Papyrus Winter 2011

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PAPYRUS VOL. 11, NO. 3 WINTER 2010–2011 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS Recap of the 20th Annual IAMFA Conference in San Francisco, CA Maintenance Improvement— Three-Part Series Looking at Art in a New Light VOL. 11, NO. 3 WINTER 2010–2011 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS The 21st Annual IAMFA Conference in Auckland, New Zealand Scott Venning

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Transcript of Papyrus Winter 2011

Page 1: Papyrus Winter 2011

PAPYRUSVOL. 11, NO. 3 WINTER 2010–2011

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

Recap of the 20th Annual IAMFA Conference

in San Francisco, CA

Maintenance Improvement— Three-Part Series

Looking at Art in a New Light

VOL. 11, NO. 3 WINTER 2010–2011

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

The 21st Annual IAMFAConference in Auckland,

New Zealand

Scott Ven

ning

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IAMFA/PapyrusVol. 11, Number 3Winter 2010–2011

EditorJoe May

Papyrus CorrespondentsJoe BrennanJohn de LucyMaurice EvansMerida FitzgeraldNatalie Hansby Ken KaneJoe May

Patricia MorganChris MullerJack PlumbMirjam RoosGrant ThomasEmrah Baki UlasThomas A. WesterkampStacey Wittig

Design and LayoutPhredd Grafix

TranslationMarina Pascal (French)Jeanne Pascal (Spanish)

EditingArtistic License (English)Pierre Lepage (French)

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

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

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

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

Australia— Ray McMaster, AustralianNational Maritime [email protected]

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

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

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

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

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

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

Ottawa-Gatineau, Canada —Ian MacLean, Canada Science andTechnology Museum [email protected]

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

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

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

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

REGIONAL CHAPTERS

For more information onbecomming a member of theInternational Association of

Museum Facility Administrators,please visit

www.iamfa.org

Cover photo: Tall woody stems with deep red flowers rise from the heart of flax plants, heralding the beginning of summer. Photo: Scott Venning

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

PresidentJohn de LucyThe British LibraryLondon, United [email protected]

V.P., AdministrationRandy MurphyLos Angeles County Museum

of ArtLos Angeles, CA, [email protected]

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

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

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

Chairman — Conference 2011Patricia MorganAuckland Art Gallery

Toi o TamakiAuckland, New ZealandPatricia.Morgan@

aucklandcouncil.govt.nz

Head of International AffairsGuy LarocqueCanadian Museum of

CivilizationGatineau, QC, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

IAMFA BOARD OF DIRECTORS

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

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

Auckland 2011 Conference Update /Auckland 2011 : Mise à jour /Auckland 2011: Actualización . . . . . . . . . . . . . . . . . . . 5

Te Wao Nui at Auckland Zoo /Te Wao Nui au Zoo d’Auckland /Te Wao Nui en el Zoológico de Auckland. . . . . . . . . . 8

Auckland Art Gallery Toi o Tamaki: The Kauri Ceilings / Galerie d’Art d’Auckland – Toi o Tamaki : Les plafonds kauri / Galería de Arte de Auckland Toi o Tamaki: Los Cielorasos Kauri . . . . . . . . . . . . . . . 12

Auckland à la Carte . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

The Twentieth Annual IAMFA Conference inSan Francisco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2010 Benchmarking Practices and Learning Workshop Revealed . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Best Practices in Recycling . . . . . . . . . . . . . . . . . . . . . . 30

Looking at Art in a New Light—Part One in a Four-Part Series . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Periodic Electrical Inspection and Testing—A Different Approach . . . . . . . . . . . . . . . . . . . . . . . . . 37

Operations Review Reveals Hidden MaintenanceImprovement Resources—Part One in a Three-Part Series . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Air-Quality Standards for Preservation Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

LED Use in the Museum Environment . . . . . . . . . . . . 51

Regional Updates and Member News . . . . . . . . . . . . 53

IAMFA Members Directory 2010 . . . . . . . . . . . . . . . . . 57

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 64

Index of Papyrus Technical and Historical Articles . . . 66

Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Contents

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seem that once an IAMFA memberattends the Annual Conference,they want to attend every year.

• One quarter of attendees circulatetheir copy of Papyrus at their insti tu -tion, using a distribution list. Nearlyeveryone taking the survey volun -teered to distribute a few extra copiesof Papyrus at local institutions notrepresented within IAMFA. Therewere so many asking for extra copies,we will have to figure out how bestto do this. For now, we will send twoextra copies to those volunteeringto distribute extras to non-membersat other institutions. Let’s see nextyear if this has resulted in any newmembers discovering IAMFA, andjoining our organization.

• On average, members have six pastcopies of Papyrus on their shelves.Members indicate they are readingan average eighty percent of Papyrus,and didn’t suggest eliminating anycurrent sections. Two-thirds findPapyrus very useful, and one thirdsaid it was medium. No one ratedit low on the scale. A little over halfsaid they have looked throughold issues of Papyrus for an articleaddressing a particular topic. Inthis issue, you will find an indexof past technical and historicalarticles, in case this helps you findinformation on a particular topic.

• Just eight percent have benefittedfrom translations in Papyrus. We willbe looking for ways to get Papyrusinto the hands of more French- andSpanish-speaking candidates to takeadvantage of this feature.

• Twenty-one people supplied namesof contractors that they felt might

Joe May Editor, Papyrus

Letter from the Editor

be candidates to advertise in Papyrus.I will be contacting you to ask fortheir e-mail addresses, and will senda message to them describing thecosts and benefits of becoming anadvertiser in Papyrus. As I men tionedduring the AGM, as we expand thecontent of Papyrus, the costs of thepublication are growing, and adver -tising seems like the best way ofaddressing these higher costs, whilealso increasing exposure to thoseadvertisers providing services to helpoperate your facilities. Please takea moment when you page throughthis issue to recognize our adver -tisers. They support us . . . andthat’s important!

• Two-thirds felt that it was highlyimportant to have a hard copyversion of Papyrus, while one-thirdthought it was medium importance.One-third thought they would beless likely to contribute an article ifPapyrus were an electronic Journal.Just a few thought it was of low im -portance to have a hard copy ofPapyrus. I have to say that, when Ifinally hold a copy of the new issueof Papyrus in my hands, I always feelproud of the finished product.

Papyrus is a collection of improve -ments at our members’ institutions.Please keep sharing your improve mentswith your fellow members by writingan article for a future issue of Papyrus.Continuous improvement is important.It’s like the old saying: if you’re notgetting better, you’re probably gettingworse. Thanks to everyone who contributed

to this issue.

Greetings from Los Angeles!

Thank you, Joe Brennan and yourconference team in San Francisco,for hosting a wonderful Confer -

ence. Is it just a coincidence that, afterour members from so many pointsof the globe caught glimpses of theNational League Pennant during theconference, the San Francisco Giantswent on to win baseball’s World Series?Jim Moisson pointed out that the samething happened back in 2004 in Boston,following our 14th Annual Conference.It’s like IAMFA members have somestrange but positive effect on baseball.What we do know for sure is that thisyear’s Conference was one that we willnot soon forget. San Francisco is calledthe most beautiful city in America, andI think we saw it at its best.Thank youso much Joe, for all your hard work inplanning a wonderful conference. There is already news to report

about next year’s IAMFA Conferencein Auckland. Facebook users, pleasesearch for “IAMFA Auckland 2011”.“LIKE” this page, and you will receiveall posts from the conference team.Auckland will truly be the trip of a life -time for IAMFA members. Make yourhotel reservations now at www.auckland.langhamhotels.co.nz/iamfa.htm. Youmust book early this year, as there isno block booking; there is no cost orpenalty for booking your room now.At this year’s Annual General Meet -

ing, I asked attendees if they would com -plete a brief survey relating to Papyrus.Here is a summary of that survey:

• Conference attendees this year havebeen IAMFA members for an aver ageof five years, and they have attendedfour IAMFA Conferences. It would

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Un grand remerciement à JoeBrennan et son équipe pouravoir organisé une conférence

si intéressante et stimulante. L’atmos -phère amicale qui a été généré toutau long de la semaine signifie que leréseau reste inégalé, des bonnes idéesont été échangées, de nouvelles leçonsont été apprises et le tout parmi desamis, anciens et nouveaux.La conférence a connu un excel lent

départ, avec quelques 40 délégués pré -sents à la journée d’évaluation dirigéepar Keith McClanahan et son équipe.Auquel d’autre endroit pouvez-vousaller pour obtenir des informationstant sur ce qui font les autres orga -nisations, et comment ils le font, sirapidement et si facilement? Oh, ettout en plus, en vous comparant àd’autres organisations semblables eten ramassant quelques autres « diffé -rentes » réponses à des questions quenous tous partageons.Il y avait beaucoup dans le reste

du programme solide pour que lesmembres puissent continuer à justifierleur trip – en particulier l’appren tis sagedes idées d’économie d’énergie et dessolutions durables aux problèmes quenous partageons tous–, comme il estimportant pour nous de faire en sorteque nos organisations respectives voientles avantages de notre présence. J’aiété particulièrement impressionné devoir que, dans la plupart des lieux cul -turels, les administrateurs supérieursnous ont parlé de la façon dont ilsétaient fiers de leurs équipes de ges -tion des installations, et l’importancevitale de la maintenance de leursinstitutions. Bien qu’il soit encou rage -

Muchas gracias a Joe Brennan ysu equipo por organizar unaconferencia tan interesante

y motivadora. El ambiente amigabledurante la semana resultó en opor tu -nidades sin comparación para establecercontactos con sus colegas, compartirbuenas ideas, aprender nuevas lec -ciones—tanto entre nuevas amistadescomo entre las antiguas. La conferencia empezó con ímpetu,

con la asistencia de unos 40 delegadosel día de la Evaluación Comparativaguiado por Keith Mclanahan y suequipo. ¿A qué otro lugar puedenacudir para obtener tanta informaciónsobre lo que hacen otras organiza -ciones, y cómo lo realizan, de unamanera tan fácil y rápida? ¿Y por lotanto—a la vez comparar sus institu -ciones con otras similares y adquirirnuevas soluciones a problemas quetodos compartimos? Había mucho en el resto del pro -

grama repleto para que los miembrosjustificaran sus viajes—en particularenterarse de ideas nuevas para ahorrarenergía y soluciones sostenibles aprob lemas que todos tenemos encomún—ya que es importante quenuestras organizaciones respectivasvean los beneficios de nuestra asisten -cia. Me llamó la atención que, en lamayoría de los puntos de encuentro,los directores de alto rango nos habla -ron de cuán orgullosos eran de susequipos de mantenimiento, y cuánesencial es el mantenimiento en susinstituciones. Aunque es alentador queempiecen a reconocer los beneficios yel valor agregado que traemos a nuestrasorganizaciones, no podemos que dar nos

Message from the PresidentMessage du présidentMensaje del Presidente

Many thanks to Joe Brennanand his team for puttingon such an interesting and

inspiring Conference. The friendlyatmosphere that was generated through -out the week meant that the net work -ing was unsurpassed, good ideas wereexchanged, new lessons were learned—and all among friends both new and old.The Conference got off to a great

start, with some 40 delegates attend ingthe benchmarking day run by KeithMcClanahan and his team. What otherplace can you go to obtain so muchinformation on what other organi sa -tions are doing, and how they are doingit, so quickly and so easily? Oh—andby the way—while also comparing your -self to other similar organisations andpicking up some additional “different”answers to issues we all share.There was plenty in the rest of the

packed programme for members tofurther justify their trip—especiallylearning about energy-saving ideasand sustainable solutions to problemswe all share—as it’s important for usto ensure that our respective organi sa -tions see the benefits of our attendance.I was particularly impressed that, atmost of the cultural venues, seniordirectors spoke to us about how proudthey were of their Facilities Manage -ment teams, and how vital FM was totheir institutions. While it is encour ag -ing that they are beginning to recognisethe benefits and the added value webring to our organisations, we must notbe complacent, and we must continueto present a professional approachto explaining the key, demonstrablebene fits that good Facilities Manage -

John de LucyPresident / Président / Presidente, IAMFA

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ment provides. Clearly we are gettingbetter at selling our message!In San Francisco, we heard about

four major new construction projectscompleted within the past few years—the de Young Museum, the Academyof Sciences, the Walt Disney FamilyMuseum, and the Contemporary JewishMuseum—and covered issues rangingfrom lighting, to construction accom -modating old walls, to green roofs toreconstruction following earthquakedamage. We also learned that theExploratorium (with an interestingsolution for HVAC using the Bay waterunderneath the pier), and SFMOMA

were about to start major new construc -tion projects, which perhaps we cansee in 2018!The San Francisco Conference

showed how much genuine enthu siasmwe all have for all things FM, while alsodemonstrating our dedication to help -ing others through our own experiencesand innovations. It is clear that FM isbecoming a career of choice. We allknow it is a great industry to work in,and I think that the above six projectsshow the huge responsibilities wetake on—responsibilities which arecritical to the ongoing success of ourorganisations.Our guests, too, had a marvellous

time, and I know the Tuesday visit toNapa Valley was a major highlight, as wasthe additional day trip to Sacramento,which took many of us back to our youthwith images of huge trains and cowboys.And, of course, Sacramento had Sock

ant de constater que ils commencent àreconnaître les avantages et la valeurajoutée que nous apportons à nos orga -nisations, nous ne devons pas êtrecom plaisants, et nous devons con ti nuerà présenter une approche pro fession -nelle à l’élément clef, les avantagestangibles que la bonne gestion desinstallations offre. Il est clair que nousallons de mieux en mieux vendrenotre message!À San Francisco, nous avons entendu

parler de quatre grands projets de con -struction nouvelles, achevés il y a quel -ques années – le Musée de Young,l’Académie des Sciences, le Musée dela Famille de Walt Disney, et le MuséeJuif Contemporain – et des questionscouvertes, allant de l’éclairage à la con -struction qui arrange de vieux murs, destoits verts à la reconstruction après untremblement de terre. Nous avons éga -lement appris que l’Explora torium (avecune solution intéressante pour CVC avecl’aide de l’eau de la Baie au dessous del’embarcadère) et SFMOMA étaient surle point de départ de grands projetsnouveaux de construction, qui peut-être nous pourrions voir en 2018!La conférence de San Francisco a

montré à quel point nous tous avonsun véritable enthousiasme pour toutce qui concerne à la maintenance desinstallations, tout en démontrant notreengagement à aider les autres par nospropres expériences et innovations. Ilest clair que la maintenance des instal -lations devient une carrière de choix.Nous tous savons qu’il en est une grandeindustrie pour y travailler, et je penseque les six projets ci-dessus montrentles énormes responsabilités que nousprenons – des responsabilités qui sontcritiques pour le succès continu de nosorganisations.Nos hôtes, aussi, ont eu un moment

merveilleux, et je sais que la visite dumardi à la Vallée de Napa a été un atoutmajeur, comme ce fut le voyage dujour supplémentaire à Sacramento,qui, à beaucoup d’entre nous, nousa rappelé notre jeunesse avec desimages de trains énormes et cow-boys.Et, bien sûr, il avait la Cité des chaus -settes, où Harry m’a acheté une pairemulti-colorées, principalement enrose, avec dessins en cœurs! Merci à

tranquilos, y debemos seguir presen -tando los beneficios claves y demos -trables que provee el buen manejo delmantenimiento. ¡Es obvio que nuestrastécnicas de vender nuestro mensajehan mejorado! En San Francisco, nos enteramos

de cuatro nuevos proyectos comple -tados dentro de los últimos años—el Museo De Young, la Academia deCiencias, el Museo de la Familia deWalt Disney, y el Museo Contem po -ráneo—y temas desde alumbramiento,techos verdes, la construcción paraacomodar paredes viejas hasta la recon -strucción después de un terremoto.También aprendimos que el Explora -torium (con una solución interesantepara utilizar el agua de la bahía debajodel muelle para HVAC), y SFMOMOestaban a punto de empezar nuevos ygrandes proyectos de construcción, loscuales tal vez podamos visitar en 2018.La conferencia de San Francisco

demostró cuánto entusiasmo genuinotenemos todos para todo lo relacionadocon el mantenimiento, mientras quetambién demostró nuestra dedicacióna ayudar a otros a través de nuestrasexperiencias e innovaciones. Es evi -dente que el mantenimiento de insta -laciones se convierte en una carrerapreferida. Todos sabemos que es unaindustria excelente para trabajar, yopino que los seis proyectos que semencionaron arriba demuestran lasenormes responsabilidades que asu -mimos—responsabilidades que soncríticas para el éxito continuo denuestras organizaciones.Nuestros invitados también se

divirtieron mucho, y sé que la visitadel martes al Valle de Napa fue unode los eventos sobresalientes, ademásdel día adicional cuando visitamosSacramento, el cual nos hizo recordara muchos nuestra juventud por lasimágenes de trenes enormes y vaqueros.Y, por supuesto, allí estaba la tienda“Sock City”, donde Harry me compróun par de calcetines de muchos colores.¡Estaban decorados con corazones—yel color predominante era el rosado!Gracias a todos por participar en lacompetencia de calcetines con tantoentusiasmo—fíjense en las fotos eneste ejemplar.

CONTINUED ON PAGE 29 SUITE À LA PAGE 29 SIGUE EN LA PÁGINA 29

Clearly we are gettingbetter at selling ourmessage!

Il est clair que nous allonsde mieux en mieux vendrenotre message!

¡Es obvio que nuestrastécnicas de vender nuestromensaje han mejorado!

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Kia Ora Everyone

As I write this update on themorn ing of Monday, Novem -ber 15, I am very conscious that

in exactly one year from now we willall be at the Auckland War MemorialMuseum, having enjoyed a powhiri(formal welcome) which will kick-startDay 1 of the IAMFA 2011 conferenceprogramme. Another event to lookforward to, on our first day, will bea visit in the afternoon to Voyager,New Zealand’s Maritime Museum.Voyager is on the waterfront, down

at the Viaduct Harbour—a great placefull of bars and restaurants—and rightin the central city. A perfect spot forthe delegates to have lunch! It is alsoright next door to the Ferry terminal,which will feature in our programmefor both delegates and partners. Foranyone interested in boats, the water,the America’s Cup or New Zealand’smaritime history, this is the place tovisit! The red socks some of you wonat this year’s gala dinner are closelyassociated with Sir Peter Blake, whochampioned our successful America’sCup campaign some years back. Therecently completed addition to Voyager,about which you will hear more, tellsthis fascinating story.Tonight, another organising com -

mittee member, Paul, and I are goingto take our partners for dinner at avineyard on a nearby island, to checkout its suitability as our venue fordinner on the Monday evening. It’s atough task—but someone has to do thehard yards! I remember John de Lucytalking about all the onerous food andwine tasting that they had to endure inpreparation for London’s confer ence.I am already dreading the thought . . .

Kia Ora pour tous

Au moment où j’écris cette miseà jour dans la matinée du lundi15 novembre, je suis très con -

sciente que, dans exactement un anà partir de maintenant, nous seronstous au Musée Mémorial de Guerred’Auckland, ayant bénéficié d’unepowhiri (cérémonie Maori de bien -venue), qui lancera le Jour #1 duprogramme de la Conférence 2011 del’IAMFA. Un autre événement à espérer,lors de notre première journée, sera unevisite dans l’après-midi de Voyager, leMusée Maritime de la Nouvelle-Zélande.Voyager est sur le front de mer près

du ‘’Viaduc Harbour’’, un merveilleuxendroit plein de bars et de restaurantsen plein centre-ville. Un lieu parfaitpour le déjeuner des délégués! Il setrouve également juste à côté du ter -minal du traversier, qui fait partie denotre programme pour vous tous, lesdélégués et les partenaires. Pour toutepersonne intéressée par les bateaux,l’eau, la régate de la Coupe Americaou l’histoire maritime de la Nouvelle-Zélande, c’est l’endroit à visiter! Leschaussettes rouges, que certains d’entrevous ont gagnées au dîner de gala decette année, sont étroitement associéesà Sir Peter Blake, qui a défendu avecsuccès notre campagne de la CoupeAmerica il ya quelques années. L’ajoutrécent au Voyager, dont vous entendrezparler davantage, raconte cette histoirefascinante.Ce soir, Paul, un autre membre

du comité organisateur et moi allonsamener nos partenaires pour dînerdans un vignoble sur une île voisine,et ainsi vérifier sa pertinence commesite pour le dîner du lundi soir. C’estune tâche ingrate, mais quelqu’un doit

Kia Ora a todos

Mientras escribo esta actualiza -ción en la mañana el día lunes15 de noviembre, tengo muy

presente que de hoy en un año, nosencontraremos en el Museo Conme -morativo de la Guerra de Auckland,después de haber disfrutado de unapowhiri (bienvenida) que arrancará elDía 1 de la conferencia de IAMFA de2011. Otro evento interesante quepodemos esperar nuestro primer díaes la visita en la tarde a Voyager, elMuseo Marítimo de Nueva Zelandia.Voyager está ubicado frente al mar

en el barrio Puerto de Viaducto — unlugar fabuloso lleno de bares y restau -rantes — y al lado de la ciudad central.¡Es un lugar perfecto para un almuerzode los delegados! También se encuentraal lado del terminal del embarcaderoque formará parte de nuestro pro gramapara los delegados y sus invitados. ¡Paralos aficionados de barcos, del agua, dela Copa de las Américas o de la historiamarítima de Nueva Zelandia, es eldestino ideal! Los calcetines rojos queganaron algunos de ustedes durantela cena de gala de este año se asociancon Sir Peter Blake, quien defendiónuestra campaña exitosa de la Copade las Américas hace unos años. Laadición recién terminada del museoVoyager relata este cuento interesante.Esta noche, otro miembro del comité

organizador, Paul, y yo sacaremos anuestros compañeros a cenar en unviñedo en una isla cercana para deter -minar si funcionara para hospedar lacena el día lunes. ¡Es una tarea ardua— pero alguien tiene que hacerlo!Recuerdo oír a John de Lucy hablarde todas las degustaciones de comiday las catas de vino que aguantó para

Auckland 2011 Conference Update

Auckland 2011 : Mise à jour

Auckland 2011: ActualizaciónBy / par / por Patricia Morgan

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The programme for delegates andpartners is shaping up really well. Whenin San Francisco last month, I had theopportunity to “test” some of our ideasfor the guest programme with a few ofthe spouses who were there. There wasgreat enthusiasm for a number of ourideas, so I think we will be workingwith this self-appointed “focus group”to test out our draft programme as wefirm it up. Needless to say, there will beplenty of opportunities for the gueststo meet up with delegates, to visit ourvenues (and to shop at them) and tosee rather more of Auckland and oursurroundings. We also propose to giveour guests the opportunity to enjoyexperiences that they may not have

anywhere else in the world! Have wewhetted your appetite? Hope so!The organising committee is now

turning its attention to keeping allIAMFA members up to date with whatis going on in our institutions and inAuckland. Just launched—by Adam atthe Museum—is our very own Face bookpage! So, I encourage you all to take alook, and sign up as our friends! Go toour Facebook page—IAMFA Auckland2011—to see what Adam and Phil (fromVoyager) have already posted there.Hopefully, by the time this edition ofPapyrus goes to print, we will have allfive of our institutions on this page,with plenty to keep you all interested.The other key planning tool you will

all need is the IAMFA 2011 web link toour conference hotel, the Langham.You can either go to our page (dis play -ing the IAMFA 2011 logo) via www.

se sacrifier! Je me souviens de Johnde Lucy parlant de toutes les lourdesdégustations de vin et repas qu’ils ontdû supporter lors la préparation de laconférence de Londres. J’appréhendedéjà cette sortie. Le programme pour les délégués et

les partenaires s’annonce vraimentbien. À San Francisco, le mois dernier,j’ai eu l’occasion de «tester» certainesde nos idées pour le programme d’hôtesavec quelques-uns des conjoints qui setrouvaient là. Il y avait un grand enthou -siasme pour un certain nombre de nosidées, donc je pense que nous allonstravailler avec ce «focus group» auto-désigné pour tester notre projet deprogramme tel que nous le raffer mis -sons. Inutile de dire, il y aura beaucoupd’opportunités pour les invités de seretrouver avec les délégués, pour visiternos sites (et y faire leurs emplettes) etde voir un peu plus d’Auckland et denotre environnement. Nous proposonsaussi de donner à nos hôtes la possi -bilité de vivre des expériences qu’ilsne peuvent avoir nulle part ailleursdans le monde! Avons-nous éveillévotre curiosité? Je l’espère!Le comité organisateur vise main -

tenant son attention à garder informétous les membres de l’IAMFA à jouravec ce qui se passe dans nos institutionset de même qu’à Auckland. Adamvient de lancer notre propre page surFacebook! Donc, je vous encouragetous à y jeter un coup d’oeil, et à vous yinscrire comme nos amis! Allez sur notrepage Facebook – IAMFA Auckland2011 – pour y voir ce qu’Adam et Phil(de Voyager) ont déjà affichés. Espéronsque, au moment où cette édition duPapyrus va à l’impression, nous seronstous les cinq et nos institutions sur cettepage, avec beaucoup de matériel pourvous tenir tous intéressés.Un autre outil important de plani fi -

cation dont vous tous auriez besoin,c’est le lien web de l’IAMFA 2011 surnotre hôtel de conférence, le Langham.Vous pourriez vous rendre sur notrepage (l’affichage du logo IAMFA 2011)via www.langhamhotels.co.nz/iamfa.htm,ou sur Google «IAMFA Langham 2011».Je vous exhorte tous à faire votre

réservation d’hôtel au plus tôt. Il nevous en coûtera rien. Le Langham offreune bonne affaire: un taux de confé -

prepararse para la conferencia deLondres. Me da escalofríos sólopensarlo. El programa para los delegados

y sus acompañantes está tomandoforma. Durante la conferencia enSan Francisco, pude evaluar nuestrasideas para el programa de los invi ta -dos por medio de conversaciones convarias esposas. El gran entusiasmomos trado por algunas hacia nuestrasideas me hizo pensar en utilizar estegrupo para terminar de pulir nuestroprograma. No obstante habrá muchasoportunidades para que nuestros dele -gados e invitados se reúnan, visitennuestros puntos de encuentro (y hagansus compras allí), y para que vean másde Auckland y sus alrededores. ¡Tam -bién proponemos darles a nuestrosinvitados la oportunidad de disfrutarde experiencias únicas en el mundo!?Ya les hemos convencido? ¡Esperamosque si!El comité organizador planea ahora

mejorar sus medios de comunicacióncon los miembros de IAMFA y man -tenerlos informados de los últimossucesos en nuestras instituciones y enAuckland. Lanzada últimamente —por Adam en el Museo — es nuestrapágina de Facebook! ¡Así que, lesexhorto a todos para que la visiten y seregistren como amigos! Métanse ennuestra página — IAMFA Auckland2011 — para enterarse de lo que Adamy Phil (de Voyager) ya han posteadoallí. Con suerte, para la fecha de laimpresión de la edición de Papyrus, yatendremos nuestras cinco insta la ci -ones en la página, con muchas cosasde interés.La otra herramienta clave para su

planificación es el enlace en la páginaweb de IAMFA 2011 para nuestro hotelde la conferencia, el hotel Langham.Pueden dirigirse a nuestra página deinternet (con el logo de IAMFA 2011)vía www.langhamhotels.co.nz/iamfa.htm o Google “langham iamfa 2011”. Les recomiendo altamente que

hagan sus reservaciones de hotelen cuanto antes. Es gratis. El hotelLangham ofrece una buena tarifade NZ$220 + impuestos (dólares deNueva Zelandia) para las noches de laconferencia además de las tres nochesantes y después de la conferencia. Así

6 PAPYRUS WINTER 2010–2011

Go to our Facebookpage—IAMFA Auckland 2011

Allez sur notre pageFacebook – IAMFAAuckland 2011

Métanse en nuestrapágina — IAMFAAuckland 2011

Page 9: Papyrus Winter 2011

PAPYRUS WINTER 2010–2011 7

langhamhotels.co.nz/iamfa.htm orGoogle “langham iamfa 2011”. I urge you all to make your hotel

booking sooner, rather than later. Itwill cost you nothing. The Langhamis offering a good deal: a conferencerate of $220+tax (that’s New Zealanddollars) for the nights of the confere -nce, as well as for three nights beforeand three nights after the conference.So, if you intend to arrive early, or tostay on, you can take advantage of thisroom rate. The hotel will be our pick-up and drop-off point for delegatesand guests programme activities, so itmakes sense to stay there. We are notholding a block booking, so you willneed to book early to ensure your stay.DO IT NOW!!!At our monthly meeting last week,

which was held at Voyager, I was able togive our committee a verbal report onthis year’s conference in San Francisco,It was great to be there, with “eyes wideopen” to learn from Joe and his team.It also made us very conscious howmuch there is to do in the next twelvemonths if we are to be as successful.However, much of the success of

our conferences depends on you: themembers who attend and make thewhole event a success.So do please join us in Auckland in

November 2011.Haere ra.

Patricia Morgan is business support managerat Auckland Art Gallery Toi o Tamaki.

rence de $220 + taxe (c’est dollars néo-zélandais) pour les nuits de la confé -rence, ainsi que pour trois nuits avantet trois nuits après la conférence. Donc,si vous prévoyez d’arriver plus tôt oud’y rester, vous pouvez profiter de cetarif. L’hôtel sera notre point de départet de retour des activités pour les délé -gués et les invités, il est donc logiqued’y rester. Nous ne possédons pas debloc de réservation à cet hotel, il est devotre intérêt de faire vos réservationsrapidement pour vous assurer une place.FAITES-LE MAINTENANT!Lors de notre réunion mensuelle

la semaine dernière, qui s’est tenue àVoyager, j’ai été en mesure de donnerà notre comité un rapport verbal sur laconférence de cette année à San Fran -cisco. Nous avons été très heureux d’êtrelà, avec « les yeux bien ouverts » pourapprendre de Joe et son équipe. Il nousa également rendu très con scients de cequ’il y a à faire dans les douze prochainsmois si nous voulons autant de succès.Toutefois, une grande partie de la

réussite de nos conférences dépendde vous: les membres qui y assistentfaisant de l’ensemble de l’événementun succès. Donc, s’il vous plaît, joignez vous

à nous tous à Auckland en Novembre2011. Haere ra.

Patricia Morgan est gestionnaire, Soutiendes entreprises à la Galerie d’Art àAuckland Toi o Tamaki.

que si planean llegar temprano puedenaprovechar esta tarifa. Ya que el hotelserá el punto focal para todo el trans -porte de la conferencia recomendamosalojarse en el Langham. No hemosseparado un bloque de cuartos parala conferencia así que es importantehacer sus reservas temprano.!!!HÁGANLO YA!!!En nuestra reunión mensual de la

semana pasada en el museo Voyager,hice un reporte oral de nuestra con -ferencia en San Francisco. Aprovechémi asistencia a la conferencia, con los“ojos bien pelados” para aprender deJoe y su equipo. También nos dimoscuenta cuánto queda por hacer durantelos próximos doce meses si queremostener éxito. No obstante, mucho del éxito de

nuestras conferencias depende deustedes, los miembros que asisten yaseguran el éxito del evento.Entonces por favor júntense con

nosotros en Auckland en Noviembrede 2011.Haere ra.

Patricia Morgan es Gerente, ApoyoAdministrativo, de la Galería de Artede Auckland Toi o Tamaki.

There is no room block for next year's conference, so reserve soon at the Langham Hotel to get the negotiated rate and ensure that you have a room with the rest of us in Auckland.

www.langhamhotels.co.nz/iamfa.htm

Page 10: Papyrus Winter 2011

Conference delegates and theirguests will have an opportunityto enjoy time at Auckland Zoo

on Day 3 of next year’s conference.Auckland Zoo is home to 119 dif -

ferent species and over 700 native andexotic animals: New Zealand’s largestcollection. Set in stunning park-likegrounds, the Zoo covers approxi mately50 acres and is only 10 minutes fromAuckland’s central business district.Since its opening in December 1922,Auckland Zoo has grown expo nen tiallyand now plays a key role in conservation,research and education. A world first, the New Zealand

Centre for Conservation Medicine wasopened at Auckland Zoo in August2007. This NZ$4.6m state-of-the-artfacility allows the public to view whatis going on in the operating theatre,and researchers can be watched whilethey work. The Zoo also supports a num -ber of conservation programmes bothin New Zealand and overseas, throughthe Auckland Zoo Conservation Fund. In September 2011, the Zoo will

open its largest-ever development,Te Wao Nui. Designed to be a unique

Les délégués à la Conférence etleurs invités auront l’occasionde profiter du temps au Zoo

d’Auckland pendant la 3ème journéede la prochaine conférence. Le Zood’Auckland loge 119 espèces différenteset plus de 700 animaux indigènes etexotiques: c’est en fait la plus grandecollection de la Nouvelle-Zélande.Installé sur un superbe terrain semblableà un parc, le Zoo s’étend sur environ20 hectares à seulement 10 minutes ducentre d’affaires du district d’Auckland.Depuis son ouverture en décembre1922, le Zoo d’Auckland a connu unecroissance exponentielle et joue main -tenant un rôle clé dans la conserva tion,la recherche et l’éducation. Premierau monde, le Centre de la Médecinede Conservation a été ouvert au Zood’Auckland en Août 2007. Cette instal -lation à technologie de pointe, NZ$4,6millions dollars, permet au public devoir ce qui se passe dans la salle d’opé -ration et les chercheurs peuvent êtreregardés pendant qu’ils travaillent. LeZoo prend également en charge uncertain nombre de programmes deconservation en Nouvelle-Zélande et

Los delegados y sus invitados ten -drán la oportunidad de disfrutarun tiempo en el Zoológico de

Auckland el Día 3 de la conferenciadel próximo año.El Zoológico de Auckland es hospe -

daje de 119 especies diferentes y másde 700 animales nativos y exóticos.Es la colección más grande de NuevaZelandia. El Zoológico cuenta coninstalaciones ubicadas en un entornoidílico. El Zoológico cubre aproxi ma -damente 20 hectáreas y se encuentraa solamente 10 minutos del centro denegocios de Auckland. Desde su aper -tura en diciembre de 1922, el Zoológicode Auckland ha crecido de una maneraexponencial y ahora juega un papelcrítico en la conservación, investigación,y educación. Primero de su clase en el mundo,

el Centro para la Medicina de Conser -vación de Nueva Zelandia abrió en elZoológico de Auckland en agosto de2007. Esta instalación valorada enNZ$4.6 millones (dólares de NuevaZelandia) educa al público y permiteobservar al trabajo de los investi ga dores.El Zoológico también mantiene varios

8 PAPYRUS WINTER 2010–2011

Te Wao Nui at Auckland Zoo: A Unique New Zealand ExperienceAuckland Zoo—Co-host for IAMFA 2011

Te Wao Nui au Zoo d’Auckland : Une expérience unique à la Nouvelle-ZélandeZoo d’Auckland – Co-hôte pour l’IAMFA 2011

Te Wao Nui en el Zoológico de Auckland:Una Experiencia Única de Nueva ZelandiaEl Zoológico de Auckland — Co-anfitrión para IAMFA 2011By / par / por Natalie Hansby

Page 11: Papyrus Winter 2011

PAPYRUS WINTER 2010–2011 9

showcase of New Zealand’s native flora,fauna and culture, the precinct willoffer Zoo visitors a chance to exploresix unique geographical areas of NewZealand in one place at Auckland Zoo.From the world’s rarest duck (thatalso doesn’t fly) to one of the planet’sheaviest insects, frogs that don’t croak,and a reptile-like creature that pre-dates dinosaurs, New Zealand is hometo incredible wildlife found nowhereelse on this earth.In recent months, Auckland Zoo

has begun construction of Te Wao Nui.When complete, it will encompass sixdistinct ecosystems, cover a quarter ofthe Zoo’s display area, and be home tomany of these unique creatures. ThisNZ$16-million development is thelargest and most important project everundertaken in the Zoo’s 88-year history.For visitors, Te Wao Nui is going to

offer the opportunity to experience thiscountry’s animals, plants and livingcultural history in a way that’s neverbeen done before in New Zealand—andwith an opening date of September2011, that’s just a year away!

programas de conservación dentro deNueva Zelandia y en el extranjero, pormedio del Fondo de Conservación delZoológico de Auckland. En septiembre del 2011, el Zoológico

abrirá su proyecto más grande, Te WaoNui. Diseñado para exhibir una colec -ción única de flora, fauna, y cultura deNueva Zelandia, el precinto ofrecerá alos visitantes del Zoológico de Aucklanduna oportunidad para explorar seissectores únicos de Nueva Zelandiaen un solo lugar. Desde el pato másextraño del mundo (el cual no vuela),uno de los insectos más pesados delmundo, ranas que no croan, hasta unacriatura más antigua que los dino sau -rios; Nueva Zelandia es el hogar de unavida silvestre increíble que solamentese encuentra aquí.En los últimos meses, el Zoológico

de Auckland ha empezado a construirel proyecto Te Wao Nui. Cuando se ter -mine, abarcará seis sistemas ecológicosdistintos, tendrá una cuarta parte delárea de exhibiciones del Zoológico, yhospedará gran parte de su fauna única.Este desarrollo de NZ$16 millones es

Artist’s impression of “The Coast”. Now under construction, thisarea will reopen at the end of the year as Sea Lion and PenguinShores, and will become “The Coast” in September 2011.

Vue de l’artiste de “La Côte”. Actuellement en construction, cettezone sera réouverte à la fin de l’année, comme les Rivages desOtaries et Pingouins, et deviendra “La Côte” en Septembre 2011.

Expresión del artista “La Costa”. Este sector el cual está bajoconstrucción abrirá de nuevo a fines de año con el nombre “Costasde los Lobos Marinos y los Pingüinos, y en septiembre 2011 seconvertirá en “La Costa”.

Artist’s impression of “The Wetlands”. Over 90 per cent of NewZealand’s original wetlands have been lost since humankinddiscovered these shores. Key stories in this zone will include theneed for wetland protection and riparian planting.

Vue de l’artiste de «zones humides». Plus de 90 % des zoneshumides originaires de la Nouvelle-Zélande ont été perdues depuisque l’homme a découvert ces côtes. Les histoires clés de cettezone viseront la nécessité de la protection des zones humides et dela plantation riveraine.

Una expresión artística “Los Humedales”. Más de 90 por ciento delos humedales originales de Nueva Zelandia se han perdido desdeque los seres humanos descubrieron estas laderas. Historias clavesen esta zona incluirían la necesidad de proteger los humedales y desembrar plantaciones de ribera.

à l’étranger, à travers le Fond deConservation du Zoo d’Auckland.En Septembre 2011, le Zoo ouvrira

son développement le plus important,Te Wao Nui. Conçu pour être unevitrine unique de la flore, de la fauneet de la culture natives néo-zélan daises,l’enceinte offrira aux visiteurs du Zooune chance d’explorer six zones géo -graphiques uniques de la Nouvelle-Zélande dans un seul endroit. Depuisles canards les plus rares du monde,qui ne volent pas, à l’un des pluslourds insectes de la planète, desgrenouilles qui ne coassent pas, etune créature reptilienne qui précèdeles dino saures, en effet la Nouvelle-Zélande est le foyer d’une fauneincroyable qu’on ne retrouve nullepart sur cette terre.Ces derniers mois, le Zoo d’Auckland

a commencé la construction de Te WaoNui. Une fois terminé, il comprendrasix écosystèmes distincts, couvrant unquart de la surface d’affichage du Zoo,et hébergeant beaucoup de ces cré -atures uniques. Ce développement deNZ$16 millions de dollars est le plus

Page 12: Papyrus Winter 2011

We have recently closed our SeaLion and Penguin Shores exhibit; thisarea is being redeveloped to becomethe first area of Te Wao Nui: “TheCoast”. The other five areas withinTe Wao Nui will be completely newexhibits: “The Islands”, “The Wet lands”,“The Night Forest”, “The Forest” and“The High Country”. “The Forest” will be home to many

of our unique native birds, includingthe endangered kokako, and theworld’s rarest duck, the CampbellIsland teal. In “The Night Forest” youwill encounter iconic animals like ourkiwi and native Morepork, but alsospecies that have never been on publicdisplay or held here before, such as theshort-tailed bat (one of New Zealands’sonly two native mammals), the caveweta, and one of the world’s heaviestinsects, the Wetapunga! In total, Te WaoNui will feature more than 60 animalspecies and more than 100 plant species.

Increasing ConservationEffortsAuckland Zoo director, JonathanWilcken, says Te Wao Nui is about

important projet jamais entrepris encours de l’histoire des 88 ans du Zoo. Pour les visiteurs, Te Wao Nui va

offrir la possibilité d’approcher lesanimaux, les plantes et l’histoire de lavie culturelle de ce pays d’une manièrequi n’a jamais été faite auparavant enNouvelle-Zélande. La date d’ouvertureest prévue en Septembre 2011, dansmoins d’un an!Nous avons récemment fermé l’expo -

sition des Rivages des Otaries et Pin -gouins; ce domaine sera réaménagépour devenir la première zone de TeWao Nui: « La Côte ». Les cinq autresdomaines à l’intérieur de Te Wao Nuiseront complètement de nouvellesexpositions: «Les Îles», «Les ZonesHumides », « La Forêt de Nuit», « La Forêt » et « Le Pays-Haut».« La Forêt » sera le foyer de beau -

coup de nos oiseaux indigènes uniques,y compris les kokakos en voie de dis -parition, et les canards les plus rares dumonde, la sarcelle de l’Île Campbell.Dans « La Forêt de Nuit », vous ren -contrerez des animaux emblématiquescomme notre kiwi et l’indigène chou -ette morepork mais aussi des espècesqui n’ont jamais été exposées en public, el más grande y el más importante

proyecto en los 88 años de la historiadel Zoológico.Para los visitantes, Te Wao Nui

brindará una oportunidad para dis -frutar de los animales, las plantas y lahistoria cultural en vivo de una maneranunca vista antes en Nueva Zelandia —y la apertura está programada paraseptiembre del 2011, falta solamenteun año! Últimamente hemos cerrado nuestra

exhibición Sea Lion and Penguin Shores;para convertirse en el primer sector deTe Wao Nui: “La Costa”. Los otros cincosectores dentro de Te Wao Nui seránexhibiciones completamente nuevas,“Las Islas”,“Los Humedales”, “ElBosque Nocturno”, “El Bosque”, y“Las Tierras Altas”.. “El Bosque” es el hogar de muchos

de nuestros pájaros nativos, incluyendoel kokako que está en vía de extincióny el pato menos común del mundo, lacerceta de Campbell. ¡En “El BosqueNocturno” encontrarán animalesicónicos como nuestro kiwi y el nativoMorepork, además de especies quenunca se han exhibido en público o en

10 PAPYRUS WINTER 2010–2011

Te Wao Nui will feature six different walk-through aviaries, including one for theNew Zealand kea. Now listed as nationally endangered, this stunning Alpine Parrot isregarded as one of the most intelligent bird species in the world.

Te Wao Nui sera composé de six différentes promenades-volières, dont un pour le Kea néo-zélandais. Maintenant, répertorié comme menacé au niveau national, ce superbeperroquet alpin est considéré comme l’une des espèces d’oiseaux les plus intelligents dansle monde.

Te Wao Nui ofrecerá seis diferentes paseos a través de pajareras, incluyendo uno para el keade Nueva Zelandia. Ahora parte de la lista nacional de especies en vía de extinción, esteperico alpino se considera una de las especies de pájaros más inteligentes del mundo.

Te Wao Nui is about

celebrating and helping

to protect this country’s

unique native wildlife.

Te Wao Nui à pour but la

célébration et l’aide à la

protection de la faune

indigène incom parable

de ce pays.

Te Wao Nui trata de

celebrar y ayudar a pro -

teger la vida silvestre

nativa de este país.

Page 13: Papyrus Winter 2011

PAPYRUS WINTER 2010–2011 11

celebrating and helping to protect thiscountry’s unique native wildlife. “It’sreally going to open the door on theconservation work that the Zoo hasbeen doing for native species behindthe scenes for many years, and will seeus increasing these efforts. It will alsobring to the fore our many importantpartnerships, including those with theDepartment of Conservation andNgati Whatua o Orakei (local Maoriiwi), both of whom have been key inhelping us make this project a reality.”Visitors will also play a part in

contributing to conserving Aotearoa’sunique creatures of the ocean, landand air, as a percentage of every adultadmission will be directed to helpNew Zealand animals in the wild. Withthe Zoo looking to enhance its linkswith restoration projects and com -munity groups we also hope to connectour visitors with these groups andinspire them to get more involved.

Natalie Hansby is Manager, Sales andVisitor Services at Auckland Zoological Parkin Auckland, New Zealand.

comme la chauve-souris à queue courtequi est l’une de deux espèces de mam -mifères originaires de la Nouvelle-Zélande, le weta des grottes, et l’undes plus lourds insectes du monde, leWetapunga! Au total, Te Wao Nui mettraen vedette plus de 60 espèces d’animauxet plus de 100 espèces de plantes.

Accroître les efforts deconservation Le directeur du Zoo d’Auckland,Jonathan Wilcken, dit que Te Wao Nuià pour but la célébration et l’aide à laprotection de la faune indigène incom -parable de ce pays. « Cela va vraimentouvrir la porte sur les travaux de con ser -vation que le Zoo a fait en coulisses pourles espèces indigènes pendant de nom -breuses années, et nous verrons pour -suivre ces efforts. Il sera égale ment misen évidence nos nombreux et im por -tants partenariats, y compris ceux avecle Département de la Conservation etNgati Whatua ou Orakei (iwi Maori), quitous deux ont joué un rôle clé en nousaidant à faire de ce projet une réalité ».Les visiteurs pourront également

jouer un rôle de contribution à laconservation des créatures uniquesde l’océan, de la terre et de l’aird’Aotearoa. Un pourcentage des fraisd’admission de chaque entrée pouradulte sera dédié à aider les animauxen habitat naturel de la Nouvelle-Zélande. Le Zoo cherche à renforcerses liens avec les projets de restau rationet les groupes communautaires, noussouhaitons également mettre en con -tact nos visiteurs avec ces groupes etles inciter à s’impliquer davantage.

Natalie Hansby est Gestionnaire de Venteset Services aux visiteurs au Parc Zoologiqued’Auckland, à Auckland, Nouvelle-Zélande.

cautiverio, como el murciélago de colacorta (uno de los únicos dos mamíferosnativos a Nueva Zelandia), el “weta”de caverna, y uno de los insectos máspesados del mundo, el “Wetapunga”!En total, Te Wao Nui hospedará másde 60 especies de animales y más de100 especias de plantas.

Aumento de esfuerzos deconservaciónEl director del Zoológico de Auckland,Jonathan Wilcken, dice que Te WaoNui trata de celebrar y ayudar a pro -teger la vida silvestre nativa de estepaís. Esta exhibición enseñará todo eltrabajo de conservación de especiesnativas que ha realizado el Zoológicodesde hace años y también nos ayudaráa incrementar la participación en laconservación. También traerá a primerplano, nuestras asociaciones impor -tantes, incluyendo nuestra relacióncon el Departamento de Conservacióny con“Ngati Whatua o Orakei” (o “iwi”en Maori). Estas dos han sido críticaspara hacer este proyecto una realidad”Los visitantes también jugarán un

papel importante en contribuir a con -servar las especies únicas de Aotearoadel mar, la tierra y del aire, ya que unporcentaje del precio de admisión decada visitante adulto será destinadoa ayudar a los animales silvestres deNueva Zelandia. Como parte del plandel Zoológico de aumentar su partici -pación con proyectos de restauracióny grupos de la comunidad, tambiénesperamos poder incentivar a nuestrosvisitantes a participar en estosproyectos y grupos.

Natalie Hansbyes es Gerente, Servicios deVentas y Visitantes del Parque Zoológico deAuckland en Auckland, Nueva Zelandia.

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

Page 14: Papyrus Winter 2011

In the 2010 Summer/Fall edition ofPapyrus, Patricia Morgan, businesssupport manager at Auckland Art

Gallery Toi o Tamaki wrote about thebuilding’s development. The kauriceilings were alluded to, along withthe promise of a story to follow. As the main contractor, Hawkins

Construction commenced work onthe site in September 2008. It wasthen that offsite planning work alsocommenced for the construction ofpre-fabricated Kauri ceiling “pods”.The kauri “pods” are a distinctive fea -ture of the new building, which hasonly recently been revealed to view withthe removal of extensive scaf fold ing.The “pods”, covering 2,000 squaremetres, emulate a series of fine “tree-like” canopies, forming curved vaultswhich define and cover the entryforecourt, atrium and gallery areas. The key players in this process were

architects in association Sydney-basedFrancis-Jones Morehen Thorp (FJMT)and Auckland-based Archimedia; struc -tural engineers Holmes ConsultingGroup; specialist client project man -agers, Coffey Projects; and main con -tractor Hawkins Construction andtheir specialist subcontractors, WallaceConstruction and Papakura Joinery.The process began with procure ment

of the kauri timber, which continuedfor 18 months over the course of theproject, in order to obtain the required200 cubic metrets. New Zealand kauri(Agathis australis) is one of the world’smightiest and longest-living trees,

Àl’édition Été/Automne 2010de Papyrus, Patricia Morgan,gestionnaire de soutien aux

entreprises à la Galerie d’Art d’AucklandToi o Tamaki a écrit sur le dévelop pe -ment du bâtiment. Les plafonds kauriont été évoqués, avec la promesse d’unehistoire à suivre.Comme maître d’œuvre, Hawkins

Construction a commencé à travaillersur le site en Septembre 2008. C’estalors que la planification du travail horssite a également commencé pour lapréfabrication des coffrages en kauripour le plafond. Les coffrages en kauri

En la edición Verano Otoño de2010 de Papyrus, Patricia Morgan,gerente de administración de la

Galería de Arte de Auckland Toi oTamaki escribió sobre este edificio.Hizo referencia a los cielorrasos kauri,y prometió que más adelante contaríala historia. El contratista principal, Hawkins

Construction, empezó a trabajar en laobra en septiembre de 2008. En eseentonces también comenzó a trabajaren la construcción de las “cápsulas”prefabricadas de cielorraso Kauri. Las“cápsulas” son una característica dis -

12 PAPYRUS WINTER 2010–2011

Auckland Art Gallery Toi o Tamaki: The Kauri Ceilings

Galerie d’Art d’Auckland – Toi o Tamaki :Les plafonds kauri

Galería de Arte de Auckland Toi o Tamaki: Los Cielorasos KauriBy / par / por Grant Thomas

AAG

Main atrium ceiling exposed.

Plafond exposé de l’atrium principal.

Vista del Cielorraso del Atrio principal.

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PAPYRUS WINTER 2010–2011 13

growing to more than 50 metres tall,with girths of up to 16 metres, andliving for more than 2,000 years. Kauriforests once covered 1.2 million hec -tares north of the 38th parallel on

New Zealand’s North Island. As anative tree of New Zealand, the kauriis afforded protection under legislation,providing strict restrictions on millingto ensure sustainable procurement.It is with pride that we note that

not a single living kauri was felledduring this project. The timber waspro cured either from recycled sources,existing stockpiles that had been pro -cured prior to government legislativechanges in 1993, or from “bush kauri”.Bush kauri provided the majority ofthe timber for the project, and is eitherkauri which had generally been felledin the 1930s (when there was an exten -sive kauri logging industry, but manyhad been unable to be extracted fromthe bush due to difficult terrain), ortrees that had been “wind blown”. Overtime, the sap wood rots away, still leav -ing the usable heart timber. With the

sont une caractéristique distinctive dunouveau bâtiment, récemment révélésavec l’enlèvement des échafaudagescomplexes. Les coffrages, couvrant2000 mètres carrés, rappellent l’imaged’une série de canopés arboricoles enformant les voûtes courbes qui carac -térisent le plafond de la cour d’entrée,l’atrium et la galerie. Les principaux acteurs dans ce pro -

cessus ont été les architectes associésFrancis-Jones Morehen Thorp (FJMT)à Sydney et Archimedia à Auckland;les ingénieurs en structure HolmesConsulting Group, les gestionnairesspécialisés sur ce projet pour le client,Coffey Projects, et l’entrepreneurprincipal Hawkins Construction etses sous-traitants spécialisés WallaceConstruction et Papakura Joinery.Le processus a commencé avec

l’acquisition du bois kauri, qui s’estpoursuivi pendant 18 mois au cours duprojet, afin d’obtenir les 200 mètrescubes nécessaires. Le kauri de laNouvelle-Zélande (Agathis australis) estl’un des arbres les plus majestueux etqui vivent le plus longtemps au monde,pour atteindre plus de 50 mètres dehaut et un diamètre atteignant jusqu’à16 mètres. Son espérance de vie est deplus de 2000 ans. Les forêts de kauri cou -vraient autrefois 1,2 million d’hec taresau nord du 38è parallèle sur l’Île duNord de la Nouvelle-Zélande. Étant

tintiva del nuevo edificio, que se revelóhace poco cuando se quitó el anda -miaje. Las “cápsulas” Kauri cubren2,000 metros cuadrados, imitando unaserie de doseles finos de árboles, for -mando bóvedas curvas que definen ycubren las áreas de la plaza de entrada,el atrio y la galería. Los principales actores en este

proceso eran los arquitectos asociadosFrancis-Jones Morehen Thorp (FJMT)con sede en Sydney y Archimedia consede en Auckland; los ingenieros estruc -turales Holmes Consulting Group; losespecialistas en manejo de proyectos,Coffey Projects; y el contratista prin -cipal Hawkins Construction y sussubcontratistas especialistas, WallaceConstruction and Papakura Joinery.El proceso que comenzó con la

compra de la madera kauri, continuópor 18 meses durante el transcurso delproyecto para obtener los 200 metroscúbicos necesarios. El árbol kauri deNueva Zelandia (Agathis australis) es unode los más fuertes y de más larga vidadel mundo y crece a más de 50 metrosde altura, con circunferencias de másde 16 metros, y vive más de 2,000 años.Los bosques de kauri en una épocacubrían 1.2 millones de hectáreas alnorte del paralelo 38ª de la Isla Nortede Nueva Zelandia. Como árbol nativode Nueva Zelandia, el kauri está pro -tegido por ley, que detalla severas

AAG

Windblown kauri awaiting helicopter extraction.

Kauris « tombés par le vent » attendent d’extraction par l’hélicoptère.

Kauri tumbado por el viento en espera de extracción por helicóptero.

New Zealand kauri

is one of the world’s

mightiest and longest-

living trees . . .

Le kauri de la Nouvelle-

Zélande est l’un des arbres

les plus majestueux et qui

vivent le plus longtemps

au monde . . .

El árbol kauri de Nueva

Zelandia es uno de los

más fuertes y de más larga

vida del mundo . . .

Page 16: Papyrus Winter 2011

advent of modern machinery and heli -copters, the remnant heart timber couldbe milled in situ and extracted fromdif fi cult-to-access terrain with mini malimpact on the surrounding envi ron -

donné que c’est un arbre indigène néo-zélandais, le kauri bénéficie d’une pro - tection contrôlée en vertu de lois pré vo -yant des restrictions strictes sur l’usinagepour assurer un approvisionnementdurable.C’est avec fierté que nous notons que

pas un seul kauri vivant a été abattu aucours de ce projet. Le bois a été obtenusoit à partir de matières recyclées, destocks existants qui avaient été obtenuspréalablement à toute modificationlégislative du gouvernement en 1993,ou de kauri de brousse. Les kauri debrousse ont fourni la majorité du boispour le projet, ce sont soit des arbresde kauri qui avait généralement étéabattus dans les années 1930, annotezqu’ il y avait alors une vaste industrieforestière de kauri, mais beaucoupn’ont pas pu être extraits de la brousseà cause du relief difficile, ou ce sontdes arbres qui sont tombés à cause duvent . Au fil du temps, l’aubier pourritbien que le cœur du bois reste utili -sable. Avec l’avènement de machinesmodernes et des hélicoptères ces cœursd’arbres peuvent être débités in situ etextrait de ces terrains d’accès difficileavec un impact minimal sur l’envi ron -nement. Le Ministère de l’Agricultureet des Forêts gère toute extraction etusinage du bois provenant de terresprivées à travers d’un processusd’autorisation.La quantité du bois – une fois usiné

ces planches d’environ 150 mm de largepar 20 mm d’épaisseur pourraientcouvrir une distance de 25 km si ellesétaient ajoutées les unes aux autres.Il a été déclaré par les sources del’Indus trie que le développement duprojet de la Galérie d’Art a consommé10 années de la demande normale dumarché de kauri, bien que provenantd’une source durable.Alors dès le début de l’approvision -

nement du kauri, l’équipe a égalemententamé le processus de création de pro -fils et formes permettant la préfabrica -tion des coffrages du plafond. À partirde dessins et de modèles réduits, l’équipede conception et de construction aétablit les formes géométriques requises.Ensuite, une forme à pleine taille a

été construite pour permettre la con -struction d’une maquette. Avec l’uti li sa -tion de cette forme, une sous-charpente

restricciones de explotación madererapara asegurar su comercio sostenible.Podemos enorgullecernos de que no

se utilizó ningún árbol vivo de kauripara este proyecto. La madera se con -siguió de fuentes de madera reciclada,o de reservas aprobadas antes de loscambios legislativos gubernamentalesen 1993, o de “kauri del monte”. Lamayoría de la madera para el proyectovino de kauri del monte y es kauri quese cortó durante la década de los años30 (cuando había una industria exten -siva de explotación de madera kauri,pero que dejó muchos árboles en elmonte debido al difícil acceso) oárboles derribados por el viento. Através del tiempo, la albura se pudre,dejando el duramen. Con el desar rollode maquinaria moderna y helicópteros,el corazón de la madera que quedabapodía ser trabajada en el sitio y extraídade las áreas de difícil acceso con pocoimpacto en el entorno El Ministeriode Agricultura y Bosques administratoda actividad de procesar y extraermadera de terrenos privados pormedio de un proceso de permisos. La cantidad de madera — una vez

cortada en tablas de aproxima damente150 mm de ancho por 20 mm degrueso — habría tenido, si las tablasfueran colocadas una tras otra, unaextensión de 25 kilómetros. Los repre -sentantes de la industria de la maderahan decla rado que el desarrollo delproyecto de la Galería de Arte ha con -sumido el equi valente de 10 años dedemanda para el kauri, a pesar de susfuentes sostenibles.Al comenzar la compra del kauri, el

equipo también empezó el proceso decrear perfiles y formas para la prefa bri -cación de las “cápsulas” del cielorraso.Empezando con dibujos divididos ensecciones y modelos a escala, el equipode diseño y construcción estableció lasformas geométricas requeridas. En el siguiente paso, se construyó

una estructura a tamaño real para laconstrucción de una maqueta. Con estaestructura, se hizo un esqueleto demadera contrachapada laminada queconsistía de ocho secciones tri angu larespara cada “cápsula” indivi dual. Al inicio,se fabricó con pino (Pinus radiata) parano desperdiciar la valiosa madera kauri.Para lograr la forma curvada requerida

14 PAPYRUS WINTER 2010–2011

HAW

KINS

Models of roof profiles.

Modèles de profils de toit.

Modelos de los perfiles del cielorraso.

It is with pride that we

note that not a single

living kauri was felled

during this project.

C’est avec fierté que nous

notons que pas un seul

kauri vivant a été abattu

au cours de ce projet.

Podemos enorgullecernos

de que no se utilizó

ningún árbol vivo de

kauri para este proyecto.

Page 17: Papyrus Winter 2011

PAPYRUS WINTER 2010–2011 15

ment. The Ministry of Agriculture andForestry administers all milling andtimber extraction from private landthrough a permit process.The quantity of timber—once milled

into boards of approximately 150 mmwide by 20 mm thick—was enough toextend, if added together, a distance of25 kilometres. It has been stated by in -dustry sources that the Art Gallery devel -opment project has consumed ten yearsof normal market demand for kauri,albeit sourced on a sustainable basis.While commencing procurement

of the kauri, the team also began theprocess of creating profiles and forms toallow prefabrication of the ceiling pods.Beginning with sectioned drawings andscale models, the design and construc -tion team established the requiredgeometric forms.

de côtés contreplaqués a pu être con -struite, composée de huit sections tri -angulaires pour chaque coffrage. Audépart, ce fut fabriqué en pin clair(Pinus radiata) pour éviter le gaspillagedu précieux kauri. Les panneaux ontété coupés et finis indi viduellement etont été fixés à nou veau sur la charpentepour former la courbe requise.Avec quelques améliorations et

l’accep tation de la première maquette,un coffrage complet en kauri a été con -struit et suspendu pour la pré sen ta tionet approbation du client. Cela a com -mencé par un processus auquel il a fallutdédier des journées et des nuits, con -sommant 35.000 heures de travail horssite pour l’équipe de men uisiers spé cia -lisés, les charpentiers et constructeursde bateaux pour armer complètementvingt-deux coffrages, six demi-coffrages

se fijaron tablas cortadas y pulidasindividualmente. Después de refinar y aceptar la

maqueta inicial, una “cápsula” dekauri completa a escala real se hizoy se suspendió para la inspección yaprobación del cliente. Así empezó unproceso que requirió turnos de trabajodurante las 24 horas y consumió masde 35,000 horas de trabajo fuera delsitio para que el equipo especializadode ebanistas, carpinteros y expertosen construcción de barcos pudieranconstruir las veintidós “cápsulas”comple tas, seis media “cápsulas”, yel cielorraso de bóveda iluminadopor luz natural. Con los retos de buscar materia

prima y construir resueltos, el equipoempezó a desarrollar los sistemasnecesarios para levantar y suspender

HAW

KINS

Construction of initial mock-up.

Construction de la maquette initiale.

Construcción de maqueta inicial.

Page 18: Papyrus Winter 2011

Following this, a full-sized form wasbuilt to allow a mock-up to be con -structed. Using the form, a sub-frame oflaminated plywood ribs was constructed,consisting of eight triangular sectionsfor each individual pod. Initially, thiswas fabricated in pine clears (Pinusradiata) to avoid wasting the preciouskauri. Individually cut and finishedtapered boards were back-fixed ontothe sub-frame to form the requiredcurved shape.With refinement and acceptance of

the initial mock-up, a full kauri podwas constructed and suspended forclient viewing and sign-off. This begana process that at times required bothnight and day shifts, consuming35,000 hours of work offsite for theteam of specialist joiners, carpentersand boat builders constructing the

et l’éclairage naturel dans les voûtesen berceau du plafond de la galerie.Avec les défis de l’approvisionne -

ment et de la construction à la main,l’équipe a commencé à développer lessystèmes nécessaires pour ériger etsuspendre les coffrages préfabriquéssur le site. En travaillant étroitementavec les ingénieurs en structure, unesérie de supports en acier faits surmesure ont été développés et conçuspour suspendre les coffrages en boisdepuis le cadre en acier vers l’espacestructurel, respectant la toléranceminimale permise. Quatre mille cinqcents crochets ont été montés afin des’assurer que chacun des coffrages,pesant jusqu’à 2000 kg chacun, soientsuffisamment retenus, y compris lesdix coffrages de 15 mètres de haut surl’ensemble de l’atrium principal.

las “cápsulas” prefabricadas en sitio.En colaboración con los ingenierosestructurales, se diseñaron una seriede grapas de acero hechas a medidapara suspender las cápsulas de maderadesde el esqueleto de acero sin exce derla tolerancia mínima exigida por el

16 PAPYRUS WINTER 2010–2011

WALLACE

Typical atrium roof structural steel module.

Module typique de la structure en acier duplafond de l'atrium.

Módulo típico de acero estructural delcielorraso del atrio.

Suspension of mock-up for viewing.

Suspension d’une maquette pour la visualisation.

Suspensión de maqueta para inspección.

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PAPYRUS WINTER 2010–2011 17

twenty-two full pods, six half-pods andthe barrel vaulted daylit gallery ceiling.With the challenges of procure ment

and construction in hand, the teambegan developing the required sys temsto erect and suspend the prefabricatedpods on site. Working closely with thestructural engineers, a series of bespokesteel brackets was developed anddesigned to suspend the timber podsfrom the structural-steel room frame -work, working within the minimal tol -erance afforded by the design. Forty-five hundred brackets were fitted toensure that each of the pods, weighingup to 2,000 kilograms each, are suf -ficiently suspended, including tenpods 15 metres high within the mainatrium space.Within the tight tolerances of the

roof structure, the erection teamsreceived each pod, in its eight pieces,craned up to the scaffold platformsjust below finished ceiling heights.Working with trolleys and chain blocks,the eight pieces were hoisted up underthe supporting steel structure andbracketry, and securely positionedinto place and connected to formcompleted pods. This was a processthat consumed 15,000 hours on site.As each area of the kauri ceilings

and its adjacent finishes are completed,the scaffolding has been stripped awayto reveal the glowing golden hues ofthe pods. This marks a significantmilestone in the construction of theArt Gallery project. With 700,000 hoursworked on site to date, the develop -ment is on track to be completed inmid-2011.

Grant Thomas is a Project Manager withHawkins Construction, the main contractorthe Art Gallery redevelopment.

En respectant les tolérances serréesde la structure en acier du toit, leséquipes de la construction ont reçuchaque coffrage, en huit morceaux, quifurent élevés avec des grues jusqu’auxplates-formes d’échafaudage tout justeau-dessous des hauteurs de toit termi -nées. Travaillant avec des chariots etdes palans à chaînes, les huit piècesont été hissées en vertu de la structured’acier et des accessoires de support,et bien positionnées en place et rac -cordées pour former complètementles coffrages. Ce fut un processus qui aconsommé 15.000 heures sur le site.À mesure que chaque domaine des

plafonds kauri et ses finitions adja centesont été terminés, l’échafaudage a étédémonté pour révéler les nuances d’orbrillant des coffrages. Cela marque unjalon important dans la constructiondu projet de la Galerie d’Art. Avec700.000 heures travaillées sur les lieuxà ce jour-ci, le développement est envoie d’être achevé à la mi-2011.

Grant Thomas est un gestionnaire de projetà Hawkins Construction, l’entrepreneurprincipal pour le réaménagement de laGalerie d’Art.

diseño. Cuatro mil quinientas grapas seajustaron para asegurar que las “cáp -sulas” con un peso de 2,000 kilogramoscada una fueran suspendidas con elapoyo necesario, incluyendo diez“cápsulas” que median 15 metros dealto dentro del atrio principal.Dentro las estrictas tolerancias de la

estructura del cielorraso, los equiposde montaje recibieron cada “cápsula”dividida en ocho componentes. Lassubieron a las plataformas de andamiosjusto debajo de la altura del cielorrasoterminado. Por medio de un sistemade rodaje y poleas subieron los com -ponentes al esqueleto estructural; lasterminaron de montar y asegurar paracompletar las “cápsulas”. El procesoconsumió 15,000 horas en sitio.Al terminar cada sección del cielor -

raso y sus acabados adyacentes, seeliminaron los andamios para revelarel resplandor dorado de las “cápsulas”.Esto representa un paso significativoen el proyecto de construcción de laGalería de Arte. Después de 700,000horas trabajadas en sitio hasta la fecha,el desarrollo está bien encaminado paracompletarse para mediados de 2011.

Grant Thomas es Gerente de Proyectoscon Hawkins Construction, el contratistaprincipal para la renovación de la Galeríade Arte.

Structural steel roof modules, February 2010.

Modules du toit en acier structural, Février 2010.

Módulos estructurales del cielorraso febrero 2010.

AAG W

EBCAM

HAERE MAIAuckland, New Zealand13–17 November 2011

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18 PAPYRUS WINTER 2010–2011

Make Your Own Auckland

There’s not just one Auckland—there are a million of ‘em. As along weekend proves, whatever

you’re in the mood for, New Zealand’sbiggest city has just the adventure to suit.In fact, Auckland packs so much in

that it’s unlikely that any two people’sexperiences of the place will be thesame. In Auckland, you can make yourown adventure. So much so that it mayjust be the only holiday destinationyou’ll ever need.

The Height of AdventureHead into the heart of the city, andstraight away it’s obvious that the Kiwipenchant for scaring people to deathis alive and well. You can SkyWalkaround the outside ring of the SkyTower with nothing but a harnessbetween you and the city streets 192metres below. A head for heights isalso useful, should your eyes be drawnto that other landmark: the HarbourBridge. You can walk over the top ofit, or bungee jump from underneath. But not all adventures require alti -

tude. Walk down the city’s main thor -oughfare, Queen Street, and you canboard a boat for just about any kind ofwaterborne experience imaginable.Sail an America’s Cup yacht aroundthe Hauraki Gulf, or charter a boat foryour own use. You can go fishing or div -ing and, if that doesn’t float your boat,

how about some whale and dolphinwatching?

City Slicking If your idea of adventure is a bit of bar-hopping around some joints with char -ac ter, or eating out in the finest style,start at the newly restored Britomartprecinct. Head to A&M Bar in RoukaiLane for a drink while you plot whereto eat. For waterside ambience with five-star cuisine, try Euro on Princes Wharfor Soul in the Viaduct. Sophisticateswill love The Grove or chef PeterGordon’s Dine.

La Dolce VinoAuckland’simportance as awine regionmight surpriseyou. Closest tothe city is thearea aroundKumeu and westAuckland. Youcan take somefantastic winetours here, or be your own tour guideand combine it with a visit to thevolcanic black sand beaches andgannet colony on the coast.Matakana, to the north, has grown

quickly in recent years and now hasnearly twenty labels. If you can, com -bine it with a trip to the Saturday

Auckland à la CarteBy Tourism Auckland

farmers’ market, which has a superbrange of local and organic produce.Finally, there’s Waiheke Island which,along with its many other delights,boasts some outstanding vineyards.

Island LifeIt’s often been said that the islandsof the Hauraki Gulf are the jewels inAuckland’s crown. For Aucklanders,the islands offer a natural playgroundon the city’s doorstep. For visitors,they extend your holiday optionsexponentially.The Gulf’s islands range from the

tiny and uninhabited to the vastexpanse of Great Barrier Island. “TheBarrier” is a place of dramatic coast -lines, beaches and bays that make forsome of the best boating and fishingon the planet. Waiheke Island is one of the most

popular places to visit, and it’s easy tounderstand why. With its combinationof white sand beaches, picturesquefarmland and award-winning vine yardsand olive groves, it’s a breeze to relaxand unwind here.

Which Auckland WillYou Visit?So many people rush in and out ofAuckland on their way to somewhereelse. But, as you will discover, it’s a placethat’s so full of options, so close toone another, that it offers every kindof adventure you could possibly want. For more information about

Auckland, please check outwww.aucklandnz.com

Sailing on Auckland’s Waitemata Harbour. Lion Rock.

COURTESY

OF TOURISM AUCKLA

ND

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PAPYRUS WINTER 2010–2011 19

The 20th Annual Conference ofthe International Association ofMuseum Facility Administrators

was held in San Francisco, California,from October 17 to 21, 2010—andwhat an incredible conference it was!In 1776, the Spanish established a

fort at the Golden Gate, with a missionnamed for St. Francis of Assisi on thesite. The California Gold Rush of 1848propelled the city into a period of rapidgrowth, increasing the population from1,000 to 25,000 within a single year,transforming it into the largest city onthe West Coast of the United States atthat time. After three-quarters of thecity was destroyed by the 1906 earth -quake and fire, San Francisco was quicklyrebuilt, and today the San FranciscoBay Area is home to 7.4 million people.San Francisco is a popular inter na -

tional tourist destination, renownedfor its steep rolling hills, its eclectic mixof Victorian and modern archi tecture,and famous landmarks that includethe Golden Gate Bridge, cable carsand Chinatown. The city is also a prin -cipal banking and finance center, andhome to more than 30 internationalfinancial institutions.Let me begin by expressing gratitude

to all of the Conference organizers:

Joe Brennan, SFMOMAJennifer Fragomeni,The Exploratorium

Terry Zukowski, Glide MemorialEdgar Maxion, Stanford LibrariesPatty Lacson, de Young MuseumJohn Lewis, California Academy ofSciences

Sharon Shepherd, AdministrativeSupport

I know how much time these indi -viduals spent planning the countlessdetails that went into making this atruly great Conference. The 130 IAMFA members and guests

attending this year’s Conference doesnot include the numerous sponsorsthat contributed to its intellectualcontent through presentations, as wellas through generous financial contri -bu tions that supported the spectacularvenues, trips, and meals we all enjoyedduring this year’s Conference.

Sponsors for this year’s Conferencewere:

Belfor Disaster RecoveryCypress Private SecurityEHDD ArchitectureGuardsmark SecurityIntegral Group, Peter RumseyPlant ConstructionSecuritas SecuritySwinerton BuildersWestech RoofingAnonymous

The Twentieth Annual IAMFAConference in San FranciscoA Week of Culture, Strategic Planning, ProfessionalDevelopment, Networking, California History, andIncredible Hospitality, in What Many Say is America’sMost Beautiful City By Joe May

2010 IAMFA Benchmarking Attendees. First Row: Jennifer Fragomeni, Tiffany Myers, KendraGastright, David Sanders, Guy Larocque, Alan Dirican, John Castle. Second Row: Dan Davies,Steve Fuoco, Steve Hyde, Mike Rodgers, Jim Duda. Third Row: Bruce Kendall, PierretteLagrois, Tom Catalioti, Paul Krenisky, Jim Moisson. Fourth Row: David Redrup, Ed Richard,Patricia Morgan, Tony Young. Fifth Row: Sean Woodhouse, Rich Reinert, Harry Wanless,John de Lucy, Keith McClanahan. Sixth Row: David Cervantes, Maurice Evans, Ray McMaster,Armando Uribe, Terry Zukowski. Seventh Row: Chuck Mignacco, Randy Murphy, Marie-PierreMarche’, Peter Williams, Harold Hacker, Jean Allard, Bill Caddick. Eighth Row; David Burghart,Brian Coleman, Tony McGuire, Ian MacLean, Stacey Wittig.

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20 PAPYRUS WINTER 2010–2011

IAMFA wants all of these sponsorsto know how much we appreciate theirparticipation and support of our AnnualConference. We encourage membersto keep this in mind when in needof products and services of the typeoffered by our Conference sponsors.As in prior years, Day 1 (Sunday)

was the Benchmarking Practices andLearning Workshop with 53 institu -tions participating in this year’s tenthannual benchmarking exercise. Theworkshop was held at the Sir FrancisDrake Hotel, and was coordinated byKeith McClanahan from Facilities Issues,Inc. This workshop is an importantpart of the benchmarking learningprocess. Each year, administratorswhose buildings are performing betterare asked to share their best practicesby making presentations at the work -shop. “Hot Topic and Emerging Issues”and “Town Hall” discussions get thewhole group exchanging practicalideas that can be applied quickly attheir own institutions.The IAMFA benchmarking pro gram

also continues to grow: in the past tenyears, over 100 institutions from sevencountries have participated in this learn - ing exercise. Please be sure to readStacey Wittig’s recap of the Bench - marking Practices and LearningWorkshop in this issue of Papyrus.On Sunday evening, the Conference

opening reception was held in HarryDenton’s Starlight Room, a historicSan Francisco establishment with a360-degree view atop the Sir FrancisDrake Hotel. It was a great kickoff to avery busy week, and an amazing venueto greet both old friends and newmembers attending their first IAMFA

Conference. Conference hosts madepresentations during the evening,and we all enjoyed California wines,cocktails and appetizers. Monday morning brought the offi -

cial start of the IAMFA Conference,beginning with a short walk to SanFrancisco’s Museum of Modern Art(SFMOMA). When it opened its doorsin January 1935, SFMOMA was con -sidered a pioneer in the field of mod -ern art collection and display. TheMuseum opened in its current build -ing in January 1995 to rave reviews,and has never slowed down in pro vid -ing both a bold exhibition program anda high standard of curatorial excellence.Members began with breakfast at

SFMOMA, and heard remarks fromthe Museum’s director Neal Benezra.We also heard remarks from SponsorNils Welin, CEO of Cypress Security,which sponsored the breakfast atSFMOMA. We then moved into the audi torium

at SFMOMA for presentations, begin -ning with Keith McClanahan whopresented a summary of the 2010Bench marking Exercise. We thenheard presentations by Patricia Glasow,Principal of Auerbach Glasow French,and Ken Kane, Executive VP, LightingServices Inc., on the subject of Light -ing Design and the use of LED Light -ing in the Museum Environment,followed by a tour and coffee in therooftop garden. Thanks go to CypressSecurity for sponsoring the coffee breakin the rooftop garden.Following presentations at SFMOMA,

Conference attendees boarded busesand travelled about an hour southto Stanford University, which has

20 libraries on campus. Membersenjoyed lunch in the Bender ReadingRoom, sponsored by Belfor, whichmade a presentation during lunchdescribing disasters experienced byclients, as well as specialized solutionsfor saving documents and artifactsthat might otherwise have been lost. Next was a surprise trip by coach

back into history for a tour of thelargest private collection of armoredvehicles in the world. The JacquesLittlefield Military Vehicle Collectionof 220 military vehicles—including66 tanks from the late First World Warthrough the 1980s—makes up perhapsthe world’s foremost private museumof armored military vehicles. Thecollection also includes self-propelledguns, armored personnel carriers,anti-aircraft vehicles, and other heavycombat vehicles, ranging from a FirstWorld War M1917 “Six-Ton Tractor”to a Russian T-72 used by SaddamHussein’s forces during the Iraq war.What a thrill it was to see this collec -tion, and the drive to the 470-acresite in the surrounding mountainswas gorgeous.

San Francisco Conference host Joe Brennanwelcomes IAMFA members and guestsduring the opening reception in theStarlight Room.

Conference attendees are greeted bySFMOMA’s Director Neal Benezra atbreakfast in the Café.

Ken Kane, Executive VP of Lighting ServicesInc., discusses LED Lighting in Galleries.

IAMFA members arrive at Stanford, andprepare to visit the Bender Reading Roomfor lunch on day one of the conference.

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IAMFA Members in the lobby of the Cantor Art Center. Members experience a California BBQ inside the barn atRunnymede Sculpture Farm, concluding Day 1 of the Conference.

historical buildings, and a few moderntouches, with 150 sculptures dottingthe landscape. What a great settingfor a fun evening, sharing stories andnetworking with fellow members andguests during the California BBQinside the Runnymede Barn. Thanksgo to Westech Roofing for sponsorshipof the BBQ at Runnymede.For three generations, Runnymede

has been in the possession of theRosekrans family, which traces itsCalifornia roots back to pioneer days.The family’s stewardship, springingfrom a deep love of the land, hasshaped and preserved this charmingstretch of rural countryside. In itsheyday (1920–1930s), Runnymede wasone of the best-known hunter-jumperstables in the country, with 50 horsesboarded at the farm.Tuesday began bright and early,

as both members and guests boardedbuses. Members left for Golden GatePark to have breakfast at the de YoungMuseum, while guests left for NapaValley for a day of touring, tasting,and wine pairing. I wonder how manyIAMFA members contemplated joiningthe guests on Tuesday in Napa Valley. Members were greeted by the

Director of the de Young, John E.Buchanan, Jr., who provided back -ground on the new de Young Museum,now open for five years. During break -fast sponsored by Guardsmark Security,Guy Larocque, past president of IAMFA,

addressed attendees with instructionsfor a strategic planning session. Weheld a similar session five years agoin Bilbao, Spain, and San Franciscooffered an opportunity to once againget everyone involved in brain storm -ing our strengths, weaknesses, oppor -tunities, threats, and guiding principles.Ten roundtables of IAMFA membersdeveloped lists corresponding to thesecategories, and a scribe from each tablepresented that table’s con clu sions tous all. Guy Larocque will summarizeall the responses, and we will publishthese in the next issue of Papyrus.Following breakfast and strategic

planning sessions, we heard from apanel of three: Patty Lacson, de Young’sDirector of Facilities; Sheila Pressley,Director of Education at the FineArts Museums of San Francisco; andMichael Webb, Director of Infor ma -tion Technology, Fine Arts Museums

IAMFA members visiting the JacquesLittlefield Military Vehicle Collection hearabout the M1917 Six Ton (Special Tractor).30 caliber MG: an American vehicle datingback to 1918.

Following a tour of the LittlefieldMuseum, the Conference moved tothe Cantor Arts Center, where weenjoyed a coffee break sponsored byPeter Rumsey of the Integral Group,followed by a brief tour and presen -tation from the Cantor’s Director ofFacilities. The Cantor Arts Center’sdiverse collections span continents,cultures, and 4,000 years of art history,and include the largest gathering ofRodin bronzes outside Paris. Then it was just a short ride by coach

to Runnymede Sculpture Farm. Wehad covered a lot of ground on Day 1of the Conference and, by now, I thinkall members and guests were ready forsome fun. We began with a selectionof wines, beers, and appetizers, andwere invited for a walking tour of the100 acres of rolling hills, valley oaks,

Members share ideas during a strategicplanning session at the de Young Museumon Day 2 of the Conference.

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of San Francisco. The panel presentedlessons learned since the new de YoungMuseum opened five years ago. Withso many facility expansions underwayat member institutions, these lessonslearned represent valuable advice toIAMFA members. Following a choice of onsite tours, we

moved next door to the new CaliforniaAcademy of Sciences for lunch. At the California Academy of

Sciences, we were greeted by KevinManalili, who is the Academy’s Direc -tor of Building Operations. Followinglunch, members gathered in theAcademy’s auditorium, and we heardpresentations about Green HistoricPreservation: The Mint Project, froma selection of leaders in the field.The speakers were: Mark Palmer,Green Building Coordinator, Cityof San Francisco, Department ofEnvironment; Deborah Frieden,Cultural Planning Consultant, ColeRoberts, Director, Energy & ResourceSustainability, Arup SF; and PaulWoolford, Senior VP and Directorof Design, Hellmuth, Obata +Kassabaum (HOK). Next, Kevin Manalili, Director of

Building Operations, made a presen -tation on Operating a LEED Platinum

Building. Following presentations, mem -bers selected between tours of plantoperations and galleries, where, amongother features, members viewed theAcademy’s rainforest and Aquarium.Day 2 concluded with a trip back

to the Sir Francis Drake Hotel, wheremembers met up with guests return -ing from Napa Valley. On Tuesdayevening, members and guests werefree to explore San Francisco’s night -life on their own, while the IAMFABoard of Directors met for their fallboard meeting, followed by dinnerat the Drake with spouses and guests.During the board meeting, we heardfrom Patricia Morgan about her team’splans for the twenty-first IAMFA Con -ference, to be held in Auckland, NewZealand on November 13–17, 2011.Conference venues will include theAuckland Zoo, the Voyager MaritimeMuseum, the Museum of Transportand Technology Museum, and theAuckland War Memorial Museum,as well as Pat’s own facility, AucklandArt Gallery Toi o Tamaki.Please see Pat’s article in this issue

of Papyrus for preliminary details ofnext year’s conference. In this andupcoming issues of Papyrus, theAuckland Conference Team will

feature articles highlighting individualvenues for next year’s conference,beginning with the Auckland Zoo inthis issue. Start making plans now forthe Auckland IAMFA Conference; thiswill be a conference that builds on thebenefits we realized by attending theSan Francisco Conference, and will bean adventure to a corner of the globethat most IAMFA members have neverseen. Along with being a new venuefor our Conference, we imagine seeingnew customs and practices that we mayhave overlooked at our own institutions. Day 3 began for IAMFA members

with a short walk to the ContemporaryJewish Museum (CJM) for breakfast,sponsored by Plant Construction Co.Guests boarded coaches headed forChinatown, rejoining members at theWalt Disney Family Museum after lunch.After breakfast at the CJM, mem bers

convened in the CJM auditorium, wherewe were welcomed by CJM DirectorConnie Wolf, who gave us a brief his -tory of the Museum. We then beganthe IAMFA Annual General Meet ing.Each of the IAMFA board mem bersaddressed the membership with a reviewof the current state of Regional Affairs,Administration, Treasury, PapyrusMagazine, and International Affairs.

Green Roof of the California Academy of Sciences, as seen from the observation tower atthe de Young Museum in Golden Gate Park.

A Strawberry Poison Dart Frog in therainforest environment at the CaliforniaAcademy of Sciences.

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John Castle then led us throughthe election of new Board members.Three Board positions were up forelection: President, VP Administra tion,and VP International Affairs. Johnde Lucy volunteered to serve for asecond term as IAMFA President, andwas approved unanimously to servefor another two years. Guy Larocquevolunteered to serve another term asVP International Affairs, and was alsoapproved unanimously for anotherterm. John Castle asked for volunteerswishing to be considered for VP Admin -istration, and two individuals expressedtheir interest: Randy Murphy from

the Los Angeles County Museum ofArt, and Kevin Streiter from the HighMuseum of Art in Atlanta. Both can -didates spoke briefly about their pastinvolvement with IAMFA, and a ballotelection was held with Randy Murphybeing elected VP Administration.Welcome Randy, and thank you foryour service to IAMFA!Patricia Morgan showed members a

DVD on New Zealand, and spoke brieflyabout travel options and the benefitsof making the trip.Following the AGM, members

boarded coaches, and departed forthe Exploratorium, where we were

Artist’s rendering of the New Exploratorium at Pier 15, planned for completion in 2013.

ZUM FOR EHDD ARCHITECTURE

© EXPLO

RATORIUM, EXPLO

RATORIUM.EDU

The Walt Disney Family Museum, locatedwithin San Francisco’s Presidio.

The IAMFA Board of Directors and guests at the Board dinner.

welcomed by Dr. Dennis M. Bartels,Executive Director of the Explora -torium. We heard a presentation fromPeter Rumsey, West Coast Director,Integral Group, with a detailed descrip -tion of progress on the Exploratorium’smove to the waterfront near Pier 15.The Exploratorium broke ground atPier 15 on October 19, 2010, the daybefore our visit. Following a tour ofthe Exploratorium, we all had lunch,sponsored by Securitas Security andEHDD Architecture. After lunch, we boarded coaches,

and headed for the Walt DisneyFamily Museum, which is located inthe Presidio. We were welcomed byRichard Benefield, Founding Exec -utive Director, who presented back -ground on the new Museum. We thenheard from Carolyn Kiernat, AIA,Principal of Page & Turnbull, andLada Kocherovsky, Associate Principalof Page & Turnbull, who spoke aboutthe design and construction of the newWalt Disney Family Museum, housedin three historic buildings within thePresidio. The Presidio is a formermilitary base that is now part of theGolden Gate National RecreationArea. The Museum occupies buildingsthat include a barracks built in 1895,and the base’s gymnasium, built in1904, both of which were extensivelyrenovated by Plant ConstructionCompany under the guidance of thearchitectural firm of Page & Turnbull.Following our visit to the Walt Disney

Museum, members and guests boardedcoaches and headed across the GoldenGate Bridge. We then walked backacross the bridge, enjoying stunningviews of San Francisco Bay, AlcatrazIsland, and the city of San Francisco.

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Downtown San Francisco and Alcatraz (left), as seen from the Golden Gate Bridge.

New Zealand Kapa Haka group performing on deck at the Gala.

After a coach ride back to the DrakeHotel and a quick change, it was timeagain to depart for what is always a high -light of the IAMFA Conference: theGala, this year held at the San FranciscoMaritime Museum. The Maritime Museum is housed

in a Streamline Moderne (late ArtDeco) building that is the centerpieceof the Aquatic Park Historic District,a National Historic Landmark. Thebuild ing was originally built (startingin 1936) as a public bathhouse, and itsinterior is decorated with fantastic andcolorful murals. The Official Gala photo was taken,

and members and guests began theevening on deck with cocktails andcanapés.Attending the Gala with IAMFA

mem bers and guests was the NewZealand Consul—San Francisco,Richard Collier Sears, who broughtwith him a Maori Kapa Haka groupto provide a glimpse of what IAMFAmembers have to look forward toduring the year leading up to theAuckland IAMFA 2011 Conference.Haka are performed for variousreasons: for amusement, as a heartywelcome to distinguished guests, or toacknowledge great achievements oroccasions. War Haka (peruperu) wereoriginally performed by warriors beforea battle, proclaiming their strengthand prowess in order to intimidate theopposition. Today, Haka constitutean integral part of formal or officialwelcome ceremonies for distinguishedvisitors or foreign dignitaries, servingto impart a sense of the importanceof the occasion. The Haka is also theprecursor to All Blacks (New Zealand)international rugby games, and stirsup both teams as well as the audience!The cultural performance group,

all connected to New Zealand and/orof Maori descent were very impressive.It felt like the Olympic Games werecoming to a close, and the torch wasbeing handed off to the host of the nextOlympics, New Zealand. What a greatway to begin the evening’s festivities!Gala attendees moved indoors, and

were welcomed by Conference host,Joe Brennan, who formally introducedeveryone to Richard Collier Sears, theNew Zealand Consul who spoke to

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us about Auckland, New Zealand,site of next year’s IAMFA Conference.Patricia Morgan, who is our host forthe 21st Conference, also addressedattendees, giving us a sampling of theparticipating venues in Auckland,recently voted one of the ten mostlivable cities in the world. John de Lucy presented a gift to

Tiffany Myers to take back to Washing -ton, D.C. for Nancy Bechtol, host oflast year’s Conference, as well as to JoeBrennan, for their efforts in planningour last two wonderful IAMFA Confer -ences. John also presented a gift toLarry Bannister, our outgoing Treasurer,and presented me, Joe May, the GeorgePreston Memorial Award. I was sosurprised and touched to receivethis award. Vinny Magorrian, retiredDirector of Facilities at New York’sMuseum of Modern Art was the firstperson I ever heard speak of thisaward. Vinny was pivotal in writing thearticle in our last issue of Papyrusabout IAMFA’s history, and mentionedthis award being given at the Gala dur -ing the Association’s early years. TheGeorge Preston Memorial Award nowhangs on the wall adjacent to my desk.Thank you again for your kindness inpresenting me with this award.

A newer tradition, initiated by ourcolorful President, John deLucy, wasalso part of this year’s closing Gala.Over the past few years, a growingnumber of IAMFA members havepacked the most colorful socks theycould find for the closing Gala. Thisyear, the number of those partici patingin this new tradition had grown dra -matically, and men were invited up onstage to display their extreme socks,and take part in a sock competition.While getting dressed for the Gala, Iwas pretty confident I might be wear -ing the winning pair . . . but I wassadly mistaken. At the Gala, there were many great

examples of just how loud a pair ofsocks can be. I knew it was going tobe a tough decision for the judges . . .And then, out of nowhere, the winnerconfidently walked up to the stage. Yes,gentlemen, it was a lady, and a verynice-looking one, too. The contest wasover so fast, and rightly so. Jenniferwas, hands down, the unanimouswinner of the sock competition. Nicesocks, Jennifer!The more important question: Which

Jennifer Won? Jennifer Fragomeni(picture 1), or Jennifer Tomaselli(picture 2)? This, my fellow IAMFA

members, could go down in history asthe most talked-about controversy inour organization’s twenty-year history.I’ve had individuals swear to me thatit was Jennifer Tomaselli, and othersinsist that it was Jennifer Fragomeni. I’m at a crossroads, and I think

there is only one proper way to settlethis controversy (or maybe two ways,but only one way is proper). There must be a re-match next year

in Auckland! And the re-match shouldnot be limited to only Jennifers! Yes,everyone is invited to take part in thisre-match; in fact, the more the merrier,as they say. Pat Morgan, as host of the2011 IAMFA Conference, I think it isyour duty to include time in next year’sGala to settle this issue. I only hope thismatter does not grow out of controlbetween now and next November,when we meet again in Auckland. The 2010 IAMFA Gala at the Maritime

Museum truly was an evening thatmembers and guests will never forget!The final day of the 2010 IAMFA

Conference was an optional day oftours for attendees, and began witha coach ride to California’s capital,Sacramento, with a stop along the wayin Benicia, a waterside city along thenorth bank of the Carquinez Strait in

Winner of IAMFA’s First Annual Gala Sock Competition in San Francisco, California: Jennifer!

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the Bay Area. Benicia served as the statecapital for nearly thirteen months from1853 to 1854.After our brief stop in Benicia, we

continued on to Sacramento, wherewe toured the capital both in front . . .and behind the scenes. The buildingserves as both a museum and thestate’s working seat of government.Visitors to the Capitol experienceCalifornia’s rich history and witnessthe making of history through themodern lawmaking process.Next, we boarded the coach for a

trip to Old Sacramento, and lunchaboard the Delta King. The Delta Kingis an authentic 285-foot riverboat that

was originally built in Glasgow, Scotlandand Stockton, California. The Kingand its identical twin, the Delta Queen,were christened on May 20, 1927, andbegan their daily river voyages betweenSan Francisco and Sacramento in Juneof that year. At 6:00 p.m. each evening,the grand monarchs of the Sacramento-San Joaquin River Delta left their docksfor the 101/2 hour trip, that includedProhibition-era drinking, jazz bands,gambling and fine dining. After a refreshing lunch aboard the

Delta King, we strolled along the Sacra -mento River to the Crocker Art Museum,which had reopened just prior to ourvisit. The New Crocker Art Museum

was the most monu mental endeavorin the Museum’s 125-year history. Theexpansion project not only tripled thesize of the current facility, but alsospanned all facets of the organization,from collection and endowmentgrowth to enriching every aspect ofthe visitor experience. It was a treatvisiting this new museum just a weekafter its opening.The next stop was the State Railroad

Museum, the second largest railroadmuseum in the world, just a strollalong the Sacramento River from theCrocker Art Museum. It was a realtreat for all to see these giants fromthe past. First opened to the public in

Room in Benicia where California State legislators convened in 1853. Modern-day meeting place for the state legislature.

The Delta King in Old Sacramento. The New Crocker Art Museum in Old Sacramento.

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1976, the California State RailroadMuseum complex is one of Sacra -mento’s largest and most popularvisitor destinations. Over 500,000people visit the Museum annually,with guests travelling from aroundthe world to experience this world-renowned facility. Given that my guest

Sally and I both grew up in railroadfamilies, this venue was one ourfavorites at this year’s conference. After a very full day touring these

remarkable facilities in the state capital,the bus ride back to the hotel was agood opportunity to reflect on a verybusy week, and one of the best IAMFA

Annual Conferences in ourorganization’s history.I’d like to finish by again thanking

the San Francisco conference orga -nizers for all their hard work andhospitality toward all of us who werefortunate to have experienced the2010 IAMFA Annual Conference.

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

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

Page 30: Papyrus Winter 2011

If you have participated in an IAMFAbenchmarking exercise, you probablyhad the good fortune to attend the

pre-conference benchmarking work -shop. Not long ago, only those takingpart in benchmarking could attend—a rather “behind closed doors” affair.But for the past few years, doors havebeen flung open wide and observershave joined the spirited event.Benchmarking is more than data

collection. The real value is in under -standing how other organizations aredoing similar jobs for less cost, or withbetter satisfaction ratings. The “Bench -marking Practices and Learning Work -shop” is one place where museumand library facility administrators canexchange practical solutions to cur -rent challenges. The workshop pro -vides a forum for networking, findingothers with like opportunities, thensharing best practices.Stories heard within the walls of the

conference room at the Sir FrancisDrake Hotel in San Francisco makeyou wonder how this great group ofproblem solvers were able to escapethe confines of their home institutions. “This week we had an emergency

of epic proportions,” reported AlanDirican of the Baltimore Museum ofArt, who looked relieved that the waterdisaster was under control before hisflight left for San Francisco. Randy Murphy of the Los Angeles

County Museum of Art announced thatthe 45,000-square-foot Resnick Exhi -bition Pavilion had opened a mere14 days before the workshop. Thesingle-storey structure is the largestpurpose-built, naturally lit, open-planmuseum space in the world.“Friday night, a 40-inch water main

broke and closed the Natural HistoryMuseum. It reopened this morning,”said Bruce Kendall, the Smithsonian’snew Director, Office of Facilities Engi -neering and Operations. “I have been

looking forward to the Conference,and especially to the benchmarking.It is so important to us with stake -holders, the board and allocationof resources.“We make use of this information

to make improvements, continuousimprovements. We look at the data toglean information that will make usbetter,” Kendall added.Just when participants thought it

could get no worse, David Sanders ofthe Natural History Museum reportedgrand larceny. “Three hundred birdskins were stolen from our Tring,Hertfordshire location. We thinkthey’re now in Canada. If it’s one ofyou in this lot, we’re keeping our eyeson you,” he said scanning the crowdfor Canadians. Although Sanders didn’tlist security as a benchmarking issueon which he’d like to improve, JoeBrennan of SFMOMA, Ed Richard ofthe National Gallery of Canada, andJohn de Lucy of the British Library did.De Lucy and other British partici pants

attempted to hide concern over Britishfinance minister George Osborne’supcoming announcements. Details ofthe harshest cut in government spend -ing in decades were released duringthe IAMFA Conference.Still, the show must go on. Steve

Hyde reported that the Victoria andAlbert Museum (V&A) maintains sevenmiles of front-of-house corridors andyet the V&A was able to reduce itscarbon footprint by 20 percent from2005 to 2009.Ray McMaster of the Australian

National Maritime Museum said, “Wedeal with aggressive marine environ -ments . . . our biggest challenge isenergy consumption.” The ChicagoChildren’s Museum also sits on thewater. Peter Williams reported thatmaintenance due to air, humidity,grit and dust are main concerns nearChicago’s major visitor attraction, theNavy Pier.

Jennifer Fragomeni revealed thatthe Exploratorium will break groundon its new facility at Pier 15 in fourdays. She can then join McMaster andWilliams in their waterfront lament.Guy Larocque of the Canadian

Museum of Civilization, which is situ -ated on a 24-acre riverside site, hasparticipated in benchmarking since1999. “Using the benchmark study,we’ve been very successful in con vinc -ing upper management to go out andget funding for capital projects.” Theyhave 96 capital projects for 2010–2011,with annual expenditures of $9,638,745.“Last June the 1916 lower-level

galleries reopened at the Cleveland ArtMuseum,” announced Tom Catalioti,whose eight-year, $350 million build -ing project is one of the largest in theUnited States. Jim Duda of the Library of Congress

began benchmarking one site, andeach year since has added another.“This has been a breakthrough yearfor us. We’ve revamped strategies andour planning process is very differentthan our approach in the past.” SteveFuoco of the Library of Congress gavethe Maintenance—Best PracticesPresentation: “Thomas Jefferson FloorWear Study.”

Winterthur 19735 “We have our own zip code,” crowedJohn Castle of the Winterthur Museum,Garden and Library. “We also havetwenty-six septic systems.” Castleacknowledged that he has not foundgeothermal or solar energy to beeconomically feasible.Ian MacLean of the Canada

Science and Technology MuseumCorporation boasts an operationalairport within his museum facility, butadmitted needing improvement inmeeting Halocarbon regulations.The Getty Center’s 1.3 million

annual visitors will have difficulty

28 PAPYRUS WINTER 2010–2011

2010 Benchmarking Practices andLearning Workshop RevealedBy Stacey Wittig

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getting to the museum when Inter -state 405—the busiest highway in theworld—is widened. “How to keep themuseum open during the four-yearbuilding process?” bemoaned MikeRogers. An unexpected meeting withhighway commissioners threatenedto cut Rogers’ conference short. David Burghart of Crystal Bridges

Museum of American Art missed theGala dinner by hopping a red-eye flightback to his construction project, dueto open November 2011.Patricia Morgan of the Auckland

Art Gallery Toi o Tamaki announcedthe expected reopening of reinstated1905 gallery space in mid-2011, justin time for IAMFA’s next AnnualConference.Benchmarking consultant Keith

McClanahan reported that IAMFA’sMedian Total Operating Costs per GSF

were reduced from last year’s $14.87to $11.80. The average savings overthe past five years were $3.3 millionper benchmarking participant.“Acceptable Adjustments to Tem -

perature and Humidity Levels in theCollections” was presented by DavidRedrup of the Tate Modern. He dis -cussed the Bizot Group’s proposedinterim guideline (stable relativehumidi ty within the range of RH 40–60%and stable temperature in the rangeof 16–25°C). The Tate Modern’s trialtemperature and humidity settings—which varied throughout the seasons—began in April 2010. Monthly Kw/husage since April was reduced, as com -pared to monthly Kw/h used duringthe two prior years.Tony Young of the Carnegie Museums

discussed adjusted tem per atures innon-collection areas, and John de Lucy

of the British Library admitted to adjust -ments. Later, Marie-Pierre Marché ofthe Bibliothèque nationale de Francesaid she enjoyed the debate fosteredby Redrup’s presentation in the TownHall discussion. The lively dialogue began when

Jack Plumb of the National Library ofScotland proposed, “IAMFA shouldbe a leader in setting variances.” JimMoisson of Harvard Art Museums wasquick to reply that the standards shouldbe set by conservators.The 2011 IAMFA Benchmark

Exercise is now open. Go to www.facilityissues.com/Museums to register.

Stacey Wittig is Marketing Director atFacility Issues, Inc., the facilitator of theIAMFA Annual Benchmarking Exercise.

City, where Harry bought me a pairof multicoloured—but mostly pink—socks with hearts on! Thank you all forjoining in the sock competition withsuch fervour—make sure to check outthe photos in this issue.At the AGM, Pat Morgan spoke on

the delights of New Zealand and thehost museums we will be visiting inAuckland on November 13–17, 2011,at our coming-of-age Conference (our21st) next year. Pat and her team havealready put a tremendous amount ofeffort into getting next year’s Confer -ence organized, and I have a sneakingsuspicion that they are planning some -thing special for us all. Let’s endeavourto demonstrate the value of IAMFA toour organisations, so that we can allattend and make ourselves truly“International”. Be sure to make your booking at

the Langham Hotel now by visitingtheir website at www.langhamhotels.co.nz/iamfa.htm, as we do not have ablock booking. You can cancel at thelast miniute at no cost, if you can’tmake it in the end.I am sure that, given the beauty and

hospitality of New Zealand, guests willwant to attend, and will also be applyinga bit of pressure—Livi has alreadystarted on me!

tous pour se joindre à la compétition-chaussette avec une telle ferveur –nous vous invitons à consulter lesphotos dans ce numéro.Lors de l’AGA, Pat Morgan a parlé

sur les plaisirs de la Nouvelle-Zélandeet les musées d’accueil nous allonsvisiter à Auckland, le 13-17 Novembre2011, lors du passage à l’âge adultedes conférences (notre 21è) l’annéeprochaine. Pat et son équipe ont déjàmis énormément d’efforts pour obtenirla prochaine conférence organisée, etj’ai la vague impression qu’ils vont pla -ni fier quelque chose de spécial pournous tous. Forçons-nous à démontrerla valeur de l’IAMFA à nos organisa -tions, afin que nous tous puissionsparticiper et nous rendre vraiment« internationaux ».Assurez-vous de faire votre réser va -

tion maintenant à l’Hôtel Langham envisitant leur site à www.langhamhotels.co.nz/iamfa.htm,c car nous n’avonspas de réservation en bloc. Vous pouvezannuler au plus tard jusqu’à 16 heuresle jour avant l’arrivée, sans frais, sivous ne pouvez vous rendre à la fin. Jesuis sûr que, compte tenu de la beautéet l’hospitalité de la Nouvelle-Zélande,les hôtes ne voudront pas manquer, etferont également d’un peu de pression– Livi a déjà commencé sur moi!

En la reunión AGM, Pat Morganhabló de las bellezas de Nueva Zelandiay de los museos anfitriones que visi -taremos en Auckland del 13 al 17 denoviembre 2011, en nuestra conferen -cia de “la mayoría de edad” (21ª) elaño que viene. Pat y su equipo ya haninvertido bastante trabajo en orga nizarla conferencia del próximo año, y tengoel presentimiento de que planean algoespecial para todos nosotros. Esforcé -monos a demostrar el valor de IAMFAa todas nuestras instituciones, para quepodamos asistir y hacernos realmente“internacionales”. Asegúrense de hacer sus reservas en

el Hotel Langham ahora a través de susitio de internet www.langhamhotels.co.nz/iamfa.htm, ya que no hemosreservado habitaciones en bloque.Pueden cancelar hasta las 4:00 p.m.de la tarde el día antes de la fechapro gramada de llegada sin costoalguno, por si tienen que cancelara última hora.Estoy seguro que debido a la belleza

y el ambiente acogedor de NuevaZelandia, todos los invitados querránasistir, y también nos presionaránun poco—ya Livi ha empezado aconvencerme!

MESSAGE FROM THE PRESIDENTCONTINUED FROM PAGE 4

MENSAJE DEL PRESIDENTEVIENE DE LA PÁGINA 4

MOT DU PRÉSIDENTSUITE DE LA PAGE 4

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30 PAPYRUS WINTER 2010–2011

Best Practices in Recycling

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PAPYRUS WINTER 2010–2011 31

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

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

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32 PAPYRUS WINTER 2010–2011

IAMFA 2010

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PAPYRUS WINTER 2010–2011 33

San Francisco

Page 36: Papyrus Winter 2011

On behalf of the membership and Board, we invite youto join with other museums and cultural organizationsthrough out the world in becoming a member of the onlyorganization exclusively devoted to museum and culturalfacility admin istrators: the International Association ofMuseum Facility Administrators (IAMFA). As a member,you will join a growing list of museum and cultural facilityadministrators in their efforts to provide a standard ofexcellence and quality in planning, development and design,construction, operation and maintenance of culturalfacilities of all sizes and varieties of programming.

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

Your involvement in IAMFA will continue the growthof the organization and provide you with excellenteducational and networking opportunities. As yourcolleagues, we look forward to welcoming you tomembership in IAMFA.

Cordially yours,The Board of the International Association of MuseumFacility Administrators

Membership OpportunitiesJoin the IAMFA at any of the following levels and enjoyfull benefits of membership:

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

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

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

Retired Member — $50 annually. A retired member isretired, and no longer involved in facilities management.

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

YES! I would like to join IAMFA as a:

� Regular Member $150 � Retired Member $ 50

� Affiliate Member $ 50 � Subscribing Member $300

� Associate Member $ 50 � I am interested in joining. Please have a member contact me.

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

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

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

Please remit to:International Association of Museum Facility AdministratorsP.O. Box 454Bel Air, MD 21014, USA

Website: www.iamfa.org

Become a Member of IAMFABecome a Member of IAMFAAND GET A FRIEND TO JOIN

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PAPYRUS WINTER 2010–2011 35

The world of museums andgalleries has undergone manychanges over the years. Ever

since the Louvre opened its doors tothe general public by offering freeaccess to its collections, museums andgalleries have shifted closer to thepublic sphere, becoming ever moredemocratic and pluralistic in nature.Throughout the twentieth century,the focus has shifted from collectingand conserving art and artifacts, tocreating places of mass appeal.With their signature architecture,

today’s museums and galleries havebecome works of art in and of them -selves, their success measured pri -marily in terms of attendance figuresand their ability to attract tourism. As the nature of museums and

galleries changes and evolves overtime, so too do lighting requirements,which must respond to a new museumtypology. Varying architectural forms,as well as a wide range of exhibition

Looking at Art in a New LightPart One in a Four-Part Series: Light Culture and Light TypologyBy Mirjam Roos & Emrah Baki Ulas

The Guggenheim Museum, New York.The National Portrait Gallery in Canberra,Australia.

environments. Lighting techniquesand solutions should be considered aspart of both the curatorial and archi -tectural requirements, and shouldbe designed to enhance the spaceand col lec tion on display, while usingappro priate technology and equipment. The following lighting design

approaches represent a range of “light -ing typologies”: different techniques,meeting different requirements,successfully applied in a number ofinstitutions around the world.

The White CubeThe “white cube”, as described inessays by art critic Brian O’Doherty,dominated galleries of the twentiethcentury. As Doherty says, this type ofgallery “subtracts from the artwork allfacts that interfere with the fact thatit is ‘art’. The work is isolated fromeverything that would detract fromits own evaluation of itself.”

formats and curatorial concepts makelighting for museums and galleriesan important factor, influencing avisitor’s overall experience of both theinstitution and its exhibitions.Greater emphasis is now given to

architectural and feature lighting, out -door art and landscape lighting, creat -ing interest and optimizing the visualexperience. Lighting can no longer beseen as a tool to illuminate art andrender the museum building visible.Instead, it has become an integral partof the visitor experience and a sig na -ture feature of galleries. Museum andgallery buildings, with their increasedfocus on retail and café services, requirelighting to be considered in a holisticway, creating an overall impression ofthe sequence of spaces.Display lighting must accommodate

new challenges related to these trends,including a requirement for greaterflexibility, and the neeed to supportinteractive exhibitry and responsive

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36 PAPYRUS WINTER 2010–2011

The installation of certain types ofart—particularly contemporary worksthat negate the use of dramatic light -ing—requires neutral, undramaticand reduced lighting which oftencomes from a diffused light-ceiling. The white cube space is typically lit

from above with a diffused light-ceiling,creating even and shadow-free lighting.Given that fluorescent and neon tech -nology was predominantly used by artistsas studio lighting from the second halfof the twentieth century on, the sametype of light was demanded in exhi bi -tion spaces, and is still the most commontype of light used in creating “glowingceilings”.Reductive, concealed lighting on

tracks or in ceiling gaps is another wayto maintain visually clean environ mentsthat merge with the art displays, whilestill providing more direct lighting onthe collection.

The Black BoxThe black box approach restricts light -ing to the objects alone, and can pro -vide extremely dramatic rendering ofsome types of objects. Objects are displayed and lit on dark

backgrounds in a space where all otherlight is excluded. In many cases, it isan attempt to make sensitive objects—

which need to be displayed in lowlight—stand out.Care must be taken, at the same

time, to avoid a lack of backgroundlight, which might provoke a sense ofgloom. One way to introduce generallighting is to wash vertical surfaceswith low levels of light, creating thesuggestion of a lit environment witha minimum of light and potentialsources of glare.

Light as Part of an Exhibit Light can be an experience in itself,becoming part of an actual exhibit.Daylight, patterns of light, and lightsequences can form an integral part ofthe display, thereby evoking emotionor other sensory experiences whichare linked or relevant to the theme orfocus of the exhibition.Light can be used to enhance

symbolic meaning and to convey mes -sages by focusing on certain parts ofan exhi bition, drawing attention to,or connect ing, certain aspects of thedisplay.The incorporation of lighting into

an exhibition in this typology needs tobe integrated at the curatorial planningand exhibition design stages.

Lighting Derived from theWorks ThemselvesLighting is used in many ways, andinnovative and experimental lightingdesigns can lead the way to new think -ing in the application of display lighting.There have been several examples ofinstallations based on the idea of tak ingthe light in a work of art as inspira tion

for an exhibition’s lighting concept of(e.g., the Hammershoi and Dreyerexhibition in Barcelona). Dependingon the type of exhibition and cura -torial intent, lighting can be used tointerpret the quality and intensity ofthe light in the exhibits (e.g., paint -ings) and how it interacts with thespace. The lighting design can thenreiterate and re-create the lightingatmosphere or direction illustratedin the paintings.It is common for the abovemen -

tioned typologies to be used in com -bination with one another, or in anintegrated manner, to create asequential series of spaces withinthe same complex.The lighting within these typologies

and other lighting techniques cangreatly enhance the overall visitorexperience. The key is to recognizethe role of light as a part of the exhi -bition content and the curatorial con -cept, rather than as a means to simplymake the exhibition visible. Lightingsolutions can be technically chal leng -ing, and must also embrace new tech -nologies and environmental con sider -ations; for a successful installation,communication and collaborationbetween curators, exhibition designers,artists and lighting designers is essential,and can make all the difference.There is a strong correlation between

the selection of lighting typologiesand light sources, in that the sourcesof light used for exhibition lightinghave different characteristics andchallenges, all of which can affect anexhibition’s visual quality and the over -all visitor experience. Natural lightwas the prevalent source of light inmuseum and exhibition spaces, untilit was excluded from the majority ofdisplay spaces due to conservationrequirements. In the next issue, wewill discuss how to reintroduce andintegrate daylight into exhibitionspaces, along with the advantagesand challenges.

Mirjam Roos (MA, Dipl.Ing., Assoc PLDA)and Emrah Baki Ulas (MA, BSc, PLDA) areSenior Lighting Designers at SteensenVarming Australia.

The National Portrait Gallery in Canberra,Australia.

The Contemporary Jewish Museum inSan Francisco.

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Like all cultural establishments, especially those fundedby governments, the pressure to reduce running costshas been intense. So, at the National Library of Scotland,

I took a good look at all the costs associated with our largestcontract: our Plant Maintenance and Operation contract. Within that contract, some £90K ($135K) was allocated

over a five-year period to fund periodic electrical inspectionand testing out of normal working hours. I consulted myIAMFA colleagues in the U.K. to find out how they have dealtwith this issue, and received various helpful responses—butall contained a high degree of after-hours work. In the U.K., British Standard BS 5454:2000 (the technical

requirements for archives) requires full inspection andtesting every three years, while British Standard BS 7671:2008(the technical requirements for electrical installations)requires periodic inspection and testing at least every fiveyears, but the period should be based on a risk assessment.I must confess to not knowing how our internationalcolleagues deal with this issue, but I suspect that regularelectrical inspection and testing will feature somewhere, ifonly as part of a fire-risk assessment regime.Having experienced a number of electrical faults, which

were not picked up by the regular full electrical inspectionand testing, I thought there must be a better way to demon -strate a safe electrical installation, without the requirementfor overtime work, while also addressing the issues thatcaused the various faults experienced. Below, I have attached the paper that I put forward, making

detailed arguments for a different periodic electrical inspec -tion and test programme. Such a programme would meetmy requirements for periodic electrical inspection andtesting, by addressing some of the issues that had causedthe various faults, and without the requirement for anyovertime. As part of a third-party auditing process, Isubmitted this paper to a professional colleague to test thevalidity of the statements made within the document.I must add that that these arguments are unique to the

National Library of Scotland. Please feel free to adapt thisdocument to your own establishment, should you wish topursue a similar path.

National Library of ScotlandPeriodic Inspection and Testing of ElectricalInstallations within the National Library ofScotland Estate

1.0. Proposed Change to the Implementation ofElectrical Periodic Inspection and Testing

The purpose of this discussion paper is to set down reasonswhy the current method of periodic electrical inspection

and testing is implemented, to highlight the advantages anddisadvantages of continuing to carry out periodic electricalinspection and testing in this manner, and then to makeproposals on how future periodic electrical inspection andtesting could be carried out.

2.0. Executive Summary

2.1. RegulationsThis paper identifies both the statutory requirements, andthe general means to comply with those statutory require -ments is discussed in some detail. Also highlighted are thespecific requirements with which archive establishmentsmust comply.

2.2. Current Inspection and Testing ProgrammeActual methods of electrical inspection and testing currentlyemployed within the Library Estate are discussed, includingsome specific relaxations based on an assessment of therisk of disconnecting and reconnecting electrical circuits.

2.3. Advantages and DisadvantagesThe advantages and disadvantages of the current inspectionand testing programme currently employed throughout theLibrary Estate are also discussed. The advantages includestraightforward demonstration of compliance with all statu -tory and guidance documentation; this section also high -lights the very significant cost both in financial terms for theamount of overtime work, and disruption to the electricalinstallations being disconnected and reconnected as partof the inspection and testing programme.

2.4. Proposals for Future Inspection and TestingProgramme

Two proposals are included in this paper, the first being tosplit collection areas and non-collection areas and applydifferent periods to these two areas; i.e., carry out inspec -tion and testing in collection areas every three years, andevery five years in non-collection areas. The second proposalis to again split the actual inspection and testing requirementsfor the collection and non-collection areas, in a way thatbest meets the requirements of the different areas.

3.0. Existing Legislation and GuidanceThis section includes excerpts from the relevant statutoryand guidance documentation, with which the currentmethod of periodic electrical inspection and testing hasbeen designed to comply.

3.1. Electricity at Work Regulations 1989

Introduction

1. The Electricity at Work Regulations 1989 (theRegulations) came into force on April 1, 1990. The

Periodic Electrical Inspection andTesting—A Different Approach By Jack Plumb

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38 PAPYRUS WINTER 2010–2011

purpose of the Regulations is to require precautions tobe taken against the risk of death or personal injuryfrom electricity in work activities. The full text of theRegulations, which includes those parts relevant to themining industries, is set out in SI 1989/635, availablefrom The Stationery Office.

2. The Regulations are made under the Health and Safetyat Work etc. Act 1974 (HSW Act). The HSW Act imposesduties principally on employers, the self-employed andon employees, including certain classes of trainees. TheRegulations impose duties on people (referred to in thisMemorandum as “duty-holders”) in respect of systems,electrical equipment and conductors, and in respect ofwork activities on or near electrical equipment. (Thewords in bold are defined in Regulation 2.) The dutiesare in addition to those imposed by the HSW Act.

7. The British Standard BS 7671 Requirements forElectrical Installations is also known as the IEE WiringRegulations—they are non-statutory regulations. They“relate principally to the design, selection, erection,inspection and testing of electrical installations, whetherpermanent or temporary, in and about buildings generallyand to agricultural and horticultural premises, construc -tion sites and caravans and their sites.”BS 7671 is a codeof practice which is widely recognized and acceptedin the U.K., and compliance with it is likely to achievecompliance with relevant aspects of the 1989 Electricityat Work Regulations.

3.2. BS 7671:2008

610.1. Initial VerificationEvery installation shall, during erection and on completionbefore being put into service, be inspected and tested toverify, so far as reasonably practicable, that the requirementsof the Regulations have been met.

621.1. Periodic Inspection and TestingWhere required, periodic inspection and testing of everyelectrical installation shall be carried out in accordancewith Regulations 621.2 to 612.5 in order to determine, sofar as reasonably practicable, whether the installation is ina satisfactory condition for continued service. Whereverpossible, documentation arising from the initial certificationand any previous periodic inspection and testing shall betaken into account. Where no previous documentation isavailable, investigation of the electrical installation shall beundertaken prior to carrying out the periodic inspectionand testing.

622. Frequency of Inspection and Testing

622.1.The frequency of periodic inspection and testing of aninstal lation shall be determined having regard to the typeof installation and equipment, its use and operation, thefrequency and quality of maintenance, and the externalinfluences to which it is subjected. The results and

recommendations of the previous report, if any, shall betaken into account.

622.2.In case of an installation under an effective managementsystem for preventative maintenance in normal use, peri -odic inspection and testing may be replaced by an adequateregime of continuous monitoring and maintenance of theinstallation and all its constituent equipment by skilledpersons, competent in such work. Appropriate recordsshall be kept.

3.3. BS5454:2000

6.4.3. Inspection and MaintenanceThe entire fixed electrical distribution system for therepository, including extensions and additions, should beregularly maintained and thoroughly inspected, tested anda written report produced at least once every three years.

3.4. Electrical Safety and You—HSE GS 38While not directly relevant to this discussion paper,reference is made to this HSE document, as it identifiesbest practices when working with electricity.

3.5. Part of the Introduction to Plant Maintenance andOperation Contract

The relevant principal function is: “to create, preserve andensure access to a comprehensive collection of the recordedknowledge, culture and history of Scotland, for the benefitof the people of Scotland and the rest of the world.”Together with core values and principal functions, the

vision and mission is intended to ensure that everyoneconnected with the Library has a clear picture of theLibrary’s unique role. From these statemens, we can seethat a prime objective the Library is to preserve the col lec -tion and to make it available to all. To understand how thisContract will play a major role in preserving the col lectionand making it available to all, we need to understand therisks to the collection.There are a great number of risks to the collection, but

this Contract is focused on addressing the following risks:Fire: To minimise the risk of fire ignition, the Contractor

will be responsible for inspecting, testing and otherwisemaintaining both the fixed and portable electrical instal -lations. The Contractor will be reponsible for keeping allplant areas clean and free from combustible materials.

4.0. Current Electrical Installations Inspection andTesting Methods

The current electrical periodic inspection and testing regimehas been designed to comply with the statutory and guidancedocumentation mentioned previously. In principle, theElectricity at Work Act requires all employers to provide asafe environment for their staff, especially with regard tothe electrical installation, the use of which is an integralpart of most Library operations. Compliance with therequire ments of BS 7671:2008 is deemed to meet the

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requirement of the Electricity at Work Regulations. Inaccordance with BS 5454:2000, the programme forperiodic electrical inspection and testing for the twobuildings that contain the collections is carried out everythree years. The requirement of the current Plant Maintenance and

Operation contract is for a thorough electrical inspectionand testing regime on every electrical circuit, as requiredfor the initial verification of an electrical installation. Thereis a slight relaxation for lighting circuits for the insulationresistance test, made on the basis of limiting disruption toexisting electrical circuits. The insulation test is madebetween the origin of a circuit—usually the distributionboard—and the first luminaire on the circuit, with theswitch closed. The earth loop impedance for the circuit isthen measured to the last luminaire on the circuit. The programme specified within the Particular Specifi -

cation requires a full inspection and test to be carried outwithin GB and CB—the buildings that hold the Library’scollections—every three years, with the other buildingswithin the Estate tested every six years. In addition to thefull inspection and testing programme, all distributionboards are inspected on an annual basis, using athermographic device. Current testing of the electrical installation includes:

• Measurement of earth-fault loop impedance

• Operation of residual current device and measurementof time to operate, if fitted

• Ring circuit continuity

• Insulation resistance

• Polarity

• Circuit protective conductor continuity

• Measurement of prospective fault current

• Functional testing

• Completion of inspection and test schedules

Current inspection of the electrical installation includesensuring that:

• All supplementary earthing on conductive parts issatisfactory

• All exposed conductors or terminals are suitablycovered/protected

• There are no broken or incomplete covers

• There is no damage to electric cables, and all areadequately supported

• There are no discrepancies to distribution boardschedules

• Individual individual conductors are identified

• Circuit references for all electrical accessories areidentified

The current inspection and testing regime complieswith all the relevant regulations, both statutory and recom -mended, but now needs to be scrutinised to ensure thatcost, which is significant in terms of overtime hours, cancontinue to be judged as value for money.Apart from the cost, one issue which is becoming clear,

following the number of inspections and testing programmesthat have now been completed, is that continued dismantlingand reconnection of the electrical installation for testingpurposes will eventually cause more harm than good, soneeds to be examined.Despite completion of a number of detailed inspection

programmes, they do not appear able to identify faultswhich have eventually occurred, some of which could beclassified in fire terms as a serious near-miss. Typical faultsthat have been identified:

• GB Main Plantroom—Loose connection within 200Afused switch supplying power factor correction equipment.The fault was detected by noticing that the front coverwas hot. Not sufficient to activate fire alarm.

• CB Level 4 Map Library—Fluorescent fitting controlequipment overheating. Smell of burning noticed, andproblem identified and isolated before fire alarm activated.

• CB Level 3 Service Corridor—Fluorescent dimmingequipment overheated; sufficient to generate smokewhich activated the fire alarm.

• GB Level 7 Rm 733—Terminal block within lightingjunction box overheated; smell of burning reported.Subsequent investigation discovered problem; fire alarmnot activated.

• LB Ground Floor Corridor—Terminal block withinlighting junction box overheated; smell of burningreported. Subsequent investigation discovered problem;fire alarm not activated.

• GB Main Plantroom—Electrode boiler in steamhumidifier failed; sufficient to activate fire alarminstallation; fire brigade in attendance.

• CB Level 3 Local Distribution Board—Terminal screwwithin distribution board came loose and eventually felldown the back of the distribution board bus bar, causingsupply fuses to blow. Fire alarm not activated.

5.0. Advantages and Disadvantages of ContinuingPeriodic Electrical Inspection and Testing asCurrently Implemented

The benefits of the existing method of implementingperiodic electrical inspection and testing is that everycircuit is examined and tested in accordance with BS7671:2008, and the relevant documentation produced,which sufficiently demonstrates compliance with theElectricity at Work Act. For the two buildings that containthe collections, the current inspection and testing pro -gramme is carried out every three years, so compliance withthe requirements of BS 5454:2000 can also be demonstrated.

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The disadvantages of continuing with the existing methodof implementing the periodic electrical inspection and testingregime is that, despite carrying out this rigorous inspectionand testing programme, faults—and potentially significantlydangerous faults—still occur. The cost in terms of manpowerand financial outlay is considerable. This is especially trueif we are to avoid disruption to existing Library operations;in that case, a significant amount of work must be carriedout beyond normal working hours.

6.0. Proposals for Future Periodic Electrical Inspectionand Testing

When considering future periodic electrical inspection andtesting methods, there are a number of issues that have tobe incorporated:

• Compliance with the requirements of Electricity at WorkRegulations.

• Compliance with the requirements of BS 5454:2000,especially with regard to inspection and testing periodsfor archive repositories.

• Compliance with requirements of BS7671:2008 isdeemed to meet the requirements of the Electricity atWork Regulations.

BS7671:2008, Clause 622.2 states, “In case of an installationunder an effective management system for preventativemaintenance in normal use, periodic inspection and test -ing may be replaced by an adequate regime of continuousmonitoring and maintenance of the installation and all itsconstituent equipment by skilled persons, competent insuch work. Appropriate records shall be kept.” All buildings within the Estate of the National Library of

Scotland have recently undergone a thorough periodicinspection and testing programme, and have completerecords to demonstrate this. As part of the existing Plant Maintenance and Operation

team, competent electrical contractors are employed tocarry out all electrical works, including periodic inspectionand testing, and these contractors can be deemed skilledpersons in terms of BS7671:2008. To ensure that the electrical installations within the

National Library Estate can categorized as being under aneffective management system for preventative maintenanceunder normal use, I propose that all new electrical instal la -tions carried out by other electrical contractors within theLibrary Estate are only accepted as complete following asatisfactory inspection and test by the onsite electricalcontractors. On the basis that all existing circuits have been inspected

and tested by the onsite electrical contractors, that thoserecords of those inspection and tests exist, and that all newcircuits have also been checked by the onsite electricalcontractors, the following electrical tests can be assumed tobe satisfactory:

• Insulation Resistance• Polarity

• Ring circuit continuity• CPC continuity

For the non-collection areas, I propose that the electricalinspection and testing be non- intrusive, and that it becarried out every five years.The following inspections shall be completed, to ensure

that:

• All supplementary earthing on conductive parts issatisfactory

• All exposed conductors or terminals are suitablycovered/protected

• There are no broken or incomplete covers

• There is no damage to electric cables, and all areadequately supported

• There are no discrepancies to distribution boardschedules

• Individual individual conductors are identified

• Circuit references for all electrical accessories areidentified

The following tests shall be completed:

• Test on the RCD shall be recorded.

• Earth loop impedance shall be measured to ensure thecircuit protective devices still operate within the timespecified for that particular circuit.

• Prospective fault current.

• Functional testing.

• Inspection and test schedules.

For all collection areas, and to meet the requirements ofBS5454:2000, I propose that periodic electrical inspectionand testing still be carried out every three years. AlthoughBS5454:2000 requires the whole repository to be inspectedand tested—as both the buildings that contain the collectionshave a fully automatic wet sprinkler installation, which isdesigned to contain any possible fire and stop it spread -ing—I would suggest that limiting the following periodicelectrical inspection and test programme to the collectionareas only can be justified. On the basis that all existing circuits have been inspected

and tested by the onsite electrical contractors, that recordsof those inspection and tests exist, and that all new circuitshave also been checked by the onsite electrical contractors,the following electrical tests can be assumed to be satisfactory:

• Insulation Resistance• Polarity• Ring circuit continuity• CPC continuity

For the collection areas, I propose more intrusive electricalinspection and testing. Instead of carrying out the normalBS7671:2008 initial verification inspection and testing, inan attempt to identify potential faults before they occur I

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propose every electrical termination within the collectionarea is checked for soundness. The following inspections shall be completed, to ensure

that:

• All supplementary earthing on conductive parts issatisfactory

• All exposed conductors or terminals are suitablycovered/protected

• There are no broken or incomplete covers

• There is no damage to electric cables, and all areadequately supported

• There are no discrepancies to distribution boardschedules

• Individual individual conductors are identified

• Circuit references for all electrical accessories areidentified

The following tests shall be completed:

• Test on the RCD shall be recorded.

• Earth loop impedance shall be measured to ensure thecircuit protective devices still operate within the timespecified for that particular circuit.

• Prospective fault current.

• Functional testing.

• Inspection and test schedules.

7.0. RecommendationsThe contents of this paper have been discussed with boththe current maintenance team—which includes competentelectrical operatives trained in inspection and testing, to meetthe requirements of BS7671:2008—as well as a charteredElectrical Engineer to test the validity of the statementsand proposals made.The view appears to be that, as there is no definitive

written instruction of what is deemed acceptable or non-acceptable when complying with the Electricity at WorkRegulations, the most secure proposal is one that has beencarefully thought-out to reflect the actual conditions andprocedures of the very specific Library Estate requirements.I believe that the proposals contained within this paper

reflect this view, and recommend that the revised electricalinspection and testing programme is implementedthroughout the Library Estate.

Jack Plumb is a chartered electrical engineer and the FacilitiesManager for the National Library of Scotland.

When traveling abroad, avoid using

luggage tags with large logos on

them. Logos are recognized in any

language; they identify you as a

business executive, and make you a

target with a kidnapper or terrorist.

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42 PAPYRUS WINTER 2010–2011

Experience has taught facilitymanagers two basic truths thathave stood the test of time:

• The organization is the key tosuccess.

• The system is the solution.

Facility managers who have devel -oped a first-rate organization withskilled, trained, and motivated people,can deal quickly and effectively withany of the many challenges that arise.And, if they have implemented a com -prehensive maintenance managementsystem to handle day-to-day workloadwhile minimizing, meeting and over -coming emergency challenges, theyare consistently meeting both theircost and functional objectives. Andthey are using the hidden resourcesrevealed through the operationalreview process, while implementingfurther continuous improvements. There are many reasons why a

manager might want to review oper -ations. For example, a newly appointedmanager might want to get an over -view of the current status; a managermight have recurring problems andwant to discover why; staff turnovermay have left inexperienced peoplein key positions; higher managementmay have mandated budget cuts; abuilding program is expanding thephysical plant, but the facilities orga -nization cannot expand its staff; thefacilities manager has been given new,more complex responsibilities, such asmanagement of a new physical plantaddition project, security, emergencyresponse, or campus-wide data pro -cessing network upgrade; the workload

is growing and deferred maintenance isincreasing; too many emergencies; or,there may be differing opinions abouthow to improve the department.

Objective of an OperationsReviewThis three-part series describes howthe facilities manager directs an oper -ations review of the facilities depart -ment. Regardless of the reason for thereview, there are three main objectives:The first is to find out the current statusof the department; the second is todetermine the potential for improve -ment; and the third is to develop aseries of actionable steps to progressrapidly from the current status to afirst-rate facilities department.

Scope of an OperationsReviewThis operations review method coversevaluation and assessment of eightareas that make up key elements ofboth the facility department organi za -tion and systems. The organizationreview includes organizational struc -ture, training, and personnel areas.The systems review includes cost con -trol, planning, materials, engineering,and facilities areas. Subject matter experts on the facility

staff, or industrial or management engi -neering staff, can perform the review.Or, if time or staff resources are notavailable internally for this importanttask, management can employ a con -sultant specializing in audits. Of thethree methods, the quickest resultmay be obtained using the consultantapproach, because the consulting firm

can devote its assigned consultant’sfull time to the review.The reviewer uses three techniques

to obtain the data for analysis: reviewof records, such as standard practicemanuals, work orders and equipmenthistory; observation of work in pro gress;and interviews with key personnel.All of the information is assembled

and organized in a structured mannerto answer the questions in the reviewformat. From the answers to the ques -tions, the reviewer calculates a pro duc -tivity score for each of the eight areas:organization, training, personnel, costcontrol, planning, materials, engi neer -ing, and facilities. This structuredapproach offers several key adva ntages;namely: subsequent reviews can becompared with the baseline review;improvement can be documented;and continuous improvement can bemanaged by concentrating on areas andelements for which less than optimalscores were determined.The completed review results may

be graphically presented as percentproductivity, on a scale of one to ten,0 to 100%, overall and for each of theeight areas. Together, the reviewer andmanagement determine an optimalpotential productivity, and the resultsare shown as in Figure 1: Actual VersusPotential Productivity. Each radial spokerepresents one of the eight areas—forexample, Organization—and is scaledfrom one to ten. Answers to review ques -tions are scored and plotted on theradial spoke. The plotted points areconnected to show the cur rent (red)shape of the maintenance department,versus the potential (blue), establishedby management. Using current costs,

Operations Review RevealsHidden MaintenanceImprovement ResourcesPart One in a Three-Part Series: The Organization is the Key to SuccessBy Thomas Westerkamp

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PAPYRUS WINTER 2010–2011 43

this data can be con verted into poten -tial savings that would result fromachieving the potential improvementin productivity.

Organization ReviewThe organization portion of the Oper -ations Review examines how the depart -ment is structured, along with theeffectiveness of the organizationaldevelopment techniques that manage -ment employs. Some questions posedare: Is there a written policy manualwith department mission, objectives,responsibilities, and methods usedfor performance measurement andcontrol? What type of organizationalstructure is used: line, staff or a com -bination? Are there job descriptionsfor all positions? Is there an up-to-dateorganizational chart and tables? An organizational chart shows

reporting lines, and organizationaltables show a listing of technicians persupervisor and planner, and by depart -ment and shift. Supervisors should beable to provide information about theskill levels in the groups—how many

are trainees, skilled technicians, andsoon-to-be retired employees? Whatare the ratios between supervisors andtechnicians? Planners and technicians? Good staffing ratios are 15 hourly

workers per supervisor, 30 workersper planner, and six supervisors pergeneral supervisor. When evaluatingthese ratios, the reviewer gives con -sideration to non-supervisory dutiesperformed. If, for example, supervisorsspend half of the time ordering andhunting for spare parts and planningjobs, they won’t be able to supervise aslarge a crew effectively, because goodsupervision requires being at the jobsites, observing progress, identifyingimprovement opportunities, and antici -pating when the next assignment willbe needed. The two foremost respon -sibilities of line supervisors are utilizationof the workforce and development ofworker skills.

Training ReviewTraining for both new and experiencedtechnicians, supervisors and plannersis an essential part of the maintenance

program. New employees need to beoriented to the department’s mainte -nance policies, and minimum job skillsshould be required. Existing employeesneed periodic training to keep upwith new regulations, new assets, andnew tools installed since they werefirst trained.Management should have a written

master training plan describing coursecontent for all maintenance hourlyand staff. In addition to skills training,the plan should include productivityand continuous improvement tech -niques. A combination of classroomand on-the-job training provided byinstructors, supervision, and vendorsprovides the most comprehensive andcost-effective training program. A varietyof media, such as videos, live demon -strations, lab practice, and instructor-ledsessions are used. Vendor instructorscan participate through group instruc -tion, demonstrations and acceptance-testing of new equipment or tools.Planner training is a key to high

productivity, because planners field-check jobs and recommend safety pro -cedures, methods and tools for perf -orming the work. They should be veryfamiliar with the work-order process,scheduling, material planning, jobtimes, standard practices, preventivemaintenance, project planning, multi-craft planning. They should also bevery familiar with the computerizedmaintenance management system.

Personnel ReviewWhile employee motivation cannot bemeasured directly, management knowsthat motivation drives performance.All performance concerns fall into twocategories: problems of skill, or how toperform a given method; and rate, orthe pace at which the method is per -formed. Given that a technician hasthe ability, problems of skill are solvedthrough training and practice. Tech ni -cians have demonstrated adequate skillwhen they have performed a quality job,using a good, representative method ina safe way, and in an objective, stan dard“should-take” time (therefore at a rea -sonable cost). Using such standards tomeasure performance is a manage mentmethod for ensuring that tech nicians

Organization

Potential Productivity Current Productivity

Planning

Cost Control Training

Personnel

FacilitiesMaterials

Engineering

Potential Savings: $2,850,000.00

Figure 1: The Productivity Polygraph—Actual vs. Potential Productivity

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44 PAPYRUS WINTER 2010–2011

are doing a fair day’s work for a fairday’s pay.An important motivating factor is

attitude. A technician may know howto perform the job well, but does itslowly because of a negative attitude.The perceptive supervisor, who spendsenough time observing crews at thejob site, can detect the absence of apositive attitude. Is the employee oftenidle on the job, in the lunch room?Does the employee interrupt others’work, walk off the job frequently? Toquantify attitude problems, manage -ment can count the number of jobs thatrequired excessive time by comparingactual versus standard times.Another area that can provide

insight about personnel is the overallmanagement-labor climate. Are theremany grievances? Are the grievancesusually resolved at the first level, ordo they go to the second, or third, orarbitration, for resolution? Some otherquestions to ask to detect negative atti -tudes are: What is the annual turnoverrate? What causes the turnover? What isthe absentee rate? How much lost timedue to late starts? Early quits? Whichwork rules in the collective bargainingagreement, or company work rulesmanual, cause the most disagreement?Have past new agreements been settledwithout a strike?

In the maintenance department,common problems are trade juris dic -tion matters, wage payment or incentiveplan equity, standard times, overtimedistribution, transfers, promotions, jobskill changes, job requirements, shiftassignments, and equitable distributionof work assignments. A good climateof respect and cooperation results ifgrievances are addressed promptlyand openly at the shop floor level bythe management and labor partiesimmediately involved.The second article in this three-part

series will discuss what information togather, and how to evaluate the fivesystems areas on the MaintenanceProductivity Polygraph: cost control,planning, materials, engineering andfacilities. The third and final articlewill describe evaluating overall resultsof the operations review. It will alsopresent the point-evaluation scoringmethod, and will list the questions usedto evaluate and score the productivityof a maintenance department.

Thomas A. Westerkamp is a consultant,lecturer, and author of the MaintenanceManager’s Standard Manual and theAWARE.MPS, Maintenance ProductivitySuite. He founded Productivity NetworkInnovations, LLC (PNI) in 1986. He workswith clients in manufacturing, serviceindustries and government to installintegrated performance management/CMMS and shop floor control programsaround the world.

Other Resources

• The Maintenance ProductivityPolygraph is available as anautomated application,Aware.MNT, MaintenanceAudit Software, www.pninc.com

• Hundreds of actionable solutionsyou can use right away are foundin Maintenance Manager’s

Standard Manual, by Thomas A.Westerkamp, BNi Publications,Inc., www.bnibooks.com(c$)

• Additional case studies ofmaintenance operation reviewsand elements of computerizedmaintenance managementsystems are found in Maynard’s

Industrial Engineering Handbook,Editor-in-Chief, 5th Ed., Kjell B.Zandin, McGraw-Hill, Inc. 2001.Thomas A. Westerkamp, Chapters16.1 , Computer-Aided Mainte -nance Planning, Scheduling, andControl; 16.2, Benefits of Auditingthe Maintenance Department; andG.1, Glossary.

The Lifetime Achievement in Facilities Management

Award was presented to John de Lucy, Director ofEstates and Facilities at the British Library, at the

PFM Awards dinner on Wednesday, November 3.

Now in their 17th year, the PFM Awards are

recognised as the premier accolade for best

practices related to working in partnership to

deliver facilities and support services across a

broad spectrum of organisations in the private

and public sectors. Throughout his career, John

has been at the forefront of the evolution of

facilities management, from pioneering flexible

working and wi-fi in the workplace to supporting

excellence in facilities management in the UK,

Europe and around the world.

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PAPYRUS WINTER 2010–2011 45

Introduction

In preservation environments, there are a number ofenvironmental factors which can cause the degradationof materials and artifacts. Among these are temperature,

humidity, particulates, and gaseous pollutants. Of these,gaseous pollutants are the most destructive. Gaseous pollution today is caused primarily by the burn -

ing of fuels in power plants, factories, commercial anddomestic buildings, and automobiles. The two main typesof gaseous urban air pollutants can be classified either asacidic or oxidizing. Over the years, these two types havemerged, and now the three main pollutant gases foundthroughout the industrialized world are sulfur dioxide(SO2), ozone (O3), and nitrogen dioxide (NO2). Othersof primary concern include chlorides (chlorine [Cl2] andhydrogen chloride [HCl]), acetic acid (CH3COOH), andformaldehyde (HCHO).While automotive and/or industrial emissions are

considered the largest contributors of SO2, O3, NO2, andchlorides, there are also many significant sources of internally-generated pollutants. Materials and activities associated withrestoration and conservation laboratories, many artifacts andarchival materials, and employees and patrons themselves,can contribute to the overall pollutant load in preservationenvironments.Although gaseous pollutants are a major worldwide

environmental concern, sources of gaseous pollutants,their intro duction and migration through museums, andtheir interactions with artifacts, are the least studied andleast understood area of concern within preservationenvironments. General reviews of pollutant sources andobject vulnerabilities and information and guidelines forgaseous pollutants were scarce until the 1990s.There is some information, research, and consideration

of common urban pollutants and their effects on artworkand archival materials, as well as guidelines for their control.Generally, these guidelines call for interior concentrationsof gaseous pollutants to be maintained as low as attainableby gas-phase air filtration. The most commonly cited controllevels for gaseous pollutants are shown below.

Sulfur dioxide <0.35 - <1.0 ppbOzone <0.94 - <12.5 ppbNitrogen dioxide <2.65 ppbChlorine <1 - 3 ppb

Hydrogen chloride <1 - 3 ppbAcetic acid <4 ppbFormaldehyde <4 ppb

Air-Monitoring Tools and TechniquesAir monitoring is central to any environmental controlprogram for achieving and maintaining air-quality standards,based on the presence (or absence) of gaseous air pollu -tants. Such monitoring can also provide the short-termdata required to manage and mitigate contaminant-specificepisodes. In addition to direct application to contamination-control programs, air-monitoring data may be employedfor (1) the evaluation of long-term air-quality trends in afacility, and (2) research studies designed to determinerelationships, if any, between pollutant levels and possibledamaging effects. Air-quality measurements in preservationenvironments often make stringent demands on moni toringinstrumentation and methodologies. Special modificationsand protocols are often needed to adapt the techniques foruse in these environments.Several characteristics of any measurement technique

must be evaluated to determine its appropriateness for use in(indoor) air-quality monitoring. Among the more importantcharacteristics are sensitivity, cost, and complexity. Sensi tivityis a particularly demanding parameter for indoor environ -ments where near-ambient levels of many pollutants maybe encountered, and control levels are approaching thesub-parts per billion (ppb) level. Likewise, cost may be quiteimportant when deciding on a measurement technique,particularly in large surveys. A final point of considerationis the complexity of the technique, and the degree of skilland training required to obtain quality results. Other factorsdeserving consideration are selectivity and portability. Mostmeasurement techniques are not optimized for all of theseparameters, and one must weigh the various characteristicsin order to best meet the desired goals. Often trade-offswill be necessary in selecting the techniques to be used fora specific study.

Direct Gas MonitoringThe biggest problem today is not whether specified levelsof air quality can be reached, but whether they can beaccurately measured to ensure compliance with any stan dardsor control criteria. One consideration faced in designing

Air-Quality Standards for PreservationEnvironmentsConsiderations for Monitoring and Classification of Gaseous PollutantsBy Chris Muller

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46 PAPYRUS WINTER 2010–2011

an (indoor) air-quality monitoring program is the choiceof passive vs. active sampling. The (relatively) immediatefeedback of an active monitor is a most desirable aspect,and is what often precludes the use of passive monitors.Another consideration is the option of direct versusindirect monitoring techniques.Electronic devices designed for real-time gas monitoring

respond to changes in the measured variable very quickly.They are capable of detecting pollutant levels in the ppbrange, and are available for a wide range of pollutants.Individually, chemical pollutants may be monitored usingvarious analytical techniques to provide both the sensitivitiesand selectivities required to perform accurate low-levelreal-time monitoring. The major disadvantage to the useof real-time gas monitors is the relatively high cost whencompared to other techniques. Table 1 lists a number ofdifferent pollutants and the levels which can be monitoredwith real-time monitors.

Reactivity MonitoringEven though it is possible to identify and quantify (almost)all chemical species one may encounter in preservationenvironments, the question still remains: “what do I dowith this information?” To date, there has been no studyperformed (or at least published) which provides definitiveinformation as to the cause-and-effect relationship betweenspecific levels of gaseous pollutants and the damage they maycause to paper documents, artwork, and historical artifacts.Because of this, a number of institutions are turning to envi -ronmental classification via what is referred to as reactivity, orcorrosion, monitoring. The validity for this air-monitoringtechnique lies in the fact that many of the pollutants targetedfor control are corrosive in nature and, therefore, can beeffectively measured using this technique.Reactivity monitoring can characterize the destructive

potential of an environment. The growth of various corro -sion films on specially prepared copper, silver, and/orgold(-plated) sensors provides an excellent indication ofthe type(s) and level(s) of essentially all corrosive chemicalspecies present in the local environment. Both passive andreal-time reactivity monitors are currently available, andeach can be used to gather important information ongaseous pollutants and their levels in the environment.

Environmental Reactivity Coupons (ERCs)ERCs (Figure 1) are passive monitors typically exposed tothe environment for a period of 30 to 90 days, then analyzedfor the amount and type of corrosion which has formed.This technique can provide cumulative reactivity rates, anassessment of “average” environmental conditions overtime, and an indication of the type(s) and relative level(s)of corrosive gaseous pollutants.ERCs may be used to indicate the presence of SO2, O3,

NO2, Cl2, and many other corrosive materials which cancause deterioration of metals, cellulose, and organicmaterials. ERCs originally used only copper reactivity toestablish environmental classifications. However, copperis not sufficiently sensitive to many of those pollutantsubiquitous to most urban environments—the same envi -ronments in which most museums, etc. are located. Further,copper coupons cannot detect the presence of chlorine, aparticularly dangerous contaminant to metals.With this in mind, the use of silver reactivity monitoring

was developed for these unique environments. Silver is

Table 1: Currently available real-time chemical/gas monitors

Concentration Lower Detection Response Susceptibility Pollutant Range, ppb Limit, ppb time, sec Selectivity to Interferences

Ammonia 0-200 1.0 900 Medium Low

Formaldehyde 0-1000 0.2 300 High Low

Hydrochloric acid 0-200 1.0 900 Medium High

Hydrogen sulfide 0-200 1.0 120 Medium Low

Nitrogen oxides 0-200 0.1 90 NO-High, NO2-Low Low

Ozone 0-1500 1.0 50 High Low

Sulfur dioxide 0-200 0.1 120 High Low

Figure 1: Copper/silver ERC.

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PAPYRUS WINTER 2010–2011 47

sensitive to chlorine and, when used with copper reactivitymonitoring, can be used to detect changes in the levels ofgaseous pollutants in the ambient environment as small as1 ppb, while also differentiating between different types ofcontaminants.The corrosion reported from reactivity monitoring with

ERCs is actually the sum of individual corrosion films. Forcopper coupons, sulfide and oxide films are most com -monly produced and are reported as copper sulfide (Cu2S)and copper oxide (Cu2O), respectively. For silver coupons,sulfide, chloride, and oxide films may be produced and arereported as silver sulfide (Ag2S), silver chloride (AgCl),and silver oxide (Ag2O), respectively. Each coupon isanalyzed as to the type and amount of film present and itsrelative contribution to the total corrosion produced.1,2

Environmental Reactivity Monitors (ERMs)One consideration faced in designing an air-quality moni tor -ing program is the choice of passive vs. active sampling. Theimmediate feedback of an active monitor is a most desirableaspect, and is what often precludes the use of passive moni -tors. The main limitation in the use of CCCs is their inabilityto provide a continuous environ mental classification. To

address this, reactivity monitoring has been taken a stepfurther through the development of a real-time monitoringdevice employing metal-plated quartz crystal microbalances(QCMs, Figure 2).3,4 These micro processor-controlled devicesare able to measure the total environmental corrosion attrib -utable to gaseous pollutants. ERMs employing QCMs candetect and record changes <1 ppb. This ability is regarded asone of the main require ments for any real-time monitoringprotocol to be used in preservation environments.To date, there is only one commercially available ERM

employing copper and silver-plated QCMs able to providereal-time information on the amount of corrosion occurringdue to the presence of gaseous pollutants (Figure 3). Thisdevice monitors corrosion on a continuous basis, whichallows for preventive action to be taken before seriousdamage has occurred. Appropriate reactivity and alarmlevels for a particular application can be easily adjusted.This device may be operated independently as a battery-

operated unit, and the monitoring data can be uploadedto a PC for viewing or graphing. It may also be wired directlyinto a central computer system. By making use of the unit’sability to interface with computer systems, up-to-the-minuteinformation on the levels of corrosive contaminants can beobtained. Environmental classification databases can beestablished and maintained to provide historical data.

Control SpecificationsThere has been little research done to determine whatlevels actually cause deterioration of historical artifacts andarchival materials. Experience has come from determi nationof the normal background levels of the pollutants to whichthese materials have been exposed over the years. Somepostulate that more deterioration has occurred in the pastfifty years than in the previous two thousand. As stated atthe beginning of this section, it was not until the IndustrialRevolution, and more distinctly, “the Age of the Car” thatglobal pollutant levels dramatically increased. “Normal”background pollutant levels measured in non-industrialversus industrial areas today frequently show differencesof two orders of magnitude. This is illustrated in Table 2.

Figure 2: Quartz crystal microbalance.

Figure 3: Environmental Reactivity Monitor.

Table 2: Common levels of gaseous pollutants

Normal Peak Background Concentrations

Pollutant Concentrations (Urban Areas)

Sulfur dioxide 6-30 ppb 100-750 ppb

Ozone 0.4 ppb 20-40 ppb

Nitrogen dioxide 1.0-1.5 ppb 40-100 ppb

Chlorine 0.06-0.6 ppb 20-130 ppb

Hydrogen chloride 20-50 ppb 200-450 ppb

Acetic acid 4-10 ppb 20-100 ppb

Formaldehyde 3-15 ppb 10-40 ppb

Hydrogen sulfide 5-10 ppb 100-500 ppb

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Just as there are wide variations between backgroundand peak gas concentrations, there are also wide variationsin just what are considered acceptable levels for thesepollutants. Some institutions specify that sulfur dioxide,nitrogen dioxide, and ozone are to be removed completely.Other sources recommend levels from fractional parts-per-billion up to the low parts-per-million (Table 3). One mightargue that, although there is still considerable variationin the recommended allowable pollutant levels, at leastattempts have been made to set standard levels. Based on joint research performed by Purafil, Inc., the

Dutch Government,5 the Swedish Corrosion Institute,6 andthe Comitato Termotechnical Italiano (C.T.I.),7 reactivitymonitoring using either copper or silver corrosion ratesare now preferred over direct monitoring of gaseous pollu -tants. It has become the standard for air-quality monitoringin Dutch government archives, and is being considered asan EU standard. These specifications are also shown inTable 3.This environmental analysis method is currently being

used by Purafil and a number of institutions and inter na -tional government agencies, and has been described in theliterature.8,9

The amount of corrosion forming over any given periodis a primary indicator of how well-controlled an environmentmay be. Where gas-phase air filtration is employed to main -tain the interior concentrations of gaseous pollutants aslow as possible, corrosion rates <15–20 Å/30 days rangecan be routinely maintained. Subsequent gas monitoringhas indicated pollutant levels to be at or below the limits ofdetection for the analytical techniques employed. This“no detectable pollutants” scenario is being used to set upenvironmental classification systems based on reactivitymonitoring. It is felt that, if an environment exhibits corro -sion rates less than or equal to those in Table 3, there isnothing else which can be done, economically, to improvethe environment.

Environmental ClassificationsTable 4 lists a standard classification scheme which directlycorrelates corrosion rates to environmental classifications.These are being refined based on the results of testing andthe specific needs of this market. Typical uses of reactivitymonitoring to date have been for the characterization ofoutdoor air used for ventilation, the identification of “hotspots” within a facility, and the effectiveness of various pre -ventive measures. Reactivity monitoring is being used forthe purpose of developing the cause-and-effect relationshipbetween gaseous pollutants and the damage it may causewithin preservation environments and to paper documents,artwork, and historical artifacts.

Air Purity RecommendationsArchives, Metal Collections, Rare Books: Class S1/C1

Museums, Museum Storage, Libraries: Class S2/C2

Historic Houses: Class S3/C3

Short Term Acceptable: Class S4/C4

Not Acceptable: Class S5/C5

Generally speaking, the silver and copper corrosionrates should be Class S2/C2 or better, unless otherwiseagreed upon. The individual corrosion films quantifiedusing reactivity monitoring may be used to further charac -terize the environment and to determine the proper controlaWith no sulfur corrosion evident.

bWith no chloride corrosion evident.

Table 3: Control specifications for preservationenvironments

Contaminant/ ReactivityParameter Concentration Level, Measured ppb µg/m3 Å/30 days

Sulfur dioxide ≤0.35-1.0 ≤1-2.85 —

Ozone ≤2.65 ≤1.8-24.5 —

Nitrogen dioxide ≤0.94-12.5 ≤5 —

Chlorine ≤1-3 ≤3-9 —

Hydrogen chloride ≤1-3 ≤1.5-4.5 —

Acetic acid <4 <10 —

Formaldehyde <4 <5 —

Silver Corrosion — — <40a

Copper Corrosion — — <90b

Table 4: Environmental classifications for preservation environments

Silver Corrosion Copper Corrosion

Air Quality Air Quality Class Classification Corrosion Amount Class Classification Corrosion Amount

S1 Extremely Pure <40 Å / 30 days C1 Extremely Pure <90 Å / 30 days

S2 Pure <100 Å / 30 days C2 Pure <150 Å / 30 days

S3 Clean <200 Å / 30 days C3 Clean <250 Å / 30 days

S4 Slightly Contaminated <300 Å / 30 days C4 Slightly Contaminated <350 Å / 30 days

S5 Polluted ≥300 Å / 30 days C5 Polluted ≥350 Å / 30 days

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strategies. Based upon these recommended control levelsand test results from laboratory and field-exposed silvercoupons, acceptance criteria relevant to these applicationshave been determined. These criteria take into accounttotal corrosion, as well as the relative contribution of eachindividual corrosion film. The control specifications forthe individual corrosion films are listed in Table 5. Thesespecifications are more general in their application thanthose listed above, and are most often used for the charac -terization of an environment prior to the implementationof pollutant control measures. As long as the total corrosion and each individual cor -

rosion film meets the recommended criteria, the localenvironment in which that particular coupon has beenexposed is deemed to be acceptable. Any of the criteriawhich are not met indicate that the local environment maynot be sufficiently well-controlled to minimize the decay ofartifacts and materials due to the presence of gaseous pollu -tants. Steps should be taken to determine what problemsexist, and what corrective actions may be appropriate.

Summary and ConclusionsFor the last several years, Purafil has been working with anumber of institutions to develop and refine techniqueswith which conservators may accurately gauge the destruc -tive potential of their environments toward those artifactsand materials entrusted to their care. However, no definitiveinformation currently exists which describes the cause-and-effect relationship between specific levels of gaseous pol -lutants and the damage caused to artifacts and archivalmaterials. Because of this, many are questioning the applica -bility and costs of direct gas monitoring and have turnedto an alternate method of environmental classification:reactivity monitoring.This environmental analysis method is currently being

used by a number of museums and archives, and has beendescribed in the literature. The validity for this air-monitoringtechnique lies in the fact that many of the contaminantswhich are of primary concern in preservation environ-ments are corrosive in nature and, therefore, can be easilymonitored via reactivity monitoring.Standards have been proposed which directly correlate

silver reactivity rates to environmental classifications, andthese are being refined based on the results of testing andthe specific needs of these environments. In fact, many new

facilities or major renovations over the last several years havemade reactivity monitoring a part of their overall environ -mental control strategy. Some of the more prominentexamples of this are listed here.

• Environmental classifications using reactivity moni tor inghave now been adopted as standard for all Dutch govern -ment archives, as a result of extensive government-sponsored testing at the General Government Archivesat The Hague.

• The Italian government required the use of reactivitymonitoring in both the Sistine Chapel and Leonardoda Vinci’s Last Supper, once restoration activities werecomplete. It sponsored a survey of all the major museumsin Italy in order to evaluate the broad application of anenvironmental classification system based on reactivitymonitoring. Reactivity monitoring has been performedat more than 160 locations in 28 institutions. A draftstandard is being prepared for consideration.

• Reactivity monitoring was used in the Capital Museum,the Forbidden City Museum, the Shanghai Art Museumand many others prior to and during the 2008 Olympicsin Beijing, China to assure the environment was safefor many delicate historical artifacts that had neverpreviously been publicly displayed.

• New national archive facilities built in Singapore, China,and New Zealand have made reactivity monitoring partof their environmental control specifications.

• In the United States, reactivity monitoring has beenused in the National Archives, Archives II, and the statearchives of Arizona, Georgia, California, Minnesota,and Washington.

Through analysis of ERCs used in museums around theworld, it has been shown that, in many parts of the indus -trialized world, outdoor air does not meet general or specificacceptance criteria with regard to the levels of gaseous pol -lutants. Many instances of indoor air quality being deemed“not acceptable” have also been identified. Once the needfor controlling gaseous pollutants has been established,and control levels have been suggested, the air quality ofthe space to be protected still needs to be determined.This includes an assessment of the quality of the air insidea facility, as well as the quality of the air outside the facility.

Table 5: General reactivity monitoring acceptance criteria

Silver Reactivity Acceptance Criteria Copper Reactivity Acceptance Criteria

Silver Corrosion Corrosion Film Copper Corrosion Corrosion FilmReaction Products Thickness Reaction Products Thickness

Silver Chloride, AgCl 0 Å / 30 days Copper Sulfide, Cu2S 0 Å / 30 days

Silver Sulfide, Ag2S <50 Å / 30 days Copper Oxide, Cu2O <150 Å / 30 days

Silver Oxide, Ag2O <50 Å / 30 days Copper Unknowns 0 Å / 30 days

Total Silver Corrosion <100 Å / 30 days Total Copper Corrosion <150 Å / 30 days

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50 PAPYRUS WINTER 2010–2011

The amount of corrosion forming over any given periodis a primary indicator of how well-controlled an environmentmay be. Where gas filtration is employed to maintain theinterior concentrations of gaseous pollutants as low aspossible, reactivity levels well within the general and specificacceptance criteria can be easily attained. It is felt that, ifan environment exhibits a reactivity rate of S1/C1 (<40 Åand <90 Å / 30 days, respectively), there is nothing elsethat can be done, economically, to improve the environ -ment. If the general reactivity monitoring acceptance cri -teria of S2/C2 is met, it is accepted that this is an environ -ment sufficiently well-controlled as to prevent the decay/deterioration of objects and artifacts.The monitoring results for those coupons which meet

these criteria indicate that the local environment is deemedgenerally acceptable for the conservation/preservation ofhistorical artifacts and archival materials.

References1. Abbott, W.H., “The Effects of Operating Environments onElectrical and Electronic Equipment Reliability in the Pulpand Paper Industry,” IEEE Conference Record, Institute ofElectrical and electronic Engineers, Inc., New York, 1983.

2. Rice, D.W., et al., “Atmospheric Corrosion of Copper andSilver,” Electrochemical Society, 128(2), pp. 275-284, 1981.

3. W.G. England, et al., “Applications of a Real-Time ElectronicContact Corrosion Monitor,” Proceedings of Advances inInstrumentation and Control, Vol. 46: pp. 929-955, InstrumentSociety of America, Anaheim, 1991.

4. A.J. Weiller, “Electronic Monitoring of Indoor AtmosphericPollutants,” Proceedings of Healthy Buildings ‘94, pp. 241-243,National Coalition on Indoor Air Quality, 1994.

5. “Advisory Guide-Line Air Quality Archives,” Delta Plan forCulture Preservation, Ministry of Housing, Spatial Planning andthe Environment, Government Buildings Agency, The Hague,The Netherlands, 1994.

6. M. Forslund, A Quartz Crystal Microbalance Probe for in situAtmospheric Corrosion Monitoring, Department of MaterialsScience and Engineering, Division of Corrosion Science, RoyalInstitute of Technology, pp. 1-44, Stockholm, 1996.

7. “Microclima, Qualità Dell(Aria E Impianti Negli AmbientiMuseali,” Giornata Seminariale, Associazione ItalianaCondizionamento dell(Aria Rescaldamento, Refrigerazione,Firenze, Italy, pp. 39-66, February 1997.

8. Muller, C.O., “Gaseous Contaminant Control Strategies at theHague,”Proceedings of the 87th Annual Meeting, Air & WasteManagement Association, Pittsburgh, PA, June, 1994.

9. Muller, C.O., “Airborne Contaminant Guidelines forPreservation Environments,” Proceedings of the 24th AnnualMeeting, American Institute for Conservation of Historic andArtistic Works, Washington, D.C., June, 1996.

Chris Muller is Technical Director of Purafil Inc.

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PAPYRUS WINTER 2010–2011 51

You are probably aware of certain claims being madeabout the use of LED lighting technology within themuseum environment. This paper will try to address

those claims in a manner consistent with current, high-quality, white-light LED sources.Claims have run the gamut from: LEDs have no UV, and

no IR, and therefore any LED is the best source for lightingin museum environments, and lighting sensitive artwork, atany light levels, to: LEDs are the most dangerous sourcethat can be introduced, because the color rendering index(CRI) is lousy, the spectrum has significant spikes, and theywill permanently damage your artwork in no time.As with most statements, the actual facts are somewhere

in between, and require an understanding of where thesestatements are coming from.Let’s start with a qualification of museum lighting. The

current “standard” for most museum and gallery lighting isto use a tungsten halogen source, with the appropriate out -put for the desired light levels. I will thus focus my compari -son of sources between a high-quality, high-CRI halogensource, and a high-quality, high-CRI white-light LED.Halogen sources are the most commonly used source in

museum lighting environments, for several reasons. Thosereasons are:

1. Spectral Distribution: Halogen light is full-spectrumlight. This means that, if you analyze a spectral distri bu -tion chart (SPD), all colors from the violet end of thespectrum to the red end of the spectrum are present.Artwork that is illuminated by a full-spectrum source willbe rendered well. In addition, the energy output of thehalogen spectrum is well documented, and well under -stood in terms of exposure to artwork. As a general state -ment, the most significant alteration of the halogenspectrum for museum lighting has been to filter out theultraviolet component, and sometimes (although rarelyin practice) filter out the IR component. In theory, youthen have a source with full-spectrum, visible light,insignificant amounts of UV, and insignificant amountsof IR. An SPD of this type of source would look like this:

2. CRI: The Color Rendering Index (CRI) of a halogenlamp is near 100, meaning that it will render all artworkwell. In theory, a source with an incandescent filament(which is what a halogen lamp is) creates full-spectrumlight with a CRI close to 100. In practice, the coatingsthat are typically used in today’s halogen lamps intro -duce small shifts in spectrum that sometimes causes ahalogen lamp to exhibit a CRI with a value less than100—say, 97 or 98.

3. Color Temperature: Halogen sources have a colortemperature that is conducive to illuminating artwork.Depending on the lamp type, halogen sources typicallyexhibit color temperature readings in the range of 2850Kto 3050K. This color temperature range is used in thevast majority of museum environments today.

4. Damage Potential or Relative Damage Factor: This isa way of characterizing any light source in terms of itsradiant power, with the understanding that shorterwavelengths of light (UV—blue region) are more damag -ing than longer wavelengths (Red—IR Region), sincelonger wavelengths of light have less energy. By usingthe widely accepted works of Harrison, Krochmann and,later, Saunders and Kirby, it is generally accepted thathalogen sources have a damage potential of 1.4. Sinceincandescent and halogen sources are inherently full-spectrum, but with a higher proportion of longer wave -lengths (red), their damage potential is less than a sourcewhich has a higher color temperature. Keep in mind,however, that this also assumes that all UV is removedfrom the source by way of high-quality filtering (below400 nm).

Why should a current-generation high-quality LEDsource be considered for use in a museum environment?To compare the above points with a high-quality white-

light LED, there are a few things to consider:

1. Spectral Distribution: Not all LEDs are created equal.This is an extremely important point, since it is easy tolump all halogen lamps into a relatively close categoryin terms of characteristics. For LEDs, it is impossible tolump them all together, since they can be designed toexhibit such a wide range of characteristics. White-lightLEDs can have very poor CRIs (in the 60s), or very highCRIs (98). White-light LEDs can have very blue color(CCT>6500K), or very warm color (CCT<2700K). Forthe purposes of this article, all references to white-lightLEDs going forward will reference a high-quality, white-light LED with a high CRI and a warm color temperatureof 2700K–3000K. An SPD of this form of LED source isshown below.

LED Use in the Museum EnvironmentBy Ken Kane

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52 PAPYRUS WINTER 2010–2011

2. CRI: The color rendering index of this source is as highas 98 CRI, using the current metric. This has been verifiedby several independent testing laboratories, using thesame metrics that would typically be used to measure ahalogen, or any other source. This CRI, when comparedto a halogen source is virtually identical, and in factmeasures higher in some areas such as R9 (deep red).

3. Color Temperature: High-quality white-light LEDs are aphosphor-based lighting system. This means that a blueLED is used to excite a yellow phosphor to create whitelight. The color temperature is “tuneable” based on thewavelength of the blue LED, and the wavelength of lightemanating from the phosphor mixture. 2700K, similarto incandescent, and 3000K, similar to halogen, are twotypical CCTs available with a high-quality white-light LED.

4. Damage Potential: Because of its relatively continuousspectrum—with the additional benefit of an extremelylow UV component, as well as extremely low IR compo -nent—the damage factor of a high-quality white-light

LED source can actually be less than that of a halogen,or even an incandescent source. Using the same calcu -lation method as compared to other sources, the whitelight LED represented in the previous SPD has a relativedamage potential of .84 at 3000K.

The lack of actual test data on the current generationof white-light LEDs, relative to conservation requirements,is an issue. While there may be scientific data to supportall claims made in this paper, there is a distinct lack ofcom pleted testing on LED lighting specific to conservationconcerns. Tests such as the ISO Blue Wool test are currentlyunderway in several locations, but those results have notyet been published. While LED light sources are relatively new in terms of

high-quality white-light illumination, there are many waysto measure and evaluate their characteristics for use inmuseum lighting environments. The concept of evaluatinga new source for its appropriate use is not new; it simplyhas to be evaluated in a thoughtful, scientific way. The mostimportant aspect for the selection of any source when con -sidering illuminating light-sensitive objects is to understandwhat the criteria is for the illumination, then evaluate sourcesfor how they measure up to the selected criteria. The currentgeneration of high-quality, high-CRI LEDs should be con -sidered and evaluated by the same set of criteria as anyother source, when considering their use in the museumenvironment. If this is done, there is no doubt that high-quality, high-CRI white-light LEDs are ready for use in themuseum environment.

Sources:Letter from Jim Druzik, Getty Conservation Institute, CarlDirk, University of Texas El Paso,

Ku’uipo Curry, KCLD, July 2010.Steven Weintraub, Letter to The Green Task Force,American Institute for Conservation,

April 28, 2010.LED sources: Xicato LabsCIE 157; 2004

Ken Kane is Executive Vice-President at Lighting Services Inc. basedin Stony Point, New York.

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

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

or

See page 34 for details and enrollment form

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PAPYRUS WINTER 2010–2011 53

U.K. ChapterBy Jack Plumb

At the start of the year, the NationalLibrary of Scotland agreed to take part ina national initiative, in which organisationspledged to reduce their carbon footprintby 10% in 2010. In common with other

institutions, the staff has formed a “Green Team” that isfocused on identifying ways of reducing the Library’scarbon footprint. One idea they came up with was challenging the staff

themselves to demonstrate a particular action which reducedthe carbon footprint of the National Library. ECG Facilitiesis the main plant maintenance and operation contractorfor the National Library, and has a full-time team onsite.The team made a number of adjustments to time schedulesand set points, along with a careful observation of theHVAC plant throughout the Library Estate, and managedto reduce the carbon footprint by a staggering 16%, meet -

ing the 2010 target on their own. For this magnificentachievement, they were awarded Energy Saver of the Week. The recent IAMFA Annual Conference in San Francisco

was a good opportunity for those U.K. members lucky enoughto be there to meet up again and chat about the issues thataffect us all. We also attended a very interesting presen ta -tion on LED lighting techniques, especially for galleries.Allan Tyrell of the National Portrait Gallery, in conjunctionwith Steve Vandyke of the National Gallery, decided to takethis one step further and have invited IAMFA colleaguesand other colleagues to a real-life demonstration of LEDlighting within a gallery setting. Twenty-four colleagues attended a meeting on December 2

at the National Portrait Gallery, and all agreed it was a veryinformative event.During discussions in San Francisco, a couple of issues

that seemed to strike a real chord were the environmentalconditions within archive establishments, and the recentdirective from the U.K. Government that all future facilitiesmanagement contracts should be tendered through a pre-selected range of suppliers. The group thought this wassufficiently important that a separate meeting should bearranged to discuss these two important issues before ourannual U.K. meeting. John DeLucy has kindly arranged tohost this meeting—scheduled for January 27, 2011 at theBritish Library—to discuss these two important. I will bereporting on the outcome of this meeting in the next editionof Papyrus. Finally, another important date for your diary: Dave

Redrup of the Tate Gallery has agreed to host the 2011U.K. annual meeting at the Tate Modern on April 13, 2011.This should be a very special day, as we will get to see theexciting new development at the Tate Modern, whichincludes capturing waste heat from the local electricalsupply authority’s transformers. In the Summer-Fall 2010issue of Papyrus, Dave provided more detail about thisannual meeting. I look forward to meeting you there.

WORKTECH 10 at the British MuseumBy Merida Fitzgerald and John de Lucy

WORKTECH is a forum for all those involved in the futureof work and the workplace, as well as real estate, technologyand innovation, and looks at the implications of convergencebetween these fields. This year’s event was attended by over300 senior professionals from real estate, facilities, technologyand executive management, architects, designers and otherprofessional advisors. Keynote speakers included authorEdward de Bono, author Charles Leadbeater, and Olympicchampion and motivational speaker Sally Gunnell, OBE. This is the 7th conference we have organised at the British

Library, and we are using our new exhibition Growing

Regional Updates and Member News

Duncan Campbell, Director of Corporate Services, awarding thecertificate to the ECG Facilities team.

A typical gallery using LED lighting.

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54 PAPYRUS WINTER 2010–2011

Knowledge: the Evolution of Research, which explores thevalue of new types of research space and new digital researchtechnologies, as a way of allowing all attendees to try theirhand at digital research using the latest technologies andsoftware. WORKTECH usually sells out, and we try to getour executives to come to talks that interest them.I am trying to sell the message that public cultural build -

ings are the third workplace after office and home, and arethe best examples of the merger between workplace, tech -nology, innovation and creativity. This is a pilot space tohelp inform us as to what spaces and equipment we shouldinstall into our next building: the digital research centre.

John de Lucy of the British Library was presented with aLondon Green 500 “Platinum” Award for 2010 by theMayor of London, Boris Johnson. This follows the “Gold”Award won in 2009. The Award recognises the EnergyAction Plan and other energy-saving measures imple -mented by the Library’s Estates and Facilities Departmentand its Maintenance and Engineering service provider,Cofely. Energy-saving projects delivered by Estates includethe Kings Library Tower and Front Entrance Hall lightingin St Pancras, remote “smart” metering for St Pancras andBoston Spa, and energy-efficient boilers in St Pancras.

The Museum of Fine Arts, Boston Opens Art of the Americas WingThe Museum of Fine Arts, Boston (MFA), opened its new Artof the Americas Wing on Saturday, November 20. The Art ofthe Americas Wing, as well as the Ruth and Carl J. ShapiroFamily Courtyard, are the focal points of the MFA’s trans -formational expansion and renovation project, plannedand designed by architects Foster + Partners (London). TheArt of the Americas Wing allows for the display of morethan 5,000 works from the Museum’s American collec tions,more than doubling the number previously on view. It repre -sents the most expansive initiative on American art and

culture in the world today, and broadens this definition toinclude works from North, Central, and South Americaspanning three millennia to the late twentieth century.Adjoining the wing is the Shapiro Family Courtyard, one ofthe most distinctive architectural spaces in Boston, whichserves as a dynamic gathering place for MFA visitors, as wellas a venue for special events. The MFA’s project development team, led by Foster +

Partners, included CBT/Childs Bertman Tseckares Inc.,Boston, executive architect; John Moriarty & Associates,Winchester, construction manager; Skanska USA BuildingInc., Boston, enabling contractor; and George B.H.Macomber Company, Boston, preconstruction services.The Museum’s $345-million building project, which brokeground in 2005, was supported by a fundraising campaignthat raised $504 million for new construction and renova -tions, endowment of programs and positions, and annualoperations. More than 25,000 people contributed to thecampaign, which concluded in 2008.This ambitious expansion and renovation underscores

the MFA’s mission to make more of its collections accessibleto the approximately one million families, schoolchildren,college students and adults who come to the Museum eachyear for inspiration and education, and who value it as avital community resource.The MFA’s expansion and renovation project provides

additional space for the Museum’s collections, exhibitions,and educational programs. It increases the building’s totalsquare footage by 28 percent, from 483,447 to 616,937square feet. The design by Foster + Partners reestablishesthe MFA’s important north-south axis envisioned by GuyLowell, the Museum’s original architect (1870–1927),which brings visitors to the heart of the MFA and improvesnavigation throughout the building.The Art of the Americas Wing, which encompasses

121,307 square feet, is located on the east side of theMuseum along Forsyth Way. It features a central glassbuilding, flanked by two pavilions of glass and granite: onenorth and one south. Foster + Partners developed a state-of-the-art glazing system for the glass with Seele, Inc. ofGersthofen, Germany, and incorporated Deer Isle granitefrom Maine: the same stone used in the MFA’s originalbuilding. The extensive use of glass allows passersby to seeinside, and Museum visitors to see outside the building.

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PAPYRUS WINTER 2010–2011 55

From the top floors, there are sweeping vistas of Bostonfrom Fenway Park to the Back Bay skyline.In addition to new construction, the MFA’s expansive

building project incorporates significant renovations to theMuseum’s original building. This includes renovations atthe State Street Corporation Fenway Entrance to the north,and the Huntington Avenue Entrance on the Avenue ofthe Arts to the south, where the Bank of America Plaza onthe Avenue of the Arts is also located. With the reopening of these entrances, visitors can now

enjoy the full experience of entering through the historicalMuseum. Renovations established a coherent plan fornavigation through the building by reinforcing the MFA’soriginal north-south axis, enhancing the ways in which visitorsencounter the Museum and its encyclopedic collections. Inaddition to the entrances, the building project includedrenovations to the Sharf Visitor Center, numerous galleries,and conservation labs. Surrounding the Museum, new land -scaping strengthens the MFA’s connection to Olmsted’sEmerald Necklace along the Back Bay Fens (to the northof the Museum). A plan devised by landscape architectsGustafson Guthrie Nichol Ltd. (Seattle, WA), incorporatesextensive new plantings including more than 1,000 hollybushes and 50 trees.

Washington, D.C.-Baltimore ChapterBy Maurice Evans

The Washington D.C.-Baltimore Chapter held its quarterlymeeting on August 26 at the Baltimore Museum of Art. Thiswas the last meeting of the year, since our annual IAMFAConference was scheduled for October. The meeting was wellattended; several of the local museums from the Washington,D.C. area were in attendance, as were several museumsfrom the Baltimore area. Represented for the first timewere members from the Holocaust Memorial Museum, theReginald F. Lewis Museum of Maryland African AmericanHistory & Culture, and the Folger Shakespeare Library. Chapter meetings offer the opportunity for professional

networking with other facility professionals as an educationalcomponent. The educational topic for this quarter’s meetingwas “LEED Certification for the Facility Manager”, pre sentedby Victoria Kiechel of the Cadmus Group. Ms. Kiechel’s pre -sentation was very interesting and informative, and capturedthe audience’s attention throughout the presentation.The Washington, D.C.-Baltimore Chapter continues to

grow, with an ever-increasing number of attendees at thequarterly meetings, including individuals from institutionsnot previously represented at our Chapter meetings.The Washington, D.C.-Baltimore Chapter was repre -

sented by over 15 members and guests at this year’s IAMFAConference in San Francisco. There were several first-timeattendees, as well as individuals from cultural institutionsnot before in attendance at an IAMFA Annual Conference. Our next meeting is scheduled to take place in January,

and will be hosted by the National Gallery of Art.

Northern California ChapterBy Joe Brennan

I want to thank the Chabot Space and Science Center fortheir hospitality and time for our quarterly IAMFA meeting! In attendance were: Dan Dunn, Director, Blackhawk

Museum; Jennifer Fragomeni, Facilities Director, Explora -torium; Chuck Mignacco, Facilities Manager, Exploratorium;Joe Brennan, Director of Facilities, SFMOMA; Jim Weber,Assistant Operations Manager, SFMOMA; and SharonShepherd, Administrative Assistant, SFMOMA.The Chabot Space and Science Center is situated high

above Oakland, with a magnificent view of which we only gotglimpses through the low cloud cover. Founded 125 yearsago as part of the Oakland School system, the Centre hashad to move twice to get clear of the encroaching city’slight pollution. The current facility has been open for 11 of those years.We held our meeting about the plans for the annual

IAMFA conference in their Galileo Room, and were thengiven a tour of the facility by Facilities Tech Raul Duarteand Development Director Melissa Rosengard. We beganon the roof to see their extensive photovoltaic array androof-mounted equipment. We next visited the three telescopeinstallations, starting with the original “LEAH”, an 8-inchAlvan Clark refractor from 1883; then “Rachel”, a 20-inchrefractor from 1914; and finally “Nellie” a 36-inch reflector-type telescope built in-house in 1983. Each is housed in itsown structure; the refractors in classic tracking domes, andthe reflector in a convertible building whose roof on tracksrolls out of the way for viewing.Next stop was the main plant components in a chiller

room and a boiler room. En route, we saw their amazinglabs and classrooms. We toured the Planetarium betweenshows, then visited its server room and discussed itsoverheating problems.Melissa shared an interesting anecdote about Chabot’s

involvement in Apollo XIII’s “Houston we have a problem”recovery. When things went wrong, data was lost—including

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56 PAPYRUS WINTER 2010–2011

exactly where the Apollo spacecraft was—so a call went outto all astronomical sites with adequate telescopes, to helpaccurately locate the craft so re-entry could be worked out. Across the country, all but Chabot had compromised

viewing conditions that night. Chabot got right on the job,using all hands—including visiting middle school students.Some children wrote down the flood of coordinates as theywere read off. In case you don’t remember, or didn’t see,the movie on the incident—Apollo 13—the craft and itsthree occupants were successfully returned to earth in whatNASA termed a “successful failure”. Among the students at Chabot that day was a young

Tom Hanks, who later went on to star in Apollo 13 andwrote, produced and directed From Earth to the Moon,among many other great accomplishments. What a greatanecdote—and better they had the good weather back inApril 1970 than wasting it on us.I have posted some snapshots from our Chabot visit at:

http://gallery.me.com/phototiura/100173.For more detailed information on the Chabot Space

and Science Center, visit: http://www.chabotspace.org/

IAMFA Visit to the San FranciscoArt Institute, November 10, 2010By Joe Brennan

The San Francisco Art Institute’s rich history and legacydate back to 1871, and counts a who’s-who of influentialartists among its student body and faculty. The main campusbuilding, built in 1926, was designed by Arthur Brown, Jr.Locally, he also designed Coit Tower, San Francisco’s CityHall and War Memorial, many buildings at Stanfordincluding Hoover Tower, plus others in Berkeley andWashington, D.C.The 15 of us convened in Room 16B for our debrief

of the Conference. Jennifer Fragomeni presented JoeBrennan with a card and gift in appreciation of his role

in organizing the Conference. We briefly discussed venuesfor our 2011 quarterly meetings as we look forward to the2011 calendar.We were given a grand guided tour by our hosts Heather

Hickman and David Vardanega. The campus on Chestnutis rife with art history, contemporary expression and inno -vation. We learned that it is also rife with facilities challenges.Spanning many eras, the complex has been altered andadded to, to become the vibrant campus it is today. A major addition was designed by Paffard Keatinge Clay

and erected in 1970. He studied under both Frank LloydWright and Le Corbusier, and the new building’s lines arein the modern International Style.

Eric Johnsen, retired from the Academy of Sciences,joined us for the tour, entering the campus for the firsttime in 40 years, since his tenure as a student, during thebuilding of the new wing. He shared his perspective on thechanges and the things which have remained the same. Heenrolled when the site of the addition was a sylvan lot, andwitnessed all of its construction.On the tour we saw the results of the Facilities Depart -

ment’s projects, such as the digital classroom with 21 work -stations that they had wired into a former studio. We sawrestrooms they’d added to the new wing (someone forgotthis detail), along with other space conversions and econo -mies they’ve achieved. As always, we found the tours veryinformative. Thank you to Heather, David and interimpresident Roy Eisenhardt for your hospitality and time!

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Brian ColemanMuseum VictoriaGPO Box 666Melbourne3001

Alan FreemantleNational Portrait Gallery of

AustraliaKing Edward TerraceParkesCanberra, [email protected]

Vicki Humphrey7 Edgeware RoadAldgate, South [email protected]

Gerry LinehanNational Library of AustraliaParkes PlaceParkesCanberra, [email protected]

Dan MackenzieSteensen Varming160 Sailors Bay RoadNorthbridgeSydney, NSW2063dan.mackenzie@

steensenvarming.com.au

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

Ray McMasterAustralian National Maritime

Museum2 Murray Street PyrmontSydney, [email protected]

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

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

ngv.vic.gov.au

Shaun WoodhouseAustralian Centre for the

Moving ImagePO Box 14Flinders LaneMelbourne, [email protected]

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

Simon AubinCanada Science & Technology

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

Carole BeauvaisBureau de la transformation

de la DGSDE300 Avenue LaurierPiece B2104-IOttawa, OntarioK1A 0M7

Yvon BourgeoisCanada Science and Technology

Museum Corporation2421 Lancaster RoadOttawa, OntarioK1B [email protected]

Mario BrièreCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, QuebecJ8X 4H2

CANADA

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

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

Chan-Hung DoCanadian Museum of Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, QuebecJ8X 4H2

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

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

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

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

international.gc.ca

Tedd KeeleyCanadian Museum of Civilization100 Laurier StreetGatineau, QuebecJ8X [email protected]

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

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

Henry LandryCanadian Museum for Human

Rights4th Floor 269 Main StreetWinnipeg, ManitobaR3C 1B3henry.landry@

humanrightsmuseum.ca

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

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

Pierre Lepage4 Chateauguay StreetEmbrun, OntarioK0A [email protected]

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

Michael Lundholm Lundholm Associates Architects401 Richmond St.Studio 369Toronto, OntarioM5V [email protected]

Ian MacLeanCanada Science & Technology

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

PAPYRUS WINTER 2010–2011 57

IAMFA Members Directory 2010

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

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

blackandmcdonald.com

Alain ProulxCanadian Museum of Civilization100 Laurier StreetGatineau, QuebecJ8X [email protected]

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

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

Michelle St-GermainCanadian Museum of Civilization100 Laurier StreetGatineau, QuebecJ8X 4H2michelle.st-germain@

civilizations.ca

Linda TalbotCanada Science & Technology

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

Denis TurbideCanada Science and Technology

Museum Corporation2421 Lancaster RoadOttawa, OntarioK1B [email protected]

Jean-Simon VenneGroupe Smi-Enerpro2111 boul Fernand-LafontaineLongueuil, QuebecJ4G [email protected]

Elisabeth JaniInternational Council of

MuseumsUNESCO-ICOM Information

Centre1, rue MiollisParis F-75732 CEDEX 15

Marie-Pierre MarcheBibliotheque nationale de

FranceQuai Francois MauriacParis [email protected]

Valérie Vesque-JeancardBibliothèque Nationale de

FranceQuai Francais MauriacParis 75706 [email protected]

Mike HeinemannChristchurch Art Gallery Te Puna

O WaiwhetuWorcester BoulevardPO Box 2626Christchurch, [email protected]

Kirsty MathiesonChristchurch Art GalleryGloucester StreetChristchurch, Canterbury [email protected]

Patricia MorganAuckland Art Gallery Toi o

TamakiP.O.Box 5449Auckland patricia.morgan@

aucklandcity.govt.nz

FRANCE

NEW ZEALAND

Dmitry V. RodionovA. A. Bakhrushin State Central

Theatre MuseumBakhrushin Street 31/12Moscow [email protected]

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

John BevinNational Museum of Science and

IndustryScience MuseumExhibition RoadLondon, EnglandSW7 [email protected]

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

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

Chris Bunker Creative Consulting Partnership

LLPHamilton HouseMabledon PlaceLondon, EnglandWC1H [email protected]

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

SPAIN

UNITED KINGDOM

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

Paul DaviesThe National ArchivesKewRichmond, SurreyTW9 4DUpaul.davies@

nationalarchives.gov.uk

John de LucyBritish Library96 Euston RoadLondon, EnglandNW1 [email protected]

Patrick DixonBritish Library96 Euston RoadLondon, EnglandNW1 [email protected]

Chris EcobCamfil LimitedKnowsley RoadHaslingden, LancashireBB4 [email protected]

Peter FotheringhamUniversity of GreenwichAvery Hill Campus, Southwood

LodgeAvery Hill Road, ElthamLondon, EnglandSE9 [email protected]

Mike FreelandTateMillbankLondon, EnglandSW1P [email protected]

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

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

58 PAPYRUS WINTER 2010–2011

IAMFA Members Directory 2010

CANADA cont’d

Page 61: Papyrus Winter 2011

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

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

heritage.org.uk

Chris HallidayNational Maritime MuseumPark RowGreenwich, EnglandSE10 [email protected]

Adrian HardwickeTateMillbankLondon, EnglandSW1P [email protected]

Steve HydeVictoria & Albert MuseumCromwell RoadLondon, EnglandSW7 [email protected]

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

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

Jack PlumbNational Library of ScotlandGeorge IV BridgeEdinburgh, ScotlandEH14 [email protected]

David ReadBritish Library96 Euston RoadLondon, [email protected]

David RedrupTate20 John Islip RoadMillbankLondon, EnglandSW1P [email protected]

David SandersNatural History MuseumCromwell RoadLondon, EnglandSW7 [email protected]

Allan TyrellNational Portrait GallerySt Martin PlaceLondon, EnglandWC2H [email protected]

Steve VandykeNational Gallery, LondonTrafalgar SquareLondon, EnglandWC2N [email protected]

Harry WanlessBritish Library96 Euston RoadLondon, [email protected]

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

liverpoolmuseums.org.uk

Fernando PascalSmithsonian InstitutionSmithsonian Tropical Research

InstituteAPO [email protected]

Keith McClanahanFacility IssuesPO Box 1447Flagstaff, [email protected]

UNITED STATES

ARIZONA

Stacey WittigFacility Issues5160 W. Kiltie Ln.Flagstaff, [email protected]

David BurghartCrystal BridgesP.O. Box 1169Bentonville, AR72712

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

David ArtigasSimpson Gumpertz & Heger721 Bush St #302San Francisco, [email protected]

Donald BattjesLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, [email protected]

Joe BrennanSan Francisco Museum of

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

David Carvantes5905 Wilshire BlvdLos Angeles, CA90036

Jacob Cohn Stanford University Libraries,

Green Library557 Escondido MallStanford, [email protected]

ARKANSAS

CALIFORNIA

John CoplinSanta Barbara Museum of Art1130 State StreetSanta Barbara, [email protected]

Lary DahlStanford University Libraries,

Green Library557 Escondido MallStanford, CA94305

John DowningBerkeley Art Museum/Pacific

Film Archive2625 Durant AvenueBerkeley, [email protected]

Jennifer FragomeniExploratorium3601 Lyon StreetSan Francisco, [email protected]

Marcy GoodwinM. Goodwin Associates, Inc.456 E. Orange Grove Blvd Suite 203Pasadena, [email protected]

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

Heather HickmanSan Francisco Art Institute800 Chesnut StreetSan Francisco, [email protected]

Robbyn JacksonSan Francisco Maritime National

Historic ParkLower Fort MasonBuilding E, Room 264San Francisco, [email protected]

PAPYRUS WINTER 2010–2011 59

Page 62: Papyrus Winter 2011

Patty LacsonFine Arts Museum of San

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

Edgar MaxionStanford University Green

Library557 Escondido MallRoom 101Stanford, [email protected]

Joseph MaySustainability Engineer20520 Ventura Boulevard, #317Woodland Hills, [email protected]

Al MaytonSan Francisco Maritime National

Historical ParkFort Mason Center Bldg. E. 2nd

Floor Room 265San Francisco, [email protected]

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

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

Randy MurphyLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, [email protected]

Jeffrey PhairasSan Francisco Museum of

Modern Art151 Third St.San Francisco, CA94103

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

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

Jennifer TomaselliSecuritas Security Services120 howard St.San Francisco, CA94105jennifer.tomaselli@

securitasinc.com

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

Terry ZukoskiGlide Foundation330 Ellis StreetSan Francisco, [email protected]

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

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

Sean DunnYale University Art GalleryP.O. Box 208271New Haven, [email protected]

CONNECTICUT

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

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

Jill AbbottWinterthur Museum, Garden

and LibraryBuilding 26Winterthur, [email protected]

Bruce CanterDelaware Art Museum2301 Kentmere ParkwayWilmington, [email protected]

John CastleWinterthur Museum, Garden

and Library5105 Kenett PikeBuilding 37Winterthur, [email protected]

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

Mark StutmanCamfil Farr (USA) Inc.16 Long meadow CourtNewark, [email protected]

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

DELAWARE

DISTRICT OF COLUMBIA

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

David ConineFolger Shakespeare Library201 East Capitol Street, SEWashington, [email protected]

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

Dan DaviesSmithsonian InstitutionGeneral Services Building –

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

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

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

Ricky FarySmithsonian InstitutionP.O. Box 37012 (MRC534)Washington, [email protected]

Melody FetskeFolger Shakespeare Library201 East Capitol Street, SEWashington, [email protected]

60 PAPYRUS WINTER 2010–2011

IAMFA Members Directory 2010

CALIFORNIA cont’d

UNITED STATES cont’d

Page 63: Papyrus Winter 2011

Tammy FinkNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

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

Errol GerlingSmitsonian InstitutionPO Box 37012MRC 505Washington, DC20013

Jon GibbonsOffice of Facilities Engineering &

OperationsSmithsonian Institution750 8th StreetWashington, [email protected]

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

Larry GraubergerSmithsonian InstitutionOffice of Facilities Management

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

Dan HammNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

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

Kia HicksArchitect of the CapitolC Street Btwn 1st and 2nd st NEWashington, [email protected]

Fletcher JohnstonSIU Castle and Arts and

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

Bruce KendallSmithsonian InstitutionOffice of Facilities Engineering

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

Brian McGivneyNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

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

Eugene RamatowskiU.S. Holocaust Museum100 Raoul Wallenburg Pl SWWashington, [email protected]

Jeffrey RidgewaySmitsonian InstitutionPO Box 37012 MRC 505Washington, DC20013

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

Dave SamecNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

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

Michael SmithNational Gallery of Art —

Washington6th & ConstitutionWashington, [email protected]

Armando UribeSmithsonian Institution1100 Independence Avenue SWWashington, [email protected]

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

Robert WeinsteinArchitrve pc architects410 10th street SEWashington, DC20003robert.weinstein@

architravepc.com

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

John GordonHenry Morrison Flagler MuseumOne Whitehall WayPalm Beach, FL33480facilitiesmanager@

flaglermuseum.us

FLORIDA

Vincent Magorrian306 Lexingdale DriveOrlando, [email protected]

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

Debbie TowersMorikami Museum and

Japanese Gardens4000 Morikami Park RoadDelray Beach, [email protected]

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

woodruffcenter.org

Noelani Ah YuenFriends of Iolani PalacePO Box 2259Honolulu, [email protected]

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

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

Hacker Harold 3507 193rd St.Lansing, [email protected]

GEORGIA

HAWAII

ILLINOIS

PAPYRUS WINTER 2010–2011 61

Page 64: Papyrus Winter 2011

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

Don MeckleyMuseum of Contemporary Art —

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

Peter Williams Chicago Children’s Museum700 E. Grand AvenueChicago, IL60611peterw@

chicagochildrensmuseum.org

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

Maurice EvansSmithsonian Institution4210 Silver Hill RoadSuitland, [email protected]

Richard KowalczykSmithsonian National Air and

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

David McGinnisThe Whiting-Turner Contracrting

Company300 East Joppa RoadBaltimore, MD21286david.mcginnis@

whiting-turner.com

MARYLAND

Carl PasqualiNational Gallery of Art —

Washington2000 B South Club DriveLandover, [email protected]

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

James LabeckIsabella Stewart Gardner

Museum2 Palace RoadBoston, [email protected]

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

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

Robert Monk161 Essex St.Salem, [email protected]

Bob RezukeCamfill Farr127 Worcester StreetNorth Grafton, [email protected]

Dan SheaAFS Chemical Filtration Group6 Chadwick roadBurlington, [email protected]

MASSACHUSETTS

Robert HannaHenry Ford Museum20900 Oakwood BoulevardDearborn, [email protected]

Rebecca EllisQuestions and Solutions

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

Richard StomberNewark Museum49 Washington StreetNewark, [email protected]

Jennifer ConineSolomon R. Guggenheim

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

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

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

Boris KeselmanSolomon R. Guggenheim

Museum1071 5th AvenueNew York, [email protected]

MINNESOTA

NEW JERSEY

NEW YORK

MICHIGAN Dmitry B. LapatukhinNew York Hall of Science47-01 111StreetCorona, [email protected]

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

George RossSolomon R. Guggenheim

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

Tom ScallyMetropolitan Museum of Art1000 Fifth AvenueNew York, NY10028

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

brooklynmuseum.org

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

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

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

OHIO

62 PAPYRUS WINTER 2010–2011

IAMFA Members Directory 2010

ILLINOIS cont’d

UNITED STATES cont’d

Page 65: Papyrus Winter 2011

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

allentownartmuseum.org

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

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

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

Joseph PyleElliot Lewis Corporation2900 Black Lake PlacePhiladelphia, [email protected]

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

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

Tony YoungCarnegie Museums of Pittsburgh4400 Forbes AvenuePittsburgh, [email protected]

PENNSYLVANIA

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

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

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

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

Robert TompkinsEnergy Maintenance Services2000 Bering DriveSuite 600Houston, [email protected]

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

Richard DaySmithsonian Institution7006 Watreford Rd.Rixeyville, [email protected]

Lin EzellNational Museum of Marine

Corps18900 Jefferson Davis HwyTriangle, [email protected]

VIRGINIA

TEXAS Stephen FuoccoLibrary of Congress (Packard

Campus for Audio VisualConservation)

19053 Mount Pony RoadCulpeper, [email protected]

Margaret ThomasNational Museum of the United

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

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

Michael BinderMilwaukee Public Museum800 W. Wells StreetMilwaukee, [email protected]

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

harley-davidson.com

WISCONSIN

PAPYRUS WINTER 2010–2011 63

Puzzle Solution from page 68

5

7

16 3

8

4

6

10

11

9 2

13

1

18 14

15 12

17

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

S I R F R A N C I S D R A

C A L I F O R N I A A C A D

C O N T E M P O R A R Y J E

E X P L O R A T O R I U M

P A L A C E O F F I N E

D I S N E Y F A M I L Y M

G O L D E N G A T E B R I

M A R I T I M E M U S E U M

D E Y O U N G M U S E U M

R U N N Y M E D E

C A N T O R A R T S C E N

L I T T L E F I E L D M U S

S T A N F O R D L I B R A R

S F M O M A

E M Y O F S C I E N C E S

W I S H M U S E U M

A R T S

U S E U M

T H A N K Y O U J O E B R E N N A N

D G E

T E R

E U M

Y

K E

Page 66: Papyrus Winter 2011

Australian Centre for theMoving ImageMelbourne, Victoria

Australian National MaritimeMuseumSydney, NSW

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, Victoria

National Library of AustraliaCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Steensen VarmingSydney, NSW

Black & McDonald LimitedOttawa, Ontario

Bureau de la transformationde la DGSDEOttawa, Ontario

Camfil Farr Canada Inc.Ottawa, Ontario

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum for HumanRightsWinnipeg, Manitoba

Canadian Museum of CivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Facility ManagementServices LTDCalgary, Alberta

Groupe Smi-EnerproLongueuil, Quebec

Library and Archives CanadaGatineau, Quebec

AUSTRALIA

CANADA

Lundholm Associates ArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

Physical Resource BureauOttawa, Ontario

Royal British Columbia MuseumVictoria, British Columbia

Royal Ontario MuseumToronto, Ontario

Bibliotheque nationale de FranceParis

International Council ofMuseumsParis

Auckland Art Gallery — Toi o TamakiAuckland

Christchurch Art GalleryChristchurch, Canterbury

Christchurch Art Gallery Te PunaO WaiwhetuChristchurch, Canterbury

A. A. Bakhrushin State CentralTheatre MuseumMoscow

Museo Guggenheim — BilbaoBilbao, Viz Caya

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire, England

FRANCE

NEW ZEALAND

RUSSIA

SPAIN

UNITED KINGDOM

Creative Consulting PartnershipLLPLondon, England

English HeritageLondon, England

Imperial War MuseumLondon, England

The National ArchivesRichmond, Surrey, England

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Maritime MuseumGreenwich, England

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

AFS Chemical Filtration GroupBurlington, MA

Allentown Art MuseumAllentown, PA

Anacostia Community MuseumWashington, DC

Architect of the CapitolWashington, DC

Architrve PC ArchitectsWashington, DC

UNITED STATES

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Baltimore Museum of ArtBaltimore, MD

Berkeley Art Museum/Pacific Film ArchiveBerkeley, CA

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Camfil Farr (USA) Inc.Newark, DE

Camfill FarrNorth Grafton, MA

Carnegie Museums of PittsburghPittsburgh, PA

Chicago Children’s MuseumChicago, IL

Columbus Museum of ArtColumbus, OH

Cooper-Hewitt, National DesignMuseumNew York, NY

Corporate CareHouston, TX

Crystal BridgesBentonville, AR

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

DFI Resources, LLCAustin, TX

Elliot Lewis CorporationPhiladelphia, PA

Energy Maintenance ServicesHouston, TX

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

64 PAPYRUS WINTER 2010–2011

IAMFA Members — Organizations

Page 67: Papyrus Winter 2011

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art and ArthurM. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Glide FoundationSan Francisco, CA

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumCambridge, MA

Henry Ford MuseumDearborn, MI

Henry Morrison Flagler MuseumPalm Beach, FL

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

Isabella Stewart GardnerMuseumBoston, MA

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Landmark Facilities Group, Inc.Norwalk, CT

Library of CongressWashington, DC

Library of Congress (Packard Campus for AudioVisual Conservation)Culpeper, VA

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

M. Goodwin Associates, Inc.Pasadena, CA

Mariner’s MuseumNewport News, VA

McGuire EngineersChicago, IL

Metropolitan Museum of ArtNew York, NY

Milwaukee Public MuseumMilwaukee, WI

Morikami Museum andJapanese GardensDelray Beach, FL

Museum of Contemporary Art —Chicago Chicago, IL

Museum of Fine Arts — BostonBoston, MA

Museum of Fine Arts — HoustonHouston, TX

National Air and Space MuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Gallery of Art —WashingtonWashington, DC

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum of African ArtWashington, DC

National Museum of AmericanHistoryWashington, DC

National Museum of MarineCorpsTriangle, VA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Museum of the UnitedStates ArmyFort Belvoir, VA

National Portrait Gallery Washington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceCorona, NY

Newark MuseumNewark, NJ

Norton Museum of ArtWest Palm Beach, FL

Office of Facilities Engineering &OperationsWashington, DC

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Rutherford & Chekene San Francisco, CA

San Francisco Art InstituteSan Francisco, CA

San Francisco Maritime NationalHistorical ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

Securitas Security ServicesSan Francisco, CA

Simpson Gumpertz & HegerSan Francisco, CA

SIU Castle and Arts andIndustries BuildingWashington, DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionSuitland, MD

Smithsonian InstitutionRixeyville, VA

Smithsonian Institution Building— The CastleWashington, DC

Smithsonian National Air andSpace MuseumSuitland, MD

Solomon R. GuggenheimMuseumNew York, NY

Stanford University GreenLibraryStanford, CA

U.S. Holocaust MuseumWashington, DC

The Whiting-Turner ContracrtingCompanyBaltimore, MD

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

PAPYRUS WINTER 2010–2011 65

These lists reflectmembership

dues paid as of November 19, 2010

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

Alan Dirican at

[email protected]

Page 68: Papyrus Winter 2011

66 PAPYRUS WINTER 2010–2011

Index of Papyrus Technical and Historical Articles

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

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

A New High for Atlanta Kevin Streiter Summer 2003

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

Apprenticing in Facilities Management Kate Hickman Summer 2006

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

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

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

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

Benchmarking: A Comparison over Time Stacey Wittig Summer 2010

Best Practices Daniel D. Davies Summer 2002

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

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

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

British Library Additional Storage Program John de Lucy Summer 2007

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

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

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

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

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

Electrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004

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

Energy Star Roofs are Cool Richard Stomber Spring 2008

Existing Building Commissioning Rebecca T. Ellis Spring 2008

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

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

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

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

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

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

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

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

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

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

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

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

Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006

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

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

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

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

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

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

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

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

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

Page 69: Papyrus Winter 2011

PAPYRUS WINTER 2010–2011 67

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

Microclimate Control in Museums Jerry Shiner Summer 2005

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

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

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

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

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

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

National Museums Liverpool Ian Williams Fall 2008

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

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

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

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

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

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

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

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

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

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

Proposals for the Labelling of Buildings Jack Plumb Summer 2007

Proposals for the Labelling of Buildings Jack Plumb Spring 2008

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

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

Reflections on Papyrus Pierre Lepage Summer 2010

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

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

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

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

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

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

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

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

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

Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009

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

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

Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008

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

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

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

Title Author(s) Issue

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

Page 70: Papyrus Winter 2011

68 PAPYRUS WINTER 2010–2011

Puzzle PageSan Francisco IAMFA 2010

5IRS CINFASR RAKDE

7MAMSOF

16 3SRFAODNT RYLBARI

8TEEDTLILLIF SUUMME

4COTNAR RATS NECRET

6EUMEYRNDN

10ED GUOYN EUSMMU

11FIOLICANAR MEADYAC FO CESNISCE

9 2PYNROEMAORTC HJWISE SMMUEU

13LOIPETARRUXMO

1PAALEC FO FEIN RAST

18 14INYEDS LIMFAY SEUMUM

15 12LGDENO AGTE REBGID

17

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

RIMETAMI EUMMUS

Unscramble each of the clue words.Transfer the letters in the numbered cells to the cells at the bottom with the corresponding number.

SOLUTION ON PAGE 63

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Page 72: Papyrus Winter 2011