Papyrus Fall 2010

PAPYRUSVOL. 11, NO. 2 SUMMER–FALL 2010

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

The 20th Annual IAMFA Conference in San Francisco, CA

VOL. 11, NO. 2 SUMMER–FALL 2010

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

Celebrating

Years

IAMFAThe First Twenty Years

Reflections onPapyrus

IAMFA/PapyrusVol. 11, Number 2Summer–Fall 2010

EditorJoe May

Papyrus CorrespondentsJohn CastleDaniel DaviesPeter FotheringhamGuy LarocqueJohn de LucyMaurice EvansPierre Lepage

Vincent MagorrianJoe MayPatricia MorganMarla NeustadtDavid RedrupSteve VandykeThomas A. Westerkamp

Design and LayoutPhredd Grafix

TranslationMarina Pascal (French)Jeanne Pascal (Spanish)

EditingArtistic License (English)Guy Laroque (French)

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

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

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

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

Australia — Ray McMaster, AustralianNational Maritime [email protected]

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

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

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

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

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

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

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

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

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

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

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

REGIONAL CHAPTERS

PresidentJohn de LucyThe British LibraryLondon, United [email protected]

V.P., AdministrationAlan DiricanBaltimore Museum of ArtBaltimore, MD, [email protected]

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

TreasurerLarry BannisterMilwaukee Public MuseumMilwaukee, WI, [email protected]

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

Chairman — Conference 2010Joe BrennanSan Francisco Museum of

Modern ArtSan Francisco, [email protected]

Head of International AffairsGuy LarocqueCanadian Museum of

CivilizationGatineau, QC, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

For more information onbecomming a member of theInternational Association of

Museum Facility Administrators,please visit

www.iamfa.org

IAMFA BOARD OF DIRECTORS

Cover photo: San Francisco's famous Golden Gate Bridge. Photo: Joe May

Letter from the Editor1Message from the President / Mot du président / Mensaje del Presidente 2IAMFA . . . The First Twenty Years6The Twentieth Annual IAMFA Conference in San Francisco /La Vingtième Conférence de l'IAMFA à San Francisco /La Vigésima Conferencia Anual de IAMFA en San Francisco152010 IAMFA Conference Schedule24The National Gallery: Casting New Light on Old Masters28

Facility Managers Lead the Move to Green with Improvements in Energy Efficiency 30Benchmarking: A Comparison over Time35Reflections on Papyrus37Auckland Art Gallery Toi o Tamaki: Building Development Update 39Regional Updates/Member News42IAMFA Members—Organizations46Puzzle Page48

Contents

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

PAPYRUS SUMMER–FALL 2010 1

Greetings from Los Angeles!

IAMFA is celebrating a significantbirthday this year: Twenty Years!The Association’s origins date back

to a first meeting at the Art Instituteof Chicago in 1990, organized by theInstitute’s Director of Facilities, GeorgePreston. To begin our twentieth anni -versary celebration, I hope you will readthe retrospective article in this issue ofPapyrus, which looks back over our firsttwenty years. And please . . . if you havespecial memories of your involvementwith IAMFA, I encourage you to sendthem to me so we can add them to theAssociation’s official record. IAMFA isthriving, and it will continue to be theleading organization for facilities pro -fessionals at cultural institutions fordecades to come. Our twentieth anni -versary is a good opportunity to gatherthe best possible historical record ofthose early years for future membersof the organization. In addition to the retrospective a

few pages on, you are certain to enjoyPierre Lepage’s reflections on the orga - nization. For those of you who havebeen members of IAMFA for a few years,you may recall Guy Larocque intro -ducing Pierre Lepage at the closingGala of the 2007 conference in Ottawa.

Pierre was responsible for turning theoriginal two-page Papyrus newsletter intothe journal that it is today. He was alsoone of the early members of IAMFA, andhis article provides some interestingbackground on the Association. As always, we also have some great

articles on the nuts and bolts of what

we do, including Steve Vandyke’s articleon blind controls at the National Galleryin London, Tom Westerkamp’s articleon energy conservation, and PatriciaMorgan’s update on the Auckland ArtGallery building project. You will alsofind an article from Stacey Wittig withsome interesting trends from the firstten years of the IAMFA annual bench -marking exercise.

Joe May Editor, Papyrus

Letter from the Editor

I haven’t missed an IAMFA confer -ence since attending my first one inSan Francisco in 2003. By the end ofthat conference, I knew that I wantedto become an active member of theorganization. If you’ve attended anIAMFA conference before, you alreadyknow the benefits of belonging to anorganization made up of colleagueswith responsibilities similar to yours.If you haven’t attended before, nowis the time to get involved. Details ofthis fall’s 20th Anniversary conferencein San Francisco can be found in thisissue. If you haven’t made your plansyet, please make them soon. The blockof rooms at the Sir Francis Drake Hotelis limited, and there is an early regis -tration discount if you register soon.Don’t wait to secure your reser va tions—and be sure to show the guest agendato your family. San Francisco is anamazing city for our fall conference,and you won’t find a better value forthis level of learning and networking. Lastly, thank you to everyone who

contributed content to this issue ofPapyrus. I hope you enjoy learning aboutour history, and I look forward to seeingyou this fall in San Francisco!

Joe MayEditor, Papyrus

IAMFA is thriving, and it

will continue to be the

leading organization for

facilities pro fessionals at

cultural institutions for

decades to come.

2 PAPYRUS SUMMER–FALL 2010

San Francisco, on y va!

Le chapitre du Royaume-Uni, j’aientendu, a eu tellement de succèsqu’il y aura 14 membres de plus

parmi les invités présents de ce côtéde l’étang – un taux de participationexcellent. Il doit y avoir quelque chosedans l’air! San Francisco en 2003 a été ma pre -

mière conférence de l’IAMFA et JoeBrennan et son équipe sont en oeuvrepour nous faire une autre tour née fabu -leuse cet automne. L’activité dont jeme souviens particulièrement de 2003était le barbecue à la Californie à uneancienne laiterie dans la Grange auxsculptures Runnymede. Je suis ravi quenous y retournions cette année, desorte que vous aussi pourriez profiterd’un événement similaire, le lundi18 octobre. Ce sera une expérienceunique dans un parc privé que vousne pouvez pas autrement visiter. Lesmembres et leurs invités auront égale -ment l’occasion de marcher ensembleà travers le Pont Golden Gate, mer crediaprès-midi, profitant d’une vue impre -nable sur la ville et sur Alcatraz. Dansla soirée, nous allons assister au dînerde gala au Musée maritime avec une vuepanoramique sur la baie au coucherdu soleil.Parallèlement à ces événements

uniques, le programme est emballéavec des visites dans-les-coulisses, defabu leuses activités et des visites édu -catives, ce qui démontre qu’il s’agitd’une conférence à ne pas manquer.Si vous n’avez pas regardé le pro -gramme proposé dans le détail, s’il

¡San Francisco—Estamos en Camino!

El Capítulo del Reino Unido haexperimentado tanto éxito esteaño que tengo entendido que

asistirán más de 14 miembros de estelado del charco a la conferencia—unarepresentación excelente. ¡Debe haberalgo en el aire! La conferencia en San Francisco

en 2003 fue mi primera conferenciade IAMFA, y Joe Brennan y su equipoestán preparando otra fabulosa experi -encia para todos nosotros este otoño.La actividad de 2003 que más me traerecuerdos es la barbacoa de Californiaque tuvo lugar en una vieja instalaciónlechera de la Granja con esculturasRunnymede. Me complace saber quevamos a regresar allí otra vez este añopara que Ustedes también puedandisfrutar de un evento parecido, ellunes 18 de octubre. Será una experi -en cia única en un parque privado quenormalmente es de acceso restringido.Los miembros y sus invitados tendránla oportunidad de caminar juntos através del Puente Golden Gate en latarde del miércoles, y disfrutar de unasvistas impresionantes de la ciudad y deAlcatraz. Por la tarde, asistiremos a lacomida de gala en el Museo Marítimocon vistas panorámicas del ocaso enla bahía. En conjunto con estos eventos úni -

cos, la agenda esta repleta de giras trasbastidores, actividades fabulosas y visitaseducacionales, demostrándoles así queno deben perderse esta conferencia. Sino se han fijado bien en el pro grama,por favor mírenlo en este ejemplar

Message from the PresidentMessage du présidentMensaje del Presidente

San Francisco—Here We Come!

The U.K. Chapter has had such asuccessful year that, I under stand,there will be 14 members plus

guests attending from this side of thepond—an excellent turnout. Must besomething in the air! San Francisco in 2003 was my first

IAMFA conference, and Joe Brennanand his team are putting togetheranother fabulous treat for us all thisfall. The one activity I particularlyremember from 2003 was the CaliforniaBBQ in an old dairy barn on theRunnymede Sculpture Farm. I amdelighted that we are returning therethis year, so that you will be able toenjoy a similar event on Monday,October 18. This will be a uniqueexperience in a private park that youcannot otherwise visit. Members andtheir guests will also have an oppor -tunity to walk together across theGolden Gate Bridge on Wednesdayafternoon, enjoying stunning views ofthe city and Alcatraz. In the evening,we will attend the Gala dinner at theMaritime Museum with panoramicviews of the bay at sunset.Along with these unique events, the

programme is packed with behind-the-scenes tours, fabulous events andeducational visits, making this is a con -ference that is not to be missed. If youhaven’t looked at the proposed pro -gramme in detail, please do so in thisissue of Papyrus, or online at www.iamfa.org/agenda2010—it is sure to enticemembers and, just as importantly,their guests.

John de LucyPresident / Président / Presidente, IAMFA


Joe Brennan has chosen the datesto ensure fabulous weather and a fullmoon (what, I wonder, is the signifi -cance of that!). I know he will havesomething up his sleeve to surpriseus. At our April Board meeting, thelast activity on the agenda was a Sundaymorning meeting at 5:00 a.m. to wit -ness an annual ceremony marking theanniversary of the devastating 1906earthquake and fire. Joe May and I metJoe Brennan in reception at 4:45 a.m.and walked to a firehouse close to thehotel, where sirens sounded to markthe event (I pity the poor residents ofsurrounding hotels). We then had tohave a glass of port, and Joe Brennangave us a keepsake of a black hand ker -chief covered in red and orange flames. This year’s conference hotel, the

Sir Francis Drake Hotel, already hasfirm bookings for 40 of the allocated50 rooms available at the reduced con -ference rate. So, if you have not alreadybooked, make sure you register soonfor one of the last 10 rooms!Our American and Canadian col -

leagues suffered badly last year withcutbacks, yet the very successful 2009Washington conference had a recordturnout, so let’s hope this year’s con -ference in San Francisco can be prior -itized above any other conferencesyou may be considering attending. Ifyour boss is having trouble with theword “conference”, assure him/herthat this is the best training sessionvalue of the year!The last 18 months have focused

our minds on matters financial—nonemore so than those related to facilitiesmanagement. Reducing costs and add -ing value for money has been one wayin which facilities managers have proventheir worth to organisations, particu -larly in a time of economic crisis—but is it a fair picture of all that youas facility managers could achieve foryour cultural organisations? There areopportunities ahead that we will needto address in order to continue main -taining our vital role within our orga ni - sations. We need to take this changingworld into account, and realign ourroles and purpose if we wish to deliversustainable value to our organisations.How are you going to improve yourgame? Come to San Francisco and tell

vous plaît faites-le dans ce numéro duPapyrus, ou en ligne à www.iamfa.org/agenda2010 – on y est sûr de capturerl’attention des membres et, tout aussiimportant, de leurs invités.Joe Brennan a choisi les dates pour

assurer une météo fabuleuse avec lapleine lune (je me demande quelle estla signification de cela!). Je sais qu’ilaura quelque chose dans son sac pournous surprendre. En avril, lors de laréunion du Conseil, la dernière acti vitésur l’ordre du jour a été une réuniondimanche matin à 5h00 pour assister àla cérémonie annuelle marquant l’an -niversaire de terribles tremblementsde terre et feu de 1906. Joe May etmoi avons rencontré Joe Brennan à laréception à 4:45 am et nous sommesallés vers une caserne de pompiers àproximité de l’hôtel où les sirènes son -naient à l’occasion des événements (jesuis désolé pour les pauvres habitantsdes hôtels environnants). Ensuite, ila fallu que nous buvions un verre deporto et Joe Brennan nous a donnécomme souvenir un mouchoir noircouvert de flammes ardentes en rougeet orange.L’hôtel de la conférence de cette

année, le Sir Francis Drake, a déjàdes réservations fermes pour 40 des50 chambres disponibles, allouées autaux réduit de conférence. Donc, sivous n’avez pas déjà en réservé, assurez-vous de vous inscrire rapidement pourl’un des 10 dernières chambres!Nos collègues américains et cana -

diens ont beaucoup souffert l’andernier en raison des compressionsbudgétaires, mais l’édition très réussiede la Conférence de Washington 2009a eu un taux de participation record;alors, espérons que celle de cette annéeà San Francisco puisse être prioriséeau dessus d’autres conférences quevous envisagez assister. Si votre patrona des problèmes avec le mot « confé -rence », assurez-lui que c’est la plusprécieuse session de formation del’année!Les 18 derniers mois ont porté notre

attention sur les questions financières,mais plus encore sur celles liées à lagestion des installations. Réduire lescoûts et maximiser le côut-bénéficea été une des façons dont les gestion -naires d’installations ont pu démontrer

de Papyrus, o en la dirección en líneawww.iamfa.org/agenda2010—no cabeduda que llamará la atención de losmiembros y sus invitados, quienes sonde igual importancia para nosotros. Joe Brennan ha escogido las fechas

para que coincidan con la luna llena yasegurarnos un tiempo fabuloso (¡mepregunto cuál será el significado dela luna llena!) Estoy seguro que estarátramando algo especial para sorpren -der nos—en la reunión de la JuntaDirectiva de abril, la última actividaden el programa era una visita a las5:00 a.m. a una ceremonia anual queconmemora el aniversario del terre -moto e incendio devastadores de 1906.Joe May y yo nos reunimos con JoeBrennan en la recepción a las 4:45 a.m.y caminamos hacia una estación debomberos cerca del hotel, donde sona -ron las sirenas para marcar el evento(lo lamento por los pobres ocupantesde los edificios cercanos). Luego nostomamos una copa de vino oporto, yJoe Brennan nos regaló como recuerdoun pañuelo negro cubierto con undiseño de llamas rojas y anaranjadas. El hotel de la conferencia de este

año, el Sir Francis Drake, ya tiene reser -vaciones para 40 de los 50 cuartosdispo nibles, a los precios reducidosde la conferencia. Así que si no hanreservado todavía, asegúrense de reg -istrarse pronto para uno de los últimos10 cuartos! Nuestros colegas americanos y cana -

dienses han pasado por tiempos difícileseste último año debido a recortes depresupuesto, sin embargo la asisten-cia a la muy exitosa conferencia deWashington 2009 rompió record, asíque esperemos que al hacer la listade prioridades de este año le den máspeso a la conferencia de San Franciscoque a todas las demás. Si a su super -visor le incomoda la palabra “confer -en cia”, ¡explíquele que ésta será lasesión de entrenamiento más valiosadel año! Los eventos de los últimos 18 meses

han enfocado nuestras mentes enasuntos financieros—sobre todo enel caso de los relacionados con mante -ni miento de instalaciones. Reducircostos y maxi mizar costo-beneficio esuna de las maneras en que los gerentesde man tenimiento han demostrado


us, or send Joe May an article for thenext edition of Papyrus. So, as the next generation of Faci li -

ties Managers, are you prepared to beworkplace enablers, become carbon-driven, link energy to maintenance, beled by partnerships, invest in relationswith suppliers, ensure that you becomea Board Room item, be smart aboutasset transfers, be intelligent about ser -vice delivery, and become inte gratedwith your colleagues in HR, Financeand IT? And that’s just for starters!

In the U.K., the new coalition gov -ernment has announced an intendedminimum 25% cut in the budgets ofall cultural institutions, so we are facedwith having to think hard about how wedeliver our services with a major reduc -tion in financial resources. Do use thisconference opportunity to help yourU.K. cousins with the experiences andinnovative ideas you have found thatwork! Let’s discuss how our mem bershave managed to keep services going inan environment of severe cost reduction. I am apprehensive that our gov ern -

ment might try to amalgamate our

leur valeur aux organisations, en par -ticulier en temps de crise économique– mais est-ce que c’est une image fidèlede tout ce que vous, en tant que ges -tionnaires d’installations, pourriezatteindre pour vos organisations cul -turelles? Il y a des opportunités à venirauquelles nous devons faire face afinde maintenir notre rôle vital au seinde nos organisations. Nous devonsprendre en compte ce monde en mu -tation et réaligner nos rôles et nosbuts si nous voulons offrir une valeurdurable pour nos organisations. Com -ment allez-vous améliorer votre jeu?Venez à San Francisco et dites-nousou envoyez à Joe May un article poursa prochaine édition du Papyrus.Donc, comme la prochaine géné ra -

tion des gestionnaires d’installations,êtes-vous prêt à: dynamiser le milieude travail, devenir un « conducteur-à-carbon », lier l’énergie vers l’entretien,être guié par des partenariats, investirdans les relations avec les fournisseurs,veiller à ce que vous devenez un élé -ment discuté par le Conseil, être àpuce sur les transferts d’actifs, êtreintelligent sur la prestation des serviceset vous intégrer avec vos collègues desressources humaines, des finances etdes TI? Et ce n’est qu’un début!Au Royaume-Uni, le nouveau gou -

vernement de coalition a annoncé uneréduction minimale prévue de 25 %dans les budgets de toutes les insti tu -tions culturelles; nous sommes doncconfrontés à réfléchir sur la façon dontnous offrons nos services avec uneréduction importante des ressourcesfinancières. Profitez de cette occasionà la conférence pour aider vos cousinsdu Royaume-Uni avec les expériences etles idées novatrices que vous avez trou -vées! Voyons comment nos membresont réussi à maintenir les services dansun environnement de réduction sévèredes coûts.Je crains que notre gouvernement

pourrait essayer de fusionner nos insti -tutions afin de réduire le nombre demusées individuels. Quelqu’un d’entrevous a eu cette expérience dans votrepropre pays? Le ministère britanniquede la Culture, des Médias et du Sporta demandé des précisions sur toutesles dates de la fin de nos contrats indi -

su impor tancia a las organizaciones,espe cialmente en los tiempos de crisiseconómica—¿pero realmente es unaimagen representativa de todo lo queUstedes como gerentes de manteni mi -ento pudieran lograr para sus orga niza -ciones culturales? Hay oportunidadesen el futuro que nos veremos obligadosa enfrentar para mantener nuestrospapeles críticos dentro de nuestrasorganizaciones. Necesitamos tomar encuenta este mundo que está en procesode cambio y rediseñar nuestros papelesy objetivos si queremos seguir sumi -nistrando valor sostenible a nuestrasorganizaciones. ¿Cómo pueden mejorarsus estrategias de juego? Vengan aSan Francisco y dígannos, o mándenleun artículo a Joe May para su próximaedición de Papyrus. Así que, como la próxima generación

de gerentes de mantenimiento, estánUstedes preparados para: ser capaci -tadores del lugar de trabajo, tomardecisiones en ¿base del manejo de lahuella de carbono? ligar la energía almantenimiento, ser guiados por equiposde trabajo, invertir en rela ciones conlos proveedores, asegurar que sus metasformen parte de la agenda de la JuntaDirectiva, saber llevar a cabo las trans -ferencias de bienes con inteligencia,optimizar el plan de suministros, eintegrarse con sus colegas de RecursosHumanos, Finanza, e Informática? ¡Ytodo esto es solamente el comienzo! En el Reino Unido, el nuevo

gobierno de coalición ha anunciadoque prevé un recorte del 25% mínimode todos los presupuestos de las insti -tu ciones culturales, así que nos vemosforzados a enfocarnos en cómo pode -mos suministrar nuestros servicios conuna reducción realmente significativade los recursos financieros. Aprove -chen esta conferencia para ayudar asus primos del Reino Unido con lasexperiencias e ideas innovadoras exi -tosas que han descubierto! Discutamoscómo nuestros miembros han logradoseguir suministrando servicios enun contexto de reducciones severasde costos. Temo que nuestro gobierno intente

unir a nuestras instituciones para redu -cir la cantidad de museos indi vid uales.¿Alguno de Ustedes ha experi mentado

This conference will

provide an oppo rtunity

to exchange ideas and

develop a learning

partnership . . .

Cette conférence sera

l’occasion d’échanger des

idées et de développer un

partenariat éducatif . . .

Esta conferencia nos

brindará la oportunidad

de intercambiar ideas y

desarrollar un equipo

de aprendizaje . . .

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


attend the meeting, but had no ideawhat to expect. At the time, Vinny wasa member of the Building Owners andManagers Association (BOMA) andremembers that, while BOMA didprovide the means to keep abreast ofchanges in technology, it was gearedmore toward commercial buildings. Thisleft him feeling that he needed more.The host of the meeting in Chicagowas George Preston, who was FacilitiesDirector at the Art Institute. He was alarge man—not just physically, but intel -lectually—and he was very determined.George believed that this group couldorganize and become the first truemuseum facilities organization. Allof the individuals in attendance intro -duced themselves, and spoke abouttheir own institutions, then collectivelyspent a lot of time brainstorming aboutwhat kind of organization they couldbe. Above all, George wanted to charterthe organization, and he wanted bylawslike APPA (the Association of PhysicalPlant Administrators). From the firstday, George worked to establish bylaws;and if George wanted to accomplishsomething, he did.

Washington, D.C.—1991Greg Reynolds was in charge of mak -ing preparations for this inauguralIAMFA conference, with help fromcolleagues at other local museums.What was obvious at this first IAMFAconference was that the early memberswere very eager to share their ideas.Included were educational sessions

IAMFA . . .The First Twenty Years

The Art Institute of Chicago. The individuals at this first meeting inChicago decided that their next meeting would be in Washington,D.C., and in the year leading up to that meeting, IAMFA wasincorporated as a not-for-profit organization.

From an early IAMFA meeting. Front left: Vinny Magorrian; right:Ron Puska; back centre: Myro Resnick. The two others areunknown.

The National Gallery of Art in Washington,D.C.

2010 marks the twentieth anni -versary of IAMFA, and ourSan Francisco conference host

Joe Brennan thought it fitting that wepublish an article about the Asso cia -tion’s history. Many of us have beenmembers of IAMFA for years, but Ithink most would agree that we reallydon’t know exactly how IAMFA cameinto existence. Fortunately, there arestill active members who were presentduring those initial years, and they havehelped us document IAMFA’s history.One of these individuals is VincentMagorrian, who is the retired FacilitiesDirector for the Museum of ModernArt in New York City. Vinny is a chartermember of IAMFA, and also served asPresident of IAMFA during the Asso -ciation’s early years. Please read on tolearn more about IAMFA’s history.

Chicago—1990In 1990, Vinny Magorrian receivedan invitation from the Art Instituteof Chicago to attend a meeting inChicago, along with representativesfrom other museums. He decided to


focusing on museum environmentalrequirements, and conference orga ni -zers invited guests from other museumdepartments to discuss what facilitiesdepartments did to achieve optimalenvironmental conditions. There werevendors who made presentations,as well as conservators and curators.According to Vinny, this was the begin -ning of our becoming professional inthe eyes of directors, curators, andconservators. The attendees visitedseveral local museums for behind-the-scenes tours, and enjoyed sessions dur - ing which curatorial members explainedworks of art through their eyes.

Kansas City—1992The following year, the IAMFA confer -ence was hosted at the Nelson-AtkinsMuseum of Art, and began with ageneral session as it did in subsequentconferences. Members reviewed meet -ing minutes and introduced the Boardof Directors to attendees. We learned inKansas City that everyone who attendedneeded to have a hand in the confer -ence if we were to be successful. Wewent on to have educational sessionsin areas such as controls, codes andregulations, curatorial-defined differ -ences required for different art media,and many others. We also planned freetime so we could network with eachother, and began to set up focus groups.It was challenging, as we were juststarting to grow. We met for breakfast,and visited various museum facilities,which would become our custom infuture conferences. We observed thatby doing this, our membership beganto expand.

IAMFA wanted to grow inter na -tionally, and our first success was withCanada. The Canadians were very inter -ested in having a museum facilitiesorga nization, and it is likely that, with -out their help, we would not have growninto the organization that we are today.We had our second annual banquet,which became the traditional closingof the conference; in future we wouldcall it a Gala, and it truly was every year.Kansas City was the first meeting

attended by Peter Fotheringham, whoat the time was Facility Director at theNational Gallery in Scotland. Peterwould go on to host a conference, andlater became IAMFA’s President. Peterremembers the friendly coercion thatwent into his accepting the 1998 con -ference date for Edinburgh, but hewas delighted to do it, having beenwarmly welcomed by everyone in KansasCity. With Canadian members now—and with Peter, who soon attractedindividuals from other European coun -tries—we began gaining recognitionas a growing museum organization.

Cincinnati—1993In 1993, we were hosted by the Cincin -nati Museum Center at Union Terminal.It was a museum centre composedof several museums. It was a historymu seum, a science museum, and achildren’s museum, and it also had anOMNIMAX® Theater. This was VinnyMagorrian’s first year as IAMFA’sPresident. George Preston, IAMFA’sfounder, had retired by now. As usual,we began with our general meeting,then split into educational groups—which were really sharing groups, as

everyone always shared problems (andsolutions) from their institutions. Itseemed that technology was advancingso fast that, if you missed these ses sions,you could be left behind. Membersalso decided at this meeting that theywould volunteer to make a presen ta -tion at the American Association ofMuseums annual conference.

Toronto—1994Our next meeting was hosted by the ArtGallery of Ontario and Ron Yurchuck.This was the first time IAMFA includedvendor displays the night before theannual general meeting. A few vendorshad become members by this time, andthey made presentations at the con fer -ence, but were always careful to focuson educational content, rather thansales. We were progressing as an orga -nization. We discussed problems expe -rienced by Russian museums at thetime, and discussed sending IAMFAdelegates to Russia to offer our support.At the closing banquet, there were twomembers—Mark DeMairo and MartyCavanaugh—from the New York Citydelegation who were away from theirtable for a few minutes. When theyreturned, they found out that theyhad volunteered to host the nextyear’s conference!

New York—1996When it sank in that New York Citywould be the next conference host,the chapter began monthly meetings,according to Vinny Magorrian. WithMarty Cavanaugh, Myro Resnick, andMark DeMairo, they worked together

The Nelson-Atkins Museum of Art inKansas City, Missouri.

The Cincinnati Museum Center at UnionTerminal in Cincinnati, Ohio.

The Art Gallery of Ontario in Toronto,Canada, following renovations completedin 2009.


to develop a program, and began toschedule speakers and solicit supportfrom member facilities. The banquetwas to be held at the Guggenheim,and our meeting would be at DoralHotel in Manhattan, with visits tovarious museums. Peter Fotheringham made a pre -

sentation about emergency prepared -ness, in which he related events at theNational Gallery and an attack withexplosives by the IRA, as well as collec -tion storage practices in salt mines dur -ing the Second World War. There wasa major opening of Matisse’s work atthe Museum of Modern Art (MOMA),and Vinny got tickets for attendees;however, he reports that he is still introuble with his wife and others forhaving them wait in line, and says he

did that thinking it would give themthe true feeling of an opening. The highlight for many during the

April 1996 conference was a boat tripto Ellis Island. It was amazing to walkthe halls where so many came to theUnited States. But it was also eerie asmembers went to areas not open tothe public, such as hospital rooms witha single light bulb, and crum bling walls.According to Vinny, you could feel thehurt of those who were sent back totheir original countries because ofillness; the most common cause beingpink eye, which is so easily treatednow. Vinny remembers feeling manyemotions while visiting those areaswhere families were broken up, and felthe was changed from then on. Theteam shared a sense of pride for thesuccess of the New York conference.

Los Angeles—1997Our next conference was held at theGetty Center, which was still underconstruction in Los Angeles at thetime. It was a beautiful site, and mas -sive, and knowing that there was notreally a budget made us all envious.The host was Lloyd Randolph. Wealso visited the Old Getty Museum inMalibu, and celebrated Cinco deMayo at the Museum of Contem po -rary Art. There were other museums

we visited too, but the Getty Centerwas overwhelming in its grandeur.This was the first year awards werepresented at the Gala; and the firstpresented was the George PrestonMemorial Award. It was presented toRon Puska, who had served in severalcapacities within IAMFA, and who wasalways willing to offer his time to theorganization. Vinny Magorrian wasproud to receive “The Member of theYear Award”, which Vinny thinks MarkDeMairo had something to do with.Maybe the time will come soon toresurrect the George Preston Award?Without George, there would be noIAMFA. George was a mentor, and adriving force in establishing IAMFA,and he always pushed the officers tomake IAMFA better.

Edinburgh, Scotland—1998Our next IAMFA annual conferencewas held in Edinburgh, and was hostedby Robert Galbraith, with help fromPeter Fotheringham. Peter had agreedto host the 1998 conference while inKansas City, but moved to the NationalGallery in London in 1994, leavingRobert with the responsibility! The con -ference in Edinburgh was a big stepfor IAMFA, as we now had a presencein Europe. In the year leading up tothe May 10–13, 1998 conference in

The Museum of Modern Art in New York City.

The Guggenheim Museum in New York City. The new Getty Center in Los Angeles.


Edinburgh, Pierre Lepage conducteda year-long benchmarking survey with66 museums, and presented the resultsat the Edinburgh conference. It wasthen that a proposal was made forIAMFA to support this activity as anongoing endeavor. The Edinburghconference was a great one. We visitedEdinburgh Castle and viewed the crownjewels of Scotland, and even had bag -pipers at the Gala, which was truly fitfor a king. The sessions were informa -tive, we all learned from one another

and, above all, we were now a truly inter -national organization. Following theEdinburgh conference IAMFA mem -bers, along with Ian Follett’s company,Facility Management Services, Ltd. spentnearly two years developing the firstformal benchmarking questionnaireof 89 questions.

Ottawa, Canada—1999During the 1998 conference inEdinburgh, IAMFA President Lloyd

Randolph found out that the BuffaloBill Museum Center in Cody, Wyoming,which was to have hosted the confer -ence in 1999, could not do it due todelays with their museum construc tionproject. Pierre Lepage was asked if hecould chair the conference in Ottawa-Gatineau—with a year to prepare. Theconference organization committeeincluded Pierre Lepage of the CanadianMuseum of Civilization and CanadianWar Museum, Jim Trim of the NationalGallery of Canada, Carole Beauvais ofthe National Archives and Library ofCanada, Gerry Potoczny of the Cana -dian Museum of Nature, and TobyGreenbaum of Public Works Canadahistoric properties.Conference participants and their

spouses stayed at the Chateau Laurier,a historic landmark in Ottawa next toParliament Hill. The welcoming recep -tion took place at the Chateau Laurieron the Sunday evening, and the con -ference sessions were hosted at theMuseum of Nature, the National Galleryof Canada, the newly opened NationalArchives facility, and the CanadianMuseum of Civilization, where theclosing ceremonies and Gala werehosted. During the conference, therewas an evening dinner in the restau -rant of the House of Commons onParliament Hill, with the Ministerof Public Works Canada as keynotespeaker. The guest program includeda day trip to Upper Canada Village onthe St. Lawrence Seaway: a sixty-acrehistorical site with forty heritage build -ings, where one can experience thetraditional life of the mid-nineteenthcentury. Guests also enjoyed a tradi -tional afternoon tea on the MackenzieKing Estate in Gatineau Park. It wasa very successful conference, withsplendid weather and lots of sun forthis May event held on both sides ofthe Ottawa River.

Chicago—2000Our next conference was held inChicago at the Art Institute, and ourhost was Bill Caddick. There were manyhighlights at the Chicago conference,including a speakeasy gangster dinner,a river tour, drinks atop the HancockBuilding, and the Tutankhamun Exhi -bition. Bill Caddick went on to become

Edinburgh Castle.

The Canadian Museum of Civilization from the opposite side of the Ottawa River. Thedomed building contains the public galleries; to its right is the curatorial and administrativebuilding, which also houses all collection storage.

HARRY FOST

ER, CM

C


IAMFA’s President in 2002. Regionalchapters were formally established at theIAMFA annual conference in Chicagoin September 2000. Over the years, regional chapters

were founded in metropolitan areas togive local members an opportunity tomeet on their own, both to learn fromone another and to network. Regionalchapters have become effective forumsfor the exchange of information amonglocal members, while also attractingnon-members and encouraging themto join our organization. Today, IAMFAhas 13 local chapters, located in:

AtlantaAustraliaBilbao, SpainChicago Los AngelesNew EnglandNew York CityNew ZealandOttawa-Gatineau, CanadaPhiladelphiaSan Francisco

United KingdomWashington, D.C./Baltimore

Washington, D.C.—2001The Washington, D.C. conference wasoriginally scheduled for September2001, but was cancelled due to 9/11.The Committee, led by FletcherJohnston and coordinated by MarlaChanin Tobar (now Marla Neustadt),faced a challenge: reorganize andreschedule all the arrangements, orlet the D.C. conference slip away. Thechoice was to pull ourselves up by thebootstraps—as many others did in thewake of 9/11—and put together anotheramazing program for December 2–5.An Indian summer welcomed mem bersto tours, the benchmarking work shop,educational sessions, and festivities atthe Smithsonian, Meridian Interna tionalCenter, and the Holocaust Museum,among others, and an infa mous clos -ing Gala at the National Gallery of Art.IAMFA’s members showed their resi -lience and spirit by absorbing the impactof 9/11 and rallying to attend the D.C.conference in December. The results of

the first benchmarking exercise werepresented to participating members onSunday, December 2, 2001. Today, thisvaluable exercise is in its tenth year.

London—2002Peter Fotheringham was the organizerof the 2002 London conference. Thiswas Peter’s final year as President ofIAMFA, and Bill Caddick from theArt Institute of Chicago was electednew President during the conference.The program spanned three days,and included the National Gallery, theBritish Museum, and the British Library.Pierre Lepage recalls the meeting asbeing a very informative one and,among other things, remembers thestunning new geodesic dome over theBritish Museum’s inner court andlibrary, as well as a presentation onoperations and maintenance at theBritish Library’s new St. Pancras com -plex. We visited the newly opened TateModern Gallery, and learned aboutlighting and natural light control at

The Field Museum: one of the featured sitesof the 2000 IAMFA annual conference.

Recent meeting of the Washington,D.C./Baltimore Chapter.

Recent meeting of the U.K. Chapter in Liverpool.

The Natural History Museum in Washington,D.C. during the 2001 IAMFA conference.

Philadelphia Chapter members meeting at the Winterthur Museumand Country Estate in nearby Delaware.


the National Gallery. A highlight formany was the bus trip to the conferencedinner in a Routemaster Bus: thetraditional London doubledecker.

San Francisco—2003The conference in San Francisco wasJoe May’s first, and he says he knewby the end of the conference that hewanted to become an active memberof IAMFA. There was a presentationon security requirements in the post-9/11 era, and on base isolation as ameans of protecting buildings in seis -mically active areas. We visited thedeYoung Museum—then still underconstruction—to see a base isolationsystem being installed, and we will bevisiting the deYoung again during the2010 IAMFA conference. We visitedthe Cable Car Museum, had lunch atFisherman’s Wharf, and travelled byboat to Alcatraz Island. We visited theAquarium in its last months, prior tothe site being cleared for constructionof the New California Academy ofSciences. We visited SFMOMA andother institutions in San Francisco.Joe also remembers that the Legionof Honor, where the conference Galawas held, was the most elegant settinghe had ever seen.

Boston—2004The 2004 conference was held inBoston, Massachusetts. Jim Moissonled this incredible effort. A hotel roomhad been booked for vendors to displaytheir products and services. We touredBoston Harbor by boat, and visited theIsabella Stewart Gardner Museum—known as the site of the biggest arttheft in history. Shortly after midnighton the morning of March 18, 1990,thieves disguised as police officerstalked their way into the Museum.They handcuffed the two securityguards on duty and stowed themout of sight, then stole 13 works ofart valued at over $500 million. Thecrime still remains unsolved.We visited the Boston Athenaeum,

had lunch at the Union Club, thenwalked across Boston Common. Welearned about LED lighting at thisconference, and at the 2010 confer -ence in San Francisco, LSI Lightingwill once again make a presentationon new developments in LED lighting.We visited the Museum of Fine Arts,and the Peabody Essex Museum. GuyLarocque was elected the next IAMFAPresident in Boston, and he went on tobecome our longest-serving President.One big question from the Boston con -ference was whether the lobster boilin the countryside was the highlightof the conference, or whether it wasthe Fogg Museum of Art at HarvardUniversity for the Gala. Both wereamazing!

Bilbao, Spain—2005IAMFA’s 2005 annual conference washeld in Bilbao, Spain. We heard pre -

sentations from the architects andengineers responsible for design andconstruction of the Guggenheim, itselfa fabulous work of art. In addition toour annual general meeting, we alsohad a brainstorming session aimed atshaping future strategy for IAMFA, andwe will do this again in San Franciscothis fall at the 2010 IAMFA conference.We visited the Maritime Museum, theFine Arts Museum and Old Town, andwe heard from Pat Morgan on plansfor the redevelopment project at theAuckland Art Gallery Toi o Tamakiin New Zealand. We’ll see this projectfirsthand in the fall of 2011 whenNew Zealand hosts the 21st IAMFAconference, and you can read moreabout recent developments in thisissue of Papyrus. We headed into theSpanish countryside for dinner, andheard about the Getty Center’s recentLEED-EB Certification, as well as theBritish Library’s plans to build a low-oxygen storage facility near York. His -tory has shown that we’ve often hadopportunities to visit places we’veheard about in IAMFA conferencepresentations.

The British Library during the 2002 IAMFAconference in London.

The Legion of Honor, site of the closingGala for the 2003 conference inSan Francisco. The Guggenheim Museum in Bilbao, Spain.

The Fogg Museum of Art at HarvardUniversity in Boston, Massachusetts.


Los Angeles—2006In 2006, the conference was heldin Los Angeles at the Getty Villa andCenter, the LA County Museum ofArt (LACMA), the Museum of Con -tem po rary Art (MOCA), the DisneyConcert Hall, the Petersen Auto -motive Museum, and the JapaneseAmerican Art Museum. Guests alsovisited Universal Studios and theReagan Presidential Library. We heardpresentations on the renovation pro -ject at the Getty Villa (the predecessorof the Getty Center), building com -missioning, fire-protection strategies,and an FBI agent discussed art theftissues that museums face. We heardpresentations on LACMA’s construc -tion program, and the Smithsonian’snew asset management system, andcruised Marina Del Rey for dinner,complete with a rumored marriageproposal at dinner (sorry, no updateavailable). We toured MOCA and theDisney Concert Hall, which is anotherFrank Gehry design (as was the Guggen -heim in Bilbao). Facility Issues Inc.,led by Keith McClanahan, took overthis year as facilitator of the museumbenchmarking exercise.

Ottawa-Gatineau,Canada—2007In 2007 we met in Ottawa-Gatineau,where we visited the National Gallery,the Canadian Museum of Civilization,the Library Archives Canada GatineauPreservation Centre, the CanadaScience and Technology Museum,

the Canada Aviation Museum, andthe Canadian War Museum. We haddinner one evening at the l’Orée dubois Restaurant in the countryside. Westayed next door to Parliament Hill atthe Chateau Laurier Hotel. We learnedabout fire-suppression systems, micro-climate displays, preparing for redevel -opment programs, maintenance issuestoday and tomorrow, and the Library ofCongress’s new Audio Visual Center,which we would have the opportunityto visit in 2009. The conference closedwith a very elegant Gala Dinner at theCanadian Museum of Civilization. During 2007, we also saw Papyrus

printed in full color for the first time.

London—2008In 2008, we met in London for theIAMFA conference hosted by the

British Museum, the National Gallery,the British Library, the MaritimeMuseum and Royal Observatory andthe Natural History Museum. Theconference reception was held in theKing’s Library at the British Museumand, following the opening program,we wandered through the dimly litgalleries to see such exhibits as theRosetta Stone and the Elgin Marbles.It was a great kick-off to a memorableconference. We attended presen ta tionsfocusing on several themes, includingenergy savings and performance audits,facilities management and contracts,capital projects, and climate change.This year, the conference was extendedan optional fourth day, and membersand guests traveled by rail to York tovisit the new British Library low-oxygenstorage facility. We also traveled down

Members and guests at the Getty Center during the 2006 IAMFAconference.

Members and guests on the plaza at the Canadian Museum ofCivilization during the 2007 IAMFA conference.

The closing Gala of the 2008 IAMFA conference in London, held in the Earth Gallery at theNatural History Museum.


the Thames by boat to Greenwich,where we walked the Meridian Lineand attended a presentation in thePeter Harrison Planetarium. Refresh -ments afterward were at the TrafalgarPub, a well-known institution wherewe all enjoyed a pint or two. Confer -ence guests had a very busy agenda,including a visit to the Tower ofLondon, a private meeting with theQueen’s Jeweller, a viewing of the crownjewels, a visit to Kensington Palace—and with numerous other activities,there was still ample time to shopLondon! The 2008 conferenceculminated with a very memorableclosing Gala in the Earth Gallery atthe Natural History Museum. Johnde Lucy was elected President at theannual business meeting during theLondon conference.In 2008, IAMFA also became an

Affiliated Association of the InternationalCouncil of Museums (ICOM).

Washington, D.C.—2009In 2009, IAMFA members met inWashington, D.C., attending venuesin both Washington and Baltimore.Nancy Bechtol was our host, and we setattendance records again this year, justas we had the previous year in London.

We visited war memorials and monu -ments at night under a full moon. Thisyear, guests visited Baltimore while mem -bers attended the Sunday bench markingworkshop at the Baltimore Museumof Art, hosted by Alan Dirican. Duringtheir visit, guests were given guidedtours by BMA Director Doreen Bolgerof the exhibitions Edgar Allan Poe: ABaltimore Icon and Matisse as Print maker.They also visited the Baltimore Aquar -ium. The opening ceremony was heldat the Donald W. Reynolds Center, andthe first full day began with breakfastat the National Gallery of Art, wherewe heard a sum mary of the museumbenchmarking exercise, which also seta record for participation. We heardpresentations on building automationsystems, sustain ability, budget planningand reliability-centered maintenance.We visited the National Museum ofthe American Indian, which was in theprocess of applying for LEED Certifi ca -tion. We toured the Library of Congress,the National Archives Building, and thenew Capitol Visitor Center, as well asthe oldest Smithsonian Building, TheCastle. The closing Gala was held inthe Thomas Jefferson Building of theLibrary of Congress, which containssome of the richest public interiors in

the United States. This year the con fer - ence was extended an optional fourthday again, with a visit to the new Libraryof Congress National Audio visual Con -servation Center in Virginia. Follow -ing lunch at a winery, we visited theSmith sonian Institution’s Air andSpace Museum near Dulles Airport. During 2009, Papyrus was given

another facelift, becoming more like amagazine, and members increasinglycontributed content.

These were our first twenty yearsof IAMFA—and IAMFA has nowgrown to more than 200 members

in eight countries. But . . . where in the world will

IAMFA go next?

San Francisco—2010We will be meeting in San Franciscoon October 17–20, 2010. You can readmore about the upcoming conferencein this issue of Papyrus. See you there!

The closing Gala for the most recent IAMFA annual conference was held in the Great Hall ofthe Library of Congress Thomas Jefferson Building in Washington, D.C. in November 2009.

The New LEED Platinum California Academyof Sciences in San Francisco.

The 2011 IAMFA conference will be heldin Auckland, New Zealand on November13–17, 2011.

Auckland, New Zealand—2011


We believe doing so will allow ourmembers to be better educated andbetter equipped to serve the missionof their institutions.In pursuit of these goals, the associa -

tion sponsors an annual conference, andcommunicates quarterly with its mem -bership and friends around the worldthrough the IAMFA journal Papyrus.

Membership andEducational Benefits,Annual Meeting andConferenceIAMFA brings museum facility adminis -trators together to promote creativityand foster dialogue within the inter na -tional museum community, in orderto better serve the missions and goalsof all museums and cultural organi -zations. Member museums host theannual conference, which includesseminars, meetings, roundtable dis -cussions and panels on topics chosenby the membership. These educationalsessions draw upon the knowledge andtalents of many well-respected expertsin their fields. The variety of host citiesand facilities affords members theoppor tunity to see, experience andlearn from the world’s most renownedcultural institutions. Sponsorship fromthe businesses that provide support toour museums, along with an oppor -tunity to see their latest products andtechnologies, round out theconference experience for members.According to John Castle, current

Vice-President of IAMFA RegionalAffairs, “One of the great things that Ilove about IAMFA is that each year itholds an annual conference where upto a hundred delegates plus their guestsmeet in one of the world’s great citiesto share their experiences of managingthe hard and soft facilities services insome of the most iconic institutions inthe world.”

From Pierre Lepage, the originaleditor of IAMFA’s Papyrus publication,“This Association has taken a quantumleap in the development of its annualconferences. The change of locationeach year creates tremendous poten tialfor conference organizers to diversifyconference activities, making eachconference unique and memorable.For the organizers, it also becomes atruly collegial experience, giving mem -bers of the organizing committee anopportunity to work closely with oneanother during the two years it takesto prepare for the event. The con fer -ence is also an opportunity to show -case the best cultural institutions in thehost city. In addition, participants getan unequalled chance to learn fromcolleagues about different man age mentapproaches, to witness progress on con -struction sites, and to find out aboutsuccesses with recent museum reno va -tions and museum-related constructionprojects around the world.”

Contributors: John Castle, Director, Facility Services,Winterthur Museum & Garden, Winterthur,Delaware, U.S.A.

Daniel Davies, Zone Facilities Manager,National Zoo, Washington, D.C.

John de Lucy, Head of Estates & Facilities,British Library, London

Peter Fotheringham, Head of Estates,University of Greenwich, London

Guy Larocque, Director, FacilityManagement and Security Services,Canadian Museum of CivilizationCorporation, Ottawa-Gatineau, Canada

Pierre Lepage (retired), Canadian Museumof Civilization Corporation,Ottawa/Gatineau, Canada

Vincent Magorrian (retired), Museumof Modern Art, New York City

Joe May, Sustainability Engineer,Los Angeles

Marla Neustadt, Operational SupportServices, NASA Headquarters,Washington, D.C.

The 2012 IAMFA conference is set forthe U.S. Eastern Seaboard, includingthe Winterthur Garden and Museum inDelaware.

The 2013 IAMFA conference is plannedfor Boston, Massachusetts.

Mid-Atlantic, U.S.—2012

Boston—2013

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

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

IAMFA Statement ofPurposeThe International Association ofMuseum Facility Administrators is aninternational educational organizationdevoted to meeting the professionalneeds of museum facility adminis tra -tors—especially their efforts to set andmaintain standards of excellence andquality in the design, construction,operation and maintenance of world-class cultural facilities.IAMFA earnestly desires to promote

and foster communications betweenfacilities professionals at museumsas well as other cultural facilities.


The 2010 IAMFA San Franciscoconference team looks forwardto welcoming all IAMFA members

and guests to the Twentieth AnnualIAMFA Conference. Everyone involvedhas worked hard to develop a programpacked with educational content, tours,and networking opportunities that youwill be able to use in managing yourfacility. And the city of San Franciscooffers a stunning setting that is virtuallyunrivaled in the wealth of its culturalinstitutions.The members’ program includes

numerous presentations on topics inwhich you have expressed an interest,including:

• LED Lighting in the MuseumEnvironment

• Seismic Resistance and the Historyof the Cantor Arts Center

• Forward Planning: IAMFA’s NextFive Years

• The de Young Museum: Five Yearsof Lessons Learned

• Summary of the 2010 Bench mark ingand Best Practices Exercise

• Green Historic Preservation: TheMint Project

• Operating a LEED PlatinumBuilding

• Annual IAMFA Business Meeting

• Innovation in the Exploratorium’sNew Plans

L’équipe de la Conférence del’IAMFA à San Francisco se ré jouitd’accueillir tous les membres et

leurs invités à la 20ième assembléeannuelle. Tous les participants onttravaillé fort pour développer un pro -gramme riche en contenu éducatif,des visites guidées et des possibilités deréseautage que vous seriez en mesured’utiliser dans la gestion de votre éta -blissement. Et la ville de San Franciscooffre un cadre somptueux qui est pra -tiquement inégalisé dans la richessede ses institutions culturelles.Le programme des membres inclut

de nombreuses présentations sur dessujets dans lesquels vous avez expriméun intérêt; notamment:

• L’utilisation d’éclairage LED dansles musées

• Résistance séismique et l’histoiredu Centre d’arts Cantor

• Planification du future: l’IAMFAdans les cinq prochaines années

• Le musée de Young : cinq ans deleçons apprises

• Résumé de l’analyse comparative2010 et les meilleures pratiques del’exercise du ‘Benchmarking’

• Préservation historique orientéeau développement soutenable: leprojet Mint

• Fonctionnement d’un bâtimentLEED Platine

El equipo de trabajo de la con -ferencia anual de IAMFA del2010 en San Francisco están con

ganas de darle la bienvenida a la vigé -sima con ferencia anual de IAMFAen San Francisco. Todas las personasinvo lucradas han trabajado duro paradesarrollar un programa repleto decontenido educacional, giras, y opor -tunidades para trabajar en las redesde contactos que podrán utilizar parala administración de su instalación.Y la ciudad de San Francisco ofreceun entorno increíble con un númeroinfinito de instituciones culturales casisin igual. El programa de los miembros incluye

numerosas presentaciones sobre temasen los cuales Ustedes han demostradoun interés, incluyendo:

• el uso de luces LED en los museos

• la resistencia sísmica y la historiadel Centro de Artes Cantor

• planificación para El Futuro: lospróximos cinco años de IAMFA

• el Museo de De Young: cinco añosde lecciones aprendidas

• resumen del ejercicio de 2010 deevaluación comparativa (bench -marking) y mejores prácticas delejercicio

• la preservación histórica orientadaal desarrollo sostenible: el proyectoMint

The Twentieth Annual IAMFAConference in San Francisco

La Vingtième Conférencede l’IAMFA à San Francisco

La Vigésima Conferencia Anualde IAMFA en San Francisco


• Award-Winning Historical Preser -vation—The Walt Disney FamilyMuseum

A range of fascinating behind-the-scenes and gallery tours are also onthe agenda, along with a great guestprogram. This year’s conference venues,in and around San Francisco, aredescribed below.

San Francisco Museum of Modern ArtThe San Francisco Museum of ModernArt celebrated its 75th anniversary inJanuary 2010 (now, doesn’t that soundlike an oxymoron: Modern and 75years?). The Museum was originallyhoused in the War Memorial Buildingin the Civic Center across the streetfrom City Hall, sharing the buildingwith veterans’ organizations and theHerbst Theater. When it opened itsdoors in January 1935, it was con sid -ered a pioneer in the field of modernart collection and display. It also hadone of the first photography collec tionsin the museum world, acknowledgingphotography as an art form well beforemany of its contemporaries. By the 1980s, the Museum had out -

grown its original quarters, and plan ningbegan for a new purpose-built facility.Architect Mario Botta was selected todesign the signature build ing on Third

• Assemblé annuelle des affaires del’IAMFA

• Innovation dans les nouveaux plansde l’Exploratorium

• Prix gagné pour préservation histo -rique – le Musée de la Famille deWalt Disney

Une gamme fascinante de tournées« dans-les-coulisses » et de visites gui -dées sont également dans l’itinéraire,avec un programme excellent pournos hôtes. Les lieux de rendez-vous àl’intérieur et autour de San Franciscopendant la conférence de cette annéesont décrits ensuite, ci-dessous.

Le Musée d’art moderne de San FranciscoLe Musée d’art moderne de SanFrancisco a célébré son 75e anni ver -saire en janvier 2010 (ça ne sonnepas comme un oxymoron: moderneet 75 ans?). Le musée fut installé dansl’édifice commémoratif de la guerredans le Centre civique en face del’Hôtel de ville, partageant le bâti mentavec des organisations d’anciens com -battants et le Théâtre Herbst. Lorsqu’ila ouvert ses portes en janvier 1935, ila été considéré comme un pionnierdans le domaine de la collection d’artmoderne et d’affichage. Il était égale -ment l’une de premières collections

• la operación de un edificio LEEDplatino

• reunión anual de IAMFA deplanificación

• innovación en los nuevos planosdel Exploratorium

• un ejemplo de preservación históricaganador de premio—el Museo deLa Familia de Walt Disney

Una gama de giras fascinantes trasbastidores y de galerías también está enel itinerario, además de un pro gramaexcelente para los invitados. Los en -tornos de la conferencia de este año,dentro de y alrededor de San Francisco,se describen a continuación.

El Museo de Arte Moderno de San FranciscoEl Museo de Arte Moderno de SanFran cisco celebró su 75a aniversarioen enero 2010 (¿no suena un pococontradictorio los términos modernoy 75 años?). Originalmente el Museose encontraba en el Edificio Con me -mo rativo de la Guerra en el CentroCívico en frente del Ayuntamiento, ycompartía el edificio con las organi za -ciones de los veteranos de las guerrasy el Teatro Herbst. Cuando abrió suspuertas en enero de 1935, se lo con -sideró un pionero en el campo dela colección y la exhibición de artemoderno. También a través de unade las primeras exhibiciones de foto -grafías en el mundo de los museos,reconoció a la fotografía como arteantes que muchos de los otros museos. Para los 1980s, el Museo había cre -

cido demasiado para su alojamientooriginal y se comenzó a planear unanueva instalación construida expresa -mente para museo. El arquitectoMario Botta fue seleccionado paradiseñar el edificio único en la calletercera., al sur de la calle Market. Paraalgunos miembros de la sociedad deSan Francisco, esta idea les parecióherejía, no era aceptable ir al “sur dela ranura” (“la ranura” se refería a laranura en la calle para el tranvía) Sinembargo, la selección de este vecin -dario resultó visionaria, ya que esteárea al sur de la calle Market estabaen proceso de expansión y de revitali -The San Francisco Museum of Modern Art.

HENRIK

KAM


Street, south of Market Street. For somemembers of San Francisco society, thiswas heresy: one just didn’t go “southof the slot” (“slot” referring to thecable car slot in the street). The movewas visionary, however, as the “Southof Market” area was undergoing anexpansion and revitalization, in whichthe Museum was to play a pivotal role.The Museum opened in its currentbuilding in January 1995 to rave reviews,and has never slowed down in provid -ing both a bold exhibition program anda high standard of curatorial excellence.

ExploratoriumThe Exploratorium is an experimental,hands-on museum designed to sparkcuriosity—regardless of a visitor’s ageor familiarity with science. It attractsthe old, the young, artists, scientists,Nobel laureates, families, and every -one in between. Like a mad scientist’spenny arcade, a scientific funhouse,an art studio and an experimentallaboratory all rolled into one, you cantouch, play, and tinker with hundredsand hundreds of exhibits. In short,it’s a public educational institutionfor visitors of all ages. This innovative museum of science,

technology, art and human percep -tion provides the general public—

de photographie dans le monde desmusées, en reconnaissant la photo -graphie comme une forme d’art bienavant que ses contemporains.Dans les années 1980, le Musée avait

dépassé ses limites d’origine, et on acommencé à planifier une nouvelleinstallation construite à cet effet.L’architecte Mario Botta a été choisipour concevoir le bâtiment signaturesur la rue 3e, au sud de la rue duMarché. Pour certains membres de lasociété de San Francisco, ce fut unehérésie: on ne va pas tout simplementaller « au sud de la fente » (se référantà la fente téléphérique dans la rue).Le déménagement a été visionnaire,toutefois, et la zone au sud de la ruedu Marché a été l’objet d’une expan -sion et d’une revitalisation, dans lequelle Musée a joué un rôle central. LeMusée a ouvert dans son bâtimentactuel en janvier 1995 avec des cri -tiques élogieuses, et n’a jamais ralentil’offre d’un programme d’expositionsaudacieux et, à la fois, d’un haut niveaud’excellence de conservation.

L’ExploratoriumL’Exploratorium c’est un projet expé -rimental, un musée aux-mains conçupour éveiller la curiosité, indépen -dam ment de l’âge du visiteur et de safamiliarité avec la science. Elle attireles vieux, les jeunes, artistes, scien ti -fiques, lauréats du prix Nobel, lesfamilles et tous les autres. Comme lesavant fou Penny Arcade, le scienti -fique drôle, un studio d’art et un labo -ratoire expérimental tout en un, vouspouvez toucher, jouer et bricoler avecdes centaines et des centaines d’expo -sitions. En bref, ceci s’agit d’un établis -sement d’enseignement public pourles visiteurs de tous ages.Ce musée innovant de la science,

la technologie, l’art et la perceptionde l’homme prévoit le grand public,même ceux qui ont très peu de con -nais sances scientifiques, avec une expé -rience qui les aide à mieux comprendrela science et la nature. Pour 2010, lesvisiteurs à l’Exploratorium sont estimésà plus de 20 million pour les expo si -tions dans les centres de sciences etd’autres endroits dans le monde entier.Plus de 575 000 visiteurs viendront à

zación, en el cual tomaría un papelimportante el museo. Cuando el edifi -cio actual se inauguró en enero 1995,recibió la aclamación de los críticos, yhasta la fecha nunca ha frenado ensu afán de mantener un programaatrevido de exhibiciones y un altonivel de excelencia en conservación.

Explor atoriumEl Exploratorium es un museo experi -mental diseñado para fomentar lacuriosidad a través de la interacciónfísica del visitante con las exhi bi ciones—sin importar la edad del visitante osu conocimiento de la ciencia. Atrae alos mayores, los jóvenes, los artistas,los científicos, los individuos que hansido premiados con el premio Nobel,las familias, y a todos los demás. Estemuseo que parece combinar elementosde una galería de máquinas de traga -perras de un científico loco, una casade espejos de índole científica, un estu -dio de arte y un laboratorio experi -mental ofrece la oportunidad de tocar,jugar y manipular centenares de exhi -biciones. En breve, es una institucióneducacional pública para visitantes detodas las edades. Este museo innovador de ciencias,

tecnología, arte, y la percepciónhumana provee al público en general—aun con un conocimiento limitadode ciencias—de una experiencia queles ayuda a entender mejor la ciencia yla naturaleza. Para el 2010, el públicodel Exploratorium se estima en másde 20 millones para las exhibicionesen los centros de ciencia y otros lugaresalrededor del mundo. Más de 575,000visitantes vendrán al Exploratoriumen San Francisco en 2010 para inter -actuar con las exhibiciones originales;6,000 maestros participarán en losprogramas de desarrollo profesional;110,000 estudiantes y maestros haránexcursiones escolares y 5,000 estu di -antes más, muchos que provienende los vecindarios de bajos recursos,recibirán beneficios por medio delPrograma de difusión pública para laEducación de Jóvenes. Todos los añosse venden 5,000 ejemplares de las publi -caciones del Exploratorium, y su sitiode Internet recibe 24 millones de visitasdurante el año. En el 4to CongresoInside the Exploratorium.

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even those with very limited scientificknowledge—with an experience thathelps them to better understand scienceand nature. For 2010, the Explora to -rium’s audience is estimated at morethan 20 million for exhibits at sciencecenters and other locations world wide.More than 575,000 visitors will cometo the Exploratorium itself in 2010 tointeract with the original, hands-onexhibits; 6,000 teachers will partici patein professional development programs;110,000 students and teachers will visiton school field trips; and another 5,000students, many from San Francisco’sunderserved neighborhoods, will bene -fit from the Children’s EducationalOutreach Program. Each year, 50,000copies of Exploratorium publicationsare sold, and its award-winning web sitereceives 24 million visits during theyear. At the 4th Science Center WorldCongress in Rio de Janeiro in 2005, sci -ence centers from five continents rankedthe Exploratorium as the number onescience center in the world.

Stanford University LibrariesFounded in 1885 by Jane and LelandStanford as a memorial to their onlychild, Leland Stanford Junior Uni ver -sity opened in 1891. Stanford’s firstpresident, David Starr Jordan, wrotethat, “a great library is the most impor -tant element in the formation of a greatUniversity.” The Library’s collectionsgrew slowly but steadily over the nextquarter century, as the University strug - gled with financial difficulties in theaftermath of the devastating 1906 earth -quake. A purpose-built main librarybuilding, now known as the Bing Wingof Green Library, opened in 1919.Today, there are 20 libraries on campus:five coordinate libraries (Law, Business,Medicine, the Stanford Linear Accel er -ator Center, and the Hoover Institution)report to their dean or director, whilethe remaining libraries are organizedcentrally as the Stanford UniversityLibraries and Academic InformationResources, or SULAIR, reporting tothe University Librarian.

Cantor Arts CenterThe Cantor Arts Center’s diverse col -lections span continents, cultures, and

l’Exploratorium lui-même en 2010pour interagir avec les originaux expo -sitions les mains sur les pièces; 6 000enseignants feront partie des pro -grammes de perfectionnement profes -sionnel; 110 000 étudiants et profes seursse rendront sur des sorties scolaires etun autre groupe de 5 000 étudiantsd’un grand nombre de quartiers insuf -fisamment desservis de San Franciscova se bénéficier du Programme d’exten -sion educative pour l’enfance. Chaqueannée, 50 000 exemplaires de publi ca -tions de l’Exploratorium sont venduset son lauréat site Web reçoit 24 mil -lion de visites durant l’année. Lors du4e Congrès mondial des centres scien -tifiques à Rio de Janeiro en 2005, lesreprésentants venus des cinq conti nentsont classé l’Exploratorium commele numéro un parmi les centres desciences du monde.

Bibliothèques de l’Universitéde StanfordFondée en 1885 par Jane et LelandStanford, en souvenir de leur enfantunique, l’Université Leland StanfordJunior a ouvert ses portes en 1891. Lepremier président de Stanford, DavidStarr Jordan, a écrit que « une grandebibliothèque est l’élément le plusimpor tant dans la formation d’unegrande université ». Les collections dela Bibliothèque ont augmenté lente -ment mais régulièrement au coursdu prochain quart de siècle, puisquel’Université luttait avec des difficultés

Mundial de Centros de Ciencias enRío de Janeiro en 2005, los centros deciencias de cinco continentes le con -cedieron al Exploratorium el primerpuesto.

Las Bibliotecas de laUniversidad de StanfordFue fundada en 1885 por Jane y LelandStanford, en honor de su único hijo.La Universidad de Leland StanfordJunior abrió en 1891. El primer presi -dente de Stanford, David Starr Jordan,escribió que “una gran biblioteca esel elemento más importante en la for -mación de una gran universidad.” Lascolecciones de la biblioteca crecieronlentamente pero sin parar duranteel próximo cuarto de siglo, mientrasla biblioteca padecía de dificultadesfinancieras después del terremotodeva stador de 1906. Un edificio centralpara la biblioteca que fue construidoespecíficamente para ese propósito yque ahora se conoce como el Ala Bingde la Biblioteca Green abrió en 1919.Hoy, hay 20 bibliotecas en el campus:cinco bibliotecas independientes (Leyes,Administración de Empresas, Medi -cina, el Centro de Aceleración LinealStanford, y el Instituto Hoover) quereportan a su decano o director; mien -tras que las demás bibliotecas estánconsolidadas como las Bibliotecas dela Universidad de Stanford y Recursosde Información Académica (SULAIR)y reportan a la bibliotecaria de launiversidad.

El Centro de Arte CantorLas colecciones diversas del Centrode Arte Cantor abarcan continentes,

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4,000 years of art history, and includethe largest gathering of Rodin bronzesoutside Paris. The Center’s distinguishedoutdoor art collection includes impor -tant figurative and abstract works in avariety of media by artists of the latenineteenth century to the present.

Contemporary Jewish MuseumWith the opening of its new building inJune 2008, the Contemporary JewishMuseum ushered in a new chapter inmore than 20 years of engaging audi -ences and artists in exploring con tem -porary perspectives on Jewish culture,history, art, and ideas. The new award-winning facility, designed by inter na -tionally renowned architect DanielLibeskind, is a lively center where peopleof all ages and back grounds can gatherto experience art, share diverse per -spectives, and engage in hands-on activ -ities. Inspired by the Hebrew phrase“L’Chaim” (To Life), the build ing is aphysical embodiment of the Contem -porary Jewish Museum’s mission tobring together tradition and inno va -tion in an exploration of the Jewishexperience in the twenty-first century.

de Young MuseumThe de Young Museum, housed in alandmark building designed by Herzog& de Meuron and located in GoldenGate Park, is the fourth most-visited

financières après le tremblement deterre devastateur de 1906. Le bâtimentde la bibliothèque construit à cet effet,maintenant connu comme l’aille Bingde la Bibliothèque Green, est ouverten 1919. Aujourd’hui, il existe 20 bib -lio thèques sur le campus: cinq biblio -thèques coordonnées (droit, commerce,médecine, le Centre Stanford d’accel -er ation linéaire, et l’Institution Hoover)se rapportent à leur doyen ou direc -teur, alors que le reste des biblio thèquessont encore organisées de manièrecentra lisée, comme les bibliothèquesde l’Uni versité de Stanford et les Res -sources d’information académique ouSULAIR, dépendant du bibliothécairede l’Université.

Centre des arts CantorLes diverses collections du Centre desarts Cantor couvrent des continents,des cultures, et 4 000 ans d’histoirede l’art, et notamment le plus grandrassemblement des bronzes de Rodinen dehors de Paris.

Le Museum juif contemporainAvec l’ouverture de son nouveau bâti -ment en Juin 2008, le Musée juif con -temporain a inauguré un nouveauchapitre de plus de 20 ans d’engage -ment avec le public et les artistes explo -rant les perspectives contemporainessur la culture juive, l’histoire, l’art et lesidées. Le nouvel établissement lauréat,conçu par l’architecte internationale -ment renommé Daniel Libeskind, estun centre animé où des personnesde tous âges et origines peuvent s’yretrouver pour vivre l’art, à partir deleurs perspectives différentes, et des’engager dans des activités pratiques.Inspiré par l’expression hébraïque« L’Chaim » (à la vie), le bâtiment estun mode de réalisation physique de lamission du Musée juif contemporainde réunir la tradition et l’innovationdans une exploration de l’expériencejuive dans le XXIe siècle.

Le Musée de YoungLe musée de Young, abrité dans unbâtiment conçu par Herzog & deMeuron et situé dans le Parc GoldenGate, est le quatrième musée d’art leplus visité aux États-Unis, et le 16e musée

culturas, y 4,000 años de historia dearte e incluyen el grupo más grandede esculturas de bronce de Rodinfuera de París.

Museo Contemporáneo JudíoCon la apertura de su nuevo edificio enjunio 2008, el Museo ContemporáneoJudío comenzó un nuevo capítulodespués de más de 20 años de invo -lucrar al público y a los artistas en unaexploración de perspectivas con tem -po ráneas de la cultura, la historia,el arte, y las ideas judías. La nuevainstalación premiada, diseñada por elarquitecto de fama mundial, DanielLibeskind, es un centro dinámicodonde todos pueden reunirse paraexperimentar el arte, compartir per -spectivas diversas, y participar de llenoen exhibiciones prácticas sin importarla edad ni el origen de los visitantes.Inspirado en la frase hebrea “L’Chaim”(A la Vida), el edificio es una mani -festación física de la misión del MuseoContemporáneo Judío de unir la tra -dición y la innovación en la exploraciónde la experiencia judía en el siglo veintey uno.

Museo de Young El Museo de Young, ubicado en unedificio de reconocida importanciadiseñado por Herzog & de Meuron ysituado en el Parque Golden Gate, esel museo de arte número cuatro encantidad de visitantes en los EEUU, ytiene el puesto décimo sexto en visitasa los museos a nivel mundial. Susexhibiciones contienen arte americanodesde el siglo diez y siete hasta el sigloveintiuno; arte textil y vestimenta inter -nacional; arte de África, de las Américas,la región de Asia y del Pacifíco.

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art museum in the United States, andthe 16th most-visited art museum in theworld. It showcases American art fromthe seventeenth through the twenty-first centuries, international textilearts and costumes, and art from theAmericas, the Pacific Rim, and Africa.

California Academy of SciencesHome to the Steinhart Aquarium, theKimball Natural History Museum, theMorrison Planetarium, and world-classresearch and educational programs,the California Academy of Sciences isone of San Francisco’s must-see desti -nations. From the splashing penguinsin African Hall to the wildflowers onthe roof, the building is bursting withlife. A four-story living rainforest andawe-inspiring coral reef ecosystem willdelight visitors of all ages, while immer -sive Space shows transport audiencesbeyond the boundaries of our planet.Opportunities abound to meet Academyscientists, share in their discoveries, andjoin the journey to make our worlda greener, more sustainable place inwhich to live.

Walt Disney Family MuseumWalt Disney was one of the most influ -ential figures of the twentieth century,and his worldwide popularity lives onto this day. Through animated andlive-action films, television shows andtheme parks, Disney created globalsymbols, stories and characters that arean indelible part of our popular cul -ture. The Walt Disney Family Museumwas conceived to present the real story

d’art le plus visité du monde. Il met envaleur l’art américain du dix-septièmeau vingt et unième siècles, les arts tex -tiles et des costumes inter nationauxet l’art des Amériques, de la régiondu Pacifique et de l’Afrique.

L’Académie des sciences de la CalifornieAccueil de l’Aquarium Steinhart, leMusée d’histoire naturelle Kimball,le planétarium Morrison, et des pro -grammes mondiaux de recherche etéducatifs, l’Académie des sciences dela Californie est l’une des destinationsà voir à San Francisco. Des éclabouss -ures des penguins à la salle de l’Afriquejusqu’aux fleurs sauvages sur le toit, lebâtiment est plein de vie. Une forêt devie de quatre étages et un impres sion -nant écosystème de récifs coralliensraviront les visiteurs de tous âges, tandisque le spectacle de l’espace immersiftransport le public au-delà des limites denotre planète. Les débouchés abondentpour se rencontrer avec des scien ti -fiques de l’Académie, partager leursdécouvertes, et rejoindre la route pourrendre notre monde plus vert, un lieuplus durable pour vivre.

Le Musée de la famille de Walt DisneyWalt Disney a été l’une des person na -lités les plus influentes du XXe siècle,et sa popularité vit dans le monde entierà ce jour. Grâce aux films animés et lesfilms d’action, des émissions de télé vi -sion et des parcs thématiques, Disney acréé des symboles globaux, des histoires

La Academia de Cienciasde California Hogar del Acuario Steinhart, el Museode Historia Natural Kimball, el Plane -tarium Morrison, y programas deinves tigación y educación de calidadmundial, la Academia de Ciencias deCalifornia es uno de los destinos. Desdelos pingüinos chapoteando hasta lasflores silvestres en el techo, el edificoestá rebosante de vida.Un bosque tropical de cuatro pisos

y un magnifico sistema ecológicode coral deleitarán a los visitantesde todas las edades, mientras que elprograma del espacio sumerge a supúblico en una experiencia que trans -porta a los participantes más allá de lasfronteras de nuestra planeta. Abundanlas oportunidades para conocer a loscientíficos de la Academia, compartirsus descubrimientos y sumarse almovimiento para convertir a nuestromundo en un lugar donde vivamos enarmonía ecológica de una manerasostenible.

Museo de la Familia de Walt DisneyWalt Disney fue uno de los personajesmás influyentes del siglo veinte y supopularidad mundial sigue hasta lafecha. Con la ayuda de películas dedibujos animados y de acción en vivo,programas de televisión y parquestemáticos, Disney creó símbolos glo -bales, historias y personajes que sonuna parte indeleble de nuestra culturapopular. El museo de la Familia de WaltDisney fue concebido para pre sentar

The California Academy of Sciences. The Walt Disney Family Museum.


of Walt Disney the man, as told by himand by others who knew him well. TheMuseum is located in the Presidio ofSan Francisco: a former U.S. Army basethat is now a National Park. The threebuildings that house the Museum are onthe National Register of Historic Places.

San Francisco Maritime MuseumThe San Francisco Maritime Museumis located in the Aquatic Park HistoricDistrict: a National Historic Landmarklocated on San Francisco Bay. ThePark’s distinctive Streamline Modernstyle WPA building stands at the footof Polk Street. It was originally builtas a public bathhouse in 1936, andnow houses the Maritime Museum. Itsinterior is decorated with fantastic andcolorful murals. Although the Museumis currently under renovation, IAMFAis fortunate to be able to host the Galadinner of its 20th annual conferenceon the Museum’s third floor, beforeit is returned to its main function asa visiting exhibitions gallery.

Runnymede Sculpture FarmMembers and guests will visit Runny -mede Sculpture Farm for a tour andCalifornia BBQ.

Golden Gate BridgeThe Golden Gate Bridge was the long -est suspension bridge in the world whenit was completed in 1937, and has be -come one of the most inter na tionallyrecognized symbols of San Francisco,California, and the United States. Sinceits completion, the span’s length hasbeen surpassed by eight other bridges.It still has the second-longest suspen -sion bridge main span in the UnitedStates. It is estimated that about ninemillion people from around the worldvisit the Bridge each year.

et des personnages qui font partie indé -lébile de notre culture populaire. LeMusée de la famille de Walt Disney aété conçu pour présenter la véritablehistoire de Walt Disney l’homme, telleque racontée par lui et par d’autres quile connaissaient bien. Le Musée est situédans le Presidio de San Francisco: uneancienne base de l’armée américainequi est maintenant un parc national.Les trois bâtiments qui abritent lemusée sont sur le Registre nationaldes lieux historiques.

Le Musée maritime de San FranciscoLe Musée maritime de San Franciscoest situé dans le district historique duParc aquatique: un point historiquede répère national situé sur la baie deSan Francisco. Le distinctif bâtimentdu Parc (un des « WPA buildings ») àstyle « paquebot », se trouve au pied dela rue Polk. Il a été construit commeun bain public en 1936, et aujourd’huiabrite le Musée maritime. Son inté rieurest décoré de peintures murales fan -tastiques et colorés. Bien que le muséeest actuellement en rénovation, l’IAMFAa la chance d’être en mesure d’accueillirle dîner de gala de son 20e Confé renceannuelle sur le troisième étage duMusée, avant qu’il ne soit retournéà sa principale fonction de galeried’exposition visitante.

La Grange aux sculpturesRunnymedeLes membres et leurs invités se ren drontà la Grange aux sculptures Runny medepour une visite et y profiter d’unbarbecue à la Californie.

la verdadera historia de Walt Disney, elhombre, contado por él y por quieneslo conocían bien. El museo se ubicaen el Presidio de San Francisco; unabase de la armada de EEUU que ahoraes un parque nacional. Los tres edi -ficios que contienen el museo están enla lista nacional de lugares históricosde EEUU.

El Museo Marítimo de San FranciscoUbicado en el distrito histórico delParque Acuático en la bahía deSan Fran cisco, el Museo Marítimode San Francisco aparece en la listanacional de edificios históricos. Eledificio WPA del distintivo estiloaerodinámico se encuentra al piede la calle Polk. Originalmente seconstruyó como una sauna pública en1936, y ahora es el hogar del MuseoMarítimo. Las paredes en su interiorestán decoradas con pinturas muralesfantásticas y coloridas. Aunque ahorase halla en renovación, IAMFA podrácelebrar el banquete y la cena de galade la vigésima conferencia anual en eltercer piso del museo, antes de quevuelva a su función normal de galeríapara las exhibiciones prestadas deotros museos.

La Finca con esculturasRunnymedeLos miembros e invitados visitarán ala finca con esculturas Runnymedepara un paseo y una barbacoa de tipoCalifornia.

El Puente Golden Gate El Puente Golden Gate era el puentesuspendido más largo del mundo

The San Francisco Maritime Museum. Runnymede Sculpture Farm. The Golden Gate Bridge.

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Letterman Digital Arts CenterThe Letterman Digital Arts Center seam -lessly integrates motion picture, visualeffects and gaming technologies on oneworld-class digital arts campus. The 23-acre campus is the new San Franciscohome of Lucasfilm Ltd., bringingtogether Industrial Light & Magic,LucasArts and Lucasfilm’s corporateactivities for the first time in thecompany’s nearly 40-year history.

Sir Francis Drake HotelFew hotels in the country are as syn ony - mous with the city they call home asthe Sir Francis Drake Hotel. Known bylocals as “The Drake”, the hotel definesSan Francisco: exciting, roman tic, anda little offbeat. Take in the ornate lobbyand the romantic clang of the cablecars—it’s all part of the legendarySan Francisco experience. When thishistoric hotel opened its doors in 1928,the city had never seen anything likeit. Although the city boasted a numberof luxury hotels, the Sir Francis DrakeHotel was something else entirely: asleek state-of-the-art marvel reflectingthe dynamic spirit of a new metropolisemerging from the devastating 1906earthquake. The Starlight Room is located on

the 21st floor of the Sir Francis DrakeHotel in San Francisco, location of theopening ceremonies for the twentiethannual IAMFA conference.

State Railroad MuseumLocated in Old Sacramento, theCalifornia State Railroad Museum isa complex of historical facilities andunique attractions. Widely regarded asNorth America’s most popular rail roadmuseum, there is something here foreveryone, including lavishly restored

Le Pont Golden GateLe Pont Golden Gate était le plus longpont suspendu du monde quand il aété achevé en 1937, et il est devenul’un des symboles les plus reconnusinternationalement de San Francisco,en Californie et aux États-Unis. Depuisson achèvement, la longueur de latravée a été dépassée par huit autresponts du monde. Mais aux Etats-Unis, ildétient la deuxième place par la taillede la portée suspendue. On estime queprès de neuf millions de personnesde partout le monde entier visitent lepont chaque année.

Le Centre des arts digitauxLettermanLe Centre d’arts digitaux Lettermanintègre de façon transparente le cinéma,les effets visuels et les technologiesde jeu sur un campus de classe mon -diale des arts numériques. Le campusde 23 acres est la nouvelle maisonà San Francisco de Lucasfilm Ltd,réunis sant Industrial Light & Magic,LucasArts et les activités de la sociétéLucasfilm pour la première fois dansune entre prise de près de 40 ansd’histoire.

L’Hôtel Sir Francis Drake Peu d’hôtels dans le pays peuvent êtreconsidérés le synonyme de la villequ’ils appellent maison comme le faitl’Hôtel Sir Francis Drake. Connu par

cuando se terminó en 1937 y se hacon vertido en uno de los símbolosmás reconocidos de San Francisco,California y de los EEUU. Luego de suterminación, ocho puentes alrededordel mundo le han superado en largo,pero solo uno dentro de los EEUUen cuanto a su tramo en suspensión.Se estima que más de 9 millones devisi tantes acuden al puente desdediferentes puntos del mundo cada año.

El Centro de Artes DigitalesLettermanEl Centro de Artes Digitales Lettermanintegra sin dificultad las tecnologíasde películas, de efectos visuales espe -ciales, y de juegos de video en un solocampus de artes digitales de calidadmundial. El campus de 23 acres es elnuevo hogar de Lucasfilm Ltd., el cualconsolida las actividades corporativasde Industrial Light & Magic, LucasArtsy Lucasfilm por primera vez desde quese fundó la compañía hace 40 años.

El Hotel Sir Francis DrakePocos hoteles en el país tienen unaimagen tan representativa de la ciudaden que se ubican como el Hotel SirFrancis Drake. Conocido por los resi -dentes locales como “The Drake”, elhotel define a San Francisco; emo cio -nante, romántico y un poco excéntrico.Observen el vestíbulo ornamentada ylos estruendos de los tranvías—todoes parte de la experiencia legendariade San Francisco. Cuando este hotelabrió sus puertas en 1928, la ciudadnunca había visto nada parecido.Aunque la ciudad ofrece varios hotelesde lujo, el Hotel Sir Francis Drakees algo completamente diferente: unhotel elegante con toda la tecnologíamás corriente que refleja el espíritudinámico de una nueva metrópolisque emergió del terremoto devastadorde 1906.

The Letterman Digital Arts Center. The Sir Francis Drake Hotel. The Starlight Room.


trains, engaging exhibits, and uniquespecial events.

Crocker Art MuseumThe Crocker Art Museum in Sacramentohas embarked on the most monu men -tal endeavor in its 125-year history. Anexpansion project is underway, not onlytripling the size of the current facilitybut spanning all facets of the organi za -tion, from collection and endowmentgrowth to enriching every aspect of thevisitor experience. The new CrockerMuseum is set to open to the publicon October 10, 2010.

State CapitolAt the State Capitol in Sacramento, thepast, present and future of Californiainteract. The building serves as botha museum and as the state’s workingseat of government. Visitors to theCapitol can experience California’srich history, while also witnessing themaking of history through the modernlawmaking process.

les habitants comme « Le Drake »,l’hôtel définit San Francisco: pas sion -nante, romantique, et un peu décalé.Profiter du superbe salon et des roman -tiques tintements des sons métalliquesdes câble-voitures qui font tous partie del’expérience légendaire de San Fran -cisco. Lorsque cet hôtel historique aouvert ses portes en 1928, la ville n’avaitjamais rien vu de pareil. Bien que la villecomptait un certain nombre d’hôtelsde luxe, l’Hôtel Sir Francis Drake aété tout une autre chose: un état mag -nifique et impeccable de l’art qui reflètel’esprit dynamique d’une nouvellemétropole qui sort du dévastateurtremblement de terre de 1906. La salle Starlight est située au 21e

étage de l’Hôtel Sir Francis Drake, àSan Francisco, le lieu de la cérémonied’ouverture de la vingtième conférenceannuelle de l’IAMFA.

Le Musée du chemin de ferde l’ÉtatSitué dans le Vieux Sacramento, leMusée du chemin de fer de l’État est uncomplexe d’installations histo riqueset des attractions uniques. Considérécomme l’un des musées du chemin defer en Amérique du Nord les pluspopulaires, il y a ici quelque chosepour tout le monde, y compris lestrains somptueusement restaurés,l’engagement des expositions, desévénements spéciaux et uniques.

Le Musée d’art CrockerLe Musée d’art Crocker à Sacramentoa lancé l’entreprise la plus monu men -tale de son histoire de 125 ans. Unprojet d’agrandissement est en cours,non seulement triplant la taille del’installation actuelle, mais couvranttous les aspects de l’organisation, de lacollecte et la croissance de dotationjusqu’à l’enrichissement de tous lesaspects de l’expérience du visiteur. Lenouveau Musée Crocker est prêt àouvrir au public le 10 Octobre 2010.

Le Capitol de l’ÉtatAu Capitole de l’État à Sacramento,le passé, le présent et l’avenir de laCalifornie interagissent. Le bâtimentsert à la fois de musée et de siège de

El Salon “Starlight” se ubica enel vigésimo primer piso del HotelSir Francis Drake, el lugar de la cere -monia de apertura de la vigésimaconferencia anual de IAMFA.

El Museo Estatal del Ferrocarril Ubicado en Viejo Sacramento, elMuseo Estatal del Ferrocarril es uncomplejo de instalaciones históricas yatracciones únicas. Es considerado elmuseo de ferrocarril de Norte Américamás popular, hay algo de interés paratodo el mundo, incluyendo trenes res -taurados con mucho esmero, exhi bi -ciones interesantes, y eventos especialesúnicos.

El Museo de Arte CrockerEl Museo de Arte Crocker en Sacra -mento se ha embarcado en la obramás monumental de su historia de125 años. Un proyecto de expansiónestá en progreso, que no solamentetriplica el tamaño de su instalaciónactual sino que abarca todas las facetasde la organización, desde el creci mi -ento de sus colecciones y de sus anfi -triones hasta el enriquecimiento detodos los aspectos de la experiencia delos visitantes. El Museo Crocker estáprogramado para abrir al público el10 de octubre de 2010.

El Capitolio del EstadoEl pasado, el presente, y el futurode California se interactúan en elCapitolio del Estado. El edificio sirvetanto de museo como de sede oficial delgobierno. Los visitantes al Capitoliopueden experimentar la historia rica deCalifornia, mientras observan la cre -ación de historia a través del modernoproceso de crear leyes.

The State Railroad Museum.

The Crocker Art Museum. The State Capitol.

CONTINUED ON PAGE 26

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2010 IAMFA Con

The new rooftop Garden atSFMOMA.

The Stanford University campus.

The deYoung Museum, open nowfor nearly five years.

The new LEED Platinum CaliforniaAcademy of Sciences.

The Exploratorium, a hands-onexperience for all who visit.

DELEGATE PROGRAM

SUNDAY, O

8:00 am Benchmarking Registration and Breakfast Sir Francis Drake (SFD) Hotel, 450 Powell

12:00 pm Conference Registration and Bag Pickup for Sir Francis Drake Hotel, Mezzanine Everyone Lobby

6:00 pm Ice Breaker Reception and Welcome Harry Denton’s Starlight Room, SFD

MONDAY, O

8:00 am Travel to Breakfast at SFMOMA San Francisco Museum Of Modern Art

9:30 am Benchmarking Recap, LED Lighting Presentations, SFMOMA’s Phyllis Wattis Theater Tour

11:30 am Travel to Lunch at Stanford University To Stanford Bing Wing Library

1:30 pm Tour and Seismic Presentation Stanford Libraries

4:30 pm Tour Cantor Art Center with Guests Cantor Art Center

5:15 pm Travel to Runnymede, Walking Sculpture Tour Runnymede Sculpture Farm and BBQ

8:30 pm Travel to Hotel To Sir Francis Drake Hotel

TUESDAY, O

8:00 am Travel to Breakfast at De Young Museum To Golden Gate Park

9:30 am IAMFA Master Planning Session, DeYoung De Young Museum Presentation, Tour

12:30 pm Lunch in the Forum Facing the Shakespeare Garden California Academy of Sciences

2:00 pm Green Historic Preservation, LEED Platinum Bldg., California Academy of Sciences Tours

5:00 pm Return to Hotel for Free Evening To Sir Francis Drake Hotel

6:00 pm Board Meeting Sir Francis Drake Hotel

WEDNESDAY,

8:00 am Travel to Breakfast, Annual Business Meeting Contemporary Jewish Museum and Tour

10:45 am Innovation in the Exploratorium’s New Plans Exploratorium and Tour

12:30 pm Lunch at Letterman Digital Arts Center Letterman Digital Arts Center

1:45 pm Historic Preservation Award Winner and Tour Walt Disney Family Museum

3:30 pm Walk across Golden Gate Bridge, W5 From North toward City

4:45 pm Travel to Hotel, Dress for Gala Dinner Sir Francis Drake Hotel

6:00 pm Group Photo and Wine, Gala Dinner Maritime Museum

10:00 pm Bus back to Hotel

THURSDAY, OCTOBER 21 — “A CAPITAL IDEA”

8:30 am Day Tour to Sacramento Bus Departs SFD

9:30 am Benicia for Coffee Old State Capitol

10:00 am Travel onward and Facilities Tour State Railroad Museum

12:00 pm Lunch Aboard Delta King

1:30 pm Tour Museum Crocker Art Museum

3:00 pm Travel to Capitol for Tour Architectural Tour

5:00 pm Drinks and Tour, Depart for Hotel at 6:00 pm Historic Governor’s Mansion


The Garden Court at the famousPalace Hotel.

One of many sculptures atRunnymede Farm.

The Golden Gate Bridge.

The vineyards at Gloria Ferrerwinery.

Wine-tasting at The Hess Collectionwinery, located atop Mount Veeder.

ference Schedule GUEST PROGRAM

CTOBER 17

12:00 pm Conference Registration and Bag Pickup for Sir Francis Drake (SFD) Hotel, Everyone Mezzanine Lobby

6:00 pm Ice Breaker Reception and Welcome Harry Denton Starlight Room, SFD

CTOBER 18

8:00 am Travel to Breakfast in the Garden Court Palace Hotel

9:30 am Narrated SF Walking Tour—Ends at SFMOMA Downtown

11:30 am Travel to Lunch at Stanford with Delegates To Stanford Bing Wing Library

1:30 pm Shop, Stroll, Meander Downtown Palo Alto

4:30 pm Join Delegates on Docent tour of Cantor Art Center Cantor Art Center

5:15 pm Travel to Runnymede, Walking Sculpture Tour Runnymede Sculpture Farm and BBQ

8:30 pm Travel to Hotel To Sir Francis Drake Hotel

CTOBER 19

8:30 am Head for the Napa Valley Bus Transfer with Snacks on Board

10:00 am Champagne and Light Picnic on the Terrace Gloria Ferrer

11:30 am Transfer to Lunch/Wine Pairing and Tour Nicholson Ranch

3:30 pm Transfer to Hess Collection Tour and Tasting The Hess Collection

5:30 pm Return to Hotel To Sir Francis Drake Hotel

7:00 pm Free Evening

OCTOBER 20

8:30 am Light Tea Breakfast Near Hotel

9:30 am Walk/Bus Transfer to Chinatown Chinatown

10:00 am Explore Chinatown with Author Shirley Torres Chinatown

1:30 pm Travel to Disney Family Museum for Tour Walt Disney Family Museum

3:30 pm Walk across Golden Gate Bridge, W5 From North toward City

4:45 pm Travel to Hotel, Dress for Gala Dinner Sir Francis Drake Hotel

6:00 pm Group Photo and Wine, Gala Dinner Maritime Museum

10:00 pm Bus back to Hotel

— EXTRA DAY TOUR (Additional Cost of $75)

See Delegate Schedule for Sacramento


Historic Governor’s MansionCalifornia’s executive mansion, pop -ularly known as the Governor’sMansion, was built in 1877 for Albertand Clemenza Gallatin. Albert was apartner in the Sacramento hardwarestore of Huntington & Hopkins. TheState of California purchased the housefrom Joseph and Louisa Steffens touse as a home for California’s firstfamilies in 1903 for $32,500.

Guests of IAMFA members attendingthe conference this year will have theirown agenda as usual, offering an expe -rience of San Francisco that they won’tsoon forget. Guest activities include:

• Breakfast at the Palace Hotel

• Tour of the Walt Disney FamilyMuseum (Delegates and Guests)

• Walk across Golden Gate Bridgetoward San Francisco (Delegatesand Guests)

• Annual Gala Banquet at theMaritime Museum (Delegatesand Guests)

• Tour of Runnymede Sculpture Farmplus California BBQ (Delegates andGuests)

• Champagne and Light Picnic onthe Terrace of Gloria Ferrer Wineryin Napa Valley

• Interactive Lunch and WinePairing and Tour at NicholsonRanch in Napa Valley

• Hess Collection Tour and Tastingin Napa Valley

travail du gouvernement de l’État. Lesvisiteurs du Capitole peuvent con naîtrela riche histoire de la Californie, tandisqu’ils assistent aussi à la réalisationde l’histoire à travers du moderneprocessus législatif.

La Masion historique duGouverneurLa Maison executive de la Californie,populairement connu comme la Maisondu Gouverneur, a été construite en1877 pour Albert et Clemenza Gallatin.Albert était partenaire de la quin -caillerie Huntington & Hopkins, àSacramento. L’État de la Californieacheta la maison à Joseph et LouisaSteffens pour l’utiliser comme unfoyer pour les premières familles dela Californie en 1903, pour 32 500 $.

Les invités des membres d’IAMFAassistant à la conférence de cetteannée auront leur propre ordre dujour comme d’habitude, offrant uneexpérience de San Francisco qu’ilsn’oublieront pas de sitôt. Ces activitéscomprennent:

• Petit déjeuner à l’Hôtel Palace

• Visite guidée du Musée de famillede Disney Walt (délégués et invités)

• Traverser le Pont Golden Gate versSan Francisco (délégués et invités)

• Le banquet de gala annuel au Muséemaritime (délégués et invités)

• Tour de la Grange aux sculpturesRunnymede plus le barbecue à laCalifornie (délégués et invités)

• Pique-nique Champagne et Lumièresur la terrasse de la cave GloriaFerrer dans la vallée de Napa Tour

• Tour de la Collection Hess etdégus tation dans la vallée de Napa

• Explorer Chinatown (quartierchinois) avec Shirley Fong-Torres,auteur de La femme qui mangeaChinatown (The Woman who AteChinatown)

La Mansión histórica delGobernador La Mansión Ejecutiva de California,conocida popularmente como laMansión del Gobernador, fue con -struida en 1877 por Albert y ClemenzaGallatin. Albert era socio en la ferre -tería de Huntington & Hopkins, enSacramento. El estado de Californiacompró esta casa a Joseph y LouisaSteffens para usarla como un hogarpara las primeras familias deCalifornia en 1903 por $32,500.

Los invitados de los miembros deIAMFA que asisten a la conferenciaeste año tendrán también su propioitinerario como de costumbre, que lesofrece una experiencia de San Franciscoque no se olvidarán pronto. Lasactividades de los invitados incluirán:

• un desayuno en el Hotel Palaceuna gira al Museo de la Familia deWalt Disney (delegados e invitados)

• un paseo por el Puente Golden Gatehacia San Francisco (delegados einvitados)

• cena y fiesta de gala en el MuseoMarítimo (delegados e invitados)

• una gira a la Finca con esculturasRunnymede y una barbacoa estiloCalifornia (delegados e invitados)

• champaña y una merienda livianaen la terraza del viñedo de GloriaFerrer en el valle de Napa

• una merienda interactiva y guía decombinar vinos con una gira en elrancho Nicholson del valle de Napa

• una gira de la colección Hess ydegustación en el valle de Napa

• explorar el Barrio Chino conShirley Fong-Torres, autor de TheWoman who Ate Chinatown (La Mujerque comió al Barrio Chino)

• paseo a pie narrado de San Francisco

• almuerzo en la Universidad deStanford (delegados e invitados)The Governor’s Mansion.

THE TWENTIETH ANNUAL IAMFA CONFERENCECONTINUED FROM PAGE 23

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LA VINGTIÈME CONFÉRENCE DE L’IAMFASUITE DE LA PAGE 23


• Explore Chinatown with ShirleyFong-Torres, author of The Womanwho Ate Chinatown

• Narrated San Francisco WalkingTour

• Lunch at Stanford University(Delegates and Guests)

• Shopping Spree in DowntownPalo Alto

• Docent tour of Cantor Arts Center(Delegates and Guests)

• Visit State Railroad Museum forFacilities Tour (Thursday—Delegatesand Guests)

• Crocker Art Museum Tour(Thursday—Delegates and Guests)

• State Capitol Architectural Tour(Thursday—Delegates and Guests)

• Historic Governor’s Mansion Tour(Thursday—Delegates and Guests)

We are eager to welcome all IAMFAmembers and their guests to San Fran -cisco. Please see www.IAMFA.org, andregister before August 17 to get theearly registration discount. Please alsocall 800-795-7129 and mention theIAMFA annual conference to reserveyour room at the Sir Francis DrakeHotel. There is a negotiated room rateof $169 per night for a King Deluxeroom, but please do not wait until thelast minute to reserve your room; wecould exceed the room block.

See You in San Francisco!The Conference Team

• Visite à pied et commentée deSan Francisco

• Déjeuner à l’Université de Stanford(délégués et invités)

• Les Grands magasins au centre-villede Palo Alto

• Tour d’enseignants au Centred’arts Cantor (délégués et invités)

• Visite des installations du Muséedu chemin de fer de l’Etat (jeudi –délégués et invités)

• Tour au Musée d’art Crocker (jeudi –délégués et invités)

• Visite architecturale du Capitol(jeudi – délégués et invités)

• Tour à la Maison historique duGouverneur (jeudi – délégués etinvités)

Nous sommes impatients d’ac cueillirtous les membres de l’IAMFAet leursinvités à San Francisco. S’il vous plaîtvoir www.IAMFA.org et inscrivez-vousavant le 17 août pour obtenir le rabaispour toute inscription. S’il vous plaîtappelez également 800-795-7129 etmentionnez la Conférence annuelle del’IAMFA pour réserver votre chambreà l’Hôtel Sir Francis Drake. Il y a unfrais négocié de 169 $ par nuit pourune chambre King Deluxe, mais nousvous prions de ne pas attendre ladernière minute pour réserver votrechambre; nous pourrions dépasser lebloc de chambres.

Voyez-nous à San Francisco! L’équipe de la Conférence

• salida de compras en el centro dePalo Alto

• gira con docentes del Centrode Artes Cantor (delegados yinvitados)

• visita a las instalaciones del Museodel Ferrocarril Estatal (jueves—delegados e invitados)

• gira del Museo de Arte Crocker(jueves—delegados e invitados)

• gira al Capitolio del Estado conénfasis en la arquitectura (jueves—delegados e invitados)

• visita a la histórica Mansión delGobernador (jueves—delegados einvitados)

Deseamos darle la bienvenida atodos los miembros de IAMFA y susinvitados a San Francisco. Por favorconsulten www.IAMFA.org, y regístrenseantes del 17 de agosto para conseguirel descuento de registro temprano.Por favor llamen a 800-795-7129 ymencionen a la conferencia anual deIAMFA para reservar su cuarto en elHotel Sir Francis Drake. Hay un precionegociado por cuarto de $169 pornoche para un cuarto “King Deluxe”,pero por favor no esperen hasta elúltimo momento para reservar sucuarto, para evitar que excedamosnuestro bloque de cuartos.

¡Nos vemos en San Francisco!El Equipo de la Conferencia



or

See page 34 for details and enrollment form


London’s National Gallery is nowbetter equipped to present its OldMasters in the best possible light—

quite literally. Through the employ -ment of Andrew Reid & Partners andits own Trend Building ManagementSystem (BMS), the National Gallery’sTechnical Services department hasdeveloped and begun implementinga new strategy for controlling galleryroof blinds. This new system will allowthe collections to be viewed in naturallighting for longer periods, whilst stillprotecting them from direct sunlight.In addition to enhancing the viewer’sappreciation of a painting, the use ofdaylight to provide illumination reducesthe need for artificial lighting, thussaving energy.The Trend BMS provides close con -

trol and monitoring of environmentalconditions throughout the NationalGallery’s main building. In doing so,it plays a vital role in preserving theGallery’s priceless collection of WesternEuropean paintings from the thir teenththrough nineteenth centuries, includ -ing masterpieces from virtually all thegreat artists. Most of the building’s 40-plus galleries have glazed roofs,and here the system regulates thelight levels through coordinatedcontrol of picture lighting and therooflight window blinds.The galleries’ individual Trend IQ

controllers will only switch on the arti -ficial lighting if the optimal illumi na -tion level cannot be achieved withnatural light alone, through controlof the blinds. Generally, a gallery has athree-circuit lighting track: one com -prising blue lights simulating day light,and another made up of conventionalclear lamps. The first come on if theaverage light level falls to a preset valueand, if this is not sufficient, the secondset is switched on as well. The thirdcircuit is used for after-hours patrollighting.

When modulating the motorizedblinds to achieve set-points for lightlevels, the controllers must ensurethat no direct sunlight is admitted. Inmost galleries, there was previously justa maximum opening angle for each sea -son of the year, with no account takenof the Sun’s movement during the day.As a consequence, blinds were oftennot opened as far as they could havebeen, which unnecessarily restrictedthe amount of natural light allowedinto the galleries.The new blind-control program

over comes this limitation by using thetime and date to continually calculatethe changing position of the Sun. Fromthis, it repeatedly computes maximumand minimum safe opening limits foreach set of blinds, taking into accounttheir orientation and slope. The limitsfor each set are updated in rotationevery two to three minutes. Calculationsare made to a resolution of less than 1°,although blind movements are madein increments of 2.5° or 5°.

The BMS also incorporates an exter -nal lux sensor that shows whether it issunny or overcast. When it is overcast,the output from the max/min anglealgorithm is overridden, and the blindscan move to their fully open position.This also happens if the programdetermines that the roof light will bein shadow from an adjacent buildingor another part of the roof structure.Since the blinds need to be closedduring the hours of darkness, theprogram also calculates the hoursof sunset and sunrise.Light levels in each gallery are mea -

sured by several sensors, and the gallerycontroller works from an aver age ofreadings taken over the pre vious min -ute. It also reacts to high or low instan -taneous values, by disabling or enablingthe artificial lighting. In addi tion, it usesthese values to calculate cumu lativelight exposure levels, which shouldnot exceed 12,500 lux-hours per week. Ideally, the pictures are displayed

with daylight to an average of 200 lux.

The National GalleryCasting New Light on Old MastersBy Steve Vandyke

The National Gallery as seen from Trafalgar Square.


The motorized external blinds arecontrolled via the BMS to ensure thelight level is between 150 to 210 lux. Ifdaylight is insufficient, the blue lenslight fittings are switched on to providean additional 60 lux. If the light levelis still insufficient, the clear lens lightfittings provide a further 90 lux.

This can be summarized as follows:

• If daylight drops below 150 lux, theblues turn on (1st stage).

• If the combined light level of day -light and blues drops below 150 lux,the clears turn on (2nd stage).

• If the light level exceeds 210 lux,the clears turn off first.

• If the light level continues to exceed210 lux, the blues turn off.

• As a safety function, if light levelsexceed 350 lux, all picture lightingis turned off.

• If light levels fall below 90 lux, thenboth stages of lighting are turned on.

There are delays built into the strat -egy, in order to prevent the lightingcycling on and off due to suddenchanges in light level, as might beexperienced on a bright sunny daywith fast-moving clouds.The new blind-control strategy was

devised by building services consultantAndrew Reid & Partners which, likeTrend Control Systems Ltd., has workedwith the National Gallery for many years.It has been installed into an IQ3xcite

XNC controller, which has sufficientsoftware capacity to carry out the exten - sive trigonometric calculations. This com -municates with the galleries’ exist ingcontrollers via the BMS network.The program, which was tested using

an architectural software package thatincludes solar simulation, is initiallybeing applied in seven galleries. Itis expected to be rolled out to theremainder later this year, which willrequire the installation of a secondIQ3xcite XNC controller. Together,the two controllers will calculate andsupply settings for around 100 sets ofblinds of varying design and orien ta -tion. The energy savings that resultcould be significant.The first elements of the National

Gallery’s Trend BMS were installedmore than 20 years ago. Today, it incor -porates over 100 IQ controllers, alloperating within a single fully inte -grated system. A number of graphics-based supervisors provide the Galleryengineering staff with access to controlsettings and system-monitored data.

Steve Vandyke is Head of Technical Servicesat the National Gallery on Trafalgar Squarein London.

One of the galleries, employing bothnatural light and artificial illumination.

insti tutions in order to reduce the num -ber of separate museum bodies. Hasany one had experience of this in theirown countries? The UK Department ofCulture, Media and Sport has requesteddetails of all end dates of our indi -vidual contracts, so I also suspect thatthey may try to make all the culturalinsti tu tions within a city jointly tendertheir facility services—this mightmean that we have, for instance, asingle clean ing contract across allmuseums and galleries. Has thathappened to any of our members?This conference will provide an

oppo rtunity to exchange ideas anddevelop a learning partnership amongstmembers, allowing us to help each otherand share experiences. So make sureyou are there—even if it means youhave to treat it as vacation time!

viduels; donc, je pense aussi qu’ils peu -vent décider que toutes les institutionsculturelles dans la ville fassent un appeld’offres commun pour les services desinstallations pour que, par exemple,il n’y ait qu’un contrat de nettoyageunique dans tous les musées et galeries.Est-ce que ceci est arrivé à l’un de nosmembres?Cette conférence sera l’occasion

d’échanger des idées et de développerun partenariat éducatif entre lesmembres, ce qui nous permettraitde nous entraider et de partager desexpériences. Donc, assurez-vous quevous seriez là – même si cela signifieque vous deviez à la considérercomme temps de vacances!

esta situación en sus propios países?El Departamento de Cultura, Mediosde Comunicación y Deporte del ReinoUnido ha pedido detalles de las fechasde terminación de nuestros contratosindividuales, así que también sospechoque van a intentar que todas las insti -tu ciones culturales de una ciudadsoliciten sus servicios de manteni mi -ento juntos—para que tengamos, porejemplo, un solo contrato de limpiezaen todos los museos y galerías. ¿Hanexperimentado esta situación algunosde nuestros miembros? Esta conferencia nos brindará la

oportunidad de intercambiar ideas ydesarrollar un equipo de aprendizajeentre los miembros, que nos permitaayudarnos y compartir experiencias.Así que no falten—¡aun si tienen queocupar ese tiempo como vacaciones!

MESSAGE FROM THE PRESIDENTCONTINUED FROM PAGE 4

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MOT DU PRÉSIDENTSUITE DE LA PAGE 4


Facility managers are challenged to meet increasingenergy demands while holding the line on energycosts. This article discusses key cost elements, load

profiling, sub-metering opportunities, links to other build -ing management systems, energy efficiency checks, andtraining opportunities, as well as the rewards for successfullymeeting the difficult challenge of being green.

Load ProfilingEnergy consumption in the U.S. has increased almostwithout interruption for more than four decades, from67.8 quadrillion BTU in 1970, to a peak of 101.5 quad rillionBTU in 2007 before the global recession—and even in2009, was over 94 quadrillion BTU. Since the 1950s, U.S.energy consumption has exceeded production. We are nowdependent on foreign sources for over 20% of our energy. The energy users in your facility are the many standard

and special equipment components arranged in a one-of-a-kind, unique physical layout, linked together by the powerdistribution system. In many facilities, especially older ones,the exact arrangement is not well known, because the dis -tribution system blueprints or schematics have either beenlost, or systems have been altered piecemeal over time with -out the alterations being documented each time. This is avery common, but nonetheless serious, disadvantage tofacilities manager seeking opportunities for improvement:you have to know what you have before you can make itbetter and quantify benefits. Measurement must comebefore control.Do you know where the top energy-users are located in

your facility, and how much energy they consume? Even ifyou’re fairly confident about this, an annual energy checkmay be in order to guard against creeping change. The firststep to start, or upgrade, an energy-monitoring system isto get together all available system layout information. Itis necessary to check all information by walking the systemand marking up the old piping and electrical distributionsystem schematics, noting additions and modifications. Ifyou do not have the original drawings, there are standardpower-distribution system layout sheets, available from yourelectrical equipment vendor or your electric utility companyrepresentative, which you can use to simplify the processand ensure that all key components are considered.

The best place to start documenting the power-distributionsystem layout is at the incoming power service entrance. Thisis where the power company’s high-voltage service entersyour facility, passes through a high-voltage switch in yoursubstation, then continues through a transformer wherethe voltage is stepped down to the highest voltage distributedin your facility—typically 440 volts. From the main switchgear, the power-distribution system branches out into feedercircuits. Typical groupings of power users are: boiler andsteam systems; building heating and cooling; compressedair; data centers; hot water; lighting; plant operating equip -ment, motors and drives; refrigeration; and security systemsand alarms. Each feeder may be divided into several branchcircuits, which provide electrical power to individual equip -ment items such as HVAC air supply and exhaust drivemotors, lighting, heating devices, computer data centers,and operating equipment. The layout should show eachcircuit and the equipment served, along with nameplateinformation, such as volts, amps, horsepower, cycles, watts,design factor, and the like, for each equipment item. As an alternative to preparing a blueprint schematic of

your power-distribution system, you can use a CAD systemsoftware package—one that has electrical symbols in thedatabase, such as AutoCAD or Microsoft Visio—and createan up-to-date schematic using it (Figure 1). These tools havethe distinct advantage of offering quick and easy revision.Thus, if you add to the system or move equipment aroundas needs change, you have a much better chance of keepingthe layout up-to-date, because it is so much easier and quickerto do. The discipline of entering each field change when itis implemented must be maintained by making this doc u -mentation a mandatory part of the work order authorizingthe change.

Power-Monitoring Equipment Revealsthat Measurement is Essential to ControlPower savings come from two sources: demand-rate reduc -tion and lower energy consumption. Demand rate is the rateper kilowatt-hour (kw-hr) charged by the power company.This rate is based on the peak demand that occurred duringthe period in which your rate was calculated. The higherthat peak demand was, and when it occurred, determinesthe rate you pay your electric utility company for all of your

Thomas A. Westerkamp

Facility Managers Leadthe Move to Green withImprovements in EnergyEfficiency By Thomas A. Westerkamp


power during the ensuing contract period. Energy consump -tion is the cumulative kw-hrs consumed during the billingperiod. The more kw-hrs consumed, the higher the bill.Both the rate and consumption are controllable expenses,and the resulting energy cost can often be reduced by20% with proactive power management, as opposed to lowor no power management. Other benefits are shown inFigure 2. Lowering your peak demand, or shifting your peakdemand away from the power company’s peak demand timeof day, lowers your rate. Lowering consumption by installingmore energy-efficient electrical devices—for example, replac -ing incandescent with compact fluorescent lamps—also helps.So does cleaning fixtures and going back to lower-watt bulbsthat were used before the fixtures got dirty.The next step, after system documentation, is to upgrade

the power-monitoring program to evaluate the system youhave documented, and to assess opportunities. Where wouldmonitoring likely provide the most benefit? The main serviceentrance switch gear is usually metered by the power com -pany—or in-house, if you generate your own power. Thesesources provide a reading of the overall load, but don’tdetail the individual loads that contribute to it. To obtain abreakdown, install some form of temporary or permanent

sub-metering on each feeder circuit. These sub-meters willshow which feeders generate the greatest lighting, motorand heating loads. Sub-metering individual branch loadswill identify the specific electrical equipment from which themost potential savings may be gained. An individual motorload can be measured by simply clamping an ammeter, alsocalled a tong tester, on each of the phases at the line switch.By sorting the loads in descending order, you can createa Pareto analysis—for example, 80% of the load may beconcentrated on 20% of the equipment—that highlightsthe best savings opportunities.Energy consumers want to improve benefits from energy

consumption, reduce lifecycle costs, and keep the systemreliably consistent in providing a light-, temperature-, andhumidity-friendly environment for the art collections. Fac -tors you want the meters to identify are peak demand amountand time of day, the source of the greatest demands, anddisturbances that might cause critical interruptions, envi -ronmental problems or power-quality problems. Powermeters basically measure volts and amps and convert thereadings internally to other metrics such as power factor: ameasure of the efficiency of the power delivered. The lowerthe power factor, the greater the losses (reactive kilo vars),

Figure 1: Power distribution schematic. Figure 2

Lowering consumption has costand other benefits:

• Museums are showing their energy usage ona website dashboard to demonstrate tangibleevidence of their contribution to a betterenvironment.

• The U.S. Energy Policy Act of 2005 (PL 109-58)provides tax deductions for design and instal -lation of energy-efficient commercial buildingsystems, including lighting, heating, cooling,ventilating, hot water and building envelopesystems.

• The U.S. Energy Independence and SecurityAct of 2007, H.R. 6, calls for incandescentlight bulb phase-out and replacement bymore energy-efficient compact fluorescents,halogens, and LEDs. The phase-out, to becompleted by 2020, could save $18 billionannually in electric bills in the U.S.

• According to the U.S. Department of theEnvironment, converting to NEMA premiummotors would save 5,800 gigawatts andprevent the release of 80 million metrictons of carbon into the atmosphere overten years—or the equivalent of keeping16 million cars off the road.


and the more you pay for the same useful power. Forexample, induction motors tend to lower power factor,some times to as low as 80%. Induction motor circuit powerfactor is corrected toward unity (PF = 1, or 100%) by instal -ling variable-power factor-correction capacitors in the circuit,which automatically adjust power factor for that circuit load.Depending on the variations read by the meters, power factorcan be increased to the high 90s, saving a lot of energy andat the same time reducing the peak demand, if relatedequipment is the cause of the peak demand. This adjust -ment, therefore, has the potential to save both the totalamount used and the rate paid. The same meters that detect peak demand and power

factor can be used to track disturbances and energy costby department, tenant, process or output. They can alsoprovide 24/7 load profiles, and automate load control andload management. By tying the system into your buildingautomation system (BAS), you can more easily monitorboth systems. If the construction specifications includedinter op erability standards such as BACNet (ASHRAE’sinteroperability process standard), you can integrate severalsystems spread over one or more buildings, campuses, orstates, so that all systems—and the total energy consump tionof all facilities—can be monitored from one central point.Meters have integrators that store readings, so that in

the event of a power interruption, you don’t lose any data.When power returns, the stored data is accessed and logged.

Software OpportunitiesPower-management meters and sub-meters comprise thesystem hardware. Coupled with the software, you have apowerful energy-data collection, management and controlsystem. Each meter represents a measurement and controlpoint. The data from that point is fed back to the computer,converted into the various metrics you are measuring, andis displayed on a real-time graphic display at one or severalcontrol points. The graphic shows your power-distributionsystem. Each control point is represented symbolically and,next to the symbol, a data display box registers the real-timevariation in kilowatts at that point, as well as other metricsthat you have selected. The meters are scalable, so you canadd more metrics and read them at more or less frequentintervals as required.

Systems Training NeedsHaving completed the specification for power-distributionupgrades and monitoring, that spec list is also your listof very important training opportunities. You can use theupdated schematic to bring all the electricians and elec -tronic technicians who work on the system up-to-date onthe current layout, and point out the current load-balancesituation: where there are bottlenecks in the capacity thatlimit further loads on that phase, feeder or branch, andwhere further loads are okay. You can also begin, just byinspection of the load distribution, to make improvementsto reduce the load—such as premium efficiency motorsand low-wattage lamps replacing older less-efficient ones.

If you have introduced new CAD electrical-distributionsoftware, now is a good time to broaden familiarity with it,so that more than one person in the organization can updateit or retrieve sections for planning purposes.If you order new power-monitoring software and sub-

metering equipment for your upgraded system, it is veryimportant to get complete sets of operating and main te nancemanuals, including parts lists and preventive maintenanceplans, in sufficient copies. To ensure this, list these itemsin the purchase order specification as a separate line item.After the order is placed, it may be very hard to go back andget the missing documentation. Specific vendor training isanother important line item in your specification. Every -one has had the experience of the vendor coming in fora day or two, when the software and equipment are new,to provide some training—but some of the features maynot be used for quite a while. When the maintenance folksattempt to use those features later, they often find that theyhave forgotten the training. To prevent this, and to get the most from vendor training

offerings, smart managers have the training done in at leasttwo phases. The first phase is introductory training that rep -resents a first contact with the new material. It includes anoverview of the whole system and detailed training by exampleon the features that will be used first. Each trainee shouldhave plenty of hands-on practice with the new equipmentat this point. Between the first and second training sessions—perhaps

a month or so apart—each trainee should keep a notebookand log any problems, glitches and things they don’t under -stand. Of course, if the new equipment includes some fairlyhigh-tech features, you’ll want to add a service agreementto the bill of material, so that you can get online or tele comhelp when you need it for urgent problems that cannot waitfor a second round of training.The second training session—and other future sessions—

review the entire system, with concentration on the featuresthat are most important in your installation. Sometimes itis hard to get the vendor to depart from a canned trainingprogram. Their instructors are taught specific coursecontent, and are often not prepared to depart from it inorder to resolve your specific problems. It is good to knowthis ahead of time, and make your interest in site-specifictraining known in advance, to avoid unrealistic expecta -tions and disappointments, and ensure that the trainingdoes meet your needs.Energy conservation spans all building systems, structural,

mechanical and electrical. An energy-efficiency check canreveal many opportunities for tuning up your facility. Achecklist of items that influence energy efficiency is shownin Figure 3. Facility managers can use this list as a startingpoint to focus their energy-improvement efforts. Each faci -lity is unique, and will have other opportunities that can beadded to customize the list. Repeated annually, this energy-efficiency improvement check will provide details that helpto prioritize your continuous improvement efforts.A coherent energy strategy, based on detailed knowledge

about your energy load and rate basis will ensure that your


facility finds it easier and more eco -nom ical being green. You will achieveall of your energy conservation objec -tives: reducing consumption, preservingresources, reducing pollution, andlowering lifecycle costs. There is alsoa public relations benefit in keepingemployees and visitors aware of yourgood stewardship.

Tom Westerkamp is President, WorkManagement Division of the WesterkampGroup, LLC. He is a consultant, speaker,author, co-founder and former CEO ofProductivity Network Innovations, LLC.His book, Maintenance Manager’sStandard Manual, 3rd Edition, 2007, isdistributed by BNi Books, Vista, CA. The4th Edition is scheduled for publicationin Fall 2010. He can be reached [email protected].

Figure 3

Other Resources• American Society of Heating,

Refrigeration, and Air ConditioningEngineers (ASHRAE)www.ashrae.com

• EPA Energy Star “Guidelinesfor Energy Management”www.epa.gov

• Institute of Electrical andElectronic Engineers (IEEE) 3 Park Avenue, 17th Floor New York, NY 10016 212-419-7555 www.ieee.org

• International Association ofElectrical Inspectors (IAEI) P.O. Box 830848Richardson, TX, 75083-0848972-235-1455, www.iaei.com

• National Rural Electric Co-opAssociation (NRECA) 4301 Wilson Blvd.Arlington, VA 22203 703-907-5500 www.nreca.org

• U. S. Department of Energywww.doe.gov

• Westerkamp, Thomas A.,Maintenance Manager’s Standard

Manual 3rd Edition BNi Publications, 2007www.pninc.com

Boilers, Steam and ElectricGeneration□ Time, temperature, turbulence and

oxygen balanced for optimum efficiency

□ Cogeneration to optimize fuel use

□ Steam/electric load vs. capacity balanceoptimized

□ Boiler feedwater treatment optimized

□ Annual tube check/cleaning, boiler re-insulation completed on schedule

□ Annual pressure relief valvechecks/rebuilds per schedule

□ Steam pressure optimized/no leaks

□ Economizers optimizing heat recovery

□ Boiler blowdown timing/amount asrecommended

□ Steam/condensate piping insulationinspected/repaired annually

□ Condensate return recovery %

□ Traps/strainers cleaned/checked

□ Condenser tubes cleaned per annualschedule

□ Electrical distribution/contacts checkedwith thermal imaging and cleanedannually

□ Motors blown out per schedule

□ Premium motors used

□ Power factor optimized by metering andadjustable capacitors

□ Sub-metering employed to identify highenergy areas

□ Net-metering sell-back program used tooptimize energy costs

□ gram used to optimize energy costs

Building Heating, Ventilating andAir Conditioning□ Insulation adequate

□ Window/door seals working

□ Proper air supply/exhaust balance

□ Proper air-volume change rate

□ Proper thermostat settings used

□ Building automation-systems controlsresets

□ Proper filter maintenance scheduledannually

□ Sunny-side window shades closed

□ Zones/heating/cooling not competing

□ Economizers returning seasonal hot/coldair temperature

□ Use of variable air volume, variable-speeddrives instead of dampers

□ Peak-demand reduction opportunitieschecked annually

□ Chilled water system operating efficiently

□ Cooling towers/spray nozzles cleanedper annual schedule

□ Refrigeration system lines/valves properlyinsulated

□ Ice storage used for peak-demandoptimization

□ Pumps/motors/blowers/drives checkedwith vibration analysis

□ Belt drives are tightened, belts replacedper annual schedule

□ Water sub-metering used to optimizewater use

□ Hot water temperature set optimally

□ Hot water tanks/lines insulated

□ Water heaters off when not needed

□ Special purpose areas; e.g., kitchen, lab,cold storage optimized for HVAC andR control

Compressed Air□ Compressor cycling optimized per baseline

□ Lines and valves checked, and leaks fixed

□ Pressure regulators/filters/oilerscleaned/checked per schedule

□ Condensate blowdowns completed perschedule

□ Air tools cleaned, no line leaks, andoperating efficiently

□ Multi-compressor systems cycling mostefficiently

Lighting□ Lighting levels optimal for space use

per standards

□ Replace incandescent with compactfluorescent lamps

□ Clean fixtures for high efficiency perannual schedule

□ Optimal use of natural light, occupancysensors

□ High-efficiency lamps used in high-bayareas

□ Wall/ceiling coatings optimize reflectance

Other□ Facility-wide annual lube program

optimizes lube quality/quantity/frequency

□ Annual PM/PdM system coverage andschedule compliance >95%

□ Total lifecycle management practiced.Compare alternative purchases usingLifecycle Cost Analysis

□ Investigate renewable energy sources;e.g., solar

□ Your facility-specific checkpoints:

□ ——————————————————□ ——————————————————□ ——————————————————□ ——————————————————□ ——————————————————

Energy Efficiency Improvement Checklist


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

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

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

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

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

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

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

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

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

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

YES! I would like to join IAMFA as a:

� Regular Member $150 � Retired Member $ 50

� Affiliate Member $ 50 � Subscribing Member $300

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

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

� I enclose a check in the amount of $ ____________________

� Please invoice me

�

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

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

Please remit to:International Association of Museum Facility AdministratorsP.O. Box 277Groton, MA 01450, USA

Website: www.iamfa.org

Become a Member of IAMFAAnd get a friend to join


This year marks IAMFA’s tenth benchmarking exercise.The 2010 report will soon be released, and the longevityof the exercise begs the question: how have we

changed? Have we as a group become more efficient overthe years? To answer those questions, it is important to recognize

some important variables. First, data collection and report -ing has changed over the years. Initially, Facility ManagementServices Ltd. managed the study. Their first questionnairewas issued in April 2001, and included information from“the most recent 12-month reporting period,” measuringdata for the year 2000. They averaged the data collected intheir reports. When Facility Issues took over the study forthe 2005 report, data was compared to the median, ratherthan the average. The questions have also changed over the years, and

some of the data points were not collected in the early days.For instance, comparisons of electric consumption in kilo -watt hours (kWh) per gross square foot (GSF) over timemight better answer the efficiency question above. Wehave early data on electricity costs, but not consumption.The second variable is, of course, inflation. I have

adjusted the costs shown here based on inflation figuresfrom www.dollartimes.com.* Perhaps others have a moreaccurate method.In 2001, facility administrators reported that the

important issues facing them were:

• funding for lifecycle replacement of building elements,

• doing more with less,

• customer satisfaction/service, and

• strategic planning.

Some things haven’t changed much. Elements that havechanged are outlined below.

Change in Temperature and RelativeHumidity The most drastic change in temperature and relative humid -ity settings is seen in winter average relative humidity (seeFigure 1). The group’s median for average relative humiditydropped from 48% in 2000 to 45% for permanent displayareas, but then was back up to 47% in 2009. It will be inter -esting to watch for changes in that data table in the upcoming2010 report. Average temperatures crept up slightly to 72°Fduring the summer months.

Electric Cost per GSFThe median cost per GSF for participants reporting in 2001was 1.73 USD. That grew to 1.69 USD for 2006, and 2.28 USDfor 2009. These figures do not tell the whole story withoutshowing the cost per kWh. For instance, the average RetailPrice of Electricity to Commercial Customers of .0789 USDper kWh grew to .1036 per kWh in 2008, according to theU.S. Energy Information Administration. UK Power reportsthat the cost of electricity in Europe “fluctuates wildly fromstate to state.” Unfortunately, the 2001 IAMFA Bench mark -ing Report did not capture the cost of electricity per kWhor electricity consumption. The median cost per kWh in the 2006 IAMFA Bench -

marking Report was .0836 USD, compared to .113 in 2009.Median electrical consumption per GSF was 21.86 kWh in2006 and 23.73 kWh in 2009. At the 2009 Best PracticesWorkshop, participants noted that increased electricityusage during times of energy-saving practice imple men ta -tions could be due to the increased use of computers andvideo and audio components in exhibitions.

Total Utilities Cost per GSFThe 2001 report shows that the adjusted median cost forutilities was 2.48 USD per GSF. This rose to 3.05 USD in2006, and 3.75 USD in 2009.

Building Maintenance Cost GSFAccording to a 2001 Papyrus article, the 2001 report showedthe average cost of building operations at 11.47 USD persquare foot. When you multiply that by 1.25 for inflation, itadjusts to 14.34 USD. The 2006 report shows “Total Oper -ating Costs” at 14.91 USD per GSF x 1.10 for inflation,adjusted to 16.40. The 2009 report shows the median totaloperating cost down to 14.87.

Benchmarking: A Comparison over TimeBy Stacey Wittig

*According to www.dollartimes.com, $1.00 in 2000 had the samebuying power as $1.25 in 2008 (data from the 2009 report.)Annual inflation over this period was 2.81%. Figure 1: 2001 Temperature and Relative Humidity

Relative Temperature Humidity

2001 Average °F °C (%)

Exhibition Areas 70 21 48

Office/Administration Areas 71 22 46

Conservation/Lab Areas 70 21 47

Collection Holding Areas 69 21 49

Building Mechanical Areas 72 22 47

Public Amenities 71 21 46

Underground Parking 63 17

Library 70 21 46


Median Cost of Custodial Services (adjusted for inflation)2001: 1.93 USD per SF2006: 2.68 USD per SF 2009: 2.85 USD per SF

Area Cleaned per FTE Worker 2001: 26,600 square feet2006: 18,960 square feet2009: 18,683 square feet

“Disaster Management” changed to“Disaster Recovery” to “EmergencyPreparedness Plan”In 2002, participants were asked if they had an up-to-datedisaster management plan. 83% said yes. In 2009, that figure

was up to 96%. Of those who had a plan, 81% reportedusing the plan due to bomb threat or severe weather. It isinteresting that only 78% of those institutions with a disasterrecovery plan had practiced it within the previous 12 months.

CMMS In 2002, Computerized Maintenance Management Systems(CMMS) were used by 53% of participants. By 2009, almost90% of participants used CMMS for repair work requests.

Stacey Wittig is the Marketing Director for Facility Issues. Places arestill available for observers at the 2010 “Benchmarking Practicesand Learning Workshop.” www.facilityissues.com

Reserve this space toadvertise in a future

issue of Papyrus

Please contact theEditor of Papyrus

for details

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org


Papyrus: not a word you’d have inthe back of your mind—or havean opportunity to use in daily

conversation—unless you happenedto be the editor of IAMFA’s newsletter.Papyrus is actually a type of paper,

first manufactured in Egypt 5,000 yearsago. Processed fibers from the stemof the three-meter-tall papyrus plant,which grew along the banks of the Nile,provided a writing surface that waseasier to produce and handle than theparchment made of animal hide. Theplant was also used in the making ofboats, mats, ropes, sandals and baskets.The heritage of this medium as

a communication tool—along withIAMFA’s mandate of promoting knowl -edge and communication among mu -seum facilities professionals—madePapyrus the ideal name for IAMFA’snewsletter. The Papyrus newsletter evolved in

a way that parallels IAMFA’s growth.It takes time to build an organizationfrom an informal group of a few like -minded people, into an interna tionallyrecognized organization. And let usnot forget that this non-profit andunsubsidized organization is managedby a Board of Directors composed offacilities management professionals.These elected Board members volun -tarily dedicate time over and above theirregular duties at their respective insti -tu tions, in order to maintain IAMFA’sviability. It is worthwhile remembering,as well, that these individuals are gen -erally from different countries, conti -nents, and even different linguisticbackgrounds. All that being said, thestature of the Association and Papyrustoday, after only 20 years, is a remarkableachievement. Let me recount a little bit of history

in the evolution of Papyrus. During itsfirst ten years or so, the newsletter was

produced mostly once a year—pri marilyto promote the annual conference. Itconsisted of a two-pager mailed outto IAMFA members. There was noreal commitment in these early yearsto produce a journal; the energies ofthe Board were directed to keep theAssociation alive, and to ensure theholding of an annual conference. Attimes, the newsletter might include anarticle written about facilities issues orachievements, but this was largely leftto the goodwill of members.The first annual conference held

in Europe—the highly successful 1998conference in Edinburgh, a venue out -side North America, with membersfrom five countries in attendance—awakened members to IAMFA’s poten -tial. For perhaps the first time, membersrealized that they truly belonged to aninternational organization. From thenon, there was a major change in howIAMFA conducted its business andmem bership activities. The annual con -ference began to include an annualbenchmarking exercise, making themembership more active and par tici -patory. The position of Vice-President,Regional Affairs was created, with theelection of Carole Beauvais, who suc -cessfully promoted IAMFA, and wasinstrumental in initiating a number ofnew regional chapters. This expansionbrought a tremendous need to openup communication with members inorder to share achievements and acti -vities initiated by members within theirrespective chapters. Around the sametime, Richard Kowalczyk created andposted the IAMFA website: a highlysuccessful medium that allowed mem -bers to remain connected with theirAssociation on an ongoing basis.This expansion and evolution of the

Association’s business and activities atthe end of the 1990s warranted a more

structured form of written communi -ca tion with members. Accordingly, atthe 2001 Washington, D.C. conference,then-President of the Association, PeterFotheringham, directed the Board torevamp the Papyrus newsletter in orderto provide IAMFA with a true journalhighlighting the achievements of theAssociation and its members. The inten - tion was to give members a means ofsharing their initiatives for the benefitof others, while also promoting bestpractices and keeping members intouch with activities at the regionallevel. The goal in implementing a well-structured and professional journalwas not only to promote IAMFA, butwas also a means of encouraging newmembers to join the Association. Toachieve those goals, Papyrus had toinclude articles dealing with the nutsand bolts of facilities management, thearticles had to be credible and pro -fessional, and the journal had to bepub lished with consistency at regularintervals throughout the year. AsIAMFA’s newly elected Secretary,and Editor of Papyrus, I was the onemandated to make it happen.I remember taking the opportunity

of having IAMFA members captive atthe conference to obtain commit -ments for articles for the new versionof Papyrus. Upon returning from theconference, the structure of the journalwas sketched out, Sheila and NeenaSinghal of Artistic License/PhreddGraphix were approached to discussdesign and layout options, determinefeasibility costs, and come up with arealistic production schedule for threeissues in 2002.The first edition of the new Papyrus

came out in February 2002, desig natedas the Winter 2002 issue, volume 3,number 1. The result was a 20-pageissue printed in two colors, promoting

Reflections on PapyrusBy Pierre Lepage

Pierre Lepage


the 2002 12th annual IAMFA confer -ence in London, and including eightarticles—two of which were submittedfrom sources outside the Association.The Board of Directors took the

opportunity represented by the re -vamped Papyrus to promote IAMFAmore heavily, and to seek the recruit -ment of new members. For that pur -pose, the first print run was 1,000 copieswith 874 mailed to individual culturalinstitutions in 46 countries.Since that first issue of the revived

newsletter, Papyrus has evolved and isstill published three times a year. It hasbecome a reflection of the Associationthat it serves, which is why Papyruscontinues to evolve. It has become atruely professional communicationstool, meant to broadcast IAMFA’s man -date, to recognize its member ship’sachievements, to bring perspectiveto the challenges that facilities profes -sional must deal with in cultural facili -

ties on a daily basis, and to promotebetter management practices in culturalfacilities at an international level. I have been retired now for five years,

and it is interesting to observe from adistance the quantum leap that IAMFAand Papyrus have made over the past10 years. It is more evident all the timethat this organization has a solid raisond’être. I also believe that the effortinvested in promoting effective com -munication with the membership—primarily through Papyrus—has gal -vanized the fundamental base of theIAMFA organization, and that it con -tinues to promote the professionalism ofits members on an international scale.In conclusion, let me highlight some

fun facts about Papyrus:

• First revamped issue of PapyrusWinter 2002

• First issue with colourSummer 2007

• First issue introducing theproduction of an article in threelanguages: English, French,SpanishWinter 2008

• First glossy full-colour issueSpring 2009

• First issue with more than 40 pagesSummer 2009

• First issue with paid advertisingWinter 2009

• First issue with a puzzle pageSpring 2010

My best wishes to IAMFA andPapyrus on their 20th Anniversary!

Pierre Lepage is a former Secretary ofIAMFA and Editor of Papyrus, and is theretired Director of Property Management,Security, and Client Services for theCanadian Museum of Civilization andthe Canadian War Museum in Ottawa-Gatineau, Canada.


it has unfolded over the past 22 months.The following pictures provide a snap -shot of what we have achieved sinceconstruction began.Achieving what you can see in the

images has involved over 500,000 hourswork onsite to date, with around 160per sonnel now working on the site onany given day. This does not take intoaccount the people involved in offsitefabrication of the beautiful kauri soffitsor other aspects of the building. Over20,000 m3 of excavated material hasbeen removed from the site to createplant rooms—and above that, a fulllower ground level of mainly back-of-house space. 5,000 m3 of concrete hasbeen used on the site, as has 400 tonnesof structural steel. In creating the beau -tiful kauri ceilings and columns, 200 m3

of fallen New Zealand kauri timber hasbeen used—a story in itself that I willsave for another time!—and the glasswalls of the north atrium, an inno va tivetensioned façade system, will be thelargest in southern hemisphere. Hawkinsproject manager Grant Thomas tells

me that there are 15 different façadetypes in the building design!

Auckland Art Gallery Toi o TamakiBuilding Development Update By Patricia Morgan

Auckland Art Gallery Toi o Tamaka.

The site of the Art Gallery building.

Key:Red dotted line = boundaryDark grey = heritage buildingsWhite & pale grey = new build

Those of you who were at the 2005IAMFA conference in Bilbaomay recall that I gave a presen ta -

tion on the major building developmentAuckland Art Gallery Toi o Tamakiwas about to undertake. The focus wason the constraints and challenges ofthe site: its heritage/historical contextand location, as well as limited oppor -tunities to increase the building’s foot -print. It was in response to that pre -sen tation that I was invited to host afuture IAMFA conference, which weare now well into planning—so markyour diaries for November 13–17,2011 in Auckland New Zealand!Back at the Guggenheim in Spain—

or was it the Maritime Museum?—Ioptimistically titled my presentation“Auckland Art Gallery 2009”, whichwas when we expected to re-open.Well . . . it would be another threeyears before work commenced on thesite, as we suffered a number of delaysworking through the consents process.It was not until September 2008 that theconstruction team, Hawkins Construc -tion, was finally onsite and commencedwork. With construction estimated totake around 30 months, and with a fur -ther three months for our opening exhi -bition installations and relocation insidethe building, we are now expecting tore-open to the public in mid-2011.We were always determined that

Aucklanders would be able to see theprogress onsite as it occurred, as ourratepayers are funding 46% ($56M) ofthis $121M project. So one of the firstthings we did, as part of our com mu -nications strategy, was to set up a web -cam from a building across the road.This gave people a very good overviewof the northern end of the building,where the major construction activitywould occur (www.aagwebcam.com).This webcam, which renews every15 minutes, has given us an amazingrecord of the building construction as


September 2008: Demolition of the 1970sbuilding begins.

November 2008: Demolition continues. November 2008: The remaining heritagebuildings.

May 2009: The new building starts to go up! September 2009: Twelve months into construction.

March 2010: Roofs under construction—the race is on to make itwatertight!

July 2010: The roofs are going on!


Materials for the building have comefrom a variety of sources, in order toachieve the quality finish that has alwaysbeen fundamental to the project. Theseinclude kauri wood from New Zealandfor the spectacular ceilings in the northatrium, the external canopies and thebarrel vault ceilings of the daylit con -temporary gallery on Level 2; jura stonefrom Germany for the exterior walls ofthe new build; Portuguese moleanosstone for interior walls in the north and

south atriums; American white oak forthe floors of the gallery spaces; and spe -cialized glass which was sourced fromEurope, America and Asia, to providethe building with transparency and light,and to enhance the connection betweenthe adjacent park and cityscape.A fundamental component of the

design that architects FJMT+Archimediapresented to us at the concept stage wasthe building’s relationship with the park.Their early concept design capturedwhat has become a major aspect—thefourth dimension—of the building.The canopy of trees in Albert Park,particularly the Pohutakawa trees,formed the basis for the design of thesoaring roof canopies of the northatrium, which protrude beyond thebuilding to the east and west, formingcanopies over external areas adjacentto the building.It is only in the last few weeks that

the kauri soffits, which are being fabri -cated offsite, have started to be installed—inch by painstaking inch. Althoughonly a few are yet visible in situ, due tothe forest of scaffolding in the northatrium, it is already clear what a featureof the finished building they will be.Recent site visits have given us an oppor -tunity to get up close and personal tothe kauri soffits.With 12 months to go before we open

to the public, there is no likelihoodthat life is going to get any quieter forus—but there is no doubt that excite -ment is mounting for Gallery staff!Our recent staff tour of the site drewan overwhelmingly positive response.Just to be back together in one place,instead of spread over four differentsites, will in itself be a relief. Fold in tothat the opportunity to work in what

will be a world-class art museum—thelargest building in New Zealand dedi -cated to the display of visual arts—andwe know life can only get better.The benefits of the redeveloped art

gallery can be seen at a glance in thegraph below.Although a key driver for this

$121-million project was to seismi-cally strengthen the 1887 building andto bring it up to building code stan -dards, when we complete the projectwe will have much more than a strongerbuilding capable of withstanding seismicactivity. Not only will Auckland have apublic art gallery that values its archi -tectural heritage and its unique site,but we will also have an iconic con -temporary building appropriate tohouse the country’s finest art collec -tion—a collection of around 14,500works. The juxtaposition of restoredand reinstated heritage and modernpublic exhibition spaces will combineto offer an enjoyable visitor experiencethat enriches the understanding andmeaning of art.We cannot wait to share with you

some of the stories of our buildingredevelopment—be it the re-creationof the 1916 daylit gallery, the Maoridimension of the building, the kauristory, or myriad other tales that haveevolved with the building itself. So do join us in November 2011

in Auckland to see and experienceAuckland Art Gallery, Toi o Tamakifor yourselves!

Patricia Morgan is Manager, BusinessSupport at the Auckland Art Gallery—Toi O Tamaki in Auckland New Zealand.Pat will host the 21st IAMFA AnnualConference scheduled for November13–17, 2011.

Roof concept design—FJMT+Archimedia.

Concept sketch for the building’s kauriroof canopy.

Scaffolding in the north atrium.

Installation of kauri soffit in the northatrium.

FJM

T+ARCHIM

EDIA

FJM

T+ARCHIM

EDIA

The benefits of the redeveloped art gallery.


New York Chapter Update

A chapter organizational meeting was held in New York Cityon June 16 at the Cooper-Hewitt National Design Museum.The turnout was terrific, with representatives from severalorganizations. John Castle started off with a brief history of IAMFA, dis -

cussing chapter activities and annual conferences. NancyBechtol from the Smithsonian Institution then talked abouther perspective on benchmarking. She was followed by JeffRidgeway, also of the Smithsonian, who discussed what bench -marking means to him operationally. Finally, John got upagain and showed what he presents to his Buildings Com -mittee and Trustees regarding benchmarking, and whatthey need to know regarding facilities management at theWinterthur Museum. It was clear to all what an importantbenefit benchmarking is to IAMFA members.After a superb lunch of sandwiches and chips, there was

a question-and-answer session—more like an open-mikemoment—then a house tour of the Cooper-Hewitt.Jeff Ridgway and Mark DeMairo will work in concert on

the next chapter meeting. In fact, two people volunteeredtheir respective facilities to host a meeting. So it looks veryencouraging that the New York City Chapter will become avery active player within IAMFA.

U.K. Chapter UpdateBy David Redrup

The next U.K. Annual IAMFA meeting will be hosted by theTate Modern on April 13, 2011. This meeting will focus onthe exciting new project that will transform the Tate Modern.

The Reasons for Transforming the Tate Modern The Tate Modern was designed for two million annualvisitors. It now receives around five million visitors each

year. This success has putpressure on our existingfacilities and program. Different kinds of

gallery spaces are need -ed to better display theworks in the Collection.Film, video, photog -raphy and perfor-mance have becomemore essential strandsof artistic practice, andartists have embracednew technologies.Ambitious and imagi -native installations are now pushing traditional galleryspaces to their limits.

Switch Station and Oil Tanks: An Ideal Opportunityto Expand The opening of the Tate Modern in May 2000 was intendedas the first stage in the development of the former BanksidePower Station. It was always envisaged that the derelict oiltanks and the switch station to the south of the site couldeventually be integrated into the gallery.The electrical switch station is still used to power a large

part of the City and South London. EDF, which owns thestation, is modernising its equipment so it will take up asmaller part of the building. This provides us with an idealopportunity to expand the Tate Modern, with the oil tanksforming the foundation of the new building.

A Transformed Tate Modern The expansion will create a less congested, more wel com -ing environment. The exhibition and display space will bealmost doubled, enabling us to show more of our Collection.There will be more cafes, terraces and concourses in whichto meet and unwind.

Regional Updates/Member News

Meeting of the New York Chapter at the Cooper-Hewitt NationalDesign Museum.

View of the Tate Modern from thesouth at dusk.

Live image feed of new building project at the Tate Modern,July 15, 2010.

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Learning will be at the heart of the new Tate Modern,reflecting the Tate’s commitment to increasing public knowl -edge and understanding of art. There will be a range ofnew facilities throughout the building for deeper engage -ment with art: interpretation, discussion, private study,participation, workshops and practice-based learning.

Closer to the Community The Tate Modern is part of the neighbourhood. Its presencehas made a major contribution to the ongoing revitalisationof Southwark, and it recognises the importance of buildingstrong links with the local community. The Transforming TateModern project will be a catalyst for engaging local audiencesmore deeply, and broadening access to the museum.The new development will continue to bolster the growth

of the borough. A public walkway through the building willmake possible a direct route from the City to the heartof Southwark. There will also be two new public squaresto the south and west of the building. And finally, To theeast, a new planted area will be created especially for theuse of the local community and staff.

progress and changes that have occurred at our venues. Italso gets us out of the office on a regular basis! Amazingly,we already have a draft programme for delegates, althoughthe guest programme is proving more challenging, as thereis simply too much choice! Nevertheless, we will focus onwhat can be humanly achieved and experienced withinthree–four days, but with the absolute prerogative to giveyou a taste of what Aotearoa (New Zealand) is all about! Last month we met at MOTAT: the Museum of Transport

and Technology. I am embarrassed to confess that it is many

View of the Tate Modern from the southeast.

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Kapa Haka group.

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The Southern Alps.

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Alfresco dining in Wellington.

New Zealand Chapter Update By Patricia Morgan

Kia ora IAMFA members!IAMFA 2011, here we (and hopefully all of you) come!The Auckland-based organising committee for the

November 2011 conference—IAMFA’s “coming of age”conference, its 21st—has been meeting and planning sincethe end of 2009. The organising committee is comprisedof: Patricia Morgan (Auckland Art Gallery), Paul Ivory(Auckland City Council), Natalie Hansby (Auckland Zoo),Paul Evans (Voyager, NZ Maritime Museum), BridgetteRobinson (Museum of Transport and Technology) andAdam Taylor (Auckland Museum). We meet monthly at each venue in rotation, which gives

us all an opportunity to refamiliarise ourselves with all the


years since I visited MOTAT—not since my adult sons wereyoung, and fascinated by all things mechanical (how simplelife was then!). What a difference and what a great venuefor you all to visit and to be charmed by! The fact that it isright next door to the Auckland Zoo means you will enjoya wonderful day at Western Springs, visiting both of theseabsorbing venues!Meetings at the Auckland Art Gallery are far less inter -

esting at the moment, as the majority of Gallery staff arehoused in a Council highrise. Thankfully, however, we arewithin five minutes of the Gallery building site—and beforetoo long the organising committee will be able to have aguided tour of what is very quickly becoming a recognisableart gallery. (Check out the story on progress elsewherein Papyrus.)We are currently considering what we can present you

with at the San Francisco conference, in order to whet yourappetites and make a trip to Auckland next November 2011a “must-do” in all your diaries. I am not sure we can reachJoe’s poetic heights—the bar has been set rather high—butwe will do our best! In the meantime: a few images of ourbeautiful country to capture your imagination, so that youwill start preparing your travel business case!Haere ra.

annual conference in San Francisco, where they will get achance to meet up with old friends and participate in theall the festivities the planning committee has planned! Thenext Washington, D.C.-Baltimore Chapter meeting willtake place in January 2012.

New England Regional Chapter MeetingOn June 14, members of the New England RegionalChapter met to tour the new 230,000-square-foot additionat the Museum of Fine Arts in Boston. The Museum isinstalling artwork in over 50 new galleries, and will displayits “Art of the Americas” collection in exquisite new case -work manufactured by Laboratorio Museotecnico Goppion,of Milan, Italy. A behind-the-scenes tour included the new39,000-square-foot plant area which houses three new hightemperature hot-water boilers, three 600-ton centrifugalchillers with plate and frame heat exchanger, and new 13.8 KV8,000 amp electric service. Air-handling units are equippedwith new “fan wall” technology and gas filtration. Humidifi -cation is generated by four Cemline unfired steam boilers.The new glass-enclosed courtyard is heated and cooled bya combination of radiant floor and high-velocity air curtainalong glass. Group discussions included issues with newdisplay vignettes, lighting, and energy consumption. TheNew Wing is scheduled to open in mid-November 2010.

Auckland Central BusinessDistrict.

KIERAN SCOTT

The Bay of Islands.

GARETH EYRES

Washington, D.C.-Baltimore ChapterBy Maurice Evans

The Washington, D.C.-Baltimore Chapter will be holding itslast chapter meeting for the year on August 26 at 11:00 a.m.The meeting will be hosted by Alan Dirican of the BaltimoreMuseum of Art. Vicky Kiechel who is an Architect AIA,LEED AP, a Professor at the University of Maryland, anda member of the environmental firm The Cadmus Group,will be the guest speaker for this meeting. Vicky will be givinga dynamic presentation on LEED Certification for a FacilityManager. The Chapter is looking forward to another greatmeeting, and will be returning to the Baltimore Museumof Art, where we held the annual benchmarking duringlast year’s conference. Members of the Washington, D.C.-Baltimore Chapter are looking forward to attending the

Front entrance of the Baltimore Museum of Art.

Members of the New England Regional Chapter at the Museumof Fine Arts in Boston.


Richard Day RetiresBy Maurice Evans

One of the longtime members of the Washington, D.C.-Baltimore Chapter hasdecided to retire. Richard Day has decided to call it quits, and retired from theSmith sonian Institution on July 30, 2010 after working there for 37 years. Richard began his career in October of 1973 at the Smith sonian as a laborer.

Since then, he has held numerous positions during his illustrious career, includingbuilding manager and facilities manager, and he retired as the Deputy Director ofthe Office of Facilities Management and Reliability. When Richard was asked what he will miss the most about IAMFA, he said it

would be the annual conferences—although you can be assured that Richard isn’tleaving IAMFA! When asked what he plans to do with all of his free time, Richardsaid he is looking forward to sleeping in, spending more time with the family, andworking on the farm. He will be truly missed by the Smithsonian. We all wish Richard the best as he starts this new chapter of his life, away from

the hustle and bustle of the world of facilities and into the world of retirement.Richard at the IAMFA conferencein 2006.

See you in San Francisco!

The Garden Court at the Palace Hotel. The San Francisco Museum of Modern Art. The “LEED Platinum” California Academyof Sciences.

The Contemporary Jewish Museum. The de Young Museum.

PHOTOS: JOE M

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DAN D

AVIES

Australian Centre for theMoving ImageMelbourne, VIC

Australian National MaritimeMuseumSydney, NSW

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, Victoria

National Library of AustraliaCanberra, ACT

National Portrait Galleryof AustraliaCanberra, ACT

Steensen VarmingSydney, NSW

Black & McDonald LimitedOttawa, Ontario

Bureau de la transformationde la DGSDEOttawa, Ontario

Camfil Farr Canada Inc.Ottawa, Ontario

Canada Science andTechnology MuseumCorporationOttawa, Ontario

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Facility ManagementServices LTDCalgary, Alberta

Groupe Smi-EnerproLongueuil, Quebec

Library and Archives CanadaGatineau, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

AUSTRALIA

CANADA

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Royal Ontario MuseumToronto, Ontario

Bibliothèque Nationalede FranceParis

International Councilof MuseumsParis

Auckland Art Gallery — Toi o TamakiAuckland

Christchurch Art GalleryTe Puna O WaiwhetuChristchurch, Canterbury

A. A. Bakhrushin StateCentral Theatre MuseumMoscow

Museo Guggenheim —BilbaoBilbao, Viz Caya

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Creative ConsultingPartnership LLPLondon, England

FRANCE

NEW ZEALAND

RUSSIA

SPAIN

UNITED KINGDOM

English HeritageLondon, England

Imperial War MuseumLondon, England

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Maritime MuseumGreenwich, England

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

TateLondon, England

University of GreenwichLondon, England

The Wellcome TrustLondon, England

AFS Chemical FiltrationGroupBurlington, MA

Allentown Art MuseumAllentown, PA

Anacostia CommunityMuseumWashington, DC

Architrve PC ArchitectsWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

UNITED STATES

Baltimore Museum of ArtBaltimore, MD

Berkeley Art Museum/Pacific Film ArchiveBerkeley, CA

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Camfill FarrNorth Grafton, MA

Chicago Children’s MuseumChicago, IL

Cleveland Museum of ArtCleveland, OH

Columbus Museum of ArtColumbus, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Corporate CareHouston, TX

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

DFI Resources, LLCAustin, TX

Energy Maintenance ServicesHouston, TX

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesMunds Park, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Glide FoundationSan Francisco, CA

Hagley Museum & LibraryWilmington, DE


IAMFA Members — Organizations

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumCambridge, MA

Henry Ford MuseumDearborn, MI

Henry Morrison FlaglerMuseumPalm Beach, FL

High Museum of ArtAtlanta, GA

Hirshhorn Museum andSculpture GardenWashington, DC

Isabella Stewart GardnerMuseumBoston, MA

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Landmark Facilities Group,Inc.Norwalk, CT

Library of CongressWashington, DC

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

Mariner’s MuseumNewport News, VA

McGuire EngineersChicago, IL

Milwaukee Public MuseumMilwaukee, WI

Morikami Museum andJapanese GardensDelray Beach, FL

Museum of ContemporaryArt — Chicago Chicago, IL

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum — Udvar-Hazy CenterChantilly, VA

National Gallery of Art —WashingtonWashington, DC

National Museum of AfricanAmerican History andCultureWashington, 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 — George Gustav 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

Newark MuseumNewark, NJ

Norton Museum of ArtWest Palm Beach, FL

Office of FacilitiesEngineering & OperationsWashington, DC

Peabody Essex MuseumSalem, MA

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Rutherford & Chekene San Francisco, CA

San Francisco MaritimeNational Historic ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Airand Space MuseumSuitland, MD

Solomon R. GuggenheimMuseumNew York, NY

Stanford University GreenLibraryStanford, CA

U.S. Holocaust MuseumWashington, DC

The Whiting-TurnerContracrting CompanyBaltimore, MD

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT


This list reflectsmembership

dues paid as of July 15, 2010

Although we do our bestto ensure that our

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

always occur. If youwould like to make any

changes to yourlisting, please contact

Larry Bannister at

[email protected]




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Papyrus Fall 2010

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Transcript of Papyrus Fall 2010