You won’t want to miss the 16th Annual IAMFA Conferencethis fall in Los Angeles. This year’s event features a numberof different venues, a great guest program, and presentationsthat we’re sure members will find very interesting. Pleasevisit www.iamfa.org if you have not yet registered for thisyear’s conference.

Events begin on Sunday, September 17 at 7:30 a.m. withthe customary one-day benchmarking meeting, held eachyear in advance of the conference itself. Please rememberthat attendance at this Sunday-morning meeting is limited tothe 44 member institutions which participated in the 2006IAMFA benchmarking exercise. The benchmarking meetingwill be held at the Fairmont Miramar hotel.

Registration will take place on Sunday afternoon from3:00 to 5:00 p.m. at the Fairmont Miramar, our officialaccommodation for the conference. For a sneak preview ofthis spectacular hotel, visit www.fairmont.com/santamonica.If you have not already reserved your accommodations,please remember to contact the hotel directly by phone at(800) 441-1414 or (310) 576-7777 to book your room, and

mention the IAMFA conference to get the special rate. Youmay also book your room online at www.fairmont.com.Internet users must use the promotional code GRMUS1to make their requests. The hotel will extend the programrate (3) days prior and (3) after conference dates, basedon availability.

Following registration on Sunday evening, we will strolla few blocks down the beach to the Santa Monica Pier,where we will have dinner at the Bubba Gump ShrimpCompany. The restaurant is right on the beach, so we willbegin with a great meal, and a California sunset—a greatway to kick off this year’s conference.

After dinner, there are several entertainment options: livemusic and dancing at the pier, and amusement park ridessuch as the pier roller coaster, carousel or the pier ferriswheel. It’s also a short walk to the Third Street Promenade,where you can shop, or just relax and take in the oceanand beach experience. Sunday night will be very informal,allowing everyone an opportunity to have a great timealong the beach.

PAPYRUSVOLUME 7 SUMMERNUMBER 2 2006

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

The 16th Annual IAMFA ConferenceLos Angeles, California—September 17–20, 2006

continued on page 2

Bubba Gump Shrimp Company on Santa Monica Beach.

INSIDE THIS ISSUEMessage from the President . . . . . . . . . 5

Air Tightness Strategies—The BritishLibrary Additional Storage ProgramConstruction Project . . . . . . . . . . . . . . 6

Apprenticing in Facilities Management . . 11

IAMFA Benchmarking Exercise 2006 . . . 12

The Donald W. Reynolds Center for American Art and Portraiture Opens . . . 14

Getty Center Becomes First Facilityin the U.S. to be Rated “Green” . . . . . . 16

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

The Canadian War Museum—River Water for Sanitary Use . . . . . . . . . 21

Letter from the Editor . . . . . . . . . . . . . 24

2

On Monday morning, the three-dayIAMFA conference begins. Memberswill depart by bus for a short rideup the Pacific Coast Highway to there-imagined Getty Villa in Malibu. TheVilla—a Roman-style villa modeled afterthe Villa dei Papiri at Herculaneum—is situated above the coastline and offersunique views of the Pacific Ocean andthe Santa Monica Mountains. The villaopened in 1974, and was home to theJ. Paul Getty Museum until 1997, whenit closed for a major renovation, sixmonths prior to the opening of theGetty Center in Los Angeles. The Villareopened in January 2006 with a newmission as an educational center andmuseum dedicated to the study of thearts and cultures of ancient Greece,Rome, and Etruria.

Monday’s agenda includes severalpresentations on topics including therenovation of the Getty Villa, the com-missioning of the J. Paul Getty Museumbuilding, emergency preparedness, andfire protection strategies for historicmuseums. A summary of the annualbenchmarking exercise will also bepresented on Monday. The day’s activi-ties also include an opportunity totour the Villa’s gardens, its exhibitiongalleries, and “back of house”. For

more information on the Villa, pleasevisit www.getty.edu.

As always, this year’s conferenceincludes a great guest program, so don’tmiss this opportunity to bring alongsomeone special—kids will have a greattime, too! On Monday, guests will spendthe day at Universal Studios in Holly-wood. Universal Studios is the place toexperience the Hollywood scene, tourmovie lots, and take amusement rides,each with a different movie theme. Findout more about Universal Studios atwww.universalstudios.com.

At the conclusion of this first day,members and guests have a free even-ing. There are many choices for dinnerand evening entertainment within walk-ing distance of the hotel. This wouldbe a good opportunity to spend sometime on the Third Street Promenade:

one of the region’s most popular areasto spend an evening.

On Tuesday morning, memberswill leave the hotel for the Los AngelesCounty Museum of Art (LACMA), locatedon Wilshire Boulevard’s “Miracle Mile”,between downtown Los Angeles andBeverly Hills. Members will hear presen-tations on the physical Transformationexpansion at LACMA, as well as pre-sentations on a new Asset ManagementSystem at the Smithsonian. We willalso have our IAMFA Annual BusinessMeeting on Tuesday morning, a tourof LACMA’s encyclopedic collection,and updates from our three IAMFAsubcommittee leaders. More on theLos Angeles County Museum of Artcan be found at www.lacma.org.

After lunch, members will headacross the street to the PetersenAutomotive Museum: a unique andcaptivating museum that we are for-tunate to be able to include on ouragenda. This new twist on a typicalmuseum experience gives IAMFAmembers an opportunity to enjoy aslice of automotive history beforereturning to the hotel. For more infor-mation on the Petersen AutomotiveMuseum, please visit their website atwww.petersen.org.

The 16th Annual IAMFA Conference — continued from page 1

The Los Angeles County Museum of Art.The Getty Villa in Malibu California.

Santa Monica Pier.

3

Meanwhile, guests will begin Tuesdaywith a bus trip along the coast, throughthe Santa Monica Mountains to theRonald Reagan Presidential Library inSimi Valley (www.reaganlibrary.net).Many people remember seeing glimpsesof the library two years ago, duringthe funeral of former President RonaldReagan. Last fall, the Reagan Librarycompleted an expansion project, includ-ing a new pavilion that houses PresidentReagan’s retired Air Force One aircraft.Guests will tour both the Reagan Libraryand Pavilion.

Following their visit to the ReaganLibrary, guests will travel the PacificCoast Highway for lunch at Duke’sCanoe Club. Located on the beach inMalibu, Duke’s is about as close as youcan get to the experience of havinglunch and riding a surfboard, withoutactually getting into the water! Afterlunch, guests will return to the hotelabout an hour ahead of IAMFA mem-bers. This is another opportunity forshopping and relaxing, before bothmembers and guests depart for Marinadel Rey and our Tuesday eveningHarbor Dinner Cruise.

At 6:00 p.m., we will board the yachtDandeana for a sunset dinner cruise,featuring a spectacular harbor tour ofthe world’s largest, manmade marina,where more than 5,000 sailing vessels

and motorized yachts are moored.With great food and California wine,you will not want to miss this event.For more information, please visitwww.FantaSeaYachts.com.

On Wednesday, members and theirguests will visit cultural institutions indowntown Los Angeles. The Museumof Contemporary Art (MOCA), will playhost to the final day of conferenceactivities. MOCA is home to one ofthe country’s finest collections of post-1940 American and European art. It alsofeatures special traveling exhibitionsfeaturing the art of our time. Our visitto MOCA will provide a direct link tothe exciting world of contemporary art;learn more at www.moca.org.

Members and guests will also havean opportunity to visit the Walt DisneyConcert Hall, designed by world-

renowned architect Frank Gehry.Many of our members saw another ofGehry’s creations at last year’s IAMFAconference in Bilbao: the GuggenheimMuseum. The Walt Disney Concerthall (www.wdch.laphil.com) is the newhome of the Los Angeles PhilharmonicOrchestra. It is considered one of themost acoustically sophisticated concerthalls in the world, providing both visualand aural intimacy for an unparalleledmusical experience.

A tour of the Japanese AmericanNational Museum (JANM) is also plan-ned. The Japanese American NationalMuseum (www.janm.org) is the onlymuseum in the United States dedicatedto the experience of Americans ofJapanese ancestry. The museum, locatedin historic and culturally rich LittleTokyo, occupies a beautifully restoredformer Buddhist temple with a stunningnew pavilion building. Coincidentally,it is adjacent to MOCA’s GeffenContemporary building. The Geffenis an early renovation of an existingwarehouse space, also designed byFrank Gehry, and was first occupiedduring the construction of MOCA inthe early 1990s.

Our group will return to the hotelmid-afternoon on Wednesday, in timeto dress in cocktail attire for the closingconference gala on Wednesday evening

The Dandeana, Marina Del Rey.

The Ronald Reagan Presidential Library, Simi Valley, California. MOCA Grand Avenue.

MA

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continued on page 4

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at the Getty Center. Buses will leave thehotel promptly at 5:00 p.m. The GettyCenter is home to the Getty Conserva-tion Institute, the Getty Foundation, theJ. Paul Getty Museum, and the GettyResearch Institute.

We will enter the Getty’s CentralGarden, proceeding to the Courtyardfor cocktails prior to dinner and theclosing event. The galleries in the WestPavilion will remain open for viewingprior to dinner in the Rotunda, givingour group an opportunity to see master-pieces such as Van Gogh’s Irises andMonet’s Wheatstacks. The Getty Centeris situated on a 110-acre site in the foot-hills of the Santa Monica Mountains inLos Angeles. The Getty Center itselfcovers 24 acres of the 110-acre site; therest is landscaped or left in its naturalstate. An adjoining 600 acres preservesthe natural character of the area. On aclear day, you can see the snow-cappedpeaks at Big Bear Mountain, the PacificOcean and the entire Los Angeles Basin.More information on the Getty Centeris available at www.getty.edu.

We look forward to welcoming allIAMFA members in Los Angeles this fallfor the 16th Annual IAMFA Conference.The conference planning committee iseager to see everyone at the beach onSeptember 17!

IAMFA 2006 IN LOS ANGELESThe Los Angeles Chapter welcomes you!

September 17–20, 2006INTERNATIONAL ASSOCIATION OF MUSEUM FACILITYADMINISTRATORS

M YES! Sign me up to attend the 2006 IAMFA Annual Conference inLos Angeles, California, USA

Name: ___________________________________________________________________________

Title: ____________________________________________________________________________

Institution:_______________________________________________________________________

Address: _________________________________________________________________________

City: _________________________________________ Postal/Zip Code: _________________

State/Province/County: ______________________ Country: _________________________

Phone: ________________________________ Fax: ____________________________________

E-mail: ________________________________ @ ______________________________________If your address/contact information has changed in the past year, please check box M

Special dietary, access, or other requirements: __________________________________

__________________________________________________________________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

Please visit http://www.iamfa.org/ on the 2006 conference page to registerfor the conference using a credit card.

M Member conference fee: $500 (after Aug 20, add $50)

M Non-member conference fee: $600 (after Aug 20, add $50)

M Sign me up as a new member: $150

M Guest program fee: $300 (after Aug 20, add $50)

M Guest under 12: $150

M One-day attendance fee: $200 per day M MON M TUE M WED

You may also complete this form, and send a hard copy along with a check to:International Association of Museum Facility Administrators (IAMFA)P.O. Box 277Groton, MA 01450 USA

SUGGESTED ACCOMMODATIONWe have reserved a limited number of hotel rooms at The Fairmont Miramar Hotel forthe period of Saturday, September 16 through Wednesday, September 20. The conferencerate is $229 per night per room plus 14.05% tax, single or double occupancy, with anadditional charge of $25 each for a third or fourth adult per night, with a maximumof four people per room. There is no extra charge for children up to, and including,the age of 18 years who share a room with their parents. Early hotel registration isstrongly recommended during this busy season in Los Angeles. The block of rooms willbe held until August 1, 2006. To contact the Fairmont Miramar Hotel directly, please call1-800-441-1414 or (310) 576-7777. Ask for Reservations and make sure to mention theIAMFA conference to get the special rate. Reservations can also be made by Internet atwww.fairmont.com. Internet users must use the promotional code GRMUS1 to submitrequests. The hotel will extend the program rate (3) days prior and (3) after conferencedates, based on availability.

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

✁The 16th Annual IAMFA Conference —continued from page 3

Aerial view of the Getty Center.

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Future IAMFA ConferencesThe 2006 Annual IAMFA Conferencein Los Angeles is just a month away asI write this article. Somehow, it seemsthat the Bilbao conference wasn’t thatlong ago. It was such a memorableexperience, and such a great opportu-nity for our members to network andshare knowledge about our professionalfield. But time has passed, and IAMFAbusiness has been moving along.

During the last Board of Directorsconference call in mid-June, the ques-tion of where to hold future IAMFA con-ferences was discussed. This questionhad been raised and debated before atpast conferences, but a consensus wasalways difficult to achieve. The Boardagreed that, in the interests of providingas much lead-time as possible to facili-tate the planning of future conferences,it was time to put the debate to restand to decide on a list of host citiesfrom 2007 until 2010. I am pleasedto announce the locations for futureIAMFA conferences as follows:

2007 Ottawa, Canada

2008 London, U.K.

2009 Washington, D.C.

2010 Auckland, New Zealand

Coming up with this list was the easypart. The cities mentioned above havebeen discussed before, as have otherssuch as Chicago and New York, butIAMFA members from the above-notedcities have not only expressed a seriousdesire to host an IAMFA conference,

but note that a conference in their citywould also garner support from otherlocal chapter members.

The advantage of naming the loca-tions for our upcoming conferences,of course, is that it allows those localchapter members plenty of time to startorganizing their venues. There are cul-tural institutions to target for hostingthe sessions, the session topics andspeakers to select, hotel rooms to book,meals to plan, transportation to orga-nize, and of course the ever popularguest program to put together. Theseactivities constitute the expenditureside of the equation. Then there isthe question of revenues to pay forthe conference. The number of partici-pants is not always easy to forecast,but past trends give an indication ofwhat to expect. The most difficult taskinvolves finding sponsors and gettingtheir commitments for financial or in-kind donations. Truly, the annual con-ference organizers are the heroes ofour Association and they deserve ourrecognition and support.

I know that I am personally lookingforward to getting started with the plan-ning and organizing of the 2007 annualconference in Ottawa. There are newmuseums to see, and old acquaintancesto renew for our members, and hope-fully we will even have new membersattending from Montreal and Toronto.Until then, I look forward to seeing youall again in Los Angeles at the 2006IAMFA Conference this September.

Guy Larocque, P.Eng.President, IAMFA

Message from the President

Guy Larocque,President of IAMFA

IAMFA Board of Directors

PresidentGuy LarocqueCanadian Museum of Civilization andCanadian War MuseumGatineau, Canadaguy.larocque@civilization.ca

V.P., AdministrationRichard KowalczykSmithsonian InstitutionWashington, D.C., USAkowalczykr@nasm.si.edu

V.P., Regional AffairsJohn de LucyThe British LibraryLondon, U.K.john.delucy@bl.uk

TreasurerJim MoissonHarvard University Art Museums Cambridge, MA, USAjames_moisson@harvard.edu

Secretary and Papyrus EditorDaniel H. DaviesSmithsonian InstitutionWashington, D.C., USAddavies@si.edu

Chairman — Conference 2006Joseph E. MayJ. Paul Getty TrustLos Angeles, CA, USAjmay@getty.edu

For additional contact information,please visit our website at

www.iamfa.org

6

As part of the construction project for the British Library’sadditional storage facility, the Construction Project Teamdeveloped an air-tightness risk mitigation strategy. Thedecision to adopt a reduced-oxygen fire prevention modelfor the building required an unusually strict air-tightnessspecification, in order to avoid high running costs for thereduced-oxygen plant.

The Employer’s Requirements Document (ERD) issuedto prospective building contractors mandates an Air LeakageIndex (ALI) value of 0.5 cubic meters per hour per squaremeter of building. This value must also be maintained overthe 70-year design life of the building, and has a lesser impacton the internal environment target ranges for humidity andtemperature (key to meeting the fundamentals of BritishStandard 5454:2000.)

Air tightness thus became a key deliverable relative tosustainable design, and one of the Library’s key drivers asset out in the Project Brief.

Defining the RiskIt was recognized early in the design process that achievingthe required ALI value of 0.5 for the storage building was asignificant—but not unique—challenge.

ALI values of 0.5 have been achieved in the U.K. before,although usually on cold-store buildings with fewer pene-trations of the building envelope than the British Library’sadditional storage facility. The air-tightness consultant knewthat 0.5 had been achieved in continental Europe on build-ings comparable to ours, and the Library’s construction project

team had made significant efforts to understand existingreduced-oxygen installations in Europe. The architect’s designteam, in turn, based their air leakage requirements on spe-cifications from the leading European installer of reduced-oxygen systems. Site visits were made, and risk assessmentscarried out, in order to meet this tough specification.

The biggest challenge was identified as onsite workman-ship. Assuming that the pre-contract design had enoughdetail to enable the building contractor to build in air-tightness, the quality of the day-to-day installation of thePAROC wall panels and the standing seam roof were vitalto achieving an ALI of 0.5. The single largest challenge toachieving this value is quality of workmanship.

Quantifying the RiskIf air-leakage testing revealed that the ALI value for the build-ing was 1.0 (twice as leaky as a value of 0.5), the Librarywould face estimated additional energy costs of £10,000(approx. $20,000) per annum for the life of the building.

Risk Mitigation StrategyOverall ApproachIf the building did not meet the 0.5 ALI value once construc-tion was complete, there would be limited ways of improvingthe air-leakage rate. Although not impossible, it wouldcertainly be very difficult to access wall/roof junctions andother potential leakage areas once the automation systemand racking was installed. The experience of a clothing

Air Tightness Strategies—The British LibraryAdditional Storage Program Construction Project

by John de Lucy and Julian Taylor

Roof and wall construction.

7

retailer in Germany (who had to retrospectively reseal alarge warehouse at great effort and expense) has helpedfocus the Library’s strategy.

The Library’s risk mitigation strategy is therefore focusedalmost wholly on design development, as well as the moni-toring and testing of workmanship prior to the completionof construction. In addition, the building contract is structuredin such a way that failure becomes prohibitively expensivefor the building contractor.

It is recognized that, over time, the air-tightness of thePAROC panels will deteriorate. Following discussions withour architects and PAROC, overcladding the building withnew PAROC panels has been kept as an option for 25 yearsinto the life of the building.

Mitigating the risk of not achieving an ALI of 0.5 at build-ing handover has been embedded in all key constructionproject processes and control documents, including:

• a Develop and Construct procurement process;

• a building contractor personnel and subcontractorselection process;

• a Procurement Evaluation methodology;

• onsite management, monitoring, and reporting procedures;

• the Building Contract Employer’s Requirements(Performance Specifications);

• contractually binding testing and handover/acceptancespecifications;

• pre-contract design drawings;

• Conditions of Contract; and

• tender evaluation criteria.

Risk Mitigation in the Pre-Contract Design andContract DocumentsEnsuring that the air-tightness target can be achieved isintegral to the pre-Contract Design, both in terms of designdetailing, and feasibility of the overall design package.

The building’s designers considered the air-tightnessrequirement in every aspect of the building and buildingservices design, once the Library had chosen the reduced-oxygen model for fire prevention. They went through a seriesof design iterations, including a comprehensive assessmentof building construction details by their appointed air-tightness consultant.

Each of the key performance specifications in theEmployer’s Requirements Document (ERD) have beenshaped by the air-tightness requirement. It has had a bear-ing on choice of materials and components for the wallsand roof; design drawings show a higher level of detail forall floor/wall/roof junctions, and seams between wall panelsand roof sections; Class D ducting has been specified, ratherthan the more conventional but potentially leakier Class C;and, the steel structure of the building has been assessedto ensure that wind deflection of the main members doesnot cause the wall panels to gape, causing air leaks. Theseare only a few examples of how the building’s design hasbeen defined by the requirement for air tightness.

The contract model for construction is “Develop andConstruct”. It is usual practice under a Develop and Constructcontract that the building design is not fully detailed whenit is passed to the building contractor, following awarding ofthe contract. However, during the development of the pre-contract design, because of the serious impact of not achievingthe air-tightness target, the architects developed areas of

Infracor, Marl (2004) 1. Highbay warehouse

• Roof 5.000 m2

• Facade 10.900 m2

• 115m x 43m x 32m

2. Annex building • Roof 3100 m2 • Facade 580 m2 • 85m x 70m x 13m

Klingel, Pforzheim (04/05) Highbay Warehouse • Roof 6.900 m2

• Facade 6.550 m2

• 93m x 73m x 28m

continued on page 8

8

the design much farther than would normally be expected.They further refined the design detailing in mid-2005, havingbrought air-tightness specialists onboard to help ensure thatthe pre-contract design offered the best chance of success.

Current Air-Tightness Testing Plans and AcceptanceCriteriaThe entire design development and testing regime for thebuilding has been structured to provide the Library with atough and enforceable risk management capability withrespect to air tightness.

The Library has established an unusually rigorous testingregime, designed to capture potential workmanship issuesbefore formal testing commences. For example, it is outsidenormal practice for cladding installers or air-tightness con-sultants to build a 16-square-metre (172-square-foot) test rigof wall panels for offsite testing. However, the Library’s teamhas insisted upon this as a risk-mitigation measure, to helpensure that the workmanship on seam seals between panelsis practiced and proven before onsite installation commences.

The Employer’s Requirements Document (ERD) issued tobidders includes the Library’s contractually binding perfor-mance specifications. These include extensive referencesto the desired Air Leakage Index value of 0.5. (All clausesrelating to air leakage and testing have been reviewed andapproved by the air-tightness consultant.)

Performance Specifications Volume 1: ArchitecturalNBS SpecificationSection 40 (British Standard 5454: Project Specific Require-ments) details onsite and offsite monitoring and testingrequirements that are contractually binding (an extract canbe found at the end of this article). Key elements include:

Blower-Door-Test

• The building contractor must appoint its own air-tightness consultant (this has already happened duringthe procurement process).

• The building contractor’s air-tightness consultant willcarry out design reviews with the employer’s own air-tightness consultant, the main building contractor, clad-ding installers, mechanical and electrical equipmentinstallers and steelwork fabricators.

• The building contractor’s air-tightness consultant willcarry out a number of onsite audits to ensure the as-builtdetails are as specified, and will produce reports withphotographs and drawings.

• The architect’s air-tightness consultant and selectedspecialists (e.g., cladding manufacturer) will also carryout onsite audits and assume supervisory roles duringconstruction.

• The building contractor’s air-tightness consultant is boundto carry out a number of component tests to BritishStandard, to assess the air leakage of various interfacesand joints between building components. It is expectedthat the component test rig will measure approximately12 x 12 feet. Tests will be carried out on the sample panel,then a number of times onsite.

• Two air-tightness tests will be carried out: one beforeinstallation of the racking system (following completionof the building envelope and prior to handover to theautomation contractor), and one following final completionof the envelope (after installation of racking). The architect’sair-tightness consultant will monitor these tests onsite.

continued on page 10

Air Tightness Strategies — continued from page 7

9

British Library PROJECT SPECIFIC REQUIREMENTS—BS5454:Boston Spa—7-Aisle Scheme

40. AIR TIGHTNESS

The contractor shall appoint an Air-Tightness Consultant whois a member of the Air Tightness Test Measurement Associationto carry out the works detailed below. The company shall holdISO 9001 and UKAS accreditations for similar works and holdProfessional Indemnity Insurance.

The Contractor’s Air-Tightness Consultant shall put forward alist of similar contracts worked on with air-leakage requirementsless than 1.0 m3 per hour per m2 at 50 pascals, in terms ofcarrying out the following:

• developing air sealing specifications in terms of materialsto use;

• air tightness design reviews and developing robust details;

• site audits;

• component tests to measure the air permeability ofsections of joint, louvres, etc.;

• final air tests and their involvement with both specifyingand carrying out air-sealing works to be carried out;

• final air leakage tests; and,

• identification of carrying out remedial works.

The Contractor’s Air-Tightness Consultant shall carry out designreviews with the Employer’s Retained Air-Tightness Consultant,the Main Building Contractor, Cladding Installers, Mechanicaland Electrical Equipment Installers and Steelwork Fabricatorsto resolve the following issues:

• developing air-sealing specifications in terms of materialsto use, compatibility, adhesion, movement, fire rating,longevity, maintenance etc.;

• developing robust details;

• assessing operational issues with automatic doors, etc.;

• resolving air tightness issues with structural requirements—thermal movement, wind loading, thermal componenttests to measure the air permeability of sections of joint,louvres, etc.;

• final air tests and their involvement with both specifyingand carrying out air-sealing works to be carried out;

• final air leakage testing requirements;

• future repair and maintenance issues;

• overcladding, crash damage, reduction in air tightness;

• design life, lifecycle issues; and,

• risk issues.

The Contractor’s Air-Tightness Consultant shall carry out anumber of site audits to ensure the as-built details are asspecified, and shall produce reports with photographs anddrawings, identifying the size, scale and position of defects. Inaddition to this, the Employer’s Air-Tightness Consultant andselected specialists (e.g., Cladding Manufacturer) will also carryout site audits and assume supervisory roles during construction.If deemed appropriate, the Employer’s representatives may havea full-time onsite presence during some periods of construction.

The Contractor’s Air-Tightness consultant shall carry out anumber of component tests to BS EN 12114:2000, to assess theair leakage of various interfaces and joints between buildingcomponents. It is expected that the component test rig willmeasure approximately 12 x 12 feet, and the samples shall betested to a pressure differential of 600 pascals, with resultsextrapolated to 50 pascals. The tests shall be carried out on asample panel, then a number of times onsite. The Employer’sAir-Tightness Consultant shall be present during the setting upof the test equipment and during the test itself. The report of thefindings shall be submitted to the Employer and the retaineddesign team. Prior to the air-tightness test, the specialist companyshall work out the envelope area as set out in CIBSE TM23.

Two Air-Tightness Tests shall be carried out in line withCIBSE TM23: one before the installation of the racking system(following completion of the envelope to the agreed stage)and one following the final completion of the envelope (afterthe racking installation). The air-tightness tests shall be carriedout in line with CIBSE TM23. The Employer’s Air-TightnessConsultant shall be present during the tests.

The air-tightness test result shall be expressed in terms of anair-leakage index in m3/h/m2, and shall not exceed 0.5 m3/h/m2

at a reference pressure differential of 50 pascals. The results ofthe air-tightness testing (and any subsequent testing) shall bepresented in a comprehensive report and submitted to theEmployer and the Employer’s retained consultants.

The following conditions shall be met whilst carrying outthe tests:

• The external envelope shall be complete when the finaltest is carried out.

• Raised floors and suspended ceilings shall have sufficientpanels removed by the contractor to allow the free flow ofair through them.

• Internal doors shall be wedged open.

• All doors, windows and fixed vents shall be closedthroughout the tests.

• Mechanical ventilation systems shall be temporarily sealed.

• Smoke extracts and lift shaft vents shall not be sealed.

• Drains and water traps shall be filled with water.

If the building’s air-leakage rate is greater than 0.5 m3/h/m2,the contractor shall arrange for appropriate remedial actionto be taken which could include:

• A full site audit of the airtight envelope, whilst thebuilding is being de-pressurized.

• A localized smoke leakage test.

• A full-scale smoke leakage test.

• A thermographic survey.

Further air-leakage tests shall be carried out until the air leakagerate is less than 0.5 m3/h/m2 at 50 pascals. The Employer’s Air-Tightness Consultant shall be present during all further air-leakage tests, and the resultant data provided to the Employer.

Extract from Performance Specifications, Volume 1: Architectural NBS Specification

10

• The contract and specifications state that the air-tightnesstest result must be expressed in terms of an air leakageindex in m3/h/m2 and must not exceed 0.5 m3/h/m2 at areference pressure differential of 50 pascals. The resultsof air-tightness testing (and any subsequent testing) willbe presented in a comprehensive report and submittedto the Library.

• If the building air-leakage rate is greater than 0.5 m3/h/m2,the building contractor is contractually obliged to arrangefor appropriate remedial action. Further air-leakage testswill then be carried out until the air-leakage rate is lessthan 0.5 m3/h/m2.

Performance Specifications Volume 3b: StructuralSteelworkPermissible Deflections and Movement — All requirementsin this section are aimed at minimizing the chance of winddeflection, which may cause wall panels to gape, thusleaking air.

Performance Specifications Volume 4: MechanicalBuilding Services This includes extensive clauses related to testing and oper-ational handover. Cross-referenced to Vol.1 (Architecture).Some of the most pertinent clauses include:

• “As mechanical services form part of the repository andpenetrate the external walls, mechanical services shallact together with the building fabric to ensure that themaximum specified air leakage is not exceeded.”

• The Ductwork Material section requires that, “The airtightness of the manufactured seam shall comply withthe specified air leakage tests.”

• The testing specification details for the Air HandlingUnits relates this requirement to broader air-leakagetesting required by the ERD.

Finally, air tightness must be proven during the two-week fault-free period.

Throughout the testing process, the Library will benefitfrom expert monitoring by the architect’s air-tightness con-sultant, the building contractor’s air-tightness consultant, andthe project management team. All will share their progresswith the Library through a formalized reporting process.

Risk Mitigation in the Building Contractor ProcurementProcessAll members of the Library’s tender evaluation teams haveclearly expressed the challenges faced by potential buildingcontractors with respect to air tightness.

Potential bidders’ understanding of these design challenges(as demonstrated in their formal tender submissions andat formal interviews) was a key element in the Library’stender evaluation process.

The procurement evaluation team pressed buildingcontractors on their choice of roofing and wall claddingsub-contractors, designers, and project managers, to helpdetermine the seriousness with which bidders understoodthe need for best-practices workmanship on design detailsrelating directly to air-tightness. The architect’s air-tightnessconsultant was involved in interviewing the contractorsand their air-tightness consultants, and was also part of thescoring team.

Under a Develop and Construct contract, the successfulbidder takes on all contractual responsibility for the buildingdesign and its successful construction. All written and verbalcommunication with the bidders has emphasized this con-tractual liability, and procurement meetings were used toreinforce the message that contractors had to be certainthat they could manage the air-tightness risk during designdevelopment and construction.

Early in the procurement process, a meeting focusingspecifically on air tightness was held with the bidding con-tractors. This was used to draw the bidders’ attention tothose clauses in the draft contract (and design specificationand drawings) relating to air tightness. Their attention wasalso drawn to the testing and handover requirements laidout in the contract.

There were continuous and thorough discussions with allbidders about how they would approach design, installation,and testing. Bidders were asked to explain how they plannedto ensure that any potential issues with workmanship wereidentified at the earliest possible opportunity and rectified.

The Invitation to Tender for the building contract is explicitin asking the building contractor to make proposals whichwill further mitigate the risk of poor-quality workmanship.Both shortlisted bidders have made proposals to furtherextend the Library’s monitoring and testing proposals, asdefined in the ERD.

Both shortlisted contractors have shown a sound appre-ciation of all the challenges posed by the air-tightness regime,and have subsequently responded with their own designsuggestions as enhanced risk mitigations. One has pro-posed a revised roof design which they feel is more likelyto be installed carefully enough to meet the air-tightnesstargets. The other has chosen a German cladding and roofsubcontractor which has built and tested buildings (somelarger than ours) with an Air Leakage Index value betterthan the 0.5 value required by our design.

John DeLucy is the Head of Estates and Facilities at theBritish Library in London, England.

Julian Taylor is the Project Sponsor for this project, andwas responsible for coordinating the British Library userrequirements and contractor input.

Air Tightness Strategies — continued from page 8

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As a child, I dreamed aboutexploring the rainforest in searchof the next cure for cancer. Inmy early teens, my dream becamerunning the 400-meter dash inthe Olympics. As I transitionedfrom high school to college, work-ing at the Smithsonian Institutionbecame my dream.

I have always loved museums,art, history, and architecture. Istarted drawing floor plans whenI was nine years old. When Ivisited Washington, D.C. at theage of eleven, I was awed bythe number and stature of themuseums. I stood for whatseemed to be hours in frontof works by Claude Monet,staring closely at the blobs ofcolor before slowly steppingback to see the colors blend.This experience in Washington,D.C. left me with a specialinterest in museums thatcontinues to inspire me today.

The chance to set up aninternship with Dan Daviesof the Smithsonian Institutioncame in October 2005. I had anopportunity to meet Mr. Daviesin Philadelphia at an Inter-national Facility ManagementAssociation (IFMA) convention. I was eager for the oppor-tunity. I love my internship. It is a very unique time for theGallery Place Zone of the Office of Facilities Managementand Reliability. The Patent Office Building reopened onJuly 1, 2006, after nearly six years of renovation, with anew name: The Donald W. Reynolds Center for AmericanArt and Portraiture. As an intern, I have a great opportunityto watch the transition from construction management tofacilities management.

From being on nearly twenty feet of scaffolding, cleaningbas-relief, to organizing a move, to playing a role in a bench-marking study, I have learned a great deal. I have also hadan opportunity to shadow Mr. Davies as he attends to hisdaily tasks, attends various meetings, and puts out theinevitable facilities-management fires. These experiences,along with many others, make others from my Facilities

Management program greenwith envy!

In April, I finished my junioryear in the Facilities ManagementProgram at Brigham YoungUniversity. This program in-cludes courses on project man-agement, asset management,technology, scheduling, andother facility-related courses.In addition to facilities courses,each student is required to takenearly 30 hours of constructionmanagement courses and com-plete a business minor. Thesecourses have prepared me wellfor my summer internship withthe Smithsonian Institution. Onecourse teaches various methodsin construction estimates, usingMicrosoft’s Excel program. Thiscourse is a great benefit to meas I continue to use my skills tocreate spreadsheets for the engi-neers and office staff. BrighamYoung University is one of thetop schools in Facilities Man-agement in North America. InOctober 2005, we were rewardedthe IFMA Student Chapter of theYear Award. We have studentchapters for IFMA, the Asso-ciation of Higher Education

Facilities Officers (APPA), the International Association ofAssembly Managers (IAAM), and the American Society ofHealthcare Engineering (ASHE).

As I travel to and from the Smithsonian Institution eachday, I sometimes have to pinch myself as I still cannotbelieve that I am here. Every time I walk past the DonaldW. Reynolds Center for American Art and Portraiture, Icatch myself beaming from ear to ear. For now, the feelingcan be compared to being a kid in a candy store: I am anintern at the Smithsonian Institution in Washington, D.C.

Kate Hickman is a facilities management intern atthe Donald W. Reynolds Center for American Art andPortraiture, part of the Smithsonian Institution. This fall,she begins her senior year of studies at Brigham YoungUniversity in Salt Lake City, Utah.

Apprenticing in Facilities Managementby Kate Hickman

Smithsonian intern Kate Hickman in front of the newlyopened Donald W. Reynolds Center for American Artand Portraiture.

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Nearly 40 institutions from around theworld took part in this year’s IAMFAbenchmarking exercise. This annualstudy is an excellent way for our mem-bers to share best practices and assessinstitutional performance, and hasbecome a popular IAMFA initiative. Thefollowing institutions and individualstook part in this year’s exercise, andwill be meeting the day before ourAnnual Conference in Los Angelesto discuss the results.

Art Institute of Chicago — Chicago, IL,U.S.A. — Thomas Barnes, William Caddick— The Art Institute of Chicago is anx-iously awaiting the completion of theirnew building named the Modern Wing.

Anacostia Museum and Center forAfrican American History and Culture—Washington, D.C., U.S.A. — MauriceEvans — Their current exhibition,Reclaiming Midwives, is on displaythrough August 6, 2006.

Asian Art Museum — San Francisco, CA,U.S.A. — Gordon Bailey, Brenda Cobb-Williams — The Asian Art Museumturned 40 this year. Congratulations!

Auckland Art Gallery — Auckland,New Zealand — Patricia Morgan — Logon to this interactive site to put togetherjigsaw puzzles of major pieces of art:http://www.aucklandartgallery.govt.nz/activities/puzzle/default.asp

British Library — London, England —John de Lucy, Harry Wanless — TheBritish Library boasts of its collectionwhich not only includes a collection

of over eight million postage andreview stamps, but 47 million patentspecifications.

British Museum — London, England —Stephen Gill — The Museum exists toilluminate the histories of cultures,for the benefit of present and futuregenerations.

Brooklyn Museum of Arts and Sciences— New York City, NY, U.S.A. — FrantzVincent — On display in their visiblestorage is the Spacelander Bicycle(Benjamin J. Bowden), designed in1946 and manufactured circa 1960.

Canadian Museum of CivilizationCorporation — Ottawa-Gatineau,Canada — Chan Hung Do, Guy Larocque,Christian Pagé — The Canadian Museumof Civilization is celebrating its 150thanniversary this year; the Canadian WarMuseum opened its new site in May2005, celebrating its 125th anniversaryand the 60th anniversary of the end ofthe Second World War.

Canadian Museum of Nature — Ottawa,Canada — Lucie Lanctot — Currentlyfeaturing an exhibition on the courtshiprituals of animals of various sizes andshapes.

Exploratorium — San Francisco, CA,U.S.A. — Jennifer Frago, Andy Hirshfield— Offers many interactive sites online,including the exploration of the sciencein different sports.

Freer Gallery of Art — Washington, DC,U.S.A. — Robert Evans — ThroughSeptember 4, 2006 the Gallery willfeature the exhibition, Facing East:Portraits from Asia.

Getty Center — Los Angeles, CA, U.S.A.— James Bullock, John Donohoe, OrenGray, Joseph May, Gary McKean, MichaelRogers, Will Spencer — The Getty Centerwebsite offers Getty Bookmarks. Thesebookmarks allow visitors to collectinformation on their favorite worksof art at the Getty Center.

Hirshhorn Museum & Sculpture Garden— Washington, DC, U.S.A. — FletcherJohnston — One of the current exhibits,Zobop by Jim Lambie, is an artworkcomprised of striped taped floor pieces.

Library of Congress (3 sites) —Washington, DC, U.S.A. — JosephNeal Graham.

Metropolitan Museum of Art —New York, NY, U.S.A. — Thomas Scally— Part of the website features aninteractive timeline of art history,including highlights and special topics.

Museum of Contemporary Art —Los Angeles, CA, U.S.A. — Randal Murphy— Since 1979, the Museum has beencommitted to the collection, presen-tation, and interpretation of workproduced since 1940 in all media, andto preserving that work for futuregenerations.

IAMFA Benchmarking Exercise 2006by Kate Hickman

Auckland Art Gallery

British Museum

Canadian Museum of Civilization

Hirshhorn Museum and Sculpture Garden1

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Museum Support Centre (SmithsonianInstitution) — Washington, DC, U.S.A.— Wayne Field.

Museum Victoria — Melbourne, Australia— Kim Reason — Currently featuring theexhibition, Commonwealth PhotographicAwards: an exhibit of photographs high-lighting the best of the CommonwealthPhotographic Awards since 2000.

National Air and Space Museum —Washington, DC, U.S.A. — Dave Samec— Features historic artifacts on display,including the Wright Brothers’ Wright1903 Flyer and the Spirit of St. Louis.

National Gallery — London, England —Frank Brown, Peter Fotheringham —New addition to the “Rebels andMartyrs” series is Gustave Courbet’sself portrait The Desperate Man.

National Gallery of Australia —Canberra, Australia.

National Gallery of Canada — Ottawa,Canada — Ed Richard — Current fea-ture exhibition is Emily Carr: NewPerspectives.

National Gallery of Victoria —Melbourne, Australia — Tony vanNoordenburg — The exhibition Picasso:

Love and War 1935–1945 is on displayuntil October 8, 2006.

National Library of Scotland —Edinburgh, Scotland — Jack Plumb —Has material in over 490 languagesin 13 million printed items; 100,000manuscripts.

National Museum of American History,Behring Center — Washington, DC,U.S.A. — Kelvin Lawson — Closing itsdoors in September 2006 for two yearsof renovation.

National Museum of Australia —Canberra, Australia.

National Museum of Natural History —Washington, DC, U.S.A. — Andy Dietz— Their current exhibition, WondrousCold: An Antarctic Journey, offers aglimpse of the majestic continent ofAntarctica of scientists and explorers.

National Museum of the AmericanIndian — Washington, DC, U.S.A. —Dave Samec.

National Museum of the AmericanIndian, Cultural Resources Center —Washington, DC, U.S.A. — Maurice Evans.

National Zoological Park — Washington,DC, U.S.A. — Stephen Hodsdon — Thiszoo features giant pandas including acub, Tai Shan whose first birthday wasJuly 9, 2006.

Renwick Gallery — Washington, D.C.,U.S.A. — Daniel Davies, Andy Smith —The permanent collection includes LarryFuente’s Game Fish which is comprisedof game pieces and small toys.

Royal British Columbia Museum —Vancouver, Canada.

Smithsonian Institution Building —Washington, DC, U.S.A. — Richard Day— This is the Smithsonian Institution’sfirst building, popularly known as“The Castle”.

Smithsonian Quadrangle — Washington,DC, U.S.A. — Richard Day — Includesthe Smithsonian Institution’s FreerGallery of Art, the Sackler, and theRipley Center.

Stephen F. Udvar-Hazy Center —Washington, DC, U.S.A. — Dave Samec— The newly restored space shuttleEnterprise is the centerpiece of theJames S. McDonnell Space Hangar.

Textile Museum — Washington, DC,U.S.A.

Winterthur Museum — Winterthur, DE,U.S.A.— John Castle — BeautifulAmerican country estate in Delawarewith many wonderful features,including a 60-acre garden andsurrounding landscape.

Smithsonian Institution Building,"The Castle"1

National Gallery3

Museum of Contemporary Art

PHOTO CREDITS:1COURTESY OF THE SMITHSONIAN2MARISSA ROTH3WWW.GEOCITIES.COM/ASIAGLOBE/GALLERY

Steven F. Udvar-Hazy Center of the NationalAir and Space Museum1

National Museum of Natural History1

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Following a six-and-a-half-year, $283-million renovation, the SmithsonianAmerican Art Museum and NationalPortrait Gallery are once again wel-coming visitors to a historic landmarkbuilding in the heart of the vibrant PennQuarter neighborhood. Collectively, themuseums celebrate the vision and cre-ativity of all Americans. Our collectionstell America’s stories through art, history,and biography. Here, you will findnineteenth-century grandeur enhancedby twenty-first-century additions.

Glorious Building—A Temple of InventionThe National Historic Landmark buildingthat houses the Smithsonian AmericanArt Museum and the National PortraitGallery is one of the oldest public build-ings constructed in early Washington,D.C., and is considered one of thefinest examples of Greek Revival archi-tecture in the United States. In 1836,architect Robert Mills designed theoriginal U.S. Patent Office Buildingwith three storeys of spacious interiorsfor the display of more than 200,000models of patented inventions, from thecotton gin to the first telephone. Thebuilding was a hub of activity duringthe Civil War period, serving as a mili-tary hospital from September 1861 toApril 1863, with Walt Whitman andClara Barton tending to woundedsoldiers. Abraham Lincoln held hisinaugural ball at the Patent OfficeBuilding on March 6, 1865. The upperfloors of the west and north wingswere ravaged by fire in 1877. Nearly87,000 patent models were destroyed.Adolf Cluss was appointed architectto reconstruct the damaged wingsin the popular Victorian “modernRenaissance” style.

The Patent Office moved out of thebuilding in 1932, and the Civil ServiceCommission moved into the building.

In 1953, the building was slated fordemolition, to make way for a parkinggarage. The nascent historic preserva-tion movement successfully campaignedto save it, and in 1955 President DwightD. Eisenhower ordered that it be pre-served. In 1958, Congress transferred thebuilding to the Smithsonian to houseart collections, and the National PortraitGallery and Smithsonian American ArtMuseum opened to the public in 1968.In January 2000, the museums closedthe building for extensive renovations.On Oct. 12, 2005, the Smithsonianannounced that the two museums andtheir activities would now be knowncollectively as the Donald W. ReynoldsCenter for American Art and Portraiture.

Artisan Craftsmanship—Dramatic EnhancementsThe meticulous restoration required aworldwide search for skilled artisans toproduce historically-accurate details.Thousands of encaustic and geometrictiles were specially made in England,

588 windows were crafted from hand-blown glass in Poland to simulate theslight irregularities of old panes, andmore than 12,000 square feet of originalmarble floor pavers were restored in themuseums’ hallways. Recently uncoveredskylights span more than two cityblocks, and flood the third floorgalleries with dramatic natural light.

Lunder ConservationCenter—Preserving OurTreasures The Lunder Conservation Center, sharedby the Smithsonian American ArtMuseum and the National PortraitGallery, is the first facility that perma-nently reveals to the public the preser-vation and daily conservation workthat is normally conducted behind thescenes. Featuring floor-to-ceiling glasswalls, the Center allows visitors to seethe modern techniques that conser-vators uses to examine and treat thenational treasures entrusted to bothmuseums. The Center’s five state-of-

The Donald W. Reynolds Center for American Art and Portraiture Opens in Washington, D.C.

by Daniel Davies and the Reynolds Center Public Affairs Staff

Entrance to The Donald W. Reynolds Center for American Art and Portraiture home to theNational Portrait Gallery and the Smithsonian American Art Museum.

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the-art laboratories and studios areequipped to treat paintings, prints,drawings, photographs, sculptures,folk art objects, decorative arts, andframes. Visit the Lunder ConservationCenter online at LunderCenter.si.edu.

Luce Foundation Centerfor American Art—Explore our CollectionThe Luce Foundation Center forAmerican Art is the first visible artstorage and study center in Washington,D.C. This innovative public space pro-vides new ways to experience Americanart, and displays nearly quadruple thenumber of artworks on view in thegalleries. Although the Luce FoundationCenter contains more than 3,300 art-works, its imaginative design andthoughtful organization allow visitorsto focus quickly on areas of interest;from there, they are free to browseor explore in more depth.

The Center features paintings denselyhung on screens; sculptures, craft, andfolk art arranged on shelves; and por-trait miniatures, bronze medals, andjewelry in drawers that slide open at thetouch of a button. More than 60 largesculptures are installed on the mainfloor. Interactive computer kiosks pro-vide insightful information about everyobject on display, including a discussion

of each artwork, artist biographies, audiointerviews, still images, and nearly 70videos created especially for the Center.Check out the Luce Foundation Centeronline at LuceFoundationCenter.si.edu.

Nan Tucker McEvoyAuditorium—State of theArt Performance SpaceThe Nan Tucker McEvoy Auditorium ishost to artists, lecturers, dancers, cura-tors, musicians and many more per-formers. The Smithsonian AmericanArt Museum has partnerships with theWashington National Opera, BluesAlley, and the Shakespeare TheatreCompany, among other collaborations.The National Portrait Gallery has devel-oped an intriguing series of archival,documentary and feature films sure toplease any film buff. Don’t miss anopportunity to explore all the museumshave to offer!

Galleries—Find Yourselfon Our WallsCollectively, the National Portrait Galleryand the Smithsonian American ArtMuseum celebrate the vision and cre-ativity of all Americans. The collectionstell America’s stories through art, history,and biography. The iconic “Lansdowne”portrait of George Washington byGilbert Stuart, a riveting photograph

of basketball star Shaquille O’Neal, a32-foot-wide glowing map of the UnitedStates with more than 300 televisions byNam June Paik, and a visionary sculp-ture by folk artist James Hampton madefrom miles of gold and silver foil arejust a few of the thousands of artworksnow on view.

The Smithsonian American ArtMuseum is home to the largest collec-tion of American art in the world. Itsholdings—more than 41,000 artworksin all media spanning more than threecenturies—tell the story of Americathrough the visual arts, and represent themost inclusive collection of Americanart of any museum today. It is thenation’s first federal art collection,predating the 1846 founding of theSmithsonian Institution. The SmithsonianAmerican Art Museum’s Renwick Gallery,located on Pennsylvania Avenue at17th Street, N.W., is dedicated to exhi-biting American crafts and decorativearts from the 19th to 21st century.

The National Portrait Gallery is alandmark destination for people inter-ested in learning the fascinating storiesof great Americans who have shapedour country. It is the only museum ofits kind in the United States to combineaspects of American history, biographyand art. The National Portrait Gallerywas established by an Act of Congressin 1962 as a “free public museum . . .depicting men and women who havemade significant contributions to thehistory, development and culture ofthe people of the United States.” Themuseum’s collection includes 19,400works, ranging from paintings andsculpture to photographs and drawings.

Check out ReynoldsCenter.org forup-to-date information, and be sureto visit the museums in person! We’reopen from 11:30 a.m. to 7:00 p.m.every day—stop by for lunch in ourUpper West Side Café or an after-workcocktail in our outdoor Portico Café.

Daniel Davies is the Zone FacilitiesManager for the Gallery Place Zoneof the Smithsonian Institution inWashington, D.C.

The Luce Foundation Center for American Art offers three floors of open storage displaying3,500 paintings, sculptures, miniatures, craft objects and folk art pieces from theSmithsonian American Art collection.

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The following article was published in the spring 2005edition of Papyrus. The first part of this article is adaptedfrom a Getty Center press release on the LEED-EB award.

On February 14, 2005, the Getty Center became the firstfacility in the United States to be awarded LEED-EB(Leadership in Energy & Environment Design—ExistingBuildings) certification in the post-pilot phase of the program.Administered by the U.S. Green Building Council, LEED isthe nation’s most widely recognized and accepted greenbuilding rating system.

The accreditation was presented at IFMA’s (InternationalFacility Managers Association) Best Practices Forum, a two-dayevent held at the Getty Center on February 14 and 15, 2005.Best Practices Forum participants came to share new practicalideas that they have adapted to their individual organizations.

The Getty’s efforts in creating a work environment thatis not only good for workers, but also for the community andthe environment, supports Governor Schwarzenegger’s newlysigned Executive Order promoting the Green Building ActionPlan for California. At present, commercial buildings inCalifornia use 36% of the state’s electricity, and account fora large portion of greenhouse gas emissions, as well as useof raw materials and waste management. While the estimatedelectricity costs for California’s commercial and institutionalbuildings exceed $12 billion a year, cost-effective efficiency

practices are projected to save more than $2 billion annually.The Executive Order, signed by the governor in December2004, aims to reduce energy consumption for state-ownedbuildings by 20% by 2015.

“As a LEED-EB certified facility, the Getty Center is pro-viding a healthy and conducive climate for employees andvisitors, resulting in a more productive workforce and abetter-served consumer base. We are proud of the dedicationand commitment of our Facilities staff in achieving this cer-tification: the result of more than 3,000 man-hours performedwith a focused and cohesive effort across our site,” saidBradley Wells, Vice-President of Finance and Administrationfor The J. Paul Getty Trust. “In addition, while reducingemissions and waste, the Getty Center’s improved energyand water efficiency has also cut operating costs, makingthis green model economically appealing to other facilities.”

The lasting impact of the Getty Center’s consciouslygreen decisions will be noticeable for years to come, espe-cially within the immediate community and in the city ofLos Angeles, with its effects felt well beyond the region.

The U.S. Green Building Council is the nation’s foremostcoalition of leaders from across the building industry, andworks to promote buildings that are environmentally respon-sible, profitable, and healthy places to live and work. TheCouncil created the LEED certification to provide a standardmeasurement with which to define “green”, helping to pre-vent false or exaggerated claims known as “green-washing”,and to encourage whole-building, integrated design pro-cesses that facilitate positive results for the environmentand occupant health.

LEED-EB-certified buildings such as the Getty Center helpto promote efforts to optimize energy and water efficiency,as well as recycling programs; to establish environmentallyresponsible processes, in order to minimize the impact ofbuildings on the environment; to reduce building-operationcosts; to improve indoor environment quality; to providea framework for sustainability as part of the organization’sculture; report environment stewardship efforts to cus-tomers and communities; and, to communicate the needfor best practices.

In October 2004, the U.S. Green Building Council issuedVersion 2 of the LEED-EB specification. Version 2 incorpo-rated the findings from the pilot program, and became thespecification for the post-pilot period for LEED-EB certifica-tion. At nearly the same time, interest in LEED-EB certification

Getty Center Becomes First Facility in the U.S. to be Rated “Green” through

LEED-EB Certificationby Joseph E. May, PE

From left to right, from the J. Paul Getty Trust: Will Spencer,Facilities Services Manager; Lynne Tjomsland, Grounds Manager;Joe May, Maintenance Planning and Support Manager; Jim Bullock,Director of Facilities; John Donohoe, Head of Engineering andMaintenance; Michael Orth, Custodial and Contracts Manager,and Mike Rogers, Capital Projects Support Manager.

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at the Getty Center peaked, and the Getty became registeredas a LEED-EB project.

LEED stands for “Leadership in Energy andEnvironmental Design”. The USGBC certification programconsists of a family of building rating systems including:

• LEED for New Construction

• LEED for Existing Buildings

• LEED for Commercial Interiors

• LEED for Core and Shell

• LEED for Homes

• LEED for Neighborhood Developments

The LEED for Existing Building Rating System has numerousgoals:

Sustainable Sites—Continue to use existing buildings andsites, protect natural and agricultural areas, reduce theneed for automobile use, protect and/or restore sites.

Water Efficiency—Reduce the quantity of water needed forthe building; reduce the burden on potable water supplyand treatment facilities.

Energy and Atmosphere—Maintain high levels of energyefficiency and system performance, encourage renewableand alternative energy sources, support ozone protectionprotocols.

Materials and Resources—Reduce the amount of materialsused, use materials with less environmental impact, andreduce and manage waste.

Indoor Environmental Quality—Maintain good indoor airquality, eliminate or reduce sources of indoor pollutants,

ensure thermal comfort and system controllability, andprovide for occupant connection to the outdoor environment.

Innovation in Operation and Upgrades—Recognition ofexemplary performance above standards for existingcredits and prerequisites.

Each of these categories has prerequisites which mustbe met in order to achieve certification, and 85 totalavailable credits can be earned, based on building designand operating processes. A facility’s total points indicatethe level of certification achieved. The certification levelsfor LEED-EB are:

• LEED-EB Certified 32–39 points

• Silver Level 40–47 points

• Gold Level 48–63 points

• Platinum Level 64–85 points

The Getty Center began by retaining a LEED-EB consultantto assess the Center’s ability to achieve LEED-EB certification,based on existing systems and procedures. The selected firm,Sebesta Blomberg, conducted an initial two-hour meetingwith Getty facilities managers to estimate how many pointscould be achieved without significant capital expenditureunder the LEED-EB rating system. The original estimatewas that 43 points could be achieved.

Many of these points resulted from characteristics in thedesign of the Getty Center. Examples of these were:

• the Building Management System;

• natural lighting and window tinting;

• underground parking to reduce heat islands;

• much of surrounding grounds left natural;

The Getty Center was designed by Richard Meier & Partners Architects. Hathaway Dinwiddie Construction Company was the generalcontractor for the Getty Center project, which was completed in 1997.

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continued on page 18

• very low light pollution—outdoor lights shielded;

• water-efficient plumbing fixtures;

• no CFC-based refrigerants;

• bike racks and shower facilities; and

• air-filtration systems with high particulate-removalcapability.

The Getty also accumulated numerous points resultingfrom California laws that already required certainprocedures. Examples are:

• grease interceptors and clarifiers for drains;

• recycling of fluorescent lamps (to recover mercuryvapor);

• establishment of an Air Quality Management District(AQMD), which requires a carpool/vanpool program;and

• an AQMD alternative work schedule.

Many of the remaining points thought to be achievablewere related to initiatives that have been underway at theGetty for years. Examples are:

• reduction of water irrigation through more efficientirrigation techniques and greater use of native plants;

• energy conservation through the increased use ofcompact fluorescent lamps, carbon monoxidemonitors in parking structures, and changes tolighting and HVAC schedules;

• preventive maintenance program to keep systemsnominal;

• staff education programs;

• tracking of building operation costs (done throughIAMFA’s annual benchmarking exercise);

• a recycling program for office, construction, andplant/organic waste, and monitoring of the facility’swaste stream to limit waste destined for the landfill;and

• extensive alternative transportation incentives—a 2004audit indicated 1.48 staff per vehicle.

Each point deemed achievable was then assigned by theGetty to an internal champion. Facilities supervisors andmanagers all contributed to the effort. Sebesta Blomberg wasretained on an intermittent basis to advise facilities staff onthe preparation of all necessary documentation. SebestaBlomberg’s assistance was invaluable, and significantlyshortened the timeframe for certification.

The time requirement for assembling the documentationfor LEED-EB certification was significant, but this investmentin time and process was justified. The savings in energy,water, and waste removal more than covered the costsinvolved in achieving LEED-EB certification. The intangiblebenefit of establishing a leadership role in the community withregard to green practices carries even greater importance.

The Getty Center earned LEED-EB certification with35 points. One of the 35 points accumulated for basicLEED-EB certification resulted from the Getty’s process fortracking building operating costs. Like the Getty, IAMFAmembers who have participated in annual benchmarkingexercise already have a process for tracking buildingoperating costs in place.

Plans are now underway at the Getty Center to achievethe points necessary for re-certification in two years at theGold Level.

For IAMFA members who would like additional informa-tion on LEED certification, please contact Joe May at theGetty Center at (310) 440-6469.

Joe May is the Maintenance Planning and SupportManager at the Getty Center in Los Angeles, California.

The J. Paul Getty Trust is an international cultural andphilanthropic institution devoted to the visual arts thatfeatures the J. Paul Getty Museum, the Getty ResearchInstitute, the Getty Conservation Institute, and the GettyFoundation. The J. Paul Getty Trust and Getty programsare based at the Getty Center in Los Angeles. Additionalinformation is available on the Getty website atwww.getty.edu.

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The Museum Entrance Hall at the Getty Center.

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Getty Center Becomes First Facility in the U.S. to be Rated “Green” through LEED-EB Certification — continued from page 17

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A mailshot was sent out in May to theChairpersons of National Committees ofthe International Council of Museums(ICOM) in 110 countries—from Azer-baijan to Madagascar to Zimbabwe—asking them to pass along informationabout IAMFA membership to the CEOsof their member institutions.

I attended a meeting of the Govern-ment Buildings Professionals LiaisonGroup in May at the Greenwich NationalMaritime Museum—an event whichincluded a visit to the major refurbish-ment project at the Royal Observatory.Following the meeting, I invited fourprominent U.K. institutions to joinIAMFA.

Gerry Linehan, Assistant DirectorGeneral (Corporate Services), of theNational Library of Australia, visited theBritish Library on March 17. Despitetearing some ligaments in his leg uponarrival in the U.K., he was still able tohobble about, and had a productivevisit. I didn’t pass up the opportunity toencourage him to become an IAMFAmember. Gerry then traveled on toWashington to visit Neal Graham atthe Library of Congress— another ofour member institutions.

The following reports detail therecent and upcoming activities ofregional chapters.

Northern CaliforniaChapterby Joe Brennan

On May 4, at the San Francisco Museumof Modern Art (SFMOMA), we enjoyeda factory rep’s demonstration of theISIS art protection system, which usesRFID tags. This system is popular in

Europe. New York’s Museum of ModernArt has also installed it, and it is beingbeta-tested at the Getty.

On May 17, we held our Spring 2006Quarterly Meeting at the Lindsay Wild-life Museum in Walnut Creek. We weretreated to an excellent tour of theiroperation by Acting Director ChrisBernard. By dint of its live collection,the Lindsay is a very different propo-sition from a typical museum. Theyhave a hospital, quarantine and exer-cise areas, plus an animal kingdomkitchen, pharmacy, laundry, etc.

The Wildlife Museum treats and reha-bilitates a wide variety of wildlife fromhummingbirds (a New World genus)to bald eagles, shrews to mountainlions—but only native species. A largepercentage are rehabilitated back intothe wild, but some are unable to makeit in the wild and are kept on in theMuseum’s living collection for display,interpretive and educational programs.The facilities aspects of all these specialfeatures were of interest to our groupof five. Unfortunately, we missed ourphoto opportunity—particularly of thebald eagle demonstration.

On September 21, we will holda joint third-quarter meeting of theNorthern and Southern California IAMFAChapters, the day after the 2006 AnnualConference—meeting midway at theHearst Castle in San Simeon.

On September 25, there will be anall-day Alliance for Preservation forumat SFMOMA.

Our fourth-quarter meeting is sched-uled for November 15, with programand venue to come.

New Zealand Chapterby Pat Morgan

In March 2006, I traveled to Canberra,Australia to attend a networking meet-ing for corporate managers of Austra-lasian museums. The meeting washosted by the National Gallery in

John de Lucy, VP RegionalAffairs

Regional Chapters

Canberra, with ten museums/art gal-leries represented, and once more, Iflew the flag for both IAMFA and thebenchmarking survey. Noting the par-ticipants for the 2006 survey, I seem tobe gradually getting the numbers up!We covered a wide range of topics atthis meeting, and have subsequentlyhad lots of e-mail contact. While Icannot guarantee that all of thosepresent will eventually join IAMFA, itwill not be because they are unawareof its existence!

U.K. Chapterby Jack Plumb

On May 5, Duncan Campbell, Directorof Corporate Services at the NationalLibrary of Scotland in Edinburgh, wel-comed members of both IAMFA andthe U.K. Museum Group to the annualmeeting, which hosted by the Librarythis year. The theme of the day’s pre-sentations was the new fire safetylegislation, Regulatory Reform (FireSafety) Order 2005 (RRO), which isabout to become law in the U.K. One

National Library of Scotland (NLS).

continued on page 20

20

of the aims of this piece of legislationis to move responsibility for fire safetyfrom an external prescriptive system

of issuing Fire Certificates to Buildings,to building managers, requiring themto produce a Risk Assessment to dem-onstrate that they are providing a safeplace of work for building users. Afundamental shift in responsibility forfire safety!

The first session was presentedby Bill Black of Drivers Jonas, whotook us from the very beginning—the1189 Building Act, which must be oneof the first pieces of fire safety legis-lation—through the 1666 Great Fireof London and the resultant changes,to the present day.

The keynote presentation was givenby Colin Todd of C.S. Todd and Asso-ciates Ltd, who was asked to explainthe implications of the RRO for buildingmanagers. Colin provided a very fulland detailed explanation of the newresponsibilities that building managers

would be expected to carry, finishingoff with a chilling account of theMayfield Leisure Centre fire in 1984which, although it had adequate firealarms, emergency lighting, fire doors,etc., still resulted in six fatalities.

The final presentation was givenby Bill Jackson of the National Libraryof Scotland, who took us through therecently published NFPA Code 909.Bill is also the secretary for the NFPACultural Resources Committee, so wasideally qualified to take us throughthis code.

Following a very pleasant lunch,during which colleagues met up torenew old friendships and form newones, Robert Galbraith of the NationalGallery of Scotland provided a guidedtour around the recently completedrefurbishment of the Royal Societyand the National Gallery Buildings.NLS sprinkler installation.

The International Association ofMuseum Facility Administrators ispleased to welcome the followingnew members:

AUSTRALIA CHAPTER

Anthony WilliamsManager, Facilities Operations andMaintenanceSydney Opera HouseBennelong PointGPO Box 4274, Sydney, NSW, 2000Australiaawilliams@sydneyoperahouse.com

NORTHERN CALIFORNIA CHAPTER

John DowningSecurity Technical and TrainingSupervisorBerkeley Art Museum/Pacific Film Archive2625 Durant AvenueBerkeley, CA, 94720-2250USAjdown@berkeley.edu

OTTAWA-GATINEAU CHAPTER

Chan Hung DoBuilding Operations EngineerCanadian Museum of Civilization100 Laurier Street3100 Station BGatineau, Quebec, J8X 4H2Canadachan.do@civilisations.ca

Elizabeth MoxleyManager, Care of Collections BranchLibrary and Archives Canada550 Boulevard de la CiteGatineau, Quebec, J8T 8R3Canadaelizabeth.moxley@lac-bac.gc.ca

TEXAS CHAPTER

Mike PierceChief Engineer The Museum of Fine Arts, Houston5600 Fannin, PO Box 6826Houston, TX, 77265-6826USAmpierce@mfah.org

WASHINGTON-BALTIMORECHAPTER

James DudaFacility Management OfficerThe Library of Congress101 Independence Ave., S.E.Washington, D.C., 20540-9420USAjduda@loc.gov

Marlene FloresSmithsonian InstitutionAttn: STRIUnit 0948, APO/AA, 34002Panamafloresm@si.edu

John LeachSite Operations DirectorThe Hermitage, Home of PresidentAndrew Jackson4580 Rachel’s Lane, Hermitage, TN,37076USAjleach@thehermitage.com

New IAMFA Members

Regional Chapters (U.K.) — continued from page 19

21

The Canadian War Museum (CWM) in Ottawa was openedin 2005. Early in the design phase, it was decided to investi-gate and include a “green” program sensitive to environmentalissues beyond those required by law or code. Given theCWM’s location next to the Ottawa River, the potential useof this resource was thoroughly investigated. Since it hadalready been decided to use river water to dispose of excessheat from the chillers, the use of river water instead ofdomestic water for sanitary fixtures (urinals and toilets)seemed an obvious extension of the “green” process.

This idea was discussed as part of the “value engineering”procedures that were adopted for the planning of this impor-tant national institution, and the idea was accepted andintegrated into the mechanical design of the building. It wasa bold decision, given the paucity of Canadian experiencewith such systems. The initiative, however, had widespreadapproval from management, the city, and the federal gov-ernment, and was a cornerstone for a building applying forLEED “silver” certification (pending). (For more informationon LEED (Leadership in Energy & Environmental Design)certification, see Joe May’s article on page 16, or visitwww.usgbc.org/leed.

As attractive as the initiative was in terms of the “greenbuilding” process, it wasn’t without its challenges. Firstly,there are the technical requirements of such a system. Thereport below outlines the systems, but more detailed technicalinformation can be found at the end of the article.

To begin with, non-potable water (NPW) cannot bebrought up “raw” from the river, but must receive sometreatment. This includes:

• primary filtration;• temperature conditioning; and• distribution.

Primary FiltrationThe river water passes through primary filtration to removelarger particulates. On a regular basis, the filters are reverse-flushed with a mixture of air and water known as the “hydro-burst system”, which scrubs the surfaces and ensures properfiltration. This procedure also helps control the formationof zebra mussels on the filters and pumps: a phenomenonthat is becoming increasingly problematic in this part ofCanada! Photo 1 shows the “de-aerator” at the intake whereair is removed from the water source.

Temperature ConditioningIt was determined that, for the piping and the sanitary devicesto work, there had to be a relatively constant temperatureyear-round. In the case of the CWM, 20°C (68°F) was chosen.Given that the temperature of the river water varied sea-sonally from winter to summer, this required heating thewater in the colder months to approach the design temper-ature. Winter cooling was handled rather efficiently by usingthe excess rejection heat from the chillers that run year-round(the chiller cooling loop is set at 30.6°C/87°F).

Once the heat needed for domestic hot water, and theheat used for “reheating” dehumidified air, had been drawnoff, the excess heat would normally be sent to a coolingtower or to the river. This heat is now used to bring the riverwater temperature up to the 20°C design temperature. This isaccomplished by blending approximately 75% chiller rejection-heated water with 25% raw river water (a temperature-controlmixing valve is used to manage the blending).

For the majority of the winter, this rejection heat is ade-quate, but for times that the available heat falls short of thedemand, a heat exchanger is available to further heat theintake water from the heating boilers. During the hottestsummer months, the water does not exceed 24°C (78°F),and this warmer-than-design temperature was deemedacceptable. Photo 2 shows the heat exchanger.

Water ConditioningOnce the NPW has reached the appropriate temperature, afiltering process begins (Photo 3 shows the various filters).The first stage uses Ultra-Violet Radiation filtration (UVR) inmultiple redundant series to eliminate microbial organisms.

The NPW then passes through two-pack multiple mediafilters which eliminate most of the sediment in the riverwater. Finally, the water passes through a final stage of fil-tration consisting of carbon-filled canisters. This significantlyreduces any odor in the water.

The Canadian War Museum—River Water for Sanitary Use: Trials and Tribulations

by Richard Harding

1. De-aerator. continued on page 22

22

DistributionAll piping for the NPW system at the CWM from a diameterof 76 mm (3”) down was designed to use uninsulated PVCpiping (a cost-reduction initiative from the value engineeringprocess), with the exception of the copper interface pipingattached to the sanitary fixtures themselves. The domesticwater (potable) system uses traditional insulated copperpiping. This keeps the two systems separate, and avoids anyconfusion during future modifications which could lead toa contamination of the domestic distribution system.

In case of a need to shut down the NPW system forany reason, a back-up metered city water supply system isavailable (Photo 4).

The NPW is then distributed by means of two pumpsworking in tandem (Photo 5), to ensure a constant operatingpressure of 350 kilopascals (50 psi). To deliver a constantpressure, pressure-regulating valves were installed. Theaverage consumption per day is approximately 30 m3

(7,900 US gal).

ExperiencesAs with all new technologies, there were certainly trials andtribulations, as well as growing pains. The commissioningof the various systems was often difficult, and “tweaking”of the systems was common. Some of these “issues” couldhave been anticipated, but others, given the groundbreakingnature of the initiative, only came to light during the com-missioning and public use of the facility. The anticipatedbenefits/drawbacks known at the time of design were:

Benefits• City water charge-out for NPW consumption is only

applicable on sewage fees.

• Environmentally friendly (green system).

• PVC piping has extended life expectancy as comparedto copper.

Drawbacks• Requires greater maintenance.

• Higher capital expenditure.

• Systems must be sized properly to suit building’s specificrequirements, and the system cannot be added to exten-sively without modifications to the supply system. Also,optimum design requires that the system is adequate“most of the time”, but during periods of extremely highuse, line pressures can drop as the system is overwhelmedby demand.

• Substantial cost for monthly filter changes.

Unforeseen problems included:

• The vast majority of the public have only seen treateddomestic water in sanitary fixtures—that is, clear andpristine. River water is not so. It has colour, and in thecase of the water from the Ottawa River, it is a weak“tea” hue. Also, despite filtration, the water has a certain2. Non-potable water tempering through a heat exchanger.

3. The three types of NPW filtration. 4. Local consumption meter and main shut-off valve.

The Canadian War Museum—River Water for Sanitary Use — continued from page 21

Carbon-filledcanisters Filter

mediacartridges

UV lamp stystem

23

amount of particulate matter which settles to the bottomof a toilet. This was a shock to museum visitors, and ledto many complaints. Subsequently, signs (Photo 6) wereinstalled that stated that the water was river water andthat the colour was normal. The complaints stopped.

• The filtration system proved to be difficult to commission,especially the compressed air-cleaning system (“hydro-burst”) on the automation side. This was acerbated byelectrical problems encountered due to the extremelydamp environment. All of these problems have beencorrected, and the system is running well.

• The popularity of the Museum exceeded all expectations,and the percentage of “extreme use” that could lowerNPW line pressure was thus higher than anticipated. Itis important that these systems take peak demand intoaccount, to avoid potential health and safety issues suchas a lack of adequate water to flush toilets.

Summary“Green” initiatives such as the non-potable water systemchosen and installed by the Canadian War Museum willbecome more and more important as environmental andinfrastructure costs become more critical. By nature, pio-neers follow uncertain paths, but public institutions oftenhave to lead the way in initiating such change. The sharingof these institutions’ experiences will hopefully provide asource of relevant information to help other institutionsmake similar decisions down the road. This is yet anotherexample of why IAMFA and Papyrus are such importanttools in ensuring that we do not always have to reinventthe wheel at each turn of the planning process!

Richard Harding is Division Manager, Facilities Managementand Operations, for Black & McDonald in Ottawa, Canada.Black & McDonald provides building maintenance andfacility management for a wide range of institutional andeducational clients across Canada including the CanadianWar Museum.

Thanks to Todd Keeley, Project Manager of MechanicalTechnology at the Canadian Museum of CivilizationCorporation, and Dominic Nicholas, Operations Supervisorat Black & McDonald for gathering background informationand photos for this article.

5. Automated pump controls. 6. River water notice.

Technical Data

Piping• Polyvinyl Chloride (PVC) piping, fittings and valves used

throughout. Compress-fitted with max. operating pressureof 95 psig. NPS (Nominal Pipe Size) 3” to 3/4” IPEX plastic

Filtration:• 28 UV lamps and casings for microbial filtration• 2 banks of 7 cartridge media filters for sediment• 4 x 136 kg (300 lb) carbon-filled canisters

Pumping• 2 fully automated duplex centrifugal pumps (600V)

Heat Exchanger• 1 stainless steel shell-and-tube heat exchanger• Maximum capacity: 15.8 L per second (250 US gal./minute)

Flow Rates• Maximum outlet capacity: 90 m3 per day (23,775.5

US gal./day)or

• Maximum capacity: 7 m3/hr (1,849.2 US gal./hr) at 344.7 kPa(50 psi) to 482.6 kPa (70 psi)

Notes• Water Closet consumption: 1.5 US gal. per flush• Urinal consumption: 1.0 US gal. per flush• On an average day, there are approximately 4,500 flushes

24

Well, the plan was to get this issue outto the membership by July 20, in timeto remind and encourage everyoneto take advantage of rooms set asideat the Fairmont Hotel for this year’sAnnual Conference in Los Angeles. Theoriginal deadline for reserving yourroom was August 1.

The good news is that this deadlinewas extended, so all you procrastinatorshad several more weeks to make thatreservation. I hope you were amongthe lucky ones to book your room early,because the block of rooms set aside forconference attendees was soon booked.Joe May, Conference Chair, has sentout e-mails recommending alternativenearby accommodations for those whohave yet to reserve their hotel rooms.Oh, and don’t forget to register for theconference! Joe can’t plan fully if hedoesn’t know you’re coming.

So, here we are in late August andour renovated facility—the Donald W.Reynolds Center for American Art andPortraiture—has now been open fornearly two months. Elsewhere in thisissue is an article that proclaims ouropening to the world. This facility is notthe only new feature in our neck ofthe woods, however. We have a newBuilding Manager, two new BuildingServices Supervisors and a dozennew staff, with more on the way.Our intern, who has been with us forabout three months, has just returnedhome to Brigham Young Universityin Provo, Utah. All of these folks havebrought new energy and enthusiasmto our organization, at a time when

the intensity of the workload absorbedall they could offer.

We had 18,744 visitors on openingday. We had a dozen high-profile spe-cial events in the two weeks leadingup to opening day, and we’ve haddozens more since then. How doesone benchmark this kind of activity?

In the month before opening, Ineglected some of my other commit-ments. I missed at least one IAMFABoard teleconference meeting. (Thanksfor taking the minutes, Guy.) I procras-tinated on, and ultimately delegatedour work (ref: Renwick Gallery) on theBenchmarking Survey to Kate Hickman,the aforementioned intern. I also de-ferred work on this newsletter, whereKate helped me yet again, compilingthe substance of the article recognizingparticipants in this year’s survey. I owea debt of thanks to Guy and Kate, andto all the contributors of articles in thisissue, for scrambling to get their tasksdone. And once again, I am extremelyappreciative of the collective efforts ofSheila and Neena Singhal for helpingus to produce this newsletter undersuch tight time constraints, and thanksto Annie for compressing the printschedule into this diamond.

And now you have it, so little morecan happen before your imminentvoyage to sunny southern California.If you still need accommodations,maybe you could pitch a tent in thecorner of the Getty garage. See youin Los Angeles!

Daniel H. DaviesSecretary, IAMFA

Daniel H. Davies,Editor, Papyrus

Letter from the Editor

IAMFA/PapyrusSUMMER 2006

EditorDaniel H. DaviesSmithsonian Institution, Renwick Gallery& Donald W Reynolds Center

Papyrus CorrespondentsJoe Brennan

Daniel Davies

Guy Larocque

John de Lucy

Kate Hickman

Joe May

Pat Morgan

Jack Plumb

Julian Taylor

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in the U.S.A. byLake Litho

ISSN 1682-5241

Statements of fact and opinion are madeon the responsibility of authors alone anddo not imply an opinion on the part of theeditors, officers, or members of IAMFA. Theeditors of IAMFA Papyrus reserve the right

to accept or to reject any Article oradvertisement submitted for publication.

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

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