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Papyrus Winter 2011/2012


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Winter 2011/2012

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Papyrus Winter 2011/2012

  1. 1. 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 S PAPYRUS VOL. 12, NO. 3 WINTER 2011–2012 Sm on ith son ati ia ific n Rec eives 1st LEED Cert PreComplete Coverage vie w ce of the of 2 2n onferen d Mid- 21st IAMFA Atl antic IAMFA CAnnual Conference in Auckland
  2. 2. ContentsLetter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . 2 A Sustainable Design Approach to Preservation Centres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Message from the President . . . . . . . . . . . . . . . . . . . . 3 An Unexpected Attendance at the LightingA Great Time was Had by All: Recap of the Designer’s Academy Awards . . . . . . . . . . . . . . . . . . . . 3521st IAMFA Conference in Auckland,New Zealand—November 13–16, 2011 . . . . . . . . . . . 4 Architect of the Capitol Begins Restoration of Capitol Dome Skirt . . . . . . . . . . . . . . . . . . . . . . . . . 37KIWI Cooking Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Museum Environmental Standards in aLooking at Art in a New Light—Part Four in a Changing Environment . . . . . . . . . . . . . . . . . . . . . . . . 38Four-Part Series: Greening Exhibition Spaces. . . . . . . 16 Chapter News and Regional Updates . . . . . . . . . . . . . 40LEED Certification for the National Museumof the American Indian . . . . . . . . . . . . . . . . . . . . . . . . 19 IAMFA Member Directory 2011. . . . . . . . . . . . . . . . . . 42Benchmarking Workshop Reveals Best Practices IAMFA Members—Organizations . . . . . . . . . . . . . . . . 48that Save Money . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Index of Papyrus Technical and Historical Articles . . . 50Out of Sight, Out of Mind: Museum Collectionsin Storage at Serious Risk Around the World. . . . . . . 23 Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Coming Attractions: Preview of the 2012 Cover photo: Choi Jeong Hwa’s beautiful Flower Chandelier at theIAMFA Mid-Atlantic Conference . . . . . . . . . . . . . . . . 29 new Auckland Art Gallery. Photo: Daniel H. DaviesIAMFA BOARD OF DIRECTORS REGIONAL CHAPTERSPresident Treasurer Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada — High Museum of Art Marc Chretien, Canadian MuseumJohn de Lucy Alan Dirican of NatureThe British Library (Retired) Baltimore Museum of Art Australia — Ray McMaster, Australian mchretien@mus-nature.caLondon, United Kingdom Baltimore, MD, USA National Maritime Museum Philadelphia, USA — John Castle, Winterthur Museum & Garden Bilbao, Spain — Rogelio Diez,V.P., Administration Secretary and Papyrus Editor Guggenheim Museum San Francisco, USA — Joe Brennan, San Francisco Museum of Modern ArtRandy Murphy Joseph E. May Chicago, USA — William Caddick,Los Angeles County Museum Sustainability Engineer Art Institute of Chicago United Kingdom — Jack Plumb, of Art Los Angeles, CA, USA National Library of Scotland j.plumb@nls.ukLos Angeles, CA, USA Los Angeles, USA — Randy Murphy, Los Angeles County Museum of Art Washington/Baltimore, USA — Maurice Evans, Smithsonian InstitutionV.P., Regional Affairs New England, USA — John H. Lannon, Boston AthenaeumJohn Castle For additional For more information onWinterthur Museum, contact information, New York, USA — Mark Demairo, becomming a member of theGarden and Library please visit our website at Neue Galerie International Association of markdemairo@neuegalerie.orgWinterthur, DE, USA Museum Facility Administrators, New Zealand — Patricia Morgan, please Auckland Art Gallery patricia.morgan@aucklandcity.govt.nzIAMFA/ Papyrus Alan Dirican Design and Layout Statements of fact and opinionVol. 12, Number 3 Maurice Evans Phredd Grafix are made on the responsibility ofWinter 2011–2012 authors alone and do not imply an Vicki Humphrey Editing opinion on the part of the editors,Editor Simon Lambert Artistic License officers, or members of IAMFA. The editors of IAMFA Papyrus reserve theJoe May Joe May Printed in the U.S.A. by right to accept or to reject any Article Lynn McGuire Knight Printing or advertisement submitted forPapyrus Correspondents publication. Mirjam Roos ISSN 1682-52412012 Mid-Atlantic Conference While we have made every attempt toPlanning Team Martin Turpin ensure that reproduction rights haveJulian Bickersteth Emrah Baki Ulas been acquired for the illustrations used in this newsletter, please letJohn Bixler Ian Williams us know if we have inadvertentlyJohn deLucy Stacey Wittig overlooked your copyright, and we will rectify the matter in a future issue.Past issues of Papyrus can be found on IAMFAs website:
  3. 3. Letter from the EditorJoe MayEditor, PapyrusGreetings from Los Angeles! Varming’s series, “Seeing Art in a New week exploring the region—and, in Light” by Emrah Ulas and Mirjam Roos. Auckland, learning to cook seafood,A s I write this, it’s been two There is also an article about the Asian style. Thank you, Lynn, for your weeks since I returned home National Museum of the American contribution to Papyrus! from the 21st IAMFA Annual Indian’s new LEED Silver Certification. There is an article in this issue by oneConference in Auckland, New If you recall, we visited NMAI two years of the members of the IAMFA LinkedInZealand. The Committee planned a ago when Washington, D.C. hosted the Group, about sustainability featureswonderful conference—please read IAMFA Conference. Congratulations at the Library and Archives Canada’sthe recap article in this issue of to NMAI, and to the Smithsonian for Cellulose Nitrate Film PreservationPapyrus, and enjoy the collection of achieving their first LEED Certification. Facility. We welcome our LinkedInimages from the Conference. If you This is a quite an accomplishment, members’ contributions to Papyrus,attended the Conference and would and reflects the Smithsonian’s dedi- and hope they will in time find it bene-like to save the images, just remove cation to sustainability, as well as their ficial to join IAMFA. You will also findthe center section from this issue, and commitment to being a responsible an article summarizing the results of ayou will have four pages of images member of the museum community. survey about the state of collections infrom the Conference. You’ll find an article in this issue storage at museums around the globe. IAMFA’s LinkedIn Group continues about the increasing cooperative effort Do these results reflect the situation atto grow, with 213 members now from between Facility Managers and their your facility?24 countries. There has been quite a Conservation colleagues to revise There are also articles about the verylot of lively discussion recently about temperature and humidity standards creative architect, Shigeru Ban, whotopics such as Occupancy Loads, Zero for collections. Please read this very has designed a cardboard cathedral toWaste Programs, Domestic Water interesting article authored by Vicki replace the one destroyed in last year’sProcurement, Pre-action vs. Wet-Pipe Humphrey and Julian Bickersteth. This great earthquake in Christchurch,sprinklers, FM software and more. We process will have a significant sustain- New Zealand; and about a new projectplan to use LinkedIn in the future to ability impact on IAMFA members’ just announced by one of IAMFA’smake announcements to IAMFA mem- facilities in the future. members, Stephen Ayers, to restorebers, as well as to reach out to those You’ll also find an article authored the dome skirt at the U.S. Capitol.who may benefit from joining IAMFA. by Lynn McGuire about the Guest Lastly, we have included a first lookIf you have not yet joined the IAMFA Program at the Auckland Conference. at the venues included in next year’sLinkedIn Group, please do so now, If you’ve not brought your partner Mid-Atlantic IAMFA Conference, sched-and get involved in the discussions; it before to the IAMFA conference, uled for September 16–19, 2012. Thisis a great way to get your fellow IAMFA they’ve missed a real thrill. In addi- region is rich in American history, andmembers’ opinions on topics that may tion to visiting the top cultural insti- I urge you to join us in making plansbe causing you concern. tutions in the host city and wonderful soon to attend! In this issue, you’ll find a variety of social events in the evening, The Thank you to everyone whoarticles, including Part Four of Steensen guests spend much of conference contributed to this issue of Papyrus.2 PAPYRUS WINTER 2011–2012
  4. 4. Message from the PresidentJohn de LucyPresident, IAMFAC ongratulations to Pat Morgan Steve Hyde of the Victoria and Albert— tural institutions, and I hope part of and the Auckland Conference said that he had never seen such a our legacy in Auckland is that they Committee for putting on such fantastic performance in all of his continue to maintain the obviousa successful conference—it was an previous visits. rapport that has been generated, andinspiring and amazing learning The presentations Pat organised continue to hold regular meetings toexperience. The six Auckland at each venue again highlighted the discuss common problems. A problemmuseums and galleries had all valuable contribution that Facility shared is often a problem solved! Werecently been through refurbishment Managers make to our cultural insti- look forward to having reports in theor new building works and were tutions and, as in San Francisco, we future from our New Zealand chapter!looking fabulous. Both the member’s enjoyed talks on integrating new build- The Gala Dinner was held in theprogramme and guest activities went ings with existing heritage whilst con- new extension to the Auckland Artvery smoothly, and we all enjoyed New sidering seismic issues. We also heard Gallery, under their gorgeous KauriZealand hospitality with amazing food, about the New Zealand approach to wood ceiling. The kinetic art work ofand of course the local wines for which conservation and green buildings, sys- flowers hanging from the ceiling wasnew Zealand is famous. As it was early tems versus visitors, and construction too much for some of our members,summer, we were also to have fine in a marine environment. Pat arranged who took to lying on the floor in theirweather for all our visits. for us to hear the story behind her new black-tie outfits to stare at the revolving I was delighted that so many Auckland Art gallery—an art museum flowers! Well done to the three winnersmembers made an effort to attend for the twenty-first century—as well as of the highly coloured luminescentthe Conference, despite the financial a fascinating talk on the relationship sock competition. Thank you to thedifficulties being experienced at their between art and architecture. The Committee for my lovely Maori Chief-museums, and of course we had an detailed behind-the-scene tours added tain’s cloak, which attracted a greatexcellent turnout from Australian and greatly to the learning experience, deal of stroking from the ladies!New Zealand museums—thank you allfor your commitment! and are one of the key reasons for our John Castle and his team are look- The directors of each museum members to attend. This year’s guest ing forward to hosting you next yearwelcomed us to their buildings, which programme dovetailed beautifully in the mid-Atlantic (not the ocean)showed how important they saw our with the member’s programme so part of the States, and are sure to putvisit to be, and how much they valued that on Monday and Wednesday we on another great show. I am lookinghaving our Conference in New Zealand. often shared the same exciting venues. forward to seeing you all again thisThey spoke to us about how proud they The guests’ Tuesday trip to the bush September (16-19). Bookings for thewere of their Facilities Management and beach, like last year’s Napa Valley Conference and the hotel through theteams, and how vital FM was to their excursion, was a real treat. web are already open.institutions. We were blown away by the One of the lasting benefits of put- The preview of the Mid-Atlanticformal Maori welcome and dance on ting on the IAMFA Conference is the Conference in this issue of Papyrus willour first day at the Auckland Museum. strong friendship that grows between give you an idea of just how special thisA seasoned visitor to New Zealand— the facilities fraternity of the host cul- 22nd IAMFA Conference will be. PAPYRUS WINTER 2011–2012 3
  5. 5. A Great Time was Had by AllRecap of the 21st IAMFA Conference in Auckland,New Zealand—November 13–16, 2011By Joe MayD uring the IAMFA Conference a members met in Bilbao, Spain at the • Jinny Hong—Auckland Art Gallery year ago in San Francisco, a Guggenheim Museum and its neigh- Toi o T¯ maki a survey was done that yielded a boring cultural institutions. We were • Amanda Julian—Auckland Artvery telling statistic: IAMFA members all intrigued by the descriptions Pat Gallery Toi o T¯ maki aattending the 20th IAMFA Conference gave of this exotic and faraway placehad, on average, missed just one con- that most of us had never seen. • Paul Ivory—Auckland Councilference in all their years of member- In September of this year, while • John Glen—Auckland Warship in IAMFA. As you read on, you’ll final arrangements were being made Memorial Museumsee why, once a member attends the for the Conference, Auckland hostedannual conference, they don’t want the Rugby World Cup, and Pat’s own • Adam Taylor—Auckland Warto ever miss another one. institution reopened after a multi-year Memorial Museum T¯ maki Makau Rau (“Isthmus of o renovation and expansion project, with • Natalie Hansby—Auckland Zooone thousand lovers,” also translated more than a hundred million dollarsas “Tamaki—the bride sought by a hun- of capital invested. With New Zealand • Sue Dell—Auckland Zoodred suitors”), now known as Auckland, winning the 2011 Rugby World Cup, • Shelley Osborne—Museum ofwas first settled by the M aori around ¯ the city was still celebrating when Transport and Technology1350. The narrow Auckland isthmus IAMFA members arrived, and we’llwas a strategic location, with two har- never forget the hospitality shown • Phil McGowan—Voyagerbours providing access to the sea on by the Kiwis. New Zealand Maritime Museumboth the west and east coasts. It also Let me begin by expressinghad fertile soils, which facilitated hor- gratitude to all of the conference I know how much time these indi-ticulture, while the two harbours pro- organizers: viduals spent planning the countlessvided plentiful kai moana (seafood). The details that went into making this a • Patricia Morgan—Auckland ArtM aori constructed terraced pa (forti- ¯ ¯ truly great conference. Gallery Toi o Tamaki ¯fied villages) on the volcanic peaks. It’s also very important to recognizeThe M aori population in the region ¯ • Petrina Keane—Auckland Art the six sponsors who made this year’sis estimated to have peaked at 20,000 Gallery Toi o Tamaki ¯ conference pre-European-settlement times. Today’s Auckland is home to manycultures. The majority of inhabitantsclaim European—predominantlyBritish—descent, but substantial Maori, ¯Pacific Islander and Asian communitiesexist as well. Auckland has the largestPolynesian population of any city in theworld. Ethnic groups from all corners ofthe world have a presence in Auckland,making it by far the country’s mostcosmopolitan city. In November 2011, IAMFA delegatesand guests converged on Auckland forthe 21st IAMFA Annual Conference.Thank you, Auckland for an unforget-table 21st Conference. Our host for thisyear’s conference, Patricia Morgan,first spoke of Auckland hosting anIAMFA Conference six years ago when The 21st IAMFA Conference Organizing Committee.4 PAPYRUS WINTER 2011–2012
  6. 6. Steensen Varming is a Danish engi- in mind when in need of products, in central Auckland that seats 2,378neering firm founded in 1933 by services, and advice of the type offered people. First opened on December 20,Niels Steensen and Jørgen Varming by these Conference sponsors. 1929, it was reopened in 2000 after ain Copenhagen, Denmark. The firm Day One of the Conference began, major renovation and conservationspecializes in civil, structural and as in past years, with the Benchmark- effort. It is a famous example of thebuilding services engineering, with ing Practices and Learning Workshop atmospheric theatre style, in whichoffices in Denmark, Australia, the for those IAMFA members partici- design and lighting were used to con-United Kingdom, and Ireland. pating in the annual benchmarking vey an impression of being seated in exercise. This valuable undertaking an outdoor auditorium at night, creat-Coffey International Limited is a allows member institutions to compare ing the illusion of an open sky, completespecialist professional services con- building operation costs and practices, with twinkling stars.sultancy with expertise in geosciences, in order to find better ways to accom- Patricia Morgan welcomed every-international development, and project plish various tasks. Building operating one and, along with IAMFA Presidentmanagement. Coffey’s operations costs have five components: Utilities, John deLucy, described plans for theinclude specialist businesses that Security, Grounds, Building Mainte- following three days of the Confer-provide services at every stage of nance, and Custodial. Benchmarking ence. George Farrant, who is Princi-the project lifecycle. participants compare cost per square pal Heritage Advisor for the Theatre, foot (or meter) as well as work-processes also spoke with the delegates andThe Camfil Farr Group is a developer within these five categories. Those guests about the history of thisand producer of air filters and clean-air whose costs are lower than others share magnificent venue.products. Camfil Farr is also a global their methods and processes with The Auckland Civic Theatre isair filtration specialist with 24 produc- the group, creating a best practice in internationally significant as thetion units and R&D centers in four itself. The 2011 benchmarking study largest surviving atmospheric cinemacountries in the Americas, Europe was sponsored by Conrad Engineers, in Australasia (and also one of theand the Asia-Pacific region. McGuire Engineers and Steensen only seven of its style remaining in the Varming. Please see Stacey Wittig’s world), and as the first purpose-builtBlack & McDonald is an integrated, recap of the Benchmarking Practices cinema of this type in New Zealand. Itmulti-trade contractor providing and Learning Workshop in this issue is also known for its Indian-inspiredelectrical, mechanical, utility and of Papyrus. foyer, which includes seated Buddhas,maintenance services to government, The opening reception for this year’s twisted columns and domed ceilings.industrial, commercial and institutional IAMFA Conference was held at the The main auditorium was designedmarkets. Auckland Civic Theatre on Sunday in a similar style, imitating a Moorish evening, November 13. The Auckland garden with turrets, minarets, spiresCypress Private Security designs and Civic Theatre is a large heritage theatre and tiled roofs, as well as several famousimplements security solutions for awide range of clients, including publicand private institutions, office andresidential complexes, museums andmuch more.Hawkins Construction has over sixdecades of building experience and isone of New Zealand’s largest privatelyowned construction and infrastructurecompanies. These sponsors contributed to theintellectual content of the Conferencethrough presentations, and throughtheir generous financial contributions,enabling the spectacular venues, trips,and meals we all enjoyed. The IAMFA organization wants all ofthese sponsors to know how much weappreciate their participation in, andsupport of, our annual Conference.We encourage members to keep this Participants in the 2011 IAMFA Benchmarking and Learning Workshop. PAPYRUS WINTER 2011–2012 5
  7. 7. Abyssinian panther statues. It could for both delegates and their guests. Dur- Members and guests were greetedhold 2,750 people at its opening, and ing the four days of events, the two pro- by director Roy Clare, who welcomedeven with its reduced current seating, is grams coincided frequently, so that both everyone. We were then extremelystill the largest theatre in New Zealand. members and guests could be together honored to participate in a p¯ whir: a o Canapés and cocktails followed much of the time while accomplishing M aori welcoming ceremony involving ¯the presentations, and IAMFA mem- their individual objectives: learning speeches, dancing, singing and finallybers and guests renewed friendships and networking for delegates, and the hongi. Often presented for specialafter last visiting a year earlier, when exploration and discovery for guests. visitors, the p¯ whir included the wero— owe met in San Francisco for the 20th On Monday morning, members and an aggressive challenge to the visitorIAMFA Conference. guests boarded coaches and travelled to at the beginning of the ceremony— As in past years, the Auckland Con- the Auckland War Memorial Museum. and was the most spectacular partference included separate programs The Auckland War Memorial Museum of the p¯ whir. During this part of the o is one of New Zealand’s most important ceremony, M aori warriors advanced ¯ museums and war memorials. Its col- tentatively towards the guests with lections concentrate on New Zealand ceremonial weapons, and performed history (and especially the history of threatening gestures and grimaces, the Auckland Region), natural history, calling out battle screams, and gen- as well as military history. The Museum erally giving an impression of being is also one of the most iconic Auckland ready to explode into violence against buildings, constructed in the Neoclas- the visitors at any moment. Historically, sical style, and sitting on a grassed plinth this has roots in both showing off (the remains of a dormant volcano) in the martial prowess of the warriors, the Auckland Domain: a large public as well as testing the steadfastness ofIAMFA Conference Opening Reception at park close to the Auckland central the visitors.Auckland Civic Theatre. business district.IAMFA delegates and guests in front of the Auckland War Memorial Museum.6 PAPYRUS WINTER 2011–2012
  8. 8. Once the manuhiri (guests) and at the Voyager New Zealand Maritime five entries in each category. The ses-tangata whenua (M aori hosts) were ¯ Museum. Please read Lynn McGuire’s sion was led by Guy Larocque, who willseated, both sides offered speeches, be- article on the Look, Cook, and Eat post a summary of results in a futureginning with the tangata whenua. The event in this issue of Papyrus. We all issue of Papyrus.ceremony concluded when tangata heard later that guests had a great Delegates then heard a presenta-whenua and manuhiri made physical time learning to prepare new seafood tion by Pete Bosley, designer of thecontact with a hongi. A hongi is a tradi- dishes—and enjoying their gourmet recent expansion to the Voyager Mari-tional M aori greeting in New Zealand. ¯ creations afterwards. time Museum. This new expansionIt is done by pressing one’s nose and Following lunch, delegates were houses Black Magic, winner of the 1995forehead (at the same time) to the greeted by Chief Executive Murraynose and forehead of another person Reade, who provided background onat an encounter. the Voyager Museum. Delegates then I was astonished by the welcome continued a strategic planning work-from the M aori representatives. This ¯ shop initiated last year in San Francisco.ceremony evoked unexpected emotion The goal of this workshop is to identifyby everyone present. I remember look- the current strengths, weaknesses,ing over at Pat Morgan, and wondered threats, and opportunities for improv-. . . what is going to happen next. I ing IAMFA. Last year in San Francisco,wish that everyone reading this could members brainstormed ideas for eachhave experienced this M aori welcome ¯ of these categories, and this year IAMFAto New Zealand. members refined this list to the top- Following our welcome to theAuckland Museum, conference dele-gates heard presentations on “Systemsversus Visitors” by David Hebblethwaite,and “Building Conservation and Con-struction” by John Glen, followed by aback-of-house tour. Conference guestshad a guided tour of the Museum be-fore both delegates and guests boardedcoaches headed for Auckland’s ViaductHarbour area. Guests attended a Look, Cook, and Black Magic, winner of the 1995Eat cooking class and lunch at the The finished gourmet lunch enjoyed by America’s Cup race, on display at theHarbour, while delegates had lunch Conference guests at Viaduct Harbour. Voyager New Zealand Maritime Museum. The powhiri included the wero: an ¯Maori representatives and representatives from the Auckland War Memorial Museum greet ¯ aggressive challenge to the visitor atIAMFA delegates and guests with a powhiri. ¯ the beginning of the ceremony. PAPYRUS WINTER 2011–2012 7
  9. 9. America’s Cup. Alex Cutler, CEO of the a catamaran, and offered time to relax The Auckland Art Gallery reopenedNew Zealand Green Building Council, after a very busy Day Two of Conference to the public in September 2011, afterthen presented a summary of the presentations and tours. more than two years of renovation andNew Zealand Green Building system Day Two of the 21st IAMFA Confer- expansion. Director Chris Saines pre-called the Green Star Rating System. ence ended with a catamaran ride back sented a talk on “The New Auckland Following afternoon presentations, to Auckland, where coaches delivered Art Gallery: an Art Museum for thedelegates had time for a brief tour of everyone safely to the Langham Hotel, 21st Century”.the Voyager Museum. our home during the Conference. The Gallery hosted two additional After cooking class, guests boarded For Conference delegates, Day Three presentations: Architect Lindsay Mackiethe Ted Ashby, a ketch-rigged deck of the Conference began with a short from Archimedia spoke about thescow, typical of the fleet of scows that walk over to Auckland Art Gallery Toi design of the Art Gallery, and Chrisonce operated in New Zealand’s o Tamaki, where members were ¯ McKenzie presented “Integrating thenorthern waters. greeted by Gallery Director Chris New with Existing Heritage Fabric— Following tours of the Voyager, and Saines. The Auckland Art Gallery Toi o Seismic Considerations”. Delegatesa trip on the Ted Ashby, delegates and Tamaki is the home of the visual arts ¯ were then given a back-of-house tourguests boarded a ferry and headed for in New Zealand, with a collection of before a walk to the Skytower for lunch.Mudbrick Vineyard on Waiheke Island more than 15,000 works of art, and is At 328 meters, the Skytower isfor dinner. The scenic trip to Waiheke also home to our Conference host, the tallest man-made structure inIsland took about 30 minutes aboard Patricia Morgan. New Zealand, and offers breathtakingThe Ted Ashby, one of the Voyager IAMFA members and guests network Attendees enjoy dinner and a gorgeousMuseum’s working fleet of three heritage with a cocktail at Mudbrick Winery sunset at Mudbrick Winery.vessels, which form an active and integral before dinner.part of the Museum’s collection.Auckland Art Gallery Toi o Tamaki. ¯ The Auckland Skytower in the distance.8 PAPYRUS WINTER 2011–2012
  10. 10. views for up to 80 kilometers in every they had lunch and a sampling of the sentations “Casting New Light ondirection. Visitors rise in glass-fronted best the Winery had to offer. Few your Collection” by Emrah Ulas, andelevators to one of the three spectac- wineries in New Zealand can claim “Benchmarking Recap”, by Keithular viewing platforms. For more thrills such a proud winemaking history as McClanahan.and excitement, they can walk round Soljans Estate Winery. Bartul Soljan Delegates then boarded coaches,the pergola at 192 metres up, or even planted the first Soljan vineyard in heading for the Royal New Zealandjump off the Tower (with cables). New Zealand in 1932, leaving behind a Navy Museum in Devonport, where On Day Three, guests travelled by legacy that has been carried on by his they were welcomed by Commandercoach to Waitakere Regional Park. son Frank and then grandson and cur- David Wright, Director of the Museum.The Waitakere Ranges are a chain of rent owner, Tony Soljan. Today, Soljans Housed in a nineteenth-century sub-hills running approximately 25 kilo- represents three generations of wine- marine mining station, the Navymeters (15.5 miles) from north to making, with over 70 years experience. Museum’s exhibitions showcase thesouth, 25 km west of central Auckland. Following lunch, delegates returned story of the Navy’s contribution toThe maximum elevation within the to Auckland Art Gallery for the pre- the development of New Zealand’sranges is 474 meters (1,555 feet). Thesubtropical ranges and surroundingareas were traditionally known to thelocal M aori as Te Wao Nui a Tiriwa (the ¯Great Forest of Tiriwa). The western coastline of the Rangesconsists of cliffs exceeding 300 meters(984 feet), interspersed infrequentlywith beaches. The ranges are coveredin native forest, most of which is in theprocess of regeneration since extensivelogging and farming in the mid to latenineteenth and early twentieth cen-turies. The Waitakere Ranges RegionalPark now contains about 15,985 hectares(39,500 acres). After a stop at the Visitor Centre,guests hiked approximately 2.4 kilo-meters (1.5 miles) down to a reservoir,where they could observe many of thenative plants and birds. Guests then boarded their coachand headed for Soljans Winery, where The Royal New Zealand Navy Museum at Torpedo Bay. An old-growth Kauri tree, estimated to beView from the Waitakere Visitor Centre. 700 years old. PAPYRUS WINTER 2011–2012 9
  11. 11. identity through the lens of the Navy’s The final day of the Conference electronically ahead of the Conferencevalues: courage, commitment and began for delegates at the Langham eliminating the need to take timecomradeship. There, delegates enjoyed Hotel, with the Annual General Meet- during this meeting to elect officers.a coffee break, and were given a guided ing. Each of the IAMFA board members Three board positions were uptour of the Museum, before heading and each Committee Chair addressed for election this fall: Treasurer,back to the Langham Hotel for a the membership with a review of the VP Regional Affairs, and Secretary/free evening. current state of Regional Affairs, Papyrus Editor. Incumbents to these For Conference guests, after lunch Administration, Treasury, Papyrus, three positions each volunteered toit was off to one of three gannet nest- and future plans. serve another term, and were electeding colonies in New Zealand, at Muriwai No election was held at the meeting by the membership in a ballot aheadbeach, northwest of Auckland. Muriwai this year. A recent change in IAMFA’s of the one of Auckland’s west coast beaches, bylaws now permits members to vote John Castle made a presentationwith good fishing, strong winds and on preliminary plans for next year’srough waves. You can often see the 22nd Mid-Atlantic IAMFA Conference.gannets soaring around the cliffs on the Following the AGM, membersever-present winds. As you might expect boarded coaches and departed for theof a maritime bird, they’re very good Auckland Zoo. Guests began Day Fourat gliding, with wingspans up to 180 cm with a walking tour and marathon(around six feet). Gannets feed by shopping in Parnell Village, beforediving from high up into a school of departing for the Zoo to rendezvousfish near the surface of the water. with the delegates. Guests then hiked down to a beau- Auckland Zoo has New Zealand’stiful black sand beach, and made their largest collection of animals, and isway back to the Langham to meet up recognized as one of the most pro-with the delegates. gressive zoos in the world. A winner Camfil Farr, one of the sponsors of of national and international environ-this year’s IAMFA Conference, hosted mental-related awards, it is home toattendees at the Langham for a cock- 120 different species and over 750 ani-tail reception . . . and it was a great way mals. Delegates were greeted by Zooto begin a free evening to explore Director Jonathan Wilcken, who fol-Auckland’s nightlife. lowed with a presentation “Te Wao IAMFA’s Board of Directors met to Nui—A Modern Zoo”. Delegates werediscuss the business of the organization then given a tour of the Zoo, and werebefore walking to a local Malaysian met along the way by the guests, whorestaurant for dinner. Day Three of the had already arrived.Conference was packed full of learning Guests then experienced one of theand networking for delegates, and Sponsor Camfil Farr, host of the Tuesday highlights of their visit to Auckland. evening cocktail reception at theexploration for guests. Langham Hotel. The Zoo had arranged an animal Presenters at IAMFA’s annual general meeting. Left to right: John Castle, Guy Larocque, Randy Murphy, Joe May, Alan DiricanGannet nesting colony at Muriwai Beach. and John deLucy.10 PAPYRUS WINTER 2011–2012
  12. 12. encounter for the guests, and Burma New Zealand aviation pedigrees, and early shops and houses, including awas waiting when the guests arrived. displayed in its new home, which “fencible cottage” and a blacksmith Each of the guests was able to feed just opened in September 2011. The shop. The Road Transport CollectionBurma a piece of fruit and then pose project had two parts. The first part rotationally displays in excess ofwith Burma for a photo op. was the relocation and refurbishment 100 cars, trucks, motorbikes and What a treat is was to meet Burma of MOTAT’s existing Blister Hangar emergency vehicles.up close, and to feed her and pet her. (workshop), and the second was the The Tram Collection includes overWe will never forget it! construction of a custom-designed 20 electric, steam and cable trams, A little more touring around this building to enhance the display of the many of which are operational, withmagnificent zoo, and then it was time Museum’s unique aviation collection. support equipment and vehicles fromfor lunch in the Old Elephant House, MOTAT’s exhibits also include former New Zealand tramway systems inwhere everyone could sit and relax trains, trams, vintage traction engines, Auckland, Wellington and Wanganui,a bit before boarding a tram, and carriages, cars, buses, trolleybuses and as well as the Mornington Cable tramheading for the nearby Museum of trucks (particularly fire engines), as system in Dunedin.Technology and Transport (MOTAT). well as electrical equipment, space MOTAT was built around the site MOTAT has one of the most impres- flight exhibits including a Corporal of a beam-engine pumphouse, whichsive aircraft collections in the South- rocket, and general science exhibits. originally provided Auckland’s waterern Hemisphere, all with genuine There is also a “colonial village” of supply. Delegates heard presentationsGuests, like Livi deLucy, had a closeencounter with Burma, a 29 year-oldAsian elephant. Conference guests pose with Burma.Historical aircraft in the new display hall. A sampling of MOTAT’s antique automobile collection. PAPYRUS WINTER 2011–2012 11
  13. 13. on “Auckland’s Water Works History” The setting for this year’s closing their way towards the Atrium, butby Mike Austin and Dave Pearson, and gala could not have been more ele- stopped along the way for a photo.“Development and Challenges within gant. The new North Atrium at the Attendees enjoyed a delicious din-Architecture” by Evzen Novak. Art Gallery was impressive, and dinner ner accompanied by New Zealand fine Mid-afternoon, members and dele- was held under Korean artist Choi wines, and a full dinner program, begin-gates returned to the Langham Hotel Jeong Hwa’s Flower Chandelier, a colossal, ning with the New Zealand Nationalfor a short rest, a quick change, and plump-petalled plant heaving and Anthem performed by opera singerthen a coach ride to the Auckland breathing. Alene Wistrand.Art Gallery Toi o Tamaki for the ¯ The evening began with cocktails Prior to dinner, John deLucy,closing Gala Dinner. This year’s Gala and canapés in the Mackelvie Gallery, IAMFA’s President was presented withDinner took place in the atrium of built in 1916 and reinstated as part of a korowai. The korowai is a traditionalthe New Auckland Art Gallery, just the recently completed development and prized M aori garment. The ¯opened in September 2011. project. Gala Attendees then made korowai cloak is decorated with shortMOTAT’s beam-engine pumphouse. Choi Jeong Hwa’s beautiful Flower Chandelier.Attendees at the 21st IAMFA closing gala. John deLucy is presented with a korowai at the closing gala.12 PAPYRUS WINTER 2011–2012
  14. 14. lengths of twisted fiber, usually dyed years she’s had to make preparations very different story! The IAMFA menblack. Of all cloaks, those adorned amidst constant worry about whether were not to be denied. Three were rec-with feathers (kahu huruhuru) are our world’s economy, which has caused ognized for their outstanding socks:the most prestigious and indicative so many institutions to implement aus- Tony McGuire for color, John Castleof high rank. terity measures, would prevent IAMFA for cuteness, and David Saunders for In the evening’s other presentations, members from attending. During the canniness, with his Peter Blake redAlan Dirican and Patricia Morgan were same time frame, the beautiful new socks! We can only imagine what ourawarded the George Preston (IAMFA’s Museum where we met for our closing members may bring next year to coverFounder) Memorial Award for their gala reopened. As conference host, Pat their feet!efforts in advancing IAMFA’s mission. served on the IAMFA Board of Directors In conclusion, I believe I speak for Alan performed beyond what is for the past year, and we’ve been able all attendees of the 21st IAMFA Con-expected of the Treasurer’s role over to see her determination to make this ference when I say that it was a truethe past year, by getting us back on track 21st IAMFA Conference a success. She adventure this year visiting New Zealand.with the changes needed to keep our didn’t give up, and we are so grateful The people of New Zealand were sonon-profit status in good standing, and to Pat that she persisted in making kind, helpful, and hospitable to all ourimproving our financial documenta- this year’s Conference one of the best members. We learned, we explored,tion, along with several measures to in the history of our organization. we laughed, and at times we werereduce operating costs. All of this In recent years a tradition has taken nearly overcome by emotion from thewas done during a very challenging hold, and now it wouldn’t be an offi- welcome we were extended.year, with a major capital project at cial IAMFA Gala Dinner without the Thank you, thank you, thank youthe Baltimore Museum of Art. “Annual Sock Competition”. Last year to everyone who made IAMFA’s For Patricia Morgan, it has been a in San Francisco, two ladies took home 21st Conference so memorable.long road leading up to this 21st IAMFA bragging rights for the most colourfulConference, and during the past two and unique socks. This year, it was a Joe May is IAMFA’s Secretary, and Editor of Papyrus Magazine.Alan Dirican is awarded the 2011 Patricia Morgan being awarded the 2011 George Preston Memorial Award.George Preston Memorial Award. Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG PAPYRUS WINTER 2011–2012 13
  15. 15. KIWI Cooking ClassBy Lynn McGuireT he 2011 IAMFA Annual Conference Guest Program After watching Chef Steve and his assistant prepare all was outstanding! of the food at one main station in a small auditorium, we Seeing Auckland from all sides, all of the delegates’ entered another room where cooking stations were set upsignificant others enjoyed a chance to experience “down with all of the food items, utensils, aprons, etc. we wouldunder” from the mountains to the beaches, and everywhere need. We were to break into groups of four, sharing thein-between. cooking responsibilities as we reproduced his meal. One of the most unique experiences was visiting the Our menu was as follows:Auckland Seafood School, where Chef Steve Roberts • Grilled Salmon Skewers with Lime and Lemongrass Sauceregaled us with stories as he prepared a succulent meal,which we then attempted to copy. Chef Steve had lived in • Asian Style ColeslawJapan for many years, so his recipes reflected the Asian • Grilled Seasonal Fish, Bok Choy, Mandarin andinfluence he had absorbed overseas. Ginger SauceNancy Evans mimics Chef Steve’s technique as she wraps salmon with strips ofleek during the Look, Cook, and Eat Luncheon. Harry Wanless prepares Asian Style Coleslaw. The Feast de Résistance prepared by IAMFA’sLivi deLucy makes Lemongrass Sauce. talented guests.14 PAPYRUS WINTER 2011–2012
  16. 16. We watched Chef Steve effortlessly blanch leek strips,which he then wrapped around salmon pieces to formmedallions. We all laughed as we tried to produce perfect juliennedcarrots, shredded coleslaw and other ingredients for thecoleslaw, dressing it with a sweet chili sauce. It lookedremarkably easy—not quite as easy when we tried ourhands at it. Chef Steve then prepared fish fillets over bok choy, withtwo delicious sauces. Likewise, we chopped, diced, andstirred tiny pats of butter into the sauces while we had ourfish entrees on the grill. Our presentation may not have mirrored Chef Steve’sexactly, but as we all sat down to our meal we toastedour efforts and enjoyed every morsel. It was a wonderfulafternoon.Chicagoans Lynn McGuire and husband Tony are long-timemembers of IAMFA, and are seasoned participants at the IAMFAConference each year. We all enjoyed our seafood creations. PAPYRUS WINTER 2011–2012 15
  17. 17. Looking at Art in a New Light Part Four in a Four-Part Series: Greening Exhibition Spaces By Mirjam Roos and Emrah Baki Ulas W e live in an era of sustainability and an increasing concerns over the potential for mercury pollution and global emphasis on minimising energy use. This contamination, particularly since the compact fluorescent requires a change in the way we think about (CFL) type lamps that have been commonly proposed as lighting in museum and gallery facilities. As a result, best- replacement contain toxic mercury, and there is little practice expectations for exhibition display are evolving, regulation and guidance on the appropriate forms of and appropriate display-lighting conditions for cultural disposal and recycling. collections and exhibitions continue to be a major topic of As alternative lighting technologies continue to develop, discussion at the international level. Most of these discussions these concerns are lessening and alternative ways forward are revolve around legislation regarding the phasing-out of opening up new possibilities for museum and gallery lighting. inefficient light sources, which have a significant impact Common strategies taken on by many institutions to on museums and galleries. cope with the phase-out of certain lamps in the last few Most government activity around the issue of lighting is years can be summarised as: driven by energy savings issues, triggered by developments • bulk stocking of spare lamps in lighting technologies within the past decade. These devel- opments have shifted the focus of key lighting manufacturers • direct replacement of lamps only with alternative lamp into new areas of research and product development, which technologies has in turn resulted in a change in business interests and • replacement of the complete luminaires or systems with manufacturing trends. It is predicted that the use of incan- alternative fixtures using alternative technologies descent lighting is likely to shrink significantly within the next decade, and even virtually disappear in some countries. Although it goes against the objectives of government Given that most museum and gallery lighting is based pri- initiatives, bulk stocking of spare lamps has been effective marily on incandescent lighting technology, as far as the as an interim measure—being a cost-effective solution in museum and gallery sector is concerned, the phasing-out the short term, while providing museums and galleries with of inefficient light sources is perhaps the most significant time to assess their budgets and consider a future major legislation to date in the field of lighting. upgrade for their lighting systems. Stockpiling also gives Government legislation related to the phasing-out of museums and galleries the time to wait on any major up- incandescent light sources has been widely criticized by dif- grade while alternative lighting technologies have continued ferent groups and organisations for the extra costs imposed to evolve and develop in the past few years, and while the on the public by government dicta. Another concern is the costs of these systems have been dropping to more afford- characteristic light of available alternative technologies, able levels. In this way, many institutions have bulk-stocked which do not match certain qualities of incandescent lamps, spare lamps in recent years, and have been able to maintain such as the continuous colour spectrum, smooth dimming their lighting system for extended periods, without having and colour shift when dimming, which can be preferable to undertake a major upgrade. for certain applications. There are also environmental The industry is now moving on from bulk stocking of spare lamps, to a phase in which replacement technologiesILLUSTRATION: EMRAH BAKI ULAS are widely being considered. Lighting is a very important element of the overall exhi- bition experience. It is a complex topic that extends beyond energy-saving considerations, requiring understanding on various other issues as well. When reviewing alternative lighting technologies to replace incandescent systems in museum and gallery lighting upgrades, it is important to study these wider issues and their impact in relation to spe- cific spaces and specific applications. It is also important to select systems able to respond to the requirements in an Phase-out of incandescent light sources. optimal manner. 16 PAPYRUS WINTER 2011–2012
  18. 18. It is important to understand that there is no one-size- and white SON); low-pressure discharge sources (fluorescent fits-all type of approach for exhibition lighting, and that a lamps), and light-emitting diodes (LEDs). Although each has wide range of lighting considerations need to be taken into distinct characteristics and qualities, all of these technologies account when looking for suitable options. These consid- offer certain advantages and may be given consideration in erations include issues such as the quality of light in terms planning a new exhibition lighting system. of its spectral characteristics, beam distribution and conser- High-colour rendering versions of high-pressure discharge vation aspects, as well as lamp life, maintenance, embodied lamps have crisp white light and superior illumination energy, disposal, recycling, flexibility, dimmability and con- characteristics that are suitable for certain types of display trol, future availability, and capital and operational costs. lighting applications, whilst also being energy-efficient. The change of lighting technologies also has an impact In addition, as a point source they can be controlled via on air conditioning, as the new technologies generally optical means to achieve different effects. It must be taken have a lower heat impact in the space, as compared to into account, however, that these types of lamps are not incandescent lighting. practically dimmable through electronic means. The oldest of all lighting techniques, daylight, should be Low-pressure discharge lamps, such as linear fluorescent considered as an option wherever possible. However, it is tubes, are also available in high-colour rendering versions, also perhaps the most challenging source of light compared and can be effective in providing even and uniform display- to the use of electrical lighting systems. lighting conditions. Furthermore, they are smoothly dim- The dynamic and ever-changing characteristics of day- mable using electronic control gear, are energy-efficient, light make it difficult to apply in museum and gallery spaces. and have long lamp life. However, it is these same qualities that can often enhance LEDs are the latest of the alternative technologies that spaces significantly, adding comfort and enjoyment to the have improved significantly within the past decade, and visitor experience. Many museums and galleries have strict have now become practical for some display-lighting appli- guidelines on the use of daylight, and tend to eliminate it cations. LEDs today are available in various warm, neutral from exhibition spaces. Carefully designed use of daylight or white colour temperatures, as well as tuneable colours, helps save energy, however, while also increasing the spatial and are dimmable on compatible control gear. The energy quality of exhibition spaces. performance of LEDs available on the market has just As far as today’s alternative lamp technologies are con- reached a stage that is comparable to fluorescent and cerned, there are three current technologies that have metal-halide sources, and is expected to improve further. reached the stage where they are able to provide good- Colour consistency, smooth dimmability and optical quality lighting with significantly less operational energy, control of the LEDs are still undergoing development, compared to the incandescent sources. These are: high- and need to be carefully considered in the design and pressure discharge sources (lamps such as the metal halide planning process.LIGHTING DESIGN: STEENSEN VARMING/PHOTO: SIMM STEEL LIGHTING DESIGN: STEENSEN VARMING/PHOTO: EMRAH BAKI ULAS The National Portrait Gallery in Canberra utilises a combination of high-colour Art Gallery of New South Wales—Kaldor Gallery, Sydney utilises a high-colour rendering rendering fluorescent lighting system, metal-halide lighting system. a track lighting system, and daylight. PAPYRUS WINTER 2011–2012 17
  19. 19. It is also worth mentioning Organic Light Emitting Diodes will become common within the architectural lighting as an upcoming technology. There has been significant market in the future. interest and development in OLEDs in recent years. Perspective on sustainability in lighting for exhibition Whilst the practical uses of these sources are still limited spaces should be widened beyond light sources to include to decorative effects and low-brightness applications for consideration of lighting controls as well. Often, how a screens, mobile devices, etc., it is predicted that they lighting system is controlled can be at least as effective in saving energy as how efficient the light sources are inLIGHTING DESIGN: STEENSEN VARMING/PHOTO: MIRJAM ROOS converting electricity to light. Techniques such as zoning, dimming, timer or occupancy controls can provide substantial cost and energy savings. When planning new lighting systems or upgrading exist- ing lighting systems for exhibition display, a sustainable result should be achieved by focussing on the visitor experience, and by taking a holistic approach that understands the inter- dependence of design parameters and develops integral solutions. Consulting qualified and independent experts in the field of museum and gallery lighting not only simplifies a complex and multifaceted task, but also provides well- informed and tailored solutions that achieve a balance between optimal viewing conditions and conservation requirements, while often providing additional savings and creating sustainable outcomes. Mirjam Roos (MA, Dipl.Ing., Assoc PLDA) and Emrah Baki Ulas The Australian War Memorial in Canberra utilises light-emitting (MA, BSc, PLDA) are Senior Lighting Designers at Steensen diodes for the lighting of display niches. Varming Australia. INSPIRED DESIGN, INNOVATIVE ENGINEERING Smithsonian Institution - National History Museum Our Clients Include: Baltimore Museum of Art For more information, visit Delaware Museum of 410.646.4500 Natural History Monticello Visitor Center “Our museum clients, and the National Gallery of Art architects they select, are Smithsonian Natural The IAMFA LinkedIn Group now has sophisticated and knowledgeable about their objectives. We History Museum 213 members from 24 countries. Join the pride ourselves on being up to the challenge.” U.S. Holocaust Museum Group and see what everyone is talking about, Virginia Museum of Fine Arts and PLEASE...join in the discussions; Robert Marino, PE, LEED AP Walters Art Museum wed like to hear what you have to say. President, Winterthur Museum Mueller Associates 18 PAPYRUS WINTER 2011–2012
  20. 20. LEED Certification for the NationalMuseum of the American IndianBy John BixlerT he Smithsonian Institution’s Office of Facility Management and Reliability is all about bestpractices in facility management, andour latest best practice venture involvesLEED certification for the NationalMuseum of the American Indian. On November 14, 2011 a ceremonywas held in the Potomac Atrium atthe National Museum of the AmericanIndian, in celebration of the Museumobtaining LEED Silver Certification.NMAI is the first museum in theSmithsonian Institution family to re-ceive LEED certification credentials.Contributors to this certification camefrom various Office of Facility Manage-ment and Reliability divisions, BuildingManagement, Energy Management,Smithsonian Gardens, EngineeringTechnicians, Facility Service Super-visors and Workers, Life Safety andManagement Support Assistants. The Smithsonian Institution resolu-tion to attempt LEED EB Certification The National Museum of the American Indian in Washington, D.C. achieves LEED Silver Certification.reflects its unique mission for the “theincrease and diffusion of knowledge,”and aligns with its current strategic have been some significant capital pur- • Implementing policies/plans toplan grand challenge: “sustaining a chases, replacements, and equipment improve the Museum’s sustainabilitybio-diverse planet.” upgrades. These have included improv- In 2007, seeking to continue improv- ing boiler-plant performance by up- The National Museum of theing the sustainability of the NMAI, the grading controls, providing variable- American Indian (NMAI) was estab-Museum’s founding director W. Richard speed controllers on motors, and lished in 1989 by Federal Public LawWest, Jr. made a commitment, with the providing water softening for steam- 101-185 as a bureau within the Smith-support of staff, to pursue Leadership generating boilers. Improvements were sonian Institution (SI). The legislationin Energy and Environmental Design also made to Museum-wide heating, provided for the transfer from New York(LEED) certification. Major motiva- ventilation and air-conditioning City of the extensive and extraordinarytors included reducing the Museum’s system performance, by upgrading collection of the Heye Foundation’senvironmental impact, and providing and integrating building automation Museum of the American Indian. Ita healthier environment for staff and with the Smithsonian-wide system. also authorized the construction ofvisitors. By the fall of 2007, the Smith- Three major accomplishments of three facilities which would togethersonian Institution had formed a core the NMAI building’s sustainability form the NMAI: an exhibition facilityteam; engaged Indigo Engineering performance were: at the Alexander Hamilton U.S.Group, LLC to provide supporting Custom House in New York City (the • Reducting energy consumptiontechnical guidance; and commenced NMAI George Gustav Heye Center); by 20%working on the necessary improvements. a public exhibition facility on the There had been no major renova- • Choosing environmentally-friendly National Mall in Washington, D.C.;tions to the building since construction certified products for 90% of and a storage and resource facility (thewas completed in 2004. However there chemical purchases NMAI Cultural Resources Center) PAPYRUS WINTER 2011–2012 19
  21. 21. in Maryland at the Smithsonian’s Engineer Design Team. The ground- Gallery of Art, the National Air & SpaceSuitland Collections Center. breaking celebration for the NMAI Mall Museum, the U.S. Department of The law also provided funding for Museum was held on September 26, Education, and the U.S. Departmentoutreach programs to Native commu- 1999. Site preparation was undertaken of Health and Human Services. Thenities within the Western Hemisphere from September 1999 to January 2001. site is bounded by Jefferson Drive, SWand established repatriation require- Building construction began with the on the north; Fourth Street, SW onments. These facilities and programs Notice to Proceed on June 30, 2001. the west; Independence and Marylandare interdependent entities that, in Construction was completed in mid- Avenues to the south; and Third Street,order to fulfill implementing agree- 2004, with occupation of the NMAI SW to the east. The site covers an areaments and legislation, must operate building by SI staff beginning in of approximately 4.4 acres.together as one National Museum of January of 2004. The official public The curvilinear building was inspiredthe American Indian. The legislation grand opening was held on Septem- by imagery of natural rock formations,also mandated that the SI provide one- ber 21, 2004, when visitors were first eroded by wind and water. The build-third of the cost of the Mall facility allowed into the building. ing stone is Kasota, a buff-coloredfrom non-federal funds. The remain- The NMAI Mall Museum is the limestone quarried in Minnesota,ing two-thirds of the construction cost centerpiece of the National Museum which is complemented by warm gray,would be federal funds appropriated of the American Indian’s public pro- American Mist granite paving. Theto the SI by Congress for this purpose. grams: its primary venue for exhibi- stone continues from the exterior to The planning and design of the tions, performances, conferences, and the interior of the building, reinforcingNMAI facilities were, and continue to other programs serving the general the Native-American design principlebe, conceived and executed with the public. It is hoped that, as such, the of connection to the landscape and thedirect involvement of Native Americans NMAI will become profoundly impor- natural world. Other materials thatrepresenting a wide cross-section of tant, both nationally and internationally, are prevalent in the interior buildingNative peoples of the Western Hemi- in promoting public knowledge of, construction are wood and metal. Although built with sustainabilitysphere. The NMAI continues to tap and respect for, the vital indigenous in mind, recent upgrades to buildingthe ideas and expertise of Native and cultures of the Western Hemisphere, systems have helped the NMAI to earnnon-Native constituencies, staff, and their historical achievements, and its LEED Silver Certification, thanks inconsultants, while also maintaining contemporary realities. no small part to the efforts of staff inan ongoing dialogue with its Native- The NMAI building is located in all areas of operations.American constituencies by organizing Washington, D.C. on the National Mall.consultations with Native groups It is one of multiple national museums John Bixler is East Mall Zone Manager at thethroughout the country. and landmarks located on the National Smithsonian Institution, and is responsible Final construction documents for Mall and surrounding area. Other build- for the Operations and Maintenance of the National Museum of the American Indian,the NMAI Mall Museum were com- ings of significance surrounding the National Air and Space Museum, Stevenpleted and handed over to the SI in NMAI building are the U.S. Capitol, Udvar Hazy Center and the Smithsonian’sSeptember 2000 by the Architect/ the U.S. Botanic Garden, the National Data center. The curvilinear building is constructed withWetlands bordering the NMAI. Kasota Stone.20 PAPYRUS WINTER 2011–2012
  22. 22. Benchmarking Workshop Reveals Best Practices that Save Money By Stacey Wittig“ E ngagement with other participants after the data is “How can some of you buy electricity at such low prices?” collected is key to the benchmarking process. This one incredulous participant asked the group. Discussion is a strong type of professional improvement pro- about collective purchasing and long-term futures contractsgram,” said Keith McClanahan at the annual IAMFA Bench- ensued. One member commented that perhaps politicalmarking Practices and Learning Workshop in Auckland. pressure might be superficially holding utility prices downDesigned to engage participants with roundtable forums in his city.and hot-topic discussions, the workshop kicked off the Another comparison in McClanahan’s analysis showed2011 IAMFA Conference on November 13, 2011. that cleaning cost per area cleaned (square foot) had By comparing facility operating costs and practices, bounced around over the past years: $2.85 in 2009, $2.23the IAMFA benchmarking exercise uncovers the proven, in 2010, and $2.46 in the latest report. The discussion aroundsuccessful practices of better-performing institutions. The cleaning brought to light many changes made over thesharing of practical solutions and discussion of current past year to try to get cleaning costs under control. Whileissues is the main focus of the annual workshop. As best some added shifts, others were eliminating shifts.practices and lessons learned are shared and implemented “Day housekeeping was changed to day and night; that wasover the years, the group betters its overall performance. mandated to us as a cost-cutting effort,” sighed one participant. Analyzing year-over-year trends for the group, McClanahan Another institution switched to daytime-only cleaningsummarized, “Energy costs are getting more and more under and found a positive result. “The cleaning people becomecontrol. There is less consumption than last year.” In fact, part of the team, the building is being handled better, therethe median electrical consumption per GSF was 19.50 kilo- is less damage,” the institute’s facility director revealed.watt hours (KWH) in 2011, as compared to 23.73 KWH in One participant explained, “We went from three shifts2009 and 23.50 KWH in 2010. McClanahan, principal of to two shifts, but then overlapped the shifts during mid-dayFacility Issues, which runs the benchmarking exercise, when cleaning was most needed. We bought chariotsnoted little change in electrical cost per KWH reported (stand-on floor cleaners) and increased technology.”over the past three years: $0.113 in 2009, $0.114 in 2010, “Night shifts eliminate overtime for after-hour events,”and $0.112 in 2011. advised another.Participants in the 2011 IAMFA Benchmarking and Learning Workshop. caption? PAPYRUS WINTER 2011–2012 21