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![Out of Sight, Out of Mind
Museum Collections in Storage at Serious Risk
Around the World
By Simon Lambert
P
recious artifacts and national For the past 20 years, ICCROM has About ICCROM
treasures hidden away in the worked to improve the condition of The International Centre for the Study
underbelly of museums are not museum storage worldwide by orga- of the Preservation and Restoration of
as safe as we think. A recent interna- nizing international training activities, Cultural Property (ICCROM) is an
tional survey on museum storage by developing assessment tools, raising intergovernmental organization dedi-
the International Centre for the Study public awareness, and sending expert cated to the preservation of cultural
of the Preservation and Restoration of missions. heritage worldwide through training,
Cultural Property (ICCROM) and the Mr. Gaël de Guichen, Special Advisor information, research, cooperation
United Nations Educational, Scientific to the Director General of ICCROM, and advocacy programmes. It aims to
and Cultural Organization (UNESCO) commented: “This is the first time we enhance the field of conservation-
confirms that, all over the world, have a clear picture of the situation. restoration and raise awareness of the
museum collections in storage suffer In my 40 years of service at ICCROM, importance and fragility of cultural
from poor management and lack of which has taken me all over the world, heritage. The creation of the Centre
maintenance, adequate space and I estimated that about 60% of museum took place as a result of a proposal at
equipment. This is particularly dis- storage was in unacceptable conditions. the UNESCO General Conference
turbing because on average 90% of With this data, we have a clearer picture held in New Delhi, in 1956. Three years
museum objects are in storage, and of the problem areas. Most importantly, later, the Centre was established in
despite poor conditions, collections we have confirmation that this is not Rome, Italy, where its headquarters
continue to grow exponentially. a developed vs. developing country remain to this day. ICCROM responds
Of the 1,490 responses received from issue: all countries find themselves in to the needs of its member states, which
136 countries, one in four museums the same situation.” as of February 2010 numbered 129.
reports that its storage areas are so The survey ran from June to Sep-
overcrowded that it has become diffi- tember 2011, and was developed as part
cult or impossible to get from one end of a joint activity between ICCROM and About UNESCO
to the other. UNESCO on the Preventive Conserva- The United Nations Educational,
For two in three museums, the over- tion of Endangered Museum Collections Scientific and Cultural Organization
all lack of space is a problem identified in Developing Countries. In September (UNESCO) is a specialized agency of
as “major” or “drastic”. However, the 2011, ICCROM and UNESCO launched the United Nations. Its stated purpose
survey points to important root causes: “RE-ORG” [http://www.re-org.info], is to contribute to peace and security
two in five museums report an impor- a new online tool for storage reorgani- by promoting international collabora-
tant lack of management support for zation, developed by a task force of tion through education, science, and
storage-related activities and a lack of museum professionals from 15 coun- culture, in order to further universal
trained staff. tries on five continents to assist small respect for justice, the rule of law, and
Equally striking is the fact that, in museums in reorganizing their storage human rights, along with fundamental
one out of three museums, it seems and documentation systems. Online freedoms proclaimed in the U.N.
unclear who is responsible for stor- registration to RE-ORG is free and Charter. It is the heir of the League of
age. Furthermore, in one out of ten grants access to guidelines, assessment Nations’ International Commission on
museums, the theft of objects from tools, an image database, and teaching Intellectual Cooperation. UNESCO
the collection is considered to be a materials. has 193 Member States and seven
major problem. In response to the survey results, Associate Members.
One museum wrote: “Our storage ICCROM is currently looking for part-
Simon Lambert works with the Collections
is 400% over capacity and growing at a nerships and funding to launch an Unit of ICCROM, and can be reached at
rate of 100–200 new objects per year.” international programme to strengthen sl@iccrom.org.
“The main problem is taking care professional and institutional capacity
of incoming material. A documenta- in addressing the key needs identified
tion backlog of 10+ years is routine,” in this survey.
said another.
PAPYRUS WINTER 2011–2012 23](https://image.slidesharecdn.com/papyruswinter2011-2-120228172112-phpapp01/85/Papyrus-Winter-2011-2012-25-320.jpg)
Uploaded byIAMFA
Papyrus Winter 2011/2012
The 21st annual conference of the International Association of Museum Facility Administrators (IAMFA) was held in Auckland, New Zealand from November 13-16, 2011. Over 150 members from several countries attended the conference, which included tours of six recently renovated cultural institutions in Auckland and presentations from their facility managers. The conference provided an inspiring learning experience for attendees and helped foster relationships between facility professionals from different institutions. Planning is underway for the 22nd IAMFA conference in the mid-Atlantic region of the United States in September 2012.
Papyrus Winter 2011/2012
- 1. I N TE R N AT I O N A L A S S O C I AT I O N O F M U S E U M F A C I L I T Y A D M I N I S T R AT O R S PAPYRUS VOL. 12, NO. 3 WINTER 2011–2012 Sm on ith son ati ia ific n Rec eives 1st LEED Cert Pre Complete Coverage vie w ce of the of 2 2n onferen d Mid- 21st IAMFA Atl antic IAMFA C Annual Conference in Auckland
- 3. Contents Letter from theEditor . . . . . . . . . . . . . . . . . . . . . . . . . 2 A Sustainable Design Approach to Preservation Centres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Message from the President . . . . . . . . . . . . . . . . . . . . 3 An Unexpected Attendance at the Lighting A Great Time was Had by All: Recap of the Designer’s Academy Awards . . . . . . . . . . . . . . . . . . . . 35 21st IAMFA Conference in Auckland, New Zealand—November 13–16, 2011 . . . . . . . . . . . 4 Architect of the Capitol Begins Restoration of Capitol Dome Skirt . . . . . . . . . . . . . . . . . . . . . . . . . 37 KIWI Cooking Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Museum Environmental Standards in a Looking at Art in a New Light—Part Four in a Changing Environment . . . . . . . . . . . . . . . . . . . . . . . . 38 Four-Part Series: Greening Exhibition Spaces. . . . . . . 16 Chapter News and Regional Updates . . . . . . . . . . . . . 40 LEED Certification for the National Museum of the American Indian . . . . . . . . . . . . . . . . . . . . . . . . 19 IAMFA Member Directory 2011. . . . . . . . . . . . . . . . . . 42 Benchmarking Workshop Reveals Best Practices IAMFA Members—Organizations . . . . . . . . . . . . . . . . 48 that Save Money . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Index of Papyrus Technical and Historical Articles . . . 50 Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Around the World. . . . . . . 23 Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Coming Attractions: Preview of the 2012 Cover photo: Choi Jeong Hwa’s beautiful Flower Chandelier at the IAMFA Mid-Atlantic Conference . . . . . . . . . . . . . . . . 29 new Auckland Art Gallery. Photo: Daniel H. Davies IAMFA BOARD OF DIRECTORS REGIONAL CHAPTERS President Treasurer Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada — High Museum of Art Marc Chretien, Canadian Museum John de Lucy Alan Dirican kevin.streiter@woodruffcenter.org of Nature The British Library (Retired) Baltimore Museum of Art Australia — Ray McMaster, Australian mchretien@mus-nature.ca London, United Kingdom Baltimore, MD, USA National Maritime Museum Philadelphia, USA — John Castle, john.delucy@btinternet.com adirican@artbma.org rmcmaster@anmm.gov.au Winterthur Museum & Garden jcastle@winterthur.org Bilbao, Spain — Rogelio Diez, V.P., Administration Secretary and Papyrus Editor Guggenheim Museum San Francisco, USA — Joe Brennan, rdiez@guggenheim-bilbao.es San Francisco Museum of Modern Art Randy Murphy Joseph E. May jbrennan@sfmoma.org Chicago, USA — William Caddick, Los Angeles County Museum Sustainability Engineer Art Institute of Chicago United Kingdom — Jack Plumb, of Art Los Angeles, CA, USA wcaddick@artic.edu National Library of Scotland j.plumb@nls.uk Los Angeles, CA, USA joemay001@hotmail.com Los Angeles, USA — Randy Murphy, Los Angeles County Museum of Art Washington/Baltimore, USA — RMurphy@lacma.org rmurphy@lacma.org Maurice Evans, Smithsonian Institution V.P., Regional Affairs New England, USA — John H. evansma@si.edu Lannon, Boston Athenaeum John Castle For additional lannon@bostonathenaeum.org For more information on Winterthur Museum, contact information, New York, USA — Mark Demairo, becomming a member of the Garden and Library please visit our website at Neue Galerie International Association of markdemairo@neuegalerie.org Winterthur, DE, USA www.iamfa.org Museum Facility Administrators, New Zealand — Patricia Morgan, please visit jcastle@winterthur.org Auckland Art Gallery www.iamfa.org patricia.morgan@aucklandcity.govt.nz IAMFA/ Papyrus Alan Dirican Design and Layout Statements of fact and opinion Vol. 12, Number 3 Maurice Evans Phredd Grafix are made on the responsibility of Winter 2011–2012 authors alone and do not imply an Vicki Humphrey Editing opinion on the part of the editors, Editor Simon Lambert Artistic License officers, or members of IAMFA. The editors of IAMFA Papyrus reserve the Joe May Joe May Printed in the U.S.A. by right to accept or to reject any Article Lynn McGuire Knight Printing or advertisement submitted for Papyrus Correspondents publication. Mirjam Roos ISSN 1682-5241 2012 Mid-Atlantic Conference While we have made every attempt to Planning Team Martin Turpin ensure that reproduction rights have Julian Bickersteth Emrah Baki Ulas been acquired for the illustrations used in this newsletter, please let John Bixler Ian Williams us know if we have inadvertently John deLucy Stacey Wittig overlooked your copyright, and we will rectify the matter in a future issue. Past issues of Papyrus can be found on IAMFA's website: www.IAMFA.org
- 4. Letter from theEditor Joe May Editor, Papyrus Greetings from Los Angeles! Varming’s series, “Seeing Art in a New week exploring the region—and, in Light” by Emrah Ulas and Mirjam Roos. Auckland, learning to cook seafood, A s I write this, it’s been two There is also an article about the Asian style. Thank you, Lynn, for your weeks since I returned home National Museum of the American contribution to Papyrus! from the 21st IAMFA Annual Indian’s new LEED Silver Certification. There is an article in this issue by one Conference in Auckland, New If you recall, we visited NMAI two years of the members of the IAMFA LinkedIn Zealand. The Committee planned a ago when Washington, D.C. hosted the Group, about sustainability features wonderful conference—please read IAMFA Conference. Congratulations at the Library and Archives Canada’s the recap article in this issue of to NMAI, and to the Smithsonian for Cellulose Nitrate Film Preservation Papyrus, and enjoy the collection of achieving their first LEED Certification. Facility. We welcome our LinkedIn images from the Conference. If you This is a quite an accomplishment, members’ contributions to Papyrus, attended the Conference and would and reflects the Smithsonian’s dedi- and hope they will in time find it bene- like to save the images, just remove cation to sustainability, as well as their ficial to join IAMFA. You will also find the center section from this issue, and commitment to being a responsible an article summarizing the results of a you will have four pages of images member of the museum community. survey about the state of collections in from the Conference. You’ll find an article in this issue storage at museums around the globe. IAMFA’s LinkedIn Group continues about the increasing cooperative effort Do these results reflect the situation at to grow, with 213 members now from between Facility Managers and their your facility? 24 countries. There has been quite a Conservation colleagues to revise There are also articles about the very lot of lively discussion recently about temperature and humidity standards creative architect, Shigeru Ban, who topics such as Occupancy Loads, Zero for collections. Please read this very has designed a cardboard cathedral to Waste Programs, Domestic Water interesting article authored by Vicki replace the one destroyed in last year’s Procurement, Pre-action vs. Wet-Pipe Humphrey and Julian Bickersteth. This great earthquake in Christchurch, sprinklers, FM software and more. We process will have a significant sustain- New Zealand; and about a new project plan to use LinkedIn in the future to ability impact on IAMFA members’ just announced by one of IAMFA’s make announcements to IAMFA mem- facilities in the future. members, Stephen Ayers, to restore bers, as well as to reach out to those You’ll also find an article authored the dome skirt at the U.S. Capitol. who may benefit from joining IAMFA. by Lynn McGuire about the Guest Lastly, we have included a first look If you have not yet joined the IAMFA Program at the Auckland Conference. at the venues included in next year’s LinkedIn Group, please do so now, If you’ve not brought your partner Mid-Atlantic IAMFA Conference, sched- and get involved in the discussions; it before to the IAMFA conference, uled for September 16–19, 2012. This is a great way to get your fellow IAMFA they’ve missed a real thrill. In addi- region is rich in American history, and members’ opinions on topics that may tion to visiting the top cultural insti- I urge you to join us in making plans be causing you concern. tutions in the host city and wonderful soon to attend! In this issue, you’ll find a variety of social events in the evening, The Thank you to everyone who articles, including Part Four of Steensen guests spend much of conference contributed to this issue of Papyrus. 2 PAPYRUS WINTER 2011–2012
- 5. Message from thePresident John de Lucy President, IAMFA C ongratulations to Pat Morgan Steve Hyde of the Victoria and Albert— tural institutions, and I hope part of and the Auckland Conference said that he had never seen such a our legacy in Auckland is that they Committee for putting on such fantastic performance in all of his continue to maintain the obvious a successful conference—it was an previous visits. rapport that has been generated, and inspiring and amazing learning The presentations Pat organised continue to hold regular meetings to experience. The six Auckland at each venue again highlighted the discuss common problems. A problem museums and galleries had all valuable contribution that Facility shared is often a problem solved! We recently been through refurbishment Managers make to our cultural insti- look forward to having reports in the or new building works and were tutions and, as in San Francisco, we future from our New Zealand chapter! looking fabulous. Both the member’s enjoyed talks on integrating new build- The Gala Dinner was held in the programme and guest activities went ings with existing heritage whilst con- new extension to the Auckland Art very smoothly, and we all enjoyed New sidering seismic issues. We also heard Gallery, under their gorgeous Kauri Zealand hospitality with amazing food, about the New Zealand approach to wood ceiling. The kinetic art work of and of course the local wines for which conservation and green buildings, sys- flowers hanging from the ceiling was new Zealand is famous. As it was early tems versus visitors, and construction too much for some of our members, summer, we were also to have fine in a marine environment. Pat arranged who took to lying on the floor in their weather for all our visits. for us to hear the story behind her new black-tie outfits to stare at the revolving I was delighted that so many Auckland Art gallery—an art museum flowers! Well done to the three winners members made an effort to attend for the twenty-first century—as well as of the highly coloured luminescent the Conference, despite the financial a fascinating talk on the relationship sock competition. Thank you to the difficulties being experienced at their between art and architecture. The Committee for my lovely Maori Chief- museums, and of course we had an detailed behind-the-scene tours added tain’s cloak, which attracted a great excellent turnout from Australian and greatly to the learning experience, deal of stroking from the ladies! New Zealand museums—thank you all for your commitment! and are one of the key reasons for our John Castle and his team are look- The directors of each museum members to attend. This year’s guest ing forward to hosting you next year welcomed us to their buildings, which programme dovetailed beautifully in the mid-Atlantic (not the ocean) showed how important they saw our with the member’s programme so part of the States, and are sure to put visit to be, and how much they valued that on Monday and Wednesday we on another great show. I am looking having our Conference in New Zealand. often shared the same exciting venues. forward to seeing you all again this They spoke to us about how proud they The guests’ Tuesday trip to the bush September (16-19). Bookings for the were of their Facilities Management and beach, like last year’s Napa Valley Conference and the hotel through the teams, and how vital FM was to their excursion, was a real treat. web are already open. institutions. We were blown away by the One of the lasting benefits of put- The preview of the Mid-Atlantic formal Maori welcome and dance on ting on the IAMFA Conference is the Conference in this issue of Papyrus will our first day at the Auckland Museum. strong friendship that grows between give you an idea of just how special this A seasoned visitor to New Zealand— the facilities fraternity of the host cul- 22nd IAMFA Conference will be. PAPYRUS WINTER 2011–2012 3
- 6. A Great Timewas Had by All Recap of the 21st IAMFA Conference in Auckland, New Zealand—November 13–16, 2011 By Joe May D uring the IAMFA Conference a members met in Bilbao, Spain at the • Jinny Hong—Auckland Art Gallery year ago in San Francisco, a Guggenheim Museum and its neigh- Toi o T¯ maki a survey was done that yielded a boring cultural institutions. We were • Amanda Julian—Auckland Art very telling statistic: IAMFA members all intrigued by the descriptions Pat Gallery Toi o T¯ maki a attending the 20th IAMFA Conference gave of this exotic and faraway place had, on average, missed just one con- that most of us had never seen. • Paul Ivory—Auckland Council ference in all their years of member- In September of this year, while • John Glen—Auckland War ship in IAMFA. As you read on, you’ll final arrangements were being made Memorial Museum see why, once a member attends the for the Conference, Auckland hosted annual conference, they don’t want the Rugby World Cup, and Pat’s own • Adam Taylor—Auckland War to ever miss another one. institution reopened after a multi-year Memorial Museum T¯ maki Makau Rau (“Isthmus of o renovation and expansion project, with • Natalie Hansby—Auckland Zoo one thousand lovers,” also translated more than a hundred million dollars as “Tamaki—the bride sought by a hun- of capital invested. With New Zealand • Sue Dell—Auckland Zoo dred suitors”), now known as Auckland, winning the 2011 Rugby World Cup, • Shelley Osborne—Museum of was first settled by the M aori around ¯ the city was still celebrating when Transport and Technology 1350. The narrow Auckland isthmus IAMFA members arrived, and we’ll was a strategic location, with two har- never forget the hospitality shown • Phil McGowan—Voyager bours providing access to the sea on by the Kiwis. New Zealand Maritime Museum both the west and east coasts. It also Let me begin by expressing had fertile soils, which facilitated hor- gratitude to all of the conference I know how much time these indi- ticulture, while the two harbours pro- organizers: viduals spent planning the countless vided plentiful kai moana (seafood). The details that went into making this a • Patricia Morgan—Auckland Art M aori constructed terraced pa (forti- ¯ ¯ truly great conference. Gallery Toi o Tamaki ¯ fied villages) on the volcanic peaks. It’s also very important to recognize The M aori population in the region ¯ • Petrina Keane—Auckland Art the six sponsors who made this year’s is estimated to have peaked at 20,000 Gallery Toi o Tamaki ¯ conference possible. in pre-European-settlement times. Today’s Auckland is home to many cultures. The majority of inhabitants claim European—predominantly British—descent, but substantial Maori, ¯ Pacific Islander and Asian communities exist as well. Auckland has the largest Polynesian population of any city in the world. Ethnic groups from all corners of the world have a presence in Auckland, making it by far the country’s most cosmopolitan city. In November 2011, IAMFA delegates and guests converged on Auckland for the 21st IAMFA Annual Conference. Thank you, Auckland for an unforget- table 21st Conference. Our host for this year’s conference, Patricia Morgan, first spoke of Auckland hosting an IAMFA Conference six years ago when The 21st IAMFA Conference Organizing Committee. 4 PAPYRUS WINTER 2011–2012
- 7. Steensen Varming isa Danish engi- in mind when in need of products, in central Auckland that seats 2,378 neering firm founded in 1933 by services, and advice of the type offered people. First opened on December 20, Niels Steensen and Jørgen Varming by these Conference sponsors. 1929, it was reopened in 2000 after a in Copenhagen, Denmark. The firm Day One of the Conference began, major renovation and conservation specializes in civil, structural and as in past years, with the Benchmark- effort. It is a famous example of the building services engineering, with ing Practices and Learning Workshop atmospheric theatre style, in which offices in Denmark, Australia, the for those IAMFA members partici- design and lighting were used to con- United Kingdom, and Ireland. pating in the annual benchmarking vey an impression of being seated in exercise. This valuable undertaking an outdoor auditorium at night, creat- Coffey International Limited is a allows member institutions to compare ing the illusion of an open sky, complete specialist professional services con- building operation costs and practices, with twinkling stars. sultancy with expertise in geosciences, in order to find better ways to accom- Patricia Morgan welcomed every- international development, and project plish various tasks. Building operating one and, along with IAMFA President management. Coffey’s operations costs have five components: Utilities, John deLucy, described plans for the include specialist businesses that Security, Grounds, Building Mainte- following three days of the Confer- provide services at every stage of nance, and Custodial. Benchmarking ence. George Farrant, who is Princi- the project lifecycle. participants compare cost per square pal Heritage Advisor for the Theatre, foot (or meter) as well as work-processes also spoke with the delegates and The Camfil Farr Group is a developer within these five categories. Those guests about the history of this and producer of air filters and clean-air whose costs are lower than others share magnificent venue. products. Camfil Farr is also a global their methods and processes with The Auckland Civic Theatre is air filtration specialist with 24 produc- the group, creating a best practice in internationally significant as the tion units and R&D centers in four itself. The 2011 benchmarking study largest surviving atmospheric cinema countries in the Americas, Europe was sponsored by Conrad Engineers, in Australasia (and also one of the and the Asia-Pacific region. McGuire Engineers and Steensen only seven of its style remaining in the Varming. Please see Stacey Wittig’s world), and as the first purpose-built Black & McDonald is an integrated, recap of the Benchmarking Practices cinema of this type in New Zealand. It multi-trade contractor providing and Learning Workshop in this issue is also known for its Indian-inspired electrical, mechanical, utility and of Papyrus. foyer, which includes seated Buddhas, maintenance services to government, The opening reception for this year’s twisted columns and domed ceilings. industrial, commercial and institutional IAMFA Conference was held at the The main auditorium was designed markets. Auckland Civic Theatre on Sunday in a similar style, imitating a Moorish evening, November 13. The Auckland garden with turrets, minarets, spires Cypress Private Security designs and Civic Theatre is a large heritage theatre and tiled roofs, as well as several famous implements security solutions for a wide range of clients, including public and private institutions, office and residential complexes, museums and much more. Hawkins Construction has over six decades of building experience and is one of New Zealand’s largest privately owned construction and infrastructure companies. These sponsors contributed to the intellectual content of the Conference through presentations, and through their generous financial contributions, enabling the spectacular venues, trips, and meals we all enjoyed. The IAMFA organization wants all of these sponsors to know how much we appreciate their participation in, and support of, our annual Conference. We encourage members to keep this Participants in the 2011 IAMFA Benchmarking and Learning Workshop. PAPYRUS WINTER 2011–2012 5
- 8. Abyssinian panther statues.It could for both delegates and their guests. Dur- Members and guests were greeted hold 2,750 people at its opening, and ing the four days of events, the two pro- by director Roy Clare, who welcomed even with its reduced current seating, is grams coincided frequently, so that both everyone. We were then extremely still the largest theatre in New Zealand. members and guests could be together honored to participate in a p¯ whir: a o Canapés and cocktails followed much of the time while accomplishing M aori welcoming ceremony involving ¯ the presentations, and IAMFA mem- their individual objectives: learning speeches, dancing, singing and finally bers and guests renewed friendships and networking for delegates, and the hongi. Often presented for special after last visiting a year earlier, when exploration and discovery for guests. visitors, the p¯ whir included the wero— o we met in San Francisco for the 20th On Monday morning, members and an aggressive challenge to the visitor IAMFA Conference. guests boarded coaches and travelled to at the beginning of the ceremony— As in past years, the Auckland Con- the Auckland War Memorial Museum. and was the most spectacular part ference included separate programs The Auckland War Memorial Museum of the p¯ whir. During this part of the o is one of New Zealand’s most important ceremony, M aori warriors advanced ¯ museums and war memorials. Its col- tentatively towards the guests with lections concentrate on New Zealand ceremonial weapons, and performed history (and especially the history of threatening gestures and grimaces, the Auckland Region), natural history, calling out battle screams, and gen- as well as military history. The Museum erally giving an impression of being is also one of the most iconic Auckland ready to explode into violence against buildings, constructed in the Neoclas- the visitors at any moment. Historically, sical style, and sitting on a grassed plinth this has roots in both showing off (the remains of a dormant volcano) in the martial prowess of the warriors, the Auckland Domain: a large public as well as testing the steadfastness of IAMFA Conference Opening Reception at park close to the Auckland central the visitors. Auckland Civic Theatre. business district. IAMFA delegates and guests in front of the Auckland War Memorial Museum. 6 PAPYRUS WINTER 2011–2012
- 9. Once the manuhiri(guests) and at the Voyager New Zealand Maritime five entries in each category. The ses- tangata whenua (M aori hosts) were ¯ Museum. Please read Lynn McGuire’s sion was led by Guy Larocque, who will seated, both sides offered speeches, be- article on the Look, Cook, and Eat post a summary of results in a future ginning with the tangata whenua. The event in this issue of Papyrus. We all issue of Papyrus. ceremony concluded when tangata heard later that guests had a great Delegates then heard a presenta- whenua and manuhiri made physical time learning to prepare new seafood tion by Pete Bosley, designer of the contact with a hongi. A hongi is a tradi- dishes—and enjoying their gourmet recent expansion to the Voyager Mari- tional M aori greeting in New Zealand. ¯ creations afterwards. time Museum. This new expansion It is done by pressing one’s nose and Following lunch, delegates were houses Black Magic, winner of the 1995 forehead (at the same time) to the greeted by Chief Executive Murray nose and forehead of another person Reade, who provided background on at an encounter. the Voyager Museum. Delegates then I was astonished by the welcome continued a strategic planning work- from the M aori representatives. This ¯ shop initiated last year in San Francisco. ceremony evoked unexpected emotion The goal of this workshop is to identify by everyone present. I remember look- the current strengths, weaknesses, ing over at Pat Morgan, and wondered threats, and opportunities for improv- . . . what is going to happen next. I ing IAMFA. Last year in San Francisco, wish that everyone reading this could members brainstormed ideas for each have experienced this M aori welcome ¯ of these categories, and this year IAMFA to New Zealand. members refined this list to the top- Following our welcome to the Auckland Museum, conference dele- gates heard presentations on “Systems versus Visitors” by David Hebblethwaite, and “Building Conservation and Con- struction” by John Glen, followed by a back-of-house tour. Conference guests had a guided tour of the Museum be- fore both delegates and guests boarded coaches headed for Auckland’s Viaduct Harbour area. Guests attended a Look, Cook, and Black Magic, winner of the 1995 Eat cooking class and lunch at the The finished gourmet lunch enjoyed by America’s Cup race, on display at the Harbour, while delegates had lunch Conference guests at Viaduct Harbour. Voyager New Zealand Maritime Museum. The powhiri included the wero: an ¯ Maori representatives and representatives from the Auckland War Memorial Museum greet ¯ aggressive challenge to the visitor at IAMFA delegates and guests with a powhiri. ¯ the beginning of the ceremony. PAPYRUS WINTER 2011–2012 7
- 10. America’s Cup. AlexCutler, CEO of the a catamaran, and offered time to relax The Auckland Art Gallery reopened New Zealand Green Building Council, after a very busy Day Two of Conference to the public in September 2011, after then presented a summary of the presentations and tours. more than two years of renovation and New Zealand Green Building system Day Two of the 21st IAMFA Confer- expansion. Director Chris Saines pre- called the Green Star Rating System. ence ended with a catamaran ride back sented a talk on “The New Auckland Following afternoon presentations, to Auckland, where coaches delivered Art Gallery: an Art Museum for the delegates had time for a brief tour of everyone safely to the Langham Hotel, 21st Century”. the Voyager Museum. our home during the Conference. The Gallery hosted two additional After cooking class, guests boarded For Conference delegates, Day Three presentations: Architect Lindsay Mackie the Ted Ashby, a ketch-rigged deck of the Conference began with a short from Archimedia spoke about the scow, typical of the fleet of scows that walk over to Auckland Art Gallery Toi design of the Art Gallery, and Chris once operated in New Zealand’s o Tamaki, where members were ¯ McKenzie presented “Integrating the northern waters. greeted by Gallery Director Chris New with Existing Heritage Fabric— Following tours of the Voyager, and Saines. The Auckland Art Gallery Toi o Seismic Considerations”. Delegates a trip on the Ted Ashby, delegates and Tamaki is the home of the visual arts ¯ were then given a back-of-house tour guests boarded a ferry and headed for in New Zealand, with a collection of before a walk to the Skytower for lunch. Mudbrick Vineyard on Waiheke Island more than 15,000 works of art, and is At 328 meters, the Skytower is for dinner. The scenic trip to Waiheke also home to our Conference host, the tallest man-made structure in Island took about 30 minutes aboard Patricia Morgan. New Zealand, and offers breathtaking The Ted Ashby, one of the Voyager IAMFA members and guests network Attendees enjoy dinner and a gorgeous Museum’s working fleet of three heritage with a cocktail at Mudbrick Winery sunset at Mudbrick Winery. vessels, which form an active and integral before dinner. part of the Museum’s collection. Auckland Art Gallery Toi o Tamaki. ¯ The Auckland Skytower in the distance. 8 PAPYRUS WINTER 2011–2012
- 11. views for upto 80 kilometers in every they had lunch and a sampling of the sentations “Casting New Light on direction. Visitors rise in glass-fronted best the Winery had to offer. Few your Collection” by Emrah Ulas, and elevators to one of the three spectac- wineries in New Zealand can claim “Benchmarking Recap”, by Keith ular viewing platforms. For more thrills such a proud winemaking history as McClanahan. and excitement, they can walk round Soljans Estate Winery. Bartul Soljan Delegates then boarded coaches, the pergola at 192 metres up, or even planted the first Soljan vineyard in heading for the Royal New Zealand jump off the Tower (with cables). New Zealand in 1932, leaving behind a Navy Museum in Devonport, where On Day Three, guests travelled by legacy that has been carried on by his they were welcomed by Commander coach to Waitakere Regional Park. son Frank and then grandson and cur- David Wright, Director of the Museum. The Waitakere Ranges are a chain of rent owner, Tony Soljan. Today, Soljans Housed in a nineteenth-century sub- hills running approximately 25 kilo- represents three generations of wine- marine mining station, the Navy meters (15.5 miles) from north to making, with over 70 years experience. Museum’s exhibitions showcase the south, 25 km west of central Auckland. Following lunch, delegates returned story of the Navy’s contribution to The maximum elevation within the to Auckland Art Gallery for the pre- the development of New Zealand’s ranges is 474 meters (1,555 feet). The subtropical ranges and surrounding areas were traditionally known to the local M aori as Te Wao Nui a Tiriwa (the ¯ Great Forest of Tiriwa). The western coastline of the Ranges consists of cliffs exceeding 300 meters (984 feet), interspersed infrequently with beaches. The ranges are covered in native forest, most of which is in the process of regeneration since extensive logging and farming in the mid to late nineteenth and early twentieth cen- turies. The Waitakere Ranges Regional Park now contains about 15,985 hectares (39,500 acres). After a stop at the Visitor Centre, guests hiked approximately 2.4 kilo- meters (1.5 miles) down to a reservoir, where they could observe many of the native plants and birds. Guests then boarded their coach and headed for Soljans Winery, where The Royal New Zealand Navy Museum at Torpedo Bay. An old-growth Kauri tree, estimated to be View from the Waitakere Visitor Centre. 700 years old. PAPYRUS WINTER 2011–2012 9
- 12. identity through thelens of the Navy’s The final day of the Conference electronically ahead of the Conference values: courage, commitment and began for delegates at the Langham eliminating the need to take time comradeship. There, delegates enjoyed Hotel, with the Annual General Meet- during this meeting to elect officers. a coffee break, and were given a guided ing. Each of the IAMFA board members Three board positions were up tour of the Museum, before heading and each Committee Chair addressed for election this fall: Treasurer, back to the Langham Hotel for a the membership with a review of the VP Regional Affairs, and Secretary/ free evening. current state of Regional Affairs, Papyrus Editor. Incumbents to these For Conference guests, after lunch Administration, Treasury, Papyrus, three positions each volunteered to it was off to one of three gannet nest- and future plans. serve another term, and were elected ing colonies in New Zealand, at Muriwai No election was held at the meeting by the membership in a ballot ahead beach, northwest of Auckland. Muriwai this year. A recent change in IAMFA’s of the Conference. is one of Auckland’s west coast beaches, bylaws now permits members to vote John Castle made a presentation with good fishing, strong winds and on preliminary plans for next year’s rough waves. You can often see the 22nd Mid-Atlantic IAMFA Conference. gannets soaring around the cliffs on the Following the AGM, members ever-present winds. As you might expect boarded coaches and departed for the of a maritime bird, they’re very good Auckland Zoo. Guests began Day Four at gliding, with wingspans up to 180 cm with a walking tour and marathon (around six feet). Gannets feed by shopping in Parnell Village, before diving from high up into a school of departing for the Zoo to rendezvous fish near the surface of the water. with the delegates. Guests then hiked down to a beau- Auckland Zoo has New Zealand’s tiful black sand beach, and made their largest collection of animals, and is way back to the Langham to meet up recognized as one of the most pro- with the delegates. gressive zoos in the world. A winner Camfil Farr, one of the sponsors of of national and international environ- this year’s IAMFA Conference, hosted mental-related awards, it is home to attendees at the Langham for a cock- 120 different species and over 750 ani- tail reception . . . and it was a great way mals. Delegates were greeted by Zoo to begin a free evening to explore Director Jonathan Wilcken, who fol- Auckland’s nightlife. lowed with a presentation “Te Wao IAMFA’s Board of Directors met to Nui—A Modern Zoo”. Delegates were discuss the business of the organization then given a tour of the Zoo, and were before walking to a local Malaysian met along the way by the guests, who restaurant for dinner. Day Three of the had already arrived. Conference was packed full of learning Guests then experienced one of the and networking for delegates, and Sponsor Camfil Farr, host of the Tuesday highlights of their visit to Auckland. evening cocktail reception at the exploration for guests. Langham Hotel. The Zoo had arranged an animal Presenters at IAMFA’s annual general meeting. Left to right: John Castle, Guy Larocque, Randy Murphy, Joe May, Alan Dirican Gannet nesting colony at Muriwai Beach. and John deLucy. 10 PAPYRUS WINTER 2011–2012
- 13. encounter for theguests, and Burma New Zealand aviation pedigrees, and early shops and houses, including a was waiting when the guests arrived. displayed in its new home, which “fencible cottage” and a blacksmith Each of the guests was able to feed just opened in September 2011. The shop. The Road Transport Collection Burma a piece of fruit and then pose project had two parts. The first part rotationally displays in excess of with Burma for a photo op. was the relocation and refurbishment 100 cars, trucks, motorbikes and What a treat is was to meet Burma of MOTAT’s existing Blister Hangar emergency vehicles. up close, and to feed her and pet her. (workshop), and the second was the The Tram Collection includes over We will never forget it! construction of a custom-designed 20 electric, steam and cable trams, A little more touring around this building to enhance the display of the many of which are operational, with magnificent zoo, and then it was time Museum’s unique aviation collection. support equipment and vehicles from for lunch in the Old Elephant House, MOTAT’s exhibits also include former New Zealand tramway systems in where everyone could sit and relax trains, trams, vintage traction engines, Auckland, Wellington and Wanganui, a bit before boarding a tram, and carriages, cars, buses, trolleybuses and as well as the Mornington Cable tram heading for the nearby Museum of trucks (particularly fire engines), as system in Dunedin. Technology and Transport (MOTAT). well as electrical equipment, space MOTAT was built around the site MOTAT has one of the most impres- flight exhibits including a Corporal of a beam-engine pumphouse, which sive aircraft collections in the South- rocket, and general science exhibits. originally provided Auckland’s water ern Hemisphere, all with genuine There is also a “colonial village” of supply. Delegates heard presentations Guests, like Livi deLucy, had a close encounter with Burma, a 29 year-old Asian elephant. Conference guests pose with Burma. Historical aircraft in the new display hall. A sampling of MOTAT’s antique automobile collection. PAPYRUS WINTER 2011–2012 11
- 14. on “Auckland’s WaterWorks History” The setting for this year’s closing their way towards the Atrium, but by Mike Austin and Dave Pearson, and gala could not have been more ele- stopped along the way for a photo. “Development and Challenges within gant. The new North Atrium at the Attendees enjoyed a delicious din- Architecture” by Evzen Novak. Art Gallery was impressive, and dinner ner accompanied by New Zealand fine Mid-afternoon, members and dele- was held under Korean artist Choi wines, and a full dinner program, begin- gates returned to the Langham Hotel Jeong Hwa’s Flower Chandelier, a colossal, ning with the New Zealand National for a short rest, a quick change, and plump-petalled plant heaving and Anthem performed by opera singer then a coach ride to the Auckland breathing. Alene Wistrand. Art Gallery Toi o Tamaki for the ¯ The evening began with cocktails Prior to dinner, John deLucy, closing Gala Dinner. This year’s Gala and canapés in the Mackelvie Gallery, IAMFA’s President was presented with Dinner took place in the atrium of built in 1916 and reinstated as part of a korowai. The korowai is a traditional the New Auckland Art Gallery, just the recently completed development and prized M aori garment. The ¯ opened in September 2011. project. Gala Attendees then made korowai cloak is decorated with short MOTAT’s beam-engine pumphouse. Choi Jeong Hwa’s beautiful Flower Chandelier. Attendees at the 21st IAMFA closing gala. John deLucy is presented with a korowai at the closing gala. 12 PAPYRUS WINTER 2011–2012
- 15. lengths of twistedfiber, usually dyed years she’s had to make preparations very different story! The IAMFA men black. Of all cloaks, those adorned amidst constant worry about whether were not to be denied. Three were rec- with feathers (kahu huruhuru) are our world’s economy, which has caused ognized for their outstanding socks: the most prestigious and indicative so many institutions to implement aus- Tony McGuire for color, John Castle of high rank. terity measures, would prevent IAMFA for cuteness, and David Saunders for In the evening’s other presentations, members from attending. During the canniness, with his Peter Blake red Alan Dirican and Patricia Morgan were same time frame, the beautiful new socks! We can only imagine what our awarded the George Preston (IAMFA’s Museum where we met for our closing members may bring next year to cover Founder) Memorial Award for their gala reopened. As conference host, Pat their feet! efforts in advancing IAMFA’s mission. served on the IAMFA Board of Directors In conclusion, I believe I speak for Alan performed beyond what is for the past year, and we’ve been able all attendees of the 21st IAMFA Con- expected of the Treasurer’s role over to see her determination to make this ference when I say that it was a true the past year, by getting us back on track 21st IAMFA Conference a success. She adventure this year visiting New Zealand. with the changes needed to keep our didn’t give up, and we are so grateful The people of New Zealand were so non-profit status in good standing, and to Pat that she persisted in making kind, helpful, and hospitable to all our improving our financial documenta- this year’s Conference one of the best members. We learned, we explored, tion, along with several measures to in the history of our organization. we laughed, and at times we were reduce operating costs. All of this In recent years a tradition has taken nearly overcome by emotion from the was done during a very challenging hold, and now it wouldn’t be an offi- welcome we were extended. year, with a major capital project at cial IAMFA Gala Dinner without the Thank you, thank you, thank you the Baltimore Museum of Art. “Annual Sock Competition”. Last year to everyone who made IAMFA’s For Patricia Morgan, it has been a in San Francisco, two ladies took home 21st Conference so memorable. long road leading up to this 21st IAMFA bragging rights for the most colourful Conference, and during the past two and unique socks. This year, it was a Joe May is IAMFA’s Secretary, and Editor of Papyrus Magazine. Alan Dirican is awarded the 2011 Patricia Morgan being awarded the 2011 George Preston Memorial Award. George Preston Memorial Award. Become a Member of IAMFA For more information on becoming a member of the International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG PAPYRUS WINTER 2011–2012 13
- 16. KIWI Cooking Class ByLynn McGuire T he 2011 IAMFA Annual Conference Guest Program After watching Chef Steve and his assistant prepare all was outstanding! of the food at one main station in a small auditorium, we Seeing Auckland from all sides, all of the delegates’ entered another room where cooking stations were set up significant others enjoyed a chance to experience “down with all of the food items, utensils, aprons, etc. we would under” from the mountains to the beaches, and everywhere need. We were to break into groups of four, sharing the in-between. cooking responsibilities as we reproduced his meal. One of the most unique experiences was visiting the Our menu was as follows: Auckland Seafood School, where Chef Steve Roberts • Grilled Salmon Skewers with Lime and Lemongrass Sauce regaled us with stories as he prepared a succulent meal, which we then attempted to copy. Chef Steve had lived in • Asian Style Coleslaw Japan for many years, so his recipes reflected the Asian • Grilled Seasonal Fish, Bok Choy, Mandarin and influence he had absorbed overseas. Ginger Sauce Nancy Evans mimics Chef Steve’s technique as she wraps salmon with strips of leek during the Look, Cook, and Eat Luncheon. Harry Wanless prepares Asian Style Coleslaw. The Feast de Résistance prepared by IAMFA’s Livi deLucy makes Lemongrass Sauce. talented guests. 14 PAPYRUS WINTER 2011–2012
- 17. We watched ChefSteve effortlessly blanch leek strips, which he then wrapped around salmon pieces to form medallions. We all laughed as we tried to produce perfect julienned carrots, shredded coleslaw and other ingredients for the coleslaw, dressing it with a sweet chili sauce. It looked remarkably easy—not quite as easy when we tried our hands at it. Chef Steve then prepared fish fillets over bok choy, with two delicious sauces. Likewise, we chopped, diced, and stirred tiny pats of butter into the sauces while we had our fish entrees on the grill. Our presentation may not have mirrored Chef Steve’s exactly, but as we all sat down to our meal we toasted our efforts and enjoyed every morsel. It was a wonderful afternoon. Chicagoans Lynn McGuire and husband Tony are long-time members of IAMFA, and are seasoned participants at the IAMFA Conference each year. We all enjoyed our seafood creations. PAPYRUS WINTER 2011–2012 15
- 18. Looking at Artin a New Light Part Four in a Four-Part Series: Greening Exhibition Spaces By Mirjam Roos and Emrah Baki Ulas W e live in an era of sustainability and an increasing concerns over the potential for mercury pollution and global emphasis on minimising energy use. This contamination, particularly since the compact fluorescent requires a change in the way we think about (CFL) type lamps that have been commonly proposed as lighting in museum and gallery facilities. As a result, best- replacement contain toxic mercury, and there is little practice expectations for exhibition display are evolving, regulation and guidance on the appropriate forms of and appropriate display-lighting conditions for cultural disposal and recycling. collections and exhibitions continue to be a major topic of As alternative lighting technologies continue to develop, discussion at the international level. Most of these discussions these concerns are lessening and alternative ways forward are revolve around legislation regarding the phasing-out of opening up new possibilities for museum and gallery lighting. inefficient light sources, which have a significant impact Common strategies taken on by many institutions to on museums and galleries. cope with the phase-out of certain lamps in the last few Most government activity around the issue of lighting is years can be summarised as: driven by energy savings issues, triggered by developments • bulk stocking of spare lamps in lighting technologies within the past decade. These devel- opments have shifted the focus of key lighting manufacturers • direct replacement of lamps only with alternative lamp into new areas of research and product development, which technologies has in turn resulted in a change in business interests and • replacement of the complete luminaires or systems with manufacturing trends. It is predicted that the use of incan- alternative fixtures using alternative technologies descent lighting is likely to shrink significantly within the next decade, and even virtually disappear in some countries. Although it goes against the objectives of government Given that most museum and gallery lighting is based pri- initiatives, bulk stocking of spare lamps has been effective marily on incandescent lighting technology, as far as the as an interim measure—being a cost-effective solution in museum and gallery sector is concerned, the phasing-out the short term, while providing museums and galleries with of inefficient light sources is perhaps the most significant time to assess their budgets and consider a future major legislation to date in the field of lighting. upgrade for their lighting systems. Stockpiling also gives Government legislation related to the phasing-out of museums and galleries the time to wait on any major up- incandescent light sources has been widely criticized by dif- grade while alternative lighting technologies have continued ferent groups and organisations for the extra costs imposed to evolve and develop in the past few years, and while the on the public by government dicta. Another concern is the costs of these systems have been dropping to more afford- characteristic light of available alternative technologies, able levels. In this way, many institutions have bulk-stocked which do not match certain qualities of incandescent lamps, spare lamps in recent years, and have been able to maintain such as the continuous colour spectrum, smooth dimming their lighting system for extended periods, without having and colour shift when dimming, which can be preferable to undertake a major upgrade. for certain applications. There are also environmental The industry is now moving on from bulk stocking of spare lamps, to a phase in which replacement technologies ILLUSTRATION: EMRAH BAKI ULAS are widely being considered. Lighting is a very important element of the overall exhi- bition experience. It is a complex topic that extends beyond energy-saving considerations, requiring understanding on various other issues as well. When reviewing alternative lighting technologies to replace incandescent systems in museum and gallery lighting upgrades, it is important to study these wider issues and their impact in relation to spe- cific spaces and specific applications. It is also important to select systems able to respond to the requirements in an Phase-out of incandescent light sources. optimal manner. 16 PAPYRUS WINTER 2011–2012
- 19. It is importantto understand that there is no one-size- and white SON); low-pressure discharge sources (fluorescent fits-all type of approach for exhibition lighting, and that a lamps), and light-emitting diodes (LEDs). Although each has wide range of lighting considerations need to be taken into distinct characteristics and qualities, all of these technologies account when looking for suitable options. These consid- offer certain advantages and may be given consideration in erations include issues such as the quality of light in terms planning a new exhibition lighting system. of its spectral characteristics, beam distribution and conser- High-colour rendering versions of high-pressure discharge vation aspects, as well as lamp life, maintenance, embodied lamps have crisp white light and superior illumination energy, disposal, recycling, flexibility, dimmability and con- characteristics that are suitable for certain types of display trol, future availability, and capital and operational costs. lighting applications, whilst also being energy-efficient. The change of lighting technologies also has an impact In addition, as a point source they can be controlled via on air conditioning, as the new technologies generally optical means to achieve different effects. It must be taken have a lower heat impact in the space, as compared to into account, however, that these types of lamps are not incandescent lighting. practically dimmable through electronic means. The oldest of all lighting techniques, daylight, should be Low-pressure discharge lamps, such as linear fluorescent considered as an option wherever possible. However, it is tubes, are also available in high-colour rendering versions, also perhaps the most challenging source of light compared and can be effective in providing even and uniform display- to the use of electrical lighting systems. lighting conditions. Furthermore, they are smoothly dim- The dynamic and ever-changing characteristics of day- mable using electronic control gear, are energy-efficient, light make it difficult to apply in museum and gallery spaces. and have long lamp life. However, it is these same qualities that can often enhance LEDs are the latest of the alternative technologies that spaces significantly, adding comfort and enjoyment to the have improved significantly within the past decade, and visitor experience. Many museums and galleries have strict have now become practical for some display-lighting appli- guidelines on the use of daylight, and tend to eliminate it cations. LEDs today are available in various warm, neutral from exhibition spaces. Carefully designed use of daylight or white colour temperatures, as well as tuneable colours, helps save energy, however, while also increasing the spatial and are dimmable on compatible control gear. The energy quality of exhibition spaces. performance of LEDs available on the market has just As far as today’s alternative lamp technologies are con- reached a stage that is comparable to fluorescent and cerned, there are three current technologies that have metal-halide sources, and is expected to improve further. reached the stage where they are able to provide good- Colour consistency, smooth dimmability and optical quality lighting with significantly less operational energy, control of the LEDs are still undergoing development, compared to the incandescent sources. These are: high- and need to be carefully considered in the design and pressure discharge sources (lamps such as the metal halide planning process. LIGHTING DESIGN: STEENSEN VARMING/PHOTO: SIMM STEEL LIGHTING DESIGN: STEENSEN VARMING/PHOTO: EMRAH BAKI ULAS The National Portrait Gallery in Canberra utilises a combination of high-colour Art Gallery of New South Wales—Kaldor Gallery, Sydney utilises a high-colour rendering rendering fluorescent lighting system, metal-halide lighting system. a track lighting system, and daylight. PAPYRUS WINTER 2011–2012 17
- 20. It is alsoworth mentioning Organic Light Emitting Diodes will become common within the architectural lighting as an upcoming technology. There has been significant market in the future. interest and development in OLEDs in recent years. Perspective on sustainability in lighting for exhibition Whilst the practical uses of these sources are still limited spaces should be widened beyond light sources to include to decorative effects and low-brightness applications for consideration of lighting controls as well. Often, how a screens, mobile devices, etc., it is predicted that they lighting system is controlled can be at least as effective in saving energy as how efficient the light sources are in LIGHTING DESIGN: STEENSEN VARMING/PHOTO: MIRJAM ROOS converting electricity to light. Techniques such as zoning, dimming, timer or occupancy controls can provide substantial cost and energy savings. When planning new lighting systems or upgrading exist- ing lighting systems for exhibition display, a sustainable result should be achieved by focussing on the visitor experience, and by taking a holistic approach that understands the inter- dependence of design parameters and develops integral solutions. Consulting qualified and independent experts in the field of museum and gallery lighting not only simplifies a complex and multifaceted task, but also provides well- informed and tailored solutions that achieve a balance between optimal viewing conditions and conservation requirements, while often providing additional savings and creating sustainable outcomes. Mirjam Roos (MA, Dipl.Ing., Assoc PLDA) and Emrah Baki Ulas The Australian War Memorial in Canberra utilises light-emitting (MA, BSc, PLDA) are Senior Lighting Designers at Steensen diodes for the lighting of display niches. Varming Australia. INSPIRED DESIGN, INNOVATIVE ENGINEERING Smithsonian Institution - National History Museum Our Clients Include: Baltimore Museum of Art For more information, visit www.muellerassoc.com Delaware Museum of 410.646.4500 Natural History Monticello Visitor Center “Our museum clients, and the National Gallery of Art architects they select, are Smithsonian Natural The IAMFA LinkedIn Group now has sophisticated and knowledgeable about their objectives. We History Museum 213 members from 24 countries. Join the pride ourselves on being up to the challenge.” U.S. Holocaust Museum Group and see what everyone is talking about, Virginia Museum of Fine Arts and PLEASE...join in the discussions; Robert Marino, PE, LEED AP Walters Art Museum we'd like to hear what you have to say. President, Winterthur Museum Mueller Associates linkedin.com 18 PAPYRUS WINTER 2011–2012
- 21. LEED Certification forthe National Museum of the American Indian By John Bixler T he Smithsonian Institution’s Office of Facility Management and Reliability is all about best practices in facility management, and our latest best practice venture involves LEED certification for the National Museum of the American Indian. On November 14, 2011 a ceremony was held in the Potomac Atrium at the National Museum of the American Indian, in celebration of the Museum obtaining LEED Silver Certification. NMAI is the first museum in the Smithsonian Institution family to re- ceive LEED certification credentials. Contributors to this certification came from various Office of Facility Manage- ment and Reliability divisions, Building Management, Energy Management, Smithsonian Gardens, Engineering Technicians, Facility Service Super- visors and Workers, Life Safety and Management Support Assistants. The Smithsonian Institution resolu- tion to attempt LEED EB Certification The National Museum of the American Indian in Washington, D.C. achieves LEED Silver Certification. reflects its unique mission for the “the increase and diffusion of knowledge,” and aligns with its current strategic have been some significant capital pur- • Implementing policies/plans to plan grand challenge: “sustaining a chases, replacements, and equipment improve the Museum’s sustainability bio-diverse planet.” upgrades. These have included improv- In 2007, seeking to continue improv- ing boiler-plant performance by up- The National Museum of the ing the sustainability of the NMAI, the grading controls, providing variable- American Indian (NMAI) was estab- Museum’s founding director W. Richard speed controllers on motors, and lished in 1989 by Federal Public Law West, Jr. made a commitment, with the providing water softening for steam- 101-185 as a bureau within the Smith- support of staff, to pursue Leadership generating boilers. Improvements were sonian Institution (SI). The legislation in Energy and Environmental Design also made to Museum-wide heating, provided for the transfer from New York (LEED) certification. Major motiva- ventilation and air-conditioning City of the extensive and extraordinary tors included reducing the Museum’s system performance, by upgrading collection of the Heye Foundation’s environmental impact, and providing and integrating building automation Museum of the American Indian. It a healthier environment for staff and with the Smithsonian-wide system. also authorized the construction of visitors. By the fall of 2007, the Smith- Three major accomplishments of three facilities which would together sonian Institution had formed a core the NMAI building’s sustainability form the NMAI: an exhibition facility team; engaged Indigo Engineering performance were: at the Alexander Hamilton U.S. Group, LLC to provide supporting Custom House in New York City (the • Reducting energy consumption technical guidance; and commenced NMAI George Gustav Heye Center); by 20% working on the necessary improvements. a public exhibition facility on the There had been no major renova- • Choosing environmentally-friendly National Mall in Washington, D.C.; tions to the building since construction certified products for 90% of and a storage and resource facility (the was completed in 2004. However there chemical purchases NMAI Cultural Resources Center) PAPYRUS WINTER 2011–2012 19
- 22. in Maryland atthe Smithsonian’s Engineer Design Team. The ground- Gallery of Art, the National Air & Space Suitland Collections Center. breaking celebration for the NMAI Mall Museum, the U.S. Department of The law also provided funding for Museum was held on September 26, Education, and the U.S. Department outreach programs to Native commu- 1999. Site preparation was undertaken of Health and Human Services. The nities within the Western Hemisphere from September 1999 to January 2001. site is bounded by Jefferson Drive, SW and established repatriation require- Building construction began with the on the north; Fourth Street, SW on ments. These facilities and programs Notice to Proceed on June 30, 2001. the west; Independence and Maryland are interdependent entities that, in Construction was completed in mid- Avenues to the south; and Third Street, order to fulfill implementing agree- 2004, with occupation of the NMAI SW to the east. The site covers an area ments and legislation, must operate building by SI staff beginning in of approximately 4.4 acres. together as one National Museum of January of 2004. The official public The curvilinear building was inspired the American Indian. The legislation grand opening was held on Septem- by imagery of natural rock formations, also mandated that the SI provide one- ber 21, 2004, when visitors were first eroded by wind and water. The build- third of the cost of the Mall facility allowed into the building. ing stone is Kasota, a buff-colored from non-federal funds. The remain- The NMAI Mall Museum is the limestone quarried in Minnesota, ing two-thirds of the construction cost centerpiece of the National Museum which is complemented by warm gray, would be federal funds appropriated of the American Indian’s public pro- American Mist granite paving. The to the SI by Congress for this purpose. grams: its primary venue for exhibi- stone continues from the exterior to The planning and design of the tions, performances, conferences, and the interior of the building, reinforcing NMAI facilities were, and continue to other programs serving the general the Native-American design principle be, conceived and executed with the public. It is hoped that, as such, the of connection to the landscape and the direct involvement of Native Americans NMAI will become profoundly impor- natural world. Other materials that representing a wide cross-section of tant, both nationally and internationally, are prevalent in the interior building Native peoples of the Western Hemi- in promoting public knowledge of, construction are wood and metal. Although built with sustainability sphere. The NMAI continues to tap and respect for, the vital indigenous in mind, recent upgrades to building the ideas and expertise of Native and cultures of the Western Hemisphere, systems have helped the NMAI to earn non-Native constituencies, staff, and their historical achievements, and its LEED Silver Certification, thanks in consultants, while also maintaining contemporary realities. no small part to the efforts of staff in an ongoing dialogue with its Native- The NMAI building is located in all areas of operations. American constituencies by organizing Washington, D.C. on the National Mall. consultations with Native groups It is one of multiple national museums John Bixler is East Mall Zone Manager at the throughout the country. and landmarks located on the National Smithsonian Institution, and is responsible Final construction documents for Mall and surrounding area. Other build- for the Operations and Maintenance of the National Museum of the American Indian, the NMAI Mall Museum were com- ings of significance surrounding the National Air and Space Museum, Steven pleted and handed over to the SI in NMAI building are the U.S. Capitol, Udvar Hazy Center and the Smithsonian’s September 2000 by the Architect/ the U.S. Botanic Garden, the National Data center. The curvilinear building is constructed with Wetlands bordering the NMAI. Kasota Stone. 20 PAPYRUS WINTER 2011–2012
- 23. Benchmarking Workshop Reveals Best Practices that Save Money By Stacey Wittig “ E ngagement with other participants after the data is “How can some of you buy electricity at such low prices?” collected is key to the benchmarking process. This one incredulous participant asked the group. Discussion is a strong type of professional improvement pro- about collective purchasing and long-term futures contracts gram,” said Keith McClanahan at the annual IAMFA Bench- ensued. One member commented that perhaps political marking Practices and Learning Workshop in Auckland. pressure might be superficially holding utility prices down Designed to engage participants with roundtable forums in his city. and hot-topic discussions, the workshop kicked off the Another comparison in McClanahan’s analysis showed 2011 IAMFA Conference on November 13, 2011. that cleaning cost per area cleaned (square foot) had By comparing facility operating costs and practices, bounced around over the past years: $2.85 in 2009, $2.23 the IAMFA benchmarking exercise uncovers the proven, in 2010, and $2.46 in the latest report. The discussion around successful practices of better-performing institutions. The cleaning brought to light many changes made over the sharing of practical solutions and discussion of current past year to try to get cleaning costs under control. While issues is the main focus of the annual workshop. As best some added shifts, others were eliminating shifts. practices and lessons learned are shared and implemented “Day housekeeping was changed to day and night; that was over the years, the group betters its overall performance. mandated to us as a cost-cutting effort,” sighed one participant. Analyzing year-over-year trends for the group, McClanahan Another institution switched to daytime-only cleaning summarized, “Energy costs are getting more and more under and found a positive result. “The cleaning people become control. There is less consumption than last year.” In fact, part of the team, the building is being handled better, there the median electrical consumption per GSF was 19.50 kilo- is less damage,” the institute’s facility director revealed. watt hours (KWH) in 2011, as compared to 23.73 KWH in One participant explained, “We went from three shifts 2009 and 23.50 KWH in 2010. McClanahan, principal of to two shifts, but then overlapped the shifts during mid-day Facility Issues, which runs the benchmarking exercise, when cleaning was most needed. We bought chariots noted little change in electrical cost per KWH reported (stand-on floor cleaners) and increased technology.” over the past three years: $0.113 in 2009, $0.114 in 2010, “Night shifts eliminate overtime for after-hour events,” and $0.112 in 2011. advised another. Participants in the 2011 IAMFA Benchmarking and Learning Workshop. caption? PAPYRUS WINTER 2011–2012 21
- 24. Frequency of cleaningwas also in flux this year, as facility Returning participants included the Art Institute administrators looked to reduce costs. “We went from five of Chicago, Baltimore Museum of Art, British Library, cleanings per week to three cleanings per week. We revised Canadian Museum of Civilization, Canadian Museum of the scope of the cleaning contract and reduced the number Nature, Canadian War Museum, Carnegie Museums of of staff. Now there is a central location for trash collection Pittsburgh, Denver Museum of Nature and Science, Getty where employees empty their own wastebaskets. Areas with Center, Getty Villa, Harley-Davidson Museum, Los Angeles low visibility and low impact get fewer cleanings,” reported County Museum of Art, Library of Congress, National one participant. Gallery of Australia, National Gallery of Victoria, National “Let the contractor decide what needs to be cleaned two Library of Scotland, National Portrait Gallery Australia, times or three times per week,” suggested a fellow facility Natural History Museum – London, Philadelphia Museum administrator. of Art, Royal B.C. Museum, Smithsonian Anacostia Museum Feedback from the 2011 Benchmarking Practices and and Center for African American History and Culture, Learning Workshop suggests that discussions like these Smithsonian Conservation Biology Institute, Smithsonian lead to better understanding. Many participants say that Donald W. Reynolds Center, Smithsonian Environmental workshop take-aways can be implemented after they return Research Center, Smithsonian Freer Gallery of Art, home from the Conference. That could be one of the reasons Smithsonian Hirshhorn Museum & Sculpture Garden, that the average operating cost savings per institute since Smithsonian Museum of American History, Smithsonian 2007 is now over $4 million. Don’t miss next year’s discus- Museum Support Center, Smithsonian National Air & sions. Be a part of the cost savings. Sign up now for the 2012 Space Museum, Smithsonian National Museum of Natural IAMFA Benchmarking Exercise at: www.facilityissues.com/ History, Smithsonian National Museum of the American Registration/IAMFA/REG_IAMFA.asp Indian, Smithsonian National Museum of the American The 2011 IAMFA Benchmarking Exercise was sponsored Indian—Cultural Resources Center, Smithsonian National by Conrad Engineers, McGuire Engineers and Steensen Zoological Park, Smithsonian Quadrangle, Smithsonian Varming. New IAMFA benchmarking participants included Renwick Gallery, Smithsonian Steven F. Udvar Hazy Center, the Australian Centre for the Moving Image, the California and Winterthur Museum. Academy of Sciences, Library and Archives Canada, the McMichael Canadian Art Collection, the Museum of Stacey Wittig is the Marketing Director for Facility Issues located in Old and New Art, and Questacon—National Science & Flagstaff, AZ. She can be reached at Stacey.wittig@facilityissues.com Technology Centre. 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 24 for details and enrollment form 22 PAPYRUS WINTER 2011–2012
- 25. Out of Sight,Out of Mind Museum Collections in Storage at Serious Risk Around the World By Simon Lambert P recious artifacts and national For the past 20 years, ICCROM has About ICCROM treasures hidden away in the worked to improve the condition of The International Centre for the Study underbelly of museums are not museum storage worldwide by orga- of the Preservation and Restoration of as safe as we think. A recent interna- nizing international training activities, Cultural Property (ICCROM) is an tional survey on museum storage by developing assessment tools, raising intergovernmental organization dedi- the International Centre for the Study public awareness, and sending expert cated to the preservation of cultural of the Preservation and Restoration of missions. heritage worldwide through training, Cultural Property (ICCROM) and the Mr. Gaël de Guichen, Special Advisor information, research, cooperation United Nations Educational, Scientific to the Director General of ICCROM, and advocacy programmes. It aims to and Cultural Organization (UNESCO) commented: “This is the first time we enhance the field of conservation- confirms that, all over the world, have a clear picture of the situation. restoration and raise awareness of the museum collections in storage suffer In my 40 years of service at ICCROM, importance and fragility of cultural from poor management and lack of which has taken me all over the world, heritage. The creation of the Centre maintenance, adequate space and I estimated that about 60% of museum took place as a result of a proposal at equipment. This is particularly dis- storage was in unacceptable conditions. the UNESCO General Conference turbing because on average 90% of With this data, we have a clearer picture held in New Delhi, in 1956. Three years museum objects are in storage, and of the problem areas. Most importantly, later, the Centre was established in despite poor conditions, collections we have confirmation that this is not Rome, Italy, where its headquarters continue to grow exponentially. a developed vs. developing country remain to this day. ICCROM responds Of the 1,490 responses received from issue: all countries find themselves in to the needs of its member states, which 136 countries, one in four museums the same situation.” as of February 2010 numbered 129. reports that its storage areas are so The survey ran from June to Sep- overcrowded that it has become diffi- tember 2011, and was developed as part cult or impossible to get from one end of a joint activity between ICCROM and About UNESCO to the other. UNESCO on the Preventive Conserva- The United Nations Educational, For two in three museums, the over- tion of Endangered Museum Collections Scientific and Cultural Organization all lack of space is a problem identified in Developing Countries. In September (UNESCO) is a specialized agency of as “major” or “drastic”. However, the 2011, ICCROM and UNESCO launched the United Nations. Its stated purpose survey points to important root causes: “RE-ORG” [http://www.re-org.info], is to contribute to peace and security two in five museums report an impor- a new online tool for storage reorgani- by promoting international collabora- tant lack of management support for zation, developed by a task force of tion through education, science, and storage-related activities and a lack of museum professionals from 15 coun- culture, in order to further universal trained staff. tries on five continents to assist small respect for justice, the rule of law, and Equally striking is the fact that, in museums in reorganizing their storage human rights, along with fundamental one out of three museums, it seems and documentation systems. Online freedoms proclaimed in the U.N. unclear who is responsible for stor- registration to RE-ORG is free and Charter. It is the heir of the League of age. Furthermore, in one out of ten grants access to guidelines, assessment Nations’ International Commission on museums, the theft of objects from tools, an image database, and teaching Intellectual Cooperation. UNESCO the collection is considered to be a materials. has 193 Member States and seven major problem. In response to the survey results, Associate Members. One museum wrote: “Our storage ICCROM is currently looking for part- Simon Lambert works with the Collections is 400% over capacity and growing at a nerships and funding to launch an Unit of ICCROM, and can be reached at rate of 100–200 new objects per year.” international programme to strengthen sl@iccrom.org. “The main problem is taking care professional and institutional capacity of incoming material. A documenta- in addressing the key needs identified tion backlog of 10+ years is routine,” in this survey. said another. PAPYRUS WINTER 2011–2012 23
- 26. Become a Memberof 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
- 27. 21st Annual IAMFAConference PAPYRUS WINTER 2011–2012 25
- 28. 21st Annual IAMFAConferen 26 PAPYRUS WINTER 2011–2012
- 29. ce in Auckland,New Zealand PAPYRUS WINTER 2011–2012 27
- 30. 21st Annual IAMFAConference 28 PAPYRUS WINTER 2011–2012
- 31. Coming Attractions Preview ofthe 2012 IAMFA Mid-Atlantic IAMFA 2012 Conference By the 2012 Conference Team INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS W elcome to Philadelphia Exposition of the same year. Originally home. In rooms reflective of the inti- and the Brandywine Valley called the Pennsylvania Museum and mate layout and unique character in 2012! School of Industrial Art, its founding of the original Merion galleries, this By the time you read this, it will be was inspired by the South Kensington renowned art collection will be acces- just eight months until the start of the Museum (now the Victoria and Albert sible to the public as never before. 22nd IAMFA Annual Conference. The Museum) in London, which grew out Celebrated for its exceptional breadth, 2012 Conference will be called the of the Great Exhibition of 1851. The depth, and quality, the Barnes Foun- Mid-Atlantic Conference because Philadelphia Museum of Art houses dation art collection includes works venues will be in an area in the Mid- over 225,000 works of art and a wealth by some of the greatest European and Atlantic region of the United States. of exhibitions, encompassing some of American masters of impressionism, All venues will be within 30 minutes the greatest achievements of human post-impressionism, and early mod- of each other, but are located in two creativity. ern art, as well as African sculpture, states: Delaware and Pennsylvania, Pennsylvania German decorative arts, both rich in American history. Native-American textiles, metalwork, Rodin Museum The conference is scheduled for and more. September 16–19, 2012, so mark your calendars, and begin soon to make your plans to attend. Registration infor- The Delaware Art Museum mation is up on the www.IAMFA.ORG website now, so don’t wait—make your plans now! Read on for information on each of the 2012 Conference venues. Philadelphia Museum of Art Located near the Philadelphia Museum of Art, the Rodin Museum houses the largest public collection of works, The Delaware Art Museum is best outside of Paris, by the celebrated late known for its large collection of nineteenth-century French sculptor British Pre-Raphaelite art; works by Auguste Rodin. Wilmington-native Howard Pyle and fellow American illustrators; and urban landscapes by John Sloan and his circle. The Barnes Foundation Founded in 1912, the Delaware Art Museum houses a world-renowned collection that focuses on American art and illustration from the nine- teenth to the twenty-first centuries, The Philadelphia Museum of Art is as well as the British Pre-Raphaelite among the largest art museums in movement of the mid-nineteenth the United States. It is located at the century. The Museum features an western end of the Benjamin Franklin outdoor Sculpture Park, the Helen Parkway, in Philadelphia’s Fairmount Farr Sloan Library & Archives, Studio Park. The Museum was established in On May 19, 2012, the Barnes Founda- Art Classes, and the interactive Kids’ 1876 in conjunction with the Centennial tion will unveil its new Philadelphia Corner learning area. PAPYRUS WINTER 2011–2012 29
- 32. Winterthur Museum and also home to the Winterthur Program exotic plants and horticulture (both Country Estate in Early American Culture and the indoor and outdoor), events and Winterthur/University of Delaware performances, seasonal and themed Art Conservation program. attractions, as well as educational lectures, courses and workshops. What is now Longwood Gardens Hagley Museum was originally purchased from William Penn in 1700 by a fellow Quaker named George Peirce (1646–1734). Although it started as a working farm, in 1798 twin brothers Joshua and Samuel Peirce planted the first specimens of an arbor- etum, originally named Peirce’s Park, which has been open to the public almost continuously since that time. By 1850, they had amassed one of the finest collections of trees in the nation. Industrialist Pierre S. du Pont (1870–1954) purchased the property Winterthur Museum and Country Estate from the Peirce family in 1906 to save is located in Winterthur, Delaware, and the arboretum from being sold for houses one of the most important col- lumber. He made it his private estate lections of Americana in the United Located close to Winterthur, Hagley and, from 1906 until the 1930s, States. It was the former home of Museum and Library is where the du Pont added extensively to the Henry Francis du Pont (1880–1969): du Pont story begins. It was here that property. A world traveler from an a renowned antiques collector and in 1802 E.I. du Pont established a gun- early age, du Pont was often inspired horticulturist. Until recently, it was powder mill, which evolved into a major to add features to the garden after known as the “Henry Francis DuPont international corporation with world- attending world’s fairs, the most notable Winterthur Museum”. wide impact. We will visit the scenic additions being the massive conserva- Winterthur is situated on 979 acres 235-acre campus along the banks of the tory, complete with a massive pipe (4 km2), near Brandywine Creek, with Brandywine River, which includes the organ, and the extensive system of 60 acres (0.2 km2) of naturalistic gar- original mills of the DuPont Company, fountains. Mr. Du Pont opened his dens. There were 2,500 acres (10 km2) working machinery, a restored workers’ estate to the public many days of the when it functioned as a country estate. community, and the fascinating links year during his occupancy and was There are 175 period-room displays between history, science, and technology. even known, on rare occasions, in the Museum and approximately to personally (and anonymously) 85,000 objects. Most rooms are open to the public on small, guided tours. Longwood Gardens provide tours to visitors. The collection spans more than two centuries of American decorative arts, National Museum of notably from 1640 to 1860, and con- American Jewish History tains some of the most important pieces of American furniture and fine art. The Winterthur Library and Research Center includes more than 87,000 vol- umes and approximately 500,000 manu- scripts and images, mostly related to American history, the decorative arts, and architecture. The facility also houses extensive conservation, research, and Longwood Gardens consists of over education facilities. 1,077 acres (435 ha) of gardens, wood- In the 1990s, more informal museum lands, and meadows in Kennett Square, galleries were opened in a new build- Pennsylvania in the Brandywine Creek The National Museum of American ing adjacent to the main house, where Valley. It is one of the premier botanical Jewish History has long been a vital special rotating and permanent exhi- gardens in the United States, and is component in the cultural life of bits are now housed. The Museum is open to visitors year-round offering Philadelphia. Over the course of its 30 PAPYRUS WINTER 2011–2012
- 33. history, the NMAJHhas attracted a the Declaration of Independence was devoted to the Constitution, the Center broad regional audience to its public adopted here on July 4, 1776. In the illuminates constitutional ideals and programs, while exploring American same room, the design of the American inspires acts of citizenship, so that “We Jewish identity through lectures, panel flag was agreed upon in 1777; the the People” may better secure the discussions, authors’ talks, films, chil- Articles of Confederation were adopted blessings of liberty to ourselves and dren’s activities, theater, and music. in 1781; and the U. S. Constitution our posterity. The Museum has displayed more than was drafted in 1787. The building, a hundred exhibitions in its first three inside and out, has been restored Ritz-Carlton Philadelphia decades of existence. As the reposi- wherever possible to its original late- tory of the largest collection of Jewish eighteenth-century appearance. Most Americana in the world, with more of the furnishings are period pieces. than 25,000 objects, the NMAJH has The “rising sun” chair used by George developed extensive institutional expe- Washington as he presided over the rience in preservation, conservation Constitutional Convention is original. and collections management sup- porting the fulfillment of its mission National Constitution to preserve the material culture of American Jews. Center Located in one of Philadelphia’s most Independence Hall historic buildings, the Ritz-Carlton Philadelphia is a luxury hotel situated on the city’s Avenue of the Arts: a stretch of Broad Street that is loaded with fine arts venues. It is also within walking distance of a number of other notable attractions, including the Kimmel Center, the Academy of Music, City Hall, Rittenhouse Square, several theaters, and many historical buildings. The hotel itself is located in the old Constructed between 1732 and 1756 Girard Bank Building, which was built as the State House of the Province of in the 1830s. This stunning Neoclassical Pennsylvania, Independence Hall is building with its signature rotunda is considered a fine example of Georgian an ideal setting for a luxury hotel, and architecture. From 1775 to 1783 (except has become one of the most popular for the winter of 1777–1778, when lodging choices in the city for those who Located on Independence Mall, the Philadelphia was occupied by the are looking for upscale accommodation. National Constitution Center brings British Army), this was the meeting This is just a taste of what awaits the U.S. Constitution to life for the place for the Second Continental you at the Annual Conference in whole family through multimedia exhi- Congress. It was in the Assembly Room Philadelphia and the Brandywine bitions, live performances, timely public of this building that George Washington Valley in 2012. We look forward to programs and dynamic educational was appointed Commander-in-Chief hosting you and your families. resources. As America’s first and only of the Continental Army in 1775, and non-partisan, non-profit institution Past issues of Papyrus can be found on IAMFA's website www.IAMFA.org PAPYRUS WINTER 2011–2012 31
- 34. A Sustainable DesignApproach to Preservation Centres By Martin Turpin L ibrary and Archives Canada (LAC) recently completed PHOTO: GORDON KING, 2011 a nitrate film preservation centre in Ottawa, Canada, merging strict conservation requirements and sustain- able design principles. The facility houses LAC’s nitrate- based holdings, which cover many of Canada’s important efforts during the First and Second World Wars. Other well-known archival holdings, such as the country’s early work in filmmaking (Back to God’s Country, 1919) and Yousuf Karsh’s earliest photographic works, are kept in the preservation vaults. The project team demonstrated leadership in the area of sustainable design, which resulted in a building having a min- imal impact on the environment. Their work was recognized with the Public Service of Canada Innovation Award. Design Intent When the design phase began in 2003, Library and Archives Canada decided to make it a priority to build a green facility. The building’s function as a preservation facility requires a high level of energy to preserve its collection at 2°C and 25% relative humidity, which is the environment required to ensure that the cellulose nitrate films and photographic negatives are well preserved. While the project team opted to use the same approach to design the facility as the LEED standard (set by the Canadian Green Building Council), with the available technologies, they did so without pur- suing accreditation because of the building’s high energy consumption and distance from the downtown core. Some concepts adopted for the project included a simple LAC Nitrate Film Preservation Facility. volume facility with an exterior building envelope comprised of a green roof, highly insulated walls, and high-efficiency windows. The mechanical and electrical systems include energy-recovery ventilators, instant hot-water systems, and occupancy light controls with LED/fluorescent light fixtures. Care was taken to nestle the building within the site’s bedrock, orienting it to minimize site excavation. The archival processing room and digitization room were designed to be interchangeable, and are equipped with adaptable workstations, allowing flexibility for future conservation and digitization technologies. These rooms, located on the northern side of the facility, highlighted in red in the rendering below, include large high-efficiency windows that are more airtight and provide superior insulation value to regular window systems. While the inclusion of high-efficiency windows was largely for occupant comfort, the northerly direction of LEGEND each room helps reduce the heat load and avoids the Blue: Preservation vaults Beige: Loading dock area Red: Laboratories Yellow: Mechanical room casting of direct sunlight on the collections handled in these rooms. Architect’s rendering of the Nitrate Film Preservation Facility. 32 PAPYRUS WINTER 2011–2012
- 35. The preservation vaultwing, represented in blue on the which reduced the leakage of conditioned air in the adjacent rendering, required thick walls for fire separation. These occupied spaces. And finally, the inclusion of a green roof walls were also used as structural support for the green roof, over the preservation vault area contributes to the reduction saving the cost premium to support the weight of the green of the cooling load on the mechanical systems. roof and helping to expedite the construction process. The Due to the preservation vaults being kept at 2°C, the utilization of fly ash in the concrete helped to reduce the vault wing functions as a large refrigerator. Consequently, quantity of Portland cement, lessening the environmental efforts to design the mechanical system to minimize energy impact, improving fire resistance, and reducing wall thickness. use include an independent Energy Recovery Ventilator (ERV) and Variable Speed Drives (VSD). The ERV recovers Extensive Vegetative Green Roof the energy from the vault exhaust air and reuses this energy The main advantage of incorporating the vegetative roof to cool the fresh air going into the building, while the was to provide a buffer zone between the indoor 2°C envi- VSD, on the building’s mechanical systems, operate only ronment (of the preservation vaults), and outdoor heat when required, and to the level of the occupant load, during the summer months. According to research by the instead of running continuously. National Research Council of Canada, a green roof would Instantaneous hot-water heaters, for all domestic water reduce the summer peak roof temperature from 70°C, on heating, eliminate the energy wasted with hot-water tanks typical tar roofs, to 30°C on a green roof. To best explain when they are not in use. Energy is thus used only when this, it is the equivalent of the temperature of a grass lawn the occupants need it. Duty boilers are used to provide the versus paved asphalt on a hot summer day. Therefore, you necessary heat to the desiccant wheels for dehumidification only need to cool 28°C (30°C minus 2°C), on a green roof, in the preservation vaults. To make the most of the boilers, versus 68°C (70°C minus 2°C) for a typical tar roof. In they are also used for supplemental radiant heating to the addition, a green roof will reduce the load on the city’s occupied spaces and to complement the heating, ventilation water treatment plants by eliminating water runoff, and and air conditioning systems, improving individual control will extend the life of the roof membrane by 30 years. of these spaces and occupant comfort. Efficient fluorescent and LED fixtures, controlled with Energy and Water Efficiency occupancy sensors, were used in the facility to reduce the The energy performance of the building was maximized energy load. Occupied spaces are outfitted with large through the selection of appropriate building components windows to maximize daylight; and the metal roof decking, and systems. Utilizing super-insulation construction details which acts as the finished ceiling, is painted white to reflect and capitalizing on thermal massing helps to retain the as much light as possible into these spaces. ambient temperature in the space, thereby lessening the Water consumption for the facility is reduced by provid- requirement for cooling or heating. To explain this in a ing touchless (for improved sanitation) lowflush fixtures, simpler way, think of your home refrigerator. It is more and drought-resistant plants for the green roof and the site. efficient when it is full than when it is empty, because the The landscaping is a managed meadow of native species, content (mass) helps to retain the desired temperature with only a small portion requiring maintenance, thus without continuously cooling the inside of the refrigerator. reducing ongoing maintenance costs. The landscape Another initiative to reduce air loss was the introduction architect was committed to returning much of the site of an acclimatization corridor in the preservation vault area, to its pre-development state, using indigenous plants. PHOTO: GORDON KING, 2011 Main entrance area. PAPYRUS WINTER 2011–2012 33
- 36. Carbon Footprint Conclusion HAWKINS: PROUD BUILDER OF THE AUCKLAND ART GALLERY DEVELOPMENT. In order to reduce our environmental impact, the criteria Even with construction completed, LAC continues to pro- used to source the building finishes were based on: local mote sustainable practices by educating the occupants and products (to reduce transportation from the producers to visitors about the benefits of sustainable design, specifying our door); durable products with the same lifespan as the green maintenance practices (using non-toxic products building;and products that require little to no maintenance. that have minimal impact on the environment) in the Such products include interior and exterior metal walls facility, and through active design:a shower facility was (using 25% recycled content) that were painted offsite to included in the building to encourage employees to lead avoid the introduction of pollutants into the laboratories active lifestyles at the workplace. and occupied spaces. Building construction has a significant impact on the Using polished concrete floors and poured concrete walls, use of non-renewable resources, as well as our environ- with the maximum amount of post-industrial recycled ment. This is especially true when it comes to collection material (fly ash), and exposed architectural concrete facilities, designed with high preservation standards, which blocks, eliminated cyclical replacement and maintenance often consume a lot of energy. of these finishes. Exposing the roof decking and structure not only allows Martin Turpin is Capital Project Manager at Library and Archives Canada, in Ottawa. the reflection of light from the fixtures, but also provides easy access for maintenance work, eliminating the need for a suspended ceiling. Careful consideration was made in the Project Team selection of the cabinetry for the kitchen and washrooms, which were constructed with rapidly renewable agricultural Primary Consultants fibres and Forest Stewardship Council Canada (FSC) wood. Schoeler & Heaton Architects The interior design eliminates all unnecessary applied fin- ishes and exposes the structural and mechanical building Sub-Consultants systems (which are used as design elements). Mechanical/Electrical: Goodkey Weedmark & Associates Creating the optimal preservation condition was para- Landscape Architect: F.D. Fountain Landscape Architecture The Auckland Art Gallery development has been an inspiring and ground breaking project for Hawkins, and we applaud the commitment and vision of Auckland Art mount in the design of the facility, in order to preserve Structural: Adjeleian Allen Rubeli Gallery, and its wide network of supporters, in realising this ambitious project. Canada’s nitrate-based documentary heritage for present Commissioning: Cathcart Mechanical Performance We expect that all users of this great facility will draw as much enjoyment from it and future generations. While using a sustainable design as we have building it. Site Services: Stantec Consulting approach, the project team managed to construct the “coolest”—at 2°C—nitrate film preservation centre in General Contractor North America, while minimizing its impact on the Laurin Group environment and reducing its carbon footprint. Hawkins Auckland Level 2 - Hawkins House, 70 Stanley St, Parnell, Auckland Phone | 09 918 8100 Private Bag 93214 Parnell, Auckland 1151 Please join us September 16–19, 2012 in Philadelphia for the 22nd Annual IAMFA Conference It will be a Historical Event! For more information, please visit www.IAMFA.org 34 PAPYRUS WINTER 2011–2012
- 37. An Unexpected Attendanceat the Lighting Designer’s Academy Awards By Alan Dirican A fter attending a wonderful and On my second day in Sydney, I not be able to attend the awards dinner, highly educational IAMFA met Emrah in his office at Steensen which left an available seat at their Conference in Auckland, Varming. After meeting his colleagues table. I was so surprised when they New Zealand, like many other atten- and touring their very sleek and con- asked me to join them. Having no dees I also decided to take a few extra temporary offices, Emrah gave me a previous set plans of my own for the vacation days and do some sightseeing. personal tour of the Kaldor Gallery. night, and already having a tux in After all, most of us don’t get to travel to Emrah also gave me a behind-the- my suitcase—but more importantly the Southern Hemisphere very often. scenes tour of the Sydney Opera House, curious about the outcome of the I decided on spending the three where I also saw Steensen Varming’s awards—I accepted the invitation. days after the IAMFA Conference work. Steensen Varming were mechan- I had never attended an event like in Sydney, Australia. ical consulting engineers for the Sydney the IESANZ before, but it became While in Sydney, I visited one of the Opera House. clear to me that this was like the light- local residents whom we had all just Just as Emrah was explaining that ing designers’ Oscars. Throughout the met at the IAMFA Conference, and we had to cut our tour short due to evening, there were a half-dozen dif- who also happens to be a very talented a previous engagement—he had to ferent awards presented to individuals lighting designer: Emrah Baki Ulas. If attend the Illumination Engineers in different categories, each represent- you attended the Auckland Conference, Society of Australia and New Zealand ing achievements in the lighting field. you heard Emrah make a presentation. (IESANZ) awards ceremony with his Like the Oscars, the most prestigious If you didn’t attend, Emrah also co- colleagues from Steensen Varming— award was saved for the end of the authored a recent four-part series he received a phone call from his evening. After showing all the final article in Papyrus: Looking at Art in a boss, Dan Mackenzie. project selections, including both New Light. Emrah and his co-author Emrah had earlier explained to me Mirjam’s and Emrah’s designs from Mirjam Roos, another very talented that their firm submitted two differ- Steensen Varming, the jury made its lighting designer, both work for ent lighting projects for the IESANZ decision. The announcer informed the Steensen Varming, a consulting firm Lighting Design Excellence Awards. audience that the IESANZ Lighting based in Sydney, Australia, which was One of the projects was his design for also a Principal Sponsor of the 2011 the Kaldor Family Gallery; the other Auckland Conference. was Mirjam’s design for the Australian After seeing and admiring Mirjam’s War Memorial Hall of Valour Gallery. lighting design work at the Auckland I couldn’t help but sense the friendly Art Gallery Toi o T¯ maki, I thought a rivalry between these two talented it might be nice to see some of Emrah’s lighting designers, who are colleagues design work as well. During the at the same firm, and partners in Auckland Conference, Emrah men- personal life. tioned his design at the John Kaldor On the phone, Emrah’s boss Dan Family Gallery at the Art Gallery of was telling him that one of his col- New South Wales, in Sydney. leagues was not feeling well, and would The iconic Sydney Opera House. The Kaldor Family Gallery at the Art Gallery of New South Wales. Lighting Design: Emrah Ulas PAPYRUS WINTER 2011–2012 35
- 38. Design Excellence Awardwent to the win. I think he just didn’t want to the announcer indicated that the jury design work for the Kaldor Family sleep in the doghouse that night. had had a very difficult time making a Gallery in the Art Gallery of New South Then something very interesting decision between two projects among Wales. Earlier in the night, Emrah told happened. Apparently for the first the final selections, and ultimately de- me that he was hoping for Mirjam to time in the history of the IESANZ, cided two give two Excellence Awards. To the surprise of everyone, the other winner was the Australia War Memorial, which was also Steensen Varming project, and designed by Mirjam Roos. I could clearly see the joy and pride in the faces of all of Mirjam’s colleagues, but especially in Dan MacKenzie’s— having submitted two separate projects by two of his firm’s designers, both of whom had won the most prestigious award. For me, I was so happy to be present for the evening, and to get to know such talented designers. Alan Dirican is Deputy Director for Operations and Capital Planning at the Baltimore Museum of Art, and is Treasurer of IAMFA. The Australian War Memorial Hall of Valour. Lighting Design: Mirjam Roos It may seem like common sense, but you should still always shelter your hand as you enter your banking code, even blocking the keypad with your body if you need to. Also, make sure you choose a PIN that is not easily associated with your name, address, phone number or birthdate—the more random it is, the more difficult it would be to guess from your personal info, or your family’s. 36 PAPYRUS WINTER 2011–2012
- 39. Architect of theCapitol Begins Restoration of Capitol Dome Skirt I n October 2011, Architect of the “There is only one Capitol Dome, of the Capitol Thomas U. Walter, and Capitol Stephen T. Ayers, AIA, LEED and we are committed to preserving is the Capitol’s second dome. The first, AP, announced that passersby at the it for generations to come,” noted finished in 1824, was a low dome made U.S. Capitol would soon see workers Mr. Ayers. of wood covered with copper. By the beginning restoration of the Capitol The iconic Capitol Dome serves as 1850s, this dome was considered a fire Dome skirt: the lower level of the a symbol of our country and our gov- hazard, as well as too small for the cast-iron Dome. ernment. It was designed by Architect Capitol Building, which had been Restoration work will include repair- enlarged over the years. ing and restoring historical ironwork, Construction on the new dome sandstone, and brick masonry. In began in 1856, and progressed addition, old paint will be removed through the Civil War. Made of cast from the interior and exterior of the iron, the new dome was added to the Dome skirt and it will be repainted. existing Rotunda walls. Its iron Work has been going on behind the columns were cast hollow, allowing scenes for several months to prepare some to serve as chimneys or rain the site for the restoration project. Cur- downspouts. Work was completed on rently, a large scaffold tower is in place December 2, 1863, when the last on the West Front Grounds. A second section of the Statue of Freedom was scaffold tower will soon be erected at put in place atop the new dome. the terrace level, and will connect the The Architect of the Capitol has lower tower with a bridge that will be overseen regular maintenance to slow used to move materials to the skirt level. the deterioration and, in summer 2010, The scaffolding installed around the had the Dome sealed and painted Dome skirt will be covered with a white to provide a protective coating that scrim to allow it to blend in with the would help preserve and protect the building’s exterior. The majority of exterior cast-iron surfaces. To accom- the work will be done at night and on modate preparations for the 2013 weekends to ensure minimal disruption Inaugural, work on the Dome skirt to Congressional business, events, and is scheduled for completion in public tours. fall 2012. Past issues of Papyrus can be found on IAMFA's website www.IAMFA.org PAPYRUS WINTER 2011–2012 37
- 40. Museum Environmental Standardsin a Changing Environment By Vicki Humphrey and Julian Bickersteth T he current generation of museum professionals has 4. When designing and constructing new buildings, or grown up working to the internationally recognised— renovating old ones, architects and engineers should and until recently unassailable—standards of 20°C be guided to reduce significantly the building’s carbon +/- 2°C temperature and 50% +/- 5 % relative humidity. A footprint as a primary objective. number of factors, however, have led to these standards being re-examined. The growing focus on sustainability, Museum and gallery directors have been very active in and an increasing awareness of the carbon footprint of challenging what has been referred to as the “gold stan- the world’s cultural institutions, have been significant dard” of museum environmental control. The Art Newspaper contributors to this re-examination. noted in Issue 212, April 2010, that “Leading directors There is no escaping the fact that the current recom- have been questioning the scientific validity—and cost— mended environmental standards for display and storage of running air conditioning to the current standard conditions in museums and galleries rely on significant specification.” In this same article, they reported the fact amounts of energy to keep these conditions constant, and that the Indianapolis Museum of Art (IMA) has relaxed Facilities Managers are all too aware of the cost of maintain- its environmental standards and had offered lenders the ing them. Facilities Managers may be less aware, however, opportunity to remove their collection items if they were that there is now general agreement amongst the interna- not happy with these changes. None of the lenders chose tional conservation community that collections can with- to take up this offer. The Art Newspaper has continued to stand conditions within a range outside of these currently report on progress on this topic in subsequent issues. IIC accepted standards. has also continued the discussion in another roundtable The need for a review of museum environmental stan- discussion, The Plus/Minus Dilemma: The Way Forward in dards has been recognised for a number of years now. The Environmental Guidelines (http://www.iiconservation.org/ impact of climate change and the vulnerability of delicate dialogues/Plus_Minus_trans.pdf) held in Milwaukee in collections that rely on controlled environments, as well as May 2010. the effects on built heritage, have been concerns for the Environmental standards for museums, libraries and National Trust in the U.K. and other such bodies for some archives have been a matter for discussion in Australia as time. In 2008, these matters were the topic of discussion at well. In fact, the Australian Institute for the Conservation of the International Institute for Conservation’s (IIC) inaugural Cultural Material (AICCM) was advocating a more informed roundtable discussion, Climate Change and Museum approach to environmental standards as early as 2002, when Collections http://www.ii conservation.org/dialogues/ Guidelines for Environmental Control of Cultural Institutions was IIC_climate_change_transcript.pdf published by the Heritage Collections Council. The issue In 2009, the EU’s Science and Heritage Programme has become more pressing in recent years as, in common research cluster, known as EGOR (“Environmental Guide- with our colleagues the world over, the Australian museum lines: Opportunities and Risks”), strongly recommended that new environmental guidelines be developed, reflecting recent scientific evidence. Also in 2009, the U.K.’s National Museums Directors Conference produced a set of guiding principles for reducing museums’ carbon footprint. These espoused four basic principles: 1. Environmental standards should become more intelli- gent and better tailored to clearly identified needs. Blanket conditions should no longer apply. 2. Care of collections should be achieved in a way that does not assume air-conditioning or any other current solutions. Passive methods and simple technologies that are easy to maintain, as well as lower-energy solutions, should be considered. The inaugural meeting of Facilities Managers and Conservators of 3. Natural and sustainable environmental controls should Australia’s national collecting institutions based in Canberra, was be explored. held at the National Museum. 38 PAPYRUS WINTER 2011–2012
- 41. sector is facinga number of challenges: namely, rising It must be noted, however, that it is no longer sufficient energy costs; static or reduced budgets; and community to implement blanket environmental standards that cover pressure to be more environmentally sustainable. In all material types, buildings, climates and eventualities. Thus, response to these challenges and to the discussions and the Guidelines offer broad indicators and supporting infor- initiatives internationally—including the announcement mation and data that can be used to aid in the development that BS5454 was to be reviewed—AICCM established a of site-specific and material-specific conditions. There is no taskforce to develop a set of environmental guidelines for universal range offered, although in a few instances actual Australian conditions in 2009. figures have been suggested: for example, the upper limit of It was acknowledged that there needs to be a shift in RH recommended for prevention of mould growth. Optimal environmental standards, and that this shift must reflect a conditions vary, depending on the type of material an object better understanding of the contemporary conservation is made from, on the physical condition of that object, and needs of different types of objects, and the climate in in some cases the environmental conditions to which it which they are held. It must also engage with the context may already be acclimatised. in which museums operate, from both a budgetary and This approach will certainly involve taking a different an engineering perspective. approach, and may be seen as more labour intensive for The taskforce began by gathering data on existing smaller organisations. It sits well, however, with an inte- Australian and international research in this area, along grated collection-management approach that takes into with details of initiatives that collecting institutions across account the use of collections, evaluation of content, sig- the country were already taking. One important consider- nificance and condition, as well as consideration of the ation was the fact that Australia is a net importer of museum “life cycle” of the collection, the objects within it, and the loans, and if we want to continue to borrow objects and degrees of deterioration that are acceptable. works of art from abroad, we have to take into account the The Guidelines do not provide specific guidance on the pace of revisions in the standards in other countries. It was architectural or engineering aspects of environmental con- interesting to note that a degree of frustration was expressed trol. Conservators can encourage consideration being given by a number of participants from the U.S. and U.K., during to passive systems such as utilising building mass, internal informal discussions at the recent IAMFA Conference in rooms and storing like with like, and establishing micro- Auckland, about the effect environmental requirements climates with the aim of achieving low-energy approaches. for loans was having on moves to revise the standards. The Guidelines are intended to be useful for practical The AICCM taskforce found that Australian collecting application, and thus each principal guideline is supported institutions are already undertaking a range of significant by advice on how that guideline should be implemented. initiatives. Work had been done to start reducing energy Links and cooperation between conservators and Facilities requirements and therefore costs, and also to research what Managers will be critical in determining, implementing and wider tolerances can be achieved whilst still responsibly managing specific environmental standards with organisa- meeting the needs of our national collections. It is clear as tions. This was also recognised during informal discussions well that energy usage is not dictated only by environmental at the recent IAMFA conference. To facilitate such coopera- standards for collections. It also involves the ways in which tion, Vicki Humphrey has hosted an initial meeting between museums and galleries utilise what is generally their major conservators and Facilities Managers from Australia’s physical asset: their buildings. Museums may often be national collecting institutions. The aim of this meeting captive to international trends, and thus unable to make was to establish a schedule of quarterly meetings to discuss unilateral decisions at their own behest when it comes to issues of common concern, and to provide a forum for environmental conditions for loans; however, as we see exchange of information between the two disciplines. It is in the pages of Papyrus, museums in Australia and else- also hoped that there will be updates on these meetings in where are taking steps to manage their buildings in more the AICCM newsletter and IAMFA’s Papyrus. environmentally responsible ways. The review of environmental standards is an important development in the management and care of collections. The importance of the work of the AICCM Taskforce to It has also served as a reminder of the common ground Australia’s museum sector was evident when the Taskforce’s between Facilities Managers and their conservation col- project—Environmental Guidelines for Museums and Galleries leagues, and as a catalyst for a closer working relationship —was awarded not only the national prize in the Sustain- between these two groups. ability category of the 2011 Museums & Galleries National Awards (the MAGNAs) at the Museums Australia Conference Vicki Humphrey is Head of Conservation at the National Museum in Perth in November, but also the overall MAGNA Award. of Australia, and has contributed to the development of conservation The purpose of the AICCM Environmental Guidelines is facilities at the Royal Botanic Gardens, Kew and the British Library. She is an accredited conservator (ICON, UK) and is Vice-President to bring Australian collecting institutions up to speed with of AICCM. the latest thinking on appropriate environmental conditions for the long-term care of their collections, whether on dis- Julian Bickersteth is the founder and Managing Director of play or in storage, and to help collecting institutions meet International Conservation Services. He is an AICCM Professional Member, and was AICCM Conservator of the Year in 2002. He is a their responsibility for establishing and maintaining environ- Fellow and current Vice-President of IIC, Vice-President of ADFAS, mental conditions which will preserve the collections in and sits on the Board of the National Trust of Australia (NSW). their care for future use and enjoyment. Julian headed up the AICCM Environmental Guidelines Taskforce. PAPYRUS WINTER 2011–2012 39
- 42. Chapter News andRegional Updates Washington, D.C.-Baltimore Chapter A Cardboard Cathedral for Christchurch By Maurice Evans Japan-based Shigeru Ban Architects has unveiled their pro- posal for a “Cardboard Cathedral”: a replacement structure The Washington, D.C.-Baltimore Chapter continues to grow for the Christchurch Cathedral located in New Zealand. and reach out to other museums and cultural institutions An earthquake struck the city of Christchurch in February in the area. This increased membership and participation 2011, heavily damaging the existing church, and leaving was evident at its most recent quarterly meeting. the community in need of an interim structure to continue The Chapter held its final quarterly meeting of the 2011 their daily activities. calendar year on September 14 at the National Archives in Washington, D.C. The meeting was well attended with over 30 participants, including several first-time attendees. The educational topic for this meeting was “Moving Towards Sustainable Operations at the National Archives”, presented by Mark Sprouse of the National Archives. Mark’s presentation was indeed informative. Mark shared his pre- sentation electronically with the Chapter, providing us with Damaged Cathedral in Christchurch, New Zealand. good reference material if we wanted to implement any of the recommendations from his presentation. The design consists of an A-frame quickly erected with The next chapter meeting will take place in January 2012. cardboard tubes and polycarbonate, which will rest upon The host for this meeting will be the United States Holocaust foundations fabricated from shipping containers measur- Memorial Museum. This will be the first time the Holocaust ing 20 feet (six metres) in length. The interior volume will Museum has hosted the Chapter meeting. All of the mem- serve as an event and concert space capable of holding up bers are looking forward to visiting the Holocaust Museum, to 700 people. and to our upcoming meeting. IMAGES COURTESY OF SHIGERU BAN ARCHITECTS U.K. Chapter By Ian Williams We’ve been a little busy here in sunny Liverpool, as our new building opened on July 19, 2011. We had 400,000 visitors in the first two months, who Front façade (left) and proposed structural A-frame (right). have tested the place to The monumental destruction— triangular entry facade which keeps my would be composed of a stress levels series of smaller triangles, high, and our filled with stained-glass contractors Landmark buildings on Liverpool’s waterfront, windowpanes sourced busy. including the Museum of Liverpool. from local artists. We also use Once the initial re- one of our main windows as a big screen on which to search and engineering project for events taking place in the city. phases—currently un- Interior of proposed cathedral. derway—are resolved, the structure will take three months to assemble, with a projected completion of February 2012. The durable materials are One of the weatherproof and fireproof, with a functional lifespan of at Museum of Liverpool’s main least fifteen years. Volunteers may assist with the rebuilding windows is used process, as structural connections of the tubes with three-inch to project images. (8 cm) diameter require minimal construction experience. Shigeru Ban Architects has offices in Tokyo, Paris and New York and a long history of producing projects throughout the world. 40 PAPYRUS WINTER 2011–2012
- 43. San Francisco Chapter year tenure, he led the de Young Museum in Golden Gate Those attending the 2010 IAMFA Annual Conference in Park, and the Legion of Honor in Lincoln Park, to record San Francisco may remember John Buchanan welcoming levels of attendance and membership. In addition, he the IAMFA delegates for breakfast on October 19, 2010 at increased levels of corporate sponsorship and individual the de Young Museum. giving, developed a vibrant educational program—including the famed Friday Nights at the de Young Museum—and presented an impressive portfolio of critically acclaimed In Memoriam: John Edward Buchanan, Jr. exhibitions. 1953–2011 Through his extensive global network of private lenders, Director of the Fine Arts Museums of museum colleagues and foreign governments, Buchanan San Francisco: 2006–2011 brought treasures and masterpieces from the worlds of In December, The Fine Arts Museums of painting, sculpture, haute couture, the decorative arts, San Francisco announce with great sadness antiquities and pop culture to San Francisco. Buchanan’s the death of John Edward Buchanan, Jr., leadership provided the Museums with exceptional oppor- Director of Museums, on Friday, December tunities, including important exhibitions of Impressionism 30, 2011. Mr. Buchanan passed away at the and Post-Impressionism from the collection of the Musee age of 58 after a battle with cancer. d’Orsay in 2011, and an internationally successful exhi- “The Fine Arts Museums of bition program that included the haute couture crafts- San Francisco has lost a dynamic, creative manship of Vivienne Westwood, Yves Saint-Laurent and leader whose vibrant energy and humor Cristobal Balenciaga. will be missed by everyone,” said Diane B. Wilsey, President Under Buchanan’s six-year stewardship, the Museums of the Fine Arts Museums of San Francisco Board of welcomed over 11.9 million visitors, presented over 100 Trustees. “I, personally, have lost a best friend whose vast special exhibitions rooted in the Museums’ permanent knowledge and intellectual curiosity never ceased to amaze collections, and increased membership to 122,000 house- me.” holds: the third-largest membership in the nation. Today, John E. Buchanan, Jr. joined the Fine Arts Museums of the Museums are the fourth-most visited-art museums in San Francisco (FAMSF) in February 2006. During his six- North America, and rank fourteenth in the world. Reserve this space to Please contact the advertise in a future Editor of Papyrus for details issue of Papyrus PAPYRUS WINTER 2011–2012 41
- 44. IAMFA Members Directory2011 Gerry Linehan Shaun Woodhouse Pierre Lapointe AUSTRALIA National Library of Australia Australian Centre for the Cofely Services Inc. Parkes Place Moving Image 550 rue Sherbrooke Quest Brian Coleman Parkes PO Box 14 Bureau 400 Museum Victoria Canberra, ACT Flinders Lane Montreal, Quebec GPO Box 666 2600 Melbourne, VIC H3A1B9 Melbourne glinehan@nla.gov.au 8009 pierre.lapointe@ 3001 shaun.woodhouse@ cofelyservices-gdfsuez.net Dan Mackenzie acmi.net.au Stephen Devereaux Steensen Varming Guy Larocque Museum Old and New 160 Sailors Bay Road Canadian Museum of 655 Main Road CANADA Northbridge Civilization Berriedale, Tasmania Sydney, NSW 100 Laurier Street 7011 Simon Aubin 2063 P.O. Box 3100, Station”B” steve@mona.net.au Canada Science & Technology dan.mackenzie@ Gatineau, Quebec steensenvarming.com.au Museum Corporation J8X 4H2 Benard Finucane P.O. Box 9724 Station T Questacon, The National guy.larocque@civilisations.ca Dean Marshall 2421 Lancaster Rd. Science and Technology Ottawa, Ontario National Gallery of Australia Pierre Lepage Center K1G 5A3 GPO Box 1150 4 Chateauguay Street King Edward Terrace saubin@technomuses.ca Canberra, ACT Embrun, Ontario P.0. Box 5322 2601 K0A 1W0 Canberra, ACT Debra Campbell dean.marshall@nga.gov.au pierrelepage8@msn.com 2604 Canadian Museum of mrawlinson@ Ray McMaster Civilization Pam Lowings questacon.edu.au 100 Laurier Street Royal British Columbia 33 Hocking Ave P.O. Box 3100, Station”B” Museum Lawrence Fraser Gatineau, Quebec Earlwood, NSW 675 Belleville Street National Portrait Gallery J8X 4H2 2206 Victoria, British Columbia King Edward Terrace rmc.master@bigpond.com V8W 9W2 Parkes Calum Ewing plowings@ Canberra, ACT Dermot O’Sullivan Nova Scotia Museum royalbcmuseum.bc.ca 2603 Museum Victoria 1675 Lower Water Street lawrence.fraser@npg.gov.au 11 Nicholson Street Halifax, Nova Scotia David Loye Carlton, Victoria B3J 1S3 Canadian Museum of Alan Freemantle ewingcn@gov.ns.ca 3053 Civilization National Portrait Gallery of dvcosullivan@gmail.com 100 Laurier Street Australia Toby Greenbaum P.O. Box 3100, Station”B” King Edward Terrace Mark Rawlinson Physical Resource Bureau Gatineau, Quebec Parkes Questacon, The National Foreign Affairs and Int’l Trade J8X 4H2 Canberra, ACT Science and Technology 125 Sussex Drive david.loye@civilization.ca 2603 Center Ottawa, Ontario alan.freemantle@npg.gov.au King Edward Terrace K1A 0G2 Michael Lundholm P.0. Box 5322 toby.greenbaum@ Lundholm Associates Vicki Humphrey international.gc.ca Canberra, ACT Architects National Museum of Australia 2604 401 Richmond St., Studio 369 GPO Box 1901 Todd Keeley mrawlinson@ Toronto, Ontario Canberra ACT Canadian Museum of questacon.edu.au M5V 3A8 2601 Civilization mlundholm@lundholm.ca VHumphrey@nma.gov.au Graham Smith 100 Laurier Street National Museum of Australia Gatineau, Quebec Martin Malette Gerry Linehan J8X 4H2 GPO Box 1901 Canadian Museum of National Library of Australia tedd.keeley@civilizations.ca Canberra, ACT Civilization Parkes Place 2601 100 Laurier Street Parkes Pierrette Lagrois Graham.Smith@nma.gov.au P.O. Box 3100, Station”B” Canberra, ACT National Gallery of Canada Gatineau, Quebec 2600 380 Sussex Drive J8X 4H2 hosborne@nla.gov.au Ottawa, Ontario martin.malette@civilization.ca K1N 9N4 plagrois@gallery.ca 42 PAPYRUS WINTER 2011–2012
- 45. Susan Neale Patricia Morgan Chris Bunker Peterborough Museum & NEW ZEALAND Auckland Art Gallery Toi o Creative Consulting Archives T¯ amaki Partnership LLP Brad Adlam 300 Hunter Street East P.O.Box 5449 Hamilton House Christchurch Art Gallery P.O. Box 143 Auckland Mabledon Place P.O. Box 2626 Peterborough, Ontario patricia.morgan@ London, England Christchurch, Canterbury K9J 6Y5 aucklandcouncil.govt.nz WC1H 9BB 8061 sneale@peterborough.ca cbunker@ccp-uk.co.uk Kirsty.mathieson@ccc.govt.nz Nick Reilly Alain Proulx National Library of New Sara Carroll Justin Angell Canadian Museum of Zealand The British Museum Internal Affairs Civilization Corner Molesworth & Aitken Great Russell Street 141 Hanson Street 100 Laurier Street Street London, England Newtown Gatineau, Quebec Wellington WC1B 3DG Wellington, North Island J8X 4H2 6011 scarroll@ 6021 alain.proulx@civilisations.ca nick.reilly@dia.govt.nz thebritishmuseum.ac.uk justin.angell@dia.govt.nz Ed Richard Rob Stevens Paul Davies John Glen National Gallery of Canada National Library of New The National Archives Auckland Museum 380 Sussex Drive Zealand Kew Private Bag 92018 Ottawa, Ontario Corner Molesworth & Aitken Richmond, Surrey Auckland KIN 9N4 Street TW9 4DU 1142 erichard@gallery.ca Wellington paul.davies@ jglen@aucklandmuseum.com 6011 nationalarchives.gov.uk Jon Roodbol rob.stevens@dia.govt.nz Pam Harris Royal British Columbia John de Lucy National Library of New Museum 28 Warwick Park Zealand QATAR 675 Belleville Street Turnbridge Wells, Kent Corner Molesworth & Aitken Victoria, British Columbia TN2 5TB Street Nasser Ahmad Al Kuwari V8W 9W2 john.delucy@btinternet.com Wellington Qatar National Museum Deborah Sloan 6011 Corniche Area, Qartar Patrick Dixon Sir Sandford Fleming College pam.harris@dia.govt.nz Museum British Library 599 Brealey Drive Doha 96 Euston Road Cliff Heywood 2777 Peterborough, Ontario London, England Royal New Zealand Navy naalkuwari@gma.org.qa K9J 7B1 NW12DB P.O. Box 32901 dsloan@flemingc.on.ca patrick.dixon@bl.uk Devonport, Auckland Michelle St-Germain 744 UNITED KINGDOM Chris Ecob Canadian Museum of clifford.heywood@nzdf.mil.nz Camfil Limited John Bevin Civilization Knowsley Road John Manning National Museum of Science 100 Laurier Street Haslingden, Lancashire Te Papa Tongarewa Museum and Industry Gatineau, Quebec BB4 4EG of New Zealand Science Museum J8X 4H2 chris.ecob@camfil.co.uk 55 Cable Street Exhibition Road michelle.st-germain@ Wellington London, England Peter Fotheringham civilizations.ca 6011 SW7 2DD University of Greenwich john.bevin@nmsi.ac.uk Avery Hill Campus, FRANCE Kirsty Mathieson Southwood Lodge Christchurch Art Gallery Michael Browne Avery Hill Road, Eltham Marie-Pierre Marche Gloucester Street National Galleries of Scotland London, England Grandpalais Christchurch 73 Belford Road Dean Gallery SE9 2UG Cours la Reine – Porte D 8140 Edinburgh, Scotland p.fotheringham@gre.ac.uk Paris kirsty.mathieson@ccc.govt.nz EH4 3DS 75008 mbrowne@ Mike Freeland marie-pierre.marche@ nationalgalleries.org Tate rmngp.fr Millbank London, England SW1P 4RG mike.freeland@tate.org.uk PAPYRUS WINTER 2011–2012 43
- 46. IAMFA Members Directory2011 David Redrup ARIZONA Jennifer Fragomeni UNITED KINGDOM Tate Exploratorium cont’d 20 John Islip Road Keith McClanahan 3601 Lyon Street Millbank Facility Issues San Francisco, CA Charles Griffin London, England PO Box 1447 94123 The Wellcome Trust SW1P 4LL Flagstaff, AZ jfrago@exploratorium.edu 215 Euston Drive david.redrup@tate.org.uk 86002-1447 London, England Oren Gray NW1 2BE keithmcc@facilityissues.com David Sanders J. Paul Getty Trust c.griffin@wellcome.ac.uk Natural History Museum 1200 Getty Center Drive Stacey Wittig Cromwell Road Facility Issues Suite 100V Adrian Hardwicke London, England 5160 W. Kiltie Ln. Los Angeles, CA Tate SW7 5BD Flagstaff, AZ 90049-2600 Millbank d.sanders@nhm.ac.uk 86001 ogray@getty.edu London, England SW1P 4RG stacey.wittig@ Steve Vandyke facilityissues.com Heather Hickman adrian.hardwicke@ National Gallery, London San Francisco Art Institute tate.org.uk Trafalgar Square 800 Chesnut Street Steve Hyde London, England ARKANSAS San Francisco, CA WC2N 5DN 94133 Victoria & Albert Museum John Pagan steve.vandyke@ hhickman@sfai.edu Cromwell Road Arkansas Art Center ng-london.org.uk London, England P.O.Box 2137 Robbyn Jackson SW7 2RL Harry Wanless Little Rock, AR San Francisco Maritime s.hyde@vam.ac.uk 175 Wren Road 77023-2137 National Historic Park Sidcup, Kent john.pagan@arkarts.com Lower Fort Mason Sarah McMillan DA14 4NQ Building E, Room 264 Victoria & Albert Museum harry.wanless@ San Francisco, CA Cromwell Road CALIFORNIA googlemail.com 94123 London, London Donald Battjes robbyn_L_jackson@nps.gov SW72RL Stephen P. Watson s.mcmillan@vam.ac.uk 3800 San Rafael Royal Academy Patty Lacson Los Angeles, CA 16 Star Home Court Fine Arts Museum of Jack Plumb 90065 Ware, Hertfordshire San Francisco National Library of Scotland DonaldBattjesJr@aol.com SG12 7EA 50 Hagiwara Tea Garden George IV Bridge steve.watson@ Adrienne G. Blalock Drive Edinburgh, Scotland royalacademy.org.uk Oakland Museum of Golden Gate Park EH14 7HF California San Francisco, CA j.plumb@nls.uk Ian Williams 1000 Oak Street 94118 National Museums Liverpool placson@famsf.org Jim Quinn Oakland, CA 127 Dale Street The British Museum 94607-4892 Liverpool, England Catherine Lee Great Russell Street ablalock@museumca.org L2 2JH Hammer Museum London, England ian.williams@ Joe Brennan 10899 Wilshire Blvd WC1B 3DG liverpoolmuseums.org.uk San Francisco Museum of Los Angeles, CA jquinn@britshmuseum.org Modern Art 90024 David Read 151 Third St. clee@hammer.ucla.edu UNITED STATES British Library San Francisco, CA Christopher Low 96 Euston Road ALASKA 94103 Aquarium of the Bay London, England jbrennan@sfmoma.org Embarcadero @ Beach Street NW1 2DB Mary Irvine David Cervantes San Francisco, CA david.read@bl.uk Alaska State Museum 5905 Wilshire Blvd 94133 395 Whittier Street chrisl@bay.org Juneau, AK Los Angeles, CA 99801 90036 mary.irvine@alaska.gov 44 PAPYRUS WINTER 2011–2012
- 47. Kevin Manalili Michael Rogers Michael Downs Dan Davies California Academy of J. Paul Getty Trust Hagley Museum & Library Smithsonian Institution Sciences 1200 Getty Center Drive P.O. Box 3630 General Services Building – 55 Music Concourse Drive Suite 100 Wilmington, DE Level 2 MRC 5512 Golden Gate Park Los Angeles, CA 19807-0630 3001 Connecticut Avenue NW San Francisco, CA 90049-1678 mdowns@hagley.org Washington, DC 94118 mrogers@getty.edu 20013-7012 kmanalili@calacademy.org Mark Stutman ddavies@si.edu Irene Thomas-Johnson Camfil Farr (USA) Inc. Edgar Maxion Sodexo 16 Long meadow Court Jim Duda Stanford University Green 15813 Ada Street Newark, DE The Library of Congress Library Canyon Country, CA 19711 101 Independence Ave., S.E. 557 Escondido Mall 91387 stutmanm@camfilfarr.com Washington, DC Room 101 irene.thomasjohnson@ 20540-9420 Stanford, CA sodexo.com JDUDA@LOC.GOV 94305-6004 DISTRICT OF COLUMBIA emaxion@stanford.edu Nils Welin Maurice Evans Cypress Security, LLC Stephen T. Ayers Smithsonian Institution Joseph May 452 Tehama Street 2nd and D street SW 1100 Independence 20520 Ventura Boulevard, San Francisco, CA Room H-205 Avenue SW #317 94103 Washington, DC Washington, DC Woodland Hills, CA nwelin@cypress-security.com 20515 20024 91364 sayers@aoc.gov evansma@si.edu joemay001@hotmail.com Nancy Bechtol CONNECTICUT Melody Fetske Al Mayton Smithsonian Institution Folger Shakespeare Library San Francisco Maritime Jose Branco PO Box 37012 201 East Capitol Street, SE National Historical Park Yale University Art Gallery MRC 505 OFMR Washington, DC Fort Mason Center Bldg. E. P.O. Box 208271 Washington, DC 20003 2nd Floor Room 265 New Haven, CT 20013 mfetske@folger.edu San Francisco, CA 06520-8271 bechtna@si.edu 94123 jose.branco@yale.edu Kendra Gastright John Bixler Smithsonian Institution al_mayton@nps.gov Smithsonian Institution 1000 Constitution Avenue, NW DELAWARE PO Box 37012 Gary McKean Washington, DC J. Paul Getty Trust MRC 505 OFMR 20560 Jill Abbott Washington, DC 1200 Getty Center Drive Winterthur Museum, Garden gastrightk@si.edu Los Angeles, CA 20013 and Library myersti@si.edu 90049 Building 26 Jon Gibbons gmckean@getty.edu Winterthur, DE Office of Facilities David Conine Engineering & Operations 19735 Folger Shakespeare Library Randy Murphy jabbott@winterthur.org Smithsonian Institution Los Angeles County Museum 201 East Capitol Street, SE 750 8th Street of Art Washington, DC Washington, DC Bruce Canter 20003 5905 Wilshire Blvd Delaware Art Museum 20560 Los Angeles, CA dconine@folger.edu jon1761@hotmail.com 2301 Kentmere Parkway 90036 Wilmington, DE Judie Cooper rmurphy@lacma.org 19806 Neal Graham Smithsonian Institution The Library of Congress bcanter@delart.org PO Box 37012 Kes Narbutas 101 Independence Ave., S.E. Cypress Security, LLC MRC 505 Room LM-225 John Castle Washington, DC 452 Tehama Street Winterthur Museum, Garden Washington, DC San Francisco, CA 20013 20540-9420 and Library coopeju@si.edu 94103 5105 Kenett Pike NGRA@LOC.GOV knarbutas@cypress- Building 37 security.com Winterthur, DE 19735 jcastle@winterthur.org PAPYRUS WINTER 2011–2012 45
- 48. IAMFA Members Directory2011 FLORIDA Patrick B. Jones Alex Petrlik UNITED STATES cont’d Art Institute of Chicago Mueller Associates Bob Evans 111 South Michigan Avenue 1401 S. Edgewood St DISTRICT OF COLUMBIA cont’d 1101 River Reach Drive Chicago, IL Baltimore, MD Apt 405 60603 21227 Larry Grauberger Fort Lauderdale, FL pjones@artic.edu jlavin@muellerassoc.com Smithsonian Institution 33315 Office of Facilities evansro48@gmail.com Anthony McGuire McGuire Engineers MASSACHUSETTS Management and Reliability Vincent Magorrian 300 S. Riverside Plaza Suite 1650 Peter Atkinson 900 Jefferson Dr. SW 306 Lexingdale Drive Chicago, IL Harvard Art Museum PO Box 37012 (MRC 412) Orlando, FL 60606 32 Quincy St. Washington, DC 32828 tony@mcguireng.com Cambridge, MA 20013-7012 pets375@aol.com 02138 graubergerl@si.edu Peter Williams peter_atkinson@harvard.edu Greg Pesce David Hauk Salvador Dali Museum Chicago Children’s Museum 700 E. Grand Avenue Wayne E. Dyer Smithsonian Institution One Dali Blvd Chicago, IL Sodexo NMNH, OFMR – SED St Petersburg, FL 60611 200 Fifth Avenue PO Box 37012 MRC 140 33701 peterw@ 4th Floor Washington, DC Waltham, MA 20013 chicagochildrensmuseum. GEORGIA org 02351 haukd@si.edu wayne.dyer@sodexo.com Jackson McQuigg Eugene Ramatowski Atlanta History Center INDIANA Michael Eigen U.S. Holocaust Museum 130 W. Paces FerryRoad, NW Harvard Art Museum 100 Raoul Atlanta, GA Robert Keisling 32 Quincy St. Wallenburg Pl SW 30305 1200 N. Minnetrista Pkwy Cambridge, MA Washington, DC jmcquigg@ Muncie, ID 02138 20024 atlantahistorycenter.com 47304 michael_eigen@harvard.edu eramatowski@ushmm.org rkeisling@minnetrista.net David Geldart Jeffrey Ridgeway ILLINOIS Museum of Fine Arts — Smitsonian Institution MARYLAND Boston PO Box 37012 MRC 505 Thomas Barnes 465 Huntington Avenue Washington, DC Art Institute of Chicago Alan Dirican Boston, MA 20013 111 South Michigan Avenue Baltimore Museum of Art 02115 Chicago, IL 10 Art Museum Drive dgeldart@mfa.org Armando Uribe 60603 Baltimore, MD Smithsonian Institution wtbarnes@artic.edu 21218-3898 John Lannon 1100 Independence Avenue adirican@artbma.org Boston Athenaeum SW Bill Caddick 10 1/2 Beacon Street Washington, DC Art Institute of Chicago Richard Kowalczyk Boston, MA 20024 111 South Michigan Avenue Smithsonian National Air and 2108 acuribe@gmail.com Chicago, IL Space Museum lannon@ 60603 3904 Old Silver Hill Road bostonathenaeum.org Robert Weinstein wcaddick@artic.edu Building 10 Architrve pc architects Suitland, MD James Moisson 410 10th street SE Hacker Harold 20746 Harvard Art Museums Washington, DC 3507 193rd St. kowalczykr@si.edu 32 Quincy St. 20003 Lansing, IL Cambridge, MA robert.weinstein@ 60438 Jessica Lavin 02138 architravepc.com hhacker@hillmech.com Mueller Associates james_moisson@harvard.edu 1401 S. Edgewood St Baltimore, MD 21227 jlavin@muellerassoc.com 46 PAPYRUS WINTER 2011–2012
- 49. Dan Shea Dimitry Lopatukhin TEXAS VIRGINIA AFS Chemical Filtration Group NYSCI 6 Chadwick road 31 Andover Road Henry Griffin Stephen Fuocco Burlington, MA Hartsdale, NY Museum of Fine Arts — Library of Congress (Packard 01803 10530 Houston Campus for Audio Visual dshea2003@earthlink.net dlopatukhin@nyscience.org PO Box 6826 Conservation) Houston, TX 19053 Mount Pony Road Peter Scaglione 77265-6826 Culpeper, VA MINNESOTA Beyer Blinder Belle hgriffin@mfah.org 22701 41 East 11th Street sfuoco@loc.gov Rebecca Ellis New York, NY Garry Morrison Questions and Solutions 10003 7923 Rockrimmon James M. Lee Engineering, Inc. pscaglione@bbbarch.com San Antonio, TX Lee Construction Consultants 1079 Falls Curve 78240 LLC Chaska, MN Frantz Vincent glmmcnay@juno.com 1840 W. Broad Street 55318 Brooklyn Museum of Art Suite 300 Rebecca.Ellis@QSEng.com 200 Eastern Parkway Mike Pierce Richmond, VA Brooklyn, NY Museum of Fine Arts — 23220 11238 Houston jamesmleeone@gmail.com NEW YORK frantz.vincent@ 5600 Fannin Megan Chusid brooklynmuseum.org PO Box 6826 Solomon R. Guggenheim Houston, TX WISCONSIN Foundation 77265-6826 PENNSYLVANIA Larry Bannister 345 Hudson Street Milwaukee Public Museum 12th Floor Jeffrey Hirsch 800 W. Wells Street New York, NY Ewing Cole Milwaukee, WI 10014 100 North 6th St. 53233 mchusid@guggenheim.org 6th Floor bannister@mpm.edu Philadelphia, PA Mark De Mairo 19106 Neue Galerie jhirsch@ewingcole.com 1048 5th Avenue Puzzle Solution from page 52 New York, NY Joseph Pyle 10028 PA T MO R G A N Elliot Lewis Corporation 9 16 14 markdemairo@ 2900 Black Lake Place AU CK L AND neuegalerie.org Philadelphia, PA 8 19154 WA R M E MO R I A L MU S E U M 7 Daniel Gelman jpyle@elliotlewis.com Lighting Services Inc. VOYAG E R 6 MU S E U M 2 Kay Fries Drive Richard Reinert S K Y T OW E R Stony Point, NY Philadelphia Museum of Art 11 10980-1996 P.O.Box 7646 ROYA L NAVY MU S E U M 3 d.gelman@maillsi.com 2600 Benjamin Franklin Pkwy MU D B R I C K V I N EYA RD Philadelphia, PA 4 Al Lazarte 19101-7646 C I V I C THEAT R E The Jewish Museum RReinert@philamuseum.org 2 1109 5th Avenue T E D A S HBY New York, NY Tony Young 10 10128 Carnegie Museums of L A NG H AM 15 12 HO T E L alazarte@thejm.org Pittsburgh AU CK L AND Z OO 4400 forbes Avenue 5 17 Dmitry B. Lopatukhin Pittsburgh, PA MO T A T New York Hall of Science 15213 13 1 47-01 111Street youngt@ Corona, NY carnegiemuseums.org T H ANK YOU PA T MO R G A N 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 11368 Dlopatukhin@nysci.org PAPYRUS WINTER 2011–2012 47
- 50. IAMFA Members —Organizations Royal British Columbia National Galleries of Scotland Beyer Blinder Belle AUSTRALIA Museum Edinburgh, Scotland New York, NY Victoria, British Columbia Australian Centre for the National Gallery, London Boston Athenaeum Moving Image Sir Sandford Fleming College London, England Boston, MA Melbourne, VIC Peterborough, Ontario National Library of Scotland Brooklyn Museum of Art Museum Old and New Edinburgh, Scotland Brooklyn, NY Berriedale, Tasmania FRANCE National Museum of Science California Academy of Museum Victoria Grandpalais and Industry Scineces Carlton, Victoria Paris London, England San Francisco, CA National Gallery of Australia National Museums Liverpool Camfil Farr (USA) Inc. Canberra, ACT NEW ZEALAND Liverpool, England Newark, DE National Museum of Natural History Museum Carnegie Museums of Auckland Art Gallery — Australia London, England Pittsburgh Canberra, ACT Toi o T¯ amaki Auckland Pittsburgh, PA Royal Academy National Portrait Gallery of Ware, Hertfordshire Chicago Children’s Museum Auckland Museum Australia Auckland Chicago, IL Canberra, ACT Tate London, England Cooper-Hewitt, National Christchurch Art Gallery Questacon, The National Christchurch, Canterbury Design Museum Science and Technology University of Greenwich New York, NY Center London, England Internal Affairs Canberra, ACT Wellington, North Island Cypress Security, LLC Victoria & Albert Museum San Francisco, CA Steensen Varming London, England National Library of Sydney, NSW New Zealand Delaware Art Museum The Wellcome Trust Wilmington, DE Wellington London, England CANADA Royal New Zealand Navy Elliot Lewis Corporation Devonport, Auckland Philadelphia, PA Canada Science & Technology UNITED STATES Museum Corporation Te Papa Tongarewa Museum Ewing Cole Ottawa, Ontario AFS Chemical Filtration Group Philadelphia, PA of New Zealand Burlington, MA Wellington Exploratorium Canadian Museum of Alaska State Museum San Francisco, CA Civilization Juneau, AK Gatineau, Quebec QATAR Facility Issues Anacostia Community Flagstaff, AZ Cofely Services Inc. Qatar National Museum Montreal, Quebec Museum Doha Washington, DC Fine Arts Museum of San Lundholm Associates Francisco Aquarium of the Bay San Francisco, CA Architects UNITED KINGDOM San Francisco, CA Toronto, Ontario Folger Shakespeare Library British Library Architrve PC Architects Washington, DC National Gallery of Canada London, England Washington, DC Ottawa, Ontario Freer Gallery of Art and British Museum Arkansas Art Center Arthur M. Sackler Gallery Nova Scotia Museum London, England Little Rock, AR Halifax, Nova Scotia Washington, DC Camfil Limited Art Institute of Chicago Hagley Museum & Library Peterborough Museum & Haslingden, Lancashire Chicago, IL Wilmington, DE Archives Peterborough, Ontario Creative Consulting Arts and Industries Building Hammer Museum Partnership LLP Washington, DC Los Angeles, CA Physical Resource Bureau London, England Ottawa, Ontario Atlanta History Center Harvard Art Museums The National Archives Atlanta , GA Cambridge, MA Richmond, Surrey Baltimore Museum of Art Baltimore, MD 48 PAPYRUS WINTER 2011–2012
- 51. Hirshhorn Museum and National Air and Space Oakland Museum of Sodexo Sculpture Garden Museum California Canyon Country, CA Washington, DC Washington, DC Oakland, CA Sodexo J. Paul Getty Trust National Air and Space Office of Facilities Waltham, MA Los Angeles, CA Museum, Udvar-Hazy Center Engineering & Operations Chantilly, VA Washington, DC Solomon R. Guggenheim The Jewish Museum Foundation New York, NY National Museum of African Philadelphia Museum of Art New York, NY American History and Culture Philadelphia, PA Lee Construction Consultants Washington, DC Stanford University Green LLC Questions and Solutions Library Richmond, VA National Museum of African Engineering, Inc. Stanford, CA Art Chaska, MN Library of Congress Washington, DC U.S. Holocaust Museum Washington, DC Renwick Gallery Washington, DC National Museum of Washington, DC Library of Congress (Packard American History Winterthur Museum, Garden Campus for Audio Visual Washington, DC Salvador Dali Museum and Library Conservation) St Petersburg, FL Winterthur, DE Culpeper, VA National Museum of Natural History San Francisco Art Institute Yale University Art Gallery Lighting Services Inc. Washington, DC San Francisco, CA New Haven, CT Stony Point, NY National Museum of the San Francisco Maritime Los Angeles County Museum American Indian National Historical Park of Art Washington, DC San Francisco, CA Although we do our best Los Angeles, CA National Museum of the San Francisco Museum of to ensure that our McGuire Engineers American Indian — George Modern Art Chicago, IL San Francisco, CA Directory information is Gustav Heye Center New York, NY as up-to-date as possible, Milwaukee Public Museum Smithsonian American Art Milwaukee, WI Museum errors and omissions can National Portrait Gallery Washington, DC Washington, DC Mueller Associates always occur. If you Baltimore, MD Smithsonian Institution National Postal Museum would like to make any Washington, DC Washington, DC Museum of Fine Arts — changes to your Boston National Zoological Park Smithsonian Institution Boston, MA Washington, DC Building, the Castle listing, please contact Washington, DC Museum of Fine Arts — Alan Dirican at Neue Galerie Houston New York, NY Smithsonian National Air and adirican@artbma.org Houston, TX Space Museum New York Hall of Science Suitland, MD Queens, NY PAPYRUS WINTER 2011–2012 49
- 52. Index of PapyrusTechnical 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 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 The Art Institute of Chicago’s Unique Fan Wall System William Caddick, William Strangeland, and Michael Murphy Winter 2007 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: 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 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 Donald W. Reynolds Center for American Art and Portraiture Opens in Daniel Davies and the Reynolds Center Public Affairs Staff Summer 2006 Washington, D.C. 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—Engineering Alastair Cunningham and Chris Mclaren Summer 2002 the Sustainable Museum Environment at the Museum of Scottish Country Life The Harley-Davidson Museum—The First Museum to Gain GREENGUARD Certification Tim Dotson Winter 2009 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 LED Use in the Museum Environment Ken Kane Winter 2010 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 50 PAPYRUS WINTER 2011–2012
- 53. Title Author(s) Issue 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 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 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—Part One Thomas Westerkamp Winter 2010 Operations Review Reveals Hidden Maintenance Improvement Resources—Part Two Thomas Westerkamp Spring 2011 Operations Review Reveals Hidden Maintenance Improvement Resources—Part Three Thomas Westerkamp Fall 2011 Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009 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 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 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 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 The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006 The Smithsonian Institution’s Arts and Industries Building Phase-2 Renovation Project Maurice Evans Fall 2011 The Smithsonian’s Approach To Condition Assessment—Deferred Maintenance Larry Grauberger Summer 2008 Parametric Estimating 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 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—Protecting the Past, Jon Netherton Winter 2009 Present and Future Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008 Using Thermal Imaging to Diagnose Water Penetration and Condensation of the Marion F. Mecklenburg and Alan Pride Summer 2005 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 PAPYRUS WINTER 2011–2012 51
- 54. Puzzle Page Auckland IAMFA2011 Unscramble each of the clue words. Transfer the letters in the numbered cells to the cells at the bottom with the corresponding number. TAP RANGMO 9 16 14 KALNAUCD 8 RAW RIMLOAME EMMUUS 7 VEYGORA SUUMEM 6 SYEROWTK 11 LYARO VANY MEUMSU 3 DUCKRBMI NRYAVEID 4 IVCIC HEETATR 2 DET BAHSY 10 GALHAMN LETHO 15 12 NALCUKDA OZO 5 17 AOMTT 13 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 SOLUTION ON PAGE 47 52 PAPYRUS WINTER 2011–2012
- 55. Delivering extraordinary outcomes Coffey Projectsis a leading project management company and works in partnership with clients through the project lifecycle. Some of our iconic cultural projects in New Zealand and Australia include the Christchurch Art Gallery, Canterbury Museum, National Gallery of Victoria and the Sydney Opera House facility upgrades. Our expertise includes: • business case development • project scope definition • program management • value management • strategic risk management • design management • negotiations and approvals • contract procurement • project close-out • post occupation studies coffey.com
- 56. The 22nd AnnualIAMFA Conference MID-ATLANTIC, USA September 16–19, 2012