Papyrus Summer 2002

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Papyrus Summer 2002

  1. 1. The award-winning Museum of Scottish Country Life in East Kilbride is now open and attracting visitors in encour- aging numbers. The facility gives visitors a rare opportunity to visit a historic working farm comprising Farmhouse, Steading and 180 acres of land, including an events area and a new Exhibition Building. The Museum is the result of a unique collaboration between the National Museums of Scotland (NMS) and the National Trust for Scotland (NTS), and is home to the National Country Life Collection, as well as the NTS collection from the Reid family of Kittochside. The completed exhibition building is the result of an innovative harmonization of client thinking, architectural form and environmental engineering. From the outset, the NMS recognized that the costs of running a fully air-conditioned building, in order to meet the environmental requirements laid down in current guidelines, would be prohibitive. Both Page & Park, the architects, and Harley Haddow Partnership, the M&E consulting engineers, embraced the project brief and began to work together with the NMS to design a building which would combine architectural inspiration with environmental function. The first task was to conduct research on the existing environmental guidelines. Research on conservation conditions for museum objects is by no means conclusive, and opinions on these standards differ around the world. To complicate matters, it soon became clear that the temperature and humidity values required in order to reduce the deterioration of objects also vary considerably for different materials. Inter- preting all of the current research on the subject indicated that there was no single environment which would provide “satisfactory conditions” for all materials. The most widely referred-to guideline in the U.K. is BS5454:2000, which is PAPYRUSVOLUME 3 SUMMER NUMBER 3 2002 continued on page 2 Grand Prix Winner for Architecture in Scottish Design Awards 2002 Engineering the Sustainable Museum Environment at the Museum of Scottish Country Life by Alastair Cunningham and Chris Mclaren INSIDE Letter from the President . . 4 Regional Chapters — September 11 . . . . . . . . . 6 Pull-Out Members Directory . . . . . . . . . . . . 9 Installations at the Guggenheim Bilbao . . . 13 Facilities Maintenance Software . . . . . . . . . . . . . 16 Best Practices . . . . . . . . . . 19 From the Editor's Desk . . 20The new Museum of Scottish Country Life in East Kilbride, just outside of Glasgow, is situated at the edge of an urban area, and conducts the visitor towards the land and the countryside. 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
  2. 2. 2 for archived documents. This guideline notes environmental values of 21˚C and 50% RH as optimal conditions. It could have been assumed that the Country Life collection is primarily comprised of robust objects used in rugged agricultural environments. However, there are also many objects which combine disparate materials such as metal, leather and wood, and each of these would require different conser- vation conditions. Further research indicated that the effects of temperature and humidity changes are more prob- lematic than absolute values maintained within limits — even if those values aren’t optimal. Discussion with the NMS Conservation Department resulted in a pragmatic brief, which required stable conditions within a temperature and humidity band of 15˚C to 25˚C and 45% to 60% RH. Importantly, the brief noted the maximum rate of change of temp- erature as 4˚C in 12 hours and 2˚C in one hour. The humidity rate of change was 10% in 12 hours and 6% in 3 hours. The architecture of the building evolved to accommodate its function, resulting in a heavy mass construction with the mass exposed internally. The building’s fenestration includes the main glazed elements on the north side to minimize solar gain. The ratio of public areas, accessible storage and closed storage meant that the internal influ- ences within the building as a whole were minimized. The internal spaces are generally large and spacious, with high ceilings. Most spaces do not have suspended ceilings, and the exposed concrete finishes help to stabilize the temperature in the space by absorbing and releasing moisture and heat. One result of the building’s form and function is that the influences of internal temperature and humidity gains are negligible, and the opportunity for utilizing the ambient conditions to maintain the designed environment is greater than it would be with a lightweight construction which utilizes insulating internal finishes. The ethos of the environmental services design was to utilize modular plant arrangements, which followed the natural occupancy and physical building zoning. This resulted in a proposal to install 10 small air hand- ling units (AHUs) to serve the various distinct zones of the building. Attention to detail was important in sealing the fabric between zones, as well as in the outer envelope. A large-scale computational fluid dynamic (CFD) study of the building was undertaken to assess and refine the ventilation proposals. The computer model took into account all the physical properties of the building. The model- ling included a full simulation of a “weather year” and also analyzed the individual zones for the peak design days, to assess the rate of change in humidity and temperature over time. The CFD model predicted that, by utilizing the chimney structure and an exposed concrete labyrinth in the common intake duct, up to 2˚C additional cooling could be gained. Each of the ventilation installations is configured to serve areas of the building with similar gains and uses. Internal stores are served from a common sys- tem, whereas stores with external walls, or on the same elevation of the building, are served from another system. The aim of the ventilation configuration philosophy is to create the most envi- ronmentally stable spaces possible. A fully integrated Building Manage- ment System is installed in the building, with temperature and humidity sensors in all stores. The stores have air-quality sensors which detect CO2 levels. These The Museum of Scottish Country Life is also a working farm. Another view of the Museum building. Air handling units in the Museum’s plant. Scottish Design Awards — continued from page 1
  3. 3. 3 sensors override any thermal controls if the internal air quality requires the introduction of fresh air. The environ- mental control strategy reverts only when air quality is satisfied, and switches the ventilation on only if the conditions for doing so are satisfied. The ventilation plant is controlled using algorithms that sense the rate and direction of changes in room conditions within the required range. The controls then use the available plant and/or ambient conditions to bring the room’s condition back to acceptable levels. The controls installation ensures that there is no plant intervention until the room condition is beyond the required range, and then only if plant operation is able to adjust the conditions back appropriate levels. The environmental building control philosophy is based on no plant activity if the conditions are satisfied, and minimal plant activity only if required on a zone-by-zone basis. The Museum has now been in oper- ation for a number of months, and conditions in the stores have been regularly monitored. The temperature and humidity profiles indicate that conditions in the stores remain stable even when the ambient conditions vary considerably from day to night, and also as the weather changes over days and weeks. It has been noted that, in the first few months of operation, the AHU installations remained off for significant periods, due to the inherent passive thermal stability of the building. Running costs are currently being calculated, based on the data received to date. It is anticipated that the running costs will be a fraction of those for a “conventional” museum or gallery building. By adopting the approach described, the National Museums of Scotland are taking a farsighted approach to the problem of storing artifacts in a manner that will reduce their degradation, while ensuring that the plant will be able to run without incurring unsustainable running costs. Alastair Cunningham is Project Devel- opment Manager for the National Museums of Scotland. He has over 25 years’ experience in the fields of architecture, construction, procurement and delivery. In his past 12 years with the NMS, he has been involved in the delivery of major projects and has been involved in the areas of collection storage and accessible storage, as well as more pragmatic aspects of environmental controls. Chris Mclaren, consulting M&E engineer, also contributed to this piece. Looking out towards the main entrance of the Museum. The display cases in the exhibition courtyard area feature a variety of agricultural tools. The cases themselves have been designed as “trailers” which can be joined up and towed away. This in turn creates a functional rental venue, which generates revenue for the facility. External Ambient Conditions October 2001. Internal Space Conditions October 2001.
  4. 4. 4 Very little time seems to have passed since I last sat down to write to you all. Despite this, things have continued to progress, and there are a number of developments to report. The Board met in Amsterdam over the weekend of April 12 to 14, and we were generously entertained by Jan Abrahamse at the Rijksmuseum and Jan Kruls at the Van Gogh Museum. Staff at both museums were wonderfully helpful and friendly, and I would like to thank them once again on behalf of the Board for their hospitality. As ever, we had a full agenda, and spent the whole of Saturday in discussion in a beautiful gothic chapel in the heart of the Rijksmuseum. Reports from Board members con- firmed that as an organization we are in reasonable health. Bill Caddick was able to confirm that our finances are stable, and that membership take-up has been good, although we are missing a few familiar names whom we hope have just been slow in signing up. As an inducement to encourage early pay- ment, we have decided to charge a late fee of $25 for inclusion in the annual Directory that is published. Pierre Lepage has done a great job with our Papyrus newsletter, and I hope that you have all now received three new editions full of relevant articles. I can testify to his vigour as I fend of his demands for copy by the agreed dead- line — he is not one to be deflected or to let things slide! It is certainly worth it, however: I have used the recent editions as marketing material, and they have obviously impressed both potential members and likely sponsors. On the administrative side, Marla Chanin-Tobar has agreed to push forward a new handbook, detailing job descriptions for the Board, and generally clarifying procedures set out in our by-laws. The intention is to create a handbook that will form a sort of cor- porate memory, guiding future Boards — although it remains open, as ever, to adaptation and development as we grow. The Board also discussed the vacancies that will be open to the mem- bership in September; these will be the posts of President and Vice-President of Administration, and I would like to formally ask for any nominations to these posts prior to the London con- ference. We will, of course, have a ballot at the business meeting, and I will remind you all again when you arrive in London. All of which leads me to the London conference and arrangements to date. The organizing committee has finalized venues and themes for the three days, and we are now concentrating on details. I hope that the programme for both the conference and spouses will be up on our Web site by the time you read this, so check it out at www.iamfa.org. I urge you to make an early booking — if we run out of rooms, it will be extremely difficult to find more in the centre of London close to the event. It comes as a blow to the committee and the organization as a whole that Karen Plouviez has been offered a job in the education sector, and is leaving the British Library. In a relatively short period, she has had a big impact on IAMFA affairs in the United Kingdom, and her leadership has set the London conference on course to being another great event. I can only say thank you and best wishes from us all. We have also had confirmation from Joe Brennan that San Francisco will be hosting the event in 2003, again probably in September. We will ask him to give us more details in London. I have recently corresponded with Vinny Magorrian, who tells me that his health problems have meant that he is leaving MoMA. He would be delighted to hear from his friends within the orga- nization, and if you e-mail me, I will pass on messages or put you in touch. He has a vast resource of experience and may be a fruitful contact for anyone with an operational problem. Vinny was a founding member of this organization, and is someone I have often turned to for advice. His short history of the organization was distrib- uted at the Chicago conference, and is part of an archive we should not lose. I hope we will be able to find a way for past members to continue to partic- ipate within the organization, perhaps with some form of retired membership category. I wish him well for the future, and look forward to seeing him at future IAMFA events. I look forward to seeing you in London — and please confirm your booking as soon as possible to make life easier for those organizing venues, meals and trips! All the best, Peter Fotheringham National Gallery, London June 2002 Letter from the President IAMFA President, Peter Fotheringham
  5. 5. 5 IAMFA Board of Directors President Peter Fotheringham The National Gallery London, England peter.fotheringham@ng-org.uk V.P., Administration Marla Chanin-Tobar Meridian International Center Washington, D.C., U.S.A. mctobar@meridian.org V.P., Regional Affairs Carole Beauvais National Archives of Canada and National Library of Canada Ottawa, Canada cbeauvais@archives.ca Treasurer William Caddick Art Institute of Chicago Chicago, U.S.A. wcaddick@artic.edu Secretary and Papyrus Editor Pierre Lepage Canadian Museum of Civilization and Canadian War Museum Hull, Canada pierre.lepage@civilization.ca Chairman — Conference 2002 Karen Plouviez The British Library London, England karen.plouviez@bl.uk Chairman — Conference 2003 Joe Brennan San Francisco Museum of Modern Art San Francisco, U.S.A. jbrennan@sfmoma.org For additional contact information, please visit our website at www.iamfa.org @@@@@@@@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@@@@@@@@ @@g @@g @@g @@g @@g @@g @@@@@@@@ @@@@@@@@ @@ @@@@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@@@ @@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@@@@@ @@@@@@ @@@@ @@@@@@ @@ @@@@@@ @@@@ @@@@ @@@@ @@@@@@@@ @@@@ @@ @@@@@@@@@@@@ @@ @@@@ @@@@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@@@@ @@@@@@ @@@@@@@@@@@@ @@@@ @@ @@@@@@@@@@@@ @@ @@@@ @@@@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@ @@@@@@@@@@@@ @@@@ @@ @@@@@@@@@@@@ @@ @@@@ @@@@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@ @@ @@ @@@@@@ @@@@ @@ @@@@@@ @@ @@ @@ @@ @@@@@@ @@ @@ @@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@ @@@@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ THE LONDON 2002 CONFERENCE September 22–25, 2002 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS Ⅺ YES! Sign me up to attend the 2002 IAMFA Annual Conference in London, England. 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 c/o Karen Plouviez The British Museum 96 Euston Road London, NW1 2DB United Kingdom I require an invoice: Ⅺ Yes Ⅺ No SUGGESTED ACCOMMODATION A limited number of twin/double rooms has been reserved in two high-grade hotels (the Thistle Piccadilly and the Thistle Trafalgar) in the heart of London, within easy walking distance of the three conference venues. The hotels have recently been refurbished to high standards, and all rooms are air- conditioned. A special rate of £150 per night has been negotiated for IAMFA delegates for the period of September 21–28, 2002. The rooms have already been reserved, and delegates must confirm their rooms by contacting the hotels directly. Please ask for “in-house reservations” and quote booking reference “TRAF 02”. In order to avoid disappointment, please note that rooms should be reserved as soon as possible. Thistle Trafalgar + 44 (0) 20 7930 4477 Thistle Piccadilly + 44 (0) 20 7930 4033 Please check the IAMFA website for updates at: www.iamfa.org PHOTO©MIKESLOCOMBE,www.urban75.org/photos/ ¡
  6. 6. 6 For months, there were reports that September 11, 2001 would be a momen- tous day in New York City history. Term limits were in effect, and almost every city government official was slated to leave his or her position. It was an unseasonably warm and sunny day. I thought that I should vote early, before the long lines formed. I drove my youngest daughter to school and headed to my polling site, when I heard the news flash that an airplane had just hit the World Trade Center. I imagined it was the result of a misguided or malfunctioning plane that must have hit the antenna on one of the towers, and that damage would be minimal. The early reports were sketchy and unconfirmed. I was in Brooklyn, where I could see smoke trailing from the tower. I parked my vehicle and watched in disbelief. I could see that the tower had actually been hit on one of the upper floors, and not at the antenna as I’d imagined. The magnitude of this tragedy was just beginning to set in when I witnessed the second plane hit. It was like watching a movie, until a radio announcer said the Pentagon had also been hit and that another plane, although unconfirmed, was headed off-course towards the White House. I looked and I listened for what seemed to be forever, and asked myself how all these incidents could be coin- cidental. My military, security and anti- terrorism training forced me to shake off the shock of it and acknowledge that America was under attack. I knew that I would be activated and had to report for military duty. It was time to act! Not knowing what would happen next, priority dictated that I secure my family. I called my wife at work to inform her of what was happening, and to let her know how much I loved her. She in turn was concerned about our three children. I assured her that I would get them all safely home, and that every- thing would be all right. I knew I had just made a promise that only God could keep, so I began to pray. As the First Sergeant of C. Co 204th Engineers New York Army National Guard, I next contacted my commander, who was also monitoring the disaster from work. We planned to stay tuned and stand by for orders from the Governor. My next call was to the Brooklyn Children’s Museum, where I have worked in Operations and Security for over 10 years. We were fortunate that the hundreds of schoolchildren we serve on weekdays were not at the Museum on September 11, 2001. The Museum is closed to the public on Tuesdays, and the security supervisors on duty reported that all was secure, and that they were in the process of implementing the Museum’s disaster plan. Our plan has been in place for many years, and we had had mock evacuations and response tests in the recent past. The plan’s directives are to ensure: • Safety of our staff and visitors. • Safety of our collection. • Protection of the facility. Every bag and package was inspected, and a head count was taken of everyone entering or exiting the building. Although it wasn’t mandated, some staff began to leave work spontaneously to be with their families. There is an elementary school next door to the Museum, and dedi- cated staff members went to help comfort the children waiting to be picked up by their parents. On Duty at Ground Zero As expected, the Governor activated my unit that day. There were thousands of volunteers and neighbours who lined the streets, cheering and wel- coming us to the area. It was a moving experience. Uncertainty, chaos, despair and pandemonium are words that describe my feelings as we secured our sector of responsibility, providing security at Ground Zero within the first few days of the disaster. With the level of devastation surrounding the area, the site was like something out of a war movie. Regional Chapters It Began Just Like any Ordinary Day — A Museum Facility Manager’s View of September 11 Lloyd O. Headley by Lloyd O. Headley
  7. 7. 7 During that time, three things brought calm and consolation to my mind, body and soul: • First was my constant prayer for the people trapped under the rubble, the people who lost their lives, their families, and the many lives that were spared. • Second, knowing that I was pro- viding a needed service to help others. • Lastly, watching the many agencies work tirelessly around the clock to save lives, guard facilities and give help so generously. Creating a “Safe Zone” I returned to work at the Brooklyn Children’s Museum on Tuesday September 25, 2001, after working twelve-hour shifts at Ground Zero for fourteen days. The monthly all-staff meeting was very informative, and served as a way to bond and keep staff updated of changes and issues we needed to address following September 11. I listened to the supervisors of the Security and Facilities Departments as they reported on the safety and deter- rent measures we had implemented: • Barriers on the exterior of the building to prohibit individuals from parking close to the exits or entrance of the building. • Checking all staff and visitors bags/ packages (including school classes) at the front entrance, prior to their entering the facility. • Providing threat level and transpor- tation updates of road, bridge, tunnel and subway closings and detours from the Police Department. • Enhanced mail handling to deal with potential anthrax, bomb scares, etc. It quickly became clear that all staff had an important role to play in dealing with a crisis such as this. Training, Training, Training In the seven months since September 11, the common thread that ran through museums was the importance of train- ing, training and more training. It was important to have updated Emergency Evacuation Plans in place. I made sure that the necessary safety measures were put in place and utilized to the fullest extent, providing the atmosphere of a “Safe Zone” in the Brooklyn Children’s Museum for staff and visitors. The reason training became key was that many facility managers without enough security personnel, barriers, magnetometers and handheld wands had to evaluate their needs and fill in the gaps immediately. Through network- ing, seminars, meetings and updating manuals, all areas that were vulnerable to terrorists were strengthened. Because of the threat of anthrax arriving through the postal system, our highest alert went to monitoring the mail for unmarked packages. Again, training in new ways of handling the mail was undertaken, and enhanced calm was brought to this once volatile area of concern. Keeping staff informed and equipped during these past months has helped to create balance in dealing with life at the Museum following September 11. Things will never return to business as usual for most people, of course. Fear will continue to master some lives, while others will keep rising to the challenge. The New York Chapter Committee members responded very well to the crisis. Through meetings and network- ing, a special task force was created, with support from the Mayor’s Office, to develop shared responses during an emergency. A core group was formed, and the decision was made to first design a document that would help facilities of all sizes to create their own disaster plans. The second step will be developing shared responses between institutions. In communicating with chapter members about the effects of Septem- ber 11 on visitation at their institutions, the overwhelming consensus was that school groups were particularly visible by their absence in the months following the terrorist attacks. An article in the New York City Council Department of Cultural Affairs by Kate D. Levin, Commissioner May 14, 2002 read, “According to a survey we recently undertook of the 34 members of the Cultural Institutions Group (CIG), between October 1 and December 31, 2001, the CIG collectively suffered an income loss of $42.6 million; this figure includes earned income as well as contributions from corporations, foundations and individuals. Additionally, attendance was down by 1.1 million visitors and school group visits were down by 35 percent.” Institutions within three miles of Ground Zero had a difficult time receiving services, because they were closed for at least six to eight weeks. Other institutions not in the “frozen zone” were able to utilize their service suppliers only after identification checks of the driver and vehicle wanting to enter our buildings. The institution closest to Ground Zero belonged to Myro Riznyk, Facilities Manager of the Smithsonian Institution, which is located at 1 Bowling Green. He stated, “I had no contamination inside my building, because we closed our outside air dampers. However, the outside of the building had three to four inches of dust and debris.” Other institutions — in addition to shutting down their fresh air intake in particular, depending on the direction the wind was blowing — decided to change their filters more often to maintain a clean environment. continued on page 8
  8. 8. 8 The situation was not so grim for the Brooklyn Children’s Museum. Visi- tation was down by 40–50% for the first three months following September 11, due primarily to transportation issues for school classes, closing of bridges and tunnels, and parental concerns. While some institutions are still below their average attendance numbers for this year, our visitation has slowly increased within the last four months to about 75% our normal attendance. We have been very fortunate. I know when you dwell on tragedy and live in the past, memories of all the pain and hurt can overwhelm you, to the point where leaving home can become a strain. Also, thinking of the future can become a bad dream or nightmare because of negative self- talk and fear of what could happen tomorrow. I find myself now living more in the present, and enjoying the simple things in life, instead of living in the past or worrying about the future. Lloyd Headley has a degree in Security Management, and is currently Director of Operations and Security at the Brooklyn Children’s Museum. He has been listed in the International Who’s Who of Professionals, and has been awarded a New York State Senate Citation for Distinguished Community Service. He has served as Chairman of the Museum, Library, Cultural Property Protection Committee, and is Chairman of the Museum, Library, Cultural Property Facilities Committee. He is currently the Chair of the New York Chapter of the IAMFA. 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-Hull, Canada Toby Greenbaum Public Works & Government Services San Francisco, U.S.A. Joe Brennan San Francisco Museum of Modern Art London, England Karen Plouviez The British Library 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 Amsterdam, The Netherlands Jan Abrahamse The Rijksmuseum The International Association of Museum Facility Administrators is pleased to welcome the following new members: Regular Members Tom Catalioti — Cleveland Museum of Art, Cleveland, OH, U.S.A. Glen Hodges — Australian Museum, Sydney, Australia New IAMFA Members Regional Chapters — continued from page 7
  9. 9. 9 Glen Hodges Australian Museum 6 College Street Sydney Australia 2010 glenh@austmus.gov.au Phil Rees National Gallery of Australia GPO Box 1150 Canberra, ACT Australia 2601 philr@nga.gov.au Carole Beauvais National Archives of Canada 395 Wellington Ottawa, Ontario K1A 0N3 Canada cbeauvais@archives.ca Dale Cameron National Archives of Canada National Library of Canada 344 Wellington Street, Rm. 5076 Ottawa, Ontario K1A 0N3 Canada dcameron@archives.ca Bob Chartrand National Museum of Science and Technology 2421 Lancaster Road Ottawa, Ontario K1G 5A3 Canada rchartrand@mmstc.ca Ian Follett Facility Management Services Ltd. 45 Maryland Place, SW Calgary, Alberta T2V 2E6 Canada fmsltd@fmsltd.com Gerry Potoczny Canadian Museum of Nature P.O. Box 3443 Stn. D Ottawa, Ontario K1P 6P4 Canada gpotoczny@mus-nature.ca Lynn Row Ontario Science Centre 770 Don Mills Road North York, Ontario M3C 1T3 Canada lynn.row@osc.on.ca CANADA AUSTRALIA Guy Larocque Canadian Museum of Civilization 100 Laurier Street Hull, Quebec J8X 4H2 Canada guy.larocque@civilisations.ca Pierre Lepage Canadian Museum of Civilization 100 Laurier Street Hull, Quebec J8X 4H2 Canada pierre.lepage@civilization.ca José Luis Oliveros Centre canadien d’Architecture 1920, rue Baille Montréal, Quebec H3H 2S6 Canada jolivero@cca.qc.ca Leslie Brantingham Parliamentary Works Directorate 1 Cannon Row London, England SW1A 2JN brantinghaml@parliament.uk Peter Fotheringham National Gallery Trafalgar Square London, England WC2N 5DN peter.fotheringham@ ng-london.org.uk Graham Pellow Natural History Museum Cromwell Road London, England SW7 5BD g.pellow@nhm.ac.uk Karen Plouviez British Museum 96 Euston Road London, England NW1 2DB karen.plouviez@bl.uk Jan Abrahamse Rijksmuseum Stadhouderskade 42 1071 ZD Amsterdam The Netherlands jan.abrahamse@wolmail.nl THE NETHERLANDS ENGLAND Robert Galbraith National Galleries of Scotland 13 Heriot Row Edinburgh, Scotland EH4 3DS robert.galbraith@ natgalscot.ac.uk Rogelio Diez Guggenheim Museum Abandoibarra 2 48001 Bilbao Spain rdiez@guggenheim-bilbao.es ALABAMA Shirley A. Woods Montgomerey Museum of Fine Arts P.O. Box 230819 Montgomerey, AL 36123-0819 USA shirleywoods@mindspring.com ARKANSAS John Pagan Arkansas Art Center P.O. Box 2137 Little Rock, AR 72203-2137 USA jpagan@arkarts.com CALIFORNIA Donald Battjes Los Angeles County Museum of Art 5905 Wilshire Blvd Los Angeles, CA 90036 USA dbattjes@lacma.org Joe Brennan San Francisco Museum of Modern Art 151 Third St. San Francisco, CA 94103-31 USA jbrennan@sfmoma.org USA SPAIN SCOTLAND Jim Bullock Getty Center (Getty Museum) 1200 Getty Center Dr., Ste. 1000 Los Angeles, CA 90049-1687 USA jbullock@getty.edu John Coplin Santa Barbara Museum of Art 1130 State Street Santa Barbara, CA 93101-2746 USA jcoplin@sbmuseart.org John Donohoe J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA jdonohoe@getty.edu Steven Green Cantor Center for the Visual Arts Cantor Center Stanford, CA 94305-5060 USA stegreen@standford.edu Oren Gray J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA ogray@getty.edu Jim Hartman Fine Arts Museums 233 Post St., 6th Flr. San Francisco, CA 94108 USA jhartman@famsf.org David Hillbrand Yerba Buena Center for the Art 701 Mission Street San Francisco, CA 94103 USA dhillbrand@yerbabuenaarts.org Randy Murphy Museum of Contemporary Art 250 S. Grand Ave., California Plaza Los Angeles, CA 90012 USA rmurphy@moca.org Mary Omoto Japanese American National Museum 369 East First St. Los Angeles, CA 90012 USA momoto@janm.org IAMFA Members Directory 2002
  10. 10. 10 Michael Orth J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA morth@getty.edu Ronald Romo J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA rromo@getty.edu Brenda Sheridan Long Island Beach Museum 2300 East Ocean Blvd. Long Beach, CA 90803 USA brendas@lbma.org Sarah Shulman California Historical Society 678 Mission Street San Francisco, CA 94105 USA sarah@calhist.org Will Spencer J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA wspencer@getty.edu James A. Surwillo Japanese American National Museum 369 East First St. Los Angeles, CA 90012 USA jsurwillo@janm.org CONNECTICUT Ernest Conrad Landmark Facilities Group Inc. 252 East Avenue Norwalk, CT 06855 USA econrad@lfginc.com George J. Conte Yale Center for British Art 29 Oakhill Drive, PO Box 208280 North Haven, CT 06520-8280 USA Gjc5.mail.yale.edu@ mr2.its.yale.edu DISTRICT OF COLUMBIA Eugene Brown U.S. Holocaust Memorial Museum 100 Raoul Wallenberg Place, SW Washington, DC 20024-2126 USA ebrown@ushmn.org Marla Chanin-Tobar Meridian International Center 1630 Crescent Place, NW Washington, DC 20009 USA mctobar@meridian.org Daniel D. Davies National Museum of American Art and Portrait Gallery Victor Building 9th & G Street, NW 750 Ninth St. N.W. Washington, DC 20560-0201 USA ddavies@opp.si.edu Richard Day National Museum of Natural History 10th St. & Constitution Ave., NW Washington, DC 20056 USA day.richard@nmnh.si.edu Ron Hawkins Smithsonian Institution- Quadrangle 1100 Independence Avenue, SW Washington, DC 20560 USA hawkins@exchange.si.edu Fletcher Johnston Hirshorn Museum Independence Ave at 7th Street, SW Washington, DC 20560-0350 USA fletchj@hmsg.si.edu Richard Kowalczyk National Air and Space Museum 601 Independence Avenue, SW Washington, DC 20560-0303 USA richard.kowalczyk@nasm.si.edu Eugene F. Ramatowski U.S. Holocaust Memorial Museum 100 Raoul Wallenberg Place, SW Washington, DC 20024-2126 USA eramatowski@ushmm.org Kurt Sisson National Gallery of Art 6th St. & Constitution Ave., NW Washington, DC 20565 USA k-sisson@nga.gov Michael Solfield Smithsonian Institution 750 Ninth Street, NW Room 5200 MRC 908 Washington, DC Washington USA FLORIDA Debbie Towers Morikami Museum & Japanese Gardens 4000 Morikami Park Road Delray Beach, FL 33446 USA dtowers@co.palm-beach.fl.us GEORGIA Kevin Streiter High Museum of Art 1280 Peachtree NE Atlanta, GA 30309 USA kevin.streiter@ woodruffcenter.org HAWAII Robert White Honolulu Academy of Arts 900 S. Beretania Street Honolulu, HI 96814 USA rwhite@honoluluacademy.org ILLINOIS Brendan Berry Advantage Operations, Art Institute 125 E. Monroe Chicago, IL 60603-1073 USA bberry@artic.edu Bill Caddick Art Institute of Chicago 111 S. Michigan Avenue Chicago, IL 60603-6110 USA wcaddick@artic.edu Paul Huber Advantage Operations 3906 N. Monticello Avenue Chicago, IL 60618-4128 USA pshuber@telocity.com Don Meckley Museum of Contemporary Art 220 E. Chicago Avenue Chicago, IL 60611-2604 USA dmeckley@mcachicago.org LOUISIANA Jackie Sullivan New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179 USA jsullivan@noma.org MAINE David Geldart Museum of Fine Arts, Boston 465 Huntington Ave. Boston, MA 02115 USA dgeldart@mfa.org James S. Labeck Isabella Stewart Gardner Museum 2 Palace Road Boston, MA 02115 USA jlabeck@isgm.org David Roth Children Museum Inc. Museum Wharf 308 Congress St. Boston, MA 02210-1034 USA roth@bostonkids.org MARYLAND Alan Dirican Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD 21218-3898 USA adirican@artbma.org Jeffery H. Greene Banneker-Douglas Museum 84 Franklin Street Annapolis, MD 21401-2738 USA banneker@dhcd.state.md.us IAMFA Members Directory 2002 USA (cont’d) CALIFORNIA (cont’d)
  11. 11. 11 MISSOURI Reed Lillard Nelson-Atkins Museum of Art 4525 Oak Street Kansas City, MO 64111-1873 USA rlillard@nelson-atkins.org NEW YORK Brij Anand Guggenheim Museum 1071 Fifth Avenue New York, NY 10128 USA banand@guggenheim.org Ciro Bottacavoli IEN Magazine 5 Penn Plaza New York, NY 10001 USA CAB@tpmgnet.com Martin Cavanaugh Pierpont Morgan Library 29 East 36th Street New York, NY 10116 USA mcavanaugh@morganlibrary.org William Esposito Jr. Ambient Labs, Inc. 55 West 39th Street, 12th Floor New York, NY 10018-3803 USA wesposito@ambientgroup.com Vincent Magorrian Museum of Modern Art – New York 11 West 53rd Street New York, NY 10019 USA vinnie_maggorrian@moma.org Myro Riznyk Smithsonian Institution- National Museum of the American Indian One Bowling Green Drive New York, NY 10004 USA riznykm@ic.si.edu Tom Scally Metropolitan Museum of Art Communication Department 100 5th Avenue New York, NY 10028-0198 USA tom.scally@metmuseum.org Harry Soldati Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238 USA soldati@brooklynmuseum.org Dennis F. Sweeney Frick Collection 1 East 70th Street New York, NY 10021 USA sweeney@frick.org Stan Zwiren Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238-6052 USA zwiren@brooklynmuseum.org OHIO Paul Bernard Toledo Museum 2445 Monroe Street, Scottwood Avenue Toledo, OH 43697 USA pbernard@toledomuseum.org Tom Catalioti Cleveland Museum 11150 East Blvd. Cleveland, OH 44106 USA catalioti@cma_oh.org David Nawrocki Columbus Art Museum 400 E. Broad St. Columbus, OH 43215 USA dnawrock@cmaohio.org Dave Gearding Cincinnati Art Museum 953 Eden Park Drive Cincinnati, OH 45202-1596 USA dgearding@cincyart.org PENNSYLVANIA Larry Armstrong Carnegie Museums 4400 Forbes Avenue Pittsburgh, PA 15213 USA armstrongl@ carnegiemuseums.org Douglas Bowerman Allentown Art Museum 5th and Court Streets P.O. Box 388 Allentown, PA 18105 USA operations@ allentownartmuseum.org Terri L. Chapman Frick Art and Historical and Finance 7227 Reynolds Street Pittsburgh, PA 15208-2923 USA tlchapman@frickart.org Walt Crimm Ewing Cole Cherry Brott 100 North Sixth Street, 6th Floor Philadelphia, PA 19106 USA wcrimm@ewingcole.com Rad Delaney Ewing Cole Cherry Brott 100 North Sixth Street, 6th Floor Philadelphia, PA 19106 USA radelaney@ewingcole.com Bob Morrone Philadelphia Museum of Art 26th & Benjamin Franklin Pkwy. P.O. Box 7646 Philadelphia, PA 19101-7646 USA rmorrone@philamuseum.org Tom L. Peck Colonial Williamsburg Foundation P.O. Box 1776 Williamsburg, PA 23187-1776 USA Victor T. Razze Brandywine River Museum and Conservatory P.O. Box 141 Chaddis Ford, PA 19317 USA vrazze@brandywine.org Richard J. Reinert Affiliated Building Systems 2600 Benjamin Franklin Pkwy. Philadelphia, PA 19130 USA rreinert@philamuseum.org James Sutton Philadelphia Museum of Art 26th & Benjamin Franklin Pkwy. P.O. Box 7646 Philadelphia, PA 19101-7646 USA jsutton@philamuseum.org SOUTH CAROLINA Michael Roh Columbia Museum of Art P.O. Box 2068 Columbia, SC 29202 USA michael@colmusart.org TEXAS Henry Griffin Museum of Fine Arts, Houston 1001 Bissonnet Houston, TX 77265-6826 USA hgriffin@mjha.org Gary L. Morrison McNay Art Museum P.O. Box 6069 San Antonio, TX 78240 USA glmmcnay@juno.com Jeffery Ryan Jackson and Ryan Architects 2370 Rice Boulevard, Suite 210 Houston, TX 77005 USA jryan@jacksonryan.com VIRGINIA John Cannup Mariner’s Museum 100 Museum Drive Newport News, VA 23221-2466 USA jcannup@mariner.org WISCONSIN Richard Swainston Milwaukee Public Museum 800 Wells St. Milwaukee, WI 53233 USA dick@mpm.edu IAMFA Members Directory 2002 Although we do our best to ensure that our Directory information is as up-to-date as possible, errors and omissions can always occur. If you would like to make any changes to your listing, please contact Julie Coderre at julie.coderre@ civilization.ca Thanks very much.
  12. 12. 12 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 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 P.O. Box 1505, Washington, D.C. 20013-1505 U.S.A. Website: www.iamfa.org Ⅺ I am interested in joining. Please have a member contact me.
  13. 13. 13 Inaugurated in October 1997, following five years of construction, the Guggen- heim Museum Bilbao of Modern and Contemporary Art is a unique and remarkable feat of engineering. Designed by renowned architect Frank O. Gehry, the museum runs down to the banks of the river Nervión, and seems to slide beneath the Puente de la Salve bridge — one of the main points of access to the city of Bilbao in the Basque region of northern Spain. The main entrance leads directly into the heart of the Museum. As visitors stand in the central atrium, they are immediately struck by how well this building — which is over 50 metres (160 feet) in height and commands a 32,500-square-metre site in the centre of the city — can fit into the urban landscape without towering over neighboring buildings. The museum offers 11,000 square metres of exhibition space, distributed among 19 galleries. Ten of these, clad externally in limestone blocks, have a classical orthogonal appearance, while the remaining nine have irregularly- shaped interiors clad externally with titanium plates. Organized on three levels around the atrium, the galleries are connected by curving walkways suspended from the roof, complemented by glass-fronted elevators and towers. During the design and construction stages, the Los Angeles-based Gehry collaborated with American and inter- national consultants in HVAC, electrical and general installations, lighting, noise control, audiovisual equipment, fire- prevention equipment, security, etc., while also benefiting from the exper- tise of the Guggenheim Museum in New York City. This approach led to the creation of a multidisciplinary team capable of designing a complex structure — including management of the engineering feats required for the realization of Gehry’s stunning architectural concept. In Bilbao, the Guggenheim Museum Consortium, which was entrusted with the building’s construction, collaborated with a team of engineers and architects. The team was responsible for performing and supervising construction of the build- ing, while also managing all aspects of the project requiring compliance with local standards and working methods. Work continued virtually around the clock: while one set of engineers and architects worked on one continent, the other rested. The main installations in this museum were as follows: HVAC, lighting and electricity, fire-prevention, security, communications systems, elevators, plumbing and sanitary systems. This article provides a brief summary of the most salient aspects of some of these. HVAC The function of the HVAC system is to maintain pre-established environmental conditions inside the building, 24 hours a day, 365 days a year. The air-condi- tioning system has two basic aims: the conservation of works of art contained in the Museum, and the comfort of visitors and staff. On the one hand, the project required strict atmospheric conditions of between 48–52% RH and 21–22ºC. On the other, The Installations of the Guggenheim Museum Bilbao A Dialogue Between Engineering and Architecture by Rogelio Diez and Luis Pablo Elvira The ceiling of the central atrium soars to a height of 50 metres (160 feet). Rogelio Diez continued on page 14
  14. 14. 14 the climate-control system had to be integrated into the singular architecture of the building. The volume — with standard heights of between 5 and 7 metres (16 to 22 feet) and a height of 50 metres (160 feet) in the case of the central atrium, as well as the presence of curtain walls — required meticulous engineering to obtain an optimal distribution of the air in the Museum’s various spaces. The Guggenheim’s system is based on the production of hot water and water vapour in gas-fired boilers, the production of cold water by means of centrifuge coolers, and distribution to the air handling units (AHUs). The AHUs filter, dry, heat, cool or moisten air which has been recirculated from the air-conditioned spaces. The entire system is managed by a distributed digital control system. This system, in accordance with readings from the temperature and relative humidity sensors installed in the galleries, and in accordance with the software created for this purpose, provides precise control of conditions required inside the building. With regards to the distribution of air in the building, the uniformity and low speeds of the air — and the system’s integration into the architecture of the building — were the main factors. Linear slot air diffusers were chosen. These were placed at the tops of walls, with air returned via a set of different slots at the bases of the walls. Noise control was guaranteed with the use of silencers in the mechanical rooms, ductwork fitted with acoustic insulation, and with low air-speed criteria in the gallery environment. The energy- saving criteria — such as volume control through the use of frequency variators — were extremely important. The installation has a heating capacity of 3500 kW, a refrigerating capacity of 5100 kW, and about 1 million cubic meters of air are circulated every hour. Lighting Lighting for the spaces inside the Museum combines artificial light and controlled contributions of natural light through skylights placed at the top of the building. The interior lighting system had be flexible, in order to avoid overwhelming the ceilings with track lighting, or other elements which might disrupt the architectural aesthetics of the building. This was achieved with the design of a system consisting of “power point/power bars”. Special recessed structural outlet boxes with split-wired receptacles occur in a regular pattern on the gallery ceilings, and are regarded as power points. An individual fixture can be directly installed at these points on special clamping bars (power bars) which have built-in receptacles. These can be secured to hold between two and six fixtures, depending on the length of the power bar. Retractable magnetic covers conceal power points that are not in use, thus minimizing visual clutter and scarring of the ceiling plane. On the other hand, the Museum’s lighting system had to allow adjustment of the light intensity of several lighting fixtures, in accordance with the require- ments and designs of the different exhi- Before arriving at the Museum’s main entrance, visitors encounter the flower sculpture Puppy by artist Jeff Koons. In the Museum, there are more than 20 air- handling units, moving nearly 1 million cubic metres per hour. This is one of them. In the main mechanical room, there are three centrifugal chillers, with a total capacity of 5100 kW. To avoid overwhelming the ceilings with track lighting, a system consisting of “power point/power bars” was designed.
  15. 15. 15 bitions. To do this, a control system was installed consisting of dimmers, thus allowing the lighting of spaces to be re-programmed easily, and enabling the control of more than 2,000 independent light fixtures. Communications The communications system is based on star topology on optical fibre, and uses Class 5 structured cable on plant distribution. The plant switches and the data servers are connected to the central switch, and the user equipment is connected to the plant switches. The network is designed around the concept of collapsing the various wiring closets into a central Gigabit Ethernet switch, via the relevant application servers over fibre optic cable. From the heart of the installation, the trunk lines run to the 100 Mbps connection for each server. The network is then distributed to smaller cabinets, housing modular, stack- able switching devices at 10/100 Mbps to the desktop, according to individual user needs. This infrastructure ensures the high availability of bandwidth- intensive marketing, design, ticketing, finance and general administrative applications for more than 200 users. Fire Protection The fire alarm system is based on a distributed system, meaning that the installation is supervised from four alarm panels connected by a bus. The optical heat signals that reach the fire panels from the fire detection devices are analyzed not only for their intensity, but also for their development in time. Following this analysis, the system diagnoses the fire threat. With regard to the fire protection systems, it is necessary to point out that a preaction double- interlock sprinkler system was chosen, which covers all the spaces containing works of art. For the remaining areas of the Museum, a wet sprinkler system was chosen. The Museum presented us with some unusual engineering challenges, re- quiring us to find installations which would be effective, without marring the building’s extraordinary architecture. We believe we’ve succeeded. By combining the best in engineering and architectural expertise, the teams responsible for the Guggenheim Museum Bilbao have created a hardworking facility which is also considered one of the world’s architectural icons. Rogelio Diez is a Senior Industrial Engineer, and was the engineer responsible for installations at the Guggenheim Museum in Bilbao, beginning at the design stage in 1992. He is currently Director of Maintenance and Installations at the Museum. He would also like to acknowledge the assistance of Luis Pablo Elvira, Director of Information Technology of the Guggenheim Museum, who helped in the writing of this article. Fire-protection preaction panels and valves. A double-interlock preaction system was installed to protect works of art. East side of the Museum — a beautiful combination of titanium, glass, stone and water.
  16. 16. 16 In 1980, Black & McDonald (B&M) recognized the need for a computerized maintenance management system, as a tool for managing the fast-growing facility management portion of their business. The lack of an “off the shelf” product at the time led B&M to commit the funds and personnel to develop an in-house proprietary solution to fill this need, and the CMM system was born. This is a Windows®-com- patible, FoxPro-based software that was meant to be a powerful but intuitive program that would have a fast learning curve and feature simplicity of use. The software was developed to provide accu- rate database manipulation of electrical and mechanical sys- tems, equipment specifications files, equipment history files, preventative maintenance schedules, orders for repair work, subcontractor work orders and inventory control. Today, development of the CMM software has been extended to encompass all areas of building maintenance and operations, from structural to landscaping. Major enhance- ments have been made in management and operations reporting, to enable current information to be utilized in all areas of the program, from inventory control to installation and maintenance scheduling. B&M is proud to share with readers of Papyrus how the application is used in a museum environment for the Canadian Museum of Civilization Corporation (CMCC). This Crown Corporation was established in 1990 to manage the Canadian Museum of Civilization (CMC), the Canadian War Museum (CWM) and two other museum storage facilities. At that time, the premises were maintained by staff from the Federal Government’s Public Works Department (PWGSC). At the opening of the CMC, PWGSC installed a computerized facility management system that would come to be known as the PMMS system. This entry-level, but groundbreaking, software listed most of the building systems, complete with pertinent equipment information, and described the preven- tative maintenance to be carried out, as well as its frequency. In 1996, the CMCC decided to go to the private sector with a “Request for Proposal” to assume the operation and maintenance of all of their assets. Following a rigorous selec- tion process, Black & McDonald was selected as the successful contractor, and a four-year contract was signed, which has come to be known as the “Plant Services Contract”. At its opening, the CMC was a state-of-the-art facility, and even after 13 years in operation, remains quite advanced. The mandate of protecting the Museum’s vast and irreplace- able collection of artifacts was realized with a series of sophisticated maintenance and monitoring systems, tied to a central monitoring location. At the same time, declining financial resources demanded that such systems be efficient and cost-effective. To deliver on these mandates, it is imper- ative that both the owner and operator be able to monitor preventative maintenance and gather historical data on these systems. This is made doubly important by the need to report such data to other institutions, as a condition for lending artifacts for special and travelling exhibits. In the first weeks of its mandate at the CMC, B&M’s Corporate Response Team, in conjunction with the on-site staff hired for this contract, saw to the installation of the CMM software. The database was a combination of infor- mation transported electronically from the PMMS system, and information gathered on-site. Of special importance was the need to capture the information on systems that were not represented in the PWGSC system. It should be noted that the process of data collection and verification was a very helpful tool in familiarizing maintenance staff with the various systems at this critical time of project implementation. For a CMMS system to be effective, it is necessary that: • No work is done “outside” the system. It is imperative that as much information be collected as possible to make historical trending as accurate as possible, and to make sure that follow-up maintenance is carried out and recorded. • All information must be entered into the system on a timely basis. This includes time sheets, unscheduled work, modifications to systems, etc. • The system must be kept “up-to-date”. New systems or modifications to existing systems must be entered into the system to keep the database current. Once the infor- mation is compromised, it gets “easier” to fall behind, leading to decreasing confidence in the accuracy of the information. This can quickly spiral downwards until the system is in place in spirit only (rather like software on the shelf). • The information generated by the system is used! After all, one of the key reasons for the system is to improve operational efficiency. To do this, one must be constantly evaluating the information gathered by the program. That means regular concise reporting that allows trending and “tweaking” of the various systems. Black & McDonald, CMM, and Museums by Richard E. Harding and Edmond Richard
  17. 17. 17 • Both parties accept the fact that the system is important to both the client and the service provider. That is to say that the system can not only provide the owner with confidence that the work is being done as required, but that the service provider can deliver (and verify) the added value that such procedures can deliver. With the goal of making the system intuitive and easy to learn, the following “road-map” is an integral part of the CMM software, and allows for easy movement between the various databases. To meet the expressed mandate of allowing for simple, precise reporting, the CMM was set up with a series of budget modules as per the screen capture below: This approach allows the user to create Cost Centres, Budget Codes and Fiscal Years to track maintenance and operational budgets. Actual operational costs are automatically captured from the timekeeping and purchase order modules. This gives the user up-to-date figures to help in determining accurate costs to date and to help in budgetary projections. Budget module reporting includes such reports as the Audit report, Budget by Budget Code report, Budget by Cost Centre report, and Cost Centre or Budget Code listings. A typical Budget by Cost Centre report would combine the Material, Labour and Subcontractor charges for each cost centre into a summary report detailing current month charges, and year-to-date charges as compared to budgeted amounts. It is available for any or all specified cost centres. The equipment database is at the heart of the CMM pro- gram at the Canadian Museum of Civilization. All preventative maintenance and repair tasks are performed based on this equipment. From this database, maintenance and operations personnel can retrieve manufacturer names, parts numbers, and specifications without having to travel to the equipment location. For the Plant Services Contract at present, the data- base is monitoring over 4,000 pieces of equipment under 40 categories. It is generating approximately 2,800 PM work orders, and 3,400 unscheduled work orders (“trouble calls”) per year. A generic sample report would look as follows: The banner screen, as shown below, captures nameplate data such as make, model, serial no., type, etc. Associated with each type of equipment is the specifications template. The software allows the user to customize existing equipment templates, and to add or create new templates. As building systems get more and more complicated, the issue of moni- toring warranty dates gets more difficult. In the CMM system, equipment that is currently under warranty is flagged to the user, so that replacement costs can be minimized. This warranty flag is also reproduced on the work order to ensure that the technician is aware that the equipment is under warranty and that proper procedures are followed. continued on page 18
  18. 18. 18 To control and monitor the “trouble call system”, the operator can create a work order detailing the work to be performed, caller name, phone number, date, time of call, classification of work order, priority, department, and client ID cross-reference. The banner screen used for these calls is shown below. A final aspect of special interest is the control of labour hours and the appropriate allocation of hours for reporting purposes. A sample screen is shown below. This module is used to record labour expended by building operation and maintenance personnel. CMM software distributes the labour costs, and produces weekly payroll reports for each main- tenance/operation staff member. Maintenance and operation labour hours can be entered daily and charged to any pre- defined cost centre and budget codes. A separate database stores the current labour rate for each employee, which the computer uses to calculate the up-to-date costs for all work charged to the system. Associated with the labour rates are user-created “paycodes” which are custom-built algorithms used to calculate overtime charges, shift premiums, meal allowances, etc. The four-year contract expired in 2000, and the client went once again to the market with an RFP. Black & McDonald was successful in retaining the contract, and the mandate was expanded to include facility management of the premises (overseeing janitorial, snow removal, landscaping, and system repairs of a non-mechanical or electrical natures such as doors, windows, carpets, pest control etc.) and maintenance of the building’s security systems. At the commencement of the new contract, a new branch was opened in the CMM system to oversee preventative maintenance and trouble call systems under this new mandate. This seamless transition was built upon the experience and database already in place, and allowed the staff hired under this new contract to quickly “get up to speed” with a minimum of effort in set-up and implementation. At present, B&M has 21 full-time staff operating on a 24-hour-a-day, seven-days-per-week schedule, maintaining over 100,000 square metres (1,000,000 square feet) of premises. The comprehensive, “real-time” CMM maintenance manage- ment system has been a major factor in the successful partnership that has been forged between the Canadian Museum of Civilization Corporation and Black & McDonald Limited. It is a partnership which marries the public-sector mandate of protecting and displaying the country’s national faciilties and collections with the experience and project delivery efficiencies of the private sector. Richard Harding is a graduate architect, and is the Manager of Facilities, Management and Operations for Black & McDonald. Mr. Richard is a graduate mechanical engineer, and is the site Project Manager at the Canadian Museum of Civilization for Black & McDonald. Black & McDonald — continued from page 17
  19. 19. 19 The Smithsonian Institution has embarked on a new program to imple- ment Engineering Best Practices. This five-module program has a clearly defined purpose: “Obtain more timely, cost-effective, higher quality and safer project delivery through application of the industry’s best practices by an integrated project team of Smithsonian and contractor personnel from the pre- authorization through the operations and maintenance phase . . .” The five modules of the program are Pre-Project Planning, the Project Team, Constructability, Value Management, and Performance Management. This article will look at an early Smithsonian deployment of the PDRI (Project Defi- nition Rating Index): one key tool used in the Pre-Project Planning module. The PDRI is a weighted list which contains the most critical elements defining project scope for building projects. It has three sections, broken into 11 categories, further broken into 64 elements. Thirty-eight pages of descriptions support these elements. The PDRI identifies and precisely describes each critical element in a scope definition package, and allows a project team to quickly predict factors which would have an impact on project risk. The PDRI is intended to evaluate how complete the definition of scope has been at any point before a project is considered for authorization of detailed design and construction. A 1,000-point scoring system is used, with lower scores indicating a better-defined scope. A loose rule of thumb is that a score under 200 suggests the project is probably ready to proceed from concept to design, but the creators of this tool caution against emphasizing the score alone. The real products of a PDRI exercise are understanding, team- building, identifying missing project components, and refining the scope of work. A significant factor in successful administration of a PDRI is the use of an independent objective facilitator, who is knowledgeable about general requirements, but who is also distinctly unbiased. The PDRI tool was created in 1999 by the Construction Industry Institute of Austin, Texas. Section I, Basis of Project Decision, contains the following categories, and helps to define the “right project”: A. Business Strategy B. Owner Philosophy C. Project Requirements Section II, Basis of Design, contains the following categories, and also helps to define the “right project”: D. Site Information E. Building Programming F. Building/Project Design Parameters G. Equipment Section III, Execution Approach, contains the following categories, and defines the “right way”: H. Procurement Strategy J. Deliverables S. Project Control DA. Project Execution Plan As an initial exercise, we applied the PDRI tool to a project long past scope development and well into design: The Physical Plant Renewal of the Old Patent Office Building in Washington, D.C. The idea was to check on how our project scope of work met the PDRI test, in a case where we proceeded into design without a comprehensive Pre-Project Planning phase. The outcome was skewed slightly by the inclusion of a very large number of “stakeholders”: we included over 45 participants, while the recommended group is 20 or less. Our results were also affected by the use of an in-house facilitator, which, even in the most collaborative of environments, can be perceived as manipulation. Still, although the score we derived (186 of 1,000) suggested we were on-track, the score was secondary to the other outcomes. We benefited enormously from this exercise in four crucial areas: • Understanding the needs and priorities of all key stakeholders • Teambuilding • Identifying missing components • Refining the scope of work The PDRI benefits owners, designers and builders. Owners can use it as an assessment tool to help them establish a comfort level from which they are willing to move forward with projects. Designers and builders can use it as a method of identifying poorly defined project elements. The PDRI provides a means for all project participants to communicate and reconcile differences, using an objective tool as a common basis for project scope evaluation. More information about the Project Definition Rating Index (PDRI) and the Construction Industry Institute (CII) can be obtained at: http://construction- institute.org the CII website. More information about the particulars of the PDRI exercise on the Old Patent Office Building can be obtained by contacting the author at ddavies@opp.si.edu. Daniel D. Davies is the Facilities Manager at the Smithsonian Institution, National Museum of American Art and Portrait Gallery in Washington, D.C. Best Practices by Daniel D. Davies
  20. 20. 20 Summer has finally caught up with us, and some of us are already looking forward to well-deserved holidays; others of us may not be lucky enough to have that leisure just now. The London Conference is just around the corner, however, with a program that will make this venue one of the best in IAMFA history. This Association has taken a quantum leap in the development of its annual conferences. The change of location each year creates tremendous potential for conference organizers to diversify conference activities, making each con- ference unique and memorable. For the organizers, it also becomes a truly collegial experience, giving members of the organizing committee an oppor- tunity to work closely with one another during the two years it takes to prepare for the event. The conference is also an opportunity to showcase the best cultural institutions in the host city. In addition, conference participants get an unequalled chance to learn from colleagues about different management approaches, to witness progress on construction sites, and to find out about successes with recent museum renova- tions and museum-related construction projects around the world. These conferences have been the backbone of our organization, and we certainly value the men and women who have taken up the challenge of putting together an event of such international scope and value. The members of each conference team commit considerable time and resources over and above their daily work in order to achieve these successes, and it is important to recognize the ongoing effort required of to structure a conference program and bring it to fruition. The overall responsibilities of the conference remain with committee members, who take it upon themselves to agree on the out- lines of a conference program, to request commitments from guest speakers, to set up site visits, to negotiate for the best hotel rates, meeting rooms and food services, and to solicit donors and sponsors in order to ensure financial viability of the conference. It is also the committee’s responsibility to develop a spouse program — entertaining activities that have become a tradition of excellence with IAMFA. In conclusion, I would like to note how you as members contribute to the success of a conference. Your primary contribution is, of course, to register in support of such an activity, but the buck doesn’t stop there. The most significant contribution a member can make to this organization is to convince one additional museum facility manage- ment colleague to join IAMFA and to attend the conference. The successful growth of this Association depends, to a great extent, on your personal commitment to the organization, and the ultimate success of an IAMFA Conference is something we all, as individual members, can share and take pride in. Pierre Lepage Papyrus Editor IAMFA/Papyrus SUMMER 2002 Editor Pierre Lepage Papyrus Correspondents Peter Fotheringham England Alastair Cunningham Scotland Lloyd O. Headley United States Rogelio Diez Marcos, Luis Pablo Elvira Spain Richard E. Harding, Edmond Richard Canada Daniel D. Davies United States Production Coordination Julie Coderre Deborah Brownrigg 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 The London Conference . . . Just Around the Corner

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