Papyrus Spring 2011

PAPYRUSVOL. 12, NO. 1 SPRING–SUMMER 2011

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

VOL. 12, NO. 1 SPRING–SUMMER 2011

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

Update on the 21st IAMFAConference in Auckland,

Including Agendaand Images

British Library— Energy-Saving

Case Study

Recap of the IAMFA Strategic Planning Session

in San Francisco

Benchmarking Participants Save an Average

of $1.79M

IAMFA/PapyrusVol. 12, Number 1Spring–Summer 2011

EditorJoe May

Papyrus CorrespondentsPete BossleyJoe Brennan Melanie CooperGuy LarocqueJohn de LucyPatrick DixonLouise EliasonMaurice Evans

Joe MayPatricia MorganJack PlumbMirjam Roos Emrah Baki UlasHolly VictorHarry WanlessThomas WesterkampStacey Wittig

Design and LayoutPhredd Grafix

TranslationMarina Pascal (French)Jeanne Pascal (Spanish)

EditingArtistic License (English)Guy Larocque (French)

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

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

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

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

Australia — Ray McMaster, AustralianNational Maritime [email protected]

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

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

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

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

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

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

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

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

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

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

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

REGIONAL CHAPTERS

For more information onbecomming a member of theInternational Association of

Museum Facility Administrators,please visit

www.iamfa.org

Cover photo: The Auckland Art Gallery expansion/renovation project, to be completed just before the IAMFA Annual Conference this fall.

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

PresidentJohn de LucyThe British LibraryLondon, United [email protected]

V.P., AdministrationRandy MurphyLos Angeles County Museum

of ArtLos Angeles, CA, [email protected]

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

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

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

Chairman — Conference 2011Patricia MorganAuckland Art Gallery

Toi o TamakiAuckland, New ZealandPatricia.Morgan@

aucklandcouncil.govt.nz

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

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

Message from the President / Mot du président / Mensaje del Presidente . . . . . . . . . . . . . . . . . . . . . . . . 3

Report on International Affairs / Rapport sur les affaires internationales / Reporte de Asuntos Internacionales . . . . . . . . . . . . . . 6

Auckland Museum / Musée d’Auckland / El Museo de Auckland . . . . . . . . . . . . . . . . . . . . . . . . . 9

Looking at Art in a New Light—Part Two in a Four-Part Series . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

British Library: An Energy-Saving Case Study. . . . . . . 17

Benchmarking Participants Save Their Institutions an Average $1.79M . . . . . . . . . . . . . . . . . 19

Results of the Planning Session in San Francisco . . . . 20

2011 IAMFA Conference Schedule . . . . . . . . . . . . . . . 22

Kiwi Words and Phrases. . . . . . . . . . . . . . . . . . . . . . . . 26

Voyager New Zealand Maritime Museum Extension in Auckland / L’extension du Musée maritime Voyager de la Nouvelle-Zélande à Auckland / La Extensión del Museo Marítimo Voyager de Nueva Zelandia en Auckland . . . . . . . . . . . . . . . . . 28

Operations Review Reveals Hidden MaintenanceImprovement Resources—Part Two in a Three-Part Series . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Winterthur Receives Major Gift to Build Horticulture Learning Center . . . . . . . . . . . . . . . . . . . 37

Bill Jackson’s Retirement . . . . . . . . . . . . . . . . . . . . . . . 38

Chapter News and Regional Updates . . . . . . . . . . . . . 39

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 44

Index of Papyrus Technical and Historical Articles . . . 46

Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Contents

2 PAPYRUS SPRING–SUMMER 2011

facilities; operating costs are beingreduced significantly. In my own expe -rience, we achieved significant savingsin operating costs, and much was dueto ideas gleaned from the IAMFAbenchmarking exercise.At the San Francisco Conference

last fall, IAMFA members participatedin a planning session at the de YoungMuseum, and your ideas with respectto strengths, weaknesses, threats, andopportunities are summarized by GuyLarocque in this issue. This exercise will

continue this fall in Auckland, as wefocus on which of the oppor tu ni ties toimprove IAMFA are considered higherpriority. Please come to Auckland andtake part as we continue this importantexercise.In this issue, we learn more about

this fall’s IAMFA Annual Conferencein Auckland, New Zealand, whichpromises to offer ample opportunitiesto share our experiences with those

. . . your contributions to

Papyrus make it possible

for all IAMFA members

to benefit from hearing

about each of your

accomplishments in

bettering your

individual facilities.

Joe May Editor, Papyrus

Letter from the Editor

we haven’t seen since we met a yearago in San Francisco. Pat Morgan andher team have put together an excel -lent program for the conference, andyou’ll see a schedule for the AucklandConference in this issue, along with acollage of images of some of the sightsthat you will see firsthand in Novemberat the fall conference. This issue also features an article

about a new Horticultural LearningCenter planned for WinterthurGardens, and you’ll see this facilityfirsthand in the fall of 2012 duringthe IAMFA Mid-Atlantic Conference. I encourage you to have a look at

the index of past technical articles thatwe now include in the back of Papyrus.You might just find an article from anold issue of Papyrus that can help withone of your current projects.Our IAMFA LinkedIn Group now

has 82 members, and we are discussingwhether to allow non-members to jointhis group. I encourage all IAMFAmem bers to join the IAMFA LinkedInGroup. If you are not familiar withLinkedIn, it is a free professional net -working system, and it allows mem bersto post information or discussions thatthey feel may interest other membersof IAMFA. Please consider joining usin the IAMFA LinkedIn Group. If youdon’t know how, please send me an e-mail, and I will give some more details. Lastly, I would like to thank every -

one who contributed content for thisSummer Issue of Papyrus, along witha final reminder to please make yourreservations for the Langham Hotelnow for the fall conference inAuckland. I’m eager to see youthere in November.

Greetings from Los Angeles!

It’s already the start of summer forthose of us in the northern hemi -sphere, and I am very pleased that

this issue of Papyrus is ready. As usual,members have contributed a greatamount of material for this issue, andI hope you enjoy it, and possibly learnsomething new from the numeroustechnical articles that members haveshared. As always, your contributions toPapyrus make it possible for all IAMFAmembers to benefit from hearing abouteach of your accomplishments in bet -tering your individual facilities. That isthe greatest benefit from membershipin IAMFA: learning from one another! In this issue, we have Part 2 of

two technical series: “Seeing Art ina New Light” by Mirjam Roos andEmrah Baki Ulas, both of SteensenVarming (Australia) Pty Ltd, and“Operations Review Reveals HiddenMaintenance Improvement Resources”by Tom Westerkamp, President of Pro -ductivity Network Innovations. We alsohear about the lean Events Model atthe Auckland Museum, and the newexpan sion at the Voyager New ZealandMaritime Museum, both of which arevenues included in this fall’s IAMFAConference. You will also read aboutsustainability initiatives at the BritishLibrary, as well as results from pastyears’ participants in the Annual IAMFABenchmarking Exercise. Statistics revealthat savings have been very significantfor those who have participated in theannual benchmarking exercise. If youhaven’t participated before, please lookclosely at the article in this issue byStacey Wittig. It is obvious that mem -bers are making improvements at their

PAPYRUS SPRING–SUMMER 2011 3

Planification et réalité: deux motsque nous utilisons souvent dansnotre industrie. Parfois, peut-être,

nous perdons l’accent sur l’un ou lesdeux, et nous avons besoin d’une fortesecousse pour nous recentrer. Lesrécents événements en Nouvelle-Zélande et au Japon nous ont donnél’occasion de revoir nos hypothèses deplanification à la lumière de ces expé -riences réelles, inattendues et tragiquesde nos collègues, qui ont à gérer leurchemin à travers l’événement.Le Conseil de l’IAMFA a été en

contact avec Kirsty Mathieson – notremembre à la Galerie d’Art Christchurchde la Nouvelle-Zélande –, après letremblement de terre. Elle nous a dit:« Oui, la Galerie est utilisée commele siège de la défense civile pour ladeuxième fois – une fonction qu’elleremplit à merveille. Le bâtiment estune fierté pour la ville. Il est le plussûre, paraît-il, et j’ai été certainementtrès heureuse de travailler là-bas lemardi. Ce fut une expérience abso -lument horrible, tragique pour denombreuses personnes. Nos collabo -rateurs sont tous sains et saufs et pris encompte. Nous sommes très chanceux.Nous allons vous écrire un article denos expériences une fois que noussoyons de retour sur le pont. »Nous lui avons transmis nos meil -

leurs vœux et à son personnel en votrenom et, une fois que les choses soient« de retour sur le pont » (une expres -sion clairement Néo-zélandais), l’articlequ’elle écrira pour Papyrus en ce quiconcerne son expérience, certaine ment

La planificación y la realidad sondos conceptos que usamos amenudo en nuestra industria. A

veces perdemos nuestro enfoque y nonos damos cuenta hasta que nos tiranun balde de agua fría. Las experienciastan inesperadas y trágicas que nuestroscolegas han enfrentado en Japón yNueva Zelandia nos han hecho recon -siderar las bases que usamos en laplanificación.La junta directiva de IAMFA

contactó a Kirsty Mathieson nuestramiembro de la Galería de Arte deChristchurch de Nueva Zelandia—después del terremoto que ocurrióallí. Ella dijo, “Si, la Galería ha sidodesignada la sede de la Defensa Civilpor segunda vez por ser un edificioseguro. La Galería es el orgullo dela ciudad y me alegró mucho haberestado allí el día martes del terremoto.Ha sido una experiencia horrenday trágica para algunas personas. Yahicimos conteo de los que trabajancon nosotros y todos están bien. Nossentimos muy afortunados. Cuando yaestemos todos de vuelta en cubierta,les escribiremos un artículo.” Ya les hemos mandado nuestros

mejores deseos de parte de todos. Elartículo que ella escribirá a Papyrussobre sus experiencias cuando ya“todos están en cubierta” (es evi-dente que esta expresión es típica deNueva Zelandia) será de sumo interés.También estamos actualizados con lasnoticias de nuestras organizacionesculturales en Japón por medio deICOM. ¡Nos hace reflexionar si en

Message from the PresidentMessage du présidentMensaje del Presidente

Planning and Reality: two wordsthat we use often in our industry.Sometimes, perhaps, we lose focus

on one or both, and we need a sharpshock to get us back on track. Recentevents in New Zealand and Japan havegiven us an opportunity to revisit ourplanning assumptions in light of thesereal, unexpected and tragic expe ri -ences of our colleagues, who have tomanage their way through the event. The IAMFA Board has been in

touch with Kirsty Mathieson—ourmember at the Christchurch ArtGallery in New Zealand—followingthe earthquake there. She says, “Yes,the Gallery is being used as the CivilDefence headquarters for the secondtime—a function it fulfils wonderfullywell. The building is a pride to thecity. It is the safest one, it seems, and Iwas certainly very happy to be workingthere on Tuesday. It was an absolutelyhorrendous experience, tragic for manypeople. Our staff are all safe and welland accounted for. We are very lucky.We will write you an article of ourexperiences once we are back on deck.” We have conveyed our best wishes

to her and her staff on your behalfand, once things are “back on deck”(clearly a NZ expression), the article shewrites for Papyrus regarding her expe -rience is certain to be very inter estingand informative. We have also hadupdates about cultural organi za tionsin Japan through ICOM. It makes youthink: when was the last time any of usgave our Risk and Disaster Managementplans a real reality check?

John de LucyPresident / Président / Presidente, IAMFA


In addition to these events, whetheryour organisation is funded directly bygovernment or through endowments,we are also all feeling the effects ofsqueezed budgets that challenge faci -lities managers to balance cost andservice. “Cut costs but maintain valueand service” seems to be the mantra ofmany of our CEOs. Whilst we can learnfrom tragic events and their relatedchal lenges, we also need to demon -strate that we are achieving anddelivering our business plans.

One way of demonstrating improve -ment to our CEOs is to use the IAMFAbenchmarking data. This data, whichfol lows trends over many years, hasproven extremely valuable to many of uswho use it regularly. Not only are we ableto demonstrate the trends within ourown organisations, we can also com pareourselves with other similar organisationsover many disciplines and skills. I am sure we are all continuing to

innovate in our Facilities Managementroles, in order to deal with the chal -lenges we face in today’s new and

sera très intéressant et instructif. Nousavons également eu des mises à joursur les organismes culturels au Japonpar l’ICOM. Cela nous fait penser: àquand remonte la dernière fois qu’und’entre nous a donné à une réellevérification de nos plans des risqueset de gestion de catastrophes?En plus de ces événements, si votre

organisation est financée directementpar le gouvernement ou par le biaisde dons, nous tous ressentons leseffets des budgets serrés qui défientaux directeurs de gestions d’équilibrerle coût et le service. «Réduire les coûts,mais maintenir la valeur et le service »semble d’être le mantra de beaucoupde nos dirigeants. Alors que nouspouvons apprendre des événementstragiques et de leurs enjeux, nousavons aussi besoin de démontrer quenous sommes en train de réaliser nosplans d’affaires.Une façon de démontrer l’amé lio -

ration de nos dirigeants est d’utiliser lesdonnées des analyses comparatives debâtiments des membres de l’IAMFA.Ces données qui suivent les tendancespendant plusieurs années se sont avé -rées extrêmement utiles pour beau -coup d’entre nous qui s’en serventrégulièrement. Non seulement noussommes en mesure de démontrer lestendances au sein de nos propres orga -nisations, nous pouvons aussi nouscomparer avec d’autres organisationssimilaires sur de nombreuses disciplineset compétences.Je suis sûr que nous tous continuons

à innover dans nos rôles de gestion desinstallations, afin de traiter les défisauxquels nous faisons face dans cenouvel environnement financière mentdifficile d’aujourd’hui. Nous devrionsutiliser les nouveaux modèles, l’évolu -tion et l’amélioration des compétences,la redéfinition des normes et travaillerfort sur la maîtrise des coûts. Nousavons besoin de montrer comment lagestion des installations peut aider àfaire un changement dans nos orga -nisations, à travers la redéfinition denotre rôle, le but et la valeur de nosorganisations. C’est au cours de cespériodes financières difficiles que lagestion des installations doit se réa -ligner avec l’entreprise. L’exercice desanalyses comparatives de l’IAMFA est,

verdad hemos puesto bajo la lupanuestro plan de Riesgos y Desastres!Además de estos eventos, también

todos sentimos el efecto de los presu -puestos limitados sin importar la pro -cedencia de nuestros fondos ya seapor asignación directa del gobierno opor medio de donantes. La escasez defondos obliga a los gerentes de man -tenimiento de instalaciones a balancearcostos y servicios aun con más cuidado.“Corten costos sin reducir el valor y elservicio al cliente” parece ser el lemade muchos de nuestros directoresejecutivos. Aunque es útil aprenderde los eventos trágicos y los retos deplanificación que representan, tambiénes importante que cumplamos connuestras metas a corto y largo plazo.La información desarrollada

durante la encuesta anual de evalu -ación comparativa de IAMFA se puedeutilizar para demostrar mejoría anuestros directores ejecutivos ya querefleja tendencias a través de muchosaños. Esta estrategia resulta muy valiosapara nosotros que usamos la informa -ción a menudo porque podemosmonitorear tendencias dentro denuestras propias organizaciones ycomparar nuestra información conotras organizaciones semejantes.No cabe duda que todos nosotros,

los Gerentes de Mantenimiento deInstalaciones, seguimos en la búsquedade ideas innovadoras para enfrentarlos nuevos retos del nuevo ambiente deescasos recursos financieros. Debemosutilizar nuevas metodologías, cambiary mejorar nuestras fortalezas, redefinirlos estándares, y trabajar duro paraevitar que suban los costos. Es impor -tante que demostremos cómo laadministración de mantenimientopuede hacer la diferencia dentro denuestras organizaciones. Es precisa -mente durante estos tiempos difícilesque hay que alinear las metas de man -tenimiento con las necesidades delnegocio. Me parece que la mejorherramienta para demostrar nuestroprogreso hacia metas múltiples esla encuesta anual de evaluacióncomparativa de IAMFA. Me asombra que nuestras confe ren -

cias vayan mejorando todos los años, yPat Morgan y su equipo lo siguen log -rando con la publicación del pro grama

It is during these toughfinancial periods whenFacilities Managementhas to realign itself withthe business.

C’est au cours de cespériodes financièresdifficiles que la gestiondes installations doit seréa ligner avec l’entreprise.

Es precisa mente duranteestos tiempos difíciles quehay que alinear las metasde man tenimiento con lasnecesidades del negocio.


financially difficult environment. Weshould be using new models, chang -ing and improving skills, redefiningstan dards and working hard on costcon tainment. We need to show howFacilities Management can help makea change in our organisations, throughredefining our role, purpose and valueto our institutions. It is during thesetough financial periods when FacilitiesManagement has to realign itself withthe business. The IAMFA bench mark -ing exercise is, to my mind, the best toolwe have to show that we are meetingthese multiple targets. I am amazed at how, each year, our

conference gets better and better, andPat Morgan and her team have done itagain with the Auckland conferenceprogramme that has now been pub -lished. What a great learning expe ri -ence they have lined up for us, and itlooks like there’s some fun in there,too! I am confident that you will findthe programme justification enoughto persuade your organisations to sendyou to this year’s conference, and Iknow a few people who are going tocome at their own expense, makinga holiday of it. Don’t forget that wedo not have a block booking at thehotel, so you need to book your hotelroom early!Back to planning and reality. You

may be aware that the U.K. govern -ment has started a major programmeof cost reduction. As part of that, wein Estates at the British Library havehad to make a 25% cut in our depart -mental expenditure, including headcount. So, as part of this programme, Iwill be leaving the Library on Thursday,April 21. I will be switching my e-mailaddress to [email protected],so please note this in your contacts. I amnot planning to take another full-timejob, but the IAMFA Board has kindlyagreed that I may continue in my roleas President until my term expires atthe next conference in September2012 in Philadelphia and Delaware.We are all headed for a difficult

year, but if we focus on cost, risk, valueand environment, we can demonstratethat facilities management can defi -nitely contribute to organisationalsuccess. Let’s get to it, members!!

à mon avis, le meilleur outil que nousavons pour montrer que nous sommesà atteindre ces objectifs multiples.Je suis étonné de voir comment, à

chaque année, notre conférence va demieux en mieux, et Pat Morgan et sonéquipe ont réussi à nouveau avec le pro -gramme de la conférence d’Aucklandqui vient d’être publié. C’est une belleexpérience d’appren tissage dont ils ontfait la queue pour nous, et il semblequ’il y avait du plaisir aussi! Je suispersuadé que vous trou verez assez dejustification dans le programme pourconvaincre vos organisations de vousenvoyer à la conférence de cette année,et je con nais quelques uns qui vontvenir à leurs propres frais, en tant queséjours de vacances. Ne pas oublier quenous n’avons pas une réservation enbloc à l’hôtel, vous devez donc réservervotre chambre d’hôtel à l’avance!Retour à la planification et la réalité.

Vous savez peut-être que le gouverne -ment britannique a lancé un impor tantprogramme de réduction des coûts.Dans le cadre de cela, nous aux Estatesat the British Library avons dû faire uneréduction du 25 % de nos dépensesministérielles, y compris le nombre depersonnes. Ainsi, dans le cadre de ceprogramme, je vais quitter la biblio -thèque en date du jeudi 21 avril. Jevais commuter mon adresse e-mail à[email protected], donc s’ilvous plaît notez-le dans vos contacts.Je n’ai pas l’intention de prendre unautre emploi à temps plein, mais leConseil de l’IAMFA a gentiment con -venu que je puisse continuer dansmon rôle de président jusqu’à ce quemon mandat expire à la prochaineconférence en Septembre 2012 à laPhiladelphie et Delaware.Nous allons tous vers une année

difficile, mais si nous nous concen -trons sur le coût, le risque, la valeuret l’envi ronnement, nous pouvonsdémontrer que la gestion des instal -lations peut certainement contribuerau succès de l’organisation. Allons-y,les membres!

de la conferencia de Auckland. Seráuna tremenda oportunidad paraaprender y divertirse también. Lasactividades serán suficiente justi fica -ción para lograr asistir a la conferenciacon el patrocinio de sus organizaciones.Inclusive conozco algunas personasque planean financiar sus propios viajespara disfrutar de unas vaca cionestambién. ¡Hagan sus reservas de hoteltemprano para asegurar sus cuposporque no hemos hecho ningunareserva para el grupo! De regreso a la planificación y la

realidad. En vista del plan maestro delgobierno del Reino Unido de hacerrecortes de presupuesto, nosotros aquíen Bienes Heredados de la BibliotecaBritánica hemos reducido los gastosde nuestro departamento en un 25%,en conjunto con una reducción depersonal. Así que, como parte de estainiciativa, me voy de la Biblioteca eljueves 21 de abril. Ya que cambiaré midirección de internet a [email protected], por favor tomen notade este cambio. No pienso trabajartiempo completo de ahora en ade lante,pero a petición de la junta directiva,seguiré en mi papel de presidentehasta el final de mi período queterminará durante la conferenciade septiembre 2012 en Philadelphiay Delaware. Este año, todos enfrentamos un

camino difícil, pero si concentramosnuestra energía en el manejo de costos,riesgos, valor y el entorno, podremossubrayar nuestra contribución al éxitode nuestras organizaciones. ¡Manos ala obra!

HAERE MAIAuckland, New Zealand13–16 November 2011


In September 2010, Brazil’s govern -ment celebrated the 50th anniversaryof the founding of their new capital

city, Brasilia. As part of the year-longcele brations, Brazil’s Ministry of Cultureorganized a five-day symposium onMuseums and Architecture. Architectsand museum professionals from Brazil,Mexico, Argentina, Spain, Austria, Qatar,

En Septembre 2010, le gouver -nement du Brésil a célébré le50è anniv ersaire de la fondation

de leur nouvelle capitale, Brasilia. Dansle cadre des célébrations tout au longde l’année, le Ministère brésilien de laCulture a organisé un colloque de cinqjours sur les musées et l’archi tec ture.Les architectes et les profes sion nels

En septiembre del 2010, el gobier -no de Brasil celebró su 50ª ani -versario de la fundación de su

nueva capital, Brasilia. Como parte delas celebraciones que duraron un año,el Ministerio de Cultura de Brasilorganizó un simposio de cinco díassobre los museos y la arquitectura.Invitaron a arquitectos y profesionalesde instalaciones de museos de Brasil,México, Argentina, España, Austria,Qatar, Francia, Italia, Israel, Portugal,el Japón y Canadá a presentar temascon respecto a la Cultura y la Econo -mía, la Calidad y la Funcionalidad delEspacio, Renovaciones Innovadorasde Museos y la Sostenibilidad en losMuseos. Mi presentación X se enfocósobre la modernización de espacios deexhibiciones en museos existentes, conejemplos de nuestro Museo Canadiensede la Civilización que tiene 21 años.El plan de edificación y muchos de

los mismos edificios construidos fuerondiseñados por el arquitecto más impor -tante de Brasil, Oscar Neimeyer. Éldiseñó el Museo Nacional con la cúpulay el edificio del Congreso Nacional. Durante mi estadía en Brasilia, logré

establecer contacto con muchos delos delegados que asistían al simposio.Además, mientras visitaba los princi -pales museos de esta ciudad, conocí amuchos profesionales y aproveché laoportunidad para hacerles llegar unejemplar de Papyrus y hablarles deIAMFA. Entre las ventajas de unirse aIAMFA les mencioné las conferencias

Report on International AffairsMuseums in Brazil and China Introduced to IAMFA

Rapport sur les affaires internationalesL’IAMFA est présentée aux Musées du Brésil et de la Chine

Reporte de Asuntos InternacionalesSe Presenta IAMFA a Museos de Brasil y ChinaBy / par / por Guy Larocque

Aerial shot of the National Museum of Brasilia (the domed structure), where the conferencewas held. The National Library is in front of it, and the Cathedral of Brasilia is behind.

Vue aérienne du Musée national de Brasilia (la structure en forme de dôme), où se tenaitla conférence. La Bibliothèque nationale est en face d’elle, et la Cathédrale de Brasiliaest derrière.

Vista aérea del Museo Nacional de Brasilia (con cúpula), donde tomó lugar la confe ren cia.La Biblioteca Nacional se ve en primer plano, y la Catedral de Brasilia está al fondo.


France, Italy, Israel, Portugal, Japanand Canada were invited to makepresentations on topics sur roundingthe themes of Culture and Economy,Quality and Functionality of Space,Innovative Museum Renovations, andSustainability in Museums. My presen -tation focused on the modernization ofexhibition spaces in existing museums,using examples from our 21-year-oldCanadian Museum of Civilization.

The building plan, and many of thebuildings themselves, were designedby Brazil’s most important architect,Oscar Niemyer. He designed the domedNational Museum and the NationalCongress building.While in Brasilia, I had oppor tunities

to network with many of the delegatesat the symposium. Dur ing my stay inSao Paulo, I also met with professionalsat some of this city’s major museums.In all of these encounters, I intro ducedIAMFA to my colleagues and handedthem copies of Papyrus. I was able toextol the benefits of membership inour organization, and of participatingin annual conferences as well as thebenchmarking survey. What I learnedfrom this visit was that every one ofthese museums has pretty much thesame concerns that we find every where

des musées du Brésil, le Mexique,l’Argentine, l’Espagne, l’Autriche,le Qatar, la France, l’Italie, Israël, lePortugal, le Japon et le Canada ontété invités à faire des présentationssur des sujets entourant les thèmes dela Culture et l’Économie, Qualité etFonctionnalité de l’Espace, Réno vationde Musées Innovateurs et Viabilité. Maprésentation était axée sur la moder -nisation des espaces d’exposition dansles musées existants, en utilisant desexemples de notre Musée canadiendes civilisations âgé de 21 ans.Le plan d’édification et de nom -

breux bâtiments eux-mêmes ont étéconçus par l’architecte le plus impor -tant du Brésil, Oscar Niemeyer. Il aconçu la coupole du Musée nationalet le bâtiment du Congrès national.Tandis qu’à Brasilia, j’ai eu l’occasion

de développer des réseaux avec denombreux délégués au symposium.Pendant mon séjour à Sao Paulo, j’ai

anuales y el beneficio de participar enla encuesta anual de evaluación com -parativa. Me llamó la atención quetodos estos encargados de instala cionesde museos tuvieran las mismas pre ocu -paciones que hemos visto en el resto

On the left is Guy Larocque, participating in a panel discussion on Museums and Architecturewith colleagues from the Smithsonian in Sao Paulo and the University of Brazil, and aMuseum Director from Argentina. The discussion revolved around how the presence of amuseum in an urban setting brings life and economic benefits to its region.

Sur la gauche, Guy Larocque, participe à une table ronde sur les musées et l’architecture avecdes collègues de la Smithsonian Institution à Sao Paulo, l’Université du Brésil et un directeurd’un musée de l’Argentine. La discussion a tourné autour de comment la présence d’unmusée dans un milieu urbain apporte de la vie et des avantages économiques à sa région.

Leyenda: A la izquierda se ve a Guy Larocque, durante una discusión en grupo sobre Museosy Arquitectura con colegas del Smithsonian en Sao Paolo, la Universidad de Brasil y undirector de museo de Argentina. La discusión giraba alrededor de la vida y los beneficioseconómicos que un museo ubicado en un entorno urbano puede traer a su región.

. . . every one of these

museums has pretty much

the same concerns . . .

. . . chacun de ces musées

a presque les mêmes

préoccupations . . .

. . . todos estos encargados

de instalaciones de museos

tuvieran las mismas

preocu paciones . . .

The Paulista Museum in Sao Paulo, wherethe history of Brazil and Sao Paulo is told.

Le Musée Paulista à São Paulo, où l’histoiredu Brésil et de Sao Paulo est racontée.

El Museo Paulista de Sao Paulo, donde sehabla de la historia de Brasil y Sao Paolo.


else in the museum facility manage -ment world. I came away with the hopethat a number of these museums wouldjoin IAMFA, as they certainly soundedenthusiastic about our organization.In October 2010, the Canadian

Fund for International Understand-ing through Culture organized the2nd Canada-China Cultural Dialoguein Ottawa. I was fortunate enough tobe asked to make a presentation atthis conference, regarding the sus -tainability features of the CanadianMuseum of Civilization and theCanadian War Museum. I had anopportunity to make a few contactswith professionals from three museumsin China, who were very interestedin what I had to say about IAMFA. Iinvited them to register for the IAMFAconference in New Zealand, as thetravel distance from China wouldnot be a great impediment for them.Again, I am hopeful that some of theseChinese museums join IAMFA’s ranks,and help to spread the word aboutIAMFA in Asia.I will provide an update on Inter -

national Affairs to members attend-ing the 2011 IAMFA conference inNew Zealand this November. Pleaseencourage your organizations to joinICOM, if they haven’t already doneso, as it is important to maintain atleast 50% representation to maintainIAMFA’s status as an AffiliatedOrganization to ICOM.

Guy Larocque is Director, FacilityManagement and Security Servicesat Canadian Museum of CivilizationCorporation, and is a member of theIAMFA Board of Directors.

aussi rencontré des professionnels decertains musées parmi les plus grandsde cette ville. Dans toutes ces ren -contres, j’ai présenté l’IAMFA à mescollègues et leur ai remis des copiesde Papyrus. J’ai pu vanter les avantagesde l’adhésion à notre organisation, etde participer à des conférences annu -elles, ainsi qu’à l’analyse comparativede nos bâtiments culturels. Ce que j’aiappris de cette visite fut que chacunde ces musées a presque les mêmespré occupations que l’on trouve par -tout ailleurs dans le monde de lagestion des installations de musées.Je suis reparti avec l’espoir qu’un cer -tain nombre de ces musées joindral’IAMFA, comme ils ont certainementdémontré de l’enthousiasme enversnotre organisation.En Octobre 2010, le Fonds cana dien

pour la Compréhension interna tionaleà travers la Culture a organisé le 2è Dia -logue culturel Canada-Chine, à Ottawa.J’ai eu la chance d’être invité lors decette conférence de faire une pré sen -tation sur les caractéristiques de via -bilité environnementale du Muséecanadien des civilisations et du Muséecanadien de la guerre. J’ai eu l’occa -sion de faire quelques contacts avecles professionnels de trois musées enChine, qui étaient très intéressés à ceque j’avais à dire sur l’IAMFA. Je lesai invités s’inscrire à la conférence del’IAMFA en Nouvelle-Zélande, puisquela distance du voyage dès la Chine neserait pas un grand obstacle pour eux.Encore une fois, j’espère que certainsde ces musées chinois rejoignent lesrangs de l’IAMFA, et nous aident àétendre le mot IAMFA sur l’Asie.Je vais vous donner une mise à jour

sur les affaires internationales auxmembres présents à la Conférence2011 de l’IAMFA en Nouvelle-Zélande,le prochain Novembre. S’il vous plaîtencourageons vos organisationsd’adhérer à l’ICOM, s’ils ne l’ont pasdéjà fait, car il est important d’avoirau moins 50% de représentation pourmaintenir le statut de l’IAMFA commeune organisation affiliée à l’ICOM.

Guy Larocque est le Directeur d’Admini stra -tion des installations et des services desécurité au Musée canadien des civilisations,et il est membre du conseil d’administrationde l’IAMFA.

del mundo entre los demás museos. Mefui con la esperanza de que algunosde estos museos se asociarán a IAMFApor el entusiasmo que les vi.En Octubre 2010, el Fondo Cana -

diense para el Entendimiento Interna -cional a través de la Cultura organizóel 2do Diálogo Cultural entre China yCanadá en Ottawa. Me honraron con laoportunidad de presentar una charlasobre las características relacionadascon la sostenibilidad del MuseoCanadiense de la Civilización y elMuseo Canadiense de la Guerra. Pudehacer algunos contactos con profesio -nales en tres museos de China, quienesse mostraron muy interesados en lainformación que les di sobre IAMFA.Les invité a registrarse para la con -feren cia de IAMFA en Nueva Zelandia,ya que la distancia de viaje no lescausaría mayor dificultad. En fin,tengo la esperanza que algunos deestos museos se afilien a IAMFA, y nosayuden a divulgar información sobreIAMFA en Asia.Les pondré al día sobre el tema de

Asuntos Internacionales a los miembrosque asistan a la conferencia anual2011 de IAMFA en Nueva Zelandiaeste Noviembre. Por favor, procurenque sus organizaciones se afilien aICOM, si no lo han hecho ya. Esimportante que por lo menos el 50%de nuestros miembros sea miembrode ICOM para mantener nuestracondición de Organización Afiliadaa ICOM.

Guy Larocque es Director de Operacionesy Servicios de Seguridad del MuseoCanadiense de la Civilización, y miembrode la junta directiva de IAMFA.


Museums usually aspire—withintheir mission statements atthe very least—to be thriving

hubs, drawing visitors to their artistic,cultural, scientific and historical objectsand research. To meet these goals, focus

Les musées en général aspirent –au moins au sein de leurs énoncésde mission- à servir de centres

florissants, attirant des visiteurs versleurs objets artistiques, culturels,scientifiques et historiques, et de la

Generalmente la descripción demisión de los museos expresael deseo de servir como un

centro dinámico que atrae a los visi -tantes a conocer sus objetos históricos,científicos, culturales y su investiga ción.Para este fin, naturalmente, recibenuna atención especial la presentacióny el alojamiento de las colecciones,exhibiciones, y sus programas rela ci -onados con la esperanza de atraerbastante público. Es igualmente im por -tante el programa de eventos de unmuseo para atraer visitantes, y muchasveces también para generar ingresos. En el Museo de Auckland—uno de

nuestros anfitriones de la conferenciade IAMFA en noviembre- nuestro pro -grama de eventos es una parte integralde nuestra estrategia para crear uncentro dinámico. También, se aumentacada vez más, los eventos en los cualesel museo sirve sencillamente como“un punto de encuentro”.Se realizan entre 120 y 150 eventos

cada año en los ocho ambientes dife -rentes del Museo. Con listas de invi ta -dos variables de entre 30 y 700 personas,el Museo ha servido de punto de encu -entro para cenas de premiación, fun -ciones corporativas, eventos con finesbenéficos, conferencias, fiestas de cóctel,bodas, y lanzamientos de productos.

Auckland MuseumEvents are Key in Creating a Vibrant Museum Hub

Musée d’AucklandLes événements sont clés pour la création d’un centredynamique au musée

El Museo de AucklandLos Eventos son Claves para la Creación de un CentroDinámicoBy / par / por Melanie Cooper

Events hosted at the Auckland Museum draw on incredible views of the surrounding park,city and harbour.

Les activités organisées au Musée d’Auckland profitent des vues incroyables sur le parc, laville environnante et le port.

Los eventos realizados en el Museo de Auckland aprovechan las vistas increíbles del parquealrededor, la ciudad, y el puerto.


naturally falls on the collections, exhi -bitions and supporting pro grammes,and how these are housed and pre -sented to the hopefully large crowds.A museum’s own programme of events

is often seen as key to attracting visitorsand, frequently, to revenue generation.At the Auckland Museum—one

of the hosts for this year’s IAMFA

recherche. Pour atteindre ces objec -tifs, l’accent tombe naturellement surles collections, les expositions et lesprogrammes de soutien, et commentils sont logés et présentés au public,avec de la chance, en grandes foules.Le programme d’événements propre àun musée est souvent considéré commeessentiel pour attirer les visiteurs et,souvent, à la génération de revenus.Au Musée d’Auckland, l’un de nos

hôtes à la conférence de l’IAMFA enNovembre de cette année, notre pro -gramme d’événements est très bienparti et fera parti du mélange qui créeraun centre animé. Dans un degré crois -sant, c’est aussi le cas des événementsdans lesquels le musée sert « simple -ment comme un lieu de rendez-vous ».À travers les huit lieux distincts du

Musée, l’organisation recevra entre120 et 150 événements chaque année.Avec les listes d’invités allant de 30 à700 personnes, le Musée a fourni lecadre pour les dîners de gala, récep -tions d’entreprises, événements debienfaisance, conférences, cocktails,lancements de produits et mariages. Les huit différents sites incluent le

Musée du Grand Foyer et Salon desmembres, deux galeries du Muséed’histoire naturelle, un espace d’affi -chage d’une rue du dix neuvièmesiècle, et l’Atrium.Un centre d’événements construit

à cet effet – le Centre de la FondationLion – a été achevé en Décembre 2006.Situé au-dessus du Musée actuel, sastructure en dôme offre une vue à

Los ocho ambientes distintivosincluyen el Gran Vestíbulo del Museo yClub de Miembros, dos de las galeríasdel Museo de Historia Natural, unambiente representativo de una calledel siglo diecinueve y el Atrio.Un centro de eventos construido

con ese propósito—el Centro deEventos de la Fundación Lion- seterminó en diciembre 2006. Ubicadoarriba del museo existente, su cúpulaofrece vistas de 360 grados de la regiónde Auckland, y es uno de los puntosde encuentro más impresionantes dela ciudad.Un auditorio construido al mismo

tiempo, con una capacidad de 200 per -sonas, también ofrece un espacio muyfuncional para talleres, charlas, presen -tación de películas y obras de arte yde música.“Nosotros proveemos solamente el

lugar y más nada,” dice Jördis Renz,Gerente de Eventos del Museo deAuckland. “Todo lo demás se pro -porciona por medio de proveedoresacreditados y aprobados. Ni el serviciode comida ni de AV (audio visual) serealizan con personal del museo. Sinembargo, le ofrecemos una gamaamplia para escoger la fuente decomida entre cuatro proveedores acre -ditados. También trabajamos con unacompañía preferida de servicios audio -visuales, pero se permite el uso de unodiferente si así lo desean nuestrosclientes. En el caso de la comida,solamente son autorizados los cuatroproveedores que preferimos.”

The Auckland Museum’s Grand Foyer.

Le Grand Foyer du Musée d’Auckland.

El Gran Vestíbulo del Museo.

The Auckland Museum’s Lion Foundation Event Centre.

Centre d’événements de la Fondation Lion du Musée d’Auckland.

El Centro de Eventos de la Fundación Lion del Museo de Auckland.

A museum’s own

programme of events is

often seen as key to

attracting visitors . . .

Le programme d’événe -

ments propre à un musée

est souvent considéré

comme essentiel pour

attirer les visiteurs . . .

Es igualmente importante

el programa de eventos

de un museo para atraer

visitantes . . .


conference in November—our eventsprogramme is very much part of the mixin creating a lively hub. To an increas -ing degree, so too are events in whichthe Museum serves “simply as a venue.”Across the Museum’s eight distinct

venues, the organisation is host tobetween 120 and 150 events each year.With guest lists ranging from 30 peopleto 700 people, the Museum has pro -vided the setting for awards dinners,corporate functions, charity events, con -ferences, cocktail functions, productlaunches and weddings. The eight separate venues include

the Museum’s Grand Foyer and Mem -bers’ Lounge, two of the Museum’sNatural History galleries, a nineteenth-century street display space and theAtrium.A purpose-built event centre—the

Lion Foundation Event Centre—wascompleted in December 2006. Locatedabove the existing Museum, its domestructure affords 360° views of theAuckland region, making it one ofthe city’s most impressive venues. An auditorium completed at the

same time, with a capacity of 200people, also offers a highly functionalspace for workshops, lectures, filmscreenings and musical and theatricalperformances.“We supply the venue and nothing

else,” says Jördis Renz, Events Managerat the Auckland Museum. “Everythingelse is sourced through accredited andpreferred suppliers. We don’t haveany in-house caterers or AV providers.However, we do offer our clients theservices of four accredited caterers,giving them a wide range of choices.We also work with one preferred AVprovider, but clients are allowed to useothers if they have an affiliation—that’sdifferent to the catering arrangement,where they have to use one of ourfour preferred companies.”There are a number of advantages

to this approach. With outside cater ing,there are no issues around cookingequipment, as it is brought in on anevent-by-event basis. And using anexternal AV provider means that theMuseum does not have to worry aboutstorage, maintenance and obsolescence. Being a venue-only provider also

allows the Museum to run a very small

360° de la région d’Auckland, en faitl’un des lieux les plus impressionnantsde la ville.Un auditorium terminé en même

temps, avec une capacité de 200 per -sonnes, offre aussi un espace très fonc -tionnel pour les ateliers, confé rences,projections de films et représentationsmusicales et théâtrales.« Nous fournissons le lieu et rien

d’autre, dit Jördis Renz, coordon -natrice des événements au Muséed’Auckland. Tout le reste est procurépar le biais des fournisseurs agréés etprivilégiés. Nous n’avons pas en internedes traiteurs ou des prestataires d’AV.Cependant, nous proposons à nosclients les services de quatre traiteursagréés, en leur donnant un large éven -tail de choix. Nous travaillons égale -ment avec un prestataire privilégiéd’AV (Audio-visuel), mais les clientssont autorisés à utiliser d’autres s’ilsont une affiliation qui est différent del’arrangement de restauration où ilsdoivent utiliser l’une de nos quatreentreprises préférées. »Il y a un certain nombre d’avantages

à cette approche. Avec la restaurationà l’extérieur, il n’y a pas de questionsautour de l’équipement de cuisson,

Son varias las ventajas de usar pro -veedores externos para la comida yequipos audiovisuales. No hay pro -blemas asociados con el equipo de

comida porque no son propiedad delmuseo, se traen únicamente cuandohay un evento. En el caso de los equiposaudiovisuales el museo no tiene que

The Auckland Museum’s auditorium has hosted lectures, workshops, film screenings, musicrecitals and theatrical performances.

L’auditorium du Musée d’Auckland a accueilli des conférences, ateliers, projections de films,récitals de musique et des représentations théâtrales.

El auditorio del Museo de Auckland ha sido sede de charlas, talleres, presentaciones depelículas, obras de música y de teatro.

. . . the organisation is

host to between 120 and

150 events each year . . .

. . . l’organisation

recevra entre 120

et 150 événements

chaque année

Se realizan entre 120 y

150 eventos cada año . . .


events team. “The business modelwhen it comes to resources is builtvery slim,” says Renz. “We only employtwo staff—the Events Manager and theEvent Co-ordinator—and we make itall happen.”The list of things the team has

made happen—with support from theMuseum’s building facilities group—isimpressive. A goods lift for the purpose-built Lion Foundation Events Centrecarries up to 4.5 tonnes, and has been

used to transport both BMWs andBentleys for product launches. A livepetting zoo for New Zealand dairygiant Fonterra even saw farm animalsbeing transported in the goods lift.The Lion Foundation Event Centre

has also been used as the setting forthe final episode of America’s Next TopModel, and has been the host venue forsome of the world’s most promi nentdignitaries, including former U.S.Secretary of State Condoleezza Rice,U.K. Prime Minister Tony Blair, presi -dents and past and present New Zealandprime ministers. Despite the pared-back business

model, the steady stream of eventbookings is one of the Museum’s mostsignificant revenue streams. “Com -mer cial events are certainly one of thebiggest contributors to the runningof the Museum,” says Renz, “and that

comme il est présenté sur une base decas par cas, et l’utilisation d’un four -nisseur externe d’AV signifie que lemusée n’a pas à se soucier de stockage,maintenance et obsolescence.Être un fournisseur seulement du

lieu permet également au Musée dediriger une très petite équipe d’événe -ments. « Le modèle d’affaires quandil s’agit de ressources est construittrès mince », explique Renz. « Nousn’employons que deux membresdu personnel – la gestionnaire et lacoordonnatrice des événements –et rendons tout cela possible. »La liste des choses que l’équipe a

réussit – avec l’appui du groupe deconstruction d’installations du Musée –est impressionnante. Un monte-chargedu Centre des événements de laFonda tion Lion transporte jusqu’à4,5 tonnes et a été utilisé pour trans -porter deux voitures, BMW et Bentley,pour des lance ments de produits. Unzoo vivant pour enfants du géant laitierNéo-zélandais Fonterra a même trans -porté des animaux d’élevage dans lemonte-charge.Le Centre d’événements de la

Fondation Lion a également étéutilisé comme décor pour le dernierépisode d’America’s Next Top Model, eta été le lieu d’accueil pour certainsdes dig nitaires les plus éminents dumonde, y compris l’ancienne Secré -taire d’Etat américaine CondoleezzaRice, le Premier ministre britanniqueTony Blair, présidents et ancienset actuels premier ministres de laNouvelle-Zélande.En dépit du modèle comparatif

d’affaires, la constante régulière desréservations d’événements est l’un desrevenus les plus significatifs du Musée.« Les événements commerciaux sontcertainement les plus gros contribu -teurs au fonctionnement du Musée »,explique Renz, « et cette contributionest réalisable avec une très petiteéquipe. Le revenu est toujours bien -venu dans l’environnement des res -sources intensives des musées, mais lesévénements commerciaux ont égale -ment un autre important amont quine se montre nécessairement pas surles registres comptables.

preocuparse por el almacenamiento,mantenimiento, o la edad del equipo. Ser proveedor de instalaciones físicas

únicamente le permite al Museo operarcon un mínimo de personas en suequipo de eventos. “El modelo denegocio en cuanto a recursos es muymodesto,” dice Renz. “Solamenteempleamos dos personas—el Gerentede Eventos y el Coordinador de Eventos—y ellos se encargan de todo.”La lista de eventos que ha ejecutado

el equipo con el apoyo del personalde mantenimiento de instalacionesdel museo es impresionante. Unascensor de carga para el Centro deEventos de la Fundación Lion tienecapacidad para 4.5 toneladas y se hautilizado para transportar carros BMWy Bentley para lanzamientos de pro -ductos. Inclusive se utilizó para subiranimales de granja para Fonterra, lagigante compañía láctea de NuevaZelandia, cuando exhibieron unzoológico para niños. El Centro de Eventos de la Fun da -

ción Lion ha servido de sede parael episodio final de “America’s TopModel”, y ha hospedado algunos delos dignatarios más importantes, entreellos la antigua Secretaria de Estado delos EEUU, Condoleeza Rice; el PrimerMinistro del Reino Unido, Tony Blair;presidentes y ministros actuales yanteriores de Nueva Zelandia.A pesar del modelo de negocio

minimalista, las reservas del museopara eventos representan uno de losmás importantes flujos de ingresos.“Sin duda, los eventos comerciales sonlos más grandes contribuyentes almanejo del museo,” dice Renz, “y esacontribución se logra con un equipobien pequeño.” Los ingresos siempreson bienvenidos entre los museos porser consumidores de recursos, perohay otro beneficio de los eventoscomerciales que no se refleja siempreen el balance de situación. El museo de Auckland tiene muy

claro que su papel de anfitrión deeventos hace que los habitantes delárea de Auckland lo tengan presente,y ayuda a reforzar sus lazos con lacomunidad. En lugar de disminuir suimportancia como un centro cultural

The list of things the team

has made happen . . .

is impressive.

La liste des choses que

l’équipe a réussit . . .

est impressionnante.

La lista de eventos que

ha ejecutado . . .

es impresionante.


contribution is achievable with a verysmall team.” Revenue is always wel comein the resource-hungry environmentof museums, but the commercialevents also have another importantupside that doesn’t necessarily showon the ledger. The Auckland Museum is acutely

aware that its role as a venue also feedsits position in the consciousness ofpeople within the Auckland region,and helps to secure its ties with thecommunity. Far from diminishing itsimportance as a culturally and his -torically significant hub, the abilityto hire it out as a venue seems to havecemented how central the Museumis to the city’s music, art, history andculture. It also neatly ties it to currentevents, building a natural, tacit storyaround the Museum’s relevance andparticipation in contemporary life.Providing a setting for major events

also contributes to the Museum’smedia profile. Mentions or reviewsof the Auckland Museum as a venueregularly account for up to a sixth ofthe organisation’s monthly media hits.Jördis Renz acknowledges that there

are challenges that come with jugglingevents around the daily running of theMuseum, but says that the detailed butstraightforward events booking andnotification process which is in placelargely addresses the difficulties.The Auckland Museum’s event team

is looking forward to welcoming IAMFAmembers in November, along with achance to demonstrate the contributionthat events can make to creating avibrant, engaging Museum hub.

Melanie Cooper is Publicist at the AucklandMuseum.

Le musée d’Auckland est parfaite -ment conscient que son rôle en tantque lieu d’événements, nourrit aussisa position dans la conscience desgens au sein de la région d’Auckland,et contribue à sécuriser ses liens avecla communauté. Loin de diminuerson importance en tant que signifiantpôle culturel et historique, la capacitéde le faire embaucher comme un lieude rendez-vous semble avoir cimentécombien le rôle du Musée est centralà la musique, l’art, l’histoire et la cul -ture de la ville. Cela est aussi très bienattaché aux événements courants,établissant une histoire naturelle ettacite, autour de la pertinence et laparticipation du Musée dans la viecontemporaine.Fournir un cadre pour les grands

événements contribue également auprofil du Musée des médias. Mentionsou commentaires du Musée d’Aucklanden tant que lieu d’événements régu -lièrement représentent jusqu’à unsixième des succès organisés chaquemois par les médias.Jördis Renz reconnaît qu’il y a des

défis qui viennent avec des événe mentsà jongler autour de la gestion quoti -dienne du Musée, mais elle dit que laréservation des événements détaillésmais francs et le processus de notifi -cation qui est en place occupent unegrande partie des difficultés.L’équipe de l’événement du Musée

d’Auckland est impatient d’accueillirles membres de l’IAMFA en Novembre,et la chance de démontrer la contri bu -tion des événements à créer un centredynamique et engageant au Musée.

Mélanie Cooper est publiciste au muséed’Auckland.

e histórico, la posibilidad de utilizarlas instalaciones del museo parecehaber asegurado su posición céntricaen el arte, la música, cultura, ehistoria de la ciudad. También lo ligaa los eventos corrientes, a través deuna historia natural tácita a raíz de larelevancia y participación del museoen la vida diaria. Proveer el entorno para eventos

importantes también contribuye alperfil del museo en los medios decomunicación. Las menciones o lasevaluaciones del museo en cuanto asu uso para eventos regularmenterepresentan hasta un sexto de lasmenciones mensuales en los mediosde comunicación. Jördis Renz reconoce los retos que

se presentan al atender los eventosademás de las operaciones diarias delmuseo, pero comenta que el procesodetallado y sin complicaciones parahacer las reservas y notificacionescubre la mayoría de las dificultades.El equipo de eventos del museo de

Auckland está con ganas de recibir alos miembros de IAMFA en noviembrey de demostrarles el impacto quepueden tener los eventos en lacreación de un centro dinámico.

Melanie Cooper es publicista en el museode Auckland.

Reserve this spaceto advertise in a future

issue of Papyrus

Please contact the Editorof Papyrus for details


Natural light was the prevalent light source in museumand exhibition spaces for many years, until conserva -tion requirements caused it to be excluded from the

majority of display spaces. As the culture shifts towards anemphasis on optimal view ing conditions for art, objects andthe architectural context of exhibition spaces, daylight isre-entering museum and gallery architecture. The use of daylight in exhibition spaces can serve different

purposes and needs.

• Natural light can be used as the illuminant (i.e., thesource of light) under which exhibits are viewed. Art seen in natural light has a dif fer ent quality andaesthetic than art dis played under electric lighting.Even if natural light is controlled or dif fused, the daylitspace has the quali ties of the changing natural light interms of colour and light direction. The dynamic prop -erties of natural light are perceptible, and constantlychange the appearance of both the space and the dis -played work. A visitor’s experience of art and objectswill be slightly (or dras tically) differ ent each time theyenter the space. Visitors returning to these museumsand galleries will always see and experience the displaysin a new light.

Daylight is often used as the illu minant in sculpturegalleries with less sensitive display pieces, such as thesculpture exhibition in the Metropolitan Museum of Artin New York, or the Louisiana Museum of Modern Art inDenmark. Al though these spaces do not provide con trolledor consistent qualities of lighting, the spatial quality andthe visitor experience are unique for every visit.

• The dynamics of natural light pro vide visitors witha connection to the outside world. A view to the outside can increase visitor attention, comfortand well-being, both psychologically and physiologically.

• Daylight offers excellent colour rendering and itscolour is “alive”. Because of its natural appearance, the visual experienceunder day light conditions is often considered moresatisfactory than the experience under artificial light.

• Paintings produced prior to the twentieth centurywere largely created in natural light. Using daylight for exhibition light ing can illuminate artunder con ditions similar to those in which it was created,and can make the space and the objects appear the waythey would in nature.

Looking at Art in a New LightPart Two in a Four-Part Series: In the Light of Day—Daylight in Exhibition Spaces By Mirjam Roos and Emrah Baki Ulas

Metropolitan Museum of Art, New York. Louisiana Museum, Denmark.

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• In foyers, entry halls and other non-display spaces,natural light can be used for illumination. When daylight is admitted into a space, it naturally leadsto a par tic ular gradation of light throug hout the room’sgeometry, and will affect the appearance of the buildingsur faces and materials. Surfaces and objects within thespace respond to the different colours of light, thevarying angles of light and, through the strengths ofmodelling, can en hance the architectural design andcreate a memorable space.

• Using daylight offers energy savings.Sustainability is of increasing im portance in museumand gallery archi tecture. The use of daylight to illuminatespaces creates an opportunity to save evergy, as electriclight ing can be reduced or eliminated.

Although all of these factors favour the application ofdaylight to an exhi bition area, there are certain concernswhich must be addressed. The some times highly variantcharacter of natural light, as well as the photo-degrativepotential of UV rays, and the radiant heating potentialof infrared, present challenges in the use of daylight fordisplay lighting, and may require highly sophisticatedtechniques for adequate control. One of the great challenges in day lighting applications

is managing the varying intensity of daylight. Lightingconditions are influenced by the geo graphical location ofthe institution, the cloud cover of the sky and the Sun’sposition (altitude and azimuth), which varies throughoutthe day and year. During the course of the day, naturallight also undergoes spectral variations and shifts fromwarm red dish light to blue tones. Other factors that must

be taken into consideration are the building’s orientation,over shadowing from adjacent structures, and the influenceof reflective surfaces that can change lighting conditionswithin a space.When designing daylight systems and control

mechanisms, the key design objectives and direction needto be established. For example:

• Is daylight being used to create a particular ambience orspace, or is it being used as an exhibit illuminant?

• Will the light admitted be direct or does it need to bediffuse?

• What is the radiation exposure limit or maximum yearlyexposure guide line for conservation purposes?

• Are static conditions required, or is a dynamic lightingcontrol preferred, actively regulating light levels?

• How much does daylight vary within the display spacethroughout the day and year?

• Does the space have a direct visual connection withviews to the outside, or is it indirect?

These considerations will establish the direction of thedesign, and guide the design process.Daylight control has a number of components that will

be used in accor dance with established principles to achievethe relevant design objectives. The following graphs gener -ically indi cate the various daylight control com ponentstypically used for horizontal and vertical glazing: externalshades/louvres to block-out or re-direct direct sunlight;high-performance glazing with UV filtering components;internal operable blinds; and a diffusing or redirectingsurface which acts as a secondary or tertiary light source,filtering daylight into the exhibition space. Passing throughthe various layers, light intensity and harmful radiation arereduced to levels that are acceptable for exhibition conditions.The lighting control strategy can be based on active

control or passive (static) control principles.The goal of an active daylight con trol system is a con -

sistent, narrow band of illuminance levels as a performancetarget. In order to limit the fluctua tions in daylight intensity,lighting levels need to be actively modulated by means ofautomated louvres or blinds. These control mechanismsare relatively complex systems designed to manage a range

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of sun angles and sky con di tions, often with higher require -ments for maintenance and control system management.Care should be taken that changes and modulation in light - ing conditions do not cause distraction and disturbanceto visitors.The passive daylight control system aims for overall annual

exposure tar gets, and allows for reasonable varia tions withinthis range. As the system is static, it has to provide exclusionof sunlight for all sky conditions, and transmission of diffusedaylight and reflected sunlight only (e.g., through fixedlouvres or skylight/window design). The diffuse naturallight is captured and filtered into the exhibi tion spaces aseven illumination. The ingress of UV radiation is limitedor excluded to reduce the risk of damage. Static systems generally have the advantage of reduced

maintenance. However, as light levels are more vari ablewithin the set limits, the display of sensitive artwork withvery limited exposure time should be carefully considered,and rotation of artworks might be required.It is essential to apply a number of design tools to allow

a detailed assess ment and confirmation of the controlmechanisms designed. As forms of predictive analysis, the following tools are

available to specialised lighting designers:

• Sun studies to predict direct daylight penetration.

• Daylight modelling to predict light levels and lightdistribution under various sky conditions.

• Glare analysis to predict Daylight Glare Indices, andto assess luminance contrast issues.

With published sky data and Sun probability statistics forvarious loca tions, the frequency of particular sky conditionsand control strategies can be forecasted.In order to verify the modelling, calculations and pre -

dictions that are predominantly carried out on the computer,and to confirm predicted conditions in actual lighting andgeo graphical settings, exhibition spaces undergo a physicalmodelling process. Models can range in size and scale, andcan be tested under real con di tions, or in a light laboratoryunder diffused lighting (artificial sky laboratory) and undera heliodon, which is used to exam ine how the direct rays ofthe Sun interact with an architect’s building design.Electric lighting should be con sidered in an integrated

manner with the daylighting system. The electric lightingsystem needs to balance and blend in with the daylight interms of light colour, intensity and direction. With a com -bination of both lighting components, memorable andunique exhibition spaces can be created to be enjoyed andappreciated by visitors, whilst remaining mindful of thepreservation of exhibits.A key objective in the design, oper ation and manage ment

of exhibition spaces involves achieving optimal viewingconditions and visitor comfort, carefully balanced againstthe need to conserve and protect the collection for gen -erations to come. These com peting considerations arebeing revisited, and new directions are being explored.The next article in this series will discuss the background,the latest trends and possible future developments in thefield of lighting conservation for exhibition spaces.

Mirjam Roos (MA, Dipl.Ing., Assoc PLDA) and Emrah Baki Ulas(MA, BSc, PLDA) are Senior Lighting Designers at SteensenVarming Australia. The first article in this series was featured inthe Fall/Winter 2010 issue of Papyrus.

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Typical daylight modelling diagram.

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The British Library is carrying outan ongoing programme of energy-efficient lighting upgrades at its

St Pancras site, as part of its EnergyAction Plan. The Library’s energymonitoring, management and reduc -tion processes, implemented jointlybetween the Library’s Estates Teamand service provider Cofely, resultedin the Library receiving a LondonGreen 500 Platinum Award in 2010.This Platinum Award follows the GoldAward received by the Library in 2009,and demonstrates the Library’s ongoingcommitment to reducing its energyemissions. Current and recent energy-saving projects include:

• Kings Library Tower LED lighting;

• St Pancras public areas LED featurelighting;

• St Pancras LED external lighting; and

• half-hourly metering at the Library’ssite in Boston Spa, Yorkshire.

One of the Library’s first significantuses of LED lighting was in its iconicKing’s Library. Situated in the heartof the British Library in London, theKing’s Library is a six-storey tower whichhouses 65,000 volumes of printed worksand 19,000 pamphlets collected byKing George III. This collection is con -sidered to be one of the most signi fi -cant of the Enlightenment. The towerpreviously used 336 ¥ 70W fluorescentlamps to light the collection, operat ing15 hours per day. Drop-in replacement22W LED tubes lamps were selected toreplace the existing lamps. These ben -e fit from lower energy consumption,far longer life expectancy (from 20,000to a minimum of 60,000 hours), low-temperature running, and zero ultra -violet emissions. They reduce CO2emissions by 50%. Other benefits in -clude a hugely reduced need to access

this high-security area for lighting main -tenance, and better display conditionsfor the collection material.In the public areas of St Pancras,

460 metres of LED linear lightingstrings were selected to replace coldcathode discharge lighting used toprovide feature lighting on staircasesand cove lighting in lift lobbies andother areas. The LEDs reduced powerconsumption per metre of lightingfrom 50W to 4.8W, and provided afar more reliable lighting source. LED lighting has also been used

externally, including high-level LEDfloodlighting and feature lighting fornew steps and the Poet’s Circle. Thishas made a significant improvementin lighting levels without increasingenergy consumption, and improvedthe rendering of CCTV images for theLibrary’s security team.

British Library: An Energy-Saving Case StudyBy Patrick Dixon

The King’s Library Tower at the BritishLibrary’s St Pancras facility.

Passerelle lighting replaced with LED solution.


A current example of the Library’senergy-efficiency drive is voltage opti -misation. Carefully reducing the out -put voltage of the Library’s high-voltagetransformers allows connected equip -ment to operate at optimum efficiencywhile lowering its energy consumption.The first transformer to be fitted withthis equipment will reduce output vol -tage by 17V: a reduction of –7% whichrepresents annual energy savings of96 tonnes of CO2.Finally, half-hourly electricity, gas

and water meters have been installedat the Library’s 27-building, 40-acre sitein Boston Spa, Yorkshire. These willprovide an accurate and full record ofutilities use, and identify where savingscan be made.Subject to funding and approval of

business cases, further exciting pro -jects are planned which will reducethe Library’s CO2 emissions andenergy consumption.As a result of these projects, the

Library’s IAMFA Energy Label hasimproved from a “D” rating in 2009to a “C” rating for 2010 (5–10%saving band).

Patrick Dixon is in charge of LED lightingand other energy-saving schemes at TheBritish Library.

The British Library at St Pancras. The British Library’s Boston Spa facility near York, England.


According to the most recent IAMFA BenchmarkingReport, average savings per benchmarking par tici -pant have been 1.79 million USD/1.097 million GBP/

1.73 million AUD since 2006. By implementing the provenpractices of their peers, participants continue to lowerfacility operating costs.The 2006 IAMFA benchmarking study determined that

participants spent $14.91 per GSF in total operating costs.Four years later, participants in the 2010 study reportedthat total operating costs were down to $11.80 per GSF.

2006 to 2010Total Operating Cost savings: $3.11 per GSFTotal Square Feet benchmarked: $29.4 Million Total Savings: $91.4 Million Average Savings per IAMFA Participant: $1.8 Million

“With savings like that, you can’t afford not to bench mark,”said David Sanders of the Natural History Museum, Londonat a recent IAMFA Benchmarking Steering Committee meet -ing. The IAMFA Benchmarking Steering Committee meetsto ensure that the online survey questionnaire is updatedevery year with data reflecting changes in the industry. Year after year, IAMFA benchmarking participants like

Sanders scrutinize published reports of operating costs andthe best practices of their peers. By focusing on cost categoriesin which peers appear to excel, facility and operationsadministrators glean ways to save money and conserve energy.

Published Cost Comparisons Help Institutions Compare “Apples to Apples” Best practices and key lessons learned are included in thepublished report each year, and are shared among par -ticipants. Participants learn practical ways to lower costsby referencing proven practices used by those that per-form well in each category. By implementing the practicesof others, then tracking the results in the next year’sstudy, the benchmarking process pushes continuousimprovement and drives decreases in costs and carbonfootprint.Even with the rising median cost of electricity—0.076 USD

per KWH in 2006 rose to 0.114 USD in 2010—coupledwith increasing consumption—median usage in 2006 was21.86 KWH per GSF, compared to 23.50 KWH per GSF in2010—IAMFA benchmarking administrators have reducedoverall operating costs.The IAMFA benchmarking study publishes cost com -

pari sons for numerous custodial, utilities, building main -tenance, grounds and landscaping and facility securitycategories. Summer and winter temperature and relativehumidity settings are tracked for sixteen types of space.Cleaning frequency and GSF cleaned per FTE are bench -marked. Other issues measured include Facility ManagementOperating Approaches, Outsourcing, Food Services,Emergency Preparedness Plans and Life Cycle Plans. The300-plus page report is customized for each institution.There are three new checklists in the 2011 IAMFA

Benchmarking Report: Maintenance, Custodial and UtilitiesBest Practices. This new format will help participants moreeasily cross-reference proven solutions to their currentchallenges.IAMFA benchmarked 29.4 million square feet of space

last year. A third of the participants were large culturalinstitutions benchmarking over 600,000 GSF/55,000 GSM.Almost one-third benchmarked 250,000 to 599,000 GSF/23,000 to 56,000 GSM. Fifteen percent of the participantswere from small institutions of less that 125,000 GSF/11,000 GSM. Mid-sized cultural institutions made upthe remainder.Registration is now open for the 2011 Benchmarking

Study. Learn more at www.facilityissues.com/museums.

Stacey Wittig is Marketing Director at Facility Issues, thebenchmarking consultancy for IAMFA. She can be reachedat [email protected] or 928-255-4943.

Benchmarking ParticipantsSave Their Institutions anAverage $1.79M By Stacey Wittig

Operating costs for benchmarking participants.


During IAMFA’s annual con fer -ence in San Francisco lastOctober, all of the delegates

assembled during one session to par -ticipate in the first step of a planningexercise that will help the Board ofDirectors chart IAMFA’s course for thenext five years. The delegates wereasked to perform an environmentalscan to identify what, in their view,are the internal strengths and weak -nesses of IAMFA, and what are theexternal opportunities and risks tothe organization. This environmental scan is the first

step in a strategic planning process inwhich the most important issues thatthe organization must address for theforeseeable future are identified, alongwith what action plans can be made toaddress these issues. Listed below arethe results of feedback from IAMFAdelegates during the planning session.

Internal Strengths

• Conferences are critical to vitality

• Diversity of group (size, specialty ofmembers)

• Calibre of members

• Ability of the group to documentStrengths, Experience, Knowledgeand Standards

• Inclusion of engineers and othertechnical experts in all professionaldisciplines

• Involvement with other prestigiousinstitutions

• Publishing of benchmarking data

• Regional meetings for outreach tonon-IAMFA museums

• Board structure—very effective

• Papyrus

• IAMFA’s vehicles for knowledge shar -ing (conference, benchmarkingsurvey reports, Papyrus)

• We are all part of a team, so we areused to teamwork—when we cometogether, we share

• As a group, we promote makingmuseums more sustainable

Internal Weaknesses• Replication—developing leader shipsuccession planning

• Lack of multilingual presentations

• Lack of “credential-ing” orprofessional certification

• Lack of participation from smallermuseums/institutions

• Regional Chapters

• Website is out of date; poor pre -sentation of members, updatesof activities

• Some chapters are active, othersdormant

• Communication: better review of hottopics; e.g., sustainability, energymanagement, internal clients

• Infrequent meetings betweenannual meetings

• Lack of teleconferences betweenchapters, particularly in light ofnext year’s meeting in New Zealand

• No webcast of conferences

• No blogs

• No use of social media

• Minimal oversight/leadership ofwebsite

• No price point to bring in newmembers

• Need more integrated approach tomembership; multiple levels fororganizations

• Need better assessment of what canwe do better

• We don’t document what we do, inorder to take what we do and do itbetter

• IAMFA is not good at publicizingthe organization and producingarticles, publicizing best practices;e.g., “IAMFA recommends this…”

• IAMFA’s connections to otherprofessional organizations; e.g.,Conservation Institute, NFPA,ASHRAE

• No permanent staff; all volunteers

• Need recognition of standards

• No connection with ASHRAE(HVAC), although we have similarinterests and concerns

• Since we are volunteers, we must becareful with how much we do withlimited staff and time

• Could do a better job sharing tech -nical information: still very general;want more detailed information

• Problem with benchmarking dataregarding gas-phase pollutants

• Need to get our name out there(ICOM)—but how effective?

• We have Papyrus newsletter, butdon’t publish papers on topicssuch as property management,engineering, etc.

• We produce benchmark figures,but what happens next?

• Are you on rush side? Low side?

• Analyze deeper; we aren’t analyzingdata from benchmarking: website,continued professional development

• No competitors, therefore noreason to hold information back

• Limited mechanisms for sharing

• International and wide geography

• Common goals

• Diverse facilities

• Stewardship of properties

• Operating context

Results of the Planning Session inSan FranciscoBy Guy Larocque


External Threats to IAMFA• Economic conditions may preventmembers from attending AnnualConferences

• Member organizations may notrealize the value of attending theAnnual Conference

• No paper invoicing for dues andconference registration

• Minimal local activities of chapters

• Undefined business area coveredby “Facilities Management”

• Lack of process to educate uppermanagement that FacilitiesManagement is a “core business”

• Need to identify skill sets of facilitiesprofessionals and focus on relevanceof facilities to upper management

• The term “Facility Manager”

• Financial pressure on IAMFAmembers

• Restrictions on travel/attendance

• Management may not see the valuein attending the Annual Conference

• New Zealand may be lightly attendeddue to cost and distance fromU.S./U.K.

• Reductions in operating budgets

• Imposition of higher costs (e.g.,LEED buildings)

• Comparison of IAMFA’s staff andbudget; at what point do membersbecome ineffective by attending?

• “Competitive organizations”: generalfacilities organizations in U.K.

• Competitive organizations whoseattention dilutes IAMFA membership

• If we don’t grow, there are no newideas or organizational strengths

External Opportunities• Bilingual; distribution; non-member distribution and formal(PDF)

• Marketing package; website notuser-friendly; conference focuseson the site

• Inclusion of other like institutions:federal and state

• Regional meetings: quarterly meet -ings at a local level; conference calls

• Standard formal reporting

• Searchable database of issues

• Personality profiles printed inPapyrus: a snapshot of identifiedpersonal individual bios that areavailable to members; identify typeof institution and specific skills;enhancements of original orexisting systems

• Perception that only the larger insti -tutions have ability to contribute asidentified in benchmarking; couldfollow that which is experienced incuratorial areas; more of a regionalfocus; if this was promoted it mightimprove participation

• Setting guidelines and recom men da -tions for temperature and humidity,for example; guidelines are morediscernable than standards, as weare not an official authority

• Greater focus on marketing/branding; what is our brand/icon;improve brand recognition

• Advertising in library journals

• Use the benchmarking report as anoutreach tool

• Get some academic individuals towrite articles for Papyrus or othertechnical/trade journals

• Create a summary of the successesof members, which can be presentedin journals and on the web andused by facility professionals to sellconference participation to CFOsor CEOs

• Elevation of profession (Do weneed a direct approach to highestexecutive level for recognition?)

• Educate others from our extensiveknowledge base (via conference; viaongoing networking)

• Willingness to share information, buta rudimentary way to share (YahooForum); this is an opportunity toimprove (Linked In?)

• Socially responsible—take infofrom conference and implement

• Position ourselves better within ourorganizations

• Establish guidelines and provideeducation for our members

• Accreditation

• Add a training component (toCEUs in U.S., CPDs in U.K.,France?) to increase value tomembers and their organizations

• Add value by sharing some bestpractices

• Data center of heat-generation andpower requirements (e.g., digitizingbooks)

• Make conferences more familyfriendly to increase attendance,without diminishing memberattendance to the program

• Can we help someone solve aproblem during a conference?

• Develop a fact sheet that we couldhandout to other museums; e.g.,Mark DeMairo says he could givethem to German Museum

• Take better advantage of Web/ITtechnology

As you can see from the feedbackprovided above, the participants havecontributed tremendously with excel -lent information that will allow theBoard to proceed with the next stepin this planning exercise. At the con -ference in New Zealand in November2011, there will be another planningsession, where the participants will beasked to each identify the top fivepriorities, from the list above, thatIAMFA should address going forward.I would like to thank all those who

participated in this planning exercise.It was truly a rewarding experience tosee the enthusiasm with which ourIAMFA members took this importantexercise to heart.

Guy Larocque is Director, Facility Manage -ment and Security Services at CanadianMuseum of Civilization Corporation, and isa member of the IAMFA Board of Directors.

22 PAPYRUS SPRING 2011

2011 IAMFA Con

Auckland Museum

Museum of Transport andTechnology

Structural steel roof modules,February 2010

Voyager NZ Maritime MuseumExtension

Navy Museum Torpedo Bay

DELEGATE PROGRAM SUNDAY

8:30 am Benchmarking workshop Art Gallery—Art LoungeNOTE: This is a separate workshop for benchmarking participants only, and not part of the IAMFA Conference.

3:00 pm Conference registration and bag pick-up Langham Hotel

6:30 pm Opening reception Civic Theatre—Verandah Bar

MONDAY 8:15 am Bus to Auckland Museum To Auckland Museum

9:00 am Powhiri/Welcome Maori Hall, Auckland Museum Maori cultural group performance

10:00 am Auckland Museum's balancing act: Auditorium, Auckland Museum (1) Building conservation and construction (2) Systems vs. visitors (visitor-centric)

11:30 am Museum site visits—chillers, conference floor, roof Auckland Museum

12:45 pm Bus to lunch at Waterfront Café, Viaduct Harbour To Voyager, NZ Maritime Museum

1:45 pm IAMFA planning session Functions room—Voyager

3:00 pm (1) Construction in a marine environment; Functions room—Voyager (2) Challenges for NZ Green Buildings

4:10 pm Visit exhibitions in Voyager Voyager NZ Maritime Museum

5:15 pm Ferry to Waiheke Island for vineyard dinner To Mudbrick Vineyard

10:15 pm Return to hotel by ferry and bus To Langham Hotel

TUESDAY

7:45 am Walk to Auckland Art Gallery To Auckland Art Gallery

8.00 am (1) “The dialectic relation of art and architecture”— Auditorium—Art Gallery Lead Architect Richard Francis-Jones

(2) The New Auckland Art Gallery: An Art Museum for the 21st Century—Director Chris Saines

10:00 am Seismic strengthening for a heritage building Auditorium—Art Gallery

10:45 am Gallery site tours to conservation labs, chillers/plant; Back-of-house, Gallery exhibitions; Maori dimension

12:00 pm Lunch at Sky Tower Sky Tower restaurant

1:30 pm Benchmarking and best practices report Auditorium—Art Gallery

2:15 pm “Casting new light on your collection” Auditorium—Art GalleryNew spatial typologies, conservation approaches and sustainability perspectives for museum and gallery exhibition lighting

3:00 pm Bus to Navy Museum and tour Navy Museum, Devonport

5:30 pm Bus to hotel or Devonport; free evening for delegates in Devonport or Auckland

6:00 pm IAMFA Board meeting Langham Hotel

WEDNESDAY 8:00 am IAMFA Annual General Meeting Langham Hotel

9:15 am Bus to Auckland Zoo, morning tea To Auckland Zoo

10:00 am “Te Wao Nui: A Modern Zoo”— Auckland Zoo Director Jonathon Wilken

11:00 am Site visits, introductions to Te Wao Nui, Zoo Doo Auckland Zoo and NZ Centre for Conservation Medicine

1:00 pm Lunch in the Old Elephant House Auckland Zoo

2:00 pm Walk/tram ride to Museum of Transport and Technology To MOTAT

2:15 pm (1) Aviation Display Hall—development and challenges Museum of Transport and Technology

(2) The Pumphouse—Auckland waterworks history

4:30 pm Bus to hotel, dress for Gala dinner To Langham Hotel

6:30 pm Bus to Gallery, group photo, gala dinner Atrium, Auckland Art Gallery

10:15 pm Bus back to hotel To Langham Hotel

PAPYRUS SPRING 2011 23

Viaduct Harbor

Auckland's Sky Tower

Auckland Zoo

Langham Hotel

Mudbrick Vineyard

ference Schedule GUEST PROGRAM

13 NOVEMBER 2011

3:00 pm Conference registration and bag pick-up Langham Hotel

6:30 pm Opening reception Civic Theatre—Verandah Bar

14 NOVEMBER 2011 8:15 am Bus to Auckland Museum To Auckland Museum

9:00 am Powhiri/Welcome Maori Hall, Auckland Museum Maori cultural group performance

10:00 am Visit museum exhibitions and shop Auckland Museum

10:45 am Bus to Viaduct Harbour To Viaduct Harbour

11:00 am Look, Cook & Eat—seafood cooking class and lunch Viaduct Harbour

2:00 pm Walk/bus to Voyager NZ Maritime Museum To Voyager, NZ Maritime Museum

2:15 pm Sailing trip on historic scow—the Ted Ashby Waitemata Harbour

3:20 pm Visit exhibitions at Voyager/downtown shopping Downtown Auckland

5:15 pm Ferry to Waiheke Island for vineyard dinner To Mudbrick Vineyard

10:15 pm Return to hotel by ferry and bus To Langham hotel

15 NOVEMBER 2011

8:30 am Pilates by the pool (optional) Langham Hotel

9:00 am Free time

10:00 am Bus pick-up for day trip From Langham Hotel

Experience NZ's flora and fauna, rain forests and beaches, Waitakere Ranges and West Coast with an award-winning boutique tourism operator

Picnic lunch, brewery lunch or winery lunch (again!) Out West!

5:00 pm Return to hotel

5:30 pm Free evening

16 NOVEMBER 2011 9:15 am Bus pick-up Langham Hotel

9:30 am Parnell shops and rose garden; heritage walk through Parnell or One Tree Hil; sculpture in Auckland Domain Parnell/One Tree Hill

10:45 am Bus to Zoo To Auckland Zoo

11:00 am Visit Zoo exhibits Auckland Zoo

1:00 pm Lunch in the Old Elephant House Auckland Zoo

2:00 pm Zoo; Museum of Transport and Technology; back to hotel for spa time (own arrangements)

2:15 pm Stroll and shop at Zoo and/or MOTAT Auckland Zoo/Museum of Transport

and Technology

4:30 pm Bus to hotel, dress for Gala dinner To Langham Hotel

6:30 pm Bus to Gallery, group photo, gala dinner Atrium, Auckland Art Gallery

10:15 pm Bus back to hotel To Langham Hotel


Auckland Conf


erence Venues


Common Maori WordsAotearoa New Zealand (Land of the Long White

Cloud)

Arohanui Lots of love

Haere Mai Welcome

Haere ra Farewell

Hei konei ra See you later

Ka kite ano Until I see you again

Kai Food

Ka pai Good, pleasant, fine, okay

Karakia Prayer

Kia ora Hello, thank you

Korero To talk

Maori Indigenous people of New Zealand

Pakaru Damaged, broken

Pakeha Non-Maori person

Puku Belly/stomach—usually a big one

Tamaki Makaurau Auckland

Whare House

Whanau Extended family

Other Common Words Awesome Great, good

Beaut Great, good fun, as in: “That’ll bebeaut, mate.”

Bloke Usually a man—often used when refer -ring to a stranger, as in: “There’s thisbloke down the road who sells greasiesfrom his pie-cart for a dollar a bag.”

Bob’s your uncle Roughly translates as: “There you go—that’s all there is to it!” For example:“Just press this big red button that says‘Launch Missile’, and Bob’s your uncle.”

Box of budgies Cheerful, happy, very good

Boy-racer Young hoon in fast car withunbelievably loud stereo!

Brassed off Disappointed, annoyed

Brekkie Short for “breakfast”

Car park Parking lot

Cheers Goodbye or thank you

Cheerio Goodbye

Chemist Pharmacy, drug store

Chuffed Pleased, as in: “He was dead chuffed.”

Cotton buds Q-tips

Crisps Potato chips (in the U.S.)

Dag Joker, comedian

Dairy Corner store originally only selling milk,bread, newspapers and conveniencefoods

Entree Appetizer or hors d’oeuvre

Fizzy Soda pop

Flannel Washcloth

Flash Sensational, as in “That’s flash,”meaning that it looks really good

Footpath Sidewalk (U.S.) or pavement (U.K.)

Fortnight Two consecutive weeks, derived from14 days (nights)

Get off the grass Same as “Stop pulling my leg” or“No way”

Good on ya, mate! Congratulations, well done

Ground floor First floor. Very confusing for Kiwivisitors to the U.S.!

Hard yakka Hard work, associated with labouring

Hooroo The Kiwi “Goodbye”

Jandal Thongs, flip-flops

Kiwi New Zealander, or an endangerednative flightless bird

Knackered Exhausted, stuffed, fagged out, as in:“I am knackered.”

L&P Fizzy soda water, Lemon & Paeroa

Lemonade 7-Up

Lift Elevator

Loo Bathroom

Main Primary dish of a meal

Mate Buddy, as in: “How’s it going, mate.”

Nought Zero

Pack a sad Become morose, ill-humoured, moody

Pavement Sidewalk

Petrol Gasoline

Pikelet Small pancake often served with jamand whipped cream

Kiwi Words and Phrases

There are many common terms used in New Zealand that you may encounter while inAuckland for the 21st IAMFA Conference. This little lexicon is designed as a helpful aid tofolks from other parts of the world, who may not understand what Kiwis are talking about! Coming in November


Quite nice A term used when you can’t really thinkof anything better to say, as in: “Herhat is quite nice,” when you oftenmean the opposite!

Rattle your dags Hurry up, get a move on

Ring Phone somebody, as in: “I’ll givehim/her/them a ring.”

Scull Drink beer rapidly

Serviette A napkin made of either fabric orabsorbent paper

Shandy Drink made with lemonade and beer

She’ll be right Not a problem, it’ll be okay

Snotty Snooty, ill-humoured, packing a sad

Spit the dummy To throw a tantrum or get mad

Sprog A child

Stuffed Really tired

Sunnies Sunglasses

Sweet as Good, great, awesome

Ta Thanks

Tata Goodbye, usually when speaking to achild

Takeaways New Zealand term for “takeout” orfood “to go”

Tea Dinner; generic name for evening meal

Tights Pantyhose

Tiki tour Roundabout way to get somewhere;the scenic route

Tracksuit Sweats

Tramping Hiking

Togs Swimsuit

Tomato sauce Ketchup

Torch Flashlight

Vest Undershirt

Wally Clown, loser

Whinge Complain

Wobbly Become angry, get snotty(pack a wobbly)

Wop-wops Out-of-the way location

Yonks Forever, a long time ago, ages, as in: “Ihaven’t seen them in yonks.”

Yack General conversation held betweenfriends, as in: “Have a yack.”

When visiting a country where citizens

drive on the opposite side of the road

than what you are used to, traffic will

approach you from the opposite

direction. You must always look both

ways before you step off the curb to

cross a street. This simple rule will

keep you safe. Do not step off the curb

before looking in both directions when

visiting a country where they drive on

the “wrong” side of the road!


After New Zealand won theAmerica’s Cup in 1995, teamleader Sir Peter Blake and Team

New Zealand donated the winningyacht, NZL32 Black Magic, to theMuseum of New Zealand, Te PapaTongarewa. In 2001, Sir Peter Blakewas murdered by pirates whilst on ascientific expedition in the Amazon.In 2004, Pete Bossley Architects wereengaged to investigate possible loca -tions for the yacht—which is without

Après que la Nouvelle-Zélandea remporté la Coupe del’Amérique en 1995, le leader

de l’équipe Sir Peter Blake et l’équipeNéo-zélandais ont fait don du yachtgagnant, le NZL32 Black Magic, auMusée de la Nouvelle-Zélande, TePapa Tongarewa. En 2001, Sir PeterBlake a été assassiné par des pirateslors d’une expédition scientifiqueen Amazonie. En 2004, Pete BossleyArchitectes ont été engagés pour

Cuando Nueva Zelandia ganó laCopa de las Américas en 1995,el capitán del equipo Sir Peter

Blake y el Equipo de Nueva Zelandiadonaron el yate ganador, NZL32 BlackMagic, al Museo Te Papa Tongarewade Nueva Zelandia. En 2001, Sir PeterBlake fue asesinado por piratas duranteuna expedición científica en la Ama -zonia. En 2004, la firma de arquitectura,Pete Bossley Architects fue contratadapara investigar posibles ubicacionespara el yate que es sin duda el arte -facto más grande de la colecciónnacional. Las ubicaciones deseadashubieran sido adentro o próximas alTe Papa en Wellington. Resultó impo -sible ya que había muy poco espaciodentro del museo y los terrenos con -tiguos ya pertenecían a otras agenciasy no estaban disponibles para laconstrucción del edificio necesario. Poco a poco, tras un período de

varios años, surgió una oportunidad deunir fuerzas con el Museo MarítimoVoyager de Nueva Zelandia, y se con -sideró la mejor opción según los invo -lucrados. Una serie de investigacionesde diseño se emprendieron, con susrespectivos presupuestos, oportuni dadesy limitaciones. NZL32 resultó ser sola -mente una parte de la historia, cuandoel proyecto se expandió inclu yendo unaserie de exhibiciones acerca del deportede yates en Nueva Zelandia y la Copade las Américas con énfasis en la vidade Sir Peter Blake, su historia personalde yates, las campañas alre de dor del

Voyager New Zealand MaritimeMuseum Extension in Auckland

L’extension du Musée maritime Voyagerde la Nouvelle-Zélande à Auckland

La Extensión del Museo MarítimoVoyager de Nueva Zelandia en AucklandBy / par / por Pete Bossley Architects LTD

Early conceptual drawing for the Voyager New Zealand Maritime Museum Extension.

Début du dessin conceptuel pour l’extension du Musée maritime Voyager de la Nouvelle-Zélande.

Un bosquejo conceptual para la extensión del Museo Marítimo Voyager de Nueva Zelandia.


doubt the largest artifact in the nationalcollection—inside or adjacent to TePapa in Wellington. This proved afruitless endeavour, as there was verylittle available space within the build -ing, and any suitable site near theMuseum would have required a wholenew building on land occupied byother agencies.Gradually, over a period of years,

an opportunity arose to join forces

with Voyager New Zealand MaritimeMuseum in Auckland, and was deemedby all parties to be the most appropriateoption. A series of design investigationsfollowed, each with associated budgets,opportunities and constraints. NZL32became just a part of the story, as itexpanded to become a series of exhi -bitions on New Zealand yachting and

enquêter sur les emplacements possiblesdu bateau, qui est sans doute le plusgrand objet dans la collection nationale,à l’intérieur ou à proximité de Te Papaà Wellington. Cela s’est avéré uneentre prise vaine, car il y avait très peud’espace disponible dans le bâtiment,et n’importe quel emplacement appro -prié près du musée aurait exigé unnouveau bâtiment entier sur la terredéjà occupée par d’autres agences.Peu à peu, au cours d’une période

de plusieurs années, une occasiond’unir nos forces avec le Musée Voyagermaritime de la Nouvelle-Zélande, àAuckland, se leva, et a été considéréepar toutes les parties à être l’option laplus appropriée. Une série d’enquêtesde conception de dessins a suivie, cha -cun avec des budgets, opportunitéset contraintes associés. Le NZL32 estdevenu seulement une partie de l’his -toire, comme il s’est transformé enune série d’expositions de yachting surla Nouvelle-Zélande et de l’America’sCup, avec un accent particulier sur lavie de Sir Peter Blake, son histoire per -sonnelle de la plaisance, les campagnesautour du monde–, et les explorationsécologiques de ses dernières années.Les histoires à raconter ont été

développées par des équipes mixtesdes Musées Te Papa et le maritimeVoyager, et le dessin de l’expositionéventuelle a été préparé et installé parWorkshop e.Le centre-ville animé d’Auckland,

en intégrant le bassin du Viaduc et lequai Princesse, est également le foyerdu Musée maritime Voyager de laNouvelle-Zélande qui est logé dansune série de structures comme unhangar sur le quai Hobson. Elles ontété construites en 1993, avec une forteréférence stylistique aux structureshistoriques du quai, et y contiennentdes expositions mettant l’accent sur lanavigation, l’histoire de la voile poly né -sienne et européenne, et une collectionriche et variée de petits bateaux.Pendant le travail de design il s’est

développé notamment un fort désirpour faire connaître à la ville que deschangements nouveaux et passionnantsétaient en cours. Le Musée a toujourseu des difficultés à négocier sa pré sencesur le front de mer, et c’était là unechance de se présenter comme une

mundo, y las exploraciones ecológicasque realizó en sus últimos años.Las historias propuestas se desar rol -

laron en conjunto por los equipos deTe Papa y el Museo Marítimo Voyagery el diseño de la exhibición que seutilizó fue preparado e instalado porWorkshop e. El centro vibrante de Auckland que

incluye La Cuenca del Viaducto y elMuelle de Princes, también es elhogar del Museo Marítimo Voyagerde Nueva Zelandia, que se aloja enuna serie de cobertizos de botes en elMuelle de Hobson. Se construyeronen 1993 con un estilo basado en lasestructuras históricas de muelles, ycontienen exhibiciones que enfocanla navegación, la historia europea ypolinesia, y la colección variada y ricade botes pequeños.Durante el desarrollo de su diseño,

se expresó un fuerte deseo para que eledificio modificado proclamara a laciudad la llegada de nuevos e emo -cionantes cambios. El museo siemprehabía sufrido dificultades para negociarsu presencia en el área del muelle, yahora existía la oportunidad de pre -sentarse como una identidad másdinámica que lo que habían sugeridolas estructuras tradicionales. El nuevo diseño se sobrepone en

los edificios existentes, y los expandecon una serie de pantallas que flotansobre el agua, extendiéndose en unadiagonal e inclinándose hacia arriba.Las pantallas definen los nuevosespacios internos, y están construidascon marcos de acero recubiertos deuna serie de paneles de policarbonatomulticelda de colores suaves. Lospaneles absorben y transmiten luznatural, y ofrecen una variedad deefectos sutiles de luz que sugieren la luznatural efímera del mar y el ambienteoriginal de los yates. Los colores sutilese irregulares del policarbonato agreganotro nivel de intriga. Por la noche, laluz desde el interior convierte el panelprincipal al este en una caja enormede luz sutil.A pesar de la elegancia de los nuevos

paneles de policarbonato, la escala ylos detalles del interior se diseñaroncuidadosamente para mantener elcarácter orgánico y poco refinado delambiente existente del muelle. Los

Gradually, over a period

of years, an opportunity

arose to join forces with

Voyager New Zealand

Maritime Museum in

Auckland

Peu à peu, au cours d’une

période de plusieurs

années, une occasion

d’unir nos forces avec le

Musée Voyager maritime

de la Nouvelle-Zélande

Poco a poco, tras un

período de varios años,

surgió una oportunidad

de unir fuerzas con el

Museo Marítimo Voyager

de Nueva Zelandia


the America’s Cup, with particular focuson the life of Sir Peter Blake, his per -sonal yachting history, the round-the-world campaigns, and the ecologicalexplorations of his later years. The stories to be told were developed

by joint teams from Te Papa and theVoyager Maritime Museum, and theeventual exhibition design was preparedand installed by Workshop e. The lively downtown area of

Auckland, incorporating the ViaductBasin and Princes Wharf, is also hometo the Voyager New Zealand MaritimeMuseum, which is housed in a series ofshed-like structures on Hobson Wharf.These were built in 1993 with strongstylistic reference to the historical wharfstructures, and contain exhibitionsfocusing on navigation, Polynesianand European sailing history, and arich and varied small-boat collection. The design brief as it developed

included a strong desire for the modi -fied building to declare to the onlook -ing city that new and exciting changeswere afoot. The Museum has always haddifficulty marketing its presence onthe waterfront, and here was a chanceto identify itself as a more dynamicinstitution than the “traditional” shedshad suggested. The new design is overlaid on the

existing buildings, and explodes them

institution plus dynamique que le« traditionnel » structure suggérait.La nouvelle conception est super -

posée sur les bâtiments existants, et lesfait exploser avec une série d’écransdynamiques qui « flottent » au-dessusde l’eau, atteignant sur la diagonale etle dévoiement vers le haut. Les écransdéfinissent les nouveaux espacesinternes, et sont construits de char -pentes en acier revêtu d’une série depanneaux en polycarbonate à cellulesde multiples et tendres couleurs. Lespanneaux à la fois absorbent et trans -mettent la lumière naturelle, offrantune série de subtils effets de lumièreet suggérant l’éphémère lumière natu -relle de la mer et l’environnement queles yachts occupaient à l’origine. Lasubtilité des couleurs et l’irrégularitédu polycarbonate ajoutent d’autresniveaux à l’intrigue. La nuit, la lumièretransforme l’intérieur du panneauprincipal de l’Est dans une grosse maissubtile boîte de lumière.En dépit de la douceur de soie des

nouveaux panneaux en polycarbonate,la balance et les détails du bâtimentà l’intérieur et à l’extérieur ont étésoigneusement conçus pour maintenirla granulosité de l’environnement duquai existant. Les matériaux de cons -truction extérieurs ont été choisis pourrenforcer les qualités des hangars

materiales exteriores de los edificios seescogieron para reforzar las calidadesde los cobertizos actuales, y para reflejarel significado del Museo y su ubicación

frente al agua. Siempre que fueraposible, la estructura original de acerose retuvo, se expuso, y se extendió.La superficie de hormigón áspero delmuelle se pulió y se dejó visible. Lanueva rampa también es de hormigónpara continuar la superficie del muelleexistente hacia los niveles superioresdel museo.Construir en el muelle, encima del

mar, y como una renovación y exten -sión de un edificio existente dificulta -ron el proyecto. Además, el presupuestoera restringido, y la construccióndebió realizarse sin interferir con lasoperaciones diarias del Museo existente.El proyecto también necesitó de apro -bación y consentimiento de recursosdebido a su ubicación prominenteencima del mar y porque las exten -siones verticales del techo excedían laaltura máxima permitida. El Panel deDiseño Urbano de Auckland revisó yaprobó el proyecto.Era necesario diseñar las exten si -

ones para funcionar en condiciones

The completed Voyager New Zealand Maritime Museum Extension.

L’extension complète du Musée Voyager maritime de la Nouvelle-Zélande.

La extensión completada del nuevo Museo Marítimo Voyager de Nueva Zelandia.

. . . here was a chance to

identify itself as a more

dynamic institution . . .

. . . c’était là une chance

de se présenter comme

une institution plus

dynamique . . .

. . . y ahora existía

la oportunidad de

presentarse como

una identidad más

dinámica . . .


with a series of dynamic screens that“float” above the water, reaching outon the diagonal and canting upwards.The screens define the new internalspaces, and are constructed of steelframing clad with a series of softlycoloured multi-cell polycarbonatepanels. The panels both absorb andtransmit natural light, offering a seriesof subtle light effects and suggestingthe ephemeral natural light of the seaand the environment that the yachtsoriginally occupied. The muted andirregular colours of the polycarbonateadd further levels of intrigue. At night,the light from within turns the maineastern panel into a huge but subtlelight box.Despite the sleekness of the new

polycarbonate panels, the scale anddetails of the building inside and outwere carefully designed to maintainthe grittiness of the existing wharfenvironment. The exterior buildingmaterials were selected to reinforce thequalities of the existing sheds, and toreflect the significance of the Museumand its site on the waterfront. Wher everpossible, the existing steel structurewas retained, exposed and extended.The rough concrete wharf surface wasground to a honed finish and left visible.The new internal ramp is also concrete,to continue the flow of the existingwharf to the Museum’s upper levels.Building on the wharf, over the sea,

and adding or extending an existingbuilding all added to the difficulty ofthe project. Additionally, the budgetwas restricted, and construction hadto proceed without interfering withexisting Museum operations. The pro -ject also required Resource Consentapproval, given its prominent locationover the sea, and the fact that the ver -ti cal extensions to the roof exceeded themaximum height limit. It was reviewedby the Auckland City Urban DesignPanel, which gave it their positiveendorsement.The extensions needed to be

designed to cope with variable andpoor-quality soil a minimum of tenmetres below sea level, with firm found -ing a further ten metres below that.The impact of horizontal forces fromthe swells of the sea needed to berelayed to the existing wharf, and the

existants, et pour tenir compte del’importance du musée et de son sitesur les quais. À la mesure du possible,la structure métallique existante a étéconservée, exposée et étendue. La sur -face du quai en béton brut est broyée àune finition adoucie et visible à gauche.La nouvelle rampe interne est égale -ment en béton, afin de poursuivrel’écoulement du quai existant auxniveaux supérieurs du Musée.La construction sur le quai, par

dessus la mer, et l’ajout ou l’extensiond’un bâtiment existant sont des élé -ments qui ont tous ajouté à la difficultédu projet. En outre, le budget étaitrestreint et la construction a dû pro cé -der, sans interférence avec les opé ra -tions existantes au Musée. Le projet aégalement eu besoin d’approbation etde consentement des ressources, comptetenu de son emplacement privilégié surla mer, et le fait que les extensions ver -ticales sur le toit dépas saient la limitede hauteur maximale. Il a été examinépar le Groupe spécial de Design urbainde la ville d’Auckland, qui lui ont donnéleur approbation positive.Les extensions durent être conçus

pour faire face à la variable et le sol demauvaise qualité d’un minimum dedix mètres en dessous du niveau dela mer, avec une fondation solide dedix mètres encore de plus profond.L’impact des forces horizontales de lahoule de la mer devait être transmis

de suelos variables y pobres a una pro -fundidad mínima de diez metros pordebajo del nivel del mar, y con unafundación firme a otros diez metrosmás abajo. El impacto de las fuerzas

horizontales del oleaje tenía que trans -ferirse al muelle existente y además laestructura ascendiente con voladizosque apoyaba la rampa agregaron unacomplejidad de tres dimensiones parael diseño estructural y la construcción. A causa del camino de acceso

restring ido, el NZL32 se trajo pormar. Lo transportó una barcaza delotro lado del puerto, luego una grúa

NZL32 Black Magic.

Building on the wharf . . .

added to the difficulty

of the project.

La construction sur le

quai . . . ajouté à la

difficulté du projet.

Construir en el muelle . . .

dificulta ron el proyecto.


cantilevered and rising structure tocarry the ramp added three-dimensionalcomplexity for structural design andfor construction.Restricted road access meant NZL32

had to be brought in by sea. It wasbrought by barge across the harbour,craned onto a specially constructedextension to the north of the wharf androlled into the central on purpose-built rollers thorough an opening withonly 150 mm of clearance on eachside, before being hoisted into its finalposition. It is elegantly and innovativelyhung by its own rigging from the struc -ture of the building, thus avoiding theunsightly brackets which usually supportlarge boats on display.During construction, there was very

little room for contractor establish mentor storage, and the insertion of largesteel portal frames into the existingframe required particular care. Noiseand time restrictions were imposeddue to the adjacent residential apart -ments, as was control of runoffs fromsite to sea.Internally, the design develops

on the existing circulation patternswithin the Museum, and offers anexhibition Promenade which starts

au quai existant, et la structure en porteà faux et à la hausse pour réaliser larampe, ont ajouté à la complexité entrois dimensions pour la conceptionstructurelle et de construction.Avec des routes d’accès restreint,

le NZL32 a dû être acheminé par voiemaritime. Il a été porté par pénichedans le port, allongé sur une exten -sion spécialement conçue vers le norddu quai et roulé vers le centre surdes rou leaux construits à cet effet àtravers d’une ouverture avec seule ment150 mm de dégagement de chaquecôté, avant d’être hissé dans sa posi tionfinale. Il est suspendu d’une manièreélégante et innovatrice, par son propregréement à la structure du bâtiment,évitant ainsi les supports inesthétiquesqui soutiennent habituellement lesgrands bateaux en exposition.Pendant la construction, il y avait très

peu de place pour l’établissement entre -preneur ou de stockage, et l’inser tionde cadres en acier dans le grand cadreportail existant a eu besoin de soins par -ticuliers. Des restrictions de bruit etde temps ont été imposées en raisonde l’appartement résidentiel adjacent,comme cela a été le contrôle desécoulements à partir du site de la mer.

lo colocó en una extensión construidaespecialmente al norte del muelle, yse movió por medio de unos rodillosconstruidos con ese propósito al centroa través de una apertura con solamente150 mm libres de cada lado. Despuésse subió a su posición final donde secolgó de una manera elegante e inno -vadora de su propio aparejo, sin lostípicos apoyos feos que se utilizan paralos barcos grandes en exhibición.Durante la construcción, había

poco espacio para el establecimientodel contratista o para almacenaje, y laadición de marcos grandes de acerode portal al marco existente requeríande un cuidado especial. Había con -troles y restricciones especiales de ruidoy horario debido a los apartamentosresidenciales adyacentes y sobre laescorrentía del sitio hacia el mar.Internamente, el diseño se desar -

rolla en base de los patrones existentesde circulación dentro del museo, yofrece un paseo de exhibición queempieza dentro del espacio interiordel edificio donde está suspendidoel NZL32 del techo. Luego el paseose traslada a un salón exterior másiluminado, lleno de una colecciónexquisita que representa la historia de

Inside the Museum Extension.

Dedans l’expansion du musée.

Dentro de la extensión del Museo.

The lucky red socks worn by Sir Peter Blake during the America’s Cup 1995 Campaign.

Les chaussettes rouges porte-bonheur utilisées par Sir Peter Blake lors de la campagne del’America’s Cup 1995.

Las medias rojas de la suerte utilizadas por Sir Peter Blake durante la campaña de la Copa de las Américas de 1995.


within the inner space of buildingwhere NZL32 is suspended from theroof. It then moves to the outer lighterbay, which is filled with a beautifulcollection portraying New Zealand’ssmall-yacht history, leads upstairs alonga 100-metre-long ramp of exhibits,winding back through the first leveland on up to culminate on the second.Along the way, it offers surprisingglimpses of the outside context, focus -ing on Auckland’s Central BusinessDistrict to the south, and the harbourto the north.The Voyager extension offers an

example of sustainability in design,by virtue of the fact that it extendsthe life and usefulness of the existingsheds, rather than demolishing them.The materials were generally keptwithin the same family as existingmaterials, and some of the existingelements, such as staircases, were re-used in new locations.The spaces are naturally ventilated,

and extensive light and solar analysiswas done to minimise the impact ofsolar gain and heat loss on the artifactsand visitors. It offers low-grade sus tain -able balance for the internal environ -ment, rather than high-tech andmaintenance-heavy solutions, to reflectthe existing buildings as well as theMuseum’s budget and ongoing oper -ating costs. Strict controls on lux levels,imposed to ensure artifact protection,were adhered to for specified artifacts,and these were also achieved with theaid of computer analysis.Since opening in December 2009,

the new extension and exhibitionshave been very well received by thepublic, and have helped increase theMuseum’s attendance figures by over25% year on year.

Pete Bossley is an architect and Directorof Pete Bossley Architects in Auckland,New Zealand. He can be reached [email protected] orwww.bossleyarchitects.co.nz.

À l’intérieur, la conception se déve -loppe sur les modèles existants de cir -culation dans le Musée qui offrent unepromenade d’expositions démarrantdans l’espace intérieur du bâtimentoù le NZL32 est suspendu du toit. Il sedéplace ensuite vers le compartimentexterne illuminé, rempli d’une bellecollection qui décrit la petite l’histoiredu yacht de la Nouvelle-Zélande, mèneà l’étage le long d’une rampe d’expo -sitions de 100 mètres de long, s’enrou -lant en arrière par le premier niveauet par-dessus jusqu’à culminer audeuxième. Tout au long, il offre unaperçu surprenant du contexte exté -rieur, mettant l’accent sur le districtcentral d’affaires d’Auckland au sud,et le port vers le nord.L’extension du Musée Voyager offre

un exemple de développement durabledans la conception, en vertu du faitqu’il prolonge la vie et l’utilité deshangars existants, plutôt que de lesdémolir. Les matériaux ont été géné -ralement conservés au sein de la même« famille » que les matériaux existants,et certains de ces éléments, tels queles escaliers, ont été réutilisés dans denouveaux endroits.Les espaces sont ventilés naturelle -

ment, et des analyses approfondies dela lumière et du soleil ont étés faitspour minimiser l’impact des gainssolaires et la perte de chaleur sur lesartefacts et les visiteurs. Il offre unéquilibre soutenable de qualité infé -rieure pour l’environnement interne,plutôt que des solutions de pointe etd’entretien lourdes, afin de refléterles bâtiments existants et égalementle budget et les frais d’exploitationcontinus du Musée. Des contrôlesstricts sur les niveaux de lux imposéspour assurer la protection des arte factsont été respectés pour les objets spéci -fiés, et ils ont également été réalisés àl’aide d’une analyse informatique.Depuis son ouverture en Décembre

2009, la nouvelle extension et les expo -sitions ont été très bien accueillies parle public, et ont contribué à aug men terles chiffres de fréquentation des muséesen plus de 25 % sur un an.

Pete Bossley est architecte et directeurde Pete Bossley Architectes à Auckland,Nouvelle-Zélande. Il peut être contactéau [email protected] ouwww.bossleyarchitects.co.nz.

los yates pequeños de Nueva Zelandia,y sigue hacia arriba a lo largo de unarampa de 100 metros de largo de exhi -biciones que regresa por medio delprimer nivel y continua hacia arribapara culminar en el segundo nivel. Alo largo del paseo, se puede apreciarvistas sorprendentes del entornoexterior, enfocándose en el DistritoCentral de Negocios de Auckland alsur y el puerto hacia el norte. La extensión Voyager ofrece un

ejemplo de la sostenibilidad en eldiseño en virtud de la preservacióny renovación de los cobertizos exi -stentes en lugar de su demolición.Los materiales utilizados venían de lamisma “familia” de materiales origi -nales, y algunos de los elementos,como las escaleras, se reutilizaronen otros lugares.Los espacios se ventilan de manera

natural, y se realizó un estudio com -prensivo de luz y sol para minimizar elimpacto de aumento y pérdida de calorpor el sol en los artefactos y los visi -tantes. Ofrece un balance sostenible debajo grado para el ambiente internoen lugar de soluciones de alta tecno -logía y mucho mantenimiento, paraasí reflejar el ejemplo de edificiosexistentes y el presupuesto del museoy costos de mantenimiento constantes.Se impusieron controles estrictos sobrelos niveles de luz para asegurarse quese protegieran artefactos específicos, ytambién se comprobaron los niveles conla ayuda de análisis de computadoras.Desde su apertura en diciembre

2009, la recepción favorable del públicohacia la nueva extensión y las exhi bi -ciones han ayudado a incre mentarla asistencia del museo en un 25%cada año.

Pete Bossley es arquitecto y directorde Pete Bossley Architects en Auckland,Nueva Zelandia. Se puede contactaren [email protected] owww.bossleyarchitects.co.nz.


Amaintenance program’s mis sion is to provide thehighest quality and quantity of service on time,safely, and at a reasonable cost. When the program

mission is achieved, equipment will be highly reliable, littledowntime will occur, assets will have long lifecycles, andcosts will be low.The Maintenance Productivity Poly graph in Figure 1

below, described in the first part of this three-part series(see the Fall/Winter 2010 issue of Papyrus), suggests a wayto analyze the maintenance program, pinpoint the areas inneed of improvement, and energize your maintenancecontinuous improvement program. The first article in this series detailed the elements of a suc -

cessful program, and described an operations review methodfor calculating a maintenance department’s pro duc tivityand improve ment potential. It discussed the orga ni za tionaldevelopment areas—organization, training and personnel—and elements within these three areas that are importantto the success of a maintenance management program. In this article, the five system areas—cost control, plan -

ning, materials, engi neering and facilities—are described,and key elements of these areas are discussed.

Cost Control ReviewMaintenance management most often uses historical datato control costs, because it is readily available and fast touse. The second most common method is budget versusactual costs, usually updated yearly. The least commonmethod, but one which offers many advantages, is shop-floor control based on a formal planning function andengineered method and time standards.All three cost-control methods offer advantages and,

when used together, provide the highest degree of control.Which methods are used in your depar tment? Some addi -tional information that will aid in assessing this area are copiesof the management control policy, a chart of controllableaccounts, budgets versus actual costs, cost-reductionprogram results, and shop-floor control reports showingtrends for the last six months in the following indices:

• Performance—standard hours compared with actualhours taken.

• Coverage—hours on jobs with standards applied,compared to total clocked-in hours.

• Delays—delay hours as a percentage of total hoursworked.

• Downtime—hours worked on equipment that is downfor unscheduled repair versus total hours worked.

• Backlog weeks—total labor-hours of work to be done,compared to total labor-hours available per week.

• Productivity—standard hours produced for the week,compared with total hours worked.

• Cost per standard hour—total wages and benefits paid,divided by total standard hours produced.

• Schedule compliance—scheduled hours completed asa percentage of total hours scheduled.

Some other useful data often tracked include compliancewith the preventive maintenance schedule and Pareto analysisof equipment repair material and labor cost. If the Paretoanalysis shows that 20% of the equipment items were chargedwith 80% of repair costs for the period, then a manage -ment focus on the high-cost 20% of the equipment willyield the most benefit.

Operations Review RevealsHidden MaintenanceImprovement ResourcesPart Two in a Three Part Series: The System is the SolutionBy Thomas Westerkamp

Organization

Potential Productivity Current Productivity

Planning

Cost Control Training

P

FacilitiesMaterials

Engineering

Potential Savings: $2,850,000.00Figure 1: Productivity polygraph showing actual vs. potentialproductivity.


Planning ReviewThe work order is the tangible evidence of the backlogof work. It is the justification for the work force size andmakeup by skill. Planning enough work orders to ensure afull day’s work for every member of the maintenance creweach day is essential for effective management.During the operations review, the auditor examines a

random sample of work orders. The sample size should beabout 20% of a week’s work hours. These work orderscontain valuable information about the effectiveness ofthe work-order system. Factors that are evaluated are theamount of time spent on planned work orders; the leadtime, or time between receipt of the work order and itsassignment; the priority system used; the number of emer -gencies; crew size; crafts required; skills required; labor andmaterial; on-time completions; quality of the planning—clear description of work content by skill, materials, specialtools needed, multi-skill coordination, engineered timestandards, job site access, scheduled start and completedates; and material availability and related material delays.Other questions are: does the scheduling system fully

utilize each technician each day? What computer sched ulingapplication, schedule forms, and schedule compliance reportsare used? How are jobs assigned and dispatched? Verbally?Job Assignment Board? Hand-held PC? What happens if atechnician completes a job and the supervisor is not avail -able to assign the next job? How does the super visor checkquality and completeness of the work? How often? Does allthe major equipment have a computerized history record?

Materials ReviewThe objective of a stores control program is to provide highavailability of needed materials and spares to the workersquickly, while ensuring reasonable cost. Elements to checkare: are there up-to-date item masters for all major items?Stores catalog? Perpetual inventory system? How are high-volume, low-cost items controlled? What is the purchaserequisition process? Is there a stores attendant? Standardwritten withdrawal and return system for stores items andtools? Are there written standard employer-supplied andemployee-supplied tool lists? Are employee tools inven -toried by supervisors? What percentage of tools are out ofservice awaiting repairs? Are economic order quantitiesand min/max levels maintained? Is there a vendor ratingsystem? How many orders are delivered on time? Howmany stock-outs are there (items needed but not available)?Techniques that are now more widely used to improve

material stores control are bar coding and RFID. Are thesesystems used to control work orders? Spares? How are storesitems in remote, unattended areas controlled to preventhunting and delays? A critical part of stores management is inventory cost

control. One way to make sure items are available whenneeded is to buy more than you need, just in case. Main -tenance managers who use this strategy face three seriousproblems: high costs, running out of stores space, andhunting for items in overcrowded stores with many itemsburied under the pile or stored in remote unattended stores.

One of the key metrics used to control over-buying is theinventory turns ratio, calculated by dividing total inventoryused this year into the total inventory value. Since, in main -tenance operations some items tend to be in stores for overa year, this number can be very low, when higher is better.For example, if the value of inventory used last year was$500,000 and average inventory value was $2,000,000,inventory turns ratio was 1:4, or only one-fourth of theinventory was turned over. On the other hand, with goodinventory control and emphasis on preventive and pre -dictive maintenance, you can easily improve that ratioto 1:1 or higher, converting at least $1,500,000 into cashfor other operating demands, continuous improvementprojects, or bottom-line earnings.

Engineering ReviewEngineering management and staff, in cooperation withmaintenance managers, have made many valuable improve -ments to high-productivity maintenance management. Themost productive kind of maintenance is the kind that mod -i fies a design or process to reduce or eliminate the needfor future maintenance. For example, a ball bearing wasreplaced about once every year. Engineering tests showedthat the problem was high-thrust load. Engineering recom -mended a spherical roller bearing with high-thrust loadcapacity and the bearing, while more expensive, is stillperforming well ten years later, saving far more than itscost, and freeing up valuable technician time to deal withother issues. Another example is the introduction of engi -neered performance standards. Far more work is done bythe same staff with a planning function and performancecontrols, as shown in the table in Figure 2 below.Time standards have been used for maintenance per -

formance management for many decades. Yet, only a smallportion of maintenance departments use them. Use thechart in Figure 3, which lists symptoms of low productivity,to assess your need to introduce or expand the use of aformal planning function and time standards. Some questions to ask about engineering contribution

to the maintenance program are: how is planning done?Is reliability engineering used to evaluate asset perfor -mance? Are statistics, such as mean time between failureand mean time to repair, used to improve decision-making?

Figure 2: Effect of planner function on work output.

AdditionalNo. of Equivalent

Employees Planners Workers Resulting

150 5 30 to 45

100 4 20 to 30

75 3 15 to 22

50 2 10 to 15

30 1 6 to 9

20 1 4 to 6

10 1/2 2 to 3


Is an engi neer assigned to construction projects? What per -centage of assets is included in the preventive maintenanceprogram? Is predictive maintenance used, such as thermalimaging to detect electrical hot spots and vibration analysisto detect impending failure? Are maintenance method andtime standards used?The common missing element in all these symptoms is

time management: lead time, scheduled time, planning time,job actual versus standard time, and backlog hours by skill.Questions to ask are: what percentage of the work hours

is covered by time standards shown on work orders? Whatmodules are included in your computerized maintenancemanagement system—work orders, job planning, dailysched uling, preventive maintenance, equipment history,material stores, other reports? Do information system capa -bilities match organizational and individual responsibilities?Are memory and disk space adequate (clues are delays forscreen refreshes and number of crashes)?

Facilities ReviewThe facilities review includes all physical facilities: the entirephysical plant—land, buildings and equipment—for whichthe maintenance department is responsible. This part ofthe review also assesses the shop facilities the maintenancedepartment has at its disposal to perform the work. An up-to-date facility floor plan is essential. Often, due to incre mentalchanges, additions and modifications, the property andbuilding floor plans get out of date, so repair delays occur. Questions related to this area are: are current layout

drawings available? Are maintenance shop locations andlayouts productively arranged? How is housekeeping? Aresafety equipment and signs available and used in all areas?What maintenance equipment and tools are needed butunavailable? How much office space is available for super -visors and staff? How is lighting efficiency for required tasks?Are utilities such as electricity, air, water, gas, steam, sewer,and refuse removal included in the annual preventivemain tenance schedule? Are custodial routes prepared? Arecustodians scheduled daily? Are vehicles, cranes, hoists areother powered equipment included in the annual PM plan?This and the first article in this series examined the

orga nizational development and systems or processes usedto plan, schedule and control maintenance work. The nextand final article in this three-part series will cover bringingall the data together into the productivity assessment format,the Maintenance Productivity Polygraph, shown at the begin -ning of each article. It will also describe how to use theaccumulated information as the basis for actionable stepsin a continuous improvement program that focuses onsustainability and savings.

Thomas A. Westerkamp is author of the Maintenance Manager’sStandard Manual and AWARE.MPS, Maintenance ProductivitySuite, and founder of Productivity Network Innovations, LLC (PNI).He has written over 200 journal articles, and has presented severalmaintenance management webcasts. He works with clients inmanufacturing, service industries and government around theworld, installing integrated performance-management/CMMSand shop-floor control programs. He can be reached [email protected]..

Figure 3: Symptoms of productivity improvement opportunities.

Symptom

Too many emergencies. Everything is ASAP

Operating or production interruptions

Not enough maintenance people

Inventory costs too high

Stock outs

Can’t find spare parts/equipment

Not enough lead time for planning

Duplicate work orders

Lost work orders; takes too long to get repairs done

Fixing the same thing over and over

Quality ISO 9000, QS 9000, ISO 14000 problems

Equipment capability doesn’t match quality requirements

High rework costs

Late product or service delivery

Can’t get preventive maintenance work done on schedule

Costs too high

Not enough time to get all the work done

Equipment in use, unavailable for maintenance

Deferred maintenance increasing

High absence/turnover in maintenance

No time for skills and safety training

Inadequate facilities. Need more maintenance space

Contract costs too high

Too much overtime

Too many delays; jobs take too long

Can’t meet OSHA, EPA, FDA, ADA, other regulations

Method improvements take too long to get implemented

Antiquated information system; don’t know howmuch backlog there is

Don’t know the proper staffing/skill levels

�

Other Resources• The Maintenance Productivity Polygraph is available as

an automated application: Aware.MNT, MaintenanceAudit Software, www.pninc.com

• Hundreds of actionable solutions you can use rightaway are found in Maintenance Manager’s StandardManual, by Thomas A. Westerkamp, BNi Publications,Inc., www.bnibooks.com

• Additional case studies of maintenance operationreviews and elements of computerized maintenancemanage ment systems are found in Maynard’s IndustrialEngineering Handbook, 5th edition, edited by Kjell B.Zandin, McGraw-Hill, Inc. (2001), and in Thomas A.Westerkamp, Chapter 16.1, Computer-Aided Mainte -nance Planning, Scheduling, and Control; Chapter 16.2,Benefits of Auditing the Maintenance Department;and G.1, Glossary.


Agift from Alice Cary Brown and W.L. Lyons Brown, Jr.(Lee) of $1 million to Winterthur Museum, Gardenand Library will fund the creation of the Brown

Horticulture Learning Center.For the project, an original estate greenhouse will be

adaptively renovated to house the 3,000-square-foot Center.This will allow Winterthur to expand educational pro -gramming for members and the public. “This gift willtransform Winterthur, as the Brown Horticulture Learn-ing Center will be at the core of the estate, joining themuseum complex with the Visitor Center,” said DavidRoselle, Director of Winterthur.Lee and Alice Cary Brown have been affiliated with

Winterthur since the early 1990s. “As I learned aboutHenry Francis du Pont’s vision for his garden at Winterthur,I realized there is a need for a dedicated space where allages can come and learn about his legacy and explorehorticultural topics in depth with Winterthur experts,” saysAlice Cary. “And there is no better place than in a historicalgreenhouse right in the middle of the estate!”The idea for the Horticulture Learning Center grew out

of the interests of garden supporters, including the Browns.Five years ago, Winterthur’s garden staff began offeringbasic gardening programs, included with admission, to

teach about the Winterthur Garden while using the land -scape to demonstrate sound horticultural techniques. Theseprograms remain at the core of the garden department’seducational offerings, and will flourish with the new class -room and meeting space. The success of recent gardenprograms and their expanding audience makes the timingfor the new Center especially noteworthy.“The design for the new Horticulture Learning Center

is sensitive to the historical nature of the garden,” saidChris Strand, Winterthur’s Director of Garden and Estate.“The building that will be renovated was at the heart ofWinterthur’s horticultural activities for nearly a century.The character of the old greenhouses and workspaces issomething we cherish and will maintain with this project.”Set amidst 1,000 acres of rolling hills and woodlands,

the 60-acre naturalistic garden at Winterthur was designedby H.F. du Pont, and is considered one of the best in thenation. Thanks to du Pont’s horticultural knowledge andunique sense of style—and the work of the garden depart -ment—the Winterthur Garden is one of the only extant”wild gardens” left in the United States.

Holly Victor is Communications Manager at the WinterthurMuseum, Garden and Library. Louise Eliason is the GreaterPhiladelphia Gardens Coordinator.

Winterthur Receives Major Gift to BuildHorticulture Learning CenterBy Holly Victor and Louise Eliason

Rendering of the new Brown Horticultural Learning Center atWinterthur.

Winterthur greenhouse interior.

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

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


Bill Jackson retired on March 28,2010 after 22 years with theNational Library of Scotland.

For those fortunate enough to meetBill—he attended the recent Londonand Washington, D.C. IAMFA con -ferences—many, I am sure, will havebeen struck by his passion and enthu -siasm for the preservation of nationalcollections. When Bill was first appointed to the

National Library of Scotland in 1988,the main building, opened in 1957,was almost in its original state, includ -ing the original fire alarm installation.The main collection floors stretchedfrom one end of the building to theother, with a couple of open staircasesto connect the different floors. Housedamongst the collection he found thefledgling IT room, cleaners and porters’accommodation—remembering thatmost people smoked in those days. Notunderstanding why the floors didn’tappear to have structural supportbeams, he soon came to realise that thefloors were actually supported by themetal book stacks. It began to dawn onBill what a massive job he had takenon, as around every corner thereseemed to lurk yet another seriousrisk to be addressed. Once aware ofthe extent of the issues involved, Billset about dealing with them. In 1987, London suffered a major

fire at Kings Cross underground rail waystation, which caused considerableloss of life. Following a comprehensiveinvestigation, an official report waspublished, becoming the fire pre cau -tions for underground railway sta tions.Bill soon realised that a fire in an under -ground railway station would be verysimilar to a fire in the collection floorsof the Library. Reading through thereport, Bill also noticed that LondonUnderground claimed that they hadinsufficient funding to carry out fireprecaution works. The national gov -ernment replied that London Under -ground had never asked for funding!Seizing his chance, Bill asked the gov -

ernment for a multimillion-pound fund -ing package for a major fire pre cautionand building refurbish ment project,which of course the government couldhardly refuse.Having the cash was one thing, but

Bill still did not know how to protectthe collection from fire. This time hedid what any self-respecting IAMFAmember would do: seek help from col -leagues in a similar National Libraryto see how they dealt with this problem.He found the answer in the U.S. Libraryof Congress, which just happened tohave the same construction model asthe National Library of Scotland. Billwas invited to Washington, D.C. tovisit the Library of Congress, where hesaw the installation of a fully automaticwet-sprinkler installation as a partialsolution to protecting the collection.Unfortunately, this wasn’t the com pleteanswer, as there was still the issue ofhow to protect compact mobile bookstacks. Again reaching out, he dis -covered that the National Libraryof Canada was also investigating thisproblem. Bill joined forces with themto carry out full-scale fire tests, whichresulted in the standards now accepted

as the design criteria for sprinklerprotection of compact mobile shelving.Major fire protection and refur bish -

ment works were completed at theNational Library of Scotland in 1999,leaving the national collection, andthose that work with the national col -lection, significantly more protectedthan they had been when he arrived atthe Library; history will be the judge ofthis impressive contribution. Buildingon his increasing number of contactswithin the U.S. fire engineering in -dustry, in 1992 Bill was invited to jointhe NFPA cultural resources committee,where he eventually became secretaryto the committee. Bill made a majorcontribution to the 2010 issue ofNFPA Code 909: Code for the protectionof cultural resource properties – museums,libraries and places of worship. In 2011, Bill was made a member

emeritus of the committee. Bill is stillan active member of the committee,and will no doubt continue to make amajor contribution to the preser va -tion of national collections for sometime to come. We all wish Bill a longand fulfilling retirement.

Bill Jackson’s RetirementBy Jack Plumb


Washington, D.C.-Baltimore ChapterBy Maurice Evans

The Washington, D.C.-Baltimore chapter held its quarterlychapter meeting on February 10 at the National Gallery ofArt. This was the first meeting of the calendar year. Themeeting was well attended: over nine different culturalinstitutions were represented from the Washington, D.C.metropolitan area and Baltimore. The presentation topic for the meeting was “Energy

Savings at the National Gallery of Art”, presented by DavidSamec and David Matthews, both of whom are from theNational Gallery of Art. The presentation allowed all inattendance a chance to see what other organizations aredoing to curtail their energy use in these trying times. The presentation was very interesting and informative,

and captivated audience attention throughout. There werenumerous questions and discussions after the presentationon how and why the National Gallery of Art took theapproach they did to conserve energy. The Washington, D.C.-Baltimore chapter continues to

grow, with an ever-increasing number of attendees andcultural institutions participating. The meetings also givethe members a chance to network and visit a wide arrayof different cultural institutions in the area. The nextmeeting is scheduled for May 18.

Northern California ChapterBy Joe Brennan

The Northern California Chapter held its quarterly meetingat Aquarium of the Bay on February 9.Aquarium of the Bay has long displayed and advocated for

the aquatic life of San Francisco Bay. From their prime loca -tion on the waterfront, they have enthralled students, tourists

and residents alike. The display and life-support requirementsof an aquarium pose unique facilities challenges, not tomention their perch over a saltwater bay. We met at the front door, then moved inside for a sit-down

meeting, followed by a back-of-house tour. Our host wasChris Connors, Director of Operations at Aquarium of theBay. Chris shared his experiences working in an environmentfraught with facilities challenges. Opened originally as Underwater World, then The

Aquarium of the Pacific, the facility has evolved from a for-profit arcade entertainment venue into a non-profit educa -tional organization. Aquarium of the Bay is now a non-profitmarine nature center offering experiences designed toinspire conservation of the San Francisco Bay and itswatershed. The Aquarium is an affiliate of the Bay Institute:a non-profit organization that has successfully developedand led research, science, education and advocacy pro -grams to revitalize, protect, restore and inspire conservationof San Francisco Bay, from the Sierra to the sea.

Chapter News and Regional Updates

IAMFA members at Aquarium of the Bay.


Its design is based on Kelly Tarlton’s Underwater World inAuckland, which was the brainchild of New Zealand marinearchaeologist and diver Kelly Tarlton (1937–1985). Originallyopened in 1985, Underwater World employs Tarlton’s ideasusing disused sewage storage tanks, and a new way of shap -ing acrylic, which allowed curved tunnels rather than viewingareas with flat panels alone. Aquarium of the Bay has em -ployed this design to great advantage in its central viewingexperience. The Aquarium offers a rich array of bay speciesin this immersive experience, including “touch tanks”. The facilities challenges involved in maintaining a living

collection are exacerbated by the ever-present and insidiousproblem of salt, as it strives to dissolve all ferrous metalsand much more. Another challenge is maintaining waterquality. Regarding salinity, the Aquarium’s intake is off theend of Pier 39 in San Francisco Bay, and they have learnedto draft from the flood tide rather than the ebb. The floodtide waters can be fairly diluted by fresh water heading outthe Golden Gate. A second issue involves the potential chem -ical pollutants of a fuel or oil spill, agricultural chemicals,etc. A third concern is the biological health of the water asrelates to disease and other micro-organisms.Following the meeting, we headed over to the Fog Harbor

Restaurant next door, to continue socializing and net work -ing. Attendance was good, with 14 members in attendance,and we are looking forward to our next quarterly meeting:a facilities tour of the Oakland Coliseum, home of theOakland A’s on May 4.

U.K. Chapter By Jack Plumb

This has been a very busy month for IAMFAmembers in the U.K., with a meeting inJanuary, followed by the Annual ChapterMeeting in mid-April and a further specialmeeting the following day.

As part of the U.K. government’s drive to cut costs, thegovernment has proposed that all government depart mentsshould procure facility maintenance contracts from an exist -ing framework arrangement. This would not suit manyIAMFA members, as all have longstanding contracts withexisting FM contractors. A meeting was called for January 27at the British Library, attended by over 20 IAMFA membersrepresenting 12 different cultural institutions. The maintopic of discussion was how to protect existing relationshipsbuilt up over many years, which includes valuable experienceon how to maintain the various collections. Attendeesagreed that John de Lucy would represent the group at ameeting to be arranged with the FM section of the U.K.Government Property Unit.

John de Lucy, with fellow IAMFA members HarryWanless and Patrick Dixon, met with the head of the FMsection of the Government Property Unit on April 4. Theoutcome was, subject to certain conditions, an acceptancethat the cultural sector requires contracts that meet theparticular conditions of their establishments. Whilst thisdid not meet all the aspirations of the IAMFA group,

accep tance that the cultural sector was not bound byan apparently mandatory acceptance of the existing FMframework agreement was seen as a very positive step. The next meeting was the Annual Chapter Meeting held

on April 13 at Tate Modern in central London. As is becom -ing the norm, the group met on the evening of April 12 ina local pub. The group was particularly pleased to meet upwith Sophie Durrleman and Marie-Pierre Marche who, witha team from the Bibliothèque nationale de France, had beenthe guests of John de Lucy, visiting the British Library collec -tion storage facility in York, England. A special vote ofthanks should go to Mike Freeland of Spie Matthew Hall,who sponsored the food and refreshments for the evening.

Dave Redrup welcomed the group to the 2011 AnnualChapter Meeting at Tate Modern the next morning, andoutlined the agenda for the day. Adrian Hardwicke, theTate’s Director of Visitor Experience and Estates, wouldexplain the Estates Strategy for the Tate. Members of thedesign team for the new extension to Tate Modern (knownas TM2) would then explain some design problems, andhow these problems were overcome. David explained thatTate Modern was the site of a former electricity power

Meeting on January 27 at the British Library.

Meeting attendees at Blackfriars Pub on the evening before theAnnual Chapter Meeting.


station, which had been partially decommissioned in 1982.Whist the turbine hall and boiler spaces had been handedover to the Tate, at the rear of the site UKPN still operatesthe high-voltage transformers and switch-gear that supplypower to most of South London. This equipment hadrecently been upgraded, which had significantly reducedthe accommodation they required, and allowed the Tatesufficient spaces to plan TM2. Adrian explained that the Estate’s strategy—which had

recently been accepted by the Board of Trustees—empha -sised that, whilst the visitor experience is the number-onepriority, the best way to achieve this is to ensure that theEstate is managed and maintained to the highest possiblestandard. Adrian went on to explain that, whilst theirgovernment grant had been reduced, it only accounted for35% of the Tate’s annual budget, and that resources hadbeen provided to ensure that both the major capitol projectand existing level of maintenance would be maintained. Next up were members of the design team for the new

development that is currently underway at the rear of theTate Modern building.

Christoph Zeller of Herzog & deMeuron, the ProjectArchitects, explained how the site was developed, and howthe eventual shape of the eight-storey development wasformed. He noted that the brief for the building was tocreate an extension to the existing Tate Modern, whichwould be as sustainable as possible using passive methodsof environmental control. This meant that the buildingwould be a very heavy structure, leaving as much exposedconcrete as possible, including the site of two former oil-storage tanks. Also discussed was how the external envelope—originally concrete treated to look like brickwork—waschanged to an open brickwork arrangement with glasspanels behind, in order to maximise natural light enteringthe building. The window openings were formed at bothviewing level and at a higher level in the non-exhibitionspaces to maximise daylight and natural ventilation.

Henry Lucker and Mark Nutley of Max Fordham, theconsulting engineers for the project, took us through thedesign process, emphasising the brief’s requirements forsustainability. Henry Lucker explained how areas calledbuffer zones were carefully sized to provide openingsbetween the various spaces, allowing environmental con -ditions to slowly change from one space to another. Healso explained that, whilst the environmental conditionsfor exhibition spaces were defined by a British Standard,the environmental standards they would use were based ona different set of environmental conditions: 16ºC/61ºF to24ºC/75ºF, and 40–65% RH, as agreed by the Bizot Group(more on this organization later). Henry also explainedthat the non-exhibition spaces would, as far as possible, bepassively controlled in accordance with standards recom -mended by the Chartered Institute of Building ServicesEngineers (CIBSE), which were: 25ºc/77ºF, not to beexceeded for 5% of occupied periods, and 28ºC/82ºF, notto be exceeded for 1% of occupied periods, with the riderthat passively cooled buildings would overheat sometimes.

Tate Modern, a former power station.

Adrian Hardwicke addressing meeting attendees. View of TM2 at Tate Modern from the south at dusk.


Mark Nutley explained how the environmental briefwas to be achieved, using a number of original and locallysustainably solutions, as described below.

Low-grade chilled water: Running beneath Londonthere are a number of “hidden” streams and small riversthat have essentially been built over with the continuedexpansion of the city. This water runs through a gravel bed,which lies below the topsoil level but above the thick layerof London clay that traps this water. By experimenting withboreholes, the team managed to drill a 15-metre hole intothe ground to expose this layer, and simply pumped thewater to the surface. They managed to pump 25 l/s at anaverage temperature of 14ºC/57ºF. The main problem wasthat they could only pump 14 l/s back into the ground, sothe maximum flow rate available was trimmed back to 14 l/s.This low-grade chilled water was passed through a heatexchanger, as the groundwater was found to contain ele -ments of sewage and other pollutants, and would not bewelcomed around a substantial chilled water installation.Chilled water at 14ºC/57ºF is sufficient for TM2’s sensiblecooling requirements, (albeit with oversized chilled waterbatteries), but would not be sufficient for any requireddehumidification; therefore, a desiccant dehumidificationwheel was included in the air-handling units.

Low-grade hot water: As mentioned earlier, UKPN hadinstalled replacement HV transformers that, whilst beingoil-cooled, contained a water/oil heat exchanger to removethe heat from the transformers. TM2 would capture thatwaste heat and use it a number of ways. Firstly, it would beused to pre-heat the building’s domestic hot water. It wouldalso be used in conjunction with two heat pumps to turnthe low-grade hot water into the high-grade hot water thatis required to complete the domestic hot water require -ments. Lastly, the low-grade hot water would also be usedto dry out the desiccant dehumidifiers used in the mainair-handling units. The estimates show that this source oflow-grade hot water will meet 65% of the average winterdemand, and 95% of the average summer demand.

TM2 will take high-grade hot water from the existingboiler plant within the original building. Additionalcooling will be provided by a conventional chiller plant.This will also provide some security of supply, should anyunforeseen problems occur with the groundwater supply. After lunch, we were treated to a tour of the site, which

included the former oil-storage tanks. It was explained that,whilst the former oil-storage tanks had been decontaminatedand removed, the intention was to retain the existing con -crete supporting structure and form two new exhibitionspaces below ground level, leaving the exposed concretefinish to provide maximum passive control of the space.Our third meeting took place the day after the Annual

Chapter Meeting, on April 14, and was a joint meetingbetween IAMFA members and preservation colleagues. David Redrup welcomed everyone, and went through

the agenda for the morning’s meeting. David introducedSandra Smith, Head of Conservation at the Victoria andAlbert Museum. Sandra described discussions at 2008 meetings of the

Bizot Group, which comprises directors of the world’sleading museums and galleries. Sir Nicholas Serota fromthe Tate, and Mark Jones from the Victoria and Albert,convened a group of U.K. conservators and other stake -holders to review museums’ environmental conditions inan era of energy constraint, in response to feedback fromBizot Group meetings. This review took the form of aquestionnaire, which was sent to all the leading museums,galleries and libraries around the world. Sandra took usthrough the results of the questionnaire, explaining thebackground to the various questions. What became very apparent was that the considerable

amount of work being carried out by IAMFA members inthis field is aligned with the aims and aspirations of theBizot Group. Sandra and her preservation colleagues weremade aware of the extensive benchmarking by IAMFAmembers, and the tremendous benefit that both groupscould realise by working together more closely.

Kostas Ntanos, Head of Conservation at the NationalArchives, presented the results of his investigations withregards to moving the environmental envelope outsidethe current BS 5454 requirements, without causing anydeterioration to the collection. Kostas presented a numberof spreadsheets identifying environmental compliancethroughout the National Archive collection areas, andpermitted the facilities team to focus on those areas thatexceeded agreed conformance requirements. Kostas’sspreadsheets also identified areas that could be consideredat high risk to mould infestation, again allowing thefacilities team to focus on the areas of concern.David Redrup summed up the very successful meeting,

highlighting the common themes that both Facilities andConservation teams were trying to achieve. He noted that anumber of standards were currently under review, and thatseveral colleagues present were working on those standards. The group agreed that another meeting would be

arranged for October. Site of former oil-storage tanks.


Harry and Sheila Wanless’s 40th Ruby WeddingAnniversary Party on January 29 at the Bexleyheath GolfClub. Right to left: Merida Fitzgerald, Ray Fitzgerald,Olivia de Lucy, John de Lucy, Sheila Wanless, HarryWanless (with beer in hand!).

Harry Wanless is pleased toannounce that his second grand-son arrived Wednesday, April 13,weighing 7 lbs., 4oz. His name isAneurin (pronounced AN-OUR-IN), and mother and baby are bothwell. Harry says Aneurin is theimage of his big brother Ioan atthe same age.

New Zealand ChapterBy Pat Morgan

Hi everyone. I know that your kind thoughts, wishes andoffers of help following the devastating Christchurch earth -quake were enormously appreciated. As I write this, it seemsimpossible that it was just a week ago that this occurred. Ourcity, like the rest of New Zealand, came to a stop today at theexact time of the quake to pay tribute to those many thou -sands of people who have been affected by what occurred,and our televisions, radio and newspapers have been filledwith the grim reality of the event every day.We understand from colleagues at sister institutions in

and around Christchurch that most are safely accountedfor, that many are without homes, and that life as theyknew it will probably never be the same. This is the first time in New Zealand’s history that a state

of national disaster has been declared, and the scale of theevent continues to appall us all. The response from aroundthe world has been extraordinary, though, and has certainly

made us realise that, while New Zealand may be a very longway away, we are certainly not friendless.Our thoughts are with everyone in Christchurch also,

and we hope that we at the Auckland Art Gallery will beable to provide some practical support to the ChristchurchArt Gallery, once they are able to take stock more fully oftheir own needs within the building itself—although thismay not be until the Civil Defence team leave the building. In the meantime, we continue to hope that by some

miracle there may yet be more survivors.

France Chapter

Marie-Pierre Marche and colleagues from the BibliothèqueNationale de France recently visited the British LibraryAdditional Storage building in Boston Spa as part of theirresearch for a new storage building that they are planningto build outside of Paris. They stayed on to attend the U.K.Chapter meeting held on April 13 at the Tate Modern.

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Crossword Solution from page 48


Australian Centre for theMoving ImageMelbourne, VIC

Australian National MaritimeMuseumSydney, NSW

Museum Old and NewBerriedale, Tasmania

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney, NSW

Canada Science andTechnology MuseumCorporationOttawa, Ontario

Canadian Museum forHuman RightsWinnipeg, Manitoba

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Cofely Services Inc.Montreal, Quebec

Facility ManagementServices LTDCalgary, Alberta

Groupe Smi-EnerproLongueuil, Quebec

AUSTRALIA

CANADA

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Bibliotheque nationale deFranceParis

International Council ofMuseumsParis

Auckland Art Gallery — Toi o TamakiAuckland

Auckland MuseumAuckland

Christchurch Art GalleryChristchurch

Royal New Zealand NavyDevonport, Auckland

Museo Guggenheim —BilbaoBilbao, Viz Caya

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

FRANCE

NEW ZEALAND

SPAIN

UNITED KINGDOM

Creative ConsultingPartnership LLPLondon, England

The National ArchivesRichmond, Surrey

National Galleries ofScotlandEdinburgh, Scotland

The National GalleryLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Royal AcademyWare, Hertfordshire

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

AFS Chemical FiltrationGroupBurlington, MA

Alaska State MuseumJuneau, AK

Allentown Art MuseumAllentown, PA

Anacostia CommunityMuseumWashington, DC

Aquarium of the BaySan Francisco, CA

UNITED STATES

Architect of the CapitolWashington, DC

Architrve PC ArchitectsWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta, Georgia

Baltimore Museum of ArtBaltimore, MD

Brooklyn Museum of ArtBrooklyn, NY

California Academy ofScinecesSan Francisco, CA

Camfil Farr (USA) Inc.Newark, DE

Carnegie Museums ofPittsburghPittsburgh, PA

Chicago Children’s MuseumChicago, IL

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

Elliot Lewis CorporationPhiladelphia, PA

Energy MaintenanceServicesHouston, TX

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

IAMFA Members — Organizations


Facility IssuesFlagstaff, AZ

Fine Arts Museum of SanFranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Glide FoundationSan Francisco, CA

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumCambridge, MA

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Landmark Facilities Group,Inc.Norwalk, CT

Library of CongressWashington, DC

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

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

M. Goodwin Associates, Inc.Pasadena, CA

Mariner’s MuseumNewport News, VA

McGuire EngineersChicago, IL

Metropolitan Museum of ArtNew York, NY

Milwaukee Public MuseumMilwaukee, WI

Morikami Museum andJapanese GardensDelray Beach, FL

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum — Udvar-HazyCenterChantilly, VA

National Museum of AfricanAmerican History andCultureWashington, DC

National Museum of AfricanArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum of MarineCorpsTriangle, VA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Museum of theUnited States ArmyFort Belvoir, VA

National Portrait GalleryWashington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceCorona, NY

Norton Museum of ArtWest Palm Beach, FL

Oakland Museum ofCaliforniaOakland, CA

Office of FacilitiesEngineering & OperationsWashington, DC

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Salvador Dali MuseumSt Petersburg, FL

San Francisco Art InstituteSan Francisco, CA

San Francisco MaritimeNational Historical ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum ofArtSanta Barbara, CA

Securitas Security ServicesSan Francisco, CA

Simpson Gumpertz & HegerSan Francisco, CA

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Airand Space MuseumSuitland, MD

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

U.S. Holocaust MuseumWashington, DC

The Whiting-TurnerContracrting CompanyBaltimore, MD

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

This list reflectsmembership

dues paid as of May 5, 2011

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your

listing, please contact

Alan Dirican at

[email protected]


Index of Papyrus Technical and Historical Articles

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

2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010

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

A New High for Atlanta Kevin Streiter Summer 2003

Air Quality Standards for Preservation Environments Chris Muller Winter 2010

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

Apprenticing in Facilities Management Kate Hickman Summer 2006

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

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

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

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

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

Benchmarking: A Comparison over Time Stacey Wittig Summer 2010

Best Practices Daniel D. Davies Summer 2002

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

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

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

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

British Library Additional Storage Program John de Lucy Summer 2007

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

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

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

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

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

Electrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004

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

Energy Star Roofs are Cool Richard Stomber Spring 2008

Existing Building Commissioning Rebecca T. Ellis Spring 2008

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

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

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

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

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

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

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

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

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

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

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

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

Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006

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

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

LED Use in the Museum Environment Ken Kane Winter 2010

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

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

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


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

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

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

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

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

Microclimate Control in Museums Jerry Shiner Summer 2005

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

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

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

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

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

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

National Museums Liverpool Ian Williams Fall 2008

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

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

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

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

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

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

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

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

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

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

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

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

Proposals for the Labelling of Buildings Jack Plumb Summer 2007

Proposals for the Labelling of Buildings Jack Plumb Spring 2008

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

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

Reflections on Papyrus Pierre Lepage Summer 2010

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

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

Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

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

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

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

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

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

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

Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009

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

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

Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008

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

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

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

Title Author(s) Issue


ACROSS

1 Soda pop

3 Maori word for Welcome

5 Bathroom

7 Maori word for Hello, Thank you

9 Thanks

10 New Zealander, or an endangerednative flightless bird

11 Zero

12 Sunglasses

13 A child

14 Flashlight

16 Dinner—generic name for eveningmeal

17 Potato chips

18 Drink made with lemonade and beer

21 Goodbye or thank you

22 Short for “breakfast”

23 Indigenous people of New Zealand

24 Pharmacy, drug store

DOWN

1 Two consecutive weeks, derived from14 days (nights)

2 Roughly translates to “there ya go—that’s all there is to it!”

4 Appetizer or hors d'oeuvre

5 Elevator

6 Primary dish of a meal

7 Maori word for Food

8 Swimsuit

15 Parking lot

19 General conversation held betweenfriends

20 Maori word for Farewell

22 Usually a man

Puzzle PageTerms you may hear in New Zealand (Hint: see “Kiwi Words and Phrases”, page 26)

SOLUTION ON PAGE 43

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

HAERE MAIAuckland, New Zealand13–16 November 2011

Papyrus Spring 2011

Education

Transcript of Papyrus Spring 2011