“Love the website! What a marvellous site — easy to read,easy to use and most importantly, easy on the eye.”

“I want to congratulate you and the entire team on whatyou’ve achieved in putting the collection online. It’sabsolutely wonderful and I’ve already heard so manyhighly complimentary comments.”

“It’s lovely to see the collection data base on the Web.Congratulations on being the first — a great resource.”

“From the reference in Friday’s Herald I found your newWeb page. Fantastic. Thanks for the obvious time andeffort that has gone into it. Easy to find our way around,and the pics are good.”

“I could spend hours viewing the McCahon collectionalone . . . the site is excellent, easy to move aroundand I know it will be hugely appreciated by art lovers.Congratulations on a very informative and enjoyable site.”

“Thanks for a great website, and thanks for putting thetiger in. Nice to see a very old friend. When I was a kidI thought he was painted by William Blake.”

These are just a few examples of the kind of responses weare receiving for the Auckland Art Gallery’s Web site, whichhas been redesigned and relaunched. It now incorporates anonline database which enables users to search and browsethrough the Gallery’s collection of more than 12,500 works

PAPYRUSVOLUME 4 SUMMERNUMBER 3 2003

The Auckland Art Gallery Toi o Tamaki Opensits Doors to Virtual Visitorsby Catherine Lomas, David Reeves and Patricia Morgan

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

INSIDELetter from the President . . . . . . . . . . . . . . . . 7

Outsourcing for Museum and GalleryMaintenance . . . . . . . . . . . . . . . . . . . . . . . . . 8

A New High for Atlanta . . . . . . . . . . . . . . . . . 11

Regional Chapters . . . . . . . . . . . . . . . . . . . . . 19

Major Renovation Project at the National Gallery of Scotland . . . . . . . . . . . . . . . . . . . . 22

Be Seen in the Right Light . . . . . . . . . . . . . . . 24

Fighting Mold and Decay in the Twenty-First Century . . . . . . . . . . . . . . . . . . . 29

From the Editor’s Desk . . . . . . . . . . . . . . . . . 32

The Wellesley Wing at the Auckland Art Gallery.

continued on page 2

2

of art. The website can be accessed at:www.aucklandartgallery.govt.nz

This is the first time a New Zealandgallery or museum has been able to putits entire collection online. It is also thefirst time the Vernon Web Browser hasbeen used to provide Internet access toa major collection. This is the culmi-nation of a 21/2 year project which isproducing a wide range of benefitsfor the Gallery and the public alike.

How the Project CameAboutBy the year 2000, the Gallery hadfallen behind comparable institutionsin New Zealand and overseas in pro-viding electronic access to internal andexternal users interested in its collections.Staff use of the collection database hadfallen off, due in part to slow technicalperformance: the software was six yearsold and little investment had been madesince the system’s original implemen-tation. In addition, maintaining andenhancing the accuracy of collectionrecords fell behind other priorities. Withincreasing expectations from both inter-nal and external audiences, somethingsignificant had to be done.

The Gallery is owned and man-aged by the Auckland City Council,which is the largest territorial author-ity in New Zealand. It maintainsNew Zealand’s most significant artcollection, with over 12,500 works,and runs a busy schedule of changingexhibitions (about 35 per year), aswell as related educational activitiesand public programs. The Gallery ishoused in two central city buildings, theolder of which is a significant heritagelandmark. The Gallery also has storageat a number of off-site locations (soonto be consolidated into a very welcomespecialized storage facility).

The works in the collection are byartists from New Zealand and manyother countries, and represent a widevariety of media. Among the collection’sparticular strengths are holdings of earlyEuropean prints, nineteenth-centuryEnglish paintings, and a number ofimportant seventeenth-century Italianworks. The Gallery also has strong col-lections of works depicting nineteenth-century Maori and colonial settlement,as well as a wide range of works show-casing the development of regionaland national artistic styles during thetwentieth century.

On average the Gallery attractsaround 200,000 visitors annually,and fields approximately 5,000enquiries from the public and theinternational academic communityeach year. The Gallery aims to displayat least 10 per cent of its collectionseach year through onsite and travellingexhibitions. This effectively means thatup to 90 per cent of the collection ishidden away from the general public,and only the most determined andserious researchers and students haveany idea that these hidden treasuresexist. Although arrangements can bemade for behind-the-scenes access tospecific works related to various areasof study, this assumes that researchersalready know what the collection holds.The World Wide Web was clearly thebest means by which to increaseaccess to the treasures held in storage.

In October 2000, a group of Gallerystaff met with the City Council’srecently-formed BusinessImprovement Group (BIG) to discussa way forward. The Gallery teamcomprised:

• A Research Librarian, representingthe interests of public informationand research services.

• A Photographer, with expertise inimage management and systemsadministration.

• The Registrar, who is responsiblefor the documentation of theGallery’s collection.

• The Manager of Exhibition andCollection Services, to provideprogram management and liaisonwith the Gallery’s management team.

Value ManagementThe Council had adopted a ValueManagement methodology for assess-ing and managing new business orbusiness-improvement projects. Underthe auspices of the BIG team, the groupstarted on its Value Management journey,first by preparing an Opportunity ValueCase. The development of a Results

The Auckland Art Gallery — continued from page 1

A snapshot of records on the new Auckland Art Gallery website.

3

Chain also became a key tool inestablishing basic objectives andidentifying benefits which wouldjustify further work in setting up theprogram. This high-level diagramprovided graphical representation ofthe key program elements, such as:

• Key strategic outcomes (drawnfrom the City’s own strategies).

• General phases of the programwith intermediate outcomes.

• Individual initiatives required toachieve the outcomes in the chain.

• Planning steps required to assessneeds and to get the program started.

At first glance, the Results Chain wasa rather complex net of circles, squaresand arrows, perhaps designed to impress(or baffle!) senior management. How-ever, it proved very useful to havea picture of the whole project on asingle A3 sheet, showing the generalrelationships between the componentparts and the desired outcomes.

The second phase of planninginvolved more detailed work to identifyspecific costs and to look at the staffingand other resources which would berequired to complete each of the sub-projects. The core team which workedon the planning phases continued theirinvolvement by dividing up responsibilityfor various parts of the overall program.

Key Resource People and ReportingStructure

• Steering Group — met on a monthlybasis:Sponsor; Reps from BIG, InformationTechnology & Communications,Risk Management, City Library &Programme Manager +

• SponsorArt Gallery Director

• Programme Manager — GalleryManager, Collection & ExhibitionServices coordinated weekly meetingsof Project Managers and monthlymeetings of Steering Group; pre-pared agendas, minutes & reports;budget control

• Project Manager for Database Gallery Registrar

• Project Manager for WebDevelopmentGallery Website Coordinator

• P M for Permissions & DataEnhancement Gallery Research Librarian

• Web Developer(external contractor for initial set-up)

• Project Manager for Digital ImagingGallery Photographer

• Specialist AdvisorsStaff from other City Council groups

The Value Management methodologysometimes seemed overly bureaucraticto Gallery staff, who were impatient to“just get on with it.” However, it hasto be acknowledged that, by followingsuch a thorough process, the projectreceived political and management sup-port at a high level. The methodologyprovided the required level of detailto comply with the very rigorous andthorough scrutiny of our local govern-ment stakeholders. Senior Council staffcould see that the individual projectswere part of a cohesive whole whichmet established strategic objectives: along journey made up of small steps.If they had been attempted singly, mostof the component (sub) projects wouldprobably not have received funding.It was reassuring to realize that, as theprogram got bigger (and more costly),its chances of being approved got better,not worse, because the benefits werecorrespondingly even bigger and better.

In addition to Risk Registers, BenefitsRealization Plans, Business AlignmentScores and Programme Status Reports— all required by the methodology,there was still room for managementby good old-fashioned common sense.For example, when the tender periodunfortunately coincided with theOctober 2001 anthrax scares in theU.S., it was clear that a number ofpotential U.S. bidders/suppliers/tenderers would not be able to meetthe proposed deadline due to a slow-down in the postal system. Extending

the deadline would have added sig-nificant delays to other projects, whichwere dependent on getting the newdatabase up and running. The problemwas solved by successfully seekingapproval to vary the rules, thus allow-ing electronic submission of proposalsby the closing date.

Key Project ComponentsFinal approval for the program wasgiven in June 2001. We were off! Tomake sure we could meet the go-livedate of March 2003, there was muchto be done, including:

• Identify new software and replacethe old collection database, includingclean-up and transfer of existing data.

• Capture digital images of the collec-tion; a contract photographer washired along with rostered art handlersto photograph, over a period often months, the many thousands ofworks which had never previouslybeen photographed. (Details of themethods used are now documentedon the Gallery’s website for otherswho may be contemplating a similarproject, at: www.aucklandartgallery.govt.nz/collection/imagecapture).The new images were captured as18Mb jpeg files, and smaller deriva-tives were generated for use on thedatabase. Existing digital images werere-sized and “cleaned-up” to thestandard screen-quality 480-pixelsize also.

• Enhance text records — descriptiveinformation and subject searchheadings were added to make thedatabase more user-friendly for thepublic. This was essential in orderto shift the database from a staff-oriented inventory of “objects”, toa facility supporting public accessto information.

• Scan ephemera research material —remote electronic access was seen asan obvious way to meet a growingdemand for the Research Library’sholdings of important material such

continued on page 4

4

as catalogues, newspaper clippingsand biographical information relatingto New Zealand artists and items inthe collection.

• Obtain copyright approvals — anextensive project was carried out tolocate and seek permission fromindividuals and agencies, in order topublish digital images of the workson the website. Over 50 per cent ofthe works in the collection are subjectto copyright restrictions. As part ofthis project, consultations were heldwith the iwi (Maori tribes) to ensurecultural property sensitivities arerespected regarding the use ofMaori images on the website.

• Redesign and develop websiteaccess, which had remained largelyunchanged since the site’s initiallaunch in 1995–1996. To gain max-imum benefit from the investment indigitizing and enhancing the recordsin the collection, the Gallery requireda new “front door”, as well as a setof templates which would providefor future electronic resources andeducational/interactive modules.

By April 2002, the new databasewas launched to staff, complete with8,000 images. Following an initial train-ing period, the benefits started to flow.Having a critical mass of availableimages made a huge difference to staffpreviously reluctant to use the database.Interest soared, and with many morepairs of eyes looking at the database aspart of daily work routines, the job ofspotting errors and omissions beforegoing public became a little more man-ageable. The imaging project continued,and by November 2002 the proportionof the collection which had been pho-tographed had reached 99 per cent! Asmall celebration was held to acknowl-edge the efforts of the various permanentand temporary staff who had contributedto the success of the project to date.

Work continued on developingthe public access side of the project.Copyright clearances took longer than

anticipated, but copyright holders weregenerally extremely supportive of theproject, and often responded withfurther information about their works.

The Launch!In March 2003, the Gallery’s redevelopedwebsite was launched by the Mayorof Auckland City, marking the end ofan intensive 21/2-year project, whichresulted in online access to every itemin the collection — including 9,000 itemswith publicly accessible images. (Theremaining images will be added as copy-right permission is gained). We are veryproud to be the first gallery or museumin New Zealand — and one of onlya small number internationally —to have our entire collection online,alongside other archival resources andinformation on the Gallery’s activities.

The redesign of the website —undertaken to coincide with providingelectronic access to the collection —created an opportunity to reassessthe other kinds of information offered,and provided templates for futuredevelopment.

Outcomes and BenefitsThe project has now largely achieved itsmain aims. Staff are using the databasefor a wide range of Gallery managementactivities, as well as for answering publicenquiries. Shifting the role of the data-base from a flat inventory to a centralmanagement tool is an ongoing process.The planning of exhibitions, the gener-ation of wall labels, and the automaticrecording of exhibition history arenow routinely performed by curatorialstaff. Incoming and outgoing loans aremanaged on the new system, and theGallery’s conservators will begin record-ing condition and treatment details. Manyof these tasks previously involved thelaborious retyping of detailed informa-tion on works of art, with the inherentproblems of transcription errors anddecentralized record-keeping.

The new software allows much easierupdating of locations: a real issue forRegistration staff, who are responsiblefor 11 separate storage rooms scatteredin the corners and attics of the 115-year-old building. Audit and evaluationrequirements can now be met more

The Auckland Art Gallery — continued from page 3

Just one of the thousands of records available in the new Auckland Art Gallery onlinedatabase.

5

easily, and having an image of almostevery item in the collection providesgood security information in the eventof loss or damage.

The public version of the database,available through the website, has alsoproven useful as a quick and easy toolwhich the Gallery’s front-of-house andlibrary staff can use to answer enquiriesabout works held in the collection.This means that infrequent users donot need training in the use of thefull system, and the response time tosimple queries has been reduced fromup to three days to “on the spot”.

The early decision to aim for digiti-zation of 100 per cent of the worksin the Gallery’s collection has paidoff handsomely. While this processis not a realistic possibility for someinstitutions, we would encourage ourcolleagues not to discount embarkingon such a project until they have donethe figures — it was not as impossibleas we had first thought. There is greatefficiency, as well as satisfaction, inknowing that the in-house databasehas an image of everything in yourcollection. And of course we haveavoided the inevitable debates about

what to include or omit, had wegone for only partial digitization ofthe collection

There are huge advantages forcuratorial staff in being able to beginplanning exhibitions using digitalimages on their desktops. Apart fromthe reduced handling of fragile worksand the saving of time, works whichhave been in storage for many yearsare now coming to the attention ofcurators, who previously lacked timeto search through the collections withthe depth that the database now allows.Richer exhibitions and research projectsare sure to follow.

The copyright clearance part of theproject has enjoyed a great deal ofsuccess. Rather than copyright beingan issue which we had to ”get around”or ”deal with”, it has been an excellentopportunity to make contact with artistsand their descendants, while alsoupdating details and demonstratingongoing interest in their work. Theresult has been that 98 per cent ofNew Zealand artists that we approachedhave been very willing to give consentfor their images to appear on theGallery website.

And of course there are benefits tothe wider public. Having been fundedfrom local government tax funds, ourbusiness case was based on providingoptimum citizen value: aiming toprovide efficient management of anAuckland City asset, and to providethe widest possible access to it. Workscan be searched by subject or theme,in addition to title, artist, date andmedium. There has already been anincrease in the number of requestsfor reproductions of the works in thecollection, due to their visibility on thewebsite, and an increase in sponsorshipenquiries and facilities rentals has beenrecorded since the launch.

The Value Management methodology,which proved useful in identifying thesub-projects and their role in contribu-ting to overall benefits, also providesan ongoing role for the Steering Group.This group still meets regularly to reviewprogress in the realization of benefits.This ensures that there is an overviewgroup with the clout to assist if enthu-siasm wanes or obstacles present them-selves, even after the initial “hiss androar” of the main project has subsided.This way, the organization’s investmentis protected and long-term benefits areforthcoming. So, really, the project isan ongoing one. The online databaseis an exported subset of the mainGallery database, sitting on a separateserver which is refreshed every twoweeks to include additional imagesor new acquisitions to the collection.And the website itself is a Galleryfunction of growing importance.

What’s Next?With a large bank of digital imagesto draw on, staff can now think moreexpansively about educational andinteractive modules to be developedalongside the Gallery’s traditionalprogram of exhibitions.

We are discovering, as many othershave, that the World Wide Web is theequivalent of a whole new wing addedto our institution. This new “building”

continued on page 6Curators can now search the Auckland Art Gallery’s collection in the early stages ofcreating a new exhibition.

6

has all the needs of an actual galleryspace — security, content, maintenance,marketing — but there is little additionalstaffing allocated to provide these func-tions. The challenge is to gain leveragefrom the existing efforts of staff work-ing in familiar modes, and to convertsome of that effort into creating onlinecontent as an additional product. Thebenefits of widely increased accessto the collection, albeit virtual access,don’t come without costs.

The uses to which information onthe collections is put can be greatlyextended with the inclusion of educa-tion-focussed and interactive modules.These modules will improve the qualityof research into, and teaching about,art — particularly New Zealand arthistory. These resources will be usefulto both teachers and students, and willbe provided through a medium withwhich young people are familiar andare increasingly using. Web access willalso benefit the disabled and the elderly,who are often dependent on others ifthey wish to physically visit the Gallery.

During its first seven weeks, theGallery’s new website received over26,000 visits and a great deal of positivefeedback. The Gallery has cemented

its position as an expert resource forpictorial information, and can nowcontribute effectively to a nationaldatabase of heritage collections andthe planned electronic New ZealandEncyclopaedia. Beyond the provisionof information and images of worksof art online, the Gallery has theopportunity to review and enhancethe way it meets its fundamentalmission of increasing understandingand enjoyment of the visual arts. Thevaluable knowledge contained in themost significant art collection in NewZealand is now available to everyone,regardless of his or her location, or artexpertise. The doors are open, comeand visit us!

Of course we would still love tosee you in person if you are passingour way . . .

Catherine Lomas has held the positionof Manager, Collections & ExhibitionServices since 1996. She has also beenExhibitions Manager at the WaikatoMuseum of Art and History, anAssistant Curator at the Auckland WarMemorial Museum and ProgrammeManager for the QE11 Arts Councilof New Zealand.

David Reeves has held the position ofRegistrar at the Auckland Art Gallerysince June 2000. He manages a teamwith oversight of all storage, packing,freight, insurance and documentationof the Gallery’s collections, includingnew acquisitions and works borrowedand lent for exhibitions. He has anongoing interest in managementsystems which streamline the multipleuses of collection-related information.David previously worked at theMuseum of New Zealand Te PapaTongarewa (Collection Management)and at the Alexander Turnbull Library(Pictorial Collections) in Wellington.

Patricia Morgan has held the positionof Manager, Business Support sinceSeptember 2001. Her responsibilitiesinclude Building Management, AssetManagement Planning, Security,and the Council-Gallery interface.Her varied career has included localgovernment, special education, AuditNew Zealand, the banking industryand the engineering sector.

The Auckland Art Gallery — continued from page 5

The Auckland Art Gallery is housed in two buildings in central Auckland.

7

Many of us look forward to the summermonths so that we can be outdoorsenjoying the warmth of the sun, whichwe dreamt about during the drearywinter months. Summer is a time forpicnics, backyard cookouts, a day atthe beach and even some boating.However, summer is also the time ofyear for major construction work. Ourmuseums become hard-pressed duringthe summer months to balance theirconstruction projects while also ensuringthe safety of our visitors as they enjoythe institutions we serve.

With summer come many differentchallenges for administrators, such asair-conditioning demands, special pro-jects, landscaping requirements withpossible watering restrictions, andhigher attendance to our facilities. Wealso struggle with road construction,either to or from our institutions, aswell as local and community eventswhich may have an impact on ourmuseums. Summer brings the mostunpredictable weather as well, addinga separate set of variables to our dailyschedules. Whatever lies ahead, I’m surewe’ll find a way to move forward. Italso is reassuring to remember that beingpart of the IAMFA family allows us tophone or e-mail another member toseek advice or an opinion.

In the spring issue of Papyrus, Pierreagain showed his networking skillsto our IAMFA members. The Ottawa-Gatineau Chapter’s field trip may havebeen bitterly cold and delayed; however,through Toby Greenbaum’s article Iwas able to place myself on this fieldtrip — although I got to stay warm

and dry. Congratulations to Toby asChairperson, and for preparing suchan informative article for Papyrus.

Pierre Lepage also mentioned in thespring issue that two board positionswill be open for election this fall. I willmiss both Pierre Lepage and CaroleBeauvais, both of whom have beenextremely devoted to IAMFA. Pierrehas brought our newsletter Papyrusto the forefront, proving that the manyhours required to produce our news-letter have benefited many. Carole hasalso contributed her skills in promotingRegional Chapters, and her input as aBoard Member will be greatly missed.Please consider a position this fall, as welook for new board members to continueour mission as museum administratorswilling to share with others, and to bringvalue and professional developmentto our IAMFA family.

Joe Brenman, our northernCalifornia Chairperson, has beenworking hard to bring our 2003Conference to San Francisco. Pleaseplan to attend, as we are sure to havea memorable and enriching experience.If you haven’t registered, please do sotoday. With our nation and local com-munities readjusting to the threat ofterrorism, may our summer bring somerelief and enjoyment to what has beena very challenging year.

Let’s plan to reunite in San Francisco,and continue to develop a strongerIAMFA family.

Hope to see you in September.

William CaddickIAMFA President

Letter from the President

IAMFAPresident, Bill Caddick

IAMFA Board of Directors PresidentBill CaddickArt Institute of ChicagoChicago, U.S.A.wcaddick@artic.edu

V.P., AdministrationGuy LarocqueCanadian Museum of Civilization andCanadian War MuseumGatineau, Canadaguy.larocque@civilization.ca

V.P., Regional AffairsCarole BeauvaisNational Archives of Canada andNational Library of CanadaOttawa, Canadacbeauvais@archives.ca

TreasurerKevin StreiterHigh Museum of ArtAtlanta, U.S.A.kevin.streiter@woodruffcenter.org

Secretary and Papyrus EditorPierre LepageCanadian Museum of Civilization andCanadian War MuseumGatineau, Canadapierre.lepage@civilization.ca

Chairman — Conference 2003Joe BrennanSan Francisco Museum of Modern ArtSan Francisco, U.S.A.jbrennan@sfmoma.org

Chairman — Conference 2004Larry ArmstrongCarnegie MuseumsPittsburgh, U.S.A.armstrongl@carnegiemuseums.org

For additional contact information,please visit our website at

www.iamfa.org

8

In 1996, the Canadian Museum Civili-zation Corporation (CMCC) chose tooutsource the operation of their facilityand issued a Request For Proposals(RFP). At that time, Black & McDonald(B&M) was relatively new to the man-agement of critical operations, but theRFP as set out seemed to be a natural fitfor our corporate “service” profile andstrong mechanical and electrical back-ground. The document concentrated onthe deliverables that the CMCC expectedfrom the potential service provider, andrequested detailed information from therespondents on how they would delivereach element. Price was certainly astrong consideration, but only once theoperational needs were successfully metin the contractor’s RFP response. Wewere convinced that the success of anybid would rest on a true understandingof the client’s operations and needs.

Fortunately, our presentation wassuccessful, and we secured a contract tooperate and maintain the Corporation’selectrical/mechanical systems on a24/7 basis. This contract, which came tobe known as the Plant Services Contract,consisted of an on-site Project Manager,a Support Clerk, and a support staff of12 tradesmen consisting of StationaryEngineers, Maintenance Mechanics, andMaintenance Electricians.

Following an intense learning curveat the onset of the contract, B&M set outto evaluate the CMCC’s existing systemsand pre-established maintenance sched-ules. The former service provider (thefederal government’s Public WorksDepartment) had their proprietaryfacility management software in place,and we had to transfer the equipmentlist and preventative maintenanceroutines over to our CMM system (see

our article “Black & McDonald, CMM,and Museums, in the Summer 2002issue of Papyrus). We combined ourobservations and experience with a“life-cycle costing initiative” (LCC) thathad been commissioned by the clientwith various engineering firms. TheLCC called for millions of dollars inreplacement equipment over a ten-year period. These replacements hadbeen prepared using standard industryactuarial tables. Given our on-siteadvantage, B&M staff were able to eval-uate the condition of the individualpieces of equipment and to comparethem against the LCC. From this infor-mation, we were able to track theperformance of the various systemsvis-à-vis unscheduled repairs. Thisanalysis allowed us to recommend aprogram of replacement based uponthis performance, and to purchase andkeep on hand a minimum of replace-ment parts (which fit well with our “just-in-time” delivery model). For example,the 150 or so electrical motors in thevarious air-handling units were sched-uled for replacement before the turnof the century. To date, however, overtwo-thirds of the original motors instal-led in 1988 are still operating wellwithin design parameters!

Our next initiative was to reviewexpenditures for replacement materiel,in order to establish a list of the mostexpensive categories. We then lookedat each of the items to determine ifthere were potential savings throughchanges in how this maintenance wascarried out. For example, we found thatthe electronic humidification systemsattached to each of the 150 air-handlingunits were absorbing one-third of ofour entire material budget! This wasprimarily due to the replacement of thesteam “bottles” which were failing ratherquickly under extremely heavy use (due

Museum and Gallery MaintenanceOutsourcing — A Journey

by Richard Harding

Canada Day at the Canadian Museum of Civilization.

9

to the need to maintain important andfragile collections, air humidity is tem-pered year-round). Our investigationsshowed that the breakdowns weredue to steel electrode degradation andexcessive scale build-up. We were ableto find a local metalworker who couldfabricate the electrodes out of stainlesssteel (concerns that these would poten-tially not perform well were shown tobe false). We then started an aggressiveprogram to look at various ways ofdisassembling the units and removingthe scale build-up without harming theplastic bodies. We followed this up byarranging with one of our electriciansto rebuild the humidifier control boardsthat were no longer being manufac-tured and were thus only available atan extremely high cost. The results of

these initiatives reduced the materialcosts of bottle maintenance from$45,000 per year to less than $20,000!

The next step in the journey wasto look at operational improvementswhich could lead to potential energysavings. Working closely with theclient’s staff, we were able to identifyseveral initiatives which could lead tosubstantial energy savings, through acombination of equipment additionsand modifications, and/or changes tooperational tasks. These included therelocation of an unused speed drivefrom the heating system to the chilledwater system, and modifications to thesummer hot deck and winter cold deckset-points. These produced exceptionalresults which were directly measurablethrough sustained reduced electrical

consumption. The actual energy savingsamounted to over $30,000 per year,while also reducing wear-and-tear onthe affected systems.

As the relationship and trust betweenclient and service provider grew, so didthe responsibilities under the contract.Three years into the first contract, B&Mwas able to secure a contract to overseethe day-to-day operations of the facility.This included the direction of snowremoval, landscaping, and cleaning sub-contracts, as well as the maintenanceof all security equipment and systems,handyman services, and locksmithing.At present, B&M has a staff of 21 full-time employees working for the CMCC,and is an integral part of the client’sservice delivery team.

continued on page 9

National Gallery of Canada. The lighthouse outside Canada Science and Technology Museum.

10

Advertisement in Papyrus

I would like to remind you that an advertisement policy forPapyrus was approved at the General Assembly of theMembership in London, September 25, 2002. Under thispolicy, we can now publish advertisements for servicesrelated to facility management in cultural institutions.

Advertisement space may not to exceed one page, andeach page can be subdivided into 8 quads. Advertisingcosts $200.00US per quad, for 3 consecutive issues. Sizespace is limited, the demand will be honoured on a first-come, first-served basis, following reception of payment —including a letter of confirmation from the facility managerof the institution using these services. Payment should be

made out to IAMFA, and sent to the IAMFA Treasurer, c/oKevin Strieter, High Museum of Art, 1280 Peachtree Street,N.E., Atlanta, Georgia, 30309, U.S.A.

All advertising funds will be used for the production ofthe Papyrus journal, and we encourage you all to promotethis opportunity among your local providers of facilitiesmanagement services.

Pierre LepagePapyrus Editorpierre.lepage@civilization.ca

This initial contract and relationshipwith the CMCC has been followed upwith facility management and/or main-tenance contracts with the CanadaScience and Technology Museum, theCanada Aviation Museum, the NationalGallery of Canada, and the CanadianMuseum of Contemporary Photography.

This performance model takes apragmatic approach to facility man-agement and the maintenance of

building systems for museums andgalleries, and has been successfullyapplied from our various offices tocontracts in the educational field andindustrial production facilities acrossCanada. However, this is not basedon a “cookie-cutter” mentality, butrather on understanding the particularrequirements of the client’s business,and customizing our managementapproach to meet these requirements.

The critical need to assure that thecountry’s valuable historical artifactsand collections are protected is nodifferent than the need to assure thata brewery’s production line continuesto operate, or that a university lecturetheatre’s environmental conditionsallow students to study in comfort.It is this understanding that is atthe heart of business success in thearena of specialized institutional andindustrial maintenance.

Each contract builds upon ourexperience and depth of knowledge,but all can be traced back to that firstcontract, in which Black & McDonaldand the Canadian Museum of CivilizationCorporation forged a true partnership,designed to maximize the value of main-tenance costs. This highly successfuloutsourcing initiative has substantiallyreduced historic maintenance costs,allowing the CMCC to fund other ini-tiatives under their “core” responsibility:protecting and exhibiting the culturaltreasures of our nation. The rest, as theysay, is history.

Richard Harding is a graduateArchitect and Manager, FacilityManagement and Operations forBlack & McDonald Ltd. in Ottawa,Canada. He can be reached atrharding@blackandmcdonald.com.

Museum and Gallery Maintenance Outsourcing — continued from page 9

Canadian Museum of Contemporary Photography.

11

With the groundbreaking scheduledfor Spring 2003, The High Museum ofArt in Atlanta, Georgia, is embarking ona two-year construction project whichis slated to open in the summer of 2005.The original Richard Meier-designedbuilding, which was completed in 1983,will be partnered with a group of threestructures designed by the Renzo PianoBuilding Workshop of Genoa, Italy.

Due to unprecedented growth atthe High during the past decade, theMuseum is working with the RenzoPiano team to create facilities that willmeet the demands of a larger and morediverse audience, while also accom-modating its growing programs andcollections. The High’s annual atten-dance has soared to nearly 500,000visitors a year; its collection has nearlydoubled since 1983; and its member-ship of 41,500 households — which hasnearly tripled since 1995 — places theHigh among the Top 10 art institutionsin the United States.

The High’s new facilities, which willencompass 177,000 square feet (the

original building is 145,000), will provideadditional gallery space for the Museum’sexpansive permanent collection;enlarged special exhibition space; andimproved visitor amenities, including aretail shop and coffee bar. The facilitieswill allow the High, which has the largestand most comprehensive collection ofart in the Southeastern United States,to display more of its rapidly growingpermanent collection for the benefit andenjoyment of the people of Atlantaand visitors from around the world.

As the Manager of Facilities andLogistics for the High Museum, I’vefound that managing the original Meier-designed facility for the last five yearshas presented its share of challenges.The white porcelain-clad metal panelson the building’s exterior always seemto need cleaning, or re-caulking, or chiprepair. Keeping the HVAC balanced andthe RH level at 50 per cent — in a metaland glass-clad building with an openfloor plan and a substantial atrium inthe Atlanta heat and humidity — keepsmy job interesting. The large extent

of radius walls and other non-linearsurfaces, and the many custom glasssliders and curtain walls make recon-figuring and repair projects a costlyand time-consuming affair.

I’ve worked closely with architects,engineers and project managers inreviewing maintenance and logisticsissues in the 1983 facility, with an eyetoward heading off these issues in thenew Piano buildings.

The Piano Workshop’s design for theexpansion of the High encompassesthree new buildings: a main pavilion,a special collections building, and anadministrative office building. The mainpavilion will feature an expansive, light-filled lobby with an outdoor terrace,retail shop, coffee bar and visitoramenities. The lobby level and twoupper gallery floors will have barrel-vaulted ceilings constructed of pre-castconcrete, with all lighting, sprinklersystems, return air plenum and art-hanging brackets fitted in the revealsbetween each row of vaults. Needlessto say, maintenance access will be tightin this ceiling system.

One of the most visually exciting ele-ments of the Piano design will be theskylight system on the top floors of themain pavilion and smaller gallery build-ing: 1,000 two-foot-diameter skylightsplaced in cast concrete “chimneys”, withexterior fiberglass hoods designed toblock the harsh southern sun and diffusea controlled, natural light. My concernfor the cleaning and repair constraintsposed by this admittedly beautiful sky-light system prompted me to bring in myexterior building maintenance contractorearly on in the design process. Afterexamining the ergonomics of theseclosely-spaced skylights, we were ableto project the procedures and costsinvolved in keeping everything cleanand in good repair.

Additionally, the new pavilion andgallery building will be connected tothe Meier building with a series of glass

A New High for Atlantaby Kevin Streiter

The roof cover design — typical roof light, true north south. continued on page 12

12

bridges. The maintenance of thesestructures was studied closely by thebuilding team, and hardened pointswere placed to enable walking on theglass roofs, as were brackets for crewsto tie onto and swing from.

The new buildings’ facades will bepaneled with an off-white marmarino: atextured marble-dust stucco selected tocompliment the existing building’s whiteporcelain-clad panels. As is the casein the original building, this exteriorsystem may prove challenging to keepclean in an urban environment. We’vedone extensive test-cleanings on aneighteen-foot mock-up structure withpromising results. It’s the frequency ofthe cleanings in the less-then-pristineAtlanta air that must be taken intoaccount when creating a new budgetfor the expanded facility.

The art centre will be receiving anentirely rebuilt truck bay and loadingdock facility, with room for three simul-taneous big-rig deliveries, as well as awet dock for catering and contractorusage. This represents the introductionof additional heavy equipment andsystems into the High’s facility budget.

With an expansion that brings a totalof 322,000 square feet comes additionalstaffing: housekeeping, maintenance,engineers and security — all within thefacilities operations purview and all pro-viding new challenges in the currentatmosphere of tight budgets. We have a

plan in place to start staffing on the thinside, later ramping up hiring as needed.

Attending meetings and planningover the last two years, re-examining,changing designs and then changingthem again: standard stuff for anyonewho has gone through a large construc-tion or renovation process. As for us atthe High, knowing that we’d have onlyourselves to blame for any maintenanceissues that we’d overlooked and werenow saddled with has really kept usmotivated. I’m sure that there will beplenty more to come as constructiongets underway, and I look forward to

sharing progress on the High’s expan-sion project with the IAMFA communityover the next two year — perhaps evenwelcoming the group as a conferencehost sometime after our project’scompletion.

Kevin Streiter has over twelve yearsof facilities management experience.He has also served for five years asconstruction project manager in bothcommercial and high rise residentialwork. He has served as the Managerof Facilities and Logistics at the HighMuseum for the past five years.

South elevation showing new Pavilion on left and existing Richard Meier building on right.

A view across the Piazza of the Main Pavilion, which will be one of three new buildingsdesigned by the Renzo Piano Building Workshop.

A New High for Atlanta —continued from page 11

13

Museums on the EdgeIAMFA Conference 2003 in San Francisco —

September 21–24, 2003

The Northern California Chapter invites you to the13th Annual IAMFA Conference, September 21–24, 2003.Have you made your reservation yet? — Joe Brennan.

Joe BrennanChairman — Conference 2003

For more information on this year’sconference, please contact us at

IAMFA2003@netscape.neta

Fee: $1,350 US — due upon registration (same fee as last year).

The fee includes:

1. Survey Questionnaire Development• approximately 25-40% of the survey will gather data

on new subjects

2. Survey Report, including: • Survey data • charts of all data listed under each organization’s

name • Survey Summary• summary charts and graphs of industry averages, ratios

and trends• Executive Summary• a summary that provides comments and

recommendations on key performance measurementsand practices in facility management

3. Full-day workshop, including best practices andnetworking

Key Dates

• Feb.–May, 2003: Receipt of Survey ParticipationAgreement

• Feb.–June, 2003: Distribution of Survey Questionnaire(upon receipt of Participation Agreement)

• July 1, 2003: Return of Completed Survey Questionnaire

• August 29, 2003: Survey Report mailed to ParticipatingOrganizations

• September 21, 2003: Benchmarking and Best PracticesWorkshop in San Francisco, CA

Excuses for not Benchmarking

• We’re too busy doing projects — i.e., We’re too busyworking hard to learn how to work smart.

• We participated in a benchmarking survey previouslyand we’re right in the middle of the pack — i.e., We’rehappy to be average. Continuous learning is notimportant

How Do I Sign On or Get More Information?

Contact Ian Follett at:

Tel.: 1 (403) 259-5964Fax: 1 (403) 255-7116E-mail: fmsltd@fmsltd.comWebsite: www.fmsltd.com

Reminder:

Don’t forget to budget for:

• this year’s benchmarking exercise and IAMFA Conference

• $1,350 US for the Benchmarks Survey, including theWorkshop

• cost of IAMFA conference, travel and accommodation inSan Francisco

This Year’s Survey: Museum Benchmarks 2003, Survey of Facility Management Practices

14

@@@@@@@@e?@@@@@@@@e?@@h?@@h?@@h?@@h?@@h?@@h?

@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e

@@@@@@@@@@@@@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

?@@?@@?@@?@@?@@?@@

?@@@@@@@@?@@@@@@@@

?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@

@@g@@g@@g@@g@@g@@g@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

IAMFA 2003 IN SAN FRANCISCOThe Northern California ChapterWelcomes you!

September 21–24, 2003

INTERNATIONAL ASSOCIATION OF MUSEUMFACILITY ADMINISTRATORS

M YES! Sign me up to attend the 2003 IAMFA Annual Conference inSan Francisco, California, U.S.A.

Name: ___________________________________________________________________________

Title: ____________________________________________________________________________

Institution:_______________________________________________________________________

Address: _________________________________________________________________________

City: _________________________________________ Postal/Zip Code: _________________

State/Province/County: ______________________ Country: _________________________

Phone: ________________________________ Fax: ____________________________________

E-mail: __________________________________________________________________________

Special dietary requirements:____________________________________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M Member Fee: $350

M Non-member conference fee: $400

M Sign me up as a new IAMFA member: $150

M Guest Programme: $250 Guest Name: _________________________________

M Day Attendance: $150 per day M MON M TUE M WED

Please remit to: International Association of Museum Facility AdministratorsIAMFAc/o Kevin Streiter, High Museum of Arts1280 Peechtree NEAtlanta GA, 30309 U.S.A.I require an invoice: M Yes M No

SUGGESTED ACCOMMODATIONThe conference hotel will be the Hotel Milano, located at 55 Fifth Streetbetween Mission and Market Streets, conveniently near the San FranciscoMuseum of Modern Art (SFMOMA) and Yerba Buena Gardens, and just aroundthe corner from the San Francisco Centre and Nordstrom. The Milano is SFMOMA’schoice for visiting artists and curators, and the room rate during the conferencewill be $109, double occupancy. Conference participants should reserve theiraccommodation directly with the Hotel Milano at 1-800-398-7555. We areholding a block of rooms at this price in this convenient location, so pleasebook early. The group room rate will apply to rooms booked from September 19through September 28 for those arriving early, staying later or both!

For airline bookings and additional travel assistance we recommend Jane Scottat Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you callthe Hotel Milano or Jane Scott.

Please check the IAMFA website for updates at: www.iamfa.org

✁

Chairpersons of Regional Chapters

Los Angeles, U.S.A.James SurwilloJapanese American National Museum

New York, U.S.A.Lloyd HeadleyThe Brooklyn Children’s Museum

Ottawa-Gatineau, CanadaToby GreenbaumPublic Works & Government Services

San Francisco, U.S.A.Joe BrennanSan Francisco Museum of Modern Art

United KingdomNomination to come

Washington-Baltimore, U.S.A.Fletcher Johnston Hirshorn Museum & Sculpture Garden

Coordinators of Future Chapters

Atlanta, U.S.A.Kevin StreiterHigh Museum of Art

Bilbao, SpainRogelio DiezGuggenheim Museum

Boston, USAJames Labeck Isabella Stewart Gardner Museum

Chicago, U.S.A.William CaddickArt Institute of Chicago

Pennsylvania, U.S.A.Victor T. RazzeBrandywine River Museum andConservatory

Seattle, U.S.A.Patrick DowlingWhatcom Museum of History and Art

Cleveland, U.S.A.Tom CataliotiCleveland Museum of Art

Sydney, AustraliaBob ScottThe Powerhouse Museum

Pittsburgh, U.S.A.Larry ArmstrongCarnegie Museums

15

Glen HodgesAustralian Museum6 College StreetSydneyAustralia2010glenh@austmus.gov.au

Carole BeauvaisNational Archives of Canada395 WellingtonOttawa, OntarioK1A 0N3Canadacbeauvais@archives.ca

Bob ChartrandCanada Science and

Technology Museum2421 Lancaster RoadOttawa, OntarioK1G 5A3Canadarchartrand@mmstc.ca

Chan Hung DoCanadian Museum of

Civilization100 Laurier StreetHull, QuebecJ8X 4H2Canadachan.do@civilisations.ca

Ian FollettFacility Management Services

Ltd.45 Maryland Place, SWCalgary, AlbertaT2V 2E6Canadafmsltd@fmsltd.com

Gerry PotocznyCanadian Museum of NatureP.O. Box 3443 Stn. DOttawa, OntarioK1P 6P4Canadagpotoczny@mus-nature.ca

Lucie LanctotCanadian Museum of Nature1740 Pink Rd.Aylmer, QuebecCanadallanctot@mus-nature.ca

CANADA

AUSTRALIAGuy LarocqueCanadian Museum of

Civilization100 Laurier StreetHull, QuebecJ8X 4H2Canadaguy.larocque@civilisations.ca

Pierre LepageCanadian Museum of

Civilization100 Laurier StreetHull, QuebecJ8X 4H2Canadapierre.lepage@civilization.ca

José Luis OliverosCentre canadien d’Architecture1920, rue BailleMontréal, QuebecH3H 2S6Canadajolivero@cca.qc.ca

Christian PagéCanadian Museum of

Civilization100 Laurier StreetHull, QuebecJ8X 4H2Canadachristian.page@civilisations.ca

Peter FotheringhamNational GalleryTrafalgar SquareLondon, EnglandWC2N 5DNpeter.fotheringham@

ng-london.org.uk

Dawn OlneyThe British Library96 Euston Rd.London, EnglandNW1 2BD

Graham PellowNatural History MuseumCromwell RoadLondon, EnglandSW7 5BDg.pellow@nhm.ac.uk

ENGLAND

Jan AbrahamseRijksmuseumStadhouderskade 421071 ZD AmsterdamThe Netherlandsjan.abrahamse@wolmail.nl

W. AnthonyNational Museum of Scotland73 Belford Rd. Dean GalleryEdinburgh, ScotlandEH4 3DSw.anthony@nmsk.ac.uk

Robert GalbraithNational Galleries of ScotlandChambers StreetEdinburgh, ScotlandEH1 1JFrobert.galbraith@

natgalscot.ac.uk

Jack PlumbNational Library of ScotlandGeorge IV BridgeEdinburgh, ScotlandEH1 1EW

Rogelio DiezGuggenheim MuseumAbandoibarra 248001 BilbaoSpainrdiez@guggenheim-bilbao.es

ARIZONA

Robert A. Marino, P.E.Mueller & Associates Inc.2127 East SpeedwayTuscon, AZ85719USA

USA

SPAIN

SCOTLAND

THE NETHERLANDSCALIFORNIA

Donald BattjesLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, CA90036USAdbattjes@lacma.org

Joe BrennanSan Francisco Museum of

Modern Art151 Third St.San Francisco, CA94103-3159USAjbrennan@sfmoma.org

James L. BullockJ. Paul Getty Museum1200 Getty Center Dr., Ste. 1000Los Angeles, CA90049-1678USAjbullock@getty.edu

John CoplinSanta Barbara Museum of Art1130 State StreetSanta Barbara, CA93101-2746USAjcoplin@sbmuseart.org

Director, PropertyManagementHenry E. Huntington Library &

Art Gallery1151 Oxford RoadSan Marion, CA91108USA

John DonohoeJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAjdonohoe@getty.edu

Steven ErnestIndianapolis Museum of Art4000 Michigan Rd.Stanford, CA94305-5060USAstegreen@stanford.edu

IAMFA Members Directory 2003

16

CALIFORNIA (cont’d)

Jennifer FragomeniExploratorium3601 Lyon StreetSan Francisco, CA94123USA

Steven GreenCantor Center for the Visual ArtsCantor CenterStanford, CA94305-5060USAstegreen@standford.edu

Oren GrayJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAogray@getty.edu

Jim HartmanFine Arts Museums233 Post St., 6th Flr.San Francisco, CA94108USAjhartman@famsf.org

David HillbrandYerba Buena Center for the Art701 Mission StreetSan Francisco, CA94103USAdhillbrand@yerbabuenaarts.org

Andy HirshfieldExploratorium3601 Lyon StreetSan Francisco, CA94123USA

Randy MurphyMuseum of Contemporary Art250 S. Grand Ave., California

PlazaLos Angeles, CA90012USArmurphy@moca.org

Michael OrthJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAmorth@getty.edu

Ronald RomoJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USArromo@getty.edu

Jeff SheahanCalifornia Academy of ScienceGolden State ParkSan Francisco, CA94118USA

Brenda SheridanLong Island Beach Museum2300 East Ocean Blvd.Long Beach, CA90803USAbrendas@lbma.org

Will SpencerJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAwspencer@getty.edu

James A. SurwilloJapanese American National

Museum369 East First St.Los Angeles, CA90012USAjsurwillo@janm.org

Leonard B. VasquezCharles M. Schultz Museum2301 Hardies Ln.Santa Rosa, CA95403USA

CONNECTICUT

Ernest ConradLandmark Facilities Group Inc.252 East AvenueNorwalk, CT06855USAeconrad@lfginc.com

Director, PropertyManagementYale UniversityP.O. Box 2082288New Haven, CT06520-8228USA

DISTRICT OF COLUMBIA

Joe DonovanCarr Real Estate Services Inc.1850 K Street NWWashington, DC20006USAjdonov@carramerica.com

Michael GiamberNational Gallery of Art6th St. & Constitution Ave. NWWashington, DC20565USAm.giamber@naa.gov

Fletcher JohnstonHirshorn Museum and

SculptureIndependence Ave at 7th

Street, SWWashington, DC20560-0350USAfletchj@hmsg.si.edu

Richard KowalczykNational Air and Space

Museum601 Independence Avenue, SWWashington, DC20560-0303USArichard.kowalczyk@nasm.si.edu

Eugene F. RamatowskiU.S. Holocaust Memorial

Museum100 Raoul Wallenberg Place,

SWWashington, DC20024-2126USAeramatowski@ushmm.org

Kurt SissonNational Gallery of Art6th St. & Constitution Ave., NWWashington, DC20565USAk-sisson@nga.gov

GEORGIA

Kevin StreiterHigh Museum of Art1280 Peachtree NEAtlanta, GA30309USAkevin.streiter@

woodruffcenter.org

HAWAII

Robert WhiteHonolulu Academy of Arts900 S. Beretania StreetHonolulu, HI96814USArwhite@honoluluacademy.org

ILLINOIS

Mr. BarnesArt Institute of Chicago111 S. Michigan Ave.Chicago, IL60603-6110USA

Brendan BerryAdvantage Operations, Art

Institute125 E. MonroeChicago, IL60603-1073USAbberry@artic.edu

Bill CaddickArt Institute of Chicago111 S. Michigan AvenueChicago, IL60603-6110USAwcaddick@artic.edu

Don MeckleyMuseum of Contemporary Art220 E. Chicago AvenueChicago, IL60611-2604USAdmeckley@mcachicago.org

MARYLAND

Alan DiricanBaltimore Museum of Art10 Art Museum DriveBaltimore, MD21218-3898USAadirican@artbma.org

Jeffery H. GreeneBanneker-Douglas Museum84 Franklin StreetAnnapolis, MD21401-2738USAbanneker@dhcd.state.md.us

IAMFA Members Directory 2003

USA (cont’d)

17

Alex PetrlikPrincipalMueller Associates, Inc.1401 S. Edgewood St.Baltimore, MD21227USAadirican@artbma.org

MASSACHUSSETTS

David GeldartMuseum of Fine Arts465 Huntington AveBoston, MA02115USAdgeldart@mfa.org

James S. LabeckIsabella Stewart Gardner

Museum2 Palace Rd.Boston, MA02115USAjlabeck@isgm.org

NEW YORK

Michael AmbrosinoAmbrosino, Depinto &

Schmieder275 Seventh Ave. 21st FloorNew York, NY10001USAambrosino@adsce.com

Martin CavanaughPierpont Morgan Library29 East 36th StreetNew York, NY10116USAmcavanaugh@

morganlibrary.org

William Esposito Jr.Ambient Labs, Inc.55 West 39th Street, 12th FloorNew York, NY10018-3803USAwesposito@ambientgroup.com

Lloyd HeadleyBrooklyn Children’s Museum145 Brooklyn AveBrooklyn, NY11212USAlheadley@brooklynkids.org

Daniel McCormickGeorge Eastman House900 East AvenueRochester, NY14607USA

Harry SoldatiBrooklyn Museum of Art200 Eastern ParkwayBrooklyn, NY11238USAsoldati@brooklynmuseum.org

Stan ZwirenBrooklyn Museum of Art200 Eastern ParkwayBrooklyn, NY11238-6052USAzwiren@brooklynmuseum.org

OHIO

Paul BernardToledo Museum2445 Monroe Street,

Scottwood AvenueToledo, OH43697USApbernard@toledomuseum.org

David NawrockiColumbus Art Museum400 E. Broad St.Columbus, OH43215USAdnawrock@cmaohio.org

Mr. ScottCincinnati Art Museum953 Eden Park DriveCincinnati, OH45202-1596USAdgearding@cincyart.org

PENNSYLVANIA

Larry ArmstrongCarnegie Museums4400 Forbes AvenuePittsburgh, PA15213USAarmstrongl@

carnegiemuseums.org

Douglas BowermanAllentown Art Museum5th and Court StreetsP.O. Box 388Allentown, PA18105-0388USAoperations@

allentownartmuseum.org

Bob MorronePhiladelphia Museum of Art26th & Benjamin Franklin Pkwy.P.O. Box 7646Philadelphia, PA19101-7646USArmorrone@philamuseum.org

Victor T. RazzeBrandywine River Museum and

ConservatoryP.O. Box 141Chaddis Ford, PA19317USAvrazze@brandywine.org

Richard J. ReinertAffiliated Building Systems2600 Benjamin Franklin Pkwy.Philadelphia, PA19130USArreinert@philamuseum.org

SOUTH CAROLINA

Claudia BeckwithGreenville County Museum

of Art420 College StreetGreenville, SC29601USAcheckwith@greenville.org

William TaylorCultural Facilities Management

Group385 Spring StreetSpartanburg, SC29306USAtiltay@spartanarts.org

TENNESSEE

Steve KirbyFrist Center for the Visual Arts919 BroadwayNashville, TN46208USA

TEXAS

Henry GriffinMuseum of Fine Arts, Houston1001 Bissonnet, P.O. Box 6826Houston, TX77265-6826USAhgriffin@mfa.org

Jeffery RyanJackson and Ryan Architects2370 Rice Boulevard, Suite 210Houston, TX77005USAjryan@jacksonryan.com

VIRGINIA

John CannupMariner’s Museum100 Museum DriveNewport News, VA23221-2466USAjcannup@mariner.org

Tom L. PeckColonial Williamsburg

FoundationWilliamsburg, VA23187-1776USAlpeck@cwf.org

WISCONSIN

Richard SwainstonMilwaukee Public Museum800 Wells St.Milwaukee, WI53233USAdick@mpm.edu

IAMFA Members Directory 2003

This list reflectsmembership dues paid

as of April 30, 2003.

Although we do our best toensure that our Directory

information is as up-to-dateas possible, errors

and omissions can alwaysoccur. If you would like

to make any changes to yourlisting, please contact

Julie Coderre at

julie.coderre@civilization.ca

Thanks very much.

18

On behalf of the membership and Board, we invite you tojoin with other museums and cultural organizations through-out the world in becoming a member of the only organizationexclusively devoted to museum and cultural facility admin-istrators: the International Association of Museum FacilityAdministrators (IAMFA). As a member, you will join a growinglist of museum and cultural facility administrators in theirefforts to provide a standard of excellence and quality inplanning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varietiesof programming.

The Association currently has representation in severalcountries on three continents. Our goal is to increasemembership in institutions throughout the world.

Your involvement in the IAMFA will continue the growthof the organization and provide you with excellent educationaland networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA.

Cordially yours,The Board of the International Association of Museum Facility Administrators

Membership OpportunitiesJoin the IAMFA at any of the following levels and enjoy fullbenefits of membership:

Regular Member — $150 annually. A regular memberholds the position of principal administration in directcharge of the management of facilities, and represents theirinstitution(s) as a member of the association.

Associate Member — $50 annually. An associate memberis a full-time facilities management employee (professional,administrative or supervisor), below the level of the facilityadministrator of the member association.

Affiliate Member — $50 annually. An affiliate member isany full-time employee of a member institution who is notdirectly involved in the facilities management department.

Subscribing Member — $300 annually. A subscribingmember is an individual, organization, manufacturer ofsupplier of goods services to the institutions who ascribesto the policies and programmes of the Aassociation, andwishes to support the activities of the Association.

Become a Member of the IAMFAand Get a Friend to Join

@@@@@@@@e?@@@@@@@@e?@@h?@@h?@@h?@@h?@@h?@@h?

@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?

@@@@@@@@@@@@@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

?@@?@@?@@?@@?@@?@@

?@@@@@@@@?@@@@@@@@

?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@?e@@@@@@@@e?@@@@@@@@

@@g@@g@@g@@g@@g@@g@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

@@@@@@@@@@@@@@@@

YES! I would like to join the IAMFA as a:

M Regular Member $150 M Associate Member $ 50

M Affiliate Member $ 50 M Subscribing Member $300

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M I enclose a check in the amount of $ ____________________

M Please invoice me

✁

Send in your membership dues by using the convenient form below. Don’t forget to make a copy to give to a colleague.

Please remit to:International Association of Museum Facility Administratorsc/o Kevin Streiter, High Museum of Art1280 Peachtree Street N.E.Atlanta, Georgia 30309 U.S.A.

Website: www.iamfa.org

M I am interested in joining.Please have a membercontact me.

19

No matter what the future brings, as time goes by.

As I write this, the aftermath of the war and the threat ofSARS are still echoing in the background, and the movieThe Matrix Reloaded is number one across North America.At last, the long awaited summertime is on our doorstep.

I searched for days for inspiration in writing this columnabout the regional chapters — and then I heard the song,“As time Goes By”. A few lyrics were quite useful inexpressing my general sentiment toward the evolutionof our Regional Chapters.

You must remember when . . . hmm-mm-mm-mm-mm-mm . . .

Yes, I remember when, and why, the Chapters wereestablished — and with great enthusiasm from our member-ship. I also remember the dedication of the members whovolunteered to be the first IAMFA Chapter Chairpersons.That was almost three years ago. I also remember a greatevent in San Francisco in May 2001, which led to the crea-tion of a new Chapter under the leadership of Joe Brennanof the San Francisco Museum of Modern Art. The best thingof all? The members of this new Chapter who are hostingus in a very promising venue for the 13th Annual IAMFAConference in September 2003.

The fundamental things apply . . .

That being said, I sense that some of our Chapters areevolving very slowly — perhaps too slowly. This is true manyChapters, although there are a few exceptions. To ensurethe success of our Regional Chapters, we must return to afundamental approach in reaching potential IAMFA members.Our most successful approach has been the use of personalcalls, letters and e-mails to colleagues and individuals fromthe industry, enabling us to reach out and tell them aboutIAMFA. Despite your hectic schedule and budgetary restraints,I urge every member to take some time to meet their regionalcolleagues for peer support and sharing. How about a lunch,a visit, a meeting soon?

. . . a case of do or die . . .

IAMFA needs to establish new regional chapters, whilealso reinforcing the existing ones. Just recently, we lost our

Houston/San Antonio Chapter, despite the many attemptsof our colleague, Gary Morrison, to reach some potentialmembers — to no avail. Collectively, we have to make everyattempt to reach more members and reinforce our presencein various countries. If not, I foresee that the very futureof our Association is at stake. As in any other organization,we must grow and seek out new members, who will bringfresh new ideas to the table and enhance professionaldevelopment. Yes it is becoming a case of do or die.

I don’t want to sound too alarmist, and I truly believewe still have time to act and plan a good recruiting strategyto ensure the future of IAMFA. What if each of us couldenlist just one new member this year?

. . . as time goes by . . .

As some of you may be aware, September 2003 inSan Francisco will be election time. We will need to electa new VP Regional Affairs, and also renew the two-yearmandate for Chapters Chairpersons and Coordinators. Ifyou are interested in a position dealing with regional business,please do not hesitate to contact me at carole.beauvais@archives.ca

I am confident that together we can accomplish ourgoals, because the IAMFA spirit is here to stay, “no matterwhat the future brings, as time goes by.”

For more on what’s happening at some of your currentand future Chapters, read on!

Northern California ChapterSpecial thanks to Joe Brennan for this report

The Northern California Chapter is meeting bimonthly thisyear to prepare for the annual conference in September. Wehave been hosted by the Blackhawk Museum in Danville,the Yerba Buena Center for the Arts, the San Francisco FineArts Museum’s Legion of Honor and the California Academyof Sciences. Each has given us a meeting room, hospitality,a presentation and an informative tour, which has benefitedthe membership because you always come away with anidea or few.

Our conference planning is focused on committee work,divided into Program, Logistics and Finance. We are doing

Carole Beauvais,Vice-President,Regional Chapters

Regional Chapters

continued on page 20

20

our part to put together a great conference, and we wouldreally appreciate it if everyone reading these words didtheir part by registering for the conference, before the sungoes down today! We had hoped to recruit for the chapter,using the conference to do so, but this is not as easy as itappeared when suggested. It is asking a lot for someoneto learn about, accept and join IAMFA in short order, thenaccelerate up to staging a conference. We are still hopingto attract some motivated members to join and assist inthe effort — if you are out there, please contact us atIAMFA2003@netscape.net.

Ottawa-Gatineau (Canada) ChapterSpecial thanks to Toby Greenbaum for this report

It has been a busy year for the museum community inOttawa-Gatineau, and our chapter’s activities reflect that.The Portrait Gallery of Canada (PGC) announced theselection of the architectural team, and is deep into theschematic design phase of the project. This project will behoused in the old American Embassy — including a newaddition to the existing building — and is located directlyacross the street from Canada’s Parliament Buildings. Severalof our regional members are involved in this project, withTerresa MacIntosh as the Project Leader for the PGC andPaul Caracristi as the Project Manager for Public Works andGovernment Services Canada (PWGSC). The CanadianMuseum of Nature (CMN) Revitalization Project is also com-pleting its design development phase with Gerry Potocznyas the Project Manager for the CMN and Elaine DeCourseyas Project Manager for PWGSC. The Canadian Museumof Civilization Corporation (CMCC) is busy with the newCanadian War Museum, which is well into the constructionphase, with Guy Larocque as Project Manager for the CMCC.Finally, Canada’s Prime Minister has announced a newlegacy museum called the Canadian History Centre, whichwill be housed in the Conference Centre, which was onceOttawa’s central train station, and is located across thestreet from the Chateau Laurier Hotel, where many of youstayed during the 1999 IAMFA conference.

Our regional meeting schedule began this year in Octoberwith a meeting hosted by the Director of Facilities, GilllesLandry, at the National Arts Centre (NAC). The NAC is locatedin downtown Ottawa, and houses three theatres: the Opera(Southam Hall, named after the first director and founderof the NAC); the Theatre (a smaller theatre for dance andplays) and the Studio (a small, intimate space for morecutting-edge works). The complex was built in 1967 to markCanada’s centennial. As with all of our local meetings, webegan with networking time over lunch, a business meeting

and a presentation/tour. In this case, we concluded with anin-depth tour of this significant complex.

Our next meeting, in January, was the chapter’s fabulousadventure to Montreal, which you can read about in thelast issue of Papyrus.

The March meeting was hosted by PWGSC in our sleeknew boardroom, which also acts as a “war room” foremergency situations which might occur in the 1.4-million-square-foot complex with 6,000 employees in which weare located. A PWGSC expert on Infrastructure ContinuityPlanning gave a timely presentation. In the aftermath of9/11 there is a particular urgency when it comes to develop-ing and implementing appropriate emergency plans. Thispresentation was of great interest to those in attendance.

Finally, in May, the Canadian Museum of Civilizationhosted our final meeting for this season. Guests came fromcultural institutions in both Toronto and Montreal for thisafternoon event. Raymond Moriyama, an esteemed elderstatesmen within the Canadian architectural communityand the architect for the Canadian War Museum, gave apresentation on the War Museum project. This was followedby a tour of the CMC, a viewing of a spectacular IMAX filmand a lovely supper with a fabulous view of Parliament Hillfrom the CMC’s spectacularly sited restaurant! Wish youwere here!

Western Pennsylvania (USA)Special thanks to Larry Armstrong for this report

During the spring of 2003, we began to compile a listof possible organizations that might be interested in theformation of a Western Pennsylvania chapter of IAMFA. Wehave started to meet with some of those organizations todiscuss IAMFA and the formation of a local regional chapter.

In addition, we have met with other local IAMFA membersin Pittsburgh to make them aware that we are chairing andhosting the 14th Annual IAMFA Conference in Pittsburgh in2004. If you are interested in joining our Chapter, pleasedo not hesitate to contact Larry Armstrong at armstrongl@carnegiemuseums.org.

New York ChapterSpecial thanks to Lloyd Headley for this report

Since the London Conference in September 2002, our Chapterhas been hard at work in collaboration with a task force fromthe Mayor’s Office O.E.M. (Office Emergency Management)on a Disaster Preparedness Plan that will be made availableto all museums, libraries and cultural institutions.

Regional Chapters — continued from page 19

21

Martin Cavanaugh, Director of Operations at The PierpontMorgan Library announced his retirement; his last day wasMay 30, 2003. Congratulations to Mr. Cavanaugh from all hiscolleagues and friends. Your leadership will be greatly missed.

New York is facing a significant financial crisis that affectsthe budgets of all institutions which depend on the state andthe city for financial support. Some institutions, such as theBrooklyn Museum of Art, are planning to close for two weeksduring the summer while also placing a hiring freeze onvacant positions. Budgets for professional development arenil, and our members are hoping things change, in time tomake the 13th Annual IAMFA Conference in San Franciscoa possibility for us.

Overall, the New York Chapter is going strong and pro-viding much-needed support and guidance for its membersduring construction, renovations and training. Our monthlymeetings are a great venue to network and share ideas. Formore information on the New York Chapter, or to join,please contact Lloyd Headley at lheadley@bchildmus.org.

Chicago (USA) ChapterSpecial thanks to Bill Caddick for this report

The Field Museum has made some administrative changes,and has announced that Nancy Medina will replace Lou Frenchas Director of Facilities. The Field Museum is currentlyundergoing major renovations, including the installationof a completely new chiller plant. Ice storage has beenparticularly challenging.

The Museum of Contemporary Art (Don Mackley) is backon his feet, and seems to handling his daily duties well. Likemost of us, he is pursuing funding for capital improvements.Life-cycle issues on mechanical equipment seem to be atthe top of this list.

The Museum of Science and Industry has also had achange in leadership, and Greg Prather is the new Director.Greg is currently completing a total renovation of the foodcourt, which many other museums are looking at.

The Culture Center of the City of Chicago doesn’t currentlyhave museum status; however, it currently houses a travelingexhibition of prints and drawings, causing the Center’sDeputy Director to request many museum policies, forwhich he is very grateful to our IAMFA family.

For more information on the Chicago Chapter or to join,please contact Bill Caddick at: wcaddick@artic.edu.

Atlanta (USA) ChapterSpecial thanks to Kevin Streiter for this report

Efforts to establish an IAMFA chapter in the SoutheasternU.S. have not been successful, largely due to the severebudget cuts in this region’s museum sector. Attempts have

been made to stay in contact with counterparts in the manyfine museums of this area, but all are reporting the samething: the leadership of their institutions are not allowingthem to include membership dues in their drasticallyslashed budgets.

We hope that with the slowly-improving U.S. economyour Southeastern museum facilities colleagues will be moreable to join our fine organization in the coming 12 to18 months. We will continue to place calls, send out copiesof, etc. in this effort. For more information or to join, pleasecontact Kevin Streiter at: kevinstreiter@woodruffcentre.org.

Bilbao (Spain) ChapterSpecial thanks to Rogelio Diez for this report

This year’s activities are similar tolast year’s. We have contacted severalmuseums via mail, but interest isnot high at present, and we thinkthey may perceive IAMFA as beingsomewhat “far” from Spain. Thechapter plans to inform Spanishmuseums (end of this year or begin-ning of next) that IAMFA is coming

to Spain for its 2005 annual conference, and that it wouldbe a great opportunity for them to learn about the advan-tages of joining an international organization like IAMFA.For more information please contact Rogelio Diez at:rdiez@guggenheim-bilbao.es.

Washington/Baltimore ChapterSpecial thanks to Fletcher Johnston for this report

The Washington Region has been enmeshed primarily withsecurity upgrades during the past year. At the SmithsonianInstitution (SI), our members have finally begun putting inplace the long-planned reorganization and consolidationof building management functions into eight facilitymanagement zones.

The goal is to have all zones fully integrated by January2004. In the interim, everyone at the Smithsonian nowreports to two different supervisors: one at their individualmuseum, and another at the Smithsonian FacilityManagement Office.

As you can see, this reorganization is still evolving,and more information will be forthcoming. For moreinformation on the Washington Chapter or to join pleasecontact Fletcher Johnston at: fletchj@hmsg.si.edu

Rogelio Diez

22

The National Galleries of Scotland areabout to take delivery of the first stageof restored exhibition galleries in thecentre of Edinburgh (the Royal ScottishAcademy building), which will open tothe public with a Monet exhibition inAugust 2003. The second phase, to becompleted in 2004, will provide visitorservices in an underground link to theNational Gallery — which some of youwill remember as the building wherewe had our banquet a few years ago.

Unusually perhaps for buildingsof their era (1833 and 1855), both theNational Gallery and the Academy werebuilt on landfill sites, the earth havingbeen excavated from the foundationsof the (first) Edinburgh New Town —and estimated in 1805 to comprise1,305,780 cartloads. The building ofthe later National Gallery coincidedwith the tunnelling of railway linesthrough the bottom of what is stillreferred to as “The Mound”, and thearchitect built his structure on huge,iron, bow-string relieving arches, whichconcentrated on, and otherwise dealtwith, the weight of the building in aneffective and lasting way. Unfortunately,

he built his earlier Academy on 2,500wooden piles, many of which, dueto the dry, free-draining nature of theearth, had oxidized — disappeared inshort: the building was latterly heldup by the stiffened earth betweenthe piles, which were actually doing areasonable job until, and unless, watergot in and caused them to collapse.(Where the ground had been persis-tently wetter, the piles had survivedquite well.)

The solution we adopted is knownas “soil fractionation”, and is morecommonly used above new tunnelexcavations to compensate for soilmovements, thereby preventing sub-sidence in the buildings above. Thus,a trench was excavated along most ofone side of the Academy, and fromit dozens of pipes were then drilledhorizontally at two levels through theearth and old pile shafts. Grout wasreleased in carefully monitored quan-tities through holes in these pipes, sothat it filled the voids and mixed withthe soil to form a solid mass. Althoughthis is a sufficiently sophisticated tech-nique to allow parts of a building to

Major Renovation Project at the National Gallery of Scotland

be raised or lowered at will, in practicethe least damaging aim (as here) isusually to stabilize as found.

Excavations for the visitor serviceswere, I suppose, fairly straightforwardin engineering terms. But when yousee the props keeping them apart andpreventing the two buildings from fallinginto the hole, you may agree that theengineers were earning their fees.

One of our early concerns had beenthe loading capacity of the floors. TheAcademy had been gutted internallyin 1910 to provide the sort of lofty,top-lit galleries you would expect fromthat date — all supported and coveredby what appeared to be a daringlyflimsy structural system, based onthe then pioneering Hennebique con-crete technique. When I arrived at theGalleries nine years ago, we routinelypropped the floors with scaffoldingbefore certain exhibitions. However,in the event the simple test was toload up a sample floor with concreteweights and see what happened. Itsurvived loadings well beyond theBritish standard and on that basiswe have proceeded.

A nineteenth-century engraving of The Mound.Robert Galbraith, Head of Buildings, National Galleriesof Scotland.]

by Robert Galbraith

23

A Greek temple expects to be viewedin the round — it has no back door, noservice approach. So one dramatic —and in conservation terms, I suppose,controversial — intervention has beenthe removal of an entire bay of stone-work, including aedicule, so as to forma loading bay door for the art-work. Themassive steel door will be clad in theoriginal stones and will have a complexclosing mechanism to ensure that theshadow gap is the minimum possible.

Nor does a Greek temple expect tohe seen from above — but these twobuildings have always been toweredover by the Edinburgh Old Town,particularly the castle. (Come to think

of it, many North American classicalbuildings are similarly over-looked,but at least they were there first andcan hardly be held responsible for whatothers have done around them.) Thishas created challenges in designingthe disposition on the roof of all theservice equipment: boilers, air-handlingequipment and day-light louvres, withwhich we are all familiar, and which wewould all much rather service in a big,dry, clean plant room. Here the equip-ment has essentially mostly been stuffeddown what you might call the cleavagesbetween the gallery ceiling domes.

How will it all work? Well if any-body is interested I hope to tell youin September.

Finally some credits:

• Architects: William Playfair (C19),William Oldrieve (C20), John Miller& Partners(C21)

• Structural Engineers: WSP andAnthony Hunt Associates

• Service Engineers: SVM

• The Playfair Project: £29M. Fundedby Scottish Executive (central gov-ernment) (£10M), Heritage LotteryFund (£7M), NGS Fund-raising(£12M)

Robert Galbraith has been Head ofBuildings at the National Galleries ofScotland for the last nine years. (Thefirst IAMFA conference he attended wasin Toronto.) Before that he worked inprivate practice, mainly on historicbuildings.

View down an empty pile shaft.

Where the ground was wetter, some pilessurvived fairly well.

A view of the new art-handling opening(upper floor).

A view of excavations for the new visitor services area.]

24

How do you ensure that your lightingspecifications build in the correctprotection for you and your clientor premises? And how do you ensurethat you don’t leave contractors in aposition to compromise these factorsfor a low-cost option? They won’t knowthe implications — but you should.

We all know and appreciate thatthe expertise of lighting designers andplanners is essential in critically impor-tant lighting installations such as thoseencountered in museums and art gal-leries. In facilities such as ours, lightingeffects and conservation go hand-in-hand, and the intentions of both thearchitectural and the design teams arecrucial in ensuring the effectiveness andappearance of the completed installation.

All too often during the courseof construction, the project staff anddirectors are prompted to make savingsand to consider cheaper alternatives towhat was originally specified. “Equaland approved” is usually not an ade-quate statement to ensure that only themost suitable equipment is installed.A lack of time and financial resourcesoften precludes further investigation ofequipment, and can result in the accep-tance of equipment which doesn’t matchthe unique or essential characteristicsof the original specification.

In order to help demystify the matterof lighting product design, and to helpyou avoid a downgrading of the originalspecification, we’ve identified the follow-ing aspects of a lighting specification ashaving particular significance. Theseshould help your professional staff —such as museum and gallery curatorialstaff — to respond more effectively toissues relating to proposed changes inthe original specifications.

The range of equipment covered inthe ensuing article includes recessedluminaires, spotlights and lightingstructures, although the followinginformation also relates in many waysto certain other lighting products.

Light Distribution —Recessed LuminairesAll lighting equipment is selectedprimarily for the lighting effects thatwill be produced. As such, the lightdistribution of a luminaire is one of itskey selling points. The most importantaspect of a luminaire’s performance isoften its light output ratio. This can beclearly defined by the total percentageoutput; i.e., the light output of lamps toluminaires. When relevant, this is dividedinto the proportion that is emitted aboveand below the horizontal.

To achieve a particular lighting effect,the light distribution of the luminairemust be very specific. This means it’s

not enough to find a product that letsyou say, “This looks similar.” The fact isthat it has to match exactly if it is to pro-duce the same effect. The only meansof ascertaining the potential of oneproduct to produce the same effect asanother, is to look carefully at the light-emission information, which is giveneither in numeric values or graphicallythrough light-emission curves.

The axial and transverse light-emission curves, if both exist, areidentified through the candela intensityvalues. The first point of comparison isthe prime axis — usually in the nadir(downward vertical) direction. This peakintensity — i.e. maximum value —and the angle at which it is emitted,is crucial for any specific type of lightdistribution which is meant to producea particular visual effect.

A further important aspect of lightdistribution is the half-peak intensity,which can be indicated clearly by ref-erence to either the nadir value or thepeak intensity. This is usually usedto identify the beam angle, in degreeseither side of the axis of the light heador reflector. This will give a clear indi-cation of the beam spread that can beexpected, as well as the coveragewhich will result from the positioningand spacing of the luminaires. Thisvalue can usually be taken from thephotometric information provided bythe manufacturer.

Be Seen in the Right Light: The Value of a Tight Lighting Specification

by Mark Rowling

Osaka Maritime Museum, Japan. Architect: Paul Andreu/Aeroports de Paris. Lighting Designer: Lighting PlannersAssociation, Tokyo.

Darklight technology and cut-off angle. If you can’t see the lamp, you can’t see thereflection. A lack of disturbing glare ensures visual comfort.

25

Cut-off angle is a completely sepa-rate and crucial feature of a luminaire’slighting characteristic. This has little todo with the beam spread, and every-thing to do with the visual comfort andglare protection that is provided. It isdefined as the angle at which neitherthe lamp nor the reflection of the lampis visible in the reflector. This may notbe absolutely identical to the total cut-off angle, where zero candelas areemitted, but it does identify the glarecharacteristics of the luminaire, andconsequently the darklight character-istic. In numerous less-well-designedproducts, the light from the reflectorcan be seen even though the lamp isnot visible, resulting in the distractingeffect of seeing bright spots on theceiling, while not creating the darklighttechnology of truly glare-free luminaires.

The appropriate cut-off angle fromthe horizontal can be clearly definedon the following basis. A luminaire witha cut-off angle of 30° would be entirelysuitable when people are merely circu-lating through the area; a 40° anglewould be suitable when people areeither standing, sitting or working inthe area; and 50° would be appropriateto very high ceilings, or installationsin which exceptional glare control isrequired. Another simple rule of thumbis that a 30° cut-off is for room heightsup to 3 metres, 40° for 4 metres and50° for greater room heights. That beingsaid, the best vertical component inthe beam, for modelling purposes, willcome from the downlights, with highercut-off angles.

The intrinsic value of identifying lightdistribution in the above terms is that,once a product is selected, the position-ing, spacing and orientation of theproduct will be planned to produce aspecific lighting effect or pattern. Anyvariation to this pattern may well proveunacceptable, as even a negligiblechange can be so significant as tocompletely alter the pattern of light.A prime example of this would beon a wall, where any change in lightdistribution would be highly visibleand potentially catastrophic.

If the light distribution of a substitutedproduct deviates from the original distri-bution, its deviations are likely to occurat the edges of the beam. The primarydisadvantage of a lack of control inperipheral distribution is that spill light— or excessive peripheral emissions —can create disturbingly high intensities,resulting in distracting surface bright-ness. This significantly influences thebalance of illumination and the degreeof uniformity, which was the originaldesign intent. This can make the overallappearance of the interior seem inferior.

A look at the two photometricaldistribution patterns, shown here, clearlyidentifies the relevant light distribution.It is vitally important that light is pro-jected onto specific areas, in orderto focus the viewer’s attention on aparticular area or object. Further, it isimportant to ensure that the relevantarea is illuminated in a uniform fashion,so that any distortions in shape oremphasis are within the parametersidentified by the lighting designer.

Mechanical Constructionand Paint FinishIn order to function effectively, themechanical rigidity of a luminaire isimportant. The mounting of the lightingequipment — either onto the ceiling

or into a track — has to be entirelysafe and secure, both mechanicallyand electrically. In all instances, it ispreferable to use compatible spotlightsand track from a single manufacturer,rather than combining potentiallyincompatible equipment from differentmanufacturers. There are numerousother features involved in the construc-tion of recessed luminaires, which ensurethat the product is entirely suitablefor the particular installation. Thesecan generally only be appreciated byhandling the product and having thefeatures explained.

Mechanical rigidity is required, how-ever, both for the safe and repeatablelocked aiming of the lamp in the caseof spotlights, and for the locking oforientation and aiming in the case ofwashlights and recessed directionalluminaires. All recessed luminairesshould have die-cast mounting rings,as these are far more rigid and securethan pressed metal. This is a particularfeature of superior product design, whichcan be lost in a less-well-designedproduct, resulting in poor mountingand serviceability.

The exposed surfaces of productsare more important for durability thanfor appearance. Epoxy-powder coating,

Wallwashing from fluorescent luminaires and tungsten halogen spotlights: photometriccurves and resultant effects.

continued on page 26

26

if correctly applied, is far superior toother simple spray-painting techniques,and can be used on exterior productsas well as on interior products withthe appropriate surface treatment.

It goes without saying that all qualityluminaires have reflectors. These areusually of high-grade aluminium, but themost crucial factor is the micron thick-ness of the anodized surface, whichensures optimum performance. This sub-ject is far too extensive to explain here;however, simply put: “You get whatyou pay for!” Let the buyer beware!

There are, of course, many otherfeatures which can benefit a customeron particular projects. It will alwaysbe necessary to identify the specificcharacteristics or benefits that wereconsidered valuable at the time of pro-duct selection, in order to re-confirmtheir significance in any comparisonbetween the originally-selected productand a subsequent alternative.

Light Distribution —SpotlightsSpecifications for a spotlight’s lightdistribution can be clearly expressedthrough the photometric characteristics

mentioned previously. Of particularrelevance is the specification of beamspread. This is specified in the sameway: i.e., by using half-peak intensitiesto identify beam spread through theangle on either side of the beam’saxis, where the intensity is half that ofthe beam’s axis. In most installations,the use of beam angles is a strongdeterminant in the lighting effects thatwill be created on wall displays andon free-standing objects. This is alsotrue when a spotlight is fitted with aparticular lens or filter. These criteriacan be grossly distorted when eitheran inappropriate lamp is used or thewrong lens has been fitted.

In terms of the application of filters,the specification criteria become evenwider. The percentage of light transmis-sion is important, as is the distributionin terms of wavelength. In many cases,ultraviolet and infrared filtration iscrucial, and in these cases reference tothe transmission and the wavelengthcharacteristics of the filter, when usedwith a particular light source, will bethe means of evaluating alternatives tothe product originally specified. Forconservation purposes, the percentageof the A, B and C bands of excluded

ultraviolet radiation will be crucialto the exposure to which sensitivematerials can be subjected.

Heat DissipationIn all cases, the refined design andmaterials of the luminaire — and insome cases, of control gear — will becrucial to ensuring that the luminairecan handle the heat emitted by the lamp.This, in turn, dictates the longevity ofthe lamps as well as the replacementschedule which curators and mainte-nance staff will have to accommodate.In most instances, products withinferior heat-handling characteristicswill be much less expensive thanmore effectively- and appropriately-designed products in which die-castaluminium heat-sink characteristics aredesigned for a particular lamp wattage.

Lamp Life and Lamp ReplacementThe value to the end user in using awell-designed housing is considerable —although it is difficult, if not impossible,to ascertain accurately. Experiencehas proven that there are very specificoptimum operating temperatures forthe various component parts of alamp. If temperatures are controlledwithin a product used in normalambient temperatures (25°C), lamplife will be longer than what has beenrated by the manufacturers. This cansubstantially reduce the frequency oflamp failures and the costs involvedin their replacement. Light distribution presentation formats for spotlights.

Stella spotlights are designed to providevisual comfort, adaptability, serviceabilityand long lamp life.

Be Seen in the Right Light — continued from page 21

27

All manufacturers whose productscomply with international standardsand authorization will have producedtemperature test reports for at least themost heat-sensitive (highest wattage)version of each size of product. Theseshould be available to a user or speci-fier if requested. A typical exampleis shown.

Temperature limits are identifiedeither by the lamp manufacturer or bythe authorities, and are designed toensure not only the effective operationof the lamp but, just as importantly,the safe operation of the luminairewhen installed.

Lighting Systems

When it comes to lighting systems —either suspended or wall-mounted —all of the above lighting characteristicsand heat characteristics are of similarimportance, and can be checked byreference to exactly the same testreports. The major difference is thata suspended system will have anunsupported span. This can be safelycovered over, and should be clearlyidentified to ensure that the system issafe when installed, and that appear-ance of the finished installation is notencumbered by a host of rods or

wires hanging down from the ceiling.As with all mechanical systems, thedesign will be based on factors ofsafety. A factor of safety of 5 indicatesthat the safe loading specified bythe manufacturer is in fact only 1:5of the loading, which would causethe components to either distort orbecome dislodged and fail.

The span of a lighting system willinvariably be based on the permissibledeflection, which may be 1:250 ofthe distance between the suspensionpoints. Under maximum load, thiswill be determined by the permissibledeflection. This will inevitably belimited by the permissible load onthe suspension points.

In many instances, the criteria bywhich the lighting system is selectedfor museum and art gallery purposesincludes an allowance for additionalservices to be provided through thelighting system — including loud-speakers, emergency lighting or evensensors. When evaluating alternativeoptions, the lighting system’s physi-cal capacity to accommodate all thewiring, control gear and connectionswhich will be associated with thelighting equipment contained in, orinstalled upon, the lighting structureis crucial. Frequently, a lighting systemis selected for a particular purpose.Subsequent comparison with a cheaperalternative appears at first glance tobe suitable, and it is only discoveredlater that some additional require-ment had been overlooked. Smallersystems often appear more elegant,and the effect is that after originalspecification, the full requirementis then overlooked — often withdire consequences.

Control Gear and DimmingEquipmentAn original specification will invariablyhave considered overall compatibilitybetween the control gear which operatesthe lamps and any dimming equipmentwhich will be used in conjunction withA typical temperature test report.

continued on page 28

28

this control gear. Invariably, the com-patibility of the two can be compromisedby the selection of a product whichdoes not have proven compatibilityor reliability, resulting in noise orother problems.

Exterior-Grade Luminairesand Resistance to VandalismAll building projects include lightingelements which require special stan-dards of ingress protection (IP rating),due to such factors as dust, moistureor water. The standards and authori-zation by which these products aretested will be vital criteria in theselection of lighting equipment. Inmany instances, the IP rating can beexpensive to achieve when consideringthe maximum surface temperatureson glass, etc. This can lead to numer-ous instances of sub-standard or non-approved products being put forward— with serious consequences for theongoing operation and maintenanceof the equipment.

In the same way, resistance to van-dalism is also an important consideration,and only proven equipment and teststandards carrying proper certificationshould be considered. As with all theother topics raised for comparisonpurposes, standardization, testing andauthorization will exist for qualityproducts, and very often will not existfor copycat products.

Emergency SignageProducts which are required in aninstallation have to comply with legis-lation for the country, and sometimesfor the local region or city. Frequently,alternative products are offered for theprovision of emergency lighting andsignage. In all cases, the standards andthe authority by which they have beenchecked should have been confirmedby reference to available certification.This is the only way to ensure that theintrinsic safety of the occupants will

not be jeopardized by considerationof an alternative offer.

Normally the selected emergencylighting or signage products will havebeen chosen, not only because of itsfunctionality, but also because of itsclear detailing and intelligent non-intrusive design. In many instances,lack of attention to detail will result ina less-than-attractive appearance. Thistype of crude design will of course bedetrimental to the appearance of thecompleted project.

Issues surrounding the presentationof alternative offers, once an initialspecification has been set and a bill ofmaterials established, is of concern tolighting designers, specifiers and themanufacturers of superior equipment.Intrinsic value in goods and servicesmust be a priority for all museum andgallery managers. This ensures not onlythat the original design intent is achieved,but also that the installation operatesefficiently and can be serviced withease. While it is not necessarily easy for

inexperienced people to clearly identifythe differences which exist between onelighting product and another, it is hopedthat this article will provide a greaterlevel of understanding of the potentialpitfalls, enabling managers to expresstheir concerns about quality and valueof lighting equipment when faced withalternative, lower-priced offers.

Mark Rowling has worked in lightingdesign since 1970. Since August 1986,he has worked with ERCO Lighting Ltd.in London, where he was the TechnicalDirector and subsequently Sales andTechnical Director. He qualified asChartered Engineer in August 1990,and became a Fellow of the CharteredInstitute of Building Services Engineersin November 1992. Since joining ERCO,he has been dedicated to excellence ininterior lighting design — particularlyin museums and galleries. In October1999, he established a training orga-nization within ERCO, consisting of35 trainers and coaches worldwide.

Georg Schäfer Museum, Schweinfurt. Architect: Volker Staab, Berlin Lighting Designer: Licht Kunst Licht, Bonn/Berlin. Glare-free and invisible, spotlightsfor low-voltage tungsten halogen lamps are installed in an all-round ceiling slot.

Be Seen in the Right Light — continued from page 27

29

As the conservation profession hasdeveloped new and more stringentstandards for printed materials, manyin the museum facilities professionhave been challenged to implementthese standards in buildings that werenever intended to support these con-ditions. This is the case at Winterthur,home to the greatest collection ofAmerican Decorative Arts, along withthe documentation to support it.

The Winterthur Library is wellknown, particularly for its collectionof rare books and manuscripts whichdescribe life during the colonial andearly republican periods. It also housesthousands of other printed materials,which for years have been the basisof scholarly research in many areasof American culture. These resourcesare regularly used by staff members,visiting scholars, and by students in theWinterthur’s Early American Cultureand Art Conservation programs. Bothprograms are joint initiatives of theWinterthur and the University ofDelaware. Numerous visiting scholarsand collectors also use these programsand resources. With over 500,000 itemsin its collection, the Winterthur is aninvaluable resource in the research ofAmerican decorative arts, American arthistory, and in cultural and social history

While well-made books of theeighteenth century may not suffer whenenvironmental conditions are less thanideal, the ephemera that make up vastparts of collections around the world

do not fare as well. The major differ-ence is in the acid content of the basematerial. The less-expensive materialin brochures and catalogs has a muchhigher acid content, and is much moresusceptible to the effects of humidity.Much of the paper produced from thelate nineteenth century through themid-twentieth century is highly acidicand subject to brittleness and chemicaldeterioration. Leather from the sameperiod, and acetate-based film, are sub-ject to similar risks, and thus access tothem must be severely limited.

The chemical reactions that causethis deterioration are very sensitiveto temperature and humidity. Whenthe founder of the Winterthur, HenryFrancis du Pont, commissioned theconstruction of the Winterthur libraryduring the last years of his life in the1960s, environmental standards werenot what they are today. The original

design standard in 1968 was 75˚F at arelative humidity of 50 per cent. Today’sstandard is 70˚F at 50 per cent relativehumidity. More importantly, the meansof achieving these standards were muchdifferent as well. Imagine building alibrary with a design for 100% freshair today. Compounding the problemis a building that does not lend itselfto improved thermal efficiency, sincethere are few wall cavities to insulate,and little glass to replace.

Origination of the ProjectThe building that houses the WinterthurLibrary is a four-storey structure totalingover 68,000 square feet. The top twofloors house the conservation labs andoffices. The second floor is primarilyan administrative area, but also housessome collections. The first floor isprimarily a public space that housescollection objects.

Old Buildings, Old Systems and Older Books: Fighting Mold and Decay in the Twenty-First Century

by Michael Dixon

Michael Dixon,Plant Engineerand Director ofFacility Services,Winthur Museum,Garden andLibrary, Delaware.

The Crowninshield Building, which houses the Winterthur Library.

continued on page 30

30

The crucial measure of a researchlibrary, however, is its ability to store,in an accessible manner, its voluminousreference materials. In the WinterthurLibrary, this is achieved through a five-level stack that occupies a 3,200-square-foot footprint at the end of the building,stretching from the basement levelthrough the second floor. While this mayhave seemed like a vast volume of spacein 1969, in 1999 it was bulging withprinted material and suffering from wideswings in environmental conditions.

Before embarking on an ambitiousproject to upgrade the library HVACsystems, extensive effort was under-taken to verify that such an investmentwas prudent, given the age and designof the building. A primary considerationwas whether the building had the spacecapacity to accommodate the growingcollection for a period of time that wouldallow the desired return on investment.This effort was lead by Dr. Gary Kulik,Deputy Director of Library and AcademicPrograms. His prospectus, written inApril 1999, established that if stepswere taken to maximize the use ofavailable storage space, the Librarycould exist within the current buildingfor another twenty years, thus justifyingthe expenditures of over $3,000,000to replace the 30-year-old mechanicalequipment, while improving compliancewith environmental standards.

The effect of this conclusion wasto expand the project to consolidateadministrative operations, in orderto create more space for collectionsstorage. With this expanded scope ofthe project, local authorities havingjurisdiction over fire systems andelevators mandated other systemupgrades. The construction periodwas also chosen to complete a long-needed upgrade of the security system.

The argument against investingin upgrades for a 30-year-old librarybuilding is the widely-held belief that,in the not-too-distant future, librarymaterials would be fully accessible viaelectronic media. Library professionals,

however, make a strong case for thefact that research libraries will never bea fully digital resource. Their researchrelies as much on the construction andmaterials of literary works as they doon the contents.

While the quality of the results ofimaging efforts has improved greatlyin recent years, the cost of convertingcollections to other media has notfallen. It is still a labor-intensive effort,whether microfilming or digitizing —especially given the fragile conditionof some of these materials. Once aninstitution has committed itself to animaging media program, the cost ofthat program continues to grow asthe collection grows. Most culturalinstitutions are not in a position toassume additional operating costs,and the Winterthur is no exception.

New StandardsFor more than ten years, the Winterthurhas attempted to maintain an environ-ment of 72°F and 50 per cent relativehumidity. But the original system designhas allowed conditions to vary to60 per cent relative humidity andhigher during the humid summers inDelaware. At those humidity levels,the Winterthur’s conservators estimatethat a major portion of the at-risk col-lections would severely deterioratewithin 50 years.

The most aggressive institutions arecurrently designing for 35 or 40 per centrelative humidity in modern buildings,and are reducing temperature set-pointsto 65°F. Library Conservation staff atthe Winterthur estimated that the usefullife of the at-risk collections wouldincrease to over 100 years under theseconditions. They believe that, by then,other preservation technologies wouldbe cost-effective.

Complicating the establishment ofnew standards is the variety of collectionmaterials within the Library. In additionto published materials, there are pho-tographic and slide collections, maps andprints, archived paper-based materials,

film and tape. Add people to the mixand it is obvious that one standardcannot be applied to every space.

Thus, the environmental controlspecification was broken into fourseparate applications.

• AVERAGE CONDITIONS (suitable formost occupied spaces)• Temperature of 68–72°F (DB)• Relative humidity of less than

55 per cent

• ARCHIVE STORAGE (paper-basedmaterials, including rare books)• Temperature of 55–65°F (DB)

(68° for reading rooms)• Relative humidity of 40 per cent

• ARCHIVE STORAGE (art work)• Temperature of 60–72°F (DB)• Relative humidity of 40 per cent

• ARCHIVE STORAGE (film and tape)• Temperature of 65°F (DB)• Relative humidity of 40 per cent

System ChangesThe major impact of the new stan-dards is the cooling required in orderto achieve the 40 per cent relativehumidity specification in the archivestorage spaces. In order to deliver40 per cent relative humidity, air tothese spaces chilled water at 40°F isrequired. However, the current chilledwater system delivers only 44°F water.In order to deliver 40°F chilled water,an additional chiller and cooling towerwould be required at a considerablecapital investment and ongoingoperating cost.

Project Manager Roy Chadwickworked with Winterthur staff and theengineers of Furlow Associates, Inc todevelop a plan to reallocate collectionspaces and reconfigure the air-handlingsystems so that all archive materialswould be stored within the stacks andthe 40 per cent relative humidity con-dition would be maintained only withinthat space. In order to do that, a varietyof air-cooled glycol chillers wereinvestigated, that have the capability

Old Buildings, Old Systems — continued from page 29

31

of delivering the 40°F water to the air-handler for that space.

A system was eventually selectedthat utilizes the existing 44°F chilledwater supply as the condenser coolingmedia, instead of air. The package fitsinto the existing mechanical room,and will operate at a lower cost than acentrifugal chiller. The major benefitof the water-cooled chiller is that itcan be placed indoors, avoiding thenoise and appearance issues thataccompany any equipment installedadjacent to a public garden.

The original system design utilizeda single chiller to provide all the coolingto this building, with a very cumbersomebackup procedure in case of a majorequipment failure. As part of the projectaimed at increasing cooling capacity tothe building, that chiller was integratedinto a loop with two other chillers withinthe same central cooling plant. All threechillers were retrofitted with new controlsystems by York, with variable-speeddrives and their Adaptive CapacityControl that learns and remembersoptimum motor speed and the positionof the pre-rotation vanes for a given setof load and water temperature combi-nations. The addition of variable-speeddrives to the three cells of the coolingtower also contributes to a moreefficient system.

Tying together the whole packagein the chiller plant is a York CPA (chillerplant automation) computer systemthat manages the total cooling loadin conjunction with the existingHoneywell DDC system. The CPAsystem controls the speed and sequenceof all three chillers, plus the variable-speed drives for the primary chilledwater pumps, the condenser waterpumps and the secondary chilled waterpumps, as well as the cooling tower fansand the isolation valves. In addition to

these control functions, the systemalso provides history, trending, alarmand emergency call-out capabilities.

The calculated payback periodfor the additional control features is3.3 years. The savings will more thanoffset the increased cost associatedwith the more stringent environ-mental specifications for the archivestorage area.

Until the costs for digital storage offragile materials, and access to thoseimages, is further reduced, collectionmaterials must be preserved while alsoremaining accessible. Facility managersmust be able to provide environmentalconditions that ensure the long-termsurvival of even the most susceptiblematerials, maintaining their availability toscholars well into the foreseeable future.Wise investment in new technologiesfor control of HVAC equipment permitsthe implementation of stricter environ-mental standards without proportionalincreases in energy costs.

Michael Dixon, P.E. is the PlantEngineer and Director of FacilitiesServices at the Winterthur Museum,Garden and Library in Winterthur,Delaware. Prior to joining theWinterthur in 1993, he had 12 years’experience in plant engineering andmaintenance at General Motors.

Cooling tower.

Digital controller.Chiller with York Millennium Variable-Speed Drive.

32

Dear Colleagues,

This is my last column as Editor of theIAMFA Papyrus journal. It has been atrue pleasure over the last two yearsto revamp and produce Papyrus. Thesuccess of the journal is the result ofwork by a great bunch of enthusiasticpeople who bent over backward toensure its production as per schedule.The journal’s success is also attribu-able to the many correspondents whohave believed in sharing experiences,techniques and best practices, andwho have taken the time to write allthese excellent articles about museumfacilities’ challenges.

I would like to take this opportunityto underline the magnificent workdone by our production team: JulieCoderre my executive assistant, whocoordinating all the logistics andfinances; Sheila Singhal of ArtisticLicense for a super job in reviewingand editing all the texts, and NeenaSinghal of Phredd Grafix for herinnovations in the design and layoutof the content. Every issue had its

own challenges, and the productiongroup got it to the press on time forall six editions you’ve enjoyed overthe past two years.

I would also like to thank allof those whom I have approachedto contribute an article, for your sup-port and prompt delivery on yourcommitment.

I have made it a personal endeav-our to balance each edition contentsand stories that are representative ofall geographical areas in which IAMFAhas members, and also to ensurediversity in the topics published. Itrust that you have enjoyed readingPapyrus and that IAMFA will continueto ensure its production.

In closing, I would like to wish youall an excellent Annual Conference 2003in San Francisco this September.

Very best regards,

Pierre LepageEditor

IAMFA/PapyrusSUMMER 2003

EditorPierre Lepage

Papyrus Correspondents

Carole BeauvaisNational Archives of Canada

Bill CaddickArt Institute of Chicago

Michael DixonWinterthur Museum, Garden and Library

Robert GalbraithNational Galleries of Scotland

Richard HardingBlack & McDonald

Pierre LepageCanadian Museum of Civilization

Catherine Lomas, David Reeves,Patricia MorganAuckland Art Gallery

Mark RowlingERCO Lighting Ltd.

Kevin StreiterHigh Museum of Art

Production CoordinationJulie CoderreCanadian Museum of Civilization

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in Canada bySt-Joseph M.O.M. Printing

ISSN 1682-5241

Statements of fact and opinion are madeon the responsibility of authors alone

and do not imply an opinion on the partof the editors, officers, or members ofIAMFA. The editors of IAMFA Papyrusreserve the right to accept or to rejectany Article or advertisement submitted

for publication.

While we have made every attempt to ensurethat reproduction rights have been acquiredfor the illustrations used in this newsletter,please let us know if we have inadvertently

overlooked your copyright, and we will rectifythe matter in a future issue.

From the Editor’s Desk

Pierre Lepage,Editor, Papyrus