Papyrus Spring 2003


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Papyrus Spring 2003

  1. 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. 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. 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. 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. 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. 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. V.P., Administration Guy Larocque Canadian Museum of Civilization and Canadian War Museum Gatineau, Canada V.P., Regional Affairs Carole Beauvais National Archives of Canada and National Library of Canada Ottawa, Canada Treasurer Kevin Streiter High Museum of Art Atlanta, U.S.A. Secretary and Papyrus Editor Pierre Lepage Canadian Museum of Civilization and Canadian War Museum Gatineau, Canada Chairman — Conference 2003 Joe Brennan San Francisco Museum of Modern Art San Francisco, U.S.A. Chairman — Conference 2004 Larry Armstrong Carnegie Museums Pittsburgh, U.S.A. For additional contact information, please visit our website at
  7. 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. 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 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 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 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.
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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: ¡ 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. 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. 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. 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. 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. 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. 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. 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: Website: 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. 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: • Web Site: continued on page 18
  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. 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. 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. 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. 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 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: 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: 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. 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 @@@@@@@@e? @@@@@@@@e? @@h? @@h? @@h? @@h? @@h? @@h? @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e? @@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e? @@@@@@@@ @@@@@@@@ @@ @@ @@ @@ @@ @@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@ @@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ ?@@ ?@@ ?@@ ?@@ ?@@ ?@@ ?@@@@@@@@ ?@@@@@@@@ ?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@ ?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@ @@g @@g @@g @@g @@g @@g @@@@@@@@ @@@@@@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@ @@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ @@ @@@@ @@ @@ @@ @@ @@ @@@@ @@ @@@@ @@ @@ 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: Ⅺ I am interested in joining. Please have a member contact me.
  24. 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