Papyrus Fall 2007

2007 marked the 150th anniversary of Ottawa’s selection asCanada’s capital city. Like many other IAMFA members, thiswas my first trip to Ottawa-Gatineau—and what a pleasantsurprise it was. My first impression of Ottawa came beforeI even reached the hotel on the evening prior to the startof the conference. It was during my trip into the city centerfrom the airport that it became very clear how clean andwell manicured this city truly is. Along the route, there wasa smattering of color in the trees, as Fall was making itsattempt to take over the warm summer evenings. Uponarrival at the Chateau Laurier Hotel, I noticed that myhome for the next five days was going to be next door toCanada’s Parliament Buildings. I had a feeling right thenthat this was going to be a very special stay in Canada’s

capital, and this was also going to be an IAMFA conferenceto remember for years to come.

This year’s conference began, as it has in the past, with theSunday Benchmarking Conference, involving those memberswho participated in the 2007 benchmarking exer cise. Thisyear’s 49 participants represented a significant increaseover recent years, and suggested that efforts to increaseparticipation were paying off. Each participant broughtto the Sunday conference a summary of their institution’sactivities, major changes which had occurred over the pastyear, and one best practice to share with the group. As in therecent past, there was a significant focus on uncovering op-po r tunities for energy savings, as well as on issues affect ingsecurity. Our benchmarking coordinator, Keith McClanahan

PAPYRUSVOLUME 8 WINTERNUMBER 3 2007–2008

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

The Seventeenth Annual IAMFA Conference inOttawa: A Profusion of Culture, Learning andHospitalityby Joe May

INSIDE THIS ISSUE

Message from the President . . . . . . . . . . . . . . . . 5

Regional Chapters . . . . . . . . 8

A Footnote to History . . . . . . 11

The Art Institute of ChicagoUnique Fan Wall System . . . 12

The British Library Centre for Conservation . . . . . . . . . 16

Special Shopping Days . . . . . 17

Members Directory . . . . . . . 18

Letter from the Editor . . . . . 27Conference Attendees on the Plaza outside the Canadian Museum of Civilization’s mainexhibition building.

continued on page 2

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from Facility Issues, provided an overview of the results ofthe 2007 benchmarking exercise, and Jack Plumb from theNational Library of Scotland gave us an overview of progresswith the Organization’s Building Labeling System, which isaimed at measuring participant institutions’ progress withrespect to sustainability and the efficient use of resources.There were numerous other presentations throughout theday, as well as plenty of discussion on a variety of topicsfacing our members.

Day One wrapped up Sunday evening with the IAMFAConference Opening Ceremony at the Fairmont ChateauLaurier, complete with canapés and a jazz band. Openingcomments by IAMFA President Guy Larocque offered aglimpse of what was in store for us during the next threedays of the conference.

Monday morning brought the start of the IAMFA Confer -ence itself, beginning with breakfast at the National Galleryof Canada. A short walk from the hotel brought the spec -tac ular facility into focus, complete with an eight-leggedsculpture guarding the entrance. (Didn’t we see this samespider at the Guggenheim in Bilbao two years ago?)

Presentations by Nick Artim on fire protection and KeithMcClanahan on this year’s benchmarking effort, along witha tour and lunch in the rotunda of the National Gallery,capped our Monday morning on Day One of the con fer ence.Following lunch, members traveled by coach to the Libraryand Archives Canada Preservation Center. This facility, locatedin Gatineau, Quebec, houses all of Library and ArchivesCanada’s preservation laboratories. In addition, there arerecords storage vaults which accommodate a significantportion of Canada’s documentary heritage. The PreservationCentre is a building-within-a-building. An outer shell of glassand steel creates an environmental buffer zone for the interiorconcrete structure, which comprises preser vation laboratories,records storage vaults and other operations. Members

received a thorough tour of the facility, and were able tosee firsthand how the facility is operated and maintained.

In the meantime, participants in the conference guestprogram attended breakfast with the members at theNational Gallery, then spent the remainder of the daytouring Parliament and seeing the city by boat cruise.

On Monday evening, we all boarded coaches and traveledto L’Oree du Bois Restaurant, located deep within GatineauPark for a wonderful dinner at a delightful farmhouse turnedhaute cuisine. The turn-of-the-century farmhouse is nowhome to one of the most respected French cuisine restau rantsin the National Capital Region. It was a marvelous eveningthat included local delicacies and great regional wines.

Day Two of the conference began with breakfast at theCanada Science and Technology Museum, between twosteam engines in the Locomotive Bay. What a surprise thiswas; it felt like being transported back in time to anotherworld from the one in which we live today.

The Seventeenth Annual IAMFA Conference in Ottawa — continued from page 1

Maman [Mother] by French-born artist Louise Bourgeois, in frontof the main entrance of the National Gallery of Canada.

A bird’s-eye view of the Preservation Center interior andconference attendees.

Breakfast in the Locomotive Bay.

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Jerry Shiner from Keepsafe Systems made a very inter -esting presentation during the morning on the applicationand advantages of using microclimate display case systems,then we split up into smaller groups for a detailed tour ofthe Museum offered by members of the staff. I lost count ofhow many buttons I pushed, dials that I turned, and leversthat I pulled while experiencing all the technology-relatedexhibits.

Late in the morning, we traveled on to the CanadaAviation Museum, where we had a thorough tour and lunchin the hangar, right alongside vintage aircraft. The CanadaAviation Museum’s mandate is to collect, preserve, depictand display aviation-related objects of all types, and interprettheir significance to Canada and the world.

The Canada Aviation Museum is recognized as havingthe most extensive aviation collection in Canada, and oneof the best in the world.

In the afternoon, members headed over to the Libraryand Archives Canada Exhibition Hall for a presentationfrom James Duda, who is the Facility Management Officerat the U.S. Library of Congress, on the Library’s new NationalAudiovisual Conservation Center. This facility is the firstcentralized facility in America specially planned and designedfor the acquisition, cataloging, storage and preservationof the nation’s heritage collections of moving images andsound recordings.

Conference guests spent Day Two of the conferencetraveling to Montreal for a marathon day of shopping andtours. The IAMFA Board of Directors met during the eveningto discuss the organization’s finances, business objectivesand strategies for the upcoming year, while members andguests ventured out on their own to explore Ottawa’sdining alternatives.

Members began Day Three of the conference travelingto the Canadian War Museum. This museum opened inMay of 2005, and presents visitors with some of the mostpowerful, moving and harrowing records of war ever dis -played. The design team, including Guy Larocque, set outto create an intense, emotional, memorable and, above all,honest presentation of the military events which have helpeddefine Canada’s national identity. It was a moving experi -ence touring the museum, and it was clear that the designteam succeeded in evoking Canadian military heritage withboth passion and respect.

Members then participated in IAMFA’s annual businessmeeting and listened to reports from each member ofthe board of directors. We all thank Dan Davies from theNational Zoo in Washington for his efforts over the pasttwo years as editor of Papyrus and Secretary of IAMFA,and also I want to thank IAMFA members for their vote ofconfidence in my election as Dan’s successor in this excitingrole as Papyrus Editor.

At the War Museum, members heard presentations fromMichael Lundholm, who is the principal architect withLundholm Associates Architects. He discussed the processof museum design, and how architecture has tremendouspotential to enrich the museum visitor’s experience, whilealso providing a productive and healthy environment for amuseum’s work. Richard Harding, Divisional Manager forBlack & McDonald Limited, also made a presentation tomembers regarding the state of today’s new maintenancemodels which incorporate preventive, predictive, and pro -active maintenance, life cycle replacement systems, all withina world of tightening maintenance budgets.

Guests of IAMFA members toured the Royal CanadianMint and the Governor General’s Residence during the

Conference attendees inside the hangar at the Canada AviationMuseum. Outgoing IAMFA Secretary and Papyrus Editor Dan Davies.

continued on page 4

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morning of Day Three, and rejoined the members at theCanadian War Museum after having lunch and trying theirluck at the Casino Lac Leamy. Could it really be true thatall of the guests were winners at the Casino?

After a tour of the War Museum, members and guestsreturned to the Chateau Laurier for an opportunity to relaxfor a while before leaving for the closing gala dinner, heldthis year at the Canadian Museum of Civilization. TheCanadian Museum of Civilization is recognized as one ofthe premier cultural facilities of the twentieth century, andis also home to the Canadian Postal Museum, the CanadianChildren’s Museum, and an IMAX® theatre. The Museumhouses more than 3.75 million artifacts spanning the disci -plines of history, archaeology, folk culture, ethnology,postal communications and various other areas of heritagestudy. After our arrival and group photo, members andguests had an opportunity to walk through many of thesets used to display these amazing artifacts, prior to beingseated for the gala dinner. Live musicians, intricate lightingand the wonderful atmosphere of the Museum’s GrandHall, all made for an unforgettable evening.

Guy Larocque served as Master of Ceremonies, and pre -sented a history of the seventeen years of IAMFA conferences.John De Lucy was handed the torch to continue with histeam’s preparations for the 18th Annual Conference, to beheld next September in London, England. I have a funny

feeling our British colleagues have something up theirsleeve in store for IAMFA members next year. We’d betterstay tuned to future editions of Papyrus for more details.

Numerous other speakers entertained the audience duringthe evening of festivities, and as the evening wound downwe began to say our goodbyes to all of our colleagues andfriends that we visit and benchmark with each year.

Yes, Ottawa, this was a conference that will remain inour minds and hearts for years to come.

Closing gala in the Canadian Museum of Civilization’s stunning Grand Hall.

John De Lucy making a presentation at the closing gala.

The Seventeenth Annual IAMFA Conference in Ottawa — continued from page 3

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The Key to a SuccessfulIAMFA ConferenceAs I write this, ten weeks have nowpassed since the end of our mostrecent annual conference held inOttawa-Gatineau, Canada, and wehave just had our first winter snowfall.It seems like only yesterday when wesaid our goodbyes, but the memoriesof those four intensive days will remainwith me for a long, long time. And, asI received e-mail messages from manyof you in the days and weeks follow ingthe conference to tell me how muchyou learned from and appreciated thisevent, I couldn’t help but wonderabout the elements that resulted inthis successful IAMFA conference.

Certainly, there was all of the plan -ning, the dedication of the organizingteam who brought their creative ideasand expertise to the table, the call fortechnical presentations, the quest forsponsorship support and the coordi -nation of all of the logistics—to namebut a few of the tasks that went intoorganizing this kind of event. Theseelements must be performed compe -tently, often in difficult circumstances,and are very time-consuming for theorganizers. It is also important for theConference Chair to act as Master ofCeremonies, which requires four daysof concentration, a certain amountof improvisation to cover slip-ups,and even personal sacrifice at times.Although these elements are para -mount for the proper production of anIAMFA conference, however, what is itthat makes a conference truly successful?

Upon further reflection, it came tome. It is the involvement of the dele -

gates themselves. Yes, you: our valuedIAMFA members who actually partici -pate in the annual conferences. Youractive participation in these activitiesis the true measure by which successis determined for our conferences.

Some of the Executive members oflocal museums who came to the galadinner observed that IAMFA membersare a dynamic group of people whoappear to be passionate about theirprofessions, and who truly seek outnetworking opportunities with theirpeers. I am not sure if they happenedto be sitting next to the tables wherethe folks from the U.K. or the folksfrom the Smithsonian were sitting, andthus hearing a lot of chuckling, buttruly I must concur that, all kiddingaside, if you haven’t yet attended anannual IAMFA conference, you aremissing out on a tremendous learningopportunity and a chance to shareinformation and trade stories on yoursuccesses and challenges that youwould not obtain anywhere else inour specialized field of work.

In particular, I would once again liketo thank Ian MacLean of the CanadaScience and Technology Museum andPierrette Lagroie of the National Galleryof Canada, who made tremendouscon tributions, and on whom I wasable to count on when the going gottough. I would also like to thank EdRichard of the National Gallery ofCanada, Terresa McIntosh andDominique Hébert of Library andArchives Canada, Jean Allard of theGatineau Preservation Centre andMarc Chrétien of the CanadianMuseum of Nature.

As we close the chapter on this lastsuccessful conference, we turn ourattention to London, England and nextSeptember. This will be an oppor tunityfor our European friends to come ingreat numbers, along with the IAMFAmembers from other corners of theworld, to take advantage of anotherextraordinary opportunity to meet their

peers in the field of facility manage mentof cultural institutions, and partake inthe learning, the networking and thecamaraderie that will once again makethis conference a great success. I lookforward to seeing all of you in Londonin September 2008.

Guy Larocque, P. Eng.President, IAMFA

Message from the President

Guy Larocque,President of IAMFA

IAMFA/PapyrusWINTER 2007–2008

EditorJoe MayJ. Paul Getty Trust

Papyrus CorrespondentsJoe BrennanWilliam CaddickJohn de LucyPeter FotheringhamGuy LarocqueJoe MayMichael MurphyWilliam StangelandHarry Wanless

Design and LayoutPhredd Grafix

EditingArtistic License

Spanish EditorFernando Pascal

Printed in the U.S.A. byLake Litho

ISSN 1682-5241

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

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

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

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

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Qu’est-ce qui fait lesuccès d’une conférencede l’IAMFA? Dix semaines déjà on passé depuisla fin de notre dernière conférenceannu elle, qui s’est tenue à Ottawa/Gatineau, au Canada. En ce jour denovembre, tandis que je rédige ce motà l’intention de nos membres, nousavons droit à la première neige del’hiver. Il me semble que nous noussommes quittés hier à peine, et le sou -venir de ces quatre journées intensesm’accompagnera encore longtemps.Dans les jours et les semaines qui ontsuivi la conférence, j’ai reçu de nom -breux courriels de membres qui medisaient à quel point la manifestationles avait enrichis. Je n’ai pu m’empêcherde me demander quels élémentsavaient permis de si bien réussir cetteconférence de l’IAMFA.

Évidemment, il faut compter sur toutle travail de planification et le dévoue -ment d’une équipe organisatrice pleinede talents et d’expérience, les demandesde communications techniques, larecherche de commanditaires et la coor -dination de tous les aspects logistiques,pour ne mentionner que quelques-unesdes tâches nécessaires à l’organisationde ce type de manifestation. Tout cetravail doit être fait avec compétence,souvent dans des circonstances diffi -ciles, et il faut y consacrer beaucoupde temps. Il importe également que leprésident de la conférence remplissebien son rôle de maître de cérémonie,ce qui lui demande quatre jours de con -centration, un certain talent pour l’im -provisation afin de couvrir les impairs, etquelques sacrifices per sonnels à l’occa -sion. Pourtant, outre tous ces éléments

essentiels à la réussite d’une conférencede l’IAMFA, n’y a-t-il pas un autreingrédient qui assure le succès?

À force d’y penser, j’ai concluqu’il s’agissait de la participation desdélégués eux-mêmes. Oui, vous, lesmembres de l’IAMFA qui participezavec enthousiasme aux conférencesannuelles. Votre participation à cesmanifestations est la mesure du succèsde nos conférences.

Certains membres de l’exécutif denos musées locaux assistaient au dînerde gala. Ils m’ont fait remarquer queles membres de l’IAMFA formaientun groupe dynamique, semblaientse passionner pour leur profession etcherchaient véritablement à resserrerleurs liens avec leurs pairs. J’ignore si,par hasard, ces membres de l’exécutifse trouvaient à proximité des tables denos collègues du R.-U. ou de la Smith -sonian et s’ils ont saisi quelques bribesde toutes ces conversations animées!Blague à part, si vous n’avez pas encoreassisté à une conférence de l’IAMFAvous avez laissé échapper d’excellentesoccasions d’apprendre et d’échangeravec des collègues venus de tous lescoins de notre univers de spécialistes.

J’aimerais en particulier remercier ànouveau Ian MacLean, du Musée dessciences et de la technologie du Canada,et Pierrette Lagroie, du Musée desbeaux-arts du Canada, pour leur contri -bution exceptionnelle et l’aide qu’ilsm’ont apportée dans les moments decrise. Je me dois également de men -tionner l’appui des personnes suivantes :Ed Richard, du Musée des beaux-arts duCanada, Terresa McIntosh et DominiqueHébert, de Bibliothèque et ArchivesCanada, Jean Allard, du Centre de pré -servation de Gatineau, et Marc Chrétien,du Musée canadien de la nature.

Forts du succès de notre dernièreconférence, nous pouvons maintenanttourner nos regards vers Londres, auR.-U., où nous serons en septembreprochain. Nos amis européens pour -ront y venir en grand nombre, toutcomme les membres de l’IAMFA des

autres régions du monde, pour profiterd’une autre belle occasion de ren -contrer leurs collègues du domaine dela gestion des institutions culturelles,d’acquérir de nouvelles connaissances,de tisser des liens et de se divertir. Cetteprochaine conférence sera, j’en suis cer -tain, une réussite éclatante. Je me réjouisdéjà à l’idée de tous vous rencontrer àLondres en septembre 2008!

Guy Larocque, ing.Président de l’IAMFA

Mot du président

Guy Larocque,President de l’IAMFA

IAMFA Board of Directors

PresidentGuy LarocqueCanadian Museum of Civilizationand Canadian War MuseumGatineau, [email protected]

V.P., AdministrationRichard KowalczykSmithsonian InstitutionWashington, D.C., [email protected]

V.P., Regional AffairsJohn de LucyThe British LibraryLondon, [email protected]

TreasurerJim MoissonHarvard University Art Museums Cambridge, MA, [email protected]

Secretary and Papyrus EditorJoseph MayJ. Paul Getty TrustLos Angeles, CA, [email protected]

Chairman — Conference 2008John de LucyThe British LibraryLondon, United [email protected]

For additional contact information,please visit our website at

www.iamfa.org

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La clave para unaConferencia de laIAMFA exitosaAl momento de escribir estas líneas,en este día de noviembre, con la pri -mera nevada del invierno ya en elsuelo, han trascurrido diez semanasdesde la celebración de nuestra últimaconferencia anual en Ottawa/Gatineau(Canadá). Parece que fuera ayer cuandonos despedíamos, aunque guardarépor mucho tiempo el recuerdo de esascuatro jornadas intensas. En los días ysemanas que siguieron a la conferenciarecibí mensajes electrónicos de muchosde Ustedes para decirme cuánto habíanaprendido en el evento y cómo lohabían apreciado, y no pude evitarreflexionar sobre cuáles fueron loselementos que contribuyeron al éxitode esta conferencia de la IAMFA.

Sin lugar a dudas, tengo que men -cionar todo el trabajo de planificación,la dedicación del equipo organizadorque contribuyó a la conferencia consus ideas creativas y conocimientosespecializados, la convocatoria depresentaciones técnicas, los esfuerzospara obtener apoyo de patrocinio yla coordinación de todos los aspectoslogísticos, por no mencionar más quealgunas de las tareas que requirióorganizar este tipo de evento. Todasestas funciones, que deben ser desemp -eñadas de forma competente y, amenudo, en circunstancias difíciles,exigen a los organizadores muchotiempo. Es importante también que elPresidente de la Conferencia ejerza lasfunciones de maestro de ceremoniasdurante el evento, lo que requierecuatro días de concentración, una ciertacapacidad de improvisación para com -

pensar los errores y, en ocasiones,cierto sacrificio personal. Sin embargo,aunque todos estos elementos sonfundamentales para asegurar el buenfuncionamiento de una conferencia dela IAMFA, ¿qué es lo que realmentedetermina su éxito?

Tras reflexionar más a fondo sobrela cuestión, me di cuenta. Es la partici -pación de los propios delegados. Sí, deUstedes, nuestros codiciados miembrosde la IAMFA que asisten a las confer -en cias anuales. Es su participaciónactiva lo que determina el éxito denuestras conferencias.

Algunos de los directivos de nuestrosmuseos locales que asistieron a la cenade gala observaron que los miembrosde la IAMFA constituyen un grupodinámico, apasionados por su profesióny que realmente buscan oportunidadespara establecer contactos con suscolegas. No estoy seguro de si, porcasualidad, se sentaron cerca de lasmesas en las que estaban los miembrosdel Reino Unido o del Smithsonian yapreciaron su ambiente risueño pero,risas aparte, coincido en que si todavíano han asistido a una conferencia anualde la IAMFA, están desapro vechandouna extraordinaria oportunidad paraaprender y para intercambiar infor -mación y experiencias profesionalesde sus éxitos y desafíos, que no podríanobtener en ningún otro lugar ennuestra área de trabajo especializada.

En particular, quisiera expresar miagradecimiento una vez más a IanMacLean, del Museo de Ciencias yTecnología de Canadá, y PierretteLagroie, del Museo Nacional de BellasArtes de Canadá, por su importantísimacontribución y por el apoyo que meofrecieron cuando surgieron dificultades.Gracias también a Ed Richard, delMuseo Nacional de Bellas Artes deCanadá, Terresa McIntosh y DominiqueHébert, de la Biblioteca y Archivos deCanadá, Jean Allard, del Centro dePreservación de Gatineau, y MarcChrétien, del Museo Canadiense dela Naturaleza.

Tras poner punto final a esta últimaconferencia exitosa, dirigimos nuestraatención a Londres (Reino Unido),donde se celebrará la conferencia de2008 el próximo mes de septiembre.Será la oportunidad para que nuestrosamigos europeos participen con unafuerte representación, junto con otrosmiembros de la IAMFA de otros rinconesdel mundo, a fin de aprovechar otraocasión extraordinaria para reunirsecon sus colegas del campo de laadministración de instalaciones deinstituciones culturales, y participar enlas actividades de aprendizaje y estable -cimiento de contactos, y el ambientejovial que harán una vez más de estaconferencia un éxito rotundo. Aguardocon impaciencia verlos a todos enseptiembre de 2008.

Ing. Guy LarocquePresidente de la IAMFA

Regional ChaptersAtlanta, U.S.A.Kevin Streiter, High Museum of Art

AustraliaKim Reason, Museum Victoria

Bilbao, SpainRogelio Diez, Guggenheim Museum

Chicago, U.S.A.William Caddick, Art Institute of Chicago

Hawaii, U.S.A.Robert White, Honolulu Academy of Arts

Los Angeles, U.S.A.Joe May, J. Paul Getty Trust

New England, USAJohn H. Lannon, Boston Athenaeum

New York, USAMark Demairo, Neue Galerie

New ZealandPatricia Morgan, Auckland Art Gallery

Ottawa-Gatineau, CanadaIan MacLean, Canada Science andTechnology Museum Corporation

San Francisco, U.S.A.Joe Brennan, San Francisco Museum ofModern Art

United KingdomJack Plumb, National Library of Scotland,Edinburgh

Washington/Baltimore, USARobert Evans, Hirshhorn Museum &Sculpture Garden

Mensaje del Presidente

Guy Larocque,Presidente de laIAMFA

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Northern CaliforniaChapter

by Joe BrennanOn November 14, IAMFA’s NorthernCalifornia Chapter convened at theUniversity of California Berkeley ArtMuseum (BAM) and Pacific Film Archive(PFA) for a fine lecture on ElectricalSafety. Keith Gershon, Electrical SafetyOfficer of the Lawerence BerkeleyNational Laboratory, put the provisionsand implementation of NFPA 70E inperspective for us vis-à-vis CaliforniaOSHA and Federal OSHS. This focusedon safety work-related practices, train -ing, personal protective equipment andwork on energized equipment. The gistof his message is that NFPA technicallyhas not been adopted into either CalOSHA or Fed OSHA, but it is on its way,and as managers we are best servedby conforming to it as it pro tectsemployees, equipment and property,as we are elsewhere legally (andmorally) mandated to do.

Following Keith’s excellent Power -Point presentation, our host JohnDowning led us on a tour of the facility.John is BAM and PFA’s Technical andTraining Supervisor, and has been on

staff in one capacity or another sincethe facility opened in 1970. The tourincluded their art vaults, where we sawan ingenious conservation initiative—proof once again that, despite the vastnumber of facility tours one takes, thereis always something to be learned.

The innovation was a string linkagefrom the doorknob to the light switch,which turns the lights off as you leavethe room: literally going green on ashoestring! The museum building getssteam from a central plant and usesan absorptive chiller for their HVAC

Regional Chapters

The front of the building, where an iconic work of art is expressed in steel.

The back of the building, where steel has been added toseismically strengthen the compromised structure

Attendees gather prior to entering the facility.

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needs. In the mechanical spaces, wesaw the most beautiful transformerany of us have ever witnessed instain less steel, beauty being in theeye of the beholder . . . and art beinganything you can get away with.

Attending were:

Jeff PhairasChief Engineer, SFMOMA

Joe BrennanDirector of Facilities, SFMOMA

Robert LarmonFacilities Director, ContemporaryJewish Museum

Jennifer FragomeniExploratorium

Andy BlackExploratorium

Terry ZukoskiDirector of Facilities, Glide Memorial

continued on page 10 Keith Gershon doing what he does very well.

Innovative light-switching to mimic occupancy sensor control of lighting. Feast your eyes!

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Northern California Chapter Tour of theLetterman Digital Arts Center

by Joe Brennan

The IAMFA Meeting at the Letterman Digital Arts Centerwas well attended and much appreciated. Many thanks toour hosts Andres Noyes and Orlando Castro!

We began the tour atop the complex, where we saw itsmassive chillers and cooling towers, along with the exten -sive measures taken in the construction to isolate their noiseand vibration from the occupants of the building just below.

We then wound down through the complex, seeing manysights along the way until we reached the garage level, wherethere are eight emergency generators capable of producingnine megawatts. In addition, we visited their huge batteryroom, designed to provide power for the switchover periodbetween loss of commercial power and full output of thegenerators coming online to carry the load.

We also visited the pump and filter room for the waterfeature: an imported stream running through the campuswith its own pond at its base. It is “imported” in that therocks were all picked from a streambed in NorthernCalifornia and transported to the site and reassembled in amanner best recreating the original, a painstaking effort ofperfectionism by landscape architect Lawrence Halprenand George Lucas. The stream and pond are maintainedclear and clean without chlorine by the use of sand andbiological filtration plus ozone in an amazing maze ofstainless steel piping, allowing the stream to gain volumealong its course just as it would in nature.

Following the tour, we were treated to an opportunity tolunch in their cafeteria, with its world-famous views of theGolden Gate, Marin Headlands and San Francisco Bay. Iguess the company and food were so good I stoppedtaking pictures at that point.

Thanks again to Andres, Orlando and the LDAC!

Regional Chapters — continued from page 9

On the roof of the Letterman Digital Arts Center. Battery Room in the Letterman Digital Arts Center.

Emergency generators in the basement of the Letterman DigitalArts Center.

The “imported” stream which runs through the campus, featuringrock brought from a streambed in Northern California.

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On June 1, 2007 I left the NationalGallery in London to take up a newpost at the University of Greenwich,where I am now happily plying mytrade (gre.ac.uk for a quick look!).The following reminiscence is unre -searched and may offend throughomission or inaccuracy! In particular, Ihope I have got name spellings correct.

I joined the Museum and Galleriessector in 1989, when I was appointedBuilding Manager at the NationalGalleries of Scotland. The cultural shockof dealing with staff in the gallery wasput into focus when Nick Artim, whowas then advising the National Libraryof Scotland, recom mended I join asupport group: IAMFA. So, in 1992, Ipacked my bags for a conference inKansas City to meet like-minded facilitymanagers. The relief was immediate;it turns out that museum staff are thesame the world over, and I was ableto swap and share tales that no oneoutside of IAMFA would even beginto believe. I was so enthused by thewhole experience (it may also havebeen late at night and in a bar whenit happened), that I volunteered toorganise a conference in Scotland in1997. It seemed a suitably long time inthe future and Miller Lite was a newand deeply beguiling experience.

From memory, which is of coursedimming with age and fallible, thenext trip was to Cincinnati, followedthe following year by Toronto, thenNew York, then suddenly Los Angeleswas upon me. I was being slowlysucked in to the organisation: I wasasked to recruit in the U.K. and, inNew York, was asked to speak at oneof the sessions. Those of you present

will recollect a memorable talk ondisaster preparedness in a fairly grimNew York hotel room. Still, onwardand upward, and the following yearI was co-opted to committee as theforthcoming co-host of the Edinburghconference. Despite doing my best todump this on Robert Galbraith bymoving to the National Gallery inLondon in 1994, I was stuck with it.I have to own up to the fact thatRobert and his staff did the work,and the conference gave me a greatexcuse to get back to Edinburgh forregular meetings without too much ofthe pain. The event itself in 1997 wasthe organisation’s first foray beyondNorth American shores and, giventhe proximity of a number of world-famous golf courses, was a resoundingsuccess.

In the same year, the then-presidentLloyd Randolph left the Getty afterhosting a conference at which we gotour first look at that wonderful newbuilding, and I found myself, bydefault, President for the remainderof his term. My time as President wasthen extended for a further term whenthe membership elected me to the postuntil September 2002. There were noother candidates! This meant attend-ing conferences in Ottawa, Chicago,Washington, and my swan song atLondon, in an official capacity. Timeon committee has its benefits. Friend -ships blossomed as a small groupbattled to keep everything on an evenkeel. Vinny Magorrian, Randy Murphy,Pierre Lepage, Carole Beauvais, MarlaChannon and Bill Caddick were allpart of that group, and each con tri -buted to the growth of the organisation.

Committee meetings allowed us tovisit and enjoy the hospitality of col -leagues like Kevin Streiter in Atlantaand Joe Brennan in San Francisco, bothof whom were duped into giving theirtime to become committee membersand, in Joe’s case, to take on a con -ference. I also remember spendinga rather surreal day in what felt likea gothic chapel in the depth of theRijksmuseum in Amsterdam. All tospread the IAMFA message.

My committee duties ended afterthe London conference in 2002, and Ihave since enjoyed the annual gath er -ing in San Francisco and Los Angelesin a more relaxed frame of mind.Pressure of work forced me to missout on Bilbao and Boston. My finalcontribution has been to attend theinitial organisational meetings for theLondon conference in 2008. Onceagain, I have ducked out and left it toothers to complete the work, but thegood spirits of the meetings with JohnDe Lucy, Harry Wanless, David Saunders,Stephen Gill, Frank Brown and othershave reminded me that IAMFA is aboutforming friendships and having fun,while offering a network that mayhelp solve some of your problems.

I think I made 11 of the last 15conferences, and I will miss IAMFA. Itis a nice-sized group and it has a greatmembership which has turned overrelatively slowly, which means thereare lots of friendly, familiar facesaround. I wish you all success in thefuture, and I will try to meet you inLondon next year. If anyone wants tokeep in touch please send an e-mailto [email protected].

A Footnote to Historyby Peter Fotheringham

PeterFotheringham

12

When the aging air-handling units atthe Art Institute of Chicago (AIC)needed to be replaced, C. Lee, projectman ager at the AIC; William Caddick,executive director of the physicalplant for the AIC, and the team atMcGuire Engineers (MEPC®) devel opeda unique solution that Tony McGuireof MEPC had pre viously learned aboutwhen he consulted on a project forCook County Prison. McGuire advisedCaddick to try a fan wall.

The decision to install fan walls inthe AIC was a unique solution, sincethe technology had never been usedin museums—nor, for that matter, inChicago. As part of a major overhaulof the museum’s mechanical, electricaland structural systems, Lee performeddue diligence on the concept and pro -vided overall supervision and manage -ment of the process. The curators andconservators of the museum participatedby advising on the temperature andhumidity conditions that needed tobe maintained. William Caddick andthe MEPC team studied the approachcarefully and designed and executedthe design and installation.

The project has been a resoundingsuccess. The fan wall solved many ofthe problems associated with upgradingthe air handling units in an older struc -ture, while also adding efficiency andunprecedented control over temperatureand humidity conditions.

The Museum Structure—Mixing the Old withthe NewThe Art Institute of Chicago (AIC) is amagnificent structure built in the 1890son top of rubble from the Great ChicagoFire of 1871. Located in the heart ofdowntown on Michigan Avenue, itanchors the southern end of the newlybuilt Millennium Park.

As might be expected, the buildingpresented many challenges when it

became necessary to upgrade andreplace existing air-handling unitswhich served the galleries throughoutthe building. Not only do the fineartwork and artifacts require propertemperature and humidity conditions topreserve their appearance and physicalintegrity, but the building needs tomaintain comfortable conditions forthe public. The structure itself is a mixof old and newer architecture, includ -ing various spaces that had been addedin the last several decades and a com -pletely new wing which is currentlyunder construction. The entire projectat the AIC was purely an engineeringeffort with mechanical, electrical,structural and commissioning needs.

Meeting the ChallengesThe air-handling units had been inservice for 50 years in some instancesand, as a result, became maintenance-

intensive. Many were nearing the endof their useful lives. Replacement ofthese units became a necessity whenadequate control of temperature andhumidity conditions became less reliabledue to the increasing possibility of acritical component failure in the agingequipment.

In pre-emptively replacing theold air-handling units, the engineersneeded to consider a number of factors,from the small size of the entryways tothe interstitial spaces used for mecha -nical and other equipment, to futureaccessibility of the system for mainte -nance and repairs. This difficult taskwas made even more challenging bythe location of the units within thestructure, and the physical size of theunits being replaced, which range from10,000 CFM to 30,000 CFM. WilliamCaddick and MEPC developed a planto replace the aging units in a planned

The Art Institute of Chicago’s Unique Fan Wall System

by William Caddick, William Stangeland and Michael Murphy

The Art Institute of Chicago.

13

sequence. The idea was to assure thatthere would be minimal disruption tomuseum exhibit spaces and that therewould be no impact on scheduledevents. Removal and replacementrequired precision scheduling andstaging of equipment and labor inorder to minimize the downtime foreach system and area being servedby the unit being replaced.

After detailed analysis, MEPC rec -ommended a fan wall as the best ofseveral potential solutions for replace -ment of the air-handlers. Newly avail -able from HuntAir, these fan walls hadbeen used for a number of applicationsin which temperature and humidity arecritical, such as scientific labs. WilliamCaddick, MEPC and HuntAir devel -oped a strategy to bring the fan walltechnology to the AIC.

Of the several potential solutionsfor the AIC, the fan wall option posedthe least risk of downtime and offeredthe best opportunity for a rapid returnto normal system operation. It alsomini mized or eliminated the need toremove or demolish any of the publicspaces within the AIC in order to

facilitate replacement of theequipment.

A fan wall uses many smaller fans,rather than units with one or twosupply fans. This approach incor po -rates mul tiple, specially designed,high-efficiency, small-diameter, direct-driven plenum fans. These are mountedin an array within the airway tunnelof the air-handlers.

Benefits of the SystemIn addition to meeting the challengesof installing the new system within theexisting structure, designers also iden ti -fied other major benefits of the multiplefan array solution. The unique systemfeatures extremely low radiated andairborne noise levels, and virtuallyeliminated vibration due to rotor im -balance and airway tunnel turbulence.Other features of the design includedportability of components, reducedair-handling unit footprint and, perhapsmost importantly, offered redundancyand reliability that was simply unachiev -able with conventional fan systemreplacement options. Per the directionof William Caddick, the replacementair-handling units were configured

such that each separate replacementair-handling unit would have built inN+1 redundancy. This meant that eachsystem could suffer a fan failure andcontinue to deliver the required designairflow for space conditioning. Thedirect-driven fans used in this tech -nology also eliminate costly, and some -times troublesome, maintenance of fanbearings, belts, and sheaves.

The engineers’ recommendation tomove forward with the multiple-fanapproach also makes the positioningof the replacement air-handlers—knocked down for field re-assemblyby factory supervised crews—mucheasier than a conventional fan systemwould require. All components, includ -ing the fans, were transported to theassembly sites using existing routes ofaccess, including building elevators,catwalks and service corridors, with -out necessitating any building demo -lition. According to MEPC, that alonewas a huge factor in maintaining atight replacement schedule for eachair-handler, and greatly reduced theoverall project costs compared toalter native solutions. In addition to thebenefits achieved with reliability andease of installation, higher energyefficiency, reduced low-frequencynoise, and minimal vibration levelshave also been achieved.

To date, seven systems have under -gone replacement of their air-handlingunits over the course of two-and-a-halfyears. Results have been highly praised:curators and conservators are not onlyhappy with the temperature and humid -ity conditions, but with the improvedacoustical conditions as well. AIC staffis now requiring that this technology beused in its new, modern wing whichis being designed by world-renownedarchitect Renzo Piano.

William Caddick is Executive Directorof the Physical Plant at the Art Instituteof Chicago and a member of IAMFA;William Stangeland is Senior Vice-President of MEPC, and Michael Murphyis a Project Engineer at MEPC.

Construction of a fan wall at AIC.

14

Ottawa — The 17th Annu

15

Annual IAMFA Conference

16

The British Library Centre for Conser -vation (BLCC) is an exciting newextension of the main building and isthe first major building project sincethe St. Pancras site opened in 1997.The Library took ownership of the build -ing—which has been completed onbudget and on time—on January 17,2007. The Centre provides purpose-builtaccommodation designed to meet thespecific requirements of the two mainoccupant groups: Book Conserva tionand Sound Archive Technical Services.

The Centre has been designed tomeet very specific technical require -ments for the activities that are to takeplace there. For example:

• The top floor of the BLCC will housethe four Book Conservation studios.Here there is a requirement for good,even north light all year round;hence, the sawtooth roof is specif i -cally designed to maximise lightcoming into the conservation studios.

• Separate areas are provided for wetand dry conservation processes andfor finishing (decorating and letter ing)the books, with provision for visitorsto observe processes in all areas.

• Casual visitors to the Centre canlearn more about book conser va -tion and sound preservation fromthe exhibition in the entrancedisplay, entered from the terracejoining the new building to themain British Library building.

• Also on the top level, there is pro -vision for seminars, training work -shops and master classes that willbe programmed throughout the year.

• The middle floor of the develop -ment provides Conservation withessential support areas such astechnical examination areas, materialsstore areas and areas equippedwith fume extraction units forspecialist conservation treatments.

• In a key area on the middle floor,boxes are manufactured to houseand protect collection items. Mountsfor works of art on paper and forcollection items that are to beexhib ited will also be cut usingstate-of-the-art computer-aidedcutting machines.

• The high-tech purpose-built themecontinues on the lower floor, whichhouses the British Library SoundArchive’s Technical Section.

• The sound studios on this floorfloat to ensure that the soundrecordings are not compromisedby sounds and other vibrationsfrom adjoining sites, or from withinthe new building.

• The work carried out in thesestudios enables greater access tothe Sound Archive’s collections,and ensures that the content ofexisting collections is preservedand remains accessible even though

the technologies are constantlychanging and developing.

• The British Library Centre forConservation is not just a building,however. The British Library Centrefor conservation represents newopportunities for behind-the-scenestours and access for the public, forpublic information and learningprogrammes, and for specialisttraining in conservation and soundpreservation.

Book Conservation StudiosThere are three conservation studiosaccommodated in a large studio space.Each studio has 12 fixed conservationbenches specifically designed for users’requirements. Running alongside thesestudios is a dedicated wet area forwashing and other aqueous treatmentsof collections items. There is an addi -tional studio—more flexible than theothers—to accommodate project work,workshops and demonstrations and

The British Library Centre for Conservationby John de Lucy and Harry Wanless

Interior of the new British Library Centre for Conservation.

17

training programmes. In recognition ofthe need to train book conservators, atwo-year Foundation Degree in BookConservation—offered by CamberwellCollege of Arts as part of the Univer -sity of Arts London, and run in asso -ciation with British Library and otherpartner organisations—commenced inSeptember 2007.

The Sound Archive StudiosDesigned to meet the exacting stan -dards required for high-quality soundpreservation, remastering and copying,the Sound Archive Studios are housedon the lower floor of the building.There are eight transfer channels, onerecording studio, two transfer studios,a small workshop, and a laboratory.These facilities will have the directbenefits of improving the Library’sability to produce in-house preserva tioncopies of recorded sound items to anarchival standard with appropriate tech -

nical expertise and equipment, whilealso improving access to BL collectionsthrough greater onsite and remoteaccess to Sound Archive holdings.

Public Tours and VisitorsVisitors to the Centre will gain greaterinsight into what keeps books onshelves and sound recordings avail -able, through a programme of weeklypublic tours, school programmes,themed tours and seminars. They willbe able to see that collections havelifecycles—pasts, presents and futures—and that, in order to maintain themand make them accessible to people,the British Library uses blends ofmodern knowledge, traditional skillsand a continuum of technologies.

As well as a greatly improved work -ing environment for staff, the buildingprovides optimum conditions to show -case the work that is under taken byConservation and Sound professionals.

In order to provide greater informa -tion to the public and readers on theimportant work carried out by theBLCC, there is an exhibition that pro -vides insight into the types of problemsassociated with the deterioration ofcollections, and the range of solutionsavailable to preserve collections forfuture use. This work employs moderntechnologies and considerable knowl -edge of material science, alongsidecenturies old craft skills and this willbe reflected in the exhibition design.

If you attend the IAMFA Conferencein London from September 15 to 17,2008, you will have an opportunity tovisit this building and experience itsunique design qualities.

John de Lucy is Head of Estates andFacilities, and Harry Wanless isProperty and Construction ProjectManager, at the British Library inLondon, England.

Joe Brennan of our Northern California Chapter recently shared

a coupon with me that SFMOMA uses each year to offer special

discounts to friends and family. Participants need only print

out the coupon and write in “Joe Brennan, Facilities” to take

advantage of a 20% discount on all merchandise in the Museum’s

store throughout the day on Saturday, December 1. Using Joe’s

coupon also gives him the chance to win a gift certificate which

he can either keep or pass on.

I know that many museums have special shopping days for

members and patrons, but this seems a unique way to thank

the people who support us in a more personal way throughout

the year. I would be interested in hearing if anyone else out

there has a similar programme.

Special Shopping Daysby John de Lucy

Dan MackenzieSteensen Varming160 Sailors Bay RoadNorthbridgeSydney, NSW2063Australiadan.mackenzie@

steensenvarming.com.au

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

Tony van NoordenburgNational Gallery of Victoria7259 St. Kilda Road VIC 8004180 St. Kilda RoadMelbourne, Victoria3004Australiat.van.noordenburg@

ngv.vic.gov.au

Anthony WilliamsSydney Opera HouseBennelong PointGPO Box 4274Sydney, NSW2000Australiaawilliams@

sydneyoperahouse.com

Shaun WoodhouseAustralian Center for the

Moving ImagePO Box 14Flinders LaneMelbourne, [email protected]

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

CANADA

AUSTRALIACarole BeauvaisBureau de la transformation

de la DGSDE300 Avenue LaurierPiece B2104-IOttawa, OntarioK1A 0M7Canada

Leo BourqueATCO Frontec Corporation1200 Montreal RoadBuilding M-19, Room 328DOttawa, OntarioK1A [email protected]

Chan-Hung DoCanadian Museum of

Civilization100 Laurier StreetGatineau, QuebecJ8X [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]

Alain GendronCanadian Museum of

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

Toby GreenbaumPhysical Resource Bureau (SRD)Dept of Foreign Affairs and

Int’l Trade (DFAIT)125 Sussex DriveOttawa, OntarioK1A 0G2Canadatoby.greenbaum@

international.gc.ca

Richard HardingBlack & McDonald Limited2460 Don Reid DriveOttawa, OntarioK1H 1E1Canadarharding@

blackandmcdonald.com

Dominique HébertLibrary and Archives Canada,

Portrait Gallery of Canada395 Wellington Street4th floorOttawa, OntarioK1A 0N4 Canadadominique.hebert@

lac-bac.gc.ca

Guy LarocqueCanadian Museum of

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

Pierre Lepage

329 Carpenter’s PointPO Box 135Wolfe Island, [email protected]

Pam LowingsRoyal British Columbia

Museum675 Belleville StreetVictoria, British ColumbiaV8W [email protected]

Ian MacLeanCanada Science & Technology

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

Terresa McIntoshLibrary and Archives Canada,

Portrait Gallery of Canada395 Wellington StreetOttawa, OntarioK0E [email protected]

Jose-Luis OliverosCanadian Center for

Architecture1920 BailesMontreal, QuebecH3H [email protected]

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

Jon RoodbolRoyal British Columbia

Museum675 Belleville StreetVictoria, British ColumbiaV8W [email protected]

Gérard Baillymusée de quai Branly222 Rue de l’UniversitéParis, 75343CEDEX [email protected]

Nadim Callabemusée de quai Branly222 Rue de l’UniversitéParis, 75343CEDEX [email protected]

Karen KeemanRijksmuseum AmsterdamP.O. Box 74888Hobbemastraat 20Amsterdam, 1070 DNThe [email protected]

THE NETHERLANDS

FRANCE

IAMFA Members Directory 2007

18

19

Mike HeinemannChristchurch Art Gallery Te

Puna O WaiwhetuWorcester BoulevardPO Box 2626Christchurch, CanterburyNew [email protected]

Patricia MorganAuckland Art Gallery -Toi O

TamakiP.O.Box 5449Auckland, AucklandNew Zealandpatricia.morgan@

aucklandcity.govt.nz

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

Frank BrownNational Gallery, LondonTrafalgar SquareLondon, EnglandWC2N 5DNUKfrank.brown@

ng-london.org.uk

John de LucyBritish Library96 Euston RoadLondon, [email protected]

Peter FotheringhamUniversity of GreenwichAvery Hill Campus, Southwood

LodgeAvery Hill Road, ElthamLondon, EnglandSE9 [email protected]

NEW ZEALAND

UNITED KINGDOM

SPAIN

Ray FrenchTateMillbankLondon, EnglandSW1P [email protected]

Robert GalbraithNational Galleries of Scotland73 Belford Road Dean GalleryEdinburgh, ScotlandEH4 3DSUKrgalbraith@

nationalgalleries.org

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

Jack PlumbNational Library of ScotlandGeorge IV BridgeEdinburgh, ScotlandEH1 [email protected]

David SandersNatural History MuseumCromwell RoadLondon, EnglandSW7 [email protected]

Harry WanlessBritish Library96 Euston RoadLondon, [email protected]

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

liverpoolmuseums.org.uk

Fernando PascalSmithsonian InstitutionSmithsonian Tropical Research

InstituteAPO AA, [email protected]

Keith McClanahanFacility IssuesPO Box 1447Flagstaff, [email protected]

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

Gordon BaileyAsian Art Museum200 Larkin StreetRoom 2211San Francisco, [email protected]

Donald BattjesLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, [email protected]

Noreen BerginPlanReady, Inc.17500 Depot Street, #200Morgan Hill, [email protected]

UNITED STATES

CALIFORNIA

ARKANSAS

ARIZONA

Joe BrennanSan Francisco Museum of

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

Kelly BridgeJ. Paul Getty Trust1200 Getty Center DriveLos Angeles, [email protected]

Jim BullockJ. Paul Getty Trust1200 Getty Center DriveSuite 100Los Angeles, [email protected]

George CalvoHuntington Library1151 Oxford RoadSan Marino, [email protected]

William CarrHuntington Library1151 Oxford RoadSan Marino, [email protected]

Brenda Cobb-WilliamsAsian Art Museum200 Larkin StreetRoom 2211San Francisco, [email protected]

John CoplinSanta Barbara Museum of Art1130 State St.Santa Barbara, [email protected]


John DonohoeJ. Paul Getty Trust1200 Getty Center DriveSuite 100Los Angeles, [email protected]

John DowningBerkeley Art Museum/Pacific

Film Archive2625 Durant AvenueBerkeley, [email protected]

Jennifer FragomeniExploratorium3601 Lyon StreetSan Francisco, [email protected]

Roger FrickeMatt Construction Corporation9814 Norwalk BoulevardSuite 100Santa Fe Springs, [email protected]

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

Jim HartmanFine Arts Museum of

San FranciscoGolden Gate Park50 Hagiwara Tea Garden DriveSan Francisco, [email protected]

CALIFORNIA cont’d

Patty LacsonFine Arts Museum of

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

Joseph MayJ. Paul Getty Trust1200 Getty Center DriveSuite 100Los Angeles, [email protected]

Mike McCaughinProPM, Inc.3470 Mt. Diablo Blvd. Ste.A205Lafayette, [email protected]

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

Randy MurphyMuseum of Contemporary Art

— Los Angeles 250 S. Grand Ave.Los Angeles, [email protected]

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

Michael RogersJ. Paul Getty Trust1200 Getty Center DriveSuite 100Los Angeles, [email protected]

Linda SimonsLavi Industries27810 Avenue HopkinsValencia, [email protected]

Gerry SoccoYerba Buena Center for the

Arts701 Mission StreetSan Francisco, [email protected]

Will SpencerJ. Paul Getty Trust1200 Getty Center DriveSuite 100Los Angeles, [email protected]

Nils WelinCypress Security, LLC457 Minna StreetSan Francisco, [email protected]

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

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

George ConteYale Center for British ArtP.O. Box 208280New Haven, [email protected]

CONNECTICUT

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

Cindy SnarskiMystic Seaport Museum75 Greenmanville AvenuePO Box 6000Mystic, [email protected]

Bruce CanterDelaware Art Museum2301 Kentmere ParkwayWilmington, [email protected]

John CastleWinterthur Museum, Garden

and LibraryBuilding 37Winterthur, [email protected]

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

DISTRICT OF COLUMBIA

DELAWARE


20

USA (cont’d)

21

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

Wayne FieldSmithsonian Institution4720 Opp-Metro Support

BranchWashington, [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]

Ron HawkinsSmithsonian Institution12th & Independence SWWashington, [email protected]

Fletcher JohnstonHirshhorn Museum &

Sculpture GardenIndependence Ave at 7th St. SWWashington, [email protected]

Kurt SissonNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

Larry StuebingSmithsonian InstitutionPO Box 37012 MRC 9087509th Street NW Suite 5200Washington, [email protected]

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

Vincent Magorrian306 Lexingdale DrievOrlando, [email protected]

Sean FlynnLinc Facility Services4394 Millwater CrossingDouglasville, [email protected]

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

woodruffcenter.org

Robert WhiteHonolulu Academy of Arts900 South Beretania StreetHonolulu, [email protected]

HAWAII

GEORGIA

FLORIDA

Thomas BarnesArt Institute of Chicago111 South Michigan AvenueChicago, [email protected]

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

Charles InglesAdvantage Operations111 South Michigan AvenueChicago, [email protected]

Patrick JonesArt Institute of Chicago111 South Michigan AvenueChicago, [email protected]

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

Don MeckleyMuseum of Contemporary Art

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

Jennifer ChristakesMuseum of Science and

Industry57th Street & South Lake

Shore Drive Chicago, IL 60637USAJennifer.Christakes@

msichicago.org

ILLINOIS

Ed MahlstadtDes Moines Art Center4700 Grand AvenueDes Moines, IA50312USAemahlstadt@

desmoinesartcenter.org

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

Maurice EvansSmithsonian Institution4210 Silver Hill RoadSuitland, [email protected]

Jeffrey GreeneBanneker Douglas Museum84 Franklin St.Annapolis, [email protected]

Richard KowalczykPaul E. Garber Facility3904 Old Silver Hill RoadBuilding 10Suitland, [email protected]

John StandishSmithsonian Institution26833 North Sandgates RoadMechanicsville, [email protected]

IOWA

MARYLAND


Paul BellenoitWidener Library, Harvard

UniversityRoom G-40Cambridge, [email protected]

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 University Art

Museums32 Quincy St.Cambridge, [email protected]

Francis PedoneWorcester Art Museum55 Salisbury StreetWorcester, [email protected]

William Powers IIIClark Art Institute225 South StreetWilliamstown, [email protected]

MASSACHUSETTS

Sarah van BentenBoston Athenaeum10 1/2 Beacon StreetBoston, MA02108USAvanbenten@

bostonathenaeum.org

Rebecca EllisQuestions and Solutions

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

Russell SimonovNevada Museum of Art160 West Liberty St.Reno, [email protected]

Richard StomberNewark Museum49 Washington StreetNewark, [email protected]

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

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

NEW YORK

NEW JERSEY

NEVADA

MINNESOTA

Daniel McCormickGeorge Eastman House900 East AvenueRochester, [email protected]

Thomas ScallyMetropolitan Museum Of Art1000 5th Avenue New York, [email protected]

Thomas ShannonThe Morgan Library and

Museum225 Madison AvenueNew York, [email protected]

Frantz VincentBrooklyn Museum of Art200 Eastern ParkwayBrooklyn, NY11238USAfrantz.vincent@

brooklynmuseum.org

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

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

Michael McKnightThe High Desert Museum1000 NW Harmon Blvd.Bend, [email protected]

OREGON

OHIO

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

allentownartmuseum.org

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

Vince DiPieroAllied Security3606 Horizon DriveKing of Prussia, PA19406USAvince.dipiero@

alliedsecurity.com

Jeffrey HirschEwing Cole100 North 6th Street6th FloorPhiladelphia, [email protected]

Bob MorronePhiladelphia Museum Of ArtP.O.Box 76462600 Benjamin Franklin PkwyPhiladelphia, [email protected]

Peter Poncheri Jr.Foundation for the Reading

Public Museum500 Museum RdReading, [email protected]

PENNSYLVANIA


22

USA (cont’d)

23

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

Jim SuttonPhiladelphia Museum of ArtP.O.Box 76462600 Benjamin Franklin PkwyPhiladelphia, [email protected]

Curtis GengaPreservation Society of

Newport County424 Bellevue Ave.Newport News, [email protected]

William TaylorThe Arts Partnership385 S. Spring StreetSpartanburg, [email protected]

Steve KirbyFrist Center of the Visual Arts919 BroadwayNashville, [email protected]

John LeachThe Hermitage, Home of

President Andrew Jackson4580 Rachel’s LaneHermitage, [email protected]

TENNESSEE

SOUTH CAROLINA

RHODE ISLAND

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

Henry GriffinMuseum of Fine Arts -

HoustonPO Box 6826Houston, [email protected]

Mike PierceMuseum of Fine Arts —

Houston5600 FanninPO Box 6826Houston, [email protected]

Brent ChubbMariner’s Museum100 Museum Drive Newport News, [email protected]

James LeeLee Construction Consultants

LLC700 East Main StreetSuite 1503Richmond, [email protected]

Ken MyersValentine Richmond History

Center1015 East Clay StreetRichmond, VA23219USAkenmyers@

richmondhistorycenter.com

TEXAS

VIRGINIA

Dave SamecSmithsonian Institution9401 Wooded Glen AvenueBurke, [email protected]

Jeffrey ToshSeattle Art Museum100 University StreetSeattle , [email protected]

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

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, Victoria

Steensen VarmingSydney, NSW

ATCO Frontec CorporationOttawa, Ontario

Black & McDonald LimitedOttawa, Ontario

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Center forArchitectureMontreal, Quebec

WASHINGTON

CANADA

AUSTRALIA

ORGANIZATIONS

WISCONSIN

Canadian Museum ofCivilizationGatineau, Quebec

Library and Archives CanadaGatineau, Quebec

Library and Archives Canada,Portrait Gallery of CanadaOttawa, Ontario

National Gallery of CanadaOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Musée de quai BranlyParis, 75343

Rijksmuseum AmsterdamAmsterdam

Auckland Art Gallery — Toi O TamakiAuckland, Auckland

Christchurch Art Gallery TePuna O WaiwhetuChristchurch, Canterbury

Museo Guggenheim — BilbaoBilbao, Viz Caya

British LibraryLondon, England

The British MuseumLondon, England

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

Natural History MuseumLondon, England

UNITED KINGDOM

SPAIN

NEW ZEALAND

THE NETHERLANDS

FRANCE


Allied SecurityKing of Prussia, PA

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

The Arts PartnershipSpartanburg, SC

Asian Art MuseumSan Francisco, CABaltimore Museum of ArtBaltimore, MD

Banneker Douglas MuseumAnnapolis, MD

Berkeley Art Museum/PacificFilm ArchiveBerkeley, CA

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Clark Art InstituteWilliamstown, MA

Cleveland Museum of ArtCleveland, OH

Cypress Security, LLCSan Francisco, CA

Des Moines Art CenterDes Moines, IA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum of SanFranciscoSan Francisco, CA

Foundation for the ReadingPublic MuseumReading, PA

UNITED STATES

Frist Center of the Visual ArtsNashville, TN

George Eastman HouseRochester, NY

Hagley Museum & LibraryWilmington, DE

Harvard University ArtMuseumsCambridge, MA

The Hermitage, Home ofPresident Andrew JacksonHermitage, TN

High Museum of ArtAtlanta, GA

Hirshhorn Museum &Sculpture GardenWashington, D.C.

Honolulu Academy of ArtsHonolulu, HIHuntington LibrarySan Marino, CA

Isabella Stewart GardnerMuseumBoston, MA

J. Paul Getty TrustLos Angeles, CA

Landmark Facilities Group, Inc.Norwalk, CT

Lavi IndustriesValencia, CA

Lee Construction ConsultantsLLCRichmond, VA

The Library of CongressWashington, D.C.

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

McGuire EngineersChicago, IL

Metropolitan Museum Of ArtNew York, NY

Milwaukee Public MuseumMilwaukee, WI

The Morgan Library andMuseumNew York, NY

Museum of Contemporary Art— Chicago Chicago, IL

Museum of Contemporary Art— Los Angeles Los Angeles, CA7

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Science andIndustryChicago, IL

Mystic Seaport MuseumMystic, CT

National Gallery of Art —WashingtonWashington, D.C.

Neue GalerieNew York, NY

Nevada Museum of ArtReno, NV

Newark MuseumNewark, NJ

Office of Facilities Engineering& OperationsWashington, D.C.

Paul E. Garber FacilitySuitland, MD

Philadelphia Museum of ArtPhiladelphia, PA

PlanReady, Inc.Morgan Hill, CA

Preservation Society ofNewport CountyNewport News, RI

ProPM, Inc.Lafayette, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

Seattle Art MuseumSeattle , WA

Smithsonian InstitutionWashington, D.C.

Valentine Richmond HistoryCenterRichmond, VA

Widener Library, HarvardUniversityCambridge, MA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale Center for British ArtNew Haven, CT

Yale University Art GalleryNew Haven, CT


24

This list reflectsmembership dues

paid as of November 2007.

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your listing,

please contact

Jim Moisson at

[email protected]

Thank you very much.

ORGANIZATIONS(cont’d)

25

ATLANTASean FlynnSteve KirbyJohn PaganKevin StreiterWilliam Taylor

AUSTRALIADan MackenzieDean MarshallTony van NoordenburgAnthony WilliamsShaun Woodhouse

CHICAGOLarry BannisterThomas BarnesBill CaddickJennifer ChristakesRebecca EllisCharles InglesPatrick JonesEd MahlstadtAnthony McGuireDon Meckley

CLEVELANDTom Catalioti

HAWAIIRobert White

NEW ENGLANDPaul BellenoitErnest ConradDavid GeldartCurtis GengaJames LabeckJohn LannonJames MoissonFrancis PedoneWilliam Powers IIICindy SnarskiSarah van Benten

MEMBERS BYCHAPTER

AFFILIATION

NEW YORKDouglas BowermanJose BrancoGeorge ConteWalt CrimmMark De MairoVince DiPieroDaniel GelmanDaniel McCormickRichard MooreBob MorroneThomas ScallyThomas ShannonRichard StomberFrantz Vincent

NEW ZELANDMike HeinemannPatricia Morgan

NORTHERNCALIFORNIAGordon BaileyNoreen BerginJoe BrennanBrenda Cobb-WilliamsJohn DowningJennifer FragomeniJim HartmanPatty LacsonMichael McKnightAnn RocheRussell SimonovGerry SoccoJeffrey ToshNils Welin

OTTAWA-GATINEAUJean AllardCarole BeauvaisLeo BourqueChan-Hung DoIan FollettMario GasperettiAlain GendronToby GreenbaumRichard HardingDominique HébertGuy LarocquePierre LepageIan MacLeanTerresa McIntoshJose-Luis OliverosEd Richard

PHILADELPHIAPeter Poncheri Jr.Richard ReinertJim Sutton

SOUTHERN CALIFORNIADonald BattjesKelly BridgeJim BullockGeorge CalvoWilliam CarrJohn CoplinJohn DonohoeRoger FrickeOren GrayJoseph MayMike McCaughinGary McKeanRandy MurphyMichael RogersLinda SimonsWill Spencer

SOUTHWESTKeith McClanahan

SPAINRogelio Diez

TEXASBruce CauseyHenry GriffinMike Pierce

UNITED KINGDOMFrank BrownJohn de LucyPeter FotheringhamRay FrenchRobert GalbraithStephen GillKaren KeemanJack PlumbDavid SandersHarry WanlessIan Williams

WASHINGTON-BALTIMOREBruce CanterJohn CastleBrent ChubbDan DaviesRichard DayAlan DiricanMichael DownsJim DudaBob EvansMaurice EvansWayne FieldJon GibbonsNeal GrahamLarry GraubergerJeffrey GreeneRon HawkinsFletcher JohnstonRichard KowalczykJohn LeachJames LeeKen MyersFernando PascalDave SamecKurt SissonJohn StandishLarry Stuebing

NO AFFILIATIONGérard BaillyNadim CallabeJeffrey HirschPam LowingsVincent MagorrianJon Roodbol


26

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

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

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

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

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

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

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

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

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

Become a Member of the IAMFAand Get a Friend to Join

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

� Regular Member $150 � Associate Member $ 50

� Affiliate Member $ 50 � Subscribing Member $300

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

� I enclose a check in the amount of $ ____________________

� Please invoice me

✁

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

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

Please remit to:International Association of Museum Facility AdministratorsP.O. Box 277Groton, MA 01450, USA

Website: www.iamfa.org

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

27

Greetings everyone, from the GettyCenter in Los Angeles, California.

This is my first edition of Papyrusas editor, and I want to thank all of youfor your vote of confidence in Ottawa,electing me Editor of Papyrus andSecretary of IAMFA. I will do my bestto continue the level of excellence seenin past editions thanks to Dan Daviesfrom the National Zoo in Washington,and his predecessors who also heldthis exciting position.

Just having seen many of you inOttawa at this year’s annual con fer -ence, I was reminded of how closewe are as an organization of museumprofessionals. Because of our closeassociation, I heard from many of yourecently when Los Angeles expe riencedthe worst wildfires that California hasever seen. The Getty properties thatmany of you visited a little over a yearago were spared from damage thanks tothousands of firefighters from Californiaand surrounding states. We owe muchto these individuals, who risked theirsafety to protect our lives and propertyduring this recent emergency. I wantto thank so many of you who expressedconcern for our safety as you saw thefires on newscasts around the world.To me, this is further evidence that ourorganization has bridged our geograph -ical differences, and we continue tobe a close organization of colleaguesand friends. Thank you again.

With the Ottawa conference still freshin our minds, it is a great opportunityto thank Guy Larocque and his con fer -ence team for the wonderful experienceof visiting Ottawa, and the opportunityto learn so much about Canada’s nationalcultural institutions, and how they areoperated and maintained. It is obviousthat a lot of planning went into makingthe Ottawa 2007 Conference a resound -ing success, and one that IAMFA mem -bers will not soon forget. If you weren’t

able to attend this year, I hope youwill take time to read the article in thisPapyrus about the Ottawa con ference,and join me in thanking our hosts forall their efforts in making this year’sconference such a great experience.

In upcoming editions of Papyrus, youcan expect to see several articles aboutthe Fall 2008 conference in London,England. Plans for the con ference arewell underway, and the London confe -rence team appears to be on a missionto make next year’s conferenceunforgettable, just as with the Ottawaconference. I know our friends in theUnited Kingdom have much to do toget ready for next September’sconference, and some how I have afeeling that our British colleagues willhave a few surprises in store for us.

As we return to our normal duties,I would like to ask each of you tothink of your fellow IAMFA memberswhen you implement a new practiceat your institution which others mightbenefit from hearing about. Duringour Sunday benchmarking day inOttawa, it was obvious that we are allstriving for improvements in how wemaintain our respective facilities, andPapyrus is the perfect way to shareyour ideas with your fellow members.Please take time to write about improve -ments you make to your operations,so that we can include these in future

editions of Papyrus and the rest of uscan also benefit from your efforts.

It was apparent from our visit toOttawa that there is a “greening” under -way in our cultural institutions. I willnever forget our visit to the CanadianWar Museum, and how Guy and hisfellow members of the design teamincor porated sustainability into the newfacility. As many of us continue ourjourney down this path to more sus -tainable facilities, please share your ideaswith fellow members so that we canall benefit from your innovations. In afuture edition, I will give you an updateon our progress at the Getty Centerregarding the LEED-EB certificationthat I spoke about in Bilbao.

Lastly, I want to invite members tosend any photos that they believe wouldinterest the rest of us. Of course, photoscan be of a new addition at your facility,an improvement recently implemented,or may just be something like belowthat you think others might enjoy.This photo was taken last week byAnne Watson, our Grounds Supervisorat the Getty Villa. The Villa has themost courteous deer: this one lookedboth ways before crossing the street.

Thanks again for your vote ofconfidence, and I hope you enjoy thisedition of Papyrus.

Joe MaySecretary, IAMFA and Editor of Papyrus

Joe MayEditor, Papyrus

Letter from the Editor

IAMFA LONDON 200814–17 September: you know you want to be there!

For more details see http://www.iamfa.org/

Papyrus Fall 2007

Education

Transcript of Papyrus Fall 2007