Papyrus Summer/Fall 2014

PAPYRUS
I N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M F A C I L I T Y A D M I N I S T R AT O R SI N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M F A C I L I T Y A D M I N I S T R AT O R S
Preserving the
Art and its House
Schedule for the IAMFA Annual
Conference in Scotland
Reviving a Rare
Tasmanian Heritage
Waste Heat Recovery at
the Art Institute of Chicago
VOL. 15, NO. 2 SUMMER/FALL 2014VOL. 15, NO. 2 SUMMER/FALL 2014

Atlanta, U.S.A. — Kevin Streiter
High Museum of Art
kevin.streiter@woodruffcenter.org
Australia — Shaun Woodhouse
Australian Centre for the
Moving Image
Shaun.Woodhouse@acmi.net.au
Chicago, USA — William Caddick
Art Institute of Chicago
wcaddick@artic.edu
Los Angeles, USA — David Cervantes
Los Angeles County Museum of Art
dcervant@lacma.org
New England, USA —
Jim Moisson
Harvard Art Museums
james_moisson@harvard.edu
New York, USA — Mark Demairo
Neue Galerie
markdemairo@neuegalerie.org
New Zealand — Cliff Heywood
Royal New Zealand Navy
clifford.heywood@nzdf.mil.nz
Ottawa-Gatineau, Canada —
Ed Richard
National Gallery of Canada
ERichard@Gallery.ca
Philadelphia, USA — Rich Reinert
Philadelphia Museum of Art
RReinert@philamuseum.org
Northern California, USA —
Jennifer Fragomeni
Exploratorium
jfrago@exploratorium.edu
United Kingdom — Jack Plumb
National Library of Scotland
j.plumb@nls.uk
Washington/Baltimore, USA —
Maurice Evans
Smithsonian Institution
evansma@si.edu
REGIONAL CHAPTERS
President
Nancy Bechtol
Smithsonian Institution
Washington, DC, USA
bechtna@si.edu
V.P., Administration
Randy Murphy
Los Angeles County Museum of Art
Los Angeles, CA, USA
RMurphy@lacma.org
V.P., Regional Affairs
Brian Coleman
Museum Victoria
Melbourne, Australia
bcoleman@museum.vic.gov.au
Treasurer
Alan Dirican
Dumbarton Oaks
Washington, DC, USA
DiricanA@doaks.org
Secretary
David Sanders
Natural History Museum (Retired)
London, UK
d.sanders@bham.ac.uk
Editor
Joseph E. May
Sustainability Engineer
Los Angeles, CA, USA
joemay001@hotmail.com
2014 Conference Chair
Jack Plumb
Edinburgh, UK
j.plumb@nls.uk
IAMFA BOARD OF DIRECTORS
Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . 2
Message from the President . . . . . . . . . . . . . . . . . . . 3
Best Practices Feature Article: Preserving the Art
and its House: The Art Institute of Chicago
Improves its IAQ to Benefit Visitors and Staff . . . . . . 4
IAMFA Scotland 2014 Conference Update—
The Educational Programme . . . . . . . . . . . . . . . . . . . 8
Installing Melman at the Australian Centre for the
Moving Image: A Great Collaboration between
Facilities and Exhibition Teams . . . . . . . . . . . . . . . . . 11
Understanding the Patter During your Visit
to Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Reviving a Rare Tasmanian Heritage:
The Tasmanian Museum and Art Gallery
Redevelopment Project . . . . . . . . . . . . . . . . . . . . . . . 16
2014 IAMFA Conference Schedule. . . . . . . . . . . . . . . 20
Waste Heat Recovery at the Art Institute
of Chicago. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Sustainable Preservation Practices for Managing
Storage Environments—Series III . . . . . . . . . . . . . . . . 24
An Air Quality Standard for the Protection
of Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The History of Fire Protection at the National
Library of Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Stewardship and the Diefenbunker. . . . . . . . . . . . . . 33
LinkedIn Group Collaborative Article: Success
with Wireless Temperature Sensors? . . . . . . . . . . . . . 35
Installation of New Disabled Access Ramp at
The British Library, St. Pancras, London . . . . . . . . . . . 36
Regional Updates and Member News . . . . . . . . . . . . 37
IAMFA Members—Organizations . . . . . . . . . . . . . . . 39
For additional
contact information,
please visit our website at
www.NewIAMFA.org
For more information on
becoming a member of the
International Association of
Museum Facility Administrators,
please visit www.NewIAMFA.org
Cover photo: Floating Heads by Sophy Cave—signature image of the Kelvingrove Art Gallery and Museum. Photo: Joe May
CONTENTS
Statements of fact and opinion
are made on the responsibility of
authors alone and do not imply an
opinion on the part of the editors,
officers, or members of IAMFA. The
editors of IAMFA Papyrus reserve the
right to accept or to reject any Article
or advertisement submitted for
publication.
While we have made every attempt to
ensure that reproduction rights have
been acquired for the illustrations
used in this newsletter, please let us
know if we have inadvertently over-
looked your copyright, and we will
rectify the matter in a future issue.
IAMFA/Papyrus
Volume 15, Number 2
Summer/Fall 2014
Editor
Joe May
Contributors
Chris Arkins
Nancy Bechtol
David Brooks
Paul Collis
Maurice Evans
Peter Fish
Jennifer Fragomeni
Lawrence Fraser
Brendan Goodfellow
Michael Harrold
Patrick B. Jones
William Lull
Ian MacLean
Joe May
Stephanie Miles
Chris Muller
Michael Murphy
Richie O’Sullivan
Jack Plumb
Kurt Sisson
David Thickett
Allan Tyrrell
Emrah Baki Ulas
Richard Warren
Cat Wilson
Shaun Woodhouse
Design and Layout
Phredd Grafix
Editing
Artistic License
Printed in the U.S.A. by
Knight Printing
ISSN 1682-5241
Past issues of Papyrus can be found on
IAMFA's website: www.NewIAMFA.org

This issue of Papyrus is packed
with excellent articles from IAMFA
members. There are too many to men-
tion individually, but I’ll introduce a
few later. Thanks goes to this issue’s
writers for all the time and effort they’ve
spent to share their experiences for
our benefit.
This is a very exciting time for
IAMFA. Last year, Nancy Bechtol
presented our new strategic plan at
our Annual General Meeting. We’ve
made progress toward the plan during
the past year—although sometimes,
with everyone being so busy, progress
has been slower than we’d like. There
are a couple of developments that I
would like to mention now, though—
you’ll hear more about these and
others at this year’s AGM.
One of IAMFA’s members, the
Image Permanence Institute, will be
hosting five workshops beginning in
September titled “Sustainable Preser-
vation Practices for Managing Storage
Environments.” Each attendee who
has not been a member of IAMFA in
the past will receive a free 2015 IAMFA
membership. Another IAMFA member,
LSI Lighting, is coordinating “The
Midwest Museum Sustainable Lighting
Symposium” in Chicago in September.
We will be offering the same promotion
to attendees at this Symposium. We are
offering these free memberships to help
promote these excellent workshops,
but also to introduce new museum
facility managers and conservators to
IAMFA. You can learn more about this
on our website’s Education Page. Both
workshops are a great educational
opportunity; and they are free!
IAMFA’s membership will obviously
be growing significantly over the next
six months. We are, of course, hoping
that many of these new members will
find the same value in IAMFA that
you do, and will decide to renew their
membership in 2016.
As I noted above, there are too
many articles in this issue to introduce
Greetings from Los Angeles!
I
don’t know about you, but it’s that
time of the year when I start getting
excited about making the trip to
IAMFA’s annual conference. This
September will be my twelfth consecu-
tive conference, and I know many of you
have been to more than I have. Spend-
ing a week with all of you each year
makes me feel like I’m with friends—
and, from my perspective, I am.
This is the final issue of Papyrus
before the conference, so we’ve tried
to include all of the latest conference
information. There is a current schedule
of events in the centerfold, and details
about the educational program in an
article written by Jack Plumb titled
“IAMFA Scotland 2014 Conference
Update—The Educational Programme.”
There is also an article about the history
of fire protection at the National
Library of Scotland, which is one of
the venues for the conference. Come
prepared to learn while we visit many
of the highlights this region offers.
Also, please have a look at the article
“Understanding the Patter during
your Visit to Scotland”—you’ll want
to be prepared, laddies and lassies!
On Monday of conference week, we
will visit the spectacular Kelvingrove
Art Gallery and Museum. That is where
the cover picture was taken. I thought
it was so neat; it’s called, as you might
imagine, Floating Heads. Please visit
our website at www.NewIAMFA.Org
anytime for the latest information about
the conference. I look forward to
seeing you there in September.
2 PAPYRUS SUMMER/FALL 2014
separately, but I’ll mention a few,
since they will give you a sneak peek
at future conference venues. Planning
for the 25th IAMFA Conference has
started in Chicago. The Art Institute
of Chicago—where IAMFA was founded
25 years ago—will be our host. There
are two articles in this issue about
projects at the Art Institute, and both
involved participation by IAMFA
corporate member McGuire Engineers.
Patrick Jones of the Art Institute
wrote about the installation of a
HeatSponge on top of two boilers
for waste heat recovery, resulting in
significant energy savings and a one-
year payback. The other article “Pre-
serving the Art and its House,” by
David Brooks and Michael Murphy
of McGuire Engineers, tells about two
applications for using electromagnetic
air filters to improve indoor air quality
in Art Institute galleries.
You’ll also find two articles about
projects in Melbourne, Australia and
Tasmania, which will co-host IAMFA’s
27th Conference in 2017. One article
is titled “Reviving a Rare Tasmanian
Heritage: the Tasmanian Museum and
Art Gallery Redevelopment Project” by
Steensen Varming. The second article
describes the teamwork between
Facilities and Exhibition teams while
“Installing Melman at the Australian
Center for the Moving Image,” which
was curated by ACMI in close collabo-
ration with DreamWorks Animation in
Los Angeles. I smiled when I saw the
images in that article. I’d love to see
this exhibit in person.
There are a many other articles in
this issue, thanks to our members, and
I hope you will find them interesting.
Thanks again to all our authors!
As editor of Papyrus, I see lots of
signs of how IAMFA is prospering in its
25th year. This year will be our best so
far, and I hope I see you in Scotland in
September to join in all the festivities,
learning, sharing, and fun.
Joe May
Editor, Papyrus
LETTER FROM THE EDITOR

better and better. Joe never stops
thinking of ways to improve an already
outstanding product. Each and every
edition is packed with substantial
articles and fabulous photography.
If you think for a second that Papyrus
just drops into his lap without any
effort on his part, please think again!
He is out there with our profession
and our members, constantly beating
the drum for IAMFA, while making
sure that each issue of Papyrus is full
of interesting information.
We have two Vice-Presidents, one of
whom is Randy Murphy. When I think
of IAMFA, I picture Randy first. He has
been around since the very beginning
of this Association, and he has volun-
teered in just about every capacity pos-
sible, always with an eye to securing
and improving our Association. He
is really one of the patriarchs of our
Association. If we had a father of
IAMFA, he would be it—or at least
in the running. He has tracked our
membership for years, and now leads
our Sponsorship program. He does
whatever is needed, and always does it
with that smile. “Anything for IAMFA,”
he always says!
The next hardworking Board mem-
ber I want to mention is Alan Dirican,
your Treasurer. Please pay attention
to our budget during the AGM in
September. You will see steady growth,
always tracked, with every penny
accounted for and captured. I have
never worked with a money manager
with Alan’s skillset and dedication.
I wish every day that I could work
with these folks in my day job, and not
just on the IAMFA board. How fortunate
we are to have such talented and dedi-
cated volunteer labor running our
Association! Alan handles our banking,
audits and insurance, as well as our
legal reviews and requirements. He
also helps with all of the member dues
and conference registration. The list
goes on and on, and he, too, always
does this work with a smile!
We hold a conference call for our
monthly meetings, organized by our
Secretary, David Sanders, who also
produces our agendas and minutes.
Now, if you think for a second that
this sounds easy, you need to meet this
group of Directors. We are a bunch of
cats that he is very good at herding!
If we mess up and miss sending in a
report, we’d best beware! If we go
around and around in circles when
discussing items, he needs to figure
out when a decision finally gets made,
and what that decision was in order to
even capture it in the minutes. I don’t
think we try to drive him crazy—at
least, not on purpose.
Our newest Board member is Brian
Coleman from Down Under. He is
learning very fast how to take care
of hundreds of members who do not
read their emails, nor our Papyrus
magazine cover to cover (yes, there
are some of you who do!), and who
want to register for the annual con-
ference the day before showtime! We
are breaking Brian into our wicked
ways of doing what is necessary to keep
our Association afloat and flourishing.
From time to time, I’m sure he feels
he could use some input and support
from our Chapter Chairs.
I started this message by highlighting
Jack Plumb and the great work he is
doing for our upcoming annual con-
ference. He is being closely followed
by Patrick Jones and Bill Caddick,
who are already well on their way to
planning our 25th annual conference in
Chicago. These three guys are amazing,
and it has been such a pleasure getting
to know each of them. I can’t wait for
Chicago, but first we will enjoy an
outstanding meeting in the beautiful
cities of Edinburgh and Glasgow.
When you see one of our Board
Members this fall, please take a
moment to thank them for their
efforts. Their dedicated service to
this Association is truly a best practice
in not-for-profit board service!
I
n a few short weeks, we will all be
together in Scotland enjoying our
24th annual meeting, and I can’t
wait to see each of you again! I am
hoping a good crowd can attend, and
right now reservations are pouring
in every day to beat the deadline of
August 1, when the registration rate
increases. The conference planning
committee, led by Jack Plumb, has
produced an amazing program of tours
and lectures. I wish every member
could attend, but I am thankful that
an amazing 50% of our membership
attends the annual meeting!
Our conferences are organized by
our membership, and this is no easy
job. I have had the pleasure of being
involved in helping to plan two of our
three Washington, D.C. conferences,
so I do understand the volume of work
necessary to pull this off. It takes a
village of helpers to get all of the work
done, and Jack has amassed quite the
conference planning team in Scotland.
When you see these folks during the
conference, please thank them for all
of their hard work.
Your IAMFA Board of Directors is
also made up of volunteers. Like Jack,
they also have been working very hard
to run this organization. Each takes his
or her role and job very seriously, and
does an amazing job for our Association.
I wanted to highlight Joe May first, as
he is the reason you are reading this
message at all. Without Joe, we would
not have this quality magazine to com-
municate with our members and our
profession. And it just keeps getting
PAPYRUS SUMMER/FALL 2014 3
Nancy Bechtol
President, IAMFA
MESSAGE FROM THE PRESIDENT

W
ith more than 300,000 works of art and nearly
1.5 million visitors annually, the Art Institute
of Chicago can’t afford to have poor indoor
air quality (IAQ). Working hard to maintain optimal
ventilation, America’s second-largest museum features
eight buildings and spans nearly one million square feet,
with a variety of HVAC equipment all working continuously
to maintain the comfort of its occupants.
The following are the tales of two Art Institute exhibition
spaces and how the museum, working together with local
MEP consultants, McGuire Engineers, solved the IAQ
challenges of each.
Thorne Miniature Rooms
In 2010, the Art Institute began receiving reports of an
ongoing odor from their lower level 1,000-square-foot
Thorne Miniature Rooms gallery, which features miniature
models of American and European interiors, constructed
on a scale of one inch to one foot. Together, management,
maintenance personnel and McGuire looked into a number
of different options to determine the immediate cause. Was
it due to the carpet’s adhesive, or a cleaning product being
used in the space? Regardless of the specific item, it was
determined that the cause was Volatile Organic Compounds
(VOCs) found in the room’s air particles. Adjustments
would need to be made to maintain the appropriate IAQ,
not only for the visitors and staff who frequent the space,
but also in an effort to preserve the 68 miniature rooms
on display.
The project team considered multiple options, including
bringing in additional outside air, replacing existing air-
handling unit (AHU) coils, and adding an additional air-
purification system. Because the gallery needs to be kept
at specific temperature and humidity levels to preserve the
miniatures—and because the Chicago climate can be both
hot and humid and cold and dry, depending on the
BEST PRACTICES
Preserving the Art and its House
The Art Institute of Chicago Improves its IAQ to
Benefit Visitors and Staff
By David Brooks and Michael Murphy
The Art Institute of Chicago.
The Thorne Miniature Rooms gallery. A display in the Thorne Miniature Rooms gallery.

season—bringing more fresh air into the space wasn’t
a foolproof solution. This led the engineering team to
consider a system that would help clean and purify small
VOC air particles in the space. But how would a new system
be integrated with the existing one, and what type of system
would eliminate odors effectively?
Two types of air-filtration systems were considered: gas
and electromagnetic. The gas-based filtration system uses
pellets that require a change in filters on a regular basis
and can handle very serious IAQ challenges; the electro-
magnetic filter, on the other hand, needs an energy supply
to function, but requires less maintenance. Working together
with building engineers at the Art Institute of Chicago,
McGuire specified the electromagnetic filter for its enhanced
performance and minimal ongoing operating costs.
VOCs, emitted by a wide variety of products, including
paints, cleaning supplies, building materials, office supplies
and more, are characterized by their small particle count,
and are therefore difficult, if not impossible, to collect
using a typical AHU. The electromagnetic filter accordingly
works by cleaning the air, then transferring a strong magnetic
charge to large air particles as they pass through the AHU,
before recycling them back into the space. Once in the
space with a stronger positive or negative charge, they
can attract the smaller VOC particles of the same charge.
These newly-formed, larger air particles are then bundled
together and returned to the filter, where they can be
cleaned and rid of VOCs before being returned once
again to the space.
In order to confirm its hypothesis that an electromagnetic
filter could indeed improve the IAQ of the space, McGuire’s
team took air samples measuring the initial particle count,
creating a benchmark for improvement, then brought in a
smaller-sized filter for testing.
After the system had been running for one hour, the air
particles in the room were tested once again. The result
was a dramatic improvement in particle-count reduction,
as well as a noticeable difference in the room’s odor.
A permanent electromagnetic air filter was installed directly
into the AHUs for the Thorne Miniature Rooms gallery. The
integrated filter was chosen, as opposed to a stand-alone
system, to minimize maintenance for facilities personnel.
Following the filter installation, an air-quality monitor
was also employed to further document and verify the
system’s performance on an ongoing basis.
Traveling Exhibition Gallery
Two years later, during preparations for a large traveling
exhibition in 2012, Art Institute staff became concerned
that visitors would experience IAQ problems in a separate
16,000-square-foot exhibition gallery. For one thing, they
knew from past events in the space that when it gets crowded,
visitors complain of stuffiness and feeling faint. For another,
this time the museum was anticipating even more visitors
than the gallery had previously accommodated.
The Art Institute reached out to McGuire again to help
brainstorm a solution. Did they just need to bring in more
outside air? Was a completely new, dedicated AHU system
needed for the gallery? An independent, supplemental
system? The biggest challenge would be scheduling, however.
WHAT ARE VOCs?
Volatile organic compounds (VOCs) are emitted as gases
from both solids and liquids, with concentrations known
to be as high as 10 times more indoors than outdoors.
VOCs are emitted by thousands of products, including
paints and stains; cleaning supplies; pesticides; building
materials and furnishings; office equipment, including
copies and printers; copy paper; permanent markers;
and glues—either while in use or, to a lesser degree,
when they are stored. Short-term exposure to high levels
of VOCs can cause irritation of the eyes, nose and throat;
headaches; nausea or vomiting and dizziness. Long-term
exposure to high levels of VOCs can increase the risk of
more permanent organ damage.
Close-up of one of the Thorne Miniature Rooms.

There were only three months left for design, implemen-
tation and installation until the traveling exhibition was
scheduled to open.
The project team did some field research first. McGuire
reviewed the performance of the AHU units dedicated to
this exhibition space while increasing their ventilation, and
found that more outside air couldn’t be brought in without
changing the coils and making serious modifications to the
existing AHUs. This would be both costly and time intensive.
Bringing in new HVAC equipment wouldn’t work either,
because that would push the construction schedule beyond
its time allotment as well. Instead, it was determined that
the best option—and the one with which the Institute was
most comfortable—was cleaning and recirculating the air
with a similar electromagnetic filter to the one used for the
Thorne Miniature Rooms gallery.
Initially, the project team tested the air-particle count,
as in the previous case study, taking measurements to use
as a benchmark. Once the new electromagnetic filter was
operational in the space, the same measurements were taken
again. Because of an existing CO2 sensor in the traveling
exhibition gallery, when the same measurements were taken
just an hour after the filter was installed, there was a
substantial improvement in both VOC particle count
and CO2 levels in the gallery.
Conclusion
IAQ challenges can be common to museums with unique
temperature and humidity parameters in their spaces. It is
crucial for a museum’s operations personnel to stay on top
of IAQ concerns and reports from those in the exhibition
spaces. A variety of solutions are possible, depending on
the variables of each space.
David Brooks, P.E., is a senior vice-president and Michael Murphy
is a senior project manager at McGuire Engineers in Chicago.
BEST PRACTICES
The 16,000 ft2 Traveling Exhibit Gallery at the Art Institute
of Chicago.
Mueller Associates is
proud to have supported
the team of Cho Benn
Holback + Associates and
Gallagher Associates in the
design of the new William H.
Gross Stamp Gallery at
the Smithsonian National
Postal Museum, set in
the historic Postal Square
building in Washington, DC.
Designed to LEED®
Gold
certification standards
FIRST-CLASS DELIVERY
Mechnical, Electrical and
Plumbing Engineering
For more information, visit
www.muellerassoc.com
410.646.4500
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
I A M F A 1 4
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
I O N A L A S S O C I A T I O N O F
M F A 1 4
A C I L I T Y A D M I N I S T R A T O R S
S CO TLAND
International Conference
September 14-18, 2014

McGuire Engineers is a
proud affiliate member
of IAMFA since 2001.
www.mepcinc.com

We have now also firmed up the pre-
sentations for the three days of the con-
ference—starting with a visit to Glasgow,
where we will be welcomed by Jill Miller,
Director of Cultural Services at Glasgow
Life, our hosts for the day. Jill is respon-
sible for Museums, Collections, Arts,
and Music (including Cultural Venues).
In keeping with the theme of the
IAMFA Scotland 2014 conference, the
first day will concentrate on how a city
re-invents itself as a modern cultural
tourist attraction, while at the same
time providing significant services for
the population of Glasgow.
The first presentation will be by
Duncan Dornan, a Senior Museums
Manager for Glasgow Life. Duncan will
talk about research that has established
a positive link between access to culture
and public health. Museums play an
important role in learning, improving
mental well-being, and creating a vibrant
and healthy city. We’ll hear how this is
being implemented within the Glasgow
museum sector.
We will also hear from Dr. Martin
Bellamy—Head of Research for Glasgow
Life. He was a key member of the
project management teams for the
redisplay of Kelvingrove Museum and
Art Gallery in 2006, and the Riverside
Museum in 2011. He is a lecturer for
the University of Glasgow’s Museums
Studies course, and has published
widely on maritime and cultural history.
Martin will tell us about the history
of museums, the history of Glasgow
museums, industrialisation in Glasgow,
the growth of wealth, and the birth of
the civic museum service.
Next we will hear from Alex Maclean,
who is a Special Projects Manager with
Glasgow Life. Alex is currently managing
the redevelopment of Kelvin Hall, along
with proposals for the refurbishment
and redisplay of the Burrell Collection.
Alex will tell us about the problems
faced by the Burrell Museum, and
development plans for the refurbish-
ment of this remarkable building.
Muriel King, venue manager at the
IAMFA Scotland 2014
Conference Update
The Educational Programme
By Jack Plumb
I A M F A 1 4
The Mackintosh Building at the Glasgow School of Art. The Mackintosh Building after the fire.
W
ith only eight weeks to go,
things are starting to heat up
here in Scotland. Obviously
with the World Cup so very recently
coming to a conclusion, and the
Commonwealth Games underway
in Glasgow as I write this, there is an
awful lot going on. That doesn’t mean
to say your organising committee is
not 110% focused on providing you
with a truly memorable conference
when you arrive in September. This
article provides you with a few details on
the presentations you will experience
at the conference.
You will have no doubt heard the
tragic news about the fire at the world-
famous and truly iconic Charles Rennie
Mackintosh Glasgow School of Art
(GSA) building. The fire caused consid-
erable damage to parts of the 1907–1909
building including the library, hen run
and professors’ studios. As a delegate,
you will have an opportunity to visit
the GSA, along with the privilege of
meeting with some of its representatives.

Burrell, will tell the story of the Burrell
and its collections, before we go on
guided tours around the building.
On Tuesday, we will be the guests
of the National Museum of Scotland,
where we will hear from a couple of
major authorities in their respective
fields. We will hear how Scotland uses
its cultural heritage buildings, trans-
forming them into modern, accessible
and relevant museums that members of
the public want to come and experience.
Renowned architect Gareth Hoskins
will provide the first presentation.
Gareth trained as an architect at the
Glasgow School of Art and at Florence
University and, as a leading figure in the
UK architectural industry, is in demand
as a speaker at architectural conferences.
He also contributes to a number of pub-
lications and architectural policy docu-
ments, and is an advisor to the Royal
Institute of British Architects, a design
panel member of the Scottish Govern-
ment’s design “watchdog”, Architecture
and Design Scotland and, between
2006 and 2010, held the post of the
Scottish Government’s National
Healthcare Design Champion.
Gareth won UK Young Architect of
the Year in 2000, UK Architect of the
Year in 2006, and in 2008 was named
in the number one spot in Architecture
Scotland’s Power 100, which lists the
most influential people in the industry.
That same year, Gareth was awarded
the Glenfiddich Spirit of Scotland
Award in the Arts Category—the first
time an Architect has received this
award—and is a Fellow of the Royal
Incorporation of Architects in Scotland.
Elected to the Royal Scottish Academy
in 2009, he was awarded an OBE for
Services to Architecture in the January
2010 New Year’s Honour List.
Gareth will be followed—this time
in the field of museum design—by the
similarly illustrious Stephen Greenberg,
Creative Director of Metaphor, a com-
pany that specialises in the design and
master-planning of museums, exhibi-
tions, historical houses, cultural quarters
and other heritage destinations world-
wide. Stephen has overseen a prestigious
body of work at Metaphor, including
major blockbuster exhibitions (at the
British Museum, the Victoria and
Albert and the Guggenheim Bilbao);
the master-plans of cultural quarters
(such as the historical peninsula in
Istanbul); and entire museums (such
as the new Grand Egyptian Museum
in Cairo); as well as the redesign of
complete museums, (such as the
Ashmolean Museum in Oxford, and
the Order of St. John in London).
To round out the presentations
on Tuesday, we will hear from some-
one we will all know very well: Dan
McKenzie, CEO of our first IAMFA
Corporate Sponsor.
On Wednesday, will be visiting the
National Galleries of Scotland, where
we are in for a very interesting day,
hearing about a number of exciting
developments—this time on how
existing cultural facilities can look after
their collections in a sustainable way.
This day will also be a Plenary Day, in
which we share the day with our col-
lection care colleagues. The Galleries
have put together a very informative
series of presentations, which I am sure
will appeal to both IAMFA members and
conservationists alike. The Galleries
have also laid on a tour of the Portrait
Gallery which, for those of you who
have not visited this recently refur-
bished facility, will be the highlight
of the day in its own right.
Wednesday’s presentations will kick
off with Karen Keenman, facilities
manager at the Rijksmuseum in
Amsterdam. Her presentation will
describe the process that led to the
making of the New Rijksmuseum. We’ll
hear when it started, why it took so
long, who was involved, and what
lessons were learned in the process,
including facts and figures about
climate, scale, objects on display and
images of the building activities.
Next up will be Alan Hutton, describ-
ing the building, quite literally, of a
new museum around an artefact, the
Mary Rose, which was one of King
Henry VIII’s warships. Alan led the
multi-disciplinary engineering team
during the design and construction of
the Mary Rose Museum in Portsmouth
Royal Dockyard. The Mary Rose, Henry’s
flagship, which sank in action in 1545,
was raised in 1982. The ship and its arte-
facts provide the nation with a unique
and irreplaceable experience of Tudor
life. Extensive conservation measures,
within a closely controlled internal
environment, are vital to ensure the
preservation of these treasures. The new
museum was designed in close collabo-
ration with the conservators and the
operational team, to provide continued
preservation of the hull and artefacts
whilst maintaining control of energy use
and running costs for both the Museum
and the conservation processes.
The next speaker will be Dr. David
Saunders of the British Museum, who
will tell us about the World Conservation
and Exhibitions Centre at the British
Museum. His research interests include
the deterioration of museum objects—
particularly pigments and painted
surfaces, and the effect of display
and storage environments on these
materials. His research has focused,
in particular, on the effect of light on
the deterioration of cultural heritage
objects. He has published widely on
the subject, both in the specialist
literature and in more general texts,
including the 1994 and forthcoming
CIBSE guides to museum and art
gallery lighting. He is a fellow of the
Society of Antiquaries of London,
and a fellow and vice-president of the
International Institute for Conservation
(IIC). From 2003 to 2009, he was IIC
Director of Publications, also editing
its journal, Studies in Conservation, from
1990 to 2009, and the proceedings of
its 2006, 2008 and 2010 congresses.
The World Conservation and
Exhibitions Centre (WCEC) at the
British Museum opened in 2014. The
Centre is unusual for a contemporary
museum extension, in that well over
90% of the space is dedicated to the
storage, care, conservation, study, exami-
nation and analysis of the collection,
with only 1,000 m3 of public exhibition
space. This presentation will look at
how the brief for the extension was
developed, along with the facilities
that are provided—many for the first
time—and ways in which sustainable
solutions were adopted, both for the
building itself and for the storage and
treatment of the collection.
The next presentation will be by
Dr. Ewan Hyslop, Head of Sustainability,
Research and Technical Education at
Historic Scotland. Ewan manages pro-
grammes on climate change, technical
and scientific research, and technical
education and outreach. His primary
role is to deliver government policy on

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collection care, and how this supports
access to our national collections, viewing
conservation as a “facilitating profession.”
Since her appointment to NGS, she
has been heavily involved with Tate
in the development of the ARTIST
ROOMS conservation and collections
management approach, and in devel-
oping a sustainable collection care
policy for the Scottish National Portrait
Gallery redevelopment project, Portrait
of the Nation. This presentation will
summarise the development project
that represented this historical building
and its national collection. It will critically
assess the success of the decisions
taken to manage the gallery environ-
ment through semi-passive control
methods, and will explore the decision-
making process and lessons learnt that
can be carried forward in future projects
at the National Galleries of Scotland.
Jack Plumb CEng MIET MCIBSE MSLL is
Head of Estates at the National Library
of Scotland, and is host of IAMFA’s
24th Annual Conference in Scotland.
The final presentation for the day will
be a joint presentation by Jacqueline
Ridge and Chris McLaren on the
development of the Scottish National
Portrait Gallery. It has been three years
since the building refurbishment was
completed, so this joint presentation
will look at the results of that refurbish-
ment. Chris takes a personal hands-on
approach to projects, and is particularly
talented at sensitively integrating MEP
services into historical and listed build-
ings. He has developed a broad range
of skills across a variety of project types,
in particular within the Arts and Culture
sectors. For many years, he has been
instrumental in developing some of
the UK’s best-known and best-loved
historical buildings, including Rosslyn
Chapel and, most recently, the National
Galleries of Scotland. Jacqueline Ridge
(Jack Ridge) is Keeper of Conservation,
and is responsible for collection care
strategy at NGS, along with leading the
collections management, art movement
and conservation functions. She has
a strong interest in the philosophy of
energy efficiency and climate change
adaptation for the historical environ-
ment in Scotland. This is both for
properties and sites in the care of the
state, as well as for the wider historical
environment in Scotland, through
research and dissemination of informa-
tion on energy efficiency, adaptation
and sustainability.
Historic Scotland is the Scottish
Government’s agency for managing
the historical environment, and is
charged with providing visitor access
and conserving 345 iconic historical
buildings and sites throughout the
country. Scotland has ambitious carbon-
reduction targets: 42% reduction by
2020, and 80% reduction by 2050,
with an overall 12% reduction in
national energy consumption by 2020.
Historic Scotland has embarked upon
a wide-ranging programme of energy-
efficiency projects across its estate.
Energy-reduction measures need to be
sympathetic with a building’s historical
fabric and undertaken without
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does during the production process. Specially produced
interviews with key artists and creators are woven through-
out the exhibition, providing an extraordinarily intimate
glimpse into the development of DreamWorks Animation’s
unique films.
DreamWorks Animation: The Exhibition will tour inter-
nationally following its exclusive Australian presentation
at ACMI.
The ACMI Exhibitions and Facilities teams work closely
with one another in delivering major exhibitions. As most
would know, the creative process frequently delivers
challenges in terms of compliance, building sustainability
and public safety. The Facilities team at ACMI aims to
ensure that the programming output of the organisation is
supported, so that it can meet the desired objectives—but
without compromising compliance or safety. In turn, with
better communications between the teams, the programmers
and curators have come to understand these needs and
that, in the now very rare situation where a solution cannot
be found, it is not just the Facilities team being difficult—
it genuinely is a problem.
DreamWorks Animation: The Exhibition presented a number
of challenges both within the gallery and, unusually, outside
too—and, in turn, became a great example of how two
teams can collaborate to achieve a good outcome.
To complement the exhibition and create a photo/social
media opportunity for our visitors, we commissioned and
produced a large-scale physical installation for passersby
outside our building on Flinders Street in Melbourne. The
installation is a giant replica of the iconic character Melman
Installing Melman at the Australian
Centre for the Moving Image
A Great Collaboration between Facilities and Exhibition Teams
By Cat Wilson and Shaun Woodhouse
The exhibition contains over 70 3D character maquettes. You can also see a Story Artist pitch a scene from the original
Shrek movie in the gallery.
MARKASHKANASY
T
he Australian Centre for the Moving Image (ACMI)
at Melbourne’s Federation Square has established an
international reputation for presenting both popular
and challenging temporary exhibitions across the subject
areas of art, film, television, videogames, and digital culture.
With 1.26 million visitors in 2013, ACMI was ranked first in
the world among core film/moving-image cultural centres,
and second in Australasia among art museums and galleries
in the recent Art Newspaper annual world-rankings survey.
DreamWorks Animation: The Exhibition is ACMI’s key
exhibition for 2014, and part of the prestigious Melbourne
Winter Masterpieces season. It had its world premiere on
April 10, 2014, and takes audiences into the world of the
artists and filmmakers who have produced some of the
most beloved and iconic animated films of the past 20 years.
Curated by ACMI in close collaboration with DreamWorks
Animation in Los Angeles, the exhibition explores the three
mainstays of animated film: character, story, and world.
Each section follows the creative journey, from the initial
kernel of an idea through to a fully realised animated feature.
Showcasing DreamWorks Animation’s creative legacy
from Antz (1998) through to How to Train Your Dragon 2
(2014), the exhibition draws on the studio’s archive of rarely
seen concept drawings, models and original artwork. It
features over 400 original objects alongside a suite of highly
immersive and interactive digital experiences, custom-made
for the exhibition. Dragon Flight, a panoramic, 180-degree
flight simulation, takes visitors on the back of Toothless the
dragon (from How to Train Your Dragon) through the Viking
township of Berk, which builds up gradually—just as it
MARKASHKANASY

from DreamWorks Animation’s Madagascar film series, with
his rear facing the road and his head disappearing into the
building. Inside the building, visitors see his head breaking
through the glass, as only an animated character can, and
looking in at them. Accompanying Melman are the smaller
figures of the Madagascar penguins, digging their way through
the sidewalk into the building. The installation is highly
visible and fun, and engages directly with the building.
Cat Wilson, Exhibitions Project Officer, project-managed
the installation with support from Shaun Woodhouse,
Facilities Manager.
After working with a concept artist to create drawings
and sketches, approval from the key stakeholders, including
DreamWorks Animation, was given for the design of a
structure standing 5.5 meters high and extending over
11 metres in length from the back of his hoof to the tip of
his nose. Melman needed to be strong, safe and robust, yet
temporary and non-intrusive. He needed to last six months
in all weathers, then dismantled as if he had never been there.
If you want to install any temporary structure at
Federation Square three approvals are usually required:
• Approval for the concept from Federation Square, the
precinct manager, as they are responsible for approving
anything external to ACMI’s building.
• Planning approval from the local council—the City of
Melbourne—as, in this case, an 11-metre giraffe is classed
as promotional signage.
• Engineering, wind rating and safety approval from
Federation Square.
Approvals were coordinated by Shaun Woodhouse.
The next step was to find a company which could meet the
project’s unique set of design and engineering demands.
The challenge was to find a partner that would not only
come up with sound engineering solutions, but also ensure
that those solutions would support the playful and
irreverent story we were trying to tell.
After doing some research into local and regional
companies, we began working with the Brisbane-based
firm, Atomiq. Having previously worked on DreamWorks
Animation’s characters for theme park attractions, and
with a background in film and television, Atomiq direc-
tor Philip Drake already had an understanding of how
DreamWorks Animation thinks as a company, and what
their requirements would be. Even though we were making
them larger than life, it was still very important to realise
versions of Melman and the penguins that were faithful to
their animated film versions. With his experience in large-
scale installations, he was also was able to pre-empt and plan
for many of the physical engineering and safety requirements.
We needed to be able to create versions of Melman and the
penguins that met with DreamWorks Animation’s exacting
standards for the physical replication of their characters,
but that also seamlessly engaged with the complex building
structure of the chosen site.
The area selected on Flinders Street features modern
architecture, offering large expanses of glass at different
angles to one another. In order to design and build Melman
to fit the site, two 3D CAD models had to be produced of
him with the building. These were created using the CAD
architectural drawings from the original construction of
the building, supplied by ACMI.
The first model was by DreamWorks Animation, as they
wanted to design his actual pose in situ, given that Melman
is their creation. For this, DreamWorks Animation used
MAYA Animation, their customised version of this specialised
animation software. This modelling was able to produce
a near-enough reproduction of the building for them to
place and position the characters in their desired poses.
One unique challenge with this process is that normally
the building is the background on the CAD, and the object
being constructed is added to scale with the background.
However, as customised animation software was being used,
the reverse was the case: Melman was drawn first, and the
building was added in and scaled against him. This is tricky
The process of developing stories is explored through this mapped
projection table.
Melman and the penguins as seen from inside the building just
before entering the exhibition.
MARKGAMBINO
MARKGAMBINO

when the building already exists and cannot be shrunk or
grown to suit the installation yet to be fabricated.
Philip and his team at Atomiq built a more traditional
and truly scaled 3D architectural model of the space, and
placed Melman into it in the pose designed by DreamWorks
Animation. This highlighted some inconsistencies and issues
with alignments. Further adjustments to the pose needed
to be negotiated with DreamWorks Animation to ensure
that he fitted within the building form, and also to assist
with engineering constraints around rigging points and
anchorage. Safety considerations around public interaction
were also considered at this stage, with adjustments to poses
made to ensure that there were no exposed sharp edges
and that the structure was not climbable.
After final sign-off on all these elements, the project moved
on to the engineering and production phase. Melman and
the penguins are made from fibreglass, with a steel-reinforced
structure. Melman was made in Atomiq’s workshops in
Brisbane, and transported in sections for the 1,300-kilometre
journey to Melbourne. Melman was then assembled and
installed on site. The external part is effectively sitting on
the ground and roof canopy, being anchored by a rod
threaded into the slab. The internal section is fixed to the
glazing beam structure at the neck, and the head is flown
from high-level beams using steel cables.
Federation Square is a challenging precinct in which
to undertake any major works, as it is one large deck built
over railway lines. This means that it has a relatively low
live load capacity of just 5 kPa. This presents a challenge
to anyone wanting to build a giraffe on the site as, not only
do you need to ensure that the installation does not exceed
the load capacity of the structure, but you also need to make
sure that any plant or equipment used in the installation
process does not exceed the load capacity, too.
This meant that a small crawler crane on caterpillar track
had to be used to lift Melman up onto the external canopy.
Inside was even more of a challenge, as the doors leading
in to ACMI are only 2 metres wide, and the height of the
Lightwell is approximately 18 metres. There is only one piece
of equipment available locally that can reach that height, fit
through the doors, and not exceed the floor load: a 22-metre
Spider Lift, which was used to install the steel cables support-
ing Melman’s head. A structural engineer was also engaged
to calculate the wind rating of a giraffe: Melman is rated
to a maximum wind of 144 km/h, which is much higher
than anything previously experienced in Melbourne. He
is therefore unlikely to blow away in winter storms.
One quirk in the design is that the external penguins talk.
They were positioned over a redundant data cable from a
previous installation, so it was possible to connect this to a
loudspeaker inside the penguins, which is driven by a 100V
line amplifier located at the other end of the data cable
inside ACMI. Every few minutes or so, a visitor is startled
and delighted by a sudden burst of the penguins speaking.
From a visitor perspective, the installation has proved to
be extremely popular. The only challenge has been that,
because people are used to going to theme parks and play-
grounds and climbing all over installations, a lot of small
children instinctively climbed on board for photos. This was
problematic as, unlike playgrounds that have soft surfaces
to minimise injuries from falls, our Lightwell space is paved
in sandstone from the Kimberley region of Western Australia.
Signage to manage the risk was installed, encouraging
parents to supervise their children carefully and prevent
them from climbing on the structures.
Melman will be with us at ACMI until the end of the
run of DreamWorks Animation: The Exhibition in October.
Unfortunately, this will probably be the end of Melman’s
body, too. This part was designed to fit around our unique
building, and is too large to tour economically. Melman’s
head and the penguins, however, will hopefully become
part of the exhibition and travel the world—just like the
“real” characters did in the Madagascar movies.
Cat Wilson is Exhibitions Project Coordinator at the Australian
Centre for the Moving Image, and can be reached at cat.wilson@
acmi.net.au. Shaun Woodhouse is Facilities Manager at the
Australian Centre for the Moving Image, and can be reached at
shaun.woodhouse@acmi.net.au.
The ACMI building from Flinders Street, with Melman either half-in
or half-out!
Melman up close from inside the building.
MARKGAMBINO
MARKGAMBINO

I
t has been the custom for recent conference venues to
provide a limited translation service to enable delegates
and guests to understand and obtain even more enjoyment
from their visit to a foreign land. Whilst the UK might well
be on the smaller size—I believe it fits into Texas three
times, and into the US 40 times—the UK will probably
have as many dialects as the whole of the USA.
When you visit Scotland, you will experience one of the
most pronounced and imaginative dialects in the UK—yes,
the Glaswegian “patter”. I should say at this point, when I
say learning the language, I mean understanding it, and at
no time should any non-Glaswegian try to use some of the
words you may understand. This will only result in bursts of
laughter from your audience, as inevitably there will have
been slight subtlety, lost on us non-Glaswegians, to the use
of your chosen word—which, as in any language, totally
changes its meaning.
Whilst Glasgow does have its very own patter, Edinburgh
also has its own variations, so with the words and phrases
below I have tried to identify where they are most used—
i.e., Glasgow or Edinburgh or both.
Patter Definititon Dialect
Aff Off Glasgow and Edinburgh
Aye Yes Glasgow and Edinburgh
Baltic Very cold Glasgow and Edinburgh
Belter Very good Glasgow
Bevvy Alcoholic beverage Glasgow and Edinburgh
Big Man Greeting a male Glasgow
friend
Blether Gossip/Chat Glasgow and Edinburgh
Boufin Indescribably smelly Glasgow
Chippie Fish-and-chip shop Glasgow and Edinburgh
Clatty Dirty/Rude Glasgow and Edinburgh
Cludgie Toilet Glasgow and Edinburgh
Crabbit Ill-tempered person Glasgow and Edinburgh
Dizzy Being stood up Glasgow
Dreich Awful weather Glasgow and Edinburgh
Erse Backside Glasgow and Edinburgh
Fearty Coward Glasgow and Edinburgh
Gallus Self-confident Glasgow
Glakit Stupid/Silly Glasgow
Greet Cry/Weep/Whine Glasgow and Edinburgh
Hackit Ugly Glasgow
How? Used instead of Glasgow and Edinburgh
“Why?”
Ken To know Glasgow and Edinburgh
Laddie Boy Glasgow and Edinburgh
Loupin Throbbing with Glasgow
pain
Lum Chimney Glasgow and Edinburgh
Piece Sandwich Glasgow and Edinburgh
Plank Hide Glasgow
Polis Police Glasgow and Edinburgh
Rubbered Very drunk Glasgow
Scran Food Glasgow
Scud Naked Glasgow and Edinburgh
Scunner To disappoint Glasgow
Shoot Travel fast in other Glasgow
the Craw direction
Single end One-room flat Glasgow
Skelp To slap or hit Glasgow and Edinburgh
Slapper Women of minimal Glasgow and Edinburgh
virtue
Smidgen A small piece Glasgow and Edinburgh
Teuchter Anyone outside Glasgow
Glasgow
Wee Small/Tiny Glasgow and Edinburgh
Weech Throw/Fling Glasgow
Wean Child Glasgow
Wheest Be quite Glasgow and Edinburgh
As I said at the beginning, don’t try to use these words,
but do try to understand them, and have a great time in
Scotland.
Jack Plumb CEng MIET MCIBSE MSLL is Head of Estates at the
National Library of Scotland, and is host of IAMFA’s 24th Annual
Conference in Scotland.
Understanding the Patter During
your Visit to Scotland
By Jack Plumb

Midwest Museum
Sustainable Lighting
Symposium
As a museum professional, you are invited to attend a
free, comprehensive and interactive symposium on
Friday, September 12, 2014, atThe Field Museum in
Chicago, to explore the questions and possibilities
opened by rapidly developing LED technologies
and their transformative impact on the museum
lighting industry.
When:
Friday September 12, 2014 from 9:30 AM to 6:30 PM
Where:
The Field Museum
1400 S. Lake Shore Dr.
Chicago, IL 60605
Space is limited. Registration is required.
Register at: http://bit.ly/MMSLS
With support from

space, including the opening of new
galleries in the heritage buildings.
Steensen Varming provided building
services for the museum and gallery,
including the new lifts, ICT Wi-Fi,
discreet cable and services installa-
tion, and specific HVAC to satisfy the
environmental conditions.
The design interweaves heritage
buildings, new contemporary archi-
tecture, and archaeology to create a
rich and memorable experience for
visitors. Exhibitions are accommodated
within state-of-the art gallery spaces and
adaptive reuse of heritage spaces, in what
is arguably Australia’s most significant
collection of heritage buildings.
The project is of national and inter-
national significance, creating a rich
and truly unique visitor experience,
including the latest computer-realised
technology in the exhibition spaces.
Following its completion, the project
received the City of Hobart Heritage
Award and Museums Australia MAGNA
Award in 2013.
Services Approach
The engineering building services for
the museum and gallery included a
new consolidated power supply, lifts,
special fire engineering solutions, ICT,
lighting design and specific HVAC to
suit gallery and museum requirements.
Due to its significant heritage content,
parts of the development were naturally
ventilated and complemented with
localised hydronic heating. The works
addressed the relevant functional and
operational requirements for TMAG,
with consideration to the environment,
maintenance, general health and safety,
conservation, heritage parameters
and constraints, whilst responding
to the architectural concepts and
budget requirements.
The contractors approached the
works in a very careful, methodical and
meticulous manner. Regular onsite
meetings were carried out with relevant
stakeholders and subcontractors to
carefully agree on the precise final
routes of cables and ducts, as well as
the positioning of equipment and the
mounting and fixing of services. Each
section and part of the works proposal
included information on how noise
and vibration were minimised whilst
carrying out the work. Details of all
provisions were put in place to ensure
that the risk of damage to the existing
structure and surrounding spaces was
kept to a minimum, and installed with
the least visual impact.
Reviving a Rare Tasmanian Heritage
The Tasmanian Museum and Art Gallery
Redevelopment Project
By Richie O’Sullivan, Emrah Baki Ulas, Michael Harrold and Chris Arkins
T
he Tasmanian Museum and Art
Gallery (TMAG) is the second-
oldest museum in Australia,
and its collection mandate is the
most diverse of any in the country.
Its campus on Hobart’s waterfront at
Constitution Dock comprises a rich
collection of heritage buildings, includ-
ing the Commissariat Store (1808–1810),
the Private Secretary’s Cottage (1813),
Custom House (1902), Queen’s Ware-
house (1869), the Henry Hunter Build-
ing (1863–1866), the New Gallery (1966)
and the New Link Building (1986).
The Project
The entire A$200-million redevelop-
ment of TMAG will be the largest and
most significant cultural development
ever undertaken in Tasmania, ensuring
TMAG’s place as a leading museum
and gallery. It will provide many unique
and flexible exhibition spaces and
galleries, as well as extensive back-of-
house facilities, including workspaces,
storage, workshops and goods-handling.
Francis-Jones Morehen Thorp was
the appointed architect for the first
A$30-million stage of the transforma-
tion, which involved the creation of
a new public entry off Dunn Place, a
new foyer, and increased exhibition
View of the main courtyard and courtyard lighting. Artist’s impression of the redevelopment when complete.
JOHNGOLLINGS

Electrical
The solutions for the electrical services
made use of existing systems where
possible. The existing site was made up
of several individual power-authority
connections, which were consolidated
into one larger single supply.
All redundant cabling was carefully
removed and updated with new
cabling and submains in a discreet
manner. Some parts of the installation,
such as the Bond Store, required
exposed cabling as a specific heritage
requirement, enabling cables to be
easily removed in the future without
affecting the building fabric. In the
Central Gallery, special space consider-
ations permitted the concealment of
services, allowing a simple but very
effective solution in which power and
communication floor boxes were
hidden below a removable section of
flooring. This was a fine example of
servicing the old museum with new
modern services and technology,
including Wi-Fi conductivity.
To assist in the improvement of
visitor circulation and access, new lifts
were installed. Lifts were carefully
designed, and their size optimised for
the movement of relevant artefacts. To
minimise the spatial requirements and
impact of lift motor rooms, motor-
roomless lifts (MRLs) were designed
for both passengers and goods.
Lighting
Lighting systems within the exhibition
spaces were carefully chosen and
detailed to integrate seamlessly with
the buildings, whilst overcoming
challenges such as the fixing of track
systems and cabling infrastructure
onto existing heritage elements with
appropriate care.
All light sources within exhibition
spaces are high-quality, dimmable,
high-colour-rendering LEDs that emit
minimal UV to minimise damage on
exhibitions, whilst saving energy and
enhancing the visitor’s visual experience
of the collections. These systems have
been carefully chosen, through inten-
sive testing and prototyping, both offsite
and in situ. The selected lighting systems
consume only about a quarter of the
energy, compared to traditional gallery
lighting equipment, saving a substantial
amount of energy.
Daylighting design is a key element
of the environment in the Central
Gallery space. The vertical daylight
openings in the lantern of the raised
roof are fitted with louvres, which are
adjustable through automated controls
to regulate the amount of daylight
entering the space, as well as being
manually controllable by gallery staff.
External feature lighting within the
courtyard also consists of efficient LED
and metal-halide sources that are incor-
porated into structural and architectural
elements, enhancing the outdoor
experience of the Museum and Gallery
for evening events and functions.
Ventilation and
Air-Conditioning
In the development of HVAC strategies,
careful consideration was given to
achieving appropriate levels of indoor
air quality, whilst minimising the impact
to heritage fabric of contemporary
mechanical services such as ductwork,
fans and diffusers.
Wherever possible, natural ventilation
was used, to achieve the lowest possible
impact of mechanical services on the
sensitive heritage fabric of the building,
while also making use of the building’s
original systems. Given that the base-
ment level of the Bond Store did not
have the required natural ventilation
openings to satisfy building regulations,
a strategy was adopted whereby supple-
mentary ventilation is provided by
mechanical means. To avoid installing
a new network of hot-water pipes to
support the radiators, based on strict
heritage requirements, the design
team incorporated electric radiators,
coordinating the electrical cables with
the general small power/lighting
reticulation routes.
Where mechanical equipment
was required, a review of the existing
building structure was carried out to
identify the most suitable reticulation
route for the installation of a new net-
work of pipework to support radiators,
without compromising the heritage
aspects of the building.
The Central Gallery incorporates
a supplementary outside-air ducted
Concealed electrical services in the Central Gallery.
Ground floor of the Bond Store, indicating operable areas and radiator locations.

system with the capacity to heat the
incoming outside air, while also cover-
ing a portion of heating requirements
for the space through hydronic duct-
mounted coils. High-level louvres assist
with a natural ventilation strategy
during the summer months, whilst
also providing glare control and solar
protection inthe gallery space.
To avoid any unnecessary waste and
additional project costs, three existing
air-handling units were reused. These
consisted of cooling coils, fans, and duct
heaters for specific zone heating. The
existing electric duct heaters were re-
moved and replaced with new hydronic
duct-mounted heating coils, fed from
the new hot-water heating system. Work-
ing within heritage constraints, there
was a real challenge in making altera-
tions to the ductwork reticulation
route and associated supply and, in
particular, the air-return strategy.
Energy efficiency was an important
consideration. By making use of the exist-
ing configuration of operable windows,
the design was able to incorporate a
mixed-mode ventilation strategy. To
avoid the introduction of control
devices—such as reed switches which
would affect heritage aspects of the
building fabric—appropriate means of
control between natural ventilation
and air-conditioning will be undertaken
through the building user management
procedure. To facilitate this, a clear and
intuitive building user’s guide was
created and supplemented with user
training for the team, ensuring that the
changeover between the modes of oper-
ation is carried out with consideration
of optimal outdoor conditions.
The integrated design and holistic
approach taken for this project enabled
TMAG’s significant heritage buildings
to function within a modern context,
while addressing sustainability and
regulatory requirements, and provides
a new, unique visitor experience in
a comfortable environment that
preserves and protects Australia’s
cultural heritage.
Project Credits:
Tasmanian Museum and Art Gallery
Francis-Jones Morehen Thorp (fjmt)
Design5
Taylor Thomson Whitting
Steensen Varming
Gandy & Roberts
RED Fire Engineers
Root Projects
VOS Construction & Joinery Tasmania
On behalf of Jennifer Storer, Acting
Director for Tasmanian Museum and Art
Gallery, we wish to thank IAMFA for its
invaluable collaboration and support.
Richie O’Sullivan is an associate with
Steensen Varming, and can be reached at
Richie.OSullivan@steensenvarming.com. He
specialises in in mechanical and sustainable
design and oversees project delivery,
ensuring that all designs are implemented
to their required quality and performance.
Emrah Baki Ulas, PhD is an associate with
EmrahBaki.Ulas@steensenvarming.com. He
is a renowned lighting designer, educator
and creative thinker, and leads the company’s
global lighting projects.
Michael Harrold is an Associate Director at
Michael.Harrold@steensenvarming.com. He
specialises in electrical, ICT, security, lighting
and vertical transport designs, and is dedica-
ted to ensuring that the client’s requirements
are satisfied in a holistic manner.
Chris Arkins is a Director at Steensen
Varming, and can be reached a
Chris.Arkins@steensenvarming.com. He
manages the regional operations for both
the Sydney and Hong Kong studio, and
leads and coordinates the company’s
commitment to integrated sustainable
design across its global studios.Mixed-mode ventilation strategy for Commissariat/Queens Warehouse/Link buildings.
For more information on becoming a member of the
International Association of Museum Facility Administrators, please visit
www.NewIAMFA.org
Become a Member of IAMFA

2014 IAMFA CONFERENCE SCHEDULE
I A M F A 1 4
Riverside Museum and the Glenlee
The Burrell Collection
Scottish National Portrait Gallery
National Museum of Flight
DELEGATE PROGRAM
SUNDAY,
09:00–16:00 Benchmarking & Learning Workshop
NOTE: This is a separate workshop for benchmarking participants only. If you
were not a participant in the 2014 benchmarking exercise, and would like to
attend this session, please visit www.NewIAMFA.org to register.
15:00–17:00 Conference Registration
17:00–19:00 Opening Welcome and Drinks Reception
MONDAY,
07:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow
09:45–10:15 Presentation No. 1: Public Health and the Role of Museums
—Duncan Dornan
10:15–10:45 Presentation No. 2: Development of a City through Museums
—Dr. Martin Bellamy
10:45–11:15 Coffee Break
11:15–11:45 Presentation No. 3: Burrell Redevelopment—Alex McLean
11:45–13:00 Introduction to Burrell followed by guided tours—Muriel King
13:00–15:00 Travel to Glasgow School of Art, Lunch and View of recent fire damage
to Mackintosh Building
Glasgow School of Art—Reid Building
15:00–17:00 Travel to Riverside Museum—brief orientation meeting followed by
self-guided tours
Riverside Museum Glasgow
17:00–18:15 Lord Provost drinks reception aboard tall ship Glenlee Tall Ship Glenlee
18:15–21:30 Travel to Kelvingrove Art Museum and Gallery, self-guided tour and
Burns Supper
Kelvingrove Art Gallery and Museum
TUESDAY,
09:00–09:30 Meet at National Museum of Scotland, followed by welcome and
introduction of Sponsors
National Museum of Scotland
09:30–10:00 Presentation No. 1: Gareth Hoskins Architects—Gareth Hoskins OBE
10:00–10:30 Presentation No. 2: Metaphor Exhibition Designers—Stephen Greenberg
11:00–11:30 Presentation No. 3: Steensen Varming—Dan Mckenzie
11:30–12:00 Benchmarking Discussion—Keith McClanahan
12:30–14:30 Lunch, followed by IAMFA AGM
15:00–16:00 IAMFA Board meeting with Regional Chairs
17:00–19:00 Camfil Drinks Reception Signet Library
WEDNESDAY,
08:30–09:00 Meet at National Gallery, followed by welcome and introduction
of Sponsors
National Gallery on the Mound
09:00–09:30 Presentation No. 1: Making of the Rijksmuseum—Karen Keeman
09:30–10:00 Presentation No. 2: The Mary Rose—Alan Hutton
10:00–10:30 Presentation No. 3: The World Conservation and Exhibition Centre—
Dr. David Saunders
11:00–11:30 Presentation No. 4: Ensuring a Sustainable Future—Dr. Ewan Hyslop—
Historic Scotland
11:30–12:00 Presentation No. 5: Development of the Scottish National Portrait
Gallery—Chris McLaren and Jacqueline Ridge
12:30–13:30 Lunch Scottish National Portrait Gallery
13:30–15:00 Tram ride and guided tours around Scottish National Portrait Gallery
17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception and
Gala Dinner
Royal Botanic Garden, Edinburgh
21:30–22:00 Travel back to Hotel
THURSDAY,
10:30–11:00 Meet for bus to New Lanark
11:00–12:00 Travel to New Lanark New Lanark
12:00–13:00 Lunch
13:00–16:00 Guided Tours of New Lanark
16:30–17:30 Return to Edinburgh

Royal Botanic Garden
Rosslyn Chapel
National Galleries of Scotland
National Museum of Scotland
GUEST PROGRAM
14 SEPTEMBER 2014
15:00–17:00 Conference Registration National Library of Scotland
17:00–19:00 Opening Welcome and Drinks Reception
15 SEPTEMBER 2014
07:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow
10:15–11:30 Guided tours of Burrell Museum
11:30–13:00 Travel to Kelvingrove, followed by lunch Kelvingrove Art Gallery and Museum
13:00–13:30 Organ recital in main entrance hall
13:30–15:00 Introduction to Kelvingrove, followed by guided tours
15:00–17:00 Travel to Riverside, orientation, then self-guided tour of Riverside Riverside Museum Glasgow
17:00–18:15 Lord Provost drinks reception aboard tall ship Glenlee Tall Ship Glenlee
18:15–21:30 Travel to Kelvingrove Art Museum and Gallery, self-guided tour and
Burns Supper
16 SEPTEMBER 2014
09:30–10:15 Travel to East Fortune—Museum of Flight
10:15–11:30 Guided tours of Museum and/or Coffee Break East Fortune—Museum of Flight
11:30–12:00 Travel to Haddington for lunch
12:00–13:00 Lunch at Maitland Hotel Maitland Hotel Haddington
13:00–13:45 Travel to Rosslyn Chapel Rosslyn Chapel
13:45–15:00 Tour of Rosslyn Chapel
15:00–16:00 Travel back to National Museum of Scotland to meet delegates National Museum of Scotland
17:00–19:00 Camfil Drinks Reception Signet Library
17 SEPTEMBER 2014
09:00–10:00 Walk—Grassmarket–Greyfriars Graveyard–George IV Bridge–Deacon Brodie
10:00–10:30 Coffee Break Scottish Historic Building Trust
Riddle’s Court
10:30–10:45 Walk to Mary King’s Close
10:45–11:45 Mary King’s Close—Two tours: one group browsing; one group on tour Mary King’s Close
12:00–12:30 Walk down Royal Mile
12:30–13:15 Lunch Scottish Storytelling Centre
13:15–14:00 Walk down Royal Mile—Dunbar’s Close Garden
14:00–15:30 Scottish Parliament—Two tours: one group browsing; one group on tour Scottish Parliament Building
15:30–16:30 Walk back to Hotel
17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception and
Gala Dinner
Royal Botanic Garden, Edinburgh
21:30–22:00 Travel back to Hotel
18 SEPTEMBER 2014
10:30–11:00 Meet for bus to New Lanark
11:00–12:00 Travel to New Lanark New Lanark
12:00–13:00 Lunch
13:00–16:00 Guided Tours of New Lanark
16:30–17:30 Return to Edinburgh
I A M F A 1 4

prices have reduced significantly due to
the advent of hydraulic fracturing, there
is still strong demand for our heat-
recovery equipment. We have grown
significantly during the past decade.”
The Art Institute’s economizer
installation was engineered by McGuire
Engineers, who has been long-time
corporate sponsors of IAMFA. Michael
Murphy, LEED AP, Project Manager
of McGuire, noted the superior design
of these economizers. “The unit features
tube elements that can be individually
replaced without the need to perform
any welding. The individual tubes can
be easily removed and replaced. The
method of tube connection is a simple
compression-fitting-type connection.”
Hill Mechanical of Franklin Park,
Illinois was the mechanical contractor
for the project. Harold Hacker, Vice-
President of Hill, noted that “This was
an interesting project, and it required
a great deal of coordination to put
these economizers into a working
steam plant. The space we had to
work ith was tight, and the plant
needed to be in continuous operation
during the installation phase. The
economizers themselves are large, so
it was kind of like putting a ship in a
bottle. We were really pleased by the
ingenuity of our team, who devised and
executed the rigging and placement
of these large components.”
As part of this project, the Art
Institute took advantage the Peoples
Gas Natural Gas Savings Program,
administered by Peoples Gas, Light
and Coke, the local natural gas distri-
bution company in the Chicago area.
According to Leon Dorsey, Account
Manager for Peoples Gas, “every rate-
payer in our territory contributes to
the rebate program by paying a ‘Natural
Gas Savings Program’ payment as part
of their monthly bill. Our customers
can then apply for partial funding of
energy-efficiency projects that are
determined to meet program goals.”
Franklin Energy, the firm contracted
to administer the program, and part
of our energy team, worked directly
with the Art Institute right from the
beginning. Adam Roche of Franklin
Energy noted, “We were excited about
this project. This was an extremely
complicated project to engineer,
quantify savings, and garner financial
approvals within the organization.
Having a partnership relationship
with the Art Institute allowed us to
finetune our program offerings to
meet our customer’s needs. This
project benefited on many levels from
our program, with the funding of a
feasibility study by McGuire Engineers
to quantify engineering challenges
and potential savings. Our rebates
allowed the Art Institute to request
funding for a project which not only
met typical payback requirements,
but exceeded them, allowing for
the project dollars to be approved
immediately, without having to push
through normal capital budget
Waste Heat Recovery at the
Art Institute of Chicago
By Patrick B. Jones
Economizer installation at the Art Institute.
I
n May of this year, the Art Institute
of Chicago installed two new
HeatSponge-Titan-12 boiler
economizers. For those unfamiliar
with this technology, the intent is to
capture surplus heat contained in flue
gases, and divert it to practical purposes.
At the Art Institute, that purpose is to
pre-heat feedwater to two Johnston
high-pressure steam boilers.
According to design specifications,
this installation will result in over
11,000 MMBTU’s of natural gas
savings per year. The total cost of the
installation was just under $250,000,
with an expected payback of less than
three years. Because the project quali-
fied for energy-efficiency rebates, the
payback period was ultimately reduced
to about one year.
The two economizers placed at the
Art Institute were produced by Boiler-
room Equipment. The Pennsylvania-
based manufacturer specializes in
economizer and steam-accumulation
technology, as well as condensing heat
exchangers. Vince Sands, PE, owner of
Boilerroom Equipment, told us a bit
about the development of his company.
“Ten years ago, we saw an opportunity
in the market for a new generation
of highly engineered heat-recovery
equipment. Equipment at that time
was based on a 1950s technological
model. There was much more welding
present in the older technology and,
when service was required, the cost
to perform it was prohibitive. Our
equipment is designed to maximize
heat recovery, while also being easy to
repair by plant personnel, rather than
outside maintenance technicians.”
Sands reports that economizers like
those his firm manufactured for the
Art Institute account for 70 to 80% of
his business. “Of course, it was a hard
winter for many of us in North America.
Facility managers everywhere are look-
ing for ways of reducing the overall
spend for natural gas. Although gas

request processes. It was an honor to
work with a customer such as the Art
Institute, as it is with all customers of
Peoples Gas. This was truly a team
effort, which will yield significant
benefits to the Art Institute for years
to come. We encourage all customers
in the Chicago area to pursue energy
efficiency technologies such as this
and to participate in the Peoples Gas
Natural Gas Savings Program.”
At a special ceremony held at the
Art Institute on July 17, 2014, John
Moran, Account Management Senior
Leader of Peoples Gas, presented
William Caddick, Associate Vice-
President for Facilities at the Art
Institute, with a check for $154,138
from the rebate fund for the boiler
economizer project. Mr. Moran
congratulated the whole project
team for their success.
Acknowledging the presentation,
Mr. Caddick, a past IAMFA President,
took a moment to recognize each
member of the team. “I’m sure I speak
for all of us when I say that it is profes-
sionally rewarding to participate in an
effort like this. It is rare that a project
meets so many important goals. We
have reduced the amount of energy we
need to consume in our operations, at
the same time generating significant
cost savings. We have reduced our
carbon footprint, and have contributed
to a greener Chicago. I believe that
projects such as this were the original
intent of the rebate program, and
each of you should be proud of the
role you have played in it.”
Museum facility managers who are
considering energy-efficiency infra-
structure improvements are encouraged
to seek incentive funding to offset
project costs. A comprehensive list
of such funding sources in the
United States is available at
www.dsireusa.org/
Patrick B. Jones is Manager, Off-Site
Facilities and Energy at the Art Institute
of Chicago, and can be reached at
pjones@artic.edu.
William D. Caddick, Associate Vice-President of Museum Facilities at the Art Institute
of Chicago (seventh from the left), received a rebate check for $158,138 for the boiler
economizer project at the museum. With him are representatives of Peoples Gas,
Franklin Energy, McGuire Engineers, Hill Mechanical and Boilersource.
YOUR AD
HERE
DEBORAHBAUGH

A
third round of IPI’s highly successful series of free
workshops and webinars for collections care, facilities,
and administrative staff in cultural institutions will
begin this fall. Visit IAMFA’s website www.NewIAMFA.Org
for a link to register for the workshop, and a special offer
from IAMFA. Individuals who attend the two-day workshop,
and who have never been a member of IAMFA, will receive
a free one-year membership to IAMFA valued at $200.
These presentations are designed to enable collections
care and facilities staff in cultural institutions to work
together to define and achieve an optimal preservation
environment—one that combines the best possible preser-
vation of collections with the least possible consumption of
energy, and is sustainable over time. Over 2,000 individuals
participated in the last two series, and 99.5% rated the
presentations clear, useful, well organized, and relevant.
The Series III workshops will convey the latest information
and best practices for sustainable management of collection
storage environments. Participants will receive two full days
of practical information on understanding mechanical
system functions, responsible energy-saving strategies, and
guidelines for managing changes in environmental settings
without reducing preservation quality. Each participant
will receive a copy of IPI’s Guide to Sustainable Preservation
Practices for Managing Storage Environments.
Workshop Hosts and Presentation Dates
• Museum of Fine Arts, Boston, MA
—September 29–30, 2014
— Held in the Alfond Auditorium
• American Museum of Natural History, New York, NY
—October 28–29, 2014
— Held in the Linder Theater
• California Preservation Program, Berkeley, CA
—November 4–5, 2014
— Held in the David Brower Center
• Smithsonian Institution Archives, Washington, D.C.
—December 9–10, 2014
— Held in the Smithsonian American Art Museum and
the National Portrait Gallery’s McEvoy Auditorium
• Amon Carter Museum, Fort Worth, TX
—January 13–14, 2015
— Held in the Museum Auditorium
There are no registration fees for the workshops or the
webinars. Space is limited at each venue—please register
early, if you are certain that you can attend.
Series III webinars will be scheduled between January
and November 2015. Details of topics and schedules will be
available at www.ipisustainability.org when they are finalized.
We strongly encourage a team approach, and suggest
that institutions register participants representing
collections, facilities, and administrative staff.
Sustainable Preservation Practices
for Managing Storage Environments—
Series III
Funded by the National Endowment for the Humanities Education and Training Grant Program
Presented by the Image Permanence Institute, Rochester Institute of Technology
Audience for IPI Sustainable Preservation Practices Workshop in
Atlanta, Georgia.
Presentation by facility manager during IPI Sustainable Preservation
Practices Workshop.

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Introduction
In a previous Papyrus article1 a specific environmental
factor was discussed that warranted special consideration
with regards to the protection of historical artifacts and
materials. Gaseous (or chemical) pollution such as sulfur
dioxide (SO2), ozone (O3), and nitrogen dioxide (NO2)
are known to have significant deleterious effects, and
information was provided on one method being used to
monitor and measure gaseous pollutants. Over the past
several years, work has been ongoing to refine this tech-
nique specific to the protection of cultural heritage, such
that “reactivity monitoring” has become the de facto
environmental standard for many institutions.
Reactivity (or corrosion) monitoring has been in contin-
uous use for more than 30 years in museums, libraries, and
archives, as a tool to gauge the aggressiveness of the ambient
environment towards materials and artifacts. The use of
passive and real-time reactivity monitors has been written
into specifications, and a classification scheme relevant
to conservation and preservation environments has been
developed. Advances in real-time reactivity monitoring
technology have provided for smaller, battery-operated
devices with internet and wireless communication capa-
bilities, and many have called for a formalization of this
classification scheme into an international standard for
exhibition and storage applications.
Standards and Guidelines for Gaseous
Pollutants
Despite all of the research that has been performed over
the past decade, there is still no universally accepted air
quality specification for museums, libraries, or archives.
There are a number of guideline documents and standards
that are often used as references (partial lists below), some
of which date back more than 30 years. Most provide a short
list of gaseous pollutants that require control, along with
recommended control levels, but research continues in an
attempt to determine what levels of gaseous pollutants cause
deterioration of historical artifacts and archival materials,
as well as the most relevant air-monitoring technique.
Museum Air Quality Guidelines
• National Bureau of Standards (NBS, 1983). “Air Quality
Standards for Storage of Paper-Based Archival Records,”
NBSIR 83-2795. Gaithersburg, MD.
• Thomson, G. (1986). “The Museum Environment,”
2nd Ed. Butterworths, London.
• National Research Council (1986). “Preservation
of Historical Records,” National Academy Press,
Washington, D.C.
• “Conservation notes: Environmental standards” (1987).
International Journal of Museum Management and Curatorship,
Volume 6, Issue 2.
• Purafil, Inc. (1989). Technical Brochure TB-600:
“Environmental Control for Museums, Libraries and
Archival Storage Areas.”
• National Information Standards Organization (NISO
1995). “Environmental Guidelines for the Storage
of Paper Records,” TR01-1995, Baltimore, MD.
• National Park Service (NPS, 1999). “Museum Handbook,
Part 1: museum Collections,” Washington, D.C.
• Tétreault, J. 2003. Airborne Pollutants in Museums,
Galleries, and Archives: Risk Assessment, Control
Strategies and Preservation Management. Ottawa:
Canadian Conservation Institute. “Rare Collections
Library Design Specifications,” (2005). Commonwealth
of Pennsylvania, Harrisburg, PA.
Museum Air Quality Standards
• Advisory guideline air quality archives (1995). Government
Buildings Agency (Rijksgebouwendienst), The Hague.
• ISO 11844: Corrosion of metals and alloys – Classification
of low corrosivity of indoor atmospheres (2006).
International Organization for Standardization
(ISO), Geneva.
• BS5454:2000: Recommendations for the storage
and exhibition of archival documents (2012). British
Standards Institution (BSI), London.
• NARA 1571: Archival Storage Standards (2012).
National Archives and Records Administration.
Washington, D.C.
• EN 16141:2012: Conservation of cultural heritage —
Guidelines for management of environmental con-
ditions — Open storage facilities: definitions and
characteristics of collection centres dedicated to the
preservation and management of cultural heritage
(2012). European Committee for Standardization
(CEN), Brussels.
• EN 15999-1:2014: Conservation of cultural heritage —
Guidelines for design of showcases for exhibition and
preservation of objects - Part 1: General requirements
(2014). European Committee for Standardization
(CEN), Brussels.
An Air Quality Standard for the
Protection of Cultural Heritage
By Peter Fish, Chris Muller and David Thickett

Museum Air Quality Specifications
Engineering specifications, individual institutional
requirements, and other sources pertaining to air quality
requirements for cultural heritage going back 20 years
were examined to develop a list of gaseous pollutants most
commonly cited, as well as their control levels.2 Table 1
shows this list and the range of control specifications,
along with the most commonly cited copper and silver
reactivity levels.
Reactivity Monitoring Research
With respect to the reactivity monitoring guidelines listed
above, this environmental analysis method is currently
being used by a large number of institutions, and has been
described in the literature, with much of the research
supporting reactivity monitoring going back to the 1990s.3
Reactivity Monitors
Both passive and real-time reactivity monitors have been
provided by Purafil, Inc. since the early 1980s for use in
cultural heritage applications. Some of the more notable
include Leonardo da Vinci’s Last Supper, the Sistine Chapel,
the Capital Museum and Forbidden City Museum (Beijing),
the General Government Archives at The Hague, national
archives in China, New Zealand, Singapore, and the US,
as well as many US state archives and several Presidential
Libraries. Broad acceptance and continuing R&D efforts
have resulted in the latest generation of commercially
available reactivity monitors.
The Corrosion Classification Coupon+ (CCC+) measures
the amount of corrosion formation on copper and silver
coupons and logs the temperature and relative humidity of
the local environment. This passive monitor provides all of
the data necessary to verify industry-standard classifications
on the amount and type of corrosion present, as well as
identifying specific contaminant classes.
The Purafil OnGuard 4000 (OG4) Atmospheric Corrosion
Monitor (ACM) indicates the level of corrosion, before
severe damage occurs, by characterizing the room environ-
ment and evaluating the effectiveness of pollution-control
strategies. The OG4’s copper and silver sensors measure
corrosion rates, along with temperature and relative humidity
in real time, and an internal data logger stores the results
for access via the internet, or for direct transmission to a
building management system. Data may also be
downloaded to a PC.
Additional information on both the CCC+ and the OG4
can be found at www.purafil.com.
Other Recent Research Projects
Other recent research projects also point to the continued
relevance of reactivity monitoring in cultural heritage
applications. Two European Union (EU) projects are
described here.
Musecorr4
The goal of this project was to develop electronic loggers,
designated AirCorr, for the continuous measurement of
air corrosivity, and to finetune the monitoring system for
application in the cultural heritage sector. Based on results
obtained in a survey of professionals working with cultural
heritage objects, three versions of the AirCorr logger have
been designed for specific applications: AirCorr I—an indoor
version with an exchangeable sensor; AirCorr I Plus—an
indoor version with temperature and RH sensors, two
replaceable corrosion sensors, and LCD showing actual
corrosivity; and AirCorr O—a watertight outdoor version.
More details are available at www.musecorr.eu.
Memori Project5
The aim of this project is to provide the conservation market
with innovative, non-destructive, early warning technology
for easy assessment of environmental impact on indoor
aWith no chloride corrosion evident.
bWith no sulfur corrosion evident.
Table 1: Control specifications for preservation environments
Reactivity
Contaminant/Parameter Range of Concentrations Listed in Building Specifications Level,
Measured ppb µg/m3 Å/30 days
Acetic acid <4 <10 —
Chlorine ≤1 - ≤3 ≤3 - ≤9 —
Formaldehyde <4 <5 —
Hydrogen chloride ≤1 - ≤3 ≤1.5 - ≤4.5 —
Nitrogen dioxide ≤2.65 ≤5 —
Ozone ≤0.94 - ≤12.5 ≤1.8 - ≤24.5 —
Sulfur dioxide ≤0.35 - ≤1.0 ≤1 - 2.85 —
Silver Corrosion — — Class S1, <40a
Copper Corrosion — — Class C1, <100b

cultural heritage. The MEMORI solution is an early warning
system sensitive to the main degradation factors of indoor
environments. It integrates technologies that can identify
the environments that will create a negative impact before
effects can be seen on artifacts. The MEMORI dosimeter is
sensitive to photo-oxidizing gases and organic acid gases.
The MEMORI reader is designed for onsite measurements,
and a web link provides evaluation of the dosimeter readings.
A handheld reader allows for the collection and analysis of
data onsite, streamlining the process of identifying problem
areas. The MEMORI dosimeter and reader can be connected
to a web-based system designed to visualize and interpret
the results from the reader. Additional details on the
MEMORI project can be found at www.memori-project.eu.
A New Reactivity Monitoring Standard
Over the years, several standards that directly correlate
copper and silver reactivity rates to environmental classi-
fications have been considered for cultural heritage
applications.6,7 Current standards that employ reactivity
monitoring—either in passive or active form—and directly
correlate corrosion rates to environmental classifications
have also been considered. The three that have been most
commonly referenced for the cultural heritage sector are:
• ISO 11844-1:2006—Corrosion of metals and alloys—
Classification of low corrosivity of indoor atmospheres—
Part 1: Determination and estimation of indoor
corrosivity.8
• ISO 9223:2012—Corrosion of metals and alloys—
Corrosivity of atmospheres—Classification, determination
and estimation.9
• ANSI/ISA 71.04-2013—Environmental Conditions for
Process Measurement and Control Systems: Airborne
Contaminants.10
Each of these has its shortcomings for use in cultural
heritage applications and, in order to be truly useful,
each would have to be significantly modified based on
the results of ongoing testing and the specific needs of
these environments.
Purafil maintains a cultural heritage database containing
thousands of sets of copper and silver coupons, in addition
to several hundred OG4 atmospheric corrosion monitors.
Included in this database are local, state, and national
archives, private and public libraries, and some of the
world’s best-known museums. A summary of Purafil’s
database is in Table 2.
Purafil’s historical application of reactivity monitoring,
including many years of environmental research and
verification, has shown that this technique can be used as
an alternative to direct gas monitoring in these environments.
Based on this, and through partnership with a number
of institutions that have made reactivity monitoring their
standard for environmental assessment and classification, a
proposed air-quality standard for cultural heritage applications
is shown in Table 3.
This classification scheme has remained as shown here,
with only slight modification to the class descriptors and
the acceptable corrosion rates for each class. More specific
guidelines for various use categories, using this classification
scheme, have been developed and are listed below.
• Class C1/S1: Archives, Film Collections, Metal Collections,
Rare Books
• Class C2/S2: Museums, Museum Storage, Libraries
• Class C3/S3: Historic Houses
• Class C4/S4: Short-Term Acceptable
• Class C5/S5: Not Acceptable
Table 2: Reactivity Monitoring Database for Cultural
Heritage (summary)11
International
40+ countries
>300 locations
225+ museums
30+ libraries
(5+ national libraries)
50+ archives
(10+ national archives)
>8,500 CCCs
>250 OnGuard ACMs
USA
30+ States & Washington, D.C.
>100 locations
60+ museums
25+ libraries (includes
Library of Congress &
4 Presidential Libraries)
15+ archives (includes
National Archives &
5+ state archives)
>1,500 CCCs
> 50 OnGuard ACMs
Copper Reactivity Silver Reactivity
Air Quality Corrosion Rate Air Quality Corrosion Rate
Classification (per 30 days) Class Classification (per 30 days) Class
Extremely Pure < 90Å C1 Extremely Pure < 40Å S1
Pure <150Å C2 Pure <100Å S2
Clean <250Å C3 Clean <200Å S3
Slightly Contaminated <350Å C4 Slightly Contaminated <300Å S4
Polluted ≥350Å C5 Polluted ≥300Å S5
Table 3: Reactivity Monitoring Standard for the Protection of Cultural Heritage

Papyrus Summer/Fall 2014

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