papyrus spring 2012

PAPYRUSVOL. 13, NO. 1 SPRING 2012

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

VOL. 13, NO. 1 SPRING 2012

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

Green Versus Sustainable

Annual European Meetingof IAMFA Members

Assemblée Européennedes Membres IAMFA

Lean Leadership at theSmithsonian Institution

Protecting the HistoricThomas Jefferson Building

from the Footsteps of Time

Schedule for the Mid-Atlantic IAMFA

Conference

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IAMFA/PapyrusVol. 13, Number 1Spring 2012

EditorJoe May

CorrespondentsJoe BrennanBruce CanterJohn CastleJudie CooperJohn de LucyMichael Downs

Kevin DunnRebecca T. EllisMaurice EvansNeal GrahamMolly KereszturyJoe MayChristopher MilesJack PlumbGregory H. SimmonsC.L. TaylorAllan Tyrrell Stacey WittigStephanie Wurtzel

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

Statements of fact and opinionare made on the responsibility ofauthors alone and do not imply anopinion on the part of the editors,officers, or members of IAMFA. Theeditors of IAMFA Papyrus reserve theright to accept or to reject any Articleor advertisement submitted forpublication.

While we have made every attempt toensure that reproduction rights havebeen acquired for the illustrationsused in this newsletter, please letus know if we have inadvertentlyoverlooked your copyright, andwe will rectify the matter in afuture issue.

Atlanta, U.S.A. — Kevin Streiter,High Museum of Art [email protected]

Australia — Ray [email protected]

Chicago, USA — William Caddick,Art Institute of Chicago [email protected]

Los Angeles, USA — Randy Murphy,Los Angeles County Museum of [email protected]

New England, USA — John H. Lannon, Boston [email protected]

New York, USA — Mark Demairo,Neue [email protected]

New Zealand — Patricia Morgan,Auckland Art [email protected]

Ottawa-Gatineau, Canada — Marc Chretien, Canadian Museum of [email protected]

Philadelphia, USA — John Castle,Winterthur Museum & [email protected]

Northern California, USA —Joe Brennan, San Francisco Museum of Modern [email protected]

United Kingdom — Jack Plumb,National Library of [email protected]

Washington/Baltimore, USA —Maurice Evans, Smithsonian [email protected]

MEMBER REGIONS

Cover photo: This Japanese cut-leaf maple, Acer palmatum var. dissectum greets visitors in the garden at Winterthur. A tree for all seasons, the finely cutleaves emerge in a bronzy tone in spring, fade to green in the summer, and turn vibrant orange in late fall. This tree’s artistic form is besthighlighted when backlit by the sun or enveloped in a winter snow.

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

PresidentJohn de LucyThe British Library (Retired)London, United [email protected]

V.P., AdministrationRandy MurphyLos Angeles County Museum of ArtLos Angeles, CA, [email protected]

V.P., Regional Affairs and 2012Conference ChairJohn CastleWinterthur Museum, Garden and LibraryWinterthur, DE, [email protected]

TreasurerAlan DiricanBaltimore Museum of ArtBaltimore, MD, [email protected]

SecretaryPatricia MorganAuckland Art Gallery Toi o Tamaki Auckland, New Zealandpatricia.morgan@

aucklandcouncil.govt.nz

Assistant Secretary/EditorJoseph E. MaySustainability EngineerLos Angeles, CA, [email protected]

2013 Conference ChairNancy BechtolSmithsonian InstitutionWashington, DC, [email protected]

IAMFA BOARD OF DIRECTORS

Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . 2

Message from the President . . . . . . . . . . . . . . . . . . . . 3

The Delaware Art Museum Celebrates Its100th Anniversary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Hagley Museum and Library . . . . . . . . . . . . . . . . . . . . 6

Architect of the Capitol Begins Conservation of Statue of Freedom. . . . . . . . . . . . . . . . . . . . . . . . . . 9

Protecting the Historic Thomas Jefferson Building from the Footsteps of Time . . . . . . . . . . . . . 10

Benchmarking: Are We Still Relevant? . . . . . . . . . . . 14

Lean Leadership in Facility Management . . . . . . . . . . 16

Green vs. Sustainable . . . . . . . . . . . . . . . . . . . . . . . . . 18

2012 IAMFA Conference Schedule . . . . . . . . . . . . . . . 22

Smart Chilled Water at the National Portrait Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Renovating the Baltimore Museum of Art . . . . . . . . . 29

2012 IAMFA Annual European Meeting . . . . . . . . . . 32

Regional Updates and Member News . . . . . . . . . . . . 37

Regional News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 40

Index of Papyrus Technical and Historical Articles . . . 42

Contents

For additional contact information,

please visit our website atwww.iamfa.org

For more information on becomminga member of the InternationalAssociation of Museum FacilityAdministrators, please visit

www.iamfa.org

now with 301 members from 28 coun -tries. We want the LinkedIn Group tobe an effective way for IAMFA mem bersto communicate with one another be -tween conferences, and we also hopethat discussions within the LinkedInGroup will encourage those who are notyet members of IAMFA to take a closerlook at our organization. If you haven’talready done so, please join the Groupand get involved in the discussions.

I might also add that each memberof the LinkedIn Group has the optionto invite colleagues to join the Group,so if you know anyone you believecould benefit from getting to knowIAMFA, please feel free to visit theGroup, and select the “share group”option at the top. The rest is simple.Ultimately, we want those who canbenefit from mem bership in IAMFAto learn about us. Most of all, however,we want IAMFA members to have aforum in which to discuss situationsthey may have at work, allowing themto benefit from the collective knowledgeof IAMFA’s members.

In this issue of Papyrus, you’ll finda variety of articles, including onecalled “Protecting the Historic ThomasJefferson Building from the Footstepsof Time”. If you recall, this is where wehad our gala dinner during the 2009Conference in Washington, D.C. I thinkthere are many IAMFA members whowill benefit from the findings of thisstudy organized by the Architect ofthe Capitol (AOC).

You will also read about plans by theAOC to restore the Statue of Freedomin Washington, D.C. You will find anarticle about “Lean Leadership inFacility Management” from StephanieWurtzel and Judie Cooper at the Smith -

sonian. Everyone has been under pres -sure to get “Lean” in recent times, andStephanie and Judie have some greatadvice to offer. You will also find thearticle “Green vs. Sustainable”, writtenby Rebecca Ellis. If you have been amember of IAMFA for several years,you may remember Rebecca’s pre sen -tation at the Getty Villa in 2006 on thetopic of Retro-Commissioning. Rebeccaadvised the Getty when we set out toachieve LEED Certification back in2005, and she is tops in her field!

In this issue, you’ll also read about“Smart Chilled Water” at the NationalPortrait Gallery in London by AllanTyrrell and Kevin Dunn. Stacey Wittigwrites about “Benchmarking: Are westill Relevant?”, and I think we allknow that benchmarking is one ofthe best ways to learn from others howto im prove our operations. IAMFA’sAnnual Benchmarking Exercise con -tinues to be a cornerstone of theIAMFA organization.

In addition, you’ll read about theHagley Museum and the Delaware ArtMuseum, both of which are venues forthis year’s conference. When you attendthe conference, you can expect to havea “BLAST”. You’ll have to attend tofind out what I mean!

There’s more as well in this issue ofPapyrus, including an article about theambitious renovation project at theBaltimore Museum of Art, and a recapof the Annual European meeting ofIAMFA members, held recently in Paris.I hope you enjoy this issue. Thank youso much to everyone who contributedarticles—and especially to our spon -sors who have helped make it possiblefor IAMFA to grow and thrive now formore than twenty years.

Greetings from Los Angeles!

Having recently returned fromIAMFA’s mid-year Board meet -ing in Philadelphia, I can report

that the Board had very good meetingsevery day, and that the organization isthriving both fiscally, and in our effortsto standardize our operating policiesand processes. I feel that we are strongeras an organization than at any timesince my joining the board in 2005.Please make sure you read the messagefrom our President in this issue; we oweJohn de Lucy so much for his leader -ship and guidance during his fouryears as our President.

During the mid-year Board meeting,we visited all of the venues for IAMFA’s2012 Mid-Atlantic Conference, and metmany of their leaders. As I believe allof our members and guests have grownto anticipate, you will experience aspectacular Conference this year onSeptember 16–19.

Our home during the Conferencewill be the Philadelphia Ritz-Carlton,and you are right in anticipating thatyou will love this hotel. I can also verifythe rumor that there is Happy Houreveryday from 5:00 to 7:00 p.m. in thehotel’s spectacular atrium dome, and Ipredict this will become a very popularmeeting place at the end of the day,when we can all visit with both newattendees and old friends—and I mightadd, they serve some nice wines athappy hour for $5.

We snapped lots of pictures duringthe board visit, and you will find a col -lage of these pictures in this issue ofPapyrus. You will also see the schedulefor the Conference in the centerfold.

I can also report that IAMFA’sLinkedIn Group continues to grow,

Joe May Editor, Papyrus

Letter from the Editor

2 PAPYRUS SPRING 2012

all producing a profit, which helps tokeep membership and conference feeslow. Thanks to significant hard workfrom our Treasurer Alan—despitehis large refurbishment project atthe Baltimore Art Museum—we arein a sound financial position, and hehas also reviewed our “not-for-profit”legal status.

As you have seen and read, Joe Mayhas transformed Papyrus over this sameperiod. In addition, both Joe and Randyhave reviewed and substantially updatedour processes and procedures, andhope fully you will soon see their majorimprovements to the web site. Our excel -lent benchmarking process also con -tinues to improve and grow, bringingenormous benefits to members.

I would like to express my appre ci a -tion as well to previous President, GuyLaroque, who has been a great mentorto me, and has contributed significantlyto the Board over the past four years.

John Castle, VP Regional Affairs,is our conference host this year inDelaware and Philadelphia, and hasput together an inspiring and edu ca -tional programme. Members and theirguests are certain to learn a great dealfrom local facilities managers on issuesthey have had with their projects andmaintenance requirements, while alsoenjoying an opportunity to view theiramazing collections. All our hosts willhave major refurbishments or newlybuilt museums to show us, and it will bejust as important to learn what not to do,as to learn what they have done well.

Do make sure to sign up for theConference now, and especially book

your hotel room at the conferencehotel, the Ritz-Carlton, where JohnCastle has secured an exceptional dealfor us, at less than half the normal price.

I know that many of you are goingthrough tough financial times, but doplease try and persuade your bossesthat you can learn a great deal fromyour peers around the world by attend -ing the Conference, which will in turnlead to savings in your organisation.Don’t forget: one way of demonstrat ingimprovements to your CEO is to jointhe Benchmarking Group and if not amember already, you can pay to attendthis one-day meeting on the Sunday ofthe Conference, which will show youhow you can benefit your organisation.The Benchmarking data, which fol lowstrends over many years, has provenextremely valuable to many of us whouse it regularly. Not only are we able todemonstrate the trends within our ourown organisations, but we can also com -pare ourselves with other similar culturalorganisations over many diciplinesand skills.

I am confident that you will find theConference programme justifica tionenough to persuade your organisa -tions to send you to join us this year,and you will be able to demonstratethat good and innovative FacilitiesManagement can definitely contributeto organisational success.

I am looking forward to seeingyou all again in September—makesure you are there!

Ihave served on the IAMFA board fornearly six years, four of which havebeen as your President, follow ing my

election at the London 2008 con fer -ence. I have thoroughly enjoyed myterm—especially working with such agood team on the Board, to whom Igive many thanks and good wishes forthe future.

As I have retired from the BritishLibrary, it seems appropriate that Istep down at the end of this secondtwo-year term, which will be during theSeptember conference in Philadelphia.This will create a vacancy to be filled—hopefully from the existing Board—which will in turn create another vacancy.The VP Administration role, carriedout superbly by Randy Murphy, alsocomes up for election this year. Randywill run the electronic voting systemto ensure we have voted for newBoard members by the time of theSeptember Conference.

As you know, IAMFA is run by an all-volunteer board, and we need membersto offer to help run the organisation, soplease let Randy know before the endof May if you are willing to serve on theBoard in any of the available positions,so that he can plan the electronicvoting process.

Many thanks to Pat Morgan for step -ping in to be Secretary for the Boardfollowing her successful Aucklandcon ference. This helps relieve Joe Mayfrom a double role as Secretary andeditor of Papyrus, allowing him to focuson our excellent magazine.

Over the past six years, IAMFA hashad consistently successful conferences,

John de LucyPresident, IAMFA

Message from the President

PAPYRUS SPRING 2012 3


The Delaware Art Museum was founded in 1912 tohonor the life and house the work of world-famousWilmington illustrator Howard Pyle, who passed away

unexpectedly in November 1911. During its first 100 years,the Museum has undergone many changes, both in its artholdings and in the physical plant required to safely houseits collections.

The Museum originally had no gallery space of its own,and its works were housed in locations around the City ofWilmington. The Museum has now grown to fill 11 acres and80,000 square feet in a beautiful building on Wilmington’shistoric Kentmere Parkway. Throughout the past century, itspermanent collections have also expanded beyond HowardPyle to include work by other American illustrators, the world’slargest collection of British Pre-Raphaelite art outside theUnited Kingdom, a prominent collection of work by Americanartist John Sloan, and works by American masters such asWinslow Homer, Edward Hopper, and Thomas Eakins.The Museum currently houses 12,000 objects in its perma -nent collection, and its campus includes a sprawling nine-acre sculp ture park, four studio art classrooms, a 168-seatauditorium, two executive meeting rooms, a café and agift shop.

During its first 20 years, the Museum—originally calledthe Wilmington Society of the Fine Arts—held exhibitionsin private homes, in the newly constructed Hotel du Pont,and in the Wilmington Public Library. In 1935, the family ofSamuel Bancroft—a wealthy textile industrialist—donatedMr. Bancroft’s rare collection of British Pre-Raphaelite artand 11 acres of rolling countryside near Kentmere Parkwaywith the proviso that a museum be built on the site to house

The Delaware Art Museum CelebratesIts 100th AnniversaryBy Bruce Canter and Molly Keresztury

The Delaware Art Museum’s original building under construction,1938.

The Delaware Art Museum expands to add studio art space, 1957.

the Bancroft Collection. As a testament to both the dedica -tion and generosity of the Society and its community sup -porters, $350,000 was raised during the Great Depressionfor museum construction and its endowment. In June 1938,the newly named Delaware Art Center opened to the publicwith galleries devoted to the British Pre-Raphaelites,Howard Pyle and his students, and a growing collectionof American art.

With its core collections now established, the Centerdeclared a more ambitious mission: to collect, preserve,and interpret fine arts for the benefit of the public; and tobecome a leading arts center for the region. A number ofgroups occupied its spaces, held meetings, and participatedin the Center’s programs and studio art classes. Thanks toa generous donation from H. Fletcher Brown, the Centerconstructed studio art spaces and classrooms to expandtheir educational programming and community outreach.The new education wing opened in 1956.

During the 1950s and 1960s, the Delaware Art Center’scollections continued to grow in size and influence, attract -ing the attention of Helen Farr Sloan, widow of premierAmerican artist John Sloan. Mrs. Sloan eventually donatedover 5,000 works of art to the Center, including the pre emi -nent collection of her late husband’s oeuvre and archive,making the Delaware Art Center the leading repository forthe study of John Sloan.

In 1972, the Center was one of the first institutions of itssize to be awarded accreditation by the American Associationof Museums. Shortly after achieving accreditation, theDelaware Art Center was renamed the Delaware Art Museum,to reflect the growing strength of its collections, programs,


and constituency. It was clear that the Center had evolvedinto an institution of national and international importance.

In more recent years, two major expansions of theMuseum were undertaken to accommodate the ever-growing collections, exhibitions, and programs. In 1987,the Museum opened the 20,000-square-foot Pamela andLammot duPont Copeland Wing. This much-needed addi -tion doubled the exhibition space and saw the dedicationof an expanded library named in honor of Helen Farr Sloan.The following year, the Museum won the prestigiousDelaware Governor’s Award for the Arts, in honor of itscontributions to the civic and artistic life of the community.

With the arrival of the twenty-first century, the Museumbegan expanding its collections again, this time with afocus on contemporary works from masters such as RobertMotherwell, George Segal, and Jim Dine. In the early 2000s,the Museum began planning another expansion to houseits collections, exhibitions, and programs. The newly recon -figured Delaware Art Museum, designed by Boston-basedAnn Beha Architects, opened in 2005. It featured not onlynew galleries, but the nine-acre Copeland Sculpture Garden—the first in the region—which also houses a popularlabyrinth for outdoor contemplation.

With its increasing presence throughout the stateand the region, the Delaware Art Museum continues tostrengthen both its collections and its commitment to thecommunity. From November 2011 through December 2013,the Delaware Art Museum is celebrating its Centennialwith a variety of special exhibitions and community events,as well as an ambitious $10-million fundraising campaign.

The Museum’s charge in the coming millennium is tocontinue its mission as an essential resource for all, and toadvocate for the rightful place of art in strengthening oursociety. As the collections continue to grow, and its exhi bi -tions and programs continue to unfold, the Delaware ArtMuseum remains committed to the ever-more relevant andpowerful vision of its thoughtful founders of a century ago:to connect the community through and with art.

The Delaware Art Museum is pleased to co-host theInternational Association of Museum Facility Administratorsin September 2012. We look forward to introducing ourstunning collections and outstanding building to facilityadministrators from around the world, while hosting theIAMFA annual general meeting. Learn more about theDelaware Art Museum at www.delart.org.

Bruce Canter is Director of Operations at the Delaware ArtMuseum in Wilmington, Delaware, and Molly Keresztury isManager of Marketing and Public Relations.

The Delaware Art Museum undergoes a renovation, 1987.

The Delaware Art Museum undergoes expansion and renovation,2005.

The Museum’s back entrance, 2011.

The Delaware Art Museum’s front entrance, 2011.


When you visit Hagley Museumand Library, it quickly be -comes evident how unique

this institution really is. Hagley is sit -uated along a mile and a half of theBrandywine River, on a property encom -passing more than 235 acres. Thoseattending the 2012 IAMFA AnnualConference will experience thisremarkable facility firsthand.

Hagley Museum is where the storyof the du Pont family and their companybegins. The Museum features the orig -inal du Pont black-powder mills, familyestate, and gardens. Visitors can explorethe du Pont family home, built in 1803.The Georgian-style residence reflects thetastes of the five generations of du Pontswho lived there. Empire, Federal, andVictorian furniture is highlighted invarious room settings. Located in frontof the du Pont home is a restorednine teenth-century garden, Frenchin design, reflecting E.I. du Pont’slove of botany and gardening.

Hagley also tells the story of thepeople who worked for the DuPontCompany in the nineteenth century—how they lived, and how their lifestyleschanged over the course of a centurywhich introduced new machineryand new production methods to thework place. On Workers’ Hill, a typical

Hagley Museum and LibraryBy Michael Downs

Birkenhead Powder Mill on the Brandywine River. The du Pont family home and garden.

Hagley Library.

workers’ community has been restored.A visit to the Gibbons House therereveals the lifestyle of a powder-yardforeman’s family, including the foodsthey ate, and the furniture and con -veniences they acquired. The schoolattended by workers’ children is nearby,with lesson demonstrations that showhow children were taught before therewas a public school in the area.

At the base of Workers’ Hill, arestored machine shop from the 1880soffers an exciting picture of change inthe workplace. The din of whirring beltsand grinding metal replaced the quiet,painstaking hand-tooling of earlierartisans. Volunteer demon stra torsexplain the machines in operation.

The powder yard offers an in-depthlook at the making of DuPont’s orig -inal product, black powder. At theEagle Roll Mill, a guide provides aparticularly dramatic demonstrationas the energy of the river’s fallingwater turns the two eight-ton ironwheels that mix the powder’s sulfur,saltpeter and charcoal.

Hagley’s Library houses a majorresearch collection of manuscriptsand archives, photographs, pamphlets,and books documenting the historyof American business and technology.Pierre S. du Pont founded the research

library as the Longwood Library in1953. Eight years later, the Library wasmerged with the Hagley Museum andtransferred to the site of the originalDuPont Company powder works. Itsearly collections document industria -lization in the United States, with aparticular focus on the Mid-Atlanticregion: home to many leading nationalfirms in the nineteenth and earlytwentieth centuries.

The Library’s current holdings com -prise 37,000 linear feet in the Manu -scripts and Archives Department, twomillion items in the Pictorial Collec tionsDepartment, and 280,000 printed vol -umes in the Imprints Department. TheDigital Archives Department has morethan 220,000 items, and has also createdseveral state-of-the-art interactive digitalexhibits. Future digital projects are


focused on creating infrastructure forthe long-term (50+ years) storage ofdigital records.

As a member of the IndependentResearch Libraries Association, theLibrary serves scholars from thiscountry and abroad. The Libraryincludes the Center for the Historyof Business, Technology, and Society,which coordinates Hagley’s interac -tions with the world of scholarshipin the fields of American economic,business, and technological history. Ascholars-in-residence program, com -petitive fellowships, seminars, and his -torical conferences make the Centerthe intellectual heart of Hagley.

Since the site was at one time thelargest gunpowder manufacturer inthe world, we will be starting off yourvisit to our site with a BANG!!

The tours you will take when visitingHagley will include three locations:exterior projects, the collection storagefacility, and the Library with its twomajor system upgrades.

ExteriorOn the outdoor tour, we will be givinga presentation of the restoration workdone on one of our historical dams.The photograph below shows thedeteriorated condition of one ofour four dams.

Following an unprecedented fivesummer flood events at Hagley, thenewly installed concrete face of thedam saw the wooden wear face finallycompleted.

Your tour will include a visit to theoriginal powder-yard site, where youcan observe the process used to blendthe three components of gunpowder.The process effectively harnesses theriver’s water power, and uses it to powersixteen tons of iron. A demonstrationof an early powder-tester will showhow the du Pont salesmen proved thattheir powder was superior to others.A tour of our 1886 machine shop willallow you to see where powder-yardoperators manufactured their ownmachine parts.

Collections StorageOur collections storage building wasconstructed in 1948 to hold the DuPontCompany’s corporate records. Hagleyacquired the 30,000-square-foot build -ing from the DuPont Company in 1994.A project in 1996–1997 built a tem per -ature- and humidity-controlled spacewith limited storage (3,000 sq. ft.) forsome of the Library’s collections.

The rest of the building sat under-utilized until a 2007 refurbishment ofthe entire building. The addition of arooftop desiccant-wheel system, broughhumid ity under control. A separate unitprovides chilled water for the centra -lized HVAC, which main tains tem per -ature in the various rooms. Tours of thisarea will show you the newly installedventilated room used by conservationstaff. The 10¢ ¥ 16¢ room is normallyused as a spray booth, and was manu -factured by Global Finish ing Solutions.The tour will continue through our

collections storage building, shared bythe Museum and Library.

Library Systems UpgradesThe Library celebrated its 50th anni -versary in 2011. Two major improve -ments were recently made to the infra-structure. The first was installationof an ECARO-25® Clean Agent FireSuppression System in the library stacks.Fike’s ECARO-25 system requires 20 per -cent less clean agent per cubic foot/meter than HFC-227 or FM-200® fire-suppression systems, and an incrediblesavings in clean agent over FK-5-1-12—resulting in significant cost benefits.

Dam spillway face in need of repairs. Newly installed wooden dam face.

The ECARO-25 Clean Agent FireSuppression System.

other departments within Hagley. Weprovide all logistical support for all ofthe institution’s special events. Hagleyputs on two major fireworks shows eachyear in June, as well as an antique carshow in September that features over550 participating cars.

Michael Downs is Director of Facilities atthe Hagley Museum and Library, and canbe reached at [email protected]

Smoke damper installation. Discharge piping aimed toward aisles.

Old Boiler to be replaced.

New boiler with water storage tank.

New Weil-McLain boilers.

from 20 to 100 percent, thus allowinggreater efficiency and cost savings. Sincewe could not have any interruption inhot water supply for the building, theinstallation was done in two stages.

Once installation was completed,the boilers’ performance did indeedlive up to their ninety-four percentcombustion-efficiency rating. It wasnice to get a call from our businessoffice asking what we had done tomake such a noticeable change inour natural-gas consumption.

The above are just a few of the largerupgrades that we have recently made.As you can imagine, having a site thathas more than 60 buildings that varyin historical significance, size andcondition provides many interestingchallenges.

The Service Division is comprisedof 30 people who are grouped by theirjob responsibility: Administration,Building Maintenance, Grounds andResidence Garden group. The Divi sionis responsible for providing all build -ing and grounds maintenance andrepairs, along with miscellaneous main -tenance and service requests from

The system installation provided itsown unique set of problems related toworking in an area that contains col -lections items. These included collec -tions security, fabricating and installingboth piping and detection systems,testing the space for containment ofa certain percentage of FM-25, inte -gration of the previous detection systemwith the new system, and installingsmoke dampers and fan controls forthe HVAC system.

Each of the aisles needed to bepiped, so that if the FM-25 discharges,each aisle has the proper concen trationof gas for fire suppression.

The boilers that supply hot water forthe Library’s HVAC conditioning sys temswere recently replaced. We had two 1-million-BTU boilers that were 20 yearsold and needed some recon ditioning,just to keep them going.

We decided to replace the old unitswith four Weil McLain high-efficiencyboilers. Two boilers are rated for750 BTUs; the other two are rated at550 BTUs. Each boiler would be stagedin order to meet varying demands onthe system. They are able to modulate


Become a Member of IAMFAFor more information on becoming a member of the

International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG


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On April 2, 2012, the Architect of the Capitol beganregular cleaning, maintenance, and restorationof the Statue of Freedom atop the Capitol Dome.

“Our mission is to protect and pre serve the awe-inspiringfacilities and works of art entrusted to our care, and theStatue of Freedom is one of the most visible, symbolic, andtreasured pieces of art in the Capitol collection. We’re goingto make sure that she con tinues to inspire all who see her forgen erations to come by undertaking this important resto ra -tion work,” said Architect of the Capitol Stephen T. Ayers,FAIA, LEED AP.

This work was coordinated to be completed at the sametime as the on going Dome skirt restoration project, to reduceany impact on Congressional operations. (For more on the

Architect of the Capitol BeginsConservation of Statue of Freedom

Dome restoration project, see the Winter 2011–2012 issueof Papyrus, also avail able online.) A scaffold will be erectedto provide access to the Statue. Because of this overheadwork, Capitol Dome tours were suspended from April 2through May 13, 2012.

This maintenance and conservation involved washingthe Statue, inspecting and documenting the condition ofits interior and exterior surfaces, per form ing repairs asnecessary, replacing the caulking or epoxy fills as required,sharpening the lightning points, and reapplying a protectivecoating. The Architect of the Capitol also will inspect andrepair the Statue’s cast iron pedestal.

All work on the Statue of Freedom was scheduled forcompletion by mid-May 2012.

To address these issues, Ayerscommissioned a floor-wear study thatlooked at visitor traffic from June 2009to January 2010. The study was con -ducted by ENTECH Engineering, anengineering firm with extensive expe -rience assessing facility conditions;John Milner Associates (JMA), spe -cialists in architectural preservation;and Direct Dimensions, a companywith expertise in laser scanning fordimensional analysis.

The study analyzed the materialsused to construct the floor, bench -marked floor wear, reviewed floor care

was transferred to the Army Corpsof Engineers in 1892, the work wasdirected by Edward Pearce Casey, whoorchestrated a legion of artists andsculptors to decorate the inside andoutside of the building.

The Library of Congress estimatesthat it welcomes approximately 3,000visitors per day. In addition to concernsabout the potential impact of increasedfoot traffic on floor wear, there wasalso concern regarding public safety,due to an increase in the number offalls reported on the marble stairwellssurrounding the Great Hall.

The Architect of the Capitol (AOC)and the Library of Congress(LOC) both serve Congress, and

not only have long, rich histories oftheir own, but also have histories thatare intertwined. The AOC can trace itsroots to the laying of the cornerstonefor the U.S. Capitol in 1793. The LOCwas established by an act of Congressin 1800 and, until 1897, was housedin the Capitol Building. The AOC ischarged with the care and mainte nanceof all Congressional facilities, includingseveral buildings housing more than151 million items—including books,manuscripts, maps, films, and soundrecordings—which are cared for by theLibrarian of Congress. The Librarybuildings that are most recognized aresituated on Capitol Hill just steps fromthe Capitol Building. These are theThomas Jefferson Building, the JohnAdams Building, and the James MadisonMemorial Building.

The AOC and LOC also have relatedmissions that are designed to preserveAmerica’s heritage for future genera -tions. In addition, these organizationsare led by two men who are passionateabout the preservation of irreplace abletreasures. Because of this—fol low ing theopening of the Capitol Visitor Centerand the LOC’s new Visitors Experi -ence in December 2008—Archi tectof the Capitol, Stephen T. Ayers, FAIA,LEED AP, and Librarian of Congress,Dr. James H. Billington, became con -cerned about the impact of increasedfoot traffic on the architectural flooringof the Thomas Jefferson Building.

The Jefferson Building—named forformer President Thomas Jefferson—was completed in 1897. After the Capitolwas set on fire in 1814 by the British,destroying the contents of its smalllibrary, Jefferson offered his personallibrary as a replacement. The Buildingwas designed by architects Paul Pelz andJohn Smithmeyer. After construction


Protecting the Historic Thomas JeffersonBuilding from the Footsteps of TimeBy Gregory H. Simmons and Christopher Miles

The Great Hall of the Thomas Jefferson Building, Library of Congress.

Marble Chart for Floors in the Thomas Jefferson Building

CompressiveName Type Origin Color Grain Strength

Champlain Jasper Limestone Vermont Red Fine 25,000 psi

Champlain Lyonnaise Limestone Vermont Red Fine 25,000 psi

Dark West Rutland Blue Marble Vermont Dark Blue Fine 13,864 psi

Light Vermont Blue Marble Vermont Light Blue Fine 13,864 psi

Sutherland Falls Marble Vermont White to Gray Fine 13,864 psi

Dark Florentine Marble Vermont Blue Fine 13,864 psi

Dark Hawkins County Marble Tennessee Brown Medium to Coarse 18,000 psi

Creole Marble Georgia Dark Blue/ Coarse 13,000 psiBlack and White

Serpentine Mineral Varies Green Coarse to Medium 11,590 psi

Red Griotte Limestone France Red Fine 15,809 psi

Red Verona Limestone Italy Red Fine 15,809 psi

Siena Marble Italy Yellow Medium to Fine 25,354 psi

Carrara Marble Italy White Medium to Fine 18,258 psi

Belgian Black Limestone Italy Black Fine 18,129 psi

mine the amount of wear to specificareas over specific time periods.

The LDI/FARO scanner loggeddetailed information about the stairs’dimensions, and included fine-scalemeasurement of tread wear that iden -tified patterns. The accuracy of the scanswas .006¢¢ over a seven-foot length.The SURPHASER scanner capturedlarger scale data and images over widerfloor areas. Accuracy was .01¢¢ over a45-foot length.

To further understand why damagewas occurring, and to provide recom -mended procedures to minimize futuredeterioration, JMA interviewed staffwithin the LOC’s and AOC’s oper at ingdivisions. At the LOC, JMA talked withthe Visitors Services Division, which pro -vides tours to visitors; Public Programs,which coordinates special events; theInterpretive Programs Office, whichdesigns exhibit displays and exhibitlayouts; Security, which is responsiblefor screening visitors; and the CustodialService Vendor, which is responsiblefor floor cleaning. In addition to in ter -viewing LOC staff, JMA interviewedmembers of the AOC’s Facility Main -tenance and Construction Divisions.JMA then compared current floor-protection procedures used by the

Study ApproachThe consultants approached the studyby identifying all of the floor materialsand benchmarking existing floor wearwith lasers to gauge the level of wearon each tread and each portion of thefloor. They also interviewed AOC andLOC staff who are responsible for floorcare, to evaluate what impact theirefforts might have on the floors, andto determine the procedures currentlyused to maintain the floors.

It was discovered that 16 types ofstone were used to construct the floorsand stairs of the Jefferson Building. Dif -ferences in material density and com -pressive strength are known propertiesthat affect the wear of the material.Materials with higher density andcompressive strength are more resis -tant to wear. The materials used in theJefferson Building have compressivestrengths that range from 11,000 poundsper square inch (psi) to 25,000 psi.

The consultants benchmarked floorwear using two types of laser scanners.The scans determined the amount ofaccumulated wear on the floors and stairssince the building opened 113 yearsago. This baseline data is being used toprovide a functional bench mark thatcan be repeated at set inter vals to deter -

procedures, and provided recommen -dations to mitigate future wear. Thestudy also focused on the mosaic andmarble floors in three areas of thehistoric Jefferson Building: the WestMain Pavilion; the exhibit and meet ingrooms adjacent to the ground, first,and second floors; and the marblestairs to and from the ground, first,second, and gallery levels.


Marble staircase in the Great Hall.

Side view of wear patterns on the marblestairs.

Wear patterns: up vs. down.

Every department in the LOC, andevery AOC maintenance shop, usesvarious carts to transport materials.The average cart casters are often toohard and can contain grit. To reducewear and tear on the floors, it wasrecommended that all cart casters bereplaced with extra-soft rubber wheels.In addition, it was advised that the cartsbe rolled over the walk-off mats prior toentering architecturally sensitive spaces.

The final suggestion was to considerchanging pedestrian traffic flow peri -odically to balance wear patterns overtime. For example, the InterpretivePrograms Office staff could set uptemporary exhibits such that trafficpatterns will wear floor areas moreevenly. The Security and EmergencyPreparedness staff could change theentrances and exits to the buildings tobalance the wear in more critical areas.

ImplementationIn 2011, an expert team of AOC andLOC employees was assembled toimplement the report’s recom men da -tions. The team developed a spread -sheet detailing every recommendation,the specific action needed, the actionowner, and the anticipated timeline.The team worked together to quicklyimplement operational changes, suchas deploying walk-off mats in criticallocations, and switching to special coat -ings and finishes. Other recommen da -tions that require more time or re -sources are being monitored monthlyby the team and AOC and LOC seniorexecutives. As the recommendationsare being implemented and moni tored,the full impact of the improvementswill be captured when the floors andsteps are periodically remeasured.

Whether measuring the amountof floor wear or monitoring cleaningprocedures, the AOC and the LOCcontinue to fulfill their missions topreserve the historic buildings andcollections within their care forgenerations to come.

Gregory H. Simmons, P.E., CFM is Super in -tendent for Library Buildings and Grounds,Architect of the Capitol. Christopher Miles,P.E. is Assistant Superintendent for LibraryBuildings and Grounds, Architect of theCapitol.

acceptable limit of three-eighths ofan inch.

A safety concern would arise, how -ever, if a visitor travelled sideways acrossa step; therefore, visitors were remindedto travel adjacent to a handrail at alltimes when climbing and descendingthe stairs. When the study was com -pleted, it revealed that there were widevariations of floor care within Congres -sional buildings; however, all agreedthat there are four critical stages offloor care.

These are:

(1) Preventive: control dust, dirt,and grit.

(2) Routine: apply floor protectionregularly.

(3) Periodic: provide extra attentionto areas of increased traffic.

(4) Restorative: strip, recoat, andhone floors when required.

Summary ofRecommendationsBecause grit is the prime wear factorfor the floors, most floor cleaning inthe Jefferson Building is concernedwith reducing or eliminating grit. Thestudy recommended using walk-offmats as the most effective means ofreducing grit. The American Instituteof Architects (AIA) recommends that,to achieve 100 percent grit removal,a 25-foot mat is required.

Another major cause of wear isdamage done by stanchions, furniture,and cart casters. Because stanchionsare a portable solution to controlcrowds and queuing, they are widelyused in public buildings such as theJefferson Building. One of the keysto their effectiveness is that they areheavy—typically 35 pounds each—thus making them difficult to move.As a result, staff would often drag themacross the floor, causing serious damage.One solution is to make stanchiondollies readily available to staff, in orderto help them move the stanchions.

Most special events require furni -ture such as tables and chairs that arepushed across the floors. Damage maybe mitigated by using chairs com posedof materials that are less likely todamage the floors as they are slidout from the tables.

various groups to procedures used bymaintenance personnel and contrac torsin other Congressional buildings, includ -ing the U.S. Capitol, the Capitol VisitorCenter, the House Office Buildings,and the Senate Office Buildings.

FindingsThe area with the most wear was theinterior ground floor entrance, withmore than one-quarter inch of wear.This entrance is heavily used by facilitysupport staff. In addition, there isselective erosion where the body ofthe marble is wearing faster than theveins and inclusions in the marble.

The marble stairs show the mostwear, with some stair treads worn downmore than one-half inch from the orig -inal surface level. The stairs most usedby visitors are the two from the groundfloor to the first floor, followed by thestairs to the Minerva mosaic, which gofrom the second floor to the gallery levelto overlook the Main Reading Room.

It is interesting to note that there ismore wear when people travel up thestairs than when they travel down. Stairerosion is consistent in traffic pathsnear handrails. The deviation fromone step to the next was within the



Benchmarking: Are We Still Relevant?By Stacey Wittig

Steering Committee meets monthly toreview recommendations for changesto survey questions. Through this pro -cess, new questions are added andquestions that have lost value over theyears are scrapped. New questions wereformulated this year to gather compost -ing data, show variables in tempera tureand RH set points, and compare failurerates of fire-suppression systems.

“We use the data from IAMFA andother benchmarking reports to seewhere we fall on the continuum ofoperational and maintenance spend -ing,” says Kendra Gastright of theSmithsonian Institute. “The IAMFAbenchmarking survey is truly useful, be -cause we are able to make comparisonswith extremely like facilities.”

Tony Young, Vice-President ofFacilities Planning and Operations atthe Carnegie Museums of Pittsburgh,agrees. “Our President and Board arefrequently asking us to benchmark

our department to determine if weare cost-effective. IAMFA allows usto bench mark against our peers, asopposed to general office buildings(BOMA).”

“I grab the benchmarking reportseveral times a year to help answerquestions about our budget requeststo headquarters,” says Gastright.

“IAMFA Benchmarking allows theLibrary to identify where it is on paral -lel with its peers, and where opportunityfor continuous improvement exists. Italso helps us to identify trends under -way in the cultural institution arena,”explains Charon Johnson of the Libraryof Congress. Identifying trends isimportant to IAMFA members, andthat is why hot-topic discussions aresome of the most valued parts of theBest Practices and Learning Workshop.

Current Facility IssuesDiscussedYoung adds, “The benchmarkingsession at the IAMFA conference isa wonderful opportunity to reviewthe benchmarking survey and openlydiscuss museum facility issues withpeers.”

“Whilst not treating benchmarkingstatistics as a league table, by examin ingthese results one can see where furtherinvestment can be made to achieve animproved performance. This is why itis so important to attend the annualbenchmarking workshop, where col -leagues can explain how they achievedan improved performance,” says Plumb.

Guy Larocque of the CanadianMuseum of Civilization concurs. “Theannual Benchmarking Workshop isthe most useful exercise in networkingwith other museum Facility Managers,to share information and come backwith valuable lessons that I may applyto my organization.”

Benchmarking is a key part ofcontinuous improvement andstrategic planning. Many experts

recommend that you benchmark pro -cesses upfront, and measure perfor -mance over the years. Others, however,have asked, “Are we still relevant?” Isthe data collected year after year stillmeaningful in today’s ever-changingfacility environment?

To answer these questions, wedecided to ask IAMFA benchmarkingparticipants.

“I use the benchmarking informa -tion to compare and justify all sorts offacilities costs, as well as identify wherewe can do better,” says Joyce Koker,Facilities Manager at the Harley-Davidson Museum. “Every year Itake the results for like-sized U.S.museums and prepare a presentationfor my staff, colleagues and museumleadership team.”

“It is very important for the NationalLibrary of Scotland to be able to dem -onstrate that it receives value for moneyin all its contracts—especially the FMcontracts, which are some of the largestcontracts the Library has. By partici -pat ing in the IAMFA Benchmarkingexercise, I think the Library can dem -onstrate that it is meeting this require -ment,” notes Jack Plumb of the NationalLibrary of Scotland.

IAMFA benchmarking is used tomeasure performance, using specificindicators such as area maintained perFTE, cost per area cleaned, utility costsper area, and trouble-call cycle time.The result is a metric of performancethat helps FM administrators evaluatenumerous aspects of their processes inrelation to others.

Peer Group Survey To ensure that the survey remainsrele vant, the IAMFA Benchmarking

Patrick Jones from the Art Institute of Chicagoaddresses benchmarking participants atthe Benchmarking Practices and LearningWorkshop in Auckland, New Zealand.


“When I think of the IAMFA bench -marking process, I see an active peergroup that is willing to share theirexpe riences to help others,” says KeithMcClanahan of Facility Issues. “Thebenchmarking process helps identifywho may have some of those ideas, butit is the group’s willingness to sharethat provides the value.” McClanahanheads Facility Issues, the benchmarkingconsultancy with which IAMFA partnersto facilitate the study.

DefinitionsTo acquire meaningful data, definitionsmust be set. Some the best banter atSteering Committee meetings happenswhen members try to agree on defi -nitions based on jargon from threeconti nents. This year all reference to“Custodial” changed to “Janitorial”because in the U.K., “custodial” refersto incarceration. Participants areasked to refer to the definitions thatare published online as they inputtheir data.

Importance of BenchmarkingYear after Year“By participating in the IAMFA bench -marking exercise on a regular basis,the Library can measure whetherchanges made within the Library’soperations have been successful or

otherwise. This is especially relevantwhen capital investments have beenmade to improve efficiency: that savingscan be demonstrated,” says Plumb.

“This year will be our fourth yearparticipating, and the trend infor ma -tion for our facility individually, as wellas all participants as a whole, gets moreinteresting and relevant every year,”adds Koker.

“The survey report allows me tocompare our own building’s annualoperating and energy trends,” saysLarocque, who also co-managedthe design and construction of theCanadian War Museum. “And it facili -tates my search for other organizationsthat are top performers, which I maythen approach to better understandwhat practices that they follow in orderto achieve their results.”

“The annual IAMFA benchmarkingreports have provided me with solidand verifiable data to present to ourMuseum’s senior management and toour major funder, the Government ofCanada,” says Larocque. “[We] haveproven … that our buildings are beingmanaged very cost-effectively and withoperations running at optimal levels.”

“Senior management and the federaldepartment responsible for museumsask for a copy of the benchmarkingreport every year, as it serves as a baseof metrics in determining future bud -gets for operations and capital projects,”Larocque notes.

“In a nutshell,” he addes, “IAMFAbenchmarking has been most bene -ficial to my organization over the pasttwelve years.”

Stacey Wittig is the Marketing Directorfor Facility Issues, located in Flagstaff,Arizona. She can be reached [email protected]

Marie-Pierre Marché from the Grand Palaisin Paris at the 2011 Benchmarking Practicesand Learning Workshop.

Past issues of

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No matter the size of your FMorganization, lean leadershipcan be beneficial. Smithsonian

facility managers have discovered thatthey have already been using leanleadership without recognizing it.

“Lean” is one of the most commonlymisused terms in the facility manage -ment lexicon, yet it is a favorite adjectiveof many facilities supervisors when try -ing to explain process improvements—and it is easy to see why. Lean is defineddifferently within various organizations.For facility leaders, lean is about increas -ing productivity through continuousimprovement and constructive leader -ship. Lean organizations are indis -putably more efficient, more accurate—and, most tantalizingly, more successful.If you desire less complication and moreproductivity within your organization,lean principles are the ticket.

That being said, although the termhas been adopted into the generalvocabulary of the facility managementworld, few people can actually defineit. Even more challenging for facilitymanagers (FMs) is describing howto achieve lean methods within theirorganizations. Lean knowledge is toovaluable to simply be used as a descrip -tor of potential success: it is not justabout understanding the concept andpotential; it is about implementing theconcept for improved organizationalperformance. It is time for FMs tobecome lean leaders within theirorganizations. This begins by not justtalking lean, but walking lean, too.

If facilities leaders are to reap all ofthe benefits a lean system has to offer,they must first understand its twoprinciples: continuous improvementand respect for people. Most FMs aresuperficially familiar with the firstprinciple—continuous improvement—when they think about eliminatingwaste. Rarely, however, do FM leadersknow how waste is identified in a leanorganization, or what to do with it onceit is found. The second prin ciple, respectfor people, is frequently misunderstood.

Lean Leadership in Facility ManagementBy Stephanie Wurtzel and Judie Cooper

Chuck Berry’s famous red Cadillac.


This principle is more dynamic thansimply being courteous, and strikes atthe very heart of what strong leader -ship truly is. If these two principles arelearned and, in turn, practiced, theycreate organizations that are strongboth internally and externally.

Lean Pillar One:Continuous ImprovementThe first principle of lean, continuousimprovement can be implemented inmany ways within an FM organization;however, the most important to executeis eliminating waste. You can begin byconsidering the categories of waste thatmay be slowing your organization down.

Since Taiichi Ohno first definedlean waste categories for Toyota in the1980s (Ohno, 1988), lean authoritieshave expanded upon Ohno’s work todefine eight waste categories (Emiliani,1998). Today, the eight major cate -gories of waste come together in thefitting acronym “downtime”.

D.O.W.N.T.I.M.E:

• Defects• Over production• Waiting• Non-value-added behaviors• Transportation• Inventory• Motion• Excess Processing

At the Smithsonian’s Office ofFacilities Management and Reliability(OFMR), problems with the thirdwaste category, “waiting,” are clearlyidentifiable. Due to ongoing capitalprojects and aged facilities in the19 museums and nine research cam -puses, Smithsonian FM personnelmust constantly wait for delays relatedto purchasing, delivery, security andrestricted access. In addition, OFMRoften waits to move collection itemsthat are very unique in nature, becausethe correct equipment is unavailable.

Recently, moving Chuck Berry’sfamous red Cadillac into storage hadto wait until space was cleared andmoving equipment became available.Because the Smithsonian is open tothe public 364 days a year, many OFMRtasks must also wait due to the difficultyof scheduling intensive tasks duringthe relatively limited off-hours. Idletime is not only frustrating to facilitymanagers; it can also be problematicfor the Smithsonian’s fragile living col -lections. Animals at the Smithsonian’sNational Zoological Park and the livingbotanical collections of SmithsonianGardens must avoid waiting, as it canpresent a major hazard to the healthof these collections.

Lean Pillar Two: Respect for PeopleThe second pillar of lean principles,respect for people, is as critical ascontinuous improvement. Practicingcontinuous improvement alone willmake an organization successful—butonly in the short term. Making anorganization lean requires that thesystem being created be sustainable.This sustainability is achieved whenpracticing respect for people andseeking continuous improvementoccur simultaneously.

This second pillar is frequently mis -understood or overlooked, becauserespect for people transcends commoncourtesy. Respecting others is not so


much about being nice to one anotheras it is about leading in a way thatencompasses a colleague’s ideas, per -spectives, and needs. Lean leadershipmeans that the leader sets the behavioralexample and standards for the wholeorganization. Although this may seemobvious, not practicing this principleis the main cause of non-value-addedbehaviors (Emiliani, 1998), such assarcasm, frustration, practical jokes,dominance, and gossip. Evaluatinghow “non-value added behaviors” affectyour organization is an important stepwhen planning for continuous improve -ment. If FMs are focused on non-value-added behaviors such as blame andjudgment when a problem arises, theywill not be able to clearly see how tofix the system’s true problem.

To avoid these tensions, FM leadersshould practice the second lean prin -ciple by leveraging the collaborativetalents of their workforce. When tryingto facilitate an organizational change,FMs should practice what lean leaderslike Ohno call kaizen. Kaizen translatesas “continous improvement”, but thecore definition contains three principlesbased on respect for people. Kaizen’sthree principles are:

1) Process and results versus resultsonly

2) Total system focus versus functionalfocus

3) Non-blaming/non-judgementalversus blame

(Emiliani, Stec, Grasso and Stodder,2007)

If a large organizational change isbeing considered, hosting a kaizenevent is an effective way of encouragingemployees to contribute their per spec -tive and ideas for improvement. Regard -less of whether or not an idea is chosen,employees will understand that theyhave other channels to talk with leader -ship. OFMR leaders are masters ofcollaborative decision-making. OFMRDirector Nancy Bechtol often refers tothe organization’s decision process bystating, “If we don’t all get on the traintogether, we can’t move forward.” OFMR

employees know that their ideas areconsidered in the decision process.This philosophy creates and sustainstrust within an organization, whilealso fostering positive attitudes andgood working relationships.

Leadership based on respect forpeople and collaborative decision-making highlights the need for rela tion -ship management and communicationwithin the organization. Respect forpeople is a complex principle of leanleadership that requires daily practiceand a strong role model. To be a truelean student, you must under stand thatgreeting employees and encouragementis only the tip of the iceberg. Fasterdecision-making by a few managers mayseem to be more efficient, but doesnot reflect a systems focus. To success -fully implement orga nizational initia -tives, the impact of an organization’sprocesses, results, structure and attitudesmust be considered.

ConclusionIntroducing and adopting lean methodsinto an FM organization requires chal -lenging old styles of thinking and oper -ating. Yet, when correctly practiced,lean efforts pay off by bringing a higherlevel of balance to the organization.

Great lean leaders are great lean edu -cators and role models. As you beginto introduce lean methods into yourorganization, remember that oper at -ing lean means continuously practicingincremental improvement.

Despite originating within themanufacturing industry, lean has hada positive impact on fields as diverseas maintenance, construction, andlogistics—all directly related to theFM profession. FM teams will findthat operating lean brings a higherlevel of productivity to the table, and asharper alignment with organizationalgoals. For additional information,visit the Lean Enterprise Institute(www.lean.org), or refer to PracticalLean Leadership: A Strategic LeadershipGuide for Executives or Kaizen Heart andMind: A Collection of Insightful Essayson Lean Leadership (Volume 1) by M.L. Emiliani (The CLBM, LLCWethersfield, Conn., USA).

Additional Lean Reading MaterialsEmiliani, M.L., Dave Stec, LawrenceGrasso and James Stodder. BetterThinking, Better Results: Case Study andAnalysis of an Enterprise-Wide LeanTransformation. Wethersfield, CT: TheCenter for Lean Business Management,LLC, 2007.

Emiliani, M.L. “Lean Behaviors”,Management Decision, Vol. 36, No. 9,1998. pp. 615-631.

Ohno, Taiichi. Toyota production system:Beyond large-scale production. Cambridge,MA: Productivity Press, 1988.

Stephanie Wurtzel is a Visiting Student withthe Smithsonian Institution. Her currentresearch involves exploring how technologyaffects the Facility Management world.Stephanie received her Master of Science inTechnology Management in 2011, and isnow pursuing a graduate degree in MuseumStudies at Johns Hopkins University.

Judie Cooper, CFM is a Facility ManagementAnalyst at the Smithsonian Institution. Judieis responsible for facilities training, identify -ing and implementing best practices, andorganizational performance-improvementinitiatives. She received her CFM in 2009,and is the current President of the Museums/Cultural Institutions Council of IFMA, aswell as being an active IAMFA member.

SUCCESS

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FMExcellence

Two components for a successful LeanLeadership Program: respect for peopleand continuous improvement.

The biggest buzz in building designand construction over the pastdecade has been sustainability.

This word is often used interchangeablywith the term green to represent envi -ronmentally-friendly facility projects.Many museums have made sustainabledesign a cornerstone of their newconstruction and/or major renovationprojects. Moving forward, in fact, itseems that sustainability is becomingthe expected norm for museums.

Although an ever-increasing numberof green features are being designedinto museum infrastructures, as wellas green processes and proceduresincorporated into museum con struc -tion, a green project does not necessarilyresult in a sustainable museum. Thekey to long-term, meaningful sustain -ability is maintainability; i.e., a museum’sability to maintain and operate thegreen features and systems throughoutthe life of the museum.

What is Green?The following are examples of themyriad green features often con sideredfor incorporation and/or implemen -ta tion within a major design and con -struction project. Which features areincluded in any particular project resultfrom determinations made by theowner and design team of appropriate -ness and best value for the institution,depending on the project’s location,budget, and mission.

Minimizing EnvironmentalDisruption during Design andConstruction

• Use of recycled materials

• Use of local resources (materialsand people)

• Use of renewable resources

• Recycling construction waste

• Avoiding construction onundeveloped land

Minimizing Resources Required toOwn and Operate the Museum

• Energy efficiency

• Local replacement parts and services

Incorporating Static Green Systems

• Windows

• Roofs

• Light fixtures

• Carpeting

• Paint

Incorporating Dynamic GreenSystems

• Heating, ventilating, and airconditioning (HVAC) systems

• Demand-based ventilation— Carbon dioxide concentration— Occupant counts— Time-of-day scheduling

• Demand-based temperaturecontrol— Variable air volume— Variable-supply air

temperature

• Lighting controls• Occupancy sensors• Daylight control

• Automated plumbing fixtures• Toilets• Faucets

• Domestic hot water• Solar heat• Heat recovery

• Renewable electricity supply• Solar photovoltaics• Wind

• Green roofs

For the most part, Minimizing Envir -onmental Disruption during Design andConstruction is the only category thatcan be considered project-relatedalone. Once design and constructionare complete, the museum can claimsuccess in these areas of sustainability.For the other categories, however, thedesign and construction process isonly the first step in achieving sus tain -ability. Once the new systems and/orfeatures are installed and put intooper ation, it is critical that they bemaintained properly in order to achievetheir desired sustainable performance.

Because green features are—almostby definition—new and sometimes morecomplex than their traditional counter -parts, maintenance require ments willnot necessarily be intuitive to futurebuilding operators. As such, in order tobe as sustainable as possible, the designand construction process must includeconsideration of the future maintain -ability of the new components and sys -tems. Without appropriate maintenanceplanning, documentation, and tools,the green features incorporated intonew design and construction projectswill not be sustainable. In fact, thesesame green features may becomeliabilities, result ing in more energyconsumption and higher rates ofreplacement—and/or abandonment—than more traditional projects.

What is MaintainableDesign and Construction?The following are recommendationsfor design and construction teamsto oversee and implement, priorto turning the new building and itsgreen systems over to the museumto operate. These will enhance thepotential of green elements to remainsustainable over time.


Green vs. SustainableBy Rebecca T. Ellis


Simplicity

• Just because you can do something,doesn’t necessarily mean you should.The more complex a system is, themore difficult it will be to under -stand and maintain over the multiplegenerations of future operationsand maintenance personnel.

Improving the energy perfor -mance of building systems—a majorobjective of green design—inher -ently involves increased complexityto better match energy consumptionto the needs of the museum on aminute-by-minute basis. This is thekey to reducing energy use, with-out sacrificing the all-importantcollections environment.

There is a point of diminishingreturns, however, at which additionallevels of complexity have a minimalimpact on energy consumption,while also costing more to maintainthan the energy savings they mayoffer. Exactly where that point landsis different for every system and

every museum, and should be care -fully considered by the design teamin collaboration with the museumowner/operator.

Examples of green features thatshould be considered in this lightare:

• Building system components—particularly in relation to relia -bility and the cost and availabilityof replacement parts

• Energy-using system controlsequences of operation

• Alarms—only specify alarms thathave a response plan associatedwith them

• Inter-system communications—how important is it to energyconservation and sustainableoperations that HVAC, lightingcontrols, security, fire alarm, etc.,systems “talk” to one another?

• Carefully consider the differencebetween a green feature’s “cool

factor” and the museum’s actualneed for it.

Documentation One of the most valuable tools thedesign and construction team can pre -pare for the museum owner/operatoris project-customized documentation ofthe green features and systems installedin the building. This goes beyond theequipment operations and mainte -nance manuals which explain howto maintain, repair, and troubleshootindividual components. The mostvaluable documentation is system-based and addresses what each systemis intended to do; why it was designedthe way it was; the components com -prising the system; all the differentmodes of operation; and the keys tomaintaining proper operation of thesystem as a whole.

The following are examples of thetype of information that should beincluded in this type of documentationfor each system.

INSPIRED DESIGN, INNOVATIVEENGINEERING

OurClients Include:

BaltimoreMuseum of Art

Delaware Museum ofNatural History

Monticello Visitor Center

National Gallery of Art

Smithsonian NaturalHistory Museum

U.S. Holocaust Museum

Virginia Museumof Fine Arts

Walters Art Museum

Winterthur Museum

For more information, visitwww.muellerassoc.com410.646.4500

“Our museum clients, and thearchitects they select, aresophisticated and knowledgeableabout their objectives. Wepride ourselves on beingup to the challenge.”

Robert Marino,PE, LEED APPresident,Mueller Associates

Smithsonian Institution - National History Museum

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• Operational Intent

• Space temperature and relativehumidity conditions

• Light levels

• Occupancy schedules (staff andpublic)

• Seasonal differences, if any

• Why each system was designedthe way it was

• Schematic Diagrams

• All system components

• How they are connected (bypiping, ductwork, and/or wiring)

• Sequences of Operation; i.e., whateach component does under vary -ing operating conditions, and howthe individual components com -municate and coordinate with oneanother

• All normal modes of operation• Emergency modes of operation

• System Interactions; i.e., how dosystems communicate with eachother and why? Examples of sys -tems which may need to talk toeach other include, but are notlimited to:• HVAC• Fire alarm• Lighting controls• Security

• As-Built Building Plans showing keycomponent locations• All system components shown in

the Schematic Diagrams• Manual shut-off valves • Smoke/fire dampers• Control system dampers and valves• Control system sensors

What is Maintainable –Museum Operations?The following are recommendationsfor the museum owner/operator toconsider during the design and con -struction process, in preparation forlong-term sustainable operation of thenew building systems. The museumneeds to have an operating plan inplace, as well as staff trained and readyto go immediately upon completionof construction.

It is critical that the museum under -stand that new buildings do not runthemselves, even if they have computerscontrolling each system. Also, day-to-day operations may look different insustainable buildings than in theirtraditional counterparts. The fol low -ing are some key points to operating agreen building in a sustainable fashion.


• Preventive Maintenance • All traditional equipment

maintenance activities (filters,lubrication, belts, etc.)

• Control-system sensor calibrations

• Control-system device operationalchecks (primarily valves anddampers)

• Accessibility to all of the equip -ment requiring maintenance iscritical

• Avoid Trouble Calls

• Monitor and trend key data avail -able in the system computers forclues regarding performance thatis drifting out of control

• Proactive data analysis— Use data to discover trouble

spots before the buildingoccupants do

— Analyze data clues to under -stand any root causes thatneed to be addressed

— Identify wasted energy nototherwise detected

• Program “smart alarms” todo some of the above for youautomatically

ConclusionWithout planning for and imple ment -ing a robust maintenance program fora green museum, it is likely to becomea Non-Sustainable Green Building.Non-Sustainable Green Buildings can:

• Cost More to Operate thanTraditional Buildings

• Energy

• Replacement components

• Maintenance

• Perform Worse than TraditionalBuildings and Influence CollectionsPreservation

• Complex systems overriddento manual operation

• Quality of unproven newcomponents and systems

• Equipment life expectancy

The keys to making a green buildinga sustainable building include:

• Systems Documentation

• Tools and Processes for Monitoringand Analyzing System Performance

• Operator Skill Sets and Training

In summary, in order to achieve atruly sustainable museum, it is criticalto focus as much attention on long-term operations as on design andconstruction.

Rebecca T. Ellis, PE, LEED AP BD+C, CCP,CPMP, CxA is President of Questions &Solutions Engineering Inc. based in Chaska,Minnesota, USA. She can be reached [email protected]

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www.IAMFA.org

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National Museum of AmericanJewish History

2012 IAMFA Con

Independence Hall

Longwood Gardens

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

IAMFA2012

Hagley Museum

National Constitution Center

DELEGATE PROGRAM SUNDAY,

8:00 am Benchmarking workshop Ritz-Carlton—Petite BallroomNOTE: This is a separate workshop for benchmarking participants only, and not part of the IAMFA Conference.

3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room

5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange Room

MONDAY, 8:10-9:00 am Trolleys depart for Philadelphia Museum of Art, Timothy Rub or Gail Harrity

Opening Remarks/Notes

9:00-9:50 am Presentation 1: Watch IAMFA.ORG for more details on presentations as they become available

9:55-10:40 am Presentation 2

10:40 am Coffee and Break

11:00-12:30 pm Tour Options: BAS, Behind-the-Scenes & Art Gallery Tour, Philadelphia Museum of Art Self-Guided Tour

12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant

1:30 pm Walk to Mystery Museum Welcome

2:00-2:50 pm Presentation 3

3:00-4:00 pm Tour Options: Architecture and Landscaping, M&O, Mystery MuseumLEED Initiatives

4:00-4:45 pm Walk and Tour Rodin Museum

4:45-5:00 pm Walk to the Ritz-Carlton

5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD

5:30 pm IAMFA Board Meeting/Dinner TBD

TUESDAY, 7:30-8:30 am Bus trip to Delaware Welcome from Danielle Rice

8:40-10:30 am Annual General Meeting, Tour Collections Delaware Art Museum

10:30-12:00 pm Bus trip to Winterthur, Welcome, Guided Museum Tour Winterthur

12:00-1:00 pm Lunch Winterthur

1:15-2:30 pm Brown Horticulture Learning Center Project, Winterthur Stanley Steamers, Garden Tram Tour

2:45-3:15 pm Bus trip to Hagley Museum Opening Remarks: Geoff Halfpenny

3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum

5:00 pm Buses depart for Longwood Gardens

5:30-6:30 pm Tour Options: Pump Room, Conservatory with Longwood Gardens, Conservatory guide, tunnels

6:30-9:30 pm Cocktails, Dinner in Conservatory, Fountain Show Longwood Gardens, Conservatory

9:30 pm Buses depart for Ritz-Carlton

WEDNESDAY, 7:30 am Trolleys depart for National Museum of American Opening Remarks—TBD

Jewish History

8:15-9:00 am Presentation 4: Benchmarking Speaker: Keith McClanahan

8:15-9:00 am Board Meeting with new Board Members National Museum of American Jewish History

9:00 am Coffee Break

9:20-10:10 am Presentation 5: Fire Protection Speaker: Jack Mawhinney, Hughes Associates

10:10-12:00 pm Tour Options: Facilities Tour, Collections Tour, National Museum of American Building Tour Jewish History

12:00-1:00 pm Lunch National Museum of American Jewish History

1:15-4:00 pm Walk to Independence Visitor Center, Self-Guided Independence National Historical Liberty Bell Tour, Guided Tours of Park, or Free Time National Park

4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off

4:30-6:30 pm Free Time

6:45 pm Trolleys depart for Gala (Show, Cocktails, Dinner, Speakers) National Constitution Center


ference Schedule


Philadelphia Museum of Art

Ritz-Carlton Philadelphia

Rodin Museum

Winterthur Museum and CountryEstate


IAMFA2012

The Delaware Art Museum

GUEST PROGRAM SEPTEMBER 16, 2012

3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room

5:00-7:00 pm Opening Ceremony Ritz-Carlton—Exchange Room

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

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

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

12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant

1:30 pm Walk to Mystery Museum Welcome

1:50-2:30 pm Museum Tour Mystery Museum

2:30-4:45 pm TBA TBA

4:45-5:00 pm Walk to the Ritz-Carlton

5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD

SEPTEMBER 18, 2012 7:30-8:30 am Bus trip to Delaware Welcome from Danielle Rice

8:40-10:30 am Tour Museum and hands-on activity in Studio Room Delaware Art Museum

10:30-12:00 pm Bus trip to Winterthur, Welcome, Garden Tram Tour Winterthur

12:00-1:00 pm Lunch Winterthur

1:15-2:30 pm Guided Museum Tour Winterthur

2:45-3:15 pm Bus Trip to Hagley Museum Opening Remarks: Geoff Halfpenny

3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum

5:00 pm Buses Depart to Longwood Gardens

5:30-6:30 pm Tours Longwood Gardens, Conservatory

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


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

10:45 am Gather in Hotel Lobby for trolley

11:00 am Trolley departs for National Museum of American Jewish History

11:15-12:00 pm Tour Gallery Spaces National Museum of American Jewish History

12:00-1:00 pm Lunch National Museum of American Jewish History

1:15-4:00 pm Walk to Independence Visitor Center, Self-Guided Independence National Historical Liberty Bell Tour, Guided Tours of Park, or Free Time National Park

4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off

4:30-6:30 pm Free Time

6:45 pm Trolleys depart for Gala (Show, Cocktails, Dinner, Speakers) National Constitution Center



2012 Mid-Atlantic

Conference Venues


On behalf of the membership and Board, we invite youto join with other museums and cultural organizationsthrough out the world in becoming a member of the onlyorganization exclusively devoted to museum and culturalfacility admin istrators: the International Association ofMuseum Facility Administrators (IAMFA). As a member,you will join a growing list of museum and cultural facilityadministrators in their efforts to provide a standard ofexcellence and quality in planning, development and design,construction, operation and maintenance of culturalfacilities of all sizes and varieties of programming.

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

Your involvement in IAMFA will continue the growthof the organization and provide you with excellenteducational and networking opportunities. As yourcolleagues, we look forward to welcoming you tomembership in IAMFA.

Cordially yours,The Board of the International Association of MuseumFacility Administrators

Membership OpportunitiesJoin the IAMFA at any of the following levels and enjoyfull benefits of membership:

Regular Member — $200 annually. A regular memberholds the position of principal administration in directcharge of the management of facilities, and representstheir institution(s) as a member of the association.

Associate Member — $75 annually. An associate member isa full-time facilities management employee (professional,administrative or supervisor), below the level of thefacility administrator of the member association.

Affiliate Member — $75 annually. An affiliate member isany full-time employee of a member institution who is notdirectly involved in the facilities management department.

Retired Member — $75 annually. A retired member isretired, and no longer involved in facilities management.

Subscribing Member — $400 annually. A subscribingmember is an individual, organization, manufacturer ofsupplier of goods services to the institutions who ascribesto the policies and programmes of the Association, andwishes to support the activities of the Association.

YES! I would like to join IAMFA as a:

� Regular Member $200 � Retired Member $ 75

� Affiliate Member $ 75 � Subscribing Member $400

� Associate Member $ 75 � I am interested in joining. Please have a member contact me.

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

� I enclose a check in the amount of $ ____________________

� Please invoice me

�

Send in your membership dues by using the convenient form below. Membership payments and conference registration can also be made online at www.IAMFA.org

Don’t forget to make a copy to give to a colleague.

Please remit to:International Association of Museum Facility AdministratorsP.O. Box 454Bel Air, MD 21014, USA

Website: www.iamfa.org

Become a Member of IAMFABecome a Member of IAMFAAND GET A FRIEND TO JOIN


In a well-tuned and stable controlloop, the modulated valve positionor loop output can be taken as an

indication of how well the heating orcooling system is handling its load.

In the case of an air-cooling loop,the position of the chilled-water con -trol valve is determined by the down -stream cooling requirement—i.e., theload—but also by the temperature ofthe chilled water flowing through thecooling coil. Naturally, colder waterproduces a better cooling effect thanwarmer water, meaning that the immer -sion temperature of a coil inevitablyaffects the degree of valve-openingrequired.

Conversely, the valve-opening posi -tion can be used to determine whetherthe temperature of the water flowingthrough the coil is sufficiently coldenough to satisfy the downstreamcooling requirement.

Clearly, a cooling valve being heldfully open by a control loop, and there -fore deemed to be struggling with itsload, would benefit from a reduction inthe chilled water temperature avail ableto the coil. The opposite also applies,however: a partially open cooling valveindicates that the downstream require -ment is being satisfied quite easily withthe chilled water temperature cur rentlyavailable from the system’s chillers.In which case, the chilled water couldactually be warmer!

Engineers at the National PortraitGallery (NPG) in London are nowusing this principle to make significantsavings to their chilled-water produc -tion costs. Chilled water is no longerproduced at an arbitrary 6.0°C irre -spective of the load, as is the case inmost buildings. Instead, chilled wateris only cooled to a temperature that issufficient to handle the prevailing loadconditions. Under this new regime, thechilled water temperature can floatanywhere between 6° and 12°C.

The Gallery operates two air-cooledchillers, and one water-cooled chiller.Engineers at NPG have developed anew interface for these chillers, andemploy the Gallery’s Building Manage -ment System (BMS) to control theselection and operation of the chillersautomatically. Part of this interface isresponsible for controlling the vari -able setpoint of the chilled watertemperature.

The BMS at the NPG consists of25 PLC outstations. All are connectedvia a high-speed Ethernet/IP networkto a central supervisory outstation.Among its many tasks, the supervisoryoutstation is responsible for collectingthe real-time position of all chilled watervalves on the system. Armed with thisinformation, decisions are made withinthe supervisor’s software about thechilled-water temperature requirement.

Gallery engineers worked togetheron a three-month development of soft -ware routines and trials to achieve thedesired energy-saving results. Althoughcomplex in final design, fundamentally,

control valves that are more than 85%open are deemed to be working hard,and valves open less than 15% aredeemed to be coping well. These twobasic conditions are used to initiate adecrease or increase, respectively, in thechilled water temperature producedby the chillers—assisting the valveson one hand, and saving energy onthe other.

In the mid-range—i.e., with all valvepositions between 20% and 80%—theBMS invokes a slow setback (increase)of the chilled water temperature at arate of around 1°C per hour, untileventually one or more valves on thesystem opens beyond the 80% markdue to the elevated water temperatureflowing through the coils. Any valvecrossing this 80% threshold causes thechilled-water setback routine to holdat the current setpoint value. This set -point hold feature continues when -ever a valve or valves sit in the 80% to85% dead-band region.

Similar routines allow the chilledwater temperature to rise at a faster

Smart Chilled Water at the NationalPortrait GalleryBy Allan Tyrrell and Kevin Dunn

The main entrance features banners advertising the current Lucien Freud exhibition.


rate when the control loops aredeemed to be coping easily; i.e., whenall valves are only marginally open.Likewise in the mid-range—20% to80%—options exist for the rate ofchange in setpoint temperature to

be accelerated or decelerated by thecombined valve positions.

The above thresholds and rates ofchange are arbitrary values, and allare adjustable within the gallery’s BMSsoftware. These parameters are selected

and set to allow the chilled water tem -perature to rise to a level that maintainsthe capacity to correct gallery condi -tions whilst saving on energy usage.The net result is good environmentalconditions at minimum cost.

In addition to valve-position data,gallery space alarms are also monitoredby the supervisory outstation over theEthernet/IP network—in particular,high and high-high temperature andrelative-humidity alarms. Althoughan unlikely occurrence, these alarmsoverride the chilled-water setbackroutines and accelerate the restorationof a cooler chilled-water setpoint,as required.

Despite the robust nature of theGallery’s BMS network, good practicedictates that the possibility of trans -mission failure must also be moni tored.Software routines exist within the newset-up to watch for these unlikely events,and adjust the setpoint accordingly.

This strategy is similarly deployedon the Low Temperature Hot Watersystem for heating, ventilation and airconditioning, to control room tem per -atures via the steam-heated calorifierswithin the Gallery.

Allan Tyrrell is Engineering Manager at theNational Portrait Gallery in London. KevinDunn is BMS Development Engineer at theNational Portrait Gallery.

A single page shot of the BMS. The increased temperature achieved on the chilled wateris due to the control valves throttling back. The system is not requiring as much coolingcapacity as the 6°C minimum can provide.

HAWKINS: PROUD BUILDER OF THE AUCKLAND ART GALLERY DEVELOPMENT.

Hawkins Auckland Level 2 - Hawkins House, 70 Stanley St, Parnell, Auckland Private Bag 93214 Parnell, Auckland 1151 Phone | 09 918 8100

The Auckland Art Gallery development has been an inspiring and ground breaking project for Hawkins, and we applaud the commitment and vision of Auckland Art Gallery, and its wide network of supporters, in realising this ambitious project. We expect that all users of this great facility will draw as much enjoyment from it as we have building it.


IAMFA2012

Please join us September 16–19, 2012

in Philadelphia for the

22nd Annual IAMFAConference

It will be a Historical Event!

For more information, please visit

www.IAMFA.org


As the Baltimore Museum of Art(BMA) approaches its centen -nial celebration in 2014, the

institution has embarked upon an ambi -tious three-year capital renovationprogram. Planned improvements willtransform galleries, improve the visitorexperience, and upgrade buildingssystems that are critical to operationsand the safekeeping of collections.

“This unprecedented physicaltransformation is vital to the BMA’sfuture,” says Director Doreen Bolger.“We want to ensure that the Museumis relevant to future generations ofmuseum-goers and an even greatercultural magnet for the region.”

Not Glamorous, But Important“In the museum world, when you’reprioritizing budgets and expenditures,you want to focus on enhancing thevisitor experience and the collections,”says Ken Rock, PE, LEED AP, a seniorvice-president with the mechanical/electrical engineering firm of MuellerAssociates. “The BMA has done anexcellent job, however, of keeping itsfacilities up to date and running effi -ciently as well. Ultimately, that helpsto ensure the protection of the col lec -tions, while also minimizing expendi -tures for energy and maintenanceover the long term.”

Mueller Associates is part of anexpe rienced team, along with thearchitectural firm of Ziger/Snead,that is responsible for the design ofthe latest renovations to the BMA.Careful phasing of design and con -struction is ensuring that the museumcan remain open to visitors throughoutthe process.

“Mueller is one of the consultantson the very talented design team forour $24 million Phase I and Phase IIrenovation projects,” says Alan Dirican,CFM, MBA, Deputy Director for oper -

ations and capital planning for theBMA. “They have the not-so-glam orousbut enormously important responsi -bility for engineering the infra struc -ture improvements, including thebuilding automation system. Thecurrent BAS is about 17 years oldand is no longer supported by themanufacturer.

“It has been an easy decision forthe Museum to request Mueller as oneof the design team members,” addsDirican. “We have had a long and verysatisfactory working relationship withthem through numerous renovationand expansion projects, chiller up -grades, and other infrastructure improve - ments over the years. They not onlyunderstand the unique require mentsof the museum environment, but arealso very familiar with our mechanicaland electrical systems.”

According to Bob Marino, PE, LEEDAP, Mueller Associates has been work -ing with the BMA since the 1970s,

engineering more than 40 improve -ment and new construction projects.The firm served as the mechanical/electrical engineer for the East Wingaddition in the early 1980s; the WestWing addition in 1994; the renovationof the Cone Wing; installation of a newchiller; and roof replacements for theCone Wing, the East Wing, and theJacobs Building.

”Our knowledge of the intricaciesof the HVAC, plumbing, and electricalinfrastructure and distribution systemsat the BMA enables us to inform thedecision-making process for repro gram -ming spaces, proposing renovations,and determining the cost impact ofconstruction,” says Marino. “With thehistorical Pope building and the variousadditions, there is a complicated net -work of ductwork and pipes woventhroughout the Museum. It’s alsoimportant to assess the systems on anongoing basis to ensure continuedfunction and reliability.”

Renovating the Baltimore Museumof ArtBy C.L. Taylor

Aerial View of the Baltimore Museum of Art.


A Unique FacilityThe current round of renovations willtransform the Contemporary Art Wingwith state-of-the-art lighting, a newblack-box gallery, and redesigneddisplays. In the American Wing, ninegalleries will be renovated, with high -lights including a new showcase for theworks of Louis Tiffany, and a gallerydedicated to Maryland artists. TheAfrican Art galleries will be reorganizedthematically, and will feature newdisplays of African masks, textiles,and other objects.

Although it will be invisible to visi -tors, the new BAS is a highlight of thecapital improvements. “This is a com -plete replacement, which will allowfor more reliability and control,” says

Mueller’s Ken Rock. “The Museumwill be able to operate the buildingmuch more efficiently.”

Rock also points to the building’scomplexity as a challenge in the engi -neering process. “The BMA is a uniquefacility,” he says. “Unlike a new build -ing designed from the ground up, thismuseum has a lot of components addedover many years. There are a lot ofconstruction types and styles, and it’sa challenge to get everything to fit andwork together, recognizing that thereare very strict requirements for power,temperature, and humidity. The infra -structure needs to be reliable, quiet,and invisible—and it must contribute tocreating a cohesive, modern buildingfor visitors to enjoy.”

Rock adds that it helps to have exten -sive knowledge of the BMA building,dating back over four decades. “Ourengineers have been in every nookand cranny of that building,” he says.“Over the years, our older engineershave trained our younger engineersand shared that knowledge. It’s anhonor for us to work for such a sig nifi -cant cultural institution. The BaltimoreMuseum of Art draws people from allover the world. We have always enjoyedworking with their staff, and lookforward to completing this importantphase of improvements.”

C.L. Taylor writes about architecture andengineering for Capstone Communications.


Reserve this space toadvertise in a future

issue of Papyrus

Please contact theEditor of Papyrus

for details

1. Carry a copy of your passport with you while in country. 2. Travel in large groups rather than alone.

3. Choose a safe and secure hotel rather than a cheap one. 4. Remember to leave contact information (i.e., email address or phone number) with family and friends

so they can get in touch with you abroad. 5. Refrain from carrying large bags while touring. 6. Contact the police immediately and report it if you are victimized. 7. Be aware of your surroundings and avoid social distractions (e.g., cell phones and mp3 players). 8. Surrender your valuables if confronted by thieves. Belongings can be replaced. 9. Be extra careful when using public transportation abroad. If possible, avoid using crowded buses.

10. Get sound security advice by contacting your embassy or consulate and speaking with someone inthe security office.


Paris in the spring, the mercurypushing past 20°C (68°F)—couldit get any better? Well, for the

14 British and American IAMFA mem -bers who joined French colleaguesin Paris on March 23 and 24 for ourannual European meeting, it certainlydid get better.

Some of us arrived on March 22 totake a look at Paris facilities that aresimilar to our own. Patrick Dixon ofthe British Library and Jack Plumb ofthe National Library of Scotland visitedSophie Durrleman and her team atthe Bibliothèque nationale de Franceon Quai François Mitterand. AdrianHardwicke and his team from the Tatevisited the Spie Matthew Hall facilitiesteam at the Louvre.

Our visit to the Bibliothèque natio -nale de France was a truly awesomeexperience—for anyone visiting Paris,a visit to this Library is not to be missed.

2012 IAMFA Annual European Meeting By Jack Plumb

The Grand Palais.

With four twenty-storey towers and anoverall floor area of 365,178m2, thisis a massive building with plant andservices to match. Patrick and I wereindebted to Pierre-Henry Colombierand Giorgio Lipari for our guidedtour around the public and back-of-house facilities.

In the evening, our host Marie-PierreMarché had arranged a dinner at thefamous Bofinger Restaurant, which isnot only famous for its Alsatian cuisine,but is also widely considered to be themost beautiful brasserie in Paris—andthe wine wasn’t bad, either.

On March 23, it was up early and onto the main event at the Grand Palais,where our host and fellow IAMFA mem -ber—Marie-Pierre Marché, Directricedu Bâtiment et des Moyens Techniquesfor the Grand Palais—welcomed us forbreakfast. Then it was down to busi ness,with an introduction from Marie-PierreThe Bibliothèque nationale de France.


and a brief description by Jack Plumbof the some of the work the IAMFAbenchmarking working group hadbeen putting together, in order toprovide some limited benchmarkinginformation on utility consumption.

The first presentation was providedby Laurent Duplouy, head of digitisationand project manager for digital storage;and Philippe Vallas, deputy director ofpreservation at the Bibliothèque natio -nale de France (BnF), who togethershared BnF experiences related todigital and physical storage.

The BnF really started in A.D. 1368with the Library of King Charles V.

In 1537, legal deposit was granted tocollect all types of documents. In 1792,the Royal Library became the NationalLibrary, with the first public readingroom opening in 1868—so the Libraryin written and printed form has beenaround for a considerable time. Indigital form, the BnF only launchedits website in 2006, so it has got a bitof catching up to do.

Laurent explained that digitisationstarted at the BnF in 1992, with thecreation of its Digital Library. At firstthis involved the gradual digitisationof microfilms, then extra-large postersand local daily newspapers, followed bythe routine harvesting of digital infor -mation from the web, especially onelections and sustainable development.

Philippe explained that the storageof physical collections is distributedacross six sites, the most importantof which are the François Mitterandand Richelieu locations. Preservationconditions can vary from one site toanother: the François Mitterand andBussy sites are able to maintain agreedenvironmental standards, while theRichelieu site is currently under refur -bishment. As at many institutions, theenvironmental standards at FrançoisMitterand have recently been relaxed tosave energy and reduce carbon output.

Laurent went on to explain thatdigital content—from an onsite digi ti -sation programme, internal adminis -tration output or from web archiving—

enters the digital mainframe primarytape storage at François Mitterand,where it is copied to a secondary tapestorage and lookup storage devices viaservers. Also, again via servers and anexternal fibre links, the digital contentstored on the secondary tape storage,the primary tape storage and lookupstorage are all duplicated to backupdevices at a remote site.

Laurent and Philippe closed theirpresentation with a demonstration indi -cating that, spread out over a fifty-yearperiod, digital storage would work outto be some 70% less expensive thanphysical storage. Perhaps that issomething for all of us to ponder?

The next presentation was providedby Jean-Luc Bichet, the achitect for a newNational Archives of France build ing;and Bruno Bonandrini, environ mentalengineer for the project.

Jean-Luc explained that a require -ment for additional storage at theNational Archives was identified at anearly stage, but the search for a suitablesite, and difficulties in securing suffi -cient funding, meant a delay. A sitewas eventually found at Pierrefitte, justnorth of Paris, and funding was finallyapproved, allowing planning to startin 2004.

Construction began in 2009, andthe building will be completed in May2012. The final design comprises an 11-storey, 60,300m2 facility, providing320 linear kilometres of shelving, with

Dinner at Bofinger Restaurant.

Meeting attendees in the auditorium of the Grand Palais. Laurent Duplouy and Philippe Vallas of the Bibliothèque nationalede France.

False windows in the new National Archives facility at Pierrefitte. Bruno Bonandrini, Environmental Engineer for the National Archives.

went beyond these limits and/or atnight, when the building had onlylimited occupancy.

Whilst all this good work repre -sented theoretical calculations, Brunoexplained that a more pragmatic viewwas required, especially in relation tothe fresh-air supply. The design thusintroduced Sintra ventilation ducting,which is a high-velocity low-pressureventilation system. With a particularnozzle, delivering air at 20m/s, thesurrounding air is forced into the airstream, creating a helical air movem -ent. Using this technique, the NationalArchives expects to only supply1.5 AC/hr, instead of the normal3 AC/hr.

Going back to the original envi -ronmental specifications, the stabilitytarget for the temperature is 0.5°C perday and 2°C per week, and the build -ing’s natural inertia should limit varia -tions to well within these targets. Thestability target for relative humidity is1% per day and 5% per week, whichwill remain the most daunting target,and it remains to be seen if this canbe achieved.

After a very nice lunch, it was theturn of our host Marie-Pierre Marchéto take the stage. Marie-Pierre’s pre -sentation related the history of theGrand Palais. Interestingly, the impetusfor the Grand Palais was the CrystalPalace in London, built for the GreatExhibition of the Works of Industryof All Nations in 1851. The FrenchGovernment decided that they should

ture. Firstly, Bruno had negotiated withthe Archives preservation unit to alterthe setpoints from 18°C +/- 1°C; 55%RH+/- 5% to 16°C to 24°C; 40% - 57% RH(with limits on the rate of change forboth temperature and humidity). Sec -ondly, Bruno used simulation softwareto calculate the energy consumptionrequired to maintain the original envi -ronmental specifications, in order to setthe benchmark for energy consumptionwithin the facility.

Bruno then used this benchmarkand the simulation software to assessthe consequences of changing thevariables to measure potential energysavings:

• Changing from 18°C +/- 1°C to16°C to 24°C saved 14%

• Changing from 55%RH +/- 5% to40% - 57% saved an additional 19%(31% in total)

• Changing fresh air componentfrom 0.3 AC/hr to 0.1 AC/hr savedan additional 44% (61% in total)

• Changing to no fresh air com -ponent saved an additional 29%(72% in total).

By examining the moisture contentof air in greater detail, it was deter -mined that a moisture content of<5g/Kg and >11g/Kg would require theplant to either humidify or dehumidify.Based on this assumption, a controlregime was proposed to shut the freshair supply down when the outside air

space for a building extension to providea further 80 kilometres of shelving.

The major design aim, however,was to create a facility that used theminimum amount of energy to oper -ate. To achieve this, two specific areaswere examined. The first was to builda really heavyweight structure with ahigh thermal mass; the second was todetermine how an air-conditioning sys -tem could be designed to take advantageof the high thermal mass, again tominimise energy consumption.

The solution to the first challengewas to build the external wall of 300mmheavyweight concrete. This, however,brought its own problems, relating tothe amount of time this type of con -crete would take to cure, leading tohigh humidity levels within the collec -tion spaces. To address this problem,the design team sought help from aspecialist German supplier to supply aconcrete mixture with 15% less water.In addition, they created a significantnumber of false windows in the externalwalls to allow fresh air to help removethe excess moisture caused by the set -ting concrete. Once the false windowsare filled in with blockwork, the mechan -ical ventilation installation will be runfor three months prior to occupation,to ensure that the collection space canmaintain the necessary environmentalconditions.

Bruno Bonandrini then took over,explaining how the Archives plannedto control the environment, harnessingthe benefits of the heavyweight struc -


Our host Marie-Pierre Marché of Grand Palais, with U.K. RegionChair Jack Plumb. Isabelle Noraz of the Grand Palais.

explained that the ambitious projectwas a ten-year plan lasting from 2012to 2022. with a budget of some €300million. The plan is divided into fourdiscrete phases:

Phase 1: South Galleries and a smallpart of the Palais d’Antin

Phase 2: North Galleries, bothexternal and internalrefurbishment of the northend of Palais d’Antin

Phase 3: Remainder of the externalfabric of the Palais d’Antin

Phase 4: Internal refurbishment of theNorth Galleries and thenorthern end of the Palaisd’Antin

With all these different phases, thefundamental challenges are constant,and involve varying degrees of diffi culty.One of these involves restoration ofthe external envelope, which is listedas a historical monument; the originaldesign is not always apparent, how ever,and in places is damaged. The secondchallenge is to try and bring a build ingdesigned in the nineteenth century upto current standards for fire separation,fire escapes, structure and stability,etc., in order to ensure the safety oflarge numbers of the public who areexpected to visit the building. Finally, itis important to renovate the interiorsin a way that provides a functionalspace that not only respects the past,but provides interest for the future.

During the twentieth century, theGrand Palais seemed to lose its way.Separate parts of the building wereused in isolation from one another.The largest part of the building—theNave—has housed, and continues tohouse, the most diverse range of acti -vities, including displays of auto mo -biles and aircraft, hot-air balloons,equestrian competitions, and fairs,all creating a link between technicalprogress and the public.

Closed to the public for eight years,the Grand Palais enjoyed a successfulreopening, following serious refur -bish ment— especially to the oak piles,which had suffered serious deteriora -tion over the years, and the glass roofcovering the nave, which is the largestglass roof in Europe. Also totally refur -bished were the two quadriga, whichwere removed from the building andrestored to their original beauty, thenreinstalled in their rightful locations.

Since 2005, restoration work hascon tinued. The South Galleries werereopened to the public in October2011, and in May 2012 the Salond’Honneur will be reopened followingextensive refurishment. The work isnot yet finished. An ambitious projectinitiated by the president of the RMN-GP, Jean-Paul Cluzel, aims at restoringthis unique building to its past unityand splendour, while also maintainingits versatility.

Marie-Pierre then handed the pre -sentation over to her Grand Palaiscolleague, Isabelle Noraz. Isabelle

hold a similar exhibition in 1900, sothey built the Grand Palais betweenthe Invalides and the Trocadéro onthe Champ de Mars.

The process started in 1894 with thelaunch of a competition for devel op -ment of the 1900 Universal Exhibition.With no clear winner, it was decidedthat the design would be split betweenthree architects. Charles Girault wasawarded the role of overall coordi na -tion of the Grand Palais, as well asdesign of the Petit Palais which was tobe located across the road from theGrand Palais. Construction started in1897, but immediately ran into prob -lems. The engineers had originallyestimated that the building wouldrequire 152 pine piles; in fact, thebuilding required 3,400 oak piles. Theproject was already over-budget andbehind programme, and only just outof the ground—sound familiar?

By 1900, time was running short,and the budget was almost spent, sothe Salon d’Honneur was left bereft ofornamentation; the monumental stairswere not finished and the quadriga(equestrian statues) were not in place.Notwithstanding these omissions, thebuilding was inaugurated on May 1,1900—and, truth be told, con struc -tion of the Grand Palais was nevercompleted. Despite this, the GrandPalais remains a premier gallery offine arts, representing some of thegreatest French painters, includingIngres, Delacroix, Courbet, Pissarro,Renoir and Degas, among others.



Once the presentations were over,we were taken on a tour of the GrandPalais. We visited the recently refur -bished South Galleries and Salond’Honneur, as well as the Nave, in -clud ing the main staircase. After wards,Marie-Pierre arranged a brief walkthrough of the “Helmut Newton”photographic exhibition held in thenewly restored south east gallery—this was quite special, as it was the pressday on the day of our visit—and alsothe “Animal Beauty” exhibition heldin the national gallery.

Then it was au revoir to Marie-Pierreand her excellent team, who had lookedafter us so well, and off to the Gare duNord for the Eurostar back to London.It was a truly memorable IAMFAmeeting.

Jack Plumb is the Facilities Manager at theNational Library of Scotland, and is thecurrent U.K. representative for IAMFA. Inside the Grand Palais.

Become a Memberof IAMFA

For more information on becoming a member of the

International Association of Museum Facility Administrators, please visit

WWW.IAMFA.ORG

or

See page 26 for details and enrollment form


U.K. Member RegionBy Jack Plumb

Scotland will be the venue for the 2014 IAMFA AnnualConference. The organising committee held its first meet -ing in March this year to get the planning underway. TheNational Library of Scotland, the National Galleries ofScotland, Glasgow Life (a company managing Culture andSport facilities on behalf of Glasgow Council), and the RoyalBotanical Gardens of Edinburgh, will be your hosts in 2014.

We were very lucky to have IAMFA President John DeLucyon hand to provide valuable advice, not only the role andbenefits of IAMFA membership, also the value of attendingthe yearly conferences. He spoke in particular about the learn -ing experience delegates can expect from their atten dance.John also passed on helpful information on the amount ofpreparation required to hold an IAMFA con ference, asJohn was Chair of the 2008 London organising committee.

I was also reminded that Scotland hosted the first IAMFAconference outside of North America way back in 1998,when it was held in Edinburgh. At that conference, PierreLePage of the Canadian Museum of Civilization presentedthe results of a benchmarking exercise he had started, with66 museums contributing their results. At the Edinburghmeeting, IAMFA agreed to take up Pierre’s work, andstarted a two-year process, working with Ian Follett’sFacility Management Services, setting in motion thecomprehensive benchmarking exercise in which wetake part today.

In 2014, we will be showing you the delights of Edinburghagain, but this time you will also see the exciting develop -ments that have taken place in Glasgow. Not only has Glasgowbuilt fantastic new museums along the famous River Clyde,but they will also have just held the Common wealth Gamesthat July. In Edinburgh, you will see a superb refurbishment

of the Scottish Portrait Gallery and the new Gatehouse atthe Royal Botanical Gardens. With the Ryder Cup beingheld at Glen Eagles in late September, and the IAMFAconference to be slotted in, Scotland will be a very busy place,so come along and join the fun—there will be plenty togo round.

Jack Plumb is the Facilities Manager at the National Library ofScotland, and is the current U.K. representative for IAMFA.

Mid-Atlantic Member Region

Members of the Mid-Atlantic Committee multi-task while planningthe upcoming IAMFA Annual Conference.

Washington, D.C.-Baltimore Member RegionBy Maurice Evans

The Washington, D.C.-Baltimore Member Region heldits first meeting of 2012 on January 25. The meeting washosted by Eugene “Ski” Ramatowski at the United StatesHolocaust Memorial Museum, marking the first time theHolocaust Museum has hosted a chapter meeting. This wasthe final chapter meeting to be planned and hosted by Ski,as he retired on March 31. We wish him the best in his futureendeavors and his retirement. The meeting was well attended,with over 40 individuals from six different cultural institu -tions. The Member Region also got a chance to recognizeAlan Dirican for receiving the George Preston MemorialAward at the IAMFA Annual Conference in 2011.

The Museum hosted two presentations: one on cathodicprotection for structural preservation, and one on treat -ment of industrial water without chemicals. The HolocaustMuseum is using both of these methods in their buildings, andhas been able to effectively preserve their structures, while

Regional Updates and Member News

Committee members kick off planning for the IAMFA 2014 AnnualConference in Scotland.


also reducing water demand and chemical use at the Museum.These interesting and informative presentations weremade by Gina Crevello, David Schofield and Vince Resor.

Following the presentations, we got a chance to tourthe Museum’s mechanical rooms, where we were able tosee the chemical-free treatment in operation, as well asthe Museum’s state-of-the-art control center. The nextMember Region meeting will be hosted by the SmithsonianInstitution in June.

Maurice Evans is Facilities Zone Manager at the SmithsonianInstitution in Washington, D.C.

latch on the front door and a wood-burning stove, we letgo of the woman we had already lost. At first I thought itwould be pointless to share all of this with people whodidn’t know her, but then I decided that I would becauseyou should.

Northern California/Nevada Member RegionBy Joe Brennan

Our Member Region just returned from its first interstatemeeting, for which we took Amtrak from San Franciscoto Reno and back again over the snowy Sierra NevadaMountains. We went east on Friday, March 30, and weston Sunday, April 1.

On March 31, we touredtwo of Reno’s largestmuseums: the NationalAutomobile Museum(www.automuseum.org),and the Nevada Museumof Art (www.nevadaart.org).The Nevada Museum ofArt’s Facilities DirectorJes Stewart arrangedeverything, and hostedus through a busy day.

The day got off to agreat start at legendaryPeg’s Glorified Han NEggs, followed by a walkover to the National Auto -m obile Museum’s riverside location. This is a fabulousauto collection highlighting 150 classics of the renownedHarrah’s collection, plus at least that many again in fourgalleries: 1890–1910s, Teens–1930s, 1930s–1950s and 1950,Race Cars and Beyond. Our automobile euphoria wasmade possible by through generous invitation of DirectorJackie Frady.

Next, we walked to theNevada Museum of Art(NMA) and snacked intheir delightful Café Museewatching the cloudburstoutdoors. The four-storyMuseum sits strikinglyapart from its surround -ings in a unique black zincclad ding. Designed byarchitect Will Bruder, itopened in 2003. The fea -tured exhibition currentlyon display is Celebrate Artof the Tiffany Era.

We also attended achamber music presen tation in one of the Tiffany gal -leries—a special thanks to NAM’s Curator of Education

Joey Graham,son of IAMFAmember NealGraham, andhis new buddyBarack at the18th hole atAndrews AirForce Basegolf course inWashington,D.C.

Skiers pass overhead during thetrain trip to Reno.

Joe Brennan’s first car: a 1929Model A Ford (wonder if hebought it new? Ha!).

A Granddaughter’s TributeJoe Brennan’s mother died on March 14, 2012 at the age ofnearly 90. He kindly shared this tribute written by his nieceLouise, a doctoral candidate in clinical psychology at UCLA.Our sincerest sympathies to Joe and his family in the loss of awoman who was clearly extraordinary.

My grandmother was 6 feet tall. When she was in her mid-forties, she went to jail for protesting. When I was 12, sherecommended that I do the same. She corrected our gram -mar. She served us rice and beans because “that’s what75% of the world eats for dinner.” Her kids called her byher first name. Her middle name was “Debs,” in honor ofthe socialist who ran for president from jail.

Over breakfast, she would ask children if the caffeine intea is a drug. “What about the sugar?” She played Scrabblecompetitively and never let us win. She was vegetarian andkept chickens for the fresh eggs. When a dog killed a chicken,she ate it so as not to waste it. She was witty. She traveledthe world, sometimes by bike.

People liked her. People admired her. Somebody alwaysseemed to be visiting, often from a foreign country. As sheslowly lost the structure of her mind over the last severalyears, my relatives endured stubbornness, outbursts, andheartache so that she could stay in her home of more than50 years. This morning, in a home with a hand-hewn wooden

Colin Robertson for the privilege. Theback drop was seven backlit lancet win -dows of Tiffany stained glass, depict -ing larger-than-life angels, giving theroom and performances quite anambiance. We heard pieces selectedfrom the Tiffany era by the acappellachoir Reno Early Music, and an inspiredsolo performance by Peter Epstein onthe saxophone. I was sur prised to hearthe oxymoron-like term “Tiffany Fire -arms”, but discovered that there aremany firearms decorated by the Tiffanyas ceremonial presentations to gen -erals and admirals, etc. There was adelightful representation of this artform on loan from Reno’s own mega-collector, Bob Lee.

Jes then conducted a top-to-bottomback-of-house tour of the 60,000-square-foot facility. We began in the glassed-in penthouse, where a small kitchenwill be built out to support rooftopevents on their large and beautiful roof deck, where wewatched snow flurries swirling. In the two years he hasbeen with the Museum, Jes has gotten the membrane roofon a good maintenance cycle, solving many of its previousissues. Another success story was his achieving a retro com -mis sion ing of the Trane equipment controlled by their TraneBMS system, bringing the plant into a more harmoniousand efficient operation.

We adjourned to the Founder’s Room for drinks andrefreshments as the sun streamed in through the west-facing windows. We conducted our Region meeting here,speaking mainly about topics we would like to hear about,and locations we’d like to visit. The top topics are LEDlighting, high-pressure-mist sprinkler systems, and securityinnovations. Potential tours include the Stanford Linear

Acceler ator, the restored Nike Missile Silo, and the newsuper-efficient LEED Platinum headquarters building ofthe San Francisco Public Utilities Commission.

On Sunday morning, the west bound California Zephyrarrived on time from Chicago—surprise, surprise—and weenjoyed a delightful passage back over Donner Summitunder its thick burden of new snow. Attending were RobertLarmon of the Contemporary Jewish Museum and his wifeDana; Tony Pellegrini of the Yerba Buena Center for theArts; Frank Bezek, retired from the Steinhart Aquarium;Bob Giorni, retired City of SF Chemist and wife Pat; JimWeaver; and Joe Brennan of the San Francisco Museumof Modern Art.

Joe Brennan is Director of Facilities at the San Francisco Museumof Modern Art.


Amtrak arrives to transport everyone backto San Francisco.

Donner Pass on the return trip toSan Francisco.


IAMFA2012

Please join us

September 16–19, 2012

in Philadelphia for the

22nd Annual IAMFA Conference

It will be a Historical Event!

For more information, please visit

www.IAMFA.org

Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Museum of AustraliaCanberra, ACT

National Portrait GalleryCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Cofely Services Inc.Montreal, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

Peterborough Museum &ArchivesPeterborough, Ontario

AUSTRALIA

CANADA

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Sir Sandford Fleming CollegePeterborough, Ontario

GrandpalaisParis

Auckland Art Gallery Toi o TamakiAuckland, Auckland

Auckland CouncilAuckland

Auckland MuseumAuckland

Camfil Farr, New ZealandAuckland

Christchurch Art GalleryChristchurch, Canterbury

Coffey Projects

The Department of InternalAffairsWellington, North Island

Hawkins Construction LtdAuckland

National Library ofNew ZealandWellington

Royal New Zealand NavyDevonport, Auckland

Te Papa Tongarewa Museumof New ZealandWellington

Qatar Museums AuthorityDoha

Qatar National MuseumDoha

FRANCE

NEW ZEALAND

QATAR

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Compton Verney House TrustCompton Verney, Warwickshire

Creative ConsultingPartnership LLPLondon, England

Historic Royal PalacesMolesey, Surrey

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum of Science& IndustryLondon, Middlesex

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Royal Academy of ArtsLondon, England

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

UNITED KINGDOM

AFS Chemical Filtration GroupBurlington, MA

Alaska State MuseumJuneau, AK

Anacostia CommunityMuseumWashington, DC

Aquarium of the BaySan Francisco, CA

Architect of the CapitolWashington, DC

Architrve PC ArchitectsWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta, GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMerion, PA

Beyer Blinder BelleNew York, NY

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

California Academy ofSciencesSan Francisco, CA

Carnegie Museums ofPittsburghPittsburgh, PA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

UNITED STATES

IAMFA Members — Organizations


Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

Delaware Museum of NaturalHistoryWilmington, DE

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of the High Line New York, NY

Hagley Museum & LibraryWilmington, DE

Hammer MuseumLos Angeles, CA

Harvard Art MuseumCambridge, MA

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Lee Construction ConsultantsLLCRichmond, VA

Library of CongressWashington, DC

Library of Congress (PackardCampus for Audio VisualConservation)Culpeper, VA

Lighting Services Inc.Stony Point, NY

Longwood Gardens, IncKennett Square, PA

Los Angeles County Museumof ArtLos Angeles, CA

McGuire EngineersChicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Constitution CenterPhiladelphia, PA

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia, , PA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

National Museum of theAmerican Indian, GeorgeGustav Heye CenterNew York, NY

National Portrait GalleryWashington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceQueens, NY

Oakland Museum of CaliforniaOakland, CA

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Salvador Dali MuseumSt Petersburg, FL

San Francisco Art InstituteSan Francisco, CA

San Francisco MaritimeNational Historical ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, the CastleWashington, DC

Smithsonian National Airand Space MuseumSuitland, MD

SodexoWaltham, MA

SodexoCanyon Country, CA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Synthesis IncorporatedColumbia, MD

U.S. Holocaust MuseumWashington, DC

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your

listing, please contact

Alan Dirican at

[email protected]



Index of Papyrus Technical and Historical Articles

Title Author(s) Issue2009 Engineering Excellence Awards—Recovering the Lost Stream at Winterthur Pennoni Associates Winter 2009

2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010

The A.A. Bakhrushin State Central Theatre Museum Dmitry V. Rodionov Spring 2009

A New High for Atlanta Kevin Streiter Summer 2003

Air Quality Standards for Preservation Environments Chris Muller Winter 2010

Air Tightness Strategies—The British Library Additional Storage Program John de Lucy and Julian Taylor Summer 2006Construction Project

Air-to-Water Heat Pump for Domestic Hot-Water Generation Allan Tyrrell Fall 2011

Apprenticing in Facilities Management Kate Hickman Summer 2006

Architect of the Capitol Begins Restoration of the Capitol Dome Skirt AOC Winter 2012

The Art Institute of Chicago’s Unique Fan Wall System William Caddick, William Strangeland, and Winter 2007Michael Murphy

Auckland Art Gallery Toi o Tamaki—Building Development Update Patricia Morgan Summer 2010

Auckland Art Gallery Toi o Tamaki—The Kauri Ceilings Patricia Morgan Winter 2010

The Auckland Art Gallery Toi o Tamaki Opens its Doors to Virtual Visitors Catherine Lomas, David Reeves and Patricia Morgan Summer 2003

Be Seen in the Right Light: The Value of a Tight Lighting Specification Mark Rowling Summer 2003

Benchmarking: A Comparison over Time Stacey Wittig Summer 2010

Benchmarking: How to Use Data as an Agent for Change Stacey Wittig Fall 2011

Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011

Benchmarking Workshop Reveals Best Practices that Save Money Stacey Wittig Winter 2012

Best Practices Daniel D. Davies Summer 2002

Best Practices in Recycling San Francisco Department of the Environment Winter 2010

Beyond Hipopta agavis—Wet Collections Facility Design Walter L. Crimm and Bryan L. Stemen Spring 2004

Black & McDonald, CMM, and Museums Richard E. Harding and Edmond Richard Summer 2002

Boiler Replacement at the Natural History Museum in London Glynnan Barham Fall 2008

British Library: An Energy-Saving Case Study Patrick Dixon Spring 2011

British Library Additional Storage Program John de Lucy Summer 2007

The British Library Centre for Conservation John deLucy and Harry Wanless Winter 2007

The Canadian War Museum—River Water for Sanitary Use: Richard Harding Summer 2006Trials and Tribulations

Carbon Saving at the Natural History Museum London CIBSE— Glynnan Barham Spring 2008100 Days of Carbon Saving

Cool Efficiency at Chicago’s Museum of Science and Industry—Careful Elizabeth Miller, Anthony B. McGuire, Winter 2009Planning and Analysis Leads to Successful Installation of New Central Plant David M. Brooks and Michael J. Murphy

The Donald W. Reynolds Center for American Art and Portraiture Opens in Daniel Davies and the Reynolds Center Public Summer 2006Washington, D.C. Affairs Staff

Electrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004

Energy Management Improvements at the Canadian Museum of Civilization Guy Larocque and Todd Keeley Winter 2002

Energy Star Roofs are Cool Richard Stomber Spring 2008

Existing Building Commissioning Rebecca T. Ellis Spring 2008

Experiences of a Facility Manager during the Evolution of Building Automation Vincent Magorrian Spring 2010

Exploratorium Construction Update Jennifer Fragomeni Fall 2011

Facility Managers Lead the Move to Green with Improvements Thomas A. Westerkamp Summer 2010in Energy Efficiency

Fade-Testing of Museum Objects at the National Museum of Australia Nicola Smith and Bruce Ford Fall 2011

Family Ties to the Auckland Museum John deLucy Fall 2011

Fire Protection and the British Library Repository John de Lucy Spring 2006

Getty Center Becomes First Facility in the U.S. to be Rated “Green” Joe May Spring 2005through LEED-EB Certification

Grand Prix Winner for Architecture in Scottish Design Awards 2002— Alastair Cunningham and Chris Mclaren Summer 2002Engineering the Sustainable Museum Environment at the Museum of Scottish Country Life

The Harley-Davidson Museum—The First Museum to Gain GREENGUARD Tim Dotson Winter 2009Certification

Heritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Heritage Preservation Winter 2003Cultural Heritage as a Result of 9/11

History, Legacy in the New Canadian War Museum Raymond Moriyama Spring 2003

IAMFA . . . The First Twenty Years IAMFA Members Summer 2010

The Importance of Evacuation Plans Peter Fotheringham and Peter J. Gyere Spring 2002

Improving and Adding Value for Benchmarking Participants—A Year in Review Stacey Wittig Spring 2009


In the Light of Day—Daylight in Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Spring 2011

The Installations of the Guggenheim Museum Bilbao: A Dialogue Between Rogelio Diez and Luis Pablo Elvira Summer 2002Engineering and Architecture

Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006

It Began Just Like any Ordinary Day—A Museum Facility Manager’s View of Lloyd O. Headley Summer 2002September 11

Lean Green Means Museum Restroom Sustainability and Savings Thomas A. Westerkamp Summer 2009

LED Use in the Museum Environment Ken Kane Winter 2010

LEED Certification for the National Museum of the American Indian John Bixler Winter 2012

The Library of Parliament—Ready for a New Generation Mary F. Soper Spring 2005

Light Culture and Light Typology Mirjam Roos and Emrah Baki Ulas Winter 2010

Lighting: Control and Innovation Mark Rowling, ERCO Lighting Ltd Winter 2003

Long-Term Preservation at the Library of Congress Nancy Lev-Alexander Spring 2010

Looking at Art in a New Light—Conservation to Conversation Mirjam Roos and Emrah Baki Ulas Fall 2011

Looking at Art in a New Light—Greening Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Winter 2012

Major Renovation Project at the National Gallery of Scotland Robert Galbraith Summer 2003

Making Light Work: How to Fit a Drum into a Rectangle—The full story behind Mark Rowling, ERCO Lighting, Ltd. Spring 2003the lighting of the Great Court in the British Museum, London

Management of Energy Consumption—A Best Practice? Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004David Erhardt

Meet Archie, the Four-Legged Pest Controller Sara Carroll Fall 2011

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

Members Share Benchmarking Success—How to Use Benchmarking Results Stacey Wittig Summer 2009

Microclimate Control in Museums Jerry Shiner Summer 2005

More than Just a Pretty Façade: Exterior Cleaning Richard P. Kadlubowski and Coleman H. Bynum Winter 2002

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

Museum and Gallery Maintenance Outsourcing—A Journey Richard Harding Summer 2003

Museum Environmental Standards in a Changing Environment Vicki Humphrey and Julian Bickersteth Winter 2012

The Museum of Fine Arts, Boston Reopens its Huntington Avenue Entrance David Geldart Summer 2009

The National Air and Space Museum Goes to Dulles with its Second Facility Lin Ezell Spring 2002

The National Gallery—Casting New Light on Old Masters Steve Vandyke Summer 2010

National Library of New Zealand Building Redevelopment Rob Stevens and Pam Harris Fall 2011

National Museums Liverpool Ian Williams Fall 2008

The National Portrait Gallery: A Plant Replacement Strategy Allan Tyrrell and John Crane Fall 2008

The National Portrait Gallery in Canberra, Australia Chris Arkins Summer 2009

Networking and Sharing of Information: Our True Purpose Vincent Magorrian Spring 2009

New Building for the National Library of Greece John de Lucy Spring 2010

New Environmental Guidelines at the Smithsonian Institution Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004David Erhardt

Old Buildings, Old Systems and Older Books: Fighting Mold and Decay in the Michael Dixon Summer 2003Twenty-First Century

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Winter 2010Part One

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Spring 2011Part Two

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Fall 2011Part Three

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Simon Lambert Winter 2012Around the World

Overview: Application of Molecular Filtration for Artefact Preservation Chris Ecob Spring 2008

Pandas Up-Close and Personal: A Tour of the Smithsonian National Zoo’s Alana Housholder Fall 2006New Asia Trail

Periodic Electrical Inspection and Testing—A Different Approach Jack Plumb Winter 2010

Preservation Of A National Treasure: The Australian War Memorial Mark Dawes and Risden Knightley Spring 2002

Proposals for the Labelling of Buildings Jack Plumb Summer 2007

Proposals for the Labelling of Buildings Jack Plumb Spring 2008

Recent Activities in Indoor Air Quality and Climate in Cultural and William A. Esposito Winter 2002Heritage Institutions

Record Attendance at Best Practices Workshop—Benchmarking Stacey Wittig Winter 2009Continues to be an Indispensable Tool

Title Author(s) Issue


Reflections on Papyrus Pierre Lepage Summer 2010

Renaissance at the Royal Ontario Museum—Daniel Libeskind’s Crystal Design Royal Ontario Museum Winter 2003

Restoring a Landmark: Conservation Projects at Tudor Place Alana Housholder and Jana Shafagoj Fall 2006

Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

Safeguarding Cultural Heritage: Partnerships and Resources Jane S. Long Spring 2003

The Security Challenge Keeping Museums and Similar Facilities Secure Bill McQuirter Spring 2002in Challenging Times

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

The Smithsonian Institution’s Arts and Industries Building Phase-2 Maurice Evans Fall 2011Renovation Project

The Smithsonian’s Approach To Condition Assessment—Deferred Maintenance Larry Grauberger Summer 2008Parametric Estimating

A Sustainable Design Approach to Preservation Centres Martin Turpin Winter 2012

Tales from the British Library—A Year of Energy Opportunities Paddy Hastings Spring 2010

Transformation at the Los Angeles County Museum of Art Donald Battjes Summer 2008

Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009

An Unexpected Attendance at the Lighting Designer's Academy Awards Alan Dirican Winter 2012

United States Library of Congress—Archival Storage Facility, Fort Meade Jon W. Netherton and Neal Graham Spring 2008Protecting the Past, Present and Future

The United States Library of Congress Archival Storage Facility— Jon Netherton Winter 2009Protecting the Past, Present and Future

Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008

Using Thermal Imaging to Diagnose Water Penetration and Condensation Marion F. Mecklenburg and Alan Pride Summer 2005of the Walls at the Hirshhorn Museum

The Visitor Experience Project at the British Museum Sara Carroll Spring 2009

Work Management Center Communication John L. Standish, Sr. Fall 2006

Index of Papyrus Technical and Historical Articles (cont’d)

Title Author(s) Issue

� Creative Solutions� Inspired Design

� Customer Focused� Excellence in Engineering

• Engineering and Design Services

• Engineering Evaluations

• Sustainable Design

• Commissioning Services

• Energy Audits and Modeling

• Utility Master Planning

For more information visit our website

www.dedc-eng.com302-738-7172

The 22nd Annual IAMFA ConferenceMID-ATLANTIC, USA

September 16–19, 2012


IAMFA2012

papyrus spring 2012

Education

hagley museum

delaware art museum

usa los angeles

usa garden

members of iamfa

atlantic iamfa

diligenceof iamfa

iamfa membersorganizations