Papyrus Summer 2005

I N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M FA C I L I T Y A D M I N I S T R AT O R S

VOLUME 6
NUMBER 2 PAPYRUS SUMMER
2005

Destination: Bilbao
Bilbao and the Basque region, where the ultra-modern And what a Guest Program! Walking tours, bus tours, a
aspects of this fascinating region, as represented by the new trip to the ocean, and exotic animals (attention all birders:
Guggenheim Museum, intertwine with a history as old as the Urdaibai Biosphere Reserve is bird heaven — bring your
Europe itself! First, there is medieval Bilbao with its cobble- binoculars!) as well as lots of the local “color”! Combined
stoned streets, ancient ruins, and classical façades that represent with a wide variety of seafood and other traditional dishes
much of the last 500 years of its history. Savour a glass of found throughout the Basque region, one might ask: “How
wine from the nearby Rioja region while slowly drinking are we ever going to keep the conference attendees at the
in the city's ancient beauty, or get caught up in the busy conference sessions?”
hustle and bustle of the famous Ribera Market! What do the From the intriguingly old to the spectacular new! We will
gothic St. Anton church and the new Guggenheim Museum walk in the footsteps of the mysterious founders of the Basque
have in common? As Juan Carlos Totorikaguena, a local region, while marveling at the ultra-modern architecture
architect stated, “Bilbao is an example of how, through and design houses that Bilbao is famous for.
design, one can help to create the conditions for a city It promises to be a great conference, with lots to discover
to offer a higher quality of life, as well a s a more solid for everyone!
historical and cultural image.”

INSIDE THIS ISSUE

Using Thermal Imaging to
Diagnose Water Penetration
and Condensation of the Walls
at the Hirshhorn Museum . . . . . . . . 2

Message from the President . . . . . . 5

Microclimate Control in Museums. . 6

IAMFA Members Directory . . . . . . 10

Ottawa Regional Meeting . . . . . . . 16

Regional Affairs . . . . . . . . . . . . . . 18

Letter from the Editor. . . . . . . . . . 20

Using Thermal Imaging to Diagnose Water
Penetration and Condensation of the
Walls at the Hirshhorn Museum
by Marion F. Mecklenburg and Alan Pride

Introduction lens, which allows the operator to focus on details from
Settlement and condensation on exterior walls has usually fairly long distances away.
been associated with older historical buildings used as One excellent example of a large building with serious
museums. Sometimes, however, the same problems can be water penetration problems through exterior walls is the
found in newer buildings, and thermal imaging is proving Smithsonian’s Hirshhorn Museum.
a great help in determining the root causes of moisture
problems. An article on thermography in the March 2000 Water Penetration
issue of the ASHRAE Journal shows how reading differences Water penetration of walls at the Hirshhorn building is a
in temperature can be a powerful diagnostic tool, especially result of 50–55% RH, combined with the positive pressure
in electrical and mechanical systems.1 The article also points of the building’s HVAC system. Water penetration is largely
out that air within buildings can leak out through the wall localized in the balcony area, where creep has settled that
perforations used for chases, electrical wiring, and cracks portion of the building and seams have opened. This is seen
along sealed joints, and that temperature gradients resulting in Photos 1 and 2, which were taken during the winters of
from these leaks are detectable. 2003–2004 and 2004–2005.
The Smithsonian maintains certified thermographers, given Interior wall penetration can also be a possible source
that thermography is used extensively as a diagnostic tool of moisture. Features such as electrical outlets and lighting
in its extensive HVAC and electrical systems. Thermography tracks can cause penetration of exterior walls from the
was adapted to diagnose wall leaks in very large wall systems, inside out.
as a means of helping to identify problem areas in the large Images taken of the balcony area with infrared thermog-
wall systems of the Smithsonian’s museums and storage raphy indicate that the moisture originates inside the building,
facilities. The system used at the Smithsonian is a FLIR, since the area of water penetration is warmer than the outside
Therma CAM P40 Infrared Camera, and all of the thermal ambient atmosphere. Photo 3 shows that there may be an
images in this article were taken with this system. One of interior wall penetration at the upper lefthand corner of the
the features that proved very useful is the camera’s zoom balcony, as viewed from the outside.

KEVIN GUIFFREDA AND GARY JOHANNSEN,
SMITHSONIAN INSTITUTION

Photo 1. Water penetrating the walls in the balcony area at the Photo 2. Water penetrating walls in the area of the balcony at the
Hirshhorn Museum, during the winter of 2003–2004. Hirshhorn Museum, February 1, 2005.

1Eads, L.G., Epperly, P.E., and Snell, J.R. Jr., “Practical Guide to Thermography,” ASHRAE Journal, 42(3):51-55. (2000)

2

Probable deflection of structural floor over balcony

Gaps in the seam
between the floor
Open seams Open seams Open seams and the drywall

Balcony
Structural Flooring System
Outer Wall
Leaks

Illustration 1. This schematic shows the possible deflection of the
structural flooring above the balcony at the Hirshhorn. The shape
of this deflection may explain the locations of the open seams at Gaps in the seam
between the cehg
the area of the balcony, and also explain why the leaks are largely and the drywall
localized in the balcony area.

Hirshhorn Outer Walls

Illustration 2. Schematic of a typical wall section at the Hirshhorn
Museum. Note that the structural floors extend to the outer surface
of the building, providing minimal insulation to the interior spaces.

likely that there is moisture penetration through electrical
outlet boxes and, wall penetrations caused by track lighting
in the ceilings of the interior spaces.

Condensation on the interior surfaces of
exterior walls
Condensation on the interior surfaces of the Hirshhorn’s
exterior walls is another problem. The condensation usually
Photo 3. Infrared thermographic image of the balcony area at the
Hirshhorn Museum, taken February 3, 2005. The lighter areas
occurs at the upper sections of the walls and at the junction
of the image indicate warmer areas than the surrounding wall. of the floor and the lower wall. Wall condensation typically
This indicates that there is warm air exiting the building from the occurs during the winter, when the temperature of the interior
inside. The infrared image also suggests that the sizes of the gaps surfaces of exterior walls drops below the dew point of
are significant and that they are located at the ceiling of the
balcony floor east of the balcony, and at the junction of the floor
the inside environment. When the inside air is 21˚C (70°F)
and wall above where there is storage. There is a high probability and the relative humidity is 50%, the dew point is approx-
that the wall insulation is saturated and has lost considerable imately 10˚C (50°F). On very cold winter days, this can
efficiency as an insulator — thus the widespread heat zone. happen. The images shown on the following page indicate
the lower wall temperatures on moderate winter days in
Washington, D.C.
If one looks at a schematic illustration of the wall con-
struction it is possible to visualize the areas of moisture Marion F. Mecklenburg, Ph.D. is a senior research scientist
leaks. Illustration 2 shows the exterior wall in cross-section. with the Smithsonian Center for Materials Research and
The illustration also shows the structural flooring system Education. and Alan Pride is associate director of the
and the interior wall systems, and indicates the locations Office of Faciltiies Reliability in the Smithsonian’s Office
of some possible sources of moisture penetration. It is also of Facilities Engineering and Operations.
continued on page 4

3

Using Thermal Imaging to Diagnose Water Penetration — continued from page 3
JOHANNSEN, SMITHSONIAN INSTITUTION
ALL IMAGES ON THIS PAGE: KEVIN GUIFFREDA AND GARY

Photo 4. Interior spaces at the Hirshhorn Museum. This is Room Photo 5. An infrared image of the same space. When this image
205c, showing the floor where it meets the interior surface of an was taken, the interior space was heated to 21˚C (70°F). The low
exterior wall. temperature reading — approximately 14˚C (57°F) — at the seam
where the floor meets the wall, has two possible explanations. One is
that there is either a lack of insulation, or minimal insulation, in
the structural flooring system; the other is that there is a gap allowing
cold air to infiltrate the wall and the building’s interior spaces. The
presence of a gap is reinforced by the water exiting the building at
exterior wall/flooring junctions as seen in Photos 1 and 2.

Photo 6. Interior space at the Hirshhorn Museum. This is Room Photo 7. An infrared image of the same space. The upper part of
205c, showing the ceiling area where it meets the inside surface this image (above the wall seam which crosses the central portion of
of an exterior wall. this image) shows the structural flooring system and is cool due to
the minimal insulation of the structural system. The four very dark
spots below the wall seam suggest that there are four gaps in the
wall system where cold air can infiltrate the interior of the walls
and building spaces. One other point to be made here is that if the
surface temperature of this and any other wall like it drops to 10˚C
(50°F), condensation will occur when the interior space is climate-
controlled to 21˚C (70°F) and 50% RH. If the humidity in the
interior spaces is allowed to get to 60% RH, then the surface
temperature of the wall only has to drop to 13˚C (55°F).

4

Message from the President

Guy Larocque,
President of IAMFA

All Eyes on Bilbao of excellence in the field of facilities
As this latest edition of Papyrus goes management of cultural institutions.
IAMFA Board of Directors
to press, all eyes are turning towards This is IAMFA’s vision statement, and
President
Bilbao and our 2005 Annual Confer- it will serve as the inspiration for an Guy Larocque
ence. There are already a good number exciting new session at the conference Canadian Museum of Civilization and
of IAMFA members who have registered, this year. All members will be tasked Canadian War Museum
as well as a fair number of participants to participate at a brainstorming session Gatineau, Canada
for the Spouse Program who are on on strategic planning. This will be your guy.larocque@civilization.ca
board for this event. Excitement is opportunity to provide your ideas and
building for the trip to Spain among insights on issues that are fundamental V.P., Administration
the IAMFA members that I have been to IAMFA’s mission. Groups consisting Richard Kowalczyk
in communication with over the past of eight to ten members will be asked Smithsonian Institution
to come up with as many ideas as pos- Washington, D.C., USA
several weeks, and everyone is antici-
kowalczykr@nasm.si.edu
pating a truly wonderful conference. sible, related to one of the following
Otoño en Bilbao (España). ¡No te lo issues: IAMFA internal strengths and
V.P., Regional Affairs
puedes perder! weaknesses, risks and opportunities Toby Greenbaum
The members of your Board of outside the IAMFA environment, and Library & Archives of Canada and the
Directors have all been very busy guiding principles that IAMFA should National Museums
with their IAMFA responsibilities, and adopt. Your contributions to this process Gatineau, Canada
are all looking forward to seeing every- will form the basis for further analysis, toby.greenbaum@pwgsc.gc.ca
one at the conference. As you may from which IAMFA may draw specific
be aware, there will be two Board objectives to be accomplished over Treasurer
positions opening up in September. the next three to five years. This session Jim Moission
They are the positions of Secretary promises to be both enlightening Harvard University Art Museums
and fun. Cambridge, USA
and Papyrus Editor currently held by
james_moisson@harvard.edu
Larry Bannister, and Vice-President Finally, I would be remiss if I did not
of Regional Affairs currently held by acknowledge the very difficult times
Secretary and Papyrus Editor
Toby Greenbaum. Both Larry and that our colleagues in London must be Larry Bannister
Toby are to be commended for their living with during recent attacks on their Milwaukee Public Museum
hard work and valuable contributions city. As your colleagues and friends, Milwaukee, USA
to IAMFA, and they will be missed as we hope and pray that you are doing bannister@mpm.edu
Board members. I invite all IAMFA well, and extend our support and any
members to take up the challenge of help that we can provide. As the world Chairman — Conference 2005
submitting their candidacies for these “shrinks” due to the global information Rogelio Diez
positions at the elections that will take network and a world economy without Museo Guggenheim-Bilbao
place during the Business Meeting at borders, it is ever more important that Bilbao, Spain
we share our experiences, expertise, rdiez@guggenheim-bilbao-es
the conference. As always, an organi-
zation is only as successful as YOU and support so that all our institutions
make it! We know that we can count can benefit.
For additional contact information,
on your continuing support! please visit our website at
The ultimate goal of IAMFA is to Guy Larocque, P.Eng. www.iamfa.org
become the world leader in the devel- President, IAMFA
opment, education and promotion

5

Microclimate Control in Museums
by Jerry Shiner

Ask a climatologist, and he will tell you tect the artifacts in their care. Their
that a microclimate means the particular concern is the creation and mainte-
local weather pattern of a city or region. nance of stable relative humidities,
Ask a winemaker, and your answer and not temperature. While changes
will be the climatic characteristics of in temperature may, in theory, cause
his vineyards. A heating and cooling expansion or contraction in an artifact,
engineer in a museum might describe the actual amount of change is usually
the conditions he creates and controls microscopically small, and essentially
within a building or a room as micro- inconsequential at normal temperatures.
climates, but a conservator in the same However, many artifacts (especially
museum would be talking specifically organic materials) are particularly prone
about the environments created in dis- to damage from internal stresses caused
play cases, storage boxes, and glazed by changes in their moisture content.
picture frames. A fundamental aspect of climate
Conservators have long been aware control is that variations in air temper-
This unit is capable of providing a positive
that the environment surrounding the pressure flow to a large number of display ature will affect relative humidity levels,
objects in their care has the greatest or storage cases, up to hundreds of meters even though the absolute moisture
effect on the condition of those objects. away from the central unit. content remains the same. Constant
More precisely, it is the thin layer of relative humidity may be an admirable
air immediately surrounding the artifact Passive microclimate control has been goal, but building envelopes, machinery,
(the microenvironment) that interacts a mainstay of preventive conservation and other factors may make the pro-
with the object. Moisture, dust, corrosive techniques in museums for much of the vision of ideal conditions difficult, or
pollutants — even oxygen and other past 30 years. Recently, an increasing just plain impossible. In many situations,
elements in the air — can react with number of conservators, designers, when tighter standards than those that
an object to create chemical changes and architects have been specifying could be created by the gallery envi-
and mechanical stresses. Control the active microclimate solutions for new ronment were needed, conservators
makeup of the microenvironment, and institutions, renovations, and individual
you can limit the air’s interactions with display case installations, and facilities
the artifact. The easiest way to do this is managers are taking a keen interest
to create a controlled microclimate in in an area that was once seen as the
the general area surrounding the object. limited concern of conservation staff.
For the purposes of this article, a If your museum is not already using
microclimate will generally refer to a some sort of microclimate control (pas-
conservator-acceptable environment sive buffering or active system), you
that is created and maintained in a can expect to see it soon. This article
display or storage case. This can be will introduce you to both passive and
accomplished by: active microclimate control, compare
• Using the building‘s HVAC system to them, and explain some of the mechan-
provide a whole gallery environment ical concepts behind active microclimate
that permeates the cases. control systems. With this informa-
tion, you will be better able to advise
• Using passive microclimate control,
your institution on the installation
which relies on a quantity of buffer-
of appropriate systems.
ing material (usually some form of
silica gel) and a very tightly sealed
display case. The Case for Microclimate
• Using an active microclimate control Control
device, which uses mechanical For years, conservators have pleaded This exhibition of the Dead Sea Scrolls
with, cajoled, and threatened their used a positive pressure central unit
means for maintaining constant
delivering air through pipes concealed in
relative humidity in a reasonably museum partners to create gallery the banners next to the cases — Grand
well-sealed display case. climate conditions that will better pro- Rapids, Michigan, 2003.

6

have experimented with the creation that very little energy will be needed to had been used extensively during the
of closely controlled microclimates in maintain stable conditions. With some Second World War as a catalyst for
the display cases surrounding their sensitive objects needing a constant chemical reactions, and as a desiccant
most sensitive artifacts. humidity that could not be provided to keep machinery dry.) The use of
As in the wider world, the most by facilities management, conservators silica gel as a buffer for humidity changes
important vector of change in these seized upon the natural stability of a is unique to museum applications,
miniature enclosed environments is the sealed enclosure, and developed their as it uses only a small portion of the
flow of air in and out of the structure. own methods to maintain constant adsorptive capacity of the material. As
Even well-sealed exhibition cases were humidity, using passive buffering and a consequence, correct sizing of the
found to have measurable air flows. miniature microclimate-control devices. buffer to the case conditions, and
As in the relationship of a building to regular reconditioning of the silica gel
its environment, the rate of leakage was Protecting Display Cases buffer, are critical to its effectiveness.
seen to be clearly dependent upon the using Passive Buffering Passive buffering can be effective
differentials between the conditions when given the appropriate quantity
Long before studies determining case-
inside and outside the enclosure, as well and type of silica gel, a display case
leakage rates were undertaken, conser-
as the size and location of the openings. with a reasonably low leakage rate, a
vators understood that creating a sealed
In the very tightest of super-sealed properly designed system for the modi-
case would protect artifacts from air-
enclosures, changes in atmospheric fied air to promote diffusion, and an
borne pollutants. Early attempts at pro-
pressure proved to be the main driver adequate schedule for reconditioning
viding humidity buffering (beginning in
for air exchange. In almost all other the gel to the correct levels. Unfortu-
the 1930s) involved the use of saturated
situations, small cracks, holes, and nately, any combination of a poorly
salt solutions. As the salts could them-
voids in gasketing, driven by “stack selves be harmful to the objects, complex designed display case, a high air leak-
pressure” (caused by differences in air systems had to be developed to move age rate, or inadequate reconditioning,
density between interior and exterior), the humidity-buffered air from the salt make humidity buffering with silica
were found to be enough to drive a to the display chamber containing the gel an unreliable solution.
surprising amount of air through the object. Needless to say, relatively few of
enclosure. A practical result is that while these systems were constructed or used.
a modern, tightly sealed case can have
Inventing Active
In 1959, silica gel was first recomm- Microclimate Control
an air exchange rate as low as one-tenth ended as an agent for buffering humidity
of an air exchange per day when orig- Systems
changes. (Silica gel, patented in 1919,
inally installed, the slightest change in Faced with the successes and difficulties
alignment or gasketing can easily create of supplying passive microclimate
a leakage rate ten times as great. control systems, efforts were begun in
Just as a building’s environment the 1970s to develop alternate methods
is affected by the weather outside, a using mechanical devices to add and
display case’s microclimate is influenced subtract the very small amounts of
by all of the conditions in the gallery moisture needed to maintain a constant
that surround it. While a well-sealed humidity level. The engineers and con-
case may prevent the influx of air, the servators developing the early micro-
interior of a case cannot be isolated climate control faced many challenges.
from temperature changes. Heat can Tried-and-true concepts of humidity
enter or leave the case by radiation control needed radically new means of
or conduction. As noted above, the application. Why did the development
resulting minor changes in display case of microclimate control prove such
temperatures are usually of little con- a challenge?
cern to the conservator, but the changes The basic principles that are used to
in relative humidity (as a consequence build and operate a large HVAC system
of changes in air temperature) can have hold true for a tiny microclimate system.
serious consequences for some artifacts. The difference is one of scale, and
Given a tightly sealed display case This early microclimate control device the differences are unexpected and
in a climate-controlled gallery, one can utilized a container of saturated salts and
dramatic. HVAC systems engineers
an electric air pump to maintain constant
expect that the microclimate in the case humidity around the enclosed stone bust measure airflow in cubic meters per
will drift slowly away from a given at the Museum of Fine Arts in Boston
humidity over an extended period, and in 1939. continued on page 8

7

Microclimate Control in Museums — continued from page 7

minute, in which torrents of air are dis- equipment). By using a microclimate are similar in operation to those in a
tributed through complex ductwork. system to “trim” the case humidities, large HVAC system. The greatest dif-
Microclimate control systems typically building HVAC systems could be used ferences are to be found in the methods
use flows that are measured in mere to create temperatures and humidities of modulating the air stream. As the
litres per day, distributed through small that were comfortable for visitors (the humidity-control input air flows are
tubes or hoses. Display-case entry flows job they were designed to perform), much smaller, humidity modification
that correspond to a gentle breath of rather than being tuned and tweaked can be done using processes that would
air, and moisture removal rates of a to provide a conservation-quality envi- be impractical on a larger scale. For
few drops per hour, are the norm for ronment throughout the entire gallery. example, if the air in a gallery is too dry,
microclimate control. Engineers were freed to create condi- an HVAC system will add an appro-
Rather than using large blowers, tions that balanced out both cost savings priately amount of moist air, allow the
steam generators, hundreds of meters and comfort. Temperatures and humidity moist air to mix with the existing room
of ductwork and freon compressors, as levels could be allowed to vary from air, and then stop the flow of moist air
one would find in a large HVAC system, season to season, while the microclimate when the desired relative humidity level
the first successful miniature microcli- systems would continue to provide is achieved. While most HVAC devices
mate devices used materials from the unchanging humidity levels in the cases. work on this principle of “climate control
electronics industry: small computer by addition”, modern active microclimate
cooling fans and thermoelectric cooling Operating Principles of devices maintain humidity levels in a
devices to deliver miniscule quantities an Active Microclimate treated enclosure by completely dis-
of moisture-modified air to cases. Unlike placing, not by modifying, the existing
System
previous efforts using the output from air in the enclosure.
Active microclimate devices are always
industrial machines, these small and The process of displacement humidity
used to provide humidity control
seemingly ineffectual devices worked! control is simple: supply an incoming
on sealed enclosures such as display,
Of course, another reason they airflow at the desired humidity level,
storage cases, or archives. Air-exchange
worked was that massive HVAC systems and displace the existing air until the
rates of less than four air changes per
were already maintaining relatively desired level is reached. Displacement
day are typically found in these enclo-
stable conditions in the air surrounding systems are possible only in the realm
sures. (Some of the newest display cases
the display cases, so all the microclimate of microclimate control, where enclo-
typically have leakage rates of less than
system had to do was to control a very sures have a total of volume of a few
0.1 air changes per day when installed).
small quantity of air inside the display hundred litres within a protected gallery.
The result is that, for a microclimate
case. The major benefit of using two It is simply not practical where HVAC
device to compensate for the leakage
systems was that facilities managers now systems must cope with large and highly
through a one-cubic-meter display
needed only to provide generally accept- variable loads. A displacement system
case that is leaking at one air change
able humidity and temperature levels. can never overshoot the humidity set-
per day, the microclimate device needs
Providing less stringent levels led to tings. Safe operation is easy to maintain:
to supply less than a liter of air per
immediate savings in operating costs, the constant flow of modified air is
minute. Contrast this with typical gallery
and ultimately to savings in capital simply stopped if the input goes out
air exchange rates in excess of over
expenditures as well (for improving of range.
four air changes per hour.
building envelopes and replacing
To deliver this tiny flow of air, some
devices use miniature air pumps, others
small fans; generally, however, all these
devices deliver air via hoses or pipes.
Some devices recirculate display-case
air through supply-and-return hoses.
In many microclimate control devices,
a single small input hose provides
filtered positive pressure air and, in
addition to controlling the humidity,
the slightly pressurized display case
keeps out pollutants and dust. Typical results from a test cycle. Note the
Central MCG30 units provide temperature
sensitive humidity control for many cases As mentioned above, many of the stable humidity levels as temperatures rise
in a gallery. mechanisms in a microclimate device and fall.

8

This constant flow of air in an active climate control in most museums seems
microclimate device offers a further to have been left to the conservation
advantage, as it breaks up stratification staff. This is changing.
due to density differences in the display While the impetus for researching and
case. This offers a substantial advantage creating active microclimate control
when compared to passive buffering, in may have been willingly generated
which humidity modification through- by the conservation community, the
out the case must be accomplished responsibility for maintaining microcli-
by diffusion of air out from the silica mate control has been only grudgingly
gel mass. All components and wiring in the control accepted. Conservators would rather
Although the output from an active panel have been designed for robust spend their time caring for their artifacts
microclimate device is miniscule when operation and easy replacement. than contacting suppliers, refilling
compared to an HVAC system, the reservoirs, or recording data. A few
power of a microclimate device when meters away, and will feed multiple conservation departments have now
compared to a passive system is equally cases in a gallery. realized that competent assistance in
dramatic. Think of the differences be- maintaining microenvironments is —
tween a searchlight, a battery-powered Potential Problems of and always was — close at hand.
flashlight (UK: torch), and a candle. Microclimate Systems Not only have conservators reached
While the flashlight cannot compare in Microclimate control is not a universal out to facilities management staff for
power to a pulsed Xenon searchlight, or care-free solution. While these systems assistance in maintaining microclimates,
there is an equal gulf between a candle are generally designed and built to be but microclimate control system manu-
flame and the focused and efficient quite robust, the devices must be cor- facturers have also developed increas-
source of light offered by a simple flash- rectly monitored and maintained. This ingly sophisticated control systems.
light. Even a small active microclimate is easily accomplished by scheduling, Manufacturers are now including user-
system can effectively maintain constant and made more convenient by the friendly control systems, and in some
humidity in a leaky display case that addition of indicators, alarms, and situations are supplying devices complete
would quickly overwhelm the capacity connections to building management with output for connection to facilities
of a silica gel buffer. This becomes more systems now offered on most active management control systems.
pronounced as enclosures get larger. microclimate devices. By adding expertise in active micro-
Microclimate control devices come Poorly designed or poorly installed climate control to their repertoire of
in a variety of sizes, from miniature microclimate systems share a problem heating, cooling, pollution control, and
devices the size of a shoebox, to stand- with the control of larger buildings: the building management systems, facilities
alone units as big as a household tendency of control systems to occasion- managers can now define and control
refrigerator. Some are designed to fit ally overshoot their target. The result their building’s microclimates with
beneath or beside a single display case; is a system that is constantly going more precision than ever before. In a
others can be located hundreds of beyond its set points, cycling above and number of institutions, the responsi-
below the target, and never remaining bility for maintaining microclimates in
constant. In theory, a microclimate display cases is now the responsibility
control system should be designed to of their facilities management team.
cope with these environmental swings; This is likely part of a natural progres-
however, some of the older designs sion that will follow to other institutions,
may have a tendency to exacerbate both large and small, as active climate
the problem. control system technology matures, and
as more conservators turn to facilities
staff to assist in the installation of
Microclimate and Facilities
these systems.
Managers
Is microclimate technology really some- Jerry Shiner represents Microclimate
thing new for facilities managers? Very Technologies International Inc. He can
few challenges of active microclimate be reached at info@microclimate.ca or
control are different from those which 1-800-683-4696, and will be attending
facilities managers have faced for many the IAMFA meeting in Bilbao as a sub-
This smaller microclimate control unit is years. Whatever the reason, with some scribing member. He looks forward to
used for individual and closely grouped exceptions, the choice, installation, and discussing microclimate applications
enclosures. maintenance of active and passive micro- with other attendees.

9

IAMFA Members Directory 2005
Dale Cameron Ian MacLean
AUSTRALIA National Archives of Canada – Canada Science & Technology NEW ZEALAND
Preservation Branch Museum Corporation
Glenn Hodges 344 Wellington St P.O. Box 9724 Station T Mike Heinemann
Australian Museum Room 5080 2421 Lancaster Rd. Christchurch Art Gallery
6 College St. Ottawa, Ontario Ottawa, Ontario Te Puna O Waiwhetu
Sydney K1A 0N3 K1G5A3 Worcester Boulevard
2010 Canada Canada PO Box 2626
Australia dcameron@archives.ca imaclean@technomuses.ca Christchurch, Canterbury
glennh@austmus.gov.au Teresa McIntosh New Zealand
Ian Follett mike.heinemann@ccc.govt.nz
Portrait Gallery of Canada &
Michael Landsbergen Facility Management Service LTD
National Archives of Canada
Powerhouse Museum 45 Maryland Place SW Patricia Morgan
344 Wellington Street
500 Harris Street, Ultimo Calgary, Alberta Auckland Art Gallery –
Ottawa, Ontario
Sydney T2V 2E6 K1A 0N3 Toi O Tamaki
NSW 2007 Canada Canada P.O.Box 5449
Australia fmsltd@fmsltd.com tmcintosh@archives.ca Auckland
michael@phm.gov.au New Zealand
Toby Greenbaum Nancy Nauss patricia.morgan@
Kim Reason Parliamentary Precinct Facility Management Services LTD auklandcity.govt.nz
Museum Victoria Directorate 45 Maryland Place, SW
GPO Box 666E Birks Building 107 Sparks Street Calgary, Alberta
Melbourne, Victoria 6th floor, Station 624 T2V 2E6
3001 Ottawa, Ontario Canada SPAIN
Australia K1A 0S5 fmsltd@fmsltd.com
kreason@museums.vic.gov.au Canada Roberto Cearsolo
toby.greenbaum@pwgsc.gc.ca Jose-Luis Oliveros
Canadian Center for Architecture Museo Guggenheim – Bilbao
Tony van Noordenburg Abandoibarra 2
National Gallery of Victoria Richard Harding 1920 Bailes
Montreal, Quebec Bilbao, Viz Caya
7259 St. Kilda Road VIC 8004 Black & McDonald Limited 48001
180 St. Kilda Road 2460 Don Reid Drive H3H 2S6
Canada Spain
Melbourne, Victoria Ottawa, Ontario rcearsolo@guggenheim-bilbao.es
K1H 1E1 jolivero@cca.qc.ca
3004
Australia Canada Christian Page Consuelo Ciscar
t.van.noordenburg@ rharding@blackandmcdonald.com Canadian Museum of Civilization IVAM – Institut Valencia d’Art
ngv.vic.gov.au 100 Laurier Street Modern
Chan Hung Do Gatineau, Quebec 118 Guillem de Castro Street
Robert Webb Canadian Museum of Civilization J8X 4H2 Valencia
Powerhouse Museum 100 Laurier Street Canada 46003
500 Harris Street, Ultimo Gatineau, Quebec christian.page@civilisations.ca Spain
P.O. Box K346 Haymarket 1238 J8X 4H2 direccion.consuelociscar@ivam.es
Sydney Canada Ed Richard
NSW 207 chan.do@civilisations.ca National Gallery of Canada Rogelio Diez
Australia 380 Sussex Drive Museo Guggenheim – Bilbao
Jean-Guy La Jeunesse Ottawa, Ontario
Abandoibarra 2
Canadian Museum of Civilization KIN9N4
Bilbao, Viz Caya
100 Laurier Street Canada
48001
CANADA P.O. Box 3100, StationB erichard@gallery.ca
Spain
Gatineau, Quebec Julie Sevigny rdiez@guggenheim-bilbao.es
Jean Allard J8X 4H2 Canada Traveling Exhibitions
National Archives of Canada Canada Indemnification
Library Room 132 jean-guy.lajeunesse Program/Canadian Heritage
344 Wellington Street @civilisations.ca 15 Eddy Street 15-3-A UNITED KINGDOM
Ottawa, Ontario Gatineau, Quebec
K1A 0N3 Lucie Lanctot K1A0M5 Willie Anthony
Canada Canadian Museum of Nature Canada National Museums of Scotland
dmcaron@archives.ca P.O. Box 3443 Station D julie_sevigny@pch.gc.ca Chambers Street
Ottawa, Ontario Edinburgh, Scotland
Carole Beauvais K1P 6P4 EH1 1JF
National Archives of Canada Canada UK
Corporate Services THE NETHERLANDS w.anthony@nms.ac.uk
344 Rue Wellington Guy Larocque
Room 5076 Canadian Museum of Civilization Karen Keeman
Rijks Museum Frank Brown
Ottawa, Ontario 100 Laurier Street National Gallery, London
P.O. Box 3100, StationB P.O. Box 74888
K1A 0N3 Trafalgar Square
Gatineau, Quebec 1070 DN Amsterdam
Canada London, England
J8X 4H2 Amsterdam
Carole.Beauvais@lac.gc.ca The Netherlands WC2N 5DN
Canada UK
guy.larocque@civilisations.ca k.keeman@rijksmuseum.nl
frank.brown@ng-london.org.uk

10

Alastair Cunningham William Carr Jim Hartman
Hopetoun House Preservation UNITED STATES Henry E. Huntington Library and Fine Arts Museums of
Trust Art Gallery San Francisco
Hopetoun House Fernando Pascal 1151 Oxford Road Golden Gate Park
South Queensferry, Scotland Smithsonian Institution San Marino, CA 50 Hagiwara Tea Garden Drive
EH30 9SL Attn: STRI 91108 San Francisco, CA
UK Unit 0948 USA 94118-4501
alastair.cunningham@ APO/AA wcarr@huntington.org USA
hopetounhouse.com 34002 jhartman@famsf.org
USA Brenda Cobb-Williams
John de Lucy pascalf@si.edu Asian Art Museum Andy Hirshfield
British Library 200 Larkin Street Exploratorium
96 Euston Road Room 2211 3601 Lyon Street
London, England ARKANSAS San Francisco, CA San Francisco, CA
NW12DB 94102 94123
UK John Pagan USA USA
john.delucy@bl.uk Arkansas Art Center bwilliams@asianart.org andyhh@exploratorium.edu
P.O.Box 2137
Peter Fotheringham Little Rock, AR John Coplin Sherin Kyte
National Gallery, London 77023-2137 Santa Barbara Museum of Art Fine Arts Museum of
Trafalgar Square USA 1130 State St. San Francisco
London, England jpagan@arkarts.com Santa Barbara, CA Lincoln Park
WC2N 5DN 92101 100 34th Avenue
UK USA San Francisco, CA
peter.fotheringham@ CALIFORNIA jcoplin@sbmuseart.org 94121
ng-london.org.uk USA
Gordon Bailey John Donohoe skyte@famsf.org
Robert Galbraith Asian Art Museum J. Paul Getty Trust
National Galleries of Scotland 200 Larkin Street 1200 Getty Center Drive Joseph May
73 Belford Road Dean Gallery Room 2211 Suite 100 J. Paul Getty Trust
Edinburgh, Scotland San Francisco, CA Los Angeles, CA 1200 Getty Center Drive
EH4 3DS 94102 90049-1678 Suite 100
UK USA USA Los Angeles, CA
robert.galbraith@ gbailey@asianart.org jdonohoe@getty.edu 90049-1678
natgalscot.ac.uk USA
Donald Battjes Michael Falarski jmay@getty.edu
Graham Pellow Museum of Contemporary Art – Computer History Museum
Natural History Museum Los Angeles 1401 N. Shoreline Blvd. Mike McCaughin
Crownwell Road 5905 Wilshire Blvd Mountain View, CA ProPM, Inc.
London, England Los Angeles, CA 94043 3470 Mt. Diablo Blvd. Ste.A205
SW75BD 90036 USA Lafayette, CA
UK USA falarski@computerhistory.org 94549
g.pellow@nhm.ac.uk dbattjes@lacma.org USA
Jennifer Fragomeni mikem@propminc.com
Jack Plumb Joe Brennan Exploratorium
San Francisco Museum of Randy Murphy
National Library of Scotland 3601 Lyon Street
Modern Art Museum of Contemporary Art –
George IV Bridge San Francisco, CA
151 Third St. Los Angeles
Edinburgh, Scotland 94123
San Francisco, CA 250 S. Grand Ave.
EH1 1EW USA
94103 Los Angeles, CA
UK jfrago@exploratorium.edu
USA 90012
j.plumb@nls.uk
jbrennan@sfmoma.org Mitchell Gaul USA
Harry Wanless San Diego Museum of Art rmurphy@moca.org
British Library Greg Brown P.O. Box 12-2107
The Tech Museum of Innovation Ann Roche
96 Euston Road San Diego, CA Rutherford & Chekene
London, England 201 South Market Street 91112-2107
San Jose, CA 427 13th Street, 2nd floor
NW12DB USA Oakland, CA
UK 95113 mwgaul@sdmart.org
USA 94612
harry.wanless@bl.uk USA
gregb@thetech.org Oren Gray
aroche@ruthchek.com
J. Paul Getty Trust
James Bullock 1200 Getty Center Drive
J. Paul Getty Trust Michael Rogers
Suite 100 J. Paul Getty Trust
1200 Getty Center Drive Los Angeles, CA
Suite 100 1200 Getty Center Drive
90049-1678 Suite 100
Los Angeles, CA USA
90049-1678 Los Angeles, CA
ogray@getty.edu 90049-1678
USA
jbullock@getty.edu USA
mrogers@getty.edu

11

Ernest Conrad Michael Giamber DELAWARE
USA (cont’d) Landmark Facilities Group, Inc. National Gallery of Art –
252 East Avenue Washington John Castle
CALIFORNIA (cont’d) Norwalk, CT 6th & Constitution Winterthur Museum, Garden
6855 Washington, DC and Library
Jeff Sheahan USA 20565 Building 69
California Academy of Sciences econrad@lfginc.com USA Winterthur, DE
Golden Park m.giamber@nga.gov 19735
55 Concourse Drive George Conte USA
San Francisco, CA Yale Center for British Art Joseph Neal Graham jcastle@winterthur.org
94118 P.O. Box 208280 The Library of Congress
USA New Haven, CT 101 Independence Ave., S.E. Michael Downs
jsheahan@calacademy.org 06520-8280 Room LM-225 Hagley Museum & Library
USA Washington, DC P.O. Box 3630
Gerry Socco george.conte@yale.edu 20540-9420 Wilmington, DE
Yerba Buena Center for the Arts USA 19807-0630
701 Mission Street Richard Moore NGRA@LOC.GOV USA
San Francisco, CA Yale University Art Gallery 27299@udel.edu
94103-3138 P.O.Box 208271 Ron Hawkins
USA New Haven, CT Smithsonian Institution
gsocco@ybca.org 06520-8271 12th & Independence SW FLORIDA
USA Washington, DC
Herb Lustig
Will Spencer richard.moore@yale.edu 20024
INVISA
J. Paul Getty Trust USA
John Rutchick Sarasota, FL
1200 Getty Center Drive rhawkins@qfac.si.edu
Suite 100 Mystic Seaport Museum, Inc.
Los Angeles, CA 75 Greenmanville Avenue Fletcher Johnston
PO Box 6000 Hirshhorn Museum & Sculpture GEORGIA
90049-1678
USA Mystic, CT Garden Kevin Streiter
wspencer@getty.edu 6355 Independence Ave at 7th St. SW High Museum of Art
USA Washington, DC 1280 Peachtree NE
Leonard Vasquez john.rutchick@mysticseaport.org 20560 Atlanta, GA
Charles M. Schulz Museum USA 30309
2301 Hardies Lane fletchj@hmsg.si.edu USA
Santa Rosa, CA DISTRICT OF COLUMBIA kevin.streiter@
95403 Kenneth Olmstead woodruffcenter.org
Daniel Davies Smithsonian Institution
USA Smithsonian Institution
leonard@schulzmuseum.org 750 Ninth Street NW
750 Ninth Street NW Room 5200, MRC 908
Ste. C300 HAWAII
Nils Welin Washington, DC
Cypress Security, LLC Washington, DC 20560 Robert White
220 Sansome St. 20560-0201 USA Honolulu Academy of Arts
Suite 500 USA OlmstKe@opp.si.edu 900 South Beretania Street
San Francisco, CA ddavies@opp.si.edu Honolulu, HI
94104 Eugene Ramatowski 96814
Richard Day U.S. Holocaust Museum USA
USA Smithsonian Institution 100 Raoul Wallenburg Pl SW rwhite@honoluluacademy.org
Mary Wong 10th and Constitution Ave NW Washington, DC
Japanese American National Washington, DC 20024
Museum 20056 USA IOWA
369 East First St. USA eramatowski@ushmm.org
Day.Richard@NMNH.SI.EDU Ed Mahlstadt
Los Angeles, CA
Kurt Sisson Des Moines Art Center
90012 Robert Evans National Gallery of Art – 4700 Grand Avenue
USA Smithsonian Institution Washington Des Moines, IA
mwong@janm.org Freer Gallery of Art & Sackler 6th & Constitution 50312
Gallery of Art Washington, DC USA
12th & Independence, SW 20565 emahlstadt@
CONNECTICUT Washington, DC USA desmoinesartcenter.org
Jose Branco 20024 k-sisson@nga.gov
Yale University Art Gallery USA
P.O. Box 208271 robert.evans@asia.si.edu Michael Solfield ILLINOIS
New Haven, CT Smithsonian Institution
Wayne Field Thomas Barnes
06520-8271 Washington, DC
Smithsonian Institution Art Institute of Chicago
USA USA
4720 Opp-Metro Support Branch 111 South Michigan Avenue
jose.branco@yale.edu
Washington, DC Chicago, IL
20560-0908 60603
USA USA
fieldwa@opp.si.edu tbarnes@artic.edu

12

Brendan Berry MARYLAND John Lannon MICHIGAN
Advantage Operations Boston Athenaeum
125 East Monroe Alan Dirican 10 1/2 Beacon Street Denis Bouchard
Chicago, IL Baltimore Museum of Art Boston, MA Detroit Historical Museums
60603 10 Art Museum Drive 2108 5401 Woodward Avenue
USA Baltimore, MD USA Detroit, MI
bberrjci@artic.edu 21218-3898 lannon@bostonathenaeum.org 48202
USA USA
William Caddick adirican@artbma.org Daniel Lohnes bouchardd@hist.ci.detroit.mi.us
Art Institute of Chicago Essex Alarm & Security
111 South Michigan Avenue Jeffrey Greene 7 Quincy Park
Chicago, IL Banneker Douglas Museum Beverly, MA NEW HAMPSHIRE
60603 84 Franklin St. 1915
Annapolis, MD David Grimard
USA USA
21401-2738 Currier Museum of Art
wcaddick@artic.edu
USA Michael Lynch 201 Myrtle Way
Paul Huber greene@dhcd.state.md.us Simpson Gumpertz and Heger Inc. Manchester, NH
Advantage Operations 41 Seyon Street 3104
1831 Lewis Lane Richard Kowalczyk Building 1, Suite 500 USA
New Lenox, IL Smithsonian National Air and Waltham, MA dgrimard@currier.org
60451 Space Museum 2453
USA 3904 Old Silver Hill Road USA
pshuber@telocity.com Building 10 NEW JERSEY
Suitland, MD Emily Mikolayunas
Charles Ingles 20746-7012 Eric Carle Museum of Picture Ted Chappell
Advantage Operations USA Book ERCO Lighting Inc.
111 South Michigan Avenue kowalczykr@si.edu 125 West Bay Rd. 160 Raritan Center Parkway
Chicago, IL Amherst, MA Suite 10
60603-6110 Robert Marino, P.E. 1002 Edison, NJ
USA Mueller Associates, Inc. USA 8837
chuck_ingles@msn.com 1401 S. Edgewood emilym@picturebookart.org USA
Baltimore, MD t.chappell@erco.com
Anthony McGuire 21227 James Moisson
McGuire Engineers USA Harvard University Art Museums Richard Stomber
300 S. Riverside Plaza Rmarino@MuellerAssoc./com 32 Quincy St. Newark Museum
Chicago, IL Cambridge, MA 49 Washington Street
60606 2138 Newark, NJ
USA MASSACHUSETTS USA 07102-3176
tony@mcguireng.com james_moisson@harvard.edu USA
Chris Carberry rstomber@newarkmuseum.org
Don Meckley Massachusetts Historical Society Robert Monk
Museum of Contemporary Art – 1154 Boylston Street Peabody Essex Museum
Chicago Boston, MA East India Square NEVADA
220 E. Chicago Ave. 2215 Salem, MA
Chicago, IL USA 1970 Kenneth Christian
60611 ccarberry@masshist.org USA Nevada Museum of Art
USA robert_monk@pem.org 160 West Liberty St.
Charlie Cochrane Reno, NV
dmeckley@macchicago.org
Cochrane Ventilation Inc. William Powers III 89501
Jennifer Christakes 154 West Street Clark Art Institute USA
Museum of Science and Industry Wilmington, MA 225 South Street christian@nevadaart.org
57th Street & South Lake Shore 1887 Williamstown, MA
Drive USA 1267 Aurore Giguet
Chicago, IL iaqcvi@aol.com USA UNLV Marjorie Barrick Museum
60637 bpowers@clarkart.edu 4505 Maryland Parkway
David Geldart Las Vegas, NV
USA
Museum of Fine Arts – Boston John Stark 89154
Jennifer.Christakes@
465 Huntington Avenue Eric Carle Museum of Picture USA
msichicago.org
Boston, MA Book gigueta@unlv.edu
2115 125 West Bay Rd.
INDIANA USA Amherst, MA
dgeldart@mfa.org 1002 NEW YORK
Steven Ernest USA
Indianapolis Museum of Art James Labeck William Esposito
johns@picturebookart.org Ambient Group, Inc.
4000 Michigan Road Isabella Stewart Gardner Museum
Indianapolis, IN 2 Palace Road 55 W 39th St.
Peter Stein 12 Floor
46208 Boston, MA Sensicast Systems, Inc
USA 2115 New York, NY
Needham, MA 10018
sernest@ima.art.org USA USA
jlabeck@isgm.org USA

13

David Leach RHODE ISLAND Ken Myers
USA (cont’d) Columbus Art Museum Valentine Richmond History
480 East Broad St. Curtis Genga Center
NEW YORK (cont’d) Columbus, OH Preservation Society of Newport 1015 East Clay Street
43215 County Richmond, VA
Daniel Gelman USA 424 Bellevue Ave. 23219
Lighting Services Inc. dleach@cmaohio.org Newport News, RI USA
2 Kay Fries Drive 2840 kenmyers@
Stony Point, NY Douglas Bowerman USA richmondhistorycenter.com
10980-1996 Allentown Art Museum cgenga@newportmansions.org
USA Fifth and Count Street Tom Peck
P.O. Box 388 Colonial Williamsburg
Mark Malekshahi Allentown, PA SOUTH CAROLINA Foundation
Cosentini Associates 18105-0388 P.O.Box 1776
William Taylor
2 Penn Plaza USA Williamsburg, VA
Cultural Facilities Management
New York, NY operations@ 23187-1776
Group
10121 allentownartmuseum.org USA
385 S. Spring Street
USA Spartanburg, SC tpeck@cwf.org

PENNSYLVANIA 29306
Daniel McCormick
USA
George Eastman House
Walt Crimm biltay@spartanarts.org
WASHINGTON
900 East Avenue
Ewing Cole Cherry Brott Jeffrey Tosh
Rochester, NY
100 North Sixth St. Seattle Art Museum
14607 TENNESSEE
6th Fl 100 University Street
USA
Philadelphia, PA Steve Kirby Seattle , WA
Thomas Scally 19106 Frist Center of the Visual Arts 98101-2902
Metropolitan Museum Of Art USA 919 Broadway USA
1000 5th Avenue wcrimm@ewingcole.com Nashville, TN
New York, NY Vince DiPiero 37203
10028 USA WISCONSIN
Allied Security
USA 3606 Horizon Drive skirby@fristcenter.org Larry Bannister
tom.scally@metmuseum.org King of Prussia, PA Milwaukee Public Museum
19406 800 W. Wells Street
Thomas Shannon
USA
TEXAS Milwaukee, WI
The Morgan Library 53233
vince.dipiero@alliedsecurity.com Bruce Causey
29 East 36th St. USA
New York, NY Corporate Care
Robert Morrone 3530 West T. C. Jester Blvd. bannister@mpm.edu
10016 Philadelphia Museum Of Art
USA Houston, TX
P.O.Box 7646 77018 Spence Stehno
tshannon@morganlibrary.org Philadelphia, PA Milwaukee Public Museum
USA
19101-7646 bcausey@corporatecare.com 800 W. Wells Street
Frantz Vincent USA Milwaukee, WI
Brooklyn Museum of Art rmorrone@philamuseum.org 53233
Henry Griffin
200 Eastern Parkway USA
Museum of Fine Arts – Houston
Brooklyn, NY Peter Poncheri Jr. spence@mpm.edu
PO Box 6826
11238 Foundation for the Reading Houston, TX
USA Public Museum 77265-6826
frantz.vincent@ 500 Museum Rd USA This list reflects
brooklynmuseum.org Reading, PA hgriffin@mfah.org
19611-1425 membership dues
USA paid as of
OHIO pete356@aol.com VIRGINIA September 2, 2005.
Tom Catalioti Richard Reinert Brett Chubb
Cleveland Museum of Art Affiliated Building System Mariner’s Museum Although we do our best to
11150 East Blvd 2600 Benjamin Franklin Pkwy 100 Museum Drive
Cleveland, OH ensure that our Directory
Philadelphia, PA Newport News, VA
44106 information is as up-to-date
19130 23606
USA USA USA as possible, errors and
catalioti@cma-oh.org omissions can always occur.
Jim Sutton James Lee If you would like to make
Ian Herron Philadelphia Museum of Art Lee Construction Consultants LLC
Cleveland Museum of Art Benjamin Franklin Parkway any changes to your listing,
700 East Main Street
11150 East Blvd PO Box 7646 Suite 1503 please contact Jim Moisson at
Cleveland, OH Philadelphia, PA Richmond, VA
44106 james_moisson@harvard.edu
19101-7646 23219-2604
USA USA USA Thank you very much.
herron@cmaoh.org jsutton@philamuseum.org jlee@lee-cc.com

14

Papyrus Summer 2005

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Papyrus Summer 2005