The new home for the Canadian War Museum will accommo-date Canada’s most promising high-profile national institutiontoday. Its mandate is eloquent: to remember, to preserve andto educate. So, when our joint venture team of Moriyama & Teshima Architects of Toronto and Griffiths, Rankin, Cookof Ottawa was selected to design this new building, wewere understandably ecstatic.

The InspirationThe Canadian People For architectural inspiration, our team of architects anddesigners first looked to the people of Canada. In order toensure that we heard the voices of Canadians, Joe Geurts,Director and CEO of the Canadian War Museum, and Itravelled across the country to listen to, and learn from,Canadians. The thoughts and opinions that were voicedwere surprisingly varied, and the greatest divergence wasevident between the male and female perspectives.

We realized that if the Canadian War Museum was toattract a larger audience, its architecture and its exhibitionswould have to speak to women, youth, new Canadiansfrom around the world, and Canada’s First Peoples.

We pored over images and stories of war involvingCanadians. We read about the loss of lives at Vimy Ridge,

where Canadian troops led the Allies to a major victory, andat Beaumont Hamel in France, where so many Newfound-landers were lost. Over and over, we saw photographsof heroic Canadian soldiers fighting in devastated foreignlandscapes: ordinary Canadians accomplishing extraordinarydeeds, seemingly modest and gentle, but capable of greatunselfish feats in times of hardship.

PAPYRUSVOLUME 4 SPRINGNUMBER 2 2003

continued on page 2

History, Legacy in the New Canadian War Museumby Raymond Moriyama

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 . . . . . . . . . . . . . . . . 6

Museums on the Edge — 2003 IAMFA Conference . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Regional Chapters . . . . . . . . . . . . . . . . . . . . . 10

Lighting the British Museum’s Great Court . . . 13

Benchmarking 2003 Update . . . . . . . . . . . . . 16

Safeguarding Cultural Resources . . . . . . . . . . 19

From the Editor’s Desk . . . . . . . . . . . . . . . . . 24

The new Canadian War Museum, as it will appear from the south.

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The Canadian LandscapeOur second source of inspiration wasthe diversity and beauty of theCanadian landscape: the rocky Atlanticshoreline, the brilliant fall colours ofthe eastern provinces, the ancientCanadian Shield, the vast flatlands ofthe Prairies, the Great White North,and the rugged mountain ranges inthe West.

The SiteThe site is located in Ottawa, Canada’scapital city, which displays a mix ofbuildings that are both picturesque andsteeped in history. The most importantof these lie just east of the War Museum’ssite, and include the ParliamentaryPrecinct and our national landmark,the Peace Tower. This is the seat ofour country’s decision-making, inpeacetime and in wartime.

Thus, facing east, the context of thenew building is urban and profoundlynationalistic. But the site has a secondface — one that is wonderfully pastoral.Set in the LeBreton Flats, a formerindustrial precinct, the new buildingwill overlook the upstream reach of theOttawa River and enjoy a spectaculardisplay of sunsets. To the north areviews of the Albert and Amelia Islands,the Chaudière Falls, the Domtarindustrial site, and beyond these,

the Gatineau Hills in Quebec. However,in spite of its beauty, the site poseschallenges: contaminated soil, whichhas now been completely removed,and a low floodplain.

LeBreton Flats promises to becomea wonderfully active setting for the newbuilding. To the north, the NationalCapital Commission is developing aRiverside Promenade along the water’sedge as a major outdoor space forwalking, roller-blading and cycling.Immediately south of the Canadian

War Museum will be a Common: acommunity and festival park with aParade Square for civic celebrations.

The CollectionThe Collection, much of which is cur-rently stored in a temporary warehouse,is impressive: valuable medals, artillery,vehicles, tanks, written documents, art-work, and uniforms. Storage of thesevaluable artifacts is a critical issue, espe-cially for artifacts like the 50-tonneCenturion tank. Equally important,

New Canadian War Museum — continued from page 1

Alfred Bastien, Over the Top, Neuville-Vitasse, 1918, which will adorn the new Museum’ssouth elevation.

Landscapes ravaged by wars regenerate, yet the memory of destruction remains.

3

however, is finding a way to providepublic access to as many artifacts aspossible, including the significantcollection of Canadian war art.

Images of WarAnother source of inspiration for ourarchitectural design was the imageryof landscapes ravaged by wars.Remembered in a poem by SiegfriedSassoon — “I died in hell — theycalled it Passchendaele” — the entireBelgian village of Passchendaele wasreduced to a field of mud in 1917 inonly four months. Only branchlesstrees remained, looking like lost soulswith missing limbs.

We were also stirred by images ofthe undulating landforms at BeaumontHamel where over 700 Newfoundlanderswere killed or wounded. The trencheswere only a few hundred yards apart,the battlefield between, red with blood.What is astounding is how the landscapehas regenerated, gently healing the riftsin the earth (and burying unexplodedmunitions) with green vegetation. Yet thesix-foot-deep trenches and bomb craters,like the memories of destruction anddespair, can never be completely erased.

Carl Sandburg described theregeneration of the landscape inhis poem, “Grass”:

Pile the bodies high at Austerlitz andWaterloo,

Shovel them under and let me work —I am the grass; I cover all.

And pile them high at GettysburgAnd pile them high at Ypres and Verdun.

Shovel them under and let me work.Two years, ten years, and passengers

ask the conductor:What place is this?Where are we now?

I am the grass.Let me work.

The Key Concept: TheRegenerative LandscapeHere, then, is the concept which sug-gested the central idea for the newCanadian War Museum facility: naturemay be ravaged by human acts of war,but inevitably it survives, hybridizes,regenerates and prevails. From thehealing process emerges hope.

As the landscape emerges gentlyout of the Ottawa River, so does thearchitecture. But as it rises towards theeast and the urban cityscape, its grass-covered roof hybridizes into copper tomatch the rooftops of Ottawa’s otherprincipal public buildings. It reaches

up to its maximum allowable height— 24.5 meters (80 feet) — and formsa welcoming gateway to Ottawa andthe Parliamentary Precinct whenviewed from the Quebec side of theOttawa River.

The concept of the RegenerativeLandscape suggests an attitude ofsustainability. River water will beused for cooling, concrete for energy-conserving mass, and recycled fly ashfor concrete mix. The overall windowarea is minimized without compromis-ing function and human need. Native,low-maintenance grasses on the roof,recycled and recyclable materials, oper-able windows, and energy-efficientsystems will all help to achieve overallsavings both initially and in the longterm. In spite of all these energy-savingstrategies, the building will maintain avigorously controlled environmentalthat will protect the Museum’s delicateand irreplaceable artifacts.

To connect the future developmentof LeBreton Flats with the river, wedesigned the building almost like abridge. People can, in fact, walk rightover the building’s green roof on aNorth-South axis. Passage directlythrough the building is providedin response to a request from theNational Capital Commission. Thereis no “front door” or “back door”. Thenorth entrance facing the river is thesame as the entrance facing south tothe Common. And people can walkdirectly through the building’s Lobbyfrom one entrance to the other.

The public lobby splits the Museuminto two parts. The area to the west ofthe Lobby is the non-paying public zone.Without paying admission, people canenjoy the waterfront Café with its out-door patio and wonderful view, browsein the Museum Shop, attend events inthe 250-seat Auditorium, take classes inthe four Ateliers, and visit the Researchand Reference Library. This allows thesepublic areas and the exhibition areasto be used independently.

All areas requiring paid admissionare located east of the Lobby, including

continued on page 4View into Large Artifacts Collection from the southern end of the building/south side of thebuilding/southern exterior.

4

the Permanent Gallery, Art Gallery,Temporary Gallery, Large Artifact Area(tanks, etc.), and Regeneration Hall.

Administrative offices and theentrance to pay parking for 300 vehi-cles are located west of the Lobby.Back-of-house facilities, shipping andreceiving, and storage are located eastof the Lobby.

Memorial HallLocated in the Lobby, the Memorial Hallis a place of quiet remembrance and

reflection. Its walls are incised with agrid pattern that is proportioned afterFirst World War Canadian gravestones— a sombre reminder of Canadiansleft behind. On Remembrance Day(November 11) at 11:00 a.m., theMemorial Hall will be the site of aspecial solar event. Carefully posi-tioned at the intersection of the viewcorridor to the Peace Tower and thelocation and angle of the sun eachNovember 11 at 11:00 a.m., the MemorialHall permanently links the Peace Tower

and Remembrance Day — both of greatsignificance to Canadians — with thesun. The event should be phenomenal.

Regeneration HallBoth the building and its roofscapespeak of regeneration, but RegenerationHall is the repository of experiencesthat speak to the future and to hope.Located within the Museum’s east-facing vertical element, RegenerationHall is spiritual without being religious.Regeneration Hall is a place of rest:sublime and subdued, solemn andquiet, dramatic and memorable.

Visitors enter the dramatically verticalspace of Regeneration Hall at its upper,mezzanine level. Subdued lighting slowsthe pace, forcing visitors to pause astheir eyes adjust. Straight ahead is atriangular window, soaring through thefull height of the space and offeringa tightly framed view of the PeaceTower, silhouetted against the sky.

A staircase leads visitors downbetween two expansive walls tothe main level. The north wall ofRegeneration Hall is soft and smooth,with a warm-coloured finish thatresembles Venetian plaster. The sur-face is animated by shifting sun spotsspelling out “Lest we forget” and“N’oublions jamais” in Morse code.The intersection of the viewing corridor to the Peace Tower and to the position of the sun

on November 11.

An interior rendering of the Lobby, looking towards the North.Looking northwards through the Main Lobby.

Interior view of the Memorial Hall, showing how a beam of lightwill strike it at 11 a.m. each November 11.

New Canadian War Museum — continued from page 3

5

The ever-changing dappled light speaksto the ephemeral and transient natureof human life. The smooth north wallcontrasts with the industrial, exposedsteel structure of the south wall. Thiscontrast suggests the duality of war —“us” versus “them” — a duality thatsplits human nature to the core.

As visitors descend the stairs, theperspective shifts, and the view of thePeace Tower is lost — just as peace canso easily be lost. Instead, a compellingsculptural figure comes into view.The original plaster maquette ofWalter Allward’s sculpture Hope floatsin front of the window. The glassbehind is translucent, providing aquiet backdrop and obscuring theview outside.

Dramatically lit, this compellingfigure of Hope draws visitors down tothe lower level, where more of Allward’sfigures from the Vimy Memorial injecta sense of human strength and spiritinto Regeneration Hall.

The Structural ModuleWartime references provided inspirationfor the entire 40,000-square-meter(430,000-square-foot) building — even

the structural system. Our researchrevealed that soldiers on land travelledin a single line because their livesdepended upon a nine-meter band:4.5 meters (30 feet) to their left and4.5 meters to their right. Anything out-side the nine-meter band was considereda “no mans’ land”. Thus, the structuralmodule for the Museum is nine metersby nine meters. Even the MemorialHall measures exactly nine meters bynine meters.

When the building opens in May2005, some of these references will bereadily apparent. Others may requireinterpretation. I believe they are allpart of the stories that must be toldif the Canadian War Museum is toremember, preserve and educate.

Born in Vancouver and educatedin Toronto and Montreal, RaymondMoriyama is one of Canada’s mostrespected architects. Among his award-winning projects are the CanadianEmbassy in Tokyo, the Toronto Refer-ence Library, the Bata Shoe Museumin Toronto, and the Saudi ArabianNational Museum in Riyadh. Sincefounding his own firm in 1958, he

has received many personal honours,including the Confederation of CanadaMedal, honorary degrees from nineCanadian universities, the RoyalArchitectural Institute of Canada GoldMedal, and Honorary Fellowship fromthe American Institute of Architects,and the Golden Jubilee Medal.

Raymond Moriyama is also anOfficer of the Order of Canada, aFellow of the Royal Society of the Arts(England), and a Fellow of the RoyalArchitectural Institute of Canada.As Chancellor of Brock Universityin St. Catharine’s, Ontario, he is thefirst architect in Canada to hold sucha position.

Regeneration Hall, with sculptural figures from theVimy Memorial in France.

Alex Colville, Infantry, near Nijmegen, Holland, 1946.

RaymondMoriyama,Moriyama &TeshimaArchitects.

6

In my last letter, I ended by wishingeveryone a safe holiday season. Sincethen, we have experienced the tragicexplosion of the space shuttle Columbia,and today we find ourselves with con-cerns about the impact of the war inIraq. With today’s heightened stateof security, and many other measuresthat we are taking these days, ourlives as Museum Administrators haveclearly changed.

In my talks with members, it isclear that many of us have differentviews on the war, the economy, thestability of our institutions and, moreimportantly, adjustments in what seemto be much greater workloads, withvery little additional support — primarilyas a result of budget reductions andcutbacks, and reorganization. Yes, thisis a difficult time, and as administratorswe can reflect back on both the goodtimes when the economy was strong,and on the hard times when growthhas been virtually non-existent.

Whatever the case today, we mustshow leadership, and the vision to guideour institutions into and through theseuncertain times. In my experience,encouraging staff members and allowingpartnerships in solving many situationshas paid dividends in these trying times.If we look back on the longevity of ourmuseums, we see that museums as awhole have withstood the “test of time”.Is that because of the fine leadership offacility managers? I would like to thinkso, and I am confident that again wewill succeed.

I recently had the pleasure of con-ducting a high school group on a tourthrough the Art Institute of Chicago and,as the tour was ending, the guide askedthe students how they viewed theirexperience. I was somewhat taken

aback to learn that the majority of thestudents said they appreciated the art.Even more surprising was the factthat they commented on how safeand comfortable they felt inside theInstitute. I wondered whether theywould have said the same a year ago.It’s a proven fact that art galleries andmuseums serve as a place to relax, aplace of comfort, a place of learning,and also a place to stimulate the mind.As administrators, we can take pridein knowing that our daily efforts serveto enhance the well-being of others.

With the 13th annual IAMFA confer-ence in San Francisco just around thecorner, I trust that the war and any otherdifficulties we may be facing will notdiscourage our members from attending.Joe Brennan and his committee areworking hard in preparation for thisimportant annual event, and there isno doubt that conferences such as thisprovide us with an opportunity to sharethe experiences and knowledge of ourmany diverse institutions. I would alsolike to stress that your support of, andinvolvement in, IAMFA as an organiza-tion is crucial. As President, I see ourfuture as challenging, and I urge allmembers to share in the advancementof this valuable organization.

Some notes of interest:

• Marla Chanin-Tobar has decided tomove on, and has left the MeridianCenter; she is currently in search ofother employment.

• William Esposito of Ambient Labs isthe proud father of a new baby girl.Zeo Esposito was a healthy 6 lbs.,10 oz., and everyone is doing well.Congratulations!

• Richard Kowalczyk has undergoneheart valve replacement surgery, andwe wish him a speedy recovery.

• Don Meckley is back at work aftercancer surgery and is doing well.

• Vinny Magorrian has relocated toFlorida and is on medical disability;we wish him all the best.

If any of you would like to shareinformation about IAMFA members,or would like to submit an article inthe next issue of Papyrus, pleasecontact Pierre Lepage at the CanadianMuseum of Civilization.

May springtime bring us closer to theend of this war, and closer to renewingfriendships, as we plan to reunite inSeptember for our annual conference.

Bill CaddickIAMFA PresidentApril 2003

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

7

The Northern California Chapter invites you to San Franciscofrom September 21 to 24, 2003 for the 13th annual IAMFAConference. We are excited to be hosting you and yourguests in our museum-rich environment. We have planned anagenda which we believe continues IAMFA’s great traditionfor professional development and networking events.

Our theme this year is “Museums on the Edge” inacknowledgement of the balancing act Museum FacilityAdministrators perform, year-in and year-out. The conferencewill focus primarily on three kinds of “edge”: the poten-tially destructive seismic edge of the continental plateson which we must design and build, the ever-emergingtechnology edge of “green buildings” and, finally, the con-stantly challenging edge between all of us and the outsideworld: Security Operations. Through seminar lectures andpractical tours, knowledgeable and engaging presenterswill delve into these main themes, sending you home withthe information necessary to put you and your institutionon another edge: the “cutting edge”.

Monday focuses on “Museums in the City” and is hosteddowntown at the San Francisco Museum of Modern Art andthe Yerba Buena Center for the Arts. Our main topic presentsseismic issues in the design and retrofit of buildings and thedisplay of objects. Paul Rodler, of Forrel-Elsesser Engineering,

will speak from his vast experience, including the design ofSFMOMA and the retrofit of San Francisco’s City Hall andthe Asian Art Museum. We have also scheduled a legend incity planning from the San Francisco Redevelopment Agency:Helen Sause, who will describe the history and evolvingphilosophy of the many components of SFRA’s Yerba Buenaproject. This will be a natural follow-up to John Rouse’spresentation in London on the influence and transformativepower of museums on the community. We will concludethe day’s sessions with a tour of the recently opened AsianArt Museum in the Civic Center, followed by an afternooncocktail reception. Delegates will have the evening free toexplore the wonders of San Francisco’s vibrant nightlife.

Tuesday’s vision is “Museums in the Park” and we’ll behosted by the California Academy of Sciences in Golden GatePark. Our focus for the day will be green buildings. Thisincludes an introduction to the theory of green buildings,an explanation of the Leed Standards and a practical look at,and analysis of, two projects: the DeYoung Museum, whichis currently under construction near the Academy, and thenew Academy project, now in final design. We will concludethe day with a jaunt down the San Francisco Peninsula toWoodside, where we’ll enjoy a true California Barbecue-style get-together at a renowned outdoor sculpture museum/

Museums on the EdgeIAMFA Conference 2003 in San Francisco —

September 21–24, 2003

continued on page 8

The Golden Gate BridgeThe Northern California Chapter invites you to the 13th Annual IAMFA Conference,September 21–24, 2003. I want to see you in San Francisco! — Joe Brennan.

8

park on the private estate of Runnymede. Sponsors willalso exhibit their products and services in concert withour sessions on Monday and Tuesday.

We are calling Wednesday “Museums on the Water” andwe’ll be hosted by the San Francisco Maritime Museum andAlcatraz Island, of the National Parks Service. The sessionswill feature presentations on security (for which we haveinvited Wilbur Faulk) and preservation, with a tour of thatmost challenging of facilities: Alcatraz Island, administeredby the National Parks Service as part of the Golden GateNational Recreation Area, which will highlight the integrationof all our topics in one facility. On Wednesday evening, theconference will wrap up with traditional closing festivitiesand a final banquet at the beautiful Fine Arts Museums ofSan Francisco’s Legion of Honor, a recently-renovatedjewel of a venue set in Lincoln Park, overlooking theGolden Gate and its spectacular bridge.

We look forward to hosting this event and expect a largeturnout. San Francisco and the Bay Area contain a wide varietyof museums and cultural institutions to enrich your visit. Ourconference will be confined to the City (with the notableexception of Tuesday’s barbecue) but we will provide infor-mation and consultation in the packet on outlying attractions.California boasts sights and wonders too numerous to list;if possible, you should plan to arrive early, stay later — orboth! In addition, we feature highlight presentations of thefacilities story behind three of our iconic historic landmarks:the intricacies of maintaining the Golden Gate Bridge, theSan Francisco Cable Cars and Alcatraz Island. Checkwww.iamfa.org for some links to California highlights.

Our Guest Program will consist of a fabulous trip to theWine Country on Monday, including a visit to Copia: theAmerican Center for Wine, Food and The Arts in Napa Valley,and a winery — or few. Tuesday will begin with a narrated,level-grade walking tour of the downtown area, starting acrossthe street from the Hotel Milano (conference headquarters)

at the old United States Mint, and ending at the classicalGarden Court of the Palace Hotel for lunch. Later Tuesdayafternoon, there will be a trip down the Peninsula to theTudor-style Filoli Mansion and Gardens, set amidst the hugepastoral Crystal Springs preserve, which contains two hugelakes atop the San Andreas Fault. Wednesday will feature anunscheduled morning for guests, with information aboutthe world-famous Union Square shopping district and arecommendation that they join us for our afternoon tourof Alcatraz Island.

IAMFA 2003 welcomes you to everyone’s favoritedestination, the City by the Bay!

You may contact us directly at iamfa2003@netscape.net.Conference headquarters will be the Hotel Milano, con-

veniently located in the heart of SoMa (the South of Marketdistrict) near the San Francisco Museum of Modern Art andYerba Buena Gardens, and just around the corner from theSan Francisco Shopping Centre, home of Nordstrom’s. TheMilano is SFMOMA’s choice for visiting artists and curators,at 55 Fifth Street between Mission and Market. Our conferenceroom rate is $109, double occupancy. Participants mustreserve their accommodation directly with the Hotel Milanoat 1-800-398-7555. We are holding a block of rooms at thisprice in this convenient location, so please book early.The group room rate will apply from Friday, September 19through Saturday, September 28 for those arriving beforethe conference, staying after or both! Please book early.For airline bookings and additional travel assistance werecommend Jane Scott at Art of Travel, 800-948-6673. Besure to mention IAMFA when you call the Hotel Milanoor Jane Scott.

Joe BrennanChairman — Conference 2003

For more information on this year’s conference, pleasecontact us at IAMFA2003@netscape.net

Museums on the Edge — continued from page 7

One of San Francisco’s famed cable cars — the only mobileNational Monuments in the world.

Alcatraz Island.

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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

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

Houston-San Antonio, U.S.A.Gary Morrison McNay Art Museum

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

10

It was a cold and wintry morning, 40 below, still dark, andway too early to be huddled at the group entrance of theCanadian Museum of Civilization in Gatineau. What were wedoing there? Taking a well-deserved field trip to Montreal tovisit three institutions: the National Archives of Quebec, theCanadian Centre of Architecture (CCA), and Pointe-à-Callière,the archeological museum of Montreal. What was our objec-tive? It was threefold: to visit sister institutions and learnfrom their experience, to recruit new IAMFA membershipin Montreal, and to have some fun in the middle of a longCanadian winter.

It was off to the races at 7:00 a.m. sharp when 45 of usleft Gatineau in our well-appointed coach. It was an oppor-tunity to snooze, do business, or catch up with our colleagues.Several institutions from the Ottawa region were represented,including the Canadian Museum of Civilization, the CanadianMuseum of Nature, the Canada Science and TechnologyMuseum, Public Works and Government Services Canada,the National Archives/National Library, the Portrait Galleryof Canada and the private company Black & MacDonald.But best-laid plans can go awry, and our two-hour bus rideturned into four when we got stuck behind a car accidentabout a half-hour outside of Montreal!

Unfortunately, that meant cancelling our first visit to theNational Archives of Quebec. Located in downtown Montreal,

the National Archives is in a historic building with a newand exciting architectural addition by Dan Hangenu andLapointe Magne Architects. The Archives mandate is topreserve and make public the heritage of Quebec for allQuebeckers. We were disappointed about not making itthere, but we have vowed to visit the archives in the Spring.Another good excuse to plan a trip and get out of the office!

We did finally arrive at the Canadian Centre for Architecture(CCA). This magnificent building is both a museum andstudy centre devoted to the art of architecture, past andpresent. It houses a unique collection of works of art anddocumentation from cultures throughout the world andfrom all disciplines that create and intervene in the builtenvironment — including architecture, urban planning,and landscape design. The CCA interprets its collectionsfor the public through exhibitions, publications, and publicprograms that reveal the richness of architectural culture,and stimulates awareness of contemporary issues inarchitecture. This facility is renowned among architecturalscholars from around the world, who visit its impressivecollection of architectural artifacts.

Phyllis Lambert, a local philanthropist, architect (andSeagram’s heiress) who studied and worked with Miesvan der Rohe, engaged well-known Montreal architectPeter Rose to design this building, which is connected to a

Regional Chapters

Toby Greenbaum,Chairperson,Regional Chapter,Ottawa-GatineauCanada

IAMFA Ottawa/Gatineau Chapter Field Trip to Montreal —January 2003.

Interior Lobby of the Canadian Centre for Architecture.

11

lovingly restored mansion called the Shaughnessy House,built in 1874. The Shaughnessy House was one of the lastexamples of a family mansion in Montreal, and was savedwith Madame Lambert’s intervention.

Built in 1989, the CCA has won numerous architecturalawards. The 130,000 sq. ft. building houses exhibitiongalleries, a theatre and bookstore, as well as the library,curatorial offices and state-of-the-art conservation andcollection storage facilities, and the Study Centre in theAlcan Wing.

Jose-Luis Oliveros, a longstanding member of IAMFAand our only member in Montreal, was kind enough toorganize a morning’s worth of activities, packed into a coupleof hours. We had an extensive back-of-house tour includingeveryone’s favourite: numerous mechanical rooms. We alsowere able to enjoy a guided tour of the exhibition that wasstruck when we visited, Herzog & Meuron: Archaeology ofthe Mind. It was an interesting exhibition which articulated

the creative process that this important architectural atelierfrom Switzerland used in the development of their projects.

After our visit, we ventured out into the sunshine (still–25˚C) to get some air, and better yet, some lunch. After arelaxing lunch, we were off again to our afternoon activitiesat the Pointe-à-Callière.

This museum is located in Old Montreal, a stone’s-throwfrom the St. Lawrence River and a favorite resting spot forFirst Peoples and, later, both the French and English. Themuseum itself is built on top of several layers of architecturalruins that inform the history of Montreal. The mandate ofthe Pointe-à-Callière is twofold: to conserve and exhibit thearchaeological and historical heritage of Montreal, and toenable visitors to understand and love the city as it was andis, so that everyone can make a more active contributionto its present and future. It also exhibits archaeologicalexhibitions with an international dimension, bringing the

Visit to the Shaughnessy House at the CCA. Exhibit at the Canadian Centre for Architecture.

Plant Room at the Canadian Centre for Architecture. Group Photo at the Canadian Centre for Architecture.

continued on page 12

12

archeological heritage of other societiesfrom around the world to Montreal.

We were hosted by Luc Thessereault,the new Facilities Manager of theMuseum. We were also fortunateenough to be joined by Dan Hanganu,the architect of this poetic structure.Dan gave us an architectural tourpar excellence, noting his inspirationfor the design part, and sharing inter-esting stories regarding the developmentof the design. He, along with Luc andhis staff, were kind enough to spend theafternoon with us, sharing additionalinformation regarding the running ofthis important museum.

Pointe-à-Callière was opened in1992 and showcases the remains, frag-ments and objects found at this andthe Place Royale site, which form thebasis of the collection. A walk throughthe basement of the building is a walkthrough lovingly preserved architecturalruins, sewers and much more. We alsowere lucky enough to enjoy a multi-

media presentation in the main theatreof the museum, which is generally thestarting point for all visitors touringthis facility.

After an edifying afternoon, it wasoff for a walk through Old Montreal, ahistoric neighborhood that transportsvisitors to eighteenth-century Europe,then a lovely dinner at Chez Queux.The choices of French cuisine andwine were charming, delicious andwell enjoyed by all. Our patient busdriver, anxious to return us to Ottawa,was obliged to drag us out of therestaurant! Fortunately, our return tripwas uneventful and most of us werein our respective beds by midnight.It was an excellent adventure, andwe hope to repeat it again soon.

Toby GreenbaumChairpersonRegional Chapter, Ottawa-Hull(Gatineau)April 2003

Toby Greenbaum trained as anarchitect, and has a BArch. fromMcGill in Montreal and an MArch.from the University of Texas at Austin.She worked in the private sector asan architect both in the United States(Austin, Texas and Chicago) and inToronto for 13 years, before moving toOttawa and joining the public service.She developed her expertise in themuseum world starting in Torontoas one of the project managers of theArt Gallery of Ontario expansionproject and continued to work withmuseums in the public sector. She isnow a Client Service Team Directorin Public Works and GovernmentServices Canada, serving museumsand cultural institutions in theNational Capital Region, and ismarried with two teenage daughters.

Regional Chapters — continued from page 11

The Pointe à Callière Facility (Montreal Museum ofArchaeology and History).

Seeing the Pointe à Callière Facility with its architect, Dan S. Hanganu.

13

Some parts of this article have beenreproduced from other sources andthe author gratefully thanks allcontributors named in the article.

Public space is almost certainly the mostvaluable asset in urban environments.By remodelling and re-roofing the GreatCourt of the British Museum, Foster andPartners has presented London with aspace the like of which has never beforeexisted — in London or any other majorcity. In scope, the project is certainlyon a par with such projects as I.M. Pei’sGrand Louvre installation in Paris.

The area had originally been amuseum courtyard when the buildingwas completed in 1830; by 1860, how-ever, the now-famous British LibraryReading Room had been erected with-in the space. As the Library’s stock ofreading material eventually outgrew theavailable space, the courtyard becamea hodgepodge of buildings providinga repository for the growing collectionof material. The courtyard thus became alost space. It was only when the BritishLibrary moved to its new building in

London’s St. Pancras that it becamepossible to reclaim the courtyard,which then provided the BritishMuseum with a much-needed coreand circulation space.

In terms of the number of visitors —which exceeds six million each year —the British Museum is more popular thaneither the Louvre in Paris or the Metro-politan Museum in New York. Theabsence of a centralized circulation sys-tem caused congestion throughout thebuilding and often resulted in visitorfrustration. The Great Court now formsthe major public meeting point for theMuseum. It is from here that visitorsare directed to the various galleries,as well as to facilities such as shops,cafés, restaurants and lecture theatres.

The courtyard has now been re-roofed, and the dramatic 6,100 m2 glazedstructure consists of a fine lattice of steelstruts and 3,312 computer-generatedtriangular glass panels. These compo-site panels have been designed tokeep more than 75% of the sun’s lightand heat from entering the courtyard.

The first level of environmentalcontrol is provided by passive naturalventilation through high-level openablelouvres around the perimeter of theGreat Court. These louvres, combinedwith a fresh air feed through the floor,create a large stack effect and wind effectto self-vent any internal heat gains. Theresult is a consistently comfortableenvironment, which has the feel ofa fresh-air space: distinctly differentfrom the majority of over-heatedglazed atriums.

Lighting designer Claude Engle statedthat, as in most of his collaborationswith Foster and partners, his office wasinvolved in all aspects of the lighting,including the coordination of artificial

and natural lighting. In the Great Court,lighting effects combine these compo-nents, except for the very brightest daysand after dark; thus, a combination ofdaylight and artificial light is used mostof the time. The Great Court, ClaudeEngle states, is somewhat different toother daylit design in which his teamhas been involved, given that it is notan interior space into which daylighthas been permitted, but rather anexterior space which has been glazedover for the protection of the occupantsthrough control of the elements.

The lighting design challenge was tomake it appear as though the space hadbeen glazed with clear glass, when inactual fact the limits on heat gain duringthe day and heat loss at night dictatedthat the transmission of actual daylighthad to be particularly low. The secretto achieving this requirement lay in thelightweight lattice structure designedfor the courtyard, and the particularlycareful selection of the glazing.

Making Light Work: How to Fit a Drum into a Rectangle

The full story behind the lighting of the Great Court in the British Museum, London

by Mark Rowling, ERCO Lighting, Ltd.

The system for illuminating the Great Court:a combination of floodlight and accentlighting. The floodlights are fitted with HIT70W high-intensity discharge lamps andthe directional luminaires are fitted withQR111 100W tungsten halogen lamps.

The 6,100 m2 glazed roof over the GreatCourt is comprised of 3,312 triangularglass panels. Only the north-south axisrepresents a line of symmetry for the roof,because the Reading Room is off-centrewithin the Great Court. However, becausethe glass panels are double glazed insulatedunits, each glass panel is unique.

continued on page 14

14

In order to achieve the illusion oftransparency, it was decided that clearglass was to be used, with a pattern ofdots to reduce the transmission of heatand light. The choice of the size of thedots and their colour would determinewhether the illusion that it was clearglass would be achieved, or whether theglass would simply appear to be dirty.

Another major challenge faced byClaude Engle and his team was thedevelopment of a concept for artificiallight within the space. At first, it seemedlogical to let the space match the naturallighting outside, giving it a moonlitquality after the sun went down. Thiswas reviewed with the architects andthe Museum Director and it was decidedthat a lighting level of about 60 luxwould be the minimum for the walls andfloors of the space whenever it wasoccupied, and 150 lux was selected forhours of activity after dark. Approxi-mately 200 lux was chosen to be thesupplementary level during overcastdays to eliminate any feeling of gloom.It was also decided that the major fea-tures of the newly converted space werethe perimeter walls of the gallery andthe library drum. The latter was notdirectly illuminated, but was seen as asurface punctuated by large windowsthrough which the interior of theReading Room could be seen. It wasalso decided that the only position inwhich to locate the luminaires wasaround the outside, on top of the librarydrum. This carried with it the dangerthat people entering the Great Courtmight experience glare when looking

up at the drum for the first time. Thechallenge was to minimize this problem.

The larger the surface emitting agiven intensity, the lower the bright-ness. To counter this, the first solutioncontemplated was to place the lumi-naires above the glass roof. However,because of the diffusion of the surfaceof the glass, this would have producedan unacceptable appearance. Althoughit would make access for re-lampingmuch easier, it had the severe disad-vantage that the glass near the drumwould then have to have a reduced dotpattern, which would increase contrastand the dot density over the remainingglass. More visible options had to beemployed in order to reduce the bright-

ness of the luminaires. The luminaireswere thus designed to form a continuousring, and special optics were developedto spread the light up the walls andacross the floor, even though the dis-tance from the walls varied becausethe drum was not central to the space.This was accomplished by moving thelamps more deeply within the specialreflector. The number of lamps in eachluminaire was geared to suit the differentareas of wall and floor to be illumi-nated. The lamps were to be switchedindividually, in order to produce theminimum, medium and high levels ofillumination which were required. Thebrief for the Court’s lighting require-ments changed during the buildingphase. The Museum had originallyasked only for general lighting to beprovided, but subsequently decided thata degree of accent lighting was requiredfrom the luminaires. This requirementwas accommodated by incorporatinglampholders for AR111 TungstenHalogen lamps within the luminaire,thereby providing a spotlightingfacility from the top of the drum.

Due to the complicated constructionprocess involved in erecting the roof,the scaffolding, which filled the space,remained in place almost to the endof the project. Onsite mock-ups of theartificial lighting system could not beused to confirm that all the assumptionshad been correctly evaluated. It wasthus only a few weeks before comple-tion of the project that the fixtures couldbe finally tested. The ring of light wasmore elegant than had been expected.

Making Light Work — continued from page 13

New lighting for the carefully restoredhistoric Reading Room: Trion uplights fromHIT 70W high-intensity discharge lampsilluminate the great dome.

The ring of light around the top of the rotunda provides supplementary lighting on dull days or ambient lighting at night, depending onhow many units are switched on.

15

Once installed, there were no seriousglare problems from the luminairesbut as the luminaires were likely to bethe brightest objects within a visitor’sfield of vision on entering the spaceafter dark, it was decided that theluminaires might distract more thanwas desirable. Several solutions wereinvestigated and the solution adoptedwas to install vertical louvres on theluminaires, which would not limit thevertical spread of light on the wallsbut would reduce the brightness forpeople entering the Courtyard. Theinclusion of louvres improved the hori-zontal cut-off angle from approximately10° to over 55°, which suitably reducedthe brightness. The louvres were rapidlyproduced and were installed by theteam as they moved around the ringof luminaries, focussing the luminairesand spotlights in the days before theofficial opening of the Great Court.

Another challenge, which had beena source of concern, was the selectionof lamps. The heat load from the light-ing would be excessive from TungstenHalogen lamps, which were the pre-ferred dimmable source. Had they beenused, it also would have been proble-matic from an energy conservation pointof view. Metal Halide lamps with ceramicburners were selected, as they were theonly discharge lamps with suitable colourconsistency. The small size of the arctube permitted the design of the preciseoptics required to illuminate the wallsand the floor from the requisite distances.

The ERCO project leader was Ralf-Dieter Wershoven, whose function wasto design the most suitable compo-site unit, which would meet specifica-tions and provide the full range offunctionality. Among the requirementswere overall adjustability and locka-bility of the housing, together with theinternal adjustability and lockability ofthe spotlights.

The originally specified, and highlyefficient, combination of specular reflec-tor and clear glass had to be changed,following production of the first workingsample, to a semi-specular reflector in

The ring of light was more elegant than had been expected.

The most suitable composite unit, which would meet specifications and provide the fullrange of flexibility.

The simplicity of the design allows for easy maintenance.continued on page 18

We are very pleased to inform the IAMFAmembership that the following institu-tions from the United States, Australia,the United Kingdom and Canada havealready registered their participation inMuseum Benchmarks 2003:

Art Institute of ChicagoAustralian MuseumCanadian Museum of CivilizationCanadian Museum of NatureCanadian War MuseumCarrAmericaFrist CenterHarvard University Art MuseumsNational Gallery, LondonNational Gallery of Art — WashingtonNational Gallery of Canada

The Getty MuseumNational Library and Archives of CanadaNational Library of ScotlandNational Museum of AustraliaNational Museum of Natural HistoryPowerhouse MuseumRoyal British Columbia Museum

Please send in your application now,and join your fellow Facility Managersin this Best Practices exercise.

This year’s benchmarking question-naire is now finalized. Each year, approx-imately 30–40% of the questionnairegathers new information on new subjectsof interest to facility managers. This year,in addition to gathering standardizedcost data on building operations and

maintenance, the focus is on the devel-opment of a comprehensive listing ofgood or best practices in the disciplineof facility management. This is truly atrailblazing activity.

There are presentations at variousconferences related to facility manage-ment on individual best practices inspecific functional areas of facilitymanagement. But a comprehensivelisting of facility management bestpractices doesn’t appear to exist.

Why is it important to develop alisting of good or best practices? Thereasons are obvious. A listing of good orbest practices can be used to evaluatethe internal delivery of facility manage-ment services. A question that may have

16

Benchmarking 2003 Updateby Ian Follett, President, Facilities Management Services Ltd.

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 Participating

Organizations

• 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?

Complete and return the Survey Participation Agreement, orcontact 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

17

to be asked is “should we be usingsome of these practices” as gathered inthis year’s questionnaire?

A listing of good or best facilitymanagement practices can also beused to evaluate external consultants,building contractors and suppliers ofoutsourced services. A supplier might

be asked to check all those listed goodor best practices that the supplier cur-rently utilizes. The listing of good orbest practices can also serve as a “todo” list, with a supplier or an in-housegroup selecting and prioritizing thosebest practices they feel are importantbut do not currently use.

The headings that make up this goodor best practices section of the bench-marking questionnaire are as follows:

• Administration• Alternative Workplace Strategies• Architectural & Engineering Services• Building Security

SURVEY PARTICIPATION AGREEMENTThe undersigned institution wishes to participate inMuseum Benchmarks 2003, Survey of FacilityManagement Practices, and agrees to:

• Provide complete and accurate data in a timelymanner.

• Maintain the confidentiality of the surveyquestionnaire and survey data.

• Use the survey data for internal organizationalpurposes only.

• Not provide the survey questionnaire or surveydata to any other organizations or individuals.

• Pay FACILITY MANAGEMENT SERVICES LTD the fee,as indicated below, to benchmark one facility

M Standard Survey Report - $1,350 US currency

M Customized Survey Report - $1,875 US currency• an individualized Survey Report that:• compares, side by side on the same page,

the performance measurements of theparticipating institution to industry averageperformance measurements.

• provides additional analysis by type ofmuseum, eg. fine art, nature, general history,archives, etc. if there are a sufficient numberof similar type museums to make thecalculations worthwhilePAYMENT DUE UPON REGISTRATION

Please check if you:M require an invoiceM would like electronic funds transfer information

Institution Date

Signing Authority (please print) Title

Signature Telephone

Mailing Address

E-Mail Address Fax

Please fax the completed agreement to: Ian Follett, BAA, CFM

PresidentFACILITY MANAGEMENT SERVICES LTD

45 Maryland Place S.W., Calgary, AB, Canada T2V 2E6Tel: 1 (403) 259-5964 • Fax: 1 (403) 255-7116

E-mail: fmsltd@fmsltd.com • Web Site: www.fmsltd.com

continued on page 18

18

• Communication• Conservation Maintenance• Customer Satisfaction & Service• Electrical Systems Design• Energy Management• Exhibition Design• External Evaluations/Operational

Reviews• External Grounds Maintenance• Facility Planning• Financing & Budgeting• Food & Beverage• Furniture Management• Janitorial/Custodial• Lighting• Maintenance & Operations• Mechanical Systems Design• Move Management

combination with diffusing cover glass,in order to avoid striations and improvelight distribution.

The dedicated integral emergencylighting provision had to be efficient,in order to produce the required lightoutput and distribution from the QT18WTungsten Halogen lamp. In addition,the accessibility of the lamp compart-ment through to the separate, ventilatedcontrol gear compartment was importantfor ease of maintenance — particularlyin view of the perilous mounting height.An added complexity occurred withthe decision to add an external louvreto reduce the lateral emission, as therange of aiming angles required of thespotlight required that the design ofthe louvre be such that cross-bladescould be removed if necessary.

The response from lighting special-ists has been highly complementary.Joachim Ritter, Editor of the magazineProfessional Lighting Design, wrote thatthe installation produced a comfortablyintegrated lighting solution in spite ofthe difficult situation, as “. . . an inter-vention in the existing architecturewould have undermined the purityof the architectural design.”

The artificial lighting concept is boundto give rise to contemplation for some

• Operating Approach• Organizational Structure• Outsourcing • Outsourcing Contracts• Project/Construction Mgmt• Real Estate• Recognition Awards• Space Mgmt & Design• Special Functions/Facility Rentals• Supplier/Contractor Evaluation• Sustainability/Green Buildings• Teams• Training & Development

Yes, this is an extensive listing. Thechallenge, of course, is the gatheringof as many best practices as possible ineach of these categories. This listing of

good or best practices will be discussedand debated at the Benchmarking andBest Practices Workshop on September21, 2003 in San Francisco. Bottom line,this is a good and useful goal for thisyear’s benchmarking exercise.

Please don’t delay. Sign the Sur-vey Participation Agreement now.Practice continuous, not haphazard,improvement.

The benchmarking questionnairewill be sent to you immediatelyupon receipt of the ParticipationAgreement.

Ian Follett, BAA, CFMPresidentFacility Management Services Ltd

Benchmarking Update — continued from page 17

time to come, as it is inevitable that insuch a strongly daylit space the atmos-phere generated by electric lightingcannot re-create the quality of daylightitself. For this reason, electric lightingshould not try to mimic the quality ofdaylight. Instead, it should be used aseither to complement or supplementdaylight, which in this case it does,in a monumental and intriguing way.

The most significant commentcomes from Len Packman of theBritish Museum, stating that the publicapproves: “They can see what they aredoing, and they like what they see.”They will never know the difficultythat the maintenance team has inaccessing the luminaires, as it has tobe carried out with particular concernand attention for the safety of thepersonnel, strongly reinforcing theinitial decisions to use highly stableand efficient light sources, controlgear and stable luminaires.

Mark Rowling has worked in lightingdesign since 1970. Since August 1986,he has worked with ERCO Lighting,Ltd. in London, where he was theTechnical Director and subsequentlySales and Technical Director. Hequalified as Chartered Engineer in

August 1990, and became a Fellowof the Chartered Institute of BuildingServices Engineers in November 1992.Since joining ERCO, he has beendedicated to excellence in interiorlighting design — particularly inmuseums and galleries. In October1999, he established a trainingorganization within ERCO, consistingof 35 trainers and coaches worldwide.

Making Light Work — continued from page 15

It is inevitable that in such a stronglydaylit space the atmosphere generatedby electric lighting cannot re-create thequality of daylight itself.

19

More than a decade before Septem-ber 11, 2001, Hurricane Hugo and theLoma Prieta earthquake awakenedconcerns for the safety of America’scollections and historic places. Col-lections staff at American museums,libraries, and historic sites realizedthey were ill-equipped to respond toemergencies in their own institutions, letalone come to the aid of their neigh-bours. Limited resources were alreadystrained, and the sense that we weredoing too little, too late was widespread.

In late 1994, more than 80 repre-sentatives of regional and nationalU.S. organizations came together todiscuss how to help cultural institutionsbetter protect collections and speedrecovery from disasters. Sponsored bythe Federal Emergency ManagementAgency (FEMA), the Getty ConservationInstitute (GCI), and Heritage Preserva-tion, the National Summit on EmergencyResponse was a call to arms.

The gathering was notable for tworeasons. First, it presented a goodopportunity for the library and archives,museum, and historic preservationcommunities to join forces around asingle issue. Second, it marked a majorpublic commitment to preserving cul-tural heritage by FEMA. In his keynoteaddress, the agency’s director JamesL. Witt challenged the audience tocommit “to a national effort to reducethe future impact of natural disasterson our cultural and historic institutionsacross this nation.”

The creation of what is now knownas the Heritage Emergency National TaskForce followed a few months later. Itis a partnership of 34 federal agenciesand national service organizations(see box), sponsored by FEMA andthe national nonprofit organization,Heritage Preservation. GCI helpedlaunch the Task Force, and HeritagePreservation continues to provide

administrative and staff support. Manyof the Task Force’s initiatives and pub-lications have been accomplished withthe aid of its partner organizations andthe expertise of dedicated conservationand preservation professionals aroundthe country.

Task Force members share withIAMFA the goal of protecting culturalfacilities and the art, artifacts, andhistoric records at the heart of thoseinstitutions. Disaster management isreally a natural for preservation interests.Hilary Kaplan, a conservator with theU.S. National Archives and RecordsAdministration, once describedemergency preparedness as “the mostfundamental of preservation activities”because it identifies and addressespotential hazards to collections.

Alliance for ResponseWorking closely with emergency man-agers has been a long-term goal of theTask Force and professional conser-vators. There are some obstacles toovercome, however. Despite their skills,preservation professionals withoutan understanding of local emergencyprotocols are unlikely to be useful to,or welcomed by, first responders. Atthe same time, art and historical arti-facts can be neglected, or even damaged,by the actions of uninformed emergencypersonnel.

The need for partnerships is clear,and to be effective, these partnershipsmust be forged within the communitiesthey will benefit. Whether it is a leakingpipe or a major disaster, the primaryresponse will be local. Further, thealliances that can help save culturalassets and result in a more effectiverecovery must be developed beforedisasters strike. That is why we arebringing together the stewards ofcultural heritage and emergency

Safeguarding Cultural Heritage:Partnerships and Resources

by Jane S. Long

Heritage EmergencyNational Task Force

SponsorsFederal Emergency Management

AgencyHeritage Preservation

MembersAdvisory Council on Historic

PreservationAmerican Association of MuseumsAmerican Association for State and

Local HistoryAmerican Institute for Conservation

of Historic & Artistic WorksAmerican Institute of ArchitectsAmerican Library AssociationAssociation of Regional

Conservation CentersCouncil on Library and Information

ResourcesGeneral Services AdministrationThe Getty Conservation InstituteInstitute of Museum and Library

ServicesInternational Association of

Emergency ManagersThe Library of CongressNational Archives and Records

AdministrationNational Association of

Government Archives andRecords Administrators

National Conference of StateHistoric Preservation Officers

National EmergencyManagement Association

National Endowment for the ArtsNational Endowment for the

HumanitiesNational Park ServiceNational Science FoundationNational Trust for Historic

PreservationRegional Alliance for PreservationSmall Business AdministrationSmithsonian InstitutionThe Society of American Archivists Society for Historical ArchaeologyUS Army Center of Military

HistoryUS/ICOMOScontinued on page 20

management professionals in the latestNational Task Force initiative.

The overall goal of our new Alliancefor Response project is to recreate thesuccessful Task Force partnership atthe local level. One-day forums infour cities (Boston, Cincinnati, Dallasand New York) will help emergingdisaster mitigation and responsenetworks develop into successfulmodels of cooperation.

Our initial efforts have been focusedon finding appropriate partners in eachof the host cities, and on identifyingthe kind of program that will bestserve local needs. We have lookedfor organizations or networks that arerepresentative of the cultural life andresources of each city and which arecommitted to building partnershipswith emergency management pro-fessionals. Host committees will betaking the lead in choosing programcontent and participants.

Our likely partner in New York isthe Museum, Library, and CulturalProperties Facility Group of GreaterNew York City: an association familiarto Papyrus readers. Its membershipincludes curatorial, collections manage-ment, and conservation interests, as wellas facility administrators. A subcommittee

has drafted a model disaster plan, whichit is now reviewing with city agencies.We believe the Alliance for Responseproject can help this thriving networkstrengthen the disaster planning andtraining efforts of its member institutions.

In the Boston area, we will be work-ing with a local disaster planning andmitigation network that, like the NationalTask Force, includes representatives fromthe cultural community, conservationexperts, and emergency managementofficials. Preliminary discussions aboutthe Cincinnati meeting are underwaywith the Ohio Preservation Council, abroad coalition of libraries, archives,historical societies, and conservationresources. We have numerous resourcesto call upon in the Dallas/Fort Wortharea, which is home to both a FEMAregional office and to AMIGOS, aregional preservation centre whichhas responded to natural disasters atlibraries and museums throughoutthe Southwestern U.S.

Learning from September 11The attack on September 11,2001 targeted not only innocentcivilians, but also the fabricof our culture. The terrorists

struck the Twin Towers andthe Pentagon, and aimed ateither the White House or Capitoldome — all structures rich inmeaning . . .

Bruce Cole, Chairman,National Endowment for the Humanities

The art, artifacts, historical records andmonuments that tell the story of a nationare widely dispersed. The terrible eventsof September 11, 2001 made us realizethat these cultural icons could be at riskfrom acts of terrorism as well as fromnatural disasters. Museums, libraries,and historic sites are vulnerable, butwe have learned that even in the mostdevastating attacks, preparedness andtraining matter, as do good workingrelationships with first responders.

An article in the Winter 2003 issue ofPapyrus described our report, Cataclysmand Challenge, the first comprehensivestudy of the loss of cultural and historicresources after September 11, 2001. Thereport featured findings obtained from asurvey, conducted in the months imme-diately following 9/11, of 122 museums,libraries, archives, and other collectinginstitutions in Lower Manhattan. Cata-clysm and Challenge is available onthe Heritage Preservation Web site,where it is the most frequentlydownloaded document.

Although the events of September 11were caused by an unprecedented act ofterror, we found that standard, provenemergency management plans andresponses turned out to be the mosteffective way of dealing with the disaster.Immediately outside Ground Zero,institutions such as the Museum ofJewish Heritage were able to preservetheir collections because staff knewhow to react. And, thanks to the rela-tionship that Task Force members havedeveloped with FEMA, artifacts fromthe African Burial Ground archaeo-logical site were rescued in a timelyfashion from the basement of Six WorldTrade Center.

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Safeguarding Cultural Heritage — continued from page 19

Sphere for Plaza Fountain by Fritz Koenig, following the destruction of the World TradeCenter Towers.

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Since the report and its findings werediscussed in an earlier issue, only thebasic recommendations made by theHeritage Emergency National Task Forceare outlined below:

• Make emergency planning apriority. Fewer than half of therespondents in Lower Manhattanreported having an emergencyresponse plan — a finding similarto that in a recent test survey for thenew Heritage Health Index project(see box). The results reflect a levelof preparedness far lower than thatreported in the 2002 IAMFA bestpractices survey. This is probablybecause evacuation procedures,as well as comprehensive disasterrecovery plans, are more likely tobe the responsibility of facility man-agers than curatorial or collectionsstaff. Collecting institutions shouldintegrate emergency managementinto all parts of their planning, budget,and operations.

• Plan for contingencies. Around80 per cent of the respondents inthe post-9/11 survey reported inter-ruptions in fax, telephone, mail, ande-mail, sometimes for prolongedperiods. Facilities were closed,deliveries were delayed, andincomes dropped. Disaster plans

should address both protection ofcollections and continuity of opera-tions. As the events of September 11reminded us, nonprofit institutionsoften suffer long-term financialeffects from natural disasters andacts of terrorism.

• Find or make training opportu-nities. Sixty-eight per cent of institu-tions in the survey said their staffswould benefit from training. A planneeds practice to work. Emergencymanagement training should beprovided to all staff of collectinginstitutions, not just those chargedwith specific responsibilities suchas security or engineering.

• Maintain an inventory and storecopies offsite. A facility or opera-tions administrator is well awareof the importance of keeping vitalrecords and insurance policies up-to-date, with copies kept offsite.Unfortunately, such safeguardsare far less common for collectionsrecords, although they should bean integral part of preservation anddisaster management strategies.

• “Take a firefighter to lunch.”Only slightly more than half therespondents in our survey werefamiliar with government agencies

which provide response and recoveryassistance. We strongly encourageinstitutions to identify local resourcesand understand emergency responseprotocol before disaster strikes.Emergency management agenciesand collecting institutions shouldmaintain an ongoing dialogue thatboth strengthens their relationshipand better protects local culturaland historic assets.

Information for InstitutionsBefore the 1994 summit, HeritagePreservation surveyed a number ofnational cultural organizations onemergency issues and asked what theyperceived to be the greatest need oftheir constituents. The clear winnerwas concise and accurate information,especially for the thousands of smallerinstitutions across the country.

Our best-known information tool, theEmergency Response & Salvage Wheel,was the response to this need. We liketo say it is one of the best things evercreated by a committee. The informationin this practical slide chart was devel-oped and reviewed by preservation pro-fessionals, and endorsed by FEMA andmany other agencies and organizations.

Since its publication in 1997, theWheel has become the single most

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A firefighter walking among the historic headstones covered in debris at Trinity ChurchCemetery, across from the World Trade Center towers, on September 19, 2001.

The English-language version of theEmergency Response and Salvage Wheel,which is now in use around the world.

continued on page 22

recognized and respected tool forprotecting documents, art, and artifactsfrom water damage. It is frequentlyused as a training tool by archives,libraries, museums, and local govern-ments, and it has served as the basis fora series of public service announce-ments. Insurance firms have distributedthe Wheel to claims adjusters, andstate emergency management officeshave used Wheels in workshops forfirefighters and other first responders.

Now more than 70,000 English-language Wheels are in use throughoutthe world in more than 40 countries.It has been translated into four lan-guages — Chinese, Dutch, French,and Spanish — and we hope to see aJapanese version by 2004. In Canada,Museums Alberta includes a Wheel witheach copy of its Survivor’s Guide toEmergency Preparedness, and theCentre de conservation du Québecproduced the French-languageadaptation of the Wheel.

In May 2002, the Task Force releaseda Spanish-language version of theWheel, with support from NationalEndowment for the Humanities, TheSt. Paul Companies, Inc. Foundation,and the American Express Company.Free copies were mailed to culturalinstitutions in Puerto Rico and selectedareas of the U.S., and to numerous stateagencies. The Lampadia Foundationdistributed 4,000 copies of the Ruedade salvamento y respuesta ante emer-gencias to institutions in Argentina,Brazil, and Chile. Heritage Preservationstill has complimentary copies of theSpanish Wheel. While supplies last, anynonprofit or government agency canrequest two free copies per institution.

Resources for Recovery: Post-DisasterAid for Cultural Institutions is a conciseguide to both federal financial aid andinformation resources. The 20-pagebooklet was sponsored by the NationalEndowment for the Arts and FEMA, inpartnership with the U.S. Small Business

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A Word about Heritage Preservation, Inc.For over a quarter century, Heritage Preservation has been the national,nonprofit advocate for the proper care of all cultural heritage, includingworks of art, books and archives, documents and photographs, architecture,natural science specimens, and artifacts – in museums, homes, libraries, andtown squares. In addition to the Heritage Emergency National Task Force, itsprograms include:

• The Heritage Health Index, a nationwide assessment of the conditionand preservation needs of collections in archives, libraries, museums, andhistorical societies.

• Save Outdoor Sculpture!, a grass-roots program to encourage localgroups to preserve sculptures and monuments as gifts to present andfuture generations.

• The Conservation Assessment Program (CAP), managed on behalf ofthe Institute of Museum and Library Services, which provides grants forgeneral conservation surveys to museums with small- to medium-sizedcollections.

Heritage Preservation also has published with Harry N. Abrams, Inc. a seriesof books providing the best professional advice to the general reader onpreserving homes and heirlooms: Caring for Your Collections (1992), Caringfor Your Historic House (1998), and Caring for Your Family Treasures (2000).

For more information, visit www.heritagepreservation.org.

Administration. The brochure offerstips to guide institutions through thefirst traumatic days following a disaster.Basic information on federal aid isorganized by agency and includes aspecial section on SBA disaster loans.Another feature is a list of on-line infor-mation sources on disaster prepared-ness, response, and recovery. BothResources for Recovery and an updatedversion of these resource links areavailable on the Task Force Web page:www.heritageemergency.org.

Tips for the PublicOnce disaster survivors and their lovedones are safe, their thoughts often turn tophotographs and other family treasures.Task Force members have a great deal ofpreservation know-how to help peopleprotect and salvage cherished heirlooms,and we have worked with FEMA tobring the most accurate information tothe public through articles on its Website, radio interviews, and occasionalVideo News Releases. A new informationresource on “Protecting Your Heirloomsfrom Moisture, Mold, and Monsoons”is now available on the HeritagePreservation Web site.

The Task Force and other preserva-tion professionals are making significantcontributions to the disaster planningprocess in their own institutions andto the work of response and recoveryin their communities. We invite youto learn more at our Web site:www.heritageemergency.org.

Jane S. Long has been director of theHeritage Emergency National TaskForce since its creation in 1995, andshe has worked in the cultural heritagefield since the 1980s. She has servedas assistant director of the NationalInstitute for Conservation, specialprojects coordinator for the President’sCommittee on the Arts and theHumanities, and a consultant tothe Getty Conservation Institute.Jane is the co-author of HeritagePreservation’s latest book, Caringfor Your Family Treasures.

Safeguarding Cultural Heritage — continued from page 21

23

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

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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.

24

Dear colleagues,You have just received the fifth issue ofthe new Papyrus format, and we lookforward to your continued support andcontribution in improving this publica-tion. We have striven to include onlyarticles with valuable information to ourreaders, and to ensure a balance in thecovering all areas in which IAMFA hasmembers. In our opinion, a journal suchas this is critical to maintaining effectivecommunication among our members,demonstrating that IAMFA is a vibrantand active association, which seeksconstantly to enhance its commitmentand value to all of its members.

The IAMFA Board takes the future ofthis Association to heart, and welcomesyour participation, particularly as con-cerns the conduct of the Association’sbusiness and its value to you as amember. We need to hear from youabout subjects you would like to seecovered in Papyrus, about your interestin either of the two Board positions —Secretary and Papyrus Editor, and

Vice-President Regional Affairs — thatcome up for election this Fall. And ofcourse, we welcome any articles youmay wish to submit for publication.

Your commitment to this Associationis a valuable asset to enhanced facilitymanagement around the world. Withyour membership fees and your activeparticipation in the business of theAssociation, you have helped us allstrengthen our practices and procedures,ensuring that the facilities we manageremain comfortable, attractive, safeand secure for staff and visitors alike.Renew your membership today, if youhave not already done so. Get involvedby putting your name forward for oneof the Board positions. Stay in touchby phone or e-mail, and tell us howwe can improve our services to you.This is your Association and we allhave a stake in its continued successand future strength.

Pierre LepageEditor

IAMFA/PapyrusSPRING 2003

EditorPierre Lepage

Papyrus Correspondents

Joe BrennanSan Francisco Museum of Modern Art

Bill CaddickArt Institute of Chicago

Toby GreenbaumPublic Works & Government Servicesof Canada — Museum Group

Ian FollettFacilities Management Services Ltd.

Pierre LepageCanadian Museum of Civilization

Jane LongHeritage Emergency National Task Force

Raymond MoriyamaMoriyama & Teshima Architects

Mark RowlingERCO Lighting Ltd.

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

The International Association of Museum Facility Administrators is pleasedto welcome the following new members:

Regular MembersAndy Hirshfield — Exploratorium, U.S.A.Henry E. Huntington — Library & Art Gallery, U.S.A.Jeff Sheahan — Californian Academy of Science, U.S.A.Leonard B. Vasques — Charles M. Schulz Museum, U.S.A.Yale University — U.S.A.

Subscribing MembersAmbrosino DePinto & Schneider Consulting Engineers P.C. — U.S.A.Robert A. Marino, P.E. — Mueller Associates, Inc., U.S.A.

Associate MembersChan-Hung Do — Canadian Museum of Civilization, CanadaSteven Ernest — Indianapolis Museum of Art, U.S.A.Jennifer Fragomeni — Exploratorium, U.S.A.

New IAMFA Members