Papyrus Summer 2003

“Love the website! What a marvellous site — easy to read,
easy to use and most importantly, easy on the eye.”
“I want to congratulate you and the entire team on what
you’ve achieved in putting the collection online. It’s
absolutely wonderful and I’ve already heard so many
highly complimentary comments.”
“It’s lovely to see the collection data base on the Web.
Congratulations on being the first — a great resource.”
“From the reference in Friday’s Herald I found your new
Web page. Fantastic. Thanks for the obvious time and
effort that has gone into it. Easy to find our way around,
and the pics are good.”
“I could spend hours viewing the McCahon collection
alone . . . the site is excellent, easy to move around
and I know it will be hugely appreciated by art lovers.
Congratulations on a very informative and enjoyable site.”
“Thanks for a great website, and thanks for putting the
tiger in. Nice to see a very old friend. When I was a kid
I thought he was painted by William Blake.”
These are just a few examples of the kind of responses we
are receiving for the Auckland Art Gallery’s Web site, which
has been redesigned and relaunched. It now incorporates an
online database which enables users to search and browse
through the Gallery’s collection of more than 12,500 works
PAPYRUSVOLUME 4 SUMMER
NUMBER 3 2003
The Auckland Art Gallery Toi o Tamaki Opens
its Doors to Virtual Visitors
by Catherine Lomas, David Reeves and Patricia Morgan
I N T E R N A T I O N A L A S S O C I A T I O N O F M U S E U M F A C I L I T Y A D M I N I S T R A T O R S
INSIDE
Letter from the President . . . . . . . . . . . . . . . . 7
Outsourcing for Museum and Gallery
Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . 8
A New High for Atlanta . . . . . . . . . . . . . . . . . 11
Regional Chapters . . . . . . . . . . . . . . . . . . . . . 19
Major Renovation Project at the National
Gallery of Scotland . . . . . . . . . . . . . . . . . . . . 22
Be Seen in the Right Light . . . . . . . . . . . . . . . 24
Fighting Mold and Decay in the
Twenty-First Century. . . . . . . . . . . . . . . . . . . 29
From the Editor’s Desk . . . . . . . . . . . . . . . . . 32
The Wellesley Wing at the Auckland Art Gallery.
continued on page 2

2
of art. The website can be accessed at:
www.aucklandartgallery.govt.nz
This is the first time a New Zealand
gallery or museum has been able to put
its entire collection online. It is also the
first time the Vernon Web Browser has
been used to provide Internet access to
a major collection. This is the culmi-
nation of a 21/2 year project which is
producing a wide range of benefits
for the Gallery and the public alike.
How the Project Came
About
By the year 2000, the Gallery had
fallen behind comparable institutions
in New Zealand and overseas in pro-
viding electronic access to internal and
external users interested in its collections.
Staff use of the collection database had
fallen off, due in part to slow technical
performance: the software was six years
old and little investment had been made
since the system’s original implemen-
tation. In addition, maintaining and
enhancing the accuracy of collection
records fell behind other priorities. With
increasing expectations from both inter-
nal and external audiences, something
significant had to be done.
The Gallery is owned and man-
aged by the Auckland City Council,
which is the largest territorial author-
ity in New Zealand. It maintains
New Zealand’s most significant art
collection, with over 12,500 works,
and runs a busy schedule of changing
exhibitions (about 35 per year), as
well as related educational activities
and public programs. The Gallery is
housed in two central city buildings, the
older of which is a significant heritage
landmark. The Gallery also has storage
at a number of off-site locations (soon
to be consolidated into a very welcome
specialized storage facility).
The works in the collection are by
artists from New Zealand and many
other countries, and represent a wide
variety of media. Among the collection’s
particular strengths are holdings of early
European prints, nineteenth-century
English paintings, and a number of
important seventeenth-century Italian
works. The Gallery also has strong col-
lections of works depicting nineteenth-
century Maori and colonial settlement,
as well as a wide range of works show-
casing the development of regional
and national artistic styles during the
twentieth century.
On average the Gallery attracts
around 200,000 visitors annually,
and fields approximately 5,000
enquiries from the public and the
international academic community
each year. The Gallery aims to display
at least 10 per cent of its collections
each year through onsite and travelling
exhibitions. This effectively means that
up to 90 per cent of the collection is
hidden away from the general public,
and only the most determined and
serious researchers and students have
any idea that these hidden treasures
exist. Although arrangements can be
made for behind-the-scenes access to
specific works related to various areas
of study, this assumes that researchers
already know what the collection holds.
The World Wide Web was clearly the
best means by which to increase
access to the treasures held in storage.
In October 2000, a group of Gallery
staff met with the City Council’s
recently-formed Business
Improvement Group (BIG) to discuss
a way forward. The Gallery team
comprised:
• A Research Librarian, representing
the interests of public information
and research services.
• A Photographer, with expertise in
image management and systems
administration.
• The Registrar, who is responsible
for the documentation of the
Gallery’s collection.
• The Manager of Exhibition and
Collection Services, to provide
program management and liaison
with the Gallery’s management team.
Value Management
The Council had adopted a Value
Management methodology for assess-
ing and managing new business or
business-improvement projects. Under
the auspices of the BIG team, the group
started on its Value Management journey,
first by preparing an Opportunity Value
Case. The development of a Results
The Auckland Art Gallery — continued from page 1
A snapshot of records on the new Auckland Art Gallery website.

3
Chain also became a key tool in
establishing basic objectives and
identifying benefits which would
justify further work in setting up the
program. This high-level diagram
provided graphical representation of
the key program elements, such as:
• Key strategic outcomes (drawn
from the City’s own strategies).
• General phases of the program
with intermediate outcomes.
• Individual initiatives required to
achieve the outcomes in the chain.
• Planning steps required to assess
needs and to get the program started.
At first glance, the Results Chain was
a rather complex net of circles, squares
and arrows, perhaps designed to impress
(or baffle!) senior management. How-
ever, it proved very useful to have
a picture of the whole project on a
single A3 sheet, showing the general
relationships between the component
parts and the desired outcomes.
The second phase of planning
involved more detailed work to identify
specific costs and to look at the staffing
and other resources which would be
required to complete each of the sub-
projects. The core team which worked
on the planning phases continued their
involvement by dividing up responsibility
for various parts of the overall program.
Key Resource People and Reporting
Structure
• Steering Group — met on a monthly
basis:
Sponsor; Reps from BIG, Information
Technology & Communications,
Risk Management, City Library &
Programme Manager +
• Sponsor
Art Gallery Director
• Programme Manager — Gallery
Manager, Collection & Exhibition
Services coordinated weekly meetings
of Project Managers and monthly
meetings of Steering Group; pre-
pared agendas, minutes & reports;
budget control
• Project Manager for Database
Gallery Registrar
• Project Manager for Web
Development
Gallery Website Coordinator
• P M for Permissions & Data
Enhancement
Gallery Research Librarian
• Web Developer
(external contractor for initial set-up)
• Project Manager for Digital Imaging
Gallery Photographer
• Specialist Advisors
Staff from other City Council groups
The Value Management methodology
sometimes seemed overly bureaucratic
to Gallery staff, who were impatient to
“just get on with it.” However, it has
to be acknowledged that, by following
such a thorough process, the project
received political and management sup-
port at a high level. The methodology
provided the required level of detail
to comply with the very rigorous and
thorough scrutiny of our local govern-
ment stakeholders. Senior Council staff
could see that the individual projects
were part of a cohesive whole which
met established strategic objectives: a
long journey made up of small steps.
If they had been attempted singly, most
of the component (sub) projects would
probably not have received funding.
It was reassuring to realize that, as the
program got bigger (and more costly),
its chances of being approved got better,
not worse, because the benefits were
correspondingly even bigger and better.
In addition to Risk Registers, Benefits
Realization Plans, Business Alignment
Scores and Programme Status Reports
— all required by the methodology,
there was still room for management
by good old-fashioned common sense.
For example, when the tender period
unfortunately coincided with the
October 2001 anthrax scares in the
U.S., it was clear that a number of
potential U.S. bidders/suppliers/
tenderers would not be able to meet
the proposed deadline due to a slow-
down in the postal system. Extending
the deadline would have added sig-
nificant delays to other projects, which
were dependent on getting the new
database up and running. The problem
was solved by successfully seeking
approval to vary the rules, thus allow-
ing electronic submission of proposals
by the closing date.
Key Project Components
Final approval for the program was
given in June 2001. We were off! To
make sure we could meet the go-live
date of March 2003, there was much
to be done, including:
• Identify new software and replace
the old collection database, including
clean-up and transfer of existing data.
• Capture digital images of the collec-
tion; a contract photographer was
hired along with rostered art handlers
to photograph, over a period of
ten months, the many thousands of
works which had never previously
been photographed. (Details of the
methods used are now documented
on the Gallery’s website for others
who may be contemplating a similar
project, at: www.aucklandartgallery.
govt.nz/collection/imagecapture).
The new images were captured as
18Mb jpeg files, and smaller deriva-
tives were generated for use on the
database. Existing digital images were
re-sized and “cleaned-up” to the
standard screen-quality 480-pixel
size also.
• Enhance text records — descriptive
information and subject search
headings were added to make the
database more user-friendly for the
public. This was essential in order
to shift the database from a staff-
oriented inventory of “objects”, to
a facility supporting public access
to information.
• Scan ephemera research material —
remote electronic access was seen as
an obvious way to meet a growing
demand for the Research Library’s
holdings of important material such
continued on page 4

4
as catalogues, newspaper clippings
and biographical information relating
to New Zealand artists and items in
the collection.
• Obtain copyright approvals — an
extensive project was carried out to
locate and seek permission from
individuals and agencies, in order to
publish digital images of the works
on the website. Over 50 per cent of
the works in the collection are subject
to copyright restrictions. As part of
this project, consultations were held
with the iwi (Maori tribes) to ensure
cultural property sensitivities are
respected regarding the use of
Maori images on the website.
• Redesign and develop website
access, which had remained largely
unchanged since the site’s initial
launch in 1995–1996. To gain max-
imum benefit from the investment in
digitizing and enhancing the records
in the collection, the Gallery required
a new “front door”, as well as a set
of templates which would provide
for future electronic resources and
educational/interactive modules.
By April 2002, the new database
was launched to staff, complete with
8,000 images. Following an initial train-
ing period, the benefits started to flow.
Having a critical mass of available
images made a huge difference to staff
previously reluctant to use the database.
Interest soared, and with many more
pairs of eyes looking at the database as
part of daily work routines, the job of
spotting errors and omissions before
going public became a little more man-
ageable. The imaging project continued,
and by November 2002 the proportion
of the collection which had been pho-
tographed had reached 99 per cent! A
small celebration was held to acknowl-
edge the efforts of the various permanent
and temporary staff who had contributed
to the success of the project to date.
Work continued on developing
the public access side of the project.
Copyright clearances took longer than
anticipated, but copyright holders were
generally extremely supportive of the
project, and often responded with
further information about their works.
The Launch!
In March 2003, the Gallery’s redeveloped
website was launched by the Mayor
of Auckland City, marking the end of
an intensive 21/2-year project, which
resulted in online access to every item
in the collection — including 9,000 items
with publicly accessible images. (The
remaining images will be added as copy-
right permission is gained). We are very
proud to be the first gallery or museum
in New Zealand — and one of only
a small number internationally —
to have our entire collection online,
alongside other archival resources and
information on the Gallery’s activities.
The redesign of the website —
undertaken to coincide with providing
electronic access to the collection —
created an opportunity to reassess
the other kinds of information offered,
and provided templates for future
development.
Outcomes and Benefits
The project has now largely achieved its
main aims. Staff are using the database
for a wide range of Gallery management
activities, as well as for answering public
enquiries. Shifting the role of the data-
base from a flat inventory to a central
management tool is an ongoing process.
The planning of exhibitions, the gener-
ation of wall labels, and the automatic
recording of exhibition history are
now routinely performed by curatorial
staff. Incoming and outgoing loans are
managed on the new system, and the
Gallery’s conservators will begin record-
ing condition and treatment details. Many
of these tasks previously involved the
laborious retyping of detailed informa-
tion on works of art, with the inherent
problems of transcription errors and
decentralized record-keeping.
The new software allows much easier
updating of locations: a real issue for
Registration staff, who are responsible
for 11 separate storage rooms scattered
in the corners and attics of the 115-year-
old building. Audit and evaluation
requirements can now be met more
Just one of the thousands of records available in the new Auckland Art Gallery online
database.

5
easily, and having an image of almost
every item in the collection provides
good security information in the event
of loss or damage.
The public version of the database,
available through the website, has also
proven useful as a quick and easy tool
which the Gallery’s front-of-house and
library staff can use to answer enquiries
about works held in the collection.
This means that infrequent users do
not need training in the use of the
full system, and the response time to
simple queries has been reduced from
up to three days to “on the spot”.
The early decision to aim for digiti-
zation of 100 per cent of the works
in the Gallery’s collection has paid
off handsomely. While this process
is not a realistic possibility for some
institutions, we would encourage our
colleagues not to discount embarking
on such a project until they have done
the figures — it was not as impossible
as we had first thought. There is great
efficiency, as well as satisfaction, in
knowing that the in-house database
has an image of everything in your
collection. And of course we have
avoided the inevitable debates about
what to include or omit, had we
gone for only partial digitization of
the collection
There are huge advantages for
curatorial staff in being able to begin
planning exhibitions using digital
images on their desktops. Apart from
the reduced handling of fragile works
and the saving of time, works which
have been in storage for many years
are now coming to the attention of
curators, who previously lacked time
to search through the collections with
the depth that the database now allows.
Richer exhibitions and research projects
are sure to follow.
The copyright clearance part of the
project has enjoyed a great deal of
success. Rather than copyright being
an issue which we had to ”get around”
or ”deal with”, it has been an excellent
opportunity to make contact with artists
and their descendants, while also
updating details and demonstrating
ongoing interest in their work. The
result has been that 98 per cent of
New Zealand artists that we approached
have been very willing to give consent
for their images to appear on the
Gallery website.
And of course there are benefits to
the wider public. Having been funded
from local government tax funds, our
business case was based on providing
optimum citizen value: aiming to
provide efficient management of an
Auckland City asset, and to provide
the widest possible access to it. Works
can be searched by subject or theme,
in addition to title, artist, date and
medium. There has already been an
increase in the number of requests
for reproductions of the works in the
collection, due to their visibility on the
website, and an increase in sponsorship
enquiries and facilities rentals has been
recorded since the launch.
The Value Management methodology,
which proved useful in identifying the
sub-projects and their role in contribu-
ting to overall benefits, also provides
an ongoing role for the Steering Group.
This group still meets regularly to review
progress in the realization of benefits.
This ensures that there is an overview
group with the clout to assist if enthu-
siasm wanes or obstacles present them-
selves, even after the initial “hiss and
roar” of the main project has subsided.
This way, the organization’s investment
is protected and long-term benefits are
forthcoming. So, really, the project is
an ongoing one. The online database
is an exported subset of the main
Gallery database, sitting on a separate
server which is refreshed every two
weeks to include additional images
or new acquisitions to the collection.
And the website itself is a Gallery
function of growing importance.
What’s Next?
With a large bank of digital images
to draw on, staff can now think more
expansively about educational and
interactive modules to be developed
alongside the Gallery’s traditional
program of exhibitions.
We are discovering, as many others
have, that the World Wide Web is the
equivalent of a whole new wing added
to our institution. This new “building”
continued on page 6Curators can now search the Auckland Art Gallery’s collection in the early stages of
creating a new exhibition.

6
has all the needs of an actual gallery
space — security, content, maintenance,
marketing — but there is little additional
staffing allocated to provide these func-
tions. The challenge is to gain leverage
from the existing efforts of staff work-
ing in familiar modes, and to convert
some of that effort into creating online
content as an additional product. The
benefits of widely increased access
to the collection, albeit virtual access,
don’t come without costs.
The uses to which information on
the collections is put can be greatly
extended with the inclusion of educa-
tion-focussed and interactive modules.
These modules will improve the quality
of research into, and teaching about,
art — particularly New Zealand art
history. These resources will be useful
to both teachers and students, and will
be provided through a medium with
which young people are familiar and
are increasingly using. Web access will
also benefit the disabled and the elderly,
who are often dependent on others if
they wish to physically visit the Gallery.
During its first seven weeks, the
Gallery’s new website received over
26,000 visits and a great deal of positive
feedback. The Gallery has cemented
its position as an expert resource for
pictorial information, and can now
contribute effectively to a national
database of heritage collections and
the planned electronic New Zealand
Encyclopaedia. Beyond the provision
of information and images of works
of art online, the Gallery has the
opportunity to review and enhance
the way it meets its fundamental
mission of increasing understanding
and enjoyment of the visual arts. The
valuable knowledge contained in the
most significant art collection in New
Zealand is now available to everyone,
regardless of his or her location, or art
expertise. The doors are open, come
and visit us!
Of course we would still love to
see you in person if you are passing
our way . . .
Catherine Lomas has held the position
of Manager, Collections & Exhibition
Services since 1996. She has also been
Exhibitions Manager at the Waikato
Museum of Art and History, an
Assistant Curator at the Auckland War
Memorial Museum and Programme
Manager for the QE11 Arts Council
of New Zealand.
David Reeves has held the position of
Registrar at the Auckland Art Gallery
since June 2000. He manages a team
with oversight of all storage, packing,
freight, insurance and documentation
of the Gallery’s collections, including
new acquisitions and works borrowed
and lent for exhibitions. He has an
ongoing interest in management
systems which streamline the multiple
uses of collection-related information.
David previously worked at the
Museum of New Zealand Te Papa
Tongarewa (Collection Management)
and at the Alexander Turnbull Library
(Pictorial Collections) in Wellington.
Patricia Morgan has held the position
of Manager, Business Support since
September 2001. Her responsibilities
include Building Management, Asset
Management Planning, Security,
and the Council-Gallery interface.
Her varied career has included local
government, special education, Audit
New Zealand, the banking industry
and the engineering sector.
The Auckland Art Gallery is housed in two buildings in central Auckland.

7
Many of us look forward to the summer
months so that we can be outdoors
enjoying the warmth of the sun, which
we dreamt about during the dreary
winter months. Summer is a time for
picnics, backyard cookouts, a day at
the beach and even some boating.
However, summer is also the time of
year for major construction work. Our
museums become hard-pressed during
the summer months to balance their
construction projects while also ensuring
the safety of our visitors as they enjoy
the institutions we serve.
With summer come many different
challenges for administrators, such as
air-conditioning demands, special pro-
jects, landscaping requirements with
possible watering restrictions, and
higher attendance to our facilities. We
also struggle with road construction,
either to or from our institutions, as
well as local and community events
which may have an impact on our
museums. Summer brings the most
unpredictable weather as well, adding
a separate set of variables to our daily
schedules. Whatever lies ahead, I’m sure
we’ll find a way to move forward. It
also is reassuring to remember that being
part of the IAMFA family allows us to
phone or e-mail another member to
seek advice or an opinion.
In the spring issue of Papyrus, Pierre
again showed his networking skills
to our IAMFA members. The Ottawa-
Gatineau Chapter’s field trip may have
been bitterly cold and delayed; however,
through Toby Greenbaum’s article I
was able to place myself on this field
trip — although I got to stay warm
and dry. Congratulations to Toby as
Chairperson, and for preparing such
an informative article for Papyrus.
Pierre Lepage also mentioned in the
spring issue that two board positions
will be open for election this fall. I will
miss both Pierre Lepage and Carole
Beauvais, both of whom have been
extremely devoted to IAMFA. Pierre
has brought our newsletter Papyrus
to the forefront, proving that the many
hours required to produce our news-
letter have benefited many. Carole has
also contributed her skills in promoting
Regional Chapters, and her input as a
Board Member will be greatly missed.
Please consider a position this fall, as we
look for new board members to continue
our mission as museum administrators
willing to share with others, and to bring
value and professional development
to our IAMFA family.
Joe Brenman, our northern
California Chairperson, has been
working hard to bring our 2003
Conference to San Francisco. Please
plan to attend, as we are sure to have
a memorable and enriching experience.
If you haven’t registered, please do so
today. With our nation and local com-
munities readjusting to the threat of
terrorism, may our summer bring some
relief and enjoyment to what has been
a very challenging year.
Let’s plan to reunite in San Francisco,
and continue to develop a stronger
IAMFA family.
Hope to see you in September.
William Caddick
IAMFA President
Letter from the President
IAMFA
President,
Bill Caddick
IAMFA Board of Directors
President
Bill Caddick
Art Institute of Chicago
Chicago, U.S.A.
wcaddick@artic.edu
V.P., Administration
Guy Larocque
Canadian Museum of Civilization and
Canadian War Museum
Gatineau, Canada
guy.larocque@civilization.ca
V.P., Regional Affairs
Carole Beauvais
National Archives of Canada and
National Library of Canada
Ottawa, Canada
cbeauvais@archives.ca
Treasurer
Kevin Streiter
High Museum of Art
Atlanta, U.S.A.
kevin.streiter@woodruffcenter.org
Secretary and Papyrus Editor
Pierre Lepage
Canadian Museum of Civilization and
Canadian War Museum
Gatineau, Canada
pierre.lepage@civilization.ca
Chairman — Conference 2003
Joe Brennan
San Francisco Museum of Modern Art
San Francisco, U.S.A.
jbrennan@sfmoma.org
Larry Armstrong
Carnegie Museums
Pittsburgh, U.S.A.
armstrongl@carnegiemuseums.org
For additional contact information,
please visit our website at
www.iamfa.org

8
In 1996, the Canadian Museum Civili-
zation Corporation (CMCC) chose to
outsource the operation of their facility
and issued a Request For Proposals
(RFP). At that time, Black & McDonald
(B&M) was relatively new to the man-
agement of critical operations, but the
RFP as set out seemed to be a natural fit
for our corporate “service” profile and
strong mechanical and electrical back-
ground. The document concentrated on
the deliverables that the CMCC expected
from the potential service provider, and
requested detailed information from the
respondents on how they would deliver
each element. Price was certainly a
strong consideration, but only once the
operational needs were successfully met
in the contractor’s RFP response. We
were convinced that the success of any
bid would rest on a true understanding
of the client’s operations and needs.
Fortunately, our presentation was
successful, and we secured a contract to
operate and maintain the Corporation’s
electrical/mechanical systems on a
24/7 basis. This contract, which came to
be known as the Plant Services Contract,
consisted of an on-site Project Manager,
a Support Clerk, and a support staff of
12 tradesmen consisting of Stationary
Engineers, Maintenance Mechanics, and
Maintenance Electricians.
Following an intense learning curve
at the onset of the contract, B&M set out
to evaluate the CMCC’s existing systems
and pre-established maintenance sched-
ules. The former service provider (the
federal government’s Public Works
Department) had their proprietary
facility management software in place,
and we had to transfer the equipment
list and preventative maintenance
routines over to our CMM system (see
our article “Black & McDonald, CMM,
and Museums, in the Summer 2002
issue of Papyrus). We combined our
observations and experience with a
“life-cycle costing initiative” (LCC) that
had been commissioned by the client
with various engineering firms. The
LCC called for millions of dollars in
replacement equipment over a ten-
year period. These replacements had
been prepared using standard industry
actuarial tables. Given our on-site
advantage, B&M staff were able to eval-
uate the condition of the individual
pieces of equipment and to compare
them against the LCC. From this infor-
mation, we were able to track the
performance of the various systems
vis-à-vis unscheduled repairs. This
analysis allowed us to recommend a
program of replacement based upon
this performance, and to purchase and
keep on hand a minimum of replace-
ment parts (which fit well with our “just-
in-time” delivery model). For example,
the 150 or so electrical motors in the
various air-handling units were sched-
uled for replacement before the turn
of the century. To date, however, over
two-thirds of the original motors instal-
led in 1988 are still operating well
within design parameters!
Our next initiative was to review
expenditures for replacement materiel,
in order to establish a list of the most
expensive categories. We then looked
at each of the items to determine if
there were potential savings through
changes in how this maintenance was
carried out. For example, we found that
the electronic humidification systems
attached to each of the 150 air-handling
units were absorbing one-third of of
our entire material budget! This was
primarily due to the replacement of the
steam “bottles” which were failing rather
quickly under extremely heavy use (due
Museum and Gallery Maintenance
Outsourcing — A Journey
by Richard Harding
Canada Day at the Canadian Museum of Civilization.

9
to the need to maintain important and
fragile collections, air humidity is tem-
pered year-round). Our investigations
showed that the breakdowns were
due to steel electrode degradation and
excessive scale build-up. We were able
to find a local metalworker who could
fabricate the electrodes out of stainless
steel (concerns that these would poten-
tially not perform well were shown to
be false). We then started an aggressive
program to look at various ways of
disassembling the units and removing
the scale build-up without harming the
plastic bodies. We followed this up by
arranging with one of our electricians
to rebuild the humidifier control boards
that were no longer being manufac-
tured and were thus only available at
an extremely high cost. The results of
these initiatives reduced the material
costs of bottle maintenance from
$45,000 per year to less than $20,000!
The next step in the journey was
to look at operational improvements
which could lead to potential energy
savings. Working closely with the
client’s staff, we were able to identify
several initiatives which could lead to
substantial energy savings, through a
combination of equipment additions
and modifications, and/or changes to
operational tasks. These included the
relocation of an unused speed drive
from the heating system to the chilled
water system, and modifications to the
summer hot deck and winter cold deck
set-points. These produced exceptional
results which were directly measurable
through sustained reduced electrical
consumption. The actual energy savings
amounted to over $30,000 per year,
while also reducing wear-and-tear on
the affected systems.
As the relationship and trust between
client and service provider grew, so did
the responsibilities under the contract.
Three years into the first contract, B&M
was able to secure a contract to oversee
the day-to-day operations of the facility.
This included the direction of snow
removal, landscaping, and cleaning sub-
contracts, as well as the maintenance
of all security equipment and systems,
handyman services, and locksmithing.
At present, B&M has a staff of 21 full-
time employees working for the CMCC,
and is an integral part of the client’s
service delivery team.
continued on page 9
National Gallery of Canada. The lighthouse outside Canada Science and Technology Museum.

10
Advertisement in Papyrus
I would like to remind you that an advertisement policy for
Papyrus was approved at the General Assembly of the
Membership in London, September 25, 2002. Under this
policy, we can now publish advertisements for services
related to facility management in cultural institutions.
Advertisement space may not to exceed one page, and
each page can be subdivided into 8 quads. Advertising
costs $200.00US per quad, for 3 consecutive issues. Size
space is limited, the demand will be honoured on a first-
come, first-served basis, following reception of payment —
including a letter of confirmation from the facility manager
of the institution using these services. Payment should be
made out to IAMFA, and sent to the IAMFA Treasurer, c/o
Kevin Strieter, High Museum of Art, 1280 Peachtree Street,
N.E., Atlanta, Georgia, 30309, U.S.A.
All advertising funds will be used for the production of
the Papyrus journal, and we encourage you all to promote
this opportunity among your local providers of facilities
management services.
Pierre Lepage
Papyrus Editor
This initial contract and relationship
with the CMCC has been followed up
with facility management and/or main-
tenance contracts with the Canada
Science and Technology Museum, the
Canada Aviation Museum, the National
Gallery of Canada, and the Canadian
Museum of Contemporary Photography.
This performance model takes a
pragmatic approach to facility man-
agement and the maintenance of
building systems for museums and
galleries, and has been successfully
applied from our various offices to
contracts in the educational field and
industrial production facilities across
Canada. However, this is not based
on a “cookie-cutter” mentality, but
rather on understanding the particular
requirements of the client’s business,
and customizing our management
approach to meet these requirements.
The critical need to assure that the
country’s valuable historical artifacts
and collections are protected is no
different than the need to assure that
a brewery’s production line continues
to operate, or that a university lecture
theatre’s environmental conditions
allow students to study in comfort.
It is this understanding that is at
the heart of business success in the
arena of specialized institutional and
industrial maintenance.
Each contract builds upon our
experience and depth of knowledge,
but all can be traced back to that first
contract, in which Black & McDonald
and the Canadian Museum of Civilization
Corporation forged a true partnership,
designed to maximize the value of main-
tenance costs. This highly successful
outsourcing initiative has substantially
reduced historic maintenance costs,
allowing the CMCC to fund other ini-
tiatives under their “core” responsibility:
protecting and exhibiting the cultural
treasures of our nation. The rest, as they
say, is history.
Richard Harding is a graduate
Architect and Manager, Facility
Management and Operations for
Black & McDonald Ltd. in Ottawa,
Canada. He can be reached at
rharding@blackandmcdonald.com.
Museum and Gallery Maintenance Outsourcing — continued from page 9
Canadian Museum of Contemporary Photography.

11
With the groundbreaking scheduled
for Spring 2003, The High Museum of
Art in Atlanta, Georgia, is embarking on
a two-year construction project which
is slated to open in the summer of 2005.
The original Richard Meier-designed
building, which was completed in 1983,
will be partnered with a group of three
structures designed by the Renzo Piano
Building Workshop of Genoa, Italy.
Due to unprecedented growth at
the High during the past decade, the
Museum is working with the Renzo
Piano team to create facilities that will
meet the demands of a larger and more
diverse audience, while also accom-
modating its growing programs and
collections. The High’s annual atten-
dance has soared to nearly 500,000
visitors a year; its collection has nearly
doubled since 1983; and its member-
ship of 41,500 households — which has
nearly tripled since 1995 — places the
High among the Top 10 art institutions
in the United States.
The High’s new facilities, which will
encompass 177,000 square feet (the
original building is 145,000), will provide
additional gallery space for the Museum’s
expansive permanent collection;
enlarged special exhibition space; and
improved visitor amenities, including a
retail shop and coffee bar. The facilities
will allow the High, which has the largest
and most comprehensive collection of
art in the Southeastern United States,
to display more of its rapidly growing
permanent collection for the benefit and
enjoyment of the people of Atlanta
and visitors from around the world.
As the Manager of Facilities and
Logistics for the High Museum, I’ve
found that managing the original Meier-
designed facility for the last five years
has presented its share of challenges.
The white porcelain-clad metal panels
on the building’s exterior always seem
to need cleaning, or re-caulking, or chip
repair. Keeping the HVAC balanced and
the RH level at 50 per cent — in a metal
and glass-clad building with an open
floor plan and a substantial atrium in
the Atlanta heat and humidity — keeps
my job interesting. The large extent
of radius walls and other non-linear
surfaces, and the many custom glass
sliders and curtain walls make recon-
figuring and repair projects a costly
and time-consuming affair.
I’ve worked closely with architects,
engineers and project managers in
reviewing maintenance and logistics
issues in the 1983 facility, with an eye
toward heading off these issues in the
new Piano buildings.
The Piano Workshop’s design for the
expansion of the High encompasses
three new buildings: a main pavilion,
a special collections building, and an
administrative office building. The main
pavilion will feature an expansive, light-
filled lobby with an outdoor terrace,
retail shop, coffee bar and visitor
amenities. The lobby level and two
upper gallery floors will have barrel-
vaulted ceilings constructed of pre-cast
concrete, with all lighting, sprinkler
systems, return air plenum and art-
hanging brackets fitted in the reveals
between each row of vaults. Needless
to say, maintenance access will be tight
in this ceiling system.
One of the most visually exciting ele-
ments of the Piano design will be the
skylight system on the top floors of the
main pavilion and smaller gallery build-
ing: 1,000 two-foot-diameter skylights
placed in cast concrete “chimneys”, with
exterior fiberglass hoods designed to
block the harsh southern sun and diffuse
a controlled, natural light. My concern
for the cleaning and repair constraints
posed by this admittedly beautiful sky-
light system prompted me to bring in my
exterior building maintenance contractor
early on in the design process. After
examining the ergonomics of these
closely-spaced skylights, we were able
to project the procedures and costs
involved in keeping everything clean
and in good repair.
Additionally, the new pavilion and
gallery building will be connected to
the Meier building with a series of glass
A New High for Atlanta
by Kevin Streiter
The roof cover design — typical roof light, true north south. continued on page 12

12
bridges. The maintenance of these
structures was studied closely by the
building team, and hardened points
were placed to enable walking on the
glass roofs, as were brackets for crews
to tie onto and swing from.
The new buildings’ facades will be
paneled with an off-white marmarino: a
textured marble-dust stucco selected to
compliment the existing building’s white
porcelain-clad panels. As is the case
in the original building, this exterior
system may prove challenging to keep
clean in an urban environment. We’ve
done extensive test-cleanings on an
eighteen-foot mock-up structure with
promising results. It’s the frequency of
the cleanings in the less-then-pristine
Atlanta air that must be taken into
account when creating a new budget
for the expanded facility.
The art centre will be receiving an
entirely rebuilt truck bay and loading
dock facility, with room for three simul-
taneous big-rig deliveries, as well as a
wet dock for catering and contractor
usage. This represents the introduction
of additional heavy equipment and
systems into the High’s facility budget.
With an expansion that brings a total
of 322,000 square feet comes additional
staffing: housekeeping, maintenance,
engineers and security — all within the
facilities operations purview and all pro-
viding new challenges in the current
atmosphere of tight budgets. We have a
plan in place to start staffing on the thin
side, later ramping up hiring as needed.
Attending meetings and planning
over the last two years, re-examining,
changing designs and then changing
them again: standard stuff for anyone
who has gone through a large construc-
tion or renovation process. As for us at
the High, knowing that we’d have only
ourselves to blame for any maintenance
issues that we’d overlooked and were
now saddled with has really kept us
motivated. I’m sure that there will be
plenty more to come as construction
gets underway, and I look forward to
sharing progress on the High’s expan-
sion project with the IAMFA community
over the next two year — perhaps even
welcoming the group as a conference
host sometime after our project’s
completion.
Kevin Streiter has over twelve years
of facilities management experience.
He has also served for five years as
construction project manager in both
commercial and high rise residential
work. He has served as the Manager
of Facilities and Logistics at the High
Museum for the past five years.
South elevation showing new Pavilion on left and existing Richard Meier building on right.
A view across the Piazza of the Main Pavilion, which will be one of three new buildings
designed by the Renzo Piano Building Workshop.
A New High for Atlanta —
continued from page 11

13
Museums on the Edge
IAMFA Conference 2003 in San Francisco —
September 21–24, 2003
The Northern California Chapter invites you to the
13th Annual IAMFA Conference, September 21–24, 2003.
Have you made your reservation yet? — Joe Brennan.
Joe Brennan
For more information on this year’s
conference, please contact us at
IAMFA2003@netscape.neta
Fee: $1,350 US — due upon registration
(same fee as last year).
The fee includes:
1. Survey Questionnaire Development
• approximately 25-40% of the survey will gather data
on new subjects
2. Survey Report, including:
• Survey data
• charts of all data listed under each organization’s
name
• Survey Summary
• summary charts and graphs of industry averages, ratios
and trends
• Executive Summary
• a summary that provides comments and
recommendations on key performance measurements
and practices in facility management
3. Full-day workshop, including best practices and
networking
Key Dates
• Feb.–May, 2003: Receipt of Survey Participation
Agreement
• Feb.–June, 2003: Distribution of Survey Questionnaire
(upon receipt of Participation Agreement)
• July 1, 2003: Return of Completed Survey Questionnaire
• August 29, 2003: Survey Report mailed to Participating
Organizations
• September 21, 2003: Benchmarking and Best Practices
Workshop in San Francisco, CA
Excuses for not Benchmarking
• We’re too busy doing projects — i.e., We’re too busy
working hard to learn how to work smart.
• We participated in a benchmarking survey previously
and we’re right in the middle of the pack — i.e., We’re
happy to be average. Continuous learning is not
important
How Do I Sign On or Get More Information?
Contact Ian Follett at:
Tel.: 1 (403) 259-5964
Fax: 1 (403) 255-7116
E-mail: fmsltd@fmsltd.com
Website: www.fmsltd.com
Reminder:
Don’t forget to budget for:
• this year’s benchmarking exercise and IAMFA Conference
• $1,350 US for the Benchmarks Survey, including the
Workshop
• cost of IAMFA conference, travel and accommodation in
San Francisco
This Year’s Survey: Museum Benchmarks 2003, Survey of Facility Management Practices

14
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IAMFA 2003 IN SAN FRANCISCO
The Northern California Chapter
Welcomes you!
September 21–24, 2003
INTERNATIONAL ASSOCIATION OF MUSEUM
FACILITY ADMINISTRATORS
Ⅺ YES! Sign me up to attend the 2003 IAMFA Annual Conference in
San Francisco, California, U.S.A.
Name: ___________________________________________________________________________
Title: ____________________________________________________________________________
Institution:_______________________________________________________________________
Address: _________________________________________________________________________
City: _________________________________________ Postal/Zip Code: _________________
State/Province/County: ______________________ Country: _________________________
Phone: ________________________________ Fax: ____________________________________
E-mail: __________________________________________________________________________
Special dietary requirements:____________________________________________________
ALL FEES ARE PAYABLE IN U.S. DOLLARS
Ⅺ Member Fee: $350
Ⅺ Non-member
conference fee: $400
Ⅺ Sign me up as a new
IAMFA member: $150
Ⅺ Guest Programme: $250 Guest Name: _________________________________
Ⅺ Day Attendance: $150 per day Ⅺ MON Ⅺ TUE Ⅺ WED
Please remit to: International Association of Museum Facility Administrators
IAMFA
c/o Kevin Streiter, High Museum of Arts
1280 Peechtree NE
Atlanta GA, 30309 U.S.A.
I require an invoice: Ⅺ Yes Ⅺ No
SUGGESTED ACCOMMODATION
The conference hotel will be the Hotel Milano, located at 55 Fifth Street
between Mission and Market Streets, conveniently near the San Francisco
Museum of Modern Art (SFMOMA) and Yerba Buena Gardens, and just around
the corner from the San Francisco Centre and Nordstrom. The Milano is SFMOMA’s
choice for visiting artists and curators, and the room rate during the conference
will be $109, double occupancy. Conference participants should reserve their
accommodation directly with the Hotel Milano at 1-800-398-7555. We are
holding a block of rooms at this price in this convenient location, so please
book early. The group room rate will apply to rooms booked from September 19
through September 28 for those arriving early, staying later or both!
For airline bookings and additional travel assistance we recommend Jane Scott
at Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you call
the Hotel Milano or Jane Scott.
Please check the IAMFA website for updates at: www.iamfa.org
¡
Chairpersons
of Regional Chapters
Los Angeles, U.S.A.
James Surwillo
Japanese American National Museum
New York, U.S.A.
Lloyd Headley
The Brooklyn Children’s Museum
Ottawa-Gatineau, Canada
Toby Greenbaum
Public Works & Government Services
San Francisco, U.S.A.
Joe Brennan
San Francisco Museum of Modern Art
United Kingdom
Nomination to come
Washington-Baltimore, U.S.A.
Fletcher Johnston
Hirshorn Museum & Sculpture Garden
Coordinators
of Future Chapters
Atlanta, U.S.A.
Kevin Streiter
High Museum of Art
Bilbao, Spain
Rogelio Diez
Guggenheim Museum
Boston, USA
James Labeck
Isabella Stewart Gardner Museum
Chicago, U.S.A.
William Caddick
Pennsylvania, U.S.A.
Victor T. Razze
Brandywine River Museum and
Conservatory
Seattle, U.S.A.
Patrick Dowling
Whatcom Museum of History and Art
Cleveland, U.S.A.
Tom Catalioti
Cleveland Museum of Art
Sydney, Australia
Bob Scott
The Powerhouse Museum
Pittsburgh, U.S.A.
Larry Armstrong
Carnegie Museums

15
Glen Hodges
Australian Museum
6 College Street
Sydney
Australia
2010
glenh@austmus.gov.au
Carole Beauvais
National Archives of Canada
395 Wellington
Ottawa, Ontario
K1A 0N3
Canada
cbeauvais@archives.ca
Bob Chartrand
Canada Science and
Technology Museum
2421 Lancaster Road
Ottawa, Ontario
K1G 5A3
Canada
rchartrand@mmstc.ca
Chan Hung Do
Canadian Museum of
Civilization
100 Laurier Street
Hull, Quebec
J8X 4H2
Canada
chan.do@civilisations.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
Lucie Lanctot
Canadian Museum of Nature
1740 Pink Rd.
Aylmer, Quebec
Canada
llanctot@mus-nature.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
José Luis Oliveros
Centre canadien d’Architecture
1920, rue Baille
Montréal, Quebec
H3H 2S6
Canada
jolivero@cca.qc.ca
Christian Pagé
Canadian Museum of
Civilization
100 Laurier Street
Hull, Quebec
J8X 4H2
Canada
christian.page@civilisations.ca
Peter Fotheringham
National Gallery
Trafalgar Square
London, England
WC2N 5DN
peter.fotheringham@
ng-london.org.uk
Dawn Olney
The British Library
96 Euston Rd.
London, England
NW1 2BD
Graham Pellow
Natural History Museum
Cromwell Road
London, England
SW7 5BD
g.pellow@nhm.ac.uk
ENGLAND
Jan Abrahamse
Rijksmuseum
Stadhouderskade 42
1071 ZD Amsterdam
The Netherlands
jan.abrahamse@wolmail.nl
W. Anthony
National Museum of Scotland
73 Belford Rd. Dean Gallery
Edinburgh, Scotland
EH4 3DS
w.anthony@nmsk.ac.uk
Robert Galbraith
National Galleries of Scotland
Chambers Street
Edinburgh, Scotland
EH1 1JF
robert.galbraith@
natgalscot.ac.uk
Jack Plumb
National Library of Scotland
George IV Bridge
Edinburgh, Scotland
EH1 1EW
Rogelio Diez
Guggenheim Museum
Abandoibarra 2
48001 Bilbao
Spain
rdiez@guggenheim-bilbao.es
ARIZONA
Robert A. Marino, P.E.
Mueller & Associates Inc.
2127 East Speedway
Tuscon, AZ
85719
USA
USA
SPAIN
SCOTLAND
THE NETHERLANDS
CALIFORNIA
Donald Battjes
Los Angeles County Museum
of Art
5905 Wilshire Blvd
Los Angeles, CA
90036
USA
dbattjes@lacma.org
Joe Brennan
San Francisco Museum of
Modern Art
151 Third St.
San Francisco, CA
94103-3159
USA
jbrennan@sfmoma.org
James L. Bullock
J. Paul Getty Museum
1200 Getty Center Dr., Ste. 1000
Los Angeles, CA
90049-1678
USA
jbullock@getty.edu
John Coplin
Santa Barbara Museum of Art
1130 State Street
Santa Barbara, CA
93101-2746
USA
jcoplin@sbmuseart.org
Director, Property
Management
Henry E. Huntington Library &
Art Gallery
1151 Oxford Road
San Marion, CA
91108
USA
John Donohoe
1200 Getty Center Drive
Los Angeles, CA
90049-1678
USA
jdonohoe@getty.edu
Steven Ernest
Indianapolis Museum of Art
4000 Michigan Rd.
Stanford, CA
94305-5060
USA
stegreen@stanford.edu
IAMFA Members Directory 2003

16
CALIFORNIA (cont’d)
Jennifer Fragomeni
Exploratorium
3601 Lyon Street
San Francisco, CA
94123
USA
Steven Green
Cantor Center for the Visual Arts
Cantor Center
Stanford, CA
94305-5060
USA
stegreen@standford.edu
Oren Gray
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
Andy Hirshfield
Exploratorium
3601 Lyon Street
San Francisco, CA
94123
USA
Randy Murphy
Museum of Contemporary Art
250 S. Grand Ave., California
Plaza
Los Angeles, CA
90012
USA
rmurphy@moca.org
Michael Orth
Los Angeles, CA
90049-1678
USA
morth@getty.edu
Ronald Romo
Los Angeles, CA
90049-1678
USA
rromo@getty.edu
Jeff Sheahan
California Academy of Science
Golden State Park
San Francisco, CA
94118
USA
Brenda Sheridan
Long Island Beach Museum
2300 East Ocean Blvd.
Long Beach, CA
90803
USA
brendas@lbma.org
Will Spencer
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
Leonard B. Vasquez
Charles M. Schultz Museum
2301 Hardies Ln.
Santa Rosa, CA
95403
USA
CONNECTICUT
Ernest Conrad
Landmark Facilities Group Inc.
252 East Avenue
Norwalk, CT
06855
USA
econrad@lfginc.com
Director, Property
Management
Yale University
P.O. Box 2082288
New Haven, CT
06520-8228
USA
DISTRICT OF COLUMBIA
Joe Donovan
Carr Real Estate Services Inc.
1850 K Street NW
Washington, DC
20006
USA
jdonov@carramerica.com
Michael Giamber
National Gallery of Art
6th St. & Constitution Ave. NW
Washington, DC
20565
USA
m.giamber@naa.gov
Fletcher Johnston
Hirshorn Museum and
Sculpture
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
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
Mr. Barnes
111 S. Michigan Ave.
Chicago, IL
60603-6110
USA
Brendan Berry
Advantage Operations, Art
Institute
125 E. Monroe
Chicago, IL
60603-1073
USA
bberry@artic.edu
Bill Caddick
111 S. Michigan Avenue
Chicago, IL
60603-6110
USA
wcaddick@artic.edu
Don Meckley
Museum of Contemporary Art
220 E. Chicago Avenue
Chicago, IL
60611-2604
USA
dmeckley@mcachicago.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
USA (cont’d)

17
Alex Petrlik
Principal
Mueller Associates, Inc.
1401 S. Edgewood St.
Baltimore, MD
21227
USA
adirican@artbma.org
MASSACHUSSETTS
David Geldart
Museum of Fine Arts
465 Huntington Ave
Boston, MA
02115
USA
dgeldart@mfa.org
James S. Labeck
Isabella Stewart Gardner
Museum
2 Palace Rd.
Boston, MA
02115
USA
jlabeck@isgm.org
NEW YORK
Michael Ambrosino
Ambrosino, Depinto &
Schmieder
275 Seventh Ave. 21st Floor
New York, NY
10001
USA
ambrosino@adsce.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
Lloyd Headley
Brooklyn Children’s Museum
145 Brooklyn Ave
Brooklyn, NY
11212
USA
lheadley@brooklynkids.org
Daniel McCormick
George Eastman House
900 East Avenue
Rochester, NY
14607
USA
Harry Soldati
Brooklyn Museum of Art
200 Eastern Parkway
Brooklyn, NY
11238
USA
soldati@brooklynmuseum.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
David Nawrocki
Columbus Art Museum
400 E. Broad St.
Columbus, OH
43215
USA
dnawrock@cmaohio.org
Mr. Scott
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
18105-0388
USA
operations@
allentownartmuseum.org
Bob Morrone
Philadelphia Museum of Art
26th & Benjamin Franklin Pkwy.
P.O. Box 7646
Philadelphia, PA
19101-7646
USA
rmorrone@philamuseum.org
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
SOUTH CAROLINA
Claudia Beckwith
Greenville County Museum
of Art
420 College Street
Greenville, SC
29601
USA
checkwith@greenville.org
William Taylor
Cultural Facilities Management
Group
385 Spring Street
Spartanburg, SC
29306
USA
tiltay@spartanarts.org
TENNESSEE
Steve Kirby
Frist Center for the Visual Arts
919 Broadway
Nashville, TN
46208
USA
TEXAS
Henry Griffin
Museum of Fine Arts, Houston
1001 Bissonnet, P.O. Box 6826
Houston, TX
77265-6826
USA
hgriffin@mfa.org
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
Tom L. Peck
Colonial Williamsburg
Foundation
Williamsburg, VA
23187-1776
USA
lpeck@cwf.org
WISCONSIN
Richard Swainston
Milwaukee Public Museum
800 Wells St.
Milwaukee, WI
53233
USA
dick@mpm.edu
This list reflects
membership dues paid
as of April 30, 2003.
Although we do our best to
ensure that our Directory
information is as up-to-date
as possible, errors
and omissions can always
occur. If you would like
to make any changes to your
listing, please contact
Julie Coderre at
julie.coderre@
civilization.ca
Thanks very much.

18
On behalf of the membership and Board, we invite you to
join with other museums and cultural organizations through-
out the world in becoming a member of the only organization
exclusively devoted to museum and cultural facility admin-
istrators: the International Association of Museum Facility
Administrators (IAMFA). As a member, you will join a growing
list of museum and cultural facility administrators in their
efforts to provide a standard of excellence and quality in
planning, development and design, construction, operation
and maintenance of cultural facilities of all sizes and varieties
of programming.
The Association currently has representation in several
countries on three continents. Our goal is to increase
membership in institutions throughout the world.
Your involvement in the IAMFA will continue the growth
of the organization and provide you with excellent educational
and networking opportunities. As your colleagues, we look
forward to welcoming you to membership in the IAMFA.
Cordially yours,
The Board of the International Association
of Museum Facility Administrators
Membership Opportunities
Join the IAMFA at any of the following levels and enjoy full
benefits of membership:
Regular Member — $150 annually. A regular member
holds the position of principal administration in direct
charge of the management of facilities, and represents their
institution(s) as a member of the association.
Associate Member — $50 annually. An associate member
is a full-time facilities management employee (professional,
administrative or supervisor), below the level of the facility
administrator of the member association.
Affiliate Member — $50 annually. An affiliate member is
any full-time employee of a member institution who is not
directly involved in the facilities management department.
Subscribing Member — $300 annually. A subscribing
member is an individual, organization, manufacturer of
supplier of goods services to the institutions who ascribes
to the policies and programmes of the Aassociation, and
wishes to support the activities of the Association.
Become a Member of the IAMFA
and Get a Friend to Join
@@@@@@@@e?
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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
c/o Kevin Streiter, High Museum of Art
1280 Peachtree Street N.E.
Atlanta, Georgia 30309 U.S.A.
Website: www.iamfa.org
Ⅺ I am interested in joining.
Please have a member
contact me.

19
No matter what the future brings, as time goes by.
As I write this, the aftermath of the war and the threat of
SARS are still echoing in the background, and the movie
The Matrix Reloaded is number one across North America.
At last, the long awaited summertime is on our doorstep.
I searched for days for inspiration in writing this column
about the regional chapters — and then I heard the song,
“As time Goes By”. A few lyrics were quite useful in
expressing my general sentiment toward the evolution
of our Regional Chapters.
You must remember when . . . hmm-mm-mm-mm-
mm-mm . . .
Yes, I remember when, and why, the Chapters were
established — and with great enthusiasm from our member-
ship. I also remember the dedication of the members who
volunteered to be the first IAMFA Chapter Chairpersons.
That was almost three years ago. I also remember a great
event in San Francisco in May 2001, which led to the crea-
tion of a new Chapter under the leadership of Joe Brennan
of the San Francisco Museum of Modern Art. The best thing
of all? The members of this new Chapter who are hosting
us in a very promising venue for the 13th Annual IAMFA
Conference in September 2003.
The fundamental things apply . . .
That being said, I sense that some of our Chapters are
evolving very slowly — perhaps too slowly. This is true many
Chapters, although there are a few exceptions. To ensure
the success of our Regional Chapters, we must return to a
fundamental approach in reaching potential IAMFA members.
Our most successful approach has been the use of personal
calls, letters and e-mails to colleagues and individuals from
the industry, enabling us to reach out and tell them about
IAMFA. Despite your hectic schedule and budgetary restraints,
I urge every member to take some time to meet their regional
colleagues for peer support and sharing. How about a lunch,
a visit, a meeting soon?
. . . a case of do or die . . .
IAMFA needs to establish new regional chapters, while
also reinforcing the existing ones. Just recently, we lost our
Houston/San Antonio Chapter, despite the many attempts
of our colleague, Gary Morrison, to reach some potential
members — to no avail. Collectively, we have to make every
attempt to reach more members and reinforce our presence
in various countries. If not, I foresee that the very future
of our Association is at stake. As in any other organization,
we must grow and seek out new members, who will bring
fresh new ideas to the table and enhance professional
development. Yes it is becoming a case of do or die.
I don’t want to sound too alarmist, and I truly believe
we still have time to act and plan a good recruiting strategy
to ensure the future of IAMFA. What if each of us could
enlist just one new member this year?
. . . as time goes by . . .
As some of you may be aware, September 2003 in
San Francisco will be election time. We will need to elect
a new VP Regional Affairs, and also renew the two-year
mandate for Chapters Chairpersons and Coordinators. If
you are interested in a position dealing with regional business,
please do not hesitate to contact me at carole.beauvais@
archives.ca
I am confident that together we can accomplish our
goals, because the IAMFA spirit is here to stay, “no matter
what the future brings, as time goes by.”
For more on what’s happening at some of your current
and future Chapters, read on!
Northern California Chapter
Special thanks to Joe Brennan for this report
The Northern California Chapter is meeting bimonthly this
year to prepare for the annual conference in September. We
have been hosted by the Blackhawk Museum in Danville,
the Yerba Buena Center for the Arts, the San Francisco Fine
Arts Museum’s Legion of Honor and the California Academy
of Sciences. Each has given us a meeting room, hospitality,
a presentation and an informative tour, which has benefited
the membership because you always come away with an
idea or few.
Our conference planning is focused on committee work,
divided into Program, Logistics and Finance. We are doing
Carole Beauvais,
Vice-President,
Regional Chapters
Regional Chapters
continued on page 20

20
our part to put together a great conference, and we would
really appreciate it if everyone reading these words did
their part by registering for the conference, before the sun
goes down today! We had hoped to recruit for the chapter,
using the conference to do so, but this is not as easy as it
appeared when suggested. It is asking a lot for someone
to learn about, accept and join IAMFA in short order, then
accelerate up to staging a conference. We are still hoping
to attract some motivated members to join and assist in
the effort — if you are out there, please contact us at
IAMFA2003@netscape.net.
Ottawa-Gatineau (Canada) Chapter
Special thanks to Toby Greenbaum for this report
It has been a busy year for the museum community in
Ottawa-Gatineau, and our chapter’s activities reflect that.
The Portrait Gallery of Canada (PGC) announced the
selection of the architectural team, and is deep into the
schematic design phase of the project. This project will be
housed in the old American Embassy — including a new
addition to the existing building — and is located directly
across the street from Canada’s Parliament Buildings. Several
of our regional members are involved in this project, with
Terresa MacIntosh as the Project Leader for the PGC and
Paul Caracristi as the Project Manager for Public Works and
Government Services Canada (PWGSC). The Canadian
Museum of Nature (CMN) Revitalization Project is also com-
pleting its design development phase with Gerry Potoczny
as the Project Manager for the CMN and Elaine DeCoursey
as Project Manager for PWGSC. The Canadian Museum
of Civilization Corporation (CMCC) is busy with the new
Canadian War Museum, which is well into the construction
phase, with Guy Larocque as Project Manager for the CMCC.
Finally, Canada’s Prime Minister has announced a new
legacy museum called the Canadian History Centre, which
will be housed in the Conference Centre, which was once
Ottawa’s central train station, and is located across the
street from the Chateau Laurier Hotel, where many of you
stayed during the 1999 IAMFA conference.
Our regional meeting schedule began this year in October
with a meeting hosted by the Director of Facilities, Gillles
Landry, at the National Arts Centre (NAC). The NAC is located
in downtown Ottawa, and houses three theatres: the Opera
(Southam Hall, named after the first director and founder
of the NAC); the Theatre (a smaller theatre for dance and
plays) and the Studio (a small, intimate space for more
cutting-edge works). The complex was built in 1967 to mark
Canada’s centennial. As with all of our local meetings, we
began with networking time over lunch, a business meeting
and a presentation/tour. In this case, we concluded with an
in-depth tour of this significant complex.
Our next meeting, in January, was the chapter’s fabulous
adventure to Montreal, which you can read about in the
last issue of Papyrus.
The March meeting was hosted by PWGSC in our sleek
new boardroom, which also acts as a “war room” for
emergency situations which might occur in the 1.4-million-
square-foot complex with 6,000 employees in which we
are located. A PWGSC expert on Infrastructure Continuity
Planning gave a timely presentation. In the aftermath of
9/11 there is a particular urgency when it comes to develop-
ing and implementing appropriate emergency plans. This
presentation was of great interest to those in attendance.
Finally, in May, the Canadian Museum of Civilization
hosted our final meeting for this season. Guests came from
cultural institutions in both Toronto and Montreal for this
afternoon event. Raymond Moriyama, an esteemed elder
statesmen within the Canadian architectural community
and the architect for the Canadian War Museum, gave a
presentation on the War Museum project. This was followed
by a tour of the CMC, a viewing of a spectacular IMAX film
and a lovely supper with a fabulous view of Parliament Hill
from the CMC’s spectacularly sited restaurant! Wish you
were here!
Western Pennsylvania (USA)
Special thanks to Larry Armstrong for this report
During the spring of 2003, we began to compile a list
of possible organizations that might be interested in the
formation of a Western Pennsylvania chapter of IAMFA. We
have started to meet with some of those organizations to
discuss IAMFA and the formation of a local regional chapter.
In addition, we have met with other local IAMFA members
in Pittsburgh to make them aware that we are chairing and
hosting the 14th Annual IAMFA Conference in Pittsburgh in
2004. If you are interested in joining our Chapter, please
do not hesitate to contact Larry Armstrong at armstrongl@
carnegiemuseums.org.
New York Chapter
Special thanks to Lloyd Headley for this report
Since the London Conference in September 2002, our Chapter
has been hard at work in collaboration with a task force from
the Mayor’s Office O.E.M. (Office Emergency Management)
on a Disaster Preparedness Plan that will be made available
to all museums, libraries and cultural institutions.
Regional Chapters — continued from page 19

21
Martin Cavanaugh, Director of Operations at The Pierpont
Morgan Library announced his retirement; his last day was
May 30, 2003. Congratulations to Mr. Cavanaugh from all his
colleagues and friends. Your leadership will be greatly missed.
New York is facing a significant financial crisis that affects
the budgets of all institutions which depend on the state and
the city for financial support. Some institutions, such as the
Brooklyn Museum of Art, are planning to close for two weeks
during the summer while also placing a hiring freeze on
vacant positions. Budgets for professional development are
nil, and our members are hoping things change, in time to
make the 13th Annual IAMFA Conference in San Francisco
a possibility for us.
Overall, the New York Chapter is going strong and pro-
viding much-needed support and guidance for its members
during construction, renovations and training. Our monthly
meetings are a great venue to network and share ideas. For
more information on the New York Chapter, or to join,
please contact Lloyd Headley at lheadley@bchildmus.org.
Chicago (USA) Chapter
Special thanks to Bill Caddick for this report
The Field Museum has made some administrative changes,
and has announced that Nancy Medina will replace Lou French
as Director of Facilities. The Field Museum is currently
undergoing major renovations, including the installation
of a completely new chiller plant. Ice storage has been
particularly challenging.
The Museum of Contemporary Art (Don Mackley) is back
on his feet, and seems to handling his daily duties well. Like
most of us, he is pursuing funding for capital improvements.
Life-cycle issues on mechanical equipment seem to be at
the top of this list.
The Museum of Science and Industry has also had a
change in leadership, and Greg Prather is the new Director.
Greg is currently completing a total renovation of the food
court, which many other museums are looking at.
The Culture Center of the City of Chicago doesn’t currently
have museum status; however, it currently houses a traveling
exhibition of prints and drawings, causing the Center’s
Deputy Director to request many museum policies, for
which he is very grateful to our IAMFA family.
For more information on the Chicago Chapter or to join,
please contact Bill Caddick at: wcaddick@artic.edu.
Atlanta (USA) Chapter
Special thanks to Kevin Streiter for this report
Efforts to establish an IAMFA chapter in the Southeastern
U.S. have not been successful, largely due to the severe
budget cuts in this region’s museum sector. Attempts have
been made to stay in contact with counterparts in the many
fine museums of this area, but all are reporting the same
thing: the leadership of their institutions are not allowing
them to include membership dues in their drastically
slashed budgets.
We hope that with the slowly-improving U.S. economy
our Southeastern museum facilities colleagues will be more
able to join our fine organization in the coming 12 to
18 months. We will continue to place calls, send out copies
of, etc. in this effort. For more information or to join, please
contact Kevin Streiter at: kevinstreiter@woodruffcentre.org.
Bilbao (Spain) Chapter
Special thanks to Rogelio Diez for this report
This year’s activities are similar to
last year’s. We have contacted several
museums via mail, but interest is
not high at present, and we think
they may perceive IAMFA as being
somewhat “far” from Spain. The
chapter plans to inform Spanish
museums (end of this year or begin-
ning of next) that IAMFA is coming
to Spain for its 2005 annual conference, and that it would
be a great opportunity for them to learn about the advan-
tages of joining an international organization like IAMFA.
For more information please contact Rogelio Diez at:
rdiez@guggenheim-bilbao.es.
Washington/Baltimore Chapter
Special thanks to Fletcher Johnston for this report
The Washington Region has been enmeshed primarily with
security upgrades during the past year. At the Smithsonian
Institution (SI), our members have finally begun putting in
place the long-planned reorganization and consolidation
of building management functions into eight facility
management zones.
The goal is to have all zones fully integrated by January
2004. In the interim, everyone at the Smithsonian now
reports to two different supervisors: one at their individual
museum, and another at the Smithsonian Facility
Management Office.
As you can see, this reorganization is still evolving,
and more information will be forthcoming. For more
information on the Washington Chapter or to join please
contact Fletcher Johnston at: fletchj@hmsg.si.edu
Rogelio Diez

22
The National Galleries of Scotland are
about to take delivery of the first stage
of restored exhibition galleries in the
centre of Edinburgh (the Royal Scottish
Academy building), which will open to
the public with a Monet exhibition in
August 2003. The second phase, to be
completed in 2004, will provide visitor
services in an underground link to the
National Gallery — which some of you
will remember as the building where
we had our banquet a few years ago.
Unusually perhaps for buildings
of their era (1833 and 1855), both the
National Gallery and the Academy were
built on landfill sites, the earth having
been excavated from the foundations
of the (first) Edinburgh New Town —
and estimated in 1805 to comprise
1,305,780 cartloads. The building of
the later National Gallery coincided
with the tunnelling of railway lines
through the bottom of what is still
referred to as “The Mound”, and the
architect built his structure on huge,
iron, bow-string relieving arches, which
concentrated on, and otherwise dealt
with, the weight of the building in an
effective and lasting way. Unfortunately,
he built his earlier Academy on 2,500
wooden piles, many of which, due
to the dry, free-draining nature of the
earth, had oxidized — disappeared in
short: the building was latterly held
up by the stiffened earth between
the piles, which were actually doing a
reasonable job until, and unless, water
got in and caused them to collapse.
(Where the ground had been persis-
tently wetter, the piles had survived
quite well.)
The solution we adopted is known
as “soil fractionation”, and is more
commonly used above new tunnel
excavations to compensate for soil
movements, thereby preventing sub-
sidence in the buildings above. Thus,
a trench was excavated along most of
one side of the Academy, and from
it dozens of pipes were then drilled
horizontally at two levels through the
earth and old pile shafts. Grout was
released in carefully monitored quan-
tities through holes in these pipes, so
that it filled the voids and mixed with
the soil to form a solid mass. Although
this is a sufficiently sophisticated tech-
nique to allow parts of a building to
Major Renovation Project at the
National Gallery of Scotland
be raised or lowered at will, in practice
the least damaging aim (as here) is
usually to stabilize as found.
Excavations for the visitor services
were, I suppose, fairly straightforward
in engineering terms. But when you
see the props keeping them apart and
preventing the two buildings from falling
into the hole, you may agree that the
engineers were earning their fees.
One of our early concerns had been
the loading capacity of the floors. The
Academy had been gutted internally
in 1910 to provide the sort of lofty,
top-lit galleries you would expect from
that date — all supported and covered
by what appeared to be a daringly
flimsy structural system, based on
the then pioneering Hennebique con-
crete technique. When I arrived at the
Galleries nine years ago, we routinely
propped the floors with scaffolding
before certain exhibitions. However,
in the event the simple test was to
load up a sample floor with concrete
weights and see what happened. It
survived loadings well beyond the
British standard and on that basis
we have proceeded.
A nineteenth-century engraving of The Mound.Robert Galbraith, Head of Buildings, National Galleries
of Scotland.]
by Robert Galbraith

23
A Greek temple expects to be viewed
in the round — it has no back door, no
service approach. So one dramatic —
and in conservation terms, I suppose,
controversial — intervention has been
the removal of an entire bay of stone-
work, including aedicule, so as to form
a loading bay door for the art-work. The
massive steel door will be clad in the
original stones and will have a complex
closing mechanism to ensure that the
shadow gap is the minimum possible.
Nor does a Greek temple expect to
he seen from above — but these two
buildings have always been towered
over by the Edinburgh Old Town,
particularly the castle. (Come to think
of it, many North American classical
buildings are similarly over-looked,
but at least they were there first and
can hardly be held responsible for what
others have done around them.) This
has created challenges in designing
the disposition on the roof of all the
service equipment: boilers, air-handling
equipment and day-light louvres, with
which we are all familiar, and which we
would all much rather service in a big,
dry, clean plant room. Here the equip-
ment has essentially mostly been stuffed
down what you might call the cleavages
between the gallery ceiling domes.
How will it all work? Well if any-
body is interested I hope to tell you
in September.
Finally some credits:
• Architects: William Playfair (C19),
William Oldrieve (C20), John Miller
& Partners(C21)
• Structural Engineers: WSP and
Anthony Hunt Associates
• Service Engineers: SVM
• The Playfair Project: £29M. Funded
by Scottish Executive (central gov-
ernment) (£10M), Heritage Lottery
Fund (£7M), NGS Fund-raising
(£12M)
Robert Galbraith has been Head of
Buildings at the National Galleries of
Scotland for the last nine years. (The
first IAMFA conference he attended was
in Toronto.) Before that he worked in
private practice, mainly on historic
buildings.
View down an empty pile shaft.
Where the ground was wetter, some piles
survived fairly well.
A view of the new art-handling opening
(upper floor).
A view of excavations for the new visitor services area.]

24
How do you ensure that your lighting
specifications build in the correct
protection for you and your client
or premises? And how do you ensure
that you don’t leave contractors in a
position to compromise these factors
for a low-cost option? They won’t know
the implications — but you should.
We all know and appreciate that
the expertise of lighting designers and
planners is essential in critically impor-
tant lighting installations such as those
encountered in museums and art gal-
leries. In facilities such as ours, lighting
effects and conservation go hand-in-
hand, and the intentions of both the
architectural and the design teams are
crucial in ensuring the effectiveness and
appearance of the completed installation.
All too often during the course
of construction, the project staff and
directors are prompted to make savings
and to consider cheaper alternatives to
what was originally specified. “Equal
and approved” is usually not an ade-
quate statement to ensure that only the
most suitable equipment is installed.
A lack of time and financial resources
often precludes further investigation of
equipment, and can result in the accep-
tance of equipment which doesn’t match
the unique or essential characteristics
of the original specification.
In order to help demystify the matter
of lighting product design, and to help
you avoid a downgrading of the original
specification, we’ve identified the follow-
ing aspects of a lighting specification as
having particular significance. These
should help your professional staff —
such as museum and gallery curatorial
staff — to respond more effectively to
issues relating to proposed changes in
the original specifications.
The range of equipment covered in
the ensuing article includes recessed
luminaires, spotlights and lighting
structures, although the following
information also relates in many ways
to certain other lighting products.
Light Distribution —
Recessed Luminaires
All lighting equipment is selected
primarily for the lighting effects that
will be produced. As such, the light
distribution of a luminaire is one of its
key selling points. The most important
aspect of a luminaire’s performance is
often its light output ratio. This can be
clearly defined by the total percentage
output; i.e., the light output of lamps to
luminaires. When relevant, this is divided
into the proportion that is emitted above
and below the horizontal.
To achieve a particular lighting effect,
the light distribution of the luminaire
must be very specific. This means it’s
not enough to find a product that lets
you say, “This looks similar.” The fact is
that it has to match exactly if it is to pro-
duce the same effect. The only means
of ascertaining the potential of one
product to produce the same effect as
another, is to look carefully at the light-
emission information, which is given
either in numeric values or graphically
through light-emission curves.
The axial and transverse light-
emission curves, if both exist, are
identified through the candela intensity
values. The first point of comparison is
the prime axis — usually in the nadir
(downward vertical) direction. This peak
intensity — i.e. maximum value —
and the angle at which it is emitted,
is crucial for any specific type of light
distribution which is meant to produce
a particular visual effect.
A further important aspect of light
distribution is the half-peak intensity,
which can be indicated clearly by ref-
erence to either the nadir value or the
peak intensity. This is usually used
to identify the beam angle, in degrees
either side of the axis of the light head
or reflector. This will give a clear indi-
cation of the beam spread that can be
expected, as well as the coverage
which will result from the positioning
and spacing of the luminaires. This
value can usually be taken from the
photometric information provided by
the manufacturer.
Be Seen in the Right Light:
The Value of a Tight Lighting Specification
by Mark Rowling
Osaka Maritime Museum, Japan.
Architect: Paul Andreu/Aeroports de Paris.
Lighting Designer: Lighting Planners
Association, Tokyo.
Darklight technology and cut-off angle. If you can’t see the lamp, you can’t see the
reflection. A lack of disturbing glare ensures visual comfort.

25
Cut-off angle is a completely sepa-
rate and crucial feature of a luminaire’s
lighting characteristic. This has little to
do with the beam spread, and every-
thing to do with the visual comfort and
glare protection that is provided. It is
defined as the angle at which neither
the lamp nor the reflection of the lamp
is visible in the reflector. This may not
be absolutely identical to the total cut-
off angle, where zero candelas are
emitted, but it does identify the glare
characteristics of the luminaire, and
consequently the darklight character-
istic. In numerous less-well-designed
products, the light from the reflector
can be seen even though the lamp is
not visible, resulting in the distracting
effect of seeing bright spots on the
ceiling, while not creating the darklight
technology of truly glare-free luminaires.
The appropriate cut-off angle from
the horizontal can be clearly defined
on the following basis. A luminaire with
a cut-off angle of 30° would be entirely
suitable when people are merely circu-
lating through the area; a 40° angle
would be suitable when people are
either standing, sitting or working in
the area; and 50° would be appropriate
to very high ceilings, or installations
in which exceptional glare control is
required. Another simple rule of thumb
is that a 30° cut-off is for room heights
up to 3 metres, 40° for 4 metres and
50° for greater room heights. That being
said, the best vertical component in
the beam, for modelling purposes, will
come from the downlights, with higher
cut-off angles.
The intrinsic value of identifying light
distribution in the above terms is that,
once a product is selected, the position-
ing, spacing and orientation of the
product will be planned to produce a
specific lighting effect or pattern. Any
variation to this pattern may well prove
unacceptable, as even a negligible
change can be so significant as to
completely alter the pattern of light.
A prime example of this would be
on a wall, where any change in light
distribution would be highly visible
and potentially catastrophic.
If the light distribution of a substituted
product deviates from the original distri-
bution, its deviations are likely to occur
at the edges of the beam. The primary
disadvantage of a lack of control in
peripheral distribution is that spill light
— or excessive peripheral emissions —
can create disturbingly high intensities,
resulting in distracting surface bright-
ness. This significantly influences the
balance of illumination and the degree
of uniformity, which was the original
design intent. This can make the overall
appearance of the interior seem inferior.
A look at the two photometrical
distribution patterns, shown here, clearly
identifies the relevant light distribution.
It is vitally important that light is pro-
jected onto specific areas, in order
to focus the viewer’s attention on a
particular area or object. Further, it is
important to ensure that the relevant
area is illuminated in a uniform fashion,
so that any distortions in shape or
emphasis are within the parameters
identified by the lighting designer.
Mechanical Construction
and Paint Finish
In order to function effectively, the
mechanical rigidity of a luminaire is
important. The mounting of the lighting
equipment — either onto the ceiling
or into a track — has to be entirely
safe and secure, both mechanically
and electrically. In all instances, it is
preferable to use compatible spotlights
and track from a single manufacturer,
rather than combining potentially
incompatible equipment from different
manufacturers. There are numerous
other features involved in the construc-
tion of recessed luminaires, which ensure
that the product is entirely suitable
for the particular installation. These
can generally only be appreciated by
handling the product and having the
features explained.
Mechanical rigidity is required, how-
ever, both for the safe and repeatable
locked aiming of the lamp in the case
of spotlights, and for the locking of
orientation and aiming in the case of
washlights and recessed directional
luminaires. All recessed luminaires
should have die-cast mounting rings,
as these are far more rigid and secure
than pressed metal. This is a particular
feature of superior product design, which
can be lost in a less-well-designed
product, resulting in poor mounting
and serviceability.
The exposed surfaces of products
are more important for durability than
for appearance. Epoxy-powder coating,
Wallwashing from fluorescent luminaires and tungsten halogen spotlights: photometric
curves and resultant effects.
continued on page 26

26
if correctly applied, is far superior to
other simple spray-painting techniques,
and can be used on exterior products
as well as on interior products with
the appropriate surface treatment.
It goes without saying that all quality
luminaires have reflectors. These are
usually of high-grade aluminium, but the
most crucial factor is the micron thick-
ness of the anodized surface, which
ensures optimum performance. This sub-
ject is far too extensive to explain here;
however, simply put: “You get what
you pay for!” Let the buyer beware!
There are, of course, many other
features which can benefit a customer
on particular projects. It will always
be necessary to identify the specific
characteristics or benefits that were
considered valuable at the time of pro-
duct selection, in order to re-confirm
their significance in any comparison
between the originally-selected product
and a subsequent alternative.
Light Distribution —
Spotlights
Specifications for a spotlight’s light
distribution can be clearly expressed
through the photometric characteristics
mentioned previously. Of particular
relevance is the specification of beam
spread. This is specified in the same
way: i.e., by using half-peak intensities
to identify beam spread through the
angle on either side of the beam’s
axis, where the intensity is half that of
the beam’s axis. In most installations,
the use of beam angles is a strong
determinant in the lighting effects that
will be created on wall displays and
on free-standing objects. This is also
true when a spotlight is fitted with a
particular lens or filter. These criteria
can be grossly distorted when either
an inappropriate lamp is used or the
wrong lens has been fitted.
In terms of the application of filters,
the specification criteria become even
wider. The percentage of light transmis-
sion is important, as is the distribution
in terms of wavelength. In many cases,
ultraviolet and infrared filtration is
crucial, and in these cases reference to
the transmission and the wavelength
characteristics of the filter, when used
with a particular light source, will be
the means of evaluating alternatives to
the product originally specified. For
conservation purposes, the percentage
of the A, B and C bands of excluded
ultraviolet radiation will be crucial
to the exposure to which sensitive
materials can be subjected.
Heat Dissipation
In all cases, the refined design and
materials of the luminaire — and in
some cases, of control gear — will be
crucial to ensuring that the luminaire
can handle the heat emitted by the lamp.
This, in turn, dictates the longevity of
the lamps as well as the replacement
schedule which curators and mainte-
nance staff will have to accommodate.
In most instances, products with
inferior heat-handling characteristics
will be much less expensive than
more effectively- and appropriately-
designed products in which die-cast
aluminium heat-sink characteristics are
designed for a particular lamp wattage.
Lamp Life and Lamp Replacement
The value to the end user in using a
well-designed housing is considerable —
although it is difficult, if not impossible,
to ascertain accurately. Experience
has proven that there are very specific
optimum operating temperatures for
the various component parts of a
lamp. If temperatures are controlled
within a product used in normal
ambient temperatures (25°C), lamp
life will be longer than what has been
rated by the manufacturers. This can
substantially reduce the frequency of
lamp failures and the costs involved
in their replacement.Light distribution presentation formats for spotlights.
Stella spotlights are designed to provide
visual comfort, adaptability, serviceability
and long lamp life.
Be Seen in the Right Light — continued from page 21

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