The award-winning Museum of Scottish Country Life inEast Kilbride is now open and attracting visitors in encour-aging numbers. The facility gives visitors a rare opportunityto visit a historic working farm comprising Farmhouse,Steading and 180 acres of land, including an events areaand a new Exhibition Building. The Museum is the resultof a unique collaboration between the National Museumsof Scotland (NMS) and the National Trust for Scotland (NTS),and is home to the National Country Life Collection, as wellas the NTS collection from the Reid family of Kittochside.

The completed exhibition building is the result of aninnovative harmonization of client thinking, architectural formand environmental engineering. From the outset, the NMSrecognized that the costs of running a fully air-conditionedbuilding, in order to meet the environmental requirementslaid down in current guidelines, would be prohibitive.

Both Page & Park, the architects, and Harley HaddowPartnership, the M&E consulting engineers, embraced theproject brief and began to work together with the NMSto design a building which would combine architecturalinspiration with environmental function.

The first task was to conduct research on the existingenvironmental guidelines. Research on conservation conditionsfor museum objects is by no means conclusive, and opinionson these standards differ around the world. To complicatematters, it soon became clear that the temperature andhumidity values required in order to reduce the deteriorationof objects also vary considerably for different materials. Inter-preting all of the current research on the subject indicatedthat there was no single environment which would provide“satisfactory conditions” for all materials. The most widelyreferred-to guideline in the U.K. is BS5454:2000, which is

PAPYRUSVOLUME 3 SUMMERNUMBER 3 2002

continued on page 2

Grand Prix Winner for Architecture in Scottish Design Awards 2002Engineering the Sustainable Museum Environment at the Museum of Scottish Country Life

by Alastair Cunningham and Chris Mclaren

INSIDELetter from the President . . 4

Regional Chapters —September 11 . . . . . . . . . 6

Pull-Out Members Directory . . . . . . . . . . . . 9

Installations at theGuggenheim Bilbao . . . 13

Facilities MaintenanceSoftware . . . . . . . . . . . . . 16

Best Practices . . . . . . . . . . 19

From the Editor's Desk . . 20The new Museum of Scottish Country Life in East Kilbride, just outside of Glasgow, is situatedat the edge of an urban area, and conducts the visitor towards the land and the countryside.

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

2

for archived documents. This guidelinenotes environmental values of 21˚Cand 50% RH as optimal conditions.

It could have been assumed thatthe Country Life collection is primarilycomprised of robust objects used inrugged agricultural environments.However, there are also many objectswhich combine disparate materials suchas metal, leather and wood, and eachof these would require different conser-vation conditions. Further researchindicated that the effects of temperatureand humidity changes are more prob-lematic than absolute values maintainedwithin limits — even if those valuesaren’t optimal. Discussion with the NMSConservation Department resulted in apragmatic brief, which required stableconditions within a temperature andhumidity band of 15˚C to 25˚C and 45%to 60% RH. Importantly, the brief notedthe maximum rate of change of temp-erature as 4˚C in 12 hours and 2˚C inone hour. The humidity rate of changewas 10% in 12 hours and 6% in 3 hours.

The architecture of the buildingevolved to accommodate its function,resulting in a heavy mass constructionwith the mass exposed internally. Thebuilding’s fenestration includes the mainglazed elements on the north side tominimize solar gain. The ratio of publicareas, accessible storage and closedstorage meant that the internal influ-ences within the building as a wholewere minimized.

The internal spaces are generallylarge and spacious, with high ceilings.Most spaces do not have suspended

ceilings, and the exposed concretefinishes help to stabilize the temperaturein the space by absorbing and releasingmoisture and heat. One result of thebuilding’s form and function is that theinfluences of internal temperature andhumidity gains are negligible, and theopportunity for utilizing the ambientconditions to maintain the designedenvironment is greater than it would bewith a lightweight construction whichutilizes insulating internal finishes.

The ethos of the environmentalservices design was to utilize modularplant arrangements, which followedthe natural occupancy and physicalbuilding zoning. This resulted in aproposal to install 10 small air hand-ling units (AHUs) to serve the variousdistinct zones of the building. Attentionto detail was important in sealing thefabric between zones, as well as inthe outer envelope.

A large-scale computational fluiddynamic (CFD) study of the buildingwas undertaken to assess and refinethe ventilation proposals. The computermodel took into account all the physicalproperties of the building. The model-ling included a full simulation of a“weather year” and also analyzed theindividual zones for the peak designdays, to assess the rate of change in

humidity and temperature over time.The CFD model predicted that, byutilizing the chimney structure andan exposed concrete labyrinth inthe common intake duct, up to 2˚Cadditional cooling could be gained.

Each of the ventilation installations isconfigured to serve areas of the buildingwith similar gains and uses. Internalstores are served from a common sys-tem, whereas stores with external walls,or on the same elevation of the building,are served from another system. Theaim of the ventilation configurationphilosophy is to create the most envi-ronmentally stable spaces possible.

A fully integrated Building Manage-ment System is installed in the building,with temperature and humidity sensorsin all stores. The stores have air-qualitysensors which detect CO2 levels. These

The Museum of Scottish Country Life is also a working farm.

Another view of the Museum building. Air handling units in the Museum’s plant.

Scottish Design Awards — continuedfrom page 1

3

sensors override any thermal controlsif the internal air quality requires theintroduction of fresh air. The environ-mental control strategy reverts onlywhen air quality is satisfied, andswitches the ventilation on only if theconditions for doing so are satisfied.

The ventilation plant is controlledusing algorithms that sense the rate anddirection of changes in room conditionswithin the required range. The controlsthen use the available plant and/orambient conditions to bring the room’scondition back to acceptable levels. Thecontrols installation ensures that thereis no plant intervention until the roomcondition is beyond the required range,and then only if plant operation is ableto adjust the conditions back appropriatelevels. The environmental buildingcontrol philosophy is based on no plantactivity if the conditions are satisfied,and minimal plant activity only ifrequired on a zone-by-zone basis.

The Museum has now been in oper-ation for a number of months, andconditions in the stores have beenregularly monitored. The temperature

and humidity profiles indicate thatconditions in the stores remain stableeven when the ambient conditionsvary considerably from day to night,and also as the weather changes overdays and weeks. It has been noted that,in the first few months of operation,the AHU installations remained off forsignificant periods, due to the inherentpassive thermal stability of the building.

Running costs are currently beingcalculated, based on the data received todate. It is anticipated that the runningcosts will be a fraction of those for a“conventional” museum or gallerybuilding.

By adopting the approach described,the National Museums of Scotland aretaking a farsighted approach to theproblem of storing artifacts in a mannerthat will reduce their degradation, whileensuring that the plant will be able torun without incurring unsustainablerunning costs.

Alastair Cunningham is Project Devel-opment Manager for the NationalMuseums of Scotland. He has over25 years’ experience in the fields ofarchitecture, construction, procurementand delivery. In his past 12 years withthe NMS, he has been involved in thedelivery of major projects and has beeninvolved in the areas of collection storageand accessible storage, as well as morepragmatic aspects of environmentalcontrols. Chris Mclaren, consulting M&Eengineer, also contributed to this piece.

Looking out towards the main entrance of the Museum.

The display cases in the exhibition courtyard area featurea variety of agricultural tools. The cases themselves havebeen designed as “trailers” which can be joined up andtowed away. This in turn creates a functional rentalvenue, which generates revenue for the facility.

External Ambient Conditions October 2001.

Internal Space Conditions October 2001.

4

Very little time seems to have passedsince I last sat down to write to youall. Despite this, things have continuedto progress, and there are a number ofdevelopments to report.

The Board met in Amsterdam overthe weekend of April 12 to 14, and wewere generously entertained by JanAbrahamse at the Rijksmuseum andJan Kruls at the Van Gogh Museum. Staffat both museums were wonderfullyhelpful and friendly, and I would liketo thank them once again on behalf ofthe Board for their hospitality. As ever,we had a full agenda, and spent thewhole of Saturday in discussion in abeautiful gothic chapel in the heart ofthe Rijksmuseum.

Reports from Board members con-firmed that as an organization we arein reasonable health. Bill Caddick wasable to confirm that our finances arestable, and that membership take-uphas been good, although we are missinga few familiar names whom we hopehave just been slow in signing up. Asan inducement to encourage early pay-ment, we have decided to charge a latefee of $25 for inclusion in the annualDirectory that is published.

Pierre Lepage has done a great jobwith our Papyrus newsletter, and I hopethat you have all now received threenew editions full of relevant articles. Ican testify to his vigour as I fend of hisdemands for copy by the agreed dead-line — he is not one to be deflected orto let things slide! It is certainly worthit, however: I have used the recenteditions as marketing material, andthey have obviously impressed bothpotential members and likely sponsors.

On the administrative side, MarlaChanin-Tobar has agreed to push

forward a new handbook, detailing jobdescriptions for the Board, and generallyclarifying procedures set out in ourby-laws. The intention is to create ahandbook that will form a sort of cor-porate memory, guiding future Boards— although it remains open, as ever,to adaptation and development as wegrow. The Board also discussed thevacancies that will be open to the mem-bership in September; these will be theposts of President and Vice-Presidentof Administration, and I would like toformally ask for any nominations tothese posts prior to the London con-ference. We will, of course, have aballot at the business meeting, and Iwill remind you all again when youarrive in London.

All of which leads me to the Londonconference and arrangements to date.The organizing committee has finalizedvenues and themes for the three days,and we are now concentrating on details.I hope that the programme for boththe conference and spouses will be upon our Web site by the time you readthis, so check it out at www.iamfa.org.I urge you to make an early booking— if we run out of rooms, it will beextremely difficult to find more in thecentre of London close to the event.

It comes as a blow to the committeeand the organization as a whole thatKaren Plouviez has been offered a jobin the education sector, and is leavingthe British Library. In a relatively shortperiod, she has had a big impact onIAMFA affairs in the United Kingdom,and her leadership has set the Londonconference on course to being anothergreat event. I can only say thank youand best wishes from us all. We havealso had confirmation from Joe Brennan

that San Francisco will be hostingthe event in 2003, again probably inSeptember. We will ask him to giveus more details in London.

I have recently corresponded withVinny Magorrian, who tells me that hishealth problems have meant that he isleaving MoMA. He would be delightedto hear from his friends within the orga-nization, and if you e-mail me, I willpass on messages or put you in touch.He has a vast resource of experienceand may be a fruitful contact foranyone with an operational problem.Vinny was a founding member of thisorganization, and is someone I haveoften turned to for advice. His shorthistory of the organization was distrib-uted at the Chicago conference, and ispart of an archive we should not lose.I hope we will be able to find a wayfor past members to continue to partic-ipate within the organization, perhapswith some form of retired membershipcategory. I wish him well for the future,and look forward to seeing him atfuture IAMFA events.

I look forward to seeing you inLondon — and please confirm yourbooking as soon as possible to makelife easier for those organizing venues,meals and trips!

All the best,

Peter FotheringhamNational Gallery, LondonJune 2002

Letter from the President

IAMFAPresident,PeterFotheringham

5

IAMFA Board ofDirectors

President

Peter FotheringhamThe National GalleryLondon, Englandpeter.fotheringham@ng-org.uk

V.P., Administration

Marla Chanin-TobarMeridian International CenterWashington, D.C., U.S.A.mctobar@meridian.org

V.P., Regional Affairs

Carole BeauvaisNational Archives of Canada andNational Library of CanadaOttawa, Canadacbeauvais@archives.ca

Treasurer

William CaddickArt Institute of ChicagoChicago, U.S.A.wcaddick@artic.edu

Secretary and Papyrus Editor

Pierre LepageCanadian Museum of Civilization andCanadian War MuseumHull, Canadapierre.lepage@civilization.ca

Chairman — Conference 2002

Karen PlouviezThe British LibraryLondon, Englandkaren.plouviez@bl.uk

Chairman — Conference 2003

Joe BrennanSan Francisco Museum of Modern ArtSan Francisco, U.S.A.jbrennan@sfmoma.org

For additional contact information,please visit our website at

www.iamfa.org

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THE LONDON 2002 CONFERENCESeptember 22–25, 2002

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITYADMINISTRATORS

M YES! Sign me up to attend the 2002 IAMFA Annual Conference inLondon, England.

Name: ___________________________________________________________________________

Title: ____________________________________________________________________________

Institution:_______________________________________________________________________

Address: _________________________________________________________________________

City: _________________________________________ Postal/Zip Code: _________________

State/Province/County: ______________________ Country: _________________________

Phone: ________________________________ Fax: ____________________________________

E-mail: __________________________________________________________________________

Special dietary requirements:____________________________________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M Member Fee: $350

M Non-member conference fee: $400

M Sign me up as a new IAMFA member: $150

M Guest Programme: $250 Guest Name: _________________________________

M Day Attendance: $150 per day M MON M TUE M WED

Please remit to: International Association of Museum Facility Administratorsc/o Karen PlouviezThe British Museum96 Euston Road London, NW1 2DBUnited KingdomI require an invoice: M Yes M No

SUGGESTED ACCOMMODATIONA limited number of twin/double rooms has been reserved in two high-gradehotels (the Thistle Piccadilly and the Thistle Trafalgar) in the heart of London,within easy walking distance of the three conference venues. The hotelshave recently been refurbished to high standards, and all rooms are air-conditioned. A special rate of £150 per night has been negotiated for IAMFAdelegates for the period of September 21–28, 2002. The rooms have alreadybeen reserved, and delegates must confirm their rooms by contacting thehotels directly. Please ask for “in-house reservations” and quote bookingreference “TRAF 02”. In order to avoid disappointment, please note thatrooms should be reserved as soon as possible.

Thistle Trafalgar + 44 (0) 20 7930 4477 Thistle Piccadilly + 44 (0) 20 7930 4033

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

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6

For months, there were reports thatSeptember 11, 2001 would be a momen-tous day in New York City history. Termlimits were in effect, and almost everycity government official was slated toleave his or her position. It was anunseasonably warm and sunny day. Ithought that I should vote early, beforethe long lines formed. I drove myyoungest daughter to school andheaded to my polling site, when I heardthe news flash that an airplane had justhit the World Trade Center. I imaginedit was the result of a misguided ormalfunctioning plane that must havehit the antenna on one of the towers,and that damage would be minimal.

The early reports were sketchy andunconfirmed. I was in Brooklyn, whereI could see smoke trailing from thetower. I parked my vehicle and watchedin disbelief. I could see that the towerhad actually been hit on one of theupper floors, and not at the antennaas I’d imagined. The magnitude of thistragedy was just beginning to set inwhen I witnessed the second plane hit.It was like watching a movie, until aradio announcer said the Pentagon had

also been hit and that another plane,although unconfirmed, was headedoff-course towards the White House.

I looked and I listened for whatseemed to be forever, and asked myselfhow all these incidents could be coin-cidental. My military, security and anti-terrorism training forced me to shake offthe shock of it and acknowledge thatAmerica was under attack. I knew thatI would be activated and had to reportfor military duty. It was time to act!

Not knowing what would happennext, priority dictated that I secure myfamily. I called my wife at work toinform her of what was happening, andto let her know how much I loved her.She in turn was concerned about ourthree children. I assured her that I wouldget them all safely home, and that every-thing would be all right. I knew I hadjust made a promise that only Godcould keep, so I began to pray.

As the First Sergeant of C. Co 204thEngineers New York Army NationalGuard, I next contacted my commander,who was also monitoring the disasterfrom work. We planned to stay tunedand stand by for orders from theGovernor.

My next call was to the BrooklynChildren’s Museum, where I haveworked in Operations and Securityfor over 10 years. We were fortunatethat the hundreds of schoolchildrenwe serve on weekdays were not at theMuseum on September 11, 2001. TheMuseum is closed to the public onTuesdays, and the security supervisorson duty reported that all was secure,and that they were in the process of

implementing the Museum’s disasterplan. Our plan has been in place formany years, and we had had mockevacuations and response tests in therecent past. The plan’s directives areto ensure:

• Safety of our staff and visitors.

• Safety of our collection.

• Protection of the facility.

Every bag and package wasinspected, and a head count wastaken of everyone entering or exitingthe building. Although it wasn’tmandated, some staff began to leavework spontaneously to be with theirfamilies. There is an elementary schoolnext door to the Museum, and dedi-cated staff members went to helpcomfort the children waiting to bepicked up by their parents.

On Duty at Ground ZeroAs expected, the Governor activated myunit that day. There were thousandsof volunteers and neighbours wholined the streets, cheering and wel-coming us to the area. It was a movingexperience. Uncertainty, chaos, despairand pandemonium are words thatdescribe my feelings as we securedour sector of responsibility, providingsecurity at Ground Zero within thefirst few days of the disaster. With thelevel of devastation surrounding thearea, the site was like something outof a war movie.

Regional Chapters It Began Just Like any Ordinary Day — A Museum Facility Manager’s View of

September 11

Lloyd O. Headley

by Lloyd O. Headley

7

During that time, three thingsbrought calm and consolation tomy mind, body and soul:

• First was my constant prayer for thepeople trapped under the rubble,the people who lost their lives,their families, and the many livesthat were spared.

• Second, knowing that I was pro-viding a needed service to helpothers.

• Lastly, watching the many agencieswork tirelessly around the clock tosave lives, guard facilities and givehelp so generously.

Creating a “Safe Zone” I returned to work at the BrooklynChildren’s Museum on TuesdaySeptember 25, 2001, after workingtwelve-hour shifts at Ground Zero forfourteen days. The monthly all-staffmeeting was very informative, andserved as a way to bond and keepstaff updated of changes and issueswe needed to address followingSeptember 11.

I listened to the supervisors of theSecurity and Facilities Departments asthey reported on the safety and deter-rent measures we had implemented:

• Barriers on the exterior of thebuilding to prohibit individualsfrom parking close to the exitsor entrance of the building.

• Checking all staff and visitors bags/packages (including school classes)at the front entrance, prior to theirentering the facility.

• Providing threat level and transpor-tation updates of road, bridge, tunneland subway closings and detoursfrom the Police Department.

• Enhanced mail handling to deal withpotential anthrax, bomb scares, etc.

It quickly became clear that allstaff had an important role to playin dealing with a crisis such as this.

Training, Training, TrainingIn the seven months since September 11,the common thread that ran throughmuseums was the importance of train-ing, training and more training. It wasimportant to have updated EmergencyEvacuation Plans in place. I made surethat the necessary safety measures wereput in place and utilized to the fullestextent, providing the atmosphere of a“Safe Zone” in the Brooklyn Children’sMuseum for staff and visitors.

The reason training became key wasthat many facility managers withoutenough security personnel, barriers,magnetometers and handheld wandshad to evaluate their needs and fill inthe gaps immediately. Through network-ing, seminars, meetings and updatingmanuals, all areas that were vulnerableto terrorists were strengthened.

Because of the threat of anthraxarriving through the postal system, ourhighest alert went to monitoring themail for unmarked packages. Again,training in new ways of handling themail was undertaken, and enhancedcalm was brought to this once volatilearea of concern.

Keeping staff informed and equippedduring these past months has helpedto create balance in dealing with life atthe Museum following September 11.Things will never return to businessas usual for most people, of course.Fear will continue to master somelives, while others will keep rising tothe challenge.

The New York Chapter Committeemembers responded very well to thecrisis. Through meetings and network-ing, a special task force was created,with support from the Mayor’s Office,to develop shared responses during anemergency. A core group was formed,and the decision was made to first

design a document that would helpfacilities of all sizes to create theirown disaster plans. The second stepwill be developing shared responsesbetween institutions.

In communicating with chaptermembers about the effects of Septem-ber 11 on visitation at their institutions,the overwhelming consensus was thatschool groups were particularly visibleby their absence in the months followingthe terrorist attacks. An article in theNew York City Council Departmentof Cultural Affairs by Kate D. Levin,Commissioner May 14, 2002 read,“According to a survey we recentlyundertook of the 34 members of theCultural Institutions Group (CIG),between October 1 and December 31,2001, the CIG collectively sufferedan income loss of $42.6 million; thisfigure includes earned income as wellas contributions from corporations,foundations and individuals. Additionally,attendance was down by 1.1 millionvisitors and school group visits weredown by 35 percent.”

Institutions within three milesof Ground Zero had a difficult timereceiving services, because they wereclosed for at least six to eight weeks.Other institutions not in the “frozenzone” were able to utilize their servicesuppliers only after identification checksof the driver and vehicle wanting toenter our buildings.

The institution closest to GroundZero belonged to Myro Riznyk, FacilitiesManager of the Smithsonian Institution,which is located at 1 Bowling Green.He stated, “I had no contaminationinside my building, because we closedour outside air dampers. However, theoutside of the building had three tofour inches of dust and debris.” Otherinstitutions — in addition to shuttingdown their fresh air intake in particular,depending on the direction the windwas blowing — decided to changetheir filters more often to maintain aclean environment.

continued on page 8

8

The situation was not so grim forthe Brooklyn Children’s Museum. Visi-tation was down by 40–50% for the firstthree months following September 11,due primarily to transportation issuesfor school classes, closing of bridgesand tunnels, and parental concerns.While some institutions are still belowtheir average attendance numbers forthis year, our visitation has slowlyincreased within the last four monthsto about 75% our normal attendance.We have been very fortunate.

I know when you dwell on tragedyand live in the past, memories ofall the pain and hurt can overwhelmyou, to the point where leaving homecan become a strain. Also, thinking ofthe future can become a bad dreamor nightmare because of negative self-talk and fear of what could happen

tomorrow. I find myself now livingmore in the present, and enjoyingthe simple things in life, instead ofliving in the past or worrying aboutthe future.

Lloyd Headley has a degree in SecurityManagement, and is currently Directorof Operations and Security at theBrooklyn Children’s Museum. He hasbeen listed in the International Who’sWho of Professionals, and has beenawarded a New York State SenateCitation for Distinguished CommunityService. He has served as Chairman ofthe Museum, Library, Cultural PropertyProtection Committee, and is Chairmanof the Museum, Library, CulturalProperty Facilities Committee. He iscurrently the Chair of the New YorkChapter of the IAMFA.

Chairpersons of Regional Chapters

Los Angeles, U.S.A.James SurwilloJapanese American National Museum

New York, U.S.A.Lloyd HeadleyThe Brooklyn Children’s Museum

Ottawa-Hull, CanadaToby GreenbaumPublic Works & Government Services

San Francisco, U.S.A.Joe BrennanSan Francisco Museum of Modern Art

London, EnglandKaren Plouviez The British Library

Washington-Baltimore, U.S.A.Fletcher Johnston Hirshorn Museum & Sculpture Garden

Coordinators of Future Chapters

Atlanta, U.S.A.Kevin StreiterHigh Museum of Art

Bilbao, SpainRogelio DiezGuggenheim Museum

Chicago, U.S.A.William CaddickArt Institute of Chicago

Houston-San Antonio, U.S.A.Gary Morrison McNay Art Museum

Pennsylvania, U.S.A.Victor T. RazzeBrandywine River Museum andConservatory

Seattle, U.S.A.Patrick DowlingWhatcom Museum of History and Art

Cleveland, U.S.A.Tom CataliotiCleveland Museum of Art

Sydney, AustraliaBob ScottThe Powerhouse Museum

Amsterdam, The NetherlandsJan AbrahamseThe Rijksmuseum

The International Association of Museum Facility

Administrators is pleased to welcome the following

new members:

Regular Members

Tom Catalioti

— Cleveland Museum of Art, Cleveland, OH, U.S.A.

Glen Hodges

— Australian Museum, Sydney, Australia

New IAMFA Members

Regional Chapters — continued from page 7

9

Glen HodgesAustralian Museum6 College StreetSydneyAustralia2010glenh@austmus.gov.au

Phil ReesNational Gallery of AustraliaGPO Box 1150Canberra, ACTAustralia2601philr@nga.gov.au

Carole BeauvaisNational Archives of Canada395 WellingtonOttawa, OntarioK1A 0N3Canadacbeauvais@archives.ca

Dale CameronNational Archives of Canada

National Library of Canada344 Wellington Street, Rm. 5076Ottawa, OntarioK1A 0N3Canadadcameron@archives.ca

Bob ChartrandNational Museum of Science

and Technology2421 Lancaster RoadOttawa, OntarioK1G 5A3Canadarchartrand@mmstc.ca

Ian FollettFacility Management Services

Ltd.45 Maryland Place, SWCalgary, AlbertaT2V 2E6Canadafmsltd@fmsltd.com

Gerry PotocznyCanadian Museum of NatureP.O. Box 3443 Stn. DOttawa, OntarioK1P 6P4Canadagpotoczny@mus-nature.ca

Lynn RowOntario Science Centre770 Don Mills RoadNorth York, OntarioM3C 1T3Canadalynn.row@osc.on.ca

CANADA

AUSTRALIAGuy LarocqueCanadian Museum of

Civilization100 Laurier StreetHull, QuebecJ8X 4H2Canadaguy.larocque@civilisations.ca

Pierre LepageCanadian Museum of

Civilization100 Laurier StreetHull, QuebecJ8X 4H2Canadapierre.lepage@civilization.ca

José Luis OliverosCentre canadien d’Architecture1920, rue BailleMontréal, QuebecH3H 2S6Canadajolivero@cca.qc.ca

Leslie BrantinghamParliamentary Works

Directorate1 Cannon RowLondon, EnglandSW1A 2JNbrantinghaml@parliament.uk

Peter FotheringhamNational GalleryTrafalgar SquareLondon, EnglandWC2N 5DNpeter.fotheringham@

ng-london.org.uk

Graham PellowNatural History MuseumCromwell RoadLondon, EnglandSW7 5BDg.pellow@nhm.ac.uk

Karen PlouviezBritish Museum96 Euston RoadLondon, EnglandNW1 2DBkaren.plouviez@bl.uk

Jan AbrahamseRijksmuseumStadhouderskade 421071 ZD AmsterdamThe Netherlandsjan.abrahamse@wolmail.nl

THE NETHERLANDS

ENGLAND

Robert GalbraithNational Galleries of Scotland13 Heriot RowEdinburgh, ScotlandEH4 3DSrobert.galbraith@

natgalscot.ac.uk

Rogelio DiezGuggenheim MuseumAbandoibarra 248001 BilbaoSpainrdiez@guggenheim-bilbao.es

ALABAMA

Shirley A. WoodsMontgomerey Museum of

Fine ArtsP.O. Box 230819Montgomerey, AL36123-0819USAshirleywoods@mindspring.com

ARKANSAS

John PaganArkansas Art CenterP.O. Box 2137Little Rock, AR72203-2137USAjpagan@arkarts.com

CALIFORNIA

Donald BattjesLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, CA90036USAdbattjes@lacma.org

Joe BrennanSan Francisco Museum of

Modern Art151 Third St.San Francisco, CA94103-31USAjbrennan@sfmoma.org

USA

SPAIN

SCOTLANDJim BullockGetty Center (Getty Museum)1200 Getty Center Dr., Ste. 1000Los Angeles, CA90049-1687USAjbullock@getty.edu

John CoplinSanta Barbara Museum of Art1130 State StreetSanta Barbara, CA93101-2746USAjcoplin@sbmuseart.org

John DonohoeJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAjdonohoe@getty.edu

Steven GreenCantor Center for the Visual ArtsCantor CenterStanford, CA94305-5060USAstegreen@standford.edu

Oren GrayJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAogray@getty.edu

Jim HartmanFine Arts Museums233 Post St., 6th Flr.San Francisco, CA94108USAjhartman@famsf.org

David HillbrandYerba Buena Center for the Art701 Mission StreetSan Francisco, CA94103USAdhillbrand@yerbabuenaarts.org

Randy MurphyMuseum of Contemporary Art250 S. Grand Ave., California

PlazaLos Angeles, CA90012USArmurphy@moca.org

Mary OmotoJapanese American National

Museum369 East First St.Los Angeles, CA90012USAmomoto@janm.org

IAMFA Members Directory 2002

10

Michael OrthJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAmorth@getty.edu

Ronald RomoJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USArromo@getty.edu

Brenda SheridanLong Island Beach Museum2300 East Ocean Blvd.Long Beach, CA90803USAbrendas@lbma.org

Sarah ShulmanCalifornia Historical Society678 Mission StreetSan Francisco, CA94105USAsarah@calhist.org

Will SpencerJ. Paul Getty Museum1200 Getty Center DriveLos Angeles, CA90049-1678USAwspencer@getty.edu

James A. SurwilloJapanese American National

Museum369 East First St.Los Angeles, CA90012USAjsurwillo@janm.org

CONNECTICUT

Ernest ConradLandmark Facilities Group Inc.252 East AvenueNorwalk, CT06855USAeconrad@lfginc.com

George J. ConteYale Center for British Art29 Oakhill Drive, PO Box

208280North Haven, CT06520-8280USAGjc5.mail.yale.edu@

mr2.its.yale.edu

DISTRICT OF COLUMBIA

Eugene BrownU.S. Holocaust Memorial

Museum100 Raoul Wallenberg Place, SWWashington, DC20024-2126USAebrown@ushmn.org

Marla Chanin-TobarMeridian International Center1630 Crescent Place, NWWashington, DC20009USAmctobar@meridian.org

Daniel D. DaviesNational Museum of American

Art and Portrait GalleryVictor Building 9th & G Street,

NW750 Ninth St. N.W.Washington, DC20560-0201USAddavies@opp.si.edu

Richard DayNational Museum of Natural

History10th St. & Constitution Ave., NWWashington, DC20056USAday.richard@nmnh.si.edu

Ron HawkinsSmithsonian Institution-

Quadrangle1100 Independence Avenue, SWWashington, DC20560USAhawkins@exchange.si.edu

Fletcher JohnstonHirshorn MuseumIndependence Ave at 7th

Street, SWWashington, DC20560-0350USAfletchj@hmsg.si.edu

Richard KowalczykNational Air and Space

Museum601 Independence Avenue, SWWashington, DC20560-0303USArichard.kowalczyk@nasm.si.edu

Eugene F. RamatowskiU.S. Holocaust Memorial

Museum100 Raoul Wallenberg Place, SWWashington, DC20024-2126USAeramatowski@ushmm.org

Kurt SissonNational Gallery of Art6th St. & Constitution Ave., NWWashington, DC20565USAk-sisson@nga.gov

Michael SolfieldSmithsonian Institution750 Ninth Street, NWRoom 5200 MRC 908Washington, DCWashingtonUSA

FLORIDA

Debbie TowersMorikami Museum & Japanese

Gardens4000 Morikami Park RoadDelray Beach, FL33446USAdtowers@co.palm-beach.fl.us

GEORGIA

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

woodruffcenter.org

HAWAII

Robert WhiteHonolulu Academy of Arts900 S. Beretania StreetHonolulu, HI96814USArwhite@honoluluacademy.org

ILLINOIS

Brendan BerryAdvantage Operations, Art

Institute125 E. MonroeChicago, IL60603-1073USAbberry@artic.edu

Bill CaddickArt Institute of Chicago111 S. Michigan AvenueChicago, IL60603-6110USAwcaddick@artic.edu

Paul HuberAdvantage Operations3906 N. Monticello AvenueChicago, IL60618-4128USApshuber@telocity.com

Don MeckleyMuseum of Contemporary Art220 E. Chicago AvenueChicago, IL60611-2604USAdmeckley@mcachicago.org

LOUISIANA

Jackie SullivanNew Orleans Museum of ArtP.O. Box 19123New Orleans, LA70179USA jsullivan@noma.org

MAINE

David GeldartMuseum of Fine Arts, Boston465 Huntington Ave.Boston, MA02115USAdgeldart@mfa.org

James S. LabeckIsabella Stewart Gardner

Museum2 Palace RoadBoston, MA02115USAjlabeck@isgm.org

David RothChildren Museum Inc.Museum Wharf308 Congress St.Boston, MA02210-1034USAroth@bostonkids.org

MARYLAND

Alan DiricanBaltimore Museum of Art10 Art Museum DriveBaltimore, MD21218-3898USAadirican@artbma.org

Jeffery H. GreeneBanneker-Douglas Museum84 Franklin StreetAnnapolis, MD21401-2738USAbanneker@dhcd.state.md.us

IAMFA Members Directory 2002

USA (cont’d)

CALIFORNIA (cont’d)

11

MISSOURI

Reed LillardNelson-Atkins Museum of Art4525 Oak StreetKansas City, MO64111-1873USArlillard@nelson-atkins.org

NEW YORK

Brij AnandGuggenheim Museum1071 Fifth AvenueNew York, NY10128USAbanand@guggenheim.org

Ciro BottacavoliIEN Magazine5 Penn PlazaNew York, NY10001USACAB@tpmgnet.com

Martin CavanaughPierpont Morgan Library29 East 36th StreetNew York, NY10116USAmcavanaugh@morganlibrary.org

William Esposito Jr.Ambient Labs, Inc.55 West 39th Street, 12th FloorNew York, NY10018-3803USAwesposito@ambientgroup.com

Vincent MagorrianMuseum of Modern Art –

New York11 West 53rd StreetNew York, NY10019USAvinnie_maggorrian@moma.org

Myro RiznykSmithsonian Institution-

National Museum of theAmerican Indian

One Bowling Green DriveNew York, NY10004USAriznykm@ic.si.edu

Tom ScallyMetropolitan Museum of ArtCommunication Department100 5th AvenueNew York, NY10028-0198USAtom.scally@metmuseum.org

Harry SoldatiBrooklyn Museum of Art200 Eastern ParkwayBrooklyn, NY11238USAsoldati@brooklynmuseum.org

Dennis F. SweeneyFrick Collection1 East 70th StreetNew York, NY10021USAsweeney@frick.org

Stan ZwirenBrooklyn Museum of Art200 Eastern ParkwayBrooklyn, NY11238-6052USAzwiren@brooklynmuseum.org

OHIO

Paul BernardToledo Museum2445 Monroe Street,

Scottwood AvenueToledo, OH43697USApbernard@toledomuseum.org

Tom CataliotiCleveland Museum11150 East Blvd.Cleveland, OH44106USAcatalioti@cma_oh.org

David NawrockiColumbus Art Museum400 E. Broad St.Columbus, OH43215USAdnawrock@cmaohio.org

Dave GeardingCincinnati Art Museum953 Eden Park DriveCincinnati, OH45202-1596USAdgearding@cincyart.org

PENNSYLVANIA

Larry ArmstrongCarnegie Museums4400 Forbes AvenuePittsburgh, PA15213USAarmstrongl@

carnegiemuseums.org

Douglas BowermanAllentown Art Museum5th and Court StreetsP.O. Box 388Allentown, PA18105USAoperations@

allentownartmuseum.org

Terri L. ChapmanFrick Art and Historical and

Finance7227 Reynolds StreetPittsburgh, PA15208-2923USAtlchapman@frickart.org

Walt CrimmEwing Cole Cherry Brott100 North Sixth Street, 6th FloorPhiladelphia, PA19106USAwcrimm@ewingcole.com

Rad DelaneyEwing Cole Cherry Brott100 North Sixth Street, 6th FloorPhiladelphia, PA19106USAradelaney@ewingcole.com

Bob MorronePhiladelphia Museum of Art26th & Benjamin Franklin Pkwy.P.O. Box 7646Philadelphia, PA19101-7646USArmorrone@philamuseum.org

Tom L. PeckColonial Williamsburg

FoundationP.O. Box 1776Williamsburg, PA23187-1776USA

Victor T. RazzeBrandywine River Museum and

ConservatoryP.O. Box 141Chaddis Ford, PA19317USAvrazze@brandywine.org

Richard J. ReinertAffiliated Building Systems2600 Benjamin Franklin Pkwy.Philadelphia, PA19130USArreinert@philamuseum.org

James SuttonPhiladelphia Museum of Art26th & Benjamin Franklin Pkwy.P.O. Box 7646Philadelphia, PA19101-7646USAjsutton@philamuseum.org

SOUTH CAROLINA

Michael RohColumbia Museum of ArtP.O. Box 2068Columbia, SC29202USAmichael@colmusart.org

TEXAS

Henry GriffinMuseum of Fine Arts, Houston1001 BissonnetHouston, TX77265-6826USAhgriffin@mjha.org

Gary L. MorrisonMcNay Art MuseumP.O. Box 6069San Antonio, TX78240USAglmmcnay@juno.com

Jeffery RyanJackson and Ryan Architects2370 Rice Boulevard, Suite 210Houston, TX77005USAjryan@jacksonryan.com

VIRGINIA

John CannupMariner’s Museum100 Museum DriveNewport News, VA23221-2466USAjcannup@mariner.org

WISCONSIN

Richard SwainstonMilwaukee Public Museum800 Wells St.Milwaukee, WI53233USAdick@mpm.edu

IAMFA Members Directory 2002

Although we do our best toensure that our Directory

information is as up-to-dateas possible, errors

and omissions can alwaysoccur. If you would like

to make any changes to yourlisting, please contact

Julie Coderre at

julie.coderre@civilization.ca

Thanks very much.

12

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

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

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

Cordially yours,The Board of the International of Museum FacilityAdministrators

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

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

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

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

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

Become a Member of the IAMFAand Get a Friend to Join

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

M Regular Member $150 M Associate Member $ 50

M Affiliate Member $ 50 M Subscribing Member $300

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M I enclose a check in the amount of $ ____________________

M Please invoice me

✁

Send in your membership dues by using the convenient form below. Don’t forget to make a copy to give to a colleague.

Please remit to: International Association of MuseumFacility AdministratorsP.O. Box 1505, Washington, D.C. 20013-1505 U.S.A.

Website: www.iamfa.org

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

13

Inaugurated in October 1997, followingfive years of construction, the Guggen-heim Museum Bilbao of Modern andContemporary Art is a unique andremarkable feat of engineering.

Designed by renowned architectFrank O. Gehry, the museum runs downto the banks of the river Nervión, andseems to slide beneath the Puente de laSalve bridge — one of the main pointsof access to the city of Bilbao in theBasque region of northern Spain.

The main entrance leads directly intothe heart of the Museum. As visitorsstand in the central atrium, they areimmediately struck by how well thisbuilding — which is over 50 metres(160 feet) in height and commands a32,500-square-metre site in the centreof the city — can fit into the urbanlandscape without towering overneighboring buildings.

The museum offers 11,000 squaremetres of exhibition space, distributedamong 19 galleries. Ten of these, cladexternally in limestone blocks, have aclassical orthogonal appearance, whilethe remaining nine have irregularly-shaped interiors clad externally withtitanium plates. Organized on threelevels around the atrium, the galleriesare connected by curving walkwayssuspended from the roof, complementedby glass-fronted elevators and towers.

During the design and constructionstages, the Los Angeles-based Gehry

collaborated with American and inter-national consultants in HVAC, electricaland general installations, lighting, noisecontrol, audiovisual equipment, fire-prevention equipment, security, etc.,while also benefiting from the exper-tise of the Guggenheim Museum inNew York City. This approach ledto the creation of a multidisciplinaryteam capable of designing a complexstructure — including managementof the engineering feats required forthe realization of Gehry’s stunningarchitectural concept. In Bilbao, theGuggenheim Museum Consortium,which was entrusted with the building’sconstruction, collaborated with a teamof engineers and architects. The teamwas responsible for performing andsupervising construction of the build-ing, while also managing all aspects ofthe project requiring compliance withlocal standards and working methods.Work continued virtually around the

clock: while one set of engineers andarchitects worked on one continent,the other rested.

The main installations in this museumwere as follows: HVAC, lighting andelectricity, fire-prevention, security,communications systems, elevators,plumbing and sanitary systems. Thisarticle provides a brief summary of themost salient aspects of some of these.

HVACThe function of the HVAC system is tomaintain pre-established environmentalconditions inside the building, 24 hoursa day, 365 days a year. The air-condi-tioning system has two basic aims: theconservation of works of art containedin the Museum, and the comfort ofvisitors and staff.

On the one hand, the project requiredstrict atmospheric conditions of between48–52% RH and 21–22ºC. On the other,

The Installations of the Guggenheim Museum Bilbao

A Dialogue Between Engineering and Architectureby Rogelio Diez and Luis Pablo Elvira

The ceiling of the central atrium soars to a height of 50 metres (160 feet).

Rogelio Diez

continued on page 14

14

the climate-control system had to beintegrated into the singular architectureof the building. The volume — withstandard heights of between 5 and7 metres (16 to 22 feet) and a heightof 50 metres (160 feet) in the caseof the central atrium, as well as thepresence of curtain walls — requiredmeticulous engineering to obtain anoptimal distribution of the air in theMuseum’s various spaces.

The Guggenheim’s system is basedon the production of hot water andwater vapour in gas-fired boilers, theproduction of cold water by meansof centrifuge coolers, and distributionto the air handling units (AHUs). TheAHUs filter, dry, heat, cool or moistenair which has been recirculated fromthe air-conditioned spaces. The entiresystem is managed by a distributeddigital control system. This system,

in accordance with readings from thetemperature and relative humiditysensors installed in the galleries, and inaccordance with the software createdfor this purpose, provides precisecontrol of conditions required insidethe building.

With regards to the distributionof air in the building, the uniformityand low speeds of the air — and thesystem’s integration into the architectureof the building — were the main factors.Linear slot air diffusers were chosen.These were placed at the tops of walls,with air returned via a set of differentslots at the bases of the walls. Noisecontrol was guaranteed with the useof silencers in the mechanical rooms,ductwork fitted with acoustic insulation,and with low air-speed criteria inthe gallery environment. The energy-saving criteria — such as volume

control through the use of frequencyvariators — were extremely important.

The installation has a heating capacityof 3500 kW, a refrigerating capacity of5100 kW, and about 1 million cubicmeters of air are circulated every hour.

LightingLighting for the spaces inside theMuseum combines artificial light andcontrolled contributions of natural lightthrough skylights placed at the topof the building. The interior lightingsystem had be flexible, in order to avoidoverwhelming the ceilings with tracklighting, or other elements which mightdisrupt the architectural aesthetics ofthe building. This was achieved withthe design of a system consisting of“power point/power bars”.

Special recessed structural outletboxes with split-wired receptaclesoccur in a regular pattern on thegallery ceilings, and are regarded aspower points. An individual fixturecan be directly installed at these pointson special clamping bars (power bars)which have built-in receptacles. Thesecan be secured to hold between twoand six fixtures, depending on thelength of the power bar. Retractablemagnetic covers conceal power pointsthat are not in use, thus minimizing visualclutter and scarring of the ceiling plane.

On the other hand, the Museum’slighting system had to allow adjustmentof the light intensity of several lightingfixtures, in accordance with the require-ments and designs of the different exhi-

Before arriving at the Museum’s main entrance, visitors encounter the flower sculpturePuppy by artist Jeff Koons.

In the Museum, thereare more than 20 air-handling units, movingnearly 1 million cubicmetres per hour. Thisis one of them. In themain mechanicalroom, there are threecentrifugal chillers,with a total capacityof 5100 kW.

To avoid overwhelming the ceilings withtrack lighting, a system consisting of“power point/power bars” was designed.

15

bitions. To do this, a control systemwas installed consisting of dimmers,thus allowing the lighting of spacesto be re-programmed easily, andenabling the control of more than2,000 independent light fixtures.

CommunicationsThe communications system is basedon star topology on optical fibre, anduses Class 5 structured cable on plantdistribution. The plant switches andthe data servers are connected to thecentral switch, and the user equipmentis connected to the plant switches. Thenetwork is designed around the conceptof collapsing the various wiring closetsinto a central Gigabit Ethernet switch,via the relevant application servers overfibre optic cable. From the heart of theinstallation, the trunk lines run to the100 Mbps connection for each server.The network is then distributed tosmaller cabinets, housing modular, stack-able switching devices at 10/100 Mbpsto the desktop, according to individualuser needs. This infrastructure ensuresthe high availability of bandwidth-intensive marketing, design, ticketing,finance and general administrativeapplications for more than 200 users.

Fire ProtectionThe fire alarm system is based on adistributed system, meaning that theinstallation is supervised from fouralarm panels connected by a bus. Theoptical heat signals that reach the firepanels from the fire detection devicesare analyzed not only for their intensity,but also for their development in time.Following this analysis, the system

diagnoses the fire threat. With regard tothe fire protection systems, it is necessaryto point out that a preaction double-interlock sprinkler system was chosen,which covers all the spaces containingworks of art. For the remaining areasof the Museum, a wet sprinkler systemwas chosen.

The Museum presented us with someunusual engineering challenges, re-quiring us to find installations whichwould be effective, without marring thebuilding’s extraordinary architecture. Webelieve we’ve succeeded. By combiningthe best in engineering and architecturalexpertise, the teams responsible forthe Guggenheim Museum Bilbao havecreated a hardworking facility whichis also considered one of the world’sarchitectural icons.

Rogelio Diez is a Senior IndustrialEngineer, and was the engineerresponsible for installations at theGuggenheim Museum in Bilbao,beginning at the design stage in 1992.He is currently Director of Maintenanceand Installations at the Museum.He would also like to acknowledge theassistance of Luis Pablo Elvira, Directorof Information Technology of theGuggenheim Museum, who helpedin the writing of this article.

Fire-protection preaction panels and valves. A double-interlock preaction system wasinstalled to protect works of art.

East side of the Museum — a beautiful combination of titanium, glass, stone and water.

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In 1980, Black & McDonald (B&M) recognized the need fora computerized maintenance management system, as a toolfor managing the fast-growing facility management portionof their business. The lack of an “off the shelf” product atthe time led B&M to commit the funds and personnel todevelop an in-house proprietary solution to fill this need,and the CMM system was born. This is a Windows®-com-patible, FoxPro-based software that was meant to be apowerful but intuitive program that would have a fastlearning curve and feature simplicity of use.

The softwarewas developedto provide accu-rate databasemanipulationof electrical andmechanical sys-tems, equipmentspecifications

files, equipment history files, preventative maintenanceschedules, orders for repair work, subcontractor workorders and inventory control.

Today, development of the CMM software has beenextended to encompass all areas of building maintenance andoperations, from structural to landscaping. Major enhance-ments have been made in management and operationsreporting, to enable current information to be utilized in allareas of the program, from inventory control to installationand maintenance scheduling.

B&M is proud to share with readers of Papyrus howthe application is used in a museum environment for theCanadian Museum of Civilization Corporation (CMCC). ThisCrown Corporation was established in 1990 to manage theCanadian Museum of Civilization (CMC), the Canadian WarMuseum (CWM) and two other museum storage facilities.At that time, the premises were maintained by staff from theFederal Government’s Public Works Department (PWGSC).At the opening of the CMC, PWGSC installed a computerizedfacility management system that would come to be knownas the PMMS system. This entry-level, but groundbreaking,software listed most of the building systems, complete withpertinent equipment information, and described the preven-tative maintenance to be carried out, as well as its frequency.

In 1996, the CMCC decided to go to the private sectorwith a “Request for Proposal” to assume the operation andmaintenance of all of their assets. Following a rigorous selec-tion process, Black & McDonald was selected as the successfulcontractor, and a four-year contract was signed, which hascome to be known as the “Plant Services Contract”.

At its opening, the CMC was a state-of-the-art facility,and even after 13 years in operation, remains quite advanced.The mandate of protecting the Museum’s vast and irreplace-able collection of artifacts was realized with a series ofsophisticated maintenance and monitoring systems, tied toa central monitoring location. At the same time, decliningfinancial resources demanded that such systems be efficientand cost-effective. To deliver on these mandates, it is imper-ative that both the owner and operator be able to monitorpreventative maintenance and gather historical data on thesesystems. This is made doubly important by the need toreport such data to other institutions, as a condition forlending artifacts for special and travelling exhibits.

In the first weeks of its mandate at the CMC, B&M’sCorporate Response Team, in conjunction with the on-sitestaff hired for this contract, saw to the installation of theCMM software. The database was a combination of infor-mation transported electronically from the PMMS system, andinformation gathered on-site. Of special importance wasthe need to capture the information on systems that werenot represented in the PWGSC system. It should be notedthat the process of data collection and verification was avery helpful tool in familiarizing maintenance staff with thevarious systems at this critical time of project implementation.

For a CMMS system to be effective, it is necessary that:

• No work is done “outside” the system. It is imperativethat as much information be collected as possible tomake historical trending as accurate as possible, andto make sure that follow-up maintenance is carried outand recorded.

• All information must be entered into the system ona timely basis. This includes time sheets, unscheduledwork, modifications to systems, etc.

• The system must be kept “up-to-date”. New systemsor modifications to existing systems must be entered intothe system to keep the database current. Once the infor-mation is compromised, it gets “easier” to fall behind,leading to decreasing confidence in the accuracy of theinformation. This can quickly spiral downwards until thesystem is in place in spirit only (rather like software onthe shelf).

• The information generated by the system is used!After all, one of the key reasons for the system is toimprove operational efficiency. To do this, one must beconstantly evaluating the information gathered by theprogram. That means regular concise reporting thatallows trending and “tweaking” of the various systems.

Black & McDonald, CMM, and Museumsby Richard E. Harding and Edmond Richard

17

• Both parties accept the fact that the system isimportant to both the client and the serviceprovider. That is to say that the system can not onlyprovide the owner with confidence that the work isbeing done as required, but that the service providercan deliver (and verify) the added value that suchprocedures can deliver.

With the goal of making the system intuitive and easyto learn, the following “road-map” is an integral part of theCMM software, and allows for easy movement between thevarious databases.

To meet the expressed mandate of allowing for simple,precise reporting, the CMM was set up with a series of budgetmodules as per the screen capture below:

This approach allows the user to create Cost Centres,Budget Codes and Fiscal Years to track maintenance andoperational budgets. Actual operational costs are automaticallycaptured from the timekeeping and purchase order modules.

This gives the user up-to-date figures to help in determiningaccurate costs to date and to help in budgetary projections.

Budget module reporting includes such reports as the Auditreport, Budget by Budget Code report, Budget by Cost Centrereport, and Cost Centre or Budget Code listings. A typicalBudget by Cost Centre report would combine the Material,Labour and Subcontractor charges for each cost centre intoa summary report detailing current month charges, andyear-to-date charges as compared to budgeted amounts.It is available for any or all specified cost centres.

The equipment database is at the heart of the CMM pro-gram at the Canadian Museum of Civilization. All preventativemaintenance and repair tasks are performed based on thisequipment. From this database, maintenance and operationspersonnel can retrieve manufacturer names, parts numbers,and specifications without having to travel to the equipmentlocation. For the Plant Services Contract at present, the data-base is monitoring over 4,000 pieces of equipment under40 categories. It is generating approximately 2,800 PM workorders, and 3,400 unscheduled work orders (“trouble calls”)per year.

A generic sample report would look as follows:

The banner screen, as shown below, captures nameplatedata such as make, model, serial no., type, etc. Associatedwith each type of equipment is the specifications template.The software allows the user to customize existing equipmenttemplates, and to add or create new templates. As buildingsystems get more and more complicated, the issue of moni-toring warranty dates gets more difficult. In the CMM system,equipment that is currently under warranty is flagged tothe user, so that replacement costs can be minimized. Thiswarranty flag is also reproduced on the work order toensure that the technician is aware that the equipment isunder warranty and that proper procedures are followed.

continued on page 18

18

To control and monitor the “trouble call system”, theoperator can create a work order detailing the work to beperformed, caller name, phone number, date, time of call,classification of work order, priority, department, and clientID cross-reference. The banner screen used for these callsis shown below.

A final aspect of special interest is the control of labourhours and the appropriate allocation of hours for reportingpurposes. A sample screen is shown below. This module isused to record labour expended by building operation andmaintenance personnel. CMM software distributes the labourcosts, and produces weekly payroll reports for each main-tenance/operation staff member. Maintenance and operationlabour hours can be entered daily and charged to any pre-defined cost centre and budget codes. A separate databasestores the current labour rate for each employee, which thecomputer uses to calculate the up-to-date costs for all work

charged to the system. Associated with the labour rates areuser-created “paycodes” which are custom-built algorithmsused to calculate overtime charges, shift premiums, mealallowances, etc.

The four-year contract expired in 2000, and the client wentonce again to the market with an RFP. Black & McDonaldwas successful in retaining the contract, and the mandatewas expanded to include facility management of the premises(overseeing janitorial, snow removal, landscaping, and systemrepairs of a non-mechanical or electrical natures such asdoors, windows, carpets, pest control etc.) and maintenanceof the building’s security systems. At the commencement ofthe new contract, a new branch was opened in the CMMsystem to oversee preventative maintenance and trouble callsystems under this new mandate. This seamless transitionwas built upon the experience and database already inplace, and allowed the staff hired under this new contractto quickly “get up to speed” with a minimum of effort inset-up and implementation.

At present, B&M has 21 full-time staff operating on a 24-hour-a-day, seven-days-per-week schedule, maintainingover 100,000 square metres (1,000,000 square feet) of premises.The comprehensive, “real-time” CMM maintenance manage-ment system has been a major factor in the successfulpartnership that has been forged between the CanadianMuseum of Civilization Corporation and Black & McDonaldLimited. It is a partnership which marries the public-sectormandate of protecting and displaying the country’s nationalfaciilties and collections with the experience and projectdelivery efficiencies of the private sector.

Richard Harding is a graduate architect, and is theManager of Facilities, Management and Operations forBlack & McDonald. Mr. Richard is a graduate mechanicalengineer, and is the site Project Manager at the CanadianMuseum of Civilization for Black & McDonald.

Black & McDonald — continued from page 17

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The Smithsonian Institution hasembarked on a new program to imple-ment Engineering Best Practices. Thisfive-module program has a clearlydefined purpose: “Obtain more timely,cost-effective, higher quality and saferproject delivery through applicationof the industry’s best practices by anintegrated project team of Smithsonianand contractor personnel from the pre-authorization through the operationsand maintenance phase . . .”

The five modules of the program arePre-Project Planning, the Project Team,Constructability, Value Management,and Performance Management. Thisarticle will look at an early Smithsoniandeployment of the PDRI (Project Defi-nition Rating Index): one key tool usedin the Pre-Project Planning module.

The PDRI is a weighted list whichcontains the most critical elementsdefining project scope for buildingprojects. It has three sections, brokeninto 11 categories, further broken into64 elements. Thirty-eight pages ofdescriptions support these elements.The PDRI identifies and preciselydescribes each critical element in ascope definition package, and allowsa project team to quickly predictfactors which would have an impacton project risk.

The PDRI is intended to evaluatehow complete the definition of scopehas been at any point before a project isconsidered for authorization of detaileddesign and construction. A 1,000-pointscoring system is used, with lowerscores indicating a better-definedscope. A loose rule of thumb is that ascore under 200 suggests the projectis probably ready to proceed fromconcept to design, but the creators ofthis tool caution against emphasizingthe score alone. The real products of aPDRI exercise are understanding, team-building, identifying missing project

components, and refining the scope ofwork. A significant factor in successfuladministration of a PDRI is the useof an independent objective facilitator,who is knowledgeable about generalrequirements, but who is also distinctlyunbiased. The PDRI tool was createdin 1999 by the Construction IndustryInstitute of Austin, Texas.

Section I, Basis of Project Decision,contains the following categories, andhelps to define the “right project”:

A. Business StrategyB. Owner PhilosophyC. Project Requirements

Section II, Basis of Design, containsthe following categories, and alsohelps to define the “right project”:

D. Site InformationE. Building ProgrammingF. Building/Project Design ParametersG. Equipment

Section III, Execution Approach,contains the following categories,and defines the “right way”:

H. Procurement StrategyJ. DeliverablesS. Project ControlDA. Project Execution Plan

As an initial exercise, we appliedthe PDRI tool to a project long pastscope development and well intodesign: The Physical Plant Renewalof the Old Patent Office Building inWashington, D.C. The idea was tocheck on how our project scope ofwork met the PDRI test, in a casewhere we proceeded into designwithout a comprehensive Pre-ProjectPlanning phase. The outcome wasskewed slightly by the inclusion of avery large number of “stakeholders”: weincluded over 45 participants, while

the recommended group is 20 or less.Our results were also affected by theuse of an in-house facilitator, which,even in the most collaborative ofenvironments, can be perceived asmanipulation.

Still, although the score we derived(186 of 1,000) suggested we were on-track, the score was secondaryto the other outcomes. We benefitedenormously from this exercise in fourcrucial areas:

• Understanding the needs andpriorities of all key stakeholders

• Teambuilding

• Identifying missing components

• Refining the scope of work

The PDRI benefits owners, designersand builders. Owners can use it as anassessment tool to help them establisha comfort level from which they arewilling to move forward with projects.Designers and builders can use it as amethod of identifying poorly definedproject elements. The PDRI providesa means for all project participants tocommunicate and reconcile differences,using an objective tool as a commonbasis for project scope evaluation.

More information about the ProjectDefinition Rating Index (PDRI) and theConstruction Industry Institute (CII) canbe obtained at: http://construction-institute.org the CII website. Moreinformation about the particulars ofthe PDRI exercise on the Old PatentOffice Building can be obtained bycontacting the author atddavies@opp.si.edu.

Daniel D. Davies is the FacilitiesManager at the SmithsonianInstitution, National Museum ofAmerican Art and Portrait Galleryin Washington, D.C.

Best Practicesby Daniel D. Davies

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Summer has finally caught up with us,and some of us are already lookingforward to well-deserved holidays;others of us may not be lucky enoughto have that leisure just now. TheLondon Conference is just around thecorner, however, with a program thatwill make this venue one of the bestin IAMFA history.

This Association has taken a quantumleap in the development of its annualconferences. The change of locationeach year creates tremendous potentialfor conference organizers to diversifyconference activities, making each con-ference unique and memorable. Forthe organizers, it also becomes a trulycollegial experience, giving membersof the organizing committee an oppor-tunity to work closely with one anotherduring the two years it takes to preparefor the event. The conference is alsoan opportunity to showcase the bestcultural institutions in the host city. Inaddition, conference participants getan unequalled chance to learn fromcolleagues about different managementapproaches, to witness progress onconstruction sites, and to find out aboutsuccesses with recent museum renova-tions and museum-related constructionprojects around the world.

These conferences have been thebackbone of our organization, and wecertainly value the men and women whohave taken up the challenge of puttingtogether an event of such internationalscope and value. The members of eachconference team commit considerabletime and resources over and above

their daily work in order to achievethese successes, and it is important torecognize the ongoing effort requiredof to structure a conference programand bring it to fruition. The overallresponsibilities of the conference remainwith committee members, who take itupon themselves to agree on the out-lines of a conference program, to requestcommitments from guest speakers, toset up site visits, to negotiate for thebest hotel rates, meeting rooms andfood services, and to solicit donors andsponsors in order to ensure financialviability of the conference. It is also thecommittee’s responsibility to developa spouse program — entertainingactivities that have become a traditionof excellence with IAMFA.

In conclusion, I would like to notehow you as members contribute to thesuccess of a conference. Your primarycontribution is, of course, to register insupport of such an activity, but the buckdoesn’t stop there. The most significantcontribution a member can make tothis organization is to convince oneadditional museum facility manage-ment colleague to join IAMFA and toattend the conference. The successfulgrowth of this Association depends,to a great extent, on your personalcommitment to the organization, andthe ultimate success of an IAMFAConference is something we all, asindividual members, can share andtake pride in.

Pierre LepagePapyrus Editor

IAMFA/PapyrusSUMMER 2002

EditorPierre Lepage

Papyrus Correspondents

Peter FotheringhamEngland

Alastair CunninghamScotland

Lloyd O. HeadleyUnited States

Rogelio Diez Marcos, Luis Pablo ElviraSpain

Richard E. Harding, Edmond RichardCanada

Daniel D. DaviesUnited States

Production CoordinationJulie CoderreDeborah Brownrigg

Design and LayoutPhredd Grafix

EditingArtistic License

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ISSN 1682-5241

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From the Editor’s DeskThe London Conference . . . Just Around the Corner