Papyrus Summer Fall 2012

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

PAPYRUS VOL. 13, NO. 2 SUMMER–FALL 2012

Carbon Management at National Museums Liverpool

Who’s Afraid of Introducing the American The Philadelphia
Green Museums: Institute for Conservation of Museum of Art—
Fear and Loathing Artistic and Historic Works— One Venue for the IAMFA
and HVAC Collection Care Network Annual Conference

Positive Varming Environments
since 1933
Steensen Varming and Varming International Alliance provide
unrivalled expertise in museum, gallery and archive projects.

The Clore Gallery, Tate, London
Nomura Gallery, Tate, London
Building Services Solutions Holy Sepulchre, Jerusalem
Casula Powerhouse Museum, Sydney
Tate in the North, Liverpool
Museum of Modern Art, London
Art Gallery of New South Wales, Sydney
Chester Beatty Library, Dublin
Australian War Memorial, Canberra
The Mint Building, Sydney
Victoria & Albert Museum, London
Buildings Sir John Soanes Museum, London
Science Museum, Wellcome Wing, London
Whitechapel Art Gallery, London
Frederikborg Castle, Copenhagen
Sculpture Museum, London
Auckland Art Gallery, Auckland
National Portrait Gallery, Canberra
National Gallery of Australia, Canberra
National Library of Australia, Sydney
Physiology Australian Museum, Sydney
Royal Scottish Academy / Playfair, Edinburgh
Guinness Storehouse Visitor Centre, Dublin
Prehistoric Museums Arhus,
The Utzon Centre, Aalborg
Strategies Sydney Opera House, Sydney

Australia Denmark Hong Kong Ireland (Varming) United Kingdom (SVM)

www.steensenvarming.com

Contents
Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . 2 The National Geographic Society is a LEED-EB
Recertification Star. . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Message from the President . . . . . . . . . . . . . . . . . . . . 3
2012 IAMFA Conference Schedule . . . . . . . . . . . . . . . 20

Introducing the American Institute for Carbon Management at National Museums
Conservation of Artistic and Historic Works— Liverpool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Collection Care Network . . . . . . . . . . . . . . . . . . . . . . . 4
Awards for the Auckland Art Gallery . . . . . . . . . . . . . 28
Who’s Afraid of Green Museums: Fear and
Loathing and HVAC . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Architect of the Capitol’s Office of Security
Programs Recognized for Excellence in
Benchmarking Options: New Energy Survey Customer Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
and Classic Comprehensive Survey . . . . . . . . . . . . . . . 12
IAMFA Environmental Group Meeting—
The Philadelphia Museum of Art . . . . . . . . . . . . . . . . 14 Manchester Museum . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Regional Updates and Member News . . . . . . . . . . . . 34
Yo, Philly! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
IAMFA Members—Organizations . . . . . . . . . . . . . . . . 36
External Vertical Shade Automation Project
at the California Academy of Sciences . . . . . . . . . . . . 16 Index of Papyrus Technical and Historical Articles . . . 38

Cover photo: Inside the Conservatory at Longwood Gardens, venue for the 2012 IAMFA Conference. Photo by Joe May

IAMFA BOARD OF DIRECTORS MEMBER REGIONS
President Secretary Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada —
John de Lucy Patricia Morgan High Museum of Art Ed Richard,
The British Library (Retired) Auckland Art Gallery Toi o Tamaki
¯ kevin.streiter@woodruffcenter.org National Gallery of Canada
ERichard@Gallery.ca
London, United Kingdom Auckland, New Zealand Australia — Ray McMaster
john.delucy@btinternet.com patricia.morgan@ rmc.master@bigpond.com Philadelphia, USA — John Castle,
aucklandcouncil.govt.nz Winterthur Museum & Garden
V.P., Administration Chicago, USA — William Caddick, jcastle@winterthur.org
Randy Murphy Assistant Secretary/Editor Art Institute of Chicago
Los Angeles County Museum of Art Joseph E. May Northern California, USA —
wcaddick@artic.edu Joe Brennan,
Los Angeles, CA, USA Sustainability Engineer San Francisco Museum of Modern Art
RMurphy@lacma.org Los Angeles, CA, USA Los Angeles, USA — Randy Murphy,
jbrennan@sfmoma.org
joemay001@hotmail.com Los Angeles County Museum of Art
V.P., Regional Affairs and rmurphy@lacma.org United Kingdom — Jack Plumb,
2012 Conference Chair 2013 Conference Chair National Library of Scotland
John Castle Nancy Bechtol New England, USA — j.plumb@nls.uk
Winterthur Museum, Smithsonian Institution John H. Lannon,
Boston Athenaeum Washington/Baltimore, USA —
Garden and Library Washington, DC, USA Maurice Evans,
lannon@bostonathenaeum.org
Winterthur, DE, USA bechtna@si.edu Smithsonian Institution
jcastle@winterthur.org New York, USA — Mark Demairo, evansma@si.edu
Neue Galerie
Treasurer For more information on becomming
For additional markdemairo@neuegalerie.org
Alan Dirican a member of the International
Baltimore Museum of Art contact information,
New Zealand — Patricia Morgan, Association of Museum Facility
Baltimore, MD, USA please visit our website at Auckland Art Gallery Administrators, please visit
adirican@artbma.org www.iamfa.org patricia.morgan@aucklandcity.govt.nz www.iamfa.org

IAMFA/ Papyrus Maurice Evans Printed in the U.S.A. by Statements of fact and opinion
Vol. 13, Number 2 Joe May Knight Printing are made on the responsibility of
Summer–Fall 2012 Patricia Morgan authors alone and do not imply an
ISSN 1682-5241 opinion on the part of the editors,
Jack Plumb officers, or members of IAMFA. The
Editor Rich Reinert editors of IAMFA Papyrus reserve the
Joe May Ian Williams right to accept or to reject any Article
Stacey Wittig or advertisement submitted for
Correspondents Elizabeth Wylie publication.
Michael Arny
While we have made every attempt to
Hershow Al-Barazi Design and Layout ensure that reproduction rights have
Chris Bailey Phredd Grafix been acquired for the illustrations
Past issues of Papyrus can
Niall Cooper used in this newsletter, please let
Dan Davies Editing be found on IAMFA's us know if we have inadvertently
John De Lucy Artistic License website: www.IAMFA.org overlooked your copyright, and
we will rectify the matter in a
future issue.

Letter from the Editor

Joe May
Editor, Papyrus

Greetings from Los Angeles! and construction, as well as in ongoing Ian Williams and Chris Bailey of the
operations. Museum of Liverpool describe some of

A
s I write this, we are now just
You’ll read about the Philadelphia the actions taken over the past 12 years
two months from IAMFA’s 22nd
Art Museum, which is a venue for the in understanding, managing and reduc-
Annual Conference in the Mid-
IAMFA Conference in September, and ing energy consumption, as well as the
Atlantic region of the United States. The
conference organizing committee reports you’ll be able to practice up on your carbon impact of National Museums
that progress in planning this year’s colloquial Philadelphia terminology so Liverpool (NML) on society. These actions
conference is on track, and both the that you can be prepared to speak as the have culminated in NML recently being
committee and the IAMFA Board are locals do . . . you never know when this placed joint first in the UK Carbon Reduc-
eager to see IAMFA members again in may come in handy while in Philadelphia tion National League Tables. National
September at venues in Philadelphia for the 2012 IAMFA Annual Conference! Museums Liverpool is a group of nine
and the surrounding region. Hershow Al-Barazi has contributed museums and galleries from Liverpool.
Please make sure you read John an interesting article about the External You’ll also read about recognition of
De Lucy’s Message from the President in Vertical Shade Automation Project at the the Architect of the Capitol’s Office of
this issue of Papyrus, as this will be his greenest museum on Earth. Many of you Security Programs by Building Operating
final one. John has been a superb leader visited the California Academy of Sciences Management Magazine with its FMXcel-
for IAMFA during the past four years, during the 2010 IAMFA Conference in lence Award for excellence in customer
and we all look forward to seeing him San Francisco, but may not be aware service. The FMXcellence awards recog-
and wife Livi this September at the con- that they received their second LEED nize facilities management teams that
ference. We all hope that, despite his Platinum award in 2011. You will also find “spearhead and execute stand-out projects
retiring from the British Library, John an update from Pat Morgan about the and programs.” You may remember that
will continue to remain active in IAMFA. many awards received by the Auckland
we visited the U.S. Capitol during our
In this issue of Papyrus, you will find Art Gallery during the past year. The
2009 IAMFA Conference.
a variety of articles both from IAMFA Auckland Art Gallery was a venue for the
Please make sure you also read the
members, and non-members who are 2011 IAMFA Conference, and host of a
update about the latest U.K. Regional
leaders in their field. Please read the truly unforgettable closing gala at the
Meeting hosted by Nicola Walker, Head
article in this issue contributed by the 2011 Conference. We will never forget
that evening; I wish everyone reading of Collection Care and Access at the
American Institute of Conservators. This Manchester Museum. There is more news
article provides an introduction to AIC— this could have been present.
Michael Arny, President at the about the growing movement to reassess
and, we hope, the beginning of a grow-
Leonardo Academy, writes in this issue temperature and RH settings. Please also
ing collaborative effort between AIC and
about LEED certification at the National see Stacey Wittig’s update about the IAMFA
IAMFA members to evaluate possible
Geographic Society. You may remember Annual Benchmarking Exercise—and
revisions to environmental specifica-
Michael from when he joined us in Bilbao, make sure you plan on attending the
tions, and how this could foster higher
levels of energy conservation at cultural Spain at the 2006 IAMFA Conference. Benchmarking and Learning Workshop
institutions in America and beyond. Michael and I made a joint presentation September 16 in Philadelphia.
You will also find an article by Elizabeth about the Getty Center’s new LEED-EB One last thing; I’d like to report that
Wylie and Niall Cooper titled “Who’s Certification in 2005, which was the first IAMFA’s LinkedIn Group continues
Afraid of Green Museums: Fear and post-pilot LEED-EB Certification in the to grow, now with 358 members from
Loathing and HVAC”. This article is a nation. Michael actually chaired the com- 31 countries. If you know someone whom
follow-up to a session at the American mittee that developed LEED for Existing you think may benefit from learning
Association of Museum’s (AAM) Annual Buildings. You will read about the organi- more about IAMFA, please encourage
Conference in Minneapolis in late April zation that received the very first LEED- them to join our LinkedIn group, and
2012. During a provocative forum, experts EB Certification in the nation during to also visit our new website,
examined many of the questions that the LEED-EB pilot program back in www.NewIAMFA.ORG.
arise when museums undertake a capital 2003. Congratulations to the National There’s more in this issue; I hope you
project and want to pursue environ- Geographic Society on their new LEED enjoy it. Thank you so much to everyone
mentally sustainable practice in design recertification at the Gold level. who contributed articles.

2 PAPYRUS SUMMER–FALL 2012

Message from the President

John de Lucy
President, IAMFA

T
his will be my last “Message from learning from our peers how they have The excellent guest programme for
the President” before I hand over improved delivery of facilities services, our partners, I know, is also an enormous
to your new President at our Mid- so we can return home and make our attraction. Please do everything you can
Atlantic conference in September. I have own improvements—ample justification to attend, learn what others are doing,
really enjoyed the past four years, and for attending our conference! and renew friendships with your col-
thank you all for your support—both The third benefit has been participa- leagues. The hard times and financial
to me, and to our organisation—during tion in the benchmarking group to com- pressures you currently face are not likely
this period, particularly through your pare how we were managing our costs to abate in the year ahead, so it is essential
participation at our conferences in against similar cultural organisations, that you and your facilities departments
Washington, San Francisco, and Auckland, and learning from them how to manage continue to demonstrate where you add
all of which have been such a success. better. The fourth is the strong bonds value to your organisations—hopefully
John Castle and his team have put and friendships you build up with like- reducing the risk of your role being
together a wonderful programme for minded professionals—both to discuss questioned or removed. Hopefully you
this year’s Mid-Atlantic conference in ideas and help solve problems at your have learned enough through IAMFA to
Philadelphia and Delaware. We will be show that you are not just a cost centre,
own organisation—again supported by
visiting eight top museums and galleries, but can have a highly positive business
Joe May in his management of a large
which I know you will find fascinating impact on your cultural organisation.
and growing LinkedIn group.
and helpful in solving some of your local Have you delivered a material reduction
At this year’s conference, you will
facilities problems. I understand that we in operating costs over the past two
not be able to resist Monday’s tour of
already have 120 people booked into years, and are you seen as an integrated
hotels, so this one might even be bigger the Philadelphia Museum of Art, which
business manager by the rest of your
than the London conference in 2008! is an amazing building that has just
corporate colleagues?
It has been tempting to want to expand finished a major extension. Following
Many thanks again to our Board for
IAMFA into a much larger association. that tour, we’ll be heading to the newly
supporting me over the past four years,
I have belonged to large associations in refurbished Rodin Museum, and a brand-
and helping make IAMFA a much more
the past, however, and they do lose the new museum: The Barnes Foundation,
professional organisation. Also to my
close friendships which we build together completed during this summer. previous PA, Merida Fitzgerald, for being
at IAMFA, as well as requiring costly Tuesday will be a real treat, as we the power (engine?) behind the role, and
administration and infrastructure. It is tour and learn about four museums in Harry Wanless for his help and support
the close relationships, friendliness and Delaware, three of which are linked to at the British Library (mostly rewriting
willingness to help—plus the fun that the Du Pont family. We’ll all end the day everything I did)! Harry, rude as always,
we have when we meet—that has made with a lovely dinner in the Longwood did think Merida was the real President,
this organisation my favourite of all Gardens Conservatory, followed by a and I was just the frontman!
the professional organisations to which stunning Fountain Show. The huge One minor achievement: I think I
I have belonged. fountain pump house will excite even have persuaded my American friends to
I have received four key benefits from those without an engineering bent! be more adventurous in wearing colour -
my association with IAMFA. The first is the Wednesday is based around the ful socks—but unfortunately not to undo
publication of Papyrus, which contains Independence National Historical Park. the mistake they made in 1776.
such relevant and interesting articles—and We’ll go behind the scenes of a newly I hope to see you all at the conference
has been made such a success by Joe May finished museum, tour the National in September, when you can tell me how
over the past four years. The second is the Constitution Centre, and visit the Liberty you are managing in these tough times.
learning opportunity in going behind Bell (still with a crack, thank goodness!), When you receive this issue of Papyrus,
the scenes of the world’s best museums before our Gala dinner in the National I will be in Tuscany preparing for my full
and galleries at each annual conference, Constitution Center. retirement—see photo above!

PAPYRUS SUMMER–FALL 2012 3

Introducing the American
Institute for Conservation of
Artistic and Historic Works—
Collection Care Network
By the AIC Collection Care Network

H
ave you ever had difficulty worked to support the critical work of become available since its previous
obtaining professional conser- collection care by bringing together print edition. Moving the publication
vation advice on a specialized preservation organizations, profes- to the web will expand access and im-
topic? Would you like easy-to-navigate sionals, and information resources. prove timely integration of new infor-
access to the conservation community? The Network’s aim is to foster dynamic mation. Review and critique of draft
Did you know that many conservators exchange among those engaged in segments will be possible on-line. Look
have wanted to be better connected to preventive care, to expand the body for the STASH link in 2013 on the
the professional facility management of preventive care knowledge, and to Conservation OnLine (CoOL) website
community? disseminate this knowledge in order to at www.cool.conservation-us.org.
To facilitate this kind of connection support the work of all collection care Future collaborative projects on
and communication, the American practitioners and allied professionals. other collection-care topics are also
Institute for Conservation of Artistic and In May 2012, AIC CCN was launched being developed. One such project
Historic Works (AIC) recently estab- at the aptly named 40th annual AIC seeks to team AIC CCN with allied
lished its Collection Care Network meeting, Connecting to Conservation: professionals to develop a wiki-based
(CCN). Created in early 2012, the Outreach and Advocacy in Albuquerque, publication on exhibition standards and
Collection Care Network combines New Mexico (USA). As part of the guidelines. The entries will describe
the preservation knowledge and skills “Outreach to Allies” session, attendees key steps in planning, developing, and
of AIC members, and links them with were invited to share ideas and sugges- maintaining exhibitions from a preser-
allied professionals. The AIC CCN is tions for future projects. The format vation point of view. The project will
committed to advancing the critical included brief videos of various stake- build upon the work of former U.S.
importance of preventive conservation holders in the preservation field National Park Service conservator
as the most effective means of promot- discussing the dilemmas they faced. Toby Rafael and museum consultant
ing the long-term preservation of cul- Among these videos, a lighting designer
tural property, and recognizes that both and an architect presented building-
preservation and stewardship rest upon related issues. It is vital that this discus-
the talents and skills of numerous sion continues beyond that national
professionals and volunteers. AIC meeting. Please visit the AIC blog
The AIC CCN serves people in every at www.conservators-converse.org/
preservation profession: archaeologists, where you will soon have an oppor-
architects, archives staff, art handlers, tunity to view the videos and add
collection care specialists, collection your voice.
managers, conservators, curators, engi- One of the major goals of AIC CCN
neers, entomologists, exhibit designers, is to pursue collaborative projects in
facilities staff, historic house museum collection care. Recently, the Society
staff, library staff, mount makers, for the Preservation of Natural History
preparators, preventive conservation Collections (SPNHC) and AIC CCN
materials vendors, registrars, techni- announced that the Kress Foundation
cians, and the many others who aid in has funded the development of a
preservation. For more on our man- web-based resource entitled, STASH:
date and purpose, please visit our Storage Techniques for Art, Science,
website at www.conservation-us.org/ and History collections. Based on a
collectioncare. former SPNHC publication, this ven-
Since its first meeting at Winterthur, ture will present an expanded range The SPNHC book, STASH, which will be
Delaware (USA), funded by a gener- of storage solutions, and integrate reproduced and expanded in a joint
ous grant from Tru Vue, AIC CCN has the many new materials which have partnership between AIC CCN and SPNHC.


Felicity Devlin. Some modules have
already been posted on the AIC wiki, Board of the AIC Collection Care Network
with more expected later this summer.
This topic, along with many others, can Joelle Wickens, Chair 2012–2014 Robert Waller, Editor 2012–2015
be found at www.conservation-wiki.com. Winterthur Museum, Protect Heritage Corp., Ottawa, ON
The direct link to Conservation Stan- Wilmington, DE rw@protectheritage.com
dards & Guidelines for Exhibitions jwicke@winterthur.org
Patricia Silence, Founding Member
Utilizing Museum Collections is Rebecca Fifield, Vice-Chair Colonial Williamsburg Foundation,
www.conservation-wiki.com/ex. 2012–2014 Williamsburg, VA
We invite you to collaborate in Metropolitan Museum of Art, psilence@cwf.org
developing our next projects, and New York, NY
to consider joining us at upcoming Julia Brennan, Founding Member
Rebecca.fifield@metmuseum.org
Private Practice, Washington, DC
national meetings. “Contemporary
Wendy Claire Jessup, Secretary textilefixer@yahoo.com
Issues in Conservation” is the theme
2012–2013
for the May 29 to June 1, 2013 meeting, Rachael Perkins Arenstein,
Private Practice, Arlington, VA
planned for Indianapolis. We welcome Founding Member
prevcon@verizon.net
suggestions to help us shape a Private Practice, Scarsdale, NY
workshop to present at this meeting. Karen Pavelka, Treasurer 2012–2015 Rachael@amartconservation.com
Looking ahead to our 2014 national University of Texas at Austin,
Catharine Hawks,
meeting in San Francisco, we envision Austin, TX
pavelka@ischool.utexas.edu Founding Member
a conference program focusing on National Museum of Natural History,
preventive care, incorporating the ideas Gretchen Guidess, Communications Washington DC
of many of our preservation allies. & Outreach 2012–2015 cahawks@aol.com
We look forward to beginning a Historic New England, Haverhill, MA
long and enriching exchange between Gretchen.guidess@gmail.com
our organizations.

Delaware
Delaware Maryland New Jersey
w Pennsylvania
Pennsylvania Virgina
Virgina
a New York
York Ohio Massachusetts
Massachusetts
chusetts New Hampshire Co
Connecticut
onnecticut

Construction Services
Construction Services
Energy Sustainability
Energy & Sustainability
Environmental
Environmental
Geotechnical
Geotechnical
Grant Writing
Writing
Laboratory Testing
Laboratory Testing
Test
Landscape Architecture
Landscape Architecture
Materials Testing Inspection
Materials Testing & Inspection
c
MEP
Municipal
Planning
Site Design
Structural
Structural
Survey Geomatics
Survey & Geomatics
Transportation
Transportation
Water/Wastewater
Water/Wastewater
Water/WW Winterthur Museum, Garden & Library, Winterthur, DE

Providing Engineering Services Since 1966
Providing Engineering s www
w w.pennoni.com
www.pennoni.com
om


Who’s Afraid of Green Museums
Fear and Loathing and HVAC
By Elizabeth Wylie and Niall Cooper

T
his article is a follow-up to a session at the American a design brief? We have an 1880s building—won’t greening
Association of Museum’s (AAM) Annual Conference cost too much?
in Minneapolis in late April 2012. In a provocative Top-flight experts—all of whom either have been, or are
forum, experts examined many of the questions that arise currently involved in some of the country’s most high-profile
when museums undertake a capital project and want to museum building projects—offered valuable experienced-
pursue environmentally sustainable practice in design and based perspectives. The primary outcome was that participants
construction, as well as in ongoing operations. were empowered to ask questions, question assumptions,
Capital construction projects are not a common occur- and push for excellence. The saying goes that the best
rence within the career trajectories of most museum pro- buildings are the result of the best clients. This session was
fessionals. The session aimed to empower museum leadership aimed at helping participants be better clients, getting the
to ask and seek answers to tough questions. The challenge results that they want and that the museum field needs:
of designing, building and operating environmentally sus- green buildings that perform and make a positive contribu-
tainable museums (new, existing, and historical) is a multi- tion to the fabric of their communities. We wanted to help
headed hydra that sows conflicts around budget and need, to make the connection between the design and construc-
desire and reality, vision and capacity. The job of articulat- tion process and mission-fulfillment, underscoring long-term
ing goals, matching budget and schedule, and keeping the thinking, and the power of green for branding and education,
vision and intended outcome in sight is a tall order. Add as well as environmental responsibility.
in new green technologies, differing metrics, and shifting The idea for this forum was born of a conversation we
collections care standards, and you end up with a brew of had when we wanted to collaborate on an AAM session.
challenges and opportunities. While brainstorming, we kept circling back to the same
There are significant barriers to greening museums, many basic issue: Why aren’t museums greener? They are here for
of which arise from confusion related to costs and technolo- the long haul, right? Their missions revolve around saving
gies. The session’s format provoked a candid exploration collections for the “future”, right? This results in the expen-
of barriers and points of conflict. Onsite questions, as well diture of untold resources on energy and water—resources
as those pre-solicited from the field, stimulated a frank that are at risk, and which are harmful to the environment
examination of the issues. Sample questions included: in their production/extraction. Other industries are already
How important is LEED certification to achieving a green positioning themselves to adapt to climate change in
museum? Given the current discussion about collections innovative, systems-based ways that can serve as models.
care standards, how do you design for a situation in flux? Museums have started this process, but . . .
Can you provide an example of when you have questioned We looked at the LEED program (www.usgbc.org), just
one of many metrics, and where museums fall within the
nearly 10,000 LEED certified projects. Certified is the lowest
COURTESY: BURO HAPPOLD

COURTESY: BURO HAPPOLD

This sample of 60+ LEED certified museums shows distribution LEED-certified museums over a ten-year period.
across the rating levels, with Silver predominant.


The Experts
Since we designed the session in an unconventional way, each expert provided an unconventional bio.

Elizabeth Wylie LEED AP BD+C, Principal, Niall Cooper CEng MCISBE BEng (Hons) MSt,
WYLIE projects Associate Principal, Buro Happold
Elizabeth is a museum-oholic art historian who dreams Niall is an engineer, thinker and tinkerer with seventeen
that museums will start adopting a longer strategic view, years of engineering, thinking and tinkering under his
and position themselves to adapt to climate change with belt. He has engineered, thought about and tinkered with
resource-efficient buildings and sites, for the ultimate in museums across the United States. Of all the buildings
mission-fulfillment. he has engineered, thought about and tinkered with,
museums are his favorite.

Veronica Szalus, Director of Exhibits, National Nico Kienzl, DDES, LEED AP BD+C, ASHRAE HBDP,
Children’s Museum Director, New York, Atelier Ten
Veronica is a director of exhibits by day, and an installation Nico is a recovering architect, as well as a sustainability and
artist by night. She focuses on green practices in both building physics expert who enjoys seeing art in natural
fields, utilizing repurposed materials in many of her daylight and museums that connect to their surrounding
installations, and fighting the good fight for incorporating environment. Too tightly controlled museum environments
sustainable practices in exhibit design and daily operations give him “museum head” and reduce his attention span to
at the Museum. about 30 minutes.

Matthew Siegal, Chair, Conservation and Collections Meredith Mack, Executive Vice-President,
Management, Museum of Fine Arts, Boston Rise Group LLC
Meredith likes to make things work, and get things done. As
Trained as a ceramist and a glassblower, Matthew manages a result, she often finds herself a project manager or admin-
one of the largest art collections in North America. He istrator at fascinating places like museums, learning how
longs for the museum community to be able to set aside to implement new systems and ideas like “green building”.
the minutiae of daily operations, and embrace broader
discourse—such as, how do we, as a society, determine the
appropriate share of resources to commit to preservation Sarah Brophy, LEED AP EBOM, Principal, bMuse:
of our material culture? As collection stewards, what do Sustainable Museums
we owe the present generation, what do we owe future Sarah’s coolest green experiences as a volunteer include
generations, and how do we use the finite lives of the planting grasses to rebuild habitat in the Chesapeake Bay,
objects we collect? training as a marine-mammal-stranding team member
(unfortunately we get the dead ones), and building trails
on conservation land. She is dreaming of the day when
James Alexander FAIA LEED AP, Principal, museums operate as ecosystems!
Finegold Alexander
Jim is an architect and reuse pioneer, who is delighted to Christopher Mekal, Principal, Mekal Consulting
see early preservation efforts joined with environmental Chris looks forward to the day when green design is as
sustainability. He sees how this merger can positively shape unquestioned in building programs as electricity. In the
community through architecture, and wonders what new meantime, he keeps a sharp (and sometimes skeptical) eye
“green” expression will mean for the built environment. on the bottom line.

rating and Platinum is the highest (or most resource efficient). museums get to deep green; as a whole, however, the industry
Silver is little more than what is required by code in some has been behind the curve in getting there. What are the
states. In a sample of 60+ LEED certified museums, Silver barriers? What are the solutions to help museums get to
is the predominant target. fearless green?
If you look at the rate of adoption, there was a precipitous
falling-off of deep green around the time stricter energy
requirements were rolled out in the 2009 version of LEED.
The Project Kick-Off Meeting
It seems that museums are interested in—and indeed, For the session, we tried something new: a roleplaying
are—going green; but they just aren’t reaching higher, exercise. Audience members were invited to become “flies
which is something other sectors (colleges, universities and on the wall” during a project kick-off meeting. This was
corporations, for example) are already doing. Why aren’t followed by a randomized Q&A to keep it lively and edu-
museums—trusted and valued institutions with smart staff cational. The approach was intended to explore a serious
and leadership—similarly positioning themselves to adapt? subject in a fun way, in order to cut through the fear and
The technology and professional expertise exists to help confusion, and show how to get where museums want to go.


The scene is 45 minutes into an hour-long project kick- representation on the Building Committee—including
off meeting. The team has already introduced itself, shared staff working in collections care, exhibits, advancement and,
existing documentation, and reviewed schedule and budget, yes, facility management—was seen as important. Estab-
and program goals are being discussed. We enter as the lishing a Green Team is optimal for developing, managing
architect has just asked for specifics on what the Owner and monitoring museum-wide green practice going forward.
broadly described as “Green” approaches. Making a commitment and embedding sustainable practice
As the scenario played out and the audience asked into your organizational values can have a substantial
questions, the themes below emerged as areas that pose impact on how you design, operate, fund, and interpret
potential barriers to museums reaching for fearless green. your green building.

How do I know what Green is? The LEED Certification process scares me. I feel
Without exception, every member of the panel agreed that overwhelmed? What can I do?
early definition of sustainability goals is one of the single LEED is a recognized brand, and your audience and finan-
most important factors affecting costs—and ultimately per - cial supporters likely know and appreciate that there is some
formance—down the line. There was also agreement that verification of sustainability. The LEED process has been
each museum needs to educate itself about sustainability, and streamlined over time: documentation is less onerous (new
what it means for them as an institution—not just within online tools help, as has LEED’s adoption in the market-
the context of a building project, but also going forward place), and professionals are more skilled. There is still some
in terms of operations and education. Cross-disciplinary concern about what is sometimes called a LEED premium.

The Roleplay Scenario Committee with leadership on the project. He has never
been through a major capital project.
Owner
Emerald Museum and Gardens, a beloved local, private Head of Building Committee (Sarah)
non-profit institution. Long-time Trustee and potential major donor. She is a self-
made gazillionaire (invented a portable composter that
Program has taken the marketplace by storm). She is
Art museum with non-living, “encyclopedic” collections, knowledgeable about sustainability principles, but has
plus living botanical garden and designed landscape. never been through a major capital project.
Existing Building CFO (Chris)
20,000 sf Beaux Arts style, built in 1896; includes galleries, New to position (about six months). His last museum closed
offices, and 5,000 sf of collection storage. one year after the new building opened. He is traumatized by
capital-project cost overruns and lack of operational planning.
Expansion
He is watchful of the bottom line and a green skeptic.
15,000 sf, to include visitor services, café, gift shop, social
space, special exhibition galleries, performance and
Exhibition Designer (Veronica)
education spaces.
Head of the Museum’s Green Team and a sustainability
Systems advocate. She has never been through a major capital
Air-conditioning installed in 1950s; steam heating system project.
with scattered upgrades over the years.
Collections Manager (Matthew)
Site Long-time staff person with conservation background. He has
Five acres in tight urban setting in the Minneapolis/St. Paul been through minor storage and gallery-upgrade projects.
metropolitan area.
Facilities Manager
Total SF With a military background and 30 years at the museum,
35,000 sf (renovation and new construction). he has been through small-scale, patchwork capital upgrades.
He couldn’t make the meeting, as he had to attend to an
Total Project Budget: $36.4 million emergency systems failure.
Hard costs: $28 million (@$800/sf) • Soft costs: $8.4 million
(@ 30%) Design Team (Jim, Niall and Nico)
An architect, an HVAC engineer, and a sustainability consul-
tant. All are experienced and possess award-winning talent
The Players and technical expertise.
Director
Former Chief Curator, in position one year, following the Owner’s Project Manager (Meredith)
25-year tenure of the former Director. In Sweden visiting Savvy and experienced, she has been in the trenches both
the family of the museum’s founders and positioning for as a client and as an OPM. She knows her way around all
campaign ask, he has entrusted the Head of the Building aspects of capital projects.


Studies show, however, that working with a truly integrated the budget by looking at the following three areas of
design team—and establishing and committing to green opportunity with increasing order-of-magnitude costs.
goals early in the process—can minimize or even eliminate 1. Don’t forget the big picture and your long-term goals.
any premium for sustainable design and construction. Look well beyond simple payback by examining larger
There is also general recognition that some of the LEED investments that keep paying for the life of the building
criteria are not geared towards the special requirements of (ground-source heat pumps, etc.).
museums. To begin to address this, members of PIC Green
(AAM’s sustainability committee: www.facebook.com/ 2. Look at the interface and integration between the
PICGreen) have formed an ad hoc committee on LEED historical building and new construction.
in museums. Encouraged by the U.S. Green Building 3. Design a super-efficient new-build component through
Council (USGBC), the group has started reaching out to integrated systems and building-envelope strategies.
LEED-certified museums to foster an evaluation mindset, to
comment on LEED 2012 (now v4.0), and to make recom- Benchmarking was also mentioned, as was IAMFA’s
mendations for LEED and ways to increase its effectiveness annual benchmarking report. Participants in the exercise
for museums. This work parallels similar conversations know how useful that kind of data can be over time, as it
between PIC Green, AAM and Energy Star (the Environ- has resulted in significant savings in operating expenses.
mental Protection Agency and Department of Energy’s Knowing how your museum currently sits in relation to
energy-efficiency program: www.energystar.gov/) to find its contemporaries is important. Tracking overall energy
ways in which the museum community can better use this usage (often referred to Energy Usage Intensity, or EUI)
online tool. provides a useful benchmark for how well the building
When asked if LEED is necessary for the Emerald Museum fabric and systems are working together as a whole.
and Gardens expansion project, the roleplay engineer It’s not easy to obtain a true apples-to-apples comparison
responded that “it’s not necessary, but is a good framework in EUI between museum buildings, given the wide variety
for our approach as a design collective.” For the Emerald of spaces and program configurations. However, carefully
Museum and Gardens, the idea is to “choose our own destiny measuring where and how energy is used (when compared
with goals that make sense for what we are trying to do.” to similar building programs and geographical locations)
From an engineering perspective, the team could work up can provide an extremely useful guide in forensic engineering


efforts, which can improve both climate control margins a green skeptic, did concede that, as environmental respon-
and overall energy usage. It can also be used to set realistic sibility becomes more important to museum audiences,
EUI-improvement targets for renovations, as well as sensible they expect and are looking for evidence that resources
green-stretch exercises for new building components. Such are being used wisely.
assessments can be hugely beneficial prior to engaging in
significant capital development programs of expansion or Can we succeed in a fundraising campaign if we
upgrade. These exercises can help tune the system design aren’t green?
and prioritize upgrades, in order to obtain the “biggest The roleplay major donor said she would absolutely support
bang for your buck”. green approaches, saying she would work with the advance-
The take-away is about looking holistically at your institu- ment office to target asks around the kinds of things that
tion, your project, locale and culture. It is also about mea- motivate donors. She suggested that “some are only inter-
surement and goal-setting. Return-on-Investment (ROI) was ested in green bling” (e.g., PV panels that can be easily
cited as one decision-making tool that can help museums identified), while others understand that integrated green
come to terms with what is sometimes described as a “green approaches aren’t necessarily visible. Showing leadership,
premium”. A truly integrated design team can work with she noted, has tremendous benefits, and can be leveraged
energy modelers and cost estimators to test scenarios for for more support. There is also the compelling argument
various building and systems schemes, and can lead the for donors that raising money for green-building purposes
charge in discussing trade-offs. is in fact front-loading operating costs, since capital sup-
port is traditionally easier to raise than operating funds.
There is a dizzying array of products and technologies This kind of thinking is again looking holistically at an
out there. How can I measure the cost-effectiveness of institution’s needs.
installing these? Telling the green story before, during and after con-
Again, measurement plays a role in understanding how the struction can educate and inform, while also generating
building is being used and how to continually adapt and support both internally and externally. What are the sus-
improve energy efficiency as space use shifts and changes. tainable design features inherent your existing historical
An example is sub-metering. By monitoring every compo- building that you are restoring and/or reactivating in your
nent of energy use in the building, facility managers can renovation project? How is the new construction designed
gather and analyze data, and respond by changing the way to take advantage of passive green-design strategies (solar
in which the building is operated, in order to maximize and wind orientation, envelope design, etc.)?
opportunities to save even more energy. You can also get a lot of mileage out of things you don’t
An important point was made here about operating a see, which can also capture the imagination. While that
green building. As the roleplay sustainability consultant geothermal heat-pump system might be kind of “techy”,
put it, “We can design a great sustainable LEED Platinum it is interesting to think about the principles of the system.
project, and still have a really crappy building if we don’t Standing-column wells that are 1,500 feet deep can be
run it right.” Making sure the building is actually operated described as measuring the height of the Empire State
and maintained over time, the way it was designed to be Building—underneath your building. You can further
operated and maintained, is critical. The panel reinforced explain that this means you can avoid giant cooling towers
the fact that engaging facility staff at the beginning of a on the roof, which might mar the building’s historical con-
capital project can have a substantial impact on the outcome. text, which in turn feeds into a preservation story. Sharing
Commissioning—a systematic assessment of building- the ideas behind sustainable-design strategies provides oppor-
system design and post-occupancy performance—is required tunities to connect energy efficiency to mission-fulfillment
by the LEED program, and is a good idea whether LEED and the true cost of collections care.
certification is pursued or not. Retro-commissioning is also Greening heritage buildings is not as daunting as one
useful for existing building systems. In each case, commis- imagines when thinking about historic district commissions
sioning ensures that the building is operating as efficiently and the Secretary of the Interior’s Guidelines. Often it is
and safely as possible, and that it is operated and maintained simply about letting the historical building do what it was
by well-trained staff. This activity can also address some of designed to do, in terms of thermal mass, ventilation, and
the fear that springs up when the design team is specifying day lighting. Comparative studies of historical windows and
highly interactive design strategies and sophisticated insulation strategies support restoration and retrofitting for
control systems. preservation-oriented green building (www.english-heritage.
org.uk/professional/research/buildings/energy-efficiency/
How do I convince my museum to become energy thermal-performance-of-traditional-windows/).
efficient? How do I make sure that the art is not Preservation of collections, and the compatibility of this
sacrificed in the process? with sustainable design, has been demonstrated by leader-
Internal buy-in was identified as a significant barrier, with ship among collecting institutions that have led the way
leadership questioning the costs, and staff reticent to adopt with deep-green buildings that conserve resources while
new approaches that seemed at odds with commonly accepted also carrying out the mandate-based work of preserving the
collections care and exhibition practices. The roleplay CFO, objects, creatures, plants, and structures in their care. This


has been, and will continue to be, facilitated by new thinking reliant on increasingly at-risk resources in order to fulfill
about collection-care practices. The conservation community their mandates to preserve collections forever. Accepting
has ramped up the conversation and, indeed, has begun to that—and understanding that energy and water are critical,
outline new risk-based parameters for conditioned spaces if we are to continue to enjoy and learn from our collec-
for objects (www.iiconservation.org/sites/default/files/ tions—is the first step towards fearless green. And that
dialogues/plus-minus-en.pdf). requires leadership and a longer view.
This has created discomfort for some who have rigidly The good news is that museums across the globe have
held to the 50%RH/72°C formulation that many museum already shown leadership and a willingness to step onto the
curators and collection managers have had seared into their green road and follow it for the long term. The examples
brains. Scientific research, education, and honest discus- set by these early adopters and continual adapters are
sions within the field are shifting practice. This greater important in encouraging others, large and small, to follow.
flexibility has also extended to day lighting. Increased day Professional training programs with embedded sustainability,
lighting (direct, reflected, and diffused), in galleries as well as well as a general green zeitgeist, have also begun to
as in museum public spaces, reduces energy use and cooling break down barriers. Finally, it is up to those who design,
load, while also improving the visitor experience. build, and run museums—architects, engineers, directors,
The visitor experience lies at the heart of these issues— curators, facility managers, et al—to demonstrate that they
after all, what else is the point of saving all this stuff? As the are connecting the dots between mission-fulfillment and
roleplay collections manager put it, “As far as I am concerned, the health of the planet, and that they are taking action to
the objects we collect have no value without the human secure a bright future for both collections and people.
component. They have no relationship to one another in
our absence. The value they have is for our access and our Elizabeth Wylie LEED AP BD+C is Principal at WYLIE projects, a
interaction with them. If we were to be simply concerned consultancy providing strategy, marketing, development, and
with the preservation of our objects, we would never sustainability planning for the A/E/C industry and for museum,
cultural and preservation organizations.
display them, we would never loan them out, and they
would live forever in a dark storage vault.” Niall Cooper CEng MCIBSE BEng (Hons) MSt is an Associate
Clearly, museums have already made the decision that is Principal at Buro Happold, an independent international
not what we want to do. Within that context, museums are practice of consulting engineers.

ATKIN OLSHIN SCHADE ARCHITECTS
The Anne d’Harnoncourt Sculpture Garden and Parking Facility
125 SOUTH NINTH STREET, SUITE 900 | PHILADELPHIA, PA 19107 | 215.925.7812 | blog.aosarchitects.com


Benchmarking Options:
New Energy Survey and Classic
Comprehensive Survey
By Stacey Wittig

T
he IAMFA Benchmarking Steer- One way to really measure this is to translation for the survey and brochure,
ing Committee just released a new participate in the IAMFA benchmark- which was distributed in the handouts
energy survey to help facilities ing exercise and attend the annual to each attendee.
reduce energy costs and consumption. benchmarking workshop. Recognizing In May, the IAMFA Energy Survey
The IAMFA Energy Survey gives IAMFA that this is not practicable for all mem- was presented to the IAMFA Environ-
members a second benchmarking bers, IAMFA has proposed a shorter mental Group Meeting held at the
option. The new survey was designed energy survey, which will at least record Manchester Museum. According to
to meet the needs of smaller museums energy consumption and compare that participants, Jack Plumb provided
and conservators who are looking for consumption with their peers,” said an excellent overview of IAMFA and
benchmarking data to support changes Jack Plumb, Facilities Manager, National benchmarking at the joint Conserva-
in environmental conditions. Library of Scotland. tion and Estates/Facilities meeting.
The IAMFA Energy Survey measures The IAMFA Benchmarking Steering The concept of benchmarking was
results from the same survey questions Committee formed a subcommittee, new to some of the participants from
found in the energy section of the conducted a pricing survey, and dis- smaller institutions.
classic IAMFA Benchmarking Survey. cussed definitions and appropriate Not only will conservators and facility
The essential difference between the survey questions. The subcommittee managers, new to IAMFA benchmark-
two surveys is that the IAMFA Energy included Guy Larocque, Keith ing, get a tool to help meet the demands
Survey does not collect cleaning, main- McClanahan, Randy Murphy, Jack of government mandates for measuring
tenance, landscaping or security data. Plumb, David Redrup, David Sanders and reducing energy cost and con-
Both IAMFA benchmarking surveys and Stacey Wittig. sumption, but longtime participants
collect more data on summer/winter With International Council of of the classic study will be able to add
temperature and humidity setpoints Museums (ICOM) conservators and sites for which measuring energy is
than in previous years. The Steering European Bizot Group museum direc- crucial, but a full survey is not warranted.
Committee looked at the feasibility of tors becoming more focused on envi- For example, Plumb completes the
an energy study over a year ago, after ronmental guidelines, the subcom- complete survey every year for his main
facility managers in the U.K. brought mittee recommended questions about facility, but is looking to benchmark
the need to the Committee’s attention. temperature and humidity setpoint other sites for the Energy Survey alone.
Additionally, the Committee had been variances in different types of spaces. Participants of the Energy Survey
interested for years in increasing par- Hence, setpoints are collected for will also be able to print out an IAMFA
ticipation from small institutions, which Exhibition Areas—Permanent Displays; Energy Label to display in their build-
have neither the budget nor the man- Exhibition Areas—Temporary Exhibi- ings. Four years of data are needed
power for the complete survey. The tions; Conservation/Lab Areas; Collec- for a valid energy label. The IAMFA
Energy Survey, offered at a reduced tion Holding Areas, not including any Energy Survey is offered at one-third
fee, appears to meet the needs of off-site storage; Collection Storage; the fee of the complete benchmarking
both groups. and Library space, among seven other survey. Enrollment and results will be
“I think it is absolutely vital that space categories. The data collected is available year round. Read more at:
Facility Managers not only keep energy very specific to museums, libraries and www.facilityissues.com/Museums/
consumption under very close scrutiny, archives, unlike other benchmarking E_IndexE.htm
but also benchmark that energy con- studies. Harry Wanless, retired from
sumption with their peers. With much the British Library, called it “comparing Stacey Wittig, Marketing Director at Facility
work currently underway to make the apples to apples.” Issues, is an IAMFA member and sits on the
IAMFA Benchmarking Steering Committee.
environmental control of collection The subcommittee completed the She can be reached at Stacey.Wittig@
spaces more sustainable, energy con- IAMFA Energy Survey in time for the FacilityIssues.com or 928-255-4943
sumption should be reducing. So the annual European meeting in Paris last (GMT -7 hours).
real question is: Is it reducing enough? March. Guy Larocque edited the French


INSPIRED DESIGN,
INNOVATIVE ENGINEERING

CLIENTS INCLUDE:

Baltimore Museum of Art

Delaware Museum of
Natural History

Hagley Museum and Library

Monticello Visitor Center

National Gallery of Art

Smithsonian Natural
History Museum

U.S. Holocaust Museum

Virginia Museum
of Fine Arts

Walters Art Museum

Winterthur Museum

Walters Art Museum

IS A PROUD SPONSOR OF THE 22ND ANNUAL IAMFA CONFERENCE, MID -ATLANTIC, USA

“Our IAMFA clients are knowledgeable and
sophisticated about their design objectives
for museum spaces. We are proud to
support these unique environments with our
specialized engineering expertise.”

Robert Marino, PE, LEED AP
President
Mueller Associates

For more information, visit
www.muellerassoc.com
410.646.4500

Walters Art Museum

The Philadelphia Museum of Art
By Rich Reinert

T
he Philadelphia Museum of Art is housed in a unique
and spectacular landmark building that is as much a
symbol of the greatness of the City of Philadelphia
as Independence Hall or the Liberty Bell. As intense a
source of civic pride today as it was when it first opened
over eighty years ago, the building has always stood as
the physical expression of Philadelphia’s most ambitious
cultural aspirations.
When it first opened in 1928, only ten percent of the
galleries were fully completed and installed. The decades
since have been characterized by extraordinary and steady
growth, and by the late 1970s acquisitions of great works of
art and donations of legendary private collections filled all The Philadelphia Museum of Art.
available physical space. In 1981, the Museum completed an
architectural master plan, intended to maximize the Museum’s
facilities for collections and programming. Among the most In 2002, the Philadelphia Museum of Art started bring-
notable results of this undertaking were the reinstallation ing the objectives of the master plan to fruition. Various
of 90 galleries of European Art, completed in 1995, and the projects were implemented in phases:
expansion of our art-handling facility, which will open soon. • Purchase of a 50,000-square-foot building, which was
The master plan identified the limitations of the Museum’s converted to an art storage facility in 2004.
physical plant. There was a very real need—exceeding the
Museum’s existing capacity—for significantly expanded • Purchase of the Reliance Standard Life Building, which
space in which to display and store the collections adequately, was converted to the Perelman Building in 2007.
house the Library, and provide work areas for staff. • Main Building Exterior Envelope Project in 2009.
Simply put, there was no room left to grow, which is per-
haps the most troubling reality for a Museum fighting to keep • Opening of the newly constructed Parking/Sculpture
pace with the ever-expanding needs and interests of the Garden facility in 2009.
public it serves. While annual attendance and demand for • Expansion of the main building art-handling facility
our internationally acclaimed programs continue to increase, involving 38,000 square feet of new structure and 24,000
adequate space is not always available to accommodate more square feet of renovated space in 2012.
visitors. The legacy of deferred maintenance was also apparent,
as was the lack of sufficient parking for our visitors. The expanded art-handling facility, which will open in
The creation of new physical space consistent with August 2012, will include a dedicated art-loading dock, a
the integrity, beauty, and architectural significance of the dedicated loading dock for general materials, a collection
Philadelphia Museum of Art was a priority in preparing the area for recyclable materials, various workshops, IT labs,
institution for tomorrow’s visitors. The expanded facility will and a distance-learning broadcast studio.
provide for the future growth of collections and programs, During the September 2012 IAMFA conference, we
along with state-of-the-art facilities for art storage and con- look forward to showing you around the new art-handling
servation, a technologically advanced library and learning facility.
center, and adequate staff and back-office operations. It
was estimated that 150,000 square feet would be required Rich Reinert is Facility Contracts Manager at the Philadelphia
to meet all of the needs cited within the master plan. Museum of Art.

Expansion of main building art-handling facility, opening in August 2012.


Yo, Philly!
By Rich Reinert

Y
o! Prepare to learn a unique version of the English
language. The key is to train your brain to fill in the
blanks—so, when trying to speak Philly slang, put
your brain on half-speed and have at it.
Here in Philly, we are so excited to be welcoming our
friends from IAMFA that I thought we had better pass along
this little translation guide. If you’re bringing one of those
translator dictionary dingies, you can put that jawn—er,
book—away. My advice, if you get into a Philly slang
discussion, is to watch for clues in body language.
By the way, “jawn” pretty much means anything. It’s a
word used in Philadelphia to describe any noun when the
right word cannot be remembered within a reasonable
space of time.
Let’s try a few words, just to get you acclimated.

A-needing: Anything
Baffroom: Bathroom
Confer-bill: Comfortable
Do-inn: Doing—greeting, as in “Hal-yu-do-inn”.
Respond by saying “Hal-yu-do-inn” in a
deeper tone.
Fildelfia: Philadelphia
Fi-dollar: Five Dollars
Ga-head: Go ahead
Get-in: Getting
Haf: One-half
I-dear: Idea
Ice-in: Icing
Jeeet?: Did you eat?
Kant: Cannot
Ly-berry: Library
Mayan: Mine. Not those ancient Indians.
Nut-in: Nothing
Off-en: Often
Pock-a-book: Purse
Roun: Around
Sow-filly: South Philadelphia
Tawk: Talk
To-mara: Tomorrow
Underneef: Underneath
Wooder: Water
Wit: With (When ordering a cheese steak you may
be asked wit or wit-out. That means Cheese
Wiz. Or not).
You-ze: The plural version of “you”.

I hope this helps you-ze. If you need a-neding, ga-head n
LANDSCAPE
LANDSCAPE ARCHITECTURE / URBAN DESIGN / PLANNING
RE
send me an email. You-ze kant wander roun Filedelfia wit-
out speaking the language. 215.440.0030
PHILADELPHIA / 215.440.0030
LOS 323.387.3598
LOS ANGELES / 323.387.3598
Of course I’m over-exaggerating. You’ll have a great
info@theolinstudio.com
info@theolinstudio.com
time here. www.theolinstudio.com
www.theolinstudio.com
Rich Reinert is Facility Contracts Manager at the Philadelphia
Museum of Art.


External Vertical Shade Automation
Project at the California Academy
of Sciences
By Hershow Al-Barazi

T
he California Academy of Sciences has exterior shades
installed on the east, south, and west façades of the
Research, Collection, and Administration (RC&A)
buildings. Yes, they do help provide some relief from the
sun’s glare, but mostly they prevent heat-loading from the
sun. Reducing the heat load = reducing the amount of
cooling needed = energy savings!
Until recently, the shades were on a timer to extend/
retract, depending on the time of day. The shades would
be lowered regardless of actual conditions. For example,
some floors that require shade during the summer may not
require shade during the winter, and the time of day that
a floor requires shade changes throughout the year. Our
beloved fog may have enveloped the building, and it may Fig. 1: Southeast weather station with solar sensors.
be raining—regardless, the shades would be lowered on
schedule.
We needed to automate the shades to extend or retract angles (angle from the horizon, and the angle from east
based on the sun’s actual intensity and position. We also to west).
needed to integrate this automation into the Building The building’s orientation and the effect of the canopy
Management System (BMS). creates shade on the different floors. With this information,
We mounted three solar irradiance sensors (facing east, we calculated a range of elevation angles for each floor,
south and west) to measure the sun’s direction and angle and a range of azimuth angles for each wing.
relative to the roof’s surface. Finally, we created an interface screen on the BMS to
Using the sensor’s signals and vector analysis, the monitor the signals coming from each of the solar sensors,
system calculates the approximate position of the sun and provide a visual indication of the shades that should
throughout the day, in terms of the elevation and azimuth be lowered.

Fig. 2: Building orientation. Fig. 3: Canopy shade angles.


This screen also allows the Operations Department
to remotely extend or retract the shades for regular
maintenance.
Employees are still given the choice (via the manual
shade controls on each floor) to lower the shades when
they are not required, but the system controls the need for
them to be down on sunny days.
Academy employee Hershow Al-Barazi, under the watchful
eye of Ari Harding, Director of Building Systems, completed
the installation and programming.

Hershow Al-Barazi was part of the CAS LEED O&M Certification
team, and works primarily with the Air Handling and Building
Management system to help monitor and maintain ambient
conditions in the administrative offices, live exhibits, and
collections.

Figure 5: Rear of the Academy, with the shades up.

Figure 4: BMS vertical shade interface.

Past issues of Papyrus
can be found on IAMFA's website
www.IAMFA.org


The National Geographic Society
is a LEED-EB Recertification Star
By Michael Arny

T
he National Geographic Society
is one of the world’s largest non-
profit scientific and educational
organizations. Founded in 1888 to
“increase and diffuse geographic
knowledge,” the Society works to
inspire people to care about the planet.
It reaches more than 400 million
people worldwide each month through
its official journal, National Geographic
and other magazines, as well as the
National Geographic Channel, tele-
vision documentaries, music, radio,
films, books, DVDs, maps, exhibitions,
live events, school publishing programs,
interactive media, and merchandise.
The National Geographic Society has
funded more than 10,000 scientific
research, conservation and exploration
projects, and supports an educational
program promoting geographic literacy. the rating system is all about maintain- History of LEED
The National Geographic Society ing existing building performance, Recertification
also works to provide a model for cor- while also having a continuous improve- The first cycle of recertification led to
porate sustainability. The Society has ment program in place to improve Gold recertification being earned in
been involved from the very beginning performance over time. 2009, under the LEED-EB v2.0 rating
in Leadership in Energy and Environ- system. The Society started the recerti-
mental Design (LEED®), a rating fication cycle as soon as the USGBC
system developed by the U.S. Green started to define the process and the
Building Council (USGBC) to promote “The LEED program is a requirements for recertification.
building sustainability. The National The second cycle of recertification
Geographic Society headquarters build- great tool for maintaining
led to the earning of Gold recertification
ing was, in fact, the first building to be the high performance of our in 2010, under the LEED-EB v2.0
certified under the LEED for Existing headquarters building, and rating system.
Buildings (LEED-EB) pilot program, The third cycle of recertification led
earning Silver certification in 2003. This is very consistent with the
to the earning of Gold recertification
building is a multi-purpose building values of the National in 2012, under the LEED-EB Operation
measuring 746,237 square feet, with Geographic Society.” and Maintenance v2008 rating system
offices, museum space, a gift shop, (LEED-EB O&M 2008).
a cafeteria and meeting spaces. The —Robert Cline, Vice President, Over the nine years since the build-
museum space is about three percent General Services, at the National ing’s initial certification, the National
of the building’s total floor area. Geographic Society Geographic Society has implemented
Robert Cline, Vice President, General continuous sustainability improvement
Services, at National Geographic, said, measures, guided by the LEED-EB rat-
“The LEED program is a great tool for ing system. It uses Leonardo Academy
maintaining the high performance The National Geographic Society as its LEED consultant for ongoing
of our headquarters building, and is has been an early adopter of both recertification efforts. The National
very consistent with the values of the initial LEED-EB certification and Geographic Society has now earned
National Geographic Society.” ongoing recertification. The Society Gold certification twice under LEED-
LEED-EB requires recertification has recertified its headquarters on a EB v2.0, and once under LEED-EB
every one to five years. This is because regular basis. O&M 2008.


During the past nine years, the • Formation of a corporate Go Green Michael Arny, President of
National Geographic Society has steering committee and five Leonardo Academy, said, “The
implemented many green actions subcommittees. National Geographic Society has
to increase its sustainability taken a strong leadership position in
performance, including: demonstrating the importance of
• Recycling 56.4% of all waste through “We take great pride in our ongoing recertification under the
LEED-EB rating system as a tool for
a comprehensive diversion program, LEED status. Being able to
including cafeteria recycling and maintaining and increasing building
say we are LEED-EB Gold is performance over time. All building-
composting.
a badge of honor. Yet, we owning organizations face the challenge
• A comprehensive alternative trans- of institutionalizing continuous improve-
portation and commuting program, have a target out there
ment of building performance into their
including flexible schedules, tele- called LEED Platinum organizations’ DNA, and LEED-EB
commuting, bicycle racks and pre- that serves as a constant provides a robust framework for
ferred parking for carpools and achieving this while maintaining the
alternative-fuel vehicles. reminder that we can
market value of the facility asset.”
• Fixture water-use reduction 30%
always do better.”
Michael Arny has been a leader on energy,
greater than LEED requirements environmental and sustainability issues for
—Hans Wegner, Chief Sustainability
(with a calculated savings of more than 30 years. He is the President
Officer at the National
1,133,057 gallons per year). and founder of the charitable, non-profit
Geographic Society organization Leonardo Academy, which
• A multi-phase plan to upgrade advances sustainability and puts the com-
building control systems over petitive market to work on improving
several years. • Purchase of wind RECs covering the environment. Mr. Arny chaired the
100% of energy use. committee that developed LEED for
• An overhaul of the major mechanical Existing Buildings. He can be reached
systems that led to a 20% decrease • Participation in an energy demand- at www.leonardoacademy.org
in energy use. response program.

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2012 IAMFA Con
IAMFA DELEGATE PROGRAM
2012
SUNDAY,
8:00 am Benchmarking workshop Ritz-Carlton—Petite Ballroom
NOTE: This is a separate workshop for benchmarking participants only, and not part of the main IAMFA Conference.
INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS 3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room
5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange Room

MONDAY,
8:10-9:00 am Trolleys depart for Philadelphia Museum of Art, Timothy Rub or Gail Harrity
Opening Remarks/Notes
9:00-9:25 am Presentation 1: Making Museums & Cultural Institutions Safer Stacy Irving, Philadelphia Crime
Prevention Council
9:30-9:50 am Presentation 2: Master Planning at the PMA Aegis Property Group
9:55-10:40 am Presentation 3: Construction Challenges at the PMA Atkin, Olshin, Schade
10:40 am Coffee and Break Sponsored by Hess Corporation
11:00-12:30 pm Tour Options: BAS, Behind-the-Scenes & Art Gallery Tour, Philadelphia Museum of Art
Independence Hall Self-Guided Tour
12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant—
Sponsored by Tri-Dim Filter Corp.
1:30 pm Walk to Barnes Foundation Welcome
2:00-2:25 pm Presentation 4: TBD
2:30-2:50 pm Presentation 5: Designing a Positive Environment: Steensen Varming
Sustainable Approaches
3:00-4:00 pm Tour Options: Exterior Building Architecture and Landscaping The Barnes Foundation
4:00-4:45 pm Open time to walk the Museum The Barnes Foundation
4:45-5:00 pm Walk to the Ritz-Carlton
5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD

National Museum of American 5:30 pm IAMFA Board Meeting/Dinner Ritz Carlton—John Adams Room
Jewish History TUESDAY,
7:30-8:30 am Bus Depart to Delaware Welcome from Danielle Rice
8:40-10:30 am Annual General Meeting, Tour Collections Delaware Art Museum
10:30-12:00 pm Bus trip to Winterthur, Welcome, Guided Museum Tour Winterthur
or Tram Tour
12:00-1:00 pm Lunch & Stanley Steamers too! Winterthur—Sponsored by
Mueller Associates
1:15-2:30 pm Brown Horticulture Learning Center Project, Winterthur
Stanley Steamers, Garden Tram Tour
2:45-3:15 pm Bus trip to Hagley Museum Opening Remarks: Geoff Halfpenny
3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum
National Constitution Center 5:00 pm Buses depart for Longwood Gardens
5:30-6:30 pm Tour Options: Pump Room, Conservatory with Longwood Gardens, Conservatory
guide, tunnels
6:30-9:30 pm Cocktails, Dinner in Conservatory, Fountain Show Longwood Gardens, Conservatory—
Sponsored by Pennoni
9:30 pm Buses depart for Ritz-Carlton

WEDNESDAY,
7:30 am Trolleys depart for National Museum of American Opening Remarks—TBD
Jewish History
8:15-9:00 am Presentation 6: Using Benchmarking Results to Benefit K. McClanahan, G. Larocque,
your Organization K Gastright, J. Plumb
Hagley Museum 8:15-9:00 am Board Meeting with new Board Members National Museum of American
Jewish History
9:00 am Coffee Break
9:20-10:10 am Presentation 7: Advancements in Fire Protection Speaker: Jack Mawhinney,
Hughes Associates
10:10-12:00 pm Tour Options: Facilities Tour, Collections Tour, National Museum of American
Building Tour, open time to tour Jewish History
12:00-1:00 pm Lunch National Museum of American
Jewish History
1:15-4:00 pm Walk to Independence Visitor Center, self-guided Independence National Historical
Liberty Bell Tour, guided tours of park, or free time National Park
4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off
4:30-6:30 pm Free time
Longwood Gardens
6:45 pm Trolleys depart for Gala (show, cocktails, dinner, speakers) National Constitution Center

ference Schedule
GUEST PROGRAM IAMFA
2012
SEPTEMBER 16, 2012

3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS
5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange Room

SEPTEMBER 17, 2012
8:45 am Gather in hotel lobby for trolley departure (9:00)

9:00-11:00 am Trolley tour of Philadelphia Trolley Tours

11:00-12:30 pm Break and Self-Guided Gallery Tour/Visit Museum Store Philadelphia Museum of Art

12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant— Philadelphia Museum of Art
Sponsored by Tri-Dim Filter Corp.
1:30 pm Walk to Barnes Foundation Welcome
1:50-2:30 pm Museum Tour Mystery Museum
2:30-4:45 pm TBA TBA

4:45-5:00 pm Walk to the Ritz-Carlton
5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD
The Delaware Art Museum
SEPTEMBER 18, 2012
7:30-8:30 am Bus Depart to Delaware Welcome from Danielle Rice
8:40-10:30 am Tour Museum and hands-on activity in Studio Room Delaware Art Museum
10:30-12:00 pm Bus trip to Winterthur, Welcome, Garden Tram Tour Winterthur

12:00-1:00 pm Lunch & Stanley Steamers too! Winterthur—Sponsored by
Mueller Associates
1:15-2:30 pm Guided Museum Tour Winterthur

2:45-3:15 pm Bus Trip to Hagley Museum Opening Remarks: Geoff Halfpenny
3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum Rodin Museum
5:00 pm Buses Depart to Longwood Gardens
5:30-6:30 pm Tours Longwood Gardens, Conservatory

6:30-9:30 pm Cocktails, Dinner in the Conservatory, Fountain Show Longwood Gardens, Conservatory—
Sponsored by Pennoni

SEPTEMBER 19, 2012
7:30-10:45 am Free Time

Winterthur Museum and Country
Estate
10:00 am Gather in hotel lobby for trolley
10:15 am Trolley departs for National Museum of American
Jewish History
10:30-12:00 pm Tour gallery spaces National Museum of American
Jewish History
12:00-1:00 pm Lunch National Museum of American
Jewish History
1:15-4:00 pm Walk to Independence Visitor Center, self-guided Independence National Historical
Liberty Bell Tour, guided tours of park, or free time National Park
4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off
4:30-6:30 pm Free time
Ritz-Carlton Philadelphia
6:45 pm Trolleys depart for Gala (show, cocktails, dinner, speakers) National Constitution Center

Become a Member of IAMFA
AND GET A FRIEND TO JOIN
On behalf of the membership and Board, we invite you Membership Opportunities
to join with other museums and cultural organizations Join the IAMFA at any of the following levels and enjoy
throughout the world in becoming a member of the only full benefits of membership:
organization exclusively devoted to museum and cultural
facility administrators: the International Association of Regular Member — $200 annually. A regular member
Museum Facility Administrators (IAMFA). As a member, holds the position of principal administration in direct
you will join a growing list of museum and cultural facility charge of the management of facilities, and represents
administrators in their efforts to provide a standard of their institution(s) as a member of the association.
excellence and quality in planning, development and design, Associate Member — $75 annually. An associate member is
construction, operation and maintenance of cultural a full-time facilities management employee (professional,
facilities of all sizes and varieties of programming. administrative or supervisor), below the level of the
The Association currently has representation in several facility administrator of the member association.
countries on three continents. Our goal is to increase Affiliate Member — $75 annually. An affiliate member is
membership in institutions throughout the world. any full-time employee of a member institution who is not
directly involved in the facilities management department.
Your involvement in IAMFA will continue the growth
of the organization and provide you with excellent Retired Member — $75 annually. A retired member is
educational and networking opportunities. As your retired, and no longer involved in facilities management.
colleagues, we look forward to welcoming you to
Subscribing Member — $400 annually. A subscribing
membership in IAMFA.
member is an individual, organization, manufacturer of
Cordially yours, supplier of goods services to the institutions who ascribes
The Board of the International Association of Museum to the policies and programmes of the Association, and
Facility Administrators wishes to support the activities of the Association.

Send in your membership dues by using the convenient form below.
Membership payments and conference registration can also be made online at www.IAMFA.org
Don’t forget to make a copy to give to a colleague.

¡
YES! I would like to join IAMFA as a:
Ⅺ Regular Member $200 Ⅺ Retired Member $ 75
Ⅺ Affiliate Member $ 75 Ⅺ Subscribing Member $400
Ⅺ Associate Member $ 75 Ⅺ I am interested in joining. Please have a member contact me.

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

Please remit to:
ALL FEES ARE PAYABLE IN U.S. DOLLARS
International Association of Museum Facility Administrators
P.O. Box 454
Ⅺ I enclose a check in the amount of $ ____________________
Bel Air, MD 21014, USA
Ⅺ Please invoice me
Website: www.iamfa.org

www.lfdriscoll.com
www.lfdriscoll.com
m 610.668.0950

Carbon Management at National
Museums Liverpool
By Ian Williams and Chris Bailey

N
ational Museums Liverpool (NML) is a group of
museums and galleries, with diverse venues that
attracted over three million visitors last year. Our
collections are among the most important and varied in
Europe, containing everything from Impressionist paintings
and rare beetles, to a lifejacket from the Titanic. Members
of the public have free access to these collections in the
following venues across Merseyside:

Merseyside Maritime Museum, which also houses the The UK
Border Agency Museum, and the International Slavery Museum.

The Walker Art Gallery.

The Conservation Centre.

World Museum Liverpool. The County Sessions House.


The Piermasters House. Museum of Liverpool.

Lady Lever Art Gallery. Sudley House.

NML has some of the most interest- NML realised at a very early stage a period of two years. This system pro-
ing and important buildings in the that improvements could only be vided the information to map trends
region in which to show off its magnifi- assessed if a baseline of information in electricity, gas and water use, both
cent collections; however, the historical was collected, and targets set using for buildings as a whole, and—in the
nature of these buildings have pre- that information. NML made a major case of the larger venues—by area,
sented a challenge when it comes to investment in installing half- hourly through sub-metering.
energy/carbon management. monitoring throughout its Estate over These actions assisted NML to gain
This article provides a brief over- re-accreditation from the Energy
view of some of the actions taken over Foundation in 2005 and 2008, and
the past 12 years to understand, manage Carbon Trust Accreditation in 2010
and reduce energy consumption and and 2012.
by doing so, reducing the carbon The most significant energy use in
impact on society. These actions have NML’s buildings is the “Base Load”. As
culminated in NML recently being many of the buildings require environ-
placed joint first in the UK Carbon mental control for the protection of
Reduction National League Tables. artefacts, the Base Load exists 24 hours
When preparing an Energy and a day. Managing this has required
Environmental Policy 12 years ago, careful analysis and reference to the
NML put in place energy-saving envi- half-hourly data.
ronmental measures, which led to There was an increasing trend
Ian Williams (left) and Chris Bailey (right)
accreditation as an energy-efficient receiving the Carbon Champions award in energy usage until 2008, with con-
organisation from the National at the recent Merseyside Environmental sumption peaking at approximately
Energy Foundation in 2002. Awards. 13 gigawatts of gas and 16 gigawatts


of electricity across the venues. This sentation from an Executive Director. Nations Climate Change Conference
was due, in part, to the physical growth This was designed with a much broader in Durban (2011), hailed the Museum
of the Estate and the opening of new scope, in order to engage the organisa- of Liverpool as “one of the greenest
galleries throughout the first half of tion’s whole approach to sustainability. museums on earth”.
the decade. Although energy consump- The Forum has created a Vision State- The Carbon Reduction Commit-
tion had increased, energy consumption ment, a Sustainability Policy (which ment Energy Efficiency Scheme (CRC)
per square metre was being reduced. has superseded the previous Energy in the UK is a new regulatory incen-
The electrical infrastructure of the and Environmental Policy), and an tive to improve energy efficiency in
Estate, given the age, nature and use Action Plan. The group meets on a large public and private organisations.
of the different venues, had been regular basis to discuss and develop This mandatory scheme aims not only
altered and added-to over the past the organisation’s green credentials. to improve energy efficiency, but also
40 to 50 years, leading to (in places) NML has (in line with government to reduce the amount of carbon
inefficient electrical performance. requirements) continually assessed dioxide (CO2) emitted in the UK.
This has led, in turn, to two specific and reported energy/water usage over Every organisation whose annual half-
schemes: the introduction of power- time. The result of this—in addition hourly metered electricity was above
factor correction equipment, to reduce to the development of energy-efficient 6,000 MWh in 2009–2010 was obliged
the adverse effect of motors and flu- initiatives and prudent management— to participate. NML’s energy and
orescent lights on the system; and, is that the targets originally set in 2002 facilities team submitted energy data
more recently, the introduction of a have been exceeded, as verified through reports, and evidence of accredited
Voltage Optimisation system. accreditations from the Energy energy management systems in the
At World Museum Liverpool (where Foundation and Carbon Trust. summer of 2011.
energy consumption is highest), an NML’s newest Venue “The Museum A Performance League Table
energy-stabilising and -reducing system of Liverpool” has been designed as a including 2,104 participants has
was installed, which delivers a fixed twenty-first-century building, and has recently been released (December
222 volts, reducing energy and main- received much acclaim for its green 2011), placing NML joint first with an
tenance to machinery. The system is initiatives. The Museum is powered emissions level of 9,207t CO2. This
delivering an average 7% reduction in using state-of-the-art renewable and high standard was achieved through
electrical consumption at the venue. energy-efficient technologies. Its com- the initiatives taken over time in order
NML funded the scheme through a bined heat and power (CHP) system to improve how energy use is measured
UK Government Energy Savings Loan, at full capacity will reduce carbon and, more particularly, managed.
which is repaid from NML energy emissions by 884 tonnes each. The Since 2011, NML has set new targets
savings over four years. building also benefits from a rainwater- based on the Government’s Sustainable
To develop staff involvement and harvesting system, which supplies Development in Government guid-
commitment, NML initially launched “grey” water to the Museum’s toilets. ance. Although these targets are chal-
an Energy Champions forum, which Prior to opening in July 2011, the build- lenging, the organisation believes it is
was specifically geared to localised ing achieved an A-rated energy per - well placed to drive towards meeting
energy watch and action. This group formance certificate, and has recently these in the coming years.
achieved a limited number of successes won the Museums & Heritage Award
over the years. In 2010, a broader for Sustainability. CNN, in its climate- Chris Bailey is Estate Manager for National
Museums Liverpool. Ian Williams is Director
“Green Forum” was created with staff change television documentary, The of Estate Management at National Museums
from each building, representing all Road to Durban: A Green City Journey Liverpool, and has been a member of
levels of management, including repre- produced in preparation for the United IAMFA since 2008

EPIDEMIC PREVENTION AT WORK
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s Exercise regularly. sleeve, not hands.

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s Wash hands thoroughly—for at
least 10–20 seconds—and often. s Keep up on immunizations.

s Stay home when you are sick. s Avoid close contact with
those who are ill.


Awards for the Auckland Art Gallery
By Patricia Morgan

T
he Auckland Art Gallery has been winning a number Award at the 2012 Property Industry Awards: the highest
of awards in recent weeks, and we are all feeling very accolade a New Zealand commercial property can receive.
proud! We thought this might interest IAMFA members Gallery director Chris Saines said, “We set out to develop
—particularly those who attended the 21st IAMFA Conference a world-class gallery, and FJMT+Archimedia’s elegant and
last year in Auckland. considered design has been instrumental in achieving that
Auckland Art Gallery Toi o Tamaki has won the
¯ goal. Judging by the response of the near 600,000 visitors
International Award for Architectural Excellence from to date, this restored and expanded heritage building has
The Royal Institute of British Architects—the first time a become a flagship for the city’s architectural and urban
New Zealand building has won. The awards are given to design future.”
only 12 buildings a year, and recognise some of the world’s
most imaginative, dramatic and green buildings. Other Full list of awards won by Auckland Art
winners in 2012 include the world’s tallest building: the
Guangzhou Finance Centre.
Gallery Toi o T¯
amaki in 2012:
This international award comes within a month of the 2012 Royal Institute of British Architects
Gallery also winning the New Zealand Architecture Medal • International Award for Architectural Excellence
at the New Zealand Architecture Awards, and the Supreme
2012 NZ Museum Awards
• Project Achievement Award for Museum or Gallery
Development

2012 NZIA Awards
• New Zealand Institute of Architects incorporated, NZ
Architecture Award, Heritage—May 25, 2012
Architecture Award, Public Architecture—May 25, 2012
Architecture Medal—May 25, 2012

2012 Property Council New Zealand Property Industry
Awards
• Education and Arts Property Award
• Heritage and Adaptive Reuses Property Award
• Supreme Award

Patricia Morgan is Head of Learning & Gallery Services at Auckland
The New Auckland Art Gallery. Art Gallery Toi o T¯
amaki.

Entrance to the Art Gallery. IAMFA members tour the galleries.


Architect of the Capitol’s Office of
Security Programs Recognized
for Excellence in Customer Service

T
he Architect of the Capitol’s of the U.S. Capitol Police’s buildings changed, there was, on average, a
Office of Security Programs was and grounds, while also providing cus- backlog of 380 work orders, and it
recently recognized by Building tomer service and support related to would take an average of 55 days to
Operating Management Magazine with its the physical security of the Capitol complete a work order request. After
FMXcellence Award for excellence in campus. To improve its customer ser- the new process was put in place, there
customer service. The FMXcellence vice concerning issuing, tracking, and were fewer than 20 outstanding work
awards recognize facilities management responding to customer work orders, orders, and it would take only three
teams that “spearhead and execute Office of Security Programs staff imple- days to complete a customer request.
stand-out projects and programs.” The mented a new and improved work “In addition to rolling out the new
honorees are chosen for demonstrating order system, in conjunction with the work order system, OSP staff initiated
that they add significant value to their U.S. Capitol Police. The new work an educational campaign to inform our
customers by helping to achieve their order process eliminated the use of customers about the services we pro-
broader goals. redundant systems across the two agen- vide, and the improvements we made
“Providing extraordinary customer cies by consolidating all work orders to the work order process,” noted
service and going the extra mile are into one system. In addition, it created Kenneth Eads, Director of the AOC’s
among our agency’s strategic goals, a new customer service center as the Office of Security Programs. “Our team
and receiving this award, which recog- central point of contact for all customer did a great job of analyzing the changes
nizes that we are achieving our mission, requests, ensuring timely response and that needed to be made. They worked
is a great honor,” said Architect of close-out of work orders, and imple- closely with the U.S. Capitol Police to
the Capitol Stephen T. Ayers, FAIA, mented a “Pulse Survey” that provided implement the changes, and they have
LEED AP. immediate feedback from customers as successfully made this process more
The AOC’s Office of Security to the quality of the service they received. effective and efficient—as demon-
Programs (OSP) is responsible for the The improvements were dramatic. strated by this award for excellence
care, maintenance, and operations Before the work order system was in customer service.”

Become a Member
of IAMFA
For more information on becoming
a member of the
International Association of Museum
Facility Administrators, please visit
WWW.IAMFA.ORG
or
See page 22
for details and enrollment form


IAMFA Environmental
Group Meeting—
Manchester Museum
By Jack Plumb

A
nother sunny day, another fantastic venue—it must To come up with a basic sustainable design, the design
be the latest gathering of UK IAMFA members. team identified a number of fundamental proposals, which
And so it was, the occasion being the latest IAMFA were accepted by the University:
Environmental Group meeting, where over thirty IAMFA
• Provide gallery space that did not need air-conditioning.
members and preservation professions get together to
discuss common themes. • Provide a view of parkland at the rear of the Gallery to
David Redrup, our IAMFA colleague at the Tate Gallery, bring the Gallery closer to the public.
held the first meeting following a request from UK members
• Move current archive storage to an existing basement
to work more closely with our preservation colleagues to
location, improving the environmental stability of the
move towards a more sustainable environmental control of
collection.
collection spaces and archives. This was our third meeting
of this group, and I do think that these meetings are starting • Achieve a BREEAM (Building Research Establishment
to lead to a better understanding all round. Energy Assessment Method) “Excellent” rating.
We are very grateful to our host for this meeting, Nicola
Walker, Head of Collection Care and Access at the Manchester The design team, working with Museum staff, identified
Museum/The Whitworth Art Gallery. Nicola is also on the existing underground vaults as the most environmentally
Manchester University Sustainability Group, representing stable location within the Museum. Following a satisfactory
the Museum. analysis of the flood risk, these were accordingly deemed
Nicola provided the first presentation on the £12-million adaptable as an ideal location for the archive store. This
development of the Whitworth Art Gallery. Nicola explained left the main hall, formerly used as an archive store, as an
that the Whitworth Gallery became part of the University ideal place to form new galleries. The hall also had an
in 1959, so this major development is being managed by unbroken gable end, which could be opened out onto a
the University. The University is a signatory to the 2005 public park, thereby meeting one of the fundamental
Tallories Declaration: an official commitment to environ- principles of the design brief.
mental sustainability in higher-education establishments. As The design team then turned its attention to deciding
the Museum representative with the University Sustainability the environmental control parameters for the archive
Group, Nicola has a seat at all design team meetings. store and new galleries. The design team looked at the
BIZOT (NMDC) standards—16°C–28°C (61°F– 44°F)
and 30%–70% RH—and also VAM (Victoria and Albert
Museum) standards—18°C–25°C (65°F–77°F) and
40%-65% RH. Using these broader parameters, and the

Gallery front exterior: Whitworth Art Gallery at MUMA design for WAG park entrance—Whitworth Art Gallery
Manchester University. at Manchester University—showing proposed extension.


latest guidance documentation—PAS 198 and PD5454— attend the 2008 IAMFA conference in London would have
the design of the new galleries will have a passive approach seen—there can be problems. Patrick explained that, once
with no air-conditioning, and will be naturally ventilated. the plant was in operation, despite the fact that it was main-
Dean Whiteside, also of the Manchester Museum, pro- taining the correct environmental conditions, energy con-
vided the next presentation on how the Museum went about sumption was still considerably higher than predicted. This
installing a green roof over its canteen area. The green roof even included boilers running through the summer and
was funded with European finance, provided through a chillers operational through the winter. With close obser-
Manchester Council initiative. He explained how a detailed vation of the BMS controls, it was noticed that the different
structural investigation of the roof was required to ensure plants were actually fighting one another: as one unit went
that the existing roof could support the green roof. The into cooling mode, it caused the adjacent unit to go into
Museum managed to persuade the University to bring for- heating mode. The solution was simple enough: the dead
ward planned maintenance of the roof, in order to install band for the environmental control regime was increased,
a new roof membrane with an anticipated 20-year lifecycle. leading to a considerable reduction in plant operation. This
The Museum took considerable time to decide on which amply demonstrates the benefits of having an intelligent
plant to use, and eventually decided on sedum as the plant client managing the contractors who are generally in charge
that best met their requirements. on a daily basis.
Dean also spoke about other initiatives that the Museum The final presentation was made by Paul Davies, Head
had started, including the establishment of a small allotment of Estates and Facilities at the National Archive. Paul has
garden to demonstrate what could be grown in Manchester’s been working for a number of years with Kostas Ntanos,
city centre. The garden is cared for by staff, volunteers and Head of Conservation and Development at the National
students, who together have managed to grow over 30 vari- Archive, to establish the most effective balance between
eties of vegetables, herbs and fruits. Another initiative, controlling an archive’s environmental parameters and
involving the installation of beehives on the roof of the long-term protection of the collection stored within that
Whitworth Art Gallery, sounds very similar to the Grand archive. In his presentation, Paul described how he took this
Palais in Paris. great work by Kostas and turned it into a control regime for
Patrick Dixon of the British Library was next up, telling an air conditioning system, which he has called “seasonal
us how even with a brand-new building—the fully automatic drift”. I won’t go into the details of this presentation here,
storage facility, which some colleagues fortunate enough to as the work by both Paul and Kostas fully deserves a more
detailed explanation. Perhaps something to look forward
to in a future edition of Papyrus.
The meeting was wound up by David Redrup of the
Tate, who expressed his thanks to Nicola Walker and the
Manchester Museum for being our hosts for the morning.
On a final note, David Sanders announced that he will be
retiring from his post as Director of Estates and the Natural
History Museum in June. David has made a significant con-
tribution to IAMFA, and I am sure that all of our IAMFA
colleagues around the world will miss David as much as
we will miss him here in the U.K. David has supported the
Benchmarking working group for a number of years now,
and I know that group will be the poorer for his absence.
The good news is that David will be Philadelphia—no
doubt to tell us all how difficult it is to be retired, and
the challenges that brings!

UK IAMFA members gather for the third meeting of the UK Jack Plumb is Head of Estates at the National Library of Scotland
Environmental Group. and is the U.K. Region Chair for IAMFA.

Become a Member of IAMFA
For more information on becoming a member of the
International Association of Museum Facility Administrators, please visit
WWW.IAMFA.ORG


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Regional Updates and Member News
Baltimore-Washington, D.C. afternoon sessions focused on applying some of that theory
Member Region in Personal Protective Equipment (PPE) assessments, and
Job Hazard Analysis (JHA) exercises. Fully half of the OFMR
Quarterly Meeting of the Baltimore-Washington, D.C. staff at NZP participated actively in this Safety Stand Down.
Member Region
By Maurice Evans
United Kingdom Member Region
The Baltimore-Washington, D.C. Member Region held its John De Lucy’s Fourth of July Update
quarterly meeting on Wednesday, June 6, with over 35 mem-
bers in attendance. The meeting was held at the National On July 5, 2012, Randy Murphy wrote to the IAMFA Board:
Museum of the American Indian (NMAI), Smithsonian
Institution. John Bixler, a Zone Facilities Manager at the Hope all had a great Fourth of July, particularly you John—
Smithsonian Institution, presented a captivating presen- I assume there were huge celebrations in London!
tation titled “An Overview of NMAI LEED Certification Randy
Accomplishment”.
John’s presentation provided an overview of the obsta- John’s reply:
cles and challenges they had to endure in order to achieve
LEED certification. His presentation initiated plenty of On July 4, all I heard was wailing and the gnashing of teeth.
discussion concerning LEED certification. Roger Chang How can you celebrate the madness of our shared King George the
was also introduced on behalf of the AAM Green Third? Don’t forget he was your king too, for 16 years! In 1776, my
Building Initiative. town here—ROYAL Tunbridge Wells—was celebrating 170 years
During the meeting, IAMFA members were also informed of history. The Pantiles, next to where I live, was the first street in
of the exciting news that Washington, D.C. will host the the world to be built for the sole purpose of perambulation in 1660,
2013 IAMFA Annual Conference. Planning for that con- and has never carried any traffic of any kind. If any of you care to
ference will start soon, but in the meantime, members of visit me, I will happily take you for a perambulation on the Pantiles!!
the Baltimore-Washington, D.C. Member Region are look- One walks on the Pantiles
ing forward to seeing everyone at the upcoming annual to show off one’s fine clothes!
conference in September. My two pith helmets, one white
and one brown, worn by my father
in Malaya and Tanganyika
Smithsonian Office of Facilities during colonial times (which I
Management & Reliability Hold know you remain jealous of),
Safety Stand Down at the National cause quite a stir on the Pantiles.
Zoological Park I know you will not be able to
By Dan Davies resist, so let me know when you
IAMFA President John De Lucy plan to visit. We can have lunch
The Smithsonian Office of Facilities Management & looking very dapper in one of on my Mediterranean Terrace at
Reliability (OFMR) held a Safety Stand Down at the his pith helmets. the back of my garden.
National Zoological Park (NZP) on Monday, June 5, 2012.
They celebrated 221 days without an OFMR lost-time
injury—a site record dating back more than five years. The
event was inspired by a brief burst of near-miss incidents
that could have caused injuries but, due in part to enhanced
awareness, did not.
Among these incidents were timely responses to a freon
refrigerant spill, a fuel oil spill, and a pallet jack accident.
The Stand Down, organized by Mary Lariviere, Interim
NZP Safety Coordinator, included a crowd-rousing session
with Nancy Bechtol, Director, OFMR, and welcoming
remarks from Dennis Kelly, Director NZP.
Morning presentations on safety policy and theory were
given by Steve Walden and Chuck Fry, and by Mary Lariviere,
all from the Office of Safety Health & Environmental Man- The Mediterranean Terrace at the De Lucy house, decorated for the
agement (OSHEM). After burgers and dogs in the alley, Fourth of July.


Please visit www.visittunbridgewells.com/site/discover-the-
town/the-pantiles for more images and information on the Pantiles
in Tunbridge Wells.
Yours, John

New Zealand Member Region
By Patricia Morgan

Following the 2011 conference in Auckland, there was
heightened enthusiasm from New Zealand members to
meet on a regular basis. At Cliff Heywood’s kind invita-
tion—and through his proactive approach in actually
encouraging us to get together—a group of us met at his
facility, the Navy Museum in Devonport, on May 24. This
date coincided with a visit to Auckland by Rob Stevens and
Pam Harris from the National Library of New Zealand in
Wellington, so they joined us as well. Others in attendance
were John Glen (Auckland Museum), John Manning
(Te Papa, Wellington), Murray Dick (Voyager Maritime
Museum), and Patricia Morgan (Auckland Art Gallery).
The day included a welcome from David Wright,
Director of the Navy Museum, and his interesting presen-
tation on the Museum’s long-term development plan. We
were also given a tour of the Museum’s collection store and
the Navy base, including the Armoury.
An update on the 2012 conference (which John Glen
will attend) and upcoming Board vacancies was given, and
those present also wanted to note their appreciation for
John De Lucy’s leadership as President of the Association.
Discussions were held on how we can increase New Zealand’s
membership in IAMFA, and there was a roundtable dis-
cussion on issues and developments occurring at each
attendee’s institution.
It was agreed to hold the next session in Wellington in
late October, so that there would be feedback on the 2012
conference in Philadelphia. All in all, it was a great first
meeting—and Cliff even ensured that the sun was shining,
so the views over the Waitemata Harbour were spectacular!

Patricia Morgan is Head of Learning & Gallery Services at Auckland
Art Gallery Toi o T¯amaki.

Left to Right: John Glen, Rob Stevens, Patricia Morgan (seated),
Pam Harris, John Manning, Cliff Heywood.


IAMFA Members — Organizations
Physical Resource Bureau
AUSTRALIA Ottawa, Ontario UNITED KINGDOM UNITED STATES
Australian Centre for the Royal British Columbia British Library AFS Chemical Filtration Group
Moving Image Museum London, England Burlington, MA
Melbourne, VIC Victoria, British Columbia
British Museum Alaska State Museum
Museum of Old and New Art Sir Sandford Fleming College London, England Juneau, AK
Berriedale, Tasmania Peterborough, Ontario
Camfil Limited Anacostia Community
Museum Victoria Haslingden, Lancashire Museum
Carlton, Victoria FRANCE Compton Verney House Trust
Washington, DC

National Gallery of Australia Compton Verney, Warwickshire Aquarium of the Bay
Grandpalais
Canberra, ACT Paris San Francisco, CA
Creative Consulting
National Library of Australia Partnership LLP Architect of the Capitol
Canberra, ACT London, England Washington, DC
NEW ZEALAND
National Museum of Australia Historic Royal Palaces Architrve PC Architects
Aldgate, South Australia Auckland Art Gallery Molesey, Surrey Washington, DC
Toi o T¯
amaki
National Portrait Gallery Auckland, Auckland The National Archives Arkansas Art Center
Canberra, ACT Richmond, Surrey Little Rock, AR
Auckland Council
Questacon, The National Auckland National Galleries of Scotland Art Institute of Chicago
Science and Technology Edinburgh, Scotland Chicago, IL
Auckland Museum
Center Auckland
Canberra, ACT National Gallery, London Arts and Industries Building
London, England Washington, DC
Camfil Farr, New Zealand
Steensen Varming Auckland
Sydney National Library of Scotland Atlanta History Center
Edinburgh, Scotland Atlanta , GA
Christchurch Art Gallery
Christchurch, Canterbury National Museum of Science Baltimore Museum of Art
CANADA Baltimore, MD
& Industry
Coffey Projects London, Middlesex
Canada Science & Technology
The Barnes Foundation
Museum Corporation The Department of Internal Merion, PA
Ottawa, Ontario
National Museums Liverpool
Affairs Liverpool, England
Wellington, North Island Beyer Blinder Belle
Canadian Museum of New York, NY
National Portrait Gallery
Civilization Hawkins Construction Ltd London, England
Gatineau, Quebec Auckland, Boston Athenaeum
Natural History Museum Boston, MA
Canadian Museum of Nature National Library of London, England
Ottawa, Ontario New Zealand Brooklyn Museum of Art
Wellington Tate Brooklyn, NY
Cofely Services Inc. London, England
Montreal, Quebec Royal New Zealand Navy California Academy of
Devonport, Auckland University of Greenwich Sciences
Lundholm Associates London, England San Francisco, CA
Architects Te Papa Tongarewa Museum
Toronto, Ontario of New Zealand Victoria & Albert Museum Carnegie Museums of
Wellington London, England Pittsburgh
National Gallery of Canada Pittsburgh, PA
Ottawa, Ontario The Wellcome Trust
Nova Scotia Museum
QATAR London, England Cleveland Museum of Art
Cleveland, OH
Halifax, Nova Scotia Qatar Museums Authority
Doha Cooper-Hewitt, National
Peterborough Museum &
Design Museum
Archives Qatar National Museum New York, NY
Peterborough, Ontario Doha
Cypress Security, LLC
San Francisco, CA


Delaware Art Museum Lighting Services Inc. National Museum of Natural Smithsonian Institution
Wilmington, DE Stony Point, NY History Washington, DC
Washington, DC
Delaware Museum of Natural Longwood Gardens, Inc Smithsonian Institution
History Kennett Square, PA National Museum of the Building, The Castle
Wilmington, DE American Indian Washington, DC
Los Angeles County Museum Washington, DC
Ewing Cole of Art Smithsonian National Air and
Philadelphia, PA Los Angeles, CA National Museum of the Space Museum
American Indian, George Suitland, MD
Exploratorium McGuire Engineers Gustav Heye Center
San Francisco, CA Chicago, IL New York, NY Sodexo
Waltham, MA
Facility Issues Milwaukee Public Museum National Portrait Gallery
Flagstaff, AZ Milwaukee, WI Washington, DC Sodexo
Canyon Country, CA
Fine Arts Museum of Minnetrista National Postal Museum
San Francisco Muncie, IN Washington, DC Solomon R. Guggenheim
San Francisco, CA Foundation
Mueller Associates National Zoological Park New York, NY
Folger Shakespeare Library Baltimore, MD Washington, DC
Washington, DC Stanford University Green
Museum of Fine Arts — Neue Galerie Library
Freer Gallery of Art and Boston New York, NY Stanford, CA
Arthur M. Sackler Gallery Boston, MA
Washington, DC New York Hall of Science Synthesis Incorporated
Museum of Fine Arts — Queens, NY Columbia, MD
Friends of the High Line Houston
New York, NY Houston, TX Oakland Museum of California Thomas Jefferson
Oakland, CA Foundation, Inc.
Getty Center Museum of Modern Art Charlottesville, VA
Los Angeles, CA New York, NY Pacific West Region of the
National Park Service United States Holocaust
Hagley Museum & Library National Air and Space San Francisco, CA Memorial Museum
Wilmington, DE Museum Arlington, VA
Washington, DC Philadelphia Museum of Art
Hammer Museum Philadelphia, PA Winterthur Museum, Garden
Los Angeles, CA National Air and Space and Library
Museum, Udvar-Hazy Center Questions and Solutions Winterthur, DE
Harvard Art Museums Chantilly, VA Engineering, Inc.
Cambridge, MA Chaska, MN Yale University Art Gallery
National Archives and New Haven, CT
High Museum of Art Records Administration Renwick Gallery
Atlanta , GA College Park, MD Washington, DC
Hirshhorn Museum and National Constitution Center Salvador Dali Museum
Sculpture Garden Philadelphia , PA St Petersburg, FL
Washington, DC Although we do our best
National Gallery of Art San Francisco Art Institute to ensure that our
J. Paul Getty Trust Landover, MD San Francisco, CA
Los Angeles, CA Directory information is
National Museum of African San Francisco Maritime
The Jewish Museum American History and Culture National Historical Park as up-to-date as possible,
New York, NY Washington, DC San Francisco, CA errors and omissions can
Lee Construction Consultants National Museum of San Francisco Museum of always occur. If you
LLC African Art Modern Art
Richmond, VA Washington, DC San Francisco, CA would like to make any

Library of Congress changes to your
National Museum of The Sixth Floor Museum at
Washington, DC listing, please contact
American History Dealey Plaza
Washington, DC Dallas, TX
Library of Congress Alan Dirican at
(Packard Campus for Audio National Museum of Smithsonian American Art
Visual Conservation) adirican@artbma.org
American Jewish History Museum
Culpeper, VA Philadelphia,, PA Washington, DC


Index of Papyrus Technical and Historical Articles
Title Author(s) Issue
2009 Engineering Excellence Awards—Recovering the Lost Stream at Winterthur Pennoni Associates Winter 2009
2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010
2012 IAMFA Annual European Meeting Jack Plumb Spring 2012
The A.A. Bakhrushin State Central Theatre Museum Dmitry V. Rodionov Spring 2009
A New High for Atlanta Kevin Streiter Summer 2003
Air Quality Standards for Preservation Environments Chris Muller Winter 2010
Air Tightness Strategies—The British Library Additional Storage Program John de Lucy and Julian Taylor Summer 2006
Construction Project
Air-to-Water Heat Pump for Domestic Hot-Water Generation Allan Tyrrell Fall 2011
Apprenticing in Facilities Management Kate Hickman Summer 2006
Architect of the Capitol Begins Restoration of the Capitol Dome Skirt Architect of the Capitol Winter 2012
Architect of the Capitol Begins Conservation of Statue of Freedom Architect of the Capitol Spring 2012
The Art Institute of Chicago’s Unique Fan Wall System William Caddick, William Strangeland, and Winter 2007
Michael Murphy
Auckland Art Gallery Toi o Tamaki—Building Development Update
¯ Patricia Morgan Summer 2010
Auckland Art Gallery Toi o Tamaki—The Kauri Ceilings
¯ Patricia Morgan Winter 2010
The Auckland Art Gallery Toi o Tamaki Opens its Doors to Virtual Visitors
¯ Catherine Lomas, David Reeves and Patricia Morgan Summer 2003
Be Seen in the Right Light: The Value of a Tight Lighting Specification Mark Rowling Summer 2003
Benchmarking: A Comparison over Time Stacey Wittig Summer 2010
Benchmarking: Are We Still Relevant? Stacey Wittig Spring 2012
Benchmarking: How to Use Data as an Agent for Change Stacey Wittig Fall 2011
Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011
Benchmarking Workshop Reveals Best Practices that Save Money Stacey Wittig Winter 2012
Best Practices Daniel D. Davies Summer 2002
Best Practices in Recycling San Francisco Department of the Environment Winter 2010
Beyond Hipopta agavis—Wet Collections Facility Design Walter L. Crimm and Bryan L. Stemen Spring 2004
Black & McDonald, CMM, and Museums Richard E. Harding and Edmond Richard Summer 2002
Boiler Replacement at the Natural History Museum in London Glynnan Barham Fall 2008
British Library: An Energy-Saving Case Study Patrick Dixon Spring 2011
British Library Additional Storage Program John de Lucy Summer 2007
The British Library Centre for Conservation John deLucy and Harry Wanless Winter 2007
The Canadian War Museum—River Water for Sanitary Use: Richard Harding Summer 2006
Trials and Tribulations
Carbon Saving at the Natural History Museum London CIBSE— Glynnan Barham Spring 2008
100 Days of Carbon Saving
Cool Efficiency at Chicago’s Museum of Science and Industry—Careful Elizabeth Miller, Anthony B. McGuire, Winter 2009
Planning and Analysis Leads to Successful Installation of New Central Plant David M. Brooks and Michael J. Murphy
The Delaware Art Museum Celebrates its 100th Anniversary Bruce Canter and Molly Keresztury Spring 2012
The Donald W. Reynolds Center for American Art and Portraiture Opens in Daniel Davies and the Reynolds Center Public Summer 2006
Washington, D.C. Affairs Staff
Electrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004
Energy Management Improvements at the Canadian Museum of Civilization Guy Larocque and Todd Keeley Winter 2002
Energy Star Roofs are Cool Richard Stomber Spring 2008
Existing Building Commissioning Rebecca T. Ellis Spring 2008
Experiences of a Facility Manager during the Evolution of Building Automation Vincent Magorrian Spring 2010
Exploratorium Construction Update Jennifer Fragomeni Fall 2011
Facility Managers Lead the Move to Green with Improvements Thomas A. Westerkamp Summer 2010
in Energy Efficiency
Fade-Testing of Museum Objects at the National Museum of Australia Nicola Smith and Bruce Ford Fall 2011
Family Ties to the Auckland Museum John deLucy Fall 2011
Fire Protection and the British Library Repository John de Lucy Spring 2006
Getty Center Becomes First Facility in the U.S. to be Rated “Green” Joe May Spring 2005
through LEED-EB Certification
Grand Prix Winner for Architecture in Scottish Design Awards 2002— Alastair Cunningham and Chris Mclaren Summer 2002
Engineering the Sustainable Museum Environment at the Museum of
Scottish Country Life
Green vs. Sustainable Rebecca T. Ellis Spring 2012
Hagley Museum and Library Michael Downs Spring 2012
The Harley-Davidson Museum—The First Museum to Gain GREENGUARD Tim Dotson Winter 2009
Certification


Heritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Heritage Preservation Winter 2003
Cultural Heritage as a Result of 9/11
History, Legacy in the New Canadian War Museum Raymond Moriyama Spring 2003
IAMFA . . . The First Twenty Years IAMFA Members Summer 2010
The Importance of Evacuation Plans Peter Fotheringham and Peter J. Gyere Spring 2002
Improving and Adding Value for Benchmarking Participants—A Year in Review Stacey Wittig Spring 2009
In the Light of Day—Daylight in Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Spring 2011
The Installations of the Guggenheim Museum Bilbao: A Dialogue Between Rogelio Diez and Luis Pablo Elvira Summer 2002
Engineering and Architecture
Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006
It Began Just Like any Ordinary Day—A Museum Facility Manager’s View of Lloyd O. Headley Summer 2002
September 11
Lean Green Means Museum Restroom Sustainability and Savings Thomas A. Westerkamp Summer 2009
Lean Leadership in Facility Management Stephanie Wurtzel and Judie Cooper Spring 2012
LED Use in the Museum Environment Ken Kane Winter 2010
LEED Certification for the National Museum of the American Indian John Bixler Winter 2012
The Library of Parliament—Ready for a New Generation Mary F. Soper Spring 2005
Light Culture and Light Typology Mirjam Roos and Emrah Baki Ulas Winter 2010
Lighting: Control and Innovation Mark Rowling, ERCO Lighting Ltd Winter 2003
Long-Term Preservation at the Library of Congress Nancy Lev-Alexander Spring 2010
Looking at Art in a New Light—Conservation to Conversation Mirjam Roos and Emrah Baki Ulas Fall 2011
Looking at Art in a New Light—Greening Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Winter 2012
Major Renovation Project at the National Gallery of Scotland Robert Galbraith Summer 2003
Making Light Work: How to Fit a Drum into a Rectangle—The full story behind Mark Rowling, ERCO Lighting, Ltd. Spring 2003
the lighting of the Great Court in the British Museum, London
Management of Energy Consumption—A Best Practice? Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004
David Erhardt
Meet Archie, the Four-Legged Pest Controller Sara Carroll Fall 2011
Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010
Members Share Benchmarking Success—How to Use Benchmarking Results Stacey Wittig Summer 2009
Microclimate Control in Museums Jerry Shiner Summer 2005
More than Just a Pretty Façade: Exterior Cleaning Richard P. Kadlubowski and Coleman H. Bynum Winter 2002
Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006
Museum and Gallery Maintenance Outsourcing—A Journey Richard Harding Summer 2003
Museum Environmental Standards in a Changing Environment Vicki Humphrey and Julian Bickersteth Winter 2012
The Museum of Fine Arts, Boston Reopens its Huntington Avenue Entrance David Geldart Summer 2009
The National Air and Space Museum Goes to Dulles with its Second Facility Lin Ezell Spring 2002
The National Gallery—Casting New Light on Old Masters Steve Vandyke Summer 2010
National Library of New Zealand Building Redevelopment Rob Stevens and Pam Harris Fall 2011
National Museums Liverpool Ian Williams Fall 2008
The National Portrait Gallery: A Plant Replacement Strategy Allan Tyrrell and John Crane Fall 2008
The National Portrait Gallery in Canberra, Australia Chris Arkins Summer 2009
Networking and Sharing of Information: Our True Purpose Vincent Magorrian Spring 2009
New Building for the National Library of Greece John de Lucy Spring 2010
New Environmental Guidelines at the Smithsonian Institution Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004
David Erhardt
Old Buildings, Old Systems and Older Books: Fighting Mold and Decay in the Michael Dixon Summer 2003
Twenty-First Century
Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Winter 2010
Part One
Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Spring 2011
Part Two
Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Fall 2011
Part Three
Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009
Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Simon Lambert Winter 2012
Around the World
Overview: Application of Molecular Filtration for Artefact Preservation Chris Ecob Spring 2008
Pandas Up-Close and Personal: A Tour of the Smithsonian National Zoo’s Alana Housholder Fall 2006
New Asia Trail


Index of Papyrus Technical and Historical Articles (cont’d)
Periodic Electrical Inspection and Testing—A Different Approach Jack Plumb Winter 2010
Preservation Of A National Treasure: The Australian War Memorial Mark Dawes and Risden Knightley Spring 2002
Proposals for the Labelling of Buildings Jack Plumb Summer 2007
Proposals for the Labelling of Buildings Jack Plumb Spring 2008
Protecting the Historic Thomas Jefferson Building from the Footsteps of Time Gregory H. Simmons and Christopher Mile Spring 2012
Recent Activities in Indoor Air Quality and Climate in Cultural and William A. Esposito Winter 2002
Heritage Institutions
Record Attendance at Best Practices Workshop—Benchmarking Stacey Wittig Winter 2009
Continues to be an Indispensable Tool
Reflections on Papyrus Pierre Lepage Summer 2010
Renaissance at the Royal Ontario Museum—Daniel Libeskind’s Crystal Design Royal Ontario Museum Winter 2003
Renovating the Baltimore Museum of Art C. L. Taylor Spring 2012
Restoring a Landmark: Conservation Projects at Tudor Place Alana Housholder and Jana Shafagoj Fall 2006
Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010
The Royal Exhibition Building in Melbourne Kim Reason Winter 2004
Safeguarding Cultural Heritage: Partnerships and Resources Jane S. Long Spring 2003
The Security Challenge Keeping Museums and Similar Facilities Secure Bill McQuirter Spring 2002
in Challenging Times
Smart Chilled Water at the National Portrait Gallery Allan Tyrrell and Kevin Dunn Spring 2012
The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006
The Smithsonian Institution’s Arts and Industries Building Phase-2 Maurice Evans Fall 2011
Renovation Project
The Smithsonian’s Approach To Condition Assessment—Deferred Maintenance Larry Grauberger Summer 2008
Parametric Estimating
A Sustainable Design Approach to Preservation Centres Martin Turpin Winter 2012
Tales from the British Library—A Year of Energy Opportunities Paddy Hastings Spring 2010
Transformation at the Los Angeles County Museum of Art Donald Battjes Summer 2008
Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009
An Unexpected Attendance at the Lighting Designer's Academy Awards Alan Dirican Winter 2012
United States Library of Congress—Archival Storage Facility, Fort Meade Jon W. Netherton and Neal Graham Spring 2008
Protecting the Past, Present and Future
The United States Library of Congress Archival Storage Facility— Jon Netherton Winter 2009
Protecting the Past, Present and Future
Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008
Using Thermal Imaging to Diagnose Water Penetration and Condensation Marion F. Mecklenburg and Alan Pride Summer 2005
of the Walls at the Hirshhorn Museum
The Visitor Experience Project at the British Museum Sara Carroll Spring 2009
Work Management Center Communication John L. Standish, Sr. Fall 2006

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McGuire Engineers is a diverse and experienced team of
dedicated individuals whose primary goal is to partner
with our clients in developing their building engineering
systems with effective, efficient, economic and innovative
solutions. We offer engineered excellence through a full
range of in-house engineering services in Heating,
Ventilation and Air Conditioning (HVAC), Electrical,
Plumbing, Sprinkler and Life Safety Systems. In addition McGuire Engineers is a
to traditional services, McGuire Engineers also provides
engineering consultation in feasibility, energy and
proud affiliate member
sustainability studies, peer and code review, due diligence of IAMFA since 2001.
and reserve reports, forensic and expert witness
consultations, LEED consultancy, construction www.mepcinc.com
management administration, and commissioning.

McGuire Engineers has become increasingly dedicated to
and specialized in the design of engineering systems for
museums and cultural centers. This includes historic
renovation and preservation, artifact storage, special
exhibits, and base building systems.

The 22nd Annual IAMFA Conference
MID-ATLANTIC, USA
September 16–19, 2012

IAMFA
2012

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

Papyrus Summer Fall 2012

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