papyrus winter 2009

PAPYRUSVOL. 10, NO. 3 WINTER 2009–2010

I N T E RNAT I ONA L A S SO C I AT I ON O F MU S EUM FA C I L I T Y A DM I N I S T R ATOR S

The Harley-DavidsonMuseum: The FirstMuseum to GainGREENGUARDCertification

Cool Efficiency atChicago’s Museumof Science andIndustry

Recap of the19th Annual IAMFAConference inWashington, D.C.

VOL. 10, NO. 3 WINTER 2009–2010

I N T E RNAT I ONA L A S SO C I AT I ON O F MU S EUM FA C I L I T Y A DM I N I S T R ATOR S

IAMFA/PapyrusVol. 10, Number 3Winter 2009–2010

EditorJoe May

Papyrus CorrespondentsJoe BrennanDavid M. Brooks John DeLucyTim DotsonJoe MayAnthony B. McGuire

Elizabeth MillerMichael J. MurphyJon NethertonPennoni AssociatesJack PlumbStacey WittigShaun Woodhouse

Design and LayoutPhredd Grafix

TranslationMarina Pascal (French)Jeanne Pascal (Spanish)

EditingArtistic License (English)Guy Laroque (French)

Printed in Canada byElm 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 — Dean Marshall,National Gallery of [email protected]

Bilbao, Spain — Rogelio Diez,Guggenheim [email protected]

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

Hawaii, USA — Robert White,Honolulu Academy of Arts [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 —Ian MacLean, Canada Science andTechnology Museum [email protected]

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

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

United Kingdom — Bill Jackson,National Library of Scotland,[email protected]

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

REGIONAL CHAPTERS

PresidentJohn de LucyThe British LibraryLondon, United [email protected]

V.P., AdministrationRichard KowalczykSmithsonian InstitutionWashington, DC, [email protected]

V.P., Regional AffairsJohn CastleWinterthur Museum, Garden and LibraryWinterthur, DE, [email protected]

TreasurerLarry BannisterMilwaukee Public MuseumMilwaukee, WI, [email protected]

Secretary and Papyrus EditorJoseph E. MaySustainability EngineerLos Angeles, CA, [email protected]

Chairman — Conference 2010Joe BrennanSan Francisco Museum of

Modern ArtSan Francisco, [email protected]

Head of International AffairsGuy LarocqueCanadian Museum of

CivilizationGatineau, QC, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

IAMFA BOARD OF DIRECTORS

Cover photo: The Vietnam War Memorial in Washington, D.C., USA. Photo by Joe May.

Letter from the Editor1

Message from the President / Mot du président / Mensaje del Presidente 2

The Nineteenth Annual IAMFA Conference inWashington, D.C.4

The Twentieth Annual IAMFA Conference /La vingtième Conférence annuelle de l’IAMFALa Vigésima Conferencia Anual de IAMFA13

Cool Efficiency at Chicago’s Museum of Scienceand Industry14

The Harley-Davidson Museum: The First Museumto Gain GREENGUARD Certification18

Record Attendance at Best Practices Workshop22

Transforming a Globally Unique Cultural Institution24

The United States Library of Congress ArchivalStorage Facility28

2009 Engineering Excellence Awards: Recovering the Lost Stream at Winterthur30

IAMFA Members Directory 200933

IAMFA Members — Organizations39

Regional Updates41

Contents

PAPYRUS WINTER 2009–2010 1

The 19th IAMFA Conference is

over, and members and their

guests have returned to their

homes across the globe. It was great

renewing relationships with long-time

members, and nice meeting so many

who were attending an IAMFA con -

ference for the first time. It was no

wonder that the Benchmarking

Workshop and IAMFA Conference

both drew record attendance again

this year with all the stunning venues,

landmarks and memorials that we

visited in the Nation’s Capital. It’s

obvious that word is spreading about

the conference’s educational content

and networking opportunities among

the managers of the world’s great

cultural institutions.

The challenges faced by facilities

professionals at cultural institutions

have never been greater. Doing more

with less has become a common thread,

and doing it in a sustainable way pre -

sents an additional challenge as the

world’s economy forces many of our

member institutions to become lean.

The 19th annual conference offered

numerous opportunities for members

to learn how colleagues have coped

with reduced budgets, while setting

an example for the public on how

important it is to reduce our carbon

footprint.

In this issue of Papyrus, I hope you

will notice the introduction of adver -

tisements. I believe advertisements will

provide a win-win situation both for

advertisers and for IAMFA members,

and I encourage members to take

note of our advertisers; they support

our organization, and they provide

products and services that you may

need in managing your facilities. As

Papyrus’s content and reach have grown,

publication costs have also grown, and

our advertisers will be very important

in generating revenue to offset these

costs. Please remember our advertisers’

names when you require their particular

types of products, services and expertise.

Finally, I would like to thank all

those who contributed to the content

in this issue of Papyrus, and I hope

you learn something new while

reading it.

Joe May

Editor, PapyrusMagazine

For more information on becoming amember of the International Associationof Museum Facility Administrators, pleasevisit WWW.IAMFA.ORG

Joe May — Editor, Papyrus

Letter from the Editor

. . . the Benchmarking

Workshop and IAMFA

Conference both drew

record attendance again

this year with all the

stunning venues, land -

marks and memorials

that we visited in the

Nation’s Capital.

2 PAPYRUS WINTER 2009–2010

Mes félicitations au Comitéorganisateur de la Confé rencede Washington pour mettre

en marche une conférence très réussieet une expérience d’apprentissage. Dupoint de vue d’un membre, elle a ététrès harmonieuse et bien organisée –donc, bien fait Nancy, Tiffany et votreéquipe qui souriaient et même riaientlors des plus insolites changements dela dernière minute! Les membres de l’IAMFA ont été

formidables dans leurs efforts pourassister à la conférence au cours d’unerécession, avec certains payant leurpropre chemin dans l’enthousiasmepour échanger avec leurs collègues (etpour s’amuser un peu aussi, peut-être!).La conférence de cette année a

souligné encore une fois la précieusecontribution que les gestionnairesd’installations apportent aux envi ron -nements culturels productifs, de con -fiance, sains et sûrs, desquels vous tousvous en occupez. Elle a aussi soulignéla façon dont les membres de l’IAMFAentretiennent des collectivités durableset des économies locales. Une choseque j’ai été surpris d’apprendre, c’estcombien d’organisations américainesont de larges équipes pour leurs ser -vices internes. Au Royaume-Uni, nousavons eu tendance à externaliser demanière significative, et j’ai entendu lequestionnement de certains membresréfléchissant où situer la bonne com -binaison. C’est un débat que nousdevons encourager et poursuivre àla prochaine conférence annuelle àSan Francisco.Alors que les programmes de visites

derrière-les-scènes et d’apprentissage dela conférence principale sont les prin - cipales raisons d’y assister, le programme

Felicidades al Comité Organizadorde la Conferencia de Washington,D.C. por una conferencia muy

exitosa con muchas oportunidades paraaprender. Desde el punto de vista de unmiembro de IAMFA, ha sido un eventobien organizado y sin contra tiempos,“Les felicito, Nancy, Tiffany y su equipode trabajo,” ¡quienes se sonrieron auncuando se enfrentaron los cambiosmás extraños de último momento!Hay que admirar a los miembros de

IAMFA quienes se han esforzado enasistir a la conferencia a pesar de larecesión económica, inclusive algunospagando sus propias inscripcionesdebido a su interés en relacionarsecon otros contactos profesionales (ytal vez en divertirse un poco también).Otra vez este año la conferencia

destacó la importancia de que losgerentes de mantenimiento asegurenque los ambientes culturales sean pro -ductivos, saludables y seguros. Tambiénse hizo énfasis en el apoyo de los miem - bros de IAMFA a las economías localesy al concepto de las comunidades sos -tenibles. Me sorprendió enorme mentesaber cuántas instituciones de los EEUUmantengan a grandes equipos de man - tenimiento de planta. En El Reino Unidohemos optado generalmente por ejec -utar muchas de estas funciones porcontrato. He escuchado a varios miem -bros de IAMFA preguntar si es mejorejecutar estas funciones com pleta mentepor contrato o si es prefe rible llevar acabo algunas de estas fun ciones conpersonal de planta. Esta es una dis cu -sión que debemos fomentar y seguiren la próxima conferencia anual enSan Francisco.Aunque las giras tras bastidores y

los programas de aprendizaje de la

Message from the PresidentMessage du présidentMensaje del Presidente

Congratulations to the WashingtonConference Committee for put -ting on a very successful confer -

ence and learning experience. From amember’s point of view, it was a verysmooth and well-organised event—so,well done Nancy, Tiffany and your team,who smiled and laughed through eventhe rarest last-minute rearrangements!IAMFA members were amazing in

their efforts to attend the conferenceduring a recession, with some evenpaying their own way in their eager -ness to network with their peers (andmaybe have a little fun, too!).This year’s conference again high -

lighted the valuable contribution thatfacility managers make to the produc -tive, safe, healthy and secure culturalenvironments you all look after. It alsohighlighted how IAMFA members aresupporting sustainable communitiesand local economies. One thing I wassurprised to learn was how many U.S.organisations have large in-houseFacility Service teams. In the U.K., wehave tended to outsource significantly,and I heard some members ques tion -ing where the right mix should lie. Thisis a debate we should encourage andcontinue at the next annualconference in San Francisco. Whilst the behind-the-scenes tours

and learning programmes of the mainconference are the key reasons toattend, the guest programme is alsoa big attraction for members’ partnersand families to enjoy. This year, guestswere treated to visits to the BaltimoreMuseum of Art and the Aquarium,the U.S. Capitol Visitor Center, MountVernon, the National Museum ofNatural History, the National ZoologicalPark, and Hillwood Mansion, amongst

John de LucyPresident / Président / Presidente, IAMFA


other venues, where they could enjoythe views and listen to the knowledge -able guides. Our guest programmesare becoming so good that I suspect itis the guests that sometimes make themembers attend—keep it up, guests! One of the lasting benefits of put -

ting on the IAMFA conference is thestrong relationship that is built betweenthe facilities fraternity of cultural insti -tutions within the host city, and a desireto maintain the rapport that has beengenerated. I know the Washington, D.C.members now plan to hold regularlocal Chapter meetings, which hasn’thappened for a long time.Do think about how you can support

broader engagement across our mem -bership and continue our networkingand information-sharing during theeleven months between conferences.We still have too few reports from

Chapter meetings, so do invite yourlocal members to come for a tour ofyour own building. The U.K. Chapteris meeting in Liverpool on March 25,2010, and any member visiting Englandon that day is welcome to join us.The excellent Gala dinner was held

in the fantastic setting of the GreatHall of the Library of Congress. TheSan Francisco team, consisting ofJoe Brennan (San Francisco Museumof Modern Art), Jennifer Fragomeni(Exploratorium) and Edgar Maxion(Stanford University Green Library),took the opportunity to get on stageand perform a little play and poem toentice everyone to come to the next

d’accueil est aussi une grande attrac tionpour que les partenaires des membreset leurs familles puissent en profiter.Cette année, les participants ont eudroit à la visite du Musée d’Art etl’Aquarium de Baltimore, le Centrede visites au Capitole des États Unis,Mount Vernon, le Musée Nationald’Histoire Naturelle, le Parc ZoologiqueNational, et la Mansion Hillwood parmid’autres lieux, où ils ont pu profiterde la vue et écouter les guides experts.Nos programmes d’accueil sont sibonnes que je pense que ce sont euxqui parfois rendent les membresheureux d’y assister – allez-y, les hôtes!L’un des avantages durables de

l’organisation de la conférence del’IAMFA est la forte relation qui setisse à la fraternité des installationsdes institutions culturelles dans la villed’accueil, et le désir d’entretenir le lienqui a été généré. Je sais que les membresde Washington, DC planifient doré -navant de tenir régulièrement desréunions de la section locale, ce quin’était pas arrivé depuis longtemps.Pensez comment soutenir un

engage ment plus large à travers notreaffiliation et poursuivre notre travailen réseau et comment partager desinformations au cours d’onze moisentre les conférences. Nous avonsencore trop peu de rapports des réu -nions des sections, alors invitez-vousvos membres locaux pour une visitede votre propre bâtiment. La sectionbritannique se réunira à Liverpool le25 Mars 2010, et tout membre visitantl’Angleterre en ce jour est bienvenude nous joindre.L’excellent dîner de Gala a eu lieu

dans le cadre fantastique de la GrandeSalle de la Bibliothèque du Congrès.L’équipe de San Francisco, composéde Joe Brennan (le Musée de l’artmoderne de San Francisco), JenniferFragomeni (Exploratorium) et EdgarMaxion (la Bibliothèque Cecil H.Green de la Université de Stanford)a saisi l’occa sion de monter sur scèneet jouer une petite pièce et un poèmepour séduire tout le monde de venirà la pro chaine conférence annuelle àSan Francisco les17-20 Octobre 2010.S’il vous plaît, assurez-vous tous de lemettre dans votre agenda et réservez tôt.

conferencia principal son las razonesclaves para asistir, el programa de losinvitados es un atractivo importantepara que disfruten los compañeros delos miembros. Este año los invitadosdisfrutaron de visitas al Museo de Artey el Acuario de Baltimore, El Centrode Visitantes del Capitolio (Washington,D.C.), Mount Vernon, El MuseoNacional de Ciencias Naturales, ElZoológico Nacional y la ResidenciaHillwood, además de otros sitios, dondepudieron disfrutar del paisaje y escuchara las guías bien informadas. Nuestrosprogramas para invitados se están vol -viendo tan buenos que sospecho quesean los invitados que motiven la asis -tencia de los miembros. —¡sigan así,Ustedes los invitados!Uno de los beneficios duraderos de

ser la sede de uno de nuestras confe -rencias de IAMFA son los lazos fuertesque se fortalecen entre las institu cionesculturales hermanas dentro de la ciudadde sede, y los deseos de fomentar esoslazos después de que termine la con -ferencia. Sé que los miembros deWashington, D.C. ahora planeanreunirse regularmente en su capítulolocal, un acontecimiento insólito.Por favor piensen en cómo pueden

involucrarse más con los miembros deotros capítulos y continuar a desarrollarnuestras redes de contactos profe sio -nales además de seguir el intercambiode información durante los once mesesentre conferencias. Todavía recibimosmuy pocos reportes de los capítuloslocales. Inviten a sus miembros localesa hacer una gira de sus propios edificios.El capitulo del Reino Unido se reuniráen Liverpool el 25 de marzo del 2010y le extendemos la bienvenida a cual -quier miembro que se encuentre enLiverpool ese día. La excelente cena de gala tomó

lugar en el fabuloso entorno del GranSalón de la Biblioteca del Congresode EEUU. El equipo de San Franciscoque consiste de Joe Brennan (El Museode Arte Moderno de San Francisco),Jennifer Fragomeni (El Explorotorium)y Edgar Maxion (la Biblioteca CecilH.Green de Stanford) tomaron laoportunidad de montarse en la tarimay hacer una dramatización y recitaruna poema para convencerles a todosa ir a la próxima conferencia anual enSan Francisco del 17 al 20 de octubre

CONTINUED ON PAGE 17 SUITE À LA PAGE 17 SIGUE EN LA PÁGINA 17

. . . it was a very smooth

and well-organised event

. . . elle a été très

harmonieuse et bien

organisée

. . . ha sido un evento

bien organizado y sin

contratiempos


Kendra Gastright, SmithsonianInstitution

Neal Graham, Library of CongressLarry Grauberger, SmithsonianInstitution

Bill Griffiths, Smithsonian InstitutionDavid Hauk, Smithsonian InstitutionRich Kowalczyk, National Air andSpace Museum, SmithsonianInstitution

Tiffany Myers, SmithsonianInstitution

David Samec, National Galleryof Art

Andy Smith, SmithsonianInstitution

Mark Sprouse, National Archives

I know how much time these indi -viduals spent planning the countless

details that went into making this atruly great conference. The 138 attending this year’s con -

ference do not include the numeroussponsors that contributed to the intel -lectual content through presentations,and by generously contributing finan -cially to offset the costs associated withthe conference. The generous supportof sponsors allowed the organizing com -mittee to incorporate the spectacularvenues, trips, and meals we all enjoyedduring this year’s conference. Sponsors for this year’s conference

were:

Black & McDonaldMillicare Textile and Carpet CareSiemensISS Security Systems

The Nineteenth Annual IAMFAConference in Washington, D.C.A Week of Culture, Professional Development, Networking,American History, and Incredible Hospitality By Joe May

Attendees at the Benchmarking Workshop at the Baltimore Museum of Art.

The 19th annual conference ofthe International Association ofMuseum Facility Administrators

was held in Washington, D.C., U.S.A.from November 1 to 5, 2009, andwhat an incredible conference it was!Washington, D.C. is unique amongAmerican cities, because it was estab -lished by the Constitution of theUnited States to serve as the Nation’sCapital. In 1800, George Washington—the first president of the United Statesand the person for whom the city wasnamed—chose this site for the capital,and appointed three commissionersto help prepare for the arrival of thenew government. At that time, thefederal government consisted of 131employees. Two hundred and nineyears later, a greater number than this(112 IAMFA members and 26 guests)stormed Washington, D.C. to attendone of the best annual conferences inIAMFA history.Let me begin by expressing gratitude

to all of the conference organizers:

Nancy Bechtol, SmithsonianInstitution

Judie Cooper, SmithsonianInstitution

Dan Davies, National ZoologicalPark, Smithsonian Institution

Brian Day, Library of CongressAlan Dirican, Baltimore Museumof Art

Jim Duda, Library of CongressBob Evans, Smithsonian Institution(Retired)

Maurice Evans, SmithsonianInstitution

Tamara Fink, National Gallery of ArtKathleen Fleming, NationalMuseum of the American Indian,Smithsonian Institution


Cleaning Management InstituteSmithsonian Institution Baltimore Museum of ArtLibrary of CongressNational Gallery of ArtNational Archives and RecordsAdministration

The IAMFA organization wants allof these sponsors to know how muchwe appreciate their participation in,and support of, our annual confer ence.We encourage members to keep thisin mind when in need of products andservices of the type offered by ourconference sponsors.As in prior years, Day 1 (Sunday)

was the benchmarking workshop, witha record-setting 48 attendees takingpart in this year’s benchmarking exer -cise. The workshop was hosted byAlan Dirican of the Baltimore Museumof Art, and coordinated by KeithMcClanahan from Facilities Issues, Inc.Participation in the benchmarkingexercise has grown significantly overthe past few years, and continues to bea cornerstone of the IAMFA orga ni -zation. This growth in participationis evidence that IAMFA members aresharing knowledge gained from oper -ating their individual institutions—

just as envisioned 12 years ago, whenthe annual benchmarking exercisebegan. Members shared best practicesand solutions to problems that manymembers are facing during these tryingeconomic times. Please be sure toread the recap of the benchmarkingworkshop in this issue of Papyrus.Guests accompanying members

to the conference, and members notparticipating in the benchmarkingexercise, took advantage of a newopportunity offered on Sunday: toursof two of Baltimore’s famous culturalinstitutions—namely the BaltimoreMuseum of Art (BMA), and theNational Aquarium, with lunch atthe Baltimore Museum of Art. The Baltimore Museum of Art is

home to an internationally renownedcollection of nineteenth-century, mod -ern and contemporary art. Foundedin 1914 with a single painting, the BMAtoday has 90,000 works of art—includ -ing the world’s largest collection ofworks by Henri Matisse.The National Aquarium is home

to hundreds of exhibits, includingapproximately 16,500 specimens andmore than 660 species of animal, andis deeply committed to extending theknowledge gained through daily oper -

ations toward the betterment of thenatural environment.Mid-afternoon, benchmarking work -

shop participants and guests traveledback to Washington, D.C. for a quickbreak, then headed off to the Sundayevening Conference Opening Ceremonyat the Donald W. Reynolds Center. The Reynolds Center is home to

both the National Portrait Galleryand the Smithsonian American ArtMuseum. These museums tell thestories of America through individualswho have built our national culturethrough the visual arts, the per form ingarts, and new media. Their collectionsrepresent more than three centuriesof American artistic achievement thatparallel the nation’s cultural devel op -ment. The opening ceremony washeld in the Robert and Arlene KogodCourtyard, which has an elegant glasscanopy designed by the world-renownedarchitectural firm Foster + Partners. Itis a signature element of the renovatedNational Historic Landmark buildingthat houses the two museums. TheKogod Courtyard was designed bythe same individuals who designedthe Great Hall at the British Museum:the venue for last year’s openingceremony.

Conference guests at the National Aquarium in Baltimore, Maryland. The Robert and Arlene Kogod Courtyard at theDonald W. Reynolds Center.


It was a wonderful evening, and anamazing venue in which to greet bothold friends and so many new membersattending their first IAMFA Conference.Conference hosts made presentationsduring the evening, and we all enjoyeda selection of wines and canapés.Monday morning brought the offi -

cial start of the IAMFA Conference,beginning with a short bus ride andbreakfast at the National Gallery ofArt (NGA). The roots of the NGA goback to financier Andrew W. Mellon,who began gathering a private col -lection of Old Masters paintings andsculptures during the First World War.In the late 1920s, he decided to directhis collecting efforts, secretly, towardthe establishment of a new nationalgallery for the United States. Designedby architect John Russell Pope, whowould go on to design the JeffersonMemorial, the new structure wascompleted and accepted by PresidentFranklin D. Roosevelt on behalf of theAmerican people on March 17, 1941.The Gallery’s East Building was con -structed in the 1970s on much ofthe remaining land left over from theoriginal congressional joint reso lu tion.It was funded by Mellon’s childrenPaul Mellon and Ailsa Mellon Bruce.Designed by famed architect I.M. Pei,the contemporary structure was com -pleted in 1978, and was opened on

June 1 of that year by PresidentJimmy Carter.Opening remarks were made by

Darrell Willson, administrator of theNational Gallery of Art. Presentationswere made during the morning byKeith McClanahan, who summarizedthe 2009 Benchmarking Exercise, andMervin Richard, Brian McGivney, andMichael Smith, who made presen ta -tions on building automation systemsand digital controls. Members thenchose from three possible tours:Art Galleries, Conservation Labs,or Building Automation Systems.The conference then moved a short

distance away to the National Museumof the American Indian (NMAI), wherewe enjoyed an amazing lunch witheverything prepared using recipesfrom American Indian cultures. This

site on the National Mall opened inSeptember 2004, after fifteen years inthe making, and is the first nationalmuseum in the country dedicated exclu -sively to Native Americans. The five-story, 250,000-square-foot (23,000 m2),curvilinear building is clad in a golden-colored Kasota limestone, designed toevoke natural rock formations shapedby wind and water over thousands ofyears. The Museum is set on a 4.25-acre(1.72-hectare) site, and is surroundedby simulated wetlands.Following lunch, we convened in

the Rasmuson Theatre for openingremarks from conference host NancyBechtol, Director of the Office ofFacilities Management and Reliability,Smithsonian Institution. Nancy’s opening remarks were fol -

lowed by presentations from AlysonSteele, Manda M. Magee, LaurenFriedman and Michael G. Rogers—allrelating to Leadership in Energy andEnvironmental Design (LEED) cer -tification. The National Museum ofthe American Indian is in the pro-cess of applying to become a LEED-certified facility. Tours were offeredof NMAI’s Building Architecture andLandscape, Maintenance Operations,and LEED Initiatives.Guests spent Monday morning with

members at the National Gallery ofArt, then departed for Mount Vernon,

The National Gallery of Art.

Nancy Bechtol, Host of the 2009 IAMFAAnnual Conference.

The National Museum of the American Indian.


where they had lunch, followed bytours of the mansion and gardens.The history of Mount Vernon datesback to 1674, when John Washingtonand Nicholas Spencer came into pos -session of the land from which theMount Vernon plantation would becarved. Nearly one hundred yearslater, Mount Vernon became thehome of George Washington, thenation’s first president.Following the members’ visit to

NMAI, a trip back to the Henley ParkHotel and a quick change, everyoneonce again boarded coaches, this timeheading for dinner in the rotundaof the National Museum of NaturalHistory. Richard Day gave members a

quick history lesson on the Museumand our dinner guest: the largestspecimen of bull elephant in theU.S.A., dating back to the 1950s. Following dinner, the Museum

opened the Mammals Gallery for mem -bers and guests to stroll through. TheNational Museum of Natural History’scollections total over 126 million speci -mens of plants, animals, fossils, minerals,rocks, meteorites, and human culturalartifacts. It is the second most popularof all of the Smithsonian museums,and is also home to about 185 pro fes -sional natural history scientists: theworld’s largest single group of scientistsdedicated to the study of natural andcultural history.

After dinner and our tour of theMammals Gallery, we boarded coachesfor an unforgettable docent-led tourof a number of national memorials,including the Roosevelt Memorial, theWorld War II Memorial, the KoreanWar Memorial, Lincoln Memorial, andthe Vietnam War Memorial. It wastruly a beautiful evening under a fullmoon—thought-provoking and con -tinuously stirring emotions related tothese significant events in Americanhistory. Day One of the conferencewas a very full day: one that I willnever forget!Tuesday began bright and early, as

both members and guests boardedbuses for a trip to the Capitol Building,

Dinner at The National Museum of Natural History with iconic bull elephant.

The Korean War Memorial at night.

The Lincoln Memorial.

The Washington Monument under afull moon, taken from the World War IIMemorial.


and tour of the new Capitol VisitorCenter. The United States CapitolVisitor Center (CVC) is a large under -ground addition to the United StatesCapitol complex, which serves as agathering point for up to 4,000 touristsand as an expansion space for theU.S. Congress. The CVC containsthree underground levels: a balcony-level entrance, the Emancipation Hall(second) level and a third restrictedlevel for new Congressional officesand meeting rooms. The constructionof the CVC represents the largest-everexpansion of the United States Capitol,and more than doubles the footprintof the U.S. Capitol building complex. We then walked next door to the

Library of Congress to hear openingremarks by Mary Levering, Director ofIntegrated Support Services. NancyLev-Alexander, Head of PreventiveConservation at the Library of Congress,made a presentation on environ mentalmanagement from a preservation per -spective; and John Williams, Architec -tural Engineer (PE) from the Officeof the Architect of the Capital madea presentation on the Greening ofthe Capital. Neal Graham, Jim Dudaand Greg Simmons also addressedthe mem bership with historical factsand current projects at the Library ofCongress. Members and guests wereboth given tours of the Library’sThomas Jefferson Building prior toa working lunch. During lunch, Mary Levering

introduced Dr. John Y. Cole, who

provided a history of the Library ofCongress. Many thanks go to Mary forsending us home with Dr. Cole’s newbook, On These Walls. After seeing thisbeautiful building firsthand, we areall sure to enjoy this gift.Following lunch, members left

for the Donald W. Reynolds Center,where we heard opening remarksfrom Richard Day, Deputy Director,

Office of Facilities Management andReliability at the Smithsonian Institu -tion. Matt Gallinger from the CleaningManagement Institute (CMI) andJudie Cooper from the Smithsonianmade a presentation on the work thathas been done by the CMI to optimizebuilding care and cleaning at theSmith sonian Institution. This presen -tation provided valuable informationon how sustainability principles playan important role in today’s culturalinstitutions. Presentations were followed

by tours of the Art, Roof and CapitalProjects, and Behind the Scenes. After lunch, conference guests

departed for the National Museum ofNatural History for gallery tours andan IMAX movie. Although this endedDay Two of the conference, membersand guests had a free evening toexplore Washington, D.C., while theIAMFA Board of Directors met todiscuss the business of the orga nization,and to make preparations for theAnnual General Meeting held on thefollowing day.The Board of Directors meeting was

followed by a board dinner, duringwhich the board reviewed pre limi-nary plans for the 2010 20th annualIAMFA conference in San Francisco,California. Joe Brennan from theSan Francisco Museum of ModernArt and Jennifer Fragomeni from theExploratorium presented plans forwhat looks to be another incredibleIAMFA Annual Conference. Pleasesee the article in this issue of Papyrusfor preliminary details on next year’sconference agenda.Day Three for IAMFA members

began with a bus ride to the U.S.National Archives, with breakfastfollowed by choice of three tours:Facilities Tour, Researcher Tour, orCharters of Freedom and RotundaTour. Those choosing the latter sawthe Bill of Rights, the Declaration ofIndependence, and the Constitutionof the United States firsthand, whilethe Researcher Tour explained how

Dr. John Y. Cole addressing IAMFA members at lunch in theThomas Jefferson Building, Library of Congress.

The IAMFA Board of Directors dinner.

. . . the board reviewed

pre liminary plans for

the 2010 20th annual

IAMFA conference in

San Francisco, California.


any citizen can find records of his orher ancestors in the Archives. TheFacilities Tour focused on infra structureof the Archives building.Following the tours, Ms. Adrienne C.

Thomas, Deputy Archivist of the UnitedStates, welcomed everyone with open -ing remarks, followed by presentationsfrom Sheryl Kolasinski, Steve Hodsdon,and Larry Grauberger, relating tocapital and maintenance budgetplanning.Lunch that day was at the Smith -

sonian Castle. Richard Day, DeputyDirector, and Maurice Evans, SouthZone Manager, Office of Facilities andReliability, Smithsonian Institution,made presentations during lunchwith facts about this oldest of theSmithsonian buildings. ArchitectJames Renwick, Jr. began work on theCastle in 1847, and is also known forother works including St. Patrick’sCathedral in New York City and theSmithsonian’s Renwick Gallery, also inWashington, D.C. Renwick was selectedby a unanimous vote following a designcompetition in 1846. The SmithsonianCastle currently houses all the admin -is trative offices of the Smithsonian,with the main Smithsonian visitorcenter also located here. A crypt justinside the north entrance houses thetomb of James Smithson.Following lunch, members con -

vened in the Ripley Center Lecture

Hall for the IAMFA Annual BusinessMeeting. The meeting began withPresentation of Colors by theSmithsonian’s Honor Guard. Each of the IAMFA board members

addressed the membership with areview of the current state of RegionalAffairs, Administration, Treasury,PapyrusMagazine, and InternationalAffairs. Rich Kowalczyk then presidedover the election of board members.Three board positions were up forelection: Secretary and Papyrus Editor;VP, Regional Affairs; and Treasurer.John Castle and Joe May volunteeredto remain in office for an additionaltwo-year term, while voting took placeto elect a new IAMFA Treasurer. LarryBannister from the Milwaukee PublicMuseum was elected Treasurer, fol -lowing Jim Moisson’s three terms inoffice. We all thank Jim for his dedi ca -tion to this position, and the excellenthealth of the organization’s treasury.Larry is familiar to many IAMFAmembers, having served on the boardyears ago as Secretary and PapyrusEditor. Welcome Larry! Thank you foryour service to IAMFA. Joe Brennan from the San Francisco

Museum of Modern Art addressed themembership, and provided a pre lim -inary look at plans for next year’sIAMFA Conference in San Francisco.During the Business Meeting,

members were also addressed by the

Secretary of the Smithsonian Institution,Wayne Clough. Mr. Clough is the12th Secretary of the SmithsonianInstitution, leading the world’s largestmuseum and research complex with19 museums, nine research centers, theNational Zoo, and research activitiesin more than 90 countries.Following the business meeting,

Jack Nicholas made a presentationon Reliability Centered Maintenance(RCM), then members chose fromthree excellent tours: Arts and Indus -tries Tour, Quad Back of the HouseTour—Humidification System, orCentral Core Renovations of NMAH—1st and 2nd Floors with Focus on theStar-Spangled Banner. Day Three for Conference guests

began with a bus ride to the NationalZoological Park. The National Zoois recognized as one of the premierzoological research institutions in theUnited States, largely because of itscontributions to captive breeding, andstudies done on wild and free-rangingspecies. The National Zoo conductsresearch in numerous field stationsaround the world, providing expertiseand logistical support to local researchand conservation efforts in Asia, Africa,Europe, and North and South America.Guests selected between three tours,all of which led eventually to thePanda House.

The Smithsonian Institution’s Honor Guardat the beginning of the IAMFA BusinessMeeting.

Nancy Bechtol, IAMFA Conference Host,and Wayne Clough, Secretary of theSmithsonian Institution.

One of the National Zoo’s most popularresidents.


Following their visit to the NationalZoo, guests departed for the HillwoodMuseum and Gardens for lunch andtours. Hillwood is a decorative artsmuseum, and is the former home andgarden of Marjorie Merriweather Post,who was a leading American socialiteand the founder of General Foods.Hillwood is now maintained by thePost Foundation, and showcaseseighteenth- and nineteenth-centuryFrench art, and art treasures fromImperial Russia.Quick trips back to the Henley Park

Hotel for both members and guests, alittle time to rest, and then it was timeto get dressed for the IAMFA Gala,held this year at the Thomas JeffersonBuilding of the Library of Congress.Everyone boarded three coaches,and our motorcade was led by policeescort to Capitol Hill and the ThomasJefferson Building. The oldest of thethree United States Library of Congressbuildings, the Thomas Jefferson Build -ing was built between 1890 and 1897.It is known for its classical facade andelaborately decorated interior. The Thomas Jefferson Building,

containing some of the richest publicinteriors in the United States, is a com -pendium of the work of classically-trained American sculptors and painters

of the “American Renaissance”. Thebuilding incorporates programs ofsymbolic content, exhibiting the pro -gress of civilization, as personifiedin Great Men and culminating inthe American official culture of theGilded Age.After cocktails in the Great Hall, we

heard presentations from Gala host,Neal Graham, Chief of Facility Services,Library of Congress; IAMFA PresidentJohn DeLucy; Jim Moisson, outgoingTreasurer of IAMFA; and Joe Brennan,next year’s Conference host. During the evening, many members

and guests took the opportunity towander about the Great Hall, andpeek into the Main Reading Room,with its breathtaking domed ceiling,soaring 160 feet (48.75 metres) abovethe floor. This year’s Conference Gala was

held in a stunning venue with sur -roundings that couldn’t have beenmore breath taking. Many membersarrived at this year’s Gala wearingdinner jackets, adding to the splendorof the evening. It truly was an eveningthat members and guests will notsoon forget.The final day of the 2009 IAMFA

Conference began with a coach ride toCulpeper Virginia, and a tour of the

Library of Congress’ Packard Campusfor Audio Visual Conservation. The National Audiovisual Con -

servation Center (NAVCC) is theLibrary of Congress’ new audiovisualarchive, located inside Mount Ponyin Culpeper, Virginia. From 1969 to1988, the Center was a high-securitystorage facility oper ated by theFederal Reserve Board. With con -struction completed in mid-2007,and after transfer of the bulk ofarchives, the Center offered, forthe first time, a single storage sitefor all 6.3 million pieces of theLibrary’s movie, television, andsound collection. The NAVCC design, named Best

of 2007 by MidAtlantic ConstructionMagazine, involved upgrading theexist ing bunker and creating anentirely new building with below-ground entry that also includes alarge screening room, office spaceand research facili ties. Design ersBAR Architects, project-architectSmithGroup and landscape designersSWA Group, along with DPR Construc -tion, Inc., collaborated in what is nowthe largest green-roofed commercialfacility in the Eastern United States,blending into the surroundingenvironment and ecosystem.

Hillwood Gardens, on the site of the formerhome of Marjorie Merriweather Post.

The Conference Gala, held in the Great Hall of the Thomas Jefferson Building, Libraryof Congress.


Following tours of the facility, mem -bers and guests departed for PrinceMichel Vineyard and Winery for lunchand wine tasting. When Prince MichelVineyard and Winery was founded26 years ago, a vision was formed outof a love for Virginia and its relation -ship to the vine. Prince Michel Vineyard

and Winery has since grown to becomeone of the largest, most widely distrib -uted, and recognized wineries in thestate and along the East Coast. PrinceMichel wines have won competitionsaround the world, and continue toflourish with the efforts and love ofowners, employees, and customers.

After lunch, everyone traveled onto the National Air and Space Museum’sUdvar-Hazy Center. The Steven F.Udvar-Hazy Center is the SmithsonianNational Air and Space Museum(NASM) annex at Washington DullesInternational Airport, in the Chantillyarea of Fairfax County, Virginia.The Center was made possible by a

U.S$65-million gift in October 1999to the Smithsonian Institution bySteven F. Udvar-Hazy, an immigrantfrom Hungary and co-founder of theInternational Lease Finance Corpo -ration. Construction of the Center,which was designed by HOK, required15 years of preparation and was built byHensel Phelps Construction Company.On December 2, 2008, the Center

received a gift of $6 million for PhaseTwo of the Steven F. Udvar-Hazy Centerfrom Airbus Americas Inc. This giftwas the largest corporate gift to theSmithsonian Institution in 2008.Phase Two of the Udvar-Hazy Centerwill be dedicated to the behind-the-scenes care of the Smithsonian’s col -lection of aircraft, spacecraft, relatedartifacts and archival materials.NASM has always had more artifacts

than could be displayed at the mainmuseum on the National Mall inWashington, D.C. Most of the collec -tion had been stored, unavailable tovisitors, at the Paul E. Garber Preser va -tion, Restoration, and Storage Facilityin Silver Hill, Prince George’s County,Maryland. Plans call for additionalphases that will move the restorationfacility and the museum archives fromtheir current location at the Garberfacility to the Udvar-Hazy Center.After a day of touring these two

remarkable facilities, the bus ride backto the hotel was a good opportunity toreflect on a very busy week—and one ofthe best IAMFA Annual Conferencesin our organization’s history.I’d like to finish by again thanking

the Washington, D.C. Conferenceorganizers for all their hard work andhospitality toward all of us who werefortunate to have experienced the2009 IAMFA Annual Conference.

Joe May is the Secretary of IAMFA, andEditor of Papyrus.

The National Audiovisual Conservation Center.

Randy Murphy, IAMFA’s Los AngelesChapter Head, samples the wine at PrinceMichel Vineyard and Winery.

John DeLucy, President of IAMFA, at NASMwith the Space Shuttle Enterprise in thebackground.


The Northern California Chapterof IAMFA will host the 20thannual IAMFA Conference

in San Francisco on October 17–20,2010. San Francisco at that time ofyear typically offers our warmest andmost fog-free indian summer conditions. We are assembling an informative

curriculum and have secured superbvenues for our sessions and tours. Thehosting institutions are the CaliforniaAcademy of Sciences, the De YoungMuseum, The Walt Disney FamilyMuseum, the Cantor Museum, theStanford University Libraries, TheContemporary Jewish Museum, TheExploratorium and the San FranciscoMuseum of Modern Art—which willbe celebrating its 75th anniversary in2010. We are also assembling a fineGuest Program and an attractive DayAfter expedition. We will publish thecurriculum, as well details of our GuestProgram and Day After package in thenext issue of Papyrus.We have secured IAMFA a block of

rooms at the historic Sir Francis DrakeHotel, centrally located at Union Square,and right on the Powell Street CableCar line: www.sirfrancisdrake.com. Therate is $169/night and it is importantthat you book within our block to ful -fill our commitments—not to mentionthe convenience of staying at the hosthotel for bus departures, networking,etc. For reservations, please call 1-800-277-5480 or 415-392-7755 and refer -ence “IAMFA—Annual Conference” or

La section de la Californie dunord de l’IAMFA sera l’hôtede la 20è Conférence annuelle

de l’IAMFA à San Francisco les 17-20 Octobre 2010. À cette époquede l’année, San Francisco offre habi -tuel lement les conditions les pluscharmantes et ensoleillées de notre été.Nous préparons actuellement un

programme informatif et avons obtenude superbes sites pour nos séanceset visites. Les établissements d’accueilsont l’Académie des Sciences de laCalifornie, le Musée De Young, le Muséede la famille de Walt Disney, le MuséeCantor, les Bibliothèques de l’Universitéde Stanford, le Musée ContemporainJuif, l’Exploratorium et le Musée d’ArtModerne de San Francisco qui fêterason 75e anni versaire en 2010. Nousavons préparé aussi un beau Pro grammepour les invités et une attrayante expé -dition pour la journée extra optionnellede la conférence. Nous publieronsles programmes d’activités, ainsi queles détails de notre Programme pourles invités et l’activité de la journéeoptionnelle dans le prochain numérodu Papyrus.Nous avons obtenu pour l’IAMFA

un bloc de chambres à l’historique SirFrancis Drake Hôtel, situé à l’UnionSquare, et tout près de la ligne dufuniculaire sur la rue Powell: www.sirfrancisdrake.com. Le tarif est de$169 la nuit et il est important quevous réserviez au sein de notre bloc àfin de remplir nos compromis. Sans

Los miembros del capítulo de IAMFAdel norte de California serán losanfitriones de la vigésima confe -

rencia de IAMFA en San Francisco del17 al 20 de octubre de 2010. Generalmente en esa época el clima

de San Francisco nos ofrece las mejorescondiciones de un veranillo de San Juancon días agradables con poca neblina.Estamos desarrollando una agenda

informativa y hemos reservado increíbleslugares para nuestras sesiones y recor -ridos. Los anfitriones serán La Academiade Ciencias de California, El MuseoDe Young, El Museo de la Familia deWalt Disney, El Museo Cantor, LaBiblioteca de la Universidad de Stanford,El Museo Contemporáneo Judío, ElExploratorium y El Museo de ArteModerno de San Francisco—- el quecelebrará su 75 aniversario en el 2010.Estamos organizando un programaincreíble para los huéspedes y un emo -cionante día de actividades y expe di ci -ones para el Día Extra Opcional de laconferencia. Publicaremos la agenda, aligual que detalles de nuestro programade huéspedes y paquete de Día Opcionalen la próxima edición de PapyrusHemos reservado un grupo de

cuartos para IAMFA en el históricoHotel de Sir Francis Drake, ubicadoen la céntrica plaza de Union Square,y justo sobre la ruta de la Calle Powelldel tranvía: www.sirfrancisdrake.com.Las tarifas del hotel son $169 por nochey es importante que recibamos susreservaciones dentro de nuestro plazo

The Twentieth AnnualIAMFA Conference

La vingtième Conférence annuelle de l’IAMFA

La Vigésima ConferenciaAnual de IAMFABy / par / por Joe Brennan

CONTINUED ON PAGE 40 SUITE À LA PAGE 40 SIGUE EN LA PÁGINA 40


Chicago’s Museum of Science and Industry is one of thelargest science museums in the world. With approxi -mately 1.5 million visitors per year, it is home to more

than 35,000 artifacts and nearly 14 acres (5.7 hectares) ofhands-on exhibits. When staff decided to install two newexhibits for the Museum’s 75th anniversary, ElizabethMiller, senior project manager for the Museum of Scienceand Industry, quickly realized that the facility would nothave the capacity to cool and ventilate the spaces, given theadditional visitors who would come through the exhibitionspaces plus the heat generated from the exhibits themselves.“We were only cooling 50 percent of the museum, and

we knew that adding the exhibits was going to surpass ourcooling capacity,” said Miller. “When we started exploringpossibilities, we knew that a new central plant was going tobe the best option.”The then-facility manager decided to work with David

Brooks and Michael Murphy from McGuire Engineers(MEPC) to analyze the issue and decide on the approachthat could best handle existing cooling needs and newcooling needs, while also being as efficient as possible. Theresult was a system that exceeded everyone’s expectations,with the capacity to cool twice the space and bring in twotimes more ventilation than required, without any increasein energy expenses.

Building History and ChallengesThe Museum of Science and Industry is housed in one ofthe buildings originally built for the World’s ColumbianExposition, held in Chicago in 1893. The Beaux Arts struc -ture was constructed with a brick substructure under itsplaster façade, which was replaced with limestone in the1930s. The architecture includes a domed roof, threepavilions and Ionic order columns.The age, structure and daily function of the building

made the design of a new central plant particularly daunt -ing. The original air systems were installed in 1937, andsupplied outside air throughout the Museum. The systemswere for ventilation only, and some continue to operatetoday. Throughout the Museum’s history of renovations,various local systems were added to cool and ventilaterelatively small areas. This approach kept initial costs low,but operational costs soon increased due to high-energyuse and decentralized maintenance.

Cool Efficiency at Chicago’s Museumof Science and IndustryCareful Planning and Analysis Leads to SuccessfulInstallation of New Central PlantBy Elizabeth Miller, Anthony B. McGuire, David M. Brooks and Michael J. Murphy

In the early 1990s, the Museum recognized that a centralsystem would reduce its lifecycle costs for cooling, andinstalled half of a chilled water loop on the ground floor,and several air-cooled chillers outside near the loadingdock. By 2006, the air-cooled chillers were out of coolingcapacity and nearing the end of their service lives. Withtwo new exhibits in the works, the time had come to installa cooling plant worthy of its home in a science and industrymuseum. Construction would have to take place whilepatrons visited the Museum. The locations of some of themechanical rooms were at the top of the building, makingit impossible to bring in large air-handling units withoutdestroying existing passageways. In many cases, the teamhad just inches to work with.

The Decision ProcessIn building a new central plant, the Museum of Science andIndustry had three main criteria for the plant. It had to:

• cool the existing load;

• be able to be installed in phases; and

• be as energy-efficient as possible.

Having determined that a new central cooling plantwas their ultimate goal, Museum staff knew that an evenmore difficult challenge lay in distributing the cooling andventilation air without disturbing the historically protectedexhibit spaces: the very ones that the new exhibits wouldcall home. Luckily, there were mechanical rooms that couldbe used high above the exhibits at the end of the courts.The challenge would be getting equipment into the roomsand ductwork out into the exhibits.Staff at the Museum originally approached MEPC because

of the company’s work creating a thermal storage system inChicago’s historic Field Museum. While it was a successfulsolution for the Field Museum, the Museum of Science andIndustry also wanted MEPC to consider multiple optionsand to prove to the facilities department—and ultimately,the Board and President of the Museum—which systemwas best. To investigate the issue, MEPC began with verybroad cooling plant approaches, and continually refinedand narrowed the decision until a final plant type and sizewere determined.


MEPC started by comparing a central cooling plant to adecentralized, or local, plant which historically had beenthe approach of the Museum. By using a decision matrix asseen below, MEPC demonstrated how a central plant wasthe better option. MEPC then studied various central plant approaches—

air-cooled chillers, water-cooled chillers, and thermalenergy storage—and presented its findings to the Museumin terms of simple payback, with the air-cooled chiller asthe point of comparison. The engineering team accom -plished this by modeling the entire existing system withenergy model ing software and running multiple equip -ment scenarios. After internal discussions, the Museumexcluded the thermal energy storage system because ofupfront costs and space constraints.This left the air-cooled and water-cooled options. MEPC

designers felt that that the water-cooled option was the best,based on their experience that water-cooled equipmenttends to last longer and is more efficient. However, staff atthe Museum needed more convincing, so MEPC made onelast detailed comparison. The engineers simulated ninedifferent central cooling plants with various equipmenttypes and sizes, and compared upfront costs to annual

energy cost. What MEPC determined is that a water-cooledplant had simple payback of under two years, and that thebest water-cooled plant had a smaller chiller with a variablefrequency drive with three larger chillers. The process had taken nearly six months, but the Museum

was ready to make its decision, and decided on a centralwater-cooled chilled water plant with one small chiller andthree larger chillers. The proposed system could easily beconnected to the existing building because it was a cen tral -ized system and could be installed in phases, with two chillersright away and two later. Finally, the new system would beroughly twice as efficient as the currently installed system.

From Efficiency to Super-Efficiency:Cooling Plant ExecutionWhile the chosen cooling plant was designed to be incrediblyefficient, the design team added several innovative featuresto bump up the overall efficiency even further. The plantwas designed as a primary variable-flow system, which meansthat the pumps slow down to meet the required buildingchilled water flow. This is more efficient than a constant-flow system, because the power consumed is proportionalto the flow cubed. In other words, if the pumps are at80 percent of their capacity, the power used is 50 percentof the peak energy. Pressure-independent control valves were another inno -

vative feature incorporated by MEPC. Pressure-independentcontrol valves maintain consistent flow over a wide rangeof pressures for a fixed-valve position, unlike conventionalcontrol valves that flow differently over varying pressure fora fixed-valve position. Air handlers, both new and existing,had pressure-independent control valves installed on thechilled water coils, which help reduce pumping energy andincrease the temperature rise of chilled water through theair handler, which increases chiller efficiency. A pressure-independent control valve is installed in the chiller bypassposition to help maintain the minimum chiller flow. The

Cooling Plan Decision Matrix— Central versus Local Cooling Plants

Control LocalCriteria Plant Plant Remarks

Year-round cooling 10 8 Local cooling systems may notoperate in winter conditions.

Flexibility 8 9 Central systems benefit fromavailable capacity, while localplants can be placed anywhere.

Redundancy 10 6 Local plants are not redundantunless two are installed side-by-side. Central systems haveavailable capacity forredundancy.

Future Capacity 7 10 Local plants may install futurecapacity at will. Central plantsmust have future capacitydesigned from beginning.

Energy management 10 6 Central plants are designed systems Integration to be integrated into energy

management systems.

Reduce energy cost 8 6 Central systems are usuallymore efficient.

Maintenance 8 6 Central plant has lessequipment to maintain.

Usability 6 8 Local cooling packaged systemsare more familiar to museumstaff.

Environmentally 8 6 Local systems contain ozone-friendly depleting refrigerants. Central

plants are more efficient.

Total 75 65

10=Excellent 8=Very Good 6=Good 4=Fair 2=Poor

Air- and Water-Cooled Chiller PlantsFirst Cost vs. Annual Chiller Energy Cost

MEPC graphed upfront costs and annual energy costs of varioussystems to determine which system made the most economicsense.


engineers also used a pressure-independent control valveon the smaller chiller. This trims the chilled water flow,thereby loading the larger chillers, which run more effi -ciently when they are fully loaded. This increases the overallplant efficiency. The plant flow diagram is found below.

efficient and scalable. The air-conditioning systems wouldbe serving offices and exhibit spaces with some existingand future renovations.The design team protected the historical nature of the

spaces by using a 14-inch (35.5-centimeter) interstitialspace between the existing plaster ceilings and walls andthe structure. The ductwork and piping were designed ina three-dimensional CAD package to ensure that all ofthe systems could fit into the given space. The air wasdistributed with linear slot diffusers so that the visualimpact was minimal.The equipment was placed in existing mechanical rooms,

high above the exhibit spaces. Although the spaces wereessentially empty, the space was limited and was difficultto access. Therefore, the new systems were designed to becompletely broken down and assembled in place by hand.The design was executed in a three-dimensional CADpackage to ensure that the system would fit into the givenmechanical room, as seen in the isometric view below. MEPCdesigned the system with no fewer than four fans to increasethe turndown ability, to reduce the overall length, and toensure that fans could be carried up the narrow stairwellfor replacement. As a bonus, the system had inherentredundancy if a fan failure should occur. Although the engineers had thought through the con -

structability of the two new air handlers, the means andmethods were left to the contractors. The Museum under -took extensive interviews to understand how each con -tractor planned on approaching the project. Interestingly,both projects were approached differently. One contractorbuilt a tower and lifted the air handler piece-by-piece withmultiple levels of chain-falls through the floor of the mechan - ical room. The other contractor lifted sections of the airhandler with a crane through the roof. Both approaches,although completely different, were successful, andmaintained the schedule and budget. High efficiency was obtained by using multiple fans

with variable-frequency drives and a heat-recovery unit,and by resetting the static air discharge point, based onwhich variable air-volumes boxes were in operation.

Using 3-D CAD software, the engineers developed an isometric view of the mechanical room to help predetermine how to fit all theequipment into a small space.

Ventilation System ExecutionOnce the challenges to the central cooling plant had beenaddressed, the next challenge was to cool and ventilate thenew exhibits. The ventilation system had several loomingchallenges. The first challenge was to cool and ventilatetwo new exhibits that the Museum was planning to open.Unfortunately, the two exhibits were to occupy areas thathad no cooling, were under-ventilated, and had historicalstatus, which meant that any changes we made to accom -modate air conditioning had to be practically invisible. Thesecond challenge was to find a place for the equipment—and, once found, to get it into the room. Space was severelylimited, and access to any space was through small door -ways and cramped stairs. Finally, the system had to be energy-


ResultsThe first phase of the cooling plant installation is now com -plete: the two first air handlers have been installed, andtwo additional air handlers will be installed in the future.The cooling plant and ventilation projects met and sur -passed the Museum’s original goals for the system. Much ofthe success of the project was due to the months of upfrontresearch and heavy involvement from Museum staff, whichfocused the project in a way that a design-build or a typicalplan and specification process could not do. What made thisjob so successful was the cooperation and trust between theowner and engineer, and the level of commitment fromthe whole team. In addition, the highly coordinated, three-

dimensional drawings of the plan also helped lead the projectto success: the space was planned so accurately that changeorders were kept to a minimum. The new central plant cools the existing load, is being

installed in phases, and is energy-efficient—even more effi -cient than originally planned, because of the custom designinnovations. Careful planning and analysis were key to build -ing a complex but elegant system that can cool a historicstructure like the Museum of Science and Industry.

Elizabeth Miller is Senior Project Manager, AIA, Museum of Scienceand Industry; Anthony B. McGuire is Principal at McGuire Engineers(MEPC); David M. Brooks is Project Manager at MEPC; and MichaelJ. Murphy is Lead Project Engineer at MEPC.

Annual Conference in San Franciscoon October 17–20, 2010. Please makesure you all put it in your diaries nowand book early.I am looking forward to meeting

you all again in San Francisco—anddon’t forget to bring your highlycoloured luminescent socks! Prizesfor the most outrageous ones!

John de LucyPresident, IAMFA

del 2010. Por favor asegúrense deanotarla en sus agendas y hagan susreservaciones temprano.Estoy contando los días que fal-

tan hasta poder verlos a Ustedesen San Francisco. Y no se olviden detraer a sus medias de colores fosfor -escentes. ¡Habrá premios para lasmedias más despampanantes!

John de LucyPresidente, IAMFA

MESSAGE FROM THE PRESIDENTCONTINUED FROM PAGE 3

MENSAJE DEL PRESIDENTEVIENE DE LA PÁGINA 3

Je suis impatient de vous ren con -trer de nouveau à San Francisco – etn’oubliez pas de porter vos chaus setteslumineuses les plus colorées! Il y aurades prix pour les plus scandaleuses!

John de Lucy Président, IAMFA

MOT DU PRÉSIDENTSUITE DE LA PAGE 3

Reserve this space toadvertise in a future

issue of Papyrus

Please contact the Editor of Papyrus for details


The Harley-Davidson Museum opened in July 2008,and has many sustainable features built right into itsdesign—but it doesn’t end there. In September 2009,

our contracted housekeeping partner, CleanPower,approached us regarding the GREENGUARD Indoor AirQuality Certification program. Their product supply partner,JohnsonDiversey, offered expertise with this certification,and extended it to CleanPower. This made the entire processpossible, by implementing the Healthy High PerformanceCleaning System and facilitating certification. In October2009, the Harley-Davidson Museum became the first museumever to receive GREENGUARD Indoor Air Quality Certificationfor Cleaners and Cleaning Maintenance Systems.As do most museums, we have very specific financial

and cleaning parameters for our site, using APPA cleaningstandards to define performance in our agreement withCleanPower. The sustainability criteria, however, were moresubjective. While we required competitive cleaning companiesto describe their expertise with “green cleaning” duringour initial bid process, we did not have a quantitativestandard to measure against.The GREENGUARD Indoor Air Quality Certification

program gives us that standard. It is a third-party certifi ca tiongranted by the GREENGUARD Environmental Institute(GEI): an industry-independent, non-profit organizationthat oversees the GREENGUARD Certification ProgramSM.As an ANSI Authorized Standards Developer, GEI estab -lishes acceptable indoor air standards for indoor products,environments, and buildings. To achieve certification, com -panies must go through an audit, not only of cleaning pro -ducts used, but also the procedures and tools used in theapplication of those products. As part of the audit, we found two aspects of our clean -

ing regimen that required attention if we were to attaincertification. A few cleaning products that we used werenot GREENGUARD-certified. We worked with CleanPowerand their product supplier to find substitutes for these

products. We changed from using standard cloth mops to amicrofiber wet mop solution to reduce airborne particulatematter. Procedurally, we found we were already followingGREENGUARD-approved procedures, so aside from learninghow to use a few new products and the new mops, very littletraining was required.The GEI recertifies cleaning products annually. To keep

our certification, we simply need to continue using the pro -ducts and procedures we demonstrated during our initialcertification. The GEI has indicated that we will receiveregular audits to ensure compliance with the program.In conclusion, GREENGUARD certification has given

us a sustainability standard by which we can measure ourhousekeeping performance, and supports the Harley-Davidson Museum’s goal of continuing to identify andemploy sustainable ideas wherever it makes sense.

Tim Dotson, CFM, CFMJ is Facility Project Manager at Harley-Davidson Museum in Milwaukee, Wisconsin, U.S.A.

The Harley-Davidson MuseumThe First Museum to Gain GREENGUARD CertificationBy Tim Dotson

Motorcycles, artifacts, history and stories reside within manufacturing-inspired stylings of concrete, steel, brick and glass.

The Harley-Davidson Museum in Milwaukee, Wisconsin, U.S.A.A riverwalk view of the Harley-Davidson Museum’s four towers,which represent the four founding fathers of the company.


19th Annual IAMFA Confe


rence in Washington, D.C.


bench marking parameters and reacha consensus on improvements. TheCommittee continued to look for waysto increase the level of participation byrecruiting new benchmarking partners.In April 2009, the website opened fordata input, which gave participantsfour and a half months to completepreliminary data development andinput. A draft report was availablefor review during the second half ofAugust, before the final report wasissued on paper and electronically.The published comparisons were

only one step in the benchmarkingprocess. Comparisons allow partici -pants to focus on institutions thatappear better, and the Committeeselected institutions to present theirbest practices at the annual workshop.Ideas that are implemented by othersare then tracked in the next year’s study.As the process is repeated annually,continual improvement is ensured.

In addition to best practicepresentations, the workshop purposelycreates a forum for sharing ideas dur -ing lively Hot Topic discussions. “Youcan only turn out so many lights,” saidHarry Wanless of the British Library.Bill Jackson of the National Library ofScotland reported reducing water con -sumption by removing urinals. Discus -sion also ensued about how to usewindow washing as bargaining chip forreclaiming cut budget items. Othersuggestions included trigeneration, geo -thermal heat, and targeting bonusesfrom electric companies for reducingusage on high-use days.A Town Hall Discussion allowed

participants an opportunity to ask thegroup about any issue, problem orprogram. When cleaning was dis cussed,many solutions were offered. Day-shift,in-house cleaning has eliminated thecost of security escorts for cleaners forone institution. Another reports a

Record Attendance at Best PracticesWorkshopBenchmarking Continues to be an Indispensable ToolBy Stacey Wittig

The 2009 IAMFA benchmarkingexercise culminated in a well-attended Best Practices Workshop

hosted by the Baltimore Museum of Arton November 1, 2009. Over fifty par -ticipants—more than ever before—gathered from across the globe to sharebest practices and discuss hot topics.The full-day workshop preceded theIAMFA annual conference and gaveparticipants a forum in which tonetwork and exchange ideas.“Despite a lagging global economy,

the group benchmarked 27.7 MSFin 2009: only a slight decrease from28.9 MSF in 2008,” reported KeithMcClanahan of Facility Issues, theconsultancy that facilitates IAMFA’sbenchmarking exercise. Bench mark -ing’s focus on reducing costs andimproving FM processes makes it alogical investment during challengingeconomic times.At the workshop, McClanahan

noted further trends revealed by thecollected benchmarking data. Withrecent emphasis on reducing energycosts, it was startling to see IAMFA’smedian electrical consumption up10% over last year. Several factors,including tighter controls on tem per -ature and humidity, and a growingnumber of exhibits that require greaterenergy consumption, were cited asreasons for the increase. 2009 also sawan increase in custodial costs from$2.28 to $2.85 per SFT. The bench mark -ing expert also disclosed that whenPM runs between 66 and 85 percentof total FM cost, there is a “sweet spot”or lowest total overall cost. IAMFA’sPM median is close at 54%.

Benchmarking: The Year in ReviewThe Benchmarking Steering Com -mittee met each month to define the

Benchmarking Steering Committee members recognized at the Best Practices Workshop:Randy Murphy, Los Angeles County Museum of Art; Bill Caddick, standing in for PatrickJones of the Art Institute of Chicago; Alan Dirican, Baltimore Museum of Art; HarryWanless, British Library; Nancy Bechtol, Smithsonian Institute; and Jim Duda, Library ofCongress. Not shown: John Lannon, Boston Athenaeum; Guy Larocque, Canadian Museumof Civilization; Keith McClanahan and Stacey Wittig, Facility Issues; Pam Lowings and JonRoodbol, Royal BC Museum; Dean Marshall, National Gallery of Australia; and Kevin Streiter,High Museum of Art.


recent change that moves the respon -sibility for special-events cleaning to thespecial-event contractor. By makingeach museum staff person responsiblefor their own recycling, oneinstitution reduced cleaning hours. Another participant cited energy

savings with a switch from night clean -ing to day cleaning. On the other hand,a proponent of night cleaning wasable to reduce headcount by going tonighttime cleaning because of “lesschitchat” with daytime employees.Another suggested keeping full-timecleaning employees, but changinghours to 11 a.m. to 8 p.m. to coincidewith security and high-use hours.

Continuous Improvementfor Benchmarking SurveyThis year, four major improvementswere made to the IAMFA bench mark -ing process. First, participants can noworder their surveys preloaded with theirprior year’s data. This time-savingimprovement was made in response torequests from members. In addition,the survey is now available in Frenchto better reach out to institutions in

shop are posted at www.facilityissues.com/Museums/Index.htm.Please support the generous spon -

sors of this year’s IAMFA BenchmarkingExercise: Black & McDonald Limited;Corporate Care, Interior Asset Main -tenance Services; McGuire Engineers;Rutherford & Chekene, Structuraland Geotechnical ConsultingEngineers; and Whiting-TurnerContracting Company.

Stacey Wittig is the Marketing Directorfor Facility Issues. She can be reached [email protected].

French-speaking countries. A thirdimprovement is the add-on of climatezone filters to help institutions com parethemselves to others with similar envi -ronmental challenges. And finally, print -able building energy certificates arenow available. The full-color build inglabel pulls data from the bench markingresults and is suitable for display. IAMFA volunteers have been work -

ing on the building energy certificateproject for several years. Paddy Hastingsof Cofely-GDF SUEZ, who works closelywith the British Library, gave a presen -tation about the development of thismulti-national tool, which can be usedby IAMFA institutions that are fre -quently housed in iconic, energy-hungry buildings.Other presenters at the Best

Practices Workshop included AlanDirican, “Baltimore Museum of ArtChiller Upgrade Project and Tour”;Judie Cooper, “Strategic Planning atthe Smithsonian”; and Randy Murphy,“The Visitor and Staff Experience atLACMA—Building Relationships.”The presentations, flip charts, and

photos from the Best Practices Work -

Attendees cite networking and hot-topicdiscussions as valuable components of theBest Practices Workshop. Keith McClanahan,Facility Issues; David Hauk, Smithsonian’sEnergy Management Branch Chief andNancy Bechtol, Director, Office of FacilitiesManagement and Reliability of theSmithsonian Institution, strategize.

1 23 4 5

6 78 9

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15 161718

19202122 23

24

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27 28 293031

32 33 3435

36

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38 39 40 4142

2009 BenchmarkingWorkshop Attendees:

1. Dan Davies, 2. DavidRedrup, 3. David Geldart,4. Fernando Pascal, 5. MarioGasperetti, 6. Bill Jackson,7. Joyce Koker, 8. Rich Reinert,9. Al Shaikoli, 10. DermotO’Sullivan, 11. David Hauk,12. Larry Bannister, 13. HarryWanless, 14. Marie-PierreMarché, 15. Tony McGuire,16. Steve Van Dyke, 17. TonyVan Noordenburg, 18. TimMahaney, 20. Lauren Friedman,

21. Jim Duda, 22. Michael Rogers, 23. Neal Graham, 24. Harold Hacker, 25. Bill Caddick,26. John de Lucy, 27. Dave McGinnis, 28. Greg Simmons, 29. Randy Murphy, 30. MariePeterson, 31. Keith McClanahan, 32. Paddy Hastings, 33. Nancy Bechtol, 34. John Castle,35. Sara Carroll, 36. David Sanders, 37. Brent Adams, 38. Kendra Gastright, 39. JenniferFragomeni, 40. Alan Dirican, 41. Stacey Wittig, 42. David Samec.

IAMFA BenchmarkingParticipants by Size of Facility

14% <125,000 GSF: <11,000 GSM

22% 125,000–249,000 GSF:11,000–23,000 GSM

33% 250,000–599,000 GSF:23,000–56,000 GSM

31% >600,000 GSF: >56,000 GSM


with screen culture as consumer andcreator over more than a century. The exhibition—launched in Sep -

tember 2009 by Academy Award®-winning actress, Cate Blanchett,herself featured in the gallery—is thecornerstone of the major redevel op -ment project. It also includes a secondspecial exhibition space, Gallery 2, twonew state-of-the-art production studios,a national screen culture resourcecentre—the Australian Mediatheque—and a unique external exhibition space,the Video Garden. While new programming has pro -

vided multiple opportunities to engageaudiences, the physical transformationof the building’s interior spaces andexterior footprint have producedequally impressive results.The key objectives of the Way For -

ward project were to maximise ACMI’spublic offerings, to increase audienceengagement, and to improve the build -ing’s physical layout and functionality.

The Screen Worlds gallery consumedapproximately 1,200 square metres(12,916 square feet) of ACMI’s groundfloor spaces—a size most public build -ings do not generally have as unusedreal estate.To make way for the major new

pro gramming and production spaces,35 operational staff relocated offsite,allowing the space to be converted intoback-of-house and public facilities.This, combined with additional areastransferred to ACMI from its neigh -bouring tenant—the publicly fundednational broadcaster SBS—and thebuilding owners, Federation Square,provided enough additional spaceto create the new gallery, as well ascomplementary production andexhibition spaces.ACMI turned the office space into

two multimedia studios, replacingsimilar facilities located on the floorbelow. The existing studios were thendemolished, combined with the new

Transforming a Globally UniqueCultural InstitutionBy Shaun Woodhouse

At just five years of age, Melbourne’sAustralian Centre for the MovingImage (ACMI) developed a bold

visionary strategy for its future: a plan todrive audience engagement and growth,and transform the visitor experience. Afterfour years of planning and 18 months ofdelivery, ACMI’s fresh new look runs waybeyond skin deep.

ACMI is a unique institution locatedat the heart of Melbourne’s iconicmeeting place: Federation Square. Itopened its doors in 2002 as one of theworld’s leading cultural facilities dedi -cated to celebrating, exploring andpromoting the creative richness of themoving image in all its forms: film,television and digital culture.Since then, through a vibrant cal en -

dar of award-winning Australian andinternational exhibitions, films, festivals,live events, creative work shops, edu -cational programs and col lectionresources, ACMI has provided hun -dreds of thousands of visitors withunsurpassed ways of engaging withthe moving image. Upon his arrival as Director and

CEO of the government-funded centrein late 2004, however, Tony Sweeneyset in motion a master plan, dubbed“The Way Forward”, to revitalise thephysical spaces of the facility and ensureit could reach an ever-broadeningaudience base into the future.With the support of the Victorian

Government, a suite of new produc tionand exhibition spaces and refreshedpublic offerings were introduced atACMI in 2009, providing audiences ofall ages and abilities with diverse, stim -ulating and creative opportunities withwhich to actively engage with the movingimage and screen culture.The centrepiece is a landmark, free

entry, permanent exhibition chartingthe journey of the moving image—and,in particular, Australia’s engagement

Screen Worlds: The Story of Film, Television and Digital Culture is a unique, interactive andimmersive exhibition that dynamically illustrates how each form of the moving image hasemerged and evolved as a powerful creative medium.


areas ACMI acquired and turned intothe Screen Worlds gallery. ACMI alsotook the opportunity to introduce twonew spaces: Gallery 2 and the AustralianMediatheque resource centre.The entire project was managed by

an in-house project team, assisted byspecialist external consultants. Thishands-on approach was deliberate.ACMI wanted to ensure that the finalproduct fully met its needs, both cul -turally and operationally. This wasparticularly important as the project

involved multiple internal and externalstakeholders, including the building’soriginal architects, the landlord,the gallery designer (Ab Rogers)and consulting architect, DentonCorker Marshall.Architects and engineers sometimes

do not fully appreciate the needs ofexhibition designers and curators, andvice-versa. By positioning itself at thecentre of the design and constructionprocess, ACMI was able to facilitate acoordinated approach to a complex pro -

cess, helping to break down the barriersand interpret the different disciplines.There were several operational chal -

lenges associated with the actual con -struction work. ACMI is a tenant atFederation Square, and shares its build -ing with several other organisations,all utilising spaces that are essentiallypublic thoroughfares and access points.The project resulted in a number oftemporary and permanent changes tokey access routes, which all had to benegotiated on a case-by-case basis witheach co-tenant.Federation Square is a world-class

cultural and entertainment desti na tion,attracting annual visitation in excessof 8 million people. It has becomethe physical and spiritual heart ofMelbourne and a key meeting place,especially with a regular program ofdaily major events. It, along withACMI, remained open for the entireduration of the physical construction,which required a constant manage mentand monitoring process to ensure thatdeliveries of material did not conflictwith activities in the precinct, that wastewas stored and removed in an appro -priate manner, and that dust and noisewere kept to an absolute minimum. During construction of the pro duc -

tion studios on Level 1, noise was aparticular challenge, given that SBS has

Visitors to ACMI enjoy the Screen Worlds exhibition.

The Australian Mediatheque, a new screen-culture resource centre. Gallery Designer Ab Rogers.


its recording and broadcast facilitiesdirectly adjacent to this area. To theircredit, all co-tenants were extremelycooperative during the project, under -standing that there would be someinconvenience but accepting that

ACMI was trying its absolute best tominimise the impact.Replicating the existing studios also

provided ACMI with an opportunity toaddress some aspects of the originalstudios that had not worked as well as

had been intended. The two studiosare very different, one being a tra di -tional studio with seating (Studio 1)and the other being a multimediastudio (Studio 2). Improved storage,working lights, acoustics and floorfinishes were introduced into Studio 1.The layout of Studio 2 has been com -pletely altered, taking it away from atypical classroom arrangement withrows of desks, to circular tables withmultiple workstations on each. Thischange has significantly improved theenvironment and feel of the space,making it less formal and more wel -com ing. Both spaces have benefitedfrom the introduction of improvedcontrols to the air-conditioning sys -tems—in particular Studio 1, wherethere is now the flexibility to makeadjustments subject to the use, occu -pancy levels and time of day. This is asignificant enhancement compared tothe previous facility, where the systemran on the assumption that the spacewas in use at full occupancy all day,every day.

Federation Square, Site of the Australian Centre of the Moving Image and the National Gallery of Victoria’s Ian Potter Centre.

Studio 1 at the Australian Centre for the Moving Image.


The physical building layout hasalways been a challenge for ACMI.Multiple entry points have proven con - fusing for visitors, and have createdlogistical problems in such simple oper - a tional tasks as selling tickets. ACMIhas solved this problem by closing offa number of these multiple entrypoints and, with new and improvedway find ing and signage introduced,

patrons are now directed to a singlepoint of entry which passes ACMI’sticketing facility and retail areas. Previously, it was also possible to use

the building as a thoroughfare to getto and from Federation Square, itsshops, galleries, restaurants and bars.Obviously, in restricting this by closingoff the access points, an alternate routehad to be created. This was achievedby activating an under-utilised routeadjacent to ACMI by making it moreopen and obvious, introducing signageand interactive elements (a VideoGarden trail of interactive pods)and installing enhanced lighting.The new spaces for learning and

entertainment are summarised asfollows:

Australian MediathequeThe centre significantly expandsoppor tunities for broad generalpublic engagement with a majorrepository of digital and analogueresource materials for learning andenter tain ment, and will do so in a waythat protects and preserves materialsfor future generations. Visitors are able to explore a wealth

of Australian and international screenculture history, spanning film, tele -vision, digital culture, video art andsound materials.

The centre features:

• on-demand access to digitised full-length versions of films, televisionand games drawn from the ACMIcollection, as well as other archivesand providers including com mer -cial and public broadcasters, pro -duction companies, independentproducers and the general public;

• curated collections of films, shortsand digitised materials that willprovide a contextual frameworkfor exploring the digitised and non-digitised collections;

• staff-mediated access to non-digitisedcollection materials, including 16mmand 35mm film, using a full rangeof auditioning and preview facilities;

• access to national and internationalcatalogues and online resources;

• educational programs around col -lections, archives and preservation;

• specialist staff available for visitorsto ask questions and assist withlearning and research; and,

• study, reading and research spaces.

Studio 1 and Studio 2Two new distinct state-of-the-art studiospaces now provide unique media pro -duction environments across multipleplatforms for active screen cultureengagement for audiences of all agesand abilities. The studios are purpose-built for hands-on educational work -shops, industry talks, forums, multi -media performances, televisionbroadcasts and events. Combined, theyprovide students, teachers and thegeneral public with new and excitingways to cross the divide from audienceto creator.

Gallery 2This flexible new gallery allows ACMIto program accessible and responsivetemporary installations across themoving-image spectrum. By natureand design, it will present a range ofinnovative short-run exhibitions show -casing recognised international artistsand the emerging talent of tomorrow.

Video GardenTo expand our connection to audi -ences outside the building, we havecreated a new external exhibitionzone, which hugs the perimeter of thebuilding. Envisaged as a democratic artspace, the Video Garden will featureinteractive works from prominent andemerging artists, housed in bio mor phicpods. As a technology- and creativity-driven space, it will be a 24-hour desti -nation that brings together conceptsof location and experimentation inmoving-image forms.

A Fresh Face, Insideand OutTo ensure that ACMI’s public face,whether online, in print, or in personreflected the dramatic physical trans -formation of the building, we under -took a series of significant comple men -tary projects across the organisation toprovide a consistent and refreshedexperience for our visitors.Our Marketing and Design teams

commenced several interwoven pro -jects to coincide with the delivery ofour major new program offerings, andspecifically the opening of our newexhibition and production spaces. Wecommenced a major overhaul of ourwebsite’s functionality and useability,undertook planning for the intro duc -tion of an integrated ticketing andcustomer relationship managementsystem, and completed a review of ourvisual identity.This project aims to provide an

integrated and seamless applicationof a refreshed visual identity withinthe building and beyond. A majorreview of wayfinding and signagehas improved visual and physical navi -gation for the visitor before arrival,right through departure. Our refreshedbrand will be applied across all ourprinted col lateral, newspaper adver -tisements, shop merchandise, motiongraphics, cinema advertising andpromotion, and in the uniforms ofour staff and volunteers.

Shaun Woodhouse is Facilities Manager atthe Australian Centre for the Moving Imagein Federation Square, Melbourne, Australia.

The physical building

layout has always

been a challenge

for ACMI.


located within the Fort Meade ArmyBase, just outside of Washington D.C.near Odenton, Maryland. In concert with the Architect of the

Capitol, the Library is participating inthe development of a Master Plan forthe use of that site, and planning andconstruction is well underway. Themaster plan is intended to accom mo -date the Library’s storage needs throughthe year 2027, which is estimated to besome 210,000 gross square feet (19,500gross square meters) of primarily high-bay storage. In addition to otherbuildings planned at this Fort Meadelocation for the U.S. Copyright Officeand the Library of Congress LogisticsOffice, the primary focus to date hasbeen on a 13-module storage facilitydesigned to house a wide variety ofLibrary collections.In the Spring 2008 issue of Papyrus,

we reported in detail on the status of

the new Module 3 & 4 buildings beingconstructed on the Fort Meade armybase. This most recent constructionphase added two high-bay, high-densitystorage modules and four large coldstorage rooms to the already existingtwo high-bay storage units. The project has since been com -

pleted on time and under budget, andhas received the occupancy certificate,complete with a ribbon-cutting cere -mony hosted by the Librarian ofCongress Dr. James H. Billington andthe Acting Architect of the CapitolSteven T. Ayers.In October 2009, members of the

construction team attended the Con -struction Management Associationof America (CMAA) conference andawards ceremony in Orlando, Floridato accept an award honoring excel -lence in design and construction. Theproject took First Place in the “Under

The United States Library of CongressArchival Storage FacilityProtecting the Past, Present and FutureBy Jon Netherton

The mission of the Library ofCongress is to make its resourcesavailable and useful to the

Congress of the United States andthe American people, and to sustainand preserve a universal collection ofknowledge and creativity for futuregenerations. The Library of Congressmaintains one of the oldest and oneof the largest collections of library andarchival material in the world. Preserv -ing and protecting the nation’s heritageassets by providing secure and envi -ron mentally acceptable conditions is acore function of the Library of Congress.While the Library’s main campusincludes the three monumental CapitolHill buildings (Jefferson, Adams andMadison), there are a number of satel -lite locations integral to the mission.One of those satellite locations, whichwas acquired in 1995, is the 100-acre(40.5-hectare) Congressional Campus

The Library of Congress Congressional Campus, Fort Meade, Maryland. High-bay, high-density storage modules.


$50 Million” category and was selectedfrom a field of 140 nominated projects. Accepting the award onstage were

Steven Ayers, Acting Architect of theCapitol, and Neal Graham on behalfof the Library of Congress. Repre sen -tatives from the Library of Congress,Facility Services, the Architect of theCapitol (AOC), the Baltimore Districtof the U.S. Army Corps of Engineers,contractor John C. Grimberg Co.,

and design firm Einhorn, Yaffee andPrescott (EYP), were also present forthe ceremony. In part, the award recog -nizes that completing this project ina successful fashion is considered asignificant team accomplishment, giventhe history of other similar projects,the diversity of the responsible stake -holders, and the complexity of themandated construction managementprocess.

The new modular storage units andcold storage rooms will house approxi -mately 33 million items from theLibrary’s special-format collec tions,includ ing manuscripts, prints, draw ings,photographs, posters, music sheets, mapsand miscellaneous items from the largeAmerican Folklife Center collection. As noted in the AOC prepared pro -

ject award application, “The buildersof the project, in addition to simplyconstructing a building, were con -structing the facility to be a highlycom plex and functional machine. Anintegral part of the development ofthis large and complex facility was theconstruction of multiple mechanicalsystems to maintain strictly controlledatmospheric conditions—uniformthroughout the entire airspace of eachmodule—as well as the integration ofextensive shelving systems and a highlyadvanced fire-protection system. Thenew facility also features multiple officeand administrative areas, as well as pro -cessing areas, a library materials quar -antine room, loading docks, a centralcorridor and mechanical spaces.”“This award is the result of hard

work, determination and good old-fashioned communications withinthe Library of Congress and betweenthe Library and the Architect of theCapitol, as well as joint communi -cation by the AOC and the Library,through the Army Corps of Engineers,to the design and construction firmsand subcontractors. This was a big job,and the team made it look easy,” saidNeal Graham, chief of the Library’sFacility Services.“It’s a great honor to have this

recognition bestowed on this jointproject by the professional membersof the CMAA,” said Acting Architectof the Capitol Stephen T. Ayers. “It isan excellent example of our focus onusing the industry’s best practices fordesign and construction management.It also recognizes the great partner shipwe have with the Library of Congress.We have successfully worked togetherto meet the Library’s current needsand have made plans to meet itsfuture requirements.”

Jon Netherton is Senior ConstructionCoordinator at the Library of Congress.

Pictured, left to right: Jon Netherton, Library of Congress Senior Construction Coordinator;Steven Schluth, Architect of the Capitol Project Manager; Greg Simmons, Architect of theCapitol Supervising Engineer Library of Congress; Neal Graham, Library of Congress Chiefof Facility Services.

Layout of the Collections Storage Facility for the Library of Congress, Fort Meade,Maryland, U.S.A.


Director of Facility Services for Winterthur. “They havedemonstrated the ability to concentrate expertise to solvea problem very quickly. Pennoni’s proposals are alwaysrealistic in scope, schedule and cost.”

Project Approach Pennoni approached this project as a collaborative value-engineered design process. The process included theclient, the Delaware Department of Natural Resources andEnvironmental Control (DNREC), the Army Corps ofEngineers, and several contractors as stakeholders in theproject. Winterthur’s requirements for the project were topreserve the natural appearance of the site, maintain thehistorical appearance and intent of the structures, enhancewater quality, prevent erosion, improve the habitat forexisting and future wildlife, and utilize natural materials.Pennoni began by preparing a detailed survey of the

components of the stream. With existing conditions docu -mented, a detailed hydraulic analysis was performed, andcritical erosion areas and existing infrastructure were docu -mented. As an alternative to simpler methods of streamstabilization, such as gabions, rip-rap, interlocking con creteblocks, non-biodegradable matting, and exotic plantings,Pennoni opted for a natural solution. Pennoni identifiedthe causes of erosion to the stream based on waterwayhydraulics, stream configuration and sediment transportprinciples. By determining the causes of erosion, Pennoniwas able to design preventive measures to deter erosionand improve stream hydraulics.

2009 Engineering Excellence AwardsRecovering the Lost Stream at WinterthurBy Pennoni Associates

W interthur Museum and Country Estate inDelaware’s Brandywine Valley is the former homeof Henry Francis du Pont, an avid antiques col -

lector and horticulturist. Winterthur’s 1,000 acres (405 hec -tares) encompass rolling hills, pristine streams, meadows,and forests, and are visited by over 120,000 guests each year. The Museum was founded in 1951 as a way for its owner

to share his vast collection of Americana with the public.With the creation of Winterthur, du Pont translated hislove of the land into a unified work of art that embodiesa romantic vision of nature’s beauty. Adjacent to the Visitor Center, a Piedmont stream had

eroded over the years, due to high flows of stormwater,and was deteriorating from sediment buildup and invasiveplant overgrowth. Failed masonry structures laid crumblingalong its waterway. Stone weir structures along the streamwere believed to have held scenic step pools in the mid-1900s. The downstream weir structure remained intact butdeteriorated, with heavy sediment buildup posing a threatto the downstream ponds and the exceptional qualitystream of Clenny Run.Winterthur Museum selected Pennoni Associates, a

consulting engineering firm from Wilmington, Delaware,to recover the stream. Pennoni’s responsibility was todeter mine the best solution for interpreting, restoringand enhancing the original stream’s character, stone weirstructures and scenic step pools.“Pennoni Associates has performed engineering ser-

vices for Winterthur for several years,” said John Castle, P.E.,


Challenges and ComplexityA primary challenge to the project was selecting naturalmaterials suitable for exposure to urbanized watershed flows.While easy solutions like concrete or block walls could beprovided, Winterthur required that the materials provideadequate durability and maintain the property’s beauty. Tomaintain the estate’s natural appearance, sustainable andnatural materials—such as local quarry stone, native plants,biodegradable matting, and leaf mulch—were utilized. Thedesign incorporated stream grade controls, boulder toes,rock toes, rock vanes, and varying step pools and riffles toimprove stream hydraulics, control peak flows, and providevarying flow regimes critical to stream ecology. Several designiterations were required to balance stream grades, low flow,peak flow, and step pool water levels. To restore the stone weir structures and step pools,

Pennoni provided designs to accommodate current storm -water flows, improve the weir structures, restore the steppools, and preserve historical appearance.Pennoni coordinated several value-engineering meetings

at the estate involving the DNREC Wetlands and Subaqueous

Lands Section, Winterthur Staff, masonry contractors, andstream restoration contractors. The purpose of the meet ingswas to develop a design that worked within a constrainedbudget and timeline, while at the same time balancing theconstructability and permitting requirements of the Stateand the Army Corps of Engineers.Open dialogue was established by Pennoni between the

DNREC Fish and Wildlife Section, the DNREC WetlandsSection, the U.S. Fish and Wildlife Service, and the ArmyCorps of Engineers to determine the optimal approachto permits that considered protection of the environment,habitat improvement, sustainable design, and permit sim -plicity. Prior to construction, Pennoni obtained a DNRECSubaqueous Lands Permit, and the Army Corps of Engineerauthorizations for Nationwide Permits 13 (bank stabilization)and 3 (weir restoration and sediment removal). During construction, Pennoni closely coordinated masons

and the stream restoration contractor to manage streambypass flows, maintain erosion and sediment controls, pro -tect vegetation, and to assure permit compliance. Alwaysconsidering the vision of du Pont and his love for water


Key Participants

Owner and ClientWinterthur Museum and Country EstateWinterthur, DelawareJohn W. Castle, P.E.

EngineerPennoni Associates Inc.62 Rockford RoadWilmington, DE 19806Daniel P. Barbato, P.E., Project ManagerEthan Robinson, Project DesignerJohn Baker, Construction Manager

Stream Restoration ContractorMeadville Land Service Inc.10551 S. Watson Run Road Meadville, PA 16335Richard Coulter, Project Manager

Masonry ContractorRizzo Construction Company, Inc.16 Holly LaneWilmington, DE 19807Scott Roberts, Supervisor

Primary Permitting AgencyDNREC Wetlands and Subaqueous Lands89 Kings HighwayDover, DE 19901James T. Chaconas, Environmental Scientist

features at the site, extreme care was taken to protect trees,wildlife, and water quality during construction.The value-engineering process and collaborative permit

approach resulted in a substantial cost savings to the client.By focusing design efforts on constructability, naturalmaterials, construction costs, and coordination of con -tractors—as well as adapting the approach to allow forstreamlined permitting and expedited schedules to takeadvantage of beneficial contractor pricing—savings wereeasily achieved. The “Recovering the Lost Stream at Winterthur” project

is a model for identifying practical solutions to complexproblems, selecting natural and sustainable materials forconstruction, while not only mitigating environmentalimpacts, but also providing environmental enhancementand habitat improvement at a reasonable cost to the client.Paramount to this process is the use of a collaborativeapproach that involves the client, the contractors, and theregulatory agencies as design partners and stakeholdersin the project.

Exceeding Client/Owner ExpectationsAt the conclusion of projects like this, pleasure is not onlyfound in the completion of work, but also in knowing thatsomething beautiful has been restored. “Winterthur is a placeof real beauty . . . where good engineering solutions mustbe married to even better aesthetic choices,” Mr. Castlesaid. “Pennoni has always shown great sensitivity to thisissue as well as Winterthur’s history and future.”

Uniqueness“Recovering the Lost Stream at Winterthur” is unique

because it marries engineering, art and nature in onecohesive design process, providing a practical, beautifulsolution to a complex problem, while also achieving thedesired aesthetics, constructability, schedule and budget.The project provides a useful model for engineers wantingto design creatively.

Alan FreemantleNational Portrait Gallery of

AustraliaKing Edward TerraceParkesCanberra, [email protected]

Vicki Humphrey

7 Edgeware RoadAldgate, South Australia5154humphrey.vicki@

googlemail.com

Gerry LinehanNational Library of AustraliaParkes PlaceParkesCanberra, [email protected]

Dan MackenzieSteensen Varming160 Sailors Bay RoadNorthbridgeSydney, NSW2063dan.mackenzie@

steensenvarming.com.au

Dean MarshallNational Gallery of AustraliaGPO Box 1150Canberra, [email protected]

Ray McMasterAustralian National Maritime

Museum2 Murray Street PyrmontSydney, [email protected]

Dermot O’SullivanMuseum Victoria11 Nicholson StreetCarlton, [email protected]

Tony van NoordenburgNational Gallery of Victoria7259 St. Kilda Road VIC 8004180 St. Kilda RoadMelbourne, Victoria3004t.van.noordenburg@

ngv.vic.gov.au

AUSTRALIAShaun WoodhouseAustralian Centre for the

Moving ImagePO Box 14Flinders LaneMelbourne, [email protected]

Jean AllardLibrary and Archives Canada550 Boulevard de la CitéGatineau, QuebecK1A 0N4 [email protected]

Simon AubinCanada Science & Technology

Museum CorporationP.O. Box 9724 Station T2421 Lancaster Rd.Ottawa, OntarioK1G [email protected]

Carole BeauvaisBureau de la transformation de

la DGSDE300 Avenue LaurierPiece B2104-IOttawa, OntarioK1A 0M7

Yvon BourgeoisCanada Science & Technology


Mario BrièreCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, QuebecJ8X [email protected]

Pierre CaronCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, QuebecJ8X [email protected]

Marc ChrétienCanadian Museum of NaturePO Box 3443, Station DOttawa, OntarioK1P [email protected]

CANADA

Chan-Hung DoCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, QuebecJ8X [email protected]

Calum EwingNova Scotia Museum1675 Lower Water StreetHalifax, Nova ScotiaB3J [email protected]

Ian FollettFacility Management Services LTD45 Maryland Place SWCalgary, AlbertaT2V [email protected]

Mario GasperettiLibrary and Archives Canada550 Boulevard de la CitéGatineau, QuebecK1A 0N4 [email protected]

Toby GreenbaumPhysical Resource BureauForeign Affairs and Int’l Trade125 Sussex DriveOttawa, OntarioK1A 0G2toby.greenbaum@

international.gc.ca

Paul LaflammeCamfil Farr Canada Inc.9 Cobblestone CourtOttawa, OntarioK0A [email protected]

Pierrette LagroisNational Gallery of Canada380 Sussex DriveOttawa, OntarioK1N [email protected]

Guy LarocqueCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, Quebec J8X [email protected]

Marc LegaultCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, Quebec J8X [email protected]

Pierre Lepage4 Chateauguay StreetEmbrun, OntarioK0A [email protected]

Pam LowingsRoyal British Columbia Museum675 Belleville StreetVictoria, British ColumbiaV8W [email protected]

Ian MacLeanCanada Science & Technology


Brian McCradyRoyal Ontario Museum100 Queen’s ParkToronto, OntarioM5S [email protected]

Dominic NicholasBlack & McDonald Limited2460 Don Reid DriveOttawa, OntarioK1H 1E1dnicholas@

blackandmcdonald.com

Ed RichardNational Gallery of Canada380 Sussex DriveOttawa, OntarioKIN [email protected]

Jon RoodbolRoyal British Columbia Museum675 Belleville StreetVictoria, British ColumbiaV8W [email protected]

Linda TalbotCanada Science & Technology


Martin TurpinLibrary and Archives Canada550 Boulevard de la CitéGatineau, QuebecK1A 0N4 [email protected]



Elisabeth JaniInternational Council of

MuseumsUNESCO-ICOM Information

Centre1, rue MiollisParisF-75732 CEDEX 15

Marie-Pierre MarchéBibliothèque Nationale de FranceQuai Francais MauriacParis 75706 [email protected]

Valérie Vesque-JeancardBibliothèque Nationale de FranceQuai Francais MauriacParis 75706 [email protected]

Mike HeinemannChristchurch Art Gallery Te Puna

O WaiwhetuWorcester BoulevardPO Box 2626Christchurch, [email protected]

Patricia MorganAuckland Art Gallery — Toi O

TamakiP.O.Box 5449Auckland, Aucklandpatricia.morgan@

aucklandcity.govt.nz

Dmitry V. RodionovA. A. Bakhrushin State Central

Theatre MuseumBakhrushin Street 31/12Moscow [email protected]

Rogelio DiezMuseo Guggenheim — BilbaoAbandoibarra 2Bilbao, Viz Caya [email protected]

NEW ZEALAND

RUSSIA

SPAIN

FRANCEFernando OrdorikaMuseo Guggenheim — BilbaoAbandoibarra 2Bilbao, Viz Caya 48001fordorika@guggenheim-

bilbao.es

John BevinNational Museum of Science and

IndustryScience MuseumExhibition RoadLondon, EnglandSW7 [email protected]

David BrownThe British MuseumGreat Russell StreetLondon, EnglandWC1B [email protected]

Michael BrowneNational Galleries of Scotland73 Belford Road Dean GalleryEdinburgh, ScotlandEH4 [email protected]

Duncan CampbellNational Library of Scotland57 George IV BridgeEdinburgh, ScotlandEH1 [email protected]

Sara CarrollThe British MuseumGreat Russell StreetLondon, EnglandWC1B [email protected]

Paul DaviesThe National ArchivesKewRichmond, SurreyTW9 4DUpaul.davies@

nationalarchives.gov.uk

John de LucyBritish Library96 Euston RoadLondon, [email protected]

Patrick DixonBritish Library96 Euston RoadLondon, [email protected]

UNITED KINGDOM

Chris EcobCamfil LimitedKnowsley RoadHaslingden, LancashireBB4 [email protected]

Peter FotheringhamUniversity of GreenwichAvery Hill Campus, Southwood

LodgeAvery Hill Road, ElthamLondon, EnglandSE9 [email protected]

Robert GalbraithNational Galleries of Scotland73 Belford Road Dean GalleryEdinburgh, ScotlandEH4 [email protected]

Stephen GillThe British MuseumGreat Russell StreetLondon, EnglandWC1B [email protected]

Charles GriffinThe Wellcome Trust215 Euston DriveLondon, EnglandNW1 [email protected]

Barry HallEnglish Heritage1 Waterhouse Square138 - 142 HolbornLondon, EnglandEC1N 2STbarry.hall@

english-heritage.org.uk

Chris HallidayNational Maritime MuseumPark RowGreenwich, EnglandSE10 [email protected]

Patrick HastingsBritish Library96 Euston RoadLondon, [email protected]

Bill JacksonNational Library of Scotland57 George IV BridgeEdinburgh, ScotlandEH7 [email protected]

Dominick KellyThe Imperial War MuseumLambeth RoadLondon, EnglandSE1 [email protected]

David ReadBritish Library96 Euston RoadLondon, [email protected]

David RedrupTate20 John Islip RoadMillbankLondon, EnglandSW1P [email protected]

David SandersNatural History MuseumCromwell RoadLondon, EnglandSW7 [email protected]

Allan TyrrellNational Portrait GallerySt. Martin PlaceLondon, EnglandWC2H [email protected]

Steve VandykeNational Gallery, LondonTrafalgar SquareLondon, EnglandWC2N 5DNsteve.vandyke@

ng-london.org.uk

Harry WanlessBritish Library96 Euston RoadLondon, [email protected]

Ian WilliamsNational Museums Liverpool127 Dale StreetLiverpool, EnglandL2 2JHian.williams@

liverpoolmuseums.org.uk

Fernando PascalSmithsonian InstitutionSmithsonian Tropical Research

InstituteAPO [email protected]

UNITED STATES



Dan Shea

Robert Weinsteinrobert.weinstein@

architravepc.com

Keith McClanahanFacility IssuesPO Box 1447Flagstaff, [email protected]

Stacey WittigFacility IssuesPO Box 17032Munds Park, [email protected]

John PaganArkansas Art CenterP.O. Box 2137Little Rock, [email protected]

Donald BattjesLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, [email protected]

Joe BrennanSan Francisco Museum of

Modern Art151 Third St.San Francisco, [email protected]

John DowningBerkeley Art Museum/Pacific

Film Archive2625 Durant AvenueBerkeley, [email protected]

Jennifer FragomeniExploratorium3601 Lyon StreetSan Francisco, [email protected]

ARKANSAS

CALIFORNIA

ARIZONA

Lauren FriedmanJ. Paul Getty Trust1200 Getty Center DriveSuite 100Los Angeles, [email protected]

Oren GrayJ. Paul Getty Trust1200 Getty Center DriveSuite 100VLos Angeles, [email protected]

Patty LacsonFine Arts Museum of

San Francisco50 Hagiwara Tea Garden DriveGolden Gate ParkSan Francisco, [email protected]

Edgar MaxionStanford University Green Library557 Escondido MallRoom 101Stanford, [email protected]

Joseph May20520 Ventura Boulevard, #317Woodland Hills, [email protected]

Gary McKeanJ. Paul Getty Trust1200 Getty Center DriveLos Angeles, [email protected]

Jan Monaghan1998 Broadway #602San Francisco, [email protected]

Randy MurphyLos Angeles County Museum of

Art5905 Wilshire BlvdLos Angeles, [email protected]

Ann RocheRutherford & Chekene 55 Second Street suite 600San Francisco, [email protected]

Michael RogersJ. Paul Getty Trust1200 Getty Center Drive

Suite 100Los Angeles, [email protected]

Nils WelinCypress Security, LLC452 Tehama StreetSan Francisco, [email protected]

Terry ZukoskiGlide Foundation330 Ellis StreetSan Francisco, [email protected]

Jose BrancoYale University Art GalleryP.O. Box 208271New Haven, [email protected]

Ernie ConradLandmark Facilities Group, Inc.252 East AvenueNorwalk, [email protected]

Richard MooreYale University Art GalleryP.O.Box 208271New Haven, [email protected]

Thomas NewboldLandmark Facilities Group, Inc.252 East AvenueNorwalk, [email protected]

Gerard RauthLandmark Facilities Group, Inc.252 East AvenueNorwalk, [email protected]

Bruce CanterDelaware Art Museum2301 Kentmere ParkwayWilmington, [email protected]

CONNECTICUT

DELAWARE

John CastleWinterthur Museum, Garden

and Library5105 Kenett PikeBuilding 37Winterthur, [email protected]

Michael DownsHagley Museum & LibraryP.O. Box 3630Wilmington, [email protected]

Mark StutmanCamfil Farr16 Long Meadow CourtNewark, [email protected]

Brent AdamsThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Bruce ArthurArchitect of the CapitolJames Madison Memorial

Building101 Independence Ave.Washington, [email protected]

Stephen AyersArchitect of the CapitolUS Capitol BuildingRoom SB-15Washington, [email protected]

Nancy BechtolSmithsonian InstitutionPO Box 37012MRC 505 OFMRWashington, [email protected]

Darnell BellSmithsonian Institution1000 Constitution Avenue, NWWashington, DC20560

DISTRICT OF COLUMBIA


John BixlerSmithsonian InstitutionPO Box 37012MRC 505 OFMRWashington, [email protected]

Rebekah BrockwaySmithsonian InstitutionPO Box 37012MRC 316Washington, [email protected]

Judie CooperSmithsonian InstitutionPO Box 37012MRC 505Washington, [email protected]

Dan DaviesSmithsonian InstitutionGeneral Services Building —

Level 2 MRC 55123001 Connecticut Avenue NWWashington, [email protected]

Richard DaySmithsonian Institution10th and Constitution Ave NWWashington, [email protected]

Maria DeIsasiSmithsonian Institution2307 39th Street NWWashington, [email protected]

Jim DudaThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Eugenie DuncanArchitect of the CapitolJames Madison Memorial


Tammy FinkNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

Fenella FranceThe Library of Congress101 Independence Ave., S.E.Washington, DC20540-9420

Anna FranzArchitect of the CapitolJames Madison Memorial


Kendra GastrightSmithsonian Institution1000 Constitution Avenue, NWWashington, [email protected]

Jon GibbonsOffice of Facilities Engineering &

OperationsSmithsonian Institution750 8th StreetWashington, [email protected]

Neal GrahamThe Library of Congress101 Independence Ave., S.E.Room LM-225Washington, [email protected]

Larry GraubergerSmithsonian InstitutionOffice of Facilities Management

and Reliability900 Jefferson Dr. SW PO Box 37012 (MRC 412)Washington, [email protected]

Bill GriffithsSmithsonian InstitutionPO Box 37012MRC 505 OFMRWashington, [email protected]

Dan HammNational Gallery of Art —


David HaukSmithsonian InstitutionNMNH, OFMR - SEDPO Box 37012 MRC 140Washington, [email protected]

Michael HollingsworthThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Charon JohnsonThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Fletcher JohnstonSIU Castle and Arts and

Industries BuildingRipley-1039, MRC-7091000 Jefferson Drive SWWashington, [email protected]

Michelle KayonArchitect of the CapitolJames Madison Memorial


Bruce KendallSmithsonian InstitutionOffice of Facilities Engineering

and OperationsPO Box 37012 (MRC 017)Washington, [email protected]

Melvin LedwellSmithsonian Institution1000 Constitution Avenue, NWWashington, DC20560

Nancy Lev-AlexanderThe Library of Congress101 Independence Ave., S.E.Room LM-G38 mailstop 4530Washington, [email protected]

Mary LeveringThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Kristy LongArchitect of the CapitolJames Madison Memorial


Clare LundgrenSmithsonian Institution1000 Constitution Avenue, NWWashington, [email protected]

Brian McGivneyNational Gallery of Art —


Donna MunsonThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Tiffany MyersSmithsonian InstitutionPO Box 37012MRC 505 OFMRWashington, [email protected]

Jon NethertonThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

William PrinceThe Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Angel RodriguezSmithsonian Institution14th & Constitution Avenue NWMRC 649Washington, [email protected]

James RossieSmithsonian Institution1000 Constitution Avenue, NWWashington, DC20560



DISTRICT OF COLUMBIAcont’d

UNITED STATES cont’d

Dave SamecNational Gallery of Art —


Stephen SchluthArchitect of the CapitolJames Madison Memorial


Gregory SimmonsArchitect of the CapitolJames Madison Memorial


Andy SmithSmithsonian InstitutionDonald W. Reynolds Center800 G Street NWWashington, [email protected]

Michael SmithNational Gallery of Art —


Kevin StanfordSmithsonian Institution1000 Constitution Avenue, NWWashington, DC20560

Armando UribeSmithsonian Institution1100 Independence Avenue SWWashington, [email protected]

Larry VarnerSmithsonian InstitutionPO Box 37012MRC 102Washington, [email protected]

Beatrice WhiteheadSmithsonian Institution1000 Constitution Avenue, NWWashington, DC20560

Bob Evans1101 River Reach DriveApt 405Fort Lauderdale, [email protected]

John GordonHenry Morrison Flagler MuseumOne Whitehall WayPalm Beach, FL33480facilitiesmanager@

flaglermuseum.us

Vincent Magorrian306 Lexingdale DriveOrlando, [email protected]

Jane PangbornNorton Museum of Art1451 South Olive AvenueWest Palm Beach, [email protected]

Debbie TowersMorikami Museum and

Japanese Gardens4000 Morikami Park RoadDelray Beach, [email protected]

Kevin StreiterHigh Museum of Art1280 Peachtree NEAtlanta, GA30309kevin.streiter@

woodruffcenter.org

Bill CaddickArt Institute of Chicago111 South Michigan AvenueChicago, [email protected]

Harold HackerArt Institute of Chicago111 South Michigan AvenueChicago, [email protected]

GEORGIA

ILLINOIS

FLORIDA Anthony McGuireMcGuire Engineers300 S. Riverside PlazaChicago, [email protected]

Don MeckleyMuseum of Contemporary Art —

Chicago 220 E. Chicago Ave.Chicago, [email protected]

Nancy DavisNational Archives and Records

Administration8601 Adelphi RoadNAF, Suite 2320College Park, [email protected]

Alan DiricanBaltimore Museum of Art10 Art Museum DriveBaltimore, [email protected]

Timothy EdwardsNational Archives and Records


Maurice EvansSmithsonian Institution4210 Silver Hill RoadSuitland, [email protected]

Josie Hollingsworth3512 Randy DriveHuntingtown, [email protected]

Richard KowalczykSmithsonian National Air and

Space Museum3904 Old Silver Hill RoadBuilding 10Suitland, [email protected]

MARYLAND

David McGinnisWhiting-Turner300 East Joppa RoadBaltimore, MD21286david.mcginnis@

whiting-turner.com

Donald OverfeltNational Archives and Records


Carl PasqualiNational Gallery of Art —

Washington2000 B South Club DriveLandover, [email protected]

Mark SprouseNational Archives and Records


David GeldartMuseum of Fine Arts — Boston465 Huntington AvenueBoston, [email protected]

James LabeckIsabella Stewart Gardner

Museum2 Palace RoadBoston, [email protected]

John LannonBoston Athenaeum10 1/2 Beacon StreetBoston, [email protected]

James MoissonHarvard Art Museum32 Quincy St.Cambridge, [email protected]

MASSACHUSETTS


Bob RezukeCamfill Farr127 Worcester StreetNorth Grafton, [email protected]

Robert HannaHenry Ford Museum20900 Oakwood BoulevardDearborn, [email protected]

Rebecca EllisQuestions and Solutions

Engineering, Inc.1079 Falls CurveChaska, [email protected]

Richard StomberNewark Museum49 Washington StreetNewark, [email protected]

Jennifer ConineSolomon R. Guggenheim

Museum345 Hudson Street, 12th floorNew York, [email protected]

Mark De MairoNeue Galerie1048 5th Avenue New York, [email protected]

Daniel GelmanLighting Services Inc.2 Kay Fries DriveStony Point, [email protected]

NEW JERSEY

NEW YORK

MINNESOTA

MICHIGAN

Boris KeselmanSolomon R. Guggenheim

Museum1071 5th AvenueNew York, [email protected]

Al LazarteThe Jewish Museum1109 5th AvenueNew York, [email protected]

George RossSolomon R. Guggenheim

Museum345 Hudson Street, 12th floorNew York, [email protected]

Frantz VincentBrooklyn Museum of Art200 Eastern ParkwayBrooklyn, NY11238frantz.vincent@

brooklynmuseum.org

Tom CataliotiCleveland Museum of Art11150 East BlvdCleveland, [email protected]

Paul KreniskyCleveland Museum of Art11150 East BlvdCleveland, [email protected]

David LeachColumbus Museum of Art480 East Broad StreetColumbus, [email protected]

Douglas BowermanAllentown Art MuseumFifth and Count StreetP.O. Box 388Allentown, PA18105-0388operations@

allentownartmuseum.org

OHIO

PENNSYLVANIA

Walt CrimmEwing Cole100 North 6th St.6th FloorPhiladelphia, [email protected]

Jeffrey HirschEwing Cole100 North 6th St.6th FloorPhiladelphia, [email protected]

Tim MahaneyCarnegie Museums of Pittsburgh4400 Forbes AvenuePittsburgh, PA15213mahaneyt@

carnegiemuseums.org

Bob MorronePhiladelphia Museum Of Art915 Piper LaneYardley, [email protected]

Marie PetersonCarnegie Museums of Pittsburgh4400 Forbes AvenuePittsburgh, PA15213petersonm@

carnegiemuseums.org

Richard ReinertPhiladelphia Museum of ArtP.O.Box 76462600 Benjamin Franklin PkwyPhiladelphia, [email protected]

Al ShaikoliPhiladelphia Museum Of ArtP.O.Box 76462600 Benjamin Franklin PkwyPhiladelphia, [email protected]

Bruce CauseyCorporate Care3530 West T. C. Jester Blvd.Houston, [email protected]

TEXAS

Henry GriffinMuseum of Fine Arts — HoustonPO Box 6826Houston, [email protected]

Joel PaffordDFI Resources, LLCPO Box 163267Austin, [email protected]

Mike PierceMuseum of Fine Arts — Houston5600 FanninPO Box 6826Houston, [email protected]

John CannupMariner’s Museum100 Museum Drive Newport News, [email protected]

Stephen FuocoThe Library of CongressPackard Campus19053 Mount Pony RoadCulpeper, [email protected]

Margaret ThomasNational Museum of the United

States Army6020 Goethals RoadBuilding 1812Fort Belvoir, [email protected]

Larry BannisterMilwaukee Public Museum800 W. Wells StreetMilwaukee, [email protected]

Joyce KokerHarley-Davidson Museum500 West Canal StreetMilwaukee, WI53201joyce.koker@

harley-davidson.com

VIRGINIA

WISCONSIN



MASSACHUSETTS cont’d


Australian Centre for theMoving ImageMelbourne, VIC

Australian National MaritimeMuseumSydney, NSW

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, Victoria

National Library of AustraliaCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Steensen VarmingSydney, NSW

Black & McDonald LimitedOttawa, Ontario

Bureau de la transformationde la DGSDEOttawa, Ontario

Camfil Farr Canada Inc.Ottawa, Ontario

Canada Science &Technology MuseumCorporationOttawa, Ontario

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Facility ManagementServices LTDCalgary, Alberta

Library and Archives CanadaGatineau, Quebec

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

AUSTRALIA

CANADA

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Royal Ontario MuseumToronto, Ontario

Bibliothèque Nationalede FranceParis

International Council ofMuseumsParis

Auckland Art Gallery —Toi O TamakiAuckland, Auckland

Christchurch Art Gallery TePuna O WaiwhetuChristchurch, Canterbury

A. A. Bakhrushin StateCentral Theatre MuseumMoscow

Museo Guggenheim —BilbaoBilbao, Viz Caya

British LibraryLondon, England

The British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

English HeritageLondon, England

The Imperial War MuseumLondon, England

The National ArchivesRichmond, Surrey

FRANCE

NEW ZEALAND

RUSSIA

SPAIN

UNITED KINGDOM

National Galleries ofScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Maritime MuseumGreenwich, England

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

TateLondon, England

University of GreenwichLondon, England

The Wellcome TrustLondon, England

Allentown Art MuseumAllentown, PA

Architect of the CapitolWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Baltimore Museum of ArtBaltimore, MD

Berkeley Art Museum/Pacific Film ArchiveBerkeley, CA

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Camfil FarrNewark, DE

UNITED STATES

Carnegie Museums ofPittsburghPittsburgh, PA

Cleveland Museum of ArtCleveland, OH

Columbus Museum of ArtColumbus, Ohio

Corporate CareHouston, TX

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

DFI Resources, LLCAustin, TX

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Glide FoundationSan Francisco, CA

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumCambridge, MA

Henry Ford MuseumDearborn, MI

Henry Morrison FlaglerMuseumPalm Beach, FL

High Museum of ArtAtlanta, GA

Isabella Stewart GardnerMuseumBoston, MA

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY


IAMFA Members — Organizations

Landmark Facilities Group,Inc.Norwalk, CT

The Library of CongressWashington, DC

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

Mariner’s MuseumNewport News, VA

McGuire EngineersChicago, IL

Milwaukee Public MuseumMilwaukee, WI

Morikami Museum andJapanese GardensDelray Beach, FL

Museum of ContemporaryArt — Chicago Chicago, IL

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

National Archives andRecords AdministrationCollege Park, MD

National Gallery of Art —WashingtonWashington, DC

National Museum of theUnited States ArmyFort Belvoir, VA

Neue GalerieNew York, NY

Newark MuseumNewark, NJ

Norton Museum of ArtWest Palm Beach, FL

Office of FacilitiesEngineering & OperationsWashington, DC

Whiting-TurnerBaltimore, MD

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT


IAMFA Members — Organizations

These lists reflectmembershipdues paid as of December 6, 2009

Although we do our bestto ensure that our

Directory information isas up-to-date as possible,errors and omissions can

always occur. If youwould like to make any

changes to yourlisting, please contact

Larry Bannister at

[email protected]

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Rutherford & Chekene San Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

SIU Castle and Arts andIndustries BuildingWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian National Airand Space MuseumSuitland, MD

Solomon R. GuggenheimMuseumNew York, NY

Stanford University GreenLibraryStanford, CA

make your reservations at [email protected]. With the wealthof attractions in the Bay Area andCalifornia at large, we suspect manywill want to arrive early and/or staylonger, so we have arranged the grouprate for three days before and afterthe conference.See you then!

doute il faut dire que votre séjour àl’hôtel d’accueil est très convenablepour tout ce qui concerne l’activité engénérale, ainsi que pour les départs debus, réseau, etc. Pour les réservations,s’il vous plaît, appelez 1-800-277-5480ou 415-392-7755 et faites référence à“IAMFA – Annual Conference” oufaites vos réservations à [email protected]. Avec la richessedes attractions de la région de la Baiede San Francisco et de la Californie ausens large, nous croyons que beaucoupd’entre vous voudront arriver tôt et/ourester plus longtemps; donc nous avonsorganisé le tarif de groupe pour troisjours avant et après la conférence. À bientôt!

asignado para completar nuestros com -promisos. No cabe duda que alojarse enel hotel sede del cual salen los auto -buses para los paseos nos facilita todoy ayuda a aprovechar las oportunidadesde relacionarse con los otros par tici -pantes. Para reservaciones por favorllamar al 1-800 277-5480 o 415-392-7755 y haga referencia a “IAMFA –Annual Conference” o manden susreservaciones a [email protected]. Con la gran canti -dad de actividades disponibles en elárea de la bahía de San Francisco, yCalifornia en general, sospechamosque muchos de ustedes quizás quieranllegar antes, o quedarse más tiempo,así que hemos asegurado la tarifa de$169 por noche, para los tres díasantes y después de la conferencia.¡Nos vemos ahí!

THE TWENTIETH ANNUAL IAMFACONFERENCECONTINUED FROM PAGE 13

LA VINGTIÈME CONFÉRENCE ANNUELLEDE L’IAMFA SUITE DE LA PAGE 13

LA VIGÉSIMA CONFERENCIA ANUAL DE IAMFAVIENE DE LA PÁGINA 13



Northern California Chapter By Joe Brennan

The Northern California Chapter had an excellent meet -ing and tour on November 18, 2009 at the OaklandMuseum of California (OMCA), and included a tour ofthe Museum’s ongoing building remediation and exhibitrenovation project. Twenty-one members attended! Hostswere Director Lori Fogarty, Museum Project Manager BillMcMorris, and Construction Manager ProPM.We toured the Museum, which is currently closed to the

public for renovations and for installation of the redesignedArt and History Galleries, which will reopen in May 2010.The third and final stage involves redoing the NaturalScience Gallery, which will be undertaken after the Museumis open again. This cultural treasure covers two large cityblocks (the street through the middle was depressed into aviaduct which dives below and back up on the other side).It is an entirely cast concrete structure with extensive gar -dens, plazas and courtyards over the vast galleries andother enclosed spaces. This and other East Bay treasuresmay be included in the Thursday program of the 2010IAMFA Conference in San Francisco.At the November meeting, Joe Brennan, Jennifer

Fragomeni, and Edgar Maxion also reported on the D.C.Conference, followed by a good planning session for the2010 Conference. To learn more about the Oakland Museum of California,

visit: www.museumca.org/

U.K. Chapter—Jack’s BackBy Jack Plumb

Yes, hard to believe, but Jack Plumbis back as Facilities Manager at theNational Library of Scotland, and Ihave also agreed to resume my role asU.K. representative for IAMFA. I willalso be looking to build on the excel -lent work of Paddy Hastings at theBritish Library, and Keith McClanahanin completing the IAMFA Energy Per -

for mance Certificate. Paddy and I are now looking to takethis forward on a couple of fronts: firstly by creating a bench - marking database, based on the historical information thatKeith has collected, and secondly, by introducing someLEED principles into the certificate. We are looking forhelp, so anyone interested with these initiatives please getin contact with either Paddy or myself:

Jack Plumb [email protected] Hastings [email protected]

Annual Meeting: March 25, 2010Calling all membersboth home andabroad! Ian Williams,Director of EstateManagement at theNational MuseumsLiverpool, is hostingour annual U.K.IAMFA meetingin Liverpool. Ianreported on the majorregener ation that Liverpool is currently experiencing inthe Winter 2008 issue of Papyrus—in particular, the nearcompletion of the Museum of Liverpool, which we will seein the afternoon.Ian and his team have laid on an exciting programme of

presentations covering the construction of the new Museumof Liverpool, the installation of a tri-generation energycentre, and performance-based maintenance contracts.Lunch will be in the Merseyside Maritime Museum,followed by a tour around the new Museum of Liverpool.For those wishing to attend, please contact Yvonne

Rudd at National Museums of Liverpool ([email protected]). For those wishing to travel toLiverpool the day before, please let Yvonne know, so thatarrangements can be made to find us the best local hoteldeals. Ian promises some real Liverpool hospitality forthose wishing to meet up for the evening!The new Museum of Liverpool will be one of the world’s

leading city history museums, setting a global benchmarkfor museums of its kind, and raising social history as amuseum discipline to an international level. The Museumwill demonstrate Liverpool’s unique contribution to theworld, and will showcase popular culture while tacklingsocial, historical and contemporary issues. It will be housedin a new landmark building on the Mann Island site atthe Pier Head, at the core of the World Heritage Site onLiverpool’s famous waterfront. National Museums Liverpool developed the design con -

cept for the building with Danish architect 3XN. Manchester-based architectural firm AEW was later commissioned todeliver the detailed design. The Museum has a striking geometrical design and is clad

in natural Jura stone. Beneath the surface is a complex steelframe that contains 2,100 tonnes (2,314 tons) of structuralsteel. The steel structure allows the Museum’s largestexhibition spaces—which are 40 metres (131 feet) long by28 metres (91 feet) wide—to be column-free, ensuring thatgalleries and public spaces are maximised.For more information please see: www.liverpoolmuseums

.org.uk/about/capitalprojects/mol/

Jack Plumb is Facilities Manager at the National Library of Scotland.

Regional Updates

Museum of Liverpool in Liverpool,England, U.K.

papyrus winter 2009

Education

iamfa conference conference

members of iamfa

annual iamfa conference

usa treasurer

i o n o f

usa john castle

usa john h

s s o c i