Papyrus Spring 2009

PAPYRUSVOL. 10, NO. 1 SPRING 2009

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

The 19th AnnualIAMFA Conference in

Washington, D.C.

The A.A. BakhrushinState Central Theatre

Museum

Improving Operations using

Benchmarking

10th Anniversary Issue

VOL. 10, NO. 1 SPRING 2009

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

IAMFA/PapyrusVol. 10, Number 1Spring 2009

EditorJoe May

Papyrus CorrespondentsSara CarrollJohn Castle John DeLucyChris EcobBill Jackson

Guy LarocqueVincent MagorrianBrian MayJoe MayDmitry V. RodionovStacey Wittig

Design and LayoutPhredd Grafix

TranslationDominique Fortier, Valencia Léger,Guy Larocque (French)Jeanne Pascal (Spanish)

EditingArtistic License

Printed in the U.S.A. byLake Litho

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 — Dean Marshall, NationalGallery of [email protected]

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

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

Hawaii, USA — Robert White,Honolulu Academy of Arts [email protected]

Los Angeles, USA — Joe [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 — Richard J.Reinert, Philadelphia Museum of [email protected]

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

United Kingdom — Bill Jackson,National Library of Scotland,[email protected]

Washington/Baltimore, USA —Robert Evans, Freer Gallery ofArt/Arthur M. Sackler [email protected]

REGIONAL CHAPTERS

PresidentJohn de LucyThe British LibraryLondon, United [email protected]

V.P., AdministrationRichard KowalczykSmithsonian InstitutionWashington, DC, [email protected]

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

TreasurerJim MoissonHarvard Art Museums Cambridge, MA, [email protected]

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

Chairman — Conference 2009Nancy BechtolSmithsonian InstitutionWashington, DC, [email protected]

Head of International AffairsGuy LarocqueThe Canadian Museum of Civilization

Gatineau, QC, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

Cover photo: View of the U.S. Capitol Dome from inside the new Capitol Visitor Center, Washington D.C. Photo by Joe May.

IAMFA BOARD OF DIRECTORS

Letter from the Editor1

Message from the President / Mot du président / Mensaje del Presidente2

The 2009 IAMFA Annual Conference /Congrès annuel 2009 de l’IAMFA /La Conferencia de IAMFA de 20095

The A.A. Bakhrushin State CentralTheatre Museum18

Improving and Adding Value forBenchmarking Participants20

The Visitor Experience Project at theBritish Museum22

Optimise Air Filtration and MinimiseEnergy Costs23

Report on International AffairsRapport sur les affaires internationalesReporte de Asuntos Internacionales 27

Networking and Sharing of Information:Our True Purpose29

Regional Chapters and Member News31

Contents

PAPYRUS SPRING 2009 1

As I write this letter, I am on myway back to Los Angeles fromIAMFA’s mid-year board meet -

ing in Washington, D.C. Each year, theIAMFA board of directors meets in thecity that will host the annual IAMFAconference. We meet to review the busi - ness of the organization and progressmade in planning the annual fall con -ference. I’d like to begin by thankingthe members of the Washington, D.C.conference organizing committee forall their hard work in planning theboard visit and the fall conference.I have been to Washington a few

times over the years on brief businesstrips, but never really had time to seeour national monuments and culturalinstitutions. I was surprised by the gran -deur of what I saw on this trip. Oneday we saw the Star-Spangled Banner,the Declaration of Independence, theConstitution of the United States, the Billof Rights, the Library of Congress, theNational Archives, and the NationalMuseum of American History—andthat was all before lunch. Lunch, by theway, was at the U.S. Capitol Build ingin the Senate Dining Room, com pletewith a U.S. Senator at the next table.Needless to say, I was over whelmed. Ihad no idea what exactly was in storefor the entire two days of the boardvisit, but the sites and experiencewere amazing. During our stay, we also visited the

Baltimore Museum of Art (the venue forour upcoming Sunday bench mark ingworkshop), the National Museum of theAmerican Indian, the National PortraitGallery, the American Art Museum, theNational Museum of African American

History, and the National Gallery ofArt. I snapped as many pictures alongthe way as possible, and have includeda sampling of these images in thecenterfold of this edition of Papyrus. We had a look at the Henley Park

Hotel: a quaint and charming hotelwhere IAMFA conference attendeeswill stay this fall. The hotel has givenus a very good room rate for the con -ference ($179/night), with free wire -less Internet access. I was also surprisedat how low airfares were, to and from

Washington, D.C. With the economysuffering, and the drop in the price ofoil, I found travel expenses to be lessthan expected. The conference planning com mittee

has planned presentations aroundthe themes of Building AutomationSystems, Sustainability & LEED Certi -fication, Capital Budgets and Planning,and Reliability-Centered Maintenance.There will also be numerous behind-the-scenes tours and ideas for reducingoperating costs. Not only will youcome away from the conference withideas for improving effectiveness of your

facility’s operations, but you will alsolearn how others are coping with theeconomic challenges that we all face.As in previous years, there will be

a guest program that will leave yourtravel companions in awe. Please taketime to visit the IAMFA website andsee the agenda for both members andguests. There will once again be anoppor tunity to extend your confer encestay a fourth day to visit the NationalAir and Space Museum and the Libraryof Congress’s new facility in nearbyCulpeper, Virginia. Also this year, guestswill be able to extend their itinerary toinclude a visit to Baltimore on Sunday,while the Benchmarking Workshop isunder way. The cost is minimal to extendyour itinerary to include Sunday inBaltimore and Thursday in Virginia,and I hope you will be able to takeadvantage of both these opportunities.I’d like to finish by again thanking

our hosts for their hard work in plan -ning the logistics for the mid-year boardmeeting, and encourage members toget signed up for the Washington, D.C.conference. You will be surprised bywhat you see and learn at this year’sconference; our Washington, D.C.members have pulled out all the stopsin planning an unforgettableexperience for us all.Finally, I would like to thank every -

one who contributed to this tenthanniversary edition of Papyrus. Ihope you enjoy the new format as wetransition to the look and feel of areal magazine.

Joe May Editor, Papyrus Magazine

Joe May — Editor, Papyrus

Letter from the Editor

I have been to

Washington a few

times over the years . . .

I was surprised by the

grandeur of what I

saw on this trip

2 PAPYRUS SPRING 2009

Depuis quelque temps, desmembres me font part detemps difficiles en raison de la

récession et de la crise du crédit etsignalent des mises en disponibilité.Même ceux parmi nous qui béné fi -cions d’un soutien direct de la part dugouvernement devons composer avecune baisse de revenu. Je transmetsdonc mes meilleurs vœux à tous etj’espère que vous en ressortirez plusforts et plus efficaces. Pour cela, la meilleure solution est

souvent de garder le contact avec lescollègues. Le partage d’information etd’expé rience n’est qu’un des nombreuxavantages de l’adhésion à l’IAMFA.Comme membre, vous avez accès à unemultitude d’occasions de réseau tageaux réunions de votre section régionaleet à la conférence annuelle sans compterle fait qu’il suffit d’un courriel ou d’uncoup de fil pour communiquer avec vospairs travail lant en gestion des instal la -tions. L’IAMFA demeure votre sourced’information par excellence pourvous aider à réduire vos dépenses età composer avec vos budgets réduits.Bien souvent, nous n’avons pas suf fi -samment d’échanges en dehors denos excellentes confé rences et réunionsde section régionale. Je vous invite doncvivement à nous faire part, à moi ou àJoe May, de vos idées novatrices defaçons d’écono miser en cette périodeéconomique difficile. Notre engagement à devenir une

association viable survivra-t-il à la tour -mente économique actuelle? À mon

Últimamente, algunos de nuestrosmiembros me han contado lasmalas noticias de que están

pasando por tiempos difíciles debidoa la crisis de crédito y la recesiónfinanciera y se han visto obligados adespedir a personal. Aun nosotros,quienes recibimos nuestro apoyodirectamente del gobierno, hemosexperimentado recortes a nuestrospresupuestos, así que les extiendo mismejores deseos a todos Ustedes paraque sobrevivan este año y terminen maseficientes y en mejores condiciones. A menudo se logra esto mejor al

man te nerse en contacto con nuestroscolegas. Compartir información yexpe riencias es uno de los muchosbeneficios de la membresía de IAMFA,la cual ofrece muchas oportunidadespara establecer contactos con colegasen las reuniones de capítulos locales ydurante la con ferencia anual, sin men -cionar que sus colegas del campo deadministración de instalaciones esténal alcance de un mensaje electrónicoo una llamada telefónica. Asegúrensede utilizar a IAMFA como fuente deinformación para ayudar a reducir susgastos y a acomodar sus presupuestosreducidos. Muchas veces no compar ti -mos sufi ciente a parte de nuestras excel -entes conferencias y reuniones de loscapítulos locales, de modo que, especial -mente debido a que nos encontramosahora en tiempos difíciles, mándenmeun mensaje electrónico o envíen unoa Joe May con sus métodos innovadoraspara ahorrar plata.

Message from the PresidentMessage du présidentMensaje del Presidente

John de LucyPresident / Président /Presidente, IAMFA

Recently, I have been hearing thesad news from some of our mem -bers that they are going through

a tough time due to the credit crunch/recession, and are having to let staffgo. Even at the British Library, despitebeing directly supported by Govern -ment, our income has been reduced.So my best wishes go out to you all,and I hope that you come throughthis year leaner and fitter. This is often best achieved by con -

tinuing to keep in touch with col -leagues. Sharing information andexperience is just one of the manybenefits of IAMFA membership, whichoffers numerous networking oppor -tunities at local chapter meetings andthe annual conference—to say nothingof the knowledge that your facilitymanagement peers are just an e-mailor phone call away. So make sure touse IAMFA as the source of informa -tion to help you reduce your expendi -tures and accommodate your reducedbudgets! We do not always share enoughoutside of our excellent conferencesand chapter meetings, so, especiallyas times are now harder, please e-maileither me or Joe May with yourinnovative ways of saving money! Will our commitment to become

more sustainable survive this economicturbulence? I think sustainability is nolonger just a desirable extra for manyorganisations, but has now become adeeply embedded essential for all ourbusinesses. I suspect that, in manyinstances, operations with sustainability


credentials can actually be more prof -itable. It seems inevitable, however,that anything which results in increasedexpenditure, without a demonstrablebenefit to the bottom line, is going tobe placed under scrutiny. Whereas athree- or four-year return on invest -ment (ROI) might once have beenacceptable, one or two years may bemore like it if a project is to be author -ised these days. I am finding more andmore organisations using LED light -ing in public areas, for example, savingon maintenance and energy. What areyou doing?The Mayor of London, Boris

Johnson, is promoting the greeningof London and encouraging ownersof buildings to plant flowerbeds andgreen roofs with vegetables, in orderto reduce food miles. Please write andtell us if you are doing somethingsimilar, and give us your best tips.

The UK chapter held its annualmeeting in Edinburgh on March 26,hosted by Bill Jackson (Head of Estates,National Library of Scotland), WillyAnthony (Head of Facilities, NationalMuseums Estates), and Robert Galbraith(Facilities Manager, National Galleries).This has been written up separately,but I was very impressed with how the

avis, la viabilité n’est plus seulementqu’un superflu souhaitable pournombre d’organisations, mais unenécessité profondément enracinéepour toutes nos entreprises. J’imagineque les activités ayant fait leurs preuvesen matière de viabilité peuvent, dansbien des cas, être plus rentables. Or, ilsemble inévitable qu’on examinera àla loupe toute activité qui entraîneune augmentation des dépenses sanstoutefois produire d’avantages finan -ciers démontrables. Alors qu’aupara -vant, un délai de récupération del’investissement de trois ou quatre ansétait considéré acceptable, on doits’attendre désormais qu’il doive plutôtêtre de l’ordre d’un ou deux ans sil’on veut que le projet soit autorisé.Je remarque qu’un nombre croissantd’établissements utilisent l’éclairageà diode électroluminescente dans lesaires publiques, ce qui permet deséconomies d’énergie et d’entretien.Que fais votre organisation ou votreétablissement pour réaliser deséconomies dans ce domaine?Le maire de Londres, Boris

Johnson, a entrepris une campagned’écologi sa tion de Londres. Il encou -rage les pro priétaires d’im meubles àaménager des plates-bandes de fleurset des toits verts avec potagers pourcontribuer à réduire les kilomètres-assiette. Écrivez-nous pour nous fairepart de vos initiatives et de vos conseilsdans ce domaine.La section du Royaume-Uni a tenu

sa réunion annuelle à Édimbourg le26 mars sous la direction de Bill Jackson(Head of Estates, National Library ofScotland), Willy Anthony (Head ofFacilities, National Museums Estates) etRobert Galbraith (Facilities Manager,National Galleries). Vous aurez l’occa -sion de lire un rapport séparé de cetterencontre. Je voulais toutefois soulignerl’initiative remar quable de la NationalLibrary of Scotland qui a réussi à éco -no miser des kilomètres de rayons enrangeant le matériel selon sa taille eten remplissant des couloirs ne servantà rien. Est-ce que vous pourriez fairequel que chose de semblable dansvotre établissement et ainsi reporterle besoin d’une nouvelle installationd’entreposage?

¿Sobrevivirá nuestro compromisoa volvernos más sostenible a pesar deesta turbulencia económica? Piensoque para muchas organizaciones lasostenibilidad ya no es solamente unaextra deseable sino que se ha vueltouna parte integral esencial para todosnuestros negocios. Sospecho que, enmuchos casos, las operaciones concredenciales de sostenibilidad puedenser incluso más rentables. Parece inevi -table, no obstante, que cualquier cosaque aumente los gastos sin un beneficiodemostrable a la rentabilidad serápuesto bajo la lupa. Antes podría habersido aceptable demorar tres a cuatroaños para recuperar los costos deinversión, pero hoy día el tiempo pararecuperarlos tendría que ser de uno ados años. Me estoy enterando de másy más organizaciones que usan ilumi -nación LED en las áreas públicas, porejemplo, con ahorros de costos demantenimiento y de energía. ¿Quehacen Ustedes?El alcalde de Londres, Boris Johnson,

está promoviendo hacer a Londres másverde y está incentivando a los dueñosde edificios a sembrar mace teros ytechos verdes con vegetales para reducirla distancia que recorren los alimentosdesde su origen hasta el con sumidor.Por favor escríbannos y avísennossi están haciendo algo semejante ybríndennos sus mejores sugerencias.El capitulo del Reino Unido celebró

su reunión en Edinburgh el 26 demarzo, patrocinado por el señorBill Jackson (Encargado de BienesHeredados, Biblioteca Nacional deEscocia), el señor Willy Anthony(Encargado de Instalaciones, BienesHeredados, Museo Nacional) y elseñor Robert Galbraith (Administradorde Instalaciones, Galerías Nacionales).Este evento se ha detallado por sepa -rado pero me impresionó como laBiblioteca Nacional de Escocia pudieraahorrar kilómetros de repisas a travésde almacenar los materiales por tamañoy eliminar corredores no necesarios.¿Podrían Ustedes hacer algo similar yposponer la necesidad de una nuevafacilidad de almacenaje?Con el movimiento creciente hacia

todo lo digital, nos interesaría oír dealguien con experiencia en el uso de

CONTINUED ON PAGE 4 SUITE À LA PAGE 4 SIGUE EN LA PÁGINA 4

. . . sustainability is no

longer just a desirable

extra

. . . la viabilité écologique

n’est plus seulement qu’un

superflu souhaitable

. . . la sostenibilidad

ecológica ya no es

solamente una extra

deseable


National Library of Scotland was ableto save kilometres of shelving just bystoring material by size, and filling inunnecessary corridors. Could you dosomething similar and delay the needfor a new storage facility? With the growing movement towards

all things digital, we would also beinterested in hearing from anyonewith experience in using digital art orinstallations to support their exhi bi -tions or programming. I have oftenthought that some Museums must beusing new and exciting technologiesfor the installation of works in bothpermanent and temporary exhibi tions,but the rest of us are not getting tohear about them. I know that, at theTate Museum in London, facilitiesteams have worked with artists whendesigning and providing the tech nol -ogy to help them deliver their worksof art for public display. How are youanimating your buildings—what evi -dence do your visitors get that you areheading into the digital age? Do youshowcase new technology to makea visit to your institution fun andengaging for your visitors?Nancy Bechtol and her team in

Washington, D.C. are very busy pre -paring for this year’s annual conference,and the programme looks both fulland exciting. The detailed agenda forboth members and guests is on thewebsite, and I am sure you will findenough in there to justify your atten -dance. We will be learning about build -ing automation systems and digitalcontrols, LEED certification, and newbuilding standards, amongst othersubjects, as well as touring behind thescenes at many museums and art gal -leries. I am looking forward to meetingyou all in November, when we cancompare how all of our organisationsare reacting to and managingconstrained budgets.

John de LucyPresident, IAMFA

Compte tenu de l’engouement pourle numérique, nous nous intéressonsaussi à vos idées si vous avez de l’expé -rience dans l’utilisation de l’art numé -rique ou d’installations numériquespour vos expositions ou programmesscolaires. Il m’arrive souvent de penserque les musées doivent bien avoirrecours à de nouvelles technologiesnovatrices pour l’installation de leursœuvres dans les expositions tempo raireset permanentes, mais nous n’en avonspas écho. Je sais qu’au Tate Museumà Londres, les équipes d’installationtravaillent avec les artistes pour la con -ception et l’aménagement de la tech -nologie afin de les aider à présenterleurs œuvres au public. Que faites-vouspour animer vos édifices? À quels signesvos visiteurs reconnaissent-ils que vousêtes passés à l’ère numérique? Mettez-vous la nouvelle technologie en reliefafin de rendre la visite de votre établis -sement amusante et stimulante pourvos visiteurs?Nancy Bechtol et son équipe à

Washington, D.C., sont très occupéesà préparer la conférence annuelle de2009. Le programme promet d’être àla fois enrichissant et divertissant et jen’ai pas de doute que chacun y trouverason compte. Vous pouvez consulter leprogramme détaillé offert aux membreset aux invités dans le site Web. Entreautres choses, il y sera question desystèmes de commande numérique etde contrôle automatique de bâti ments,de la certification LEED et des nou -velles normes de construction. Nousaurons également l’occasion de fairedes visites des coulisses de nombreuxmusées et de nombreuses galeries d’art.J’ai très hâte de vous rencontrer tousen novembre. Ce sera pour chacunde nous une occasion de comparercom ment nos établissements réagis -sent à leur budget restreint etcomposent avec.

John de LucyPrésident, IAMFA

arte o instalaciones digitales para apoyarsus exhibiciones o programas de apren -dizaje. He pensado a menudo que debehaber algunos museos que usen nuevase emocionantes tecnologías para lainstalación de obras en sus exhibi cionespermanentes y temporales pero que elresto de nosotros no nos enteramos. Séque en el Museo de Tate en Londres,hay cuadrillas de mantenimiento ylogística que han trabajado con artistasmientras diseñan y proveen la tecno -logía para encapsular sus obras de artepara la exhibición publica. ¿Comoestán animando a sus edificios?—¿Que pruebas les demuestran a susvisitantes que se están encaminandoa la edad digital? ¿Como utilizan lanueva tecnología para capturar elinterés de sus visitantes y hacer laexperiencia divertida? Nancy Bechtol y su equipo en

Washington, D.C. están ocupadospreparándose para la conferenciaanual de este año y el programa se vecompleto y emocionante. La agendadetallada tanto para los miembroscomo para sus acompañantes estádisponible en el sitio de Web, y estoyseguro que encuentren suficiente allípara justificar su participación. Vamosa aprender sobre la construcción desistemas de automatización y controlesdigitales, la certificación de LEED, y losnuevos estándares de edificios entreotros temas, y también visitar trasbastidores a muchos museos y galeríasde arte. Estoy con ganas de volver aencontrarme con todos Ustedes ennoviembre para poder compararlas reacciones y el manejo de todasnuestras organizaciones frente a lospresupuestos restringidos.

John de LucyPresidente, IAMFA

MESSAGE FROM THE PRESIDENT — continued from page 3

MESSAGE DU PRÉSIDENT – suite de la page 3

MENSAJE DEL PRESIDENTE — viene de la página 3


Nancy Bechtol and her conferenceteam in Washington, D.C. havebeen working hard on putting

together a great line-up of activitiesfor our next annual conference. For ataste of what awaits you this November,read on to learn more about some of thevenues on this year’s conference agenda.

Monday, November 2,2009—Day 1 (a.m.)The National Gallery of Art was createdin 1937 for the people of the UnitedStates of America by a joint resolutionof Congress, accepting the gift offinan cier and art collector Andrew W.Mellon. During the 1920s, Mr. Mellonbegan collecting with the intention of

Nancy Bechtol et son équipeaffectée à la préparation ducongrès à Washington (D.C.)

ont travaillé fort pour mettre sur piedun assortiment d’activités formidablespour le prochain congrès annuel.Pour avoir un avant-goût de ce quivous attend en novembre, lisez ce quisuit pour en savoir plus sur certainslieux à visiter cette année.

Lundi, 2 novembre 2009 –1er jour (matinée)Le National Gallery of Art (muséenational des beaux-arts) a été créé en1937 pour la population des États-Unis d’Amérique par une résolutioncommune du Congrès qui acceptaitle don du financier et collectionneurd’art Andrew W. Mellon. Au cours desannées 1920, M. Mellon commence àcollectionner dans l’intention de con -stituer un musée d’art pour la nationà Washington. En 1937 (l’année de sondécès), il dédie sa collection aux États-Unis. L’argent pour la construction del’West Building (édifice de l’Ouest) pro -vient du fonds en fiducie A.W. MellonEducational and Charitable Trust. Le

Nancy Bechtol y su equipo detrabajo para la conferencia enWashington, D.C. han traba jado

duro para armar una lista maravillosade actividades para nuestra próximaconferencia. Para un vistazo de loque les espera este noviembre, siganleyendo para enterarse más acerca dealgunos de los puntos de encuentroque forman parte de la agenda de laconferencia de este año.

Lunes, 2 de Noviembre,2009 — Día 1 (a.m.)La Galería Nacional de Arte se creóen el 1937 para la gente de los EstadosUnidos de Norteamérica (EEUU) através de una resolución del Congreso,aceptando el regalo del financiero ycoleccionista de arte Andrew W. Mellon.Durante los 1920s, el señor Mellonempezó a coleccionar con la intenciónde hacer una galería de arte para lanación en Washington, D.C. En 1937(el año de su muerte), prometió sucolección a los EEUU de Norte américa.Los fondos para construir el Ala Oesteprovinieron del Fideicomiso para laEducación y las Obras Benéficas de

Mark Your CalendarsThe 2009 IAMFA Annual Conferenceby Brian May

Marquez vos calendriersCongrès annuel 2009 de l’IAMFA par Brian May

Anoten la fecha en sus agendasLa Conferencia de IAMFA de 2009por Brian May

SUITE À LA PAGE 6 SIGUE EN LA PÁGINA 6

CONTINUED ON PAGE 6

The National Gallery of Art


forming a gallery of art for the nationin Washington, D.C. In 1937 (the yearof his death), he promised his collec -tion to the United States. Funds forcon struction of the West Buildingwere pro vided by The A.W. MellonEdu ca tional and Charitable Trust. OnMarch 17, 1941, President Franklin D.Roosevelt accepted the completedbuilding and the collections on behalfof the people of the United States ofAmerica.The Gallery’s East Building, located

on land set aside in the original Con -gressional resolution, was opened in1978. It accommodates the Gallery’sgrowing collections and expandedexhibition schedule, and houses anadvanced research center, administra -tive offices, a great library, and a bur -geoning collection of drawings andprints. The building was accepted forthe nation on June 1, 1978, by PresidentJimmy Carter. On May 23, 1999 the Gallery opened

an outdoor sculpture garden designedto offer year-round enjoyment to thepublic. Located in the 6.1-acre [2.5-hectare] block adjacent to the WestBuilding at 7th Street and ConstitutionAvenue N.W., the garden provides aninformal yet elegant setting for worksof modern sculpture.

Monday, November 2,2009—Day 1 (p.m.)The National Museum of the AmericanIndian is the sixteenth museum of the

17 mars 1941, le président Franklin D.Roosevelt prend possession de l’édificeachevé ainsi que des collections au nomde la nation des États-Unis d’Amérique.L’East Building (édifice de l’Est) du

musée, situé sur un terrain réservé aumoment de l’adoption de la réso lutionoriginale du Congrès, est inauguré en1978. Il accueille les collections gran -dissantes ainsi que les programmesd’exposition élargis et abrite un centrede recherche avancée, des bureauxadministratifs, une grande biblio thèquede même qu’une collection florissantede dessins et de gravures. Le présidentJimmy Carter en prend possession aunom de la nation le 1er juin 1978.Le 23 mai 1999, le National Gallery

of Art ouvre un jardin de sculpturesextérieur (Sculpture Garden) conçupour le plaisir du public à longueurd’année. Situé sur un terrain de 2,5 hec -tares (6,1 acre) voisin de l’West Build -ing, de la 7th Street et de ConstitutionAvenue NW, le jardin présente dessculptures modernes dans un cadreà la fois simple et gracieux.

Lundi, 2 novembre 2009 –1er jour (après-midi)Le National Museum of the AmericanIndian (musée national des Amérin -diens) est le seizième musée ducomplexe de musées Smithsonian(Smithsonian Institution). Il s’agit dupremier musée national voué à la pré -servation, à l’étude et à l’expositiondes modes de vie, des langues, de lalittérature, de l’histoire et des arts desAutochtones d’Amérique. Établi parune loi votée au Congrès en 1989, lemusée travaille en collaboration avecles peuples autochtones de l’hémi -sphère Ouest pour protéger et pro -mouvoir leurs cultures en maintenantleurs traditions et leurs croyances, enencourageant l’expression artistiquecontemporaine et en reconnaissant lavoix amérindienne. Les énormes collections du musée,

montées en grande partie par GeorgeGustav Heye (1874-1957), compren -nent un vaste éventail d’objets de cul -ture matérielle – notamment plus de800 000 objets de nature historique,

A.W. Mellon. El 17 de marzo de 1941,el Presidente Franklin D. Rooseveltaceptó el edificio terminado y las colec -ciones en nombre del pueblo de losEstados Unidos de Norteamérica.El Ala Este de la Galería, situado en

tierras reservadas para ese propósito através de la resolución original delCongreso, se abrió en 1978. Acomodaa las crecientes colecciones y agendaexpandida de exhibiciones y contieneun centro de investigación avanzada,oficinas administrativas, una excelentebiblioteca, y una colección retoñantede dibujos e impresos. El edificio seaceptó en nombre de la nación el 1 de junio de 1978 por el PresidenteJimmy Carter.El 23 de mayo de 1999 la Galería

abrió un jardín exterior de esculturasdiseñado para que el público lo disfrutedurante todo el año. Situado en unacuadra de 6.1-acres [2.5-hectáreas] aun costado del Ala Oeste en la CalleSéptima y la Avenida de la Constitución,N.O., el jardín ofrece un marcoinformal, y a la vez elegante para laescultura moderna y contemporánea.

Lunes, 2 de noviembre de2009 — Día 1 (p.m.)El Museo Nacional del IndígenaAmericano es el décimo sexto museodel Instituto Smithsonian. Es el primermuseo nacional dedicado a la preser -vación, el estudio y la exhibición delas vidas, las lenguas, la literatura, lahistoria, y el arte de los americanosnativos del continente americano.Establecido por un acta de Congresoen 1989, el Museo trabaja en coordi -nación con los pueblos del HemisferioOeste para proteger y fomentar susculturas, reafirmar sus tradiciones ycreencias, alentar la expresión artísticacontemporánea, y además proveeruna oportunidad para la expresiónde las voces indígenas.Las extensas colecciones, reunidas

en su mayoría por George Gustav Heye(1874-1957), abarcan una enorme gamade material cultural—inclu yendo másde 800,000 obras de significado estético,religioso, e histórico extraordinario, yademás de artículos fabricados para

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National Museum of the American Indian


Smithsonian Institution. It is the firstnational museum dedicated to thepreser vation, study and exhibition ofthe lives, languages, literature, history,and arts of Native Americans. Estab -lished by an act of Congress in 1989,the Museum works in collaborationwith the Native peoples of the WesternHemisphere to protect and foster theircultures by reaffirming traditions andbeliefs, encouraging contemporaryartistic expression, and empoweringthe Indian voice.The Museum’s extensive collections,

assembled largely by George GustavHeye (1874–1957), encompass a vastrange of cultural material—includingmore than 800,000 objects of extra -ordi nary aesthetic, religious, and his -torical significance, as well as articlesproduced for everyday, utilitarian use.The collec tions span all major culturalareas of the Americas, representingvirtually all indigenous peoples of theUnited States, most of those in Canada,and a signifi cant number of culturesfrom Central and South America andthe Caribbean. Chronologically, thecollections include artifacts from thePaleo-Indian era to contemporary artsand crafts. The Museum’s holdings alsoinclude film and audiovisual collections,paper archives, and a photographicarchive of approximately 90,000images depict ing both historical andcontemporary Native-American life.The National Museum of the

American Indian comprises threefacilities, each designed followingconsultations between Museum staffand Native peoples. In all of its activities,the National Museum of the AmericanIndian acknowledges the diversity ofcultures and the continuity of culturalknowledge among indigenous peoplesof the Western Hemisphere and Hawaii,and incorporates Native methodologiesfor the handling, documentation, care,and presentation of collections. TheMuseum also actively strives to find newapproaches to the study and repre sen -tation of the history, materials, andcultures of Native peoples.

religieuse et esthétique de même quedes articles utilitaires fabriqués pourle quotidien. Les collections couvrenttoutes les aires culturelles d’impor tancedes Amériques et représentent pra -tiquement tous les peuples autochtonesdes États-Unis, la plupart de ceux duCanada ainsi qu’un nombre importantde cultures de l’Amérique centrale,de l’Amérique du Sud et des Antilles.Suivant l’ordre chronologique, lescollections comprennent des artefactsreprésentant l’art et l’artisanat de lapériode paléoindienne à l’époquecontemporaine. Le fonds du muséecomporte également des collectionsde films et d’audiovisuel, des archivespapier et des archives photographiquesd’environ 90 000 images qui dépeignentla vie des Autochtones d’Amériqued’hier et d’aujourd’hui.Le National Museum of the Ameri -

can Indian comprend trois installations,chacune conçue après consultationentre le personnel du musée et lespeuples autochtones. Dans toutesses activités, le musée reconnaît ladiversité des cultures et la pérennitédes connaissances culturelles chez lespeuples autochtones de l’hémisphèreOuest et d’Hawaï. Aussi intègre-t-il lesfaçons de procéder autochtones en cequi a trait à la manipulation, à la doc -umentation, à l’entretien et à la présen -tation des collections. Le musée faitégalement tout son possible pourtrouver de nouvelles façons d’aborderl’étude et la représentation des cultures,des éléments matériels et de l’histoiredes peuples autochtones.

Mardi, 3 novembre 2009 –2e jour (matinée) En novembre 1800, le Congrès améri -cain se réunit dans la première partieachevée du Capitole des États-Unis :l’aile nord, de petites dimensions etexiguë. Dans les années 1850, d’impor -tants agrandissements aux extrémitésnord et sud du Capitole sont autorisés,en partie parce que le pays s’étendvers l’ouest et que cela entraîne uneaugmentation de la taille du Congrès.Depuis ce temps, le Capitole et sonimposante coupole sont devenus des

uso utilitario diario. Las coleccionesincluyen todas las áreas principalesde las América, representando casitodas las poblaciones indígenas de losEstados Unidos de Norteamérica, lamayoría de las de Canadá, y un númerosignificante de las culturas de Centro ySur América y del Caribe. Crono ló gi -camente, artefactos desde la Era Paleoindia hasta ejemplos del arte y las man -ualidades contemporáneos formanparte de las colecciones. El contenidodel Museo incluye las colecciones cine -matográficas y audiovisuales, archivosde papel, y un archivo fotográfico demás de 90,000 imágenes que representanla vida de los indígenas americanos.El Museo Nacional del Indígena

Americano se compone de tres insta -laciones, cada una diseñada por mediode consultas entre el personal delMuseo y los representantes de laspoblaciones indígenas. En todas susactividades, el Museo Nacional delIndígena Americano reconoce la diver -sidad de las culturas y la continuidaddel conocimiento cultural entre laspoblaciones indígenas del HemisferioOeste y Hawai, incorporando meto -dologías indígenas para manejar,documentar, cuidar, y presentar lascolecciones. El Museo se esfuerzaactivamente para encontrar nuevasmaneras de estudiar y representar lahistoria, los materiales, y las culturasde las poblaciones indígenas.

Martes, 3 de noviembre de2009, Día 2 (a.m.)Su Centro de Visitantes ha hecho másaccesible, conveniente, seguro e infor -mativo al Capitolio para sus millonesde visitantes anuales. Las actividadespreparatorias de construcción empe -zaron en el otoño de 2001, incluyendomover de sitio a la infraestructura y elcentro para recibir los visitantes, y laimplementación de un programa com -prensivo de preservación de árboles.Las actividades mayores de construcciónempezaron en julio del 2002 y elproyecto se terminó en el otoño de2008. La instalación se inauguró el2 de diciembre del 2008.



Tuesday, November 3,2009—Day 2 (a.m.) In November 1800, the U.S. Congressgathered in the first completed portionof the United States Capitol: the small,cramped north wing. In the 1850s,major extensions to the northern andsouthern ends of the Capitol wereauthorized, due in part to the nation’swestward expansion and the resultantgrowth in the size of Congress. Sincethat time, the U.S. Capitol and its statelydome have become internationalsymbols of America’s representativedemocracy.Today’s Congress understands that

the people who come to Washington,D.C., need better opportunities tolearn about and more fully understandthe American Constitution, Congress andthe history of the Capitol. However, ifthe Capitol was to continue accom -modating ever-increasing numbers ofvisitors, some changes were needed inorder to better regulate and managevisitor access. On June 20, 2000, members of

the Capitol Preservation Commission(CPC)—a board of Congressionalleaders who spearheaded the CapitolVisitor Center (CVC) initiative onbehalf of the entire U.S. Congress—ceremonially broke ground on the site.Preparatory construction activitiesbegan in the fall of 2001, includingrelocation of existing utilities and visitorscreening facilities, and imple mentation

symboles internationaux de la démo -cratie représentative de l’Amérique.Le Congrès contemporain com -

prend que les gens qui viennent àWashington ont besoin de meilleursmoyens pour connaître et mieuxcomprendre la Constitution américaine,le Congrès et l’histoire du Capitole.Toutefois, si le Capitole devait con -tinuer d’accueillir un nombre sanscesse croissant de visiteurs, il fallaitapporter des changements de manièreà mieux encadrer et contrôler l’accèsdes visiteurs. Le 20 juin 2000, les membres de

la Capitol Preservation Commission(commission de conservation duCapitole) – le comité de dirigeantsdu Congrès qui a mené le projet duCapitol Visitor Center (centre d’accueildu Capitole) au nom du Congrès amé -ri cain en entier – lèvent la premièrepelletée de terre selon le cérémoniald’usage. Les activités de constructionpréparatoires débutent à l’automne2001, notamment le déménagementdes services publics existants et desinstallations de présélection des visi -teurs ainsi que la mise en place d’unprogramme complet de conservationdes arbres. Le gros de la constructioncommence en juillet 2002, et le projetse termine à l’automne 2008. Le CapitolVisitor Center ouvre officiellement sesportes le 2 décembre 2008, rendantle Capitole plus accessible, pratique,sécu ritaire et instructif pour ses millionsde visiteurs annuels.

En noviembre de 1800 el Congresode los E.E.U.U. se reunió en la primeraparte terminada del Capitolio de losEEUU de Norteamérica: el pequeñoe incomodo ala norte. Alrededor de1850 se autorizaron ampliacionesimportantes a los extremos del norte ydel sur del Capitolio, en parte debidoa la expansión del país hacia el oeste yel crecimiento resultante en el tamañodel Congreso. Desde entonces, elCapitolio de los EEUU y su cúpulamajes tuosa han sido símbolos inter -nacionales de nuestra democraciarepresentativa.El Congreso de hoy entiende que las

personas quienes llegan a Washington,D.C. necesitan mayores oportunidadespara aprender y comprender mejor laConstitución de los EEUU, el Congresoy la historia del Capitolio. El Capitolionecesitaba una mejor manera pararegular y manejar el flujo grande deturistas para maximizar su accesibilidad.El 20 de junio de 2000, los miembros

de la Comisión para la Preservacióndel Capitolio (CPC)—la junta gober -nante de lideres de Congreso quienessirven de punta de lanza la iniciativadel Centro de Visitantes del Capitolio(CVC) en nombre del Congresocompleto—participaron en la actaoficial de la excavación inicial paraseñalar el comienzo de un procesoque culminó el 2 de diciembre del2008, cuando el CVC abrió sus puertasal publico.




Capitol Visitor Center


of a comprehensive tree preservationprogram. Major construc tion began inJuly 2002, and the project was com -pleted in the fall of 2008. The CapitolVisitor Center opened officially onDecember 2, 2008, making the U.S.Capitol more accessible, con venient,secure and informative for its millionsof annual visitors.

Tuesday, November 3,2009—Day 2 (a.m.)The Library of Congress was foundedin 1800, making it the oldest federalcultural institution in the United States.On August 24, 1814, British troopsburned the Capitol building (wherethe Library was housed) and destroyedthe Library’s core collection of 3,000volumes. To mitigate this loss some -what, on January 30, 1815, Congressapproved the purchase of ThomasJefferson’s personal library of 6,487books for $23,950. The Library of Congress is the largest

library in the world, with more than138 million items on approximately650 miles [1,046 kilometers] of book -shelves. The collections include morethan 32 million books and other printmaterials, 2.9 million recordings,12.5 million photographs, 5.3 millionmaps, 5.5 million pieces of sheetmusic and 61 million manuscripts.The Library receives some 22,000

items each working day, and addsapproximately 10,000 items to thecollections daily. The majority of thecollections are received through the

Mardi, 3 novembre 2009 –2e jour (matinée)La Library of Congress (Bibliothèquedu Congrès) est fondée en 1800, ce quien fait l’institution culturelle fédéralela plus ancienne des États-Unis. Le24 août 1814, les troupes britanniquesbrûlent l’édifice du Capitole (qui abritela Bibliothèque) et détruisent la col -lec tion de base de la Bibliothèque quicompte 3000 volumes. Pour atténuercette perte, le 30 janvier 1815, leCongrès approuve l’achat, pour lasomme de 23 950 $, de la biblio thèquepersonnelle de Thomas Jefferson, quicomporte 6487 ouvrages.La Bibliothèque du Congrès est la

plus grosse bibliothèque du monde,avec plus de 138 millions d’articlesdistribués sur environ 1046 kilomètres(650 milles) de rayons. Les collectionscomprennent plus de 32 millions delivres et d’autres documents imprimés,2,9 millions d’enregistrements, 12,5 mil -lions de photographies, 5,3 millionsde cartes, 5,5 millions de partitionsde musique en feuilles et 61 millionsde manuscrits.La Bibliothèque du Congrès reçoit

quelque 22 000 articles chaque jourouvrable et ajoute environ 10 000 piècespar jour aux collections. La majoritédes éléments de collection arrivent parle biais de l’enregistrement du droitd’auteur, puisque la Biblio thèque estle siège du Copyright Office (bureaudu droit d’auteur) des États-Unis.D’autres documents proviennentégalement de dons, d’achats, d’autres

Martes, 3 de noviembre de2009—Día 2 (a.m.)La Biblioteca se fundó en 1800, con -virtiendose en la institución federal másvieja de los EEUU. El 24 de agosto del1814, las tropas británicas quemaronal edificio del Capitolio (donde seubicaba la Biblioteca) y destruyeron lacolección central de la Biblioteca de3,000 mil ejemplares (volumen). El 30de enero de 1815, el Congreso aprobóla compra de la biblioteca personal deThomas Jefferson compuesta de 6,487libros por la suma de $23,950. La Biblioteca del Congreso es la

bib lioteca más grande del mundo, conmás de 138 millones de artículos loca -lizados en aproximadamente 650 millas(1,046 kilómetros) de estantes. Lascolecciones incluyen más de 32 mil -lones de libros y de otros materialesimpresos, 2.9 millones de grabaciones,12.5 millones de fotógrafos, 5.3 mil -lones de mapas, 5.5 millones hojas demúsica y 61 millones de manuscritos.La biblioteca recibe 22,000

artículos por día laborable, y agregaaproximadamente 10,000 artículos alas colecciones diariamente. La mayoríade las colecciones se reciben a travésdel proceso de registro de derechosde autor, ya que la Biblioteca es elhogar de la Oficina de Derechos deAutor de los EEUU. Los materialestambién se adquieren por medio deregalos, compras, y otras agencias delgobierno (estatal, local, y federal),arreglos con las casas de imprentaantes de la publicación de los libros,


Library of Congress


copyright registration process, as theLibrary is home to the U.S. CopyrightOffice. Materials are also acquiredthrough gifts, purchases, other govern -ment agencies (state, local and federal),Cataloging in Publication (a pre-publi -cation arrangement with publishers)and exchange with libraries in theUnited States and abroad. Items notselected for the collections or otherinternal purposes are used in theLibrary’s national and internationalexchange programs. Through theseexchanges, the Library acquires materialthat would not be available otherwise.The Library’s mission is to make

its resources available and useful toCongress and the American people,and to sustain and preserve a universalcollection of knowledge and creativityfor future generations. The Office ofthe Librarian is tasked with settingpolicy and with directing and sup port -ing programs and activities whichaccomplish the Library’s mission.The Library of Congress sponsors

privately endowed programs that honorachievement in the humanities andcreativity. Through these awards andprizes, the world’s greatest repositoryof human achievement honors thosewho have advanced and embodied theideals of individual creativity, conviction,dedication, scholarship and exuberance.

Tuesday, November 3,2009—Day 2 (p.m.)The Smithsonian American ArtMuseum and the National PortraitGallery are located in a NationalHistoric Land mark building at theheart of Washington’s vibrant newdowntown, a few blocks from the

organismes gouvernementaux (d’État,régionaux ou fédéraux), du cata logageavant publication (entente préalable àla publication avec les éditeurs) etd’échanges avec les bibliothèques auxÉtats-Unis et à l’étranger. Les articlesnon retenus pour les collections oud’autres usages internes sont ache -minés aux programmes d’échangesnationaux et internationaux de la Bib -lio thèque. Par le biais de ces échanges,la Bibliothèque fait l’acqui sitionde documents qui ne seraient pasautrement disponibles.La Bibliothèque a pour mission de

mettre ses ressources de façon utile àla disposition du Congrès et du peupleaméricain ainsi que de conserver etd’enrichir une collection universellede connaissances et de créativité pourles générations à venir. L’Office of theLibrarian (bureau de la ou du biblio -thécaire) doit pour sa part établir lespolitiques ainsi que conduire et sou -tenir les activités et les programmesqui permettent à la Bibliothèque deremplir sa mission.La Bibliothèque du Congrès com -

mandite les programmes financéspar des fonds privés qui soulignentles réalisations dans le domaine dessciences, des lettres et de la créativitéhumaines. Au moyen de ces prix etrécompenses, le plus grand déposi -taire au monde de l’accomplissementhumain rend hommage à celles etceux qui ont incarné et fait progresserdes idéaux de créativité, de convic -tion, de dévouement, d’éruditionet d’expressivité.

Mardi, 3 novembre 2009 –2e jour (après-midi) Le Smithsonian American Art Museum(musée d’art américain du Smith sonian)et le National Portrait Gallery (muséenational du portrait) se trouvent dansun édifice classé lieu historique national(National Historic Landmark) situé aucœur du nouveau centre-ville animéde Washington, à quelques pâtés demaison de la rue piétonne NationalMall. Ensemble, les deux musées etles activités qui s’y tiennent sontconnus sous l’appellation de Donald

intercambio con las bibliotecas de losEEUU y en el extranjero. Los artículosque no se seleccionan para las colec -ciones u otros propósitos internos seusan en los programas nacionales einternacionales de intercambio de laBiblioteca. Gracias a estos intercambios,la Biblioteca consigue materiales queno serian disponibles de otra manera.La misión de la Biblioteca es asegu -

rarse de que sus recursos estén dispo -nibles y útiles para el Congreso y elpueblo Americano, y continuar ypreservar una colección universal deconocimientos y creatividad para futurasgeneraciones. Las responsabilidad dela Oficina de la Bibliotecaria es deestablecer la política y de dirigir y apoyarlos programas y las actividades quellevan a cabo la misión de la Biblioteca.La Biblioteca del Congreso patrocina

programas dotadas por fondos privadoslos cuales celebran logros en los camposde las humanidades y la creatividad.Con estos honores y premios, el reposi -torio más grande del mundo de la crea -tividad humana les rinde homenaje alos que han avanzado y personificadolos ideales de la crea tivi dad individual,la convicción, la dedicación, laerudición, y la exuberancia.

Martes, 3 de noviembre2009—Día 2 (p.m.)El Museo del Smithsonian de ArteAmericano y la Galería Nacional deRetratos están situados en un edificiode reconocida importancia históricanacional en el corazón del nuevovibrante centro de Washington, a unascuadras del Mall Nacional. En conjunto,estos dos museos y sus actividadesse denominan como el Centro deDonald W. Reynolds para el ArteAmericano y Retratos. La GaleríaNacional y el Museo del Smithsoniandel Arte Americano relatan los cuentosde los EEUU de Norteamérica a travésdel arte, la historia, y la biografía.La Galería Nacional de Retratos

expone a los individuos quienes hanconstruido la cultura nacional de losEEUU. A través de los artes visuales,los artes corporales, y la nueva media,la Galería representa a unos norte -




Donald W. Reynolds Center for AmericanArt and Portraiture


National Mall. Collectively, the twomuseums and their activities are knownas the Donald W. Reynolds Center forAmerican Art and Portraiture. The National Portrait Gallery show -

cases the individuals who have builtAmerica’s national culture. Throughthe visual arts, the performing arts,and new media, the Gallery portraysremarkable Americans, includingpoets and presidents, visionaries andvillains, actors and activists. The works in the Smithsonian

American Art Museum encompassmore than three centuries of Americanartistic achievement, paralleling thenation’s cultural development. TheMuseum celebrates the extraordinarycreativity of the country’s artists,whose works are windows on theAmerican experience.

Wednesday, November 4,2009—Day 3 (a.m.)Of all the documents and materialscreated in the course of business con -ducted by the United States federalgovernment, only 1–3% have enoughlegal or historical importance to beretained in perpetuity. These valuablerecords are available to the public,whether for exploring a family’s his -tory, researching military service, orunearthing information on historicalsubjects.Many people know the National

Archives as the keeper of the Declarationof Independence, the Constitution, andthe Bill of Rights. However, the NationalArchives also retain the records of ordi -nary citizens—for example, militaryrecords, naturalization records—andeven the canceled check from thepurchase of Alaska.

W. Reynolds Center for American Artand Portraiture. Le National Portrait Gallery présente

des portraits de personnages qui ontparticipé à l’évolution de la cultureaméricaine. Par le biais des arts visuels,des arts du spectacle et des nouveauxmédias, le musée dépeint des Améri -cains ou des Américaines remarquables,notamment des poètes et des prési -dents, des visionnaires et des malfaiteursainsi que des acteurs et autres militantset défenseurs des droits.Les œuvres du Smithsonian

American Art Museum couvrent plusde trois siècles de réalisations artis -tiques américaines qui suivent le déve -loppement culturel de la nation. Lemusée célèbre l’incroyable créativité desartistes du pays, dont les œuvres sontautant de fenêtres sur l’expérienceaméricaine.

Mercredi, 4 novembre 2009– 3e jour (matinée)De tous les documents et de toute ladocumentation que produit l’admini -stration du gouvernement fédéral desÉtats-Unis, seulement 1 à 3 % ont assezde valeur juridique ou historique pourêtre conservés à jamais. Ces précieuxdocuments sont mis à la disposition dupublic soit pour explorer l’histoire d’unefamille, soit pour faire de la rechercheconcernant le service militaire ouencore dénicher de l’infor mationsur des sujets historiques.Plusieurs savent que c’est aux

National Archives (archives nationales)que sont conservés des documentstels que la Declaration of Independence(déclaration d’indépendance), laConstitution et la Déclaration des droits(Bill of Rights). Toutefois, les Archivesrecèlent également des documentsconcernant des citoyens ordinaires –par exemple des dossiers de militaires,de naturalisation – et même le chèqueoblitéré de l’achat de l’Alaska.Dans une démocratie, les archives

appartiennent à la population et, depuisplus de sept décennies, les Archivesont conservé les archives publiquesdes États-Unis d’Amérique et y ontdonné accès. Les documents d’archivespermettent de réclamer ses droits et

americanos sobresalientes, incluyendoa poetas y presidentes, visionarios yvillanos, actores y activistas.Las obras en el Museo del Smith -

sonian de Arte Americano abarcanmás de tres siglos de logros artísticosamericanos, reflejando paralelamenteel desarrollo cultural de la nación. Elmuseo celebra la creatividad extra -ordinaria de los artistas del país, cuyasobras son ventanas que iluminan laexperiencia americana

Miércoles, 4 de noviembrede 2009—Día 3 (a.m.)De todos los documentos y materialescreados en el transcurso de los negociosrealizados por el gobierno federal delos de EEUU de Norteamérica, sola -mente el 1 al 3 por ciento son lo sufi -cientemente importante por razoneslegales o históricas que se retengan aperpetuidad. Estos valiosos archivosestán disponibles para el público yasea para investigar la historia de unafamilia o el servicio militar, o paradesenterrar información acerca detemas históricos. Muchas personas reconocen a

los Archivos Nacionales como losguardianes de la Declaración de laIndependencia, la Constitución, y laDeclaración de Derechos. No obstante,los Archivos Nacionales también con -tienen los archivos de personas ordi -narias—por ejemplo, los archivos deservicio militar, los archivos de lanatura lización—e inclusive el chequecancelado de la compra del estadode Alaska.En una democracia, los archivos le

pertenecen al pueblo y, por más desiete décadas, los Archivos Nacionaleshan preservado y proveído acceso alos archivos públicos de los EEUUde Norteamérica. Los archivos nosayudan a reclamar nuestros derechosy beneficios, documentar la historiade nuestra nación y hacer que nuestrosoficiales elegidos rindan cuentaspor sus acciones. En pocas palabras,los Archivos aseguran el accesocontinuo para la documentaciónesencial sobre los derechos de losciudadanos norteamericanos y lasacciones de su gobierno.

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In a democracy, records belong tothe people and, for more than sevendecades, the National Archives havepreserved and provided access to thepublic records of the United States ofAmerica. Records help us claim ourrights and entitlements, hold ourelected officials accountable for theiractions, and document our history asa nation. In short, the Archives ensurecontinued access to essential docu men -tation on the rights of American citizensand the actions of their government.

Wednesday, November 4,2009—Day 3 (p.m.)The National Museum of AmericanHistory opened to the public inJanuary 1964 as the Museum ofHistory and Technology. At the time,it was the sixth Smithsonian buildingon the National Mall in Washington,D.C. Today, some four million visitorspass through its doors each year toenjoy the Museum’s exhibitions, publicprograms, educational activities, col -lections, and research facilities. Mil -lions more make virtual visits to theMuseum’s website.The building’s location on the

National Mall qualifies it as a NationalHistoric Landmark. Its status as oneof the last structures designed by therenowned architectural firm of McKim,Mead and White, along with its location,make it eligible for listing on theNational Register of Historic Places.The Museum has recently com pleted

a two-year, $85-million reno vation ofthe building’s central core, dramaticallytransforming the Museum’s archi tec -tural appeal while reorganizing andrenewing the presentation of itsextensive collections. The renovationproject focused on three areas: archi -tectural enhancements to the centralcore, including a grand staircase anda skylight; construction of a new Star-Spangled Banner Gallery; and, updatesto the 45-year-old building’s physicalinfrastructure.More than ever before, the National

Museum of American History todayshines new light on American history.The Museum works to ensure that its

privilèges, de tenir les élus responsablesde leurs actes et de documenter l’his -toire de la nation. Bref, les Archivesgarantissent un accès constant à de ladocumentation de première impor tancesur les droits des citoyens américains etsur les activités de leur gouvernement.

Mercredi, 4 novembre 2009– 3e jour (après-midi) Le National Museum of AmericanHistory (musée national d’histoireaméricaine) ouvre ses portes enjanvier 1964; il porte alors le nom deMuseum of History and Technology(musée d’histoire et de la techno logie).À cette époque, il s’agit du sixièmeédifice du complexe de muséesSmithsonian dans la rue piétonneNational Mall à Washington. De nosjours, quelque quatre millions devisiteurs franchissent son seuil chaqueannée pour profiter des expositions,des programmes publics et des activitéséducatives qui s’y déroulent de mêmeque des collections et des installationsde recherche qui s’y trouvent. Desmillions d’autres personnes visitent lesite Web du musée.La situation de l’édifice dans la rue

piétonne National Mall en fait un lieuhistorique national (National HistoricLandmark). C’est à titre d’une des der -nières constructions conçues par lecélèbre bureau d’architectes McKim,Mead and White et en raison de sonemplacement qu’il remplit les con di -tions pour figurer au registre nationaldes sites historiques (National Registerof Historic Places).Le noyau central de l’édifice a récem -

ment fait l’objet d’une rénovation quia duré deux ans et a coûté 85 millionsde dollars. Les travaux ont radicalementtransformé l’architecture du muséeet permis de réorganiser ainsi que derenouveler la présentation de sesimmenses collections. Le projet derestauration a porté en priorité surtrois éléments : des améliorations archi -tecturales au noyau central, notam mentun grand escalier et une verrière, laconstruction d’une nouvelle sallepour le drapeau ayant inspiré l’hymnenational américain ainsi que la mod -

Miércoles, 4 de Noviembre,2009—Día 3 (p.m.) El Museo Nacional de la HistoriaAmericana abrió al público en enero1964 como el Museo de Historia yTecnología. En ese tiempo, era elsexto edificio del Smithsonian enWashington, D.C. Desde entonces,unos cuatro millones de visitantes hanpasado por sus puertas todos los añospara disfrutar de las exhibiciones, pro -gramas públicos, y actividades educa -cionales, colecciones, y centros deinvestigación. Hay millones de personasmas que hacen visitas virtuales al sitiode Internet del Museo. La ubicación del edificio en el Mall

Nacional lo califica como un edificiode reconocida importancia históricanacional. Su condición como una delas ultimas estructuras diseñadas porla firma renombrada de arquitectosde McKim, Mead y White, junto consu ubicación, lo hace elegible paraser listado en el Registro Nacional deEdificios de Reconocida ImportanciaHistórica. Últimamente, el Museo terminó

una renovación de $85 millones delnúcleo central del Museo que tomó dosaños en realizarse, la cual transformóde una manera dramática su encantoarqui tectónico, y al mismo tiemporeorganizó y renovó la presentación delas colecciones extensas. El proyectode renovación se enfocó en tres áreas:embellecimientos arquitectónicos alnúcleo central, incluyendo una granescalera y una traga luz, la construc ciónde una nueva gallería para la BanderaNacional y puso al día a la infrae structuradel edificio que tenia 44 años.




National Museum of American History


collections, exhibitions, research, pub -lications and educational programs allsupport its basic mission—to inspire abroader understanding of the UnitedStates of America and its manypeoples—and to make its exhibitionsand programs as accessible as possible.

Wednesday, November 4,2009—Day 3 (Evening)This year’s closing gala will be heldin the beautiful Great Hall of theThomas Jefferson Building at theLibrary of Congress. The Great Hall’sceiling, 75 feet [23 meters] above themarble floor, is decorated with stained-glass skylights supported by elaboratelypaneled beams finished in aluminumleaf. In the center of the marble flooris a large brass inlay shaped like a sun,on which are inscribed the four car di -nal points of the compass. Borderingthe sun on four sides are round medal -lions with 12 brass inlays representingthe signs of the zodiac. On the east side is the Commemo -

ra tive Arch, leading back to the MainReading Room. Inscribed into thefrieze above are the words “Libraryof Congress”. Above that, flanked byeagles, is a tablet with the names ofthe engineers and architects who

ernisation de l’infrastructure physiquede l’édifice, qui date de 45 ans.Plus que jamais, le National Museum

of American History jette un éclairagenouveau et étincelant sur l’histoireaméricaine. Le musée s’emploie à ceque ses collections, ses expositions, larecherche qui s’y effectue, ses publi -cations et ses programmes éducatifsconstituent autant de piliers qui sou -tiennent sa mission fondamentale –amener une meilleure compré hensiondes États-Unis d’Amérique et de sesnombreuses communautés – et à rendreses expositions et programmes aussiaccessibles que possible.

Mercredi, 4 novembre 2009– 3e jour (soirée) Cette année, la soirée de clôture auralieu dans le superbe grand hall del’édi fice Thomas Jefferson de laBibliothèque du Congrès. Le plafonddu grand hall, à 23 mètres (75 pieds)au-dessus du plancher de marbre, estparsemé de vitraux supportés par despoutres à panneaux en aluminiumfinies avec recherche. Au centre duplancher de marbre se trouve un grandmotif en forme de soleil incrusté delaiton où sont indiqués les quatre pointscardinaux. Sur quatre côtés, encadrant

Más que nunca antes, el MuseoNacional de la Historia Americanahoy ilumina con un nuevo enfoque ala historia Americana. El Museo trabajapara asegurarse que sus colecciones,exhibiciones, investigaciones, publi -caciones, y programas educacionalesapoyen a su misión básica—la deinspirar un mayor entendimiento delos Estados Unidos de Norteaméricay su pueblo diverso—y de hacer asus exhibiciones y programas lo masaccesible posible.

Miércoles, 4 de noviembre—Día 3 (noche)Este año la fiesta de clausura se llevaraa cabo en el Gran Salón del edificiode Thomas Jefferson en la Bibliotecadel Congreso. El techo del Gran Salónde 75 pies (23 metros) de alto porencima del piso de mármol, se decoracon traga luces de vidrio de colorapoyado por vigas enchapadas conmuchos detalles, acabados en hojade aluminio. En el centro del piso demármol hay una incrustación grandede latón de bronce en forma del sol,con los cuatro puntos cardenales de labrújula entallados. En cuatro ladosalrededor del sol hay medallonesredondos con 12 incrustaciones delatón de bronce que representan lossignos del zodiaco.En el lado este se encuentra el Arco

Conmemorativo, que conduce alCuarto Principal de Lectura (ver laimagen a la derecha). Incrustado en elfriso arriba están las palabras Bibliotecadel Congreso. Encima de estas palabras,con águilas a los costados, se ve unatableta con los nombres de los ingenierosy arquitectos responsables del diseño yla construcción del Edificio de Jefferson.Dos grandes escaleras que muestran

el trabajo del escultor Philip Martinybordean el Gran Salón (una de estasescaleras se ve en la imagen a laizquierda). En la base de cada escalera,encima de la columna de apoyo, seencuentra una figura desconocidafemenina de bronce de un tamañomás grande que en la vida real agar -rando una antorcha. Asegúrense demirar cuidadosamente las figuras demármol talladas en los exteriores de

SIGUE EN LA PÁGINA 14Great Hall of the Thomas Jefferson Building at the Library of Congress

SUITE À LA PAGE 14CONTINUED ON PAGE 14


were responsible for the design andconstruction of the Jefferson Building.Two grand staircases displaying the

work of sculptor Philip Martiny flankthe Great Hall. Upon the newel postat the base of each staircase standsan unnamed, larger-than-life bronzefemale figure holding a torch. Be surealso to look closely at the marble figurescarved into the outsides of the railings.These putti, or small children, com -plete with the tools of their trades,represent the various occupations,habits and pursuits of “modern life”: amusician with lyre and music book, anelectrician holding a telephone, andan entomologist with specimen boxand butterfly net, among others. Noteespecially the two figures flankingglobes halfway up the staircase oneach side. On the south side of thehall, Africa and the Americas arerepresented, with those continentsshown on the globe between thefigures; on the north side, Europeand Asia are depicted.

Brian May is Office Manager/AdministrativeAssistant in Facilities Services for the Libraryof Congress.

le soleil, 12 médaillons de même facturereprésentent les signes du zodiaque.L’arche commémorative (Commem -

orative Arch), située du côté est, con -duit à la salle de lecture principale(Main Reading Room) vers l’arrière.La frise au-dessus porte l’inscriptionLibrary of Congress. Au-dessus del’inscrip tion, une plaque flanquéed’aigles mentionne les noms desarchitectes et ingénieurs qui ontconçu et construit l’édifice Jefferson.Deux grands escaliers présentant

l’œuvre du sculpteur Philip Martinysont disposés de chaque côté du grandhall. Sur le pilastre situé au pied dechaque escalier se trouve une figureféminine en bronze plus grande quenature tenant un flambeau. Les petitspersonnages en marbre sculptés surl’extérieur de la rampe méritent quel’on s’y attarde. Ces putti, ou petitsenfants, pourvus des outils caracté ri -stiques de leurs métiers, représententles occupations, les us et coutumesainsi que les aspirations de la « viemoderne » : un musicien avec une lyreet un cahier de musique, un élec tricientenant un téléphone et un entomo -logiste avec une boîte à échantillonset un filet à papillons, entre autres. Ànoter particulièrement : les figures quiflanquent les globes terrestres à mi-chemin des escaliers, de chaque côté.Du côté sud du hall, les continentsreprésentés sur le globe entre les per -sonnages sont l’Afrique et l’Amérique;du côté nord, les continents reproduitssont l’Europe et l’Asie.

Brian May est le Gestionnaire de bureauet adjoint administratif pour les servicesimmobiliers du Library of Congress.

los rieles de apoyo. Estos “putti” o niñoschicos, completo con las herramientasde sus oficios, representan a las difer -entes carreras, hábitos, y pasatiemposde la vida moderna: un músico conuna lira y un libro de música, un elec -tricista con un teléfono, un entomólogocon un contenedor para especimenesy una red para atrapar mariposas, entreotras. Fíjense especialmente en las dosfiguras a la mitad de cada escalera alos costados. En el lado sur del salónlas figuras representan África y lasAméricas y entre ellas agarran unaesfera con estos mismos continentesrepresentados. En el lado norte delsalón las figuras y la esfera representana Europa y Asia.

Brian May es el Administrador de Oficina/Asistente Administrativo para los Serviciosde Instalaciones de la Biblioteca delCongreso.





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 the IAMFA will continue the growthof the organization and provide you with excellent educ -ational and networking opportunities. As your colleagues,we look forward to welcoming you to membership inthe 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 the 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 the IAMFAAnd get a friend to join


Washington, D.

Photos taken during the IAMFA Board of Directors


C. — April 2009

meeting in Washington on April 22–23 by Joe May.


preting the history of Russian theatreas a whole. Most (and probably thebest) of the contemporary objects ondisplay were collected as a result of hisgreat energy and artistic sensibility.On November 25, 1913, Bakhrushingave his museum, and the neo-Gothicmansion which housed the collection,to the city of Moscow, entrusting themto the care of the Imperial Academyof Sciences.The Museum remains true to

Bakhrushin’s ideals and, like its founder,is constantly adding to its collections,while also carefully preserving theobjects already in its care. The col lec -tion reflects an objective and compre -hensive history of theatre in Russia,despite the vagaries of political upheaval,and the Museum is currently home toalmost 1.5 million items. These includethe archival fonds of theatrical person -alities; portraits of eminent actors,singers, producers, playwrights, ballet-masters, dancers, composers andpainters; costumes, personal belong ingsand props; set designs and sketchesmade by well-known production

designers; posters and programs; photo -graphs of artists and performances; rarebooks devoted to the theatrical arts; and,docu mentation on video and film—allof which keep the ephemeral memoryof theatrical performance alive. There are currently eight depart -

ments at the Museum. The Depart mentof Posters and Programs cares for morethan 620,000 objects. Among its mostvaluable items are programs designedby such well-known visual artists asKonstantin Somov, Aleksandr Golovin,Léon Bakst, Konstantin Korovin andApollinari and Viktor Vasnetzov; postersfor the Paris presentation of the balletRussian Seasons depicting dancersTamara Karsavina and Feodor Chaliapin;and the only existing copy in Russiaof Valentin Serov’s poster for RussianSeasons portraying Anna Pavlova. TheMuseum’s collection of posters fromthe pre-Revolutionary Russia is par -ticularly unique in size (more than300,000 items), as well as in itsgeographical and artistic scope. The Department of Documentary

Photographs contains more than

The A.A. Bakhrushin State CentralTheatre Museumby Dmitry V. Rodionov

©A.A. BAKHRUSHIN STATE CENTRAL THEATRE

MUSEUM (ALL RIGHTS RESERVED)

©A.A. BAKHRUSHIN STATE CENTRAL THEATRE MUSEUM

(ALL RIGHTS RESERVED)

Exterior view of The A.A. Bakhrushin State Central TheatreMuseum in the 1920s.

Interior view of the permanent gallery: Musical Theatre in Russiaduring the First Half of the Nineteenth Century.

The A.A. Bakhrushin State CentralTheatre Museum is the firsttheatre museum in the world:

the forerunner of all modern theatre,literary and music museums. As animportant national facility, it is alsoincluded on Russia’s State Registerof cultural treasures.The Museum’s history begins on

October 29, 1894, when its founder—a well-known Muscovite industrialistand arts patron named AlekseyAleksandrovich Bakhrushin—allowedthe public access to his extensive col -lection of objects related to the per -forming arts. Today, he has becomeknown for his outstanding contributionsto the promotion of Russian culture,and the museum that bears his namehas become known around the world. A.A. Bakhrushin was devoted to the

Theatre throughout his life, and theTheatre Museum was to become hismost important creation. He was ableto establish the Museum, not only as aprivate collection reflecting the tastesof its owner, but also as a compre hensivecollection of national importance, inter -


500,000 items, including rare photo -graphs of Feodor Chaliapin, MathildaKshesinskaya, Anna Pavlova, VaslavNizhinsky, Mikhail Chekhov, AleksandrTairov and Konstantin Stanislavsky. Thiscollection is so extensive that it docu -ments virtually every notable perfor -mance in Russia’s theatrical history. The Department of Archives and

Manuscripts contains more than200,000 documents, including a vastand important collection of documentsrelated to the Vsevelod MeyerholdState Theatre. The Museum’s SceneryDepartment contains nearly 88,000items, including veritable master piecesby Orest Kiprensky, Vasily Tropinin,Valentin Serov, Ilya Repin, BorisKustodiev, Aleksandra Ekster and RobertFalk. The Department of Video, Audioand Film Documentation contains over29,000 items, most of which are rareand unique recordings. Costumes wornby Feodor Chaliapin, Galina Ulanovaand Maya Plisetzkaya, as well as cos -tumes, shoes, headdresses for Diaghilev’sfamous ballet Russian Seasons, and muchmore, are kept in the Depart ment ofPersonal Belongings and Properties.Experts consider the col lection in theDepartment of Books to be one ofworld’s the most complete collectionsof books on the history of the theatre.It contains more than 95,000 volumes,including nearly 36,000 rare works. TheDepartment of Children’s Theatre isthe Museum’s newest division, andcontains 40,000 documents and objects

related to the history, genesis anddevelopment of children’s theatrein Russia. The Museum’s collections are dis -

played not only in its main facility,devoted to A.A. Bakhrushin and thehistory of the development of pro fes -sional theatre in Russia in the eigh -teenth and nineteenth centuries, butalso in a number of other branches.These currently include the OstrovskyEstate and Museum in Moscow, dedi -

cated to Muscovite playwright AleksandrOstrovsky; the House-Museum of M.N.Ermolova, devoted to dramatic actressMaria Nikolayevna Ermolova; theApartment-Museum of V.E. Meyerhold,which once belonged to directorVsevolod Meyerhold; the GalinaUlanova Apartment-Museum, oncehome to the famous prima ballerina;the Mironov-Menaker Apartment-Museum, devoted to two famoustheatrical families; and, the TheatreGallery on Moscow’s Malaya OrdynkaStreet. The Mikhail Shchepkin House-Museum, home of the renownednineteenth-century actor, and theValentin Pluchek Apartment-Museum,once home to the director of the famousMoscow Theatre of Satire, are cur rentlybeing prepared for public opening. The Museum organizes more than

20 exhibitions in Russia each year,including the recent The TheatreSquare: The Sources of the RussianTheatre, and Ave Maya: The MayaPlisetzkaya Jubilee and Costume Ball.It also organizes and participates inexhibitions presented abroad, includ -ing Modernism: Creation of theNew World, which toured the UnitedKingdom and Germany, and Russia andthe U.S.S.R.: Art, Literature, Theatre,which was presented in Italy.

Dmitry V. Rodionov is General Director ofthe A.A. Bakhrushin State Central TheatreMuseum in Moscow, and is one of IAMFA’snewest members.The Museum's main staircase.

©A.A. BAKHRUSHIN STATE CENTRAL THEATRE MUSEUM (ALL RIGHTS RESERVED)

Exterior view of the Theatre Museum founded by A. A. Bakhrushinin the late 1890s.

Interior view of A.A. Bakhrushin’s study.





benchmarking survey every year,” saysKeith McClanahan of Facility Issues,the firm that facilitates IAMFA’s bench -marking exercise. “The BenchmarkingSteering Committee has done quite acommendable job.”The website is open for data input

now. If you haven’t yet registered to bea part of this informative and helpfulexercise, go to www.facilityissues.com/Registration/REG_IAMFA.asp.Deadline for registration is May 30.

Submssions of preliminary data are dueby July 31.

Recap of BenchmarkingResultsIn London last September, McClanahansummarized the 2008 IAMFA bench -marking survey results. A total of 60institutions participated in the 2008study, up from 50 participants in 2007.Twenty institutions were first-timeparticipants.Sharing of information is up 28%

since 2005, when Facility Issues wasendorsed by IAMFA to run its bench -marking program. In 2005, 21.0 million


Improving and Adding Value forBenchmarking ParticipantsA Year in Reviewby Stacey Wittig

Benchmarking Workshop participants pose at the historic Russell Hotel in London.

The Benchmarking Steering Com -mittee has finished evaluating andadjusting the survey questions

for the 2009 IAMFA BenchmarkingExercise. The Committee revieweduser satisfaction surveys and feedbackforms to hone the survey questions.Additions to the 2009 survey includea filter for climate zone criteriaand questions on sustainability andtelecommunication costs. “One of the Committee’s missions

is to improve and add value to the


square feet were benchmarked com -pared to 28.9 million square feetin 2008.This past year, IAMFA Bench marking

experienced an increase in the per -centage of smaller institutions (lessthan 125,000 gross square feet [gsf]or 11,000 gross square meters [gsm]). McClanahan noted a trend of

reduction in security spending—34%of Median Operations Spending in2008, down from 43% in 2007—tocompensate for rising energy costs.Utility Cost/gsf accounted for 27%of Median Operations Spending, upfrom 18% in the prior year. In 2008,Median Operations Spending was splitinto 34% for Security Cost/gsf, 27% forUtility Cost/gsf, 25% for MaintenanceCost/gsf and 12% custodial Cost/gsf,while Groundskeeping Costs made uponly 2%.The median Facility Management

Budget as a percentage of the insti tu -tional budget dropped from 19% in2007 to 15% in 2008.

Focus on Those thatAppear Better In the benchmarking process, datacollection and comparison are onlythe beginning. The comparison

component—whether you compareyourself to others or to your own data ina year-by-year approach—allows you tofocus now on those that appear better.The annual IAMFA Benchmarking

Best Practices Workshop creates a forumfor participants to gather and sharebest practices. Last September, theworkshop kicked off at London’shistoric Hotel Russell with a welcomeby conference host Harry Wanless ofthe British Library. Each attendeeshared a five-minute PowerPointpresentation to introduce and updatethe group on recent changes affectinghis or her institution.Four institutions were chosen by the

IAMFA Benchmarking Steering Com -mittee to share their best prac tices withthe group. Kevin Streiter’s presentation,“Green Roof at the High Museum”,evoked many facilities man agementquestions. “Energy Program/Sus tain -ability at the Smithsonian” by DavidHauk, Energy Management BranchChief at the Smithsonian Institution,was timely and well-received.In the afternoon session, Bill Graesser

of the Royal Ontario Museum shared“High-Tech Maintenance Tools” andexplained how his museum is expand -ing its use of ultrasound analysis foraudio inspection of moving equip ment.

Steve VanDyke revealed the bestpractices of the National Gallery inLondon with a lifecycle analysispresentation entitled “LifecycleSpreadsheet at the National Gallery”. Roundtable discussion of emerging

issues included “hot topics” such as“Facilities Condition Index and OtherMeasures of Recapitalization andFacility Re-Investment”, “Reliability-Centred Maintenance to ImproveEfficiency and Reduce Overall M&RCosts” and “LEED or EquivalentCertification/Green Topics”.The 2008 IAMFA Benchmarking

Study was sponsored by IKON“Document Efficiency at Work”and Grainger. The 2009 IAMFA Benchmarking

Workshop will be held on Sunday,November 1, 2009, just prior tothe IAMFA Annual Conference inWashington, D.C. You are invited tojoin this lively group to share your bestpractices. Go to www.facilityissues.comfor more information and to register.

Stacey Wittig is the Marketing Directorfor Facility Issues. For FREE informationon how benchmarking can improve yourorganization, go to www.facilityissues.com.Registration for the 2009 IAMFA Benchmarksurvey is now open.

Lively discussion and time to network at the IAMFA Best Practices Benchmarking Workshop.

children; social repeat visitors (whoare familiar with the Museum anddrop in with their friends); self-guidedvisitors (who like to make their ownitineraries); and, sightseers (basicallytourists who ‘do’ the Museum as partof their London experience).Staff taking part in the project were

asked to put themselves in the shoes ofeach of these four groups and make the‘visitor journey’ both to and throughthe Museum. We had to visualise theexperiences we had, and how we feltabout various aspects of the Museumvisit. We then listed ‘gaps’ which eachgroup felt needed to be met in orderto ensure a great visit. There were various teams working

on topics or themes on this journey.The remit for my team or ‘cluster’ washygiene, access and physical require -ments (otherwise facetiously known as‘bums, tums and eardrums’). We hadto consider the experience of our fourgroups when they encountered lifts,stairs, facilities such as toilets and cloak -rooms, catering and disabled provision.So we examined all those areas, whichare so familiar to us in our daily work -ing lives, from a different perspective.

And we certainly came up with someneed gaps. Not least: the lack of seatingthroughout the Museum; not enoughtoilets; a demand for cheaper food forfamilies in the cafes; larger print onexhibition labels; and, poor facilitiesfor babies. We then had to come upwith proposals for remedying thedeficiencies. We eventually ended upwith costed schemes for improvingthe toilets, for redesigning the baby-changing and baby-feeding facilities,and a rolling programme of changinglabels in galleries, among others. So, while we may have felt at the

beginning that what we were trying todo was as a ‘no-brainer’, we did manageto get beyond the obvious and comeup with detailed proposals. One usefuloutcome of the project has been betterunderstanding of the roles of staff fromother departments; we have made thebest of networking opportunities andknow how best to get things done col -laboratively. And the notion of ‘visitorfirst’ has certainly become embeddedin our thought processes in every typeof intervention we make.

Sara Carroll is Head of Facilities at theBritish Museum in London, England.


The Visitor Experience Project at theBritish Museumby Sara Carroll

You would hope that all museumand gallery staff would wanttheir visitors to have a great

time when they visit. But maybe wetake it for granted and stop seeing ourplaces of work from the visitors’ per -spective. In addition, our visitors comein all shapes and sizes, ages and nation -alities, and with varying levels of edu -cation. Do they all want the same thing?In some cases, surely yes. Everyonewould expect clean toilets, and to feelcomfortable and safe during their visit.But the wishes of other groups may bevery different—there may even be con -flicts between the wishes of our variousvisitors. Some may want quiet, whileothers may want the freedom to let theirchildren run around in the galleries. The British Museum undertook a

major project in 2008 towards devel -oping a strategy and action plan toenhance the visitor experience. Stafffrom various departments within theMuseum were involved in seeing thework through. The Museum wants totarget certain groups which it feels arenot yet getting the best experience, andwho need to be encouraged to visit.These groups are: families with youngish

The Main Entrance of the British Museum in London’sBloomsbury district.

The Great Court at the British Museum.


It is clear that air filters have an influence on the energydemand of a ventilation system. In fact, a simple analysis ofthe pressure-loss values of all the components in a typicalventilation system shows that filters account for 30% of thetotal energy demand (see Graph 1). Interestingly, filtersare the least expensive component to improve: after all,they are designed to be changed out on a regular basisand, if any system modifications are needed, at most it willbe a simple frame or clip change to facilitate the fitting ofa different filter. There is a simple relationship between pressure loss and

energy consumption in kWhrs, as seen in Equation 1.

E =Q x dP x T

kWhr/year η x 1000

where Q = Airflow (m3/s)dP = Pressure drop (Pa)T = Operating time (8760 hrs per year)η = Fan efficiency (30–75%)

Equation 1

For example, a small ventilation system may have two-stage filtration (pre-filtration and fine filtration). A singlepre-filter and a single fine filter will each handle a flow of

Optimise Air Filtration and MinimiseEnergy Costsby Chris Ecob

Graph 1: Typical pressure-loss contribution for different componentsof a ventilation system. (Y-axis in Pa)

Cultural facilities are not immune to the economiccrisis. Cost trends are upward, and revenues fromvisitors, endowments and corporate sponsorship are

under threat. The news is not all bad, however: an oppor -tunity exists for many cultural facilities to immediatelyreduce their energy costs and carbon footprint. Thisopportunity can usually be realised without the need toencroach on precious capital budgets, and the financialbenefits start immediately. Does this sound too good to be true? For the answer,

look to the air filters deployed in your ventilation system.Air filters rarely get the attention they deserve: they areoften sourced on a “lowest cost to fill a hole” basis. However,not only do air filters have a valuable role to play in air qualityand preventative conservation, they can also dramaticallyinfluence energy consumption. An inappropriate selection,made perhaps to save a few percent from the maintenancebudget, can result in disproportionately higher incrementsto your facility’s energy bill.Ventilation with “fresh” external air is provided for the

wellbeing of workers and visitors. Fresh air brought intothe building may be heavily polluted, especially in city-centrelocations. Many of the artefacts will be sensitive to these pol -lutants. Filtration is routinely applied to control particulate(dust) and molecular (chemical) contamination. A fan is a common component in all ventilation systems.

This device is powered by an electric motor, and is requiredto overcome the ventilation system’s resistance to flow, driv -ing the air from outside to inside. Examples of componentsthat create flow resistance include ducting, heating andcooling coils, ceiling grilles and dampers. If the ventilationsystem is properly maintained, the flow resistance of thesecomponents will, at a constant airflow rate, remain unchangedthroughout the system’s life. Particulate air filters also create a resistance to airflow;

however, unlike the other components, the flow resistanceor pressure drop increases as they collect dust. Theoretically,the pressure drop across a filter can increase until it createsa severe restriction to airflow, or until it collapses and fails.In practice, it is usual to specify an upper working limit forpressure loss; at this point, the filter should be replacedwith a new clean item. The system designer takes thisupper pressure-loss value into account when selecting thefan and the motor. The higher the resistance value, thegreater the power consumption of the motor and theoperational cost of the ventilation system. (Note that thepressure drop of molecular (carbon) filters should notincrease during their operational life).


0.94 m3/s. These two filters may have a combined averagepressure loss of 350 Pa throughout their service lives. If thefan efficiency is 60%, the energy consumption (E) is:

E =0.94 x 350 x 8760

= 4803 kWhr/year 0.6 x 1000

If, through judicial filter design and construction, theaverage pressure loss could be reduced to 300 Pa, the cor -responding energy consumption is reduced to 4120 kWHr.If the facility is paying £0.1/kWhr, the annual saving (£) is:

(4803 – 4120) x 0.1 = £68.30

Now this is only for a single (two-stage) filter. A largefacility may have several hundred, and possibly above athousand, installed filters. If the installed number of filtersis 500, then the annual saving is £34,150. As a rule of thumb,each unnecessary Pascal of pressure loss across each filtercosts £1.50 per year in energy costs.The key to understanding the importance of pressure

loss and energy consumption comes from the Life Cycle Cost(LCC) analysis for a filter, from manufacturing to disposal.Of the total cost of manufacturing, transport, purchaseprice, installation (labour), energy and disposal, energytypically accounts for 70% of the total. So buying a cheapair filter may be a completely false economy if it requiresan excessive amount of energy to drive air through it. All of the above has been understood for many years.

Now, however, increasing energy costs and concerns aboutcarbon footprint and global warming present a new oppo -rtunity to scrutinise air-filtration techniques. Many usersare now focussing attention on the influence that air filtra -tion can have on artefact preservation, performance ofthe ventilation system and, most importantly, the cost ofoperating ventilation systems. It is worth considering some air-filtration basics. Air filters

remove variously sized particulate materials from the airby a combination of mechanisms: inertia, diffusion andstraining. The relative importance of these mechanismsdepends on the particle size. All filtration media are fibrous,and the diameter of the fibres and the weight of fibres perunit area have a strong influence on filtration properties.To remove very small particles, a filter medium composedof finer-diameter fibres is required. Large particles may bearrested using coarse fibres. Finer fibres are able to packcloser together in the media web, and the interstitial holesbetween the fibres are smaller. The typical observation inlaboratory “flat-sheet” tests—that high-efficiency air filtermedia have higher pressure-loss values at a given airflowthan lower-efficiency air filter media—is not, therefore,unexpected. Very few air filters, except the coarsest low-cost devices, use a flat sheet of medium placed

perpendicularly across the airflow. Most filters use tech -niques such as pleating and the formation of pockets toincrease the area of medium incorporated in the filter.Such techniques can have a significant influence on initialpressure loss, final pressure loss, filter lifetime and, mostimportantly, operational energy cost. Claims have been made that an electrostatic effect can

be used to supplement mechanical filtration mechanismsand enhance filtration efficiency. The potential benefit ofsuch a material would be that coarse fibres could be usedto provide the same efficiency as a non-charged media,and the pressure-loss value would be lower. Whilst this maybe true for such filters when new, the electrostatic effectshave been indisputably shown to be relatively short-term and,over a period of a few weeks, the efficiency value actuallyfalls to well below the claimed value. This behav iour is nowrecognised and has been reflected in the Europeanand American air filter test standards (EN779:2002 andASHRAE 52.2-1999), which now require that the filtersmust be efficiency-tested after any electrostatic chargehas been dissipated. Graph 2 shows the comparative performance of two

different types of air filter against 0.4 micron-sized particlesover a six-month period. Both claim F7 performance(EN779). The measurements were made in two identicalside-by-side fresh-air ventilation units in Berlin. Note, theHi-Flo filter (glass-fibre media) maintains a constantefficiency of approximately 55–65%. Conversely, the filtermade from coarse synthetic fibres, which has a high initialefficiency due to its electrostatic charge, quickly deterioratesto an efficiency value of 30–35%. It is filter design and filter construction techniques that

allow competent manufacturers to produce air filters withminimal energy demands that do not compromise efficiency.Low pressure-drop values can be achieved through goodfilter engineering. Increasing the amount of filter mediumin the filter gives the air more area to pass through, andmore capacity to collect dust particles. However, simplyincreasing the amount of filter medium can itself be proble -matic if the filter construction actually creates a greaterrestriction to airflow. It is essential that the additional filter


Graph 2: The efficiency performance of two types of air filterover time.

OPTIMISE AIR FILTRATION AND MINIMISE ENERGY COSTS — continued from page 23


medium be configured to allow the air an easy passageinto, through, and out of the filter. This point is illustrated in Figures 1 and 2, which show

an extended area 12-pocket bag filter and a visualisation ofthe problems that can occur if the pockets are not properlyconstructed in a tapered fashion and adjacent pockets areallowed to touch each other. The benefit of incorporating additional media area in a

filter is illustrated by the following LCC software compari -son of two Camfil Farr bag filter products. Two filters arecompared side by side. Both use identical filter media, and

both are F7 grade according to EN779 (MERV 13- ASHRAE52.2-1999). The only difference between the filters is that theA7 model contains 4.5 m2 of media; the M7 model 9.2 m2.In this scenario, the ventilation system contains four filters,each filter is handling 3400 m4/hr (2000 cfm), and the costsare to be calculated over a five-year period. The outdoorair quality has been set to simulate a large town (ODA 3according to EN13779), and the fan efficiency has been setto 50%. The labour cost to change each filter has been setat £20. Inflation has been set at 0%.

Figure 1: A 12-pocket bag filter. Figure 2: Comparison between the ideal tapered pocket designand a parallel pocket design.

Table 2FILTERS Hi-Flo M7

Energy Class A

Media CM 285B

Size 592 * 592 * 635 (mm)

Effective media area 9.2 m2

Filter price 193.2 GBP

Labour cost 20 GBP/Filter

Airflow 3400 m2/h (0% Return air)

Pressure drop 85 Pa

Final pressure drop 250 Pa

Average dP 142 Pa

Filter life 11200 hours

Number of filter changes 4

LCC cost in GBP based on 5 years lifetime of installation

FILTERS Hi-Flo M7

Total filter cost 772

Installation cost 0

Labour cost 240

Energy 4716

Disposal cost 60

Duct cleaning cost 0

Total LCC 5788 GBP

Table 1FILTERS Hi-Flo A7

Energy Class B

Media CM 285B

Size 592 * 592 * 595 (mm)

Effective media area 4.5 m2

Filter price 111.2 GBP

Labour cost 20 GBP/Filter

Airflow 3400 m2/h (0% Return air)

Pressure drop 150 Pa

Final pressure drop 250 Pa

Average dP 190 Pa

Filter life 2200 hours

Number of filter changes 20

LCC cost in GBP based on 5 years lifetime of installation

FILTERS Hi-Flo A7

Total filter cost 2224

Installation cost 0

Labour cost 1520

Energy 6292

Disposal cost 380

Duct cleaning cost 0

Total LCC 10416 GBP

Tables 1 and 2: Summary of LCC report data for the A7 and M7 filter models over a five-year period.


The software reports the initial, final and average pressureloss of each filter. Note the average pressure-loss values of190 Pa (0.76 in. WG) and 142 Pa (0.56 in. WG) for the A7and M7 filters. From a database of test reports, the softwarecalculates the number of times each pattern of filter wouldhave to be changed over a five-year period, based in bothcases on a final pressure-loss value of 250 Pa (1.0 in. WG).The A7 filter would require 20 changes, and the M7 filtera maximum of four changes in the same period. The lower section of the LCC software report shows the

costs of operating the two different filters over a five-yearperiod. Note that the purchase price of the M7 filter is almost

double that of the A7 filter. Yet, when the number of requiredfilter changes is taken into account, the expenditure onfilters over five years is considerably less for the M7 filter(£772 vs £2224). Similarly, the labour costs to change theM7 filter are much lower (£3240 vs £1520).However, the most pronounced difference is in the

energy costs. The energy bill to operate the M7 filters willbe £1576 less than the A7 filter (£6292 – £4716). Taking allof the benefits into account, the M7 filter will be £4628(£10416 – £5788) cheaper to operate over a five-yearperiod, for a savings of 44%. Using effective air filters with durable long-term efficiency

values provides other benefits. The need for expensive

ductwork cleaning and interior redecoration can besubstantially avoided.

Summary

• Air filters play an important role in providing goodindoor air quality and in preventative conservation.

• Filters can have a very significant impact on energy costsand carbon footprint.

• Only filters that have a durable high-efficiency value,resulting from the use of fine-fibre media, shouldbe used.

• A Life Cycle Cost analysis is essential to ensure that thetotal operational costs of an air-filter installation over aperiod of years are identified and minimised.

• Air filter design and construction can greatly influencelifecycle costs.

• It is a false economy to select air filters simply on thebasis of lowest purchase cost.

Chris Ecob is Technical Director at Camfil Limited. Please contactCamfil Farr for an assessment of their air filtration plant and anLCC calculation to quantify potential savings atwww.camfilfarr.com. Chris can be reached [email protected]


OPTIMISE AIR FILTRATION AND MINIMISE ENERGY COSTS — continued from page 25


IAMFA’s International Affairs Com -mittee convened for the first time ina teleconference on March 12, 2009.

Attending Committee members were:Rogelio Diez, Head of Maintenanceand Installations, Guggenheim BilbaoMuseum; Richard Kowalczyk, Chief,Preservation and Restoration, Paul E.Garber Facility; and, Guy Larocque,Director Facility Management andSecurity Services, Canadian Museumof Civilization Corporation.As IAMFA’s Head of International

Affairs, Guy Larocque welcomed themembers and expressed delight at theopportunity and challenges that themembers will be facing in working atpromoting and recruiting new IAMFAmembers at the international level.Richard Kowalczyk indicated that recentsuccess in attracting new membersfrom Paris and Moscow appeared tohave been the result of IAMFA’s activitiesto improve its international exposure.Committee members discussed roles

and responsibilities that they wouldtake on to promote IAMFA. RogelioDiez advised the Committee that he isvery comfortable with reaching out toother museums in Spain, Portugal andItaly. Richard Kowalczyk will continuehis work with the International FacilityManagement Association (IFMA)Museums Council, where he wouldlike to produce a Memorandum ofUnderstanding (MOU) between IFMA’sMuseum Council and IAMFA. TheIFMA Council has in excess of 200 mem -bers from North America, Africa, Europeand the Far East. Dave Samec of theSmithsonian is the Chair of that Council.They met last year in Denver, and therewas also a council meeting in Vancouverat the end of March. Guy will targetthe French-speaking ICOM delegatesat their annual Advisory Councilmeeting in Paris in June 2009, whilealso continuing to make as many

Le Comité des affaires inter na tionalesa tenu sa première réunion partéléconférence le 12 mars 2009.

Voici la liste des membres présents :Rogelio Diez, chef de l’Entretien etdes Installations, Musée GuggenheimBilbao; Richard Kowalczyk, chef de laPréservation et de la Restauration, PaulE. Garber Facility; et Guy Larocque,directeur de la Gestion immobilière etdes Services de sécurité, Société duMusée canadien des civilisations.À titre de chef des Affaires inter na -

tionales, Guy Larocque commence parsouhaiter la bienvenue aux membres.Il se dit heureux des possibilités et desdéfis que la promotion de l’IAMFA etle recrutement de nouveaux membresreprésentent pour les membres àl’échelle internationale. RichardKowalczyk souligne que le recrute mentrécent de nouveaux membres de Pariset de Moscou semble être le fruit desactivités de l’IAMFA visant à accroîtreson rayonnement dans le monde.Les membres du Comité discutent

des rôles et des responsabilités qu’ilspourraient assumer pour faire lapromotion de l’IAMFA. Rogelio Diezindique qu’il est entièrement disposéà communiquer avec d’autres muséesen Espagne, au Portugal et en Italie.Richard Kowalczyk continuera sontravail auprès du conseil des musées del’International Facility ManagementAssociation (IFMA). Il espère pro duireun protocole d’entente entre le conseildes musées de l’IFMA et l’IAMFA. Leconseil de l’IFMA compte plus de 200membres en provenance d’Amériquedu Nord, d’Afrique, d’Europe etd’Extrême-Orient. Dave Samec duSmithsonian en assure la présidence.Le conseil s’est réuni l’an dernier àDenver et a également tenu uneréunion à Vancouver à la fin de mars.Guy Larocque ciblera les délégués delangue française à la rencontre annuelledu Comité consultatif de l’ICOM qui

El Comité de IAMFA de AsuntosInternacionales se reunió porprimera vez via tele conferencia

el 12 de marzo de 2009. Asistieron lossiguientes miembros: Rogelio Diez,Encargado de Mantenimiento yInstalaciones, Museo de Guggenheimen Bilbao, Richard Kowalczyk, Jefe,Preservación y Restauración, Instala ciónde Paul E. Garber, y Guy Larocque,Director de Mantenimiento, Insta -laciones, y Seguridad, Museo deCivilización, SA.En su papel de Director de IAMFA

de Asuntos Internacionales, GuyLarocque les dio la bienvenida a losmiembros y les expresó su alegría antelas oportunidades y los retos que seenfrentaran los miembros al trabajaren la promoción y el reclutamiento demiembros al nivel internacional.Richard Kowalczyk indicó que el recienteéxito en atraer a miembros de Paris yMoscú parece ser el resultado de lasactividades de IAMFA para mejorar supresencia internacional. Los miembros del comité discutieron

los papeles y las responsabilidades queasumirán para promover a IAMFA.Rogelio Diez avisó al comité que no lemolesta ponerse en contacto conotros museos en España, Portugal, yItalia. Richard Kowalczyk continuarásu trabajo con la Asociación Inter na -cional de Gerentes de Instalaciones(IFMA), con la cual le gustaría producirun Acuerdo de Entendimiento (MOU)entre el Consejo de Museos de IFMA yIAMFA. El Consejo de IFMA tiene másde 200 miembros de Norteamérica,África, Europa, y el Lejano Oriente.Dave Samec del Smithsonian es el pres -idente de ese consejo. Los miembrosdel Consejo de IFMA se reunieron elaño pasado en Denver, y tambiénrecientemente en Vancouver al finalde marzo. Guy planea concentrarse enlos delegados franco parlantes delConcejo Internacional de Museos

Report on International AffairsRapport sur les affaires internationalesReporte de Asuntos Internacionales by / par / por Guy Larocque


new contacts as possible to promotemembership in IAMFA.The members of our International

Affairs Committee will all be attendingthe ICOM meetings in Paris to promoteIAMFA’s mandate, to recruit new mem -bers, and to offer advice on technicaland financial issues related to culturalbuildings. One of the most importantissues on the ICOM agenda this springwill be the difficult economic situationthat most cultural institutions are facingin the world today. IAMFA’s Committeemembers are particularly well positionedto offer commentary on building oper -ating costs and best practices, whichwould be of great benefit to ourinternational colleagues.Each member of the Committee

has set a goal of securing a commit -ment to join IAMFA from at least onedelegate attending the ICOM AnnualAdvisory Committee in Paris. The recrui -ting strategy will be to promote IAMFA’smandate, while also highlighting theannual Museum Benchmarking survey.Committee members will hand outcopies of the Fall/Winter 2008–2009issue of Papyrus to prospective new mem -bers. This issue contains the IAMFAmember directory. We will also discussdisplaying a copy of the MuseumsBenchmarking Survey report to ICOMmembers to help recruiting efforts.In June, after the ICOM meeting in

Paris, members of our InternationalAffairs Committee will discuss thecontents and speaker’s notes that eachCommittee member will present duringa session at our upcoming annualconference in Washington, D.C.,scheduled for Tuesday, November 3,2009 at 9:45 a.m. We will offer thepresentation in three languages, andprovide simultaneous translation forall delegates of the conference.Finally, I encourage you to join ICOM

if you haven’t already done so. Thiswill extend your contact network andcould also benefit your organization.

aura lieu à Paris en juin 2009. Il tenterade multiplier les nouvelles relations afinde promouvoir l’adhésion à l’IAMFA.Les membres du Comité des affaires

internationales participeront aux réu -nions de l’ICOM à Paris afin de fairela promotion du mandat de l’IAMFA,de recruter de nouveaux membres et dedonner des conseils sur des ques tionstechniques et financières liées auxétablissements culturels. La difficile situ -ation économique à laquelle font facela plupart des institutions cultu relles,partout dans le monde, actuellementcomptera parmi les principaux pointsà l’ordre du jour de l’ICOM ce prin -temps. Les membres des comités del’IAMFA sont particulièrement bienplacés pour offrir leurs points de vuesur les meilleures pratiques et les coûtsd’exploitation des établissements eten faire profiter leurs collègues àl’échelle internationale.Chaque membre du Comité s’est

donné comme objectif de recruter ausein de l’IAMFA au moins un déléguéà la rencontre annuelle du Comitéconsultatif de l’ICOM à Paris. La stra -tégie de recrutement reposera sur lapromotion du mandat de l’IAMFA etsur la mise en relief du sondage annuelsur les indices de référence des musées.Les membres du Comité distribuerontaux nouveaux membres éventuels desexemplaires du numéro automne-hiver2008-2009 de Papyrus. Le numérocontient le répertoire des membres del’IAMFA. On envisagera également demettre en montre pour les membres del’ICOM une copie du rapport du son -dage annuel sur les indices de référenceafin de favoriser le recrutement.En juin, à la suite des rencontres de

l’ICOM à Paris, les membres du Comitédes affaires internationales se penche -ront sur le contenu et les notes desexposés que chaque membre présen -tera à une séance de la conférence del’IAMFA à Washington, prévue pour9 h 45, le mardi 3 novembre 2009. Lesexposés seront présentés en trois languesavec interprétation simultanée pourtous les délégués de la conférence.Enfin, je vous encourage tous à

devenir membre de l’ICOM si ce n’estpas déjà fait. Cette adhésion accroîtravotre réseau de relations et pourraitêtre profitable à votre organisation.


REPORT ON INTERNATIONAL AFFAIRS —continued from page 27

RAPPORT SUR LES AFFAIRESINTERNATIONALES – suite de la page 27

(ICOM) cuando se encuentren enParis para su reunión anual del Concejode Consultoría en junio 2009, y ademásGuy continuará aumentando la canti -dad de nuevos contactos para lograrincrementar la membresía de IAMFA.Todos los miembros de nuestro

Comité de Asuntos Internacionalesasistirán a las reuniones de ICOM enParis para promover el mandato deIAMFA de reclutar nuevos miembros, yofrecer consejos sobre los temas técnicosy financieros de instalaciones culturales.La difícil situación económica queenfrentan la mayoría de las institucionesculturales en el mundo de hoy será desuma importancia esta primavera en laagenda de ICOM. Los miembros deIAMFA están en una posición excelentepara ofrecer comentarios sobre los costosde operaciones y las mejoras prácticas,los cuales serían de gran beneficiopara los colegas internacionales.Cada miembro del Comité ha fijado

la meta de lograr que un delegadoque asista al Concejo de Consultoríade ICOM en Paris se comprometa aunirse a IAMFA como miembro.La estrategia para conseguir nuevos

miembros será de promover el mandatode IAMFA, y hacer énfasis en la EncuestaAnual de Evaluación Comparativa delos Museos. Los miembros del comitéentregarán copias del Papyrus deOtoño/Invierno 2008-2009 a posiblesnuevos miembros. Este ejemplar con -tiene el directorio de los miembrosde IAMFA. También discutiremos laposibilidad de mostrar una copia dela Encuesta Anual de EvaluaciónComparativa de los Museos a losmiembros de ICOM para asistir enlos esfuerzos de reclutar.En junio, después de la reunión de

ICOM en Paris, los miembros de nuestroComité de Asuntos Internacionalesdiscutirán el contenido y los apuntesde orador para sus presentacionesindividuales planeadas para nuestrapróxima conferencia anual enWashington, D.C. a las 9:45 a.m. el 3de noviembre de 2009. Ofreceremosla presentación en tres idiomas, yproveeremos traducción simultáneapara todos los delegados de laconferencia.Finalmente, les exhorto a que se

unan a ICOM si no lo han hechotodavía, para aumentar y desarrollarsus redes de contactos.

REPORTE DE ASUNTOS INTERNACIONALES —viene de la página 27


MOMA, and the construction of theoffsite storage facility in Queens,New York, which was also used as atemporary home for MOMA duringexpansion. Having the luxury of beingretired, coupled with knowledge andexperience from my former career, Ioffered my help, viewing this as anopportunity to show how IAMFA wasbuilt on networking and the sharingof information. Prior to my visit to West Palm Beach,

I corresponded with Bob Evans, also aretired IAMFA member, about whatI could do to help. We decided thata site visit was the first step. I madearrangements, went to the facility andmet with Bob Evans, Jane and RayHall, Director of Security and BuildingOperations. We started our tour bylook ing at the condominium that wastargeted for demolition. It had beendamaged by a hurricane and was

deemed uninhabitable, so a developerwas planning to demolish it andrebuild on the site.We were all in agreement that the

upcoming demolition was a concern.The condominium building was a late1960s/early 1970s structure that hadbeen boarded up several years earlierwith no mention of mothballing. Wouldyou be worried about contaminationfrom asbestos, lead, PCBs and possiblymold? Obviously, this is a rhetoricalquestion. So far this has only been about demo -

lition, but what about construction ofthe new building? The developer hasplans for a new 31-storey condo, butwill add underground parking and,because of the low water table andclose proximity to the IntracoastalWaterway, they may use a “slurry wall”construction approach for the under -

Networking and Sharing ofInformation: Our True Purposeby Vincent Magorrian

Exterior view of the Norton Museum of Art in West Palm Beach, Florida.

When I received the Fall/Winter issue of Papyrusand saw the article by Jane

Pangborn, Director of Administrationfor the Norton Museum of Art in WestPalm Beach, I saw a great opportunityto show a new member what IAMFAwas all about.In Jane’s article, she asked for advice

from colleagues on preparing for thedemolition of a 31-storey condo min iumlocated two blocks from her museum.Before I retired and moved to Orlando,Florida, I was the Director of BuildingOperations at New York’s Museum ofModern Art (MOMA). During my 35-year career, I spent 17 years as care -taker and steward of my museumthrough major construction and demo -lition projects and events, the mostthreatening being the aftermath of9/11. My major construction projectsincluded the last major expansion of


ground construction. Bob Evans hadsome concerns about this approach.The Smithsonian Quadrangle—athree-storey underground facility on theMall that houses the Sackler Gallery,African Art Gallery and the Ripley

Center—was built using the “slurry wall”technique, and there were some issues.Next we toured the exterior of the

Norton to see the potential impli ca tionsof nearby demolition on the facility.We looked at such things as locationof intake ducts, entrances, loadingdock activity, exterior grounds andsystems such as windows and roof. Bob and I both were impressed by

the condition of the facility, as well as

its exterior grounds, interior main te -nance and housekeeping. The back-of-house tour revealed the true stateof things for us old facility managers.The plant was in great condition, cleanand well maintained. The pipes werecolor-coded and labeled. Insulation wasclean and damage-free, with no leakingand no standing water. All the positivethings we facility types look for.My brother Tom, a disabled veteran

now relegated to a motorized scooter,toured the Museum on his own whilewe toured mechanical spaces and talkedwith the maintenance staff. We all hadlunch in the Museum café, which wasa real treat. The menu was themed tocurrent exhibitions such as French,Asian and American cuisine. Theatmosphere and food were excellent,and Tom gave the museum high markson accessibility.This is a world-class museum and

should be on your list of facilities to visit.

Steps to Prevent Damageor Hazardous Conditionsduring a NearbyDemolition

1. Have the contractor doing thedemo lition supply you with plans,specifi cations and project schedule,including all hazardous-materialabatement programs.

2. Meet with local law enforcementand fire department officials andestablish a coordination andcommunications hotline.

3. Be sure everyone knows the impor -tance of your having manpower atyour facility for the protection ofart and artifacts.

4. Establish the contractor’s respon -sibility for picking up the cost foryour protection: e.g., tarps to coversculptures and window protection,as well as miscellaneous costs forspecial cleaning and walk-off matsfor dust protection.

5. Require the contractor to hose downthe site during demolition, andhave the contractor keep the siteclean after the demolition until it isblacktopped, to prevent dust in air.

Steps to Prepare for aNearby Demolition andits Aftermath1. Take extensive photographs of yourfacility’s interior and exterior beforeand after the event.

2. Place walk-off mats at all entrancesto prevent dust being brought in bypeople’s shoes.

3. Have all fresh-air intakes protectedwith roll filter material where pos -sible; this should help protect yourhigh-cost box and pleated filters.Check to be sure there is as littlebypass as possible into air handlersat the filter bank, in order to pro -tect coils. It also might be a goodidea to have coils cleaned two weeksafter the demolition is over.

4. Have signs posted as early as youcan before the demolition to alertyour repeat visitors that you will beclosed on the day of demolition.Don’t forget to notify your membersas well if you send out mailings.

5. Advise personnel, especially securitystaff, to be extra aware and avoiddistractions, which can easily happenat this time.

6. Be sure intakes for generators andother equipment are protected asmuch as possible.

The Norton staff had thought ofmost of our punch list suggestions,but it is always nice to have a secondinformed opinion and get it in writing.It is a pleasure to represent IAMFA

and help members carry out their goalsand ideals. I would like to reach out toany museum, especially smaller facilitiesthat cannot afford to have experiencedfacility managers, and would hope to beable to give them ideas on energy con -servation and also contract review. Thereare many ways to save on oper ating costswithout laying out large expenses.Simple ideas can often save money,and I would be pleased to help IAMFAmembers’ facilities any way I can.

Vincent Magorrian is the former Directorof Building Operations at the Museum ofModern Art in New York City, and is a past-President of IAMFA.


Derelict 31-storey condominium building tobe demolished.

The condominium

building was a late

1960s / early 1970s

structure that had been

boarded up several

years earlier

NETWORKING AND SHARING OFINFORMATION — continued from page 29


Philadelphia Chapter

by John Castle

The Philadelphia Chapter met on 18 December on thegrounds of the Winterthur Museum and Country Estate.The meeting was attended by Rich Reinert, Philadelphia

Museum of Art; Bruce Cantor, Delaware Art Museum; MikeDowns, Hagley Museum; Bruce Katsiff, James Michener ArtMuseum; Chris Hayden, Delaware Museum of NaturalHistory; Greg Wuthnow, Mt. Cuba Center; Mark Lobachfrom Longwood Gardens; and, John Castle and Bob McCuefrom Winterthur.We started the day off with a tram tour of the grounds,

narrated by the Estate’s historian, Maggie Lidz. She recounteda brief history of the property and of H.F. DuPont, focusingon the periods of construction and the technology employedthere. It was interesting to hear about the fact that the Estatehad asphalt roads even before the public roads beyondthe property.After leaving the tram, we visited a few of the barn build -

ings that are not open to the public. Since it was a cold day,we retreated to the warmth of the Facilities building and

had a nice lunch. During lunch, we discussed our commonconcern about the economy and the different strategies eachof us were using. There was also some discussion abouthaving some of the attendees join IAMFA.After lunch, we walked down the hill to the main museum,

where we visited the boiler room and other back-of-houseareas. Then it was back to the parking lot to wish everyonea safe journey home.

John Castle is Director, Facilities Services at Winterthur Museum &Country Estate in Winterthur, Delaware, U.S.A.

United Kingdom Chapter

by Bill Jackson

On the morning of Thursday, March 26, 2009, Bill Jackson,Head of Estates for the National Library of Scotland,welcomed friends and colleagues to the annual IAMFAU.K. Chapter meeting in Edinburgh. In his introduction,Bill suggested that anyone who has ever studied the historyof our great national institutions will know that one of thegreatest challenges facing their growth is the neverending

Regional Chapters and Member News

Philadelphia Chapter members enjoy the view from the East Terrace at Winterthur.


search for space. Noting that the National Library ofScotland is certainly no exception, Bill then introducedthe first two speakers—Steve Scott and Jim Young of theLibrary’s Collection Management Division—to explainthe steps they had taken to create space within the existingstorage areas.Steve Scott, Head of Collection Management, explained

how he had been asked by senior management to calculatehow quickly it would take for the current collection storageareas to become full. Whilst this seemed a simple question,the answer was not so easy. The first questions raised werewhat space the Library really had, and just how the currentcollection was actually stored. Following much discussionbetween Steve and his colleagues on the collection manage -ment team, it was accepted that the following two initiativesshould be implemented:

• A small team from within the collection managementteam led by Jim Young should set themselves the taskof reviewing just how the collection was actually stored

on the shelves, and develop ways of increasing storagedensity without harming the collection.

• The Estates Division should be invited to review eachstorage area to assess every space, and to ensure thatevery space that could contain storage shelves was fittedwith shelving.

Coincidently, at the same time as the collection man -agement team was thinking about how to make a start onimproving the storage efficiency of the Library, they werealso being asked to move an existing collection from onebuilding to another. They decided that they would use thismove to try out their ideas, which were to store books onshelves by size, meaning that the collection would nolonger be stored by subject, but by size alone. The Library had also recently introduced a purpose-

made box-making machine, which allowed the collectionmanagement team to order boxes in the exact size neededto house a given collection. Whilst moving a part of thecollection allowed the team to change storage strategy forthe Library, it was based on moving a collection into an


Bill Jackson introducing Linda MacMillan, who spoke about theNational Library of Scotland.

John DeLucy at the National Museum of Scotland’s offsite storagefacility, explaining the finer points of wrapping an elephant forpostal delivery. John felt that an elephant would be a welcomeaddition to his office, helping to avoid those awkward momentswhen conversation dries up!

REGIONAL CHAPTERS AND MEMBER NEWS — continued from page 31


empty space. It is a far more demanding task was to imple -ment improved storage efficiency when there is no emptyspace to provide temporary storage accommodation. The Estates team had been tasked with reviewing the

storage area and, by identifying all the vacant spaces andquestioning the requirement for all corridors and accessroutes, they came up with a plan to fill all of these gapswith storage shelving. Whilst this did not provide a perfectsolution, it did allow the collection management team tocontinue to implement their new storage strategy withinexisting storage areas. The net effect of all these changes todate has been to create an additional 6,011 linear metresof collection space, with an equivalent cost savings of£1.9M—as compared to a new build cost to provide thesame storage space—and with no additional running costsin the existing building. Linda MacMillan, a Chartered Architect by profession

who works in the Estates Division of the National Library ofScotland, was next up to explain how the Library had carriedout a detailed study of every space within the Library. Byanalysing and categorising each space, the Library couldpinpoint exactly what space was available, what was beingused, and, most importantly, what space could potentially bedeveloped for different uses—especially collection storage.This information could be easily presented in a number ofdifferent formats, allowing senior management to under -stand the effects of different strategies in a very simple andstraightforward way. Combined with the work that Steve and Jim had previously

explained, this allowed Linda to project storage spacerequirements into the future, based on different storageefficiencies. It also allowed her to demonstrate in a simplegraphical diagram how soon the current collection storagearea would be full, requiring new building space. Thisinformation is, of course, invaluable in demonstrating topotential sponsors when funding would be required for anew building programme.To close the morning session, John DeLucy, IAMFA’s

current President and head of Estates at the British Library,gave a brief presentation of the new futuristic, fully automaticstorage facility recently completed at the British Library’sBoston Spa site. Those fortunate enough to attend the 2008London Conference will remember with some awe our visitto the site, when construction was nearing completion. Onememorable slide John showed was the British Library’sHead of Conservation trying unsuccessfully to set fire to abook with a blow torch in the low-oxygen environment!This demonstration fully justified John’s confidence in thevalue of a low-oxygen environment for the storage of historicalcollections. Time will tell whether John has changed thecourse of history on how the heritage industry protectsirreplaceable artefacts from fire! The group then headed to the Royal Museum of Scotland

site at West Granton, where our old friend of many IAMFAconferences, Willie Anthony, Estates Manager of the RoyalMuseum, was our host. Continuing the theme of the searchfor space, Willie introduced Ms Wendy Turner, Head of

Collection Management at the Royal Museum, and Dr JimTait, Head of Conservation. The challenge at the Royal Museum was slightly different

than at the National Library, insofar as the Museum is cur -rently undergoing major construction to create a new mainentrance. This meant that a considerable part of their col -lection had to be moved to a safer location for the durationof the work. To provide suitable accommodation, the Museumbuilt a new gatehouse, which was to include storage andworkshop facilities. Ms Turner talked us through the variousstorage strategies implemented by the Museum, then Dr Taitprovided a brief presentation on the preservation issuessurrounding the move to new accommodations. The final presentation of the day was provided by Mr Alex

Melichar of TPS Consulting Engineers. Alex’s presentationprovided a succinct explanation of how dynamic thermalmodelling could provide valuable information, especiallywith regard to the correct sizing of plant replacement. Thecomputer model, based on accurate weather conditionsand detailed building information, could predict exactlyhow the environmental conditions for each space wouldchange under varying occupancy conditions, allowing anew plant to be accurately sized to meet the load. This wouldbe especially important in the future if, as expected, envi -ronmental standards for the storage of archive materialchanges, from compliance within a fixed band to a rate ofchange with broader limits. Dynamic simulation modelscan predict this rate of change, not only allowing plantsizing to be reduced, but also allowing the implementationof control strategies to reduce overall running costs andincrease plant life.Before we all left to make our various ways home, Willie

turned tour guide to take us around the Museum’s newgatehouse storage facility. Robert Galbraith of the NationalGalleries of Scotland, another friend of many IAMFAconferences, then took us around the storage facility thatthe National Gallery has on the Royal Museum site. After this, it was time to bid a fond farewell to friends

and colleagues, wishing everyone a safe journey home—and expressing the hope that we would all meet up againin Washington for the 2009 IAMFA Conference.

Bill Jackson is Head of Estates for the National Library of Scotlandin Edinburgh.

2009 Benchmarking Sponsor

by Stacey Wittig

Thanks to John Castle who suggested Whiting-TurnerContracting Company as a candidate for sponsoring the2009 Benchmarking Study. Whiting-Turner will besponsoring the study along with McGuire Engineers andRutherford & Chekene, Structural and GeotechnicalEngineers. Please contact Stacey Wittig at 928-255-4943with suggestions for others who may want to take part inthe networking opportunity.

Papyrus Spring 2009

Education

Transcript of Papyrus Spring 2009