Papyrus winter 2012 2013

PAPYRUSVOL. 13, NO. 3 WINTER 2012–2013

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

VOL. 13, NO. 3 WINTER 2012–2013


LinkedIn GroupCollaborative

Article

Recap of the 22nd IAMFA Conference

SustainabilityCertification for

Museums

Inaugural Best PracticesFeature Article

15TH

ANNIVER

SARY

ISSUE!

IAMFA 13·

WASHINGTON DC METRO AREA

October 20-24, 2013

Song 1 by Doug Aitken at the Hirshhorn Museum in Washington, DCGraphic Design: Alfonzo Garner Jr.

Photograph: Eric Long

Papyrus_Winter_12_cover:Papyrus 19/12/12 6:38 AM



VOL. 13, NO. 3 WINTER 2012–2013



Article



Museums


15TH

ANNIVERSARY

ISSUE!

IAMFA 13·


October 20-24, 2013



Papyrus_Winter_12_cover:Papyrus 19/12/12 6:38 AM Page 1


INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

VOL. 13, NO. 3 WINTER 2012–2013



Article



Museums


15TH

ANNIVER

SARY

ISSUE!

IAMFA13 ·


October 20-24, 2013




PAPYRUS VOL. 13, NO. 3 WINTER 2012–2013


VOL. 13, NO. 3 WINTER 2012–2013



Article



Museums


15TH

ANNIVERSARY

ISSUE!

IAMFA13 ·


October 20-24, 2013




483535_kp.indd 1 12/21/12 11:13 AM

IAMFA/PapyrusVol. 13, Number 3Winter 2012–2013

EditorJoe May

CorrespondentsKevin AndersonNancy BechtolDarragh BradyJoe BrennanJohn Castle John and Livi De LucyCarl FreedmanGreer Gehrt

Michael HarroldJeffrey HirschWilliam JaremaDan Klein Guy LarocqueRoberto Mallozzi Joe MayAdam MeltzerTim Mitchell Susan Neale Jon OldhamDonald OverfeltAngela PersonJack PlumbEd RichardStacey Wittig

Design and LayoutPhredd Grafix

EditingArtistic License

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

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

Australia — Shaun WoodhouseAustralian Centre for theMoving [email protected]

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

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

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

New York, USA — Mark DemairoNeue [email protected]

New Zealand — Open

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

Philadelphia, USA — John CastleWinterthur Museum & [email protected]

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

United Kingdom — Jack PlumbNational Library of [email protected]

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

MEMBER REGIONS

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

President and 2013 Conference ChairNancy BechtolSmithsonian InstitutionWashington, DC, [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]

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

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

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

IAMFA BOARD OF DIRECTORS

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

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

Sustainability Certification for Cultural Institutions . . 4

Best Practices Feature Article: Benchmarking atthe National Library of Scotland . . . . . . . . . . . . . . . . . 7

LinkedIn Group Collaboration Article: The Important Topic of Bathroom Accessories inthe Museum Setting . . . . . . . . . . . . . . . . . . . . . . . . . 11

U.S. National Archives and Records Administration:Sustainability . . . and Beyond!. . . . . . . . . . . . . . . . . . . 14

First Issue of Papyrus . . . . . . . . . . . . . . . . . . . . . . . . . . 17

The 22nd IAMFA Conference in the Mid–AtlanticRegion of America . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Benchmarking Workshop: What Happens BehindThose Closed Doors? . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Preview of the 23rd IAMFA Annual Conference,October 20–24, 2013, Washington, D.C. . . . . . . . . . . . 32

Ideal Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

The National Library of Scotland Installs Ultra-Efficient Turbomiser Chillers and Cuts Energyand Carbon Emissions . . . . . . . . . . . . . . . . . . . . . . . . . 44

Preserving America’s Treasures: Designing Energy-Efficient Archival Storage Facilities . . . . . . . . 47

Peterborough Museum & Archives: FacilityRenewal Project (2004–2014) . . . . . . . . . . . . . . . . . . . 50

Planning and Development of a New Distance-Learning Facility at the Philadelphia Museum of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

The National Museum of Australia: ExpansionProgram Includes an Innovative Cafe andAdministrative Extension. . . . . . . . . . . . . . . . . . . . . . . 57

Winterthur Museum, Garden & Library ReceivesGrant for New HVAC System . . . . . . . . . . . . . . . . . . . 60

Regional Updates and Member News . . . . . . . . . . . . 61

IAMFA Members Directory 2012 . . . . . . . . . . . . . . . . . 64

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 72

Index of Papyrus Technical and Historical Articles . . . 74

Contents

For additional contact information,

please visit our website atwww.iamfa.org

For more information onbecomming a member of the International Association of

Museum Facility Administrators, please visit www.iamfa.org

Cover photo: Attendees of the 22nd IAMFA Annual Conference having dinner inside the Conservatory at Longwood Gardens. Photo by Dan Davies

Positive Varming Environments since 1933

Steensen Varming and Varming International Alliance provide unrivalled expertise in museum, gallery and archive projects.

The Clore Gallery, Tate, LondonNomura Gallery, Tate, LondonHoly Sepulchre, Jerusalem Casula Powerhouse Museum, SydneyTate in the North, LiverpoolMuseum of Modern Art, LondonArt Gallery of New South Wales, SydneyChester Beatty Library, Dublin Australian War Memorial, CanberraThe Mint Building, SydneyVictoria & Albert Museum, LondonSir John Soanes Museum, LondonScience Museum, Wellcome Wing, LondonWhitechapel Art Gallery, LondonFrederikborg Castle, CopenhagenSculpture Museum, LondonAuckland Art Gallery, AucklandNational Portrait Gallery, CanberraNational Gallery of Australia, CanberraNational Library of Australia, SydneyAustralian Museum, SydneyRoyal Scottish Academy / Playfair, EdinburghGuinness Storehouse Visitor Centre, DublinPrehistoric Museums Arhus, The Utzon Centre, AalborgSydney Opera House, Sydney

Building Services Solutions

Buildings

Physiology

Strategies

Denmark Ireland United Kingdom Australia Hong Kong

www.steensenvarming.com


483535_kp.indd 2 12/21/12 11:13 AM

IAMFA/PapyrusVol. 13, Number 3Winter 2012–2013

EditorJoe May

CorrespondentsKevin AndersonNancy BechtolDarragh BradyJoe BrennanJohn Castle John and Livi De LucyCarl FreedmanGreer Gehrt

Michael HarroldJeffrey HirschWilliam JaremaDan Klein Guy LarocqueRoberto Mallozzi Joe MayAdam MeltzerTim Mitchell Susan Neale Jon OldhamDonald OverfeltAngela PersonJack PlumbEd RichardStacey Wittig

Design and LayoutPhredd Grafix

EditingArtistic License

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

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

Australia — Shaun WoodhouseAustralian Centre for theMoving [email protected]

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

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

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

New York, USA — Mark DemairoNeue [email protected]

New Zealand — Open

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

Philadelphia, USA — John CastleWinterthur Museum & [email protected]

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

United Kingdom — Jack PlumbNational Library of [email protected]

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

MEMBER REGIONS

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

President and 2013 Conference ChairNancy BechtolSmithsonian InstitutionWashington, DC, [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]

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

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

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

IAMFA BOARD OF DIRECTORS

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

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

Sustainability Certification for Cultural Institutions . . 4

Best Practices Feature Article: Benchmarking atthe National Library of Scotland . . . . . . . . . . . . . . . . . 7

LinkedIn Group Collaboration Article: The Important Topic of Bathroom Accessories inthe Museum Setting . . . . . . . . . . . . . . . . . . . . . . . . . 11

U.S. National Archives and Records Administration:Sustainability . . . and Beyond!. . . . . . . . . . . . . . . . . . . 14

First Issue of Papyrus . . . . . . . . . . . . . . . . . . . . . . . . . . 17

The 22nd IAMFA Conference in the Mid–AtlanticRegion of America . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Benchmarking Workshop: What Happens BehindThose Closed Doors? . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Preview of the 23rd IAMFA Annual Conference,October 20–24, 2013, Washington, D.C. . . . . . . . . . . . 32

Ideal Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

The National Library of Scotland Installs Ultra-Efficient Turbomiser Chillers and Cuts Energyand Carbon Emissions . . . . . . . . . . . . . . . . . . . . . . . . . 44

Preserving America’s Treasures: Designing Energy-Efficient Archival Storage Facilities . . . . . . . . 47

Peterborough Museum & Archives: FacilityRenewal Project (2004–2014) . . . . . . . . . . . . . . . . . . . 50

Planning and Development of a New Distance-Learning Facility at the Philadelphia Museum of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

The National Museum of Australia: ExpansionProgram Includes an Innovative Cafe andAdministrative Extension. . . . . . . . . . . . . . . . . . . . . . . 57

Winterthur Museum, Garden & Library ReceivesGrant for New HVAC System . . . . . . . . . . . . . . . . . . . 60

Regional Updates and Member News . . . . . . . . . . . . 61

IAMFA Members Directory 2012 . . . . . . . . . . . . . . . . . 64

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 72

Index of Papyrus Technical and Historical Articles . . . 74

Contents

For additional contact information,

please visit our website atwww.iamfa.org

For more information onbecomming a member of the International Association of

Museum Facility Administrators, please visit www.iamfa.org

Cover photo: Attendees of the 22nd IAMFA Annual Conference having dinner inside the Conservatory at Longwood Gardens. Photo by Dan Davies





Buildings

Physiology

Strategies



Papyrus_Winter_12_cover:Papyrus 19/12/12 6:38 AM

483535_kp.indd 3 12/21/12 11:13 AM

You’ll see author Adam Meltzer’spicture at the top of the article. Many ofyou in the U.S. may recognize Adamas the voice and face of the Chevy Volt.General Motors (GM) Volt commercialsare seen on U.S. television numeroustimes a day, so you may recognize Adam.When GM embarked upon a nation -wide search for real-life Volt owners, theyfelt that Adam’s authenticity, sincerityand look were just right. He exemplifiesthe values of those who place an impor -tance on environmental sustainabletechnology and development.

In this issue, we have a near-recordnumber of articles, including a BestPractices Feature that we hope to makea standard article in future issues ofPapyrus. Thanks go to Jack Plumb fromthe National Library of Scotland andKeith McClanahan from Facilities IssuesInc. for this inaugural Best Practicesfeature article. We are also includinga collaborative article in this issue byDarragh Brady that consists of responsesto a post in our LinkedIn Group. Wehope also to include an article in futureissues that summarizes responses to apost on a topic with which IAMFA’smembers deal on a regular basis. Pleasejoin IAMFA’s LinkedIn Group, if youhave not done so already. The grouphas doubled in size this year, and nowhas 440 members from 37 countries.

You will also find a reprint of thevery first issue of Papyrus, publishedback in 1997. This current issue rep re -sents the 15th anniversary of Papyrus.Thanks go to our members and otherexperts in pertinent fields over the past15 years, for taking time to write aboutimprovements they’ve made recently.

Thanks also to Stacey Wittig forauthor ing a recap of this year’s Bench -marking and Learning Workshop, heldon the day prior to the start of thisyear’s Annual Conference. More than50 people attended this year’s work shop,and I understand that the workshop was

Greetings from Los Angeles!

As I write this, it’s nearly December,and 2012 will be over by thetime IAMFA’s members receive

this issue of Papyrus. In September,IAMFA’s members had a great timevisiting with one another at the 22ndAnnual Conference in the Mid-Atlanticregion of the U.S. John Castle and histeam deserve a lot of credit for orga -nizing one of the most memorableconferences in our organization’shistory. Attendance at this year’s con -ference totaled about 120, and I heardmany say that they had a wonderful timelearning from this year’s presenters,while also networking and exploringwith their counterparts from around theworld. You can read a recap of the con -ference in this issue, and I’m sure youwill join me in thanking our sponsorsand hosts for a terrific conference!

In this issue of Papyrus, there is anarticle on page 4 that I hope all IAMFAmembers will be sure to read. Thearticle is titled “Sustainability Certifi -cation for Cultural Institutions” andwas written by Adam Meltzer fromArts:Earth Partnership (AEP). SinceAEP’s inception back in 2008, they’vedeveloped and are executing a GreenBusiness Certification Program designedspecifically for the cultural sector. Overthe past few months, we’ve been discus -sing with AEP the possibility that IAMFAand AEP may be able to assist oneanother in advancing our missionsand expanding our scope worldwide.There are numerous benefits to AEP’sSustainability Certification program.Please read this article; I would like toknow if you and other IAMFA mem bersbelieve this is a relationship that IAMFAshould pursue. I will be looking for feed -back from you as to whether you believeIAMFA should play a role in establishinga worldwide standard for sustainabilitycertification at cultural facilities.

Joe May—Editor, Papyrus

Letter from the Editor

2 PAPYRUS WINTER 2012–2013

very helpful to members partici patingin the 2012 IAMFA BenchmarkingExercise.

Michael Harold from SteensenVarming Ltd. has also contributed anarticle entitled “Ideal Maintenance”that is an excellent instructional articleon a topic with which we all live ona daily basis. Steensen Varming hasdemonstrated they are ready to assistwhen IAMFA’s members need expertisein lighting design, and more general forengineering and maintenance support.

You’ll also see a preview of the plansfor IAMFA’s 2013 Annual Conference,scheduled for October 20 next year inWashington, D.C. One of the venues—the U.S. National Archives and RecordsAdministration in College Park,Maryland—contributed an article tothis issue. The plans for next year’sconference are shaping up nicely, andby next summer, we hope to have anarticle in Papyrus about each of nextyear’s conference venues. Please startmarking your schedules, and makesure you join us in 2013.

IAMFA’s website, www.NewIAMFA.orghas preliminary information on the con -ference venues, and Gaylord NationalResort and Conference Center is wherewe’ll be based. There are some goodpictures on the website of this spec -tacular hotel. While you are on IAMFA’swebsite, please visit the Members Onlypage to see the latest news from IAMFA.In the next few months the new web -site will assume the name of our long-running website name IAMFA.ORG.It is possible that this change may takeplace by the time you read this issueof Papyrus.

There’s more in this issue: too manyarticles to introduce individually, as wellas updates from several of our memberregions. I hope you enjoy this issue;thank you so much to everyone whocontributed this issue’s content.

Olin Landscape Architecture, and CVM.We depend so much on our sponsorsto host the Annual Conference, andthis coming year, John Castle will leada Sponsorship Committee to ensurethat sponsorship of IAMFA’s AnnualConference each year results in a win-win result for our very generous, andmuch-needed sponsors.

During this conference, we recog -nized two very deserving members forthe IAMFA Lifetime Achievementaward. Our fearless President for thepast four years, John De Lucy, washonored in Philadelphia, as was TonyMcGuire—a faithful member since2001. Everyone in IAMFA knows bothof these gentlemen, and knows themwell because of their amazing contri -bu tions to our organization. IAMFA isa volun teer organization that requires itsmem bers to perform all the work nec -essary to make it an outstanding asso -ciation. Both John and Tony are shiningexamples of totally committed members.

We also presented two memberswith the George Preston MemorialAward: Dan Davies and Joe Brennan.For over a decade, Dan Davies hascaptured every single annual meetingon film for all to see. Check out theMembers Only page of our new web site(thanks Joe May!) at www.newiamfa.orgto view the video and pictures thatDan Davies took while in Philidelphia.You will quickly see why Dan is sodeserving of this award. Joe Brennanorganized two annual conferences inCalifornia for our membership—canyou even imagine! And, somehow hemakes this task look easy! He is also amost deserving member of this award.

Our Board has been busy meetingby conference call and has establishedtwo new strategic member committees

for membership and sponsorship. Thesecommittees will be led by David Sanders,Stacey Wittig and John Castle, who arealready hard at work. We also wel comedtwo new Board members this year—Jack Plumb and David Sanders—andboth have definitely hit the groundrunning! As a matter of fact, we heldour first three-hour conference callmeeting that didn’t start till 9 p.m.Greenwich Mean Time! These poorguys hung in, and Dave producedmeeting minutes and calendar appoint -ments before 8 a.m. the next morning,Eastern Standard Time! Apparentlythey do not need much sleep.

The Board is always looking to hearfrom members interested in servingon the IAMFA Board. We will have acouple of positions coming up thisyear for reelection, and if you thinkyou might be interested, please letRandy Murphy know. Randy will beorganizing our electronic voting pro -cess again this year. We launched anew election procedure this past year,and if you are interested in learningmore about how the procedure works,information is posted on our website.

Planning is already well underwayfor our October 2013 annual confer -ence in Washington, D.C. You can learnmore about the conference in thisissue of Papyrus, but I wanted membersto know that the venues in 2013 willbe totally new. No repeats for the guestprogram, or the members program,so please plan to attend. Check outthe IAMFA website to see some greatimages of our conference hotel at theGaylord National Convention Center.I am already looking forward to seeingeveryone next October.

The best to you all, and I wish you awonderful holiday season!

This is my first message in Papyrus,and I am not sure exactly howto start. So much has occurred

within IAMFA since our last issue. Thisis one energetic organization! Johnand Shonie Castle and his team—JillAbbott, Mike Downs, Bruce Cantor,Rich Reinhart, Bob and Mary AnnMorrone—designed and executedan absolutely fabulous conference inPhiladelphia for all who were able toattend. It was amazing in every way.The hotel was perfect (we will mostlikely never be able to top that again!),food out of this world, and the worstof the weather held off and ended upbeing just fine for the entire meeting.

The benchmarking workshop waswell attended, with 47 participants.Each person came prepared to shareand participate in the discussions. BothStacey Wittig and Keith McClanahandid an outstanding job keeping thecontent flowing and discussions lively.Every one of us met new members,and had an opportunity to make newcontacts. If you are not yet a partici -pant in the benchmarking exercise,you are missing out on a chance tocompare your facility against someof the best in this business.

Our conferences are dependent onthe support of our sponsors, and thispast year John Castle and his team wereassisted by some of the best companiesin our field. Steensen Varming led theway as principal sponsor, and was joinedby many others, including the CamfilFarr Group, Allied Barton SecurityServices, McGuire Engineering, MuellerAssociates, CleanTech Services Inc.,Pennoni Associates Inc., HughesAssociates Inc., Hess Energy, ChubbGroup, DEDC, LF Driscoll, LimbachInc., Atkin/Olshin/Schade Architects,

Nancy Bechtol—President, IAMFA

Message from the President

PAPYRUS WINTER 2012–2013 3

483535_kp.indd 4 12/21/12 11:13 AM

You’ll see author Adam Meltzer’spicture at the top of the article. Many ofyou in the U.S. may recognize Adamas the voice and face of the Chevy Volt.General Motors (GM) Volt commercialsare seen on U.S. television numeroustimes a day, so you may recognize Adam.When GM embarked upon a nation -wide search for real-life Volt owners, theyfelt that Adam’s authenticity, sincerityand look were just right. He exemplifiesthe values of those who place an impor -tance on environmental sustainabletechnology and development.

In this issue, we have a near-recordnumber of articles, including a BestPractices Feature that we hope to makea standard article in future issues ofPapyrus. Thanks go to Jack Plumb fromthe National Library of Scotland andKeith McClanahan from Facilities IssuesInc. for this inaugural Best Practicesfeature article. We are also includinga collaborative article in this issue byDarragh Brady that consists of responsesto a post in our LinkedIn Group. Wehope also to include an article in futureissues that summarizes responses to apost on a topic with which IAMFA’smembers deal on a regular basis. Pleasejoin IAMFA’s LinkedIn Group, if youhave not done so already. The grouphas doubled in size this year, and nowhas 440 members from 37 countries.

You will also find a reprint of thevery first issue of Papyrus, publishedback in 1997. This current issue rep re -sents the 15th anniversary of Papyrus.Thanks go to our members and otherexperts in pertinent fields over the past15 years, for taking time to write aboutimprovements they’ve made recently.

Thanks also to Stacey Wittig forauthor ing a recap of this year’s Bench -marking and Learning Workshop, heldon the day prior to the start of thisyear’s Annual Conference. More than50 people attended this year’s work shop,and I understand that the workshop was

Greetings from Los Angeles!

As I write this, it’s nearly December,and 2012 will be over by thetime IAMFA’s members receive

this issue of Papyrus. In September,IAMFA’s members had a great timevisiting with one another at the 22ndAnnual Conference in the Mid-Atlanticregion of the U.S. John Castle and histeam deserve a lot of credit for orga -nizing one of the most memorableconferences in our organization’shistory. Attendance at this year’s con -ference totaled about 120, and I heardmany say that they had a wonderful timelearning from this year’s presenters,while also networking and exploringwith their counterparts from around theworld. You can read a recap of the con -ference in this issue, and I’m sure youwill join me in thanking our sponsorsand hosts for a terrific conference!

In this issue of Papyrus, there is anarticle on page 4 that I hope all IAMFAmembers will be sure to read. Thearticle is titled “Sustainability Certifi -cation for Cultural Institutions” andwas written by Adam Meltzer fromArts:Earth Partnership (AEP). SinceAEP’s inception back in 2008, they’vedeveloped and are executing a GreenBusiness Certification Program designedspecifically for the cultural sector. Overthe past few months, we’ve been discus -sing with AEP the possibility that IAMFAand AEP may be able to assist oneanother in advancing our missionsand expanding our scope worldwide.There are numerous benefits to AEP’sSustainability Certification program.Please read this article; I would like toknow if you and other IAMFA mem bersbelieve this is a relationship that IAMFAshould pursue. I will be looking for feed -back from you as to whether you believeIAMFA should play a role in establishinga worldwide standard for sustainabilitycertification at cultural facilities.

Joe May—Editor, Papyrus

Letter from the Editor


very helpful to members partici patingin the 2012 IAMFA BenchmarkingExercise.

Michael Harold from SteensenVarming Ltd. has also contributed anarticle entitled “Ideal Maintenance”that is an excellent instructional articleon a topic with which we all live ona daily basis. Steensen Varming hasdemonstrated they are ready to assistwhen IAMFA’s members need expertisein lighting design, and more general forengineering and maintenance support.

You’ll also see a preview of the plansfor IAMFA’s 2013 Annual Conference,scheduled for October 20 next year inWashington, D.C. One of the venues—the U.S. National Archives and RecordsAdministration in College Park,Maryland—contributed an article tothis issue. The plans for next year’sconference are shaping up nicely, andby next summer, we hope to have anarticle in Papyrus about each of nextyear’s conference venues. Please startmarking your schedules, and makesure you join us in 2013.

IAMFA’s website, www.NewIAMFA.orghas preliminary information on the con -ference venues, and Gaylord NationalResort and Conference Center is wherewe’ll be based. There are some goodpictures on the website of this spec -tacular hotel. While you are on IAMFA’swebsite, please visit the Members Onlypage to see the latest news from IAMFA.In the next few months the new web -site will assume the name of our long-running website name IAMFA.ORG.It is possible that this change may takeplace by the time you read this issueof Papyrus.

There’s more in this issue: too manyarticles to introduce individually, as wellas updates from several of our memberregions. I hope you enjoy this issue;thank you so much to everyone whocontributed this issue’s content.

Olin Landscape Architecture, and CVM.We depend so much on our sponsorsto host the Annual Conference, andthis coming year, John Castle will leada Sponsorship Committee to ensurethat sponsorship of IAMFA’s AnnualConference each year results in a win-win result for our very generous, andmuch-needed sponsors.

During this conference, we recog -nized two very deserving members forthe IAMFA Lifetime Achievementaward. Our fearless President for thepast four years, John De Lucy, washonored in Philadelphia, as was TonyMcGuire—a faithful member since2001. Everyone in IAMFA knows bothof these gentlemen, and knows themwell because of their amazing contri -bu tions to our organization. IAMFA isa volun teer organization that requires itsmem bers to perform all the work nec -essary to make it an outstanding asso -ciation. Both John and Tony are shiningexamples of totally committed members.

We also presented two memberswith the George Preston MemorialAward: Dan Davies and Joe Brennan.For over a decade, Dan Davies hascaptured every single annual meetingon film for all to see. Check out theMembers Only page of our new web site(thanks Joe May!) at www.newiamfa.orgto view the video and pictures thatDan Davies took while in Philidelphia.You will quickly see why Dan is sodeserving of this award. Joe Brennanorganized two annual conferences inCalifornia for our membership—canyou even imagine! And, somehow hemakes this task look easy! He is also amost deserving member of this award.

Our Board has been busy meetingby conference call and has establishedtwo new strategic member committees

for membership and sponsorship. Thesecommittees will be led by David Sanders,Stacey Wittig and John Castle, who arealready hard at work. We also wel comedtwo new Board members this year—Jack Plumb and David Sanders—andboth have definitely hit the groundrunning! As a matter of fact, we heldour first three-hour conference callmeeting that didn’t start till 9 p.m.Greenwich Mean Time! These poorguys hung in, and Dave producedmeeting minutes and calendar appoint -ments before 8 a.m. the next morning,Eastern Standard Time! Apparentlythey do not need much sleep.

The Board is always looking to hearfrom members interested in servingon the IAMFA Board. We will have acouple of positions coming up thisyear for reelection, and if you thinkyou might be interested, please letRandy Murphy know. Randy will beorganizing our electronic voting pro -cess again this year. We launched anew election procedure this past year,and if you are interested in learningmore about how the procedure works,information is posted on our website.

Planning is already well underwayfor our October 2013 annual confer -ence in Washington, D.C. You can learnmore about the conference in thisissue of Papyrus, but I wanted membersto know that the venues in 2013 willbe totally new. No repeats for the guestprogram, or the members program,so please plan to attend. Check outthe IAMFA website to see some greatimages of our conference hotel at theGaylord National Convention Center.I am already looking forward to seeingeveryone next October.

The best to you all, and I wish you awonderful holiday season!

This is my first message in Papyrus,and I am not sure exactly howto start. So much has occurred

within IAMFA since our last issue. Thisis one energetic organization! Johnand Shonie Castle and his team—JillAbbott, Mike Downs, Bruce Cantor,Rich Reinhart, Bob and Mary AnnMorrone—designed and executedan absolutely fabulous conference inPhiladelphia for all who were able toattend. It was amazing in every way.The hotel was perfect (we will mostlikely never be able to top that again!),food out of this world, and the worstof the weather held off and ended upbeing just fine for the entire meeting.

The benchmarking workshop waswell attended, with 47 participants.Each person came prepared to shareand participate in the discussions. BothStacey Wittig and Keith McClanahandid an outstanding job keeping thecontent flowing and discussions lively.Every one of us met new members,and had an opportunity to make newcontacts. If you are not yet a partici -pant in the benchmarking exercise,you are missing out on a chance tocompare your facility against someof the best in this business.

Our conferences are dependent onthe support of our sponsors, and thispast year John Castle and his team wereassisted by some of the best companiesin our field. Steensen Varming led theway as principal sponsor, and was joinedby many others, including the CamfilFarr Group, Allied Barton SecurityServices, McGuire Engineering, MuellerAssociates, CleanTech Services Inc.,Pennoni Associates Inc., HughesAssociates Inc., Hess Energy, ChubbGroup, DEDC, LF Driscoll, LimbachInc., Atkin/Olshin/Schade Architects,

Nancy Bechtol—President, IAMFA

Message from the President


483535_kp.indd 5 12/21/12 11:13 AM


For years now, facilities profes sionalsat cultural institu tions have becomeincreasingly involved with sustain -

ability efforts, for a number of reasons.Our cultural institutions have becomea focal point for sustainable develop -ment within our communities, andthose who fund operations at these insti -tutions have shown a sincere interestin demonstrating the community’scommitment to sustainability.

It has also become common inrecent years to embark upon sig nifi -cant expansion/renovation programsat cul tural institutions, and most ofthese projects have sustainable featuresincorporated into their designs. Whilemany cultural institutions have under -gone changes, most facilities pro fes -sionals have been required to do morewith less, due to budget constraintsthat have left few unaffected.

While nearly all IAMFA membershave had some involve ment in sus tain -ability efforts, few have had the resources

to become LEED-Certified, or certifiedin the prevailing system in their country.Those who have tried have found thatthe unique operating characteristics oftheir institutions make it more dif ficultto achieve sustainability certifi cation thanit would be with a commercial building.

This is where Arts:Earth Partnership(AEP) comes in. AEP is a not-for-profitgreen-business certification programcreated specifically for the Arts &Cultural sector.

We advise, assess and educate cul -tural facilities and arts organizationson how to become more environ men -tally sustainable businesses. In thisway, our member orga ni za tions saveprecious resources that can be redi -rected toward fulfilling their missions.They also reduce their negative impacton our cities and planet by reducingCO2 emissions, energy costs, materialand water waste, while setting an im -portant and visible example for theiraudience and visitors. In addition, the

adoption of environmentally friendlybusi ness practices and attaining aGreen Business Certification allowsfor positive marketing and outreach.A bonus is that the certification givesthe organization an opportunity togrow a donor base to include thosewho champion environmentalism andearth-conscious business practices.

AEP’s certification checklist andprocess have been vetted by the SantaMonica Office of Sustainability, theLos Angeles Bureau of Sanitation,and by the Department of Toxic Sub -stances Control in Sacramento (thecapital of California): the body thatadministers and approves all the greenbusi ness programs operating in theState of California—the eight-largesteconomy in the world.

Established in 2008, AEP is the firstand only Green Business CertificationProgram created specifically for theArts & Cultural sector in the UnitedStates. AEP was started as a program of

Sustainability Certificationfor Cultural InstitutionsBy Adam Meltzer

A sampling of Arts:Earth Partnership-certified facilities and members.


the Electric Lodge in Venice, California:a hub of cultural activity, and a visualand performing arts center poweredby 100% renewable energy.

Justin Yoffe, co-founder and Exec -utive Director of AEP says, “Whenlooking into becoming an officiallyrecognized green business, we wereconcerned about the language, lengthand high cost of existing green-businesscertifica tion programs, and decided todevelop our own. Our goal was to createa certification checklist and programthat was com mensurate with existingprograms like LEED, but tailored tothe Arts & Cultural sector, very easy tounderstand, incred ibly low-cost andwith personal support built in everystep of the way. We knew the Arts &Cultural sector was pre dis posed tosustainable practice, and their accessto the general public is profound andimmediate: a great way to demonstratepositive action to the communities inwhich they reside.”

Arts & Cultural events bring wholecommunities together, making themsomething of a captive audience. Acultural institution that demonstratescost-saving environ mentally sustainablepractices can influence millions ofpatrons annually. And, if just a fractionof those people are inspired to makechanges at their homes or businesses,the impact can be profound.

Larger museums may have over amillion square feet of space, and maysee a million or more visitors eachyear. The savings from making simplechanges in lighting, water conser va -tion and waste management alone canreturn much-needed dollars to art oreducational events. This is the criticalmessage: Less waste equals more art.Donors are behind it, patrons are behindit, and employees are always excitedabout implementing environmentalsustainability measures.

Two things separate AEP’s certifi ca -tion process from others. The first isour onsite assessment, which plays amajor role in reducing the docu men -tation needed, as well as the time re -quired to upload it. The second is thatour measures are easily achievable andtailored to your needs. We have requiredmeasures and elective measures. The

elective measures give you choicesin implementing the measures mostimportant and achievable for yourorganization.

All the measures play a part inachieving environmental sustainabilityand certification. AEP believes thatmovement toward being a truly envi -ronmental sustainable orga niza tion isbetter than not moving at all. AEP’scertification process is meant to give

organizations a roadmap to begintheir journey towards true compre -hensive environmental sustainability.Many times, organizations aren’t surewhere to start, how much to do, orhow to do it. We address all thoseissues and more.

After an initial site visit, AEP givesmembers 90–120 days to complete themeasures contained in a customizedcerti fication document. A follow-upvisit then occurs, and an assessor walksthrough the facility to make sure themea sures are complete. If they are infact complete, the organization is then

certified—and, in many cases, thecertification will give them access tobenefits for being a green business.

Without going into detail aboutother certifications, I think everyonecan agree that some of the other certi -fi cations out there are not sensitive tothe time, cost, labor issues and powerneeds related to the cultural com mu nity.Arts:Earth Partnership’s cer tifi cationprocess is. They have created mea suresthat are easily achievable, even with outa full-time facilities operations personor an outside consultant—if you haveone, however, it’s even easier. In anutshell, significantly fewer hoursof internal resources are needed tocomplete the certification documents.

AEP works with facilities that rangefrom a thousand square feet to a mil -lion square feet, and results in thesefacilities creating measurable resultsat a fraction of the cost. Costs for thecertification process are very low:typically $400 for two years for afacility that is between 5,000 and 10,000square feet. Please see our website forcurrent rates at: artsearthpartnership.org/join and scroll down halfway downthe page. The initial costs shown onthe website include capital improve -ments with lighting and water conser -vation. This is also where the savingscome in. For a small 5,000-square-foot

©2002 M

USE

UM

ASS

OC

IATIO

N/L

AC

MA

An assessor walks through the museum to verify that the selected sustainability criteria havebeen satisfied.

Arts & Cultural eventsbring whole communitiestogether . . .

483535_kp.indd 6 12/21/12 11:13 AM


For years now, facilities profes sionalsat cultural institu tions have becomeincreasingly involved with sustain -

ability efforts, for a number of reasons.Our cultural institutions have becomea focal point for sustainable develop -ment within our communities, andthose who fund operations at these insti -tutions have shown a sincere interestin demonstrating the community’scommitment to sustainability.

It has also become common inrecent years to embark upon sig nifi -cant expansion/renovation programsat cul tural institutions, and most ofthese projects have sustainable featuresincorporated into their designs. Whilemany cultural institutions have under -gone changes, most facilities pro fes -sionals have been required to do morewith less, due to budget constraintsthat have left few unaffected.

While nearly all IAMFA membershave had some involve ment in sus tain -ability efforts, few have had the resources

to become LEED-Certified, or certifiedin the prevailing system in their country.Those who have tried have found thatthe unique operating characteristics oftheir institutions make it more dif ficultto achieve sustainability certifi cation thanit would be with a commercial building.

This is where Arts:Earth Partnership(AEP) comes in. AEP is a not-for-profitgreen-business certification programcreated specifically for the Arts &Cultural sector.

We advise, assess and educate cul -tural facilities and arts organizationson how to become more environ men -tally sustainable businesses. In thisway, our member orga ni za tions saveprecious resources that can be redi -rected toward fulfilling their missions.They also reduce their negative impacton our cities and planet by reducingCO2 emissions, energy costs, materialand water waste, while setting an im -portant and visible example for theiraudience and visitors. In addition, the

adoption of environmentally friendlybusi ness practices and attaining aGreen Business Certification allowsfor positive marketing and outreach.A bonus is that the certification givesthe organization an opportunity togrow a donor base to include thosewho champion environmentalism andearth-conscious business practices.

AEP’s certification checklist andprocess have been vetted by the SantaMonica Office of Sustainability, theLos Angeles Bureau of Sanitation,and by the Department of Toxic Sub -stances Control in Sacramento (thecapital of California): the body thatadministers and approves all the greenbusi ness programs operating in theState of California—the eight-largesteconomy in the world.

Established in 2008, AEP is the firstand only Green Business CertificationProgram created specifically for theArts & Cultural sector in the UnitedStates. AEP was started as a program of

Sustainability Certificationfor Cultural InstitutionsBy Adam Meltzer

A sampling of Arts:Earth Partnership-certified facilities and members.


the Electric Lodge in Venice, California:a hub of cultural activity, and a visualand performing arts center poweredby 100% renewable energy.

Justin Yoffe, co-founder and Exec -utive Director of AEP says, “Whenlooking into becoming an officiallyrecognized green business, we wereconcerned about the language, lengthand high cost of existing green-businesscertifica tion programs, and decided todevelop our own. Our goal was to createa certification checklist and programthat was com mensurate with existingprograms like LEED, but tailored tothe Arts & Cultural sector, very easy tounderstand, incred ibly low-cost andwith personal support built in everystep of the way. We knew the Arts &Cultural sector was pre dis posed tosustainable practice, and their accessto the general public is profound andimmediate: a great way to demonstratepositive action to the communities inwhich they reside.”

Arts & Cultural events bring wholecommunities together, making themsomething of a captive audience. Acultural institution that demonstratescost-saving environ mentally sustainablepractices can influence millions ofpatrons annually. And, if just a fractionof those people are inspired to makechanges at their homes or businesses,the impact can be profound.

Larger museums may have over amillion square feet of space, and maysee a million or more visitors eachyear. The savings from making simplechanges in lighting, water conser va -tion and waste management alone canreturn much-needed dollars to art oreducational events. This is the criticalmessage: Less waste equals more art.Donors are behind it, patrons are behindit, and employees are always excitedabout implementing environmentalsustainability measures.

Two things separate AEP’s certifi ca -tion process from others. The first isour onsite assessment, which plays amajor role in reducing the docu men -tation needed, as well as the time re -quired to upload it. The second is thatour measures are easily achievable andtailored to your needs. We have requiredmeasures and elective measures. The

elective measures give you choicesin implementing the measures mostimportant and achievable for yourorganization.

All the measures play a part inachieving environmental sustainabilityand certification. AEP believes thatmovement toward being a truly envi -ronmental sustainable orga niza tion isbetter than not moving at all. AEP’scertification process is meant to give

organizations a roadmap to begintheir journey towards true compre -hensive environmental sustainability.Many times, organizations aren’t surewhere to start, how much to do, orhow to do it. We address all thoseissues and more.

After an initial site visit, AEP givesmembers 90–120 days to complete themeasures contained in a customizedcerti fication document. A follow-upvisit then occurs, and an assessor walksthrough the facility to make sure themea sures are complete. If they are infact complete, the organization is then

certified—and, in many cases, thecertification will give them access tobenefits for being a green business.

Without going into detail aboutother certifications, I think everyonecan agree that some of the other certi -fi cations out there are not sensitive tothe time, cost, labor issues and powerneeds related to the cultural com mu nity.Arts:Earth Partnership’s cer tifi cationprocess is. They have created mea suresthat are easily achievable, even with outa full-time facilities operations personor an outside consultant—if you haveone, however, it’s even easier. In anutshell, significantly fewer hoursof internal resources are needed tocomplete the certification documents.

AEP works with facilities that rangefrom a thousand square feet to a mil -lion square feet, and results in thesefacilities creating measurable resultsat a fraction of the cost. Costs for thecertification process are very low:typically $400 for two years for afacility that is between 5,000 and 10,000square feet. Please see our website forcurrent rates at: artsearthpartnership.org/join and scroll down halfway downthe page. The initial costs shown onthe website include capital improve -ments with lighting and water conser -vation. This is also where the savingscome in. For a small 5,000-square-foot

©2002 M

USE

UM

ASS

OC

IATIO

N/L

AC

MA

An assessor walks through the museum to verify that the selected sustainability criteria havebeen satisfied.

Arts & Cultural eventsbring whole communitiestogether . . .

483535_kp.indd 7 12/21/12 11:13 AM


We all are aware that our cultural institutions are no

longer just facilities in which to store, preserve, and

display art. They are gathering places and centers to

attract tourism to our cities, and our civic leaders are

increasingly interested in demonstrating their commit -

ment and leadership in sustainable development. They

want to be seen as responsible members of the world’s

cultural community, and we are exploring the possibility

for IAMFA to become influential in setting a world stan -

dard for sustainability certification at cultural institutions.

We’d like to gauge the interest of our membership in

pursuing Arts:Earth Partnerships sustainable certification.

If it were simpler to achieve, and less costly to achieve,

would IAMFA members be interested in pursuing sus -

tainability certification? If IAMFA could be instrumental

in establishing a world standard for sustainability at

cultural institutions, would our members find this a

worthy pursuit? We want to hear from you!

—Joe May, Editor, Papyrus

theater or museum, we estimated they would spend $2,300US on retrofitting and replacing incandescent lighting.Within nine months that would be made back, and within10 years they would have saved over $55,000 US.

Joe May from IAMFA has been exploring with AEPhow our two non-profit organizations might possibly assistone another in gaining greater recognition of, and sus -tainability certifi cation for cultural institutions aroundthe globe. AEP is currently developing an internationaltraining program for facilities willing to be host members.All interested IAMFA members should contact AEP [email protected], or get in touch withJoe May to discuss this further. AEP and IAMFA workingtogether represent a wonderful opportunity to bring artand comprehensive environmental sustainability together,which is why we exist.

Stay tuned for AEP’s first annual Sustainable Arts Summitin Los Angeles on June 8, 2013!

Adam Meltzer is Director of Operations/Programs for Arts:EarthPartnership, and is an accredited LEED AP in Los Angeles, as wellas a QCxP(Qualified Commissioning Process Provider). Adam’spast experience includes LEED consulting projects, environmentalassessments, program coordination, marketing and research,graphic design, and social networking. He can be reached [email protected]


It took a meeting with Karen Plouviez,Facilities Manager at the BritishLibrary in 2000, to introduce me to

the possibilities of what serious bench -marking could achieve. This led to theNational Library of Scotland joiningIAMFA and signing up for the bench -marking workshop at the Londonconference in 2002. Listening to IanFollett of Facilities Management Inc.,who in those days coordinated thebenchmarking exercise for IAMFA,opened my eyes to the potential of whatserious benchmarking could achieve.

So in 2003, we participated in ourfirst benchmarking exercise. The firstthing I had to decide was whether tobenchmark the whole National Libraryof Scotland (NLS) estate, or just asingle building. This is still a majordilemma today for those colleaguesjust starting out. At the Library in2003, I was in the middle of a majorplant replacement programme at ourmajor site, working on the design of areplacement chiller installation whichwould incorporate a radical new free-

cooling facility. To measure the success—or otherwise—of this bold new design,I decided to benchmark this buildingalone, and we have continued to bench -mark this building. I will come back tothe results of this plant replacementprogramme later in this article.

Since embarking on the bench -mark ing exercise, we have gotten apretty good idea of just how thisbuilding operates—but also just howgood, or otherwise, the information isthat we use for the benchmarkingexercise. As you can see from Table 1,there are some strange-looking read -ings—especially if you follow the costof security, which ranges from $60/m2

down to $10/m2—which are notentirely due to savings, but more likelya result of our original decision tobenchmark a particular building. Inour case, we do not split our securitycosts by build ing. For the bench mark -ing exercise, this means that we haveto take total security costs and appor -tion this figure based on the floor areaof this building, as a percentage of the

entire estate—not the best way toguarantee consistency.

What the table does show, however,is that over the years we have becomemore efficient in all our efforts. Byconsistently scoring below the IAMFAmedians, we can say with confidencethat in our current provision of services—whether it be security, cleaning ormaintenance—we are delivering valuefor the money by achieving an accept -able result at below-market rates. I amparticularly pleased by the way in whichbuilding maintenance costs have beenmaintained consistently below theIAMFA mean, (the figure for 2008does appear to be an anomaly—whichis another lesson to be learnt; we donot always report the correct number).

Looking at the total operating costsfor this building, the table also showsthat, not only is it consistently runningat less than the IAMFA mean, but wealso appear to becoming even moreefficient, driving running costs down ata time when the IAMFA mean appearsto be drifting slightly upwards. The main

Benchmarking at the National Libraryof ScotlandA Journey of DiscoveryBy Jack Plumb

Table 1: Building Operation Costs per Square Metre at NLS Since 2003

National Library of Scotland—IAMFA Benchmarking Results

2003 2006 2007 2008 2009 2010 2011 2012

Bench- Bench- Bench- Bench- Bench- Bench- Bench- Bench-marking marking marking marking marking marking marking marking

NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean

Electrical251.3 150 253 130 226 140 231.6 150 255.4 130 253 110 210 110 212.8Consumption kW/m²

Building45.98 37.81 50 30 65 37 80 34 18 43 35 41 25 43 25 45Maintenance $/m2

Security $/m2 60.16 62.28 30 64.53 30 55.15 31 55.5 ? 52.76 15 43.19 29 41.89 10 58.57

Cleaning $/m2 20.86 24.44 10 26.22 14 20.66 22.5 24.52 ? 30.67 35 23.96 20 26.44 10 26.14

Total Operating142.24 154.25 110 160 140 144 150 144 ? 160 80 127 80 130 60 160Costs $/m2

BEST PRACTICES FEATURE ARTICLE

483535_kp.indd 8 12/21/12 11:13 AM


We all are aware that our cultural institutions are no

longer just facilities in which to store, preserve, and

display art. They are gathering places and centers to

attract tourism to our cities, and our civic leaders are

increasingly interested in demonstrating their commit -

ment and leadership in sustainable development. They

want to be seen as responsible members of the world’s

cultural community, and we are exploring the possibility

for IAMFA to become influential in setting a world stan -

dard for sustainability certification at cultural institutions.

We’d like to gauge the interest of our membership in

pursuing Arts:Earth Partnerships sustainable certification.

If it were simpler to achieve, and less costly to achieve,

would IAMFA members be interested in pursuing sus -

tainability certification? If IAMFA could be instrumental

in establishing a world standard for sustainability at

cultural institutions, would our members find this a

worthy pursuit? We want to hear from you!

—Joe May, Editor, Papyrus

theater or museum, we estimated they would spend $2,300US on retrofitting and replacing incandescent lighting.Within nine months that would be made back, and within10 years they would have saved over $55,000 US.

Joe May from IAMFA has been exploring with AEPhow our two non-profit organizations might possibly assistone another in gaining greater recognition of, and sus -tainability certifi cation for cultural institutions aroundthe globe. AEP is currently developing an internationaltraining program for facilities willing to be host members.All interested IAMFA members should contact AEP [email protected], or get in touch withJoe May to discuss this further. AEP and IAMFA workingtogether represent a wonderful opportunity to bring artand comprehensive environmental sustainability together,which is why we exist.

Stay tuned for AEP’s first annual Sustainable Arts Summitin Los Angeles on June 8, 2013!

Adam Meltzer is Director of Operations/Programs for Arts:EarthPartnership, and is an accredited LEED AP in Los Angeles, as wellas a QCxP(Qualified Commissioning Process Provider). Adam’spast experience includes LEED consulting projects, environmentalassessments, program coordination, marketing and research,graphic design, and social networking. He can be reached [email protected]


It took a meeting with Karen Plouviez,Facilities Manager at the BritishLibrary in 2000, to introduce me to

the possibilities of what serious bench -marking could achieve. This led to theNational Library of Scotland joiningIAMFA and signing up for the bench -marking workshop at the Londonconference in 2002. Listening to IanFollett of Facilities Management Inc.,who in those days coordinated thebenchmarking exercise for IAMFA,opened my eyes to the potential of whatserious benchmarking could achieve.

So in 2003, we participated in ourfirst benchmarking exercise. The firstthing I had to decide was whether tobenchmark the whole National Libraryof Scotland (NLS) estate, or just asingle building. This is still a majordilemma today for those colleaguesjust starting out. At the Library in2003, I was in the middle of a majorplant replacement programme at ourmajor site, working on the design of areplacement chiller installation whichwould incorporate a radical new free-

cooling facility. To measure the success—or otherwise—of this bold new design,I decided to benchmark this buildingalone, and we have continued to bench -mark this building. I will come back tothe results of this plant replacementprogramme later in this article.

Since embarking on the bench -mark ing exercise, we have gotten apretty good idea of just how thisbuilding operates—but also just howgood, or otherwise, the information isthat we use for the benchmarkingexercise. As you can see from Table 1,there are some strange-looking read -ings—especially if you follow the costof security, which ranges from $60/m2

down to $10/m2—which are notentirely due to savings, but more likelya result of our original decision tobenchmark a particular building. Inour case, we do not split our securitycosts by build ing. For the bench mark -ing exercise, this means that we haveto take total security costs and appor -tion this figure based on the floor areaof this building, as a percentage of the

entire estate—not the best way toguarantee consistency.

What the table does show, however,is that over the years we have becomemore efficient in all our efforts. Byconsistently scoring below the IAMFAmedians, we can say with confidencethat in our current provision of services—whether it be security, cleaning ormaintenance—we are delivering valuefor the money by achieving an accept -able result at below-market rates. I amparticularly pleased by the way in whichbuilding maintenance costs have beenmaintained consistently below theIAMFA mean, (the figure for 2008does appear to be an anomaly—whichis another lesson to be learnt; we donot always report the correct number).

Looking at the total operating costsfor this building, the table also showsthat, not only is it consistently runningat less than the IAMFA mean, but wealso appear to becoming even moreefficient, driving running costs down ata time when the IAMFA mean appearsto be drifting slightly upwards. The main

Benchmarking at the National Libraryof ScotlandA Journey of DiscoveryBy Jack Plumb

Table 1: Building Operation Costs per Square Metre at NLS Since 2003

National Library of Scotland—IAMFA Benchmarking Results

2003 2006 2007 2008 2009 2010 2011 2012

Bench- Bench- Bench- Bench- Bench- Bench- Bench- Bench-marking marking marking marking marking marking marking marking

NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean NLS Mean

Electrical251.3 150 253 130 226 140 231.6 150 255.4 130 253 110 210 110 212.8Consumption kW/m²

Building45.98 37.81 50 30 65 37 80 34 18 43 35 41 25 43 25 45Maintenance $/m2

Security $/m2 60.16 62.28 30 64.53 30 55.15 31 55.5 ? 52.76 15 43.19 29 41.89 10 58.57

Cleaning $/m2 20.86 24.44 10 26.22 14 20.66 22.5 24.52 ? 30.67 35 23.96 20 26.44 10 26.14

Total Operating142.24 154.25 110 160 140 144 150 144 ? 160 80 127 80 130 60 160Costs $/m2

BEST PRACTICES FEATURE ARTICLE

483535_kp.indd 9 12/21/12 11:13 AM


driver for this continuing decreasein running costs has been achievedthrough a major focus by the Libraryand the current FM contractor, ECGFacilities, on examining the operationof every item in the plant to ensure thatit is delivering the minimum amountof energy to achieve the desired envi -ronmental condition, for only thetime required.

When reading benchmarks—espe -cially if you start to compare your -selves with other benchmarks and,even worse, start to give yourself a paton the back because your particularfacility is top of the class—beware,and stop and ask yourself why. A goodexample of this involves examiningelectrical consumption for the par tic -ular building assessed for the NLSbenchmarking exercise. At first glance,you would think that your humbleauthor is best in class! The truth is, ofcourse, slightly different. That is why,with a team of IAMFA colleagues, wedeveloped the IAMFA energy per for -mance certificate, which comparesyour facility/building on a year-by-yearbasis. If you score well with that test,then you may well give yourself a paton the back!

Back to the building that we in theLibrary use for our benchmarkingexercise. It is a very heavy concretebook repository, with a number ofnovel energy-saving initiatives—moreof which later. Basically, it scores verywell for two main reasons:

The first is that this building is astorage facility with only individualmembers of the collection manage mentteam touring the collection spaces.This means hardly any sensible heatgain, (they are under strict instruc tionsto switch lights off once they leave aspace) and minimal latent gains, asthere are so few people in the space.Compare this to a popular gallery ormuseum, where they have to copewith hundreds of wet tourists who popin to look for dry place to get out ofthe rain, direct into the collection space;you can see we are not comparingapples with apples.

The second is the climate in Scotland,which means we hardly ever have tode-humidify. In fact, we set the controlsup, and manage the temperature and

humidity sets points to design out therequirement for de-humidificationas much as possible. This is achievedby ensuring that, at the start of de-humidi fication season—usually in earlyAugust—we let the humidity drift asclose to 40% as possible (our lowerlimit), with the temperature as cool aspossible without excessive use of thechillers (a hot summer in Scotlandis something only us old-stagers canremember, 1976 I think was the lastone). We then let the humidity riseover the summer months, lettingtemperatures in the collection spacedrift slowly upwards, controlling thehumidity by carefully controlling thetemperature, as required.

Without wishing to be too harshon myself, within the Library we haveset ourselves challenging targets forreducing carbon emissions. Whenembarking on any initiative, as I havesaid many times before, the best placeto start is with your IAMFA colleagues.In my book, there is no better way tospend an evening than debating differ -ent types of plant and plant installa tionsover a beer or three with your fellowFM colleagues. I believe it was at oneof these debates that I heard aboutvoltage optimisation for the first time.

For those unaware of voltage optim -sation devices, they were first developedin Japan, at a time when it was essentialfor their economy to save as much

energy as possible. These devicesdeliver savings by slightly reducing thevoltage supplied to the building. Thevoltage remains sufficient to deliver10% (on average) energy savings, whilstnot affecting the normal operation ofthe building. As with all good ideas, itwas quickly copied and there are nowa number of different types of voltageoptimisation manufacturers. My con -cern, however, was that we install adevice with no maintenance, no movingparts, and a 17-year guarantee. Wealso wanted a winding arrangement,meaning that, even in the very unlikelyevent of a plant failure, it would con -tinue to supply the original line voltage.Following the lead taken by my IAMFAcolleagues, the vast majority of ourcurrent devices are Power Perfectorunits, which contains all the qualitieswe require.

When faced with the requirement toreplace aging chillers, I noticed that itis rather cold outdoors in Scotland.Very quick to notice these things was I,so I wondered if we could use existingair-blast coolers (which are normallyused to reject heat from the chillersduring the summer months) in winterto generate cold water. With the helpof my excellent FM Contractors, ECGFacilities, we experimented a bit, anddiscovered that we could deliver chilledwater roughly 2ºC higher than ambient.We already knew that we could run

Power Perfector voltage optimisation unit. Grundfos variable-speed twin-headed pumps.


the chilled water installation with aset point of 10ºC during the wintermonths, which means that, once theambient temperature falls below 8ºC,we could generate our own chilledwater at a fraction of the cost, as thechiller would be shut down. Basedon these calculations, we designed achiller replacement installation thatincluded a heat exchanger connectingthe air-blast coolers with the chilledwater installation. When this was com -bined with variable-speed high-efficiencypumps designed and supplied by ourspecialist pump supplier, GrundfosPumps, we managed to achieve an18% reduction in energy consumption.

I should mention that, based onthis successful outcome, we used thesame design principles at another site.This time, as well as using our specialistpump suppliers, we also used a spe -cialist Turbomiser Chiller supplier:Klima-Therm, (which had previouslysuccessfully supplied TurbomiserChillers to our colleagues at theNational Archives in Kew, London).

On this other site, working closelywith our controls specialists, East CoastControls, several further innovationshave been introduced. These includedchanging all the valve arrangementson the supply to the chilled-waterbatteries installed within each air-handling unit. These now operate astwo-port valves, (which means theyare either open or closed, or someposition in-between), using a pressureswitch to control the speed of thepump. Another change to the controlstrategy was to keep raising the tem -perature of the chilled water, until atleast one of the now two-port chilled-water battery valves was 100% open.This meant that only the minimumof chilled water was being delivered,at the highest temperature possible,sufficient to meet the demands of thecollection spaces. (Please see the excel -lent article by my colleague Allan Tyrrellof the Portrait Gallery in London inthe Spring 2012 issue of Papyrus onthis very subject).

Whilst my two previous examplesshow how working with your IAMFAcolleagues have resulted in the Librarymaking significant energy savings, inmy next example I had to harness the

Jack’s analogy that benchmarking is a journey of discoveryresonates with me, for the IAMFA benchmarking exerciseis certainly a tool for discovering and uncovering ways toincrease efficiencies at your facility. Since benchmarkingis a continuous improvement process, the further youjourney, the more nuggets you pick up.

Every year, facility administrators like you find new waysto tweak their processes when they listen to others discusssuccesses and failures. Join the conversation by first sharingyour operating costs and practices on the easy-to-use website

portal. The data you enter online is “benchmarked” or compared to othermuseums, libraries and cultural institutions.

Next, the annual benchmarking workshop—designed to get participantscomfortable with sharing and discussing both challenges and successes—is heldprior to the annual IAMFA conference. But more on that later, in a separatearticle in this issue by my colleague Stacey Wittig. Let me simply say here thatso much networking goes on at the workshop that you will feel comfortablepicking up the phone and calling peers for advice throughout the ensuing year.

By measuring results, finding industry averages, and then sharing best practices,you will find ways to shave your costs, just as Jack demonstrates in his article. Infact, the average benchmarking participant reduces their costs about 8% in thefirst year. Jack’s story is not an anomaly.

The IAMFA benchmarking group traditionally measures utility, cleaning,maintenance, and security costs. This year, for the first time, you have twooptions: benchmark all these categories, or benchmark the utility category only.The new survey, aptly named the Energy Survey, was proposed by the IAMFABenchmarking Steering Committee as a means of getting more—specifically,smaller—institutions involved. The Energy Study, offered at a lower enrollmentfee, should be easier to leverage into any tight budget. Both surveys collecttemperature and humidity set points, and participants cross-reference datacharts to learn how changing set points is affecting energy consumption.

The original enrollment fee was $1,875 US. Support from our generous sponsorshas lowered that to $1,499 US. New participants can make use of an introductoryoffer of $999 US, and the Energy Survey is only $499 US. You are invited toparticipate with, or sponsor, this interactive group by going to www.facilityissues.com/Museums/Index.htm.

—Keith McClanahan, Principal, Facility Issues, Benchmarking Consultants

Klima-Therm Turbomiser Chillers.

483535_kp.indd 10 12/21/12 11:13 AM


driver for this continuing decreasein running costs has been achievedthrough a major focus by the Libraryand the current FM contractor, ECGFacilities, on examining the operationof every item in the plant to ensure thatit is delivering the minimum amountof energy to achieve the desired envi -ronmental condition, for only thetime required.

When reading benchmarks—espe -cially if you start to compare your -selves with other benchmarks and,even worse, start to give yourself a paton the back because your particularfacility is top of the class—beware,and stop and ask yourself why. A goodexample of this involves examiningelectrical consumption for the par tic -ular building assessed for the NLSbenchmarking exercise. At first glance,you would think that your humbleauthor is best in class! The truth is, ofcourse, slightly different. That is why,with a team of IAMFA colleagues, wedeveloped the IAMFA energy per for -mance certificate, which comparesyour facility/building on a year-by-yearbasis. If you score well with that test,then you may well give yourself a paton the back!

Back to the building that we in theLibrary use for our benchmarkingexercise. It is a very heavy concretebook repository, with a number ofnovel energy-saving initiatives—moreof which later. Basically, it scores verywell for two main reasons:

The first is that this building is astorage facility with only individualmembers of the collection manage mentteam touring the collection spaces.This means hardly any sensible heatgain, (they are under strict instruc tionsto switch lights off once they leave aspace) and minimal latent gains, asthere are so few people in the space.Compare this to a popular gallery ormuseum, where they have to copewith hundreds of wet tourists who popin to look for dry place to get out ofthe rain, direct into the collection space;you can see we are not comparingapples with apples.

The second is the climate in Scotland,which means we hardly ever have tode-humidify. In fact, we set the controlsup, and manage the temperature and

humidity sets points to design out therequirement for de-humidificationas much as possible. This is achievedby ensuring that, at the start of de-humidi fication season—usually in earlyAugust—we let the humidity drift asclose to 40% as possible (our lowerlimit), with the temperature as cool aspossible without excessive use of thechillers (a hot summer in Scotlandis something only us old-stagers canremember, 1976 I think was the lastone). We then let the humidity riseover the summer months, lettingtemperatures in the collection spacedrift slowly upwards, controlling thehumidity by carefully controlling thetemperature, as required.

Without wishing to be too harshon myself, within the Library we haveset ourselves challenging targets forreducing carbon emissions. Whenembarking on any initiative, as I havesaid many times before, the best placeto start is with your IAMFA colleagues.In my book, there is no better way tospend an evening than debating differ -ent types of plant and plant installa tionsover a beer or three with your fellowFM colleagues. I believe it was at oneof these debates that I heard aboutvoltage optimisation for the first time.

For those unaware of voltage optim -sation devices, they were first developedin Japan, at a time when it was essentialfor their economy to save as much

energy as possible. These devicesdeliver savings by slightly reducing thevoltage supplied to the building. Thevoltage remains sufficient to deliver10% (on average) energy savings, whilstnot affecting the normal operation ofthe building. As with all good ideas, itwas quickly copied and there are nowa number of different types of voltageoptimisation manufacturers. My con -cern, however, was that we install adevice with no maintenance, no movingparts, and a 17-year guarantee. Wealso wanted a winding arrangement,meaning that, even in the very unlikelyevent of a plant failure, it would con -tinue to supply the original line voltage.Following the lead taken by my IAMFAcolleagues, the vast majority of ourcurrent devices are Power Perfectorunits, which contains all the qualitieswe require.

When faced with the requirement toreplace aging chillers, I noticed that itis rather cold outdoors in Scotland.Very quick to notice these things was I,so I wondered if we could use existingair-blast coolers (which are normallyused to reject heat from the chillersduring the summer months) in winterto generate cold water. With the helpof my excellent FM Contractors, ECGFacilities, we experimented a bit, anddiscovered that we could deliver chilledwater roughly 2ºC higher than ambient.We already knew that we could run

Power Perfector voltage optimisation unit. Grundfos variable-speed twin-headed pumps.


the chilled water installation with aset point of 10ºC during the wintermonths, which means that, once theambient temperature falls below 8ºC,we could generate our own chilledwater at a fraction of the cost, as thechiller would be shut down. Basedon these calculations, we designed achiller replacement installation thatincluded a heat exchanger connectingthe air-blast coolers with the chilledwater installation. When this was com -bined with variable-speed high-efficiencypumps designed and supplied by ourspecialist pump supplier, GrundfosPumps, we managed to achieve an18% reduction in energy consumption.

I should mention that, based onthis successful outcome, we used thesame design principles at another site.This time, as well as using our specialistpump suppliers, we also used a spe -cialist Turbomiser Chiller supplier:Klima-Therm, (which had previouslysuccessfully supplied TurbomiserChillers to our colleagues at theNational Archives in Kew, London).

On this other site, working closelywith our controls specialists, East CoastControls, several further innovationshave been introduced. These includedchanging all the valve arrangementson the supply to the chilled-waterbatteries installed within each air-handling unit. These now operate astwo-port valves, (which means theyare either open or closed, or someposition in-between), using a pressureswitch to control the speed of thepump. Another change to the controlstrategy was to keep raising the tem -perature of the chilled water, until atleast one of the now two-port chilled-water battery valves was 100% open.This meant that only the minimumof chilled water was being delivered,at the highest temperature possible,sufficient to meet the demands of thecollection spaces. (Please see the excel -lent article by my colleague Allan Tyrrellof the Portrait Gallery in London inthe Spring 2012 issue of Papyrus onthis very subject).

Whilst my two previous examplesshow how working with your IAMFAcolleagues have resulted in the Librarymaking significant energy savings, inmy next example I had to harness the

Jack’s analogy that benchmarking is a journey of discoveryresonates with me, for the IAMFA benchmarking exerciseis certainly a tool for discovering and uncovering ways toincrease efficiencies at your facility. Since benchmarkingis a continuous improvement process, the further youjourney, the more nuggets you pick up.

Every year, facility administrators like you find new waysto tweak their processes when they listen to others discusssuccesses and failures. Join the conversation by first sharingyour operating costs and practices on the easy-to-use website

portal. The data you enter online is “benchmarked” or compared to othermuseums, libraries and cultural institutions.

Next, the annual benchmarking workshop—designed to get participantscomfortable with sharing and discussing both challenges and successes—is heldprior to the annual IAMFA conference. But more on that later, in a separatearticle in this issue by my colleague Stacey Wittig. Let me simply say here thatso much networking goes on at the workshop that you will feel comfortablepicking up the phone and calling peers for advice throughout the ensuing year.

By measuring results, finding industry averages, and then sharing best practices,you will find ways to shave your costs, just as Jack demonstrates in his article. Infact, the average benchmarking participant reduces their costs about 8% in thefirst year. Jack’s story is not an anomaly.

The IAMFA benchmarking group traditionally measures utility, cleaning,maintenance, and security costs. This year, for the first time, you have twooptions: benchmark all these categories, or benchmark the utility category only.The new survey, aptly named the Energy Survey, was proposed by the IAMFABenchmarking Steering Committee as a means of getting more—specifically,smaller—institutions involved. The Energy Study, offered at a lower enrollmentfee, should be easier to leverage into any tight budget. Both surveys collecttemperature and humidity set points, and participants cross-reference datacharts to learn how changing set points is affecting energy consumption.

The original enrollment fee was $1,875 US. Support from our generous sponsorshas lowered that to $1,499 US. New participants can make use of an introductoryoffer of $999 US, and the Energy Survey is only $499 US. You are invited toparticipate with, or sponsor, this interactive group by going to www.facilityissues.com/Museums/Index.htm.

—Keith McClanahan, Principal, Facility Issues, Benchmarking Consultants

Klima-Therm Turbomiser Chillers.

483535_kp.indd 11 12/21/12 11:13 AM


knowledge of our specialist suppliers, inorder to reduce the delivery of energyto the air-handling units. Air-handlingunits are an important considerationin any energy-reduction programme,as the energy supplied to air-handlingcan be considered almost in isolationin terms of the energy supplied tothe space.

Our scope for achieving significantenergy savings on the delivery sideof this energy equation is a bit moredifficult to achieve. There is less scopefor savings; although there are a fewpossibilities. Perhaps the most sig nif -icant of these relates to the temperatureand humidity conditions requiredwithin the space. Working with ourPreservation colleagues, we have mademassive strides in widening this envi -ronmental-control envelope, resultingin significant energy reductions. How -ever, there are also less obvious changesthat can be made to maximise energysavings, and these are within the air-handling units themselves. By now, allelectric motors should be nothing lessthan the most highly efficient electricmotors possible. Whilst it makes nosense to replace perfectly operationalelectric motors, motor rewinds shouldnow be a thing of the past. When the

opportunity arises—for example, on amotor failure—they should be replacedwith high-efficiency electric motors.Getting back to our energy reductionmeasures at the Library, again work -ing with our specialist suppliers (thistime Camfil Farr), we have installeda range of low-energy filters, helpingto make a significant contributionto our overall energy-reductionachievements.

So how do we sum up this energyreduction achievement? It is very clearlyshown on the energy-performancecertificates produced as part of theIAMFA benchmarking exercise, butwhat have we learnt?

I would respectfully suggest that youcan learn the most from talking to yourIAMFA colleagues. If you are not a

mem ber already, join up soon andjoin in the discussions. Secondly takepart in the IAMFA benchmarkingexer cise; it is only by examining thetrends, and dis cussing them with yourcol leagues, that you can start to under -stand what the numbers really mean.Finally, a resource not to be over -looked: your specialist suppliers. Theymight not know your requirements,but they do know their products. Joinall three together—well, the energyperfor mance certifi cate gives you aclue. See you down the pub for thenext discussion.

Jack Plumb is Facilities Manager at NationalLibrary of Scotland in Edinburgh, and serveson the Board of the International Associ -ation of Museum Facility Administrators.He can be reached at [email protected]

High-efficiency Camfil Farr filters. IAMFA Energy Label for NLS.


Iattended the recent IAMFA con fer -ence in Philadelphia, where I had thepleasure of meeting many IAMFA

members. After the presentation onbenchmarking, I realized that thisIAMFA group of members represents ahuge pool of valuable information onall things relating to museum facilities.It then occurred to me that I shouldtap this pool for advice on what typesand styles of bathroom accessorieswe should specify for the BaltimoreMuseum of Art, which is undergoinga major renovation/rejuvenation.

As a member of IAMFA’s LinkedInGroup, I had the ability to post a ques -tion in the Group, and ask everyone’sopinion on how members would chooseto equip a bathroom in a museum.

“If you could specify all new acces -sories for your public bathroomswould they be:

• Electronic over manual?

• Soap dispensers?

• Toilet flushing?

• Sink faucets?

• Paper towel dispensers?

• Other?

Would you have paper towels andhand dryers, or just one or the other?

Would you have the jumbo toiletpaper rolls, or the regular-sized ones?Does your answer depend on how youprocure the paper?”

It seems that these accessoriesoften fail over time and are replacedin an ad hoc manner, resulting in acluttered appearance.

Thanks to all who responded withsuggestions from your valuable expe -rience. Here is how some members ofthe LinkedIn Group responded:

“Years back, I was PM of a capitalproject at The Cloisters, New York,

which included restroom renovationand had lots of input from facilitiespersonnel. The spec was out when Itook charge, and there were interestingchallenges. Here they are to share:

“If electronic units are used, theyshould be hard-wired for power, notbattery-powered, as battery replace -ment is always untimely and one endsup with very wet floors/slip hazard ifit is the paper towel dispensers thatgo out. Both air and paper towel unitswere preferred, and the units them -selves came from facilities to conformto museum-wide standards for easeof maintenance and paper-productreplacement. There were complaintson the auto-flush toilet units, where themodel was superseded by newer designs;i.e., spare parts must be included inthe spec for future repairs.

“As mentioned above, the paper prod - ucts were standardized per stocking/order protocols, and big rolls were pre -ferred due to cost (C-fold hand towelsand individual TPs can cost 2–3 timesmore). Paper supplier would some -times throw in the dispenser units them -selves to ensure you have to go back tothem for their products, which maycontribute to the ad hoc installations.

“It took a bit of time to find outwhat the museum’s purchasingdepartment favored, and to find thehardware that takes the paper/soapsupplies, in addition to anticipatingmaintenance requirement.

“Hope the above helps!”“The recent interior conservation

effort at the Rodin Museum in Phila -delphia had our team asking many ofthe same questions when it came to

The Important Topic of BathroomAccessories in the Museum SettingBy Darragh Brady

Here is a well-maintained but rather unattractive lavatory setup. They have obviously movedto the GoJo soap dispensers, because the original pumps by Bobrick either stopped workingor were too hard to fill. They have installed a new paper towel dispenser, in addition to stillmaintaining the recessed C-fold dispenser/mirror units over the sink. You can see theelectronic devices under the sinks that operate the faucets. Overall, while spotless andreasonably well ordered, this is a very busy and unattractive setup.

LINKEDIN GROUP COLLABORATIVE ARTICLE

483535_kp.indd 12 12/21/12 11:13 AM


knowledge of our specialist suppliers, inorder to reduce the delivery of energyto the air-handling units. Air-handlingunits are an important considerationin any energy-reduction programme,as the energy supplied to air-handlingcan be considered almost in isolationin terms of the energy supplied tothe space.

Our scope for achieving significantenergy savings on the delivery sideof this energy equation is a bit moredifficult to achieve. There is less scopefor savings; although there are a fewpossibilities. Perhaps the most sig nif -icant of these relates to the temperatureand humidity conditions requiredwithin the space. Working with ourPreservation colleagues, we have mademassive strides in widening this envi -ronmental-control envelope, resultingin significant energy reductions. How -ever, there are also less obvious changesthat can be made to maximise energysavings, and these are within the air-handling units themselves. By now, allelectric motors should be nothing lessthan the most highly efficient electricmotors possible. Whilst it makes nosense to replace perfectly operationalelectric motors, motor rewinds shouldnow be a thing of the past. When the

opportunity arises—for example, on amotor failure—they should be replacedwith high-efficiency electric motors.Getting back to our energy reductionmeasures at the Library, again work -ing with our specialist suppliers (thistime Camfil Farr), we have installeda range of low-energy filters, helpingto make a significant contributionto our overall energy-reductionachievements.

So how do we sum up this energyreduction achievement? It is very clearlyshown on the energy-performancecertificates produced as part of theIAMFA benchmarking exercise, butwhat have we learnt?

I would respectfully suggest that youcan learn the most from talking to yourIAMFA colleagues. If you are not a

mem ber already, join up soon andjoin in the discussions. Secondly takepart in the IAMFA benchmarkingexer cise; it is only by examining thetrends, and dis cussing them with yourcol leagues, that you can start to under -stand what the numbers really mean.Finally, a resource not to be over -looked: your specialist suppliers. Theymight not know your requirements,but they do know their products. Joinall three together—well, the energyperfor mance certifi cate gives you aclue. See you down the pub for thenext discussion.

Jack Plumb is Facilities Manager at NationalLibrary of Scotland in Edinburgh, and serveson the Board of the International Associ -ation of Museum Facility Administrators.He can be reached at [email protected]

High-efficiency Camfil Farr filters. IAMFA Energy Label for NLS.


Iattended the recent IAMFA con fer -ence in Philadelphia, where I had thepleasure of meeting many IAMFA

members. After the presentation onbenchmarking, I realized that thisIAMFA group of members represents ahuge pool of valuable information onall things relating to museum facilities.It then occurred to me that I shouldtap this pool for advice on what typesand styles of bathroom accessorieswe should specify for the BaltimoreMuseum of Art, which is undergoinga major renovation/rejuvenation.

As a member of IAMFA’s LinkedInGroup, I had the ability to post a ques -tion in the Group, and ask everyone’sopinion on how members would chooseto equip a bathroom in a museum.

“If you could specify all new acces -sories for your public bathroomswould they be:

• Electronic over manual?

• Soap dispensers?

• Toilet flushing?

• Sink faucets?

• Paper towel dispensers?

• Other?

Would you have paper towels andhand dryers, or just one or the other?

Would you have the jumbo toiletpaper rolls, or the regular-sized ones?Does your answer depend on how youprocure the paper?”

It seems that these accessoriesoften fail over time and are replacedin an ad hoc manner, resulting in acluttered appearance.

Thanks to all who responded withsuggestions from your valuable expe -rience. Here is how some members ofthe LinkedIn Group responded:

“Years back, I was PM of a capitalproject at The Cloisters, New York,

which included restroom renovationand had lots of input from facilitiespersonnel. The spec was out when Itook charge, and there were interestingchallenges. Here they are to share:

“If electronic units are used, theyshould be hard-wired for power, notbattery-powered, as battery replace -ment is always untimely and one endsup with very wet floors/slip hazard ifit is the paper towel dispensers thatgo out. Both air and paper towel unitswere preferred, and the units them -selves came from facilities to conformto museum-wide standards for easeof maintenance and paper-productreplacement. There were complaintson the auto-flush toilet units, where themodel was superseded by newer designs;i.e., spare parts must be included inthe spec for future repairs.

“As mentioned above, the paper prod - ucts were standardized per stocking/order protocols, and big rolls were pre -ferred due to cost (C-fold hand towelsand individual TPs can cost 2–3 timesmore). Paper supplier would some -times throw in the dispenser units them -selves to ensure you have to go back tothem for their products, which maycontribute to the ad hoc installations.

“It took a bit of time to find outwhat the museum’s purchasingdepartment favored, and to find thehardware that takes the paper/soapsupplies, in addition to anticipatingmaintenance requirement.

“Hope the above helps!”“The recent interior conservation

effort at the Rodin Museum in Phila -delphia had our team asking many ofthe same questions when it came to

The Important Topic of BathroomAccessories in the Museum SettingBy Darragh Brady

Here is a well-maintained but rather unattractive lavatory setup. They have obviously movedto the GoJo soap dispensers, because the original pumps by Bobrick either stopped workingor were too hard to fill. They have installed a new paper towel dispenser, in addition to stillmaintaining the recessed C-fold dispenser/mirror units over the sink. You can see theelectronic devices under the sinks that operate the faucets. Overall, while spotless andreasonably well ordered, this is a very busy and unattractive setup.

LINKEDIN GROUP COLLABORATIVE ARTICLE

483535_kp.indd 13 12/21/12 11:13 AM


the restrooms. Our decisions includedelectronic faucets and auto-flush valves.We stayed with manual soap dispensersand our tandem dispenser-size toilettissue. The latter was driven by whatstock we maintain at the PhiladelphiaMuseum of Art. I suppose, if I couldstart with a clean slate, I would useelectronic soap dispensers. We alsoadded high-velocity hand dryers toeliminate paper towels. We are stillmonitoring the “no paper towel”policy to see how the visitors respond—so far, so good.

“A word of caution on the high-velocity hand dryers: try them in therestroom space before permanentlyinstalling them. Some models tend tohave a very high dB levels, particularlywhen hands are placed into the airstream. This can be a distraction tovisitors if they can be heard in thegallery spaces. And finally, since theRodin is a smaller museum and doesnot utilize a central toilet EXF, weuse occupancy sensors to turn on thefractional hp bathroom exhaust fans,as well as the bathroom lights.”

“Here are some observationsfrom the Physical and OperationalSecurity disciplines. We work exten -sively with architects and designerson renova tions and new buildings formuseums, and here are some generalrecommendations on security:

• Maze entrances (as opposed tophysical doors—think airports).

• Tamperproof hardware throug hout,including the luminaries.

• No hatches or access doors withinthe washroom leading to utilityspaces; if the above access doorsare unavoidable, monitor them viathe security systems.

• Electronic control of faucets, soapdispensers and flush mechanisms.

• Avoid the use of paper towels, asthey can be used to block toiletsand basins.

• Ceramic/porcelain tiles preferredover drywall (graffiti control).

• Mirrors securely mounted but easyto replace. Have spares on hand.(Mirrors are often vandalized by

persons with diamond or carbide-pointed tools.

• At least one flush-mounted floordrain.

• Stall partition vertical dimensionlimits the possibility of observationover/under.

• Stall materials designed to resistgraffiti (e.g., basket-weave stainlesssteel)

• If you have a 24/7 guard force, anemergency call button should be

provided at the mobility-impairedstalls. If no 24/7 guard force, thenthe use of call buttons must bereviewed for the ‘Response’ com -ponent and to avoid nuisance callsto a monitoring station.

• If you are working with a com -pletely new building design, avoidlocating washrooms (and mechanicalspaces) directly above exhibition,collections storage, collectionsworkroom spaces or any othersensitive space such as computerserver rooms.

• Lots more, but that should get youoff to a good start.”

“Most of the big things are easy todefine. Some depend on whether youprefer a commercial look, or favor amore residential look. A more resi den -tial look guides you toward single-rolltoilet paper dispensers, etc. Oftenoverlooked is incandescent lightingfor mirrors in the women’s restrooms,and shelves next to the lavatories wherewomen can place their purses on whilethey freshen up—rather than in thewater that collects on the countertopduring heavy usage. It is also nice, ifyou have the room, to provide someseating for older ladies as they wait for

others, or for nursing mothers. Justsome ideas I have run across.”

“Years ago, my facility had toiletpaper dispensers that held two rolls oftoilet paper side by side. People woulduse paper from both rolls since theywere both accessible, and rolls wouldbecome smaller and smaller, usually atabout the same rate. When the custodialcrew serviced the bathroom, if the rollswere more than half used, they wouldjust throw them out, because usuallyboth rolls would be used equally, andthey felt that if they didn’t replace therolls, then the toilet paper would runout in that stall since both rolls weregetting smaller at the same rate. Since Iwas heading up the LEED Certifi ca tioneffort, this was particularly annoyingto me. We always heard complaintsfrom staff seeing custodians throwingout partial rolls of toilet paper. I sug -gested putting a piece of tape or rubberband around new rolls, so that maybevisitors would completely use up oneroll before starting the other, but thejanitorial contractor resisted this, andI didn’t have direct influence over them.I would never suggest using toilet paperfixtures that hold two side-by-side rolls,unless one roll can’t be used until theother is finished.

“In addition to your typicalaccessories, the requirements of theAmericans with Disabilities Act (ADA)mandates protecting people fromscalding drainage lines. Typically thismeans either plastic shields, weirdinsulation, or built-in shielding as partof the casework (the best solution).But there is one other solution, whichis to specify a ‘thermal mixing valve’ onthe lavatory fixture, with a tem per atureset at the factory to the man dated max -imum (typically 105˚F). This allows forsimple and clean installations with noneed for all the shielding. It meetsthe ‘equivalent facilitation’ clausestipulated in section 103 of Standardsfor Accessible Design- Departmentof Justice.”

Thanks to all who contributed tothis article!

Darragh Brady is a Senior Associate atZiger/Snead Architects, and specializes incultural and educational projects. Darraghis based in Baltimore, MD and can bereached at [email protected].

“We always heard complaintsfrom staff seeing custodiansthrowing out partial rollsof toilet paper. “

483535_kp.indd 14 12/21/12 11:14 AM


the restrooms. Our decisions includedelectronic faucets and auto-flush valves.We stayed with manual soap dispensersand our tandem dispenser-size toilettissue. The latter was driven by whatstock we maintain at the PhiladelphiaMuseum of Art. I suppose, if I couldstart with a clean slate, I would useelectronic soap dispensers. We alsoadded high-velocity hand dryers toeliminate paper towels. We are stillmonitoring the “no paper towel”policy to see how the visitors respond—so far, so good.

“A word of caution on the high-velocity hand dryers: try them in therestroom space before permanentlyinstalling them. Some models tend tohave a very high dB levels, particularlywhen hands are placed into the airstream. This can be a distraction tovisitors if they can be heard in thegallery spaces. And finally, since theRodin is a smaller museum and doesnot utilize a central toilet EXF, weuse occupancy sensors to turn on thefractional hp bathroom exhaust fans,as well as the bathroom lights.”

“Here are some observationsfrom the Physical and OperationalSecurity disciplines. We work exten -sively with architects and designerson renova tions and new buildings formuseums, and here are some generalrecommendations on security:

• Maze entrances (as opposed tophysical doors—think airports).

• Tamperproof hardware throug hout,including the luminaries.

• No hatches or access doors withinthe washroom leading to utilityspaces; if the above access doorsare unavoidable, monitor them viathe security systems.

• Electronic control of faucets, soapdispensers and flush mechanisms.

• Avoid the use of paper towels, asthey can be used to block toiletsand basins.

• Ceramic/porcelain tiles preferredover drywall (graffiti control).

• Mirrors securely mounted but easyto replace. Have spares on hand.(Mirrors are often vandalized by

persons with diamond or carbide-pointed tools.

• At least one flush-mounted floordrain.

• Stall partition vertical dimensionlimits the possibility of observationover/under.

• Stall materials designed to resistgraffiti (e.g., basket-weave stainlesssteel)

• If you have a 24/7 guard force, anemergency call button should be

provided at the mobility-impairedstalls. If no 24/7 guard force, thenthe use of call buttons must bereviewed for the ‘Response’ com -ponent and to avoid nuisance callsto a monitoring station.

• If you are working with a com -pletely new building design, avoidlocating washrooms (and mechanicalspaces) directly above exhibition,collections storage, collectionsworkroom spaces or any othersensitive space such as computerserver rooms.

• Lots more, but that should get youoff to a good start.”

“Most of the big things are easy todefine. Some depend on whether youprefer a commercial look, or favor amore residential look. A more resi den -tial look guides you toward single-rolltoilet paper dispensers, etc. Oftenoverlooked is incandescent lightingfor mirrors in the women’s restrooms,and shelves next to the lavatories wherewomen can place their purses on whilethey freshen up—rather than in thewater that collects on the countertopduring heavy usage. It is also nice, ifyou have the room, to provide someseating for older ladies as they wait for

others, or for nursing mothers. Justsome ideas I have run across.”

“Years ago, my facility had toiletpaper dispensers that held two rolls oftoilet paper side by side. People woulduse paper from both rolls since theywere both accessible, and rolls wouldbecome smaller and smaller, usually atabout the same rate. When the custodialcrew serviced the bathroom, if the rollswere more than half used, they wouldjust throw them out, because usuallyboth rolls would be used equally, andthey felt that if they didn’t replace therolls, then the toilet paper would runout in that stall since both rolls weregetting smaller at the same rate. Since Iwas heading up the LEED Certifi ca tioneffort, this was particularly annoyingto me. We always heard complaintsfrom staff seeing custodians throwingout partial rolls of toilet paper. I sug -gested putting a piece of tape or rubberband around new rolls, so that maybevisitors would completely use up oneroll before starting the other, but thejanitorial contractor resisted this, andI didn’t have direct influence over them.I would never suggest using toilet paperfixtures that hold two side-by-side rolls,unless one roll can’t be used until theother is finished.

“In addition to your typicalaccessories, the requirements of theAmericans with Disabilities Act (ADA)mandates protecting people fromscalding drainage lines. Typically thismeans either plastic shields, weirdinsulation, or built-in shielding as partof the casework (the best solution).But there is one other solution, whichis to specify a ‘thermal mixing valve’ onthe lavatory fixture, with a tem per atureset at the factory to the man dated max -imum (typically 105˚F). This allows forsimple and clean installations with noneed for all the shielding. It meetsthe ‘equivalent facilitation’ clausestipulated in section 103 of Standardsfor Accessible Design- Departmentof Justice.”

Thanks to all who contributed tothis article!

Darragh Brady is a Senior Associate atZiger/Snead Architects, and specializes incultural and educational projects. Darraghis based in Baltimore, MD and can bereached at [email protected].

“We always heard complaintsfrom staff seeing custodiansthrowing out partial rollsof toilet paper. “

483535_kp.indd 15 12/21/12 11:14 AM


Historically, proponents of eco -nomic growth, social needs andenvironmental protection have

been at odds with one another, thushindering communication, and thereis a need to bring these three groupstogether on common ground. Sustain -ability is a buzzword for addressingclimate change and improving energy-and water-efficiency, and the conceptof sustainability is a way to bridge thecommunication gap. Continued dia -logue on sustainability is necessary topromote viable economic and socialdevelopment, while protecting theenvironment.

Sustainability can be defined as thelong-term maintenance of respon si -bility, which has environmental, eco -nomic, and social dimensions, andencompasses the concept of steward -ship and the responsible managementof resources. A typical SustainabilityModel has three key components—Social, Economic and Environ mental—all of which must overlap if the modelis to remain properly balanced inorder to achieve sustainability.

The National Archives and RecordsAdministration (NARA) is currentlyachieving a balance of social, eco nomicand environmental considerations inits daily activities and planning. It isdoing this through a variety of avenues.NARA’s energy and water conser vation

efforts continue to mature. More impor -tantly, the corporate culture at NARAhas changed to more fully acknowl edgeimpact of our actions, along with acommitment to preserving the envi ron -ment. By understanding the effects, andplanning for future challenges, NARAis rapidly adapting its facilities to achanging climate. This also puts NARAon the road to resiliency—the ability torecover quickly from climatic set backs—thus taking it beyond sustainability.

Our efforts have been recognizedwith national awards. In 2008, NARAwon a Presidential Award for Lead er -ship in Federal Energy Management.In 2010, NARA won a GreenGovPresidential Award for Leadership inEnvironmental, Energy, and EconomicPerformance. NARA was also recog nizedas the 2010 winner of the Presidential“Lean, Clean, and Green” award, foroutstanding achievement in buildingenergy efficiency and renewable energydevelopment and deployment.

We are proud of our achievements,and although the awards demonstrateour commitment to conserve energy,NARA recognizes that we must focuson more than just energy savings inorder to achieve real sustainability.NARA is becoming more resilient bycommitting to LEED principles as a

U.S. National Archives and RecordsAdministrationSustainability . . . and Beyond!By Kevin Anderson and Donald Overfelt

The Archives II building in College Park, Maryland is situated on 33 acres (13.35 hectares)and has 1.8 M ft2 (167,225 m2) of floor space (primarily archival storage).

Typical Sustainability Model.

Social

Environment Economic

Bearable Equitable

Viable

Sustainable

One of numerous awards ceremoniesrecognizing NARA for its efforts inachieving higher levels of sustainability.


guide for attaining sustainability. NARAnow also requires LEED Platinumcertification for new construction, andat least LEED Silver on any new con -struc tion projects at existing buildings.

Making this kind of commitmentrequires going far beyond just replacingold mechanical systems with new ones.Because achieving archival standardsis far more demanding than meetingtypical building standards, NARA workshard to balance social, economicaland environmental needs. Steps aretaken to improve and redesign pro -cesses and systems, using state-of-the-arttechnologies, while looking holisticallyat improvements to make them sus tain -able. We make sustainable purchasesby procuring environmentally prefer -able, Energy Star®, EPEAT, biobasedproducts, etc. We also are looking atadditional ways to reduce waste by

reducing packaging, by recycling andreusing products, and by finding waysto make products from waste (e.g., com - posting). Taking these steps ultimatelyreduces energy and water use, anddecreases greenhouse gas emissions, aswell as the amount of waste produced.

Our processes are regularly mea -sured and verified to maintain intent,design standards and performance.Achieving sustainability and resiliencemeans that processes and systems mustbe regularly and formally audited. SinceSeptember 2006, NARA has con ductedregular site visits (audits), and makesrecommendations for improvingoperations and maintenance.

Between 2006 and 2011, NARAinvested heavily in energy-efficiencyprojects. The two most innovative andnoteworthy projects are a $5.7-millionEnergy Savings Performance Contract

(ESPC) project with an eight-year pay -back at Archives II; and a $5.8-millionESPC project with a seven-year paybackat Archives I. The Archives II projectalone saves over 26,000 M BTUsannually over the 2008 baseline, and2400 Mt CO2e.

NARA worked directly with theEnergy Service Company to developand implement the following EnergyConservation Measures at Archives I& II:

• upgrade and optimize the energy-management control system;

• improve the heating plant;

• reduce steam-distribution losses;

• rebalance HVAC systems;

• reset condenser water temperature;

• reduce water use;

Solar array—Archives II. Aerial view of green roof on Archives II.

Green roof on Archives II, Spring 2012. Cogeneration units produce both heat and electricity.

483535_kp.indd 16 12/21/12 11:14 AM


Historically, proponents of eco -nomic growth, social needs andenvironmental protection have

been at odds with one another, thushindering communication, and thereis a need to bring these three groupstogether on common ground. Sustain -ability is a buzzword for addressingclimate change and improving energy-and water-efficiency, and the conceptof sustainability is a way to bridge thecommunication gap. Continued dia -logue on sustainability is necessary topromote viable economic and socialdevelopment, while protecting theenvironment.

Sustainability can be defined as thelong-term maintenance of respon si -bility, which has environmental, eco -nomic, and social dimensions, andencompasses the concept of steward -ship and the responsible managementof resources. A typical SustainabilityModel has three key components—Social, Economic and Environ mental—all of which must overlap if the modelis to remain properly balanced inorder to achieve sustainability.

The National Archives and RecordsAdministration (NARA) is currentlyachieving a balance of social, eco nomicand environmental considerations inits daily activities and planning. It isdoing this through a variety of avenues.NARA’s energy and water conser vation

efforts continue to mature. More impor -tantly, the corporate culture at NARAhas changed to more fully acknowl edgeimpact of our actions, along with acommitment to preserving the envi ron -ment. By understanding the effects, andplanning for future challenges, NARAis rapidly adapting its facilities to achanging climate. This also puts NARAon the road to resiliency—the ability torecover quickly from climatic set backs—thus taking it beyond sustainability.

Our efforts have been recognizedwith national awards. In 2008, NARAwon a Presidential Award for Lead er -ship in Federal Energy Management.In 2010, NARA won a GreenGovPresidential Award for Leadership inEnvironmental, Energy, and EconomicPerformance. NARA was also recog nizedas the 2010 winner of the Presidential“Lean, Clean, and Green” award, foroutstanding achievement in buildingenergy efficiency and renewable energydevelopment and deployment.

We are proud of our achievements,and although the awards demonstrateour commitment to conserve energy,NARA recognizes that we must focuson more than just energy savings inorder to achieve real sustainability.NARA is becoming more resilient bycommitting to LEED principles as a

U.S. National Archives and RecordsAdministrationSustainability . . . and Beyond!By Kevin Anderson and Donald Overfelt

The Archives II building in College Park, Maryland is situated on 33 acres (13.35 hectares)and has 1.8 M ft2 (167,225 m2) of floor space (primarily archival storage).

Typical Sustainability Model.

Social

Environment Economic

Bearable Equitable

Viable

Sustainable

One of numerous awards ceremoniesrecognizing NARA for its efforts inachieving higher levels of sustainability.


guide for attaining sustainability. NARAnow also requires LEED Platinumcertification for new construction, andat least LEED Silver on any new con -struc tion projects at existing buildings.

Making this kind of commitmentrequires going far beyond just replacingold mechanical systems with new ones.Because achieving archival standardsis far more demanding than meetingtypical building standards, NARA workshard to balance social, economicaland environmental needs. Steps aretaken to improve and redesign pro -cesses and systems, using state-of-the-arttechnologies, while looking holisticallyat improvements to make them sus tain -able. We make sustainable purchasesby procuring environmentally prefer -able, Energy Star®, EPEAT, biobasedproducts, etc. We also are looking atadditional ways to reduce waste by

reducing packaging, by recycling andreusing products, and by finding waysto make products from waste (e.g., com - posting). Taking these steps ultimatelyreduces energy and water use, anddecreases greenhouse gas emissions, aswell as the amount of waste produced.

Our processes are regularly mea -sured and verified to maintain intent,design standards and performance.Achieving sustainability and resiliencemeans that processes and systems mustbe regularly and formally audited. SinceSeptember 2006, NARA has con ductedregular site visits (audits), and makesrecommendations for improvingoperations and maintenance.

Between 2006 and 2011, NARAinvested heavily in energy-efficiencyprojects. The two most innovative andnoteworthy projects are a $5.7-millionEnergy Savings Performance Contract

(ESPC) project with an eight-year pay -back at Archives II; and a $5.8-millionESPC project with a seven-year paybackat Archives I. The Archives II projectalone saves over 26,000 M BTUsannually over the 2008 baseline, and2400 Mt CO2e.

NARA worked directly with theEnergy Service Company to developand implement the following EnergyConservation Measures at Archives I& II:

• upgrade and optimize the energy-management control system;

• improve the heating plant;

• reduce steam-distribution losses;

• rebalance HVAC systems;

• reset condenser water temperature;

• reduce water use;

Solar array—Archives II. Aerial view of green roof on Archives II.

Green roof on Archives II, Spring 2012. Cogeneration units produce both heat and electricity.

483535_kp.indd 17 12/21/12 11:14 AM

• reduce the run time of bathroomexhaust fans;

• retrofit lighting and controls; and

• upgrade the building envelope.

In FY2008, and again in FY2009,Archives II—NARA’s largest building—realized the greatest reduction inenergy use, and saved the agency over$1 million in energy costs. Althoughthese savings are attributed to ESPCprojects, employee awareness, aggres -sive conservation measures, and achange in agency culture ultimatelyhelped NARA achieve these reduc tions.Since results of the projects have beenso positive at Archives II, a similarESPC contract was implemented forArchives I, with similar monetarysavings (>$1M/yr). In addition to theESPC projects, direct NARA fundingpaid for a green roof, solar arrays,cogeneration units, and a high albedo(solar reflecting) roof-membrane pro -ject at Archives II. The existing 150 kWphotovoltaic panels now produce anaverage of 175,000 kWh/yr.

NARA is working on yet anotherESPC project for the PresidentialLibraries, and Southeast RegionalArchives (Atlanta). This project willbe implemented in FY2013.

Finally, NARA recognizes that meet -ing sustainability goals and achievingresilience require the awareness andefforts of all. NARA published sustain -ability tips for recycling, energy andwater conservation, and waste reduc -tion that could be used at work andhome. The agency conducts training

and interacts with staff via website,newsletters, fairs, video displays, guidedtours, and conferences. Providing theseavenues helps employees learn moreabout how our activities affect theenvironment, and how each of us canreduce our carbon footprint. Inputfrom employees is encouraged, and isrewarded when the idea can be imple -mented at NARA. Using this knowl edge,each individual can lessen his or herenvironmental impact.

In September 2010, NARA pub lishedits first agency-wide Sustainability Plan.The Plan details our approach toclimate-change adaptation; how wemanage energy consumption, water andwaste streams; and our com mitmentto the sustainable buildings program.By committing to sustainable build ingsand moving toward resilience, NARAhas committed itself to exceedingfederal mandates, and to goingbeyond sustainability.

Kevin Anderson is the Agency Environ mentalSpecialist at NARA. Donald Overfelt is theChief of Facilities and Property Branch.


This rainwater collection tank storescondensate water and rainwater forirrigation.

First issue of PapyrusAs Papyrus completes fifteen years as IAMFA’sofficial publication, we thought it would beappropriate to reprint the very first issue ofPapyrus from late 1997. Thanks go to IAMFAmembers who so generously sharetheir experiences in improvingoperations at their facilities. �

INSPIRED DESIGN, INNOVATIVEENGINEERING

Clients Include:

Baltimore Museum of Art

Delaware Museum of Natural History

National Gallery of Art

Smithsonian National Airand Space Museum

Smithsonian Natural History Museum

U.S. Holocaust Museum

Virginia Museum of Fine Arts

Walters Art Museum

Winterthur Museum

For more information, visitwww.muellerassoc.com410.646.4500

“Our museum clients, and the architects they select, are sophisticated and knowledgeableabout their objectives. We pride ourselves on being up to the challenge.”

Robert Marino, PE, LEED APPresident, Mueller Associates

Become aMember of

IAMFAFor more information on

becoming a member of the International Association of Museum

Facility Administrators, please visit

WWW.IAMFA.ORG


483535_kp.indd 18 12/21/12 11:14 AM

• reduce the run time of bathroomexhaust fans;

• retrofit lighting and controls; and

• upgrade the building envelope.

In FY2008, and again in FY2009,Archives II—NARA’s largest building—realized the greatest reduction inenergy use, and saved the agency over$1 million in energy costs. Althoughthese savings are attributed to ESPCprojects, employee awareness, aggres -sive conservation measures, and achange in agency culture ultimatelyhelped NARA achieve these reduc tions.Since results of the projects have beenso positive at Archives II, a similarESPC contract was implemented forArchives I, with similar monetarysavings (>$1M/yr). In addition to theESPC projects, direct NARA fundingpaid for a green roof, solar arrays,cogeneration units, and a high albedo(solar reflecting) roof-membrane pro -ject at Archives II. The existing 150 kWphotovoltaic panels now produce anaverage of 175,000 kWh/yr.

NARA is working on yet anotherESPC project for the PresidentialLibraries, and Southeast RegionalArchives (Atlanta). This project willbe implemented in FY2013.

Finally, NARA recognizes that meet -ing sustainability goals and achievingresilience require the awareness andefforts of all. NARA published sustain -ability tips for recycling, energy andwater conservation, and waste reduc -tion that could be used at work andhome. The agency conducts training

and interacts with staff via website,newsletters, fairs, video displays, guidedtours, and conferences. Providing theseavenues helps employees learn moreabout how our activities affect theenvironment, and how each of us canreduce our carbon footprint. Inputfrom employees is encouraged, and isrewarded when the idea can be imple -mented at NARA. Using this knowl edge,each individual can lessen his or herenvironmental impact.

In September 2010, NARA pub lishedits first agency-wide Sustainability Plan.The Plan details our approach toclimate-change adaptation; how wemanage energy consumption, water andwaste streams; and our com mitmentto the sustainable buildings program.By committing to sustainable build ingsand moving toward resilience, NARAhas committed itself to exceedingfederal mandates, and to goingbeyond sustainability.

Kevin Anderson is the Agency Environ mentalSpecialist at NARA. Donald Overfelt is theChief of Facilities and Property Branch.


This rainwater collection tank storescondensate water and rainwater forirrigation.

First issue of PapyrusAs Papyrus completes fifteen years as IAMFA’sofficial publication, we thought it would beappropriate to reprint the very first issue ofPapyrus from late 1997. Thanks go to IAMFAmembers who so generously sharetheir experiences in improvingoperations at their facilities. �

INSPIRED DESIGN, INNOVATIVEENGINEERING

Clients Include:

Baltimore Museum of Art

Delaware Museum of Natural History

National Gallery of Art

Smithsonian National Airand Space Museum

Smithsonian Natural History Museum

U.S. Holocaust Museum

Virginia Museum of Fine Arts

Walters Art Museum

Winterthur Museum

For more information, visitwww.muellerassoc.com410.646.4500

“Our museum clients, and the architects they select, are sophisticated and knowledgeableabout their objectives. We pride ourselves on being up to the challenge.”

Robert Marino, PE, LEED APPresident, Mueller Associates

Become aMember of

IAMFAFor more information on

becoming a member of the International Association of Museum

Facility Administrators, please visit

WWW.IAMFA.ORG


483535_kp.indd 19 12/21/12 11:14 AM

18 PAPYRUS WINTER 2012–2013 PAPYRUS WINTER 2012–2013 19

483535_kp.indd 20 12/21/12 11:14 AM

18 PAPYRUS WINTER 2012–2013 PAPYRUS WINTER 2012–2013 19

483535_kp.indd 21 12/21/12 11:14 AM


McGuire Engineers is a diverse and experienced team of dedicated individuals whose primary goal is to partner with our clients in developing their building engineering systems with effective, efficient, economic and innovative solutions. We offer engineered excellence through a full range of in-house engineering services in Heating, Ventilation and Air Conditioning (HVAC), Electrical, Plumbing, Sprinkler and Life Safety Systems. In addition to traditional services, McGuire Engineers also provides engineering consultation in feasibility, energy and sustainability studies, peer and code review, due diligence and reserve reports, forensic and expert witness consultations, LEED consultancy, construction management administration, and commissioning. McGuire Engineers has become increasingly dedicated to and specialized in the design of engineering systems for museums and cultural centers. This includes historic renovation and preservation, artifact storage, special exhibits, and base building systems.

McGuire Engineers is aproud affiliate memberof IAMFA since 2001.

www.mepcinc.com

483535_kp.indd 22 12/21/12 11:14 AM


McGuire Engineers is a diverse and experienced team of dedicated individuals whose primary goal is to partner with our clients in developing their building engineering systems with effective, efficient, economic and innovative solutions. We offer engineered excellence through a full range of in-house engineering services in Heating, Ventilation and Air Conditioning (HVAC), Electrical, Plumbing, Sprinkler and Life Safety Systems. In addition to traditional services, McGuire Engineers also provides engineering consultation in feasibility, energy and sustainability studies, peer and code review, due diligence and reserve reports, forensic and expert witness consultations, LEED consultancy, construction management administration, and commissioning. McGuire Engineers has become increasingly dedicated to and specialized in the design of engineering systems for museums and cultural centers. This includes historic renovation and preservation, artifact storage, special exhibits, and base building systems.

McGuire Engineers is aproud affiliate memberof IAMFA since 2001.

www.mepcinc.com

483535_kp.indd 23 12/21/12 11:14 AM


The 2012 IAMFA Conference tookplace from September 16 to 19,2012, in Philadelphia and the

surrounding region in Delaware andPennsylvania.

Philadelphia is the largest city inthe Commonwealth of Pennsylvania,and the fifth-most-populous city inthe United States. It is located in thenortheastern United States along theDelaware and Schuylkill Rivers, andis the only consolidated city-countyin Pennsylvania. Philadelphia is theeconomic and cultural center of theDelaware Valley, home to 6 millionpeople. Popular nicknames forPhiladelphia are “Philly” and “TheCity of Brotherly Love”—the latter ofwhich comes from the literal meaningof the city’s name in Greek, com -pounded from philos (φίλος) “loving”,and adelphos (ἀδελφός) “brother”.

In 1682, William Penn foundedthe city to serve as the capital ofPennsylvania Colony. By the 1750s, itwas the largest city and busiest portin British North America. During theAmerican Revolution, Philadelphiaplayed an instrumental role as a meet -ing place for the Founding Fathersof the United States, who signed theDeclaration of Independence in1776, and the Constitution in 1787.Philadelphia was one of the nation’scapitals during the Revolutionary War,and the city served as the temporaryU.S. capital while Washington, D.C., wasunder construction. During the nine -teenth century, Philadelphia became amajor industrial center and railroad hubthat grew with an influx of Europeanimmigrants. It became a prime desti -nation for African Americans duringthe Great Migration, and surpassedtwo million occupants by 1950.

Let me begin by expressinggratitude to all of the conferenceorganizers, led by host John Castle.

I know how much time these indi -viduals spent planning the countlessdetails that went into making this atruly great conference.

It’s also very important to recognizethe sponsors who made this year’sconference possible:

Steensen Varming (2012 IAMFAConference Principal Sponsor):Danish engineering firm founded byNiels Steensen & Jørgen Varming inCopenhagen, Denmark in 1933. Thefirm specializes in civil, structural andbuilding services engineering, withoffices in Denmark, Australia, UnitedKingdom, Hong Kong, and Ireland.

Allied Barton Security Services: LocalResponse, National Support—SecurityOfficers are our focus!

Atkin Olshin Schade Architects: Leadsthe planning, design, and constructionof significant new facilities.

The Camfil Farr Group: Global airfiltration specialist with 24 productionunits and R&D centres in four coun -tries in the Americas, Europe and theAsia–Pacific region.

Chubb: Business Insurance forCultural Institutions; TailoredSolutions for Treasured Institutions.

CleanTech Services Inc.: GeneralCommercial Cleaning for over 35 yearswith a personal, hands–on approach.

The 22nd IAMFA Conference in theMid–Atlantic Region of AmericaLearning, Networking, Touring and Culture in one of America’s Most Historic RegionsBy Joe May

The Conference Committee, left to right: Michael Downs, Hagley Museum and Library;Jill Abbott, Winterthur Museum, Garden & Library; Bob Morrone, Philadelphia Museumof Art (retired); Mary Ann Morrone, Thomas Edison State College (retired); Rich Reinert,Philadelphia Museum of Art; Shonie Castle, Winterthur Museum, Garden & Library; BruceCanter, Delaware Art Museum; and John Castle, Winterthur Museum, Garden & Library.


Pennoni Associates Inc.—ConsultingEngineers: Providing EngineeringServices since 1966.

These sponsors contributed to theintellectual content of the conferencethrough presentations, and by gener -ously contributing financially, whichenabled the spectacular venues, trips,and meals we all enjoyed. The IAMFAorganization wants all of these sponsorsto know how much we appreciate theirparticipation with, and support of, ourannual conference. We encouragemembers to keep this in mind whenin need of products, services, andadvice of the type offered by theseconference sponsors.

Day One of the conference began,as in past years, with the BenchmarkingPractices and Learning Workshop forthose IAMFA members participatingin the annual bench marking exercise.This valuable exercise allows memberinstitutions to compare buildingoperation costs and practices, in orderto find better ways to accomplish thework they do.

Building operating costs have fourcomponents: Utilities, Security, Build -ing Maintenance, and Janitorial. Bench -marking participants compare costper square foot (or meter), as well

as work processes within these fourcategories. Participants also compareempirical data related to Space,Sustainability, Grounds, CustomerService, and Best Practices. Thosewhose costs are lower than othersshare their methods and processes withthe group, creating a best practice initself. The 2012 benchmarking studywas sponsored by Conrad Engineers,McGuire Engineers and SteensenVarming. Please see Stacey Wittig’srecap of the Benchmarking Practicesand Learning Workshop in this issueof Papyrus.

The opening reception for thisyear’s IAMFA conference was held atthe Philadelphia Ritz-Carlton Hotel.The Ritz-Carlton Philadelphia is a30–storey skyscraper located adjacent toCity Hall in the Center City of Phila -delphia, Pennsylvania. It was built in1930–1931 as the Girard Trust Building.The tower was actually an addition to adomed lowrise building that was con -structed in 1908. It was then renamedTwo Mellon Plaza. The building wasconverted in 2000 into a 330-roomRitz-Carlton hotel. James Garrison andDr. George C. Skarmeas were responsiblefor the building’s conversion.

Conference delegates and guestsenjoyed canapés and cocktails at the

Participants in the 2012 IAMFA Benchmarking andLearning Workshop.

Atrium Lobby at the Ritz-Carlton.

CVM: Assess/Plan/Design/Construct—with an innovative approach toproblem-solving.

DEDC (Delaware Engineering &Design Corporation): Dedicated toproviding excellence in engineeringand services.

Hess Energy: Providing electricity,natural gas, fuel oil, and green solu -tions to over 22,000 commercial andindustrial customers in 18 East CoastStates and Washington, D.C.

Hughes Associates, Inc.: Fire Protec tionEngineers, Code Consultants.

LF Driscoll Construction Managers,Builders:—Innovative MuseumConstruction Management.

Limbach Inc.: Provider of sustain-able building solutions focused oninnovative and cost–effective HVACmanagement.

McGuire Engineers: Building Engi -neering Systems with effective, efficient,economic, and innovative solutions.

Mueller Associates: Inspired Design,Innovative Engineering.

Olin Landscape Architecture/UrbanDesign/Planning: Creates Places thatEnhance Life.

483535_kp.indd 24 12/21/12 11:14 AM


The 2012 IAMFA Conference tookplace from September 16 to 19,2012, in Philadelphia and the

surrounding region in Delaware andPennsylvania.

Philadelphia is the largest city inthe Commonwealth of Pennsylvania,and the fifth-most-populous city inthe United States. It is located in thenortheastern United States along theDelaware and Schuylkill Rivers, andis the only consolidated city-countyin Pennsylvania. Philadelphia is theeconomic and cultural center of theDelaware Valley, home to 6 millionpeople. Popular nicknames forPhiladelphia are “Philly” and “TheCity of Brotherly Love”—the latter ofwhich comes from the literal meaningof the city’s name in Greek, com -pounded from philos (φίλος) “loving”,and adelphos (ἀδελφός) “brother”.

In 1682, William Penn foundedthe city to serve as the capital ofPennsylvania Colony. By the 1750s, itwas the largest city and busiest portin British North America. During theAmerican Revolution, Philadelphiaplayed an instrumental role as a meet -ing place for the Founding Fathersof the United States, who signed theDeclaration of Independence in1776, and the Constitution in 1787.Philadelphia was one of the nation’scapitals during the Revolutionary War,and the city served as the temporaryU.S. capital while Washington, D.C., wasunder construction. During the nine -teenth century, Philadelphia became amajor industrial center and railroad hubthat grew with an influx of Europeanimmigrants. It became a prime desti -nation for African Americans duringthe Great Migration, and surpassedtwo million occupants by 1950.

Let me begin by expressinggratitude to all of the conferenceorganizers, led by host John Castle.

I know how much time these indi -viduals spent planning the countlessdetails that went into making this atruly great conference.

It’s also very important to recognizethe sponsors who made this year’sconference possible:

Steensen Varming (2012 IAMFAConference Principal Sponsor):Danish engineering firm founded byNiels Steensen & Jørgen Varming inCopenhagen, Denmark in 1933. Thefirm specializes in civil, structural andbuilding services engineering, withoffices in Denmark, Australia, UnitedKingdom, Hong Kong, and Ireland.

Allied Barton Security Services: LocalResponse, National Support—SecurityOfficers are our focus!

Atkin Olshin Schade Architects: Leadsthe planning, design, and constructionof significant new facilities.

The Camfil Farr Group: Global airfiltration specialist with 24 productionunits and R&D centres in four coun -tries in the Americas, Europe and theAsia–Pacific region.

Chubb: Business Insurance forCultural Institutions; TailoredSolutions for Treasured Institutions.

CleanTech Services Inc.: GeneralCommercial Cleaning for over 35 yearswith a personal, hands–on approach.

The 22nd IAMFA Conference in theMid–Atlantic Region of AmericaLearning, Networking, Touring and Culture in one of America’s Most Historic RegionsBy Joe May

The Conference Committee, left to right: Michael Downs, Hagley Museum and Library;Jill Abbott, Winterthur Museum, Garden & Library; Bob Morrone, Philadelphia Museumof Art (retired); Mary Ann Morrone, Thomas Edison State College (retired); Rich Reinert,Philadelphia Museum of Art; Shonie Castle, Winterthur Museum, Garden & Library; BruceCanter, Delaware Art Museum; and John Castle, Winterthur Museum, Garden & Library.


Pennoni Associates Inc.—ConsultingEngineers: Providing EngineeringServices since 1966.

These sponsors contributed to theintellectual content of the conferencethrough presentations, and by gener -ously contributing financially, whichenabled the spectacular venues, trips,and meals we all enjoyed. The IAMFAorganization wants all of these sponsorsto know how much we appreciate theirparticipation with, and support of, ourannual conference. We encouragemembers to keep this in mind whenin need of products, services, andadvice of the type offered by theseconference sponsors.

Day One of the conference began,as in past years, with the BenchmarkingPractices and Learning Workshop forthose IAMFA members participatingin the annual bench marking exercise.This valuable exercise allows memberinstitutions to compare buildingoperation costs and practices, in orderto find better ways to accomplish thework they do.

Building operating costs have fourcomponents: Utilities, Security, Build -ing Maintenance, and Janitorial. Bench -marking participants compare costper square foot (or meter), as well

as work processes within these fourcategories. Participants also compareempirical data related to Space,Sustainability, Grounds, CustomerService, and Best Practices. Thosewhose costs are lower than othersshare their methods and processes withthe group, creating a best practice initself. The 2012 benchmarking studywas sponsored by Conrad Engineers,McGuire Engineers and SteensenVarming. Please see Stacey Wittig’srecap of the Benchmarking Practicesand Learning Workshop in this issueof Papyrus.

The opening reception for thisyear’s IAMFA conference was held atthe Philadelphia Ritz-Carlton Hotel.The Ritz-Carlton Philadelphia is a30–storey skyscraper located adjacent toCity Hall in the Center City of Phila -delphia, Pennsylvania. It was built in1930–1931 as the Girard Trust Building.The tower was actually an addition to adomed lowrise building that was con -structed in 1908. It was then renamedTwo Mellon Plaza. The building wasconverted in 2000 into a 330-roomRitz-Carlton hotel. James Garrison andDr. George C. Skarmeas were responsiblefor the building’s conversion.

Conference delegates and guestsenjoyed canapés and cocktails at the

Participants in the 2012 IAMFA Benchmarking andLearning Workshop.

Atrium Lobby at the Ritz-Carlton.

CVM: Assess/Plan/Design/Construct—with an innovative approach toproblem-solving.

DEDC (Delaware Engineering &Design Corporation): Dedicated toproviding excellence in engineeringand services.

Hess Energy: Providing electricity,natural gas, fuel oil, and green solu -tions to over 22,000 commercial andindustrial customers in 18 East CoastStates and Washington, D.C.

Hughes Associates, Inc.: Fire Protec tionEngineers, Code Consultants.

LF Driscoll Construction Managers,Builders:—Innovative MuseumConstruction Management.

Limbach Inc.: Provider of sustain-able building solutions focused oninnovative and cost–effective HVACmanagement.

McGuire Engineers: Building Engi -neering Systems with effective, efficient,economic, and innovative solutions.

Mueller Associates: Inspired Design,Innovative Engineering.

Olin Landscape Architecture/UrbanDesign/Planning: Creates Places thatEnhance Life.

483535_kp.indd 25 12/21/12 11:14 AM


reception, and IAMFA members andguests renewed friendships after lastvisiting a year earlier, when we metin Auckland, New Zealand for the21st IAMFA Conference.

As in past years, the Mid–AtlanticConference included separate pro -grams for delegates and their guests.During the four days of events, thetwo programs took place in parallelwhile delegates and guests travelledtogether to the 11 venues included inthis year’s conference. This sched ulingpermitted both members and gueststo be together much of the time whileaccomplishing their individual objec -tives: Learning and Networking for dele -gates, and Exploration and Discoveryfor the guests.

The eleven venues included in the2012 conference were:

• Philadelphia Museum of Art

• The Barnes Foundation

• Rodin Museum

• Delaware Art Museum

• Winterthur Museum, Garden &Library

• Hagley Museum and Library

• Longwood Gardens

• National Museum of AmericanJewish History

• Independence National HistoricalPark

• National Constitution Center

• The Ritz-Carlton HotelPhiladelphia

On Monday morning, members andguests boarded trolleys and traveled tothe Philadelphia Museum of Art. ThePhiladelphia Museum of Art is amongthe largest art museums in the UnitedStates. It has collections of more than227,000 objects that include world-classholdings of European and Americanpaintings, prints, drawings and thedecorative arts. The Main Building isvisited by more than 800,000 peopleannually, and is located at the westernend of Philadelphia’s BenjaminFranklin Parkway. Construction ofthe Main Building began in 1919,when Mayor Thomas B. Smith laid thecornerstone in a Masonic ceremony.Because of shortages caused by World

War I and other delays, the new build -ing was not completed until 1928.The façade and columns are madeof Minnesota dolomite.

IAMFA members were welcomed byGail Harrity, Chief Operating Officer,and heard presentations on “MakingMuseums and Cultural InstitutionsSafer” by Stacey Irving of Allied BartonSecurity Services, and “Master Planningat the Philadelphia Museum of Art”by Carl Freedman of Aegis PropertyGroup. Next, Susan Weiler of Olin,Robert Schaeffer of CVM, and MichaelSchade of Atkin, Olshin, and Schadepresented “Construction Challengesat the Philadelphia Museum of Art”.

Following a break, delegates chosebetween tours of the Building Auto -mation System, Behind the Scenes,and the Sculpture Garden.

On Monday morning, guests touredPhiladelphia by trolley. After a tourof the Philadelphia Museum of Art,

guests joined delegates for lunch atthe Museum.

Following lunch, delegates andguests walked to the nearby BarnesFoundation. The Barnes Foundationopened the doors to its new gallery indowntown Philadelphia in May 2012.The Foundation’s collection of paint ingsby Matisse, Picasso, Renoir, Cezanneand many more is now hanging ingalleries designed to replicate thoseat the Barnes’s old home in suburbanMerion. The move follows a decadeof bitter debate over the future of thismulti-billion-dollar collection.

From the outside, you would neverconfuse the new Barnes with the oldone. Whereas the original buildingwas sober and Neoclassical, the newBarnes is postmodern—all raw stoneand glass. Inside, however, it’s as if theold Barnes galleries have been copiedand pasted into downtown Philadelphia.

Philadelphia Museum of Art.

IAMFA conference delegates in front of the Philadelphia Museum of Art.

The new Barnes Foundation in Philadelphia.


Delegates heard the presentations“Are we Prepared” by Stephen Layneof Allied Barton Security Services, and“Designing a Positive Environment”by Chris Arkins and Emrah Baki Ulasof Steensen Varming. Guests enjoyeda docent-led tour of the Barnes Foun -dation, and were able to wander ontheir own at the Barnes as well. Dele -gates had a choice of tours at the Barnes,then both delegates and guests wereable to walk to the nearby RodinMuseum for a tour before returningto the Ritz-Carlton Hotel.

The Rodin Museum contains thelargest collection of sculptor AugusteRodin’s works outside Paris. TheRodin Museum reopened in July 2012after three years of renovations. TheMuseum was the gift of movie-theatermagnate Jules Mastbaum (1872–1926)to the city of Philadelphia. Mastbaumbegan collecting works by Rodin in1923, with the intention of founding

a museum to enrich the lives of hisfellow citizens. Within just three years,he had assembled the largest collec -tion of Rodin’s works outside Paris,including bronzes, plaster studies,drawings, prints, letters and books.

Back at the Ritz, the Camfil FarrGroup—one of the sponsors of thisyear’s IAMFA Conference—hostedattendees for a cocktail reception . . .and it was a great way to begin a freeevening exploring Philadelphia’snightlife. The IAMFA Board ofDirectors met during the eveningof Day Two discuss the business ofthe organization before the annualBoard of Directors’ Dinner.

A very busy Day Three of the con -ference began with delegates and gueststraveling by coach to the Delaware ArtMuseum, about an hour’s ride fromPhiladelphia. The Museum was foundedin 1912 as the Wilmington Society ofthe Fine Arts, in honor of the artist

Howard Pyle, and is now celebratingits centennial. The collection focuseson American art and illustration fromthe nineteenth through the twenty-first centuries, and on the English Pre-Raphaelite movement of the mid-nineteenth century. The Delaware ArtMuseum houses a collection of morethan 12,000 objects. The museumbuilding was expanded and renovatedin 2005, and includes a nine–acre(36,000 m2) Sculpture Park, the HelenFarr Sloan Library & Archives, studioart classes, a children’s learning area,as well as a cafe and museum store.

The agenda for Day Three beganwith the annual general meeting ofIAMFA’s members. Each of the IAMFAboard members addressed the mem -bership with a review of the currentstate of Regional Affairs, Administra -tion, Treasury, Papyrus, and futureplans for IAMFA. No election wasnecessary during the meeting this

The Rodin Museum. IAMFA Board and guests at the annual Board of Directors’ Dinner.

The Delaware Art Museum. IAMFA members gather at the Delaware Art Museum for the AGM.

483535_kp.indd 26 12/21/12 11:14 AM


reception, and IAMFA members andguests renewed friendships after lastvisiting a year earlier, when we metin Auckland, New Zealand for the21st IAMFA Conference.

As in past years, the Mid–AtlanticConference included separate pro -grams for delegates and their guests.During the four days of events, thetwo programs took place in parallelwhile delegates and guests travelledtogether to the 11 venues included inthis year’s conference. This sched ulingpermitted both members and gueststo be together much of the time whileaccomplishing their individual objec -tives: Learning and Networking for dele -gates, and Exploration and Discoveryfor the guests.

The eleven venues included in the2012 conference were:

• Philadelphia Museum of Art

• The Barnes Foundation

• Rodin Museum

• Delaware Art Museum

• Winterthur Museum, Garden &Library

• Hagley Museum and Library

• Longwood Gardens

• National Museum of AmericanJewish History

• Independence National HistoricalPark

• National Constitution Center

• The Ritz-Carlton HotelPhiladelphia

On Monday morning, members andguests boarded trolleys and traveled tothe Philadelphia Museum of Art. ThePhiladelphia Museum of Art is amongthe largest art museums in the UnitedStates. It has collections of more than227,000 objects that include world-classholdings of European and Americanpaintings, prints, drawings and thedecorative arts. The Main Building isvisited by more than 800,000 peopleannually, and is located at the westernend of Philadelphia’s BenjaminFranklin Parkway. Construction ofthe Main Building began in 1919,when Mayor Thomas B. Smith laid thecornerstone in a Masonic ceremony.Because of shortages caused by World

War I and other delays, the new build -ing was not completed until 1928.The façade and columns are madeof Minnesota dolomite.

IAMFA members were welcomed byGail Harrity, Chief Operating Officer,and heard presentations on “MakingMuseums and Cultural InstitutionsSafer” by Stacey Irving of Allied BartonSecurity Services, and “Master Planningat the Philadelphia Museum of Art”by Carl Freedman of Aegis PropertyGroup. Next, Susan Weiler of Olin,Robert Schaeffer of CVM, and MichaelSchade of Atkin, Olshin, and Schadepresented “Construction Challengesat the Philadelphia Museum of Art”.

Following a break, delegates chosebetween tours of the Building Auto -mation System, Behind the Scenes,and the Sculpture Garden.

On Monday morning, guests touredPhiladelphia by trolley. After a tourof the Philadelphia Museum of Art,

guests joined delegates for lunch atthe Museum.

Following lunch, delegates andguests walked to the nearby BarnesFoundation. The Barnes Foundationopened the doors to its new gallery indowntown Philadelphia in May 2012.The Foundation’s collection of paint ingsby Matisse, Picasso, Renoir, Cezanneand many more is now hanging ingalleries designed to replicate thoseat the Barnes’s old home in suburbanMerion. The move follows a decadeof bitter debate over the future of thismulti-billion-dollar collection.

From the outside, you would neverconfuse the new Barnes with the oldone. Whereas the original buildingwas sober and Neoclassical, the newBarnes is postmodern—all raw stoneand glass. Inside, however, it’s as if theold Barnes galleries have been copiedand pasted into downtown Philadelphia.

Philadelphia Museum of Art.

IAMFA conference delegates in front of the Philadelphia Museum of Art.

The new Barnes Foundation in Philadelphia.


Delegates heard the presentations“Are we Prepared” by Stephen Layneof Allied Barton Security Services, and“Designing a Positive Environment”by Chris Arkins and Emrah Baki Ulasof Steensen Varming. Guests enjoyeda docent-led tour of the Barnes Foun -dation, and were able to wander ontheir own at the Barnes as well. Dele -gates had a choice of tours at the Barnes,then both delegates and guests wereable to walk to the nearby RodinMuseum for a tour before returningto the Ritz-Carlton Hotel.

The Rodin Museum contains thelargest collection of sculptor AugusteRodin’s works outside Paris. TheRodin Museum reopened in July 2012after three years of renovations. TheMuseum was the gift of movie-theatermagnate Jules Mastbaum (1872–1926)to the city of Philadelphia. Mastbaumbegan collecting works by Rodin in1923, with the intention of founding

a museum to enrich the lives of hisfellow citizens. Within just three years,he had assembled the largest collec -tion of Rodin’s works outside Paris,including bronzes, plaster studies,drawings, prints, letters and books.

Back at the Ritz, the Camfil FarrGroup—one of the sponsors of thisyear’s IAMFA Conference—hostedattendees for a cocktail reception . . .and it was a great way to begin a freeevening exploring Philadelphia’snightlife. The IAMFA Board ofDirectors met during the eveningof Day Two discuss the business ofthe organization before the annualBoard of Directors’ Dinner.

A very busy Day Three of the con -ference began with delegates and gueststraveling by coach to the Delaware ArtMuseum, about an hour’s ride fromPhiladelphia. The Museum was foundedin 1912 as the Wilmington Society ofthe Fine Arts, in honor of the artist

Howard Pyle, and is now celebratingits centennial. The collection focuseson American art and illustration fromthe nineteenth through the twenty-first centuries, and on the English Pre-Raphaelite movement of the mid-nineteenth century. The Delaware ArtMuseum houses a collection of morethan 12,000 objects. The museumbuilding was expanded and renovatedin 2005, and includes a nine–acre(36,000 m2) Sculpture Park, the HelenFarr Sloan Library & Archives, studioart classes, a children’s learning area,as well as a cafe and museum store.

The agenda for Day Three beganwith the annual general meeting ofIAMFA’s members. Each of the IAMFAboard members addressed the mem -bership with a review of the currentstate of Regional Affairs, Administra -tion, Treasury, Papyrus, and futureplans for IAMFA. No election wasnecessary during the meeting this

The Rodin Museum. IAMFA Board and guests at the annual Board of Directors’ Dinner.

The Delaware Art Museum. IAMFA members gather at the Delaware Art Museum for the AGM.

483535_kp.indd 27 12/21/12 11:14 AM


year, as was also the case last year. A2011 change in IAMFA’s bylaws nowpermits members to vote elec troni callyahead of the conference, eliminatingthe need to take time during this meet -ing to elect officers, and permitting allvoting members to vote.

Three board positions were up forelection this fall: President, VP Admin -istration, and Editor. Nancy Bechtolfrom the Smithsonian Institution waselected President of IAMFA, andRandy Murphy and Joe May volun -teered to remain in their currentpositions, and were not opposed inthe election ahead of the conference.

Outgoing President John De Lucywelcomed everyone, and the meetingproceeded. Randy Murphy demon -strated the new IAMFA website, andthe Washington, D.C. delegation pre -sented an overview of plans thus far forthe 23rd IAMFA conference in 2013.Full minutes of the Annual GeneralMeeting can be found on the MembersOnly page of the IAMFA website.

Following the AGM, members andguests were able to tour the collectionsbefore once again boarding coachesheaded for Winterthur Museum,Garden & Library, where they werewelcomed by Jeff Groff, Director ofPublic Programs.

Winterthur is an American estateand museum in Winterthur, Delaware,and houses one of the most impor-tant collections of Americana in theUnited States. It was the former homeof Henry Francis du Pont (1880–1969),a renowned antiques collector andhorticulturist. Many years ago, it wasknown as the Henry Francis DuPontWinterthur Museum. In the early

twentieth century, H.F. du Pont andhis father, Henry Algernon du Pont,designed Winterthur in the spirit ofeighteenth- and nineteenth-centuryEuropean country houses. Theyounger du Pont added to the homemany times thereafter, increasing itsnumber of rooms nearly sixfold. Afterhe established the main building as apublic museum in 1951, he moved toa smaller building on the estate.

Winterthur is situated on 979 acres(396 hectares), near BrandywineCreek, with 60 acres (24 hectares) ofnaturalistic gardens. It had 2,500 acres(1,011 hectares) and a premier dairycattle herd when du Pont operated itas a country estate.

Both conference delegates andguests enjoyed lunch and tours ofthe museum, as well as a tram tour ofthe grounds and gardens. Everyonethen boarded the coaches again, thistime heading for Hagley Museumand Library.

In 1802 a French immigrant,Éleuthère Irénée du Pont, chose thebanks of Brandywine Creek to starthis black powder mills. He chose thelocation because of the natural energythat the water provided; the availabilityof timber and willow trees (used toproduce quality charcoal required forsuperior black powder); the proximityto the Delaware River (on which otheringredients of the powder—sulfur andsaltpeter—could be shipped); and thequarries of gneiss which would pro videbuilding materials for the mills. TheE.I. du Pont de Nemours & Company’sblack powder manufactory becamethe largest in the world.

In 1921, the mills along the Brandy -wine closed, and parcels of the propertywere sold. It was on the occasion of theDuPont Company’s 150th anni versaryin 1952 that plans for a museum wereestablished. Of course, this is the sitethat began the DuPont legacy, and it islocated at the midpoint of the DuPontHistoric Corridor.

We were welcomed to Hagley byExecutive Director Geoff Halfpenny,before touring the Powder Yard, theResidence and Garden, and finally, anamazing gunpowder demonstrationand cannon firings.

The last stop on Day Three wasLongwood Gardens, which consistsof over 1,077 acres (435 hectares) ofgardens, woodlands, and meadows inKennett Square in the BrandywineCreek Valley. It is one of the premierbotanical gardens in the United States,and is open year-round for visitors toenjoy exotic plants and horticulture,events and performances, seasonaland themed attractions, as well aseducational lectures, courses, andworkshops.

Industrialist Pierre S. du Pont(1870–1954) purchased the propertyfrom the Peirce family in 1906, to savethe arboretum from being sold forlumber. He made it his private estate,and from 1906 until the 1930s, du Pontadded extensively to the property.A world traveler from an early age,du Pont was often inspired to addfeatures to the garden after attendingworld’s fairs, the most notable addi -tions being the massive conservatory,complete with a massive pipe organ,and an extensive system of fountains.

Winterthur Museum, Garden & Library Powder Mills along the banks of theBrandywine River at Hagley Museumand Library.

Inside the Conservatory at LongwoodGardens.


Members and guests chose fromtours of the Pump Room, Tunnels, andthe Conservatory Gardens, prior tobeing treated to cocktails and dinner.

Following dinner, everyone enjoyed afountain show choreographed to music,prior to boarding coaches for the latecoach ride back to the Ritz-Carlton.

Day Four of the conference beganwith a trolley ride to the NationalMuseum of American Jewish History(NMAJH). NMAJH is a Smithsonian-affiliated museum in Center CityPhiladelphia, located on IndependenceMall within the Independence NationalHistorical Park. Construction ofthe new NMAJH broke ground onSeptember 30, 2007. The 100,000-square-foot (9,300 m2), $150-millionglass and terracotta building wasdesigned by James Polshek, andincludes an atrium, a 25,000-square-foot (2,300 m2) area for exhibits,

a Center for Jewish Education, anda theater.

The Museum’s opening ceremonywas held on November 14, 2010, andwas attended by over 1,000 people,including Vice-President Joe Biden,Philadelphia Mayor Michael Nutter,Pennsylvania Governor Ed Rendell,and Rabbi Irving Greenberg. Thebuilding opened to the public onNovember 26, 2010.

The exhibits feature pieces from theMuseum’s collection, which includesover 20,000 objects and ranges fromthe Colonial period to the present day.Exhibits focus on Jews in America.Professor Jonathan Sarna of BrandeisUniversity led the development of theMuseum’s core exhibits.

During the first presentation onDay Four, panelists Keith McClanahan(Facility Issues Inc.); Guy Larocque(Canadian Museum of Civilization);

Kendra Gastright (Smithsonian Insti -tution); and Jack Plumb (NationalLibrary of Scotland) presented “Usingand Presenting Your BenchmarkingResults to Benefit Your Organization”.

Following a break, Jack Mawhinneyfrom Hughes Associates presented“Advancements in Fire Protection”.Before lunch, both members andguests selected from a choice ofgallery or facility tours.

After lunch, delegates and guestswere able to tour the area on theirown (including Independence VisitorCenter), and view its most famousartifact: The Liberty Bell.

The Liberty Bell is an iconic symbolof American independence, located inPhiladelphia, Pennsylvania. Formerlyplaced in the steeple of the PennsylvaniaState House (now renamed Indepen -dence Hall), the bell was commissionedfrom the London firm of Lester and

Conference delegates and guests enjoying a breathtaking dinnerinside the Conservatory at Longwood Gardens.

Fountain show at Longwood Gardens.

The National Museum of American Jewish History. From left to right: Keith McClanahan, Guy Larocque, KendraGastright and Jack Plumb discuss IAMFA’s Benchmarking Exercise.

483535_kp.indd 28 12/21/12 11:14 AM


year, as was also the case last year. A2011 change in IAMFA’s bylaws nowpermits members to vote elec troni callyahead of the conference, eliminatingthe need to take time during this meet -ing to elect officers, and permitting allvoting members to vote.

Three board positions were up forelection this fall: President, VP Admin -istration, and Editor. Nancy Bechtolfrom the Smithsonian Institution waselected President of IAMFA, andRandy Murphy and Joe May volun -teered to remain in their currentpositions, and were not opposed inthe election ahead of the conference.

Outgoing President John De Lucywelcomed everyone, and the meetingproceeded. Randy Murphy demon -strated the new IAMFA website, andthe Washington, D.C. delegation pre -sented an overview of plans thus far forthe 23rd IAMFA conference in 2013.Full minutes of the Annual GeneralMeeting can be found on the MembersOnly page of the IAMFA website.

Following the AGM, members andguests were able to tour the collectionsbefore once again boarding coachesheaded for Winterthur Museum,Garden & Library, where they werewelcomed by Jeff Groff, Director ofPublic Programs.

Winterthur is an American estateand museum in Winterthur, Delaware,and houses one of the most impor-tant collections of Americana in theUnited States. It was the former homeof Henry Francis du Pont (1880–1969),a renowned antiques collector andhorticulturist. Many years ago, it wasknown as the Henry Francis DuPontWinterthur Museum. In the early

twentieth century, H.F. du Pont andhis father, Henry Algernon du Pont,designed Winterthur in the spirit ofeighteenth- and nineteenth-centuryEuropean country houses. Theyounger du Pont added to the homemany times thereafter, increasing itsnumber of rooms nearly sixfold. Afterhe established the main building as apublic museum in 1951, he moved toa smaller building on the estate.

Winterthur is situated on 979 acres(396 hectares), near BrandywineCreek, with 60 acres (24 hectares) ofnaturalistic gardens. It had 2,500 acres(1,011 hectares) and a premier dairycattle herd when du Pont operated itas a country estate.

Both conference delegates andguests enjoyed lunch and tours ofthe museum, as well as a tram tour ofthe grounds and gardens. Everyonethen boarded the coaches again, thistime heading for Hagley Museumand Library.

In 1802 a French immigrant,Éleuthère Irénée du Pont, chose thebanks of Brandywine Creek to starthis black powder mills. He chose thelocation because of the natural energythat the water provided; the availabilityof timber and willow trees (used toproduce quality charcoal required forsuperior black powder); the proximityto the Delaware River (on which otheringredients of the powder—sulfur andsaltpeter—could be shipped); and thequarries of gneiss which would pro videbuilding materials for the mills. TheE.I. du Pont de Nemours & Company’sblack powder manufactory becamethe largest in the world.

In 1921, the mills along the Brandy -wine closed, and parcels of the propertywere sold. It was on the occasion of theDuPont Company’s 150th anni versaryin 1952 that plans for a museum wereestablished. Of course, this is the sitethat began the DuPont legacy, and it islocated at the midpoint of the DuPontHistoric Corridor.

We were welcomed to Hagley byExecutive Director Geoff Halfpenny,before touring the Powder Yard, theResidence and Garden, and finally, anamazing gunpowder demonstrationand cannon firings.

The last stop on Day Three wasLongwood Gardens, which consistsof over 1,077 acres (435 hectares) ofgardens, woodlands, and meadows inKennett Square in the BrandywineCreek Valley. It is one of the premierbotanical gardens in the United States,and is open year-round for visitors toenjoy exotic plants and horticulture,events and performances, seasonaland themed attractions, as well aseducational lectures, courses, andworkshops.

Industrialist Pierre S. du Pont(1870–1954) purchased the propertyfrom the Peirce family in 1906, to savethe arboretum from being sold forlumber. He made it his private estate,and from 1906 until the 1930s, du Pontadded extensively to the property.A world traveler from an early age,du Pont was often inspired to addfeatures to the garden after attendingworld’s fairs, the most notable addi -tions being the massive conservatory,complete with a massive pipe organ,and an extensive system of fountains.

Winterthur Museum, Garden & Library Powder Mills along the banks of theBrandywine River at Hagley Museumand Library.

Inside the Conservatory at LongwoodGardens.


Members and guests chose fromtours of the Pump Room, Tunnels, andthe Conservatory Gardens, prior tobeing treated to cocktails and dinner.

Following dinner, everyone enjoyed afountain show choreographed to music,prior to boarding coaches for the latecoach ride back to the Ritz-Carlton.

Day Four of the conference beganwith a trolley ride to the NationalMuseum of American Jewish History(NMAJH). NMAJH is a Smithsonian-affiliated museum in Center CityPhiladelphia, located on IndependenceMall within the Independence NationalHistorical Park. Construction ofthe new NMAJH broke ground onSeptember 30, 2007. The 100,000-square-foot (9,300 m2), $150-millionglass and terracotta building wasdesigned by James Polshek, andincludes an atrium, a 25,000-square-foot (2,300 m2) area for exhibits,

a Center for Jewish Education, anda theater.

The Museum’s opening ceremonywas held on November 14, 2010, andwas attended by over 1,000 people,including Vice-President Joe Biden,Philadelphia Mayor Michael Nutter,Pennsylvania Governor Ed Rendell,and Rabbi Irving Greenberg. Thebuilding opened to the public onNovember 26, 2010.

The exhibits feature pieces from theMuseum’s collection, which includesover 20,000 objects and ranges fromthe Colonial period to the present day.Exhibits focus on Jews in America.Professor Jonathan Sarna of BrandeisUniversity led the development of theMuseum’s core exhibits.

During the first presentation onDay Four, panelists Keith McClanahan(Facility Issues Inc.); Guy Larocque(Canadian Museum of Civilization);

Kendra Gastright (Smithsonian Insti -tution); and Jack Plumb (NationalLibrary of Scotland) presented “Usingand Presenting Your BenchmarkingResults to Benefit Your Organization”.

Following a break, Jack Mawhinneyfrom Hughes Associates presented“Advancements in Fire Protection”.Before lunch, both members andguests selected from a choice ofgallery or facility tours.

After lunch, delegates and guestswere able to tour the area on theirown (including Independence VisitorCenter), and view its most famousartifact: The Liberty Bell.

The Liberty Bell is an iconic symbolof American independence, located inPhiladelphia, Pennsylvania. Formerlyplaced in the steeple of the PennsylvaniaState House (now renamed Indepen -dence Hall), the bell was commissionedfrom the London firm of Lester and

Conference delegates and guests enjoying a breathtaking dinnerinside the Conservatory at Longwood Gardens.

Fountain show at Longwood Gardens.

The National Museum of American Jewish History. From left to right: Keith McClanahan, Guy Larocque, KendraGastright and Jack Plumb discuss IAMFA’s Benchmarking Exercise.

483535_kp.indd 29 12/21/12 11:14 AM


Pack in 1752, and was cast with thebiblical text (part of Leviticus 25:10):“Proclaim LIBERTY throughout all theland unto all the inhabitants thereof.”

It originally cracked when first rungafter arrival in Philadelphia, and wastwice recast by local workmen JohnPass and John Stow, whose last namesappear on the bell. In its early years,the Liberty Bell was used to summonlawmakers to legislative sessions, andto alert citizens to public meetingsand proclamations.

Upon returning to the Ritz, every -one had time to relax a little, and getready for the evening’s closing gala.

This year’s Gala Dinner was heldat the National Constitution Center(NCC). NCC is an American orga ni za -tion that seeks to expand awareness andunderstanding of the United StatesConstitution, and operates a museumto advance those purposes. The Centeris an independent, non-profit, non-partisan institution.

A groundbreaking ceremony forthe museum was held on September17, 2000: 213 years to the day after theoriginal Constitution was signed. Themuseum was opened on July 4, 2003,and the National Constitution Centerjoined other notable sites and iconic

exhibits in what has been called“America’s most historical square mile”because of the proximity of historicallandmarks Independence Hall andthe Liberty Bell. Then-Supreme CourtJustice Sandra Day O’Connor, offi ciat -ing at the opening ceremonies, said, “It will contribute each and every dayto the reinforcement of the basicprinciples that bind us together as anation and a people.”

Conference delegates and gueststraveled to the gala by trolley. Theevening began with a group photo,followed by cocktails and canapés inSigners Hall. It was a gorgeous settingoverlooking Independence Mall. Wenext moved to the Center’s theater,where we were treated to an inspiringperformance of Freedom Rising, depict -ing the conditions leading to the originsof America as an independent nation.

Attendees enjoyed a deliciousdinner accompanied by fine wines,along with a dinner program. FourIAMFA members were recognizedwith awards at this year’s closing gala.First was Tony McGuire from McGuireEngineers in Chicago, who was recog -nized with IAMFA’s Lifetime Achieve -ment Award for remarkable careerachievements, as well as his supportand sponsorship of IAMFA for thepast decade. Tony has been an activeIAMFA member and advisor, and all

IAMFA members have benefitted fromTony’s expertise.

IAMFA’s George Preston MemorialAward was presented to Joe Brennanfrom San Francisco’s Museum ofModern Art for his service to theIAMFA organization. Joe has hostedtwo IAMFA conferences over ourorganization’s history, and has alsoled one of the most successful IAMFAChapters: the Northern CaliforniaChapter. Joe’s support of IAMFA hasbeen unwavering, and his contribu -tions to IAMFA have been many. TheGeorge Preston Award is given inhonor of IAMFA’s founder.

The George Preston MemorialAward was also given to Dan Davies

Independence Visitor Center.

Independence Hall. The iconic Liberty Bell.

The National Constitutional Center, venue forthe 2013 IAMFA Conference Gala Dinner.

Conference attendees at the closing gala atNational Constitution Center.


from the Smithsonian’s National Zoo.Dan is longtime member of IAMFA,previously served on IAMFA’s Boardof Directors, was Editor of Papyrus,and has served as IAMFA’s dedicatedphotographer for many years. Manyof the images you see in Papyrus weretaken by Dan.

One final award, IAMFA’s LifetimeAchievement Award, was given to JohnDe Lucy for his outstanding careerachievements, and his unwaveringdedication to IAMFA. John has servedon IAMFA’s Board of Directors for thepast six years, the past four of whichwere as IAMFA’s President. Johnrecently retired from the BritishLibrary, and is IAMFA’s outgoingPresident. Under John’s leadership,IAMFA has thrived, and we truly

appreciate his dedication to makingIAMFA the world leader in supportingFacility Professionals. We all hopeJohn will remain active in IAMFA.His creative, personal touch inspiredus all to make IAMFA better, whileadvancing the organization’s mission.

As dinner wound down, IAMFA’s newPresident, Nancy Bechtol, addressedattendees and, along with Dan Daviesand Tiffany Meyers, described pre limi -nary plans for IAMFA’s 23rd AnnualConference, scheduled for October20–24, 2013 in Washington, D.C.Please mark your calendars, and makesure you come back to the East Coastof the United States to visit again nextyear with all your friends at IAMFA.

This brought an end to the clos-ing gala, and the end of a wonderful

22nd Annual Conference. We saw somany interesting sights at the con -ference venues, and enjoyed theopportunities to learn and networkwith our peers from so many othercultural institutions across the globe.

The conference hosts workedtirelessly, and made the 2012 IAMFAConference one that we will neverforget. Thank you, John Castle! Andthank you to your team, who plannedan amazing 22nd IAMFA AnnualConference, kept everyone together,and showed us a wonderful time duringa very busy week in the Mid–AtlanticRegion of America.

Joe May serves on IAMFA’s Board, and isEditor of Papyrus.

Tony McGuire receives IAMFA’s Lifetime Achievement Award fromIAMFA President John De Lucy.

Joe Brennan receives the IAMFA George Preston Memorial Awardfrom IAMFA Board Member Joe May.

Dan Davies receives the George Preston Memorial Award fromIAMFA’s VP of Administration, Randy Murphy.

IAMFA’s President Elect, Nancy Bechtol, presents IAMFA’s LifetimeAchievement Award to John De Lucy, IAMFA’s outgoing President.

483535_kp.indd 30 12/21/12 11:14 AM


Pack in 1752, and was cast with thebiblical text (part of Leviticus 25:10):“Proclaim LIBERTY throughout all theland unto all the inhabitants thereof.”

It originally cracked when first rungafter arrival in Philadelphia, and wastwice recast by local workmen JohnPass and John Stow, whose last namesappear on the bell. In its early years,the Liberty Bell was used to summonlawmakers to legislative sessions, andto alert citizens to public meetingsand proclamations.

Upon returning to the Ritz, every -one had time to relax a little, and getready for the evening’s closing gala.

This year’s Gala Dinner was heldat the National Constitution Center(NCC). NCC is an American orga ni za -tion that seeks to expand awareness andunderstanding of the United StatesConstitution, and operates a museumto advance those purposes. The Centeris an independent, non-profit, non-partisan institution.

A groundbreaking ceremony forthe museum was held on September17, 2000: 213 years to the day after theoriginal Constitution was signed. Themuseum was opened on July 4, 2003,and the National Constitution Centerjoined other notable sites and iconic

exhibits in what has been called“America’s most historical square mile”because of the proximity of historicallandmarks Independence Hall andthe Liberty Bell. Then-Supreme CourtJustice Sandra Day O’Connor, offi ciat -ing at the opening ceremonies, said, “It will contribute each and every dayto the reinforcement of the basicprinciples that bind us together as anation and a people.”

Conference delegates and gueststraveled to the gala by trolley. Theevening began with a group photo,followed by cocktails and canapés inSigners Hall. It was a gorgeous settingoverlooking Independence Mall. Wenext moved to the Center’s theater,where we were treated to an inspiringperformance of Freedom Rising, depict -ing the conditions leading to the originsof America as an independent nation.

Attendees enjoyed a deliciousdinner accompanied by fine wines,along with a dinner program. FourIAMFA members were recognizedwith awards at this year’s closing gala.First was Tony McGuire from McGuireEngineers in Chicago, who was recog -nized with IAMFA’s Lifetime Achieve -ment Award for remarkable careerachievements, as well as his supportand sponsorship of IAMFA for thepast decade. Tony has been an activeIAMFA member and advisor, and all

IAMFA members have benefitted fromTony’s expertise.

IAMFA’s George Preston MemorialAward was presented to Joe Brennanfrom San Francisco’s Museum ofModern Art for his service to theIAMFA organization. Joe has hostedtwo IAMFA conferences over ourorganization’s history, and has alsoled one of the most successful IAMFAChapters: the Northern CaliforniaChapter. Joe’s support of IAMFA hasbeen unwavering, and his contribu -tions to IAMFA have been many. TheGeorge Preston Award is given inhonor of IAMFA’s founder.

The George Preston MemorialAward was also given to Dan Davies

Independence Visitor Center.

Independence Hall. The iconic Liberty Bell.

The National Constitutional Center, venue forthe 2013 IAMFA Conference Gala Dinner.

Conference attendees at the closing gala atNational Constitution Center.


from the Smithsonian’s National Zoo.Dan is longtime member of IAMFA,previously served on IAMFA’s Boardof Directors, was Editor of Papyrus,and has served as IAMFA’s dedicatedphotographer for many years. Manyof the images you see in Papyrus weretaken by Dan.

One final award, IAMFA’s LifetimeAchievement Award, was given to JohnDe Lucy for his outstanding careerachievements, and his unwaveringdedication to IAMFA. John has servedon IAMFA’s Board of Directors for thepast six years, the past four of whichwere as IAMFA’s President. Johnrecently retired from the BritishLibrary, and is IAMFA’s outgoingPresident. Under John’s leadership,IAMFA has thrived, and we truly

appreciate his dedication to makingIAMFA the world leader in supportingFacility Professionals. We all hopeJohn will remain active in IAMFA.His creative, personal touch inspiredus all to make IAMFA better, whileadvancing the organization’s mission.

As dinner wound down, IAMFA’s newPresident, Nancy Bechtol, addressedattendees and, along with Dan Daviesand Tiffany Meyers, described pre limi -nary plans for IAMFA’s 23rd AnnualConference, scheduled for October20–24, 2013 in Washington, D.C.Please mark your calendars, and makesure you come back to the East Coastof the United States to visit again nextyear with all your friends at IAMFA.

This brought an end to the clos-ing gala, and the end of a wonderful

22nd Annual Conference. We saw somany interesting sights at the con -ference venues, and enjoyed theopportunities to learn and networkwith our peers from so many othercultural institutions across the globe.

The conference hosts workedtirelessly, and made the 2012 IAMFAConference one that we will neverforget. Thank you, John Castle! Andthank you to your team, who plannedan amazing 22nd IAMFA AnnualConference, kept everyone together,and showed us a wonderful time duringa very busy week in the Mid–AtlanticRegion of America.

Joe May serves on IAMFA’s Board, and isEditor of Papyrus.

Tony McGuire receives IAMFA’s Lifetime Achievement Award fromIAMFA President John De Lucy.

Joe Brennan receives the IAMFA George Preston Memorial Awardfrom IAMFA Board Member Joe May.

Dan Davies receives the George Preston Memorial Award fromIAMFA’s VP of Administration, Randy Murphy.

IAMFA’s President Elect, Nancy Bechtol, presents IAMFA’s LifetimeAchievement Award to John De Lucy, IAMFA’s outgoing President.

483535_kp.indd 31 12/21/12 11:14 AM


“This is the most interactive sessionof the entire confer ence. Youhear the most from members at

this session,” wrote Kendra Gastrightof the Smithsonian Institution in herfeedback following the IAMFA Bench -marking Practices and Learning Work -shop last fall. The annual workshop isdesigned to get IAMFA benchmarkingparticipants talking about current chal -lenges, solutions and best practices.Broken up into roundtable discus sionson hot topics, forums on practicalsolutions to everyday challenges, andpresentations on key lessons from thepast year, the all-day workshop is packedwith networking opportunities.

First-timer Kristy Brosius, Directorof Operations at the United StatesHolocaust Memorial Museum, said,“I did not fully understand the formatof this workshop from the registrationmaterials—I expected the entire sessionto be spent reviewing the results of thebenchmarking report.” In fact, only45 minutes were devoted to analysisof the survey results, which were pre -sented by Keith McClanahan. His con -sulting firm Facility Issues facili tates thebenchmarking exercise and workshopfor IAMFA.

“I was pleasantly surprised by thehot-topic discussions and found themto be beneficial,” added Brosius, aftersuggesting that a broader descriptionof the hot topics, presentations andnetworking be made available to poten -tial participants. As a result, we aredescribing the workshop in this article.Let us take a look at what happensbehind those closed doors.

This year, the doors opened into abeautifully appointed conference roomat the Ritz-Carlton in Philadelphia. Theworkshop began with an exercise thathelped get the 50 participants movingaround the room and talking. They

were prepared to share a process atwhich their institution excelled anda process that was a challenge. Uponentering, they were asked to get a cupof coffee or tea, then write those pro -cesses on a flipchart, along with theirname and the name of their institution.This gave participants, many who hadnot seen each other for a year, a chanceto mingle and meet newcomers.

After the welcome and safety brief -ing, one person from each institutionpresented a three-minute, one-slideoverview. After introducing attendeesfrom their institutions, they revealedthe process that was working well, andthe issue that was a challenge. Thisexercise, designed to get participantsto feel comfortable sharing, helpedothers identify peers who face similarissues. The flipcharts hung around theroom throughout the rest of the dayto serve as reminders to network withthose having common concerns.

After a group photo and break,McClanahan presented the highlightsof the benchmarking survey results. Hereviewed the anomalies, showed year-over-year cost savings in key categories,and offered strategies on how to usethe benchmarking information.

Next, Jack Plumb of the NationalLibrary of Scotland delivered excitingnew information in a presentationentitled “Acceptable Adjustmentsto Environmental Conditions withinArchive Spaces”, which sparked gooddiscussion during lunch.

After lunch, the roundtable discus -sion on collection storage began withhot topics such as temperature andhumidity ranges, alternative shelvingoptions, and “Space Wars” (what dowith the issue of growing collections,which in turn causes shrinking storage.)Many ideas and practical takeawayswere shared as the microphone passedback and forth.

Benchmarking WorkshopWhat Happens Behind Those Closed Doors?By Stacey Wittig

Left to right: Jack Plumb, Tony Young, Brian Coleman, John Lyon, Greg Simmons, CharonJohnson, Pam Lowings and Jon Roodbol.


During the second hot-topic discus sion, titled “Energy,Sustainability & Utilities—Hot Topics and Emerging Issues”,parti cipants discussed water-loss reduction in evaporativecoolers, return on invest ment for recycling and sal vageprograms, composting, LED lighting options and energyprocurement.

Two more interactive discussions on cleaning and main -tenance issues ensued as participants jotted ideas on theiriPads or notebooks. Participants had a chance to ask thegroup about any issue, problem or program in the “TownHall Discussion”, which typically sparks lively discussion.After a wrap-up and critique of the work shop, participantsturned in their feedback forms and adjourned to the barfor more lively debate.

You think you might know now what happens behindthose closed doors; but in actuality, you need to attend asession to understand the full value of what can be broughtback to implement at your institution. A past participantsaid it best: “Much as I enjoyed the IAMFA confer ence’sexcellent presentations, eye-opening tours and extra ordinarymeet-and-greet sessions, the benchmarking presentation andaccompanying print-outs were my most valuable take-away.”

Don’t miss next year’s spirited dis cussions by registeringnow for the 2013 IAMFA benchmarking exercise—theinteractive workshop is included as part of yourbenchmarking fee.

Register at www.facilityissues.com/Museums/Index.htmbefore December 31 to guarantee 2012 prices for 2013.

Conrad Engineers, McGuire Engi neers and SteensenVarming sponsor the 2012 IAMFA BenchmarkingExercise.

Stacey Wittig is Marketing Director at Facility Issues. She welcomesyour questions about participating in or sponsoring the IAMFABenchmarking Exercise. Call or email her at 001-928-225-4943 [email protected]. 2012 workshop presentations andphotos are available for download at www.facilityissues.com/Museums/12Workshop/12Workshop.htm

Patrick Jones of the ArtInstitute of Chicago interactsat IAMFA BenchmarkingWorkshop.

Nancy Bechtol of theSmithsonian Institutionfocuses on others’ ideasat the annual workshop.

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483535_kp.indd 32 12/21/12 11:14 AM


“This is the most interactive sessionof the entire confer ence. Youhear the most from members at

this session,” wrote Kendra Gastrightof the Smithsonian Institution in herfeedback following the IAMFA Bench -marking Practices and Learning Work -shop last fall. The annual workshop isdesigned to get IAMFA benchmarkingparticipants talking about current chal -lenges, solutions and best practices.Broken up into roundtable discus sionson hot topics, forums on practicalsolutions to everyday challenges, andpresentations on key lessons from thepast year, the all-day workshop is packedwith networking opportunities.

First-timer Kristy Brosius, Directorof Operations at the United StatesHolocaust Memorial Museum, said,“I did not fully understand the formatof this workshop from the registrationmaterials—I expected the entire sessionto be spent reviewing the results of thebenchmarking report.” In fact, only45 minutes were devoted to analysisof the survey results, which were pre -sented by Keith McClanahan. His con -sulting firm Facility Issues facili tates thebenchmarking exercise and workshopfor IAMFA.

“I was pleasantly surprised by thehot-topic discussions and found themto be beneficial,” added Brosius, aftersuggesting that a broader descriptionof the hot topics, presentations andnetworking be made available to poten -tial participants. As a result, we aredescribing the workshop in this article.Let us take a look at what happensbehind those closed doors.

This year, the doors opened into abeautifully appointed conference roomat the Ritz-Carlton in Philadelphia. Theworkshop began with an exercise thathelped get the 50 participants movingaround the room and talking. They

were prepared to share a process atwhich their institution excelled anda process that was a challenge. Uponentering, they were asked to get a cupof coffee or tea, then write those pro -cesses on a flipchart, along with theirname and the name of their institution.This gave participants, many who hadnot seen each other for a year, a chanceto mingle and meet newcomers.

After the welcome and safety brief -ing, one person from each institutionpresented a three-minute, one-slideoverview. After introducing attendeesfrom their institutions, they revealedthe process that was working well, andthe issue that was a challenge. Thisexercise, designed to get participantsto feel comfortable sharing, helpedothers identify peers who face similarissues. The flipcharts hung around theroom throughout the rest of the dayto serve as reminders to network withthose having common concerns.

After a group photo and break,McClanahan presented the highlightsof the benchmarking survey results. Hereviewed the anomalies, showed year-over-year cost savings in key categories,and offered strategies on how to usethe benchmarking information.

Next, Jack Plumb of the NationalLibrary of Scotland delivered excitingnew information in a presentationentitled “Acceptable Adjustmentsto Environmental Conditions withinArchive Spaces”, which sparked gooddiscussion during lunch.

After lunch, the roundtable discus -sion on collection storage began withhot topics such as temperature andhumidity ranges, alternative shelvingoptions, and “Space Wars” (what dowith the issue of growing collections,which in turn causes shrinking storage.)Many ideas and practical takeawayswere shared as the microphone passedback and forth.

Benchmarking WorkshopWhat Happens Behind Those Closed Doors?By Stacey Wittig

Left to right: Jack Plumb, Tony Young, Brian Coleman, John Lyon, Greg Simmons, CharonJohnson, Pam Lowings and Jon Roodbol.


During the second hot-topic discus sion, titled “Energy,Sustainability & Utilities—Hot Topics and Emerging Issues”,parti cipants discussed water-loss reduction in evaporativecoolers, return on invest ment for recycling and sal vageprograms, composting, LED lighting options and energyprocurement.

Two more interactive discussions on cleaning and main -tenance issues ensued as participants jotted ideas on theiriPads or notebooks. Participants had a chance to ask thegroup about any issue, problem or program in the “TownHall Discussion”, which typically sparks lively discussion.After a wrap-up and critique of the work shop, participantsturned in their feedback forms and adjourned to the barfor more lively debate.

You think you might know now what happens behindthose closed doors; but in actuality, you need to attend asession to understand the full value of what can be broughtback to implement at your institution. A past participantsaid it best: “Much as I enjoyed the IAMFA confer ence’sexcellent presentations, eye-opening tours and extra ordinarymeet-and-greet sessions, the benchmarking presentation andaccompanying print-outs were my most valuable take-away.”

Don’t miss next year’s spirited dis cussions by registeringnow for the 2013 IAMFA benchmarking exercise—theinteractive workshop is included as part of yourbenchmarking fee.

Register at www.facilityissues.com/Museums/Index.htmbefore December 31 to guarantee 2012 prices for 2013.

Conrad Engineers, McGuire Engi neers and SteensenVarming sponsor the 2012 IAMFA BenchmarkingExercise.

Stacey Wittig is Marketing Director at Facility Issues. She welcomesyour questions about participating in or sponsoring the IAMFABenchmarking Exercise. Call or email her at 001-928-225-4943 [email protected]. 2012 workshop presentations andphotos are available for download at www.facilityissues.com/Museums/12Workshop/12Workshop.htm

Patrick Jones of the ArtInstitute of Chicago interactsat IAMFA BenchmarkingWorkshop.

Nancy Bechtol of theSmithsonian Institutionfocuses on others’ ideasat the annual workshop.

24/7 Emergency Service(800) 827-5010

www.limbachinc.com

MAINTENANCE & REPAIR WATER TREATMENT SERVICES

DESIGN BUILD PREDICTIVE ANALYSIS

PREFABRICATION / OFFSITE CONSTRUCTION

BUILDING AUTOMATION COMMISSIONING

ENERGY RETROFITS EQUIPMENT REPLACEMENTS

FACILITY UPGRADES BUILDING INFORMATION MODELING (BIM)

OPERATION & MAINTENANCE LEED DESIGN

ABRICPREFPREDICT

DESI TREATER AATER WA

MAINTENA

TION / OFFSITE AATION / OFFSITE YSIS ANALLYSIS TIVE

GN BUILD VICES SERTMENTATMENTAIR ANCE & REP PAIR

LEED TION OPERAATION & MAINTENANCE

BUILDING INFORMACILITYF

EQUIPMENTENERGY

COMM BUILDING

CONS

D DESIGN & MAINTENANCE

TION MODELING (BIM) A ATION MODELING (BIM) UPGRADES Y

REPLACEMENTS RETROFITS Y

MISSIONING TION OMAATION AUTG

STRUCTION

LEED

.limbwww(800) 8

24/7 Emerg

D DESIGN

c.combachin010 827-5

gency Service

483535_kp.indd 33 12/21/12 11:14 AM


IAMFA is following up this year’sfantastic conference in Philadelphiawith the opportunity to explore more

of the East Coast next year, duringthe 23rd Annual IAMFA Conference,to be held October 20–24, 2013 inWashington, D.C.

When Washington, D.C. last hostedthe conference, delegates were treatedto tremendous tours and educationalprograms, including the BaltimoreMuseum of Art, the National Museum ofthe American Indian, and the NationalAir and Space Museum’s Steven F.Udvar-Hazy Center, to name a few.This time around, an entirely newprogram—with tours of state-of-theart, historical and, on at least one day,downright “wild” facilities— has beencarefully curated to delight and inspireconference delegates.

In addition to these fabulous tours,substantial educational programs willtake place onsite at the different tourlocations, adding rich context to eachprogram. A wonderful guest program isalso being arranged in parallel with theconference program, including oppor -tunities for guests to see incredible

local attractions and take their ownbehind-the-scenes look at specialD.C. hotspots.

The impressive Gaylord NationalResort, located on the Potomac River inNational Harbor, Maryland, is the hoteland staging area for the 2013 confer -ence. With its 18-storey glass atrium,a posh rooftop lounge, and a 20,000-square-foot (1,858-square-meter) spaand fitness center, the Gaylord is readyto welcome IAMFA in style. The Gaylordwill host the annual Bench mark ingPractices and Learning Work shop,as well as Sunday’s welcome recep-tion, within its beautifully appointedresort-style facility.

Conference delegates will have theprivilege of visiting not one, but twoworld-class library facilities: the FolgerShakespeare Library and the U.S.Library of Congress’s James MadisonMemorial Building. The main FolgerShakespeare Library building, whichIAMFA will tour, was built in 1932, andis on the U.S. National Register ofHistoric Places. This marble buildingwith a Tudor-style interior keeps theworld’s largest collection of William

Shakespeare’s printed works safe, whilealso preserving the world’s third-largestcollection of English books printedbefore 1641.

The Library of Congress’s JamesMadison Memorial Building, which ispart of the U.S. Capitol Complex, was

Preview of the 23rd IAMFA AnnualConference October 20–24, 2013 Washington, D.C.By Angela Person

The Gaylord National Resort on thePotomac River.

The Folger Shakespeare Library. Exhibition Hall in the Folger Shakespeare Library inWashington, D.C.


built in the mid-1970s. The MadisonBuilding’s impressive size places itamong the three largest public build -ings in Washington, D.C., at 2.1 millionsquare feet (200,000 square meters).With all of this space, the MadisonBuilding is able to house the MaryPickford Theater, known as the “motionpicture and television reading room”of the Library of Congress, as wellas the Law Library of Congress, andthe U.S. Copyright Office, amongother features.

We mentioned that “wild” facilitieswere on the program—and we meantit! This year, the National ZoologicalPark is excited to lead a number ofback-of-house tours of its highly spe -cialized facilities. The National Zoo’surban campus features 163 acres(66 hectares) of beautifully land scapedgrounds, hundreds of animal species,and several sparkling new exhibit areas.Delegates will have an oppor tunity totour the recently renovated AmericanTrail, which features diverse vegetationand a range of majestic North Americanwildlife, including seals and sea lions,bald eagles, and wolves, to name a few.You will also be able to tour Elephant

Trails, which features a “green” ele -phant barn designed to meet LEED(Leadership in Energy & Environ -mental Design) Gold certificationstandards. This barn, built for theZoo’s Asian elephants, features agreen roof and geothermal wells, aswell as natural lighting. Delegates willalso have the option of touring theGreat Cats exhibit, while learningabout the specialized facilities thataccommodate the Zoo’s Sumatrantigers and African lions.

During the 2013 conference, IAMFAdelegates will enjoy the rare privilegeof a back-of-house tour of the UnitedStates Holocaust Memorial Museum.This impressive 265,000-square-foot(24,619-square-meter) facility, whichhouses study, documentation, andinterpretation of Holocaust history, haswelcomed more than 30 million visitorssince it opened in 1993. Included inits collection are over 16,000 objects,more than 60 million pages of archivaldocuments, and over 90,000 libraryitems. This beautiful facility was de -signed to “engage the visitor and stirthe emotions,” and touring it is trulya moving experience.

The National Museum of AmericanHistory (NMAH), with its collection ofover three million objects, is another2013 conference destination that youwon’t want to miss. During their back-of-house tour, NMAH will showcaseits recent renovations, including theresults of a $85-million project thatwas carried out over two years. Oneresult of this renovation—the StarSpangled Banner’s environmentallycontrolled chamber and specializedfire-protection system—is sure to be ofinterest to IAMFA members on this tour.

The 2013 conference offers dele -gates and their guests the opportunityto stay an extra day and visit severalimpressive facilities in Maryland, justoutside of Washington, D.C.: theSmithsonian Environmental ResearchCenter (SERC) in Edgewater; theNational Archives in College Park;and Glenstone, a private museum inPotomac. These three very differentfacilities will give delegates addedinsights into cutting-edge archival pro -cedures, sustainable landscaping initia -tives, and the challenges of managinga facility with a scientific mandate.

The Smithsonian EnvironmentalResearch Center is a 2,650-acre(1,072-hectare) property located nearthe western shore of Chesapeake Bay,allowing scientists exceptional accessto estuaries, wetlands, and other eco -systems. Currently, SERC is home toa $45-million, 69,000-square-foot(6,410-square-meter) expansionproject, scheduled for completion in2013. The project, which updates andexpands SERC’s Matthias Laboratory,is seeking LEED gold certificationthrough a variety of green strategies,including wastewater reclamation, solarpanels, geothermal wells, and low-flowfume hoods in its chemistry labs.

The Library of Congress’s James MadisonMemorial Building.

American Trail at the National ZoologicalPark in Washington, D.C.

The United States Holocaust Memorial Museum. The National Museum of American History

483535_kp.indd 34 12/21/12 11:15 AM


IAMFA is following up this year’sfantastic conference in Philadelphiawith the opportunity to explore more

of the East Coast next year, duringthe 23rd Annual IAMFA Conference,to be held October 20–24, 2013 inWashington, D.C.

When Washington, D.C. last hostedthe conference, delegates were treatedto tremendous tours and educationalprograms, including the BaltimoreMuseum of Art, the National Museum ofthe American Indian, and the NationalAir and Space Museum’s Steven F.Udvar-Hazy Center, to name a few.This time around, an entirely newprogram—with tours of state-of-theart, historical and, on at least one day,downright “wild” facilities— has beencarefully curated to delight and inspireconference delegates.

In addition to these fabulous tours,substantial educational programs willtake place onsite at the different tourlocations, adding rich context to eachprogram. A wonderful guest program isalso being arranged in parallel with theconference program, including oppor -tunities for guests to see incredible

local attractions and take their ownbehind-the-scenes look at specialD.C. hotspots.

The impressive Gaylord NationalResort, located on the Potomac River inNational Harbor, Maryland, is the hoteland staging area for the 2013 confer -ence. With its 18-storey glass atrium,a posh rooftop lounge, and a 20,000-square-foot (1,858-square-meter) spaand fitness center, the Gaylord is readyto welcome IAMFA in style. The Gaylordwill host the annual Bench mark ingPractices and Learning Work shop,as well as Sunday’s welcome recep-tion, within its beautifully appointedresort-style facility.

Conference delegates will have theprivilege of visiting not one, but twoworld-class library facilities: the FolgerShakespeare Library and the U.S.Library of Congress’s James MadisonMemorial Building. The main FolgerShakespeare Library building, whichIAMFA will tour, was built in 1932, andis on the U.S. National Register ofHistoric Places. This marble buildingwith a Tudor-style interior keeps theworld’s largest collection of William

Shakespeare’s printed works safe, whilealso preserving the world’s third-largestcollection of English books printedbefore 1641.

The Library of Congress’s JamesMadison Memorial Building, which ispart of the U.S. Capitol Complex, was

Preview of the 23rd IAMFA AnnualConference October 20–24, 2013 Washington, D.C.By Angela Person

The Gaylord National Resort on thePotomac River.

The Folger Shakespeare Library. Exhibition Hall in the Folger Shakespeare Library inWashington, D.C.


built in the mid-1970s. The MadisonBuilding’s impressive size places itamong the three largest public build -ings in Washington, D.C., at 2.1 millionsquare feet (200,000 square meters).With all of this space, the MadisonBuilding is able to house the MaryPickford Theater, known as the “motionpicture and television reading room”of the Library of Congress, as wellas the Law Library of Congress, andthe U.S. Copyright Office, amongother features.

We mentioned that “wild” facilitieswere on the program—and we meantit! This year, the National ZoologicalPark is excited to lead a number ofback-of-house tours of its highly spe -cialized facilities. The National Zoo’surban campus features 163 acres(66 hectares) of beautifully land scapedgrounds, hundreds of animal species,and several sparkling new exhibit areas.Delegates will have an oppor tunity totour the recently renovated AmericanTrail, which features diverse vegetationand a range of majestic North Americanwildlife, including seals and sea lions,bald eagles, and wolves, to name a few.You will also be able to tour Elephant

Trails, which features a “green” ele -phant barn designed to meet LEED(Leadership in Energy & Environ -mental Design) Gold certificationstandards. This barn, built for theZoo’s Asian elephants, features agreen roof and geothermal wells, aswell as natural lighting. Delegates willalso have the option of touring theGreat Cats exhibit, while learningabout the specialized facilities thataccommodate the Zoo’s Sumatrantigers and African lions.

During the 2013 conference, IAMFAdelegates will enjoy the rare privilegeof a back-of-house tour of the UnitedStates Holocaust Memorial Museum.This impressive 265,000-square-foot(24,619-square-meter) facility, whichhouses study, documentation, andinterpretation of Holocaust history, haswelcomed more than 30 million visitorssince it opened in 1993. Included inits collection are over 16,000 objects,more than 60 million pages of archivaldocuments, and over 90,000 libraryitems. This beautiful facility was de -signed to “engage the visitor and stirthe emotions,” and touring it is trulya moving experience.

The National Museum of AmericanHistory (NMAH), with its collection ofover three million objects, is another2013 conference destination that youwon’t want to miss. During their back-of-house tour, NMAH will showcaseits recent renovations, including theresults of a $85-million project thatwas carried out over two years. Oneresult of this renovation—the StarSpangled Banner’s environmentallycontrolled chamber and specializedfire-protection system—is sure to be ofinterest to IAMFA members on this tour.

The 2013 conference offers dele -gates and their guests the opportunityto stay an extra day and visit severalimpressive facilities in Maryland, justoutside of Washington, D.C.: theSmithsonian Environmental ResearchCenter (SERC) in Edgewater; theNational Archives in College Park;and Glenstone, a private museum inPotomac. These three very differentfacilities will give delegates addedinsights into cutting-edge archival pro -cedures, sustainable landscaping initia -tives, and the challenges of managinga facility with a scientific mandate.

The Smithsonian EnvironmentalResearch Center is a 2,650-acre(1,072-hectare) property located nearthe western shore of Chesapeake Bay,allowing scientists exceptional accessto estuaries, wetlands, and other eco -systems. Currently, SERC is home toa $45-million, 69,000-square-foot(6,410-square-meter) expansionproject, scheduled for completion in2013. The project, which updates andexpands SERC’s Matthias Laboratory,is seeking LEED gold certificationthrough a variety of green strategies,including wastewater reclamation, solarpanels, geothermal wells, and low-flowfume hoods in its chemistry labs.

The Library of Congress’s James MadisonMemorial Building.

American Trail at the National ZoologicalPark in Washington, D.C.

The United States Holocaust Memorial Museum. The National Museum of American History

483535_kp.indd 35 12/21/12 11:15 AM


In addition, the optional day featuresthe National Archives in College Park,MD, which is the central repository forthe U.S. federal government’s records.One of the world’s largest and mostadvanced archival facilities, the NationalArchives in College Park is able to housemillions of documents, by utilizingspace-saving mobile shelving tech nol -ogy. The facility is home to patents,architectural drawings, ships’ plans,maps, and literally millions of photo -

graphs and graphic images, amongcountless other priceless records,reels, and recordings.

Delegates who stay for the extra daywill also be treated to a back-of-housetour of Glenstone, a private museumlocated on a gorgeous 150-acre (60-hectare) estate in Potomac,Maryland. Featuring post-World WarII and contemporary art, Glenstonewas conceived as an “environmentwhere art, architecture, and landscape

are presented as a seamlessly inte gratedexperience.” Glenstone’s manicuredlandscape is tended using environ -mentally-friendly practices, and itwas the first museum to join theEnvironmental Protection Agency’sGreen Power Leadership Club.

As you can see, the 2013 IAMFAConference program has been care -fully prepared to showcase a broadrange of cultural facility managementperspectives and practices. From land -scaping to lions, sustainability to storage,this program has it all. In short, IAMFAmembers from the Washington, D.C.metro can’t wait to welcome you nextOctober!

For more information about the2013 IAMFA conference, please con -tinue to check www.newiamfa.org andupcoming issues of Papyrus as theconference draws nearer.

Angela Person is a visiting student at theSmithsonian Institution in Washington,D.C., where she is writing a book thatdocuments best practices in museumfacility management. She can be reachedat [email protected]

The Smithsonian Environmental ResearchCenter in Edgewater, Maryland.

The National Archives in College Park,Maryland.


What is Maintenance?By asking various people within your organization whatmaintenance is, you will often get a few different responsesto the definition of maintenance, including: “That is some -thing we will deal with after the project is completed.”Simply put, maintenance is the upkeep of property andplant, operating efficiently to enable the facility to remainopen for business. Those responsible for maintenance,however, are keenly aware that there are various types ofmaintenance. They also know that the process is not alwayssimple, and that it involves more than just keeping thefacility’s doors open.

The ChallengesThe challenges faced by facility managers and mainte nancemanagers are often overlooked and underestimated. Theimportance of maintenance is often not realised and notappreciated until an undesirable event or situation arises. Insome cases, the lack of maintenance can go unnoticed, whichcould contribute to significant issues and consequences.

The story often told by maintenance and facility managersis one of limited funds and a lack of time. History indicatesthat most private and government organizations do notexpend the necessary resources to maintain equipmentin proper working order. Maintenance budgets are often

allocated to fix problems, rather than to prevent them inthe first place.

In many cases, the plant is forced to work in a less thanideal state or condition. This contributes to poor perfor -mance, which in turn leads to inefficient operation andincreased energy and costs.

More importantly, an inefficient plant puts at risk theassets it is designed to protect. In the case of an art gallery ormuseum, this could mean damage to priceless artifacts, oreven a report indicating unacceptable conditions, which couldaffect future lending opportunities from other organizations.

Various Types of MaintenanceBefore ascertaining the ideal maintenance strategy for afacility, it is important to understand and review the varioustypes of maintenance used in today’s economic climate.

Maintenance falls into the following categories; Statutory,Preventative, Reactive, Predictive, and Risk & Reliability.

Statutory MaintenanceStatutory Maintenance is maintenance that is required bylaw. It is generally associated with essential safety serviceswithin the building, such as fire systems and emergencyservices. A statutory test or inspection is one that is requiredby law. It is not negotiable and must be completed by quali -fied personnel. In some cases, a new code or statutorystandard may need to be implemented retroactively, suchas the installation of electrical safety switches.

Preventative MaintenancePreventative Maintenance is maintenance that is scheduledin accordance with manufacturer’s recommendations andbest practices. When resources are allocated to completethe recommended maintenance, the life of the equipmentis prolonged and generally works more efficiently, saving

Ideal Maintenance By Michael Harrold

The Art Gallery of New South Wales in Sydney, Australia.Mechanical Systems in G11 Building, University of New SouthWales in Sydney, Australia.

483535_kp.indd 36 12/21/12 11:15 AM


In addition, the optional day featuresthe National Archives in College Park,MD, which is the central repository forthe U.S. federal government’s records.One of the world’s largest and mostadvanced archival facilities, the NationalArchives in College Park is able to housemillions of documents, by utilizingspace-saving mobile shelving tech nol -ogy. The facility is home to patents,architectural drawings, ships’ plans,maps, and literally millions of photo -

graphs and graphic images, amongcountless other priceless records,reels, and recordings.

Delegates who stay for the extra daywill also be treated to a back-of-housetour of Glenstone, a private museumlocated on a gorgeous 150-acre (60-hectare) estate in Potomac,Maryland. Featuring post-World WarII and contemporary art, Glenstonewas conceived as an “environmentwhere art, architecture, and landscape

are presented as a seamlessly inte gratedexperience.” Glenstone’s manicuredlandscape is tended using environ -mentally-friendly practices, and itwas the first museum to join theEnvironmental Protection Agency’sGreen Power Leadership Club.

As you can see, the 2013 IAMFAConference program has been care -fully prepared to showcase a broadrange of cultural facility managementperspectives and practices. From land -scaping to lions, sustainability to storage,this program has it all. In short, IAMFAmembers from the Washington, D.C.metro can’t wait to welcome you nextOctober!

For more information about the2013 IAMFA conference, please con -tinue to check www.newiamfa.org andupcoming issues of Papyrus as theconference draws nearer.

Angela Person is a visiting student at theSmithsonian Institution in Washington,D.C., where she is writing a book thatdocuments best practices in museumfacility management. She can be reachedat [email protected]

The Smithsonian Environmental ResearchCenter in Edgewater, Maryland.

The National Archives in College Park,Maryland.


What is Maintenance?By asking various people within your organization whatmaintenance is, you will often get a few different responsesto the definition of maintenance, including: “That is some -thing we will deal with after the project is completed.”Simply put, maintenance is the upkeep of property andplant, operating efficiently to enable the facility to remainopen for business. Those responsible for maintenance,however, are keenly aware that there are various types ofmaintenance. They also know that the process is not alwayssimple, and that it involves more than just keeping thefacility’s doors open.

The ChallengesThe challenges faced by facility managers and mainte nancemanagers are often overlooked and underestimated. Theimportance of maintenance is often not realised and notappreciated until an undesirable event or situation arises. Insome cases, the lack of maintenance can go unnoticed, whichcould contribute to significant issues and consequences.

The story often told by maintenance and facility managersis one of limited funds and a lack of time. History indicatesthat most private and government organizations do notexpend the necessary resources to maintain equipmentin proper working order. Maintenance budgets are often

allocated to fix problems, rather than to prevent them inthe first place.

In many cases, the plant is forced to work in a less thanideal state or condition. This contributes to poor perfor -mance, which in turn leads to inefficient operation andincreased energy and costs.

More importantly, an inefficient plant puts at risk theassets it is designed to protect. In the case of an art gallery ormuseum, this could mean damage to priceless artifacts, oreven a report indicating unacceptable conditions, which couldaffect future lending opportunities from other organizations.

Various Types of MaintenanceBefore ascertaining the ideal maintenance strategy for afacility, it is important to understand and review the varioustypes of maintenance used in today’s economic climate.

Maintenance falls into the following categories; Statutory,Preventative, Reactive, Predictive, and Risk & Reliability.

Statutory MaintenanceStatutory Maintenance is maintenance that is required bylaw. It is generally associated with essential safety serviceswithin the building, such as fire systems and emergencyservices. A statutory test or inspection is one that is requiredby law. It is not negotiable and must be completed by quali -fied personnel. In some cases, a new code or statutorystandard may need to be implemented retroactively, suchas the installation of electrical safety switches.

Preventative MaintenancePreventative Maintenance is maintenance that is scheduledin accordance with manufacturer’s recommendations andbest practices. When resources are allocated to completethe recommended maintenance, the life of the equipmentis prolonged and generally works more efficiently, saving

Ideal Maintenance By Michael Harrold

The Art Gallery of New South Wales in Sydney, Australia.Mechanical Systems in G11 Building, University of New SouthWales in Sydney, Australia.

483535_kp.indd 37 12/21/12 11:15 AM


energy and costs. The majority of equipment and servicesinstalled within a building requires periodic maintenancein accordance with the manufacturer’s recommendations.

A routine maintenance check may identify, for example,a “hot spot” in a switchboard which will require servicing,such as tightening of an electrical connection to reducethe risk of fire. Other systems may be identified and needto be adjusted or lubricated, and in some cases replaced,such as bearings in a supply air fan.

The operating life of a system is affected anytime sched -uled maintenance is not completed. In some cases, notcompleting the maintenance tasks may also affect existingwarranties, and may increase the potential for undesirableconsequences.

The pros for Preventative Maintenance are:

• Total Asset Management Budgets are more accurate

• Work is planned in a staged and controlled manner

• Plant life is prolonged

• The likelihood of failure is reduced

• Warranties remain valid

The cons for Preventative Maintenance are:

• Catastrophic failures can still occur

• It can be labor-intensive and disrupt operations

• It usually includes additional maintenance which maynot be needed

• Required maintenance in warranty agreements maybe exhaustive

Reactive MaintenanceReactive Maintenance is basically the opposite of preventativemaintenance, and is when the plant runs until it fails. This isa common approach to maintenance at some organizations.In fact, reactive maintenance can be quite popular for somebuilding services systems such as lighting and the changingof lamps. The costs which would normally be expended inpreventative maintenance procedures may be allocated tospecial funds for future work, or total plant replacement.

Generally, maintenance staff are busy reacting to problemsand issues, and they do not necessarily have time to focustheir efforts on preventative maintenance, thus mitigatingpotential problems.

The deferral of regular maintenance can, however, costmore if the plant is failing more frequently. It will also costmore if a given plant failure causes a problem or failure inanother plant or equipment.

In fact, the cost to replace the plant or equipment underurgent circumstances could be more than two or three timesthe amount, when compared to completing the workswithin a more desirable period of time.

There are also further issues to contend with if the plantfails when a major exhibition is underway, when visitorsare in the building, or the facility manager’s maintenancestaff is on leave.

The pros for Reactive Maintenance are:

• Additional maintenance is not completed

• Possible short-term savings and less maintenance timeneeds to be scheduled

• Staff does not have to schedule additional time onmaintenance, and can instead focus on more urgent issues

The cons for Reactive Maintenance are:

• Total Asset Management Budgets are unreliable

• Plant life is reduced

• Inefficient operation of plant and equipment

• Catastrophic failures are more likely to occur

Electrical boards in the G11 Building at the University ofNew South Wales in Sydney, Australia.

Electrical units in the G11 Building at the University of New SouthWales in Sydney, Australia.

CONTINUED ON PAGE 41


22nd Annual IAMFA Conference

483535_kp.indd 38 12/21/12 11:15 AM


energy and costs. The majority of equipment and servicesinstalled within a building requires periodic maintenancein accordance with the manufacturer’s recommendations.

A routine maintenance check may identify, for example,a “hot spot” in a switchboard which will require servicing,such as tightening of an electrical connection to reducethe risk of fire. Other systems may be identified and needto be adjusted or lubricated, and in some cases replaced,such as bearings in a supply air fan.

The operating life of a system is affected anytime sched -uled maintenance is not completed. In some cases, notcompleting the maintenance tasks may also affect existingwarranties, and may increase the potential for undesirableconsequences.

The pros for Preventative Maintenance are:

• Total Asset Management Budgets are more accurate

• Work is planned in a staged and controlled manner

• Plant life is prolonged

• The likelihood of failure is reduced

• Warranties remain valid

The cons for Preventative Maintenance are:

• Catastrophic failures can still occur

• It can be labor-intensive and disrupt operations

• It usually includes additional maintenance which maynot be needed

• Required maintenance in warranty agreements maybe exhaustive

Reactive MaintenanceReactive Maintenance is basically the opposite of preventativemaintenance, and is when the plant runs until it fails. This isa common approach to maintenance at some organizations.In fact, reactive maintenance can be quite popular for somebuilding services systems such as lighting and the changingof lamps. The costs which would normally be expended inpreventative maintenance procedures may be allocated tospecial funds for future work, or total plant replacement.

Generally, maintenance staff are busy reacting to problemsand issues, and they do not necessarily have time to focustheir efforts on preventative maintenance, thus mitigatingpotential problems.

The deferral of regular maintenance can, however, costmore if the plant is failing more frequently. It will also costmore if a given plant failure causes a problem or failure inanother plant or equipment.

In fact, the cost to replace the plant or equipment underurgent circumstances could be more than two or three timesthe amount, when compared to completing the workswithin a more desirable period of time.

There are also further issues to contend with if the plantfails when a major exhibition is underway, when visitorsare in the building, or the facility manager’s maintenancestaff is on leave.

The pros for Reactive Maintenance are:

• Additional maintenance is not completed

• Possible short-term savings and less maintenance timeneeds to be scheduled

• Staff does not have to schedule additional time onmaintenance, and can instead focus on more urgent issues

The cons for Reactive Maintenance are:

• Total Asset Management Budgets are unreliable

• Plant life is reduced

• Inefficient operation of plant and equipment

• Catastrophic failures are more likely to occur

Electrical boards in the G11 Building at the University ofNew South Wales in Sydney, Australia.

Electrical units in the G11 Building at the University of New SouthWales in Sydney, Australia.

CONTINUED ON PAGE 41



483535_kp.indd 39 12/21/12 11:15 AM


22nd Annual IAMFA Confe


rence — Mid-Atlantic, USA

483535_kp.indd 40 12/21/12 11:15 AM


22nd Annual IAMFA Confe


rence — Mid-Atlantic, USA

483535_kp.indd 41 12/21/12 11:15 AM




• Direct and indirect costs can be much higher

• Risks are higher than preventative maintenance

• Downtime is unscheduled

Predictive Maintenance Predictive Maintenance is similar to preventative main te -nance; however, it is based on assessment of the system needsand operation use, rather than a set schedule. Predictivemaintenance is determined based on plant or equipmentcondition. For example, if the lights within a section of thebuilding have not been in operation, or have been set on adimmer, scheduled lamp life may be greater than originallyscheduled. Another example is when a supply air fan isadjusted under a new HVAC control strategy, resulting init being used less, thus requiring less maintenance.

The pros for Predictive Maintenance are:

• Less scheduled downtime for maintenance than forPreventative Maintenance

• Prolonged plant life

• Lower costs in materials and labor

• Energy savings

• Reduced likelihood of equipment failures

The cons for Predictive Maintenance are:

• Need for a good database and diagnostic equipment

• Maintenance staff require a higher skill level

• Some decisions may be considered subjective

• Cost savings are hard to accurately assess

Risk & Reliability-Centered Maintenance Risk & Reliability-Centered Maintenance includes a mix -ture of the other maintenance types to best suit the specificsystem, plant and equipment in question. This is imple -mented in relation to that plant’s importance and relevanceto the organization’s business risks. This form of mainte nancewas originally created by the commercial aviation industry,and has now been adopted by many organizations.

Risk & Reliability-Centered Maintenance looks at therelevant items of equipment and plant as an integrated partof the facility, rather than as individual elements to be main -tained. It adopts reactive maintenance to elements of theinstallation that are not considered to be of critical importantto the facility’s business, as based on a risk assessment.

Under this arrangement, maintenance for the facility isbased on the organization’s risks and core business objectivesand policies.

The pros for Risk & Reliability-Centered Maintenance are:


• Prolongs plant life and identifies core reason for failure

• Considers and acknowledges that facilities do not haveunlimited budgets


• Focuses maintenance on the most critical elements

• Energy savings


The cons for Risk & Reliability-Centered Maintenance are:



• Like Predictive Maintenance, the cost savings are hardto accurately assess

Ideal Maintenance StrategySo how does one keep the facility open, while ensuringthat the plant and systems are all working in a safe andideal manner? What can be achieved within a limitedbudget and busy schedule?

One approach could involve simply reviewing the exist -ing strategy and making some decisions on how it could beimproved. To obtain the ideal solution, however, it may benecessary to review the building from scratch with a totallynew perspective, rather than being influenced by existingarrangements and paradigms.

Before deciding what type of maintenance strategy toadopt for a facility, a sound understanding of the buildingand its systems is necessary. There are many issues to considerwhen determining the ideal maintenance strategy. Eachfacility will need to consider the various elements specificto its site. The first step is to ascertain what is installed.

Understanding What is InstalledThe solution for maintenance of an art gallery or museumwill be influenced before the building is constructed;i.e., in the design phase. If the design is not correct, ordoes not allow for easy maintenance, then maintenanceis not sustainable.

Ultrasonic humidifiers in the National Gallery of Australia in Canberra.

IDEAL MAINTENANCE—CONTINUED FROM PAGE 36

483535_kp.indd 42 12/21/12 11:15 AM




• Direct and indirect costs can be much higher

• Risks are higher than preventative maintenance

• Downtime is unscheduled

Predictive Maintenance Predictive Maintenance is similar to preventative main te -nance; however, it is based on assessment of the system needsand operation use, rather than a set schedule. Predictivemaintenance is determined based on plant or equipmentcondition. For example, if the lights within a section of thebuilding have not been in operation, or have been set on adimmer, scheduled lamp life may be greater than originallyscheduled. Another example is when a supply air fan isadjusted under a new HVAC control strategy, resulting init being used less, thus requiring less maintenance.

The pros for Predictive Maintenance are:


• Prolonged plant life


• Energy savings


The cons for Predictive Maintenance are:



• Some decisions may be considered subjective

• Cost savings are hard to accurately assess

Risk & Reliability-Centered Maintenance Risk & Reliability-Centered Maintenance includes a mix -ture of the other maintenance types to best suit the specificsystem, plant and equipment in question. This is imple -mented in relation to that plant’s importance and relevanceto the organization’s business risks. This form of mainte nancewas originally created by the commercial aviation industry,and has now been adopted by many organizations.

Risk & Reliability-Centered Maintenance looks at therelevant items of equipment and plant as an integrated partof the facility, rather than as individual elements to be main -tained. It adopts reactive maintenance to elements of theinstallation that are not considered to be of critical importantto the facility’s business, as based on a risk assessment.

Under this arrangement, maintenance for the facility isbased on the organization’s risks and core business objectivesand policies.

The pros for Risk & Reliability-Centered Maintenance are:


• Prolongs plant life and identifies core reason for failure

• Considers and acknowledges that facilities do not haveunlimited budgets


• Focuses maintenance on the most critical elements

• Energy savings


The cons for Risk & Reliability-Centered Maintenance are:



• Like Predictive Maintenance, the cost savings are hardto accurately assess

Ideal Maintenance StrategySo how does one keep the facility open, while ensuringthat the plant and systems are all working in a safe andideal manner? What can be achieved within a limitedbudget and busy schedule?

One approach could involve simply reviewing the exist -ing strategy and making some decisions on how it could beimproved. To obtain the ideal solution, however, it may benecessary to review the building from scratch with a totallynew perspective, rather than being influenced by existingarrangements and paradigms.

Before deciding what type of maintenance strategy toadopt for a facility, a sound understanding of the buildingand its systems is necessary. There are many issues to considerwhen determining the ideal maintenance strategy. Eachfacility will need to consider the various elements specificto its site. The first step is to ascertain what is installed.

Understanding What is InstalledThe solution for maintenance of an art gallery or museumwill be influenced before the building is constructed;i.e., in the design phase. If the design is not correct, ordoes not allow for easy maintenance, then maintenanceis not sustainable.

Ultrasonic humidifiers in the National Gallery of Australia in Canberra.

IDEAL MAINTENANCE—CONTINUED FROM PAGE 36

483535_kp.indd 43 12/21/12 11:15 AM


It is important to obtain a clear understanding of theoriginal design intent of the overall installation. Theoriginal design should be challenged. Does the designreally cater to the building’s functional requirements? Thefunctional requirements of today may have changed sincethe original design.

The design should take maintenance issues intoaccount, such as capacity, high-load and low-load scenarios,safety, redundancy, flexibility and ease of access for plantreplacement. A clear understanding of the existing instal -lation is critical to the success of implementing a suitablemaintenance strategy.

While existing systems appear to be working, they maynot necessarily match the design intent, or there may besome installation defects or shortcomings preventing thesystems from operating at their optimal levels.

If systems are not accurately in tune with one anotherand commissioned with functional requirements in mind,the result could be a major maintenance issue, with in -creased energy use, and a shorter design life for certainequipment elements.

The next step in identifying what is installed is to list allthe devices, systems and components, then assess theirfunctionality, noting that each may have different require -ments under various operational scenarios. In some cases,they may work individually, and in other cases they workwith other systems to provide the desired result. Ideally,maintenance should always consider the overall objective,rather than just an individual device. As some individualsystems rely on one another, it is essential to understandtheir relationships and interfaces with other elementsand systems.

On an initial assessment, one would think that the risksassociated with maintenance faults are higher as the plantgets older. Generally, that is true; however, it is not alwaysthe case. New equipment will not always provide a bettersolution or reduced maintenance costs—particularly if theplant doesn’t suit the functional requirements.

In maintaining one item of a plant, there may be oppor -tunities to carry out complementary maintenance, whichmay or may not be directly related to the first item. Thismay offer savings in maintenance set-up or in costs whichmay be common to both.

Issues of design obsolescence should also be considered indetermining the maintenance strategy, as some manu fac -turers deliberately design products and systems to fail aftera set period of time. Certain plant elements will thus becomeobsolete if replacement parts are no longer available, orexisting software systems are no longer supported.

Another important exercise is to confirm the statusof any existing Master Plan for your site. This will help youassess areas of future growth and other changes whichmay have an impact on your maintenance expendituresin certain areas.

In ascertaining what is already installed it may becomeapparent that what is installed is not ideal for achieving

functional requirements, and perhaps not in line with thefacility’s master plan.

Consequences Once you have an understanding of each of the devicesand their systems, including their functionality, it is pos sibleto ascertain the consequences of the failure of each element.These consequences should then be recorded against eachof the facility’s business policies and objectives. Naturally,safety risks would rank highest, then critical functionaloperations such as providing acceptable environmentalconditions within a gallery.

Information beside each element should note thepossible causes of failure, listing preventative actions thatcould be implemented to reduce the probability of a failureoccurring, and/or to reduce the consequences of thefailure in question by noting possible alternative solutions.

Reducing the Risks Now that you have a sound understanding of the facilityand its systems, a review of existing maintenance proce duresshould be undertaken to see how the existing maintenanceactions, costs and procedures are arranged.

Information and data on what has failed in the past canbe obtained from various sources of information. BuildingManagement software and technology are very important inlogging, recording and reporting on the building’s systems.Information is intelligence, and the reliability of that data,as well as knowing what to do with it, is invaluable.

Nowadays Building Information Modeling (BIM) has thepotential to assist enormously, if implemented correctlyduring the design and procurement phases of a new project.

A gap analysis between the existing maintenance strategyand required maintenance should be completed, with requiredactions listed to achieve an ideal maintenance solution.

Maintenance actions are listed with a mixture of main -tenance solutions such as Statutory, Preventative, Reactive,Predictive and Risk & Reliability-Based.

As such, some systems may be left to run until failure.Other systems may require scheduled maintenance by

Building Management Systems being monitored by computerisedsystems, SGM, Sydney, Australia.


skilled contractors, based on the impact that failure couldhave on the critical nature of a facility’s controlledenvironmental conditions.

With a skill and resource-risk analysis, it will become clearwhich tasks and actions should be completed internally,and what should be contracted out to third-party providersand subcontractors.

All maintenance procedures should have clear KeyPerformance Indicators (KPIs). These KPIs should be easyto record, and be quality controlled, to ensure that theyare not tampered with. They should also encourage bestpractices and adherence to established procedures.

Some typical KPIs include:

• Mean time to repair (MTTR): This is useful to track sub-contractor performance.

• Mean time between failure (MTBF): This is useful intracking the quality of equipment and establishingfailure rates.

• Costs: Costs are very useful in creating budgets andallocating resources.

The analysis and study may also indicate other oppor -tunities to improve the overall facility such as opportunitiesto replace plant with different plant such as introductionof a co-generation plant or tri-generation plant which couldincrease redundancy and provide a form of alternativebackup power supply.

This study may also indicate that some investmentshould be made in redundancy models, thus increasingreliability both in ensuring a backup in the event of afailure, and also providing a means of ensuring ongoingoperation during any required maintenance procedures.

Just as a new design for an art gallery or museumrequires an ideal solution, so too does maintenance.The ideal maintenance strategy needs to be intelligent,valuable and elegant.

Stakeholders, facility managers and maintenance staffneed to question the way in which industry considers main -

tenance before and after the design phase. They must alsoencourage designers, procurement divisions and con trac -tors to consider the entire spectrum of life, sustainabilityand master planning issues, as well as how any new designand installation—including replacement parts—can bemaintained in a safe and efficient manner. Only then will artgalleries and museums be able to reduce maintenance costsand reduce energy, resulting in truly sustainable solutions.

Reporting this information and assessed risks to seniormanagement and financial departments in an easy-to-followformat is critical. Making maintenance issues and costsclear is more likely to result in a proper appreciation ofpossible consequences, including litigation, as well as thetangible and intangible long-term costs.

For further information on maintenance, the followingresources may be helpful:

• Maintenance Engineering Handbook—R. Keith Mobley andLindley R. Higgins

• Energy-Efficent Building Systems: Green strategies for operationand maintenance—Lal Jayamaha

• Museum Benchmarks: Survey of facility managementpractices—August 30, 2010 IAMFA Report

BSIRA Guides:

• BMS Maintenance Guide

• Computer-based operating and maintenance manuals

• Procurement of Building Services Operation andMaintenance—Guidance and Specification

• Maintenance programme set-up (AG 1/98)

• Maintenance Contracts for Building EngineeringServices (AG 4/89.2)

Michael Harrold is Technical Director at Steensen Varming Ltd.,and can be reached at [email protected]

Ask the right questions. Listen. Think. Build the right solution. Get there together.CVM combines the traditional capabilities of an at-risk contractor with an innovative problem-solving attitude. Our services include general contracting, construction management, pre-construction consulting and design-build.

cvmnext.com 610-989-3800

483535_kp.indd 44 12/21/12 11:15 AM


It is important to obtain a clear understanding of theoriginal design intent of the overall installation. Theoriginal design should be challenged. Does the designreally cater to the building’s functional requirements? Thefunctional requirements of today may have changed sincethe original design.

The design should take maintenance issues intoaccount, such as capacity, high-load and low-load scenarios,safety, redundancy, flexibility and ease of access for plantreplacement. A clear understanding of the existing instal -lation is critical to the success of implementing a suitablemaintenance strategy.

While existing systems appear to be working, they maynot necessarily match the design intent, or there may besome installation defects or shortcomings preventing thesystems from operating at their optimal levels.

If systems are not accurately in tune with one anotherand commissioned with functional requirements in mind,the result could be a major maintenance issue, with in -creased energy use, and a shorter design life for certainequipment elements.

The next step in identifying what is installed is to list allthe devices, systems and components, then assess theirfunctionality, noting that each may have different require -ments under various operational scenarios. In some cases,they may work individually, and in other cases they workwith other systems to provide the desired result. Ideally,maintenance should always consider the overall objective,rather than just an individual device. As some individualsystems rely on one another, it is essential to understandtheir relationships and interfaces with other elementsand systems.

On an initial assessment, one would think that the risksassociated with maintenance faults are higher as the plantgets older. Generally, that is true; however, it is not alwaysthe case. New equipment will not always provide a bettersolution or reduced maintenance costs—particularly if theplant doesn’t suit the functional requirements.

In maintaining one item of a plant, there may be oppor -tunities to carry out complementary maintenance, whichmay or may not be directly related to the first item. Thismay offer savings in maintenance set-up or in costs whichmay be common to both.

Issues of design obsolescence should also be considered indetermining the maintenance strategy, as some manu fac -turers deliberately design products and systems to fail aftera set period of time. Certain plant elements will thus becomeobsolete if replacement parts are no longer available, orexisting software systems are no longer supported.

Another important exercise is to confirm the statusof any existing Master Plan for your site. This will help youassess areas of future growth and other changes whichmay have an impact on your maintenance expendituresin certain areas.

In ascertaining what is already installed it may becomeapparent that what is installed is not ideal for achieving

functional requirements, and perhaps not in line with thefacility’s master plan.

Consequences Once you have an understanding of each of the devicesand their systems, including their functionality, it is pos sibleto ascertain the consequences of the failure of each element.These consequences should then be recorded against eachof the facility’s business policies and objectives. Naturally,safety risks would rank highest, then critical functionaloperations such as providing acceptable environmentalconditions within a gallery.

Information beside each element should note thepossible causes of failure, listing preventative actions thatcould be implemented to reduce the probability of a failureoccurring, and/or to reduce the consequences of thefailure in question by noting possible alternative solutions.

Reducing the Risks Now that you have a sound understanding of the facilityand its systems, a review of existing maintenance proce duresshould be undertaken to see how the existing maintenanceactions, costs and procedures are arranged.

Information and data on what has failed in the past canbe obtained from various sources of information. BuildingManagement software and technology are very important inlogging, recording and reporting on the building’s systems.Information is intelligence, and the reliability of that data,as well as knowing what to do with it, is invaluable.

Nowadays Building Information Modeling (BIM) has thepotential to assist enormously, if implemented correctlyduring the design and procurement phases of a new project.

A gap analysis between the existing maintenance strategyand required maintenance should be completed, with requiredactions listed to achieve an ideal maintenance solution.

Maintenance actions are listed with a mixture of main -tenance solutions such as Statutory, Preventative, Reactive,Predictive and Risk & Reliability-Based.

As such, some systems may be left to run until failure.Other systems may require scheduled maintenance by

Building Management Systems being monitored by computerisedsystems, SGM, Sydney, Australia.


skilled contractors, based on the impact that failure couldhave on the critical nature of a facility’s controlledenvironmental conditions.

With a skill and resource-risk analysis, it will become clearwhich tasks and actions should be completed internally,and what should be contracted out to third-party providersand subcontractors.

All maintenance procedures should have clear KeyPerformance Indicators (KPIs). These KPIs should be easyto record, and be quality controlled, to ensure that theyare not tampered with. They should also encourage bestpractices and adherence to established procedures.

Some typical KPIs include:

• Mean time to repair (MTTR): This is useful to track sub-contractor performance.

• Mean time between failure (MTBF): This is useful intracking the quality of equipment and establishingfailure rates.

• Costs: Costs are very useful in creating budgets andallocating resources.

The analysis and study may also indicate other oppor -tunities to improve the overall facility such as opportunitiesto replace plant with different plant such as introductionof a co-generation plant or tri-generation plant which couldincrease redundancy and provide a form of alternativebackup power supply.

This study may also indicate that some investmentshould be made in redundancy models, thus increasingreliability both in ensuring a backup in the event of afailure, and also providing a means of ensuring ongoingoperation during any required maintenance procedures.

Just as a new design for an art gallery or museumrequires an ideal solution, so too does maintenance.The ideal maintenance strategy needs to be intelligent,valuable and elegant.

Stakeholders, facility managers and maintenance staffneed to question the way in which industry considers main -

tenance before and after the design phase. They must alsoencourage designers, procurement divisions and con trac -tors to consider the entire spectrum of life, sustainabilityand master planning issues, as well as how any new designand installation—including replacement parts—can bemaintained in a safe and efficient manner. Only then will artgalleries and museums be able to reduce maintenance costsand reduce energy, resulting in truly sustainable solutions.

Reporting this information and assessed risks to seniormanagement and financial departments in an easy-to-followformat is critical. Making maintenance issues and costsclear is more likely to result in a proper appreciation ofpossible consequences, including litigation, as well as thetangible and intangible long-term costs.

For further information on maintenance, the followingresources may be helpful:

• Maintenance Engineering Handbook—R. Keith Mobley andLindley R. Higgins

• Energy-Efficent Building Systems: Green strategies for operationand maintenance—Lal Jayamaha

• Museum Benchmarks: Survey of facility managementpractices—August 30, 2010 IAMFA Report

BSIRA Guides:

• BMS Maintenance Guide

• Computer-based operating and maintenance manuals

• Procurement of Building Services Operation andMaintenance—Guidance and Specification

• Maintenance programme set-up (AG 1/98)

• Maintenance Contracts for Building EngineeringServices (AG 4/89.2)

Michael Harrold is Technical Director at Steensen Varming Ltd.,and can be reached at [email protected]

Ask the right questions. Listen. Think. Build the right solution. Get there together.CVM combines the traditional capabilities of an at-risk contractor with an innovative problem-solving attitude. Our services include general contracting, construction management, pre-construction consulting and design-build.

cvmnext.com 610-989-3800

483535_kp.indd 45 12/21/12 11:15 AM


The National Library of Scotland(NLS) is one of Europe’s majorresearch libraries, with a long

and distinguished history of collect ing,preserving and managing collec tionsof world-wide importance.

The collections cover both histori -cal and contemporary material fromScotland and around the world. Inrecent years, significant efforts havebeen made to ensure that NLS is alsoaccessible, welcoming and outward-looking. Evidence of achievement inthis respect includes the new VisitorCentre in Edinburgh, and a majorprogramme to deliver enhancedremote access to digital collections.

The Library’s collections includeover fifteen million printed items,including books, magazines, scholarlyjournals, newspapers, music and maps.The key to the Library’s collecting is thelegal deposit privilege, which entitlesit to claim a copy of all printed itemspublished in the UK (and Ireland).This privilege, unique in Scotland toNLS, has been responsible for theacquisition of most of the Library’scollections for almost 300 years.

In addition, through purchase, dona -tion and deposit, the Library has builtup pre-eminent manuscript and printedcollections relating to Scotland andthe activities and influence of Scotsthroughout the world. As a result, newknowledge and creativity are gen er ated,and translated into new digital for mats.This poses significant chal lenges, but alsoprovides hugely exciting opportunitiesfor the future.

The Library is very conscious thatpreserving the priceless collection forfuture generations depends on main -taining carefully controlled environ -mental conditions within the archivecollection spaces, and that this needsto be achieved as efficiently as pos sible.

To help in this process, the Librarysought the help of the UK’s CarbonTrust to develop a Carbon Manage mentPlan. An important element of this wasa proposal to harness the exceptionalefficiency of the Turbomiser chiller todeliver stable, low-cost, low-carbon cool -ing to its archives and reading rooms,as part of a major plant replacementprogramme.

Jack Plumb, estates manager at theNLS, says: “Whilst helping to developthe Carbon Management Plan, I hadthe opportunity to visit a Turbomiserchiller installation at a local hospital,during attendance at an IAMFA Con -ference in Ottawa. I was extremelyimpressed by its performance.

“It was not only highly efficient, butextremely reliable—due to the factthat it does not use oil and effectivelyhas just one moving part.”

Jack Plumb subsequently paid sitevisits to see the Turbomiser in actionat the National Archives in Kew. The

facility has had proven success withTurbomiser, with documented energysavings and low servicing andmaintenance costs.

The first step in the project was takenby the Estates Division of the NLS,which produced a concept design forthe new plant replacement system atthe George IV Bridge site. This wouldreplace two aging Carrier chillersbased on reciprocating compressorsand running on R22.

The approach adopted a free-coolinginstallation, which had previously beensuccessfully implemented at anotherNLS site, providing significant energysavings. The aim now was to build uponthe experience gained, and make thenew chiller-replacement installation evenmore efficient. The use of variable-speed drives and high-efficiencychillers were key to delivering this.

As part of the tendering process,several chiller manufacturers wereinvited to put forward possible solu -

The National Library of Scotland InstallsUltra-Efficient Turbomiser Chillers andCuts Energy and Carbon EmissionsBy Roberto Mallozzi and Tim Mitchell

The National Library of Scotland in Edinburgh, Scotland.


tions to meet the requirements of theinstallation. These included both screwand scroll compressor-based systems,in addition to the Turbomiser chiller,which is based on high-efficiency mag -netic levitation bearings. Turbomiserwas selected, as it offered the mosteconomical and efficient solution tomeet highly variable load conditions.

The chosen solution uses two water-cooled 300kW Turbomisers, linked toa sophisticated free-cooling system. Thisprovides chilled water to a number ofAir-Handling Units (AHUs) servingthe building. The project began inJanuary 2012 and was completed inMay 2012.

The most sensitive areas are theLibrary’s archive collection spaces.These must be maintained within anenvironmental envelope agreed withthe Library’s preservation departmentand in accordance with PAS 198:2012.

The public reading rooms presentthe most significant variable load as aresult of changes in ambient conditionsand usage levels. At peak times, therooms can account for most of thedemand for chilled water.

The output from the Turbomisersand free-cooling system feed into alarge chilled water low-loss header,

which also acts as a buffer vessel. ABuilding Management System (BMS)calculates the demand for chilled water,taking into account temperature, flowrate and time of year—as well as thecurrent status of the various chilled-water batteries in the AHUs. The freecooling circuit harnesses an air-blastcooler and the condenser circuit, routedthrough a heat exchanger to providechilled water to the low loss header.

While reading rooms present themost variable load, the predominantbase cooling load is provided by thearchive collection spaces, as this rep -resents a 24/7 cooling require ment.The environmental envelope in whichthese collection spaces are maintainedhas been relaxed slightly of late, inaccordance with agreement from theLibrary’s preservation team. This hasenabled even greater energy savings.When conditions allow, the energy-saving BMS programme shuts downAHUs serving these spaces, leavingjust the public reading rooms as theprimary demand.

Maximum demand for chilled waternaturally occurs during the summermonths. The aim in winter is to supplythe reduced cooling demand throughuse of the free-cooling system only,

significantly reducing energy use,cost and carbon emissions.

Due to the location of the base mentplant room, the Turbomisers were deliv -ered to the site in sections, and wereassembled in situ. Installation andcommissioning from that point wasrelatively straightforward.

During the change-over, environ -mental conditions in the archivecollection storage space had to bemaintained. This required careful co-ordination between close-down of theold systems and start-up of the newTurbomisers, to ensure the continuityof chilled water supply. One of thelessons learnt from the previous plantreplacement contract was the require -ment to thoroughly flush both theexisting condenser and chilled waterinstallations before they were connectedto the new pipework and plant.

How much energy has the installationsaved?

The previous chiller plant was notmonitored for energy consumption atthe individual plant level. However,as part of the chiller replacementproject, sub-metering was installedthroughout. An overall reduction inbuilding energy use of 11.4 per centwas achieved—saving substantial costs

One of two Turbomiser Chillers installed at NLS. Free-cooling heat exchanger.

483535_kp.indd 46 12/21/12 11:15 AM


The National Library of Scotland(NLS) is one of Europe’s majorresearch libraries, with a long

and distinguished history of collect ing,preserving and managing collec tionsof world-wide importance.

The collections cover both histori -cal and contemporary material fromScotland and around the world. Inrecent years, significant efforts havebeen made to ensure that NLS is alsoaccessible, welcoming and outward-looking. Evidence of achievement inthis respect includes the new VisitorCentre in Edinburgh, and a majorprogramme to deliver enhancedremote access to digital collections.

The Library’s collections includeover fifteen million printed items,including books, magazines, scholarlyjournals, newspapers, music and maps.The key to the Library’s collecting is thelegal deposit privilege, which entitlesit to claim a copy of all printed itemspublished in the UK (and Ireland).This privilege, unique in Scotland toNLS, has been responsible for theacquisition of most of the Library’scollections for almost 300 years.

In addition, through purchase, dona -tion and deposit, the Library has builtup pre-eminent manuscript and printedcollections relating to Scotland andthe activities and influence of Scotsthroughout the world. As a result, newknowledge and creativity are gen er ated,and translated into new digital for mats.This poses significant chal lenges, but alsoprovides hugely exciting opportunitiesfor the future.

The Library is very conscious thatpreserving the priceless collection forfuture generations depends on main -taining carefully controlled environ -mental conditions within the archivecollection spaces, and that this needsto be achieved as efficiently as pos sible.

To help in this process, the Librarysought the help of the UK’s CarbonTrust to develop a Carbon Manage mentPlan. An important element of this wasa proposal to harness the exceptionalefficiency of the Turbomiser chiller todeliver stable, low-cost, low-carbon cool -ing to its archives and reading rooms,as part of a major plant replacementprogramme.

Jack Plumb, estates manager at theNLS, says: “Whilst helping to developthe Carbon Management Plan, I hadthe opportunity to visit a Turbomiserchiller installation at a local hospital,during attendance at an IAMFA Con -ference in Ottawa. I was extremelyimpressed by its performance.

“It was not only highly efficient, butextremely reliable—due to the factthat it does not use oil and effectivelyhas just one moving part.”

Jack Plumb subsequently paid sitevisits to see the Turbomiser in actionat the National Archives in Kew. The

facility has had proven success withTurbomiser, with documented energysavings and low servicing andmaintenance costs.

The first step in the project was takenby the Estates Division of the NLS,which produced a concept design forthe new plant replacement system atthe George IV Bridge site. This wouldreplace two aging Carrier chillersbased on reciprocating compressorsand running on R22.

The approach adopted a free-coolinginstallation, which had previously beensuccessfully implemented at anotherNLS site, providing significant energysavings. The aim now was to build uponthe experience gained, and make thenew chiller-replacement installation evenmore efficient. The use of variable-speed drives and high-efficiencychillers were key to delivering this.

As part of the tendering process,several chiller manufacturers wereinvited to put forward possible solu -

The National Library of Scotland InstallsUltra-Efficient Turbomiser Chillers andCuts Energy and Carbon EmissionsBy Roberto Mallozzi and Tim Mitchell

The National Library of Scotland in Edinburgh, Scotland.


tions to meet the requirements of theinstallation. These included both screwand scroll compressor-based systems,in addition to the Turbomiser chiller,which is based on high-efficiency mag -netic levitation bearings. Turbomiserwas selected, as it offered the mosteconomical and efficient solution tomeet highly variable load conditions.

The chosen solution uses two water-cooled 300kW Turbomisers, linked toa sophisticated free-cooling system. Thisprovides chilled water to a number ofAir-Handling Units (AHUs) servingthe building. The project began inJanuary 2012 and was completed inMay 2012.

The most sensitive areas are theLibrary’s archive collection spaces.These must be maintained within anenvironmental envelope agreed withthe Library’s preservation departmentand in accordance with PAS 198:2012.

The public reading rooms presentthe most significant variable load as aresult of changes in ambient conditionsand usage levels. At peak times, therooms can account for most of thedemand for chilled water.

The output from the Turbomisersand free-cooling system feed into alarge chilled water low-loss header,

which also acts as a buffer vessel. ABuilding Management System (BMS)calculates the demand for chilled water,taking into account temperature, flowrate and time of year—as well as thecurrent status of the various chilled-water batteries in the AHUs. The freecooling circuit harnesses an air-blastcooler and the condenser circuit, routedthrough a heat exchanger to providechilled water to the low loss header.

While reading rooms present themost variable load, the predominantbase cooling load is provided by thearchive collection spaces, as this rep -resents a 24/7 cooling require ment.The environmental envelope in whichthese collection spaces are maintainedhas been relaxed slightly of late, inaccordance with agreement from theLibrary’s preservation team. This hasenabled even greater energy savings.When conditions allow, the energy-saving BMS programme shuts downAHUs serving these spaces, leavingjust the public reading rooms as theprimary demand.

Maximum demand for chilled waternaturally occurs during the summermonths. The aim in winter is to supplythe reduced cooling demand throughuse of the free-cooling system only,

significantly reducing energy use,cost and carbon emissions.

Due to the location of the base mentplant room, the Turbomisers were deliv -ered to the site in sections, and wereassembled in situ. Installation andcommissioning from that point wasrelatively straightforward.

During the change-over, environ -mental conditions in the archivecollection storage space had to bemaintained. This required careful co-ordination between close-down of theold systems and start-up of the newTurbomisers, to ensure the continuityof chilled water supply. One of thelessons learnt from the previous plantreplacement contract was the require -ment to thoroughly flush both theexisting condenser and chilled waterinstallations before they were connectedto the new pipework and plant.

How much energy has the installationsaved?

The previous chiller plant was notmonitored for energy consumption atthe individual plant level. However,as part of the chiller replacementproject, sub-metering was installedthroughout. An overall reduction inbuilding energy use of 11.4 per centwas achieved—saving substantial costs

One of two Turbomiser Chillers installed at NLS. Free-cooling heat exchanger.

483535_kp.indd 47 12/21/12 11:15 AM


and reducing carbon emissions. Giventhat this figure covers the warmer sum -mer season only, it is likely that savingswill accelerate during the cooler winterperiod as a result of the use of free-cooling and improved efficiency of theTurbomisers at part-load conditions.

The refrigerant currently used in theTurbomisers is HFC R134a. With a rela -tively high Global Warming Potential(GWP) of 1300, tighter controls or apossible ban on this referigerant areanticipated in the near future.

Jack Plumb says: “One of the attrac -tions of working with Klima-Thermon the project was their cutting-edgedevelopment work with an alternativerefrigerant, HFO 1234ze, which enablesTurbomisers to achieve an OzoneDepletion Potential of zero and adirect GWP of just 6. This means theinstallation is effectively future-proofedagainst changes in legislation, as it canbe retrofitted if the need arises.”

He added: “From an engineeringpoint of view, the technology is abso -

lutely outstanding—particularly inremoving the requirement for oil andmoving parts from the electric-motorside of the compressor cycle. In addi -tion, its built-in variable-speed drivecontrols compressor output and helpsfurther improve energy performance.

“In the light of its ground-breakingdesign and exceptional performance,I would say the Turbomiser chiller isprobably the most significant advancein chiller technology since the devel -op ment of the vapour compressioncycle itself.”

Following the success of this project,the NLS team plans to install Turbo -miser chillers at its Causewayside sitein Edinburgh, once that site’s existingchillers have come to the end of theirworking life.

The project team:

• Client: The Trustees of theNational Library of Scotland

• Consultant: Andrew MacOwanAssociates

• Contractor: Richard Irvin

• FM company: ECG Facilities

• Chiller supplier: Klima-Therm

Roberto Mallozzi is Managing Directorof Klima-Therm Ltd. Tim Mitchell is SalesDirector at Klima-Therm Ltd. For moredetails, please contact Klima-Therm at 0208947 1127, or visit www.klima-therm.co.ukLow-loss header and variable-speed pumps.

IAMFA 13·

IAMFA COMES TO THEWASHINGTON DC METRO AREA

October 20-24, 2013


The renovation of Pod 3 at theSmithsonian Institution’s MuseumSupport Center provides an

example of how integrated designcan provide energy-efficient solutions,while meeting stringent requirementsfor long-term storage of a diversecollection.

The Museum Support Center (MSC),located in Suitland, Maryland, providescollection research and long-term stor -age space for many of the Smithsonian’smuseums and research facilities. Thebuilding is divided into five lab spacestotaling approximately 150,000 squarefeet, and five archival storage podstotaling approximately 360,000 squarefeet (assumes two floors per pod). Thestorage spaces (Pods 1 through 5) areseparated from the laboratory spaces

(Labs 1 through 5) by a large accesscorridor referred to as the “Street.”

Pod 5 contains the Smithsonian’svast biological collection, stored wet inalcohol. Having moved this collectionfrom Pod 3, the Smithsonian had anopportunity to adapt a footprint ofapproximately 37,500 square feet forother collections. The Institutioncommissioned EwingCole to designa renovation that would house thediverse collections from several ofthe Smithsonian’s most prominentmuseums, including the following:biological and mineralogical material,anthropological specimens, and variousdigital, film, and magnetic mediafrom the National Museum of NaturalHistory; furniture from the CooperHewitt National Design Museum;

wooden artifacts and fabrics from theNational Museum of African Art; textilesfrom the Freer and Sackler Galleries;and artwork from the HirshhornMuseum and Sculpture Garden.

To safeguard these collections,Ewing Cole designed spaces tailoredfor the unique requirements of eachcollection:

• one room with over fifty ultra-coldfreezers (providing nearly 1,500 cubicfeet of

• -40°C and -80°C cold-storagecapacity)

• four controlled environmentalrooms with stringent temperatureand relative humidity requirements(one of which provides over 27,000cubic feet of cold-storage capacity forthe Human Studies Film Archives)

• a room with 30 nitrogen-bath-typeDNA sample freezers (providingover 45,000 liters of -190°Ccryopreservation capacity)

• an ISO 7, Class 10,000 clean roomfor housing collections of theAntarctic Meteorite Program

• a room for mummified humanand animal remains

• a 20,000-square-foot room of com -pact shelving for housing a vastbone collection (providing overten million cubic feet of storagecapacity)

• two high-bay storage rooms for over90,000 square feet of paintings and33,000 cubic feet of sculptures

• a 20-foot-tall sliding painting stor -age system was provided in onehigh-bay area

• a system of warehouse racking wasprovided in the other to house verylarge sculptures

Preserving America’s TreasuresDesigning Energy-Efficient Archival Storage FacilitiesBy Jeffrey Hirsch, William Jarema, and Dan Klein

Key Plan of the Museum Support Center.

Legend

483535_kp.indd 48 12/21/12 11:15 AM


and reducing carbon emissions. Giventhat this figure covers the warmer sum -mer season only, it is likely that savingswill accelerate during the cooler winterperiod as a result of the use of free-cooling and improved efficiency of theTurbomisers at part-load conditions.

The refrigerant currently used in theTurbomisers is HFC R134a. With a rela -tively high Global Warming Potential(GWP) of 1300, tighter controls or apossible ban on this referigerant areanticipated in the near future.

Jack Plumb says: “One of the attrac -tions of working with Klima-Thermon the project was their cutting-edgedevelopment work with an alternativerefrigerant, HFO 1234ze, which enablesTurbomisers to achieve an OzoneDepletion Potential of zero and adirect GWP of just 6. This means theinstallation is effectively future-proofedagainst changes in legislation, as it canbe retrofitted if the need arises.”

He added: “From an engineeringpoint of view, the technology is abso -

lutely outstanding—particularly inremoving the requirement for oil andmoving parts from the electric-motorside of the compressor cycle. In addi -tion, its built-in variable-speed drivecontrols compressor output and helpsfurther improve energy performance.

“In the light of its ground-breakingdesign and exceptional performance,I would say the Turbomiser chiller isprobably the most significant advancein chiller technology since the devel -op ment of the vapour compressioncycle itself.”

Following the success of this project,the NLS team plans to install Turbo -miser chillers at its Causewayside sitein Edinburgh, once that site’s existingchillers have come to the end of theirworking life.

The project team:

• Client: The Trustees of theNational Library of Scotland

• Consultant: Andrew MacOwanAssociates

• Contractor: Richard Irvin

• FM company: ECG Facilities

• Chiller supplier: Klima-Therm

Roberto Mallozzi is Managing Directorof Klima-Therm Ltd. Tim Mitchell is SalesDirector at Klima-Therm Ltd. For moredetails, please contact Klima-Therm at 0208947 1127, or visit www.klima-therm.co.ukLow-loss header and variable-speed pumps.

IAMFA 13·

IAMFA COMES TO THEWASHINGTON DC METRO AREA

October 20-24, 2013


The renovation of Pod 3 at theSmithsonian Institution’s MuseumSupport Center provides an

example of how integrated designcan provide energy-efficient solutions,while meeting stringent requirementsfor long-term storage of a diversecollection.

The Museum Support Center (MSC),located in Suitland, Maryland, providescollection research and long-term stor -age space for many of the Smithsonian’smuseums and research facilities. Thebuilding is divided into five lab spacestotaling approximately 150,000 squarefeet, and five archival storage podstotaling approximately 360,000 squarefeet (assumes two floors per pod). Thestorage spaces (Pods 1 through 5) areseparated from the laboratory spaces

(Labs 1 through 5) by a large accesscorridor referred to as the “Street.”

Pod 5 contains the Smithsonian’svast biological collection, stored wet inalcohol. Having moved this collectionfrom Pod 3, the Smithsonian had anopportunity to adapt a footprint ofapproximately 37,500 square feet forother collections. The Institutioncommissioned EwingCole to designa renovation that would house thediverse collections from several ofthe Smithsonian’s most prominentmuseums, including the following:biological and mineralogical material,anthropological specimens, and variousdigital, film, and magnetic mediafrom the National Museum of NaturalHistory; furniture from the CooperHewitt National Design Museum;

wooden artifacts and fabrics from theNational Museum of African Art; textilesfrom the Freer and Sackler Galleries;and artwork from the HirshhornMuseum and Sculpture Garden.

To safeguard these collections,Ewing Cole designed spaces tailoredfor the unique requirements of eachcollection:

• one room with over fifty ultra-coldfreezers (providing nearly 1,500 cubicfeet of

• -40°C and -80°C cold-storagecapacity)

• four controlled environmentalrooms with stringent temperatureand relative humidity requirements(one of which provides over 27,000cubic feet of cold-storage capacity forthe Human Studies Film Archives)

• a room with 30 nitrogen-bath-typeDNA sample freezers (providingover 45,000 liters of -190°Ccryopreservation capacity)

• an ISO 7, Class 10,000 clean roomfor housing collections of theAntarctic Meteorite Program

• a room for mummified humanand animal remains

• a 20,000-square-foot room of com -pact shelving for housing a vastbone collection (providing overten million cubic feet of storagecapacity)

• two high-bay storage rooms for over90,000 square feet of paintings and33,000 cubic feet of sculptures

• a 20-foot-tall sliding painting stor -age system was provided in onehigh-bay area

• a system of warehouse racking wasprovided in the other to house verylarge sculptures

Preserving America’s TreasuresDesigning Energy-Efficient Archival Storage FacilitiesBy Jeffrey Hirsch, William Jarema, and Dan Klein

Key Plan of the Museum Support Center.

Legend

483535_kp.indd 49 12/21/12 11:15 AM


The renovation added approxi -mately 30,000 square feet to Pod 3 inthe form of a mezzanine floor. Thisexpansion was realized within a veryminimal ceiling height through acollaborative effort that consideredengineering systems in the early plan -ning process. Coordinating the loca -tion of service corridors, controlledenvironmental rooms, and other utilityspaces with the structural systems andservice distribution paths was invalu ablein organizing the layout of so manyprograms into the available space.This integrated approach allowed thewet utilities to be kept out of collec tions

areas, and heights in archival storageareas to be maximized.

The key to the project’s success wasbringing all the major stakeholdersand design professionals together ona regular basis, allowing consensus tobe reached quickly on each major issue.These multidisciplinary meetings occur -red at each major project milestone,including Concept and SchematicDesign, as well as at the 35%, 65%and 95% completion levels. At eachof these meetings, the design teamwould present the current state ofdesign, different design options, anddiscuss open issues.

One example of this collaborativeeffort is the selection of the fire-protection and suppression system.EwingCole developed multiple options,ranging from hypoxic systems to stan -dard-wet-pipe-only systems, and thedesign team addressed each option’scosts and benefits.

What the Smithsonian selected com -prises a static system of risk manage -ment. The design team organized thefloor plans into multiple fire-ratedcompartments, based on collection haz - ard level and size. A wet-pipe sprinklersystem was used throughout, becauseof its reliability. Rather than a costlyactive smoke-control system, a DDCcontrol panel was installed adja centto the main fire alarm control panelto allow the products of combustionto be quickly vented after a fire event.

Another major collaborative decisioncentered on the capacity of the emer -gency generator. Instead of providingfull HVAC redundancy and emergencypower, the project team decided tosuper-insulate the building envelopeand close off the storage areas in theevent of a power outage. Museumstaff developed procedures to limitaccess to storage areas in the eventof an emer gency, cued by a series ofresponses from the building controlsystem. Upon a loss of normal poweror failure of the HVAC system, audibleand visual warn ings alert peoplewithin the affected storage areas, theoccupants exit, and the lights are shutoff. Another warn ing light over theoutside of the doors stops peoplefrom entering.

Like a picnic cooler, the rooms willmaintain design conditions for longperiods of time. In the case of a verylong outage, the temperature andhumidity will slowly stabilize to out -door conditions. Collection managerson this project were most concernedwith the impact of a rapid cycling oftemperature and humidity on theintegrity of artifacts, so this approachwas considered to be a reasonablecom promise between the need tocontrol costs and long-term energyuse, and the Institution’s responsibilityto preserve artifacts. This emergencypower system is one-third the size, and

First-floor plan.

Mezzanine plan.


sig nifi cantly less expensive, than a fullyredundant HVAC system.

These cost-control decisions allowedthe project to pursue some of the moreexpensive energy-conservation mea -sures, such as the use of water-cooledrefrigeration boxes.

All of the mechanical ultra-coldfreezers and controlled environmentalrooms utilize a condenser water systemconsisting of a closed-circuit cooler,condenser water pumps and a spraywater system. Under normal operatingconditions, the heat from the freezersis rejected through evaporation by theclosed-circuit cooler.

Due to the sensitive nature of thesamples stored in the freezers andwalk-ins, the closed-circuit cooler hastwo separate backup systems. The Pod3 chilled-water system provides the firstlevel of backup; if that equipment fails,the system reverts to using domesticwater for freezer-heat rejection. Aclosed-circuit cooler was selected as theprimary heat-rejection source becauseof the higher efficiency associatedwith the lower-temperature condenserwater that can be provided by evapo ra -tive cooling. Although the use of theevaporative, closed-circuit coolersubstantially increases the efficiencyof each of the freezers and walk-ins,the more substantial energy savingscame from the reduction in the air-conditioning load of the room thathouses the freezers.

Another major source of energysavings came from using dedicated

outside air units to precondition anddehumidify the outside air. Theseunits are water-cooled, packaged,direct-expansion cooling units withrefrigerant reheat coils. These coilsuse the waste heat from dehu midi fy -ing the air to reheat the supply airback to room-neutral conditions.

All of the air-handling units also useoutside air to provide free-cooling whenoutside temperature and humidity arewithin an acceptable range. By usingthe outside air units to control spacehumidity, the main air handlers (serv -ing artifact storage areas) could bedesigned as constant air-volume unitswith variable-discharge temperature.This design eliminates the need forreheat, while maintaining very stableenvironmental conditions and pro vid -ing the appropriate air-change ratesneeded to remove all gaseous andparticulate contamination from thestorage areas.

Water-source heat pumps were con -nected to the freezer condenser waterloop to utilize the waste heat fromthe freezers for vestibule heating inthe winter.

Lighting systems in the buildingwere designed to minimize energycon sumption, while meeting the con -servation requirements for the storageof collections. The team was taskedwith minimizing light exposure toartifacts in storage, while providingadequate lighting conditions for objectinspection and occupant tasks. In orderto balance the lighting needs within the

space, the focus was on lighting controlsand understanding the scheduledoccupant use of each space.

High-efficiency fluorescent lumi -naires with UV-mitigating sleeves/diffusers were used in storage areas tominimize cost and increase luminaireefficiency. A network lighting-controlsystem divided the archival storagelighting into zones that were con -trolled (automatically) through localoccupancy sensors. Lights are turnedon only in the specific area beingused, rather than throughout theentire space. When occupants areno longer sensed within the area, thelights are programmed to flash brieflybefore shutting off to alert the users.The increased levels of control addedto the energy savings when comparedto the ASHRAE baseline.

The HVAC and lighting systemdesign resulted in a building that is40% more efficient than ASHRAE90.1 minimums, gaining 10 energypoints in LEED V2.1. The buildingrenovation project has received aLEED Silver certification.

Jeffrey Hirsch, AIA, LEED AP is Principal,Director of Cultural Practice at Ewing Colebased in Philadelphia, and can be reachedat [email protected]. William Jarema,PE, is a senior HVAC engineer at EwingCole based in Philadelphia, and can bereached at [email protected] Klein is an architect with Ewing Colebased in Philadelphia, and can be [email protected].

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

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

483535_kp.indd 50 12/21/12 11:16 AM


The renovation added approxi -mately 30,000 square feet to Pod 3 inthe form of a mezzanine floor. Thisexpansion was realized within a veryminimal ceiling height through acollaborative effort that consideredengineering systems in the early plan -ning process. Coordinating the loca -tion of service corridors, controlledenvironmental rooms, and other utilityspaces with the structural systems andservice distribution paths was invalu ablein organizing the layout of so manyprograms into the available space.This integrated approach allowed thewet utilities to be kept out of collec tions

areas, and heights in archival storageareas to be maximized.

The key to the project’s success wasbringing all the major stakeholdersand design professionals together ona regular basis, allowing consensus tobe reached quickly on each major issue.These multidisciplinary meetings occur -red at each major project milestone,including Concept and SchematicDesign, as well as at the 35%, 65%and 95% completion levels. At eachof these meetings, the design teamwould present the current state ofdesign, different design options, anddiscuss open issues.

One example of this collaborativeeffort is the selection of the fire-protection and suppression system.EwingCole developed multiple options,ranging from hypoxic systems to stan -dard-wet-pipe-only systems, and thedesign team addressed each option’scosts and benefits.

What the Smithsonian selected com -prises a static system of risk manage -ment. The design team organized thefloor plans into multiple fire-ratedcompartments, based on collection haz - ard level and size. A wet-pipe sprinklersystem was used throughout, becauseof its reliability. Rather than a costlyactive smoke-control system, a DDCcontrol panel was installed adja centto the main fire alarm control panelto allow the products of combustionto be quickly vented after a fire event.

Another major collaborative decisioncentered on the capacity of the emer -gency generator. Instead of providingfull HVAC redundancy and emergencypower, the project team decided tosuper-insulate the building envelopeand close off the storage areas in theevent of a power outage. Museumstaff developed procedures to limitaccess to storage areas in the eventof an emer gency, cued by a series ofresponses from the building controlsystem. Upon a loss of normal poweror failure of the HVAC system, audibleand visual warn ings alert peoplewithin the affected storage areas, theoccupants exit, and the lights are shutoff. Another warn ing light over theoutside of the doors stops peoplefrom entering.

Like a picnic cooler, the rooms willmaintain design conditions for longperiods of time. In the case of a verylong outage, the temperature andhumidity will slowly stabilize to out -door conditions. Collection managerson this project were most concernedwith the impact of a rapid cycling oftemperature and humidity on theintegrity of artifacts, so this approachwas considered to be a reasonablecom promise between the need tocontrol costs and long-term energyuse, and the Institution’s responsibilityto preserve artifacts. This emergencypower system is one-third the size, and

First-floor plan.

Mezzanine plan.


sig nifi cantly less expensive, than a fullyredundant HVAC system.

These cost-control decisions allowedthe project to pursue some of the moreexpensive energy-conservation mea -sures, such as the use of water-cooledrefrigeration boxes.

All of the mechanical ultra-coldfreezers and controlled environmentalrooms utilize a condenser water systemconsisting of a closed-circuit cooler,condenser water pumps and a spraywater system. Under normal operatingconditions, the heat from the freezersis rejected through evaporation by theclosed-circuit cooler.

Due to the sensitive nature of thesamples stored in the freezers andwalk-ins, the closed-circuit cooler hastwo separate backup systems. The Pod3 chilled-water system provides the firstlevel of backup; if that equipment fails,the system reverts to using domesticwater for freezer-heat rejection. Aclosed-circuit cooler was selected as theprimary heat-rejection source becauseof the higher efficiency associatedwith the lower-temperature condenserwater that can be provided by evapo ra -tive cooling. Although the use of theevaporative, closed-circuit coolersubstantially increases the efficiencyof each of the freezers and walk-ins,the more substantial energy savingscame from the reduction in the air-conditioning load of the room thathouses the freezers.

Another major source of energysavings came from using dedicated

outside air units to precondition anddehumidify the outside air. Theseunits are water-cooled, packaged,direct-expansion cooling units withrefrigerant reheat coils. These coilsuse the waste heat from dehu midi fy -ing the air to reheat the supply airback to room-neutral conditions.

All of the air-handling units also useoutside air to provide free-cooling whenoutside temperature and humidity arewithin an acceptable range. By usingthe outside air units to control spacehumidity, the main air handlers (serv -ing artifact storage areas) could bedesigned as constant air-volume unitswith variable-discharge temperature.This design eliminates the need forreheat, while maintaining very stableenvironmental conditions and pro vid -ing the appropriate air-change ratesneeded to remove all gaseous andparticulate contamination from thestorage areas.

Water-source heat pumps were con -nected to the freezer condenser waterloop to utilize the waste heat fromthe freezers for vestibule heating inthe winter.

Lighting systems in the buildingwere designed to minimize energycon sumption, while meeting the con -servation requirements for the storageof collections. The team was taskedwith minimizing light exposure toartifacts in storage, while providingadequate lighting conditions for objectinspection and occupant tasks. In orderto balance the lighting needs within the

space, the focus was on lighting controlsand understanding the scheduledoccupant use of each space.

High-efficiency fluorescent lumi -naires with UV-mitigating sleeves/diffusers were used in storage areas tominimize cost and increase luminaireefficiency. A network lighting-controlsystem divided the archival storagelighting into zones that were con -trolled (automatically) through localoccupancy sensors. Lights are turnedon only in the specific area beingused, rather than throughout theentire space. When occupants areno longer sensed within the area, thelights are programmed to flash brieflybefore shutting off to alert the users.The increased levels of control addedto the energy savings when comparedto the ASHRAE baseline.

The HVAC and lighting systemdesign resulted in a building that is40% more efficient than ASHRAE90.1 minimums, gaining 10 energypoints in LEED V2.1. The buildingrenovation project has received aLEED Silver certification.

Jeffrey Hirsch, AIA, LEED AP is Principal,Director of Cultural Practice at Ewing Colebased in Philadelphia, and can be reachedat [email protected]. William Jarema,PE, is a senior HVAC engineer at EwingCole based in Philadelphia, and can bereached at [email protected] Klein is an architect with Ewing Colebased in Philadelphia, and can be [email protected].

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

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

483535_kp.indd 51 12/21/12 11:16 AM


The Peterborough Museum & Archives is a multi-faceted cultural institution serving the residents ofPeterborough, Ontario, Canada, and the surrounding

regions. It is municipally owned and operated by the City ofPeterborough. The Museum offers award-winning children’sprogramming, supports precedent-setting Aboriginaldiscussions, and produces national travelling exhibitions.The Museum also has the distinction of hosting FlemingCollege’s post-graduate Museum Management andCuratorship program.

The current Museum facility includes a modest two-levelmain building of 10,400 square feet (1967), two 1,000-square-foot modular buildings, a 1,500-square-foot modular build -ing, 438 square feet of off-site storage (at the PeterboroughPublic Library) and a multi-purpose outdoor venue, theHeritage Pavilion (2,750 square feet).

The Museum’s collections comprise approximately35,000 artifacts which represent Peterborough city andregion’s material culture, as well as its natural and archaeo -logical heritage. The Archives, comprising documentarymaterials such as public records, private documents anddocumentary art forms—maps, plans, rare books, photo -graphic negatives and prints—contain over 2,000 differentfonds. The Museum has been granted “Category A” col -lecting status by the Federal Cultural Property ReviewBoard of Canada.

In 2008, the Museum was poised for transformation anddevelopment. It had completed its Expansion Feasibility Study(2004), Functional Program (2005) and Design Development

Report (2008), in anticipation of a full modernization andexpansion of its current facility. Though these documentswere formally received by Peterborough City Council, theproject was removed from the City’s Capital Forecast in 2008.

Aware that the implementation of a full Museum facilityexpansion might not proceed as planned, the ExpansionFeasibility Study recommended alternative measures toreduce existing risks to collections, visitors, volunteers andstaff. “If the building expansion project does not proceed

Peterborough Museum & ArchivesFacility Renewal Project (2004–2014)By Susan Neale and Jon Oldham

Peterborough Museum & Archives, Fall 2012.

A three-dimensional outside view of the Peterborough Museum & Archives—Design Development Report, Lundholm Associates Architectsand Lett Architects Inc., 2008.


in the immediate future, consider renting or otherwiseobtaining off-site storage space to relieve the overcrowdingby moving out the least vulnerable portion of the collec -tions,” was the suggestion contained in a 2004 report byLundholm Associates Architects, N.J. Hushion and Associates.

In January 2012, City Council approved, in concept, thelease of an off-site collection storage facility and a lower-level main building renovation as a cost-effective alternativeto a building expansion program. The use of off-site storage,instead of expanding the existing footprint of a museumfacility, has become an increasingly practical solution formuseums. Provincial examples include Guelph Museumsand the Oakville Museum.

Increasing the Museum’s collection storage space three-fold and renovating the existing lower level will greatly aidin the long-term preservation of the Museum’s collections.The current need to overfill shelving or use inaccessiblelocations for storage (i.e., tops of shelves, ceiling rafters)and aisle floors will be eliminated, and regular inspectionscan be implemented more easily. Eliminating the mixtureof high-risk activities—collection handling, research, con -servation treatments, exhibition preparation and publicconsultation—in the current storage spaces also supportsproper pest management and collection security.

In 2010, the Museum addressed deficiencies in its publicspaces—access, presentation, comfort and security, as wellas efficiency—through a main-floor renovation, designedby Lett Architects Inc. The renovation of the entryway, lobby,

Block plan of proposed Collection Storage Facility, PeterboroughMuseum & Archives—Lett Architects Inc., 2012.

Schematic design of lower-level renovation (DRAFT), PeterboroughMuseum & Archives—Lett Architects Inc., 2012.

galleries, reference library, kitchen and stairwell has har mo -nized and enhanced the visitor experience, and facilitatedthe high standard of service delivery, access and presen -tation expected of the Museum. The project was fundedthrough the then-Cultural Spaces Canada Fund, Depart -ment of Canadian Heritage, and the City of Peterborough,with a total budget of $269,377.

483535_kp.indd 52 12/21/12 11:16 AM


The Peterborough Museum & Archives is a multi-faceted cultural institution serving the residents ofPeterborough, Ontario, Canada, and the surrounding

regions. It is municipally owned and operated by the City ofPeterborough. The Museum offers award-winning children’sprogramming, supports precedent-setting Aboriginaldiscussions, and produces national travelling exhibitions.The Museum also has the distinction of hosting FlemingCollege’s post-graduate Museum Management andCuratorship program.

The current Museum facility includes a modest two-levelmain building of 10,400 square feet (1967), two 1,000-square-foot modular buildings, a 1,500-square-foot modular build -ing, 438 square feet of off-site storage (at the PeterboroughPublic Library) and a multi-purpose outdoor venue, theHeritage Pavilion (2,750 square feet).

The Museum’s collections comprise approximately35,000 artifacts which represent Peterborough city andregion’s material culture, as well as its natural and archaeo -logical heritage. The Archives, comprising documentarymaterials such as public records, private documents anddocumentary art forms—maps, plans, rare books, photo -graphic negatives and prints—contain over 2,000 differentfonds. The Museum has been granted “Category A” col -lecting status by the Federal Cultural Property ReviewBoard of Canada.

In 2008, the Museum was poised for transformation anddevelopment. It had completed its Expansion Feasibility Study(2004), Functional Program (2005) and Design Development

Report (2008), in anticipation of a full modernization andexpansion of its current facility. Though these documentswere formally received by Peterborough City Council, theproject was removed from the City’s Capital Forecast in 2008.

Aware that the implementation of a full Museum facilityexpansion might not proceed as planned, the ExpansionFeasibility Study recommended alternative measures toreduce existing risks to collections, visitors, volunteers andstaff. “If the building expansion project does not proceed

Peterborough Museum & ArchivesFacility Renewal Project (2004–2014)By Susan Neale and Jon Oldham

Peterborough Museum & Archives, Fall 2012.

A three-dimensional outside view of the Peterborough Museum & Archives—Design Development Report, Lundholm Associates Architectsand Lett Architects Inc., 2008.


in the immediate future, consider renting or otherwiseobtaining off-site storage space to relieve the overcrowdingby moving out the least vulnerable portion of the collec -tions,” was the suggestion contained in a 2004 report byLundholm Associates Architects, N.J. Hushion and Associates.

In January 2012, City Council approved, in concept, thelease of an off-site collection storage facility and a lower-level main building renovation as a cost-effective alternativeto a building expansion program. The use of off-site storage,instead of expanding the existing footprint of a museumfacility, has become an increasingly practical solution formuseums. Provincial examples include Guelph Museumsand the Oakville Museum.

Increasing the Museum’s collection storage space three-fold and renovating the existing lower level will greatly aidin the long-term preservation of the Museum’s collections.The current need to overfill shelving or use inaccessiblelocations for storage (i.e., tops of shelves, ceiling rafters)and aisle floors will be eliminated, and regular inspectionscan be implemented more easily. Eliminating the mixtureof high-risk activities—collection handling, research, con -servation treatments, exhibition preparation and publicconsultation—in the current storage spaces also supportsproper pest management and collection security.

In 2010, the Museum addressed deficiencies in its publicspaces—access, presentation, comfort and security, as wellas efficiency—through a main-floor renovation, designedby Lett Architects Inc. The renovation of the entryway, lobby,

Block plan of proposed Collection Storage Facility, PeterboroughMuseum & Archives—Lett Architects Inc., 2012.

Schematic design of lower-level renovation (DRAFT), PeterboroughMuseum & Archives—Lett Architects Inc., 2012.

galleries, reference library, kitchen and stairwell has har mo -nized and enhanced the visitor experience, and facilitatedthe high standard of service delivery, access and presen -tation expected of the Museum. The project was fundedthrough the then-Cultural Spaces Canada Fund, Depart -ment of Canadian Heritage, and the City of Peterborough,with a total budget of $269,377.

483535_kp.indd 53 12/21/12 11:16 AM


Since the effective cancellation of the Museum expan -sion project in 2008, the following municipal documentshave been completed: Central Area Master Plan (2009),Little Lake and Area Master Plan (2010) and the MunicipalCultural Plan (2012), all of which advocate a review of thelocations of the City’s primary cultural facilities, with afocus on downtown revitalization (www.peterborough.ca).While the ultimate fate of the Museum’s facility has yetto be determined, dedicated collection storage space and

a renovated lower level will greatly facilitate any futuremoves of the collection (whether to an expanded or newfacility). Improved access to collections will help theMuseum fulfill its mandate, and serve as a better modelfor all community museums and archives.

Susan Neale is Museum Director, City of Peterborough, in Ontario,Canada. Jon Oldham is Museum Program Assistant at the City ofPeterborough.

Lobby of Peterborough Museum & Archives, pre-renovation, 2009. Lobby of Peterborough Museum & Archives, post-renovation, 2010.

The IAMFA LinkedIn Group now has 443 members from 37 countries. Join the

Group and see what everyone is talking about,and PLEASE...join in the discussions;

we'd like to hear what you have to say.

linkedin.com

EXIT BUILDINGBEFORE TWEETING

ABOUT IT

IN CASE OF FIRE


In today’s world of live video-con fer -encing and ubiquitous webinars, itis hard to recall a time—not so long

ago—when high-speed Internet accessmeant DSL, when a T1 line was a luxuryaffordable only by the largest of com -panies, and when fiber optic cablinginside an office or institution was pro -hib itively costly. That was the world in1995, when the Philadelphia Museum ofArt in a joint venture with Bell Atlantic(yes, that long ago) created its distance-learning classroom. Bell Atlantic wantedto promote the capabilities of its ISDNservices, and the Museum wanted tobe able to move their collections intothe classroom.

Just to provide some perspectiveon how early this effort was, in 1995Google was still three years away; theVatican and Canada had just launchedtheir websites; there were only 100,000registered websites in the world; only1 in 10 adults in the U.S. were goingonline; and there were less than 17 mil -lion users worldwide. Needless to say,this effort was quite a leap, and madethe Philadelphia Museum of Art anearly leader in providing remote videocommunications.

As technology has improved, Internetspeeds have increased, and more andmore schools are installing high-speedconnections in their classrooms; thedistance-learning program has grownalong with these changes. In 2006, theMuseum started the development of along-range Master Plan to upgrade andexpand its historical main building andgalleries. With this planning came theopportunity to provide state-of-the-artfacilities for the distance-learning class -room, and expand other A/V systemsto lead the Museum well into thisnew century.

The Museum determined severalneeds in its planning for the new

distance-learning classroom. Firstly,there was a need to improve theexisting space, both functionally andtechnically. Secondly, the Museumwanted to increase its A/V services toinclude a TV studio, and there was adesire to have the distance-learningclassroom in close proximity to the TVstudio. Thirdly, the area in which theexisting classroom was located wouldbe made available for the subsequentphases of construction, and the con -soli dation of other program areas. Thisarticle examines the planning andimple mentation of the distance-learningclassroom through three primaryfactors: mission, environment, andtech nology. Each of these played aninfluential role in the planning of ourfacility and, when fully considered,may similarly affect your planning aswell. All three have an impact on spacerequirements, construction methods,budget requirements, schedules andprogram operations.

MissionEducation is part of the core missionof the Philadelphia Museum of Art.The distance-learning program is anoutgrowth of that mission, with a goalof extending the reach of the Museuminto classrooms, bringing the Museumand its collections to students who maynot be able to come to the Museum,while also encouraging others to visit.As the required technology has grownand become more accessible, the pro -gram has expanded to include K–12and senior groups and now providesclasses in 22 states, as well as Canadaand Mexico. The Museum currentlypresents approximately 250 classeseach year, has developed 27 lessonofferings, and has experimented witha visiting artist program.

Since its inception, the distance-learning program has become aneffective outreach for the Museum,enabling art and art-related dis cus -sions for students, teaching them therelationship between art and relatedtopics, and effectively bringing theMuseum into the classroom. In fact,many of the classes being taughtthrough the distance-learning class -room are not art classes. Math andscience classes explore the relation -ships between art and the sciences,and foreign-language classes examineartists and collections from these coun -tries. Lesson plans can be modified totouch on specific subjects being taughtin the schools, coordinating with ateacher’s lesson plans.

Materials used in the classes aredrawn primarily from the Museum’scollection, although other resourcesare used as needed to provide compa -rative images. The Museum is a memberof ARTstor, which has gathered high-definition images of the PhiladelphiaMuseum of Art collection, as well asseveral other museum collections, mak -ing them available for all members ofthe ARTstor service. These imagesoffer the quality necessary to allowimages to be enlarged to review detailswith clarity.

Finally, the Museum has found thatthe same technology that can take thecollections out of the Museum can alsobe used to help take staff out of theMuseum. Staff has used this technologyto attend and lecture at conferencesand seminars around the world. Thisextension of the expertise and knowl -edge of the Museum is another mecha -nism by which the Philadelphia Museumof Art can share its collection andspread its brand across the world. Theconnection to the TV studio will allowMuseum staff to either work in front

Planning and Development ofa New Distance-Learning Facilityat the Philadelphia Museum of ArtBy Carl D. Freedman, AIA

483535_kp.indd 54 12/21/12 11:16 AM


Since the effective cancellation of the Museum expan -sion project in 2008, the following municipal documentshave been completed: Central Area Master Plan (2009),Little Lake and Area Master Plan (2010) and the MunicipalCultural Plan (2012), all of which advocate a review of thelocations of the City’s primary cultural facilities, with afocus on downtown revitalization (www.peterborough.ca).While the ultimate fate of the Museum’s facility has yetto be determined, dedicated collection storage space and

a renovated lower level will greatly facilitate any futuremoves of the collection (whether to an expanded or newfacility). Improved access to collections will help theMuseum fulfill its mandate, and serve as a better modelfor all community museums and archives.

Susan Neale is Museum Director, City of Peterborough, in Ontario,Canada. Jon Oldham is Museum Program Assistant at the City ofPeterborough.

Lobby of Peterborough Museum & Archives, pre-renovation, 2009. Lobby of Peterborough Museum & Archives, post-renovation, 2010.

The IAMFA LinkedIn Group now has 443 members from 37 countries. Join the

Group and see what everyone is talking about,and PLEASE...join in the discussions;

we'd like to hear what you have to say.

linkedin.com

EXIT BUILDINGBEFORE TWEETING

ABOUT IT

IN CASE OF FIRE


In today’s world of live video-con fer -encing and ubiquitous webinars, itis hard to recall a time—not so long

ago—when high-speed Internet accessmeant DSL, when a T1 line was a luxuryaffordable only by the largest of com -panies, and when fiber optic cablinginside an office or institution was pro -hib itively costly. That was the world in1995, when the Philadelphia Museum ofArt in a joint venture with Bell Atlantic(yes, that long ago) created its distance-learning classroom. Bell Atlantic wantedto promote the capabilities of its ISDNservices, and the Museum wanted tobe able to move their collections intothe classroom.

Just to provide some perspectiveon how early this effort was, in 1995Google was still three years away; theVatican and Canada had just launchedtheir websites; there were only 100,000registered websites in the world; only1 in 10 adults in the U.S. were goingonline; and there were less than 17 mil -lion users worldwide. Needless to say,this effort was quite a leap, and madethe Philadelphia Museum of Art anearly leader in providing remote videocommunications.

As technology has improved, Internetspeeds have increased, and more andmore schools are installing high-speedconnections in their classrooms; thedistance-learning program has grownalong with these changes. In 2006, theMuseum started the development of along-range Master Plan to upgrade andexpand its historical main building andgalleries. With this planning came theopportunity to provide state-of-the-artfacilities for the distance-learning class -room, and expand other A/V systemsto lead the Museum well into thisnew century.

The Museum determined severalneeds in its planning for the new

distance-learning classroom. Firstly,there was a need to improve theexisting space, both functionally andtechnically. Secondly, the Museumwanted to increase its A/V services toinclude a TV studio, and there was adesire to have the distance-learningclassroom in close proximity to the TVstudio. Thirdly, the area in which theexisting classroom was located wouldbe made available for the subsequentphases of construction, and the con -soli dation of other program areas. Thisarticle examines the planning andimple mentation of the distance-learningclassroom through three primaryfactors: mission, environment, andtech nology. Each of these played aninfluential role in the planning of ourfacility and, when fully considered,may similarly affect your planning aswell. All three have an impact on spacerequirements, construction methods,budget requirements, schedules andprogram operations.

MissionEducation is part of the core missionof the Philadelphia Museum of Art.The distance-learning program is anoutgrowth of that mission, with a goalof extending the reach of the Museuminto classrooms, bringing the Museumand its collections to students who maynot be able to come to the Museum,while also encouraging others to visit.As the required technology has grownand become more accessible, the pro -gram has expanded to include K–12and senior groups and now providesclasses in 22 states, as well as Canadaand Mexico. The Museum currentlypresents approximately 250 classeseach year, has developed 27 lessonofferings, and has experimented witha visiting artist program.

Since its inception, the distance-learning program has become aneffective outreach for the Museum,enabling art and art-related dis cus -sions for students, teaching them therelationship between art and relatedtopics, and effectively bringing theMuseum into the classroom. In fact,many of the classes being taughtthrough the distance-learning class -room are not art classes. Math andscience classes explore the relation -ships between art and the sciences,and foreign-language classes examineartists and collections from these coun -tries. Lesson plans can be modified totouch on specific subjects being taughtin the schools, coordinating with ateacher’s lesson plans.

Materials used in the classes aredrawn primarily from the Museum’scollection, although other resourcesare used as needed to provide compa -rative images. The Museum is a memberof ARTstor, which has gathered high-definition images of the PhiladelphiaMuseum of Art collection, as well asseveral other museum collections, mak -ing them available for all members ofthe ARTstor service. These imagesoffer the quality necessary to allowimages to be enlarged to review detailswith clarity.

Finally, the Museum has found thatthe same technology that can take thecollections out of the Museum can alsobe used to help take staff out of theMuseum. Staff has used this technologyto attend and lecture at conferencesand seminars around the world. Thisextension of the expertise and knowl -edge of the Museum is another mecha -nism by which the Philadelphia Museumof Art can share its collection andspread its brand across the world. Theconnection to the TV studio will allowMuseum staff to either work in front

Planning and Development ofa New Distance-Learning Facilityat the Philadelphia Museum of ArtBy Carl D. Freedman, AIA

483535_kp.indd 55 12/21/12 11:16 AM


of a green screen, or create a set tomake these presentations.

EnvironmentA distance-learning classroom has cer -tain requirements, including comfort,sound attenuation, oper ations, equip -ment and built surroundings. Its newlocation on a lower level of the Museumdid present some challenges. Thefloor needed to be lowered in order toprovide enough head clearance for allof the programs planned for the space.Piping and mechanical and electricalequipment needed to be relocated andrerouted from areas needing higherceiling heights. Vibrations being trans -mitted through the building structureand the floor above needed to beisolated. And the room needed to beconstructed with a Noise Isolation Classrating of 50, and a Noise ClassificationRating of NC 25, to prevent any mecha -nical and corridor noises from beingtransmitted to the highly sensitive micro -phones. We will go into more detailon some of these issues throughoutthis article.

The original space had some limi -tations that the Museum did not want toduplicate. Firstly, there was the soundattenuation of the room. The distance-learning program was placed in analready constructed room that requiredadaptation in order to meet the soundrequirements. Because walls and floors

could not be reconstructed, we werelimited to applying waffle-shaped sound-absorbing materials to the walls. Unfor -tunately, that alone does not stop thetransmission of sound from outside theroom. These typical wedge and egg-carton foam panels are good at pre -venting reflected sounds from insidethe room, eliminating reverberations,and absorbing high-frequency sounds,but are not very effective in reducinglow-frequency noises coming throughthe walls. The only effective way toattenuate low-frequency sound isthrough isolated construction andhigh-mass materials.

The architect, Gehry Partners,engaged an acoustical engineer toassist with the design of the wall andceiling assemblies in order to achievea noise classification rating of NC 25.Noise classifications are used to identifythe amount of ambient noise permittedin the room. This includes noises com -ing from outside the room, as well asany HVAC noises transmitted throughthe ductwork. To provide the maxi mumavailable sound isolation, the roomwas designed to be a “box within abox” with walls designed to providean STC 65 rating.

This means that there is an outerset of walls made from concretemasonry, filled solid. This high-masswall will deaden low-frequency noise,and dampen as much high-frequencysound as possible. This is the first box.

The second box is a set of metal studand drywall partitions and ceilingsthat are completely isolated from thesurrounding masonry wall. This isola -tion of the two walls is critical to theeffectiveness of the construction. Noneof the framing is attached directly tothe masonry. To provide the requiredisolation, a series of sound-attenuationdampers are used to carry the ceilingand brace the walls.

The box-within-a-box system ex -tended to the floor construction aswell. Because we had entirely removedthe floor slabs in these areas to lowerthe floors, we were able to create adepressed floor in the distance-learningclassroom, and install an isolated spring-attenuated reinforced concrete floorsystem. This system places a series ofsprings resting on the sub-slab that arepoured into the isolated slab. After theisolated slab has cured, the springs areturned, lifting the isolated slab 2¢¢ abovethe sub-slab so that the entire weightof the slab is supported by the springsalone. The masonry walls bear on the

Typical box-within-a-box wall construction. Orange highlighting shows the various soundattenuation isolators for the ceiling system and walls.

Spring-load discs hold up the rebar forthe floating floor. Plastic sheeting providesa bond break. After new concrete ispoured and set, the discs are turnedto raise the springs that carry the loadof the floating slab.


regular concrete slab at grade. Theisolated slab supports the isolatedmetal-framed walls, completing thefull separation between the outermasonry and concrete box from theinner metal-framed and isolated-slabinside box.

One of the program decisions thatneeds to be made early in the processthe appropriate NC rating for the pro -ject. In our case, we were concernedabout vibrations coming from upperfloors (with the café and dining directlyabove), and a ninety-year-old concreteand steel structure that would trans mitlow-frequency vibrations. However, inother types of structures, or in otherlocations, different decisions can bemade, potentially saving money, whilestill achieving desired results. Havinga knowledgeable architect and acou -stical consultant advising you in thesedecisions is critical.

The weak points of any of box-within-a-box configuration are pene -trations. Doors, power connections,ducts, sprinkler lines, any and allpiping, and wiring must all be routedto avoid penetrating the walls. Thisusually means routing them throughthe floor or, when wall penetrations are

required, incorporating special detailsthat tightly seal these penetrations.Acoustically, any penetration throughthe walls needs to be completely sealed.Even the smallest gap will allow noise toenter the room as if a door were open.

For the door, the architect specifieda specialized acoustical door manufac -tured by Industrial Acoustics Company.With an STC rating of 50, this dooris triple-gasketed along the jamb andhead, has drop-down seals at the thresh -old, and is very heavy. The selection ofthis door and the associated hardwarecan be one of the most importantdecisions. These are very expensive,and modifications to fix an error aredifficult.

Finally, because of the sensitivity ofthe microphones, reflected sounds needto be eliminated as well. This meansthat there can be no exposed hardsurfaces or finishes. To accomplishthis, the floor is carpeted, and all wallsand the ceiling are covered withacoustical panels.

TechnologyThe final piece in planning for thedistance-learning classroom revolved

around the technology used to runthe sessions. Cameras, TV monitors,lighting, teleconferencing phones andthe software to make all of this operaterequire coordination and planning. Inour situation, the existing Polycom sys -tem being used for distance-learningclasses was a system that served theneeds of the Museum well, and wasmoved to the new room. The systemin use has two TV monitors: one to seethe classroom, and the other to see theimages that are being shown to theclass. The system also has a camera, aspeakerphone, and a document camera—all controlled by a touchscreen andlaptop computer. Added to the packagewere connections to the new TV studioand control room to allow a coordi -nated feed between the two facilities.This allows the Museum to broadcasta panel discussion from the TV studiothrough the distance-learning roomconnections.

New equipment for the distance-learning room includes a new lightingsystem. Lighting in these rooms is acritical component. Proper lightinglevels will eliminate shadows on thepresenter, and will prevent chromakeynoise between the presenter’s clothing

The upper screen shows the teacherthe images being seen in the remoteclassroom. The lower screen shows thestudents. The camera is mounted betweenthe two screens.

Equipment used in the productions (left to right): remotes controlling the TV monitors andthe lighting; Polycom speakerphone; laptop computer; Polycom touchscreen controller; anddocument camera. The server rack for the various computer and AV connections is in front.

483535_kp.indd 56 12/21/12 11:16 AM


of a green screen, or create a set tomake these presentations.

EnvironmentA distance-learning classroom has cer -tain requirements, including comfort,sound attenuation, oper ations, equip -ment and built surroundings. Its newlocation on a lower level of the Museumdid present some challenges. Thefloor needed to be lowered in order toprovide enough head clearance for allof the programs planned for the space.Piping and mechanical and electricalequipment needed to be relocated andrerouted from areas needing higherceiling heights. Vibrations being trans -mitted through the building structureand the floor above needed to beisolated. And the room needed to beconstructed with a Noise Isolation Classrating of 50, and a Noise ClassificationRating of NC 25, to prevent any mecha -nical and corridor noises from beingtransmitted to the highly sensitive micro -phones. We will go into more detailon some of these issues throughoutthis article.

The original space had some limi -tations that the Museum did not want toduplicate. Firstly, there was the soundattenuation of the room. The distance-learning program was placed in analready constructed room that requiredadaptation in order to meet the soundrequirements. Because walls and floors

could not be reconstructed, we werelimited to applying waffle-shaped sound-absorbing materials to the walls. Unfor -tunately, that alone does not stop thetransmission of sound from outside theroom. These typical wedge and egg-carton foam panels are good at pre -venting reflected sounds from insidethe room, eliminating reverberations,and absorbing high-frequency sounds,but are not very effective in reducinglow-frequency noises coming throughthe walls. The only effective way toattenuate low-frequency sound isthrough isolated construction andhigh-mass materials.

The architect, Gehry Partners,engaged an acoustical engineer toassist with the design of the wall andceiling assemblies in order to achievea noise classification rating of NC 25.Noise classifications are used to identifythe amount of ambient noise permittedin the room. This includes noises com -ing from outside the room, as well asany HVAC noises transmitted throughthe ductwork. To provide the maxi mumavailable sound isolation, the roomwas designed to be a “box within abox” with walls designed to providean STC 65 rating.

This means that there is an outerset of walls made from concretemasonry, filled solid. This high-masswall will deaden low-frequency noise,and dampen as much high-frequencysound as possible. This is the first box.

The second box is a set of metal studand drywall partitions and ceilingsthat are completely isolated from thesurrounding masonry wall. This isola -tion of the two walls is critical to theeffectiveness of the construction. Noneof the framing is attached directly tothe masonry. To provide the requiredisolation, a series of sound-attenuationdampers are used to carry the ceilingand brace the walls.

The box-within-a-box system ex -tended to the floor construction aswell. Because we had entirely removedthe floor slabs in these areas to lowerthe floors, we were able to create adepressed floor in the distance-learningclassroom, and install an isolated spring-attenuated reinforced concrete floorsystem. This system places a series ofsprings resting on the sub-slab that arepoured into the isolated slab. After theisolated slab has cured, the springs areturned, lifting the isolated slab 2¢¢ abovethe sub-slab so that the entire weightof the slab is supported by the springsalone. The masonry walls bear on the

Typical box-within-a-box wall construction. Orange highlighting shows the various soundattenuation isolators for the ceiling system and walls.

Spring-load discs hold up the rebar forthe floating floor. Plastic sheeting providesa bond break. After new concrete ispoured and set, the discs are turnedto raise the springs that carry the loadof the floating slab.


regular concrete slab at grade. Theisolated slab supports the isolatedmetal-framed walls, completing thefull separation between the outermasonry and concrete box from theinner metal-framed and isolated-slabinside box.

One of the program decisions thatneeds to be made early in the processthe appropriate NC rating for the pro -ject. In our case, we were concernedabout vibrations coming from upperfloors (with the café and dining directlyabove), and a ninety-year-old concreteand steel structure that would trans mitlow-frequency vibrations. However, inother types of structures, or in otherlocations, different decisions can bemade, potentially saving money, whilestill achieving desired results. Havinga knowledgeable architect and acou -stical consultant advising you in thesedecisions is critical.

The weak points of any of box-within-a-box configuration are pene -trations. Doors, power connections,ducts, sprinkler lines, any and allpiping, and wiring must all be routedto avoid penetrating the walls. Thisusually means routing them throughthe floor or, when wall penetrations are

required, incorporating special detailsthat tightly seal these penetrations.Acoustically, any penetration throughthe walls needs to be completely sealed.Even the smallest gap will allow noise toenter the room as if a door were open.

For the door, the architect specifieda specialized acoustical door manufac -tured by Industrial Acoustics Company.With an STC rating of 50, this dooris triple-gasketed along the jamb andhead, has drop-down seals at the thresh -old, and is very heavy. The selection ofthis door and the associated hardwarecan be one of the most importantdecisions. These are very expensive,and modifications to fix an error aredifficult.

Finally, because of the sensitivity ofthe microphones, reflected sounds needto be eliminated as well. This meansthat there can be no exposed hardsurfaces or finishes. To accomplishthis, the floor is carpeted, and all wallsand the ceiling are covered withacoustical panels.

TechnologyThe final piece in planning for thedistance-learning classroom revolved

around the technology used to runthe sessions. Cameras, TV monitors,lighting, teleconferencing phones andthe software to make all of this operaterequire coordination and planning. Inour situation, the existing Polycom sys -tem being used for distance-learningclasses was a system that served theneeds of the Museum well, and wasmoved to the new room. The systemin use has two TV monitors: one to seethe classroom, and the other to see theimages that are being shown to theclass. The system also has a camera, aspeakerphone, and a document camera—all controlled by a touchscreen andlaptop computer. Added to the packagewere connections to the new TV studioand control room to allow a coordi -nated feed between the two facilities.This allows the Museum to broadcasta panel discussion from the TV studiothrough the distance-learning roomconnections.

New equipment for the distance-learning room includes a new lightingsystem. Lighting in these rooms is acritical component. Proper lightinglevels will eliminate shadows on thepresenter, and will prevent chromakeynoise between the presenter’s clothing

The upper screen shows the teacherthe images being seen in the remoteclassroom. The lower screen shows thestudents. The camera is mounted betweenthe two screens.

Equipment used in the productions (left to right): remotes controlling the TV monitors andthe lighting; Polycom speakerphone; laptop computer; Polycom touchscreen controller; anddocument camera. The server rack for the various computer and AV connections is in front.

483535_kp.indd 57 12/21/12 11:16 AM


and the green background. We installeda pipe-support system from the ceilingto allow flexibility in the installation ofthe lighting, and to allow for the pos -sible reconfiguration of the room infuture. The presenter is lit with four 2-lamp 55W fluorescent fixtures: 3 fromthe front and 1 for backlighting. Thechromakey green wall is lit with one 4-lamp 55W fluorescent fixture. Toavoid using these lights during normal

operations of the room, standardambient lighting fixtures are provided.

To provide additional flexibility forfuture configurations, electrical anddata connections for the room areprovided through surface-mountedraceways, accessed through a singlepenetration through the floor whichconnects to the TV studio control room.In addition, one in-floor power/dataconnection is provided in the centerof the floor, in a recessed box. Bothof these sets of connections are runback to the TV control room, to allowprograms broadcast from the distance-learning classroom to be monitoredfrom the TV studio and control roomas well.

Technology concerns are not limitedto the equipment inside the distance-learning classroom. The connectionsat the remote classroom are equallyimportant. Minimum standards forthese connections need to be under -stood and communicated to the guests.In addition, connections should betested ahead of the class session toensure that the systems can be con fig -ured, and that any special needs areunderstood.

With the growth of video commu -nications across the Internet, there willbe an equal growth of web-broadcastlearning. We hope that this descriptionof our process has answered some

questions, and are also sure that it hascreated an equal number of unan -swered questions. There are resourcesavailable to any institution desiring toset up a similar type of educationalclassroom. Your architect or engi neer -ing consultants are a great resource tohelp identify your institution’s needsand requirements, and an A/V con -sultant is extremely good source ofinformation as well. There are alsosome independent organizations in -volved in this field. One organization isthe Center for Interactive Learning andCollaboration (CILC—www.cilc.org).We would recommend that you seekan independent consultant that is notalso selling you the equipment, toensure that your needs are first andforemost in the design.

With the right assistance and design,implementation of a distance-learningprogram at your institution can be arewarding endeavor. It is amazing tosee the interest, involvement and inter -action from the children and otherparticipants in the programs you offer,and hopefully they will be teachingyour institution as much as you areteaching them.

Carl Freedman, AIA is an Associate withAegis Property Group, an Owner’s Rep andDevelopment Management firm located inPhiladelphia. He can be reached at:[email protected]

Studio lighting consists of three front lights(2 in foreground), one backlight, and onedouble light facing the chromakey wall.The pipe grid offers flexibility in layoutand installation.

Congratulations to John DeLucy and Tony McGuire for being awarded the IAMFA Lifetime Achievement Award

for their service to IAMFA, and their extraordinary career accomplishments.


In 2010, a new Director arrived at the National Museumof Australia. Andrew Sayers had a vision to populate theseemingly empty but architecturally stunning main hall

with large objects. As a result of his vision, the café had tomove out of the main hall to make room for the largeobjects to move in.

The Museum engaged the services of the architecturalfirm Ashton Raggatt MacDougall (ARM) to design the newcafé. ARM and Robert Peck von Hartel Trethowen were theMuseum’s original architects. The new café was intendedto reinforce the vision of the Museum as an institution thatis bold in all it does, while also connecting with the beautifulsurroundings at Lake Burley Griffin. (Picture 1)

When the brief was written, a great deal of care andthought went into what the public would want in the café,what kinds of functions the Museum wanted to have, and

what kind of space would be appropriate to deliver thecatering services into the future. After reviewing a numberof options, the Museum decided on one, allocated a realisticbuilding budget of $3.6 million, and proceeded.

A Boolean knot (an invisible or imaginary knot) was thearchitect’s concept for the original main hall of the Museum.The design of the knot was based upon tangling pentagonalsponge. The form of the café represents the end of animaginary knot, stretching out from the main hall. Thenew physical café is located where the knot could beconceived as re-entering the building.

The café will seat 150 patrons internally and 50 patronson the exterior deck. Large expanses of glass enclose theentire length of the café, which allow for views out on tothe lake, while maximising natural light. In the originalconcept design, the glass ran from floor to ceiling; unfor -tunately, the expanse had to be reduced in order to complywith updated building codes. The view, however, is still aspreviously conceived.

Sections of the new café are part of the existing building.In these areas, warm olive timbers and more intimate spaceshave been created. The new extension uses a differentmaterial palette to differentiate between existing andnewly built areas. (Picture 2)

The finishes are natural timbers native to Australia, suchas messmate and tallow wood, stone, leather and concrete.

The National Museumof AustraliaExpansion Program Includes an InnovativeCafe and Administrative ExtensionBy Greer Gehrt

Picture 1: View out over Lake Burley Griffin from the newly pouredconcrete floor of the café.

Picture 2: The new extension in blue snakes between two heritagePonderosa Pine trees.

483535_kp.indd 58 12/21/12 11:16 AM


and the green background. We installeda pipe-support system from the ceilingto allow flexibility in the installation ofthe lighting, and to allow for the pos -sible reconfiguration of the room infuture. The presenter is lit with four 2-lamp 55W fluorescent fixtures: 3 fromthe front and 1 for backlighting. Thechromakey green wall is lit with one 4-lamp 55W fluorescent fixture. Toavoid using these lights during normal

operations of the room, standardambient lighting fixtures are provided.

To provide additional flexibility forfuture configurations, electrical anddata connections for the room areprovided through surface-mountedraceways, accessed through a singlepenetration through the floor whichconnects to the TV studio control room.In addition, one in-floor power/dataconnection is provided in the centerof the floor, in a recessed box. Bothof these sets of connections are runback to the TV control room, to allowprograms broadcast from the distance-learning classroom to be monitoredfrom the TV studio and control roomas well.

Technology concerns are not limitedto the equipment inside the distance-learning classroom. The connectionsat the remote classroom are equallyimportant. Minimum standards forthese connections need to be under -stood and communicated to the guests.In addition, connections should betested ahead of the class session toensure that the systems can be con fig -ured, and that any special needs areunderstood.

With the growth of video commu -nications across the Internet, there willbe an equal growth of web-broadcastlearning. We hope that this descriptionof our process has answered some

questions, and are also sure that it hascreated an equal number of unan -swered questions. There are resourcesavailable to any institution desiring toset up a similar type of educationalclassroom. Your architect or engi neer -ing consultants are a great resource tohelp identify your institution’s needsand requirements, and an A/V con -sultant is extremely good source ofinformation as well. There are alsosome independent organizations in -volved in this field. One organization isthe Center for Interactive Learning andCollaboration (CILC—www.cilc.org).We would recommend that you seekan independent consultant that is notalso selling you the equipment, toensure that your needs are first andforemost in the design.

With the right assistance and design,implementation of a distance-learningprogram at your institution can be arewarding endeavor. It is amazing tosee the interest, involvement and inter -action from the children and otherparticipants in the programs you offer,and hopefully they will be teachingyour institution as much as you areteaching them.

Carl Freedman, AIA is an Associate withAegis Property Group, an Owner’s Rep andDevelopment Management firm located inPhiladelphia. He can be reached at:[email protected]

Studio lighting consists of three front lights(2 in foreground), one backlight, and onedouble light facing the chromakey wall.The pipe grid offers flexibility in layoutand installation.

Congratulations to John DeLucy and Tony McGuire for being awarded the IAMFA Lifetime Achievement Award

for their service to IAMFA, and their extraordinary career accomplishments.


In 2010, a new Director arrived at the National Museumof Australia. Andrew Sayers had a vision to populate theseemingly empty but architecturally stunning main hall

with large objects. As a result of his vision, the café had tomove out of the main hall to make room for the largeobjects to move in.

The Museum engaged the services of the architecturalfirm Ashton Raggatt MacDougall (ARM) to design the newcafé. ARM and Robert Peck von Hartel Trethowen were theMuseum’s original architects. The new café was intendedto reinforce the vision of the Museum as an institution thatis bold in all it does, while also connecting with the beautifulsurroundings at Lake Burley Griffin. (Picture 1)

When the brief was written, a great deal of care andthought went into what the public would want in the café,what kinds of functions the Museum wanted to have, and

what kind of space would be appropriate to deliver thecatering services into the future. After reviewing a numberof options, the Museum decided on one, allocated a realisticbuilding budget of $3.6 million, and proceeded.

A Boolean knot (an invisible or imaginary knot) was thearchitect’s concept for the original main hall of the Museum.The design of the knot was based upon tangling pentagonalsponge. The form of the café represents the end of animaginary knot, stretching out from the main hall. Thenew physical café is located where the knot could beconceived as re-entering the building.

The café will seat 150 patrons internally and 50 patronson the exterior deck. Large expanses of glass enclose theentire length of the café, which allow for views out on tothe lake, while maximising natural light. In the originalconcept design, the glass ran from floor to ceiling; unfor -tunately, the expanse had to be reduced in order to complywith updated building codes. The view, however, is still aspreviously conceived.

Sections of the new café are part of the existing building.In these areas, warm olive timbers and more intimate spaceshave been created. The new extension uses a differentmaterial palette to differentiate between existing andnewly built areas. (Picture 2)

The finishes are natural timbers native to Australia, suchas messmate and tallow wood, stone, leather and concrete.

The National Museumof AustraliaExpansion Program Includes an InnovativeCafe and Administrative ExtensionBy Greer Gehrt

Picture 1: View out over Lake Burley Griffin from the newly pouredconcrete floor of the café.

Picture 2: The new extension in blue snakes between two heritagePonderosa Pine trees.

483535_kp.indd 59 12/21/12 11:16 AM


Acoustical ply throughout the ceiling will ensure thatconversations can be held in comfort. (Pictures 3 and 4)

The furniture in the café is being sourced through localAustralian furniture designers to minimise the impact offreighting furniture from overseas, while also supportinglocal designers.

The food offerings will be “brasserie” style. A “grab andgo” counter will be available for those wanting a quickcoffee and sandwich, and sit-down table service will beprovided for those with a little more time.

The café features a variety of seating configurations. Along communal table will be located adjacent to the caféentrance; there will be banquette seating for those choos -ing to have a longer lunch; and there will be lounge areasfor those wanting cake, coffee and a place to perch whilethey access the free Wi-Fi. In addition, there will be café-styletimber tables and chairs for those having a lunch meetingor catching up with friends.

The café will open in early December 2012.The Administration Extension Project (AEP) has been

in the planning since 2007. The idea behind the projectwas to consolidate all staff within one part of the overall site.

The architects were briefed to design a relevant, cohesiveand collaborative workspace. Moving to this model was noeasy feat, given that this meant moving some staff out ofoffices and into a more team-based working environment.

Viewing the original building as something of a jigsawpuzzle, architects planned the extension as another of thepuzzle pieces that together formed the Museum building.As such, the extension fits between two existing staffaccommodation areas, slotting nicely into the overallpuzzle. (Pictures 5 and 6)

The colours selected for the façade of the building repre -sent a thermal image, which is significant in the world ofmuseums. This is because temperature and relative humidityare critical to maintaining appropriate conditions forcollections. The concept of the thermal image thereforelinks back to some of the work that the Museum does inrelation to caring for our collections.

The black tiles on the façade represent a QR code.To the left of the administration entry, there is a locationwhere an image of the code can be captured on a smartdevice. With the correct application, the smart device willbe redirected to the Museum’s website. This has been

Picture 3: Interior perspective of café with acoustical ply ceilingsand concrete floor in new area, and olive colour scheme to blendwith the existing building.

Picture 5: Preparing the extension site between two existingbuildings.

Picture 4: Work in progress on the café ceiling.Picture 6: Perspective of the new building, slotted between twoexisting buildings.


tested by photographing the drawings—and it works! Iam reserving judgement until the building is actually up,however, to see whether it will work in real life.

An environmental consultant was engaged to provideadvice on how to minimise our impact on the environ ment.His advice, when weighing up the project constraints, wasto leave as much of the existing HVAC system as possible inthe areas to be refurbished, and only add in a small unit tosupply the new building. Care has been taken to minimisewindows where possible, in order to reduce heat loss/gain.This was particularly important, given that Canberra hashot summers upwards of 32˚C, and cold winters that godown to -10˚C.

The AEP is due for completion in mid-2013.

Greer Gehrt has been working with the National Museum ofAustralia since 2006 on a variety of major projects, including thosein this article, as well as site master planning and a proposal todevelop a new environmentally passive collection managementfacility for the Museum. In 2012, she received the National Womenin Construction Award for Outstanding Achievement in Design.She has a particular interest in Low Energy Climates for Museums,and has represented the Museum internationally in Copenhagenand Berlin on this topic.

Picture 7: Design concept for the new Administration ExtensionProject at the National Museum of Australia in Canberra.

Congratulations to Dan Davies and Joe Brennanfor being awarded the 2012 George Preston Memorial Award

at this year's IAMFA Mid-Atlantic Conference. Their service to IAMFA over the years has benefited all IAMFA members.

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

483535_kp.indd 60 12/21/12 11:16 AM


Acoustical ply throughout the ceiling will ensure thatconversations can be held in comfort. (Pictures 3 and 4)

The furniture in the café is being sourced through localAustralian furniture designers to minimise the impact offreighting furniture from overseas, while also supportinglocal designers.

The food offerings will be “brasserie” style. A “grab andgo” counter will be available for those wanting a quickcoffee and sandwich, and sit-down table service will beprovided for those with a little more time.

The café features a variety of seating configurations. Along communal table will be located adjacent to the caféentrance; there will be banquette seating for those choos -ing to have a longer lunch; and there will be lounge areasfor those wanting cake, coffee and a place to perch whilethey access the free Wi-Fi. In addition, there will be café-styletimber tables and chairs for those having a lunch meetingor catching up with friends.

The café will open in early December 2012.The Administration Extension Project (AEP) has been

in the planning since 2007. The idea behind the projectwas to consolidate all staff within one part of the overall site.

The architects were briefed to design a relevant, cohesiveand collaborative workspace. Moving to this model was noeasy feat, given that this meant moving some staff out ofoffices and into a more team-based working environment.

Viewing the original building as something of a jigsawpuzzle, architects planned the extension as another of thepuzzle pieces that together formed the Museum building.As such, the extension fits between two existing staffaccommodation areas, slotting nicely into the overallpuzzle. (Pictures 5 and 6)

The colours selected for the façade of the building repre -sent a thermal image, which is significant in the world ofmuseums. This is because temperature and relative humidityare critical to maintaining appropriate conditions forcollections. The concept of the thermal image thereforelinks back to some of the work that the Museum does inrelation to caring for our collections.

The black tiles on the façade represent a QR code.To the left of the administration entry, there is a locationwhere an image of the code can be captured on a smartdevice. With the correct application, the smart device willbe redirected to the Museum’s website. This has been

Picture 3: Interior perspective of café with acoustical ply ceilingsand concrete floor in new area, and olive colour scheme to blendwith the existing building.

Picture 5: Preparing the extension site between two existingbuildings.

Picture 4: Work in progress on the café ceiling.Picture 6: Perspective of the new building, slotted between twoexisting buildings.


tested by photographing the drawings—and it works! Iam reserving judgement until the building is actually up,however, to see whether it will work in real life.

An environmental consultant was engaged to provideadvice on how to minimise our impact on the environ ment.His advice, when weighing up the project constraints, wasto leave as much of the existing HVAC system as possible inthe areas to be refurbished, and only add in a small unit tosupply the new building. Care has been taken to minimisewindows where possible, in order to reduce heat loss/gain.This was particularly important, given that Canberra hashot summers upwards of 32˚C, and cold winters that godown to -10˚C.

The AEP is due for completion in mid-2013.

Greer Gehrt has been working with the National Museum ofAustralia since 2006 on a variety of major projects, including thosein this article, as well as site master planning and a proposal todevelop a new environmentally passive collection managementfacility for the Museum. In 2012, she received the National Womenin Construction Award for Outstanding Achievement in Design.She has a particular interest in Low Energy Climates for Museums,and has represented the Museum internationally in Copenhagenand Berlin on this topic.

Picture 7: Design concept for the new Administration ExtensionProject at the National Museum of Australia in Canberra.

Congratulations to Dan Davies and Joe Brennanfor being awarded the 2012 George Preston Memorial Award

at this year's IAMFA Mid-Atlantic Conference. Their service to IAMFA over the years has benefited all IAMFA members.

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

483535_kp.indd 61 12/21/12 11:17 AM


We learned recently that theWinterthur Museum, Garden& Library—one of the host

venues for the 22nd IAMFA AnnualConference—has received anothergrant from the National Endowmentfor the Humanities (NEH). This newgrant for $350,000 will enable instal la -tion of a new HVAC-control system inthe Museum, Galleries and ResearchBuildings. The budgeted cost for theentire project is $873,000, includingabout $130,000 for the salaries ofWinterthur personnel who will workon this project.

As you will read in the abstract below,it is estimated that the project willresult in annual energy cost savings of$194,000, with an amortization periodof approximately 4 years. However,when we include only Winterthur’s out-of-pocket expenditures ($873,000–$350,000–$130,000 = $393,000), thepayback period for this project is atruly remarkable 2 years!

Incidentally, Winterthur received arequest from NEH that they be allowedto post the following abstract on theirwebsite. They want to tout it as a modelfor other grant proposals. As you canimagine, Winterthur said “yes.”

AbstractWinterthur Museum, Garden & Libraryis committed to lifelong learning inthe humanities and to the sustainablepreservation of the collections thatsupport this mission. To this end,Winterthur requests a $350,000 NEHSCHC implementation grant as partof an $873,338 project to enhance thepreservation of the collections andreduce collection-related energy costs.Installation of a new HVAC-controlsystem will effectively manage energyand the preservation environment inWinterthur’s three major collectionbuildings: the Museum, Galleries, andResearch Buildings. These buildings

house one of America’s outstandingcollections of decorative arts andresearch material related to materialculture, as well as extensive program -ming, exhibitions, conservation andscientific research facilities, and twograduate programs critical to trainingcultural heritage professionals.

The new HVAC controls and asso ci -ated upgrades will replace Winterthur’santiquated, inflexible system with sophis -ticated controls and the advancedmonitoring and analytical capacitynecessary to take advantage of recentresearch—proving that daily and sea -sonal temperature and humidity cansafely vary over a broad range withoutdamaging collections. Implementingthis energy-saving variability safely in acomplex physical plant requires a flexi -ble system that allows the significantoperational control provided by thissystem. The project will be managedby a collaborative team of engineers,consultants, conservators, facilities,and collections staff.

The project will have two signifi cantoutcomes. The first is a major improve -ment in the energy efficiency and

quality of the preservation environ mentin Winterthur’s collection areas, withsavings from mechanical upgrades esti -mated at $194,350 per year—12.7% ofits current utilities costs—along withsignificant additional savings fromoperational changes made possible bythe new control system. These savingswill allow Winterthur to improve thesustainability of its collection preser va -tion and humanities-related research andprogram activities by redirecting re -sources to initiatives that enhance publicand scholarly access to the collections.

The second significant outcome isthe information derived from instal la -tion of an innovative control/moni tor -ing interface developed by the ImagePermanence Institute (IPI), and sys -tematic implementation of opera tionalprotocols that will benefit other cul turalheritage institutions facing similarsustainability issues. IPI will make thecontrol/eClimate Notebook interfaceavailable to all users, and Winterthur’scareful documentation of the processused to develop and document oper a -tional protocols and energy savings willbe disseminated to the field throughlectures, websites and publications.

This project addresses key compo -nents of the mission statement andstrategic plan. As an extension ofWinterthur’s historical environmentalconsciousness, it will improve sustain -ability of the extensive physical plantand enhance the preservation of col -lections: issues important to key donorsand our core audience. A reduction inoperating costs will improve financialperformance and make more fundsavailable to educational, exhibition,and collection-based activities that helpbuild audiences, build on excellence,and increase revenue. The innovativecomponents of this project in environ -mental control and energy-saving oper -ational protocols reflect Winterthur’sculture and commitment to research,leadership, and excellence.

Winterthur Museum, Garden & LibraryReceives Grant for New HVAC System By John Castle

Winterthur Museum, Garden & Library,located in Winterthur, Delaware.


Northern California and Nevada MemberRegionBy Joe Brennan, Chair

The fourth-quarter meeting of IAMFA’s Northern Californiaand Nevada Member Region was held on November 6, 2012.Our host, Mark Lawn, was Chief Engineer of the new homeof the San Francisco Public Utilities Commission. This excit -ing structure was completed in July 2012, at 525 Golden GateAvenue and the corner of Polk Street. Members met herefor our fourth quarterly meeting and tour.

The architectural and mechanical innovations are many andvaried in this awardwinning building. It is a 13-storey Class Aoffice building housing over 900 employees. Some of itslaudable achievements are a 32% reduction in energy use,a 60% reduction in water use, and a carbon footprint thatis 50% smaller than that of a similarly-sized office building!

We had a memorable back-of-house tour—to saynothing of the digital arts wall, the Living Machine and theRain Portal art installation.

In attendance were:

Terry Zukoski—Glide Memorial Foundation

Michael Kifer—Glide Memorial Foundation

Nancy Wolf—Disney Family Museum

Andrew Dubowski—San Francisco Symphony

Keith Goldstein—Everest Waterproofing & Restoration

Mark Hurtado—Contemporary Jewish Museum/Guardsmark

Joe Brennan—San Francisco Museum of Modern Art

Ottawa Member RegionFederal Government to Create the Canadian Museumof HistoryBy Guy Larocque

On October 16, Canada’s Minister of Canadian Heritageand Official Languages announced the federal government’sintention to introduce legislation creating the CanadianMuseum of History: the first in a series of measures on theroad to Canada’s 150th birthday in 2017.

This will be done through amendments to Canada’sMuseums Act, which will change the name and mandate ofthe Canadian Museum of Civilization. The announcementwas made at the Canadian Museum of Civilization in thepresence of the Museum’s Board of Trustees, Museumstaff, eminent Canadian historians, and members ofhistorical associations from across Canada.

This year is seen as the start of the five-year countdown toCanada’s 150th birthday in 2017. According to the Minister,“It offers us an unprecedented opportunity to celebrateour history and those achievements that define who we areas Canadians. Canadians deserve a national museum ofhistory that tells our stories and presents our country’streasures to the world.”

Mark O’Neill, President and CEO of the CanadianMuseum of Civilization Corporation, said the institution istaking a bold step into the future by refocusing its attentionon our shared national history. “The Canadian Museum ofHistory will inspire curiosity and a greater understandingof the forces that have shaped the Canadian identity.Canadians, as well as visitors from around the world, willleave the Museum with a deeper appreciation of Canada’sunique and fascinating national journey.”

To support this transition, the Canadian government isproviding $25 million in funding to modify half of theMuseum’s 100,000 square feet of permanent exhibitionspace. The renovated spaces will focus on significant eventsthat have shaped the history of Canada. The Museum’sFacility Management group will be directly involved in thetransformation of these spaces over the next three years.

Regional Updates and Member News

San Francisco Public Utilities Commission Building.

483535_kp.indd 62 12/21/12 11:17 AM


We learned recently that theWinterthur Museum, Garden& Library—one of the host

venues for the 22nd IAMFA AnnualConference—has received anothergrant from the National Endowmentfor the Humanities (NEH). This newgrant for $350,000 will enable instal la -tion of a new HVAC-control system inthe Museum, Galleries and ResearchBuildings. The budgeted cost for theentire project is $873,000, includingabout $130,000 for the salaries ofWinterthur personnel who will workon this project.

As you will read in the abstract below,it is estimated that the project willresult in annual energy cost savings of$194,000, with an amortization periodof approximately 4 years. However,when we include only Winterthur’s out-of-pocket expenditures ($873,000–$350,000–$130,000 = $393,000), thepayback period for this project is atruly remarkable 2 years!

Incidentally, Winterthur received arequest from NEH that they be allowedto post the following abstract on theirwebsite. They want to tout it as a modelfor other grant proposals. As you canimagine, Winterthur said “yes.”

AbstractWinterthur Museum, Garden & Libraryis committed to lifelong learning inthe humanities and to the sustainablepreservation of the collections thatsupport this mission. To this end,Winterthur requests a $350,000 NEHSCHC implementation grant as partof an $873,338 project to enhance thepreservation of the collections andreduce collection-related energy costs.Installation of a new HVAC-controlsystem will effectively manage energyand the preservation environment inWinterthur’s three major collectionbuildings: the Museum, Galleries, andResearch Buildings. These buildings

house one of America’s outstandingcollections of decorative arts andresearch material related to materialculture, as well as extensive program -ming, exhibitions, conservation andscientific research facilities, and twograduate programs critical to trainingcultural heritage professionals.

The new HVAC controls and asso ci -ated upgrades will replace Winterthur’santiquated, inflexible system with sophis -ticated controls and the advancedmonitoring and analytical capacitynecessary to take advantage of recentresearch—proving that daily and sea -sonal temperature and humidity cansafely vary over a broad range withoutdamaging collections. Implementingthis energy-saving variability safely in acomplex physical plant requires a flexi -ble system that allows the significantoperational control provided by thissystem. The project will be managedby a collaborative team of engineers,consultants, conservators, facilities,and collections staff.

The project will have two signifi cantoutcomes. The first is a major improve -ment in the energy efficiency and

quality of the preservation environ mentin Winterthur’s collection areas, withsavings from mechanical upgrades esti -mated at $194,350 per year—12.7% ofits current utilities costs—along withsignificant additional savings fromoperational changes made possible bythe new control system. These savingswill allow Winterthur to improve thesustainability of its collection preser va -tion and humanities-related research andprogram activities by redirecting re -sources to initiatives that enhance publicand scholarly access to the collections.

The second significant outcome isthe information derived from instal la -tion of an innovative control/moni tor -ing interface developed by the ImagePermanence Institute (IPI), and sys -tematic implementation of opera tionalprotocols that will benefit other cul turalheritage institutions facing similarsustainability issues. IPI will make thecontrol/eClimate Notebook interfaceavailable to all users, and Winterthur’scareful documentation of the processused to develop and document oper a -tional protocols and energy savings willbe disseminated to the field throughlectures, websites and publications.

This project addresses key compo -nents of the mission statement andstrategic plan. As an extension ofWinterthur’s historical environmentalconsciousness, it will improve sustain -ability of the extensive physical plantand enhance the preservation of col -lections: issues important to key donorsand our core audience. A reduction inoperating costs will improve financialperformance and make more fundsavailable to educational, exhibition,and collection-based activities that helpbuild audiences, build on excellence,and increase revenue. The innovativecomponents of this project in environ -mental control and energy-saving oper -ational protocols reflect Winterthur’sculture and commitment to research,leadership, and excellence.

Winterthur Museum, Garden & LibraryReceives Grant for New HVAC System By John Castle

Winterthur Museum, Garden & Library,located in Winterthur, Delaware.


Northern California and Nevada MemberRegionBy Joe Brennan, Chair

The fourth-quarter meeting of IAMFA’s Northern Californiaand Nevada Member Region was held on November 6, 2012.Our host, Mark Lawn, was Chief Engineer of the new homeof the San Francisco Public Utilities Commission. This excit -ing structure was completed in July 2012, at 525 Golden GateAvenue and the corner of Polk Street. Members met herefor our fourth quarterly meeting and tour.

The architectural and mechanical innovations are many andvaried in this awardwinning building. It is a 13-storey Class Aoffice building housing over 900 employees. Some of itslaudable achievements are a 32% reduction in energy use,a 60% reduction in water use, and a carbon footprint thatis 50% smaller than that of a similarly-sized office building!

We had a memorable back-of-house tour—to saynothing of the digital arts wall, the Living Machine and theRain Portal art installation.

In attendance were:

Terry Zukoski—Glide Memorial Foundation

Michael Kifer—Glide Memorial Foundation

Nancy Wolf—Disney Family Museum

Andrew Dubowski—San Francisco Symphony

Keith Goldstein—Everest Waterproofing & Restoration

Mark Hurtado—Contemporary Jewish Museum/Guardsmark

Joe Brennan—San Francisco Museum of Modern Art

Ottawa Member RegionFederal Government to Create the Canadian Museumof HistoryBy Guy Larocque

On October 16, Canada’s Minister of Canadian Heritageand Official Languages announced the federal government’sintention to introduce legislation creating the CanadianMuseum of History: the first in a series of measures on theroad to Canada’s 150th birthday in 2017.

This will be done through amendments to Canada’sMuseums Act, which will change the name and mandate ofthe Canadian Museum of Civilization. The announcementwas made at the Canadian Museum of Civilization in thepresence of the Museum’s Board of Trustees, Museumstaff, eminent Canadian historians, and members ofhistorical associations from across Canada.

This year is seen as the start of the five-year countdown toCanada’s 150th birthday in 2017. According to the Minister,“It offers us an unprecedented opportunity to celebrateour history and those achievements that define who we areas Canadians. Canadians deserve a national museum ofhistory that tells our stories and presents our country’streasures to the world.”

Mark O’Neill, President and CEO of the CanadianMuseum of Civilization Corporation, said the institution istaking a bold step into the future by refocusing its attentionon our shared national history. “The Canadian Museum ofHistory will inspire curiosity and a greater understandingof the forces that have shaped the Canadian identity.Canadians, as well as visitors from around the world, willleave the Museum with a deeper appreciation of Canada’sunique and fascinating national journey.”

To support this transition, the Canadian government isproviding $25 million in funding to modify half of theMuseum’s 100,000 square feet of permanent exhibitionspace. The renovated spaces will focus on significant eventsthat have shaped the history of Canada. The Museum’sFacility Management group will be directly involved in thetransformation of these spaces over the next three years.

Regional Updates and Member News

San Francisco Public Utilities Commission Building.

483535_kp.indd 63 12/21/12 11:17 AM


Sad News from the Ottawa MemberRegionBy Ed Richard

It is with great sadness that I convey tofellow IAMFA members the passing ofone of our own. Pierrette Lagrois ofthe National Gallery of Canada passedaway on October 21, at the age of 52,from a rare form of neuroendocrinecancer. Pierrette was instrumental inorganizing the guest programs for twoof our annual conferences in Ottawa(1999 and 2007). She later became amember of IAMFA, and very muchenjoyed being a part of the organ -

ization and the people involved. She will be dearly missedby her colleagues, friends and family.

United Kingdom Member RegionU.K. UpdateBy Jack Plumb

The big news from the U.K. section of IAMFA is that we havearranged another meeting of the IAMFA Environmentalgroup at the National Records Office in Kew, London. TheIAMFA Environmental group is a collection of U.K. IAMFAmembers and Preservation colleagues from our organisations,most of whom are members of ICOM (Preservation). Thepurpose of these meetings is to share knowledge and under -standing of one another’s challenges. After all, we are alllooking after the same collections.

At the Kew meeting, we will hear from some of the teamwho put together the latest guidance documentation PAS198:2012, a specification for managing environmentalconditions for cultural collections. We will also be hearingfrom Kostas Ntanos, Headof Conservation Researchand Development at theNational Archives, U.K., onthe subject of seasonal drift.Seasonal drift is an accep -tance that heritage col lec -tions can be successfullystored in collection spacesmaintained within an agreedenvironmental envelope andthat, with further agreedrates of change, the tem -perature and humidity candrift around within thisenvironmental envelope.Don’t miss the next issue ofPapyrus, where we will give afull report on this meeting.

John and Livi De Lucy recently went on a pilgrimage tothe Holy Land, spending a week in Jerusalem and a weekbeside the Sea of Galilee, visiting many sites mentioned inthe Bible. As you know, the area has a fascinating history,covering the past 3,000 years. The pipe was called a“Hubbly Bubbly” on the menu, but they call it a “hookah”.

“Guess which IAMFA con -ference our grand-dad (JP)went to?”

Australia Member RegionNew Technical Director for Steensen Varming GlobalExpansion

Henrik Sørensen has joined theSteensen & Varming team inCopenhagen as Technical Director.Henrik will con tribute to the devel -opment of Steensen Varming’sglobal strategy for consultancy onbuildings services, sustainabilityand indoor climate.

Henrik will be important in re-establishing the Copenhagen office,

serving the Nordic and European Regions and beyond.Steensen Varming has developed an elegant structurefor working globally as one company; as such, Henrik willbe involved in projects based on the skills from whichour clients and collaborators will benefit, rather thangeographical boundaries.

“Steensen Varming has a rather different approach toprojects, business, client focus and staff well-being, andtakes a long-term approach in getting the right peopleinvolved in representing the company. Henrik’s availabilityand cultural fit was an opportunity not to be missed. Hav -ing Henrik Sørensen on board allows us to accelerate ourplans for the Copenhagen office, says CEO Dan Mackenzie.“With Henrik on the Steensen Varming manage mentteam, we look forward to tying the Copenhagen officeinto the com pany’s global strategy. Henrik’s exper tise andvision will be of great value to current and future clients,as we continue to assist in improving the perfor manceof bene ficial architecture and support the developmentof better buildings and environments through our +ve(positive) approach.”

Henrik Sørensen is specialised in the integrated energydesign of buildings, and has more that 20 years of expe -rience in building services, sustainable building design and


indoor climate. Henrik has a Masters in Engineering fromDanish Technical University, and an executive MBA inInnovation Management from TEM-DTU. Past projects haveincluded winners of the Danish and the European Solar Prizeand the Elforsk Prize, and Henrik has long-term experiencein R&D project management of projects supported by theEU and the International Energy Agency, with participantsfrom leading architects and industries internationally.

“I am very excited about this unique opportunity, andlook forward to working with some of the leading expertsin our specialist fields internationally,” says Henrik Sørensen.“The values and corporate culture of Steensen Varming arevery important to me, and I am humbled to be part of themanagement team that will be expanding these into aglobal context, together with my fantastic colleagues.”

Steensen Varming’s experience covers both the privateand public sectors, encompassing a diverse range of projects,from iconic world heritage sites and sensitive culturalprojects to institutional, health and commercial develop -ments, as well as masterplans. The company’s vast portfolioof project and international awards has been built uponthe principles of Danish design excellence, dedicated clientservices and commitment to quality, in order to produceintelligent, valuable and elegant solutions.

Steensen Varming is, and always has been, an inter na tionalpioneer in the Building Services industry, characterisedby an ethos of collaboration and hard work that deliversbetter project outcomes.

Building Services need to be integrated, not only betweenthe disciplines of sustainability, mechanical, electrical engi -neering and lighting, but also within a building or site as awhole. This encompasses issues such as spatial planning,aesthetics, cost, acoustics, buildability, efficiency, operation,whole-life considerations, the environment, and properfunctioning of systems for the occupants. We consider allof these issues as part of our service; as such, we differ en -tiate ourselves as a collaborative consultant deliveringholistic solutions and positive environments.

Some of Steensen Varming’s key projects include thePanum Institute, Denmark; Aarhus Town Hall, Denmark;Utzon Centre, Denmark; Sydney Opera House, Australia;Australian War Memorial, Australia; National PortraitGallery, Australia; Parliament House, Australia; BritishLibrary, UK; Coventry Cathedral, U.K.; Holy Sepulchre,Jerusalem; Victoria and Albert Museum, U.K.; PlayfairProject, U.K.; Irish Parliament, Ireland; Grande Arche,Paris; St Catherine’s College, Oxford, U.K.

Reserve this space toadvertise in a future

issue of Papyrus

Please contact theEditor of Papyrus

for details

483535_kp.indd 64 12/21/12 11:17 AM


Sad News from the Ottawa MemberRegionBy Ed Richard

It is with great sadness that I convey tofellow IAMFA members the passing ofone of our own. Pierrette Lagrois ofthe National Gallery of Canada passedaway on October 21, at the age of 52,from a rare form of neuroendocrinecancer. Pierrette was instrumental inorganizing the guest programs for twoof our annual conferences in Ottawa(1999 and 2007). She later became amember of IAMFA, and very muchenjoyed being a part of the organ -

ization and the people involved. She will be dearly missedby her colleagues, friends and family.

United Kingdom Member RegionU.K. UpdateBy Jack Plumb

The big news from the U.K. section of IAMFA is that we havearranged another meeting of the IAMFA Environmentalgroup at the National Records Office in Kew, London. TheIAMFA Environmental group is a collection of U.K. IAMFAmembers and Preservation colleagues from our organisations,most of whom are members of ICOM (Preservation). Thepurpose of these meetings is to share knowledge and under -standing of one another’s challenges. After all, we are alllooking after the same collections.

At the Kew meeting, we will hear from some of the teamwho put together the latest guidance documentation PAS198:2012, a specification for managing environmentalconditions for cultural collections. We will also be hearingfrom Kostas Ntanos, Headof Conservation Researchand Development at theNational Archives, U.K., onthe subject of seasonal drift.Seasonal drift is an accep -tance that heritage col lec -tions can be successfullystored in collection spacesmaintained within an agreedenvironmental envelope andthat, with further agreedrates of change, the tem -perature and humidity candrift around within thisenvironmental envelope.Don’t miss the next issue ofPapyrus, where we will give afull report on this meeting.

John and Livi De Lucy recently went on a pilgrimage tothe Holy Land, spending a week in Jerusalem and a weekbeside the Sea of Galilee, visiting many sites mentioned inthe Bible. As you know, the area has a fascinating history,covering the past 3,000 years. The pipe was called a“Hubbly Bubbly” on the menu, but they call it a “hookah”.

“Guess which IAMFA con -ference our grand-dad (JP)went to?”

Australia Member RegionNew Technical Director for Steensen Varming GlobalExpansion

Henrik Sørensen has joined theSteensen & Varming team inCopenhagen as Technical Director.Henrik will con tribute to the devel -opment of Steensen Varming’sglobal strategy for consultancy onbuildings services, sustainabilityand indoor climate.

Henrik will be important in re-establishing the Copenhagen office,

serving the Nordic and European Regions and beyond.Steensen Varming has developed an elegant structurefor working globally as one company; as such, Henrik willbe involved in projects based on the skills from whichour clients and collaborators will benefit, rather thangeographical boundaries.

“Steensen Varming has a rather different approach toprojects, business, client focus and staff well-being, andtakes a long-term approach in getting the right peopleinvolved in representing the company. Henrik’s availabilityand cultural fit was an opportunity not to be missed. Hav -ing Henrik Sørensen on board allows us to accelerate ourplans for the Copenhagen office, says CEO Dan Mackenzie.“With Henrik on the Steensen Varming manage mentteam, we look forward to tying the Copenhagen officeinto the com pany’s global strategy. Henrik’s exper tise andvision will be of great value to current and future clients,as we continue to assist in improving the perfor manceof bene ficial architecture and support the developmentof better buildings and environments through our +ve(positive) approach.”

Henrik Sørensen is specialised in the integrated energydesign of buildings, and has more that 20 years of expe -rience in building services, sustainable building design and


indoor climate. Henrik has a Masters in Engineering fromDanish Technical University, and an executive MBA inInnovation Management from TEM-DTU. Past projects haveincluded winners of the Danish and the European Solar Prizeand the Elforsk Prize, and Henrik has long-term experiencein R&D project management of projects supported by theEU and the International Energy Agency, with participantsfrom leading architects and industries internationally.

“I am very excited about this unique opportunity, andlook forward to working with some of the leading expertsin our specialist fields internationally,” says Henrik Sørensen.“The values and corporate culture of Steensen Varming arevery important to me, and I am humbled to be part of themanagement team that will be expanding these into aglobal context, together with my fantastic colleagues.”

Steensen Varming’s experience covers both the privateand public sectors, encompassing a diverse range of projects,from iconic world heritage sites and sensitive culturalprojects to institutional, health and commercial develop -ments, as well as masterplans. The company’s vast portfolioof project and international awards has been built uponthe principles of Danish design excellence, dedicated clientservices and commitment to quality, in order to produceintelligent, valuable and elegant solutions.

Steensen Varming is, and always has been, an inter na tionalpioneer in the Building Services industry, characterisedby an ethos of collaboration and hard work that deliversbetter project outcomes.

Building Services need to be integrated, not only betweenthe disciplines of sustainability, mechanical, electrical engi -neering and lighting, but also within a building or site as awhole. This encompasses issues such as spatial planning,aesthetics, cost, acoustics, buildability, efficiency, operation,whole-life considerations, the environment, and properfunctioning of systems for the occupants. We consider allof these issues as part of our service; as such, we differ en -tiate ourselves as a collaborative consultant deliveringholistic solutions and positive environments.

Some of Steensen Varming’s key projects include thePanum Institute, Denmark; Aarhus Town Hall, Denmark;Utzon Centre, Denmark; Sydney Opera House, Australia;Australian War Memorial, Australia; National PortraitGallery, Australia; Parliament House, Australia; BritishLibrary, UK; Coventry Cathedral, U.K.; Holy Sepulchre,Jerusalem; Victoria and Albert Museum, U.K.; PlayfairProject, U.K.; Irish Parliament, Ireland; Grande Arche,Paris; St Catherine’s College, Oxford, U.K.

Reserve this space toadvertise in a future

issue of Papyrus

Please contact theEditor of Papyrus

for details

483535_kp.indd 65 12/21/12 11:17 AM


Brian ColemanMuseum VictoriaGPO Box 666Melbourne3001bcoleman@

museum.vic.gov.au

Stephen DevereauxMuseum of Old and New Art 655 Main RoadBerriedale, [email protected]

Benard FinucaneQuestacon, The National

Science and TechnologyCenter

King Edward TerraceP.0. Box 5322Canberra, ACT2604mrawlinson@

questacon.edu.au

Lawrence FraserNational Portrait GalleryKing Edward TerraceParkesCanberra, [email protected]

Alan FreemantleNational Portrait Gallery of

AustraliaKing Edward TerraceParkesCanberra, [email protected]

Vicki HumphreyNational Museum of Australia7 Edgeware RoadAldgate, South [email protected]

Gerry LinehanNational Library of AustraliaParkes PlaceParkesCanberra, [email protected]

AUSTRALIA Dan MackenzieSteensen VarmingLevel 8, 9 Castlereagh StreetSydneyNSW 2000dan.mackenzie@

steensenvarming.com.au

Mark MandyNational Gallery of AustraliaParkes Place ParkesCanberra, [email protected]

Dean MarshallNational Gallery of AustraliaParkes PlaceCanberra, [email protected]

Neil McCabeNational Library of AustraliaParkes PlaceCanberra, [email protected]

Ray McMaster33 Hocking AveEarlwood, [email protected]

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

Mark RawlinsonQuestacon, The National



questacon.edu.au

Mirjam Roos Steensen VarmingLevel 8, 9 Castlereagh StreetSydney2000michelle.hoare@


Graham SmithNational Museum of AustraliaGPO Box 1901Canberra, [email protected]

Emrah UlasSteensen VarmingLevel 8, 9 Castlereagh StreetSydneyNSW 2000emrah.ulas@


Shaun WoodhouseAustralian Centre for the

Moving ImagePO Box 14Flinders LaneMelbourne, VIC8009shaun.woodhouse@

acmi.net.au

Jean AllardLibrary Archives of Canada550, Blvd. De La Cite, 8-79Gatineau, QuebecK1A [email protected]

Simon AubinCanada Science & Technology

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

Debra CampbellCanadian Museum of

Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, Quebec J8X 4H2

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

CANADA

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

Mario GasperettiLibrary Archives of Canada550 Blvd. De La Cite 8-79Gatineau, QuebecK1A ON4mario.gasperetti@

bac-lac.gc.ca

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

international.gc.ca

Todd KeeleyCanadian Museum of

Civilization100 Laurier StreetGatineau, QuebecK1A [email protected]

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

Pierre LapointeCofely Services Inc.550 rue Sherbrooke QuestBureau 400Montreal, QuebecH3A 1B9pierre.lapointe@

cofelyservices-gdfsuez.net

Guy LarocqueCanadian Museum of

Civilization100 Laurier StreetGatineau, Quebec K1A [email protected]

Pierre Lepage4 Chateauguay StreetEmbrun, OntarioK0A [email protected]

IAMFA Members Directory 2012


Pamela LowingsRoyal British Columbia

Museum675 Belleville StreetVictoria, British ColumbiaV8W 9W2plowings@

royalbcmuseum.bc.ca

David LoyeCanadian Museum of

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

Michael Lundholm Lundholm Associates

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

Ian H. MacLeanIntegrated Heritage

ManagementP.O. Box 525137 Elgin StreetAlmonte, OntarioKOA [email protected]

Martin MaletteCanadian Museum of


Susan NealePeterborough Museum &

Archives300 Hunter Street East, P.O.

Box 143Peterborough, OntarioK9J [email protected]

Dave NoseworthyCandian Museum for Human

Rights400-269 rue Main StreetWinnipeg, ManitobaR3C-183heather.jusufovic@

museumforhumanrights.ca

Alain ProulxCanadian Museum of


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

Jon RoodbolRoyal British Columbia

Museum675 Belleville StreetVictoria, British ColumbiaV8W 9W2jroodbol@

royalbcmuseum.bc.ca

Deborah Sloan Sir Sandford Fleming College599 Brealey DrivePeterborough, [email protected]

Michelle St-GermainCanadian Museum of

Civilization100 Laurier StreetGatineau, QuebecJ8X 4H2michelle.st-germain@

civilisations.ca

Marie-Pierre MarcheCredit Agricole42 bis rue de l’EgliseParis [email protected]

Justin AngellNational Library of

New ZealandCorner Molesworth &

Aitken [email protected]

FRANCE

NEW ZEALAND

John BrockCamfil Farr, New Zealand930 Great South Road PenroseAuckland [email protected]

John GlenAuckland MuseumPrivate Bag 92018Auckland [email protected]

Pam HarrisNational Library of


Aitken StreetWellington6011pam.harris@dia/govt.nz

Cliff HeywoodRoyal New Zealand NavyP.O. Box 32901Devonport, [email protected]

Paul IvoryAuckland CouncilAuckland paul.ivory@

aucklandcouncil.govt.nz

John ManningTe Papa Tongarewa Museum

of New Zealand55 Cable StreetWellington 6011john.manning@

tepapa.govt.nz

Kirsty MathiesonChristchurch Art GalleryGloucester StreetChristchurch [email protected]

Lynley McDougallChristchurch Art GalleryP.O. Box 2626Christchurch, [email protected]

Patricia MorganRetired from Auckland Art

Gallery Toi o Tamaki34 Howe [email protected]

Nick ReillyNational Library of


Aitken StreetWellington, [email protected]

Rob StevensNational Library of



Grant ThomasHawkins Construction [email protected]

Tony WebbCoffey [email protected]

Ibrahim Abbas AbdulrahimQatar Museums AuthorityAl Aaliya StreetP.O. Box [email protected]

Nasser Ahmad Al KuwariQatar National MuseumCorniche Area, Qartar [email protected]

QATAR

483535_kp.indd 66 12/21/12 11:17 AM


Brian ColemanMuseum VictoriaGPO Box 666Melbourne3001bcoleman@

museum.vic.gov.au

Stephen DevereauxMuseum of Old and New Art 655 Main RoadBerriedale, [email protected]

Benard FinucaneQuestacon, The National



questacon.edu.au

Lawrence FraserNational Portrait GalleryKing Edward TerraceParkesCanberra, [email protected]

Alan FreemantleNational Portrait Gallery of

AustraliaKing Edward TerraceParkesCanberra, [email protected]

Vicki HumphreyNational Museum of Australia7 Edgeware RoadAldgate, South [email protected]

Gerry LinehanNational Library of AustraliaParkes PlaceParkesCanberra, [email protected]

AUSTRALIA Dan MackenzieSteensen VarmingLevel 8, 9 Castlereagh StreetSydneyNSW 2000dan.mackenzie@


Mark MandyNational Gallery of AustraliaParkes Place ParkesCanberra, [email protected]

Dean MarshallNational Gallery of AustraliaParkes PlaceCanberra, [email protected]

Neil McCabeNational Library of AustraliaParkes PlaceCanberra, [email protected]

Ray McMaster33 Hocking AveEarlwood, [email protected]

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

Mark RawlinsonQuestacon, The National



questacon.edu.au

Mirjam Roos Steensen VarmingLevel 8, 9 Castlereagh StreetSydney2000michelle.hoare@


Graham SmithNational Museum of AustraliaGPO Box 1901Canberra, [email protected]

Emrah UlasSteensen VarmingLevel 8, 9 Castlereagh StreetSydneyNSW 2000emrah.ulas@


Shaun WoodhouseAustralian Centre for the

Moving ImagePO Box 14Flinders LaneMelbourne, VIC8009shaun.woodhouse@

acmi.net.au

Jean AllardLibrary Archives of Canada550, Blvd. De La Cite, 8-79Gatineau, QuebecK1A [email protected]

Simon AubinCanada Science & Technology

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

Debra CampbellCanadian Museum of

Civilization100 Laurier StreetP.O. Box 3100, Station”B”Gatineau, Quebec J8X 4H2

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

CANADA

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

Mario GasperettiLibrary Archives of Canada550 Blvd. De La Cite 8-79Gatineau, QuebecK1A ON4mario.gasperetti@

bac-lac.gc.ca

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

international.gc.ca

Todd KeeleyCanadian Museum of


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

Pierre LapointeCofely Services Inc.550 rue Sherbrooke QuestBureau 400Montreal, QuebecH3A 1B9pierre.lapointe@

cofelyservices-gdfsuez.net

Guy LarocqueCanadian Museum of

Civilization100 Laurier StreetGatineau, Quebec K1A [email protected]

Pierre Lepage4 Chateauguay StreetEmbrun, OntarioK0A [email protected]



Pamela LowingsRoyal British Columbia

Museum675 Belleville StreetVictoria, British ColumbiaV8W 9W2plowings@

royalbcmuseum.bc.ca

David LoyeCanadian Museum of


Michael Lundholm Lundholm Associates

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

Ian H. MacLeanIntegrated Heritage

ManagementP.O. Box 525137 Elgin StreetAlmonte, OntarioKOA [email protected]

Martin MaletteCanadian Museum of


Susan NealePeterborough Museum &

Archives300 Hunter Street East, P.O.

Box 143Peterborough, OntarioK9J [email protected]

Dave NoseworthyCandian Museum for Human

Rights400-269 rue Main StreetWinnipeg, ManitobaR3C-183heather.jusufovic@

museumforhumanrights.ca

Alain ProulxCanadian Museum of


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

Jon RoodbolRoyal British Columbia

Museum675 Belleville StreetVictoria, British ColumbiaV8W 9W2jroodbol@

royalbcmuseum.bc.ca

Deborah Sloan Sir Sandford Fleming College599 Brealey DrivePeterborough, [email protected]

Michelle St-GermainCanadian Museum of

Civilization100 Laurier StreetGatineau, QuebecJ8X 4H2michelle.st-germain@

civilisations.ca

Marie-Pierre MarcheCredit Agricole42 bis rue de l’EgliseParis [email protected]

Justin AngellNational Library of



FRANCE

NEW ZEALAND

John BrockCamfil Farr, New Zealand930 Great South Road PenroseAuckland [email protected]

John GlenAuckland MuseumPrivate Bag 92018Auckland [email protected]

Pam HarrisNational Library of


Aitken StreetWellington6011pam.harris@dia/govt.nz

Cliff HeywoodRoyal New Zealand NavyP.O. Box 32901Devonport, [email protected]

Paul IvoryAuckland CouncilAuckland paul.ivory@

aucklandcouncil.govt.nz

John ManningTe Papa Tongarewa Museum

of New Zealand55 Cable StreetWellington 6011john.manning@

tepapa.govt.nz

Kirsty MathiesonChristchurch Art GalleryGloucester StreetChristchurch [email protected]

Lynley McDougallChristchurch Art GalleryP.O. Box 2626Christchurch, [email protected]

Patricia MorganRetired from Auckland Art

Gallery Toi o Tamaki34 Howe [email protected]

Nick ReillyNational Library of


Aitken StreetWellington, [email protected]

Rob StevensNational Library of



Grant ThomasHawkins Construction [email protected]

Tony WebbCoffey [email protected]

Ibrahim Abbas AbdulrahimQatar Museums AuthorityAl Aaliya StreetP.O. Box [email protected]

Nasser Ahmad Al KuwariQatar National MuseumCorniche Area, Qartar [email protected]

QATAR

483535_kp.indd 67 12/21/12 11:17 AM


John BevinNational Museum of Science

& IndustryExhibition RoadLondon, MiddlesexSW7 [email protected]

Michael BrowneNational Galleries of Scotland73 Belford Road Dean GalleryEdinburgh, ScotlandEH4 3DSmbrowne@

nationalgalleries.org

Chris Bunker Creative Consulting

Partnership LLPHamilton HouseMabledon PlaceLondon, EnglandWC1H [email protected]

John BurreyHistoric Royal PalacesHampton Court PalaceMolesey, SurreyTW2 [email protected]

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

Sara CarrollThe British MuseumGreat Russell StreetLondon, EnglandWC1B 3DGscarroll@

thebritishmuseum.ac.uk

Paul DaviesThe National ArchivesKewRichmond, SurreyTW9 4DUpaul.davies@

nationalarchives.gov.uk

UNITED KINGDOM John de LucyRetired from the British Library28 Warwick ParkTurnbridge Wells, KentTN2 [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]

Alexander GillNorland Managed ServicesCity Bridge House 57

Southwark Street London, EnglandSE1 1RUalex.gill@

norlandmanagedservices.co.uk

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

Adrian HardwickeTateMillbankLondon, EnglandSW1P 4RGadrian.hardwicke@

tate.org.uk

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

Lucy JeynesCompton Verney House TrustCompton Verney, WarwickshireCV35 [email protected]

Curtis La RondeThe British MuseumGreat Russell StreetLondon, EnglandWC1B 3DGClaronde@


Linda MacMillanNational Library of ScotlandGeorge IV BridgeEdinburgh, ScotlandEH1 [email protected]

Sarah McMillanVictoria & Albert MuseumCromwell RoadLondon, EnglandSW7 [email protected]

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

David ReadBritish Library96 Euston RoadLondon, EnglandNW1 [email protected]

David RedrupTate20 John Islip RoadMillbankLondon, EnglandSW1P [email protected]

David SandersThe Energy Consortium46 St Oswald RoadNorburyLondon, EnglandSW16 [email protected]

Allan TyrrellNational Portrait GallerySt Martin PlaceLondon, LondonWC2H [email protected]

Steve VandykeNational Gallery, LondonTrafalgar SquareLondon, EnglandWC2N 5DNsteve.vandyke@

ng-london.org.uk

Harry WanlessRetired British Library175 Wren RoadSidcup, KentDA14 4NQharry.wanless@

googlemail.com

Stephen P. WatsonRoyal Academy37 Musely LaneWare, HertfordshireSG12 7EWsteve.watson@

royalacademy.org.uk

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

liverpoolmuseums.org.uk



Mary IrvineAlaska State Museum395 Whittier StreetJuneau, [email protected]

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

Keith McClanahanFacility IssuesPO Box 1447Flagstaff, [email protected]

Stacey WittigFacility Issues5160 W. Kiltie Ln.Flagstaff, AZ86001stacey.wittig@

facilityissues.com

Donald Battjes3800 San Rafael Los Angeles, [email protected]

Andrea BestowGetty Center1200 Getty Center DriveLos Angeles, [email protected]

Adrienne G. BlalockOakland Museum of

California1000 Oak StreetOakland, [email protected]

CALIFORNIA

ARIZONA

ARKANSAS

ALASKA

UNITED STATES Joe BrennanSan Francisco Museum of

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

Debra (Debbie) CampbellPacific West Region of the

National Park Service333 Bush StreetSuite 500San Francisco, [email protected]

David CervantesLos Angeles County Museum

of Art5905 Wilshire BlvdLos Angeles, [email protected]

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

Jennifer FragomeniExploratorium3601 Lyon StreetSan Francisco, [email protected]

Lauren M. FriedmanJ. Paul Getty Trust1200 Getty Center DriveSTE 100Los Angeles, [email protected]

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

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

Robbyn L. JacksonSan Francisco Maritime

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

Patty LacsonFine Arts Museum of

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

Catherine LeeHammer Museum10899 Wilshire BlvdLos Angeles, [email protected]

Christopher LowAquarium of the BayEmbarcadero at Beach StreetSan Francisco, [email protected]

Kevin ManaliliCalifornia Academy of

Sciences55 Music Concourse DriveSan Francisco, [email protected]

Edgar MaxionStanford University Green

Library557 Escondido MallRoom 101Stanford, [email protected]

Joseph May20520 Ventura Blvd #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]

Charles MignaccoExploratorium3601 Lyon StreetSan Francisco, CA94123cmignacco@

exploratorium.edu

Randy MurphyLos Angeles County Museum


Kes NarbutasCypress Security, LLC452 Tehama StreetSan Francisco, CA94103knarbutas@

cypress-security.com

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

Stephen St. LaurentLos Angeles County Museum


483535_kp.indd 68 12/21/12 11:17 AM


John BevinNational Museum of Science

& IndustryExhibition RoadLondon, MiddlesexSW7 [email protected]

Michael BrowneNational Galleries of Scotland73 Belford Road Dean GalleryEdinburgh, ScotlandEH4 3DSmbrowne@

nationalgalleries.org

Chris Bunker Creative Consulting

Partnership LLPHamilton HouseMabledon PlaceLondon, EnglandWC1H [email protected]

John BurreyHistoric Royal PalacesHampton Court PalaceMolesey, SurreyTW2 [email protected]

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

Sara CarrollThe British MuseumGreat Russell StreetLondon, EnglandWC1B 3DGscarroll@


Paul DaviesThe National ArchivesKewRichmond, SurreyTW9 4DUpaul.davies@

nationalarchives.gov.uk

UNITED KINGDOM John de LucyRetired from the British Library28 Warwick ParkTurnbridge Wells, KentTN2 [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]

Alexander GillNorland Managed ServicesCity Bridge House 57

Southwark Street London, EnglandSE1 1RUalex.gill@

norlandmanagedservices.co.uk

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

Adrian HardwickeTateMillbankLondon, EnglandSW1P 4RGadrian.hardwicke@

tate.org.uk

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

Lucy JeynesCompton Verney House TrustCompton Verney, WarwickshireCV35 [email protected]

Curtis La RondeThe British MuseumGreat Russell StreetLondon, EnglandWC1B 3DGClaronde@


Linda MacMillanNational Library of ScotlandGeorge IV BridgeEdinburgh, ScotlandEH1 [email protected]

Sarah McMillanVictoria & Albert MuseumCromwell RoadLondon, EnglandSW7 [email protected]

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

David ReadBritish Library96 Euston RoadLondon, EnglandNW1 [email protected]

David RedrupTate20 John Islip RoadMillbankLondon, EnglandSW1P [email protected]

David SandersThe Energy Consortium46 St Oswald RoadNorburyLondon, EnglandSW16 [email protected]

Allan TyrrellNational Portrait GallerySt Martin PlaceLondon, LondonWC2H [email protected]

Steve VandykeNational Gallery, LondonTrafalgar SquareLondon, EnglandWC2N 5DNsteve.vandyke@

ng-london.org.uk

Harry WanlessRetired British Library175 Wren RoadSidcup, KentDA14 4NQharry.wanless@

googlemail.com

Stephen P. WatsonRoyal Academy37 Musely LaneWare, HertfordshireSG12 7EWsteve.watson@

royalacademy.org.uk

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

liverpoolmuseums.org.uk



Mary IrvineAlaska State Museum395 Whittier StreetJuneau, [email protected]

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

Keith McClanahanFacility IssuesPO Box 1447Flagstaff, [email protected]

Stacey WittigFacility Issues5160 W. Kiltie Ln.Flagstaff, AZ86001stacey.wittig@

facilityissues.com

Donald Battjes3800 San Rafael Los Angeles, [email protected]

Andrea BestowGetty Center1200 Getty Center DriveLos Angeles, [email protected]

Adrienne G. BlalockOakland Museum of

California1000 Oak StreetOakland, [email protected]

CALIFORNIA

ARIZONA

ARKANSAS

ALASKA

UNITED STATES Joe BrennanSan Francisco Museum of

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

Debra (Debbie) CampbellPacific West Region of the

National Park Service333 Bush StreetSuite 500San Francisco, [email protected]

David CervantesLos Angeles County Museum


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

Jennifer FragomeniExploratorium3601 Lyon StreetSan Francisco, [email protected]

Lauren M. FriedmanJ. Paul Getty Trust1200 Getty Center DriveSTE 100Los Angeles, [email protected]

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

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

Robbyn L. JacksonSan Francisco Maritime

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

Patty LacsonFine Arts Museum of

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

Catherine LeeHammer Museum10899 Wilshire BlvdLos Angeles, [email protected]

Christopher LowAquarium of the BayEmbarcadero at Beach StreetSan Francisco, [email protected]

Kevin ManaliliCalifornia Academy of

Sciences55 Music Concourse DriveSan Francisco, [email protected]

Edgar MaxionStanford University Green

Library557 Escondido MallRoom 101Stanford, [email protected]

Joseph May20520 Ventura Blvd #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]

Charles MignaccoExploratorium3601 Lyon StreetSan Francisco, CA94123cmignacco@

exploratorium.edu

Randy MurphyLos Angeles County Museum


Kes NarbutasCypress Security, LLC452 Tehama StreetSan Francisco, CA94103knarbutas@

cypress-security.com

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

Stephen St. LaurentLos Angeles County Museum


483535_kp.indd 69 12/21/12 11:17 AM


Irene Thomas-JohnsonSodexo15813 Ada StreetCanyon Country, CA91387irene.thomasjohnson@

sodexo.com

Debbie Towers472 Serento CircleNew York, [email protected]

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

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

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

John LaudanoYale University Art GalleryP.O. Box 208271New Haven, CT06520-8271

Julio PatronYale University Art GalleryP.O. Box 208271New Haven, [email protected]

Brent AdamsLibrary of CongressWashington, DC

DISTRICT OF COLUMBIA

CONNECTICUT

Stephen T. AyersArchitect of the Capitol2nd and D street SWRoom H-205Washington, [email protected]

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

John BixlerSmithsonian InstitutionPO Box 37012MRC 303 OFMRWashington, [email protected]

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

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

Dan DaviesSmithsonian InstitutionPO Box 37012MRC 512Washington, [email protected]

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

Robert ElswickSmithsonianPO Box 37012MRC 102Washington, [email protected]

Maurice EvansSmithsonian InstitutionPO Box 37012Washington, [email protected]

Rick FarySmithsonianPO Box 37012MRC 534Washington, [email protected]

Melody FetskeFolger Shakespeare Library309 Majorie LaneWashington, [email protected]

Kathleen Fleming SmithsonianPO Box 37012MJRC 534Washington, [email protected]

Kendra GastrightSmithsonian InstitutionPo Box 37012MRC132Washington, [email protected]

Jon GibbonsSmithsonian Institution750 8th StreetWashington, [email protected]

Christian GoodlanderSmithsonian InstitutionP.O. Box 37012Washington, [email protected]

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

Larry GraubergerSmithsonian InstitutionPO Box 37012MRC 132Washington, [email protected]

David GreenbaumSmith Group JJR901 K Street, N.W.Suite 400Washington, DC20001david.greenbaum@

smithgroup.com

David HaukSmithsonian InstitutionPO Box 37012 MRC 140Washington, [email protected]

Charles HerndonSmithsonian InstitutionP.O. Box 37012MRC 649Washington, [email protected]

Michael Hollingsworth Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Adrienne JacksonSmithsonianPO Box 37012 MRC 102Washington, [email protected]

Charon JohnsonLibrary of Congress 101 Independence Ave., S.E.Washington, [email protected]

Tiffany MyersSmithsonian Institution600 Maryland Ave, SWMRC 526Washington, [email protected]


UNITED STATES cont’d

CALIFORNIA cont’d


Loren PlotnerSmithsonianPO Box 37012MRC 512Washington, [email protected]

Mark ProctorSmithsonianPO Box 37012MRC 303Washington, [email protected]

Jeffrey RidgewaySmithsonianPO Box 37012MRC 540Washington, [email protected]

Angel RodriguezSmithsonianPO Box 37012MRC 649Washington, [email protected]

Stephen SanfordSmithsonianPO Bos 37012MRC 303Washington, [email protected]

Kathy SimentonSmithsonianPO Box 37012MRC 103Washington, [email protected]

Gregory SimmonsArchitect of the CapitolC St between 1st and

2nd Street S.E.Washington, [email protected]

Andrew SmithSmithsonianPO Box 37012Washington, [email protected]

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

architravepc.com

Tommy WinstonSmithsonianPO Box 37012MRC 534Washington, [email protected]

Jill AbbottWinterthur Museum, Garden

and Library5105 Kenett PikeBuilding 37Winterthur, [email protected]

Bruce CanterDelaware Art Museum2301 Kentmere ParkwayWilmington, [email protected]

John Castle Winterthur Museum, Garden


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

Chris HaydenDelaware Museum of Natural

History4840 Kennett PikeWilmington, [email protected]

DELAWARE

Robert (Bob) EvansRetired form the Smithsonian1101 River Reach DriveApt 405Fort Lauderdale, [email protected]

Vincent Magorrian306 Lexingdale DriveOrlando, [email protected]

Greg PesceSalvador Dali MuseumOne Dali BlvdSt Petersburg, FL33701

Jackson McQuiggAtlanta History Center130 W. Paces FerryRoad, NWAtlanta, GA30305jmcquigg@

atlantahistorycenter.com

Kevin StreiterHigh Museum of Art1280 Peachtree Street NEAtlanta, GA30309Kevin.Streiter@

Woodruffcenter.org

Noelani Ah YuenFriends of Iolani Palace364 S. King StreetHonolulu, [email protected]

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

ILLINOIS

GEORGIA

HAWAII

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

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

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

Anthony McGuireMcGuire Engineers300 S. Riverside Plaza,Suite 1650Chicago, [email protected]

Robert KeislingMinnetrista1200 N. Minnetrista PkwyMuncie, [email protected]

Darragh BradyZiger/Snead Architects1006 Morton StreetBaltimore, [email protected]

Anthony CervenyGlenstone12002 Glen RoadPotomac, [email protected]

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

MARYLAND

INDIANA

483535_kp.indd 70 12/21/12 11:17 AM


Irene Thomas-JohnsonSodexo15813 Ada StreetCanyon Country, CA91387irene.thomasjohnson@

sodexo.com

Debbie Towers472 Serento CircleNew York, [email protected]

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

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

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

John LaudanoYale University Art GalleryP.O. Box 208271New Haven, CT06520-8271

Julio PatronYale University Art GalleryP.O. Box 208271New Haven, [email protected]

Brent AdamsLibrary of CongressWashington, DC

DISTRICT OF COLUMBIA

CONNECTICUT

Stephen T. AyersArchitect of the Capitol2nd and D street SWRoom H-205Washington, [email protected]

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

John BixlerSmithsonian InstitutionPO Box 37012MRC 303 OFMRWashington, [email protected]

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

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

Dan DaviesSmithsonian InstitutionPO Box 37012MRC 512Washington, [email protected]

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

Robert ElswickSmithsonianPO Box 37012MRC 102Washington, [email protected]

Maurice EvansSmithsonian InstitutionPO Box 37012Washington, [email protected]

Rick FarySmithsonianPO Box 37012MRC 534Washington, [email protected]

Melody FetskeFolger Shakespeare Library309 Majorie LaneWashington, [email protected]

Kathleen Fleming SmithsonianPO Box 37012MJRC 534Washington, [email protected]

Kendra GastrightSmithsonian InstitutionPo Box 37012MRC132Washington, [email protected]

Jon GibbonsSmithsonian Institution750 8th StreetWashington, [email protected]

Christian GoodlanderSmithsonian InstitutionP.O. Box 37012Washington, [email protected]

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

Larry GraubergerSmithsonian InstitutionPO Box 37012MRC 132Washington, [email protected]

David GreenbaumSmith Group JJR901 K Street, N.W.Suite 400Washington, DC20001david.greenbaum@

smithgroup.com

David HaukSmithsonian InstitutionPO Box 37012 MRC 140Washington, [email protected]

Charles HerndonSmithsonian InstitutionP.O. Box 37012MRC 649Washington, [email protected]

Michael Hollingsworth Library of Congress101 Independence Ave., S.E.Washington, [email protected]

Adrienne JacksonSmithsonianPO Box 37012 MRC 102Washington, [email protected]

Charon JohnsonLibrary of Congress 101 Independence Ave., S.E.Washington, [email protected]

Tiffany MyersSmithsonian Institution600 Maryland Ave, SWMRC 526Washington, [email protected]



CALIFORNIA cont’d


Loren PlotnerSmithsonianPO Box 37012MRC 512Washington, [email protected]

Mark ProctorSmithsonianPO Box 37012MRC 303Washington, [email protected]

Jeffrey RidgewaySmithsonianPO Box 37012MRC 540Washington, [email protected]

Angel RodriguezSmithsonianPO Box 37012MRC 649Washington, [email protected]

Stephen SanfordSmithsonianPO Bos 37012MRC 303Washington, [email protected]

Kathy SimentonSmithsonianPO Box 37012MRC 103Washington, [email protected]

Gregory SimmonsArchitect of the CapitolC St between 1st and

2nd Street S.E.Washington, [email protected]

Andrew SmithSmithsonianPO Box 37012Washington, [email protected]

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

architravepc.com

Tommy WinstonSmithsonianPO Box 37012MRC 534Washington, [email protected]

Jill AbbottWinterthur Museum, Garden


Bruce CanterDelaware Art Museum2301 Kentmere ParkwayWilmington, [email protected]

John Castle Winterthur Museum, Garden


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

Chris HaydenDelaware Museum of Natural

History4840 Kennett PikeWilmington, [email protected]

DELAWARE

Robert (Bob) EvansRetired form the Smithsonian1101 River Reach DriveApt 405Fort Lauderdale, [email protected]

Vincent Magorrian306 Lexingdale DriveOrlando, [email protected]

Greg PesceSalvador Dali MuseumOne Dali BlvdSt Petersburg, FL33701

Jackson McQuiggAtlanta History Center130 W. Paces FerryRoad, NWAtlanta, GA30305jmcquigg@

atlantahistorycenter.com

Kevin StreiterHigh Museum of Art1280 Peachtree Street NEAtlanta, GA30309Kevin.Streiter@

Woodruffcenter.org

Noelani Ah YuenFriends of Iolani Palace364 S. King StreetHonolulu, [email protected]

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

ILLINOIS

GEORGIA

HAWAII

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

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

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

Anthony McGuireMcGuire Engineers300 S. Riverside Plaza,Suite 1650Chicago, [email protected]

Robert KeislingMinnetrista1200 N. Minnetrista PkwyMuncie, [email protected]

Darragh BradyZiger/Snead Architects1006 Morton StreetBaltimore, [email protected]

Anthony CervenyGlenstone12002 Glen RoadPotomac, [email protected]

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

MARYLAND

INDIANA

483535_kp.indd 71 12/21/12 11:17 AM


Thomas KingSynthesis Incorporated9175 Guilford RoadSuite 214Columbia, [email protected]

Richard KowalczykSmithsonian National Air and

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

Robert MarinoMueller Associates1401 S. Edgewood St.Baltimore, MD21227MPLATT@

MUELLERASSOC.COM

Donald OverfeltNational Archives and

Records Administration8601 Adelphi RoadBFF, 2320College Park, [email protected]

Alex PetrlikMueller Associates1401 S. Edgewood St.Baltimore, [email protected]

Jessica ReidMueller Associates1401 S. Edgewood St.Baltimore, [email protected]

David SamecNational Gallery of Art2000B South Club DriveLandover, [email protected]

Mark SprouseNational Archives and

Records Administration8601 Adelphi RoadSuite 2320College Park, [email protected]

Peter AtkinsonHarvard Art Museum32 Quincy St.Cambridge, [email protected]

Wayne E. DyerSodexo200 Fifth Avenue4th Floor Waltham, [email protected]

Michael EigenHarvard Art Museum32 Quincy St.Cambridge, [email protected]

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

John LannonBoston Athenaeum10 1/2 Beacon StreetBoston, MA2108lannon@

bostonathenaeum.org

James MoissonHarvard Art Museums32 Quincy St.Cambridge, [email protected]

MASSACHUSETTS

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

Rebecca EllisQuestions and Solutions

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

Tunji AdenijiMuseum of Modern ArtNew York, [email protected]

Vinny BoschMuseum of Modern ArtNew York, [email protected]

Megan ChusidSolomon R. Guggenheim

Foundation345 Hudson Street12th FloorNew York, [email protected]

Karen DaulerSolomon R. Guggenheim

Foundation1071 Fifth AvenueNew York, [email protected]

Mark De MairoNeue Galerie1048 5th Avenue New York, NY10028markdemairo@

neuegalerie.org

NEW YORK

MINNESOTA

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

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

Dmitry LopatukhinNYSCI31 Andover RoadHartsdale, [email protected]

Nelson NievesMuseum of Modern ArtNew York, [email protected]

David RoccosalvaBuro Happold100 Broadway23rd FloorNew York, NY10005bhnyadminemail@

burohappold.com

Peter ScaglioneBeyer Blinder Belle41 East 11th StreetNew York, [email protected]

Jenny StaleyFriends of the High Line 529 W. 20th Street, Suite 8WNew York, [email protected]

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

brooklynmuseum.org



MARYLAND cont’d


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

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

David A. Leach480 East Broad StretColumbus, [email protected]

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

William JaremaEwing Cole100 North 6th St.6th FloorPhiladelphia, [email protected]

John LyonCarnegie Museums of

Pittsburgh4400 forbes AvenuePittsburgh, [email protected]

Brain McDevittUniversity of Pennsylvania

Museum3260 South StreetPhiladelphia, [email protected]

PENNSYLVANIA

OHIO Robert MorroneRetired from the Philadelphia

Museum of Art915 Piper LaneYardley, [email protected]

Jack NixonNational Museum of

American Jewish History101 South Independence

Mall EastPhiladelphia, [email protected]

Joe RabenaNational Constitution Center525 Philadelphia 1 PA Arch

Street, Independence MallPhiladelphia, PA19106jrabena@

constitutioncenter.org

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

Greg RishelPennoniPhiladelphia, PA

Ali ShaikholisiamiPhiladelphia Museum of ArtP.O. Box 76462600 Benjamin Franklin PkwyPhiladelphia, PA19101-7646Ashikholisiami@

philamuseum.org

Robert UnderwoodThe Barnes Foundation300 N. Latch’s LaneMerion, PA19066runderwood@

barnesfoundation.org

Mark WinnickiLongwood Gardens, Inc401 E. Street RoadP.0. Box 501Kennett Square, PA19348-0501mwinnicki@

longwoodgardens.org

Tony YoungCarnegie Museums of

Pittsburgh4400 Forbes AvenuePittsburgh, PA15213youngt@

carnegiemuseums.org

Henry GriffinMuseum of Fine Arts —

HoustonPO Box 6826Houston, [email protected]

Willard Holmes Museum of Fine Arts —


Nicola LongfordThe Sixth Floor Museum

at Dealey Plaza501 Elm StreetSuite 250Dallas, [email protected]

Garry Morrison7923 RockrimmonSan Antonio, [email protected]

Mike PierceMuseum of Fine Arts —

Houston5600 FanninPO Box 6826Houston, TX77265-6826

TEXAS

Kristy BrosiusU.S. Holocaust Memorial

Museum231 N. George Mason Drive #2Arlington, [email protected]

Richard Day Smithsonian (retired)7006 Waterford RoadRixeyville, [email protected]

Stephen FuoccoLibrary of Congress (Packard

Campus for Audio VisualConservation)

19053 Mount Pony RoadCulpeper, [email protected]

James M. LeeLee Construction Consultants

LLC1840 W. Broad StreetSuite 300Richmond, [email protected]

Kenneth MitchellThomas Jefferson

Foundation, Inc.PO Box 316Charlottesville, [email protected]

Armando Uribe336 Cloudes Mill CtAlexandria, [email protected]

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

WISCONSIN

VIRGINIA

483535_kp.indd 72 12/21/12 11:18 AM


Thomas KingSynthesis Incorporated9175 Guilford RoadSuite 214Columbia, [email protected]

Richard KowalczykSmithsonian National Air and

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

Robert MarinoMueller Associates1401 S. Edgewood St.Baltimore, MD21227MPLATT@

MUELLERASSOC.COM

Donald OverfeltNational Archives and

Records Administration8601 Adelphi RoadBFF, 2320College Park, [email protected]

Alex PetrlikMueller Associates1401 S. Edgewood St.Baltimore, [email protected]

Jessica ReidMueller Associates1401 S. Edgewood St.Baltimore, [email protected]

David SamecNational Gallery of Art2000B South Club DriveLandover, [email protected]

Mark SprouseNational Archives and

Records Administration8601 Adelphi RoadSuite 2320College Park, [email protected]

Peter AtkinsonHarvard Art Museum32 Quincy St.Cambridge, [email protected]

Wayne E. DyerSodexo200 Fifth Avenue4th Floor Waltham, [email protected]

Michael EigenHarvard Art Museum32 Quincy St.Cambridge, [email protected]

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

John LannonBoston Athenaeum10 1/2 Beacon StreetBoston, MA2108lannon@

bostonathenaeum.org

James MoissonHarvard Art Museums32 Quincy St.Cambridge, [email protected]

MASSACHUSETTS

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

Rebecca EllisQuestions and Solutions

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

Tunji AdenijiMuseum of Modern ArtNew York, [email protected]

Vinny BoschMuseum of Modern ArtNew York, [email protected]

Megan ChusidSolomon R. Guggenheim

Foundation345 Hudson Street12th FloorNew York, [email protected]

Karen DaulerSolomon R. Guggenheim

Foundation1071 Fifth AvenueNew York, [email protected]

Mark De MairoNeue Galerie1048 5th Avenue New York, NY10028markdemairo@

neuegalerie.org

NEW YORK

MINNESOTA

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

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

Dmitry LopatukhinNYSCI31 Andover RoadHartsdale, [email protected]

Nelson NievesMuseum of Modern ArtNew York, [email protected]

David RoccosalvaBuro Happold100 Broadway23rd FloorNew York, NY10005bhnyadminemail@

burohappold.com

Peter ScaglioneBeyer Blinder Belle41 East 11th StreetNew York, [email protected]

Jenny StaleyFriends of the High Line 529 W. 20th Street, Suite 8WNew York, [email protected]

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

brooklynmuseum.org



MARYLAND cont’d


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

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

David A. Leach480 East Broad StretColumbus, [email protected]

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

William JaremaEwing Cole100 North 6th St.6th FloorPhiladelphia, [email protected]

John LyonCarnegie Museums of

Pittsburgh4400 forbes AvenuePittsburgh, [email protected]

Brain McDevittUniversity of Pennsylvania

Museum3260 South StreetPhiladelphia, [email protected]

PENNSYLVANIA

OHIO Robert MorroneRetired from the Philadelphia

Museum of Art915 Piper LaneYardley, [email protected]

Jack NixonNational Museum of

American Jewish History101 South Independence

Mall EastPhiladelphia, [email protected]

Joe RabenaNational Constitution Center525 Philadelphia 1 PA Arch

Street, Independence MallPhiladelphia, PA19106jrabena@

constitutioncenter.org

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

Greg RishelPennoniPhiladelphia, PA

Ali ShaikholisiamiPhiladelphia Museum of ArtP.O. Box 76462600 Benjamin Franklin PkwyPhiladelphia, PA19101-7646Ashikholisiami@

philamuseum.org

Robert UnderwoodThe Barnes Foundation300 N. Latch’s LaneMerion, PA19066runderwood@

barnesfoundation.org

Mark WinnickiLongwood Gardens, Inc401 E. Street RoadP.0. Box 501Kennett Square, PA19348-0501mwinnicki@

longwoodgardens.org

Tony YoungCarnegie Museums of

Pittsburgh4400 Forbes AvenuePittsburgh, PA15213youngt@

carnegiemuseums.org

Henry GriffinMuseum of Fine Arts —


Willard Holmes Museum of Fine Arts —


Nicola LongfordThe Sixth Floor Museum

at Dealey Plaza501 Elm StreetSuite 250Dallas, [email protected]

Garry Morrison7923 RockrimmonSan Antonio, [email protected]

Mike PierceMuseum of Fine Arts —

Houston5600 FanninPO Box 6826Houston, TX77265-6826

TEXAS

Kristy BrosiusU.S. Holocaust Memorial

Museum231 N. George Mason Drive #2Arlington, [email protected]

Richard Day Smithsonian (retired)7006 Waterford RoadRixeyville, [email protected]

Stephen FuoccoLibrary of Congress (Packard

Campus for Audio VisualConservation)

19053 Mount Pony RoadCulpeper, [email protected]

James M. LeeLee Construction Consultants

LLC1840 W. Broad StreetSuite 300Richmond, [email protected]

Kenneth MitchellThomas Jefferson

Foundation, Inc.PO Box 316Charlottesville, [email protected]

Armando Uribe336 Cloudes Mill CtAlexandria, [email protected]

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

WISCONSIN

VIRGINIA

483535_kp.indd 73 12/21/12 11:18 AM


Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Museum ofAustraliaAldgate, South Australia

National Portrait GalleryCanberra, ACT

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Candian Museum for HumanRightsWinnipeg, Manitoba

Cofely Services Inc.Montreal, Quebec

Integrated HeritageManagementAlmonte, Ontario

Library Archives of CanadaGatineau, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

AUSTRALIA

CANADA

Nova Scotia MuseumHalifax, Nova Scotia

Peterborough Museum &ArchivesPeterborough, Ontario

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Sir Sandford Fleming CollegePeterborough, Ontario

Steensen VarmingHong Kong

Steensen VarmingCopenhagen

Credit AgricoleParis

Auckland CouncilAuckland

Auckland MuseumAuckland

Camfil Farr, New ZealandAuckland

Christchurch Art GalleryChristchurch, Canterbury

Coffey Projects

Hawkins Construction LtdAuckland

National Library ofNew ZealandWellington

Royal New Zealand NavyDevonport, Auckland

Te Papa Tongarewa Museumof New ZealandWellington

CHINA

DENMARK

FRANCE

NEW ZEALAND

Qatar Museums AuthorityDoha

Qatar National MuseumDoha

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Compton Verney House TrustCompton Verney, Warwickshire

Creative ConsultingPartnership LLPLondon, England

The Energy ConsortiumLondon, England

Historic Royal PalacesMolesey, Surrey

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum of Science& IndustryLondon, Middlesex

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, London

Norland Managed ServicesLondon, England

Royal AcademyWare, Hertfordshire

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

UNITED KINGDOM

QATAR

AFS Chemical Filtration GroupBurlington, MA

Alaska State MuseumJuneau, AK

Anacostia CommunityMuseumWashington, DC

Aquarium of the BaySan Francisco, CA

Architect of the CapitolWashington, DC

Architrve PC ArchitectsWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta, GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMerion, PA

Beyer Blinder BelleNew York, NY

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Buro HappoldNew York, NY

California Academy ofSciencesSan Francisco, CA

Carnegie Museums ofPittsburghPittsburgh, PA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

UNITED STATES

IAMFA Members — Organizations


Delaware Museum of NaturalHistoryWilmington, DE

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum of SanFranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Friends of the High Line New York, NY

Getty CenterLos Angeles, CA

GlenstonePotomac, MD

Hagley Museum & LibraryWilmington, DE

Hammer MuseumLos Angeles, CA

Harvard Art MuseumsCambridge, MA

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Lee Construction ConsultantsLLCRichmond, VA

Library of CongressWashington, DC

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

Lighting Services Inc.Stony Point, NY

Longwood Gardens, IncKennett Square, PA

Los Angeles County Museumof ArtLos Angeles, CA

McGuire EngineersChicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Modern ArtNew York, NY

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Constitution CenterPhiladelphia, PA

National Gallery of ArtLandover, MD

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum of AfricanArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia,, PA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Portrait Gallery Washington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

NYSCIHartsdale, NY

Oakland Museum ofCaliforniaOakland, CA

Pacific West Region of theNational Park ServiceSan Francisco, CA

PennoniPhiladelphia, PA

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Salvador Dali MuseumSt Petersburg, FL

San Francisco Art InstituteSan Francisco, CA

San Francisco MaritimeNational Historical ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smith Group JJRWashington, DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Air andSpace MuseumSuitland, MD

SodexoWaltham, MA

SodexoCanyon Country, CA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Synthesis IncorporatedColumbia, MD

Thomas JeffersonFoundation, Inc.Charlottesville, VA

U.S. Holocaust MemorialMuseumArlington, VA

University of PennsylvaniaMuseumPhiladelphia, PA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Ziger/Snead ArchitectsBaltimore, MD

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your

listing, please contact

Randy Murphy at

[email protected]

483535_kp.indd 74 12/21/12 11:18 AM


Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Museum ofAustraliaAldgate, South Australia

National Portrait GalleryCanberra, ACT

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Candian Museum for HumanRightsWinnipeg, Manitoba

Cofely Services Inc.Montreal, Quebec

Integrated HeritageManagementAlmonte, Ontario

Library Archives of CanadaGatineau, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

AUSTRALIA

CANADA

Nova Scotia MuseumHalifax, Nova Scotia

Peterborough Museum &ArchivesPeterborough, Ontario

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Sir Sandford Fleming CollegePeterborough, Ontario

Steensen VarmingHong Kong

Steensen VarmingCopenhagen

Credit AgricoleParis

Auckland CouncilAuckland

Auckland MuseumAuckland

Camfil Farr, New ZealandAuckland

Christchurch Art GalleryChristchurch, Canterbury

Coffey Projects

Hawkins Construction LtdAuckland

National Library ofNew ZealandWellington

Royal New Zealand NavyDevonport, Auckland

Te Papa Tongarewa Museumof New ZealandWellington

CHINA

DENMARK

FRANCE

NEW ZEALAND

Qatar Museums AuthorityDoha

Qatar National MuseumDoha

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Compton Verney House TrustCompton Verney, Warwickshire

Creative ConsultingPartnership LLPLondon, England

The Energy ConsortiumLondon, England

Historic Royal PalacesMolesey, Surrey

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum of Science& IndustryLondon, Middlesex

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, London

Norland Managed ServicesLondon, England

Royal AcademyWare, Hertfordshire

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

UNITED KINGDOM

QATAR

AFS Chemical Filtration GroupBurlington, MA

Alaska State MuseumJuneau, AK

Anacostia CommunityMuseumWashington, DC

Aquarium of the BaySan Francisco, CA

Architect of the CapitolWashington, DC

Architrve PC ArchitectsWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta, GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMerion, PA

Beyer Blinder BelleNew York, NY

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Buro HappoldNew York, NY

California Academy ofSciencesSan Francisco, CA

Carnegie Museums ofPittsburghPittsburgh, PA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

UNITED STATES

IAMFA Members — Organizations


Delaware Museum of NaturalHistoryWilmington, DE

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum of SanFranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Friends of the High Line New York, NY

Getty CenterLos Angeles, CA

GlenstonePotomac, MD

Hagley Museum & LibraryWilmington, DE

Hammer MuseumLos Angeles, CA

Harvard Art MuseumsCambridge, MA

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Lee Construction ConsultantsLLCRichmond, VA

Library of CongressWashington, DC

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

Lighting Services Inc.Stony Point, NY

Longwood Gardens, IncKennett Square, PA

Los Angeles County Museumof ArtLos Angeles, CA

McGuire EngineersChicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Modern ArtNew York, NY

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Constitution CenterPhiladelphia, PA

National Gallery of ArtLandover, MD

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum of AfricanArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia,, PA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Portrait Gallery Washington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

NYSCIHartsdale, NY

Oakland Museum ofCaliforniaOakland, CA

Pacific West Region of theNational Park ServiceSan Francisco, CA

PennoniPhiladelphia, PA

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Salvador Dali MuseumSt Petersburg, FL

San Francisco Art InstituteSan Francisco, CA

San Francisco MaritimeNational Historical ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smith Group JJRWashington, DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Air andSpace MuseumSuitland, MD

SodexoWaltham, MA

SodexoCanyon Country, CA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Synthesis IncorporatedColumbia, MD

Thomas JeffersonFoundation, Inc.Charlottesville, VA

U.S. Holocaust MemorialMuseumArlington, VA

University of PennsylvaniaMuseumPhiladelphia, PA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Ziger/Snead ArchitectsBaltimore, MD

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your

listing, please contact

Randy Murphy at

[email protected]

483535_kp.indd 75 12/21/12 11:18 AM


Index of Papyrus Technical and Historical Articles

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

2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010

2012 IAMFA Annual European Meeting Jack Plumb Spring 2012

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

A New High for Atlanta Kevin Streiter Summer 2003

Air Quality Standards for Preservation Environments Chris Muller Winter 2010

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

Air-to-Water Heat Pump for Domestic Hot-Water Generation Allan Tyrrell Fall 2011

Apprenticing in Facilities Management Kate Hickman Summer 2006

Architect of the Capitol Begins Restoration of the Capitol Dome Skirt Architect of the Capitol Winter 2012

Architect of the Capitol Begins Conservation of Statue of Freedom Architect of the Capitol Spring 2012

Architect of the Capitol’s Office of Security Programs Recognized for Excellence Architect of the Capitol Fall 2012in Customer Service

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

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

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

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

Awards for the Auckland Art Gallery Patricia Morgan Fall 2012

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

Benchmarking: Are We Still Relevant? Stacey Wittig Spring 2012

Benchmarking: How to Use Data as an Agent for Change Stacey Wittig Fall 2011

Benchmarking Options: New Energy Survey and Classic Comprehensive Survey Stacey Wittig Fall 2012

Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011

Benchmarking Workshop Reveals Best Practices that Save Money Stacey Wittig Winter 2012

Best Practices Daniel D. Davies Summer 2002

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

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

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

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

British Library: An Energy-Saving Case Study Patrick Dixon Spring 2011

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 Management at National Museums Liverpool Ian Williams and Chris Bailey Fall 2012

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 Delaware Art Museum Celebrates its 100th Anniversary Bruce Canter and Molly Keresztury Spring 2012

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

Exploratorium Construction Update Jennifer Fragomeni Fall 2011

External Vertical Shade Automation Project at the California Academy Hershow Al-Barazi Fall 2012of Sciences

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

Fade-Testing of Museum Objects at the National Museum of Australia Nicola Smith and Bruce Ford Fall 2011

Family Ties to the Auckland Museum John deLucy Fall 2011

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

Green vs. Sustainable Rebecca T. Ellis Spring 2012

Hagley Museum and Library Michael Downs Spring 2012

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

Heritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Heritage Preservation Winter 2003Cultural 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

IAMFA Environmental Group Meeting—Manchester Museum Jack Plumb Fall 2012

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

In the Light of Day—Daylight in Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Spring 2011

Introducing the American Institute for Conservationof Artistic and AIC Collection Care Network Fall 2012Historic Works—Collection Care Network

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

Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006

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

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

Lean Leadership in Facility Management Stephanie Wurtzel and Judie Cooper Spring 2012

LED Use in the Museum Environment Ken Kane Winter 2010

LEED Certification for the National Museum of the American Indian John Bixler Winter 2012

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

Light Culture and Light Typology Mirjam Roos and Emrah Baki Ulas Winter 2010

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

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

Looking at Art in a New Light—Conservation to Conversation Mirjam Roos and Emrah Baki Ulas Fall 2011

Looking at Art in a New Light—Greening Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Winter 2012

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

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

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

Meet Archie, the Four-Legged Pest Controller Sara Carroll Fall 2011

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

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

Microclimate Control in Museums Jerry Shiner Summer 2005

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

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

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

Museum Environmental Standards in a Changing Environment Vicki Humphrey and Julian Bickersteth Winter 2012

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

The National Geographic Society is a LEED-EB Recertification Star Michael Arny Fall 2012

National Library of New Zealand Building Redevelopment Rob Stevens and Pam Harris Fall 2011

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, and Winter 2004David Erhardt

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

Title Author(s) Issue

483535_kp.indd 76 12/21/12 11:18 AM


Index of Papyrus Technical and Historical Articles

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

2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010

2012 IAMFA Annual European Meeting Jack Plumb Spring 2012

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

A New High for Atlanta Kevin Streiter Summer 2003

Air Quality Standards for Preservation Environments Chris Muller Winter 2010

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

Air-to-Water Heat Pump for Domestic Hot-Water Generation Allan Tyrrell Fall 2011

Apprenticing in Facilities Management Kate Hickman Summer 2006

Architect of the Capitol Begins Restoration of the Capitol Dome Skirt Architect of the Capitol Winter 2012

Architect of the Capitol Begins Conservation of Statue of Freedom Architect of the Capitol Spring 2012

Architect of the Capitol’s Office of Security Programs Recognized for Excellence Architect of the Capitol Fall 2012in Customer Service

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

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

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

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

Awards for the Auckland Art Gallery Patricia Morgan Fall 2012

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

Benchmarking: Are We Still Relevant? Stacey Wittig Spring 2012

Benchmarking: How to Use Data as an Agent for Change Stacey Wittig Fall 2011

Benchmarking Options: New Energy Survey and Classic Comprehensive Survey Stacey Wittig Fall 2012

Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011

Benchmarking Workshop Reveals Best Practices that Save Money Stacey Wittig Winter 2012

Best Practices Daniel D. Davies Summer 2002

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

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

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

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

British Library: An Energy-Saving Case Study Patrick Dixon Spring 2011

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 Management at National Museums Liverpool Ian Williams and Chris Bailey Fall 2012

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 Delaware Art Museum Celebrates its 100th Anniversary Bruce Canter and Molly Keresztury Spring 2012

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

Exploratorium Construction Update Jennifer Fragomeni Fall 2011

External Vertical Shade Automation Project at the California Academy Hershow Al-Barazi Fall 2012of Sciences

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

Fade-Testing of Museum Objects at the National Museum of Australia Nicola Smith and Bruce Ford Fall 2011

Family Ties to the Auckland Museum John deLucy Fall 2011

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

Green vs. Sustainable Rebecca T. Ellis Spring 2012

Hagley Museum and Library Michael Downs Spring 2012

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

Heritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Heritage Preservation Winter 2003Cultural 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

IAMFA Environmental Group Meeting—Manchester Museum Jack Plumb Fall 2012

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

In the Light of Day—Daylight in Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Spring 2011

Introducing the American Institute for Conservationof Artistic and AIC Collection Care Network Fall 2012Historic Works—Collection Care Network

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

Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006

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

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

Lean Leadership in Facility Management Stephanie Wurtzel and Judie Cooper Spring 2012

LED Use in the Museum Environment Ken Kane Winter 2010

LEED Certification for the National Museum of the American Indian John Bixler Winter 2012

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

Light Culture and Light Typology Mirjam Roos and Emrah Baki Ulas Winter 2010

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

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

Looking at Art in a New Light—Conservation to Conversation Mirjam Roos and Emrah Baki Ulas Fall 2011

Looking at Art in a New Light—Greening Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Winter 2012

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

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

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

Meet Archie, the Four-Legged Pest Controller Sara Carroll Fall 2011

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

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

Microclimate Control in Museums Jerry Shiner Summer 2005

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

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

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

Museum Environmental Standards in a Changing Environment Vicki Humphrey and Julian Bickersteth Winter 2012

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

The National Geographic Society is a LEED-EB Recertification Star Michael Arny Fall 2012

National Library of New Zealand Building Redevelopment Rob Stevens and Pam Harris Fall 2011

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, and Winter 2004David Erhardt

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


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

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Spring 2011Part Two

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Fall 2011Part Three

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Simon Lambert Winter 2012Around the World

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

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

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

The Philadelphia Museum of Art Rich Reinert Fall 2012

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

Protecting the Historic Thomas Jefferson Building from the Footsteps of Time Gregory H. Simmons and Christopher Mile Spring 2012

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

Renovating the Baltimore Museum of Art C. L. Taylor Spring 2012

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

Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

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

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

Smart Chilled Water at the National Portrait Gallery Allan Tyrrell and Kevin Dunn Spring 2012

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

The Smithsonian Institution’s Arts and Industries Building Phase-2 Maurice Evans Fall 2011Renovation Project

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

A Sustainable Design Approach to Preservation Centres Martin Turpin Winter 2012

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

An Unexpected Attendance at the Lighting Designer's Academy Awards Alan Dirican Winter 2012

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

Who’s Afraid of Green Museums: Fear and Loathing and HVAC Elizabeth Wylie and Niall Cooper Fall 2012

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

Index of Papyrus Technical and Historical Articles (cont’d)






Buildings

Physiology

Strategies




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

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Spring 2011Part Two

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Fall 2011Part Three

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Simon Lambert Winter 2012Around the World

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

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

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

The Philadelphia Museum of Art Rich Reinert Fall 2012

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

Protecting the Historic Thomas Jefferson Building from the Footsteps of Time Gregory H. Simmons and Christopher Mile Spring 2012

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

Renovating the Baltimore Museum of Art C. L. Taylor Spring 2012

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

Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

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

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

Smart Chilled Water at the National Portrait Gallery Allan Tyrrell and Kevin Dunn Spring 2012

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

The Smithsonian Institution’s Arts and Industries Building Phase-2 Maurice Evans Fall 2011Renovation Project

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

A Sustainable Design Approach to Preservation Centres Martin Turpin Winter 2012

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

An Unexpected Attendance at the Lighting Designer's Academy Awards Alan Dirican Winter 2012

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

Who’s Afraid of Green Museums: Fear and Loathing and HVAC Elizabeth Wylie and Niall Cooper Fall 2012

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

Index of Papyrus Technical and Historical Articles (cont’d)






Buildings

Physiology

Strategies




483535_kp.indd 79 12/21/12 11:18 AM



VOL. 13, NO. 3 WINTER 2012–2013



Article



Museums


15TH

ANNIVER

SARY

ISSUE!

IAMFA 13·


October 20-24, 2013






VOL. 13, NO. 3 WINTER 2012–2013



Article



Museums


15TH

ANNIVER

SARY

ISSUE!

IAMFA13 ·


October 20-24, 2013




483535_kp.indd 80 12/21/12 11:18 AM

Papyrus winter 2012 2013

Education

Transcript of Papyrus winter 2012 2013