The award-winning Museum of Scottish Country Life has opened in East Kilbride, attracting visitors. It features a historic working farm with farmhouse, buildings, and land. The museum was a collaboration between the National Museums of Scotland and the National Trust for Scotland. It houses collections on country life and from the Reid family. The new exhibition building uses passive design to maintain stable temperatures and humidity without excessive energy use.

1. The award-winning Museum of Scottish Country Life in
East Kilbride is now open and attracting visitors in encour-
aging numbers. The facility gives visitors a rare opportunity
to visit a historic working farm comprising Farmhouse,
Steading and 180 acres of land, including an events area
and a new Exhibition Building. The Museum is the result
of a unique collaboration between the National Museums
of Scotland (NMS) and the National Trust for Scotland (NTS),
and is home to the National Country Life Collection, as well
as the NTS collection from the Reid family of Kittochside.
The completed exhibition building is the result of an
innovative harmonization of client thinking, architectural form
and environmental engineering. From the outset, the NMS
recognized that the costs of running a fully air-conditioned
building, in order to meet the environmental requirements
laid down in current guidelines, would be prohibitive.
Both Page & Park, the architects, and Harley Haddow
Partnership, the M&E consulting engineers, embraced the
project brief and began to work together with the NMS
to design a building which would combine architectural
inspiration with environmental function.
The first task was to conduct research on the existing
environmental guidelines. Research on conservation conditions
for museum objects is by no means conclusive, and opinions
on these standards differ around the world. To complicate
matters, it soon became clear that the temperature and
humidity values required in order to reduce the deterioration
of objects also vary considerably for different materials. Inter-
preting all of the current research on the subject indicated
that there was no single environment which would provide
“satisfactory conditions” for all materials. The most widely
referred-to guideline in the U.K. is BS5454:2000, which is
PAPYRUSVOLUME 3 SUMMER
NUMBER 3 2002
continued on page 2
Grand Prix Winner for Architecture in
Scottish Design Awards 2002
Engineering the Sustainable Museum Environment at the
Museum of Scottish Country Life
by Alastair Cunningham and Chris Mclaren
INSIDE
Letter from the President . . 4
Regional Chapters —
September 11 . . . . . . . . . 6
Pull-Out Members
Directory . . . . . . . . . . . . 9
Installations at the
Guggenheim Bilbao . . . 13
Facilities Maintenance
Software . . . . . . . . . . . . . 16
Best Practices . . . . . . . . . . 19
From the Editor's Desk . . 20The new Museum of Scottish Country Life in East Kilbride, just outside of Glasgow, is situated
at the edge of an urban area, and conducts the visitor towards the land and the countryside.
I N T E R N A T I O N A L A S S O C I A T I O N O F M U S E U M F A C I L I T Y A D M I N I S T R A T O R S

2. 2
for archived documents. This guideline
notes environmental values of 21˚C
and 50% RH as optimal conditions.
It could have been assumed that
the Country Life collection is primarily
comprised of robust objects used in
rugged agricultural environments.
However, there are also many objects
which combine disparate materials such
as metal, leather and wood, and each
of these would require different conser-
vation conditions. Further research
indicated that the effects of temperature
and humidity changes are more prob-
lematic than absolute values maintained
within limits — even if those values
aren’t optimal. Discussion with the NMS
Conservation Department resulted in a
pragmatic brief, which required stable
conditions within a temperature and
humidity band of 15˚C to 25˚C and 45%
to 60% RH. Importantly, the brief noted
the maximum rate of change of temp-
erature as 4˚C in 12 hours and 2˚C in
one hour. The humidity rate of change
was 10% in 12 hours and 6% in 3 hours.
The architecture of the building
evolved to accommodate its function,
resulting in a heavy mass construction
with the mass exposed internally. The
building’s fenestration includes the main
glazed elements on the north side to
minimize solar gain. The ratio of public
areas, accessible storage and closed
storage meant that the internal influ-
ences within the building as a whole
were minimized.
The internal spaces are generally
large and spacious, with high ceilings.
Most spaces do not have suspended
ceilings, and the exposed concrete
finishes help to stabilize the temperature
in the space by absorbing and releasing
moisture and heat. One result of the
building’s form and function is that the
influences of internal temperature and
humidity gains are negligible, and the
opportunity for utilizing the ambient
conditions to maintain the designed
environment is greater than it would be
with a lightweight construction which
utilizes insulating internal finishes.
The ethos of the environmental
services design was to utilize modular
plant arrangements, which followed
the natural occupancy and physical
building zoning. This resulted in a
proposal to install 10 small air hand-
ling units (AHUs) to serve the various
distinct zones of the building. Attention
to detail was important in sealing the
fabric between zones, as well as in
the outer envelope.
A large-scale computational fluid
dynamic (CFD) study of the building
was undertaken to assess and refine
the ventilation proposals. The computer
model took into account all the physical
properties of the building. The model-
ling included a full simulation of a
“weather year” and also analyzed the
individual zones for the peak design
days, to assess the rate of change in
humidity and temperature over time.
The CFD model predicted that, by
utilizing the chimney structure and
an exposed concrete labyrinth in
the common intake duct, up to 2˚C
additional cooling could be gained.
Each of the ventilation installations is
configured to serve areas of the building
with similar gains and uses. Internal
stores are served from a common sys-
tem, whereas stores with external walls,
or on the same elevation of the building,
are served from another system. The
aim of the ventilation configuration
philosophy is to create the most envi-
ronmentally stable spaces possible.
A fully integrated Building Manage-
ment System is installed in the building,
with temperature and humidity sensors
in all stores. The stores have air-quality
sensors which detect CO2 levels. These
The Museum of Scottish Country Life is also a working farm.
Another view of the Museum building. Air handling units in the Museum’s plant.
Scottish Design Awards — continued
from page 1

3. 3
sensors override any thermal controls
if the internal air quality requires the
introduction of fresh air. The environ-
mental control strategy reverts only
when air quality is satisfied, and
switches the ventilation on only if the
conditions for doing so are satisfied.
The ventilation plant is controlled
using algorithms that sense the rate and
direction of changes in room conditions
within the required range. The controls
then use the available plant and/or
ambient conditions to bring the room’s
condition back to acceptable levels. The
controls installation ensures that there
is no plant intervention until the room
condition is beyond the required range,
and then only if plant operation is able
to adjust the conditions back appropriate
levels. The environmental building
control philosophy is based on no plant
activity if the conditions are satisfied,
and minimal plant activity only if
required on a zone-by-zone basis.
The Museum has now been in oper-
ation for a number of months, and
conditions in the stores have been
regularly monitored. The temperature
and humidity profiles indicate that
conditions in the stores remain stable
even when the ambient conditions
vary considerably from day to night,
and also as the weather changes over
days and weeks. It has been noted that,
in the first few months of operation,
the AHU installations remained off for
significant periods, due to the inherent
passive thermal stability of the building.
Running costs are currently being
calculated, based on the data received to
date. It is anticipated that the running
costs will be a fraction of those for a
“conventional” museum or gallery
building.
By adopting the approach described,
the National Museums of Scotland are
taking a farsighted approach to the
problem of storing artifacts in a manner
that will reduce their degradation, while
ensuring that the plant will be able to
run without incurring unsustainable
running costs.
Alastair Cunningham is Project Devel-
opment Manager for the National
Museums of Scotland. He has over
25 years’ experience in the fields of
architecture, construction, procurement
and delivery. In his past 12 years with
the NMS, he has been involved in the
delivery of major projects and has been
involved in the areas of collection storage
and accessible storage, as well as more
pragmatic aspects of environmental
controls. Chris Mclaren, consulting M&E
engineer, also contributed to this piece.
Looking out towards the main entrance of the Museum.
The display cases in the exhibition courtyard area feature
a variety of agricultural tools. The cases themselves have
been designed as “trailers” which can be joined up and
towed away. This in turn creates a functional rental
venue, which generates revenue for the facility.
External Ambient Conditions October 2001.
Internal Space Conditions October 2001.

4. 4
Very little time seems to have passed
since I last sat down to write to you
all. Despite this, things have continued
to progress, and there are a number of
developments to report.
The Board met in Amsterdam over
the weekend of April 12 to 14, and we
were generously entertained by Jan
Abrahamse at the Rijksmuseum and
Jan Kruls at the Van Gogh Museum. Staff
at both museums were wonderfully
helpful and friendly, and I would like
to thank them once again on behalf of
the Board for their hospitality. As ever,
we had a full agenda, and spent the
whole of Saturday in discussion in a
beautiful gothic chapel in the heart of
the Rijksmuseum.
Reports from Board members con-
firmed that as an organization we are
in reasonable health. Bill Caddick was
able to confirm that our finances are
stable, and that membership take-up
has been good, although we are missing
a few familiar names whom we hope
have just been slow in signing up. As
an inducement to encourage early pay-
ment, we have decided to charge a late
fee of $25 for inclusion in the annual
Directory that is published.
Pierre Lepage has done a great job
with our Papyrus newsletter, and I hope
that you have all now received three
new editions full of relevant articles. I
can testify to his vigour as I fend of his
demands for copy by the agreed dead-
line — he is not one to be deflected or
to let things slide! It is certainly worth
it, however: I have used the recent
editions as marketing material, and
they have obviously impressed both
potential members and likely sponsors.
On the administrative side, Marla
Chanin-Tobar has agreed to push
forward a new handbook, detailing job
descriptions for the Board, and generally
clarifying procedures set out in our
by-laws. The intention is to create a
handbook that will form a sort of cor-
porate memory, guiding future Boards
— although it remains open, as ever,
to adaptation and development as we
grow. The Board also discussed the
vacancies that will be open to the mem-
bership in September; these will be the
posts of President and Vice-President
of Administration, and I would like to
formally ask for any nominations to
these posts prior to the London con-
ference. We will, of course, have a
ballot at the business meeting, and I
will remind you all again when you
arrive in London.
All of which leads me to the London
conference and arrangements to date.
The organizing committee has finalized
venues and themes for the three days,
and we are now concentrating on details.
I hope that the programme for both
the conference and spouses will be up
on our Web site by the time you read
this, so check it out at www.iamfa.org.
I urge you to make an early booking
— if we run out of rooms, it will be
extremely difficult to find more in the
centre of London close to the event.
It comes as a blow to the committee
and the organization as a whole that
Karen Plouviez has been offered a job
in the education sector, and is leaving
the British Library. In a relatively short
period, she has had a big impact on
IAMFA affairs in the United Kingdom,
and her leadership has set the London
conference on course to being another
great event. I can only say thank you
and best wishes from us all. We have
also had confirmation from Joe Brennan
that San Francisco will be hosting
the event in 2003, again probably in
September. We will ask him to give
us more details in London.
I have recently corresponded with
Vinny Magorrian, who tells me that his
health problems have meant that he is
leaving MoMA. He would be delighted
to hear from his friends within the orga-
nization, and if you e-mail me, I will
pass on messages or put you in touch.
He has a vast resource of experience
and may be a fruitful contact for
anyone with an operational problem.
Vinny was a founding member of this
organization, and is someone I have
often turned to for advice. His short
history of the organization was distrib-
uted at the Chicago conference, and is
part of an archive we should not lose.
I hope we will be able to find a way
for past members to continue to partic-
ipate within the organization, perhaps
with some form of retired membership
category. I wish him well for the future,
and look forward to seeing him at
future IAMFA events.
I look forward to seeing you in
London — and please confirm your
booking as soon as possible to make
life easier for those organizing venues,
meals and trips!
All the best,
Peter Fotheringham
National Gallery, London
June 2002
Letter from the President
IAMFA
President,
Peter
Fotheringham

5. 5
IAMFA Board of
Directors
President
Peter Fotheringham
The National Gallery
London, England
peter.fotheringham@ng-org.uk
V.P., Administration
Marla Chanin-Tobar
Meridian International Center
Washington, D.C., U.S.A.
mctobar@meridian.org
V.P., Regional Affairs
Carole Beauvais
National Archives of Canada and
National Library of Canada
Ottawa, Canada
cbeauvais@archives.ca
Treasurer
William Caddick
Art Institute of Chicago
Chicago, U.S.A.
wcaddick@artic.edu
Secretary and Papyrus Editor
Pierre Lepage
Canadian Museum of Civilization and
Canadian War Museum
Hull, Canada
pierre.lepage@civilization.ca
Chairman — Conference 2002
Karen Plouviez
The British Library
London, England
karen.plouviez@bl.uk
Chairman — Conference 2003
Joe Brennan
San Francisco Museum of Modern Art
San Francisco, U.S.A.
jbrennan@sfmoma.org
For additional contact information,
please visit our website at
www.iamfa.org
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THE LONDON 2002 CONFERENCE
September 22–25, 2002
INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY
ADMINISTRATORS
Ⅺ YES! Sign me up to attend the 2002 IAMFA Annual Conference in
London, England.
Name: ___________________________________________________________________________
Title: ____________________________________________________________________________
Institution:_______________________________________________________________________
Address: _________________________________________________________________________
City: _________________________________________ Postal/Zip Code: _________________
State/Province/County: ______________________ Country: _________________________
Phone: ________________________________ Fax: ____________________________________
E-mail: __________________________________________________________________________
Special dietary requirements:____________________________________________________
ALL FEES ARE PAYABLE IN U.S. DOLLARS
Ⅺ Member Fee: $350
Ⅺ Non-member
conference fee: $400
Ⅺ Sign me up as a new
IAMFA member: $150
Ⅺ Guest Programme: $250 Guest Name: _________________________________
Ⅺ Day Attendance: $150 per day Ⅺ MON Ⅺ TUE Ⅺ WED
Please remit to: International Association of Museum Facility Administrators
c/o Karen Plouviez
The British Museum
96 Euston Road
London, NW1 2DB
United Kingdom
I require an invoice: Ⅺ Yes Ⅺ No
SUGGESTED ACCOMMODATION
A limited number of twin/double rooms has been reserved in two high-grade
hotels (the Thistle Piccadilly and the Thistle Trafalgar) in the heart of London,
within easy walking distance of the three conference venues. The hotels
have recently been refurbished to high standards, and all rooms are air-
conditioned. A special rate of £150 per night has been negotiated for IAMFA
delegates for the period of September 21–28, 2002. The rooms have already
been reserved, and delegates must confirm their rooms by contacting the
hotels directly. Please ask for “in-house reservations” and quote booking
reference “TRAF 02”. In order to avoid disappointment, please note that
rooms should be reserved as soon as possible.
Thistle Trafalgar + 44 (0) 20 7930 4477
Thistle Piccadilly + 44 (0) 20 7930 4033
Please check the IAMFA website for updates at: www.iamfa.org
PHOTO©MIKESLOCOMBE,www.urban75.org/photos/
¡

6. 6
For months, there were reports that
September 11, 2001 would be a momen-
tous day in New York City history. Term
limits were in effect, and almost every
city government official was slated to
leave his or her position. It was an
unseasonably warm and sunny day. I
thought that I should vote early, before
the long lines formed. I drove my
youngest daughter to school and
headed to my polling site, when I heard
the news flash that an airplane had just
hit the World Trade Center. I imagined
it was the result of a misguided or
malfunctioning plane that must have
hit the antenna on one of the towers,
and that damage would be minimal.
The early reports were sketchy and
unconfirmed. I was in Brooklyn, where
I could see smoke trailing from the
tower. I parked my vehicle and watched
in disbelief. I could see that the tower
had actually been hit on one of the
upper floors, and not at the antenna
as I’d imagined. The magnitude of this
tragedy was just beginning to set in
when I witnessed the second plane hit.
It was like watching a movie, until a
radio announcer said the Pentagon had
also been hit and that another plane,
although unconfirmed, was headed
off-course towards the White House.
I looked and I listened for what
seemed to be forever, and asked myself
how all these incidents could be coin-
cidental. My military, security and anti-
terrorism training forced me to shake off
the shock of it and acknowledge that
America was under attack. I knew that
I would be activated and had to report
for military duty. It was time to act!
Not knowing what would happen
next, priority dictated that I secure my
family. I called my wife at work to
inform her of what was happening, and
to let her know how much I loved her.
She in turn was concerned about our
three children. I assured her that I would
get them all safely home, and that every-
thing would be all right. I knew I had
just made a promise that only God
could keep, so I began to pray.
As the First Sergeant of C. Co 204th
Engineers New York Army National
Guard, I next contacted my commander,
who was also monitoring the disaster
from work. We planned to stay tuned
and stand by for orders from the
Governor.
My next call was to the Brooklyn
Children’s Museum, where I have
worked in Operations and Security
for over 10 years. We were fortunate
that the hundreds of schoolchildren
we serve on weekdays were not at the
Museum on September 11, 2001. The
Museum is closed to the public on
Tuesdays, and the security supervisors
on duty reported that all was secure,
and that they were in the process of
implementing the Museum’s disaster
plan. Our plan has been in place for
many years, and we had had mock
evacuations and response tests in the
recent past. The plan’s directives are
to ensure:
• Safety of our staff and visitors.
• Safety of our collection.
• Protection of the facility.
Every bag and package was
inspected, and a head count was
taken of everyone entering or exiting
the building. Although it wasn’t
mandated, some staff began to leave
work spontaneously to be with their
families. There is an elementary school
next door to the Museum, and dedi-
cated staff members went to help
comfort the children waiting to be
picked up by their parents.
On Duty at Ground Zero
As expected, the Governor activated my
unit that day. There were thousands
of volunteers and neighbours who
lined the streets, cheering and wel-
coming us to the area. It was a moving
experience. Uncertainty, chaos, despair
and pandemonium are words that
describe my feelings as we secured
our sector of responsibility, providing
security at Ground Zero within the
first few days of the disaster. With the
level of devastation surrounding the
area, the site was like something out
of a war movie.
Regional Chapters
It Began Just Like any Ordinary Day —
A Museum Facility Manager’s View of
September 11
Lloyd O. Headley
by Lloyd O. Headley

7. 7
During that time, three things
brought calm and consolation to
my mind, body and soul:
• First was my constant prayer for the
people trapped under the rubble,
the people who lost their lives,
their families, and the many lives
that were spared.
• Second, knowing that I was pro-
viding a needed service to help
others.
• Lastly, watching the many agencies
work tirelessly around the clock to
save lives, guard facilities and give
help so generously.
Creating a “Safe Zone”
I returned to work at the Brooklyn
Children’s Museum on Tuesday
September 25, 2001, after working
twelve-hour shifts at Ground Zero for
fourteen days. The monthly all-staff
meeting was very informative, and
served as a way to bond and keep
staff updated of changes and issues
we needed to address following
September 11.
I listened to the supervisors of the
Security and Facilities Departments as
they reported on the safety and deter-
rent measures we had implemented:
• Barriers on the exterior of the
building to prohibit individuals
from parking close to the exits
or entrance of the building.
• Checking all staff and visitors bags/
packages (including school classes)
at the front entrance, prior to their
entering the facility.
• Providing threat level and transpor-
tation updates of road, bridge, tunnel
and subway closings and detours
from the Police Department.
• Enhanced mail handling to deal with
potential anthrax, bomb scares, etc.
It quickly became clear that all
staff had an important role to play
in dealing with a crisis such as this.
Training, Training, Training
In the seven months since September 11,
the common thread that ran through
museums was the importance of train-
ing, training and more training. It was
important to have updated Emergency
Evacuation Plans in place. I made sure
that the necessary safety measures were
put in place and utilized to the fullest
extent, providing the atmosphere of a
“Safe Zone” in the Brooklyn Children’s
Museum for staff and visitors.
The reason training became key was
that many facility managers without
enough security personnel, barriers,
magnetometers and handheld wands
had to evaluate their needs and fill in
the gaps immediately. Through network-
ing, seminars, meetings and updating
manuals, all areas that were vulnerable
to terrorists were strengthened.
Because of the threat of anthrax
arriving through the postal system, our
highest alert went to monitoring the
mail for unmarked packages. Again,
training in new ways of handling the
mail was undertaken, and enhanced
calm was brought to this once volatile
area of concern.
Keeping staff informed and equipped
during these past months has helped
to create balance in dealing with life at
the Museum following September 11.
Things will never return to business
as usual for most people, of course.
Fear will continue to master some
lives, while others will keep rising to
the challenge.
The New York Chapter Committee
members responded very well to the
crisis. Through meetings and network-
ing, a special task force was created,
with support from the Mayor’s Office,
to develop shared responses during an
emergency. A core group was formed,
and the decision was made to first
design a document that would help
facilities of all sizes to create their
own disaster plans. The second step
will be developing shared responses
between institutions.
In communicating with chapter
members about the effects of Septem-
ber 11 on visitation at their institutions,
the overwhelming consensus was that
school groups were particularly visible
by their absence in the months following
the terrorist attacks. An article in the
New York City Council Department
of Cultural Affairs by Kate D. Levin,
Commissioner May 14, 2002 read,
“According to a survey we recently
undertook of the 34 members of the
Cultural Institutions Group (CIG),
between October 1 and December 31,
2001, the CIG collectively suffered
an income loss of $42.6 million; this
figure includes earned income as well
as contributions from corporations,
foundations and individuals. Additionally,
attendance was down by 1.1 million
visitors and school group visits were
down by 35 percent.”
Institutions within three miles
of Ground Zero had a difficult time
receiving services, because they were
closed for at least six to eight weeks.
Other institutions not in the “frozen
zone” were able to utilize their service
suppliers only after identification checks
of the driver and vehicle wanting to
enter our buildings.
The institution closest to Ground
Zero belonged to Myro Riznyk, Facilities
Manager of the Smithsonian Institution,
which is located at 1 Bowling Green.
He stated, “I had no contamination
inside my building, because we closed
our outside air dampers. However, the
outside of the building had three to
four inches of dust and debris.” Other
institutions — in addition to shutting
down their fresh air intake in particular,
depending on the direction the wind
was blowing — decided to change
their filters more often to maintain a
clean environment.
continued on page 8

8. 8
The situation was not so grim for
the Brooklyn Children’s Museum. Visi-
tation was down by 40–50% for the first
three months following September 11,
due primarily to transportation issues
for school classes, closing of bridges
and tunnels, and parental concerns.
While some institutions are still below
their average attendance numbers for
this year, our visitation has slowly
increased within the last four months
to about 75% our normal attendance.
We have been very fortunate.
I know when you dwell on tragedy
and live in the past, memories of
all the pain and hurt can overwhelm
you, to the point where leaving home
can become a strain. Also, thinking of
the future can become a bad dream
or nightmare because of negative self-
talk and fear of what could happen
tomorrow. I find myself now living
more in the present, and enjoying
the simple things in life, instead of
living in the past or worrying about
the future.
Lloyd Headley has a degree in Security
Management, and is currently Director
of Operations and Security at the
Brooklyn Children’s Museum. He has
been listed in the International Who’s
Who of Professionals, and has been
awarded a New York State Senate
Citation for Distinguished Community
Service. He has served as Chairman of
the Museum, Library, Cultural Property
Protection Committee, and is Chairman
of the Museum, Library, Cultural
Property Facilities Committee. He is
currently the Chair of the New York
Chapter of the IAMFA.
Chairpersons
of Regional Chapters
Los Angeles, U.S.A.
James Surwillo
Japanese American National Museum
New York, U.S.A.
Lloyd Headley
The Brooklyn Children’s Museum
Ottawa-Hull, Canada
Toby Greenbaum
Public Works & Government Services
San Francisco, U.S.A.
Joe Brennan
San Francisco Museum of Modern Art
London, England
Karen Plouviez
The British Library
Washington-Baltimore, U.S.A.
Fletcher Johnston
Hirshorn Museum & Sculpture Garden
Coordinators
of Future Chapters
Atlanta, U.S.A.
Kevin Streiter
High Museum of Art
Bilbao, Spain
Rogelio Diez
Guggenheim Museum
Chicago, U.S.A.
William Caddick
Art Institute of Chicago
Houston-San Antonio, U.S.A.
Gary Morrison
McNay Art Museum
Pennsylvania, U.S.A.
Victor T. Razze
Brandywine River Museum and
Conservatory
Seattle, U.S.A.
Patrick Dowling
Whatcom Museum of History and Art
Cleveland, U.S.A.
Tom Catalioti
Cleveland Museum of Art
Sydney, Australia
Bob Scott
The Powerhouse Museum
Amsterdam, The Netherlands
Jan Abrahamse
The Rijksmuseum
The International Association of Museum Facility
Administrators is pleased to welcome the following
new members:
Regular Members
Tom Catalioti
— Cleveland Museum of Art, Cleveland, OH, U.S.A.
Glen Hodges
— Australian Museum, Sydney, Australia
New IAMFA Members
Regional Chapters — continued from page 7

9. 9
Glen Hodges
Australian Museum
6 College Street
Sydney
Australia
2010
glenh@austmus.gov.au
Phil Rees
National Gallery of Australia
GPO Box 1150
Canberra, ACT
Australia
2601
philr@nga.gov.au
Carole Beauvais
National Archives of Canada
395 Wellington
Ottawa, Ontario
K1A 0N3
Canada
cbeauvais@archives.ca
Dale Cameron
National Archives of Canada
National Library of Canada
344 Wellington Street, Rm. 5076
Ottawa, Ontario
K1A 0N3
Canada
dcameron@archives.ca
Bob Chartrand
National Museum of Science
and Technology
2421 Lancaster Road
Ottawa, Ontario
K1G 5A3
Canada
rchartrand@mmstc.ca
Ian Follett
Facility Management Services
Ltd.
45 Maryland Place, SW
Calgary, Alberta
T2V 2E6
Canada
fmsltd@fmsltd.com
Gerry Potoczny
Canadian Museum of Nature
P.O. Box 3443 Stn. D
Ottawa, Ontario
K1P 6P4
Canada
gpotoczny@mus-nature.ca
Lynn Row
Ontario Science Centre
770 Don Mills Road
North York, Ontario
M3C 1T3
Canada
lynn.row@osc.on.ca
CANADA
AUSTRALIA
Guy Larocque
Canadian Museum of
Civilization
100 Laurier Street
Hull, Quebec
J8X 4H2
Canada
guy.larocque@civilisations.ca
Pierre Lepage
Canadian Museum of
Civilization
100 Laurier Street
Hull, Quebec
J8X 4H2
Canada
pierre.lepage@civilization.ca
José Luis Oliveros
Centre canadien d’Architecture
1920, rue Baille
Montréal, Quebec
H3H 2S6
Canada
jolivero@cca.qc.ca
Leslie Brantingham
Parliamentary Works
Directorate
1 Cannon Row
London, England
SW1A 2JN
brantinghaml@parliament.uk
Peter Fotheringham
National Gallery
Trafalgar Square
London, England
WC2N 5DN
peter.fotheringham@
ng-london.org.uk
Graham Pellow
Natural History Museum
Cromwell Road
London, England
SW7 5BD
g.pellow@nhm.ac.uk
Karen Plouviez
British Museum
96 Euston Road
London, England
NW1 2DB
karen.plouviez@bl.uk
Jan Abrahamse
Rijksmuseum
Stadhouderskade 42
1071 ZD Amsterdam
The Netherlands
jan.abrahamse@wolmail.nl
THE NETHERLANDS
ENGLAND
Robert Galbraith
National Galleries of Scotland
13 Heriot Row
Edinburgh, Scotland
EH4 3DS
robert.galbraith@
natgalscot.ac.uk
Rogelio Diez
Guggenheim Museum
Abandoibarra 2
48001 Bilbao
Spain
rdiez@guggenheim-bilbao.es
ALABAMA
Shirley A. Woods
Montgomerey Museum of
Fine Arts
P.O. Box 230819
Montgomerey, AL
36123-0819
USA
shirleywoods@mindspring.com
ARKANSAS
John Pagan
Arkansas Art Center
P.O. Box 2137
Little Rock, AR
72203-2137
USA
jpagan@arkarts.com
CALIFORNIA
Donald Battjes
Los Angeles County Museum
of Art
5905 Wilshire Blvd
Los Angeles, CA
90036
USA
dbattjes@lacma.org
Joe Brennan
San Francisco Museum of
Modern Art
151 Third St.
San Francisco, CA
94103-31
USA
jbrennan@sfmoma.org
USA
SPAIN
SCOTLAND
Jim Bullock
Getty Center (Getty Museum)
1200 Getty Center Dr., Ste. 1000
Los Angeles, CA
90049-1687
USA
jbullock@getty.edu
John Coplin
Santa Barbara Museum of Art
1130 State Street
Santa Barbara, CA
93101-2746
USA
jcoplin@sbmuseart.org
John Donohoe
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA
90049-1678
USA
jdonohoe@getty.edu
Steven Green
Cantor Center for the Visual Arts
Cantor Center
Stanford, CA
94305-5060
USA
stegreen@standford.edu
Oren Gray
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA
90049-1678
USA
ogray@getty.edu
Jim Hartman
Fine Arts Museums
233 Post St., 6th Flr.
San Francisco, CA
94108
USA
jhartman@famsf.org
David Hillbrand
Yerba Buena Center for the Art
701 Mission Street
San Francisco, CA
94103
USA
dhillbrand@yerbabuenaarts.org
Randy Murphy
Museum of Contemporary Art
250 S. Grand Ave., California
Plaza
Los Angeles, CA
90012
USA
rmurphy@moca.org
Mary Omoto
Japanese American National
Museum
369 East First St.
Los Angeles, CA
90012
USA
momoto@janm.org
IAMFA Members Directory 2002

10. 10
Michael Orth
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA
90049-1678
USA
morth@getty.edu
Ronald Romo
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA
90049-1678
USA
rromo@getty.edu
Brenda Sheridan
Long Island Beach Museum
2300 East Ocean Blvd.
Long Beach, CA
90803
USA
brendas@lbma.org
Sarah Shulman
California Historical Society
678 Mission Street
San Francisco, CA
94105
USA
sarah@calhist.org
Will Spencer
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA
90049-1678
USA
wspencer@getty.edu
James A. Surwillo
Japanese American National
Museum
369 East First St.
Los Angeles, CA
90012
USA
jsurwillo@janm.org
CONNECTICUT
Ernest Conrad
Landmark Facilities Group Inc.
252 East Avenue
Norwalk, CT
06855
USA
econrad@lfginc.com
George J. Conte
Yale Center for British Art
29 Oakhill Drive, PO Box
208280
North Haven, CT
06520-8280
USA
Gjc5.mail.yale.edu@
mr2.its.yale.edu
DISTRICT OF COLUMBIA
Eugene Brown
U.S. Holocaust Memorial
Museum
100 Raoul Wallenberg Place, SW
Washington, DC
20024-2126
USA
ebrown@ushmn.org
Marla Chanin-Tobar
Meridian International Center
1630 Crescent Place, NW
Washington, DC
20009
USA
mctobar@meridian.org
Daniel D. Davies
National Museum of American
Art and Portrait Gallery
Victor Building 9th & G Street,
NW
750 Ninth St. N.W.
Washington, DC
20560-0201
USA
ddavies@opp.si.edu
Richard Day
National Museum of Natural
History
10th St. & Constitution Ave., NW
Washington, DC
20056
USA
day.richard@nmnh.si.edu
Ron Hawkins
Smithsonian Institution-
Quadrangle
1100 Independence Avenue, SW
Washington, DC
20560
USA
hawkins@exchange.si.edu
Fletcher Johnston
Hirshorn Museum
Independence Ave at 7th
Street, SW
Washington, DC
20560-0350
USA
fletchj@hmsg.si.edu
Richard Kowalczyk
National Air and Space
Museum
601 Independence Avenue, SW
Washington, DC
20560-0303
USA
richard.kowalczyk@nasm.si.edu
Eugene F. Ramatowski
U.S. Holocaust Memorial
Museum
100 Raoul Wallenberg Place, SW
Washington, DC
20024-2126
USA
eramatowski@ushmm.org
Kurt Sisson
National Gallery of Art
6th St. & Constitution Ave., NW
Washington, DC
20565
USA
k-sisson@nga.gov
Michael Solfield
Smithsonian Institution
750 Ninth Street, NW
Room 5200 MRC 908
Washington, DC
Washington
USA
FLORIDA
Debbie Towers
Morikami Museum & Japanese
Gardens
4000 Morikami Park Road
Delray Beach, FL
33446
USA
dtowers@co.palm-beach.fl.us
GEORGIA
Kevin Streiter
High Museum of Art
1280 Peachtree NE
Atlanta, GA
30309
USA
kevin.streiter@
woodruffcenter.org
HAWAII
Robert White
Honolulu Academy of Arts
900 S. Beretania Street
Honolulu, HI
96814
USA
rwhite@honoluluacademy.org
ILLINOIS
Brendan Berry
Advantage Operations, Art
Institute
125 E. Monroe
Chicago, IL
60603-1073
USA
bberry@artic.edu
Bill Caddick
Art Institute of Chicago
111 S. Michigan Avenue
Chicago, IL
60603-6110
USA
wcaddick@artic.edu
Paul Huber
Advantage Operations
3906 N. Monticello Avenue
Chicago, IL
60618-4128
USA
pshuber@telocity.com
Don Meckley
Museum of Contemporary Art
220 E. Chicago Avenue
Chicago, IL
60611-2604
USA
dmeckley@mcachicago.org
LOUISIANA
Jackie Sullivan
New Orleans Museum of Art
P.O. Box 19123
New Orleans, LA
70179
USA
jsullivan@noma.org
MAINE
David Geldart
Museum of Fine Arts, Boston
465 Huntington Ave.
Boston, MA
02115
USA
dgeldart@mfa.org
James S. Labeck
Isabella Stewart Gardner
Museum
2 Palace Road
Boston, MA
02115
USA
jlabeck@isgm.org
David Roth
Children Museum Inc.
Museum Wharf
308 Congress St.
Boston, MA
02210-1034
USA
roth@bostonkids.org
MARYLAND
Alan Dirican
Baltimore Museum of Art
10 Art Museum Drive
Baltimore, MD
21218-3898
USA
adirican@artbma.org
Jeffery H. Greene
Banneker-Douglas Museum
84 Franklin Street
Annapolis, MD
21401-2738
USA
banneker@dhcd.state.md.us
IAMFA Members Directory 2002
USA (cont’d)
CALIFORNIA (cont’d)

11. 11
MISSOURI
Reed Lillard
Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO
64111-1873
USA
rlillard@nelson-atkins.org
NEW YORK
Brij Anand
Guggenheim Museum
1071 Fifth Avenue
New York, NY
10128
USA
banand@guggenheim.org
Ciro Bottacavoli
IEN Magazine
5 Penn Plaza
New York, NY
10001
USA
CAB@tpmgnet.com
Martin Cavanaugh
Pierpont Morgan Library
29 East 36th Street
New York, NY
10116
USA
mcavanaugh@morganlibrary.org
William Esposito Jr.
Ambient Labs, Inc.
55 West 39th Street, 12th Floor
New York, NY
10018-3803
USA
wesposito@ambientgroup.com
Vincent Magorrian
Museum of Modern Art –
New York
11 West 53rd Street
New York, NY
10019
USA
vinnie_maggorrian@moma.org
Myro Riznyk
Smithsonian Institution-
National Museum of the
American Indian
One Bowling Green Drive
New York, NY
10004
USA
riznykm@ic.si.edu
Tom Scally
Metropolitan Museum of Art
Communication Department
100 5th Avenue
New York, NY
10028-0198
USA
tom.scally@metmuseum.org
Harry Soldati
Brooklyn Museum of Art
200 Eastern Parkway
Brooklyn, NY
11238
USA
soldati@brooklynmuseum.org
Dennis F. Sweeney
Frick Collection
1 East 70th Street
New York, NY
10021
USA
sweeney@frick.org
Stan Zwiren
Brooklyn Museum of Art
200 Eastern Parkway
Brooklyn, NY
11238-6052
USA
zwiren@brooklynmuseum.org
OHIO
Paul Bernard
Toledo Museum
2445 Monroe Street,
Scottwood Avenue
Toledo, OH
43697
USA
pbernard@toledomuseum.org
Tom Catalioti
Cleveland Museum
11150 East Blvd.
Cleveland, OH
44106
USA
catalioti@cma_oh.org
David Nawrocki
Columbus Art Museum
400 E. Broad St.
Columbus, OH
43215
USA
dnawrock@cmaohio.org
Dave Gearding
Cincinnati Art Museum
953 Eden Park Drive
Cincinnati, OH
45202-1596
USA
dgearding@cincyart.org
PENNSYLVANIA
Larry Armstrong
Carnegie Museums
4400 Forbes Avenue
Pittsburgh, PA
15213
USA
armstrongl@
carnegiemuseums.org
Douglas Bowerman
Allentown Art Museum
5th and Court Streets
P.O. Box 388
Allentown, PA
18105
USA
operations@
allentownartmuseum.org
Terri L. Chapman
Frick Art and Historical and
Finance
7227 Reynolds Street
Pittsburgh, PA
15208-2923
USA
tlchapman@frickart.org
Walt Crimm
Ewing Cole Cherry Brott
100 North Sixth Street, 6th Floor
Philadelphia, PA
19106
USA
wcrimm@ewingcole.com
Rad Delaney
Ewing Cole Cherry Brott
100 North Sixth Street, 6th Floor
Philadelphia, PA
19106
USA
radelaney@ewingcole.com
Bob Morrone
Philadelphia Museum of Art
26th & Benjamin Franklin Pkwy.
P.O. Box 7646
Philadelphia, PA
19101-7646
USA
rmorrone@philamuseum.org
Tom L. Peck
Colonial Williamsburg
Foundation
P.O. Box 1776
Williamsburg, PA
23187-1776
USA
Victor T. Razze
Brandywine River Museum and
Conservatory
P.O. Box 141
Chaddis Ford, PA
19317
USA
vrazze@brandywine.org
Richard J. Reinert
Affiliated Building Systems
2600 Benjamin Franklin Pkwy.
Philadelphia, PA
19130
USA
rreinert@philamuseum.org
James Sutton
Philadelphia Museum of Art
26th & Benjamin Franklin Pkwy.
P.O. Box 7646
Philadelphia, PA
19101-7646
USA
jsutton@philamuseum.org
SOUTH CAROLINA
Michael Roh
Columbia Museum of Art
P.O. Box 2068
Columbia, SC
29202
USA
michael@colmusart.org
TEXAS
Henry Griffin
Museum of Fine Arts, Houston
1001 Bissonnet
Houston, TX
77265-6826
USA
hgriffin@mjha.org
Gary L. Morrison
McNay Art Museum
P.O. Box 6069
San Antonio, TX
78240
USA
glmmcnay@juno.com
Jeffery Ryan
Jackson and Ryan Architects
2370 Rice Boulevard, Suite 210
Houston, TX
77005
USA
jryan@jacksonryan.com
VIRGINIA
John Cannup
Mariner’s Museum
100 Museum Drive
Newport News, VA
23221-2466
USA
jcannup@mariner.org
WISCONSIN
Richard Swainston
Milwaukee Public Museum
800 Wells St.
Milwaukee, WI
53233
USA
dick@mpm.edu
IAMFA Members Directory 2002
Although we do our best to
ensure that our Directory
information is as up-to-date
as possible, errors
and omissions can always
occur. If you would like
to make any changes to your
listing, please contact
Julie Coderre at
julie.coderre@
civilization.ca
Thanks very much.

12. 12
On behalf of the membership and Board, we invite you to
join with other museums and cultural organizations through-
out the world in becoming a member of the only organization
exclusively devoted to museum and cultural facility admin-
istrators: the International Association of Museum Facility
Administrators (IAMFA). As a member, you will join a growing
list of museum and cultural facility administrators in their
efforts to provide a standard of excellence and quality in
planning, development and design, construction, operation
and maintenance of cultural facilities of all sizes and varieties
of programming.
The Association currently has representation in several
countries on three continents. Our goal is to increase
membership in institutions throughout the world.
Your involvement in the IAMFA will continue the growth
of the organization and provide you with excellent educational
and networking opportunities. As your colleagues, we look
forward to welcoming you to membership in the IAMFA.
Cordially yours,
The Board of the International of Museum Facility
Administrators
Membership Opportunities
Join the IAMFA at any of the following levels and enjoy full
benefits of membership:
Regular Member — $150 annually. A regular member
holds the position of principal administration in direct
charge of the management of facilities, and represents their
institution(s) as a member of the association.
Associate Member — $50 annually. An associate member
is a full-time facilities management employee (professional,
administrative or supervisor), below the level of the facility
administrator of the member association.
Affiliate Member — $50 annually. An affiliate member is
any full-time employee of a member institution who is not
directly involved in the facilities management department.
Subscribing Member — $300 annually. A subscribing
member is an individual, organization, manufacturer of
supplier of goods services to the institutions who ascribes
to the policies and programmes of the Aassociation, and
wishes to support the activities of the Association.
Become a Member of the IAMFA
and Get a Friend to Join
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YES! I would like to join the IAMFA as a:
Ⅺ Regular Member $150 Ⅺ Associate Member $ 50
Ⅺ Affiliate Member $ 50 Ⅺ Subscribing Member $300
Institution: __________________________________________________________________________________________________________________
Name: ______________________________________________________________________________ Title: ________________________________
Address: ____________________________________________________________________________ City: _________________________________
State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________
Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________
ALL FEES ARE PAYABLE IN U.S. DOLLARS
Ⅺ I enclose a check in the amount of $ ____________________
Ⅺ Please invoice me
¡
Send in your membership dues by using the convenient form below.
Don’t forget to make a copy to give to a colleague.
Please remit to: International Association of Museum
Facility Administrators
P.O. Box 1505, Washington, D.C.
20013-1505 U.S.A.
Website: www.iamfa.org
Ⅺ I am interested in joining.
Please have a member
contact me.

13. 13
Inaugurated in October 1997, following
five years of construction, the Guggen-
heim Museum Bilbao of Modern and
Contemporary Art is a unique and
remarkable feat of engineering.
Designed by renowned architect
Frank O. Gehry, the museum runs down
to the banks of the river Nervión, and
seems to slide beneath the Puente de la
Salve bridge — one of the main points
of access to the city of Bilbao in the
Basque region of northern Spain.
The main entrance leads directly into
the heart of the Museum. As visitors
stand in the central atrium, they are
immediately struck by how well this
building — which is over 50 metres
(160 feet) in height and commands a
32,500-square-metre site in the centre
of the city — can fit into the urban
landscape without towering over
neighboring buildings.
The museum offers 11,000 square
metres of exhibition space, distributed
among 19 galleries. Ten of these, clad
externally in limestone blocks, have a
classical orthogonal appearance, while
the remaining nine have irregularly-
shaped interiors clad externally with
titanium plates. Organized on three
levels around the atrium, the galleries
are connected by curving walkways
suspended from the roof, complemented
by glass-fronted elevators and towers.
During the design and construction
stages, the Los Angeles-based Gehry
collaborated with American and inter-
national consultants in HVAC, electrical
and general installations, lighting, noise
control, audiovisual equipment, fire-
prevention equipment, security, etc.,
while also benefiting from the exper-
tise of the Guggenheim Museum in
New York City. This approach led
to the creation of a multidisciplinary
team capable of designing a complex
structure — including management
of the engineering feats required for
the realization of Gehry’s stunning
architectural concept. In Bilbao, the
Guggenheim Museum Consortium,
which was entrusted with the building’s
construction, collaborated with a team
of engineers and architects. The team
was responsible for performing and
supervising construction of the build-
ing, while also managing all aspects of
the project requiring compliance with
local standards and working methods.
Work continued virtually around the
clock: while one set of engineers and
architects worked on one continent,
the other rested.
The main installations in this museum
were as follows: HVAC, lighting and
electricity, fire-prevention, security,
communications systems, elevators,
plumbing and sanitary systems. This
article provides a brief summary of the
most salient aspects of some of these.
HVAC
The function of the HVAC system is to
maintain pre-established environmental
conditions inside the building, 24 hours
a day, 365 days a year. The air-condi-
tioning system has two basic aims: the
conservation of works of art contained
in the Museum, and the comfort of
visitors and staff.
On the one hand, the project required
strict atmospheric conditions of between
48–52% RH and 21–22ºC. On the other,
The Installations of the
Guggenheim Museum Bilbao
A Dialogue Between Engineering and Architecture
by Rogelio Diez and Luis Pablo Elvira
The ceiling of the central atrium soars to a height of 50 metres (160 feet).
Rogelio Diez
continued on page 14

14. 14
the climate-control system had to be
integrated into the singular architecture
of the building. The volume — with
standard heights of between 5 and
7 metres (16 to 22 feet) and a height
of 50 metres (160 feet) in the case
of the central atrium, as well as the
presence of curtain walls — required
meticulous engineering to obtain an
optimal distribution of the air in the
Museum’s various spaces.
The Guggenheim’s system is based
on the production of hot water and
water vapour in gas-fired boilers, the
production of cold water by means
of centrifuge coolers, and distribution
to the air handling units (AHUs). The
AHUs filter, dry, heat, cool or moisten
air which has been recirculated from
the air-conditioned spaces. The entire
system is managed by a distributed
digital control system. This system,
in accordance with readings from the
temperature and relative humidity
sensors installed in the galleries, and in
accordance with the software created
for this purpose, provides precise
control of conditions required inside
the building.
With regards to the distribution
of air in the building, the uniformity
and low speeds of the air — and the
system’s integration into the architecture
of the building — were the main factors.
Linear slot air diffusers were chosen.
These were placed at the tops of walls,
with air returned via a set of different
slots at the bases of the walls. Noise
control was guaranteed with the use
of silencers in the mechanical rooms,
ductwork fitted with acoustic insulation,
and with low air-speed criteria in
the gallery environment. The energy-
saving criteria — such as volume
control through the use of frequency
variators — were extremely important.
The installation has a heating capacity
of 3500 kW, a refrigerating capacity of
5100 kW, and about 1 million cubic
meters of air are circulated every hour.
Lighting
Lighting for the spaces inside the
Museum combines artificial light and
controlled contributions of natural light
through skylights placed at the top
of the building. The interior lighting
system had be flexible, in order to avoid
overwhelming the ceilings with track
lighting, or other elements which might
disrupt the architectural aesthetics of
the building. This was achieved with
the design of a system consisting of
“power point/power bars”.
Special recessed structural outlet
boxes with split-wired receptacles
occur in a regular pattern on the
gallery ceilings, and are regarded as
power points. An individual fixture
can be directly installed at these points
on special clamping bars (power bars)
which have built-in receptacles. These
can be secured to hold between two
and six fixtures, depending on the
length of the power bar. Retractable
magnetic covers conceal power points
that are not in use, thus minimizing visual
clutter and scarring of the ceiling plane.
On the other hand, the Museum’s
lighting system had to allow adjustment
of the light intensity of several lighting
fixtures, in accordance with the require-
ments and designs of the different exhi-
Before arriving at the Museum’s main entrance, visitors encounter the flower sculpture
Puppy by artist Jeff Koons.
In the Museum, there
are more than 20 air-
handling units, moving
nearly 1 million cubic
metres per hour. This
is one of them. In the
main mechanical
room, there are three
centrifugal chillers,
with a total capacity
of 5100 kW.
To avoid overwhelming the ceilings with
track lighting, a system consisting of
“power point/power bars” was designed.

15. 15
bitions. To do this, a control system
was installed consisting of dimmers,
thus allowing the lighting of spaces
to be re-programmed easily, and
enabling the control of more than
2,000 independent light fixtures.
Communications
The communications system is based
on star topology on optical fibre, and
uses Class 5 structured cable on plant
distribution. The plant switches and
the data servers are connected to the
central switch, and the user equipment
is connected to the plant switches. The
network is designed around the concept
of collapsing the various wiring closets
into a central Gigabit Ethernet switch,
via the relevant application servers over
fibre optic cable. From the heart of the
installation, the trunk lines run to the
100 Mbps connection for each server.
The network is then distributed to
smaller cabinets, housing modular, stack-
able switching devices at 10/100 Mbps
to the desktop, according to individual
user needs. This infrastructure ensures
the high availability of bandwidth-
intensive marketing, design, ticketing,
finance and general administrative
applications for more than 200 users.
Fire Protection
The fire alarm system is based on a
distributed system, meaning that the
installation is supervised from four
alarm panels connected by a bus. The
optical heat signals that reach the fire
panels from the fire detection devices
are analyzed not only for their intensity,
but also for their development in time.
Following this analysis, the system
diagnoses the fire threat. With regard to
the fire protection systems, it is necessary
to point out that a preaction double-
interlock sprinkler system was chosen,
which covers all the spaces containing
works of art. For the remaining areas
of the Museum, a wet sprinkler system
was chosen.
The Museum presented us with some
unusual engineering challenges, re-
quiring us to find installations which
would be effective, without marring the
building’s extraordinary architecture. We
believe we’ve succeeded. By combining
the best in engineering and architectural
expertise, the teams responsible for
the Guggenheim Museum Bilbao have
created a hardworking facility which
is also considered one of the world’s
architectural icons.
Rogelio Diez is a Senior Industrial
Engineer, and was the engineer
responsible for installations at the
Guggenheim Museum in Bilbao,
beginning at the design stage in 1992.
He is currently Director of Maintenance
and Installations at the Museum.
He would also like to acknowledge the
assistance of Luis Pablo Elvira, Director
of Information Technology of the
Guggenheim Museum, who helped
in the writing of this article.
Fire-protection preaction panels and valves. A double-interlock preaction system was
installed to protect works of art.
East side of the Museum — a beautiful combination of titanium, glass, stone and water.

16. 16
In 1980, Black & McDonald (B&M) recognized the need for
a computerized maintenance management system, as a tool
for managing the fast-growing facility management portion
of their business. The lack of an “off the shelf” product at
the time led B&M to commit the funds and personnel to
develop an in-house proprietary solution to fill this need,
and the CMM system was born. This is a Windows®-com-
patible, FoxPro-based software that was meant to be a
powerful but intuitive program that would have a fast
learning curve and feature simplicity of use.
The software
was developed
to provide accu-
rate database
manipulation
of electrical and
mechanical sys-
tems, equipment
specifications
files, equipment history files, preventative maintenance
schedules, orders for repair work, subcontractor work
orders and inventory control.
Today, development of the CMM software has been
extended to encompass all areas of building maintenance and
operations, from structural to landscaping. Major enhance-
ments have been made in management and operations
reporting, to enable current information to be utilized in all
areas of the program, from inventory control to installation
and maintenance scheduling.
B&M is proud to share with readers of Papyrus how
the application is used in a museum environment for the
Canadian Museum of Civilization Corporation (CMCC). This
Crown Corporation was established in 1990 to manage the
Canadian Museum of Civilization (CMC), the Canadian War
Museum (CWM) and two other museum storage facilities.
At that time, the premises were maintained by staff from the
Federal Government’s Public Works Department (PWGSC).
At the opening of the CMC, PWGSC installed a computerized
facility management system that would come to be known
as the PMMS system. This entry-level, but groundbreaking,
software listed most of the building systems, complete with
pertinent equipment information, and described the preven-
tative maintenance to be carried out, as well as its frequency.
In 1996, the CMCC decided to go to the private sector
with a “Request for Proposal” to assume the operation and
maintenance of all of their assets. Following a rigorous selec-
tion process, Black & McDonald was selected as the successful
contractor, and a four-year contract was signed, which has
come to be known as the “Plant Services Contract”.
At its opening, the CMC was a state-of-the-art facility,
and even after 13 years in operation, remains quite advanced.
The mandate of protecting the Museum’s vast and irreplace-
able collection of artifacts was realized with a series of
sophisticated maintenance and monitoring systems, tied to
a central monitoring location. At the same time, declining
financial resources demanded that such systems be efficient
and cost-effective. To deliver on these mandates, it is imper-
ative that both the owner and operator be able to monitor
preventative maintenance and gather historical data on these
systems. This is made doubly important by the need to
report such data to other institutions, as a condition for
lending artifacts for special and travelling exhibits.
In the first weeks of its mandate at the CMC, B&M’s
Corporate Response Team, in conjunction with the on-site
staff hired for this contract, saw to the installation of the
CMM software. The database was a combination of infor-
mation transported electronically from the PMMS system, and
information gathered on-site. Of special importance was
the need to capture the information on systems that were
not represented in the PWGSC system. It should be noted
that the process of data collection and verification was a
very helpful tool in familiarizing maintenance staff with the
various systems at this critical time of project implementation.
For a CMMS system to be effective, it is necessary that:
• No work is done “outside” the system. It is imperative
that as much information be collected as possible to
make historical trending as accurate as possible, and
to make sure that follow-up maintenance is carried out
and recorded.
• All information must be entered into the system on
a timely basis. This includes time sheets, unscheduled
work, modifications to systems, etc.
• The system must be kept “up-to-date”. New systems
or modifications to existing systems must be entered into
the system to keep the database current. Once the infor-
mation is compromised, it gets “easier” to fall behind,
leading to decreasing confidence in the accuracy of the
information. This can quickly spiral downwards until the
system is in place in spirit only (rather like software on
the shelf).
• The information generated by the system is used!
After all, one of the key reasons for the system is to
improve operational efficiency. To do this, one must be
constantly evaluating the information gathered by the
program. That means regular concise reporting that
allows trending and “tweaking” of the various systems.
Black & McDonald, CMM, and Museums
by Richard E. Harding and Edmond Richard

17. 17
• Both parties accept the fact that the system is
important to both the client and the service
provider. That is to say that the system can not only
provide the owner with confidence that the work is
being done as required, but that the service provider
can deliver (and verify) the added value that such
procedures can deliver.
With the goal of making the system intuitive and easy
to learn, the following “road-map” is an integral part of the
CMM software, and allows for easy movement between the
various databases.
To meet the expressed mandate of allowing for simple,
precise reporting, the CMM was set up with a series of budget
modules as per the screen capture below:
This approach allows the user to create Cost Centres,
Budget Codes and Fiscal Years to track maintenance and
operational budgets. Actual operational costs are automatically
captured from the timekeeping and purchase order modules.
This gives the user up-to-date figures to help in determining
accurate costs to date and to help in budgetary projections.
Budget module reporting includes such reports as the Audit
report, Budget by Budget Code report, Budget by Cost Centre
report, and Cost Centre or Budget Code listings. A typical
Budget by Cost Centre report would combine the Material,
Labour and Subcontractor charges for each cost centre into
a summary report detailing current month charges, and
year-to-date charges as compared to budgeted amounts.
It is available for any or all specified cost centres.
The equipment database is at the heart of the CMM pro-
gram at the Canadian Museum of Civilization. All preventative
maintenance and repair tasks are performed based on this
equipment. From this database, maintenance and operations
personnel can retrieve manufacturer names, parts numbers,
and specifications without having to travel to the equipment
location. For the Plant Services Contract at present, the data-
base is monitoring over 4,000 pieces of equipment under
40 categories. It is generating approximately 2,800 PM work
orders, and 3,400 unscheduled work orders (“trouble calls”)
per year.
A generic sample report would look as follows:
The banner screen, as shown below, captures nameplate
data such as make, model, serial no., type, etc. Associated
with each type of equipment is the specifications template.
The software allows the user to customize existing equipment
templates, and to add or create new templates. As building
systems get more and more complicated, the issue of moni-
toring warranty dates gets more difficult. In the CMM system,
equipment that is currently under warranty is flagged to
the user, so that replacement costs can be minimized. This
warranty flag is also reproduced on the work order to
ensure that the technician is aware that the equipment is
under warranty and that proper procedures are followed.
continued on page 18

18. 18
To control and monitor the “trouble call system”, the
operator can create a work order detailing the work to be
performed, caller name, phone number, date, time of call,
classification of work order, priority, department, and client
ID cross-reference. The banner screen used for these calls
is shown below.
A final aspect of special interest is the control of labour
hours and the appropriate allocation of hours for reporting
purposes. A sample screen is shown below. This module is
used to record labour expended by building operation and
maintenance personnel. CMM software distributes the labour
costs, and produces weekly payroll reports for each main-
tenance/operation staff member. Maintenance and operation
labour hours can be entered daily and charged to any pre-
defined cost centre and budget codes. A separate database
stores the current labour rate for each employee, which the
computer uses to calculate the up-to-date costs for all work
charged to the system. Associated with the labour rates are
user-created “paycodes” which are custom-built algorithms
used to calculate overtime charges, shift premiums, meal
allowances, etc.
The four-year contract expired in 2000, and the client went
once again to the market with an RFP. Black & McDonald
was successful in retaining the contract, and the mandate
was expanded to include facility management of the premises
(overseeing janitorial, snow removal, landscaping, and system
repairs of a non-mechanical or electrical natures such as
doors, windows, carpets, pest control etc.) and maintenance
of the building’s security systems. At the commencement of
the new contract, a new branch was opened in the CMM
system to oversee preventative maintenance and trouble call
systems under this new mandate. This seamless transition
was built upon the experience and database already in
place, and allowed the staff hired under this new contract
to quickly “get up to speed” with a minimum of effort in
set-up and implementation.
At present, B&M has 21 full-time staff operating on a
24-hour-a-day, seven-days-per-week schedule, maintaining
over 100,000 square metres (1,000,000 square feet) of premises.
The comprehensive, “real-time” CMM maintenance manage-
ment system has been a major factor in the successful
partnership that has been forged between the Canadian
Museum of Civilization Corporation and Black & McDonald
Limited. It is a partnership which marries the public-sector
mandate of protecting and displaying the country’s national
faciilties and collections with the experience and project
delivery efficiencies of the private sector.
Richard Harding is a graduate architect, and is the
Manager of Facilities, Management and Operations for
Black & McDonald. Mr. Richard is a graduate mechanical
engineer, and is the site Project Manager at the Canadian
Museum of Civilization for Black & McDonald.
Black & McDonald — continued from page 17

19. 19
The Smithsonian Institution has
embarked on a new program to imple-
ment Engineering Best Practices. This
five-module program has a clearly
defined purpose: “Obtain more timely,
cost-effective, higher quality and safer
project delivery through application
of the industry’s best practices by an
integrated project team of Smithsonian
and contractor personnel from the pre-
authorization through the operations
and maintenance phase . . .”
The five modules of the program are
Pre-Project Planning, the Project Team,
Constructability, Value Management,
and Performance Management. This
article will look at an early Smithsonian
deployment of the PDRI (Project Defi-
nition Rating Index): one key tool used
in the Pre-Project Planning module.
The PDRI is a weighted list which
contains the most critical elements
defining project scope for building
projects. It has three sections, broken
into 11 categories, further broken into
64 elements. Thirty-eight pages of
descriptions support these elements.
The PDRI identifies and precisely
describes each critical element in a
scope definition package, and allows
a project team to quickly predict
factors which would have an impact
on project risk.
The PDRI is intended to evaluate
how complete the definition of scope
has been at any point before a project is
considered for authorization of detailed
design and construction. A 1,000-point
scoring system is used, with lower
scores indicating a better-defined
scope. A loose rule of thumb is that a
score under 200 suggests the project
is probably ready to proceed from
concept to design, but the creators of
this tool caution against emphasizing
the score alone. The real products of a
PDRI exercise are understanding, team-
building, identifying missing project
components, and refining the scope of
work. A significant factor in successful
administration of a PDRI is the use
of an independent objective facilitator,
who is knowledgeable about general
requirements, but who is also distinctly
unbiased. The PDRI tool was created
in 1999 by the Construction Industry
Institute of Austin, Texas.
Section I, Basis of Project Decision,
contains the following categories, and
helps to define the “right project”:
A. Business Strategy
B. Owner Philosophy
C. Project Requirements
Section II, Basis of Design, contains
the following categories, and also
helps to define the “right project”:
D. Site Information
E. Building Programming
F. Building/Project Design Parameters
G. Equipment
Section III, Execution Approach,
contains the following categories,
and defines the “right way”:
H. Procurement Strategy
J. Deliverables
S. Project Control
DA. Project Execution Plan
As an initial exercise, we applied
the PDRI tool to a project long past
scope development and well into
design: The Physical Plant Renewal
of the Old Patent Office Building in
Washington, D.C. The idea was to
check on how our project scope of
work met the PDRI test, in a case
where we proceeded into design
without a comprehensive Pre-Project
Planning phase. The outcome was
skewed slightly by the inclusion of a
very large number of “stakeholders”: we
included over 45 participants, while
the recommended group is 20 or less.
Our results were also affected by the
use of an in-house facilitator, which,
even in the most collaborative of
environments, can be perceived as
manipulation.
Still, although the score we derived
(186 of 1,000) suggested we were
on-track, the score was secondary
to the other outcomes. We benefited
enormously from this exercise in four
crucial areas:
• Understanding the needs and
priorities of all key stakeholders
• Teambuilding
• Identifying missing components
• Refining the scope of work
The PDRI benefits owners, designers
and builders. Owners can use it as an
assessment tool to help them establish
a comfort level from which they are
willing to move forward with projects.
Designers and builders can use it as a
method of identifying poorly defined
project elements. The PDRI provides
a means for all project participants to
communicate and reconcile differences,
using an objective tool as a common
basis for project scope evaluation.
More information about the Project
Definition Rating Index (PDRI) and the
Construction Industry Institute (CII) can
be obtained at: http://construction-
institute.org the CII website. More
information about the particulars of
the PDRI exercise on the Old Patent
Office Building can be obtained by
contacting the author at
ddavies@opp.si.edu.
Daniel D. Davies is the Facilities
Manager at the Smithsonian
Institution, National Museum of
American Art and Portrait Gallery
in Washington, D.C.
Best Practices
by Daniel D. Davies

20. 20
Summer has finally caught up with us,
and some of us are already looking
forward to well-deserved holidays;
others of us may not be lucky enough
to have that leisure just now. The
London Conference is just around the
corner, however, with a program that
will make this venue one of the best
in IAMFA history.
This Association has taken a quantum
leap in the development of its annual
conferences. The change of location
each year creates tremendous potential
for conference organizers to diversify
conference activities, making each con-
ference unique and memorable. For
the organizers, it also becomes a truly
collegial experience, giving members
of the organizing committee an oppor-
tunity to work closely with one another
during the two years it takes to prepare
for the event. The conference is also
an opportunity to showcase the best
cultural institutions in the host city. In
addition, conference participants get
an unequalled chance to learn from
colleagues about different management
approaches, to witness progress on
construction sites, and to find out about
successes with recent museum renova-
tions and museum-related construction
projects around the world.
These conferences have been the
backbone of our organization, and we
certainly value the men and women who
have taken up the challenge of putting
together an event of such international
scope and value. The members of each
conference team commit considerable
time and resources over and above
their daily work in order to achieve
these successes, and it is important to
recognize the ongoing effort required
of to structure a conference program
and bring it to fruition. The overall
responsibilities of the conference remain
with committee members, who take it
upon themselves to agree on the out-
lines of a conference program, to request
commitments from guest speakers, to
set up site visits, to negotiate for the
best hotel rates, meeting rooms and
food services, and to solicit donors and
sponsors in order to ensure financial
viability of the conference. It is also the
committee’s responsibility to develop
a spouse program — entertaining
activities that have become a tradition
of excellence with IAMFA.
In conclusion, I would like to note
how you as members contribute to the
success of a conference. Your primary
contribution is, of course, to register in
support of such an activity, but the buck
doesn’t stop there. The most significant
contribution a member can make to
this organization is to convince one
additional museum facility manage-
ment colleague to join IAMFA and to
attend the conference. The successful
growth of this Association depends,
to a great extent, on your personal
commitment to the organization, and
the ultimate success of an IAMFA
Conference is something we all, as
individual members, can share and
take pride in.
Pierre Lepage
Papyrus Editor
IAMFA/Papyrus
SUMMER 2002
Editor
Pierre Lepage
Papyrus Correspondents
Peter Fotheringham
England
Alastair Cunningham
Scotland
Lloyd O. Headley
United States
Rogelio Diez Marcos, Luis Pablo Elvira
Spain
Richard E. Harding, Edmond Richard
Canada
Daniel D. Davies
United States
Production Coordination
Julie Coderre
Deborah Brownrigg
Design and Layout
Phredd Grafix
Editing
Artistic License
Printed in Canada by
St-Joseph M.O.M. Printing
ISSN 1682-5241
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From the Editor’s Desk
The London Conference . . . Just Around the Corner