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Page 1: Papyrus Fall 2011

PAPYRUSVOL. 12, NO. 2 FALL 2011

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. 12, NO. 2 FALL 2011

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

Benchmarking: How to Use Data

as an Agentfor Change

80 Questionsto Assess the

Productivity ofYour Organization

Schedule for the IAMFAAnnual Conference in

Auckland, NZ

Air to WaterHeat Pump for

Domestic Hot-WaterGeneration

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IAMFA/PapyrusVol. 12, Number 2Fall 2011

EditorJoe May

Papyrus CorrespondentsAuckland Conference TeamJoe BrennanSara CarrollJohn Castle John de LucyMaurice Evans

Bruce FordJennifer FragomeniPam HarrisJoe MayJim Moisson Patricia MorganMirjam Roos Nicola SmithRob Stevens Allan TyrrellEmrah Baki UlasThomas WesterkampStacey WittigDavid C. Wright

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 letus know if we have inadvertentlyoverlooked your copyright, andwe will rectify the matter in afuture issue.

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

Australia — Ray McMaster, AustralianNational Maritime [email protected]

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

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

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

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

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

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

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

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

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

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

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

REGIONAL CHAPTERS

For more information onbecomming a member of theInternational Association of

Museum Facility Administrators,please visit

www.iamfa.org

Cover photo: The silver fern—photographed at the Auckland Zoo—is widely used to represent New Zealand and New Zealanders. Photo: John Castle

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

PresidentJohn de LucyThe British Library (Retired)London, United [email protected]

V.P., AdministrationRandy MurphyLos Angeles County Museum

of ArtLos Angeles, CA, [email protected]

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

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

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

Chairman — Conference 2011Patricia MorganAuckland Art Gallery

Toi o TamakiAuckland, New ZealandPatricia.Morgan@

aucklandcouncil.govt.nz

Membership Committee ChairGuy LarocqueCanadian Museum of

CivilizationGatineau, QC, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

IAMFA BOARD OF DIRECTORS

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

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

Update—IAMFA Annual Conference in Auckland. . . 4

Benchmarking: How to Use Data as an Agent for Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Fade-Testing of Museum Objects at theNational Museum of Australia . . . . . . . . . . . . . . . . . . 12

Family Ties to the Auckland Museum . . . . . . . . . . . . . 14

MOTAT’s Aviation Display Hall has More Action on the “Wings” than the All Blacks . . . . . . . . . . . . . . 15

Air-to-Water Heat Pump for Domestic Hot-Water Generation. . . . . . . . . . . . . . . . . . . . . . . . . 16

Torpedo Bay: New Home of the Royal New Zealand Navy Museum . . . . . . . . . . . . . . . . . . . . 17

Meet Archie, the Four-Legged Pest Controller . . . . . 18

National Library of New Zealand BuildingRedevelopment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Looking at Art in a New Light—Part Three in a Four-Part Series: Conservation to Conversation . . . 23

2011 IAMFA Conference Schedule . . . . . . . . . . . . . . . 26

Operations Review Reveals Hidden MaintenanceImprovement Resources—Part Three in a Three-Part Series: How to Evaluate Your Operations Review Results . . . . . . . . . . . . . . . . . . . . . 28

The Smithsonian Institution’s Arts and IndustriesBuilding Phase-2 Renovation Project . . . . . . . . . . . . . 42

Exploratorium Construction Update. . . . . . . . . . . . . . 44

Harvard Art Museums Renovation and Expansion Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Chapter News and Regional Updates . . . . . . . . . . . . . 47

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 48

Index of Papyrus Technical and Historical Articles . . . 50

Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Contents

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Please see the articles about the Royal

Navy Museum and the Museum of

Transport and Technology in this issue.

You’ll also find part-three of two

informative series of articles: “Seeing

Art in a New Light” by Emrah Ulas and

Mirjam Roos from Steensen Varming

(Australia) Pty Ltd; and “Operations

Review Reveals Hidden Maintenance

Improvement Resources” by Tom

Westerkamp. The latter also includes

a multiple-choice questionnaire to

assess the productivity of your insti tu -

tion’s maintenance workforce. Please

take advantage of this opportunity; it

costs you nothing to complete this

questionnaire, and you can determine

your score by yourself. Everyone wants

to have a productive workforce, and

Joe May Editor, Papyrus

Letter from the Editor

the first step in managing something

is to measure it. This basic manage -

ment principle dates back to the 1800s,

and is attributed to Frederick Taylor,

who is considered the Father of

Scientific Management.

You will notice in this issue of

Papyrus that we have not translated

the Message from the President or

articles about the upcoming annual

conference. This is purely a cost-based

decision, related not only to translation

costs, but also the added publishing,

printing, and postage costs. We are

currently looking into possible ways

to translate an electronic version of

Papyrus into numerous languages

using translation software.

If you have not visited our website

www.iamfa.org recently, you will find

that we now have an index of past tech -

nical articles and historical articles with

links to the appropriate issue of Papyrus.

I hope you will take advantage of this

resource to find how other IAMFA

members have dealt with issues you

face now.

Finally, thank you to everyone who

contributed material for this issue of

Papyrus, and to the advertisers who

support our organization.

Greetings from Los Angeles!

During the time since the last

issue of Papyrus was published,

IAMFA’s Board of Directors

decided to open up its LinkedIn Group

to non-members, and the Group has

accordingly grown to 160 members

from 17 countries. The LinkedIn Group

is an effective way for IAMFA’s mem -

bers, and others engaged in common

interests, to tap into the collective

knowl edge of the Group. If you haven’t

yet joined the Group, I hope you will

consider doing so now. The more who

join, the more beneficial the Group

will become, and we believe that more

members in the Group who do not cur -

rently belong to IAMFA will see that

membership has many advantages.

This issue of Papyrus has a record

number of informative articles, thanks

to the willingness of so many IAMFA

members to share their recent expe -

riences in operating their facilities.

In this issue, you’ll find an update

on IAMFA’s Annual Conference in

Auckland, New Zealand, and I hope

you will soon finalize your plans to

attend. In the past few issues of Papyrus,

the New Zealand Conference hosts have

written articles about their facil ities.

Everyone wants to have

a productive workforce,

and the first step in

managing something is

to measure it.

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PAPYRUS FALL 2011 3

and they are keen to tell you abouttheir experiences. They have had totake seismic activity into account in theirbuilding works, which has led to manychallenges, and you will learn how inno -vative they have been in overcomingthese obstacles.

Those of you who know Pat Morganwill not be surprised to learn that, notonly has she been fully engaged in com -pleting a major new extension at theArt Gallery and arranging to moveback in, but she has also put togetheran excellent programme for us all. Iencourage all of our members to booktheir hotel rooms and sign up for theconference now, so that she can planher numbers.

In addition to seeing the physicalresults of a great deal of constructionwork, we’ll also be learning about thefruits of successful collaboration. TheNew Zealanders seem to have the rightmodel for public-sector constructionprocurement, which creates an align -ment of interest between those whodesign and construct a cultural facilityand those who subsequently occupy andmanage it. Pat has plenty of examplesof how, by working together, they haveproduced a fantastic new building thatworks for everyone!

For those of you with similar stories,I encourage you to write an article forpublication in Papyrus. It helps us allto learn how others have managed to getthe message across that the occupationof our buildings is a key component in

the whole-life cost of the project, andcan make a financial difference of mil -lions over time. I know most of us areagreed that designers and constructioncompanies must pro vide integratedsolu tions that put an end to poor per -formance of buildings after handoverto clients. Through our conferences,we have seen many excel lent examplesof how our members get it right.

This conference will give you a valu -able opportunity to learn professionallyfrom our New Zealand members, andalso about their culture. The Europeansand North Americans have a relativelymature facilities management pro -fession and industry, but there is a lotto be learned from the New Zealanders,who often approach issues in a dif fer -ent way. You are bound to pick upideas that are not common in yourcountry. Knowledge exchange of howthings are done elsewhere will helpyou create improved environments,and will help us all do our jobs better.

You, our members, are the life -blood of IAMFA, and through yourmember ship I hope you obtain increas -ing value to your organisations andprofessional standing. Make sure youimprove your networking and edu -cational oppor tunities by attendingour conferences!

See you in Auckland, everyone!

John de LucyHead of Estates, British Library(Retired)

Message from the President

A ll six of the Auckland culturalinstitutions that are hosting usfor our November conference

will have been through major refurbish -ments, extensions or construction workin the past few years, so there is plentyto see and learn about for those of youwho join us. The directors of all sixorga nisations met with the IAMFABoard on their sites at our mid-yearboard meeting, and expressed theirdelight that we were bringing ourconference to them. They are fullysupportive of this conference, andlooking forward to hosting you all.

All of this construction activity wasof course not for our conference, butwe are lucky that we will see the recentlyfinished product of major upgradesat Auckland’s museums and galleries.They are particularly proud of theiruse of New Zealand’s ancient kauriwood, which is a delight to look at.You will see fantastic examples of thisusage in the ceilings at the Art Gallery(shown on the cover of the last issueof Papyrus), in the “cocoon” at theAuckland Museum, and at the Museumof Transport and Technology. It is lovelyto see this handsome wood used soextensively.

Facilities Managers often bemoantheir lack of involvement in the plan -ning of a construction project. Similarto what we saw in San Francisco last year,however, those who will be runningthe Auckland buildings when finishedhave been fully involved in the process,

John de LucyPresident, IAMFA

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Please finalize your plans now toattend this year’s exotic, action-packed 21st IAMFA Conference in

Auckland, New Zealand. The agendais full of educational content, oppor -tunities to network with your fellowIAMFA members, and an opportunityto see how museum facilities are man -aged in a part of the world that manyIAMFA members have never seen.Please review the agenda for the21st IAMFA Annual Conference inthe centerfold of this issue.

Many of us are challenged thesedays with budget constraints, andmany more are deeply into majorredevelopment projects. This spring’s(fall in the Northern Hemisphere)conference will be an opportunity tolearn from your peers, who are goingthrough the same challenges that youare. Please don’t overlook this tremen -dous opportunity to learn from yourfellow IAMFA members.

There are numerous venues partici -pating in this year’s conference. Hereis a brief history of each of them.

Auckland Art GalleryThe main gallery building of theAuckland Art Gallery was originallydesigned by Melbourne architectsGrainger and Charles D’Ebro, tohouse not only the Art Gallery butalso the City Council Offices, LectureTheatre, and Public Library. It wasconstructed of brick and plaster in anearly French Renaissance style and wascompleted in 1887, with an extension—the East Gallery—built in 1916. It wasthree storeys high, with an attic in thesteeply pitched roofs, and a six-storeyclock tower.

The new building eventually provedtoo small to house all the Councildepartments and, following com ple -tion of the Auckland Town Hall in1911, all Council departments left theGallery building. This allowed expan -sion of the Gallery’s facilities, including

extra workshop space for art classes.Several artists maintained studio spacein the complex during the period justafter the Second World War; weaverIlse Von Randow utilized the clocktower rooms and created the ArtGallery Ceremonial curtains onsite,executed as part of a modernizationin the 1950s.

From 1969 to 1971 the buildingunderwent remodeling, and a new wingand sculpture garden were added. In1971, the public library was movedto the new Auckland Public Librarybuilding, designed by Ewen Wainscott,in nearby Lorne Street. There havebeen a number of major and minorbuilding works since that time.

In 2003, Auckland Council con -firmed its support for the seismicstrengthening, heritage protectionand reinstatement and extension ofthis Category A heritage listed build -ing, at a total cost of NZ$121 million.The completed building will re-opento the public on September 3, 2011,three years from the date constructioncommenced onsite.

The expansion will increase exhi -bition space by 50%, resulting in over4,200 square meters of gallery space,which will be able to display up to900 works of art, and will providededicated education, child and familyspaces. As part of the upgrade, exist ingparts of the structure have been reno -vated and restored, and what was ineffect an adaptive re-use building hasfinally been transformed into a logicaland cohesive twenty-first-centurypurpose-built art gallery building.

The Conference team led byPatricia Morgan is excited that con -ference goers will have the opportunityto see the amazing new Auckland ArtGallery within weeks of its reopening.

Auckland Civic TheatreThe Auckland Civic Theatre is inter -nationally significant as the largestsurviving atmospheric cinema inAustralasia (and also one of the onlyseven of its style remaining in theworld), and as the first purpose-builtcinema of this type in New Zealand. Itis also known for its Indian-inspiredfoyer, which includes seated Buddhas,twisted columns and domed ceilings.The main auditorium was designedin a similar style, imitating a Moorishgarden with turrets, minarets, spiresand tiled roofs, as well as severalfamous Abyssinian panther statues.When it opened, it could hold 2,750people, and even with its currentlyreduced seating, it is still the largesttheatre in New Zealand.

The Auckland Civic Theatre wasthe creation of Thomas O’Brien, whobuilt a movie empire in Auckland’sinner sub urbs in the 1920s. He firstbrought the atmospheric cinema—atheatre style which gives the impres sionthat audi ences are seated in an out -door venue, complete with twinklingnight sky—to New Zealand when heopened Dunedin’s Moorish-styleEmpire De Luxe Theatre in 1928. The

Update—IAMFA Annual Conferencein Auckland

The Auckland Art Gallery, still underconstruction in this photo, combines theold with the new, and features beautifulkauri wood in its new ceilings.

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Civic opened amid great fanfare inDecember 1929, but the onset of theGreat Depression contributed to dis ap -pointing attendance—as did O’Brien’sstubborn insistence on show ing Britishrather than the more popular Americanfilms—and O’Brien eventually wentbankrupt. After sev eral modificationsduring the ensuing decades, the Theatrewas eventually restored to very near itsoriginal design in the late 1990s.

The Theatre also recently gainedsome insider fame when it was usedfor the scenes representing a period-style New York theater in Peter Jackson’sKing Kong remake.

We plan to hold our openingreception in the foyer of the AucklandCivic Theatre. It is a stunning venue,and we promise you will be amazed!

Auckland MuseumThe Auckland War Memorial Museum(or simply the Auckland Museum) isone of New Zealand’s most importantmuseums and war memorials. Its col -lec tions concentrate on New Zealandhistory (and especially the history ofthe Auckland Region), natural history,and military history.

The Museum is also one of the mosticonic Auckland buildings, constructed

in the Neoclassical style, and sittingon a grassed plinth (the remains of ador mant volcano) in the AucklandDomain: a large public park close tothe Auckland Central Business District.

The Auckland Museum traces itslineage back to 1852, when it was estab -lished in a farm worker’s cottage on thecurrent site of Auckland University.With an initial call for the donation ofwool specimens for display, it attracted708 visitors in its first year.

One of the visitors during the 1890swas the French artist Gauguin, whosketched several Maori items, laterincorporating these into his Tahitian-period paintings.

In the early years of the twentiethcentury, the Museum and its collectionsflourished under visionary curatorThomas Cheeseman, who tried toestablish a sense of order, separatingthe natural history, classical sculptureand anthropological collections, whichhad previously been displayed in arather unsystematic way. The need forbetter display conditions and extra spacenecessitated a move from the PrincesStreet site, and eventually the projectfor a purpose-built museum mergedwith that of a war memorial to com -mem orate soldiers lost in the FirstWorld War. The site was a hill in the

Government Domain, commanding animpressive view of Waitemata Harbour.

The building is considered one ofthe finest Greco-Roman buildings inthe Southern Hemisphere. It has an“A” classification from the New ZealandHistoric Places Trust, designating it asa building whose preservation is of theutmost importance. Of particular inter -est is the interior plasterwork, whichincorporates Maori details in an amal -gam of Neo-Greek and Art Deco styles.Similarly, the exterior bas-reliefs depict -ing twentieth-century armed forces andpersonnel are in a style which mixesNeo-Greek with Art Deco. The bulk ofthe building is English Portland Stone,with detailing in New Zealand granitefrom the Coromandel Peninsula.

Two additions were made to the1929 building, the first in the late1950s to commemorate the SecondWorld War, when an administrationannex with a large semi-circular court -yard was added to the southern rear.This extension is of concrete block con -struction, rendered in cement stuccoto harmonize with the Portland Stoneof the earlier building. The secondaddition was in 2006, when the innercourtyard was enclosed in the grandatrium at the southern entrance.

The quotation “The Whole Earth isthe Sepulchre of Famous Men” overthe front porch is attributed to theGreek general, Pericles, in keeping with

The Auckland Civic Theatre.

Atrium at the Auckland Museum.

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its commemorative status to affairs ofa martial nature.

Over the past two decades, theMuseum has been renovated andextended in two stages. The first stage,in the 1990s, saw the existing build-ing restored, and the exhibits partlyreplaced for NZ$43 million. The secondstage of this restoration involved theconstruction of a great dome/atriumwithin the central courtyard, increas -ing the building’s floor area by 60%(an addition of 9,600 m2) for a priceof NZ$64.5 million. The second stagewas completed in 2007.

The copper and glass dome, as wellas the viewing platform/event centrebeneath it, quickly won the admirationof critics and the public alike, beingnoted for “its undulating lines, whichecho the volcanic landscape and hillsaround Auckland.” Standing in theevent center underneath the top of thedome was likened to being beneath the“cream-coloured belly of a giant sting -ray . . . with its rippling wings hoveringover the distinctive city skyline.” InJune 2007, the Grand Atrium projectalso received the Supreme Award of theNew Zealand Property Council, whichnoted it as being “world-class” and asuccessful exercise in combin ing com -plex design and heritage demands. TheMuseum has also received the ACENZ

Innovate NZ Gold Award (StructuralEngineering) for the redevelopment.

Auckland Sky Tower The Sky Tower is an observation andtelecommunications tower located onthe corner of Victoria and Federal Streetsin the Auckland Central BusinessDistrict. It is 328 meters (1,076 feet)tall, as measured from ground level tothe top of the mast, making it the tallestfreestanding structure in the SouthernHemisphere, and the 15th-tallest mem -ber of the World Feder a tion of GreatTowers. Due to its shape and height,especially when compared to the nexttallest structures, it has become aniconic structure in Auckland’s skyline.

The tower is part of the SKYCITYAuckland casino complex, havingbeen originally built for Harrah’sEntertainment, Inc. The tower attractsan average 1,450 visitors per day (over500,000 per year).

The upper portion of the towercontains two restaurants and a cafe,including a revolving restaurantlocated 190 meters from the ground,turning 360 degrees once every hour.Conference attendees will have lunchin the revolving restaurant during theConference. The tower has threeobservation decks at different heights,each providing 360-degree views ofthe city. The main observation levelat 186 meters has 38-mm-thick glasssections of flooring, providing a viewstraight through to the ground. Thetopmost observation deck—the Skydeck—sits just below the main antenna at220 meters, and offers views of up to82 kilometers in the distance.

The tower also features the“SkyJump”: a 192-meter jump offthe observation deck, during whicha jumper can reach speeds of up to85 km/h (53 mph). The jump is guide-cable-controlled to prevent jumpersfrom colliding with the tower in theevent of wind gusts. Climbs into theantenna mast portion (300 m/980 ft

The Auckland Sky Tower. View of Auckland Harbour from the Sky Tower.

Model of the Museum, showing the newcopper dome/atrium at the rear.

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heights) are also possible for tourgroups, as is a walk around the exterior.

The tower is also used for tele -communications and broadcasting,with the Auckland Peering Exchange(APE) located on Level 48. The aerialat the top of the tower hosts thelargest FM combiner in the world,which com bines with 58 wirelessmicrowave links located above the toprestaurant to provide a number ofservices. These include television,wireless Internet, radio transmitter,and weather-measurement services.

Auckland ZooAuckland Zoo opened in 1922, and by1930 a sizeable collection of animalshad been assembled. After the SecondWorld War, the collection grew further,and in 1973 the Zoo expanded furtherinto the adjacent Western Springs Park.From the late 1980s to the present day,many old exhibits have been phasedout and replaced by modern natural -istic enclosures, and Auckland Zoo isnow set in 17 hectares (42 acres) ofstunning park-like grounds.

Auckland Zoo is a truly modern zoo,driven by a passion for wildlife andconservation. Not only is AucklandZoo dedicated to making a differenceto wildlife and the environment, itjumps at the chance to inspire others todo the same. In today’s world, wheremost people live in urban environ -ments, zoos play a key role in offeringexperiences for people to connect

with both native and exotic wildlife.Auckland Zoo’s contributions to con -servation also include a wide range ofresearch, in-situ and ex-situ wildlifemanagement, and education projects.

Te Wao Nui, the New Zealandprecinct, will open to the public inSeptember 2011. This is the biggestdevelopment the Zoo has ever under -taken, and is dedicated entirely to show - casing New Zealand’s native flora, fauna,and culture. The new exhi bit encom -passes six diverse habitats: The Coast,The Islands, The Wetlands, The Night,The Forest, and The High Country,

incorporating key conservation issuesand actions throughout. Te Wao Nuiwill be home to more than 100 nativeplant species and around 60 differentanimal species—many new or neverbefore seen at the Zoo.

Auckland Zoo is a full institutionalmember of the Zoo and AquariumAssociation (ZAA), and received ISO14001 accreditation for its Environ -mental Management System in 2007.

Museum of Transport andTechnologyThe Museum of Transport and Tech -nology (MOTAT) was established in1960 by a number of groups includingthe Old Time Transport PreservationLeague, which was formed in 1957and preserved trams and railwaylocomotives. MOTAT was formallyopened in 1964.

Exhibits include trains, trams, vintagetraction engines, carriages, cars, buses,trolleybuses and trucks, fire engines,electrical equipment, Space flightexhibits (including a Corporal rocket),and general science exhibits. There isalso a “colonial village” of early shopsand houses, including a fencible cot -tage (a style built for retired militarypersonnel) and a blacksmith shop.

Known in the past as the Sir KeithPark Memorial Airfield—named afterKeith Park, the Battle of Britain andBattle of Malta hero—MOTAT’s avia -tion collection is on a separate site,adjacent to Waitemata Harbour andThe new Wetlands habitat in Te Wao Nui.

One of Auckland Zoo’s ambassador cheetahs during a behind-the-scenes walking tour.

New hangar under construction at MOTAT.

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Auckland Zoo. It contains memorialsto Fleet Air Arm and RAF BomberCommand pilots, as well as radar andother aviation related material, andincludes workshops for work on othervehicles. The main feature, however, isthe collection of New Zealand civil air -craft, as well as some Royal New ZealandAir Force aircraft.

There is also a military section, whichrestores and demonstrates a selectionof Second World War military trucks,light-tracked vehicles and tanks used byAllied forces. The military section hasregular open days, when the MilitaryReenactment Society displays anddemonstrates the vehicles and uniforms.

MOTAT 2 also has an operationalrailway with a kilometer of track,stations and a selection of formerNew Zealand Government Railways,light industrial locomotives, wagonsand carriages.

MOTAT 2 is undergoing a majorexpansion project to increase itscovered display space. This involvesmoving and restoring the existingblister hangar and constructing a newand larger building to extend the maindisplay hangar. The project is plannedfor completion in late 2011 at anestimated cost of NZ$16.6 million.

Royal Navy Museum atTorpedo BayThe Royal Navy Museum’s vision isto enrich the lives of present andfuture generations with an awarenessof New Zealand’s naval culture and

heritage, so that they honour the con -tribution New Zealand’s sea warriorshave made to peace, security and pros -perity. The Museum’s mission is tocapture and preserve New Zealand’snaval culture and heritage for currentand future generations through col -lection, preservation, presentation,education, research and scholarship.

Torpedo Bay, on the shores of theharbour at Devonport, is the newhome of the Navy Museum. Themove to Torpedo Bay has been bothan outstanding opportunity and anincredible journey.

Torpedo Bay itself is a site of excep -tional significance, having been a keypart of Auckland’s early defence system,as well as having been continuouslyoccupied by New Zealand militaryforces since 1880. Torpedo Bay is themost substantial and intact survivingnineteenth-century mining base inNew Zealand.

Relocating the Museum to TorpedoBay has added a new chapter to thesite’s extraordinary heritage, withthe original 1896 buildings beingredeveloped to accommodate thenew Museum.

Conference attendees will visit theRoyal Navy Museum on Tuesday after -noon, after enjoying a bird’s-eye viewof it during lunch in the Sky Tower.

Voyager New ZealandMaritime MuseumThe Voyager New Zealand MaritimeMuseum is New Zealand’s premier

maritime museum. It is located onHobson Wharf Auckland, adjacent toViaduct Harbour. It houses exhi bi tionsspanning New Zealand’s maritimehistory from the first Polynesianexplorers to modern-day triumphs inthe America’s Cup. Its Maori name is“Te Huiteanaui-A-Tangaroa”: Holderof the Treasures of Sea God Tangaroa.

A NZ$8-million extension to thenorthern end of the Museum openedin late 2009, and houses a permanentexhibition about Sir Peter Blake, includ -ing the original NZL 32 (Black Magic).The exhibition is called Blue Water,Black Magic.

Mudbrick VineyardThe Mudbrick Vineyard is one ofWaiheke’s best-known wineries, andincludes a Provence-style restaurantmade of mudbrick. The vineyard pro -duces merlot, chardonnay, cabernetsauvignon, and Syrah grapes.

Waiheke Island is an island in theHauraki Gulf of New Zealand, locatedabout 17.7 kilometers (11.0 miles)from Auckland. The island is thesecond largest in the Hauraki Gulfafter Great Barrier Island. It is also themost populated, with nearly 8,000permanent residents, plus anotherestimated 3,400 who have second orholiday homes on the island. It isNew Zealand’s most densely popu -lated island, with 83.58 people/km2,and the third most populated afterthe North and South Island. It is themost accessible offshore island in the

Exhibits at the Royal Navy Museum.

View of the extension centered around NZL32 BlackMagic: the boat on which Team New Zealand, led by SirPeter Blake, won the America’s Cup in 1995.

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Gulf, due to regular passenger andcar ferry services and some air links.Waiheke translates as “the descendingwaters” or “ebbing water”.

Members and guests will travel toWaiheke Island by catamaran at theend of the first day of the Conferenceto enjoy the sunset with cocktails,followed by an unforgettable dinnerand networking with IAMFA membersand guests.

Langham HotelThe Langham Hotel is a five-star hotelin Auckland, and occupies the historicsite of Partington’s Windmill, a locallandmark until its demolition in 1950.

The Langham Hotel is located nearnumerous Auckland attractions andlandmarks, such as the AucklandDomain, the Auckland Central Busi -ness District, and the Auckland WarMemorial Museum. It offers a compli -mentary city bus shuttle so that guestscan easily access various attractions.

The hotel’s restaurant, Partington’s,is named after the windmill founder,and has won various awards, includingRestaurant of the Year in 2006.

Dining room at the Mudbrick Vineyard,overlooking the Bay on Waiheke Island.

Lobby at the Langham Hotel. Typical room at the Langham Hotel.

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10 PAPYRUS FALL 2011

Benchmarking is more than just data collection. Thereal value of the IAMFA Benchmarking Exercisecomes from the understanding of how your peers are

doing similar jobs for less cost. Indeed, IAMFA participantshave saved US$3.11 per GSF over the past five years byimplementing “pretested” practical solutions. But, you mayask, how do you motivate others in your organization toimplement the best practices revealed through bench -marking? As others will tell you, use the benchmarkingdata as an agent for change.

A key component to benchmarking success lies in com -municating the findings to your organization. Benchmarkingexpert Keith McClanahan recommends three differentstrategies for communicating to the various groups withinyour organization. Here are some quick tips:

When communicating to senior management, make apresentation of key findings and action plans.

1) Compare your costs and user satisfaction with yourpeers using key charts* included in the IAMFA report.

2) List the peers.

3) If this is your first time benchmarking, emphasize thatbenchmarking is a learning process, and encouragethem not to overreact to your first-year data findings.

4) Present action plans that you have identified from thebest practices listed in the report.

“Benchmarking got a lot of attention with senior man -age ment,” says Joe May, Sustainability Engineer and formerManager, Maintenance Planning and Support, for a largeLos Angeles museum. “It was an important factor in budgetallocations. Each year, I would list the most significantimprovements made to reduce each category of buildingoperation costs, and made a presentation with the results tosenior management and functional heads. In turn, seniormanagement overseeing Facilities would provide budget

constraints based in part on how our building operationcosts compared to those of similar facilities.”

May included charts in his presentation to senior man -age ment that tracked cost per square foot with both the“All Fine Arts Museums” and “All Participants” groups.“The first year our costs were noticeably higher than bothof these average groups,” notes May.

“We began a best-practices effort to reduce our operatingcosts and, as we added another year’s data to the charts,we could see the gap between our costs and the averagesnarrow, until—six years into the benchmarking exercise—our costs were near or below the averages of other bench -marking participants. While inflation drove higher operatingcosts for most facilities, we reduced our costs by a significantpercentage,” he adds.

To reach your FM organization:1) Post key charts from the report in highly visible areas.

2) Use benchmarking results as a basis for goal-setting—data shared by a collective of institutions helps createacceptance for change.

3) The report will identify improved work processes—recognize those involved.

4) Communicate the benefits of benchmarking: for example,when auditors see benchmarking results, they will oftenturn away to focus on other departments.

Benchmarking: How to UseData as an Agent for ChangeBy Stacey Wittig

*Key Charts included in the IAMFA Benchmarking Report:• Space utilization: GSF/person• Variable Costs— Electrical usage per GSF— Maintenance cost per GSF— Custodial cost per area cleaned— Total operating cost per GSF

• Fixed Costs— Depreciation or— Depreciation + Insurance + Taxes + Rent

Implementing handheld devices to dispatch maintenance joborders improves worker efficiency between 5% and 10% andimproves response times and customer service.

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PAPYRUS FALL 2011 11

5) Benchmarking is a two-way street: ask those in yourFM organization for suggestions for improvement.

“Each month I would meet with Facilities Supervisorsand Shop Technicians to log ideas for improvement, andwould update the log following each meeting to track ourprogress in implementing their ideas,” says May. “By the sixthyear, we had implemented over two hundred ideas to reduceoperating costs.” Some of these ideas for improvementwere shared as best practices in IAMFA benchmark reports.

Communicate with your Customers/Users by sending ashort, written summary report:

1) Include where you stand, and what you are doing toimprove.

2) Point out improvements since the last report.

3) If you have done an occupancy report, respond by e-mailor phone to each employee who provided contact infor -mation. Let them know if you are or are not implementingtheir requests or suggestions.

“I think any structured program to reduce operating costsmust have certain steps that advance the process from anidea stage through implementation of operating improve -ments,” says May, who used a Methods Improvement ControlSystem for twenty years with consulting clients prior to histenure at the museum. “It is very simple, and it works. Ifyou find anyone who would like to learn more about howit works, I would be happy to provide more informationindividually.”

The IAMFA Benchmarking Practices and LearningWorkshop will take place on November 13, 2011 in Auckland,New Zealand. The workshop is open to benchmarkingparticipants. Non-participants are welcome to register atwww.iamfa.org as paid observers.

Stacey Wittig is Marketing Director for Facility Issues, endorsedby IAMFA to facilitate the benchmarking exercise. She may bereached at [email protected] or 928-255-4943. Learnmore about benchmarking at www.facilityissues.com/museums

An effective BMS (Building Management System) will identifywhere energy is being utilized, as well as opportunities for savings.

Sharing of best practices is a key component of the IAMFAbenchmarking program.

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12 PAPYRUS FALL 2011

One of the fundamental dilemmas in museums is theneed to exhibit collections, which include objectsthat are sensitive to light. Light not only fades some

colours, but these reactions are cumulative and irreversible.1

Every museum has its most important or most popularobjects that are in constant demand for display; however,to paraphrase Oscar Wilde, museums risk destroying thatwhich they most love.

Exhibition lighting guidelines at many internationalmuseums still refer to Thompson’s The Museum Environment(1978) in which he recommends “50 lux for very sensitiveobjects,” and 200 lux for less fugitive materials. More recentexposure frameworks have also introduced the element oftime: e.g., the Victoria and Albert Museum lighting guide -lines (1999) recommend 50 lux for a 20% exposure period(often taken as two years of display over a ten-year period)for all potentially light-sensitive materials corresponding toequivalent International Organization for Standardization(ISO) Blue Wool (BW) standards 1-4; and permanent dis -play at 150 lux for more durable materials equivalent toBW 5-8. The BW fading standards are stan dard ised swatchesof fabric manufactured for the International Organizationfor Standardization that fade at known rates under par -ticular conditions, with BW 8 being the most stable, andBW 1 the least. The use of ISO Blue Wool stan dards arehelpful where fading information exists for the specificobjects or materials. Where data does exist (often Europeanfine art), it is usually derived from accelerated aging studieson surrogate samples that are likely to behave differently toreal objects with their unique histories of production, useand exposure.

Many museums, however, including the National Museumof Australia (NMA), are full of potentially light-sensitivematerial for which there is little or no fading informationavailable. We know the amount of fading is dependent onthe specific dye, pigment and/or substrate, the intensity ofthe light and the length of exposure. Because very little isknown about fade rates for specific objects, some conser va -tors tend to recommend that organic materials are routinelydisplayed at 50 lux and rotated off display every two years.This generates a huge amount of work, however, andbecomes unsustainable in terms of staff time, budgets, andobject selection. Applying general rules means that theresources involved in protecting sensitive items are nottargeted to the areas of identified need and, even worse,the small percentage of highly light-sensitive material maynot be adequately protected.

Fade-Testing of Museum Objects at theNational Museum of Australia By Nicola Smith and Bruce Ford

1Light can also affect the very structure of some materials; however,for the purposes of this discussion the focus is on fading.

Bruce Ford and Nicola Smith using the fading test machine onAzaria Chamberlain’s christening gown.

It is also the case that 50 lux illumination is often inade -quate for comfortable viewing, especially for older visitors(taken as anyone over 40 years of age), or for objects withfine details, objects that are dark in colour or large in size,and objects with long viewing distances. The over-50 demo -graphic comprises 60% of NMA visitors; but interestingly,as with other museums worldwide, negative feedback onexhibition lighting is not a common complaint in visitorsurveys. Low lighting is often taken as a sign of the impor -tance of the artifacts, and an indication the museum is takinggood care of its collection. This needs to be reconsidered,because there are times when exhibition lighting designdoes not even reach the minimum lighting standards forpublic circulation.

With the increasing use of risk management in museums,the NMA has been questioning some of the underlyingassumptions of its previous lighting guidelines. We areslowly moving from an “every object is equal” model toa risk-management model, in which the significance ofobjects or collections, and the specific risks to which theyare exposed, become the drivers for collection manage -ment decisions. To do this we are using a technique whichinvolves correlating individual colourants on an object withthe ISO standards.

In the late 1990s, Dr. Paul Whitmore, a scientist at theCarnegie Mellon University Art Conservation ResearchCenter, invented a machine for just this purpose. TheOriel® Fading Test System is able to provide virtually non-destructive fade testing of each colour on a real object in10-15 minutes. Each colour is exposed to a tiny spot of verybright light (5,000,000 lux), and its response is recorded.The test is virtually non-destructive, because the fadedarea is about the size of the head of a pin and, because

Page 15: Papyrus Fall 2011

PAPYRUS FALL 2011 13

the extent of fading is carefully limited, it remains belowwhat is perceptible to the human eye (even if the size ofthe area was larger).

Although the fading response of an object exposed totypical museum lighting will not be exactly the same as thatwhich follows exposure to the very bright light of this accel -erated aging machine, this method allows colourants to beseparated out across the light-sensitive Blue Wool 1-4 range.In fact, it can reliably identify those colourants most at riskof light damage—the “fast-faders”—from the medium andmore stable ranges.

In 2008, the NMA purchased the necessary equipmentand began testing many of the objects destined for the per -manent exhibition areas illustrating Australian history andsociety. A broad cross-section of the collection was testedacross acrylic paintings, natural and synthetic dyed objectsand textiles, photographs, inks on historical documents,fur and resins, and even modern plastics. It was found thatexhibition duration recommendations were unchanged for40% of the objects, and that restrictions had to be tight -ened for a relatively small group of fugitive objects, whilethe rest were assessed as being safe for longer display thanpreviously recommended.

At a rough estimate, the average cost of a changeover atthe NMA is around A$1,000 (including mounting, fabri ca -tion, text panels, graphics and lighting). The Museum hasaround 3,000 objects on display in its permanent galleries,and each time an object can be extended on display fromtwo years to five or even ten years, this can save the Museuma considerable amount of money. These figures are likely

to be very different for different museums and galleries,especially those that have most of their collection on per -manent display, or those that regularly rotate exhibitionsfor reasons other than limiting light damage. However, allcollections would benefit from the identification of objectsmost at risk of fading, especially within the group consideredto be the most significant or popular, and thus in constantdemand for display.

The NMA has used this machine in conjunction with asignificance-based assessment to modify and inform ourlighting guidelines. This approach provides better pro -tection for the most vulnerable and significant collectionitems at a much lower cost, and recommended illumina -tion levels have increased for all but the most light-fugitiveobjects. The aim is for greater dialogue between lightingdesigners, conservators and curators; improved access;better-looking exhibitions in which the public can see thedetail of objects on display; and more targeted expenditure,providing value for money.

The next challenge for conservators, lighting engineersand facilities managers is how and when to introduce solid-state lamps. Performance, cost effectiveness and collectionsafety will all be drivers in the decision-making process. Likethe issue of lighting-exposure guidelines, this will requirecollaborative effort across the various disciplines involvedin protecting and displaying our common heritage.

Nicola Smith is Deputy Manager Conservation, and Bruce Ford isConservation Scientist, Art & Archival at the National Museum ofAustralia in Canberra.

Fade data for Azaria Chamberlain’s christening gown. The effect of micro-fade testing results on exhibition duration, ascompared to previous recommendations.

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

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

Page 16: Papyrus Fall 2011

14 PAPYRUS FALL 2011

At our recent Board meeting inAuckland, IAMFA PresidentJohn de Lucy came face to face

with a stunning piece of family history.One of the Museum’s exhibits is anornate silver bowl, presented to John’sgreat-grandfather Edward Selby Littlenearly 100 years ago. Little was hon -oured for his work hosting and facili -tating—at his Shanghai home—theChinese peace negotiations that broughtan end to the long rule of the ManchuDynasty and its Emperor, and markedthe beginning of the Republic of Chinaunder Sun Yat-sen. The country’s cen -tennial celebrations will begin nextyear on February 12, 2012.

The Qing Dynasty, also known as theManchu Dynasty, was the last dynastyof China, ruling from 1644 to 1912(with a brief, abortive restoration in1917). It was preceded by the MingDynasty, and followed by the Republicof China. The dynasty was founded bythe Manchu clan, Aisin Gioro, in mod -ern northeastern China (also knownas Manchuria). Starting in 1644, itexpanded into China proper and itssurrounding territories, establishing theEmpire of the Great Qing (simplifiedChinese).

Sun Yat-sen (1866–1925) was a HanChinese doctor, revolutionary and polit -ical leader. As the foremost pioneer ofNationalist China, Sun is frequentlyreferred to as the “Father of the Nation”(國父), a view agreed upon by both thePeople’s Republic of China and theRepublic of China. Sun played aninstru mental role in the overthrow ofthe Qing Dynasty during the XinhaiRevolution, and was the first provi sionalpresident when the Republic of Chinawas founded in 1912. He later co-founded the Kuomintang (ChineseNational People’s Party) which he servedas its first leader. Sun was a unit ing figurein post-Imperial China, and remainsunique among twentieth-centuryChinese politicians for remainingwidely revered among people onboth sides of the Taiwan Strait.

Family Ties to the Auckland Museum

IAMFA President Johnde Lucy at the AucklandMuseum, holding thebeautiful silver bowlpresented to his great-grandfather, EdwardSelby Little, for his partin the Chinese Peacenegotiations that led tothe founding of theRepublic of China.

Signing of the Treatyat Edward Selby Little’shouse, February 12,1912. This photographwas taken on theverandah of 30 GordonRoad, Shanghai, afterthe signing of the peacenegotiations that ledto the founding of theoriginal Republic ofChina. Back, left toright: Tong Shao Yi,Representative of theManchu Dynasty andEdward Selby Little. Front,left to right: AmeliaGladys Little (John deLucy’s grand mother); Wu Ting Fang, Repre -senting Dr. Sun Yat-sen;and Caroline Amelia Little(John de Lucy’s great-grandmother).

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PAPYRUS FALL 2011 15

New Zealand’s largest clear-spanwooden structure is steadily tak -ing form at Auckland’s Museum

of Transport and Technology (MOTAT),with the new NZ$15-million AviationDisplay Hall set for completion in timefor the anticipated influx of domesticand international visitors in September.

The 2,750m2 custom-designedDisplay Hall is more than double thesize of MOTAT’s existing AviationHangar. The expanded facility willhouse around 40 MOTAT aircraft,including the newly loaned RNZAFSkyhawk, Sunderland and Solentflying boats, Lancaster Bomber, DC3,Cessna and Tiger Moth.

The construction phase follows stageone of the aviation project: the relo -cation and restoration of MOTAT’soriginal World War II Blister Hangar.The Blister Hangar is the workshopused by volunteers who restore theaircraft in the collection.

MOTAT Museum Director JeremyHubbard says that the new structureupgrade will provide enhanced hous -ing for the collection, and will allowfor the exhibitions to be upgradedto tell the stories of the aircraft, thepeople who flew them, and theircontribution to the development ofNew Zealand. “We are committed toensuring that these historic planes,which have been lovingly restored by

our volunteer team, have space to bedisplayed properly in all their glory.The previous hangar was becomingcramped, and we even had to keepmany of our prized planes, such as theSunderland Flying Boat, outside.”

“The Display Hall,” adds Hubbard,“will be a fantastic attraction forboth local and international visitors,where they will be able to learn aboutNew Zealand’s aviation history and thestories associated with our magnificentaircraft collection, housed in a world-class structure. We’re working towardsgetting more and more activities up and

running around it as well, includ ingtours hosted by some of our aviationvolunteers.”

The new building is large enoughto allow aircraft to be moved withinthe Hall as the exhibitions change,while also providing a unique expe -rience in a venue that can be hiredout for special events.

The northern façade is a trans lu -cent skin, which assists in providingnatural temperature regulation, includ -ing heating and cooling. The structurecontains 440,000 nails, all inserted byhand, as well as 531 cubic metres ofpoured concrete.

Mr. Hubbard notes that the DisplayHall has been created with the next gen -eration in mind. “We have created some -thing that will last well into the future,and will keep generations of Kiwiscoming back to MOTAT to learn allabout New Zealand’s aviation history.”

Following completion of theAviation Display Hall, MOTAT will focuson upgrading the existing AviationHangar, building a new entrance tothe site, and adding washrooms.

MOTAT’s Aviation Display Hall has More Action on the “Wings” than the All Blacks

Inside the new MOTAT Aviation Display Hall.

Exterior view of the new MOTAT Aviation Display Hall.

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The National Portrait Gallery(NPG) in London recentlyinstalled an air-source heat-

pump unit in one of its plant rooms,to replace a domestic hot-water calori -fier. This was undertaken as a trial totest the efficiency claims of the manu -facturers, and as part of an overall strat -egy to reduce the carbon footprint ofthe building.

At the NPG, the boilers operate toprovide steam-injection for humiditycontrol, and steam-to-water calorifiersto provide low-temperature hot waterfor heating. Domestic hot water isheated by localised electric calorifiers.The steam infrastructure is extensive,and the cost of removal and substi -tution with other forms of humiditycontrol would be high. The boilerswere replaced in 2006 with high-efficiency units.

The steam plant and pipework havean elevated surface temperature, andthere are heat losses to the local space,even with good levels of insulation.This, along with other plant functions,has meant elevated temperatures inplant rooms and, in some cases, heattransfer to adjacent areas, which mustthen be countered with cooling. Instal -lation of the off-the-shelf air-source heatpump offered us a chance to reducethe ambient temperatures in the plantroom, and to use waste energy togenerate domestic hot water.

Savings of up to 66% have beenproven in electricity consumption fordomestic hot-water (DHW) genera tion,as compared to electric im mersion-type heaters (typically 45kwh/weekfrom 135kwh/week). In addition, plantroom temperatures have droppedwith the supply of air as cool as 15˚Cfrom the heat pump, while medium-grade heat from the condenser unithas provided a supply of water at tem -

peratures of up to 50˚C. At present,this unit is provid ing 2–3 cubic metresof hot water a day. While this is only asmall amount, the unit has capacity forfuture expansion, and it has proventhat DHW generation from this sourceis feasible.

The risk of Legionella has been dealtwith through an automatic pasteurisa -tion cycle that uses less expensive over -night electricity and an electric heaterto raise the water temperature beyondthe standard supply temperature.

High levels of insulation allow thestored water temperature to be main -tained in a storage vessel, and a heatexchanger between refrigerant gasesand the primary water source removesany risk of contamination to the watersupply. While this is still a new instal -lation, it has so far proven reliable andcapable of supplying sufficient capacity.Higher maintenance costs are a downside when compared to the systemit replaced, but will still show over-

all savings achieved by the system’sgreater efficiency.

Recent replacement of the mainchillers with higher-efficiency units—along with a chiller capacity moreclosely matched to the cooling require -ment of the building, using chillers withdifferent size capacities—has furtherimproved matters. LED lighting hasreduced the consumption of powerthrough higher efficiency and lowerheat output, reducing the cooling loadon the plant. Continual developmentof the Building Management Systemto control the environmental require -ments of the building more efficiently,and rationalization of specialised areashave enabled us to reduce the mainventilation plant speeds and runningtimes. The installation of voltage opti -misation equipment has also played amajor role in the reduction of energyuse at the Gallery.

Discussion with other engineersand Facility Managers through IAMFAhas often sparked ideas for develop -ment, along with the visits to otherinstitutions, while the informationgained through articles in Papyrus isgenerally very useful.

Allan Tyrrell is Engineering Manager at theNational Portrait Gallery in London.

Air-to-Water Heat Pump for DomesticHot-Water GenerationBy Allan Tyrrell

The National Portrait Gallery in London,England.

The new Altherma Air Source Heat Pump.

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PAPYRUS FALL 2011 17

In October 2010, Torpedo Bay,located on the picturesque shores ofWaitemata Harbour in Devonport,

Auckland, became Torpedo Bay: TeKainga O Te Waka Taonga O Te TauaMoana (Torpedo Bay: “Home of thecanoe of treasures of the Sea Warriors”).After 25 years in temporary accommo -da tion, the Royal New Zealand NavyMuseum relocated from its site onSpring Street, Devonport to this historicwaterfront site.

The move to Torpedo Bay has beenan incredible opportunity. Torpedo Bayitself is of exceptional heritage sig -nificance: not only was it a key part ofAuckland’s early defence system, but ithas also been continuously occupiedby New Zealand military forces since1880. Torpedo Bay is also the most sub -stantial and intact nineteenth-centurymining base in New Zealand.

Relocating the Museum to TorpedoBay has allowed the Museum to leveragethe site’s extraordinary heritage value,by adaptively re-using existing onsiteheritage buildings to accommodate thenew Museum. Inside, in addition to anoutstanding café, conference facility andeducation space, completely new per -manent exhibitions showcase the story ofthe Navy’s contribution to the develop -ment of New Zealand’s identity through

the lens of the Navy’s values: commit -ment, courage and comradeship.

As New Zealand’s only Navy Museum,the Torpedo Bay facility strongly com -plements other icons of New Zealand’smilitary, maritime and social heritage,such as the Auckland War MemorialMuseum, the Voyager MaritimeMuseum, North Head, Bastion Pointand the Auckland Art Gallery. Along -side Auckland’s other museums andheritage sites, this creates an unmatchedclutch of valuable national historic

facilities spanning both sides ofWaitemata Harbour.

Since opening in October 2010,the Museum has welcomed morethan 80,000 visitors, and is on track towelcome over 100,000 people in itsfirst year of operation. The Museumis quickly becoming an importantcomponent of the cultural landscapein the Auckland area.

Commander David C. Wright is Director atthe Navy Museum.

Torpedo BayNew Home of the Royal New Zealand Navy MuseumBy Commander David C. Wright

Aerial view of the Royal Navy Museum at Torpedo Bay.

Torpedo Bay. Gallery 6 at the Royal Navy Museum.

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18 PAPYRUS FALL 2011

Rodent infestations can be damag -ing to an organisation’s reputa -tion, as well as to its bottom line.

And in Museum facilities they can alsothreaten the collections. It usually fallsto the soft services team to managethe pest control contract, in con junc -tion with cleaning. Needless to say,catering areas tend to be vulnerableto rodent infestation because of theready food supplies—despite vigilanceand strict hygiene and cleaning regimes.Another area in which mice are oftenseen is in the educational serviceslunch room. During the school year,this is a very heavily used resource,where large numbers of school childrenenjoy their packed lunches, supple -mented from the vending machines.And you can imagine the mess andrubbish they leave behind! The binareas in most facilities back onto anexternal roadway, so it is relatively easyfor mice to enter the building.

Apparently, mice are developingresistance to rodenticides, and are alsolearning how to avoid conven tionaltraps. A novel solution is required tofight this ongoing battle. And that’swhere Archie comes in. He is a cuteand lively springer spaniel—and isalso on the MITIE (our facilitiesmanagement outsourcing company)payroll. He has been (expensively)trained to sniff out active mouse infes -tations, and to indicate regularly used“runs”. Often, these cannot be detectedby other means. As a result, effectivetraps can be placed more accurately.

Archie visited the British Museumin June. His handler took him to thecatering areas, and to the school ser -vices lunchroom. Happily, the hygieneregime in the kitchens must be payingoff, because he showed little interestdur ing his thorough search. The lunch -room, however, was another matter.He stood stock-still and pointed hisnose at several locations in this area,thus identifying the routes used bymice. After Archie has done his work,the technicians can move in. They placefewer traps and use less rodent icide,

because they can target their attentionson specific areas.

Staff who watched Archie in actionwere charmed. He never stops moving,unless and until he senses current miceactivity. Only then does he calm down.Otherwise, he wags his tail in perpetualmotion as he is guided around thebuilding by his handler.

Sara Carroll is Head of Building Services atthe British Museum in London.

Meet Archie, the Four-Legged Pest ControllerBy Sara Carroll

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

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The National Library of New Zealand (NLNZ) hasrecently embarked on a significant modernisationprogramme. The New Generation programme is

aimed at transforming the services the Library offersto customers, both in response to the growing digitalenvironment and to focus on providing improved services.

In 2007, the Library published its 10-year strategicpriori ties, “Strategic Directions to 2017”, following afundamental review of how its funding baseline wasprioritised, its produc tivity, and its capacity and capabilityfor change. In 2008, an integrated implementation pro -gramme was established, charged with “repositioning andmodernising the National Library.”

The scope and objectives of the change programmeare wide-ranging and touch on all areas of the Library’soperations, but can be broadly categorised as follows:

• Delivering improved services: developing and deliveringnew and improved services.

• Infrastructure: enhancing the National Library’s presenceand supporting infrastructure in Wellington and Auckland,and creating a stronger digital platform.

• People: transforming staff capability and organisationalculture to sustain the new services, and realigningbusiness structures and funding to support the deliveryof the new services framework.

The successful delivery of redeveloped services is criti callydependent upon supportive infrastructure, so a key part ofthe New Generation strategy is improving infra struc ture,both physical and digital. This includes the rede velopmentof the National Library’s Wellington headquarters building,

the new Auckland centre (completed in May 2010), as wellas developing online platforms to support the new services.

Wellington Facility UpgradeThe redevelopment of the Library’s Wellington building iscrucial to the modernisation programme. Designed in the1970s in the “Brutalist” architectural style and built in the1980s, the 2008 business case identified three key problems:

• The integrity and safety of the Library collections were atrisk if storage space and service issues were not improved.

• Aging plant and infrastructure were increasing therisk of failure that could cause irreplaceable loss to theheritage collections.

National Library of New ZealandBuilding RedevelopmentBy Rob Stevens and Pam Harris

National Library of New Zealand in Wellington.

Concept for the ground floor exhibition area and gallery. Concept for the service hubs in the Alexander Turnbull Library.

Page 22: Papyrus Fall 2011

20 PAPYRUS FALL 2011

• The impact of New Zealand’s cultural, social and eco -nomic capital was under-realised because the Library’scollections were not easily accessible.

The upgrade of the Wellington facility, which houses andprovides access to collections (including the internationallyrecognised heritage collections of the Alexander TurnbullLibrary) is due to be completed in late 2012. The scope ofthe project includes full interior refurbishment, extensivenew shelving, replacement of the aging plant and a new roofsystem. The building has six levels, and a total floor area of23,400 m2. The redevelopment budget is NZ$65 million.

A critical factor in the success of the redevelopment wassolving the problem of collections storage space, which in2008 was estimated to run out in two years. A number ofoptions were considered, including additions to the build -ing, moving some collections offsite, and the chosen solu -tion of increasing the efficiency of space utilisation in thebuilding. Improvements in the utilisation of space wereachieved by consolidating public-service points and staff workareas, but most importantly by reorganising and intensifyingthe Library collections storage, adding a further 20 years ofcollections growth capacity within the facility.

As part of the reorganisation, storage conditions forheri tage collections will be improved from 55% to 100%of collections housed in appropriate controlled-atmosphererooms. The environments range from 2 +/- 2°C and 30+/- 5%RH through 18 +/- 2°C and 48 +/- 5%RH.

Relocation ProjectBecause the scope of the facility upgrade extended overthe entire main building, an early decision was made torelocate Library operations for the duration of the con -struction. In 2010, the Library completed moving its staffand operations to four temporary premises in Wellington.This included the relocation of some higher-use andresearcher-requested collections; however, for practicalreasons, this amounted to less than 20% of the collectionsheld in the building. The bulk of collections (valued atnearly US$1 billion) had to be closed and either movedoffsite, or managed onsite during construction.

An investigation into housing the closed collections off -site determined that all of the options were quite challeng -ing. New Zealand is a seismically actively country (mostrecently a series of earthquakes has caused extensive damagein the city of Christchurch), and Wellington is not only builton a major fault zone but is also coastal, with large areas atrisk from liquefaction and tsunamis. The analysis of oppor -tunity and risks undertaken concluded that the collectionswould need to be transported to Auckland, which is 700 kmby road from Wellington. The risk and costs involved insuch a move were assessed to be higher than managing thecollections onsite during construction, so a decision wasmade to pack up and store the closed collections onsite.

Packing Up CollectionsThe challenge of moving a large number of the uniqueheritage collections—including manuscripts, rare books,ephemera, cartography, photographic materials, drawings,paintings and prints, oral and music recordings—requiredextensive planning. Working with the library’s conservatorsand curators, collections were carefully pre-packed toensure that they were safely protected for their physical

Collection protection: temporary plastic sheeting to contain dustand volatile organic compounds.

New film-negative store under construction. Pre-pack and storage of newspapers.

Page 23: Papyrus Fall 2011

PAPYRUS FALL 2011 21

relocation en masse, and temporary storage conditions.Pre-pack projects included:

• Custom boxing of over 6,700 individual fragile, damagedand rare books, sketchbooks, photo albums and manu -scripts. This work took over a year to complete, the mainchallenge being the high resource demand.

• Custom wrapping/boxing of approximately 7,000 boundand groups of unbound newspapers. A standard boxsolution was found for the stable newspapers, while themost fragile ones were to be wrapped in a corflute (inertcorrugated plastic) then shrink-wrapped in plastic.

• Rehousing of the photographic glass negative and AVcassette/CD collections. This improved storage for anumber of unique and vulnerable collections, while alsomaximising space efficiency. This involved the time ofconservation and curatorial staff, due to the fragility/vulnerability of a number of the collections, resultingin the movement of collections item by item.

• Rationalisation of plan cabinets for the medium- andlarge-format material (e.g., maps and architecturaldrawings). Sheets of corflute the size of the drawerswere placed beneath and on top of the contents inorder to prevent the folders from shifting during themove, and to protect the collections from dust or metalparticles in the drawers.

Some 15,000 hours were devoted to this work, over aperiod of 18 months. Completion of this project has long-term benefits. In particular, custom boxing of the mostfragile/rare items and housing the newspapers in archivalboxes means that they now have extra permanent protectionin their storage environments.

Collections ProtectionWith a large proportion of the Library’s heritage collectionsremaining in the building for the duration of construction,storage, protection and security were key concerns. Collec -tions have been consolidated and stored on two floors(ground and basement levels).

The ground floor former reading rooms and galleryspace have been fitted with pallet shelving for storage ofover 35,000 boxes of collections, larger format rolled itemsand works of art. The existing floor coverings were removed,and air conditioning isolated and adjusted to better suitcollections storage conditions. The packing of the collec -tions and moving to the ground floor was carried out over

Pre-pack custom box for curios. Collection bulk storage on the ground floor of the building.

Temporary wall to isolate and protect shelved collections fromconstruction area.

Collection protection: temporary external hoarding around thebuilding’s ground floor.

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22 PAPYRUS FALL 2011

an eight-month period, and all boxes have been bar-codedto ensure that collections can be traced. The collections onthis floor have been closed to visitor access, and the arealocked for the duration of construction. Access has beenrestricted to conservation staff carrying out site audits, andto contractors carrying out only essential services checks.Ensuring security of the floor is a key consideration and, inaddition to restricting access, potential for reputationaldamage has been mitigated by constructing an externalhoarding over the exterior windows.

The basement was already a collections storage floor(including several specialised controlled-atmosphere rooms),and as such relatively limited upgrade work was planned.Collections have been stored on open shelving for theduration of construction, and plant operation has beenmaintained to the controlled atmosphere rooms through -out the period. Collections in the basement are required toremain accessible to library staff, and managing staff access

to collections, separate contactor access to work areas, andsecurity in general, has been challenging.

In order to undertake the construction work safely whilemanaging risks in and around collections, a unique Collec -tions Protection Plan and Process was established. Thisincluded both the Library and main contractor estab lish ingdedicated collection protection roles. Robust work pro ce dures(method statements) are agreed upon, ahead of constructionactivity. The key responsibility of these roles is to develop andagree upon method statements and work plans before workcan commence. The method statements identify and addressthe mitigation of risks to the collections (including water,dust, gases and vibration) from particular construction activ -ities. All construction staff are required to work in accordancewith the relevant method statement, and must attend a col -lections protection induction before being permitted towork onsite. To date, over 100 method statements have beenproduced, ranging from drilling a hole in concrete for theinstallation of pipes to replace ment of roof membranes. Thebuilding contractor understands that the working situationis unique, and that different methods of work are required.

Independent quality-assurance audits of the CollectionsProtection processes, outcomes and incidents are under -taken regularly by an internationally recognised conservator.This independent oversight provides a high level reassuranceto stakeholders, politicians, staff and the public that theevery practical step is being taken to keep the collectionssafe and secure during construction. The process has beenvery effective so far, with only two minor incidents to dateand no damage to collections.

Rob Stevens is the Programme Director of the New GenerationImplementation Programme for the National Library of NewZealand. Pam Harris is the Collections Site Liaison Officerresponsible for protecting the collections for the NationalLibrary of New Zealand.

Relocatable temporary roof for weather protection during newroof construction.

HAWKINS: PROUD BUILDER OF THE AUCKLAND ART GALLERY DEVELOPMENT.

Hawkins Auckland Level 2 - Hawkins House, 70 Stanley St, Parnell, Auckland Private Bag 93214 Parnell, Auckland 1151 Phone | 09 918 8100

The Auckland Art Gallery development has been an inspiring and ground breaking project for Hawkins, and we applaud the commitment and vision of Auckland Art Gallery, and its wide network of supporters, in realising this ambitious project. We expect that all users of this great facility will draw as much enjoyment from it as we have building it.

Reserve this space to advertise in a future

issue of Papyrus

Please contact the Editor of Papyrus

for details

Reserve this space to advertise in a future

issue of Papyrus

Please contact the Editor of Papyrus

for details

Page 25: Papyrus Fall 2011

PAPYRUS FALL 2011 23

Museums and galleries are spaces in which collec -tions are made available, and where old and newinformation, heritage values, cumulative knowl -

edge and the experiences of individuals and communitiescan be shared and cultivated in order to advance society,while contributing to people’s lives. At the same time, theseare the very institutions that preserve and protect culturalheritage, keeping it safe for the benefit and enjoyment ofthe future generations. As simple as this seems, these twokey objectives often conflict with one another, because plac -ing objects on display may cause aging and have a detri mentalimpact on the exhibition materials. An institution’s decisionto exhibit an object may thus mean that its future usablelife is compromised to some degree. It is therefore crucialto understand the effect of environmental parameters onobjects in exhibition (and storage) areas, to ensure thatthey are displayed in a manner that minimises the impacton the objects, while also providing adequate conditionsto maximise the visitor experience. This generally requiresthat design of the spaces, selection of material, and settingof environmental parameters work hand in hand.

Lighting is important to the appearance of displays, andis a fundamental element in shaping the visitor experienceof an exhibition. On the other hand, lighting, as an envi -ronmental parameter, is unquestionably one of the keyissues in conservation. It needs to be used mindfully, andoften sparsely, in order to minimise damage to the objects.

It has been known for centuries that light may damageexhibited materials by fading pigments, and may degradeobjects in other ways over time. Photodegradation is thescientific term for the fading of materials from exposure tolight, and can be defined as the decomposition of moleculescaused by the absorption of energy in the form of photons—particularly from the ultraviolet and visible parts of the elec -tromagnetic spectrum. As a result of photodegradation, thematerial’s composition breaks up and becomes irreversiblytransformed. When photodegradation takes place on mole -cules carrying pigmentation, the chemical composition ofthe pigments can break down, and colour quality may shiftor weaken. Photodegradation is an irreversible process, andit is sometimes virtually impossible to create or repair thelost information in an exhibition object.

On this basis, the best way to prevent light damage onan exhibition material would be to keep it in darkness.This is obviously not practical for display purposes, sincewe have yet to invent the means of viewing artifacts in theabsence of light. The exhibition of a light-sensitive objectthus requires well-balanced lighting that optimises the quality

of the visual display quality, balancing it carefully with therisk of fading.

There are some fundamental issues in today’s lightingand preventive conservation practice, due in part to thefact that many approaches to lighting conservation arebased on outdated data. For example, a key documentused in many current lighting conservation guidelines isGarry Thompson’s The Museum Environment, written in1978. Although this book and other similar key sourceswere milestones when published, and have proven usefulfor decades, it is time to approach certain conservationissues with a new perspective. One important reason forthis is technological advances, both in measurement tech -niques and the precision and accuracy of the devices.Another important consideration is more fundamental: thisis a time in which exhibition display lighting is undergoingperhaps its most significant change in many decades, due tothe phasing out of incandescent lighting and replacementof these sources with new lighting technologies.

Current lighting guidelines related to conservationare primarily on the nature of the light that is emitted byincandescent light sources. It is important to note that thecomposition of the light from an incandescent source is verydifferent from that of a metal halide discharge lamp or afluorescent tube—or, more importantly, LED sources, whichare likely to become the primary source of exhibition displaylighting in the near future.

Two of the most common misconceptions affectingpreventive conservation strategies related to lighting are

Looking at Art in a New LightPart Three in a Four-Part Series: Conservation to ConversationBy Mirjam Roos and Emrah Baki Ulas

The Berlin Function. Source: PLDC 2011 Conference Proceedings,Light for Art’s Sake by Cit Cuttle—2009 via Verlag.

Page 26: Papyrus Fall 2011

24 PAPYRUS FALL 2011

that certain levels of light should not be exceeded, andthat 50 lux is the minimum level required in lighting anexhibition. We will look at each of these in turn.

Misconception 1: Certain Illuminance (Lux) Levels Shouldnot Be ExceededThere are certain illuminance (lux) levels that are widelyregarded as the acceptable limits of illumination for cer -tain types of exhibition objects. These levels typically followa hierarchy, based on the classification of the exhibitedmaterial in terms of light sensitivity: acceptable levels oflight are lower for highly light-sensitive materials, andhigher for materials that are less sensitive.

This approach has proven useful; however, it is impor tantto look at the basis on which these illuminance levels weredetermined. The question of the amount of light damageon an exhibition object is a multidimensional issue withmany parameters. These parameters can be summarisedas follows:

• the composition of the energy contained in the light(both luminous and non-luminous);

• the exhibition material and the light-related propertiesof its surface; and

• how long the object will be exposed to exhibitionlighting.

Light damage follows the law of reciprocity in general.(It has been proven via further research, however, that thisrelationship is nonlinear and can be very complex.) Eachof the above parameters have complex sub-parameters oftheir own, and play a role in the extent of fading; all of theseparameters should be considered in order to determine anacceptable level of lighting for display. The light levels thatare often noted in loan agreements and industry guide linesare thus meaningful only when they are supported withfurther information on the other factors.

For example, 200-lux illumination provided by an incan -descent source may have a very different photodegradationpotential compared to 200-lux illumination provided by aLED source. This is due to the difference in the spectral-energy distribution of these two sources. The extent ofdamage will of course also be dependent on the duration ofexposure, and may even be more dependent on the object’ssurface characteristics, such as absorption and reflectivityresponses to the different parts of the incoming light energy.

What all this means is that, by simply managing the dura -tion of the exhibition display and tailoring the compositionof incoming light affecting certain surfaces, the acceptablelux levels may be increased or decreased.

Misconception 2: 50 Lux is the Minimum Level for ViewingArtworksThis is an issue related to the quality of display lighting, ratherthan a conservation issue. It is important to understand thebackground of this issue, however, as it may help to createnew strategies for conservation—particularly for highlysensitive materials.

Similar to the first misconception, while a 50-lux level isa good general rule of thumb, it lacks accompanying infor -mation related to the type of object (e.g., size, colour, con -trast), the environment (e.g., background/foreground colourand contrast), and audience (e.g., age of visitor and visualacuity). This is thus an issue in which a range of para metersplay an important role in determining the acceptable levelof illumination for satisfactory viewing of artworks. Theseparameters include:

• the composition of the luminous energy contained inthe light;

• the material and the light-related properties of thesurface being viewed;

• the size/detail/contrast and colour diversity of thesurface being viewed;

Tungsten Incandescent

Wavelength (nm)

Rel

ativ

e Po

wer

100

80

60

40

20

0400 500 600 700 800

Spectral Power Distribution— White LED

Wavelength (nm)

Rel

ativ

e Sp

ectr

al P

ow

er

4003500.0

0.2

0.4

0.6

0.8

1.0

450 500 550 600 650 700 750

Spectral power distribution diagrams for tungsten incandescent and white LED sources. Source: PLDC 2011 Conference Proceedings, Lightfor Art’s Sake by Cit Cuttle—2009 via Verlag.

Page 27: Papyrus Fall 2011

PAPYRUS FALL 2011 25

• the position and distribution of the light source andthe observer; and

• the state of adaptation and visual skills of the observer.

When determining acceptable lighting conditions in anobject-specific manner, you may find that the required levelof illumination can be much lower or much higher than50 lux—which can then inform the conservation strategy.

In summary, lighting in exhibition spaces should respondprimarily to two key parameters: the exhibition experiencefor today’s visitors, and how long it will be practical andpossible to keep the exhibition material for the benefit offuture generations. One way of achieving both goals wouldbe to carefully reconsider the acceptable level and type of

illumination for the satisfactory viewing of an exhibition. Atthe same time, a decision needs to be made on the desiredusable life of the exhibition material. These two para meterscan then be used in making the programmatic—includingspatial and operational—arrangements. This can open upnew opportunities for different conservation metho dologiesand help create a bridge between the two fundamentalaspects in exhibition display lighting: the longevity of theexhibit for tomorrow’s visitors, and the communicationand connection of today’s visitors with the exhibit. In otherwords, a bridge from conservation to conversation.

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

When traveling, keep photocopies of your passport and all your other traveldocuments as backup. While it’s not likely that these would be valuable to

anyone else, they will be very helpful if you lose the originals.

Do not carry all of your credit cards and cash in your wallet. That way, ifyou would lose your wallet, or become the target of a pickpocket, you will

not be left without money. Use your hotel room safe or the hotel’s safety depositbox for any larger sums of money or valuables when you are away from your room.

Page 28: Papyrus Fall 2011

26 PAPYRUS FALL 2011

2011 IAMFA Con

Auckland Museum

Museum of Transport andTechnology

Structural steel roof modules,February 2010

Voyager NZ Maritime MuseumExtension

Navy Museum Torpedo Bay

DELEGATE PROGRAM SUNDAY

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

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

6:30 pm Opening reception Civic Theatre—Verandah Bar

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

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

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

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

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

1:45 pm IAMFA planning session Functions room—Voyager

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

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

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

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

TUESDAY

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

8.00 am (1) The Dialectic Relation of Art and Architecture— Auditorium—Art Gallery Lead Architect Richard Francis-Jones

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

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

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

12:00 pm Lunch at Sky Tower Sky Tower restaurant

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

2:15 pm Casting New Light on Your Collection Auditorium—Art GalleryNew spatial typologies, conservation approaches and sustainability perspectives for museum and gallery exhibition lighting

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

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

6:00 pm IAMFA Board meeting Langham Hotel

WEDNESDAY 8:00 am IAMFA Annual General Meeting Langham Hotel

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

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

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

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

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

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

(2) The Pumphouse—Auckland waterworks history

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

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

10:15 pm Bus back to hotel To Langham Hotel

Page 29: Papyrus Fall 2011

PAPYRUS FALL 2011 27

Viaduct Harbor

Auckland's Sky Tower

Auckland Zoo

Langham Hotel

Mudbrick Vineyard

ference Schedule GUEST PROGRAM

13 NOVEMBER 2011

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

6:30 pm Opening reception Civic Theatre—Verandah Bar

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

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

10:00 am Visit museum exhibitions and shop Auckland Museum

10:45 am Bus to Viaduct Harbour To Viaduct Harbour

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

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

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

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

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

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

15 NOVEMBER 2011

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

9:00 am Free time

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

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

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

5:00 pm Return to hotel

5:30 pm Free evening

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

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

10:45 am Bus to Zoo To Auckland Zoo

11:00 am Visit Zoo exhibits Auckland Zoo

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

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

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

and Technology

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

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

10:15 pm Bus back to hotel To Langham Hotel

Page 30: Papyrus Fall 2011

28 PAPYRUS FALL 2011

(Parts 1 and 2 of this series can be found in theprevious two issues of Papyrus)

Each application of the operations review audit will resultin more insight into your maintenance depart mentdynamics, and continued improvement in department

effectiveness. You can summarize your review results usingthe Maintenance Productivity Polygraph shown in Figure 1.

There are 80 questions included in this review method,with a maximum of 10 points per question. This allows fora total possible score of 800 points, distributed among theeight survey areas, as seen below. The first three areas arerelated to the people in your organization, and represent atotal of 230 points (29%) in the survey. The people scoreis weighted heavily because skilled, well-motivated peoplecan overcome many system shortcomings. No matter howdazzling the system, however, people who are poorly orga -nized, trained or motivated will not get the best out of it.They will not understand how to use the system, or won’thave the will to make it work.

You can look at your scores for individual questions toidentify specific items in your system that will help youimprove. For example, assume that under “Planning” youscored low when you answered the question “What percent -age of hours worked is covered by work orders?”. Using theguidelines of 85–90% planned and scheduled work, you canapply techniques—such as Finite Capacity Planning basedon daily scheduling—to improve the use of your work ordersystem. The more work hours you cover on work orders,the better your scheduling will be and the more completeyour equipment records will be. That improve ment activitywill have a major impact on your program’s success, becauseit will immediately give you greater control of labor andmaterial resources, and increase the amount of work doneby the same workforce.

Using all the data you have gathered, answer the multiple-choice questions on the following pages to complete youroperations review.

Operations Review RevealsHidden MaintenanceImprovement ResourcesPart Three in a Three-Part Series: How toEvaluate Your Operations Review Results By Thomas Westerkamp

Organization

Potential Productivity Current Productivity

Planning

Cost Control Training

P

FacilitiesMaterials

Engineering

Potential Savings: $2,850,000.00Figure 1. The Maintenance Productivity Polygraph for performing astructured assessment of your maintenance department.

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

Page 31: Papyrus Fall 2011

PAPYRUS FALL 2011 29

Maintenance Assessment Questions Circle the point value for the answer that most closely fits your situation. Total your points and divideby possible total points to find your percentage score in each area. List potential improvements in therighthand column. You will use these notes in your improvement plan and implementation. Put anasterisk beside anything on which you want to follow up and check facts.

AREA 1: ORGANIZATION IMPROVEMENTS

1. Is the organization structure effective, and is theorganization chart current and complete?

a. Effective, current and complete 10

b. Not reviewed in the past year or incomplete 6

c. Not current and incomplete 4

d. Not effective, current or complete 0

2. Do all supervisors have their own and their crew’sjob descriptions?

a. Yes, all 10

b. More than 90% 9

c. 80–90% 8

d. 70–79% 7

e. 50–69% 6

f. Less than 50 percent 0

3. What is the ratio of hourly workers to supervision?

a. 15:1 10

b. 8:1 to 14:1 8

c. 16:1 to 20:1 8

d. Less than 8:1 or over 20:1 5

4. Are support functions—maintenance engineer, plantengineer, planner, material coordinator, training,stores—available?

a. Yes, all 10

b. 4 or 5, including planner 8

c. 4 or 5, no planner 6

d. 1 to 3 4

e. None of these is available 0

5. Does the department use a written managementcontrol policy and management goals weekly?

a. Yes, covering over 85% of costs 10

b. Yes, covering 75–85% of costs 7

c. Have, but not used weekly 5

d. Do not have or do not use 0

Area 1: Organization—Subtotal _______

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

International Association of Museum Facility Administrators, please visit

WWW.IAMFA.ORG

Page 32: Papyrus Fall 2011

30 PAPYRUS FALL 2011

AREA 2: TRAINING IMPROVEMENTS

1. Does a master training plan exist, covering highermanagement supervision, support and crafts?

a. Yes, all of these areas 10

b. Two of these 5

c. One of these 2

d. None of these 0

2. Is productivity training included?

a. Yes, in all of the above areas 10

b. Two areas 5

c. One area 2

d. None of these areas 0

3. Is there formal and on-the-job management training?

a. Yes, both 10

b. On-the-job only 5

c. No management training 0

4. Who performs training?

a. Staff specialists 6

b. Line management and staff specialists 10

c. Line management and other workers 5

d. No one 0

5. Is there formal and on-the-job training for planners?

a. Yes, both 10

b. On-the-job only 5

c. No training for planners 0

6. Does the planner training program include work orderplanning, methods, scheduling, productivity, methodsimprovement, material planning, project planning, fieldchecking, engineered time standards, standard practices,multi-craft planning, preventive maintenance andequipment history, and computer use?

a. Yes, all of these areas 10

b. 75% of these 7

c. 50% of these 5

d. 25% of these 2

e. None of these 0

7. Is there formal and on-the-job craft training?

a. Yes, both 10

b. On-the-job only 5

c. No craft training 0

8. Who performs craft training?

a. Staff only 7

b. Staff plus line management 10

c. Other hourly workers 5

d. No one 0

Page 33: Papyrus Fall 2011

PAPYRUS FALL 2011 31

AREA 2: TRAINING (cont’d) IMPROVEMENTS

9. What percentage of crafts are included?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

10. Are there minimum job skill requirements for eachcraft job title?

a. Yes, for all 10

b. For 75% 7

c. For 50% 5

d. For 25% 2

e. For none 0

Area 2: Training—Subtotal _______

AREA 3: PERSONNEL IMPROVEMENTS

1. What is the overall management-labor climate?

a. Cooperative 10

b. Neutral 7

c. Adversarial 0

2. Randomly select ten examples of substandard jobperformance. What percentage is caused by badattitude, as opposed to lack of skill?

a. 100% 0

b. 80–89% 2

c. 60–79% 4

d. 40–59% 6

e. 20–39% 8

f. 0–19% 10

3. Has a work climate survey been conducted recently?

a. Yes 10

b. More than two years ago 5

c. Never 0

4. What is the annual turnover due to voluntaryand involuntary departures?

a. Less than 2% 10

b. 3–5% 7

c. 6–10% 5

d. More than 10% 0

5. What percentage of productive hours are lost due to late arrivals and early departures?

a. Less than 2% 10

b. 3–5% 7

c. 6–10% 5

d. More than 10% 0

Page 34: Papyrus Fall 2011

32 PAPYRUS FALL 2011

AREA 3: PERSONNEL (cont’d) IMPROVEMENTS

6. Was there a strike before settling, or during, thiscontract?

a. Yes 0

b. No 10

7. How many grievances have there been in the past sixmonths, as a percentage of total maintenance workers?

a. Less than 2% 10

b. 3–5% 8

c. 6–10% 6

d. More than 10% 0

8. How many grievances were settled at the first stage, as a percentage of total grievances?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

Area 3: Personnel—Subtotal _______

AREA 4: COST CONTROL IMPROVEMENTS

1. Do you use shop floor work measurement, budgetsand actual historical costs to control your program?

a. Yes, all three 10

b. Budgets and costs only 5

c. Costs only 0

2. Which control indices and trends—percentage ofdowntime, performance, coverage, delays, cost perstandard hour, productivity, backlog, level of service,overtime—are used?

a. All 10

b. 7 or 8 7

c. 5 or 6 5

d. 2 to 4 2

e. Less than 2 0

3. What is the time lag between the end of a periodand receipt of control reports?

a. A day or less 10

b. 2 to 4 days 5

c. More than 5 days 0

4. How often are performance reports prepared?

a. Daily 10

b. Weekly 7

c. Monthly 5

d. Less frequently 0

5. How are job time and work reported?

a. By individual and job 10

b. By day 5

c. By week 3

d. By month or clock-in/clock-out only 0

Page 35: Papyrus Fall 2011

PAPYRUS FALL 2011 33

AREA 4: COST CONTROL (cont’d) IMPROVEMENTS

6. How is report information summarized?

a. By responsible foremen 10

b. By department or work center 5

c. Total only 0

7. How are reports distributed?

a. To responsible foremen, plus

summaries to management 10

b. To foremen only 5

c. Not distributed to line organization,

or not prepared 0

Area 4: Cost Control—Subtotal _______

AREA 5: PLANNING IMPROVEMENTS

1. What percentage of labor hours worked is on awritten work order?

a. More than 90% 10

b. 80–90% 8

c. 70–79% 7

d. 69% or less 5

e. None 0

2. What percentage of work orders relate to specificjob content, as opposed to blanket content?

a. More than 90% 10

b. 80–90% 8

c. 70–79% 7

d. 69% or less 5

e. None 0

3. What percentage of work orders have enough leadtime for planning (2–4 weeks)?

a. More than 90% 10

b. 80–90% 8

c. 70–79% 7

d. 69% or less 5

e. None 0

4. What percentage of work orders have all of thefollowing preplanned: work content by craft,materials, special tools and equipment, multi-craftsequencing, engineered job time standards, job-siteaccess, scheduled date?

a. More than 90% 10

b. 75–90% 8

c. 60–74% 6

d. 40–59% 4

e. Less than 40% 2

f. None 0

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34 PAPYRUS FALL 2011

AREA 5: PLANNING (cont’d) IMPROVEMENTS

5. Is all shutdown work preplanned and scheduled?

a. Yes 10

b. Major jobs only 5

c. None 0

6. Does foreman check quality and completeness?

a. Yes 10

b. Most jobs 7

c. Half of all jobs 5

d. Less than half of all jobs 0

7. What percent of major equipment has a record ofrepair history?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

8. How many history records are reviewed at least once a year?

a. All 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

9. What percentage of plant equipment is coveredby preventive maintenance routines?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

10. What equipment is covered by all of the followingreports: downtime trends, PM compliance withschedule, written PM instructions, total PM time,high repair-item time?

a. All 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

11. How frequently are the reports prepared?

a. Weekly 10

b. Monthly 7

c. Less frequently 4

d. No reports prepared 0

Area 5: Planning—Subtotal _______

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PAPYRUS FALL 2011 35

AREA 6: MATERIAL IMPROVEMENTS

1. Do you have an up-to-date stores catalog?

a. Yes, for all items, except

pre-expended 10

b. For major items 7

c. For some items 4

d. No up-to-date stores catalog 0

2. Do you have a perpetual inventory system for majoritems and spares?

a. Yes, for all items 10

b. For 75% 7

c. For 50% 5

d. For 25% 2

e. No perpetual inventory system 0

3. Do you have a two-bin system for high-volume, low-cost pre-expended items?

a. Yes, for all items 10

b. For 75% 7

c. For 50% 5

d. For 25% 2

e. No two-bin system 0

4. Are all except pre-expended item withdrawalscontrolled by use of a withdrawal procedure?

a. Yes, all 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

5. Is there a tool control procedure used for all companytools?

a. Yes, for all 10

b. For 75% 7

c. For 50% 5

d. For 25% 2

e. No tool control procedure 0

6. Are there standard lists of tools provided to individualsby the company and provided by the individual?

a. Yes 10

b. Company only 5

c. Individual only 5

d. Neither 0

7. How many tools are out of service for repair?

a. Less than 5% 10

b. 5–9% 8

c. 10–20% 7

d. More than 20% 0

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36 PAPYRUS FALL 2011

AREA 6: MATERIAL (cont’d) IMPROVEMENTS

8. Are economical order quantities calculated?

a. Yes, for all items 10

b. For most items 7

c. For some items 5

d. For none 0

9. Are minimum/maximum levels set and maintained?

a. Yes, for all items 10

b. For most items 7

c. For some items 5

d. For none 0

10. Does purchasing maintain a vendor rating system?

a. Yes, for all vendors 10

b. For most 7

c. For some 5

d. For none 0

11. What percentage of material orders are deliveredon time?

a. 100% 10

b. 90–99% 9

c. 80–89% 8

d. 70–79% 7

e. 60–69% 6

f. 59% or less 0

Area 6: Material—Subtotal _______

AREA 7: ENGINEERING IMPROVEMENTS

1. On what percentage of your equipment is reliabilityengineering used to control downtime?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

2. What percentage of equipment histories are analyzedto statistically determine current mean time betweenfailures (MTBF) and mean time to repair (MTTR)?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

3. What percent of major repair and construction projectshave an engineer assigned?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

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PAPYRUS FALL 2011 37

AREA 7: ENGINEERING (cont’d) IMPROVEMENTS

4. On what percentage of your equipment are diagnosticroutines—vibration, heat, erosion, corrosion, electricalgauging gas analysis, etc.—carried out on a regular,scheduled basis?

a. Over 95% 10

b. 80–95% 9

c. 60–79% 7

d. 40–59% 5

e. Up to 39% 2

f. None 0

5. How are maintenance time standards set?

a. Predetermined times, time study and standard data 10

b. Direct measurement, predetermined times and time 6

c. Work sampling 5

d. Estimates 4

e. No set standards 0

6. What application system is used?

a. Slotting and work content comparison 10

b. Direct measurement 5

c. No application system 0

7. What percentage of actual hours worked is coveredby time standards?

a. More than 85% 10

b. 70–85% 7

c. Less than 70% 4

d. None 0

8. Are job times on the work order for the foremanand hourly worker to see?

a. Yes, both 10

b. Given to foreman only 5

c. Neither 0

9. What percentage of maintenance hourly workersare paid a wage incentive plan tied to output?

a. Over 95% 10

b. 80–95% 9

c. 60–79% 7

d. 40–59% 5

e. Less than 40% 0

10. What type of incentive plan are you using?

a. Standard hour 1-for-1 individual or small group 10

b. Multi-factor or large group 5

c. None 0

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38 PAPYRUS FALL 2011

AREA 7: ENGINEERING (cont’d) IMPROVEMENTS

11. Which information categories are available in yourcomputer system—payroll, time reporting, work order,job planning, daily scheduling, for routine work, long-range scheduling for projects, management controlreports, downtime, equipment history, preventivemaintenance, material stores control, statisticalanalysis, cost justification?

a. All 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

12. Is your system online?

a. Yes 10

b. Batch 5

c. No 0

13. Does your system match capabilities with individualresponsibility?

a. Yes, always 10

b. Most of the time 7

c. Sometimes 5

d. Never 0

14. Are computer reports timely?

a. Yes, weekly or more frequently 10

b. Monthly 5

c. Less often 0

15. Is the information complete and reliable?

a. Yes, always 10

b. Most of the time 7

c. Sometimes 5

d. Never 0

16. Does your security system control who has access to what level?

a. Yes, it controls both 10

b. Controls one of these 7

c. Inadequate control 5

d. Controls neither 0

17. How often is the system backed up?

a. Daily 10

b. Weekly 5

c. Less often 0

18. Are memory and disk storage properly sized tosupport users?

a. Yes, both 10

b. One 7

c. Neither is large enough 0

Area 7: Engineering—Subtotal _______

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PAPYRUS FALL 2011 39

AREA 8: FACILITIES IMPROVEMENTS

1. Do you have a current plant floorplan?

a. Updated within the past year 10

b. 2 to 4 years old 6

c. Older, or none 0

2. How are maintenance shop locations and layouts?

a. Ideal 10

b. Good 8

c. Fair 7

d. Poor 0

3. How is housekeeping?

a. Superior 10

b. Excellent 9

c. Good 8

d. Fair 7

e. Poor 0

4. Are safety equipment and signs always used?

a. Yes, in all areas 10

b. In most areas 7

c. In some areas 2

d. None 0

5. How do you rate availability of equipment and tools,considering the crafts needed and workload?

a. Better than average 10

b. Average 7

c. Below average 5

6. What is the average square footage of office spacefor supervisors and staff?

a. More than 75 square feet per person 10

b. About 75 square feet per person 7

c. Less than 75 square feet per person 5

d. None 0

7. How good is task lighting?

a. Better than average 10

b. Average 7

c. Below average 5

d. Poor 2

8. Are the following services—electric, air, water,gas, steam, sewer, refuse removal—scheduled formaintenance at proper intervals annually?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

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40 PAPYRUS FALL 2011

AREA 8: FACILITIES (cont’d) IMPROVEMENTS

9. What percentage of custodial employees are on pre-planned daily routes and tasks, and engineeredstandards?

a. Over 95% 10

b. 86–95% 9

c. 66–85% 7

d. 1–65% 4

e. None 0

10. Are all cranes, trucks, hoists, and lifting equipment on a PM plan?

a. 100% 10

b. 75% 7

c. 50% 5

d. 25% 2

e. None 0

Area 8: Facilities—Subtotal _______

How to Calculate the Potential Savingsfrom Productivity Improvement Improving your maintenance program means real dollarsavings to your organization. You can calculate the savingsresulting from improving your program. The key indicatoris your productivity percentage, based on the point totalyour program scored in the survey, compared to themaximum shown in Figure 2 below.

The following example shows how the calculation isdone. A typical score for a program with little or no formalplanning and no engineered standards is 320 to 400points. This point total is equivalent to 40% to 50%productivity. Using 360 points, we have:

360 % Productivity = x 100%800

= 45%

The potential for a maintenance program with engi -neered standards, and a formal planning and schedulingfunction with written work orders covering 90% of thework, is at least 80%. If there are 120 hourly employeesin the maintenance department, and the average wagesand fringe costs are $50,000 per year, the improvementpotential is:

120 x 45

= 68 hourly workers needed at 80%80 =

120 – 68 = 52 workers available for other assignments

52 x $50,000 = $2,600,000 cost-avoidance or savingsannually

But which is it: cost-avoidance or savings? Why does itmatter? It is cost-avoidance if the productivity improve mentis used entirely for getting more work done, providing thereis enough work to justify the workforce. It is savings if youuse attrition to reduce the payroll, providing you can stillget all the work done. Or it can be a combination: get morework done, and get some payroll savings too. It mattersbecause optimal staffing and high productivity are inter de -pendent. Management can make the right staffing decisionsif they have accurate workload information, by skill—workorders with specific work content and engineered standardsapplied—sufficient to justify the workforce.

Regular auditing of your program, as described in thisseries of articles, will give you new insight into greaterpotential and provide a catalyst for continuous improve mentof your maintenance organization, planning, schedulingand control. With the right control system in place, youcan track savings versus cost, and plot the breakeven point,as shown in the breakeven chart in Figure 3.Figure 2: Survey areas, maximum points and percent of total points.

Area Points Percent

Organization 50 6

Training 100 13

Personnel 80 10

Cost Control 70 8

Planning 110 14

Materials 110 14

Engineering 180 23

Facilities 100 12

Totals 800 100

Page 43: Papyrus Fall 2011

PAPYRUS FALL 2011 41

Use the worksheet below to summarize the results ofyour assessment.

Savings Calculation Worksheet

Summary of Improvement IdeasScan the answers to the questions above to see where yoursystem-improvement opportunities have been revealed.If you see a problem, but not a solution, write down theproblem. You can document the problem as a place holderon your continuous improvement project schedule, dofurther research to pinpoint alternative solutions, and thenselect the best one to implement.

Like mountain climbing, the higher up you get, the fartherout you can see. So it is with productivity improve ment—only there is no top. The opportunities are limited only byyour team’s creativity. Creativity is knowing how to see. Asyou progress along the path of improved sus tain ability andsavings, your viewpoint and vision will improve, and youwill see new opportunities for sustainability and savings.

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

Figure 3: Breakeven chart—cumulative savings versus cost andbreakeven point.

Your Total PointsArea Title Points Possible Productivity

1 Organization 50

2 Training 100

3 Personnel 80

4 Cost Control 70

5 Planning 110

6 Material 110

7 Engineering 180

8 Facilities 100

Total 800

% Productivity = Your Total Points ( )

x 100 = %Total Points Possible (800)

Current ( ) x

Hourly=

Hourly needed

@ 80% Potential

Your Productivity ( )

Potential Productivity (80%)

Hourly available ( ) x Annual wages & benefits ( )

= $ savings

Current Hourly ( ) – Hourly needed @80% ( ) = Hourly

( )

available

Other Resources

• The Maintenance Productivity Polygraph is available asan automated application: Aware.MNT, MaintenanceAudit Software, www.pninc.com

• Hundreds of actionable solutions you can use rightaway are found in Maintenance Manager’s Standard

Manual, by Thomas A. Westerkamp, BNi Publications,Inc., www.bnibooks.com

• Additional case studies of maintenance operationreviews and elements of computerized maintenancemanage ment systems are found in Maynard’s Industrial

Engineering Handbook, 5th edition, edited by Kjell B.Zandin, McGraw-Hill, Inc. (2001), and in Thomas A.Westerkamp, Chapter 16.1, Computer-Aided Mainte -nance Planning, Scheduling, and Control; Chapter 16.2,Benefits of Auditing the Maintenance Department;and G.1, Glossary.

Cumulative Savings vs. Cost

4,500

4,000

3,500

3,000

2,500

2,000

1,500

1,000

500

0

Do

llars

(,0

00)

Month-Year

Break EvenPoint

Cumulative Savings Cumulative Cost

Dec-92 Dec-93 Dec-94

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42 PAPYRUS FALL 2011

The Smithsonian Institution’s Artsand Industries Building, alsoknown as AIB, was designed by

Adolf Cuss and Paul Schulze. AIB is theSmithsonian’s second-oldest building,but was its first museum. Built in theHigh Victorian style, AIB is famous forits polychrome brick exterior, octag onalrotunda and Victorian ornaments.Con struction began in 1879, and thebuilding opened in 1881 as the U.S.National Museum; it was renamed theArts and Industries Building in 1916.AIB was designated a Washington,D.C. landmark in 1964, and in 1971

was named a National Historic Land -mark and put on the National Registerof Historic Places. It was noted at thetime that it was the best-preservedexample of nineteenth-century “world’sfair” or “exposition” architecture inthe country.

Those fortunate enough to expe ri -ence the tour of AIB Phase 1: “Interiordemolition and hazmat removal”, dur -ing the 2009 IAMFA Conference got achance to see the shell of this mag ni fi -cent building. Hopefully you were ableto get an idea of how the building waspartially lit using natural sunlight,

Overview looking north at the Arts and Industry Building, prior toits preservation for construction.

Independence Avenue view of construction.

Scaffolding erected in the South Hall. Work platform/temporary roof inside Rotunda.

skylights, clerestory windows andthe rotunda.

All Phase I work has been com pletedand documented towards achievingLEED Gold Certification for newconstruction. The work associatedwith Phase 2, and all other associatedphases, will also be documented andcom pleted in accordance with LEEDcriteria, as we continue the process ofpursuing LEED Gold Certification fornew construction.

Contracts for Phase 2 of the AIBrenovation were awarded September 30,2010 at the end of fiscal year 10.

The Smithsonian Institution’s Arts and Industries Building Phase-2 Renovation ProjectBy Maurice Evans

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PAPYRUS FALL 2011 43

A total of 900 calendar days has beenscheduled for Phase 2 construction.This phase of the project is intended topreserve the historic building, stabilizeand revitalize the building envelope,and prepare the building for futurephases of full building revitalization.Phase 2 work includes replacement ofthe roofs; replacement and repair ofthe iron roof structure; and instal la tionof new steel, masonry and concretestructural elements to improve seismic,wind blast and snow-load performance.The project will also involve replace -ment of the windows; restoration ofmasonry and ornamental metals; andthe installation of lightning arrestequipment and systems.

Prior to removal of the buildingroofs, extreme caution was taken toprotect previously identified interiorand exterior materials and finishesfrom damage and deterioration forthe duration of the construction pro -cess. Several of the historical buildingelements had to be removed in orderto accomplish this.

Items were salvaged, inventoriedand properly stored so that refur bish -

ing could take place prior to theirreinstallation.

Photographs are by Derek C.Ross, Jr., Dennis Clark, ChristopherLethbridge and Richard Strauss.Follow the project’s progress at:

http://www.earthcam.com/client/smithsonian/

Maurice Evans is Facilities Zone Managerat the Smithsonian Institution inWashington, D.C.

Original AIB windows.

Removal of roof of SE Court Monitor. Roof ornaments removed and ready for restoration.

Interior view of AIB from the west wall.

SUDOKU SOLUTIONS FROM PAGE 52

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44 PAPYRUS FALL 2011

On October 19, 2010, a ground -breaking ceremony was heldon San Francisco’s waterfront

at Pier 15, to mark the beginning ofconstruction at the future home of theExploratorium. Many of you heardabout the groundbreaking at the 2010IAMFA Conference, where a presen -tation was given about the zero-energygoals of the project. In the monthsthat have passed since then, hundredsof workers have been diligently work -ing both above and below the deck ofPier 15 (and on Pier 17, located nextdoor). The project is nearly at its half -way point, and I’d like to share withyou some of the highlights of theprogress that has been made so far.

Moving a Tugboat CompanyBaydelta Maritime was a tenant atPier 15, now the site of the newExploratorium. It had been agreedthat they would be relocated to Pier17, in order for the Exploratoriumproject to move forward. Before Bay -delta could be relocated, dredgingto the north of Pier 17 had to takeplace, as the bay was too shallow forthe Baydelta tugboats to dock there. Inaddition to the dredging, the Explora -

torium was required to build new officesfor Baydelta. Finally, the Exploratoriumhad to repair the north apron of Pier 17,which was in an unsafe condition. Thesewere some of the first major mile stonesof the project, and were completed ontime and on budget in May 2011.

Seismic Retrofit of Pier 15PilesWhile construction was going on atPier 17, other crews were hard at work

in and under Pier 15. Before construc -tion began, engineers had discoveredthat the piles that were holding upPier 15 had deteriorated significantly,and were no longer strong enough towithstand the forces of a major earth -quake. To ensure the current and futurestability of Pier 15, a seismic retrofit wasrequired. The plan for the retrofit hadtwo components: repairing hundreds ofexisting wood and concrete piles, andadding 64 new steel and concrete piles.

Exploratorium Construction UpdateBy Jennifer Fragomeni

View from the Embarcadero.

Facing the cityscape. Pile preparation under the deck of the pier.

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PAPYRUS FALL 2011 45

The piles under Pier 15 were madeby driving 140-foot-long (43-meter-long) Douglas fir timbers into the baymud. Above the mud line to the bottomof the pier—a length of about 20 feet(6 meters)—the timbers were encasedin protective concrete sleeves, for adiameter of about 24 inches (61 cm).Over the years, the concrete on manyof these piles had been subject to “sul -fate attack” from the sea water, whichhad softened the concrete and weak -ened the structure. These piles wererepaired by removing the old concrete,surrounding the piles with fiberglasssleeves measuring 30 inches (76 cm)in diameter, and pumping new sulfate-resistant concrete into the annulus.Some of this seismic retrofit work isbeing done under the water by teams ofdivers, and some is being done abovewater by workers on rafts. The work onrafts has to be scheduled during lowtide, so that workers can fit safely underthe pier with their equipment. As thetides rise, workers go from stand ing, tokneeling, to lying on their backs, oftenoperating jackhammers held overhead.

New steel piles, 6 feet (1.8 meters)in diameter and 160 feet (43 meters)in length, are also being added at eachof the pier’s four corners. They aredriven into the bay mud with a “vibrat -ing hammer”. The piles are then filledwith concrete from the mud line up,and connected with massive concretepier caps (8 x 8-foot concrete beams)

at the top. This work was completedat the eastern end of the project inMarch 2011.

Building the ObservatoryThe Observatory is the only new build -ing being built on the Exploratoriumproject site. It is situated on the easternend of the site, looking out over thebay. After the steel piles were driven,and the concrete pier caps poured atthe eastern end in March 2011, thesteel frame of the Observatory wasquickly erected.

Rehabilitation of the ShedThe historical building on Pier 15 is asteel-trussed, wood-roofed, 1930s ware -house. This massive warehouse struc -ture is technically referred to as “theShed” by our architects and engineers.Although it is made of steel and wood,the construction of the Shed does notprovide the lateral stability needed forpresent-day seismic codes. In order forthis building to house the new Explora -torium, it must first be rehabilitatedand retrofitted. Our structural engi -neers have built steel-brace frames inboth the north-south and east-westdirections, while some of the older,exist ing columns have been rein forced.Steel frames for the mezza nines, recentlyput in place, will also act as brace frames.Additionally, plywood has been addedto the roof to add the strength neededto support photovoltaic panels.

ConclusionWhile a significant amount of workhas already been done, constructionof the new Exploratorium at Pier 15is still more than a year away fromcompletion. To keep up on the latestdevelopments in the construction ofour new home, please visit our website:http://www.exploratorium.edu/tv/?project=103

Jennifer Fragomeni is Facilities Directorat the Exploratorium in San Francisco.

Observatory skeleton, top right; concrete pier cap and 6-foot pile,bottom right.

Building the mezzanines; note that ductsand pipes have already been installed.

Roof reinforcement in progress.

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46 PAPYRUS FALL 2011

The Harvard Art Museums reno -vation and expansion project,scheduled for completion in 2013,

is now underway at 32 Quincy Streetin Cambridge, Massa chusetts. Designedby architect Renzo Piano, the projectwill unite the Harvard Art Museums’three constituent museums—Fogg,Busch-Reisinger, and Arthur M. Sackler—in a single, state-of-the-art facility.

The design seamlessly combines theoriginal 1927 building with a strikingnew addition on its east side, alongPrescott Street. The Calderwood Court -yard, preserved in place in the centerof the original building, was the site ofthe closing banquet at the 2004 IAMFAConference. For more informationabout the project, please visitharvardartmuseums.org/renovation.

Harvard Art Museums Renovation andExpansion Project

Aerial view of Harvard Art Museums Renovation and Expansion Project.

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Page 49: Papyrus Fall 2011

PAPYRUS FALL 2011 47

Washington, D.C.-Baltimore ChapterBy Maurice Evans

The Chapter’s quarterly meeting was held on May 17,hosted by the Library of Congress (LOC). Lucy Suddreth,the Library’s Chief of The Office of Support Operations,welcomed members and discussed a little of how the LOCoperates. The meeting was held in the Thomas JeffersonBuilding, with over 35 individuals in attendance, repre sent -ing six different cultural institutions in the area. Membershad a chance to network with each other prior to the startof the meeting and during the lunch period. It was a greatopportunity to discuss current challenges and share newideas on how to approach those challenges.

The presentation for the day was on the “Thomas JeffersonBuilding Floor Wear Study”, given by Greg Simmons andJames Zeeck. They presented an overview of the study’s find -ings, which included ways on how to reduce wear and tearon the floors and steps in the Thomas Jefferson Building.Some of the recommendations from the study were dis cussed,as were those which have already been implemented by theLibrary. There were several recommendations from the studythat could be implemented in other buildings, possiblyincreasing the longevity of the floors in your own institu -tion. The presentation captured everyone’s attention andsparked several questions afterwards. Look for an articlerecapping this study in the next issue of Papyrus.

During the meeting, we discussed the possibility of theWashington, D.C.-Baltimore Chapter being represented atthe IAMFA Conference in Auckland. The benefits of attend -ing the Conference, as well as participating in the bench -marking workshop were discussed, and we are expectingChapter members to attend both the Conference and thebenchmarking workshop this November.

The Chapter’s next meeting is scheduled at the NationalArchives in September.

Northern California ChapterBy Joe Brennan

The Chapter’s most recent quarterly meeting was held onMay 4 at the Oakland-Alameda County Coliseum, home ofthe Oakland Athletics.

The Coliseum has all the facilities challenges we face—but with huge surges of visitors, along with the many needsde manded by the team’s the-game-must-go-on seasonschedule. Think of your facility with daily visitation inthe tens of thousands.

This facility is designed to function flawlessly behind thescenes from zero to sixty and back to zero again, day in andday out. Our tour provided a look at the infrastructure sup -porting the game, as well as the excellent visitor serviceguaranteed by the Oakland A’s organization.

Our meeting began with a facility overview by David Rinetti,Director of Stadium Operations, and his crew. They talkedto us about stadium issues of interest to our group: security,emergency plans, medical issues and infrastructure that mustaccommodate 40,000 people onsite at any given time. Wefollowed this with a walking tour of the facility itself, andended with a visit to batting practice on the field. It was ahighly enjoyable meeting, providing lots of food for thoughton what it takes to manage a popular athletic facility.

Chapter News and Regional Updates

Presentation by James Zeeck and Greg Simmons of the Architect ofthe Capital.

At the reception at London’s Royal Exchange celebratinghis son William’s April 30 marriage to his Greek wifeAndrea, John de Lucy started off the dancing with thebride’s father: a Greek tradition!

Page 50: Papyrus Fall 2011

48 PAPYRUS FALL 2011

Australian Centre for theMoving ImageMelbourne, VIC

Museum Old and NewBerriedale, Tasmania

Museum VictoriaCarlton, Melbourne, Victoria

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Museum of AustraliaCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney, NSW

Canada Science andTechnology MuseumCorporationOttawa, Ontario

Canadian Museum for HumanRightsWinnipeg, Manitoba

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Cofely Services Inc.Montreal, Quebec

Facility ManagementServices LTDCalgary, Alberta

Groupe Smi-EnerproLongueuil, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

AUSTRALIA

CANADA

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

Peterborough Museum &ArchivesPeterborough, Ontario

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Bibliothèque nationalede FranceParis

International Councilof MuseumsParis

Auckland Art Gallery — Toi o TamakiAuckland

Auckland MuseumAuckland

Christchurch Art GalleryChristchurch, Canterbury

Internal AffairsWellington

National Library ofNew ZealandWellington

Royal New Zealand NavyDevonport, Auckland

Museo Guggenheim — BilbaoBilbao, Viz Caya

British LibraryLondon, England

British MuseumLondon, England

FRANCE

NEW ZEALAND

SPAIN

UNITED KINGDOM

Camfil LimitedHaslingden, Lancashire

Creative ConsultingPartnership LLPLondon, England

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Royal AcademyWare, Hertfordshire

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

AFS Chemical Filtration GroupBurlington, MA

Alaska State MuseumJuneau, AK

Allentown Art MuseumAllentown, PA

Anacostia CommunityMuseumWashington, DC

Aquarium of the BaySan Francisco, CA

Architect of the CapitolWashington , DC

UNITED STATES

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

Beyer Blinder BelleNew York, NY

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

California Academy ofSciencesSan Francisco, CA

Camfil Farr (USA) Inc.Newark, DE

Carnegie Museums ofPittsburghPittsburgh, PA

CB Richard EllisDoral, FL

Chicago Children’s MuseumChicago, IL

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt NationalDesign MuseumNew York, NY

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

Elliot Lewis CorporationPhiladelphia, PA

Energy Maintenance ServicesHouston, TX

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

IAMFA Members — Organizations

Page 51: Papyrus Fall 2011

PAPYRUS FALL 2011 49

Facility IssuesFlagstaff, AZ

Fine Arts Museum of SanFranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Glide FoundationSan Francisco, CA

Hagley Museum & LibraryWilmington, DE

Hammer MuseumLos Angeles, CA

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumCambridge, MA

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Landmark Facilities Group, Inc.Norwalk, CT

Lee Construction ConsultantsLLCRichmond, VA

Library of CongressWashington, DC

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

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

M. Goodwin Associates, Inc.Pasadena, CA

Mariner’s MuseumNewport News, VA

McGuire EngineersChicago, IL

Metropolitan Museum of ArtNew York, NY

Milwaukee Public MuseumMilwaukee, WI

Morikami Museum andJapanese GardensDelray Beach, FL

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum — Udvar-HazyCenterChantilly, VA

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum of AfricanArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum of MarineCorpsTriangle, VA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Museum of theUnited States ArmyFort Belvoir, VA

National Portrait GalleryWashington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceCorona, NY

Norton Museum of ArtWest Palm Beach, FL

Oakland Museum ofCaliforniaOakland, California

Office of FacilitiesEngineering & OperationsWashington, DC

Philadelphia Museum of ArtPhiladelphia, PA

Pinkerton Consulting andInvestigationsSunnyvale, CA

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

Securitas Security ServicesSan Francisco, CA

Simpson Gumpertz & HegerSan Francisco, CA

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 Libraries,Green LibraryStanford, CA

U.S. Holocaust MuseumWashington, DC

The Whiting-TurnerContracting CompanyBaltimore, MD

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

This list reflectsmembership

dues paid as of August 23, 2011

Although we do our bestto ensure that our

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

always occur. If youwould like to make any

changes to yourlisting, please contact

Alan Dirican at

[email protected]

Page 52: Papyrus Fall 2011

50 PAPYRUS FALL 2011

Index of Papyrus Technical and Historical Articles

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

2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010

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

A New High for Atlanta Kevin Streiter Summer 2003

Air Quality Standards for Preservation Environments Chris Muller Winter 2010

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

Apprenticing in Facilities Management Kate Hickman Summer 2006

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

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

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

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

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

Benchmarking: A Comparison over Time Stacey Wittig Summer 2010

Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011

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

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

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

Electrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004

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

Energy Star Roofs are Cool Richard Stomber Spring 2008

Existing Building Commissioning Rebecca T. Ellis Spring 2008

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

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

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

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

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

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

Heritage Preservation Publishes First Comprehensive Study of Loss to 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

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

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

LED Use in the Museum Environment Ken Kane Winter 2010

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

Page 53: Papyrus Fall 2011

PAPYRUS FALL 2011 51

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

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

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

Making Light Work: How to Fit a Drum into a Rectangle—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, Winter 2004and David Erhardt

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

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

Microclimate Control in Museums Jerry Shiner Summer 2005

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

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

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

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

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

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

National Museums Liverpool Ian Williams Fall 2008

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

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

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

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

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

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

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

Operations Review Reveals Hidden Maintenance Improvement Resources—Part Two Thomas Westerkamp Spring 2011

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

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

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

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

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

Proposals for the Labelling of Buildings Jack Plumb Summer 2007

Proposals for the Labelling of Buildings Jack Plumb Spring 2008

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

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

Reflections on Papyrus Pierre Lepage Summer 2010

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

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

Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

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

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

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

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

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

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

Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009

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

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

Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008

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

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

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

Title Author(s) Issue

Page 54: Papyrus Fall 2011

Puzzle PageSolve these Sudoku puzzles by filling each blank space with the numbers 1 to 9. Every row must contain all nine digits, asmust every column and every 3x3 square. Each Sudoku—popularized by the Japanese puzzle company Nikola in 1986—has a unique solution.

9 5 1 6

7 1 4 2 5

4 3 7

6 4 3

4 3 8 5 1

8 7 5 2

7 4 8

5 4 9 1 3

8 3 2 4

Easy

9 5 7

6 1 7 8

7 4 3

8 1 6 5

5 3 6

9 8 2

5 4 9

7 5 3 4

4 7 5

Medium

1 5 6

6 4 5

3 6 1

5 4 8

3 4

9 3 2

5 2 1

9 7 8

8 6 3

Difficult

4 8

7 2

6 1 9

5 9 4

8 7 9

6 1

3 8 4

4 6

2 7

Very Difficult

SOLUTIONS ON PAGE 43

52 PAPYRUS FALL 2011

Page 55: Papyrus Fall 2011

McGuire Engineers has been a

proud subscribing member of

IAMFA since 2001.

Page 56: Papyrus Fall 2011

HAERE MAIAuckland, New Zealand13–16 November 2011