fax: 1 (403) 255-7116
E-mail: fmsltd@fmsltd.com • Web Site: www.fmsltd.com
continued on page 18

18. 18
• Communication
• Conservation Maintenance
• Customer Satisfaction & Service
• Electrical Systems Design
• Energy Management
• Exhibition Design
• External Evaluations/Operational
Reviews
• External Grounds Maintenance
• Facility Planning
• Financing & Budgeting
• Food & Beverage
• Furniture Management
• Janitorial/Custodial
• Lighting
• Maintenance & Operations
• Mechanical Systems Design
• Move Management
combination with diffusing cover glass,
in order to avoid striations and improve
light distribution.
The dedicated integral emergency
lighting provision had to be efficient,
in order to produce the required light
output and distribution from the QT18W
Tungsten Halogen lamp. In addition,
the accessibility of the lamp compart-
ment through to the separate, ventilated
control gear compartment was important
for ease of maintenance — particularly
in view of the perilous mounting height.
An added complexity occurred with
the decision to add an external louvre
to reduce the lateral emission, as the
range of aiming angles required of the
spotlight required that the design of
the louvre be such that cross-blades
could be removed if necessary.
The response from lighting special-
ists has been highly complementary.
Joachim Ritter, Editor of the magazine
Professional Lighting Design, wrote that
the installation produced a comfortably
integrated lighting solution in spite of
the difficult situation, as “. . . an inter-
vention in the existing architecture
would have undermined the purity
of the architectural design.”
The artificial lighting concept is bound
to give rise to contemplation for some
• Operating Approach
• Organizational Structure
• Outsourcing
• Outsourcing Contracts
• Project/Construction Mgmt
• Real Estate
• Recognition Awards
• Space Mgmt & Design
• Special Functions/Facility Rentals
• Supplier/Contractor Evaluation
• Sustainability/Green Buildings
• Teams
• Training & Development
Yes, this is an extensive listing. The
challenge, of course, is the gathering
of as many best practices as possible in
each of these categories. This listing of
good or best practices will be discussed
and debated at the Benchmarking and
Best Practices Workshop on September
21, 2003 in San Francisco. Bottom line,
this is a good and useful goal for this
year’s benchmarking exercise.
Please don’t delay. Sign the Sur-
vey Participation Agreement now.
Practice continuous, not haphazard,
improvement.
The benchmarking questionnaire
will be sent to you immediately
upon receipt of the Participation
Agreement.
Ian Follett, BAA, CFM
President
Facility Management Services Ltd
Benchmarking Update — continued from page 17
time to come, as it is inevitable that in
such a strongly daylit space the atmos-
phere generated by electric lighting
cannot re-create the quality of daylight
itself. For this reason, electric lighting
should not try to mimic the quality of
daylight. Instead, it should be used as
either to complement or supplement
daylight, which in this case it does,
in a monumental and intriguing way.
The most significant comment
comes from Len Packman of the
British Museum, stating that the public
approves: “They can see what they are
doing, and they like what they see.”
They will never know the difficulty
that the maintenance team has in
accessing the luminaires, as it has to
be carried out with particular concern
and attention for the safety of the
personnel, strongly reinforcing the
initial decisions to use highly stable
and efficient light sources, control
gear and stable luminaires.
Mark Rowling has worked in lighting
design since 1970. Since August 1986,
he has worked with ERCO Lighting,
Ltd. in London, where he was the
Technical Director and subsequently
Sales and Technical Director. He
qualified as Chartered Engineer in
August 1990, and became a Fellow
of the Chartered Institute of Building
Services Engineers in November 1992.
Since joining ERCO, he has been
dedicated to excellence in interior
lighting design — particularly in
museums and galleries. In October
1999, he established a training
organization within ERCO, consisting
of 35 trainers and coaches worldwide.
Making Light Work — continued from page 15
It is inevitable that in such a strongly
daylit space the atmosphere generated
by electric lighting cannot re-create the
quality of daylight itself.

19. 19
More than a decade before Septem-
ber 11, 2001, Hurricane Hugo and the
Loma Prieta earthquake awakened
concerns for the safety of America’s
collections and historic places. Col-
lections staff at American museums,
libraries, and historic sites realized
they were ill-equipped to respond to
emergencies in their own institutions, let
alone come to the aid of their neigh-
bours. Limited resources were already
strained, and the sense that we were
doing too little, too late was widespread.
In late 1994, more than 80 repre-
sentatives of regional and national
U.S. organizations came together to
discuss how to help cultural institutions
better protect collections and speed
recovery from disasters. Sponsored by
the Federal Emergency Management
Agency (FEMA), the Getty Conservation
Institute (GCI), and Heritage Preserva-
tion, the National Summit on Emergency
Response was a call to arms.
The gathering was notable for two
reasons. First, it presented a good
opportunity for the library and archives,
museum, and historic preservation
communities to join forces around a
single issue. Second, it marked a major
public commitment to preserving cul-
tural heritage by FEMA. In his keynote
address, the agency’s director James
L. Witt challenged the audience to
commit “to a national effort to reduce
the future impact of natural disasters
on our cultural and historic institutions
across this nation.”
The creation of what is now known
as the Heritage Emergency National Task
Force followed a few months later. It
is a partnership of 34 federal agencies
and national service organizations
(see box), sponsored by FEMA and
the national nonprofit organization,
Heritage Preservation. GCI helped
launch the Task Force, and Heritage
Preservation continues to provide
administrative and staff support. Many
of the Task Force’s initiatives and pub-
lications have been accomplished with
the aid of its partner organizations and
the expertise of dedicated conservation
and preservation professionals around
the country.
Task Force members share with
IAMFA the goal of protecting cultural
facilities and the art, artifacts, and
historic records at the heart of those
institutions. Disaster management is
really a natural for preservation interests.
Hilary Kaplan, a conservator with the
U.S. National Archives and Records
Administration, once described
emergency preparedness as “the most
fundamental of preservation activities”
because it identifies and addresses
potential hazards to collections.
Alliance for Response
Working closely with emergency man-
agers has been a long-term goal of the
Task Force and professional conser-
vators. There are some obstacles to
overcome, however. Despite their skills,
preservation professionals without
an understanding of local emergency
protocols are unlikely to be useful to,
or welcomed by, first responders. At
the same time, art and historical arti-
facts can be neglected, or even damaged,
by the actions of uninformed emergency
personnel.
The need for partnerships is clear,
and to be effective, these partnerships
must be forged within the communities
they will benefit. Whether it is a leaking
pipe or a major disaster, the primary
response will be local. Further, the
alliances that can help save cultural
assets and result in a more effective
recovery must be developed before
disasters strike. That is why we are
bringing together the stewards of
cultural heritage and emergency
Safeguarding Cultural Heritage:
Partnerships and Resources
by Jane S. Long
Heritage Emergency
National Task Force
Sponsors
Federal Emergency Management
Agency
Heritage Preservation
Members
Advisory Council on Historic
Preservation
American Association of Museums
American Association for State and
Local History
American Institute for Conservation
of Historic & Artistic Works
American Institute of Architects
American Library Association
Association of Regional
Conservation Centers
Council on Library and Information
Resources
General Services Administration
The Getty Conservation Institute
Institute of Museum and Library
Services
International Association of
Emergency Managers
The Library of Congress
National Archives and Records
Administration
National Association of
Government Archives and
Records Administrators
National Conference of State
Historic Preservation Officers
National Emergency
Management Association
National Endowment for the Arts
National Endowment for the
Humanities
National Park Service
National Science Foundation
National Trust for Historic
Preservation
Regional Alliance for Preservation
Small Business Administration
Smithsonian Institution
The Society of American Archivists
Society for Historical Archaeology
US Army Center of Military
History
US/ICOMOScontinued on page 20

20. management professionals in the latest
National Task Force initiative.
The overall goal of our new Alliance
for Response project is to recreate the
successful Task Force partnership at
the local level. One-day forums in
four cities (Boston, Cincinnati, Dallas
and New York) will help emerging
disaster mitigation and response
networks develop into successful
models of cooperation.
Our initial efforts have been focused
on finding appropriate partners in each
of the host cities, and on identifying
the kind of program that will best
serve local needs. We have looked
for organizations or networks that are
representative of the cultural life and
resources of each city and which are
committed to building partnerships
with emergency management pro-
fessionals. Host committees will be
taking the lead in choosing program
content and participants.
Our likely partner in New York is
the Museum, Library, and Cultural
Properties Facility Group of Greater
New York City: an association familiar
to Papyrus readers. Its membership
includes curatorial, collections manage-
ment, and conservation interests, as well
as facility administrators. A subcommittee
has drafted a model disaster plan, which
it is now reviewing with city agencies.
We believe the Alliance for Response
project can help this thriving network
strengthen the disaster planning and
training efforts of its member institutions.
In the Boston area, we will be work-
ing with a local disaster planning and
mitigation network that, like the National
Task Force, includes representatives from
the cultural community, conservation
experts, and emergency management
officials. Preliminary discussions about
the Cincinnati meeting are underway
with the Ohio Preservation Council, a
broad coalition of libraries, archives,
historical societies, and conservation
resources. We have numerous resources
to call upon in the Dallas/Fort Worth
area, which is home to both a FEMA
regional office and to AMIGOS, a
regional preservation centre which
has responded to natural disasters at
libraries and museums throughout
the Southwestern U.S.
Learning from September 11
The attack on September 11,
2001 targeted not only innocent
civilians, but also the fabric
of our culture. The terrorists
struck the Twin Towers and
the Pentagon, and aimed at
either the White House or Capitol
dome — all structures rich in
meaning . . .
Bruce Cole, Chairman,
National Endowment
for the Humanities
The art, artifacts, historical records and
monuments that tell the story of a nation
are widely dispersed. The terrible events
of September 11, 2001 made us realize
that these cultural icons could be at risk
from acts of terrorism as well as from
natural disasters. Museums, libraries,
and historic sites are vulnerable, but
we have learned that even in the most
devastating attacks, preparedness and
training matter, as do good working
relationships with first responders.
An article in the Winter 2003 issue of
Papyrus described our report, Cataclysm
and Challenge, the first comprehensive
study of the loss of cultural and historic
resources after September 11, 2001. The
report featured findings obtained from a
survey, conducted in the months imme-
diately following 9/11, of 122 museums,
libraries, archives, and other collecting
institutions in Lower Manhattan. Cata-
clysm and Challenge is available on
the Heritage Preservation Web site,
where it is the most frequently
downloaded document.
Although the events of September 11
were caused by an unprecedented act of
terror, we found that standard, proven
emergency management plans and
responses turned out to be the most
effective way of dealing with the disaster.
Immediately outside Ground Zero,
institutions such as the Museum of
Jewish Heritage were able to preserve
their collections because staff knew
how to react. And, thanks to the rela-
tionship that Task Force members have
developed with FEMA, artifacts from
the African Burial Ground archaeo-
logical site were rescued in a timely
fashion from the basement of Six World
Trade Center.
20
Safeguarding Cultural Heritage — continued from page 19
Sphere for Plaza Fountain by Fritz Koenig, following the destruction of the World Trade
Center Towers.
PHOTO:BRIRODRIGUEZ/FEMANEWSPHOTO

21. 21
Since the report and its findings were
discussed in an earlier issue, only the
basic recommendations made by the
Heritage Emergency National Task Force
are outlined below:
• Make emergency planning a
priority. Fewer than half of the
respondents in Lower Manhattan
reported having an emergency
response plan — a finding similar
to that in a recent test survey for the
new Heritage Health Index project
(see box). The results reflect a level
of preparedness far lower than that
reported in the 2002 IAMFA best
practices survey. This is probably
because evacuation procedures,
as well as comprehensive disaster
recovery plans, are more likely to
be the responsibility of facility man-
agers than curatorial or collections
staff. Collecting institutions should
integrate emergency management
into all parts of their planning, budget,
and operations.
• Plan for contingencies. Around
80 per cent of the respondents in
the post-9/11 survey reported inter-
ruptions in fax, telephone, mail, and
e-mail, sometimes for prolonged
periods. Facilities were closed,
deliveries were delayed, and
incomes dropped. Disaster plans
should address both protection of
collections and continuity of opera-
tions. As the events of September 11
reminded us, nonprofit institutions
often suffer long-term financial
effects from natural disasters and
acts of terrorism.
• Find or make training opportu-
nities. Sixty-eight per cent of institu-
tions in the survey said their staffs
would benefit from training. A plan
needs practice to work. Emergency
management training should be
provided to all staff of collecting
institutions, not just those charged
with specific responsibilities such
as security or engineering.
• Maintain an inventory and store
copies offsite. A facility or opera-
tions administrator is well aware
of the importance of keeping vital
records and insurance policies up-
to-date, with copies kept offsite.
Unfortunately, such safeguards
are far less common for collections
records, although they should be
an integral part of preservation and
disaster management strategies.
• “Take a firefighter to lunch.”
Only slightly more than half the
respondents in our survey were
familiar with government agencies
which provide response and recovery
assistance. We strongly encourage
institutions to identify local resources
and understand emergency response
protocol before disaster strikes.
Emergency management agencies
and collecting institutions should
maintain an ongoing dialogue that
both strengthens their relationship
and better protects local cultural
and historic assets.
Information for Institutions
Before the 1994 summit, Heritage
Preservation surveyed a number of
national cultural organizations on
emergency issues and asked what they
perceived to be the greatest need of
their constituents. The clear winner
was concise and accurate information,
especially for the thousands of smaller
institutions across the country.
Our best-known information tool, the
Emergency Response & Salvage Wheel,
was the response to this need. We like
to say it is one of the best things ever
created by a committee. The information
in this practical slide chart was devel-
oped and reviewed by preservation pro-
fessionals, and endorsed by FEMA and
many other agencies and organizations.
Since its publication in 1997, the
Wheel has become the single most
PHOTO:ANDREABOOHER/FEMANEWSPHOTO
A firefighter walking among the historic headstones covered in debris at Trinity Church
Cemetery, across from the World Trade Center towers, on September 19, 2001.
The English-language version of the
Emergency Response and Salvage Wheel,
which is now in use around the world.
continued on page 22

22. recognized and respected tool for
protecting documents, art, and artifacts
from water damage. It is frequently
used as a training tool by archives,
libraries, museums, and local govern-
ments, and it has served as the basis for
a series of public service announce-
ments. Insurance firms have distributed
the Wheel to claims adjusters, and
state emergency management offices
have used Wheels in workshops for
firefighters and other first responders.
Now more than 70,000 English-
language Wheels are in use throughout
the world in more than 40 countries.
It has been translated into four lan-
guages — Chinese, Dutch, French,
and Spanish — and we hope to see a
Japanese version by 2004. In Canada,
Museums Alberta includes a Wheel with
each copy of its Survivor’s Guide to
Emergency Preparedness, and the
Centre de conservation du Québec
produced the French-language
adaptation of the Wheel.
In May 2002, the Task Force released
a Spanish-language version of the
Wheel, with support from National
Endowment for the Humanities, The
St. Paul Companies, Inc. Foundation,
and the American Express Company.
Free copies were mailed to cultural
institutions in Puerto Rico and selected
areas of the U.S., and to numerous state
agencies. The Lampadia Foundation
distributed 4,000 copies of the Rueda
de salvamento y respuesta ante emer-
gencias to institutions in Argentina,
Brazil, and Chile. Heritage Preservation
still has complimentary copies of the
Spanish Wheel. While supplies last, any
nonprofit or government agency can
request two free copies per institution.
Resources for Recovery: Post-Disaster
Aid for Cultural Institutions is a concise
guide to both federal financial aid and
information resources. The 20-page
booklet was sponsored by the National
Endowment for the Arts and FEMA, in
partnership with the U.S. Small Business
22
A Word about Heritage Preservation, Inc.
For over a quarter century, Heritage Preservation has been the national,
nonprofit advocate for the proper care of all cultural heritage, including
works of art, books and archives, documents and photographs, architecture,
natural science specimens, and artifacts – in museums, homes, libraries, and
town squares. In addition to the Heritage Emergency National Task Force, its
programs include:
• The Heritage Health Index, a nationwide assessment of the condition
and preservation needs of collections in archives, libraries, museums, and
historical societies.
• Save Outdoor Sculpture!, a grass-roots program to encourage local
groups to preserve sculptures and monuments as gifts to present and
future generations.
• The Conservation Assessment Program (CAP), managed on behalf of
the Institute of Museum and Library Services, which provides grants for
general conservation surveys to museums with small- to medium-sized
collections.
Heritage Preservation also has published with Harry N. Abrams, Inc. a series
of books providing the best professional advice to the general reader on
preserving homes and heirlooms: Caring for Your Collections (1992), Caring
for Your Historic House (1998), and Caring for Your Family Treasures (2000).
For more information, visit www.heritagepreservation.org.
Administration. The brochure offers
tips to guide institutions through the
first traumatic days following a disaster.
Basic information on federal aid is
organized by agency and includes a
special section on SBA disaster loans.
Another feature is a list of on-line infor-
mation sources on disaster prepared-
ness, response, and recovery. Both
Resources for Recovery and an updated
version of these resource links are
available on the Task Force Web page:
www.heritageemergency.org.
Tips for the Public
Once disaster survivors and their loved
ones are safe, their thoughts often turn to
photographs and other family treasures.
Task Force members have a great deal of
preservation know-how to help people
protect and salvage cherished heirlooms,
and we have worked with FEMA to
bring the most accurate information to
the public through articles on its Web
site, radio interviews, and occasional
Video News Releases. A new information
resource on “Protecting Your Heirlooms
from Moisture, Mold, and Monsoons”
is now available on the Heritage
Preservation Web site.
The Task Force and other preserva-
tion professionals are making significant
contributions to the disaster planning
process in their own institutions and
to the work of response and recovery
in their communities. We invite you
to learn more at our Web site:
www.heritageemergency.org.
Jane S. Long has been director of the
Heritage Emergency National Task
Force since its creation in 1995, and
she has worked in the cultural heritage
field since the 1980s. She has served
as assistant director of the National
Institute for Conservation, special
projects coordinator for the President’s
Committee on the Arts and the
Humanities, and a consultant to
the Getty Conservation Institute.
Jane is the co-author of Heritage
Preservation’s latest book, Caring
for Your Family Treasures.
Safeguarding Cultural Heritage — continued from page 21

23. 23
On behalf of the membership and Board, we invite you to
join with other museums and cultural organizations through-
out the world in becoming a member of the only organization
exclusively devoted to museum and cultural facility admin-
istrators: the International Association of Museum Facility
Administrators (IAMFA). As a member, you will join a growing
list of museum and cultural facility administrators in their
efforts to provide a standard of excellence and quality in
planning, development and design, construction, operation
and maintenance of cultural facilities of all sizes and varieties
of programming.
The Association currently has representation in several
countries on three continents. Our goal is to increase
membership in institutions throughout the world.
Your involvement in the IAMFA will continue the growth
of the organization and provide you with excellent educational
and networking opportunities. As your colleagues, we look
forward to welcoming you to membership in the IAMFA.
Cordially yours,
The Board of the International Association
of Museum Facility Administrators
Membership Opportunities
Join the IAMFA at any of the following levels and enjoy full
benefits of membership:
Regular Member — $150 annually. A regular member
holds the position of principal administration in direct
charge of the management of facilities, and represents their
institution(s) as a member of the association.
Associate Member — $50 annually. An associate member
is a full-time facilities management employee (professional,
administrative or supervisor), below the level of the facility
administrator of the member association.
Affiliate Member — $50 annually. An affiliate member is
any full-time employee of a member institution who is not
directly involved in the facilities management department.
Subscribing Member — $300 annually. A subscribing
member is an individual, organization, manufacturer of
supplier of goods services to the institutions who ascribes
to the policies and programmes of the Aassociation, and
wishes to support the activities of the Association.
Become a Member of the IAMFA
and Get a Friend to Join
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YES! I would like to join the IAMFA as a:
Ⅺ Regular Member $150 Ⅺ Associate Member $ 50
Ⅺ Affiliate Member $ 50 Ⅺ Subscribing Member $300
Institution: __________________________________________________________________________________________________________________
Name: ______________________________________________________________________________ Title: ________________________________
Address: ____________________________________________________________________________ City: _________________________________
State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________
Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________
ALL FEES ARE PAYABLE IN U.S. DOLLARS
Ⅺ I enclose a check in the amount of $ ____________________
Ⅺ Please invoice me
¡
Send in your membership dues by using the convenient form below.
Don’t forget to make a copy to give to a colleague.
Please remit to:
International Association of Museum Facility Administrators
c/o Kevin Streiter, High Museum of Art
1280 Peachtree Street N.E.
Atlanta, Georgia 30309 U.S.A.
Website: www.iamfa.org
Ⅺ I am interested in joining.
Please have a member
contact me.

24. 24
Dear colleagues,
You have just received the fifth issue of
the new Papyrus format, and we look
forward to your continued support and
contribution in improving this publica-
tion. We have striven to include only
articles with valuable information to our
readers, and to ensure a balance in the
covering all areas in which IAMFA has
members. In our opinion, a journal such
as this is critical to maintaining effective
communication among our members,
demonstrating that IAMFA is a vibrant
and active association, which seeks
constantly to enhance its commitment
and value to all of its members.
The IAMFA Board takes the future of
this Association to heart, and welcomes
your participation, particularly as con-
cerns the conduct of the Association’s
business and its value to you as a
member. We need to hear from you
about subjects you would like to see
covered in Papyrus, about your interest
in either of the two Board positions —
Secretary and Papyrus Editor, and
Vice-President Regional Affairs — that
come up for election this Fall. And of
course, we welcome any articles you
may wish to submit for publication.
Your commitment to this Association
is a valuable asset to enhanced facility
management around the world. With
your membership fees and your active
participation in the business of the
Association, you have helped us all
strengthen our practices and procedures,
ensuring that the facilities we manage
remain comfortable, attractive, safe
and secure for staff and visitors alike.
Renew your membership today, if you
have not already done so. Get involved
by putting your name forward for one
of the Board positions. Stay in touch
by phone or e-mail, and tell us how
we can improve our services to you.
This is your Association and we all
have a stake in its continued success
and future strength.
Pierre Lepage
Editor
IAMFA/Papyrus
SPRING 2003
Editor
Pierre Lepage
Papyrus Correspondents
Joe Brennan
San Francisco Museum of Modern Art
Bill Caddick
Art Institute of Chicago
Toby Greenbaum
Public Works & Government Services
of Canada — Museum Group
Ian Follett
Facilities Management Services Ltd.
Pierre Lepage
Canadian Museum of Civilization
Jane Long
Heritage Emergency National Task Force
Raymond Moriyama
Moriyama & Teshima Architects
Mark Rowling
ERCO Lighting Ltd.
Production Coordination
Julie Coderre
Canadian Museum of Civilization
Design and Layout
Phredd Grafix
Editing
Artistic License
Printed in Canada by
St-Joseph M.O.M. Printing
ISSN 1682-5241
Statements of fact and opinion are made
on the responsibility of authors alone
and do not imply an opinion on the part
of the editors, officers, or members of
IAMFA. The editors of IAMFA Papyrus
reserve the right to accept or to reject
any Article or advertisement submitted
for publication.
While we have made every attempt to ensure
that reproduction rights have been acquired
for the illustrations used in this newsletter,
please let us know if we have inadvertently
overlooked your copyright, and we will rectify
the matter in a future issue.
From the Editor’s Desk
Pierre Lepage,
Editor, Papyrus
The International Association of Museum Facility Administrators is pleased
to welcome the following new members:
Regular Members
Andy Hirshfield — Exploratorium, U.S.A.
Henry E. Huntington — Library & Art Gallery, U.S.A.
Jeff Sheahan — Californian Academy of Science, U.S.A.
Leonard B. Vasques — Charles M. Schulz Museum, U.S.A.
Yale University — U.S.A.
Subscribing Members
Ambrosino DePinto & Schneider Consulting Engineers P.C. — U.S.A.
Robert A. Marino, P.E. — Mueller Associates, Inc., U.S.A.
Associate Members
Chan-Hung Do — Canadian Museum of Civilization, Canada
Steven Ernest — Indianapolis Museum of Art, U.S.A.
Jennifer Fragomeni — Exploratorium, U.S.A.
New IAMFA Members