Papyrus Summer/Fall 2014

PAPYRUSI N T E R N AT I O N A L A S S O C I AT 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 AT O R SI N T E R N AT I O N A L A S S O C I AT 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 AT O R S

Preserving theArt and its House

Schedule for the IAMFA AnnualConference in Scotland

Reviving a RareTasmanian Heritage

Waste Heat Recovery atthe Art Institute of Chicago

VOL. 15, NO. 2 SUMMER/FALL 2014VOL. 15, NO. 2 SUMMER/FALL 2014

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

Australia — Shaun WoodhouseAustralian Centre for theMoving [email protected]

Chicago, USA — William CaddickArt Institute of Chicago [email protected]

Los Angeles, USA — David CervantesLos Angeles County Museum of [email protected]

New England, USA — Jim Moisson Harvard Art [email protected]

New York, USA — Mark DemairoNeue [email protected]

New Zealand — Cliff HeywoodRoyal New Zealand [email protected]

Ottawa-Gatineau, Canada — Ed Richard National Gallery of [email protected]

Philadelphia, USA — Rich ReinertPhiladelphia Museum of [email protected]

Northern California, USA —Jennifer Fragomeni [email protected]

United Kingdom — Jack PlumbNational Library of [email protected]

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

REGIONAL CHAPTERS

President Nancy BechtolSmithsonian InstitutionWashington, DC, [email protected]

V.P., AdministrationRandy MurphyLos Angeles County Museum of ArtLos Angeles, CA, [email protected]

V.P., Regional AffairsBrian ColemanMuseum VictoriaMelbourne, [email protected]

TreasurerAlan DiricanDumbarton OaksWashington, DC, [email protected]

SecretaryDavid SandersNatural History Museum (Retired)London, UK [email protected]

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

2014 Conference ChairJack Plumb National Library of ScotlandEdinburgh, [email protected]

IAMFA BOARD OF DIRECTORS

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

Message from the President . . . . . . . . . . . . . . . . . . . 3

Best Practices Feature Article: Preserving the Art and its House: The Art Institute of Chicago Improves its IAQ to Benefit Visitors and Staff . . . . . . 4

IAMFA Scotland 2014 Conference Update—The Educational Programme . . . . . . . . . . . . . . . . . . . 8

Installing Melman at the Australian Centre for theMoving Image: A Great Collaboration betweenFacilities and Exhibition Teams . . . . . . . . . . . . . . . . . 11

Understanding the Patter During your Visit to Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Reviving a Rare Tasmanian Heritage: The Tasmanian Museum and Art GalleryRedevelopment Project . . . . . . . . . . . . . . . . . . . . . . . 16

2014 IAMFA Conference Schedule . . . . . . . . . . . . . . . 20

Waste Heat Recovery at the Art Institute of Chicago. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Sustainable Preservation Practices for ManagingStorage Environments—Series III . . . . . . . . . . . . . . . . 24

An Air Quality Standard for the Protectionof Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . 26

The History of Fire Protection at the National Library of Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Stewardship and the Diefenbunker. . . . . . . . . . . . . . 33

LinkedIn Group Collaborative Article: Successwith Wireless Temperature Sensors? . . . . . . . . . . . . . 35

Installation of New Disabled Access Ramp at The British Library, St. Pancras, London . . . . . . . . . . . 36

Regional Updates and Member News . . . . . . . . . . . . 37

IAMFA Members—Organizations . . . . . . . . . . . . . . . 39

For additional contact information,

please visit our website atwww.NewIAMFA.org

For more information onbecoming a member of the International Association of

Museum Facility Administrators, please visit www.NewIAMFA.org

Cover photo: Floating Heads by Sophy Cave—signature image of the Kelvingrove Art Gallery and Museum. Photo: Joe May

CONTENTS

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 let usknow if we have inadvertently over -looked your copyright, and we willrectify the matter in a future issue.

IAMFA/PapyrusVolume 15, Number 2Summer/Fall 2014

EditorJoe May

ContributorsChris ArkinsNancy BechtolDavid BrooksPaul Collis Maurice EvansPeter FishJennifer FragomeniLawrence Fraser Brendan GoodfellowMichael Harrold

Patrick B. JonesWilliam Lull Ian MacLeanJoe MayStephanie Miles Chris Muller Michael Murphy Richie O’SullivanJack PlumbKurt Sisson David ThickettAllan Tyrrell Emrah Baki UlasRichard WarrenCat Wilson Shaun Woodhouse

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

Past issues of Papyrus can be found onIAMFA's website: www.NewIAMFA.org

This issue of Papyrus is packedwith excellent articles from IAMFAmembers. There are too many to men -tion individually, but I’ll introduce afew later. Thanks goes to this issue’swriters for all the time and effort they’vespent to share their experiences forour benefit.

This is a very exciting time forIAMFA. Last year, Nancy Bechtolpresented our new strategic plan atour Annual General Meeting. We’vemade progress toward the plan duringthe past year—although sometimes,with everyone being so busy, progresshas been slower than we’d like. Thereare a couple of developments that Iwould like to mention now, though—you’ll hear more about these andothers at this year’s AGM.

One of IAMFA’s members, theImage Permanence Institute, will behosting five workshops beginning inSeptember titled “Sustainable Preser -vation Practices for Managing StorageEnvironments.” Each attendee whohas not been a member of IAMFA inthe past will receive a free 2015 IAMFAmembership. Another IAMFA member,LSI Lighting, is coordinating “TheMidwest Museum Sustainable LightingSymposium” in Chicago in September.We will be offering the same promotionto attendees at this Symposium. We areoffering these free memberships to helppromote these excellent work shops,but also to introduce new museumfacility managers and conservators toIAMFA. You can learn more about thison our website’s Education Page. Bothworkshops are a great educationalopportunity; and they are free!

IAMFA’s membership will obviouslybe growing significantly over the nextsix months. We are, of course, hopingthat many of these new members willfind the same value in IAMFA thatyou do, and will decide to renew theirmembership in 2016.

As I noted above, there are toomany articles in this issue to introduce

Greetings from Los Angeles!

Idon’t know about you, but it’s thattime of the year when I start gettingexcited about making the trip to

IAMFA’s annual conference. ThisSeptember will be my twelfth consecu -tive conference, and I know many of youhave been to more than I have. Spend -ing a week with all of you each yearmakes me feel like I’m with friends—and, from my perspective, I am.

This is the final issue of Papyrusbefore the conference, so we’ve triedto include all of the latest conferenceinformation. There is a current scheduleof events in the centerfold, and detailsabout the educational program in anarticle written by Jack Plumb titled“IAMFA Scotland 2014 ConferenceUpdate—The Educational Programme.”There is also an article about the historyof fire protection at the NationalLibrary of Scotland, which is one ofthe venues for the conference. Comeprepared to learn while we visit manyof the highlights this region offers.Also, please have a look at the article“Understanding the Patter duringyour Visit to Scotland”—you’ll wantto be prepared, laddies and lassies!

On Monday of conference week, wewill visit the spectacular KelvingroveArt Gallery and Museum. That is wherethe cover picture was taken. I thoughtit was so neat; it’s called, as you mightimagine, Floating Heads. Please visitour website at www.NewIAMFA.Organytime for the latest information aboutthe conference. I look forward toseeing you there in September.

2 PAPYRUS SUMMER/FALL 2014

separately, but I’ll mention a few,since they will give you a sneak peekat future conference venues. Planningfor the 25th IAMFA Conference hasstarted in Chicago. The Art Instituteof Chicago—where IAMFA was founded25 years ago—will be our host. Thereare two articles in this issue aboutprojects at the Art Institute, and bothinvolved participation by IAMFAcorporate member McGuire Engineers.

Patrick Jones of the Art Institutewrote about the installation of aHeatSponge on top of two boilersfor waste heat recovery, resulting insignificant energy savings and a one-year payback. The other article “Pre -serv ing the Art and its House,” byDavid Brooks and Michael Murphyof McGuire Engineers, tells about twoapplications for using electromagneticair filters to improve indoor air qualityin Art Institute galleries.

You’ll also find two articles aboutprojects in Melbourne, Australia andTasmania, which will co-host IAMFA’s27th Conference in 2017. One articleis titled “Reviving a Rare TasmanianHeritage: the Tasmanian Museum andArt Gallery Redevelopment Project” bySteensen Varming. The second articledescribes the teamwork betweenFacilities and Exhibition teams while“Installing Melman at the AustralianCenter for the Moving Image,” whichwas curated by ACMI in close collabo -ration with DreamWorks Animation inLos Angeles. I smiled when I saw theimages in that article. I’d love to seethis exhibit in person.

There are a many other articles inthis issue, thanks to our members, andI hope you will find them interesting.Thanks again to all our authors!

As editor of Papyrus, I see lots ofsigns of how IAMFA is prospering in its25th year. This year will be our best sofar, and I hope I see you in Scotland inSeptember to join in all the festivities,learning, sharing, and fun.

Joe MayEditor, Papyrus

LETTER FROM THE EDITOR

better and better. Joe never stopsthink ing of ways to improve an alreadyoutstanding product. Each and everyedition is packed with substantialarticles and fabulous photography.If you think for a second that Papyrusjust drops into his lap without anyeffort on his part, please think again!He is out there with our professionand our members, constantly beatingthe drum for IAMFA, while makingsure that each issue of Papyrus is fullof interesting information.

We have two Vice-Presidents, one ofwhom is Randy Murphy. When I thinkof IAMFA, I picture Randy first. He hasbeen around since the very beginningof this Association, and he has volun -teered in just about every capacity pos -sible, always with an eye to securingand improving our Association. Heis really one of the patriarchs of ourAssociation. If we had a father ofIAMFA, he would be it—or at leastin the running. He has tracked ourmembership for years, and now leadsour Sponsorship program. He doeswhatever is needed, and always does itwith that smile. “Anything for IAMFA,”he always says!

The next hardworking Board mem -ber I want to mention is Alan Dirican,your Treasurer. Please pay attentionto our budget during the AGM inSeptember. You will see steady growth,always tracked, with every pennyaccounted for and captured. I havenever worked with a money managerwith Alan’s skillset and dedication.

I wish every day that I could workwith these folks in my day job, and notjust on the IAMFA board. How fortunatewe are to have such talented and dedi -cated volunteer labor running ourAssociation! Alan handles our banking,audits and insurance, as well as ourlegal reviews and requirements. Healso helps with all of the member duesand conference registration. The listgoes on and on, and he, too, alwaysdoes this work with a smile!

We hold a conference call for ourmonthly meetings, organized by ourSecretary, David Sanders, who alsoproduces our agendas and minutes.Now, if you think for a second thatthis sounds easy, you need to meet thisgroup of Directors. We are a bunch ofcats that he is very good at herding!If we mess up and miss sending in areport, we’d best beware! If we goaround and around in circles whendiscussing items, he needs to figureout when a decision finally gets made,and what that decision was in order toeven capture it in the minutes. I don’tthink we try to drive him crazy—atleast, not on purpose.

Our newest Board member is BrianColeman from Down Under. He islearning very fast how to take careof hundreds of members who do notread their emails, nor our Papyrusmagazine cover to cover (yes, thereare some of you who do!), and whowant to register for the annual con -ference the day before showtime! Weare breaking Brian into our wickedways of doing what is necessary to keepour Association afloat and flourishing.From time to time, I’m sure he feelshe could use some input and supportfrom our Chapter Chairs.

I started this message by highlightingJack Plumb and the great work he isdoing for our upcoming annual con -ference. He is being closely followedby Patrick Jones and Bill Caddick,who are already well on their way toplanning our 25th annual conference inChicago. These three guys are amazing,and it has been such a pleasure gettingto know each of them. I can’t wait forChicago, but first we will enjoy anoutstanding meeting in the beautifulcities of Edinburgh and Glasgow.

When you see one of our BoardMembers this fall, please take amoment to thank them for theirefforts. Their dedicated service tothis Association is truly a best practicein not-for-profit board service!

In a few short weeks, we will all betogether in Scotland enjoying our24th annual meeting, and I can’t

wait to see each of you again! I amhoping a good crowd can attend, andright now reservations are pouringin every day to beat the deadline ofAugust 1, when the registration rateincreases. The conference planningcommittee, led by Jack Plumb, hasproduced an amazing program of toursand lectures. I wish every membercould attend, but I am thankful thatan amazing 50% of our membershipattends the annual meeting!

Our conferences are organized byour membership, and this is no easyjob. I have had the pleasure of beinginvolved in helping to plan two of ourthree Washington, D.C. conferences,so I do understand the volume of worknecessary to pull this off. It takes avillage of helpers to get all of the workdone, and Jack has amassed quite theconference planning team in Scotland.When you see these folks during theconference, please thank them for allof their hard work.

Your IAMFA Board of Directors isalso made up of volunteers. Like Jack,they also have been working very hardto run this organization. Each takes hisor her role and job very seriously, anddoes an amazing job for our Association.I wanted to highlight Joe May first, ashe is the reason you are reading thismessage at all. Without Joe, we wouldnot have this quality magazine to com -municate with our members and ourprofession. And it just keeps getting

PAPYRUS SUMMER/FALL 2014 3

Nancy BechtolPresident, IAMFA

MESSAGE FROM THE PRESIDENT


With more than 300,000 works of art and nearly1.5 million visitors annually, the Art Instituteof Chicago can’t afford to have poor indoor

air quality (IAQ). Working hard to maintain optimalventilation, America’s second-largest museum featureseight buildings and spans nearly one million square feet,with a variety of HVAC equipment all working continuouslyto maintain the comfort of its occupants.

The following are the tales of two Art Institute exhibitionspaces and how the museum, working together with localMEP consultants, McGuire Engineers, solved the IAQchallenges of each.

Thorne Miniature Rooms In 2010, the Art Institute began receiving reports of anongoing odor from their lower level 1,000-square-footThorne Miniature Rooms gallery, which features miniaturemodels of American and European interiors, constructedon a scale of one inch to one foot. Together, management,maintenance personnel and McGuire looked into a numberof different options to determine the immediate cause. Wasit due to the carpet’s adhesive, or a cleaning product beingused in the space? Regardless of the specific item, it wasdetermined that the cause was Volatile Organic Compounds(VOCs) found in the room’s air particles. Adjustmentswould need to be made to maintain the appropriate IAQ,

not only for the visitors and staff who frequent the space,but also in an effort to preserve the 68 miniature roomson display.

The project team considered multiple options, includingbringing in additional outside air, replacing existing air-handling unit (AHU) coils, and adding an additional air-purification system. Because the gallery needs to be keptat specific temperature and humidity levels to preserve theminiatures—and because the Chicago climate can be bothhot and humid and cold and dry, depending on the

BEST PRACTICES

Preserving the Art and its HouseThe Art Institute of Chicago Improves its IAQ toBenefit Visitors and StaffBy David Brooks and Michael Murphy

The Art Institute of Chicago.

The Thorne Miniature Rooms gallery. A display in the Thorne Miniature Rooms gallery.


season—bringing more fresh air into the space wasn’ta foolproof solution. This led the engineering team toconsider a system that would help clean and purify smallVOC air particles in the space. But how would a new systembe integrated with the existing one, and what type of systemwould eliminate odors effectively?

Two types of air-filtration systems were considered: gasand electromagnetic. The gas-based filtration system usespellets that require a change in filters on a regular basisand can handle very serious IAQ challenges; the electro -magnetic filter, on the other hand, needs an energy supplyto function, but requires less maintenance. Working togetherwith building engineers at the Art Institute of Chicago,McGuire specified the electromagnetic filter for its enhancedperformance and minimal ongoing operating costs.

VOCs, emitted by a wide variety of products, includingpaints, cleaning supplies, building materials, office suppliesand more, are characterized by their small particle count,and are therefore difficult, if not impossible, to collectusing a typical AHU. The electromagnetic filter accordinglyworks by cleaning the air, then transferring a strong magneticcharge to large air particles as they pass through the AHU,

before recycling them back into the space. Once in thespace with a stronger positive or negative charge, theycan attract the smaller VOC particles of the same charge.These newly-formed, larger air particles are then bundledtogether and returned to the filter, where they can becleaned and rid of VOCs before being returned onceagain to the space.

In order to confirm its hypothesis that an electromagneticfilter could indeed improve the IAQ of the space, McGuire’steam took air samples measuring the initial particle count,creating a benchmark for improvement, then brought in asmaller-sized filter for testing.

After the system had been running for one hour, the airparticles in the room were tested once again. The resultwas a dramatic improvement in particle-count reduction,as well as a noticeable difference in the room’s odor.

A permanent electromagnetic air filter was installed directlyinto the AHUs for the Thorne Miniature Rooms gallery. Theintegrated filter was chosen, as opposed to a stand-alonesystem, to minimize maintenance for facilities personnel.

Following the filter installation, an air-quality monitorwas also employed to further document and verify thesystem’s performance on an ongoing basis.

Traveling Exhibition Gallery Two years later, during preparations for a large travelingexhibition in 2012, Art Institute staff became concernedthat visitors would experience IAQ problems in a separate16,000-square-foot exhibition gallery. For one thing, theyknew from past events in the space that when it gets crowded,visitors complain of stuffiness and feeling faint. For another,this time the museum was anticipating even more visitorsthan the gallery had previously accommodated.

The Art Institute reached out to McGuire again to helpbrainstorm a solution. Did they just need to bring in moreoutside air? Was a completely new, dedicated AHU systemneeded for the gallery? An independent, supplementalsystem? The biggest challenge would be scheduling, how ever.

WHAT ARE VOCs? Volatile organic compounds (VOCs) are emitted as gasesfrom both solids and liquids, with concentrations knownto be as high as 10 times more indoors than outdoors.VOCs are emitted by thousands of products, includingpaints and stains; cleaning supplies; pesticides; buildingmaterials and furnishings; office equipment, includingcopies and printers; copy paper; permanent markers;and glues—either while in use or, to a lesser degree,when they are stored. Short-term exposure to high levelsof VOCs can cause irritation of the eyes, nose and throat;headaches; nausea or vomiting and dizziness. Long-termexposure to high levels of VOCs can increase the risk ofmore permanent organ damage.

Close-up of one of the Thorne Miniature Rooms.


There were only three months left for design, implemen -tation and installation until the traveling exhibition wasscheduled to open.

The project team did some field research first. McGuirereviewed the performance of the AHU units dedicated tothis exhibition space while increasing their ventilation, andfound that more outside air couldn’t be brought in withoutchanging the coils and making serious modifications to theexisting AHUs. This would be both costly and time intensive.Bringing in new HVAC equipment wouldn’t work either,

because that would push the construction schedule beyondits time allotment as well. Instead, it was determined thatthe best option—and the one with which the Institute wasmost comfortable—was cleaning and recirculating the airwith a similar electromagnetic filter to the one used for theThorne Miniature Rooms gallery.

Initially, the project team tested the air-particle count,as in the previous case study, taking measurements to useas a benchmark. Once the new electromagnetic filter wasoperational in the space, the same measurements were takenagain. Because of an existing CO2 sensor in the travelingexhibition gallery, when the same measurements were takenjust an hour after the filter was installed, there was asubstantial improvement in both VOC particle countand CO2 levels in the gallery.

Conclusion IAQ challenges can be common to museums with uniquetemperature and humidity parameters in their spaces. It iscrucial for a museum’s operations personnel to stay on topof IAQ concerns and reports from those in the exhibitionspaces. A variety of solutions are possible, depending onthe variables of each space.

David Brooks, P.E., is a senior vice-president and Michael Murphyis a senior project manager at McGuire Engineers in Chicago.

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We have now also firmed up the pre -sentations for the three days of the con -ference—starting with a visit to Glasgow,where we will be welcomed by Jill Miller,Director of Cultural Services at GlasgowLife, our hosts for the day. Jill is respon -sible for Museums, Collec tions, Arts,and Music (including Cultural Venues).

In keeping with the theme of theIAMFA Scotland 2014 conference, thefirst day will concentrate on how a cityre-invents itself as a modern culturaltourist attraction, while at the sametime providing significant services forthe population of Glasgow.

The first presentation will be byDuncan Dornan, a Senior MuseumsManager for Glasgow Life. Duncan willtalk about research that has establisheda positive link between access to cultureand public health. Museums play animportant role in learning, improvingmental well-being, and creating a vibrantand healthy city. We’ll hear how this isbeing implemented within the Glasgowmuseum sector.

We will also hear from Dr. MartinBellamy—Head of Research for GlasgowLife. He was a key member of theproject management teams for theredisplay of Kelvingrove Museum andArt Gallery in 2006, and the RiversideMuseum in 2011. He is a lecturer forthe University of Glasgow’s MuseumsStudies course, and has publishedwidely on maritime and cultural history.Martin will tell us about the historyof museums, the history of Glasgowmuseums, industrialisation in Glasgow,the growth of wealth, and the birth ofthe civic museum service.

Next we will hear from Alex Maclean,who is a Special Projects Manager withGlasgow Life. Alex is currently managingthe redevelopment of Kelvin Hall, alongwith proposals for the refurbish mentand redisplay of the Burrell Collection.Alex will tell us about the problemsfaced by the Burrell Museum, anddevelopment plans for the refurbish -ment of this remarkable building.Muriel King, venue manager at the

IAMFA Scotland 2014Conference UpdateThe Educational ProgrammeBy Jack Plumb


The Mackintosh Building at the Glasgow School of Art. The Mackintosh Building after the fire.

With only eight weeks to go,things are starting to heat uphere in Scotland. Obviously

with the World Cup so very recentlycoming to a conclusion, and theCommonwealth Games underwayin Glasgow as I write this, there is anawful lot going on. That doesn’t meanto say your organising committee isnot 110% focused on providing youwith a truly memorable conferencewhen you arrive in September. Thisarticle provides you with a few details onthe presentations you will experienceat the conference.

You will have no doubt heard thetragic news about the fire at the world-famous and truly iconic Charles RennieMackintosh Glasgow School of Art(GSA) building. The fire caused consid -erable damage to parts of the 1907–1909building including the library, hen runand professors’ studios. As a delegate,you will have an opportunity to visitthe GSA, along with the privilege ofmeeting with some of its representatives.


Burrell, will tell the story of the Burrelland its collections, before we go onguided tours around the building.

On Tuesday, we will be the guestsof the National Museum of Scotland,where we will hear from a couple ofmajor authorities in their respectivefields. We will hear how Scotland usesits cultural heritage buildings, trans -forming them into modern, accessibleand relevant museums that members ofthe public want to come and experience.

Renowned architect Gareth Hoskinswill provide the first presentation.Gareth trained as an architect at theGlasgow School of Art and at FlorenceUniversity and, as a leading figure in theUK architectural industry, is in demandas a speaker at architectural conferences.He also contributes to a number of pub -lications and archit ectural policy docu -ments, and is an advisor to the RoyalInstitute of British Architects, a designpanel member of the Scottish Govern -ment’s design “watch dog”, Architectureand Design Scotland and, between2006 and 2010, held the post of theScottish Govern ment’s NationalHealthcare Design Champion.

Gareth won UK Young Architect ofthe Year in 2000, UK Architect of theYear in 2006, and in 2008 was namedin the number one spot in ArchitectureScotland’s Power 100, which lists themost influential people in the industry.That same year, Gareth was awardedthe Glenfiddich Spirit of ScotlandAward in the Arts Category—the firsttime an Architect has received thisaward—and is a Fellow of the RoyalIncorporation of Architects in Scotland.Elected to the Royal Scottish Academyin 2009, he was awarded an OBE forServices to Architecture in the January2010 New Year’s Honour List.

Gareth will be followed—this timein the field of museum design—by thesimilarly illustrious Stephen Greenberg,Creative Director of Metaphor, a com -pany that specialises in the design andmaster-planning of museums, exhibi -tions, historical houses, cultural quartersand other heritage destinations world -wide. Stephen has overseen a prestigiousbody of work at Metaphor, includingmajor blockbuster exhibitions (at theBritish Museum, the Victoria andAlbert and the Guggenheim Bilbao);the master-plans of cultural quarters

(such as the historical peninsula inIstanbul); and entire museums (suchas the new Grand Egyptian Museumin Cairo); as well as the redesign ofcomplete museums, (such as theAshmolean Museum in Oxford, andthe Order of St. John in London).

To round out the presentationson Tuesday, we will hear from some -one we will all know very well: DanMcKenzie, CEO of our first IAMFACorporate Sponsor.

On Wednesday, will be visiting theNational Galleries of Scotland, wherewe are in for a very interesting day,hearing about a number of excitingdevelop ments—this time on howexisting cultural facilities can look aftertheir collections in a sustainable way.This day will also be a Plenary Day, inwhich we share the day with our col -lection care colleagues. The Gallerieshave put together a very informativeseries of presentations, which I am surewill appeal to both IAMFA members andconservationists alike. The Gallerieshave also laid on a tour of the PortraitGallery which, for those of you whohave not visited this recently refur -bished facility, will be the highlightof the day in its own right.

Wednesday’s presentations will kickoff with Karen Keenman, facilitiesmanager at the Rijksmuseum inAmsterdam. Her presentation willdescribe the process that led to themaking of the New Rijksmuseum. We’llhear when it started, why it took solong, who was involved, and whatlessons were learned in the process,including facts and figures aboutclimate, scale, objects on display andimages of the building activities.

Next up will be Alan Hutton, describ -ing the building, quite literally, of anew museum around an artefact, theMary Rose, which was one of KingHenry VIII’s warships. Alan led themulti-disciplinary engineering teamduring the design and construction ofthe Mary Rose Museum in PortsmouthRoyal Dockyard. The Mary Rose, Henry’sflagship, which sank in action in 1545,was raised in 1982. The ship and its arte -facts provide the nation with a uniqueand irreplaceable experience of Tudorlife. Extensive conservation measures,within a closely controlled internalenvironment, are vital to ensure the

preservation of these trea sures. The newmuseum was designed in close colla bo -ration with the conser vators and theoperational team, to provide continuedpreservation of the hull and artefactswhilst maintaining control of energy useand running costs for both the Museumand the conservation processes.

The next speaker will be Dr. DavidSaunders of the British Museum, whowill tell us about the World Conservationand Exhibitions Centre at the BritishMuseum. His research interests includethe deterioration of museum objects—particularly pigments and paintedsurfaces, and the effect of displayand storage environments on thesematerials. His research has focused,in particular, on the effect of light onthe deterioration of cultural heritageobjects. He has published widely onthe subject, both in the specialistliterature and in more general texts,including the 1994 and forth comingCIBSE guides to museum and artgallery lighting. He is a fellow of theSociety of Antiquaries of London,and a fellow and vice-president of theInternational Institute for Conservation(IIC). From 2003 to 2009, he was IICDirector of Publications, also editingits journal, Studies in Conservation, from1990 to 2009, and the proceedings ofits 2006, 2008 and 2010 congresses.

The World Conservation andExhibitions Centre (WCEC) at theBritish Museum opened in 2014. TheCentre is unusual for a contemporarymuseum extension, in that well over90% of the space is dedicated to thestorage, care, conservation, study, exami -nation and analysis of the col lection,with only 1,000 m3 of public exhibitionspace. This presentation will look athow the brief for the extension wasdeveloped, along with the facilitiesthat are provided—many for the firsttime—and ways in which sustainablesolutions were adopted, both for thebuilding itself and for the storage andtreatment of the collection.

The next presentation will be byDr. Ewan Hyslop, Head of Sustainability,Research and Technical Education atHistoric Scotland. Ewan manages pro -grammes on climate change, technicaland scientific research, and technicaleducation and outreach. His primaryrole is to deliver government policy on

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management services and are proud to work with a selection of some

of the most historic and well know institutions in the heritage sector.

Our experience within the heritage sector allows us to deliver

services that focus on the customers’ requirements:

Delivering Exceptional FM to Museums, Galleries and Heritage Buildings

col lection care, and how this sup portsaccess to our national collec tions, viewingconservation as a “facilitating profession.”

Since her appointment to NGS, shehas been heavily involved with Tatein the development of the ARTISTROOMS conservation and collectionsmanagement approach, and in devel -oping a sustainable collection carepolicy for the Scottish National PortraitGallery redevelopment project, Portraitof the Nation. This presentation willsummarise the development projectthat represented this historical buildingand its national collection. It will criticallyassess the success of the decisionstaken to manage the gallery environ -ment through semi-passive controlmethods, and will explore the decision-making process and lessons learnt thatcan be carried forward in future projectsat the National Galleries of Scotland.

Jack Plumb CEng MIET MCIBSE MSLL isHead of Estates at the National Libraryof Scotland, and is host of IAMFA’s24th Annual Conference in Scotland.

The final presentation for the day willbe a joint presentation by JacquelineRidge and Chris McLaren on thedevel opment of the Scottish NationalPortrait Gallery. It has been three yearssince the building refurbishment wascompleted, so this joint presen ta tionwill look at the results of that refur bish - ment. Chris takes a personal hands-onapproach to projects, and is particularlytalented at sensitively integrating MEPservices into historical and listed build -ings. He has developed a broad rangeof skills across a variety of project types,in particular within the Arts and Culturesectors. For many years, he has beeninstrumental in developing some ofthe UK’s best-known and best-lovedhistorical buildings, including RosslynChapel and, most recently, the NationalGalleries of Scotland. Jacqueline Ridge(Jack Ridge) is Keeper of Conservation,and is responsible for collection carestrategy at NGS, along with leading thecollec tions management, art move mentand conservation functions. She hasa strong interest in the philos ophy of

energy efficiency and climate changeadaptation for the historical environ -ment in Scotland. This is both forproperties and sites in the care of thestate, as well as for the wider historicalenvironment in Scotland, throughresearch and dissemination of infor ma -tion on energy efficiency, adaptationand sustainability.

Historic Scotland is the ScottishGovernment’s agency for managingthe historical environment, and ischarged with providing visitor accessand conserving 345 iconic historicalbuildings and sites throughout thecountry. Scotland has ambitious carbon-reduction targets: 42% reduction by2020, and 80% reduction by 2050,with an overall 12% reduction innational energy consumption by 2020.Historic Scotland has embarked upona wide-ranging programme of energy-efficiency projects across its estate.Energy-reduction measures need to besympathetic with a building’s historicalfabric and undertaken withoutcompromising significance and value.



does during the production process. Specially producedinterviews with key artists and creators are woven through -out the exhibition, providing an extraordinarily intimateglimpse into the development of DreamWorks Animation’sunique films.DreamWorks Animation: The Exhibition will tour inter -

nationally following its exclusive Australian presentationat ACMI.

The ACMI Exhibitions and Facilities teams work closelywith one another in delivering major exhibitions. As mostwould know, the creative process frequently deliverschallenges in terms of compliance, building sustainabilityand public safety. The Facilities team at ACMI aims toensure that the programming output of the organisation issupported, so that it can meet the desired objectives—butwithout compromising compliance or safety. In turn, withbetter communications between the teams, the programmersand curators have come to understand these needs andthat, in the now very rare situation where a solution cannotbe found, it is not just the Facilities team being difficult—it genuinely is a problem. DreamWorks Animation: The Exhibition presented a number

of challenges both within the gallery and, unusually, outsidetoo—and, in turn, became a great example of how twoteams can collaborate to achieve a good outcome.

To complement the exhibition and create a photo/socialmedia opportunity for our visitors, we commissioned andproduced a large-scale physical installation for passersbyoutside our building on Flinders Street in Melbourne. Theinstallation is a giant replica of the iconic character Melman

Installing Melman at the AustralianCentre for the Moving ImageA Great Collaboration between Facilities and Exhibition TeamsBy Cat Wilson and Shaun Woodhouse

The exhibition contains over 70 3D character maquettes. You can also see a Story Artist pitch a scene from the originalShrek movie in the gallery.

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The Australian Centre for the Moving Image (ACMI)at Melbourne’s Federation Square has established aninternational reputation for presenting both popular

and challenging temporary exhibitions across the subjectareas of art, film, television, videogames, and digital culture.With 1.26 million visitors in 2013, ACMI was ranked first inthe world among core film/moving-image cultural centres,and second in Australasia among art museums and galleriesin the recent Art Newspaper annual world-rankings survey. DreamWorks Animation: The Exhibition is ACMI’s key

exhibition for 2014, and part of the prestigious MelbourneWinter Masterpieces season. It had its world premiere onApril 10, 2014, and takes audiences into the world of theartists and filmmakers who have produced some of themost beloved and iconic animated films of the past 20 years.Curated by ACMI in close collaboration with DreamWorksAnimation in Los Angeles, the exhibition explores the threemainstays of animated film: character, story, and world.Each section follows the creative journey, from the initialkernel of an idea through to a fully realised animated feature.

Showcasing DreamWorks Animation’s creative legacyfrom Antz (1998) through to How to Train Your Dragon 2(2014), the exhibition draws on the studio’s archive of rarelyseen concept drawings, models and original artwork. Itfeatures over 400 original objects alongside a suite of highlyimmersive and interactive digital experiences, custom-madefor the exhibition. Dragon Flight, a panoramic, 180-degreeflight simulation, takes visitors on the back of Toothless thedragon (from How to Train Your Dragon) through the Vikingtownship of Berk, which builds up gradually—just as it

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from DreamWorks Animation’s Madagascar film series, withhis rear facing the road and his head disappearing into thebuilding. Inside the building, visitors see his head breakingthrough the glass, as only an animated character can, andlooking in at them. Accompanying Melman are the smallerfigures of the Madagascar penguins, digging their way throughthe sidewalk into the building. The installation is highlyvisible and fun, and engages directly with the building.Cat Wilson, Exhibitions Project Officer, project-managedthe installation with support from Shaun Woodhouse,Facilities Manager.

After working with a concept artist to create drawingsand sketches, approval from the key stakeholders, includingDreamWorks Animation, was given for the design of astructure standing 5.5 meters high and extending over11 metres in length from the back of his hoof to the tip ofhis nose. Melman needed to be strong, safe and robust, yettemporary and non-intrusive. He needed to last six monthsin all weathers, then dismantled as if he had never been there.

If you want to install any temporary structure atFederation Square three approvals are usually required:

• Approval for the concept from Federation Square, theprecinct manager, as they are responsible for approvinganything external to ACMI’s building.

• Planning approval from the local council—the City ofMelbourne—as, in this case, an 11-metre giraffe is classedas promotional signage.

• Engineering, wind rating and safety approval fromFederation Square.

Approvals were coordinated by Shaun Woodhouse.The next step was to find a company which could meet theproject’s unique set of design and engineering demands.The challenge was to find a partner that would not onlycome up with sound engineering solutions, but also ensurethat those solutions would support the playful andirreverent story we were trying to tell.

After doing some research into local and regionalcompanies, we began working with the Brisbane-basedfirm, Atomiq. Having previously worked on DreamWorksAnimation’s characters for theme park attractions, andwith a background in film and television, Atomiq direc-tor Philip Drake already had an understanding of howDreamWorks Animation thinks as a company, and whattheir requirements would be. Even though we were makingthem larger than life, it was still very important to realiseversions of Melman and the penguins that were faithful totheir animated film versions. With his experience in large-scale installations, he was also was able to pre-empt and planfor many of the physical engineering and safety requirements.We needed to be able to create versions of Melman and thepenguins that met with DreamWorks Animation’s exactingstandards for the physical replication of their characters,but that also seamlessly engaged with the complex buildingstructure of the chosen site.

The area selected on Flinders Street features modernarchitecture, offering large expanses of glass at differentangles to one another. In order to design and build Melmanto fit the site, two 3D CAD models had to be produced ofhim with the building. These were created using the CADarchitectural drawings from the original construction ofthe building, supplied by ACMI.

The first model was by DreamWorks Animation, as theywanted to design his actual pose in situ, given that Melmanis their creation. For this, DreamWorks Animation usedMAYA Animation, their customised version of this specialisedanimation software. This modelling was able to producea near-enough reproduction of the building for them toplace and position the characters in their desired poses.One unique challenge with this process is that normallythe building is the background on the CAD, and the objectbeing constructed is added to scale with the background.However, as customised animation software was being used,the reverse was the case: Melman was drawn first, and thebuilding was added in and scaled against him. This is tricky


The process of developing stories is explored through this mappedprojection table.

Melman and the penguins as seen from inside the building justbefore entering the exhibition.

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when the building already exists and cannot be shrunk orgrown to suit the installation yet to be fabricated.

Philip and his team at Atomiq built a more traditionaland truly scaled 3D architectural model of the space, andplaced Melman into it in the pose designed by DreamWorksAnimation. This highlighted some inconsistencies and issueswith alignments. Further adjustments to the pose neededto be negotiated with DreamWorks Animation to ensurethat he fitted within the building form, and also to assistwith engineering constraints around rigging points andanchorage. Safety considerations around public interactionwere also considered at this stage, with adjustments to posesmade to ensure that there were no exposed sharp edgesand that the structure was not climbable.

After final sign-off on all these elements, the project movedon to the engineering and production phase. Melman andthe penguins are made from fibreglass, with a steel-reinforcedstructure. Melman was made in Atomiq’s workshops inBrisbane, and transported in sections for the 1,300-kilometrejourney to Melbourne. Melman was then assembled andinstalled on site. The external part is effectively sitting onthe ground and roof canopy, being anchored by a rodthreaded into the slab. The internal section is fixed to theglazing beam structure at the neck, and the head is flownfrom high-level beams using steel cables.

Federation Square is a challenging precinct in whichto undertake any major works, as it is one large deck builtover railway lines. This means that it has a relatively lowlive load capacity of just 5 kPa. This presents a challengeto anyone wanting to build a giraffe on the site as, not onlydo you need to ensure that the installation does not exceedthe load capacity of the structure, but you also need to makesure that any plant or equipment used in the installationprocess does not exceed the load capacity, too.

This meant that a small crawler crane on caterpillar trackhad to be used to lift Melman up onto the external canopy.Inside was even more of a challenge, as the doors leadingin to ACMI are only 2 metres wide, and the height of theLightwell is approximately 18 metres. There is only one piece

of equipment available locally that can reach that height, fitthrough the doors, and not exceed the floor load: a 22-metreSpider Lift, which was used to install the steel cables support -ing Melman’s head. A structural engineer was also engagedto calculate the wind rating of a giraffe: Melman is ratedto a maximum wind of 144 km/h, which is much higherthan anything previously experienced in Melbourne. Heis therefore unlikely to blow away in winter storms.

One quirk in the design is that the external penguins talk.They were positioned over a redundant data cable from aprevious installation, so it was possible to connect this to aloudspeaker inside the penguins, which is driven by a 100Vline amplifier located at the other end of the data cableinside ACMI. Every few minutes or so, a visitor is startledand delighted by a sudden burst of the penguins speaking.

From a visitor perspective, the installation has proved tobe extremely popular. The only challenge has been that,because people are used to going to theme parks and play -grounds and climbing all over installations, a lot of smallchildren instinctively climbed on board for photos. This wasproblematic as, unlike playgrounds that have soft surfacesto minimise injuries from falls, our Lightwell space is pavedin sandstone from the Kimberley region of Western Australia.Signage to manage the risk was installed, encouragingparents to supervise their children carefully and preventthem from climbing on the structures.

Melman will be with us at ACMI until the end of therun of DreamWorks Animation: The Exhibition in October.Unfortunately, this will probably be the end of Melman’sbody, too. This part was designed to fit around our uniquebuilding, and is too large to tour economically. Melman’shead and the penguins, however, will hopefully becomepart of the exhibition and travel the world—just like the“real” characters did in the Madagascar movies.

Cat Wilson is Exhibitions Project Coordinator at the AustralianCentre for the Moving Image, and can be reached at [email protected]. Shaun Woodhouse is Facilities Manager at theAustralian Centre for the Moving Image, and can be reached [email protected].

The ACMI building from Flinders Street, with Melman either half-inor half-out!

Melman up close from inside the building.

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It has been the custom for recent conference venues toprovide a limited translation service to enable delegatesand guests to understand and obtain even more enjoyment

from their visit to a foreign land. Whilst the UK might wellbe on the smaller size—I believe it fits into Texas threetimes, and into the US 40 times—the UK will probablyhave as many dialects as the whole of the USA.

When you visit Scotland, you will experience one of themost pronounced and imaginative dialects in the UK—yes,the Glaswegian “patter”. I should say at this point, when Isay learning the language, I mean understanding it, and atno time should any non-Glaswegian try to use some of thewords you may understand. This will only result in bursts oflaughter from your audience, as inevitably there will havebeen slight subtlety, lost on us non-Glaswegians, to the useof your chosen word—which, as in any language, totallychanges its meaning.

Whilst Glasgow does have its very own patter, Edinburghalso has its own variations, so with the words and phrasesbelow I have tried to identify where they are most used—i.e., Glasgow or Edinburgh or both.

Patter Definititon Dialect

Aff Off Glasgow and Edinburgh

Aye Yes Glasgow and Edinburgh

Baltic Very cold Glasgow and Edinburgh

Belter Very good Glasgow

Bevvy Alcoholic beverage Glasgow and Edinburgh

Big Man Greeting a male Glasgow friend

Blether Gossip/Chat Glasgow and Edinburgh

Boufin Indescribably smelly Glasgow

Chippie Fish-and-chip shop Glasgow and Edinburgh

Clatty Dirty/Rude Glasgow and Edinburgh

Cludgie Toilet Glasgow and Edinburgh

Crabbit Ill-tempered person Glasgow and Edinburgh

Dizzy Being stood up Glasgow

Dreich Awful weather Glasgow and Edinburgh

Erse Backside Glasgow and Edinburgh

Fearty Coward Glasgow and Edinburgh

Gallus Self-confident Glasgow

Glakit Stupid/Silly Glasgow

Greet Cry/Weep/Whine Glasgow and Edinburgh

Hackit Ugly Glasgow

How? Used instead of Glasgow and Edinburgh“Why?”

Ken To know Glasgow and Edinburgh

Laddie Boy Glasgow and Edinburgh

Loupin Throbbing with Glasgowpain

Lum Chimney Glasgow and Edinburgh

Piece Sandwich Glasgow and Edinburgh

Plank Hide Glasgow

Polis Police Glasgow and Edinburgh

Rubbered Very drunk Glasgow

Scran Food Glasgow

Scud Naked Glasgow and Edinburgh

Scunner To disappoint Glasgow

Shoot Travel fast in other Glasgowthe Craw direction

Single end One-room flat Glasgow

Skelp To slap or hit Glasgow and Edinburgh

Slapper Women of minimal Glasgow and Edinburghvirtue

Smidgen A small piece Glasgow and Edinburgh

Teuchter Anyone outside GlasgowGlasgow

Wee Small/Tiny Glasgow and Edinburgh

Weech Throw/Fling Glasgow

Wean Child Glasgow

Wheest Be quite Glasgow and Edinburgh

As I said at the beginning, don’t try to use these words,but do try to understand them, and have a great time inScotland.

Jack Plumb CEng MIET MCIBSE MSLL is Head of Estates at theNational Library of Scotland, and is host of IAMFA’s 24th AnnualConference in Scotland.


Understanding the Patter Duringyour Visit to ScotlandBy Jack Plumb

Midwest MuseumSustainable Lighting

Symposium

As a museum professional, you are invited to attend afree, comprehensive and interactive symposium onFriday, September 12, 2014, atThe Field Museum inChicago, to explore the questions and possibilitiesopened by rapidly developing LED technologiesand their transformative impact on the museumlighting industry.

When:Friday September 12, 2014 from 9:30 AM to 6:30 PM

Where:The Field Museum1400 S. Lake Shore Dr.

Chicago, IL 60605

Space is limited. Registration is required.

Register at: http://bit.ly/MMSLS

With support from


space, including the opening of newgalleries in the heritage buildings.Steensen Varming provided buildingservices for the museum and gallery,including the new lifts, ICT Wi-Fi,discreet cable and services installa-tion, and specific HVAC to satisfy theenvironmental conditions.

The design interweaves heritagebuildings, new contemporary archi -tecture, and archaeology to create arich and memorable experience forvisitors. Exhibitions are accommodatedwithin state-of-the art gallery spaces andadaptive reuse of heritage spaces, in whatis arguably Australia’s most significantcollection of heritage buildings.

The project is of national and inter -national significance, creating a richand truly unique visitor experience,including the latest computer-realisedtechnology in the exhibition spaces.Following its completion, the projectreceived the City of Hobart HeritageAward and Museums Australia MAGNAAward in 2013.

Services ApproachThe engineering building services forthe museum and gallery included anew consolidated power supply, lifts,special fire engineering solutions, ICT,

lighting design and specific HVAC tosuit gallery and museum require ments.Due to its significant heritage content,parts of the development were naturallyventilated and complemented withlocalised hydronic heating. The worksaddressed the relevant func tional andoperational requirements for TMAG,with consideration to the envi ronment,maintenance, general health and safety,conservation, heritage para metersand constraints, whilst respondingto the architectural concepts andbudget requirements.

The contractors approached theworks in a very careful, methodical andmeticulous manner. Regular onsitemeetings were carried out with relevantstakeholders and subcontractors tocarefully agree on the precise finalroutes of cables and ducts, as well asthe positioning of equipment and themounting and fixing of services. Eachsection and part of the works proposalincluded information on how noiseand vibration were minimised whilstcarrying out the work. Details of allprovisions were put in place to ensurethat the risk of damage to the existingstructure and surrounding spaces waskept to a minimum, and installed withthe least visual impact.

Reviving a Rare Tasmanian HeritageThe Tasmanian Museum and Art GalleryRedevelopment Project By Richie O’Sullivan, Emrah Baki Ulas, Michael Harrold and Chris Arkins

The Tasmanian Museum and ArtGallery (TMAG) is the second-oldest museum in Australia,

and its collection mandate is themost diverse of any in the country.Its campus on Hobart’s waterfront atConstitution Dock comprises a richcollection of heritage buildings, includ -ing the Com missariat Store (1808–1810),the Private Secretary’s Cottage (1813),Custom House (1902), Queen’s Ware -house (1869), the Henry Hunter Build -ing (1863–1866), the New Gallery (1966)and the New Link Building (1986).

The ProjectThe entire A$200-million redevelop -ment of TMAG will be the largest andmost significant cultural developmentever undertaken in Tasmania, ensuringTMAG’s place as a leading museumand gallery. It will provide many uniqueand flexible exhibition spaces andgalleries, as well as extensive back-of-house facilities, including workspaces,storage, workshops and goods-handling.

Francis-Jones Morehen Thorp wasthe appointed architect for the firstA$30-million stage of the transfor ma -tion, which involved the creation ofa new public entry off Dunn Place, anew foyer, and increased exhibition

View of the main courtyard and courtyard lighting. Artist’s impression of the redevelopment when complete.

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ElectricalThe solutions for the electrical servicesmade use of existing systems wherepossible. The existing site was made upof several individual power-authorityconnections, which were consolidatedinto one larger single supply.

All redundant cabling was carefullyremoved and updated with newcabling and submains in a discreetmanner. Some parts of the installation,such as the Bond Store, requiredexposed cabling as a specific heritagerequirement, enabling cables to beeasily removed in the future withoutaffecting the building fabric. In theCentral Gallery, special space consider -ations permitted the concealment ofservices, allowing a simple but veryeffective solution in which power andcommunication floor boxes werehidden below a removable section offlooring. This was a fine example ofservicing the old museum with newmodern services and technology,including Wi-Fi conductivity.

To assist in the improvement ofvisitor circulation and access, new liftswere installed. Lifts were carefullydesigned, and their size optimised forthe movement of relevant artefacts. Tominimise the spatial requirements andimpact of lift motor rooms, motor-roomless lifts (MRLs) were designedfor both passengers and goods.

LightingLighting systems within the exhibitionspaces were carefully chosen anddetailed to integrate seamlessly withthe buildings, whilst overcomingchallenges such as the fixing of tracksystems and cabling infrastructureonto existing heritage elements withappropriate care.

All light sources within exhibitionspaces are high-quality, dimmable,high-colour-rendering LEDs that emitminimal UV to minimise damage onexhibitions, whilst saving energy andenhancing the visitor’s visual experienceof the collections. These systems havebeen carefully chosen, through inten -sive testing and prototyping, both offsiteand in situ. The selected lighting systemsconsume only about a quarter of theenergy, compared to traditional gallery

lighting equipment, saving a substantialamount of energy.

Daylighting design is a key elementof the environment in the CentralGallery space. The vertical daylightopenings in the lantern of the raisedroof are fitted with louvres, which areadjustable through automated controlsto regulate the amount of daylightentering the space, as well as beingmanually controllable by gallery staff.External feature lighting within thecourtyard also consists of efficient LEDand metal-halide sources that are incor -porated into structural and archi tecturalelements, enhancing the outdoorexperience of the Museum and Galleryfor evening events and functions.

Ventilation andAir-ConditioningIn the development of HVAC strategies,careful consideration was given toachieving appropriate levels of indoorair quality, whilst minimising the impactto heritage fabric of contemporarymechanical services such as ductwork,fans and diffusers.

Wherever possible, natural ventilationwas used, to achieve the lowest possibleimpact of mechanical services on thesensitive heritage fabric of the building,while also making use of the building’soriginal systems. Given that the base -ment level of the Bond Store did nothave the required natural ventilationopenings to satisfy building regulations,a strategy was adopted whereby supple -mentary ventilation is provided bymechanical means. To avoid installinga new network of hot-water pipes tosupport the radiators, based on strictheritage requirements, the designteam incor porated electric radiators,coordinating the electrical cables withthe general small power/lightingreticulation routes.

Where mechanical equipmentwas required, a review of the existingbuilding structure was carried out toidentify the most suitable reticulationroute for the installation of a new net -work of pipework to support radiators,without compromising the heritageaspects of the building.

The Central Gallery incorporatesa supplementary outside-air ducted

Concealed electrical services in the Central Gallery.

Ground floor of the Bond Store, indicating operable areas and radiator locations.


system with the capacity to heat theincoming outside air, while also cover -ing a portion of heating requirementsfor the space through hydronic duct-mounted coils. High-level louvres assistwith a natural ventilation strategyduring the summer months, whilstalso providing glare control and solarprotection inthe gallery space.

To avoid any unnecessary waste andadditional project costs, three existingair-handling units were reused. Theseconsisted of cooling coils, fans, and ductheaters for specific zone heating. Theexisting electric duct heaters were re -moved and replaced with new hydronicduct-mounted heating coils, fed fromthe new hot-water heating system. Work -ing within heritage constraints, therewas a real challenge in making altera -tions to the ductwork reticulationroute and associated supply and, inparticular, the air-return strategy.

Energy efficiency was an importantconsideration. By making use of the exist -ing configuration of operable win dows,the design was able to in corporate amixed-mode ventilation strategy. Toavoid the introduction of controldevices—such as reed switches whichwould affect heritage aspects of thebuilding fabric—appropriate means ofcontrol between natural ventilationand air-conditioning will be undertakenthrough the building user manage mentprocedure. To facilitate this, a clear andintuitive building user’s guide wascreated and supplemented with usertraining for the team, ensuring that thechangeover between the modes of oper -ation is carried out with considerationof optimal outdoor conditions.

The integrated design and holisticapproach taken for this project enabledTMAG’s significant heritage buildingsto function within a modern context,

while addressing sustainability andregulatory requirements, and providesa new, unique visitor experience ina comfortable environment thatpreserves and protects Australia’scultural heritage.

Project Credits:Tasmanian Museum and Art Gallery

Francis-Jones Morehen Thorp (fjmt)

Design5

Taylor Thomson Whitting

Steensen Varming

Gandy & Roberts

RED Fire Engineers

Root Projects

VOS Construction & Joinery Tasmania

On behalf of Jennifer Storer, ActingDirector for Tasmanian Museum and ArtGallery, we wish to thank IAMFA for itsinvaluable collaboration and support.

Richie O’Sullivan is an associate withSteensen Varming, and can be reached [email protected]. Hespecialises in in mechanical and sustainabledesign and oversees project delivery,ensuring that all designs are implementedto their required quality and performance.

Emrah Baki Ulas, PhD is an associate withSteensen Varming, and can be reached [email protected]. Heis a renowned lighting designer, educatorand creative thinker, and leads the company’sglobal lighting projects.

Michael Harrold is an Associate Director atSteensen Varming, and can be reached [email protected]. Hespecialises in electrical, ICT, security, lightingand vertical transport designs, and is dedi ca -ted to ensuring that the client’s requirementsare satisfied in a holistic manner.

Chris Arkins is a Director at SteensenVarming, and can be reached [email protected]. Hemanages the regional operations for boththe Sydney and Hong Kong studio, andleads and coordinates the company’scommitment to integrated sustainabledesign across its global studios.Mixed-mode ventilation strategy for Commissariat/Queens Warehouse/Link buildings.

For more information on becoming a member of the International Association of Museum Facility Administrators, please visit

www.NewIAMFA.org

Become a Member of IAMFA


2014 IAMFA CONFERENCE SCHEDULE


Riverside Museum and the Glenlee

The Burrell Collection

Scottish National Portrait Gallery

National Museum of Flight

National Library of Scotland

DELEGATE PROGRAMSUNDAY,

09:00–16:00 Benchmarking & Learning Workshop

NOTE: This is a separate workshop for benchmarking participants only. If youwere not a participant in the 2014 benchmarking exercise, and would like toattend this session, please visit www.NewIAMFA.org to register.

National Library of Scotland

15:00–17:00 Conference Registration

17:00–19:00 Opening Welcome and Drinks Reception

MONDAY, 07:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow

09:45–10:15 Presentation No. 1: Public Health and the Role of Museums—Duncan Dornan

10:15–10:45 Presentation No. 2: Development of a City through Museums—Dr. Martin Bellamy

10:45–11:15 Coffee Break

11:15–11:45 Presentation No. 3: Burrell Redevelopment—Alex McLean

11:45–13:00 Introduction to Burrell followed by guided tours—Muriel King

13:00–15:00 Travel to Glasgow School of Art, Lunch and View of recent fire damageto Mackintosh Building

Glasgow School of Art—Reid Building

15:00–17:00 Travel to Riverside Museum—brief orientation meeting followed byself-guided tours

Riverside Museum Glasgow

17:00–18:15 Lord Provost drinks reception aboard tall ship Glenlee Tall Ship Glenlee

18:15–21:30 Travel to Kelvingrove Art Museum and Gallery, self-guided tour andBurns Supper

Kelvingrove Art Gallery and Museum

TUESDAY, 09:00–09:30 Meet at National Museum of Scotland, followed by welcome and

introduction of SponsorsNational Museum of Scotland

09:30–10:00 Presentation No. 1: Gareth Hoskins Architects—Gareth Hoskins OBE

10:00–10:30 Presentation No. 2: Metaphor Exhibition Designers—Stephen Greenberg


11:00–11:30 Presentation No. 3: Steensen Varming—Dan Mckenzie

11:30–12:00 Benchmarking Discussion—Keith McClanahan

12:30–14:30 Lunch, followed by IAMFA AGM

15:00–16:00 IAMFA Board meeting with Regional Chairs

17:00–19:00 Camfil Drinks Reception Signet Library

WEDNESDAY, 08:30–09:00 Meet at National Gallery, followed by welcome and introduction

of SponsorsNational Gallery on the Mound

09:00–09:30 Presentation No. 1: Making of the Rijksmuseum—Karen Keeman

09:30–10:00 Presentation No. 2: The Mary Rose—Alan Hutton

10:00–10:30 Presentation No. 3: The World Conservation and Exhibition Centre—Dr. David Saunders


11:00–11:30 Presentation No. 4: Ensuring a Sustainable Future—Dr. Ewan Hyslop—Historic Scotland

11:30–12:00 Presentation No. 5: Development of the Scottish National PortraitGallery—Chris McLaren and Jacqueline Ridge

12:30–13:30 Lunch Scottish National Portrait Gallery

13:30–15:00 Tram ride and guided tours around Scottish National Portrait Gallery

17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception andGala Dinner

Royal Botanic Garden, Edinburgh

21:30–22:00 Travel back to Hotel

THURSDAY, 10:30–11:00 Meet for bus to New Lanark

11:00–12:00 Travel to New Lanark New Lanark

12:00–13:00 Lunch

13:00–16:00 Guided Tours of New Lanark

16:30–17:30 Return to Edinburgh



Royal Botanic Garden

Rosslyn Chapel

National Galleries of Scotland

National Museum of Scotland

GUEST PROGRAM 14 SEPTEMBER 2014

15:00–17:00 Conference Registration National Library of Scotland

17:00–19:00 Opening Welcome and Drinks Reception

15 SEPTEMBER 201407:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow


10:15–11:30 Guided tours of Burrell Museum

11:30–13:00 Travel to Kelvingrove, followed by lunch Kelvingrove Art Gallery and Museum

13:00–13:30 Organ recital in main entrance hall

13:30–15:00 Introduction to Kelvingrove, followed by guided tours

15:00–17:00 Travel to Riverside, orientation, then self-guided tour of Riverside Riverside Museum Glasgow

17:00–18:15 Lord Provost drinks reception aboard tall ship Glenlee Tall Ship Glenlee

18:15–21:30 Travel to Kelvingrove Art Museum and Gallery, self-guided tour andBurns Supper


16 SEPTEMBER 201409:30–10:15 Travel to East Fortune—Museum of Flight

10:15–11:30 Guided tours of Museum and/or Coffee Break East Fortune—Museum of Flight

11:30–12:00 Travel to Haddington for lunch

12:00–13:00 Lunch at Maitland Hotel Maitland Hotel Haddington

13:00–13:45 Travel to Rosslyn Chapel Rosslyn Chapel

13:45–15:00 Tour of Rosslyn Chapel

15:00–16:00 Travel back to National Museum of Scotland to meet delegates National Museum of Scotland

17:00–19:00 Camfil Drinks Reception Signet Library

17 SEPTEMBER 201409:00–10:00 Walk—Grassmarket–Greyfriars Graveyard–George IV Bridge–Deacon Brodie

10:00–10:30 Coffee Break Scottish Historic Building TrustRiddle’s Court

10:30–10:45 Walk to Mary King’s Close

10:45–11:45 Mary King’s Close—Two tours: one group browsing; one group on tour Mary King’s Close

12:00–12:30 Walk down Royal Mile

12:30–13:15 Lunch Scottish Storytelling Centre

13:15–14:00 Walk down Royal Mile—Dunbar’s Close Garden

14:00–15:30 Scottish Parliament—Two tours: one group browsing; one group on tour Scottish Parliament Building

15:30–16:30 Walk back to Hotel

17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception andGala Dinner

Royal Botanic Garden, Edinburgh

21:30–22:00 Travel back to Hotel

18 SEPTEMBER 201410:30–11:00 Meet for bus to New Lanark

11:00–12:00 Travel to New Lanark New Lanark

12:00–13:00 Lunch

13:00–16:00 Guided Tours of New Lanark

16:30–17:30 Return to Edinburgh



prices have reduced significantly due tothe advent of hydraulic fracturing, thereis still strong demand for our heat-recovery equipment. We have grownsignificantly during the past decade.”

The Art Institute’s economizerinstallation was engineered by McGuireEngineers, who has been long-timecorporate sponsors of IAMFA. MichaelMurphy, LEED AP, Project Managerof McGuire, noted the superior designof these economizers. “The unit featurestube elements that can be individuallyreplaced without the need to performany welding. The individual tubes canbe easily removed and replaced. Themethod of tube connection is a simplecompression-fitting-type connection.”

Hill Mechanical of Franklin Park,Illinois was the mechanical contractorfor the project. Harold Hacker, Vice-President of Hill, noted that “This wasan interesting project, and it requireda great deal of coordination to putthese economizers into a workingsteam plant. The space we had to

work ith was tight, and the plantneeded to be in continuous operationduring the installation phase. Theeconomizers themselves are large, soit was kind of like putting a ship in abottle. We were really pleased by theingenuity of our team, who devised andexecuted the rigging and placementof these large components.”

As part of this project, the ArtInstitute took advantage the PeoplesGas Natural Gas Savings Program,administered by Peoples Gas, Lightand Coke, the local natural gas distri -bution company in the Chicago area.According to Leon Dorsey, AccountManager for Peoples Gas, “every rate -payer in our territory contributes tothe rebate program by paying a ‘NaturalGas Savings Program’ payment as partof their monthly bill. Our customerscan then apply for partial funding ofenergy-efficiency projects that aredetermined to meet program goals.”

Franklin Energy, the firm contractedto administer the program, and partof our energy team, worked directlywith the Art Institute right from thebeginning. Adam Roche of FranklinEnergy noted, “We were excited aboutthis project. This was an extremelycomplicated project to engineer,quantify savings, and garner financialapprovals within the orga nization.Having a partnership relation shipwith the Art Institute allowed us tofinetune our program offerings tomeet our customer’s needs. Thisproject benefited on many levels fromour program, with the funding of afeasibility study by McGuire Engineersto quantify engineering challengesand potential savings. Our rebatesallowed the Art Institute to requestfunding for a project which not onlymet typical payback requirements,but exceeded them, allowing forthe project dollars to be approvedimmediately, with out having to pushthrough normal capital budget

Waste Heat Recovery at theArt Institute of ChicagoBy Patrick B. Jones

Economizer installation at the Art Institute.

In May of this year, the Art Instituteof Chicago installed two newHeatSponge-Titan-12 boiler

economizers. For those unfamiliarwith this technology, the intent is tocapture surplus heat contained in fluegases, and divert it to practical purposes.At the Art Institute, that purpose is topre-heat feedwater to two Johnstonhigh-pressure steam boilers.

According to design specifications,this installation will result in over11,000 MMBTU’s of natural gassavings per year. The total cost of theinstallation was just under $250,000,with an expected payback of less thanthree years. Because the project quali -fied for energy-efficiency rebates, thepayback period was ultimately reducedto about one year.

The two economizers placed at theArt Institute were produced by Boiler -room Equipment. The Pennsylvania-based manufacturer specializes ineconomizer and steam-accumulationtechnology, as well as condensing heatexchangers. Vince Sands, PE, owner ofBoilerroom Equipment, told us a bitabout the development of his company.“Ten years ago, we saw an opportunityin the market for a new generationof highly engineered heat-recoveryequipment. Equipment at that timewas based on a 1950s tech nologicalmodel. There was much more weldingpresent in the older technology and,when service was required, the costto perform it was prohibitive. Ourequipment is designed to maximizeheat recovery, while also being easy torepair by plant personnel, rather thanoutside maintenance technicians.”

Sands reports that economizers likethose his firm manufactured for theArt Institute account for 70 to 80% ofhis business. “Of course, it was a hardwinter for many of us in North America.Facility managers everywhere are look -ing for ways of reducing the overallspend for natural gas. Although gas


request processes. It was an honor towork with a customer such as the ArtInstitute, as it is with all customers ofPeoples Gas. This was truly a teameffort, which will yield significantbenefits to the Art Institute for yearsto come. We encourage all customersin the Chicago area to pursue energyefficiency technologies such as this

and to participate in the Peoples GasNatural Gas Savings Program.”

At a special ceremony held at theArt Institute on July 17, 2014, JohnMoran, Account Management SeniorLeader of Peoples Gas, presentedWilliam Caddick, Associate Vice-President for Facilities at the ArtInstitute, with a check for $154,138

from the rebate fund for the boilereconomizer project. Mr. Morancongratulated the whole projectteam for their success.

Acknowledging the presentation,Mr. Caddick, a past IAMFA President,took a moment to recognize eachmember of the team. “I’m sure I speakfor all of us when I say that it is profes -sionally rewarding to participate in aneffort like this. It is rare that a projectmeets so many important goals. Wehave reduced the amount of energy weneed to consume in our operations, atthe same time generating significantcost savings. We have reduced ourcarbon footprint, and have contributedto a greener Chicago. I believe thatprojects such as this were the originalintent of the rebate program, andeach of you should be proud of therole you have played in it.”

Museum facility managers who areconsidering energy-efficiency infra -structure improvements are encouragedto seek incentive funding to offsetproject costs. A comprehensive listof such funding sources in theUnited States is available atwww.dsireusa.org/

Patrick B. Jones is Manager, Off-SiteFacilities and Energy at the Art Instituteof Chicago, and can be reached [email protected].

William D. Caddick, Associate Vice-President of Museum Facilities at the Art Instituteof Chicago (seventh from the left), received a rebate check for $158,138 for the boilereconomizer project at the museum. With him are representatives of Peoples Gas,Franklin Energy, McGuire Engineers, Hill Mechanical and Boilersource.

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Athird round of IPI’s highly successful series of freeworkshops and webinars for collections care, facilities,and administrative staff in cultural institutions will

begin this fall. Visit IAMFA’s website www.NewIAMFA.Orgfor a link to register for the workshop, and a special offerfrom IAMFA. Individuals who attend the two-day workshop,and who have never been a member of IAMFA, will receivea free one-year membership to IAMFA valued at $200.

These presentations are designed to enable collectionscare and facilities staff in cultural institutions to worktogether to define and achieve an optimal preservationenvironment—one that combines the best possible preser -vation of collections with the least possible consumption ofenergy, and is sustainable over time. Over 2,000 individualsparticipated in the last two series, and 99.5% rated thepresentations clear, useful, well organized, and relevant.

The Series III workshops will convey the latest informationand best practices for sustainable management of collectionstorage environments. Participants will receive two full daysof practical information on understanding mechanicalsystem functions, responsible energy-saving strategies, andguidelines for managing changes in environmental settingswithout reducing preservation quality. Each participantwill receive a copy of IPI’s Guide to Sustainable PreservationPractices for Managing Storage Environments.

Workshop Hosts and Presentation Dates• Museum of Fine Arts, Boston, MA

—September 29–30, 2014— Held in the Alfond Auditorium

• American Museum of Natural History, New York, NY—October 28–29, 2014— Held in the Linder Theater

• California Preservation Program, Berkeley, CA—November 4–5, 2014— Held in the David Brower Center

• Smithsonian Institution Archives, Washington, D.C.—December 9–10, 2014— Held in the Smithsonian American Art Museum and

the National Portrait Gallery’s McEvoy Auditorium

• Amon Carter Museum, Fort Worth, TX—January 13–14, 2015— Held in the Museum Auditorium

There are no registration fees for the workshops or thewebinars. Space is limited at each venue—please registerearly, if you are certain that you can attend.

Series III webinars will be scheduled between Januaryand November 2015. Details of topics and schedules will beavailable at www.ipisustainability.org when they are finalized.

We strongly encourage a team approach, and suggestthat institutions register participants representingcollections, facilities, and administrative staff.

Sustainable Preservation Practicesfor Managing Storage Environments—Series IIIFunded by the National Endowment for the Humanities Education and Training Grant ProgramPresented by the Image Permanence Institute, Rochester Institute of Technology

Audience for IPI Sustainable Preservation Practices Workshop inAtlanta, Georgia.

Presentation by facility manager during IPI Sustainable PreservationPractices Workshop.

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IntroductionIn a previous Papyrus article1 a specific environmentalfactor was discussed that warranted special considerationwith regards to the protection of historical artifacts andmaterials. Gaseous (or chemical) pollution such as sulfurdioxide (SO2), ozone (O3), and nitrogen dioxide (NO2)are known to have significant deleterious effects, andinformation was provided on one method being used tomonitor and measure gaseous pollutants. Over the pastseveral years, work has been ongoing to refine this tech -nique specific to the protection of cultural heritage, suchthat “reactivity monitoring” has become the de factoenvironmental standard for many institutions.

Reactivity (or corrosion) monitoring has been in contin -uous use for more than 30 years in museums, libraries, andarchives, as a tool to gauge the aggressiveness of the ambientenvironment towards materials and artifacts. The use ofpassive and real-time reactivity monitors has been writteninto specifications, and a classification scheme relevantto conservation and preservation environments has beendeveloped. Advances in real-time reactivity monitoringtechnology have provided for smaller, battery-operateddevices with internet and wireless communication capa -bilities, and many have called for a formalization of thisclassification scheme into an international standard forexhibition and storage applications.

Standards and Guidelines for GaseousPollutantsDespite all of the research that has been performed overthe past decade, there is still no universally accepted airquality specification for museums, libraries, or archives.There are a number of guideline documents and standardsthat are often used as references (partial lists below), someof which date back more than 30 years. Most provide a shortlist of gaseous pollutants that require control, along withrecommended control levels, but research continues in anattempt to determine what levels of gaseous pollutants causedeterioration of historical artifacts and archival materials,as well as the most relevant air-monitoring technique.

Museum Air Quality Guidelines• National Bureau of Standards (NBS, 1983). “Air Quality

Standards for Storage of Paper-Based Archival Records,”NBSIR 83-2795. Gaithersburg, MD.

• Thomson, G. (1986). “The Museum Environment,”2nd Ed. Butterworths, London.

• National Research Council (1986). “Preservationof Historical Records,” National Academy Press,Washington, D.C.

• “Conservation notes: Environmental standards” (1987).International Journal of Museum Management and Curatorship,Volume 6, Issue 2.

• Purafil, Inc. (1989). Technical Brochure TB-600:“Environmental Control for Museums, Libraries andArchival Storage Areas.”

• National Information Standards Organization (NISO1995). “Environmental Guidelines for the Storageof Paper Records,” TR01-1995, Baltimore, MD.

• National Park Service (NPS, 1999). “Museum Handbook,Part 1: museum Collections,” Washington, D.C.

• Tétreault, J. 2003. Airborne Pollutants in Museums,Galleries, and Archives: Risk Assessment, ControlStrategies and Preservation Management. Ottawa:Canadian Conservation Institute. “Rare CollectionsLibrary Design Specifications,” (2005). Commonwealthof Pennsylvania, Harrisburg, PA.

Museum Air Quality Standards• Advisory guideline air quality archives (1995). Government

Buildings Agency (Rijksgebouwendienst), The Hague.

• ISO 11844: Corrosion of metals and alloys – Classificationof low corrosivity of indoor atmospheres (2006).International Organization for Standardization(ISO), Geneva.

• BS5454:2000: Recommendations for the storageand exhibition of archival documents (2012). BritishStandards Institution (BSI), London.

• NARA 1571: Archival Storage Standards (2012).National Archives and Records Administration.Washington, D.C.

• EN 16141:2012: Conservation of cultural heritage —Guidelines for management of environmental con -ditions — Open storage facilities: definitions andcharacteristics of collection centres dedicated to thepreservation and management of cultural heritage(2012). European Committee for Standardization(CEN), Brussels.

• EN 15999-1:2014: Conservation of cultural heritage —Guidelines for design of showcases for exhibition andpreservation of objects - Part 1: General requirements(2014). European Committee for Standardization(CEN), Brussels.

An Air Quality Standard for theProtection of Cultural HeritageBy Peter Fish, Chris Muller and David Thickett


Museum Air Quality Specifications Engineering specifications, individual institutionalrequirements, and other sources pertaining to air qualityrequirements for cultural heritage going back 20 yearswere examined to develop a list of gaseous pollutants mostcommonly cited, as well as their control levels.2 Table 1shows this list and the range of control specifications,along with the most commonly cited copper and silverreactivity levels.

Reactivity Monitoring ResearchWith respect to the reactivity monitoring guidelines listedabove, this environmental analysis method is currentlybeing used by a large number of institutions, and has beendescribed in the literature, with much of the researchsupporting reactivity monitoring going back to the 1990s.3

Reactivity MonitorsBoth passive and real-time reactivity monitors have beenprovided by Purafil, Inc. since the early 1980s for use incultural heritage applications. Some of the more notableinclude Leonardo da Vinci’s Last Supper, the Sistine Chapel,the Capital Museum and Forbidden City Museum (Beijing),the General Government Archives at The Hague, nationalarchives in China, New Zealand, Singapore, and the US,as well as many US state archives and several PresidentialLibraries. Broad acceptance and continuing R&D effortshave resulted in the latest generation of commerciallyavailable reactivity monitors.

The Corrosion Classification Coupon+ (CCC+) measuresthe amount of corrosion formation on copper and silvercoupons and logs the temperature and relative humidity ofthe local environment. This passive monitor provides all ofthe data necessary to verify industry-standard classificationson the amount and type of corrosion present, as well asidentifying specific contaminant classes.

The Purafil OnGuard 4000 (OG4) Atmospheric CorrosionMonitor (ACM) indicates the level of corrosion, beforesevere damage occurs, by characterizing the room envi ron -ment and evaluating the effectiveness of pollution-controlstrategies. The OG4’s copper and silver sensors measurecorrosion rates, along with temperature and relative humidityin real time, and an internal data logger stores the resultsfor access via the internet, or for direct transmission to abuilding management system. Data may also bedownloaded to a PC.

Additional information on both the CCC+ and the OG4can be found at www.purafil.com.

Other Recent Research ProjectsOther recent research projects also point to the continuedrelevance of reactivity monitoring in cultural heritageapplications. Two European Union (EU) projects aredescribed here.

Musecorr4

The goal of this project was to develop electronic loggers,designated AirCorr, for the continuous measurement ofair corrosivity, and to finetune the monitoring system forapplication in the cultural heritage sector. Based on resultsobtained in a survey of professionals working with culturalheritage objects, three versions of the AirCorr logger havebeen designed for specific applications: AirCorr I—an indoorversion with an exchangeable sensor; AirCorr I Plus—anindoor version with temperature and RH sensors, tworeplaceable corrosion sensors, and LCD showing actualcorrosivity; and AirCorr O—a watertight outdoor version.More details are available at www.musecorr.eu.

Memori Project5

The aim of this project is to provide the conservation marketwith innovative, non-destructive, early warning technologyfor easy assessment of environmental impact on indoor

aWith no chloride corrosion evident.bWith no sulfur corrosion evident.

Table 1: Control specifications for preservation environments

ReactivityContaminant/Parameter Range of Concentrations Listed in Building Specifications Level, Measured ppb µg/m3 Å/30 days

Acetic acid <4 <10 —

Chlorine ≤1 - ≤3 ≤3 - ≤9 —

Formaldehyde <4 <5 —

Hydrogen chloride ≤1 - ≤3 ≤1.5 - ≤4.5 —

Nitrogen dioxide ≤2.65 ≤5 —

Ozone ≤0.94 - ≤12.5 ≤1.8 - ≤24.5 —

Sulfur dioxide ≤0.35 - ≤1.0 ≤1 - 2.85 —

Silver Corrosion — — Class S1, <40a

Copper Corrosion — — Class C1, <100b

cultural heritage. The MEMORI solution is an early warningsystem sensitive to the main degradation factors of indoorenvironments. It integrates technologies that can identifythe environments that will create a negative impact beforeeffects can be seen on artifacts. The MEMORI dosimeter issensitive to photo-oxidizing gases and organic acid gases.The MEMORI reader is designed for onsite measurements,and a web link provides evaluation of the dosimeter readings.A handheld reader allows for the collection and analysis ofdata onsite, streamlining the process of identifying problemareas. The MEMORI dosimeter and reader can be connectedto a web-based system designed to visualize and interpretthe results from the reader. Additional details on theMEMORI project can be found at www.memori-project.eu.

A New Reactivity Monitoring StandardOver the years, several standards that directly correlatecopper and silver reactivity rates to environmental classi -fications have been considered for cultural heritageapplications.6,7 Current standards that employ reactivitymonitoring—either in passive or active form—and directlycorrelate corrosion rates to environmental classificationshave also been considered. The three that have been mostcommonly referenced for the cultural heritage sector are:

• ISO 11844-1:2006—Corrosion of metals and alloys—Classification of low corrosivity of indoor atmospheres—Part 1: Determination and estimation of indoorcorrosivity.8

• ISO 9223:2012—Corrosion of metals and alloys—Corrosivity of atmospheres—Classification, determinationand estimation.9

• ANSI/ISA 71.04-2013—Environmental Conditions forProcess Measurement and Control Systems: AirborneContaminants.10

Each of these has its shortcomings for use in culturalheritage applications and, in order to be truly useful,each would have to be significantly modified based onthe results of ongoing testing and the specific needs ofthese environments.

Purafil maintains a cultural heritage database containingthousands of sets of copper and silver coupons, in additionto several hundred OG4 atmospheric corrosion monitors.

Included in this database are local, state, and nationalarchives, private and public libraries, and some of theworld’s best-known museums. A summary of Purafil’sdatabase is in Table 2.

Purafil’s historical application of reactivity monitoring,including many years of environmental research andverification, has shown that this technique can be used asan alternative to direct gas monitoring in these environments.

Based on this, and through partnership with a numberof institutions that have made reactivity monitoring theirstandard for environmental assessment and classification, aproposed air-quality standard for cultural heritage applicationsis shown in Table 3.

This classification scheme has remained as shown here,with only slight modification to the class descriptors andthe acceptable corrosion rates for each class. More specificguidelines for various use categories, using this classificationscheme, have been developed and are listed below.

• Class C1/S1: Archives, Film Collections, Metal Collections,Rare Books

• Class C2/S2: Museums, Museum Storage, Libraries

• Class C3/S3: Historic Houses

• Class C4/S4: Short-Term Acceptable

• Class C5/S5: Not Acceptable


Table 2: Reactivity Monitoring Database for CulturalHeritage (summary)11

International40+ countries

>300 locations

225+ museums

30+ libraries (5+ national libraries)

50+ archives (10+ national archives)

>8,500 CCCs

>250 OnGuard ACMs

USA30+ States & Washington, D.C.

>100 locations

60+ museums

25+ libraries (includesLibrary of Congress &4 Presidential Libraries)

15+ archives (includesNational Archives &5+ state archives)

>1,500 CCCs

> 50 OnGuard ACMs

Copper Reactivity Silver Reactivity

Air Quality Corrosion Rate Air Quality Corrosion RateClassification (per 30 days) Class Classification (per 30 days) Class

Extremely Pure < 90Å C1 Extremely Pure < 40Å S1

Pure <150Å C2 Pure <100Å S2

Clean <250Å C3 Clean <200Å S3

Slightly Contaminated <350Å C4 Slightly Contaminated <300Å S4

Polluted ≥350Å C5 Polluted ≥300Å S5

Table 3: Reactivity Monitoring Standard for the Protection of Cultural Heritage


It has been demonstrated that, if an environmentexhibits reactivity rates of C1/S1, there is nothing else thatcan be done, economically, to improve the environment.Meeting a general acceptance criteria of C2/S2—withoutthe presence of active sulfur or inorganic chlorine contami -nation (as copper sulfide [Cu2S] and silver chloride, [AgCl],respectively)—often indicates an environment sufficientlywell-controlled that direct control of gaseous pollutants isnot required.

Individual corrosion species can be used to furthercharacterize the environment and determine the propercontrol strategies. These guidelines are more general intheir application, and are most often used for the char ac -terization of an environment prior to the implementationof pollutant-control measures.

A Workable StandardBased on all of the evidence presented here, why shouldadditional time, effort, and money be spent on developingreactivity monitoring tools and techniques if there is not astandard environmental classification system in place? Areactivity monitoring standard for cultural heritage wouldbe used to perform environmental “pre-assessments” to setfacility design specifications for display and storage areas,HVAC design, etc. It would also provide validation ofpreventive/remedial actions taken to improve air quality,including the use of enhanced air cleaning.

The 10-year Dutch DeltaPlan project actually met itsgoal of correlating pollutant levels using corrosion rates, todamage caused to archival materials. It validated the use ofreal-time reactivity monitoring, and has shown that specifiedenvironmental conditions can be achieved and maintained.

We already have essentially everything needed to publisha standard. There is a workable method for the use of bothpassive and real-time reactivity monitoring. There is also ahistorical basis for this method, and an environmentalclassification scheme has already been developed and isin use.

Our recommendation? We should not waste the effortsof others, but rather consolidate the research that has alreadybeen performed to formalize a standard classificationsystem applicable to cultural heritage, based on the use ofreactivity monitoring. This would allow conservators andfacility managers to provide real-time data on environmentalconditions, and communicate with one another using acommon monitoring methodology. Information couldbe shared without having to be qualified or convertedto a different format, as is the case now with the variousair-monitoring techniques being used.

Putting a standard in place will also make it much simplerfor conservators, architects, engineers, facility managersand others to convey precise environmental requirementsfor gaseous pollution in these environments. Using a methodthat looks at the sum total of the effects of gaseous pollutants,as opposed to trying to infer risks based on individual gasmeasurements, will ensure more effective and economicalenvironmental controls for cultural heritage.

The Next Step?A new work item proposal (NP) is being prepared, and willbe submitted to the relevant ISO Technical Committee forconsideration. Granted, if accepted there would be theexpected back-and-forth on what reactivity levels would beacceptable for different applications, materials, locations, etc.However, if we can look past the “way we’ve always done it”syndrome and institutional biases, and take advantage ofthe some of the brilliant research that has been performed,a reactivity monitoring standard for the cultural heritagesector could be developed within a relatively short periodof time.

Peter Fish ([email protected]) is Principal at PrismaServices, Ltd. Chris Muller ([email protected]) is TechnicalDirector at Purafil, Inc. David Thickett ([email protected]) is Senior Conservation Scientistat English Heritage.

References1. Muller, C. “Air-Quality Standards for Preservation Environments:

Considerations for Monitoring and Classification of GaseousPollutants,” Papyrus, Winter 2010–2011, 11(3): 45–50.

2. Purafil, Inc. (2011). “Review of Air Quality Guidelines for Museums,Libraries, and Archives: 1990–2010,” unpublished report.

3. Fish, P., C. Muller, and D. Thickett, “Is it Time for a ReactivityMonitoring Standard for Museums?,” Proceedings of IAQ 2012—the 10th International Conference on Indoor Air Quality in Heritageand Historic Environments, June 17–20, 2012, London, England.

4. MUSECORR Project: Protection of cultural heritage byreal-time corrosion monitoring. EU research projectfunded through the Seventh Framework Program, Theme 6:Environment, Duration: June 2009 to May 2012, ContractNo. 226539.

5. MEMORI Project: Measurement, Effect Assessment andMitigation of Pollutant Impact on Movable Cultural Assets.Innovative Research for Market Transfer. EU research projectfunded through the Seventh Framework Programme, Theme6: Environment, Duration: November 2010 to October 2013,Contract No. 265132.

6. Vosteen, R. 1994. “Advisory Guide—Line Air Quality Archives,”Delta Plan for Culture Preservation, Ministry of Housing,Spatial Planning and the Environment, GovernmentBuildings Agency Netherlands, Department Design andEngineering, The Hague.

7. Muller, C. and E. Sacchi, 2005. “Air Quality Monitoring atHistoric Sites,” ASHRAE Journal, 47(8): 40–46.

8. ISO 2005. ISO 11844-2:2005 (E), Corrosion of metals and alloys—Classification of low corrosivity of indoor atmospheres—Part 2: Determination of corrosion attack in indoor atmosphere.International Organization for Standardization, Geneva,Switzerland.

9. ISO 2012. ISO 9223:2012, “Corrosion of metals and alloys—Corrosivity of atmospheres—Classification, determinationand estimation. International Organization for Standardization,Geneva, Switzerland.

10. ISA 1985. ANSI/ISA 71.04-1985: Environmental Conditionsfor Process Measurement and Control Systems: AirborneContaminants. Research Triangle Park: International Societyfor Automation ISA 2013.

11. Purafil, Inc. (2014). “Purafil’s Museum Database,”unpublished report.

House itself. It subsequently cost the Faculty of Advocates£500 in fees for “superintendence of repairs.” A blaze in aneighbouring tenement property in 1790 presented theadvocates with an opportunity to purchase properties tothe west of Parliament Hall, with the intention of creatinga new library.

There was a need to expand into bigger premiseswhich could house the growing collection, while alsooffering better protection from fire. The land that hadbeen bought in 1790 was subsequently used to buildadditional court accommo da tion, and the library wasagain relocated—this time to what is now the SignetLibrary in Parliament Square.

In 1823, concern about the risk of fire led the advocatesto insure the collections for £40,000 and the building for£10,000. These fears were justified just a year later, whenthe Great Fire of Edinburgh destroyed much of the HighStreet and Parliament Close. The library and ParliamentHall narrowly escaped. Thirteen people died in the fire,with many hundreds of others either badly injured orrendered homeless. Building damage amounted to over£200,000—a colossal figure for the time.

The scene on that night in November was described byone of Edinburgh’s most prominent citizens, Lord Cockburn:“I found the south-east angle of the Parliament Close burn -ing violently. It was almost touching Sir William Forbes’sbank, the libraries of the Advocates’ and of the Writersof the Signet, the (St Giles) Cathedral and the courts.


The History of Fire Protection at theNational Library of ScotlandBy Jack Plumb

The Edinburgh Sheriff Court House, which was demolished to makeway for construction of the National Library in the late 1920s.

The Signet Library, which we will visit at the IAMFA Scotland 2014conference to hear about its role in the development of theAdvocates Library.

The world-class collections of the National Library ofScotland have faced the threat of damage or destructionby fire on many occasions down through the centuries.

An examination of this history shows that there have beena number of extremely close calls.

The ever-present danger that fire poses to culturalcollections or treasured buildings was all too apparentearlier this year when the iconic Mackintosh Building atthe Glasgow School of Art was badly damaged by fire. Theschool’s library, regarded as one of the finest examples ofArt Nouveau in the world, was completely destroyed. Thisoccurred just months before a new fire-suppression systemwas due to be installed.

Today, the National Library’s collections are protectedby a modern sprinkler system, but this is a relatively recentdevelopment in a 300-year-old fight against fire. It allbegan with the establishment of the Advocates’ Libraryin 1680, which presented its historical collections to thenation in 1925 to create the National Library of Scotland.

The Advocates’ Library had its first close call in 1700.In what later became known as the Lesser Great Fire ofEdinburgh, the house that contained the library’s collectionwas destroyed, although most of the books were saved by theselfless exertions of the keeper. The fire burned from theCowgate to High Street, with only Parliament House surviving.

This led the library to relocate to a new home underParliament Hall, but the collection was in grave dangeragain in 1786, when a fire broke out within Parliament


Of course the alarm was very great; but this seemed only toincrease the confusion. No fire ever got fairer play. Judges,magistrates, officers of the state, dragoons, librarians wereall mixed with the mob, all giving peremptory and incon -sistent directions. Amidst this confusion, inefficiency, andsquabble for dignity, the fire held on till next morning; bywhich time the whole private buildings in the ParliamentClose, including the whole east side, and about half of thesouth side, were consumed.”

Edinburgh realised it had to become better preparedto fight fire, and that led James Braidwood to establish theworld’s first-ever municipal fire brigade. Braidwood, widelyregarded as “the father of firefighting”, would eventuallymove on to set up a dedicated fire service in London. Hislegacy was recognised by the city of Edinburgh in 2008,when a statue was erected. It stands on Parliament Square:the very place that had borne the brunt of the dreadfulinferno all those years ago.

Just as in 1700, the fire of 1824 prompted the advocatesto think again about the future of the library, which leddirectly to the construction of a new building from plansdrawn up in 1830 by one of Scotland’s greatest-ever architects,William Playfair. This building, which lies at the rear ofthe National Library, connects to Parliament House andcontinues to house the Advocates’ Library to this day.

Open fires provided the main form of heating in thisperiod, and fire safety was not all it could be, as is clear froman inspection report by Robert Reid, produced prior tothe move into the new building. “I found in an apart mentconnected with the Advocates’ Library, and immediately

under Parliament House, a very considerable deposit of tarbarrels, shavings and other combustibles used for the firesof the library rooms, and, in the same apartment, the servantsof the library were in the habit of placing the bucketscontaining the ashes removed from the fireplaces.”

The advocates decided to sell their accommodation in theSignet Library for £12,000 to raise funds for the new library.

It was recognised that the move to the Signet Library hadbeen a mistake; it was too small, having room for only17,000 volumes, and was quickly outgrown.

The new building overcame that problem, having muchmore generous space; but the risk of fire remained a worry.A new heating system—Parkin’s Patent Hot Water HeatingApparatus, consisting of coils of hot water pipes—wasinstalled to reduce the reliance on open fires. However,it was not free from problems. A member of the Facultywarned that pressure and excess heat could build up, leadingto combustion of material such as old, dry woodwork thatcame into contact with the pipe. “I see it is beyond doubt

The construction of the National Library, begun in 1938, wasunfortunately held up during the Second World War and theausterity that followed, and wasn’t completed until 1956.

How the Main Reading Room would have looked in 1956.

SCR

AN

Edinburgh realised it had to become

better prepared to fight fire, and that

led James Braidwood to establish the

world’s first-ever municipal fire brigade.

that an extra fire on a frosty morning—or even moremoderate ones continued through a winter—may provethe destruction of our noble collection.”

There is no record of that happening, but a fire did breakout in 1875, when a smoke flue to the furnace overheated.Once again, the library’s luck held, with damage to only3,560 volumes—551 of which were completely destroyed.

Even as late as 1873, a cellar for firewood and coal openeddirectly off a collections’ storage area, with only a flimsydoor separating the two. Portable hand pumps were installedon each floor of the library six years later, on the advice ofthe Edinburgh Firemaster. He also recommended thatbook shelves be removed from above fireplaces, but thiswas resisted as it would do away with 800 feet (244 metres)of shelving. The balance of finding enough space for thecollections, while keeping them safe and accessible, provedas difficult as ever.

Thanks to the efforts of the Faculty of Advocates, treasuressuch as the earliest books printed in Scotland; the last letterof Mary Queen of Scots; Blind Harry’s ballad, which is themain source on the life of William Wallace; one of the copiesof the National Covenant of 1638; and the order that broughtabout the massacre of Glencoe in 1692, among many others,are today in the safekeeping of the National Library ofScotland. We owe them a great debt.

Jack Plumb CEng MIET MCIBSE MSLL is Head of Estates at theNational Library of Scotland, and is host of IAMFA’s 24th AnnualConference in Scotland.


The current Advocates Library. This is actually the William PlayfairCorridor, but it is all that is left of the original grand plans for theAdvocates Library.

be think innovate

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The Diefenbunker was designated a national historicsite in 1994. The reasons for this designation, as derivedfrom the 1994 HSMBC (Historic Sites and MonumentsBoard of Canada) Minutes, are:

• It is symbolic of the Cold War and the strategy of nuclear deterrence;

• It is symbolic of a people’s determination to survive as anation following nuclear war; and

• It is a poignant, tangible reminder of what was arguablyamong the most critical periods in modern history.

The heritage value of the Diefenbunker National HistoricSite of Canada lies in the comprehensive physical evidenceit presents, confirming Canada’s determination to surviveand function as a nation during a nuclear attack. This isexemplified by its location, landscape-integrated setting,nuclear-detonation-resistant design, and heavily reinforcedconcrete construction.

The Diefenbunker opened its doors to the public as aprivate, not-for-profit museum in 1998. Today, 50,000 peoplea year roam the halls of the facility. Some brave the massiveunderground facility on their own, while others join grouptours and have the facility interpreted for them.

In 2012, the Diefenbunker Museum Board of Directorsapproved a Strategic Plan, which articulates its vision from2012 to 2017. As part of the strategic planning exercise, theBoard developed a more concise Vision Statement, whichis specific to the period of this plan:

By showcasing/championing Canada’s preparedness to securethe seat of government during the Cold War, the Diefenbunkercreates this country’s most unique learning environment forpresent and future generations to better understand one of themost critical times in the world’s history.

Our care of the Diefenbunker will make sure the best of thepast is kept to enrich lives today and in the future.

Stewardship and the DiefenbunkerBy Brendan Goodfellow, Stephanie Miles and Ian MacLean

Exterior entrance to the Diefenbunker, via the Butler Hut. Blast tunnel inside the Diefenbunker.

Canada’s Central Emergency Government Headquarters,now most commonly known as the Diefenbunker:Canada’s Cold War Museum, is a 100,000-square-foot,

four storey underground bunker that was designed to houseover 400 people for a duration of 30 days, in the event of anuclear war. With the Soviet Union increasing its arsenal ofnuclear weapons in the mid-1950s, the idea of constructingbunkers to ensure continuity of government was born.

Construction of the Diefenbunker began in 1959, andwas completed only 14 months later in 1961. Not only wasit constructed for continuity of government, but it alsoserved as a central hub for communications within Canada.All bunkers in Canada were linked to the Diefenbunker,relaying information regarding evacuations, refugee camps,weather patterns for radioactive fallout, and top-secretinformation relating to retaliatory strikes and counterstrikes.The history of the Diefenbunker is inextricably linked tothe Cold War, which dominated international relationsthrough the latter half of the 20th century.

Upon completion of the structure in 1961, the facilitybegan to be outfitted with specialized mechanical andelectrical equipment, all specifically designed for self-sufficiency, and mounted on springs for shockproofing.Built with marine technology in mind, even the plumbingwas specially designed to be able to absorb shocks fromearthquakes and the blast waves of a nuclear strike.

The Diefenbunker remained operational from 1962 to1994. During this period, it underwent several modifica tionsand upgrades to bring it up to modern standards. In theearly 1990s, it was deemed too costly for the government tocontinue with upgrades, and a decision to decommissionthe facility was made. It was at this time that a group ofindividuals took it upon themselves to ensure that thisimportant remnant of Canadian Cold War history would notbe demolished nor permanently closed off from the public.

Strategic Objective 4 involves preserving the building asthe Diefenbunker’s primary artifact. In order to achievethis, and to ensure the sustainability of the Diefenbunker,it is necessary to address funding for capital needs andrepairs through sponsorship and fundraising.

In 2013, the Diefenbunker engaged an Ottawa-basedengineering firm, Morrison Hershfield, to prepare aBuilding Condition Report for the mechanical and electricalsystems in the facility. As a result of the decommissioningprocess of 1994, there are several systems which can nolonger be operated. For example, the three chillers, originallyused to process water for the HVAC and domestic watersystems, have not been operational since 1994. Becausethese machines sat idle for such a long period of time, theyhave become inoperable, and the costs to recommissionthem are too high. However, the chillers will be left in theircurrent location and preserved for interpretation as artifacts.

In order to operate the Museum in the long term, newHVAC systems will have to be installed. This is a rehabilita tionactivity that will ensure continuing use of this historical facility,while protecting its heritage value. Another reha bili tationactivity is the installation of a new electrical service to replaceequipment that is now over 60 years old. The currentequipment will be kept in a preserved state for interpretation.

The Building Condition Report provided the Museum witha solid rationale to seek further funding for capital improve -ments to the facility. Included in the report were recommen -dations and costs for the required upgrades. This informationis now being used for fundraising and sponsorship activities.

A Conservation Plan has been prepared to complementthe Building Condition Report, and to provide guidancefor preservation of the mechanical and electrical character-defining elements of this National Historic Site. Preservationactivities will allow the Diefenbunker to retain its heritagevalues and extend its physical life. Conservation plans forthe facility’s other character-defining elements are alsocurrently being prepared.

Stewardship is the responsible planning and manage -ment of resources, and is often linked to the principles ofsustainability, and heritage conservation. MTBA Associates Inc.of Ottawa assisted in defining the elements of stewardshipin the context of real property management, especially

with respect to principles of heritage conservation for theNational Historic Site. They are:

• Establishing heritage value and embodying andprotecting character-defining elements;

• Implementing management strategies for this protec tionand integrating these strategies with other buildingmanagement objectives on an ongoing basis;

• Including heritage conservation methodologies intoall lifecycle maintenance and building managementstrategies; and

• Integrating the entire property management team intothese strategies, such that those responsible for main te -nance and decision-making become aware of the heritagevalues of the property and conservation approaches areapplied to overall management strategies.

In conclusion, ownership of real property entailsan investment in the present, and a commitment to thefuture. Stewardship of this facility will optimize its service lifeand provide a safe and healthy environment for Museumstaff and visitors, while also preserving the building andgrounds for future generations.

Brendan Goodfellow is Facilities Manager at the Diefenbunker:Canada’s Cold War Museum. Stephanie Miles is ConservationAssistant at the Diefenbunker: Canada’s Cold War Museum.Ian MacLean is a consultant and former Chief, Facilities Services,Canada Science and Technology Museums Corporation.


Mirlees diesel generator located in the Machine Room.

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so should work on any existing system.They are expensive—works out toaround $1,000 per unit by the time youget the receivers, etc. in—so cablingwould be cheaper if you had an option,which we did not. If you send throughyour email, I can shoot you all theinformation I have, and a few photos.

Paul CollisFacilities Coordinator at QueenslandArt Gallery, AustraliaThat’s great information; I have beenlooking into this a little and will be tak -ing this up with our HVAC contractorfor the Queensland Art Gallery andGOMA. The nature of contemporaryart means that often AC sensors arein locations where work needs to beplaced. This requires constant move -ments and rewiring. Remote sensorswould be a solution and save sometime and money in the long run, soI’ll look into a few of the options youmentioned above. Thanks.

Allan TyrrellHead of Engineering Services at theNational Portrait Gallery, LondonThe National Portrait Gallery startedto install wireless environmental spacesensors six years ago. We now have inexcess of 50 throughout the Gallery,reporting back on temperature,humidity and CO2. We use the data forcontrol purposes, after it was provenreliable and accurate; we have experi -mented with light-level sensors also.The system is manufactured by Eltek.With some walls over six feet thick, wewere originally concerned about trans -mission; but with the installation ofreceivers to boost the collected infor -mation, they are a good solution in aGrade I listed building. We use them ina remote store that we share with Tateand return the data over broadband.

Our work with 16th-century build -ings with a Hanwell wireless system, inwhich the walls are a great deal thicker,has proven the system’s transmissionreliability—certainly a good option

where routes are restricted for wiredsystems, and drilling is not permitted.The manufacturers have taken onboard concerns over the aestheticsof the sensors, and now offer them inmore colours to enable them to blendin; in some cases, the sensors and thebodies of the units are supplied onflying leads to enable the sensors to behidden from view.

The information has been added toour BMS for control of plant servingGallery areas, and trending is availableto curators and conservators. Overall,a successful installation that grows asour needs change.

Kurt SissonPresident, Seabee MemorialScholarship Association, USAThe National Gallery of Art inWashington, D.C. has tried severaltypes of sensors. Here is input fromBrian McGivney, our Controls expert:

“Yes, we have tried several differentwireless sensors with mixed results. Forour VAV systems (Study Center) weused Enocean (www.enocean.com/en/home/) products from Distechand Thermokon. They worked verywell when used for short distances.Veris makes a Wi-Fi sensor that wetested, but never deployed in a pro -duction environment. The test resultswere positive, and we would considerusing this product in the future.TDP’s wireless network makes theseattractive. We used a fair number ofwireless sensors from TRS-Sys. Thesewere spread spectrum types sensorsand worked fairly well. I understandthat TRS-Sys was sold to Veris.

“New tech that hasn’t yet hit thebig time is Mesh Radio or CognitiveRadio. Zigbee and ModHopper are“mesh” sensor systems that could bethe answer.”

If anybody would like to contactBrian directly on this topic, his emailis [email protected]

LINKEDIN GROUP COLLABORATIVE ARTICLE

Success with Wireless TemperatureSensors?By IAMFA’s LinkedIn Group

IAMFA’s LinkedIn group has nowgrown to over 700 members in48 countries. The group offers

IAMFA’s members a forum in which tocommunicate with one another, whilealso interacting with non-members ofIAMFA around the world who havesimilar interests. This exchange lastmonth demonstrates the willingnessof members of the IAMFA LinkedIngroup to share their experiences. Wehope all IAMFA members will join ourLinkedIn group.

William LullConsultant in Building TechnologyWho has tried the new wireless temper -ature transmitters? Do they work? Whatare the limitations? I am looking forsome that can be added to an existingBMS, preferably as external AI con -nections that are not proprietary to aparticular BMS vendor. I see lots ofapplications if they are effective andnot too expensive.

Lawrence FraserBuilding Manager at NationalPortrait Gallery, Canberra, AustraliaThe National Portrait Gallery ofAustralia has installed eight wirelesstemperature and humidity sensors inits gallery spaces as a check for theoriginal sensors, which were installedin the return air duct—obviously nota real indication of what is happeningin the spaces. The units which we haveare from DELTA, the parent companybeing from Canada. The main issue isthat there is a receiver required—onefor every two sensors—and all wirelessunits need to be within transmissiondistance of one another.

We had major issues with the con -crete construction of the building, andit took some time to figure out a spotwhere they would all work. If the signalis weak, the batteries go flat in no time,as the sensor is constantly searching forsomething to send its information to.

In all, they work, and I believethese ones are BACNet-compatible,


Lighting is incorporated in the stone up-stand on thewestern side of the ramp, ensuring that the ramp will bewell lit. A new lighting control box was installed in theexisting adjacent ashlar-clad wall, and switches the lightingon at dusk, and off at dawn.

What should have been a relatively straightforwardproject was drawn out by a delay in delivering the stonefrom the French quarry. The stone was on order forover three months and, in the end, the Director of thecompany contracted to build the ramp visited the worksin southeastern France himself to ensure its dispatch tothe UK!

The new ramp follows several building modifications madeover recent years to improve access to the St. Pancras build -ing, which the Library hopes will be continued whereverthere is a future need, and funding is made available.

Richard Warren is Building and Projects Manager at theBritish Library.

Installation of New Disabled AccessRamp at The British Library, St. Pancras,LondonBy Richard Warren

Anew ramp has been built at the eastern end of themain entrance steps to improve step-free access tothe building. Although there was an existing entrance

ramp, this was restricted by a large column reducing theclear width, in addition to being slightly off-route to themain entrance.

The ramp is constructed from “wire-cut” brick paviors,and cut-to-size, dressed and honed Hauteville stone from aquarry in France—to match the existing stone on the piazza,which was selected originally due to its high density andgood resistance to frost attack.

The ramp design incorporates large anchor plates towhich the handrails and posts were attached. Installingfixings for the baseplates required penetration of the water -proofing membrane beneath the piazza (and above the fivebasement levels below) with subsequent re-waterproofingover the baseplates once installed. The handrails and postswere produced specifically for the Library by a specialistmetalwork contractor, in bronze and mild steel respectively,to match existing hand railing on the piazza.

For more information on becoming a member of the International Association of Museum Facility Administrators, please visit

www.NewIAMFA.org

Become a Member of IAMFA


Washington, D.C.–BaltimoreRegional ChapterBy Maurice Evans

On May 1, the Washington, D.C.–Baltimore Chapter met atthe National Archives for its quarterly meeting. The meetingwas very well attended with over 30 individuals, representingeight different cultural institutions.

The meeting kicked off with an introduction of allmembers and visitors in attendance, and a quick overviewof IAMFA and chapter business and news. Mark Sprousewelcomed everyone to the National Archives. During themeeting, Maurice Evans announced that, at the end of thefiscal year, he would be relinquishing his duties as ChapterChairperson—a post he has held for five years. He also putout a request for anyone interested in becoming the nextChapter Chairperson to submit his or her name.

Kevin Anderson gave a presentation on the Archivescomposting operation, located at the Archives’ College ParkMaryland campus. The composting operation has beenoperational a little over a year and a half, with a 10-yearexpected ROI. This was followed by a presentation fromDon Overfelt on the new co-generation system and theLED lighting upgrades in the Rotunda.

After the presentations, we were given a choice of twodifferent tours: the central plant and co-generation rooms, orthe new Visitor’s Orientation Plaza at the Constitution Avenueentrance. The next chapter meeting was scheduled forJuly 25 at the Smithsonian Environmental Research Center.

Northern California and NevadaRegional ChapterBy Jennifer Fragomeni

On July 18, the Northern California and Nevada Chaptermet at the NIF (National Ignition Facility) at LawrenceLivermore National Laboratory in Livermore, California. TheNIF houses the world’s largest and highest-energy laser, ina building large enough to contain three football fields. Thegiant laser has high-tech, precision optics, includ ing onesmade from specially grown crystals. These optics are used toprecisely guide, reflect, amplify, and focus 192 laser beams

onto a BB-sized fusion target. The fusion target is held insidea pencil eraser-sized cylinder made of gold, called a hohlraum,which becomes something like a miniature x-ray oven, causingthe fusion of hydrogen atoms when the laser is shot.

The group started off the tour with a crash courseon fusion. Then we were shown some examples of targetsand hohlruaums before getting a tour of a laser bay, a laserswitch yard, the target chamber, and the control room.The group was present to witness a test shot of the laser.

Most of the facility is treated as a “clean room,” and allair-handling units have HEPA filters. Temperatures aroundthe target area must be controlled to within a fraction of adegree Celsius.

REGIONAL UPDATES AND MEMBER NEWS

Left to Right: Charlie Booth, ABM Facilities; Edgar Maxion, StanfordLibraries; Irv Stowers, NIF (retired); Raina Phillips, Stanford Libraries;Jesse Jackson, Exploratorium; Chuck Mignacco, Exploratorium;Jennifer Fragomeni, Exploratorium; Larry Dahl, Stanford Libraries;Mark Palmer, San Francisco Department of the Environment;Tamara Hayes, San Francisco Historical Society; Jesse MacQuiddy,Exploratorium; Shani Krevsky, Exploratorium; and Ari Harding,California Academy of Sciences.

Whiskey, the officialbevvy of the 2014IAMFA ScotlandConference.

UK Chapter


On June 13, Steensen Varming celebrated the jointopening of their new Hong Kong studio, shared withHenning Larsen Architects.

Guests were met by sweeping views of the Victoria Harbourand music from cellist Javan Tong of the Hong KongMusic Academy.

Speeches were given by Ole Lindholm, Danish ConsulGeneral; Mette Kynne Frandsen, CEO, Henning LarsenArchitects; Dan Mackenzie, CEO, Steensen Varming; andDr. Edmund Lee, Executive Director, Hong Kong DesignCentre. The speeches were followed by a traditional ribboncutting ceremony.

Hong Kong is a uniquely global business city, strate gicallylocated in the heart of Asia, providing a gateway to oppor -tunities within the Southeast Asian market, as well as inmainland China. The establishment of Steensen Varming’soffice in Hong Kong is an important step in the company’sglobal development, and they are looking forward to offeringtheir highly specialized services to this dynamic market.

REGIONAL UPDATES AND MEMBER NEWS

Chris Arkins and Dan Mackenzie chat during the opening receptionfor the Hong Kong office.

Dan Mackenzie addresses attendees at the opening.

The ribbon-cutting ceremony.

Past issues of Papyruscan be found on IAMFA’s website

www.NewIAMFA.org

Papyrus

www.NewIAMFA.org

A N I N D E X O F

PapyrusTECHNICAL AND HISTORICALARTICLES CAN BE FOUND AT

www.NewIAMFA.org

Hong Kong

Art Gallery of New SouthWalesSydney, New South Wales

Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaMelbourne

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Portrait Galleryof AustraliaCanberra, ACT

Parkes Place CanberraCanberra, ACT

Port Arthur Historic SitesPort Arthur, Tasmania

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Aanischaaukamikw CreeCultural InstituteOuje-Bougoumou, Quebec

Black and McDonaldOttawa, Ontario

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum of HistoryGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Canadian Museum forHuman RightsWinnipeg, Manitoba

Integrated HeritageManagementAlmonte, Ontario

Library Archives of CanadaGatineau, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

AUSTRALIA

CANADA

National Gallery of CanadaOttawa, Ontario

Peterborough Museum &ArchivesPeterborough, Ontario

Physical Resource BureauOttawa, Ontario

Protect Heritage Corp.Orleans, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Steensen VarmingHong Kong

West Kowloon CulturalDistrict AuthorityTsim Sha Tsui, Kowloon,

Hong Kong

Steensen VarmingCopenhagen, N

Credit AgricoleParis

Polymnia Venezia srlVenezia Mestre

Auckland War MuseumAuckland

Christchurch Art GalleryChristchurch, Canterbury

Royal New Zealand NavyDevonport, Auckland

Uxbridge Creative CentreHowick, Auckland

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Cofely LtdWorcester Park, Surrey

Emcel Filters LimitedHorsham, West Sussex

DENMARK

FRANCE

ITALY

NEW ZEALAND

UNITED KINGDOM

CHINA

The Energy ConsortiumNorbury, London, England

Glasgow Life, GlasgowCity CouncilGlasgow, Scotland

Historic Royal PalacesMolesey, Surrey

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museums LiverpoolLiverpool, England

National Museums ofScotlandEdinburgh, Scotland

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Norland Managed ServicesLondon, England

Royal Academy of Arts,Burlington House, PiccadillyLondon, England

The Royal HouseholdMiddlesex, England

Science MuseumLondon, England

SPIE Suffolk, England

SPIE London, England

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

White Chapel GalleryLondon, England

AFS Chemical Filtration GroupBurlington, MA

Allied BartonWallingford, PA

UNITED STATES

Anacostia CommunityMuseumWashington, DC

Architect of the CapitolWashington, DC

Architect of the Capitol,Library Buildings and GroundWashington, DC

architrve pc architectsWashington, DC

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta, GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMoorestown, NJ

Belimo Aircontrols USA, Inc.Midlothian, VA

Boston AthenaeumBoston, MA

Brandywine ConservancyLincoln University, PA

Brooklyn Museum of ArtBrooklyn, NY

Buro HappoldNew York, NY

California Academyof SciencesSan Francisco, CA

Carnegie Museumsof PittsburghPittsburgh, PA

CBT ArchitectsBoston, MA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Core FoundationLongwood, FL

Currier Museum of ArtManchester, NH

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE


IAMFA MEMBERS—ORGANIZATIONS

Delaware Museum of NaturalHistoryWilmington, DE

DERBIGUM Americas, Inc.Kansas City, MO

Dumbarton Oaks ResearchLibrary and CollectionWashington, DC

Ewing ColeDeptford, NJPhiladelphia, PAWashington, DC

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Friends of the High Line New York, NY

GlenstonePotomac, MD

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumsCambridge, MA

High Museum of ArtAtlanta, GA

Hillwood Museum Estate andGardensWashington, DC

Hirshhorn Museum andSculpture GardenWashington, DC

Image Permanence Institute— Rochester Instituteof TechnologyRochester, NY

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

LB&B AssociatesFulton, MD

LF Driscoll Co.Wayne, PA

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

McGuire Engineers, Inc.Chicago, IL

Menil CollectionHouston, TX

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Fine Arts —St. Petersburg FloridaSaint Petersburg, FL

Museum of Modern ArtNew York, NY

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Gallery of ArtLandover, MD

National Museum ofAfrican American Historyand CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

National Museum ofthe American Indian,George Gustav Heye CenterNew York, NY

National Portrait GalleryWashington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceCorona, NY

Oakland Museum ofCaliforniaOakland, CA

Peabody Essex MuseumSalem, MA

PennoniPhiladelphia, PA

Philadelphia Museum of ArtPhiladelphia, PA

QuinnEvens ArchitectsAnn Arbor, MI

Reading Public MuseumReading, PA

Renwick GalleryWashington, DC

San Francisco Art InstituteSan Francisco, CA

San Francisco Museum atthe MintSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smith Group JJRWashington, DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Air andSpace MuseumBurke, VA

SodexoWaltham, MA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Stanford University LibrariesStanford, CA

Synthesis IncorporatedColumbia, MD

U.S. Holocaust MemorialMuseumWashington, DC

WebcorAlameda, CA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Ziger/Snead ArchitectsBaltimore, MD


IAMFA MEMBERS—ORGANIZATIONS

UNITED STATES cont’d

Although we do our bestto ensure that our

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

always occur. If youwould like to make any

changes to yourlisting, please contact

Randy Murphy at [email protected]

SPIE UK provide energy focused,

safety and environmentally focused

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and support services from initial

design, through installation,

testing, commissioning to long

term maintenance and facilities

management. SPIE Matthew Hall,

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Electrical Ltd, SPIE FS Northern

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represent the operations of SPIE

within the UK. Together, they employ

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regional offices throughout the UK.

SPIE UK are part of the SPIE

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engineering and HVAC services,

energy and communication systems.

SPIE enhances the quality of life by

helping local and regional authorities

and companies design, build,

operate and maintain facilities that

are more energy-efficient and environmentally friendly.

SPIE’s 37,000 employees work from nearly 500 locations

in 31 countries and in 2013 SPIE posted production of

€4.6 billion over its four strategic segments “Energies”,

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Papyrus Summer/Fall 2014

Education

Transcript of Papyrus Summer/Fall 2014