Papyrus Summer 2003


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Papyrus Summer 2003

  1. 1. “Love the website! What a marvellous site — easy to read, easy to use and most importantly, easy on the eye.” “I want to congratulate you and the entire team on what you’ve achieved in putting the collection online. It’s absolutely wonderful and I’ve already heard so many highly complimentary comments.” “It’s lovely to see the collection data base on the Web. Congratulations on being the first — a great resource.” “From the reference in Friday’s Herald I found your new Web page. Fantastic. Thanks for the obvious time and effort that has gone into it. Easy to find our way around, and the pics are good.” “I could spend hours viewing the McCahon collection alone . . . the site is excellent, easy to move around and I know it will be hugely appreciated by art lovers. Congratulations on a very informative and enjoyable site.” “Thanks for a great website, and thanks for putting the tiger in. Nice to see a very old friend. When I was a kid I thought he was painted by William Blake.” These are just a few examples of the kind of responses we are receiving for the Auckland Art Gallery’s Web site, which has been redesigned and relaunched. It now incorporates an online database which enables users to search and browse through the Gallery’s collection of more than 12,500 works PAPYRUSVOLUME 4 SUMMER NUMBER 3 2003 The Auckland Art Gallery Toi o Tamaki Opens its Doors to Virtual Visitors by Catherine Lomas, David Reeves and Patricia Morgan 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 . . . . . . . . . . . . . . . . 7 Outsourcing for Museum and Gallery Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . 8 A New High for Atlanta . . . . . . . . . . . . . . . . . 11 Regional Chapters . . . . . . . . . . . . . . . . . . . . . 19 Major Renovation Project at the National Gallery of Scotland . . . . . . . . . . . . . . . . . . . . 22 Be Seen in the Right Light . . . . . . . . . . . . . . . 24 Fighting Mold and Decay in the Twenty-First Century. . . . . . . . . . . . . . . . . . . 29 From the Editor’s Desk . . . . . . . . . . . . . . . . . 32 The Wellesley Wing at the Auckland Art Gallery. continued on page 2
  2. 2. 2 of art. The website can be accessed at: This is the first time a New Zealand gallery or museum has been able to put its entire collection online. It is also the first time the Vernon Web Browser has been used to provide Internet access to a major collection. This is the culmi- nation of a 21/2 year project which is producing a wide range of benefits for the Gallery and the public alike. How the Project Came About By the year 2000, the Gallery had fallen behind comparable institutions in New Zealand and overseas in pro- viding electronic access to internal and external users interested in its collections. Staff use of the collection database had fallen off, due in part to slow technical performance: the software was six years old and little investment had been made since the system’s original implemen- tation. In addition, maintaining and enhancing the accuracy of collection records fell behind other priorities. With increasing expectations from both inter- nal and external audiences, something significant had to be done. The Gallery is owned and man- aged by the Auckland City Council, which is the largest territorial author- ity in New Zealand. It maintains New Zealand’s most significant art collection, with over 12,500 works, and runs a busy schedule of changing exhibitions (about 35 per year), as well as related educational activities and public programs. The Gallery is housed in two central city buildings, the older of which is a significant heritage landmark. The Gallery also has storage at a number of off-site locations (soon to be consolidated into a very welcome specialized storage facility). The works in the collection are by artists from New Zealand and many other countries, and represent a wide variety of media. Among the collection’s particular strengths are holdings of early European prints, nineteenth-century English paintings, and a number of important seventeenth-century Italian works. The Gallery also has strong col- lections of works depicting nineteenth- century Maori and colonial settlement, as well as a wide range of works show- casing the development of regional and national artistic styles during the twentieth century. On average the Gallery attracts around 200,000 visitors annually, and fields approximately 5,000 enquiries from the public and the international academic community each year. The Gallery aims to display at least 10 per cent of its collections each year through onsite and travelling exhibitions. This effectively means that up to 90 per cent of the collection is hidden away from the general public, and only the most determined and serious researchers and students have any idea that these hidden treasures exist. Although arrangements can be made for behind-the-scenes access to specific works related to various areas of study, this assumes that researchers already know what the collection holds. The World Wide Web was clearly the best means by which to increase access to the treasures held in storage. In October 2000, a group of Gallery staff met with the City Council’s recently-formed Business Improvement Group (BIG) to discuss a way forward. The Gallery team comprised: • A Research Librarian, representing the interests of public information and research services. • A Photographer, with expertise in image management and systems administration. • The Registrar, who is responsible for the documentation of the Gallery’s collection. • The Manager of Exhibition and Collection Services, to provide program management and liaison with the Gallery’s management team. Value Management The Council had adopted a Value Management methodology for assess- ing and managing new business or business-improvement projects. Under the auspices of the BIG team, the group started on its Value Management journey, first by preparing an Opportunity Value Case. The development of a Results The Auckland Art Gallery — continued from page 1 A snapshot of records on the new Auckland Art Gallery website.
  3. 3. 3 Chain also became a key tool in establishing basic objectives and identifying benefits which would justify further work in setting up the program. This high-level diagram provided graphical representation of the key program elements, such as: • Key strategic outcomes (drawn from the City’s own strategies). • General phases of the program with intermediate outcomes. • Individual initiatives required to achieve the outcomes in the chain. • Planning steps required to assess needs and to get the program started. At first glance, the Results Chain was a rather complex net of circles, squares and arrows, perhaps designed to impress (or baffle!) senior management. How- ever, it proved very useful to have a picture of the whole project on a single A3 sheet, showing the general relationships between the component parts and the desired outcomes. The second phase of planning involved more detailed work to identify specific costs and to look at the staffing and other resources which would be required to complete each of the sub- projects. The core team which worked on the planning phases continued their involvement by dividing up responsibility for various parts of the overall program. Key Resource People and Reporting Structure • Steering Group — met on a monthly basis: Sponsor; Reps from BIG, Information Technology & Communications, Risk Management, City Library & Programme Manager + • Sponsor Art Gallery Director • Programme Manager — Gallery Manager, Collection & Exhibition Services coordinated weekly meetings of Project Managers and monthly meetings of Steering Group; pre- pared agendas, minutes & reports; budget control • Project Manager for Database Gallery Registrar • Project Manager for Web Development Gallery Website Coordinator • P M for Permissions & Data Enhancement Gallery Research Librarian • Web Developer (external contractor for initial set-up) • Project Manager for Digital Imaging Gallery Photographer • Specialist Advisors Staff from other City Council groups The Value Management methodology sometimes seemed overly bureaucratic to Gallery staff, who were impatient to “just get on with it.” However, it has to be acknowledged that, by following such a thorough process, the project received political and management sup- port at a high level. The methodology provided the required level of detail to comply with the very rigorous and thorough scrutiny of our local govern- ment stakeholders. Senior Council staff could see that the individual projects were part of a cohesive whole which met established strategic objectives: a long journey made up of small steps. If they had been attempted singly, most of the component (sub) projects would probably not have received funding. It was reassuring to realize that, as the program got bigger (and more costly), its chances of being approved got better, not worse, because the benefits were correspondingly even bigger and better. In addition to Risk Registers, Benefits Realization Plans, Business Alignment Scores and Programme Status Reports — all required by the methodology, there was still room for management by good old-fashioned common sense. For example, when the tender period unfortunately coincided with the October 2001 anthrax scares in the U.S., it was clear that a number of potential U.S. bidders/suppliers/ tenderers would not be able to meet the proposed deadline due to a slow- down in the postal system. Extending the deadline would have added sig- nificant delays to other projects, which were dependent on getting the new database up and running. The problem was solved by successfully seeking approval to vary the rules, thus allow- ing electronic submission of proposals by the closing date. Key Project Components Final approval for the program was given in June 2001. We were off! To make sure we could meet the go-live date of March 2003, there was much to be done, including: • Identify new software and replace the old collection database, including clean-up and transfer of existing data. • Capture digital images of the collec- tion; a contract photographer was hired along with rostered art handlers to photograph, over a period of ten months, the many thousands of works which had never previously been photographed. (Details of the methods used are now documented on the Gallery’s website for others who may be contemplating a similar project, at: www.aucklandartgallery. The new images were captured as 18Mb jpeg files, and smaller deriva- tives were generated for use on the database. Existing digital images were re-sized and “cleaned-up” to the standard screen-quality 480-pixel size also. • Enhance text records — descriptive information and subject search headings were added to make the database more user-friendly for the public. This was essential in order to shift the database from a staff- oriented inventory of “objects”, to a facility supporting public access to information. • Scan ephemera research material — remote electronic access was seen as an obvious way to meet a growing demand for the Research Library’s holdings of important material such continued on page 4
  4. 4. 4 as catalogues, newspaper clippings and biographical information relating to New Zealand artists and items in the collection. • Obtain copyright approvals — an extensive project was carried out to locate and seek permission from individuals and agencies, in order to publish digital images of the works on the website. Over 50 per cent of the works in the collection are subject to copyright restrictions. As part of this project, consultations were held with the iwi (Maori tribes) to ensure cultural property sensitivities are respected regarding the use of Maori images on the website. • Redesign and develop website access, which had remained largely unchanged since the site’s initial launch in 1995–1996. To gain max- imum benefit from the investment in digitizing and enhancing the records in the collection, the Gallery required a new “front door”, as well as a set of templates which would provide for future electronic resources and educational/interactive modules. By April 2002, the new database was launched to staff, complete with 8,000 images. Following an initial train- ing period, the benefits started to flow. Having a critical mass of available images made a huge difference to staff previously reluctant to use the database. Interest soared, and with many more pairs of eyes looking at the database as part of daily work routines, the job of spotting errors and omissions before going public became a little more man- ageable. The imaging project continued, and by November 2002 the proportion of the collection which had been pho- tographed had reached 99 per cent! A small celebration was held to acknowl- edge the efforts of the various permanent and temporary staff who had contributed to the success of the project to date. Work continued on developing the public access side of the project. Copyright clearances took longer than anticipated, but copyright holders were generally extremely supportive of the project, and often responded with further information about their works. The Launch! In March 2003, the Gallery’s redeveloped website was launched by the Mayor of Auckland City, marking the end of an intensive 21/2-year project, which resulted in online access to every item in the collection — including 9,000 items with publicly accessible images. (The remaining images will be added as copy- right permission is gained). We are very proud to be the first gallery or museum in New Zealand — and one of only a small number internationally — to have our entire collection online, alongside other archival resources and information on the Gallery’s activities. The redesign of the website — undertaken to coincide with providing electronic access to the collection — created an opportunity to reassess the other kinds of information offered, and provided templates for future development. Outcomes and Benefits The project has now largely achieved its main aims. Staff are using the database for a wide range of Gallery management activities, as well as for answering public enquiries. Shifting the role of the data- base from a flat inventory to a central management tool is an ongoing process. The planning of exhibitions, the gener- ation of wall labels, and the automatic recording of exhibition history are now routinely performed by curatorial staff. Incoming and outgoing loans are managed on the new system, and the Gallery’s conservators will begin record- ing condition and treatment details. Many of these tasks previously involved the laborious retyping of detailed informa- tion on works of art, with the inherent problems of transcription errors and decentralized record-keeping. The new software allows much easier updating of locations: a real issue for Registration staff, who are responsible for 11 separate storage rooms scattered in the corners and attics of the 115-year- old building. Audit and evaluation requirements can now be met more The Auckland Art Gallery — continued from page 3 Just one of the thousands of records available in the new Auckland Art Gallery online database.
  5. 5. 5 easily, and having an image of almost every item in the collection provides good security information in the event of loss or damage. The public version of the database, available through the website, has also proven useful as a quick and easy tool which the Gallery’s front-of-house and library staff can use to answer enquiries about works held in the collection. This means that infrequent users do not need training in the use of the full system, and the response time to simple queries has been reduced from up to three days to “on the spot”. The early decision to aim for digiti- zation of 100 per cent of the works in the Gallery’s collection has paid off handsomely. While this process is not a realistic possibility for some institutions, we would encourage our colleagues not to discount embarking on such a project until they have done the figures — it was not as impossible as we had first thought. There is great efficiency, as well as satisfaction, in knowing that the in-house database has an image of everything in your collection. And of course we have avoided the inevitable debates about what to include or omit, had we gone for only partial digitization of the collection There are huge advantages for curatorial staff in being able to begin planning exhibitions using digital images on their desktops. Apart from the reduced handling of fragile works and the saving of time, works which have been in storage for many years are now coming to the attention of curators, who previously lacked time to search through the collections with the depth that the database now allows. Richer exhibitions and research projects are sure to follow. The copyright clearance part of the project has enjoyed a great deal of success. Rather than copyright being an issue which we had to ”get around” or ”deal with”, it has been an excellent opportunity to make contact with artists and their descendants, while also updating details and demonstrating ongoing interest in their work. The result has been that 98 per cent of New Zealand artists that we approached have been very willing to give consent for their images to appear on the Gallery website. And of course there are benefits to the wider public. Having been funded from local government tax funds, our business case was based on providing optimum citizen value: aiming to provide efficient management of an Auckland City asset, and to provide the widest possible access to it. Works can be searched by subject or theme, in addition to title, artist, date and medium. There has already been an increase in the number of requests for reproductions of the works in the collection, due to their visibility on the website, and an increase in sponsorship enquiries and facilities rentals has been recorded since the launch. The Value Management methodology, which proved useful in identifying the sub-projects and their role in contribu- ting to overall benefits, also provides an ongoing role for the Steering Group. This group still meets regularly to review progress in the realization of benefits. This ensures that there is an overview group with the clout to assist if enthu- siasm wanes or obstacles present them- selves, even after the initial “hiss and roar” of the main project has subsided. This way, the organization’s investment is protected and long-term benefits are forthcoming. So, really, the project is an ongoing one. The online database is an exported subset of the main Gallery database, sitting on a separate server which is refreshed every two weeks to include additional images or new acquisitions to the collection. And the website itself is a Gallery function of growing importance. What’s Next? With a large bank of digital images to draw on, staff can now think more expansively about educational and interactive modules to be developed alongside the Gallery’s traditional program of exhibitions. We are discovering, as many others have, that the World Wide Web is the equivalent of a whole new wing added to our institution. This new “building” continued on page 6Curators can now search the Auckland Art Gallery’s collection in the early stages of creating a new exhibition.
  6. 6. 6 has all the needs of an actual gallery space — security, content, maintenance, marketing — but there is little additional staffing allocated to provide these func- tions. The challenge is to gain leverage from the existing efforts of staff work- ing in familiar modes, and to convert some of that effort into creating online content as an additional product. The benefits of widely increased access to the collection, albeit virtual access, don’t come without costs. The uses to which information on the collections is put can be greatly extended with the inclusion of educa- tion-focussed and interactive modules. These modules will improve the quality of research into, and teaching about, art — particularly New Zealand art history. These resources will be useful to both teachers and students, and will be provided through a medium with which young people are familiar and are increasingly using. Web access will also benefit the disabled and the elderly, who are often dependent on others if they wish to physically visit the Gallery. During its first seven weeks, the Gallery’s new website received over 26,000 visits and a great deal of positive feedback. The Gallery has cemented its position as an expert resource for pictorial information, and can now contribute effectively to a national database of heritage collections and the planned electronic New Zealand Encyclopaedia. Beyond the provision of information and images of works of art online, the Gallery has the opportunity to review and enhance the way it meets its fundamental mission of increasing understanding and enjoyment of the visual arts. The valuable knowledge contained in the most significant art collection in New Zealand is now available to everyone, regardless of his or her location, or art expertise. The doors are open, come and visit us! Of course we would still love to see you in person if you are passing our way . . . Catherine Lomas has held the position of Manager, Collections & Exhibition Services since 1996. She has also been Exhibitions Manager at the Waikato Museum of Art and History, an Assistant Curator at the Auckland War Memorial Museum and Programme Manager for the QE11 Arts Council of New Zealand. David Reeves has held the position of Registrar at the Auckland Art Gallery since June 2000. He manages a team with oversight of all storage, packing, freight, insurance and documentation of the Gallery’s collections, including new acquisitions and works borrowed and lent for exhibitions. He has an ongoing interest in management systems which streamline the multiple uses of collection-related information. David previously worked at the Museum of New Zealand Te Papa Tongarewa (Collection Management) and at the Alexander Turnbull Library (Pictorial Collections) in Wellington. Patricia Morgan has held the position of Manager, Business Support since September 2001. Her responsibilities include Building Management, Asset Management Planning, Security, and the Council-Gallery interface. Her varied career has included local government, special education, Audit New Zealand, the banking industry and the engineering sector. The Auckland Art Gallery — continued from page 5 The Auckland Art Gallery is housed in two buildings in central Auckland.
  7. 7. 7 Many of us look forward to the summer months so that we can be outdoors enjoying the warmth of the sun, which we dreamt about during the dreary winter months. Summer is a time for picnics, backyard cookouts, a day at the beach and even some boating. However, summer is also the time of year for major construction work. Our museums become hard-pressed during the summer months to balance their construction projects while also ensuring the safety of our visitors as they enjoy the institutions we serve. With summer come many different challenges for administrators, such as air-conditioning demands, special pro- jects, landscaping requirements with possible watering restrictions, and higher attendance to our facilities. We also struggle with road construction, either to or from our institutions, as well as local and community events which may have an impact on our museums. Summer brings the most unpredictable weather as well, adding a separate set of variables to our daily schedules. Whatever lies ahead, I’m sure we’ll find a way to move forward. It also is reassuring to remember that being part of the IAMFA family allows us to phone or e-mail another member to seek advice or an opinion. In the spring issue of Papyrus, Pierre again showed his networking skills to our IAMFA members. The Ottawa- Gatineau Chapter’s field trip may have been bitterly cold and delayed; however, through Toby Greenbaum’s article I was able to place myself on this field trip — although I got to stay warm and dry. Congratulations to Toby as Chairperson, and for preparing such an informative article for Papyrus. Pierre Lepage also mentioned in the spring issue that two board positions will be open for election this fall. I will miss both Pierre Lepage and Carole Beauvais, both of whom have been extremely devoted to IAMFA. Pierre has brought our newsletter Papyrus to the forefront, proving that the many hours required to produce our news- letter have benefited many. Carole has also contributed her skills in promoting Regional Chapters, and her input as a Board Member will be greatly missed. Please consider a position this fall, as we look for new board members to continue our mission as museum administrators willing to share with others, and to bring value and professional development to our IAMFA family. Joe Brenman, our northern California Chairperson, has been working hard to bring our 2003 Conference to San Francisco. Please plan to attend, as we are sure to have a memorable and enriching experience. If you haven’t registered, please do so today. With our nation and local com- munities readjusting to the threat of terrorism, may our summer bring some relief and enjoyment to what has been a very challenging year. Let’s plan to reunite in San Francisco, and continue to develop a stronger IAMFA family. Hope to see you in September. William Caddick IAMFA President 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
  8. 8. 8 In 1996, the Canadian Museum Civili- zation Corporation (CMCC) chose to outsource the operation of their facility and issued a Request For Proposals (RFP). At that time, Black & McDonald (B&M) was relatively new to the man- agement of critical operations, but the RFP as set out seemed to be a natural fit for our corporate “service” profile and strong mechanical and electrical back- ground. The document concentrated on the deliverables that the CMCC expected from the potential service provider, and requested detailed information from the respondents on how they would deliver each element. Price was certainly a strong consideration, but only once the operational needs were successfully met in the contractor’s RFP response. We were convinced that the success of any bid would rest on a true understanding of the client’s operations and needs. Fortunately, our presentation was successful, and we secured a contract to operate and maintain the Corporation’s electrical/mechanical systems on a 24/7 basis. This contract, which came to be known as the Plant Services Contract, consisted of an on-site Project Manager, a Support Clerk, and a support staff of 12 tradesmen consisting of Stationary Engineers, Maintenance Mechanics, and Maintenance Electricians. Following an intense learning curve at the onset of the contract, B&M set out to evaluate the CMCC’s existing systems and pre-established maintenance sched- ules. The former service provider (the federal government’s Public Works Department) had their proprietary facility management software in place, and we had to transfer the equipment list and preventative maintenance routines over to our CMM system (see our article “Black & McDonald, CMM, and Museums, in the Summer 2002 issue of Papyrus). We combined our observations and experience with a “life-cycle costing initiative” (LCC) that had been commissioned by the client with various engineering firms. The LCC called for millions of dollars in replacement equipment over a ten- year period. These replacements had been prepared using standard industry actuarial tables. Given our on-site advantage, B&M staff were able to eval- uate the condition of the individual pieces of equipment and to compare them against the LCC. From this infor- mation, we were able to track the performance of the various systems vis-à-vis unscheduled repairs. This analysis allowed us to recommend a program of replacement based upon this performance, and to purchase and keep on hand a minimum of replace- ment parts (which fit well with our “just- in-time” delivery model). For example, the 150 or so electrical motors in the various air-handling units were sched- uled for replacement before the turn of the century. To date, however, over two-thirds of the original motors instal- led in 1988 are still operating well within design parameters! Our next initiative was to review expenditures for replacement materiel, in order to establish a list of the most expensive categories. We then looked at each of the items to determine if there were potential savings through changes in how this maintenance was carried out. For example, we found that the electronic humidification systems attached to each of the 150 air-handling units were absorbing one-third of of our entire material budget! This was primarily due to the replacement of the steam “bottles” which were failing rather quickly under extremely heavy use (due Museum and Gallery Maintenance Outsourcing — A Journey by Richard Harding Canada Day at the Canadian Museum of Civilization.
  9. 9. 9 to the need to maintain important and fragile collections, air humidity is tem- pered year-round). Our investigations showed that the breakdowns were due to steel electrode degradation and excessive scale build-up. We were able to find a local metalworker who could fabricate the electrodes out of stainless steel (concerns that these would poten- tially not perform well were shown to be false). We then started an aggressive program to look at various ways of disassembling the units and removing the scale build-up without harming the plastic bodies. We followed this up by arranging with one of our electricians to rebuild the humidifier control boards that were no longer being manufac- tured and were thus only available at an extremely high cost. The results of these initiatives reduced the material costs of bottle maintenance from $45,000 per year to less than $20,000! The next step in the journey was to look at operational improvements which could lead to potential energy savings. Working closely with the client’s staff, we were able to identify several initiatives which could lead to substantial energy savings, through a combination of equipment additions and modifications, and/or changes to operational tasks. These included the relocation of an unused speed drive from the heating system to the chilled water system, and modifications to the summer hot deck and winter cold deck set-points. These produced exceptional results which were directly measurable through sustained reduced electrical consumption. The actual energy savings amounted to over $30,000 per year, while also reducing wear-and-tear on the affected systems. As the relationship and trust between client and service provider grew, so did the responsibilities under the contract. Three years into the first contract, B&M was able to secure a contract to oversee the day-to-day operations of the facility. This included the direction of snow removal, landscaping, and cleaning sub- contracts, as well as the maintenance of all security equipment and systems, handyman services, and locksmithing. At present, B&M has a staff of 21 full- time employees working for the CMCC, and is an integral part of the client’s service delivery team. continued on page 9 National Gallery of Canada. The lighthouse outside Canada Science and Technology Museum.
  10. 10. 10 Advertisement in Papyrus I would like to remind you that an advertisement policy for Papyrus was approved at the General Assembly of the Membership in London, September 25, 2002. Under this policy, we can now publish advertisements for services related to facility management in cultural institutions. Advertisement space may not to exceed one page, and each page can be subdivided into 8 quads. Advertising costs $200.00US per quad, for 3 consecutive issues. Size space is limited, the demand will be honoured on a first- come, first-served basis, following reception of payment — including a letter of confirmation from the facility manager of the institution using these services. Payment should be made out to IAMFA, and sent to the IAMFA Treasurer, c/o Kevin Strieter, High Museum of Art, 1280 Peachtree Street, N.E., Atlanta, Georgia, 30309, U.S.A. All advertising funds will be used for the production of the Papyrus journal, and we encourage you all to promote this opportunity among your local providers of facilities management services. Pierre Lepage Papyrus Editor This initial contract and relationship with the CMCC has been followed up with facility management and/or main- tenance contracts with the Canada Science and Technology Museum, the Canada Aviation Museum, the National Gallery of Canada, and the Canadian Museum of Contemporary Photography. This performance model takes a pragmatic approach to facility man- agement and the maintenance of building systems for museums and galleries, and has been successfully applied from our various offices to contracts in the educational field and industrial production facilities across Canada. However, this is not based on a “cookie-cutter” mentality, but rather on understanding the particular requirements of the client’s business, and customizing our management approach to meet these requirements. The critical need to assure that the country’s valuable historical artifacts and collections are protected is no different than the need to assure that a brewery’s production line continues to operate, or that a university lecture theatre’s environmental conditions allow students to study in comfort. It is this understanding that is at the heart of business success in the arena of specialized institutional and industrial maintenance. Each contract builds upon our experience and depth of knowledge, but all can be traced back to that first contract, in which Black & McDonald and the Canadian Museum of Civilization Corporation forged a true partnership, designed to maximize the value of main- tenance costs. This highly successful outsourcing initiative has substantially reduced historic maintenance costs, allowing the CMCC to fund other ini- tiatives under their “core” responsibility: protecting and exhibiting the cultural treasures of our nation. The rest, as they say, is history. Richard Harding is a graduate Architect and Manager, Facility Management and Operations for Black & McDonald Ltd. in Ottawa, Canada. He can be reached at Museum and Gallery Maintenance Outsourcing — continued from page 9 Canadian Museum of Contemporary Photography.
  11. 11. 11 With the groundbreaking scheduled for Spring 2003, The High Museum of Art in Atlanta, Georgia, is embarking on a two-year construction project which is slated to open in the summer of 2005. The original Richard Meier-designed building, which was completed in 1983, will be partnered with a group of three structures designed by the Renzo Piano Building Workshop of Genoa, Italy. Due to unprecedented growth at the High during the past decade, the Museum is working with the Renzo Piano team to create facilities that will meet the demands of a larger and more diverse audience, while also accom- modating its growing programs and collections. The High’s annual atten- dance has soared to nearly 500,000 visitors a year; its collection has nearly doubled since 1983; and its member- ship of 41,500 households — which has nearly tripled since 1995 — places the High among the Top 10 art institutions in the United States. The High’s new facilities, which will encompass 177,000 square feet (the original building is 145,000), will provide additional gallery space for the Museum’s expansive permanent collection; enlarged special exhibition space; and improved visitor amenities, including a retail shop and coffee bar. The facilities will allow the High, which has the largest and most comprehensive collection of art in the Southeastern United States, to display more of its rapidly growing permanent collection for the benefit and enjoyment of the people of Atlanta and visitors from around the world. As the Manager of Facilities and Logistics for the High Museum, I’ve found that managing the original Meier- designed facility for the last five years has presented its share of challenges. The white porcelain-clad metal panels on the building’s exterior always seem to need cleaning, or re-caulking, or chip repair. Keeping the HVAC balanced and the RH level at 50 per cent — in a metal and glass-clad building with an open floor plan and a substantial atrium in the Atlanta heat and humidity — keeps my job interesting. The large extent of radius walls and other non-linear surfaces, and the many custom glass sliders and curtain walls make recon- figuring and repair projects a costly and time-consuming affair. I’ve worked closely with architects, engineers and project managers in reviewing maintenance and logistics issues in the 1983 facility, with an eye toward heading off these issues in the new Piano buildings. The Piano Workshop’s design for the expansion of the High encompasses three new buildings: a main pavilion, a special collections building, and an administrative office building. The main pavilion will feature an expansive, light- filled lobby with an outdoor terrace, retail shop, coffee bar and visitor amenities. The lobby level and two upper gallery floors will have barrel- vaulted ceilings constructed of pre-cast concrete, with all lighting, sprinkler systems, return air plenum and art- hanging brackets fitted in the reveals between each row of vaults. Needless to say, maintenance access will be tight in this ceiling system. One of the most visually exciting ele- ments of the Piano design will be the skylight system on the top floors of the main pavilion and smaller gallery build- ing: 1,000 two-foot-diameter skylights placed in cast concrete “chimneys”, with exterior fiberglass hoods designed to block the harsh southern sun and diffuse a controlled, natural light. My concern for the cleaning and repair constraints posed by this admittedly beautiful sky- light system prompted me to bring in my exterior building maintenance contractor early on in the design process. After examining the ergonomics of these closely-spaced skylights, we were able to project the procedures and costs involved in keeping everything clean and in good repair. Additionally, the new pavilion and gallery building will be connected to the Meier building with a series of glass A New High for Atlanta by Kevin Streiter The roof cover design — typical roof light, true north south. continued on page 12
  12. 12. 12 bridges. The maintenance of these structures was studied closely by the building team, and hardened points were placed to enable walking on the glass roofs, as were brackets for crews to tie onto and swing from. The new buildings’ facades will be paneled with an off-white marmarino: a textured marble-dust stucco selected to compliment the existing building’s white porcelain-clad panels. As is the case in the original building, this exterior system may prove challenging to keep clean in an urban environment. We’ve done extensive test-cleanings on an eighteen-foot mock-up structure with promising results. It’s the frequency of the cleanings in the less-then-pristine Atlanta air that must be taken into account when creating a new budget for the expanded facility. The art centre will be receiving an entirely rebuilt truck bay and loading dock facility, with room for three simul- taneous big-rig deliveries, as well as a wet dock for catering and contractor usage. This represents the introduction of additional heavy equipment and systems into the High’s facility budget. With an expansion that brings a total of 322,000 square feet comes additional staffing: housekeeping, maintenance, engineers and security — all within the facilities operations purview and all pro- viding new challenges in the current atmosphere of tight budgets. We have a plan in place to start staffing on the thin side, later ramping up hiring as needed. Attending meetings and planning over the last two years, re-examining, changing designs and then changing them again: standard stuff for anyone who has gone through a large construc- tion or renovation process. As for us at the High, knowing that we’d have only ourselves to blame for any maintenance issues that we’d overlooked and were now saddled with has really kept us motivated. I’m sure that there will be plenty more to come as construction gets underway, and I look forward to sharing progress on the High’s expan- sion project with the IAMFA community over the next two year — perhaps even welcoming the group as a conference host sometime after our project’s completion. Kevin Streiter has over twelve years of facilities management experience. He has also served for five years as construction project manager in both commercial and high rise residential work. He has served as the Manager of Facilities and Logistics at the High Museum for the past five years. South elevation showing new Pavilion on left and existing Richard Meier building on right. A view across the Piazza of the Main Pavilion, which will be one of three new buildings designed by the Renzo Piano Building Workshop. A New High for Atlanta — continued from page 11
  13. 13. 13 Museums on the Edge IAMFA Conference 2003 in San Francisco — September 21–24, 2003 The Northern California Chapter invites you to the 13th Annual IAMFA Conference, September 21–24, 2003. Have you made your reservation yet? — Joe Brennan. Joe Brennan Chairman — Conference 2003 For more information on this year’s conference, please contact us at IAMFA2003@netscape.neta 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? 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
  14. 14. 14 @@@@@@@@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 @@@@@@@@ @@@@@@@@ @@ @@@@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@@@ @@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@@@@@@@ @@@@@@ @@@@ @@@@@@ @@ @@@@@@ @@@@ @@@@ @@@@ @@@@@@@@ @@@@ @@ @@@@@@@@@@@@ @@ @@@@ @@@@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@@@@ @@@@@@ @@@@@@@@@@@@ @@@@ @@ @@@@@@@@@@@@ @@ @@@@ @@@@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@ @@@@@@@@@@@@ @@@@ @@ @@@@@@@@@@@@ @@ @@@@ @@@@@@@@@@@@ @@@@@@ @@@@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@ @@ @@ @@@@@@ @@@@ @@ @@@@@@ @@ @@ @@ @@ @@@@@@ @@ @@ @@ @@@@ @@@@ @@ @@@@@@ @@@@ @@ @@ @@@@@@ @@ @@ @@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@@@ @@ @@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@ @@ @@@@ @@ @@@@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ @@@@ @@@@ @@ @@@@ @@ @@ @@@@ @@@@ @@ @@@@ IAMFA 2003 IN SAN FRANCISCO The Northern California Chapter Welcomes you! September 21–24, 2003 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS Ⅺ YES! Sign me up to attend the 2003 IAMFA Annual Conference in San Francisco, California, U.S.A. Name: ___________________________________________________________________________ Title: ____________________________________________________________________________ Institution:_______________________________________________________________________ Address: _________________________________________________________________________ City: _________________________________________ Postal/Zip Code: _________________ State/Province/County: ______________________ Country: _________________________ Phone: ________________________________ Fax: ____________________________________ E-mail: __________________________________________________________________________ Special dietary requirements:____________________________________________________ ALL FEES ARE PAYABLE IN U.S. DOLLARS Ⅺ Member Fee: $350 Ⅺ Non-member conference fee: $400 Ⅺ Sign me up as a new IAMFA member: $150 Ⅺ Guest Programme: $250 Guest Name: _________________________________ Ⅺ Day Attendance: $150 per day Ⅺ MON Ⅺ TUE Ⅺ WED Please remit to: International Association of Museum Facility Administrators IAMFA c/o Kevin Streiter, High Museum of Arts 1280 Peechtree NE Atlanta GA, 30309 U.S.A. I require an invoice: Ⅺ Yes Ⅺ No SUGGESTED ACCOMMODATION The conference hotel will be the Hotel Milano, located at 55 Fifth Street between Mission and Market Streets, conveniently near the San Francisco Museum of Modern Art (SFMOMA) and Yerba Buena Gardens, and just around the corner from the San Francisco Centre and Nordstrom. The Milano is SFMOMA’s choice for visiting artists and curators, and the room rate during the conference will be $109, double occupancy. Conference participants should reserve their accommodation directly with the Hotel Milano at 1-800-398-7555. We are holding a block of rooms at this price in this convenient location, so please book early. The group room rate will apply to rooms booked from September 19 through September 28 for those arriving early, staying later or both! For airline bookings and additional travel assistance we recommend Jane Scott at Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you call the Hotel Milano or Jane Scott. Please check the IAMFA website for updates at: ¡ 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 Boston, USA James Labeck Isabella Stewart Gardner Museum Chicago, U.S.A. William Caddick Art Institute of Chicago 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
  15. 15. 15 Glen Hodges Australian Museum 6 College Street Sydney Australia 2010 Carole Beauvais National Archives of Canada 395 Wellington Ottawa, Ontario K1A 0N3 Canada Bob Chartrand Canada Science and Technology Museum 2421 Lancaster Road Ottawa, Ontario K1G 5A3 Canada Chan Hung Do Canadian Museum of Civilization 100 Laurier Street Hull, Quebec J8X 4H2 Canada Ian Follett Facility Management Services Ltd. 45 Maryland Place, SW Calgary, Alberta T2V 2E6 Canada Gerry Potoczny Canadian Museum of Nature P.O. Box 3443 Stn. D Ottawa, Ontario K1P 6P4 Canada Lucie Lanctot Canadian Museum of Nature 1740 Pink Rd. Aylmer, Quebec Canada CANADA AUSTRALIA Guy Larocque Canadian Museum of Civilization 100 Laurier Street Hull, Quebec J8X 4H2 Canada Pierre Lepage Canadian Museum of Civilization 100 Laurier Street Hull, Quebec J8X 4H2 Canada José Luis Oliveros Centre canadien d’Architecture 1920, rue Baille Montréal, Quebec H3H 2S6 Canada Christian Pagé Canadian Museum of Civilization 100 Laurier Street Hull, Quebec J8X 4H2 Canada Peter Fotheringham National Gallery Trafalgar Square London, England WC2N 5DN peter.fotheringham@ Dawn Olney The British Library 96 Euston Rd. London, England NW1 2BD Graham Pellow Natural History Museum Cromwell Road London, England SW7 5BD ENGLAND Jan Abrahamse Rijksmuseum Stadhouderskade 42 1071 ZD Amsterdam The Netherlands W. Anthony National Museum of Scotland 73 Belford Rd. Dean Gallery Edinburgh, Scotland EH4 3DS Robert Galbraith National Galleries of Scotland Chambers Street Edinburgh, Scotland EH1 1JF robert.galbraith@ Jack Plumb National Library of Scotland George IV Bridge Edinburgh, Scotland EH1 1EW Rogelio Diez Guggenheim Museum Abandoibarra 2 48001 Bilbao Spain ARIZONA Robert A. Marino, P.E. Mueller & Associates Inc. 2127 East Speedway Tuscon, AZ 85719 USA USA SPAIN SCOTLAND THE NETHERLANDS CALIFORNIA Donald Battjes Los Angeles County Museum of Art 5905 Wilshire Blvd Los Angeles, CA 90036 USA Joe Brennan San Francisco Museum of Modern Art 151 Third St. San Francisco, CA 94103-3159 USA James L. Bullock J. Paul Getty Museum 1200 Getty Center Dr., Ste. 1000 Los Angeles, CA 90049-1678 USA John Coplin Santa Barbara Museum of Art 1130 State Street Santa Barbara, CA 93101-2746 USA Director, Property Management Henry E. Huntington Library & Art Gallery 1151 Oxford Road San Marion, CA 91108 USA John Donohoe J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA Steven Ernest Indianapolis Museum of Art 4000 Michigan Rd. Stanford, CA 94305-5060 USA IAMFA Members Directory 2003
  16. 16. 16 CALIFORNIA (cont’d) Jennifer Fragomeni Exploratorium 3601 Lyon Street San Francisco, CA 94123 USA Steven Green Cantor Center for the Visual Arts Cantor Center Stanford, CA 94305-5060 USA Oren Gray J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA Jim Hartman Fine Arts Museums 233 Post St., 6th Flr. San Francisco, CA 94108 USA David Hillbrand Yerba Buena Center for the Art 701 Mission Street San Francisco, CA 94103 USA Andy Hirshfield Exploratorium 3601 Lyon Street San Francisco, CA 94123 USA Randy Murphy Museum of Contemporary Art 250 S. Grand Ave., California Plaza Los Angeles, CA 90012 USA Michael Orth J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA Ronald Romo J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA Jeff Sheahan California Academy of Science Golden State Park San Francisco, CA 94118 USA Brenda Sheridan Long Island Beach Museum 2300 East Ocean Blvd. Long Beach, CA 90803 USA Will Spencer J. Paul Getty Museum 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA James A. Surwillo Japanese American National Museum 369 East First St. Los Angeles, CA 90012 USA Leonard B. Vasquez Charles M. Schultz Museum 2301 Hardies Ln. Santa Rosa, CA 95403 USA CONNECTICUT Ernest Conrad Landmark Facilities Group Inc. 252 East Avenue Norwalk, CT 06855 USA Director, Property Management Yale University P.O. Box 2082288 New Haven, CT 06520-8228 USA DISTRICT OF COLUMBIA Joe Donovan Carr Real Estate Services Inc. 1850 K Street NW Washington, DC 20006 USA Michael Giamber National Gallery of Art 6th St. & Constitution Ave. NW Washington, DC 20565 USA Fletcher Johnston Hirshorn Museum and Sculpture Independence Ave at 7th Street, SW Washington, DC 20560-0350 USA Richard Kowalczyk National Air and Space Museum 601 Independence Avenue, SW Washington, DC 20560-0303 USA Eugene F. Ramatowski U.S. Holocaust Memorial Museum 100 Raoul Wallenberg Place, SW Washington, DC 20024-2126 USA Kurt Sisson National Gallery of Art 6th St. & Constitution Ave., NW Washington, DC 20565 USA GEORGIA Kevin Streiter High Museum of Art 1280 Peachtree NE Atlanta, GA 30309 USA kevin.streiter@ HAWAII Robert White Honolulu Academy of Arts 900 S. Beretania Street Honolulu, HI 96814 USA ILLINOIS Mr. Barnes Art Institute of Chicago 111 S. Michigan Ave. Chicago, IL 60603-6110 USA Brendan Berry Advantage Operations, Art Institute 125 E. Monroe Chicago, IL 60603-1073 USA Bill Caddick Art Institute of Chicago 111 S. Michigan Avenue Chicago, IL 60603-6110 USA Don Meckley Museum of Contemporary Art 220 E. Chicago Avenue Chicago, IL 60611-2604 USA MARYLAND Alan Dirican Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD 21218-3898 USA Jeffery H. Greene Banneker-Douglas Museum 84 Franklin Street Annapolis, MD 21401-2738 USA IAMFA Members Directory 2003 USA (cont’d)
  17. 17. 17 Alex Petrlik Principal Mueller Associates, Inc. 1401 S. Edgewood St. Baltimore, MD 21227 USA MASSACHUSSETTS David Geldart Museum of Fine Arts 465 Huntington Ave Boston, MA 02115 USA James S. Labeck Isabella Stewart Gardner Museum 2 Palace Rd. Boston, MA 02115 USA NEW YORK Michael Ambrosino Ambrosino, Depinto & Schmieder 275 Seventh Ave. 21st Floor New York, NY 10001 USA Martin Cavanaugh Pierpont Morgan Library 29 East 36th Street New York, NY 10116 USA mcavanaugh@ William Esposito Jr. Ambient Labs, Inc. 55 West 39th Street, 12th Floor New York, NY 10018-3803 USA Lloyd Headley Brooklyn Children’s Museum 145 Brooklyn Ave Brooklyn, NY 11212 USA Daniel McCormick George Eastman House 900 East Avenue Rochester, NY 14607 USA Harry Soldati Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238 USA Stan Zwiren Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238-6052 USA OHIO Paul Bernard Toledo Museum 2445 Monroe Street, Scottwood Avenue Toledo, OH 43697 USA David Nawrocki Columbus Art Museum 400 E. Broad St. Columbus, OH 43215 USA Mr. Scott Cincinnati Art Museum 953 Eden Park Drive Cincinnati, OH 45202-1596 USA PENNSYLVANIA Larry Armstrong Carnegie Museums 4400 Forbes Avenue Pittsburgh, PA 15213 USA armstrongl@ Douglas Bowerman Allentown Art Museum 5th and Court Streets P.O. Box 388 Allentown, PA 18105-0388 USA operations@ Bob Morrone Philadelphia Museum of Art 26th & Benjamin Franklin Pkwy. P.O. Box 7646 Philadelphia, PA 19101-7646 USA Victor T. Razze Brandywine River Museum and Conservatory P.O. Box 141 Chaddis Ford, PA 19317 USA Richard J. Reinert Affiliated Building Systems 2600 Benjamin Franklin Pkwy. Philadelphia, PA 19130 USA SOUTH CAROLINA Claudia Beckwith Greenville County Museum of Art 420 College Street Greenville, SC 29601 USA William Taylor Cultural Facilities Management Group 385 Spring Street Spartanburg, SC 29306 USA TENNESSEE Steve Kirby Frist Center for the Visual Arts 919 Broadway Nashville, TN 46208 USA TEXAS Henry Griffin Museum of Fine Arts, Houston 1001 Bissonnet, P.O. Box 6826 Houston, TX 77265-6826 USA Jeffery Ryan Jackson and Ryan Architects 2370 Rice Boulevard, Suite 210 Houston, TX 77005 USA VIRGINIA John Cannup Mariner’s Museum 100 Museum Drive Newport News, VA 23221-2466 USA Tom L. Peck Colonial Williamsburg Foundation Williamsburg, VA 23187-1776 USA WISCONSIN Richard Swainston Milwaukee Public Museum 800 Wells St. Milwaukee, WI 53233 USA IAMFA Members Directory 2003 This list reflects membership dues paid as of April 30, 2003. 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@ Thanks very much.
  18. 18. 18 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.
  19. 19. 19 No matter what the future brings, as time goes by. As I write this, the aftermath of the war and the threat of SARS are still echoing in the background, and the movie The Matrix Reloaded is number one across North America. At last, the long awaited summertime is on our doorstep. I searched for days for inspiration in writing this column about the regional chapters — and then I heard the song, “As time Goes By”. A few lyrics were quite useful in expressing my general sentiment toward the evolution of our Regional Chapters. You must remember when . . . hmm-mm-mm-mm- mm-mm . . . Yes, I remember when, and why, the Chapters were established — and with great enthusiasm from our member- ship. I also remember the dedication of the members who volunteered to be the first IAMFA Chapter Chairpersons. That was almost three years ago. I also remember a great event in San Francisco in May 2001, which led to the crea- tion of a new Chapter under the leadership of Joe Brennan of the San Francisco Museum of Modern Art. The best thing of all? The members of this new Chapter who are hosting us in a very promising venue for the 13th Annual IAMFA Conference in September 2003. The fundamental things apply . . . That being said, I sense that some of our Chapters are evolving very slowly — perhaps too slowly. This is true many Chapters, although there are a few exceptions. To ensure the success of our Regional Chapters, we must return to a fundamental approach in reaching potential IAMFA members. Our most successful approach has been the use of personal calls, letters and e-mails to colleagues and individuals from the industry, enabling us to reach out and tell them about IAMFA. Despite your hectic schedule and budgetary restraints, I urge every member to take some time to meet their regional colleagues for peer support and sharing. How about a lunch, a visit, a meeting soon? . . . a case of do or die . . . IAMFA needs to establish new regional chapters, while also reinforcing the existing ones. Just recently, we lost our Houston/San Antonio Chapter, despite the many attempts of our colleague, Gary Morrison, to reach some potential members — to no avail. Collectively, we have to make every attempt to reach more members and reinforce our presence in various countries. If not, I foresee that the very future of our Association is at stake. As in any other organization, we must grow and seek out new members, who will bring fresh new ideas to the table and enhance professional development. Yes it is becoming a case of do or die. I don’t want to sound too alarmist, and I truly believe we still have time to act and plan a good recruiting strategy to ensure the future of IAMFA. What if each of us could enlist just one new member this year? . . . as time goes by . . . As some of you may be aware, September 2003 in San Francisco will be election time. We will need to elect a new VP Regional Affairs, and also renew the two-year mandate for Chapters Chairpersons and Coordinators. If you are interested in a position dealing with regional business, please do not hesitate to contact me at carole.beauvais@ I am confident that together we can accomplish our goals, because the IAMFA spirit is here to stay, “no matter what the future brings, as time goes by.” For more on what’s happening at some of your current and future Chapters, read on! Northern California Chapter Special thanks to Joe Brennan for this report The Northern California Chapter is meeting bimonthly this year to prepare for the annual conference in September. We have been hosted by the Blackhawk Museum in Danville, the Yerba Buena Center for the Arts, the San Francisco Fine Arts Museum’s Legion of Honor and the California Academy of Sciences. Each has given us a meeting room, hospitality, a presentation and an informative tour, which has benefited the membership because you always come away with an idea or few. Our conference planning is focused on committee work, divided into Program, Logistics and Finance. We are doing Carole Beauvais, Vice-President, Regional Chapters Regional Chapters continued on page 20
  20. 20. 20 our part to put together a great conference, and we would really appreciate it if everyone reading these words did their part by registering for the conference, before the sun goes down today! We had hoped to recruit for the chapter, using the conference to do so, but this is not as easy as it appeared when suggested. It is asking a lot for someone to learn about, accept and join IAMFA in short order, then accelerate up to staging a conference. We are still hoping to attract some motivated members to join and assist in the effort — if you are out there, please contact us at Ottawa-Gatineau (Canada) Chapter Special thanks to Toby Greenbaum for this report It has been a busy year for the museum community in Ottawa-Gatineau, and our chapter’s activities reflect that. The Portrait Gallery of Canada (PGC) announced the selection of the architectural team, and is deep into the schematic design phase of the project. This project will be housed in the old American Embassy — including a new addition to the existing building — and is located directly across the street from Canada’s Parliament Buildings. Several of our regional members are involved in this project, with Terresa MacIntosh as the Project Leader for the PGC and Paul Caracristi as the Project Manager for Public Works and Government Services Canada (PWGSC). The Canadian Museum of Nature (CMN) Revitalization Project is also com- pleting its design development phase with Gerry Potoczny as the Project Manager for the CMN and Elaine DeCoursey as Project Manager for PWGSC. The Canadian Museum of Civilization Corporation (CMCC) is busy with the new Canadian War Museum, which is well into the construction phase, with Guy Larocque as Project Manager for the CMCC. Finally, Canada’s Prime Minister has announced a new legacy museum called the Canadian History Centre, which will be housed in the Conference Centre, which was once Ottawa’s central train station, and is located across the street from the Chateau Laurier Hotel, where many of you stayed during the 1999 IAMFA conference. Our regional meeting schedule began this year in October with a meeting hosted by the Director of Facilities, Gillles Landry, at the National Arts Centre (NAC). The NAC is located in downtown Ottawa, and houses three theatres: the Opera (Southam Hall, named after the first director and founder of the NAC); the Theatre (a smaller theatre for dance and plays) and the Studio (a small, intimate space for more cutting-edge works). The complex was built in 1967 to mark Canada’s centennial. As with all of our local meetings, we began with networking time over lunch, a business meeting and a presentation/tour. In this case, we concluded with an in-depth tour of this significant complex. Our next meeting, in January, was the chapter’s fabulous adventure to Montreal, which you can read about in the last issue of Papyrus. The March meeting was hosted by PWGSC in our sleek new boardroom, which also acts as a “war room” for emergency situations which might occur in the 1.4-million- square-foot complex with 6,000 employees in which we are located. A PWGSC expert on Infrastructure Continuity Planning gave a timely presentation. In the aftermath of 9/11 there is a particular urgency when it comes to develop- ing and implementing appropriate emergency plans. This presentation was of great interest to those in attendance. Finally, in May, the Canadian Museum of Civilization hosted our final meeting for this season. Guests came from cultural institutions in both Toronto and Montreal for this afternoon event. Raymond Moriyama, an esteemed elder statesmen within the Canadian architectural community and the architect for the Canadian War Museum, gave a presentation on the War Museum project. This was followed by a tour of the CMC, a viewing of a spectacular IMAX film and a lovely supper with a fabulous view of Parliament Hill from the CMC’s spectacularly sited restaurant! Wish you were here! Western Pennsylvania (USA) Special thanks to Larry Armstrong for this report During the spring of 2003, we began to compile a list of possible organizations that might be interested in the formation of a Western Pennsylvania chapter of IAMFA. We have started to meet with some of those organizations to discuss IAMFA and the formation of a local regional chapter. In addition, we have met with other local IAMFA members in Pittsburgh to make them aware that we are chairing and hosting the 14th Annual IAMFA Conference in Pittsburgh in 2004. If you are interested in joining our Chapter, please do not hesitate to contact Larry Armstrong at armstrongl@ New York Chapter Special thanks to Lloyd Headley for this report Since the London Conference in September 2002, our Chapter has been hard at work in collaboration with a task force from the Mayor’s Office O.E.M. (Office Emergency Management) on a Disaster Preparedness Plan that will be made available to all museums, libraries and cultural institutions. Regional Chapters — continued from page 19
  21. 21. 21 Martin Cavanaugh, Director of Operations at The Pierpont Morgan Library announced his retirement; his last day was May 30, 2003. Congratulations to Mr. Cavanaugh from all his colleagues and friends. Your leadership will be greatly missed. New York is facing a significant financial crisis that affects the budgets of all institutions which depend on the state and the city for financial support. Some institutions, such as the Brooklyn Museum of Art, are planning to close for two weeks during the summer while also placing a hiring freeze on vacant positions. Budgets for professional development are nil, and our members are hoping things change, in time to make the 13th Annual IAMFA Conference in San Francisco a possibility for us. Overall, the New York Chapter is going strong and pro- viding much-needed support and guidance for its members during construction, renovations and training. Our monthly meetings are a great venue to network and share ideas. For more information on the New York Chapter, or to join, please contact Lloyd Headley at Chicago (USA) Chapter Special thanks to Bill Caddick for this report The Field Museum has made some administrative changes, and has announced that Nancy Medina will replace Lou French as Director of Facilities. The Field Museum is currently undergoing major renovations, including the installation of a completely new chiller plant. Ice storage has been particularly challenging. The Museum of Contemporary Art (Don Mackley) is back on his feet, and seems to handling his daily duties well. Like most of us, he is pursuing funding for capital improvements. Life-cycle issues on mechanical equipment seem to be at the top of this list. The Museum of Science and Industry has also had a change in leadership, and Greg Prather is the new Director. Greg is currently completing a total renovation of the food court, which many other museums are looking at. The Culture Center of the City of Chicago doesn’t currently have museum status; however, it currently houses a traveling exhibition of prints and drawings, causing the Center’s Deputy Director to request many museum policies, for which he is very grateful to our IAMFA family. For more information on the Chicago Chapter or to join, please contact Bill Caddick at: Atlanta (USA) Chapter Special thanks to Kevin Streiter for this report Efforts to establish an IAMFA chapter in the Southeastern U.S. have not been successful, largely due to the severe budget cuts in this region’s museum sector. Attempts have been made to stay in contact with counterparts in the many fine museums of this area, but all are reporting the same thing: the leadership of their institutions are not allowing them to include membership dues in their drastically slashed budgets. We hope that with the slowly-improving U.S. economy our Southeastern museum facilities colleagues will be more able to join our fine organization in the coming 12 to 18 months. We will continue to place calls, send out copies of, etc. in this effort. For more information or to join, please contact Kevin Streiter at: Bilbao (Spain) Chapter Special thanks to Rogelio Diez for this report This year’s activities are similar to last year’s. We have contacted several museums via mail, but interest is not high at present, and we think they may perceive IAMFA as being somewhat “far” from Spain. The chapter plans to inform Spanish museums (end of this year or begin- ning of next) that IAMFA is coming to Spain for its 2005 annual conference, and that it would be a great opportunity for them to learn about the advan- tages of joining an international organization like IAMFA. For more information please contact Rogelio Diez at: Washington/Baltimore Chapter Special thanks to Fletcher Johnston for this report The Washington Region has been enmeshed primarily with security upgrades during the past year. At the Smithsonian Institution (SI), our members have finally begun putting in place the long-planned reorganization and consolidation of building management functions into eight facility management zones. The goal is to have all zones fully integrated by January 2004. In the interim, everyone at the Smithsonian now reports to two different supervisors: one at their individual museum, and another at the Smithsonian Facility Management Office. As you can see, this reorganization is still evolving, and more information will be forthcoming. For more information on the Washington Chapter or to join please contact Fletcher Johnston at: Rogelio Diez
  22. 22. 22 The National Galleries of Scotland are about to take delivery of the first stage of restored exhibition galleries in the centre of Edinburgh (the Royal Scottish Academy building), which will open to the public with a Monet exhibition in August 2003. The second phase, to be completed in 2004, will provide visitor services in an underground link to the National Gallery — which some of you will remember as the building where we had our banquet a few years ago. Unusually perhaps for buildings of their era (1833 and 1855), both the National Gallery and the Academy were built on landfill sites, the earth having been excavated from the foundations of the (first) Edinburgh New Town — and estimated in 1805 to comprise 1,305,780 cartloads. The building of the later National Gallery coincided with the tunnelling of railway lines through the bottom of what is still referred to as “The Mound”, and the architect built his structure on huge, iron, bow-string relieving arches, which concentrated on, and otherwise dealt with, the weight of the building in an effective and lasting way. Unfortunately, he built his earlier Academy on 2,500 wooden piles, many of which, due to the dry, free-draining nature of the earth, had oxidized — disappeared in short: the building was latterly held up by the stiffened earth between the piles, which were actually doing a reasonable job until, and unless, water got in and caused them to collapse. (Where the ground had been persis- tently wetter, the piles had survived quite well.) The solution we adopted is known as “soil fractionation”, and is more commonly used above new tunnel excavations to compensate for soil movements, thereby preventing sub- sidence in the buildings above. Thus, a trench was excavated along most of one side of the Academy, and from it dozens of pipes were then drilled horizontally at two levels through the earth and old pile shafts. Grout was released in carefully monitored quan- tities through holes in these pipes, so that it filled the voids and mixed with the soil to form a solid mass. Although this is a sufficiently sophisticated tech- nique to allow parts of a building to Major Renovation Project at the National Gallery of Scotland be raised or lowered at will, in practice the least damaging aim (as here) is usually to stabilize as found. Excavations for the visitor services were, I suppose, fairly straightforward in engineering terms. But when you see the props keeping them apart and preventing the two buildings from falling into the hole, you may agree that the engineers were earning their fees. One of our early concerns had been the loading capacity of the floors. The Academy had been gutted internally in 1910 to provide the sort of lofty, top-lit galleries you would expect from that date — all supported and covered by what appeared to be a daringly flimsy structural system, based on the then pioneering Hennebique con- crete technique. When I arrived at the Galleries nine years ago, we routinely propped the floors with scaffolding before certain exhibitions. However, in the event the simple test was to load up a sample floor with concrete weights and see what happened. It survived loadings well beyond the British standard and on that basis we have proceeded. A nineteenth-century engraving of The Mound.Robert Galbraith, Head of Buildings, National Galleries of Scotland.] by Robert Galbraith
  23. 23. 23 A Greek temple expects to be viewed in the round — it has no back door, no service approach. So one dramatic — and in conservation terms, I suppose, controversial — intervention has been the removal of an entire bay of stone- work, including aedicule, so as to form a loading bay door for the art-work. The massive steel door will be clad in the original stones and will have a complex closing mechanism to ensure that the shadow gap is the minimum possible. Nor does a Greek temple expect to he seen from above — but these two buildings have always been towered over by the Edinburgh Old Town, particularly the castle. (Come to think of it, many North American classical buildings are similarly over-looked, but at least they were there first and can hardly be held responsible for what others have done around them.) This has created challenges in designing the disposition on the roof of all the service equipment: boilers, air-handling equipment and day-light louvres, with which we are all familiar, and which we would all much rather service in a big, dry, clean plant room. Here the equip- ment has essentially mostly been stuffed down what you might call the cleavages between the gallery ceiling domes. How will it all work? Well if any- body is interested I hope to tell you in September. Finally some credits: • Architects: William Playfair (C19), William Oldrieve (C20), John Miller & Partners(C21) • Structural Engineers: WSP and Anthony Hunt Associates • Service Engineers: SVM • The Playfair Project: £29M. Funded by Scottish Executive (central gov- ernment) (£10M), Heritage Lottery Fund (£7M), NGS Fund-raising (£12M) Robert Galbraith has been Head of Buildings at the National Galleries of Scotland for the last nine years. (The first IAMFA conference he attended was in Toronto.) Before that he worked in private practice, mainly on historic buildings. View down an empty pile shaft. Where the ground was wetter, some piles survived fairly well. A view of the new art-handling opening (upper floor). A view of excavations for the new visitor services area.]
  24. 24. 24 How do you ensure that your lighting specifications build in the correct protection for you and your client or premises? And how do you ensure that you don’t leave contractors in a position to compromise these factors for a low-cost option? They won’t know the implications — but you should. We all know and appreciate that the expertise of lighting designers and planners is essential in critically impor- tant lighting installations such as those encountered in museums and art gal- leries. In facilities such as ours, lighting effects and conservation go hand-in- hand, and the intentions of both the architectural and the design teams are crucial in ensuring the effectiveness and appearance of the completed installation. All too often during the course of construction, the project staff and directors are prompted to make savings and to consider cheaper alternatives to what was originally specified. “Equal and approved” is usually not an ade- quate statement to ensure that only the most suitable equipment is installed. A lack of time and financial resources often precludes further investigation of equipment, and can result in the accep- tance of equipment which doesn’t match the unique or essential characteristics of the original specification. In order to help demystify the matter of lighting product design, and to help you avoid a downgrading of the original specification, we’ve identified the follow- ing aspects of a lighting specification as having particular significance. These should help your professional staff — such as museum and gallery curatorial staff — to respond more effectively to issues relating to proposed changes in the original specifications. The range of equipment covered in the ensuing article includes recessed luminaires, spotlights and lighting structures, although the following information also relates in many ways to certain other lighting products. Light Distribution — Recessed Luminaires All lighting equipment is selected primarily for the lighting effects that will be produced. As such, the light distribution of a luminaire is one of its key selling points. The most important aspect of a luminaire’s performance is often its light output ratio. This can be clearly defined by the total percentage output; i.e., the light output of lamps to luminaires. When relevant, this is divided into the proportion that is emitted above and below the horizontal. To achieve a particular lighting effect, the light distribution of the luminaire must be very specific. This means it’s not enough to find a product that lets you say, “This looks similar.” The fact is that it has to match exactly if it is to pro- duce the same effect. The only means of ascertaining the potential of one product to produce the same effect as another, is to look carefully at the light- emission information, which is given either in numeric values or graphically through light-emission curves. The axial and transverse light- emission curves, if both exist, are identified through the candela intensity values. The first point of comparison is the prime axis — usually in the nadir (downward vertical) direction. This peak intensity — i.e. maximum value — and the angle at which it is emitted, is crucial for any specific type of light distribution which is meant to produce a particular visual effect. A further important aspect of light distribution is the half-peak intensity, which can be indicated clearly by ref- erence to either the nadir value or the peak intensity. This is usually used to identify the beam angle, in degrees either side of the axis of the light head or reflector. This will give a clear indi- cation of the beam spread that can be expected, as well as the coverage which will result from the positioning and spacing of the luminaires. This value can usually be taken from the photometric information provided by the manufacturer. Be Seen in the Right Light: The Value of a Tight Lighting Specification by Mark Rowling Osaka Maritime Museum, Japan. Architect: Paul Andreu/Aeroports de Paris. Lighting Designer: Lighting Planners Association, Tokyo. Darklight technology and cut-off angle. If you can’t see the lamp, you can’t see the reflection. A lack of disturbing glare ensures visual comfort.
  25. 25. 25 Cut-off angle is a completely sepa- rate and crucial feature of a luminaire’s lighting characteristic. This has little to do with the beam spread, and every- thing to do with the visual comfort and glare protection that is provided. It is defined as the angle at which neither the lamp nor the reflection of the lamp is visible in the reflector. This may not be absolutely identical to the total cut- off angle, where zero candelas are emitted, but it does identify the glare characteristics of the luminaire, and consequently the darklight character- istic. In numerous less-well-designed products, the light from the reflector can be seen even though the lamp is not visible, resulting in the distracting effect of seeing bright spots on the ceiling, while not creating the darklight technology of truly glare-free luminaires. The appropriate cut-off angle from the horizontal can be clearly defined on the following basis. A luminaire with a cut-off angle of 30° would be entirely suitable when people are merely circu- lating through the area; a 40° angle would be suitable when people are either standing, sitting or working in the area; and 50° would be appropriate to very high ceilings, or installations in which exceptional glare control is required. Another simple rule of thumb is that a 30° cut-off is for room heights up to 3 metres, 40° for 4 metres and 50° for greater room heights. That being said, the best vertical component in the beam, for modelling purposes, will come from the downlights, with higher cut-off angles. The intrinsic value of identifying light distribution in the above terms is that, once a product is selected, the position- ing, spacing and orientation of the product will be planned to produce a specific lighting effect or pattern. Any variation to this pattern may well prove unacceptable, as even a negligible change can be so significant as to completely alter the pattern of light. A prime example of this would be on a wall, where any change in light distribution would be highly visible and potentially catastrophic. If the light distribution of a substituted product deviates from the original distri- bution, its deviations are likely to occur at the edges of the beam. The primary disadvantage of a lack of control in peripheral distribution is that spill light — or excessive peripheral emissions — can create disturbingly high intensities, resulting in distracting surface bright- ness. This significantly influences the balance of illumination and the degree of uniformity, which was the original design intent. This can make the overall appearance of the interior seem inferior. A look at the two photometrical distribution patterns, shown here, clearly identifies the relevant light distribution. It is vitally important that light is pro- jected onto specific areas, in order to focus the viewer’s attention on a particular area or object. Further, it is important to ensure that the relevant area is illuminated in a uniform fashion, so that any distortions in shape or emphasis are within the parameters identified by the lighting designer. Mechanical Construction and Paint Finish In order to function effectively, the mechanical rigidity of a luminaire is important. The mounting of the lighting equipment — either onto the ceiling or into a track — has to be entirely safe and secure, both mechanically and electrically. In all instances, it is preferable to use compatible spotlights and track from a single manufacturer, rather than combining potentially incompatible equipment from different manufacturers. There are numerous other features involved in the construc- tion of recessed luminaires, which ensure that the product is entirely suitable for the particular installation. These can generally only be appreciated by handling the product and having the features explained. Mechanical rigidity is required, how- ever, both for the safe and repeatable locked aiming of the lamp in the case of spotlights, and for the locking of orientation and aiming in the case of washlights and recessed directional luminaires. All recessed luminaires should have die-cast mounting rings, as these are far more rigid and secure than pressed metal. This is a particular feature of superior product design, which can be lost in a less-well-designed product, resulting in poor mounting and serviceability. The exposed surfaces of products are more important for durability than for appearance. Epoxy-powder coating, Wallwashing from fluorescent luminaires and tungsten halogen spotlights: photometric curves and resultant effects. continued on page 26
  26. 26. 26 if correctly applied, is far superior to other simple spray-painting techniques, and can be used on exterior products as well as on interior products with the appropriate surface treatment. It goes without saying that all quality luminaires have reflectors. These are usually of high-grade aluminium, but the most crucial factor is the micron thick- ness of the anodized surface, which ensures optimum performance. This sub- ject is far too extensive to explain here; however, simply put: “You get what you pay for!” Let the buyer beware! There are, of course, many other features which can benefit a customer on particular projects. It will always be necessary to identify the specific characteristics or benefits that were considered valuable at the time of pro- duct selection, in order to re-confirm their significance in any comparison between the originally-selected product and a subsequent alternative. Light Distribution — Spotlights Specifications for a spotlight’s light distribution can be clearly expressed through the photometric characteristics mentioned previously. Of particular relevance is the specification of beam spread. This is specified in the same way: i.e., by using half-peak intensities to identify beam spread through the angle on either side of the beam’s axis, where the intensity is half that of the beam’s axis. In most installations, the use of beam angles is a strong determinant in the lighting effects that will be created on wall displays and on free-standing objects. This is also true when a spotlight is fitted with a particular lens or filter. These criteria can be grossly distorted when either an inappropriate lamp is used or the wrong lens has been fitted. In terms of the application of filters, the specification criteria become even wider. The percentage of light transmis- sion is important, as is the distribution in terms of wavelength. In many cases, ultraviolet and infrared filtration is crucial, and in these cases reference to the transmission and the wavelength characteristics of the filter, when used with a particular light source, will be the means of evaluating alternatives to the product originally specified. For conservation purposes, the percentage of the A, B and C bands of excluded ultraviolet radiation will be crucial to the exposure to which sensitive materials can be subjected. Heat Dissipation In all cases, the refined design and materials of the luminaire — and in some cases, of control gear — will be crucial to ensuring that the luminaire can handle the heat emitted by the lamp. This, in turn, dictates the longevity of the lamps as well as the replacement schedule which curators and mainte- nance staff will have to accommodate. In most instances, products with inferior heat-handling characteristics will be much less expensive than more effectively- and appropriately- designed products in which die-cast aluminium heat-sink characteristics are designed for a particular lamp wattage. Lamp Life and Lamp Replacement The value to the end user in using a well-designed housing is considerable — although it is difficult, if not impossible, to ascertain accurately. Experience has proven that there are very specific optimum operating temperatures for the various component parts of a lamp. If temperatures are controlled within a product used in normal ambient temperatures (25°C), lamp life will be longer than what has been rated by the manufacturers. This can substantially reduce the frequency of lamp failures and the costs involved in their replacement.Light distribution presentation formats for spotlights. Stella spotlights are designed to provide visual comfort, adaptability, serviceability and long lamp life. Be Seen in the Right Light — continued from page 21