Papyrus Spring 2014

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

Preview of the24th IAMFA

AnnualConferencein Scotland

Getting theMost from

FacilityAssessments

Update onChristchurch

NZ's Recovery

Hydronic Snow-Meltingat the Canadian

Museum of History

VOL. 15, NO. 1 SPRING 2014VOL. 15, NO. 1 SPRING 2014

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

Australia — Shaun WoodhouseAustralian Centre for theMoving [email protected]

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

Los Angeles, USA — David CervantesLos Angeles County Museum of [email protected]

New England, USA — Jim Moisson Harvard Art [email protected]

New York, USA — Mark DemairoNeue [email protected]

New Zealand — Cliff HeywoodRoyal New Zealand [email protected]

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

Philadelphia, USA — Rich ReinertPhiladelphia Museum of [email protected]

Northern California, USA —Jennifer Fragomeni [email protected]

United Kingdom — Jack PlumbNational Library of [email protected]

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

REGIONAL CHAPTERS

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

V.P., AdministrationRandy MurphyLos Angeles County Museum of ArtLos Angeles, CA, [email protected]

V.P., Regional AffairsBrian ColemanMuseum VictoriaMelbourne, [email protected]

TreasurerAlan DiricanDumbarton OaksWashington, DC, [email protected]

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

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

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

IAMFA BOARD OF DIRECTORS

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

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

Preview of the 2014 IAMFA Annual Conferencein Edinburgh and Glasgow, Scotland . . . . . . . . . . . . 4

Getting the Most from Facility Assessments. . . . . . . . 6

Christchurch Art Gallery Te Puna o Waiwhetu:Maintaining a Facility Through 13,000 Seismic Events and Numerous Major Repairs . . . . . . . . . . . . . 9

Snow-Melting Modifications to Vehicle Ramps at the Canadian Museum of History . . . . . . . . . . . . . 13

2014 IAMFA Conference Preliminary Schedule . . . . . 16

The Making of a Book . . . . . . . . . . . . . . . . . . . . . . . . 20

Getting Started with Benchmarking . . . . . . . . . . . . . 22

A Real Burns Supper at IAMFA Annual Conference in Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

The Benjamin Franklin Museum: Renewing aPhiladelphia Landmark . . . . . . . . . . . . . . . . . . . . . . . 27

IAMFA Scotland 2014: A Tongue-in-Cheek View of History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Regional Updates and Member News . . . . . . . . . . . . 30

IAMFA Members—Organizations . . . . . . . . . . . . . . . 35

For additional

contact information,

please visit our website at

www.NewIAMFA.org

For more information onbecoming a member of the International Association of

Museum Facility Administrators, please visit www.NewIAMFA.org

Cover photo: Roofline of Rosslyn Chapel, Edinburgh, Scotland. Photo: Joe May

CONTENTS

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

While we have made every attempt toensure that reproduction rights havebeen acquired for the illustrationsused in this newsletter, please let usknow if we have inadvertently over -looked your copyright, and we willrectify the matter in a future issue.

IAMFA/PapyrusVolume 15, Number 1Spring 2014

EditorJoe May

ContributorsNancy BechtolTerry BramblesJudie CooperJennifer FragomeniKendra Gastright

Thomas C. Jester Joe MayKeith McClanahanLynley McDougallJack PlumbJason Sawyer

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

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

members to gather and begin cele brat -ing our 25th year. You will read muchin this issue about Scotland, as well asthe plans for this year’s Conference.Jack Plumb and his excellent team aremaking arrangements for us, and I canensure that you won’t be disappointed.There is a two-page centerfold in thisissue with pictures from our visit inearly April. The venues are stunning!You’ll also find a preliminary sched-ule of Conference events. As always,please visit www.NewIAMFA.Org forthe latest details on the Conference’seducational program. There is also an article in this issue

about the three Glasgow venues thatwe’ll visit in the fall. The day in Glasgowwill culminate in a traditional BurnsSupper—you can read more about whata Burns Supper involves in this issue.This looks to be about as close as it getsto traditional life in Scotland . . . I can’twait! Jack Plumb has also written anarticle in this issue about Scotland’shistorical contributions to society, andI look forward to seeing if it’s all true.He must be exaggerating! We will learnmore about the Edinburgh venues inthe next issue of Papyrus.In this issue, you’ll find an article

about getting the most from FacilityAssessments, contributed by KendraGastright and Jason Sawyer of theSmithsonian Institution. You will alsoread about a book crafted by JudieCooper and Angela Person-Harm atthe Smithsonian titled The Care andKeeping of Cultural Facilities: A BestPractice Guidebook for Museum FacilityManagement. This new book is both aguide for those new to the field, anda reference for experienced profes -sionals. You will also read about gettingstarted with benchmarking, along

Greetings from Los Angeles!

Welcome to the Spring 2014issue of Papyrus. As I writethis, IAMFA is beginning its

25th year since its 1990 inaugurationin Chicago. Since the very first meetingcalled by founding member GeorgePreston, IAMFA’s purpose has been toassist its members in improving design,construction, and operation of theircultural facilities. It seems only fittingthat IAMFA will complete its 25th yearback in Chicago: location for our25th Annual Conference in Fall 2015. IAMFA’s Board of Directors recently

had its mid-year Board meeting inScotland, where we reviewed plans forthe 24th IAMFA Annual Conference,set for September this year. Please readNancy Bechtol’s message to learn moreabout our excellent meeting. Whilein Scotland, Patrick Jones from theArt Institute of Chicago told us that heand Bill Caddick, who will host nextyear’s 25th Annual Conference, recentlyfound a box of papers left by GeorgePreston, containing many of IAMFA’soriginal documents. I hope all of ourmembers will remain in close touchover the next year as we approach our25th anniversary. Maybe the discoveryof these original documents will shedlight on some of the details that mayhave been lost about IAMFA’s origins.For now, however, it seems fitting that webegin the celebration. The countdownhas started! Having just visited the venues for the

2014 Scotland Conference, I can’t thinkof a better place for all of IAMFA’s

2 PAPYRUS SPRING 2014

with changes planned to simplify theprocess for participation in the 2014Benchmarking exercise that KeithMcClanahan coordinates each year.Lynley McDougall has contributed

an update on how Christchurch,New Zealand is recovering from thedevastating earthquakes that struck thecity just prior to our 2011 Conferencein Auckland. Wouldn’t it be wonderfulif IAMFA could gather someday inChristchurch to celebrate its fullrecovery from those tragic events!Terry Brambles’ article in this

issue describes a new energy-efficientsystem for hydronic snow-meltingat the Canadian Museum of History.Quinn Evans Architects, which isan IAMFA Corporate Member andsponsor, has also contributed anarticle about the sustainable featuresincorporated in their design of arenewed Benjamin Franklin Museumin Philadelphia. We were in thevicinity of the Franklin Museumwhen we visited the PhiladelphiaMuseum of Art during the 2012IAMFA Conference.There is much to read about in this

issue of Papyrus. Many thanks to ourmembers and other contributors whoprovide the educational content forthis magazine. Please stay abreast of developments

leading up to the Scotland 2014Conference. There are some dead -lines that you need to be aware of, inorder to book your hotel accommo da -tions and to register for this fall’sConference. Please read on, or visitwww.NewIAMFA.org. We don’t wantanyone to miss this kickoff to ourcelebration of IAMFA’s 25th year.Please don’t wait until the last minuteto make your plans to attend.

Joe MayEditor, Papyrus

LETTER FROM THE EDITOR

Annual Conference in September. Wetoured the Rosslyn Chapel and theNational Museum of Flight on Sunday.It was such a large group that GavinMoffat often had to assist us in gettingaround to the various locations. He wasa dream to travel with, and we can’tthank him enough for giving up his lifethat week to take care of our group. TheRosslyn Chapel should be on your must-see list when you come to Edinburghthis fall; it is one of the oldest, mostremarkable, and most beautiful stonebuildings I have ever seen. We toured the National Library

of Scotland, the National Museum ofScotland, and the National PortraitGallery on the following day. We haveSean Gillespie and Fiona Stewart fromthe National Museum of Scotland tothank for their fantastic behind-the-scenes tour. We also want to thankMichael Browne and Jacqueline Ridgefrom the National Galleries for theirtime with us; every member is in forsuch a treat this fall! These museumsand cultural institutions are magnificentin every way. Our Gala dinner will be held at

the Royal Botanic Garden. We wereconducted around the site by ColinSmith and Sara Griffiths and, even ona cold spring day, the gardens weregorgeous! I can’t wait to see thesegardens in September, and we can’tthank the Botanic enough for hostingour organization. All day Tuesday we spent in Glasgow,

touring several of the Glasgow Lifemuseums. There are nine museums inall, and we only got to tour three, butthey were amazing! David Thomsonspent the entire day with us, and leftus simply amazed by the quality of eachcultural site we toured. It is incredible

to realize that this Glasgow collectionof museums is free for all visitors. Somehow Jack, Gavin and Linda

MacMillan managed to host a Chaptermeeting on the Wednesday of our visit.The Board got to mingle with about40 IAMFA members from all overEurope, and enjoyed great presenta tionsby many of our Conference sponsors.The Board was certainly very impressedby this two-day Chapter meeting. This fall, three Board positions—

President, VP Administration, andEditor—are all up for re-election.You can find a list of duties for eachposition at www.newiamfa.org on theMembers Only page. Randy Murphyand Joe May have worked hard toupdate these job descriptions, andthey now accurately reflect the keyroles for each position. You can also find out how the

Nominating Committee Policy workson the Members Only page. If youare interested in serving on IAMFA’sBoard of Directors, please email DavidSanders and Alan Dirican. We welcomeanyone interested in assisting with thework of this Board. David and Alanwill get right back to you with whatyou need to do to submit your namefor consideration. The Board is always looking for

member assistance, so please get intouch with any of us if you have somegreat ideas and are willing to help.Since we are all volunteers, we canalways use help! I look forward toseeing each of you in September, andI can’t thank Jack Plumb and hisplanning committee enough for allthey have already done to organizesuch a great meeting.

The weather seemed to be justterrible, no matter what part ofthe world you lived in this past

winter. Heavy rains and flooding insouthern England, drought and firesin California, snow and more snowin the Midwest and on the East Coastfrom Atlanta, Georgia up throughMaine and into Canada, all demandedour attention as facilities managers.The winter flew by, but in chaos! I wasreminded daily of the value of ouroccupation in the workplace whiledealing with roof leaks, hazardoussidewalks and steps, frozen pipes, andmuseum closure protocols. I am sureI am not alone!The sun is out now, temperatures

are finally above freezing, and theweather has changed with the onset ofspring. Our Board met in Edinburgh,Scotland during the first week of Apriland, though it rained and was coldevery day, we had a grand time. Springwas not evident in the temperatureof the air, but it was definitely in fullbloom with gorgeous displays of springbulbs and flowering magnolia trees.We had a fantastic time touring eachof the museums and cultural sites wewill see in September during ourAnnual Conference. We also held twodays of Board meetings, discussing ourplans for sponsorship, membershipand our strategic plan. The fearless Jack Plumb organized

our Board meeting as well as a RegionalChapter meeting for the Wednesday—all during the same week! He is alsoleading the team putting together our

PAPYRUS SPRING 2014 3

Nancy BechtolPresident, IAMFA

MESSAGE FROM THE PRESIDENT


Neil MacGregor, Director of theBritish Museum in London, hasdescribed the collections of

Glasgow’s museums as “one of thegreatest civic collections in Europe.” The city’s museums are run by

Glasgow Life, a charitable organisationthat runs nine museums, as well aslibraries, sports centres, arts venuesand theatres on behalf of Glasgow CityCouncil, which also provides themajority of Glasgow Life’s funding.The museums are collectively known

as Glasgow Museums, and includethe Riverside Museum, the BurrellCollection, Kelvingrove Museum, thePeople’s Palace, the Gallery of ModernArt, St Mungo Museum of ReligiousLife and Art, Scotland Street Museum,Provand’s Lordship, and GlasgowMuseums Resource Centre. Entry isfree to all of the museums, and theyattract over 3 million visits a year, draw -ing visitors from local communities,from across Scotland and other parts ofthe U.K., and from around the world. The collections were largely built

during the period when Glasgow was

Preview of the 2014 IAMFA AnnualConference in Edinburgh and Glasgow,Scotland

The Burrell Collection, Glasgow. Interior of the Burrell, Glasgow.

one of the wealthiest and most popu -lous cities in the United Kingdom. Inthe 19th century and the first half ofthe 20th, the Glasgow and River Clydearea was a globally important producerof heavy engineering, such as shipsand locomotives. The Burrell Collection is Glasgow’s

greatest single civic gift, comprisingover 9,000 items given to the city bySir William Burrell and his wife. Thepurpose-built Burrell museum building,opened in 1983 and now famous inits own right, houses internationallyimpor tant collections of tapestries,stained glass, Chinese ceramics and19th-century European art, among itsmany treasures. This eclectic collectionenjoys a fabulous location in a park andwoodland setting, and the museumoffers visitors an extensive programmeof guided tours, staff-led gallery talks,and family activities throughout the year.The Riverside Museum, Scotland’s

Museum of Transport and Travel, is apurpose-built museum designed byZaha Hadid Associates. It is located onthe River Clyde alongside the Tall Ship

Glenlee, and opened in 2011. It sub stan -tially re-defines the visitor experienceof a transport museum, greatly improvesconditions for the collections, andinterprets Glasgow’s internationallysignificant maritime history in-situ. Theproject is part of the ongoing redevelop -ment of the Clyde, and the RiversideMuseum won the prestigious EuropeanMuseum Academy Micheletti awardfor the best Science, Technical andIndustrial Museum in Europe 2012, andin May 2013 won the equally presti -gious European Museum of the YearAward 2013. This is the first time that amuseum has won both major Europeanmuseum prizes. The collections at the Riverside

Museum are displayed through ninemain themes: The Streets (1895–1980);The River Clyde; Transport and Leisure;Made in Scotland; Looks and Fashion;Crossing the World; Cutting Edge:Past, Present and Future; Disastersand Crashes; and Getting There. Kelvingrove Art Gallery and Museum

is one of the most-visited attractions inScotland. This Grade A-listed building


was designed by architects John Simpsonand E.J. Milner Allen of London for the1901 International Exhibition, and wasopened as a museum on October 25,1902. It is the largest civic museum andart gallery in Britain, and its collectionsare of international importance. Ithouses internationally important col -lections of art, which are particularly

strong in works by 17th-century Dutchand 19th-century French artists, as wellas nationally important collections ofarms and armour, natural history, anthro -pol ogy and archaeology. The displaysinclude 100 “stories” and approxi -mately 8,000 objects in 22 galleries.Kelvingrove is, to an unusual degree,deeply embedded in the life of the

city. It aims to combine the qualitiesof a friendly local museum withworld-class scale and quality.These are just a few of the exciting

venues awaiting you at this year’sIAMFA Conference. In our next issue,we’ll take a closer look at the sites inEdinburgh, so stay tuned!

The Riverside Museum, Glasgow. Kelvingrove Art Gallery and Museum, Glasgow.


All facility managers develop methods for creatingcapital and maintenance plans. Common practicesinclude master planning exercises and periodic

inspections. The Smithsonian Institution—with more than700 individual facilities and 12 million-plus maintainedgross square feet—uses both methods.As a quasi-federal agency, the Smithsonian tries to follow

all federal mandates and guidelines as much as practical.One of these mandates requires an annual quantified reportof our facility condition. Instead of making this into anannual data drill, we made a concerted effort to turn thisprocess into something that works for us. These quantifiedvalues are mere snapshots-in-time of the condition of eachof our facilities. They include an estimate of the currentreplacement value of the facility (CRV), the deferredmaintenance (DM) value, and an index calculated fromthese estimates called the Facility Condition Index (FCI).FCI calculations are performed as follows:

FCI = [1 – (Total DM/Total CRV)] ¥ 100

We are free to determine our own way of estimatingboth DM and CRV. Some agencies hire a third party toinspect and quantify their maintenance backlog. Prior to2007, we managed a detailed inspection process, in whichwe inspected each asset and specified projects thataddressed needs and maintenance requirements, andassigned a value to those projects. Since then, our assessment has evolved into a rapid

visual inspection of eight different building systems withineach facility. Site visits are conducted every three yearsusing several two-person teams of experienced engineers,contractors, and tradesmen, who quickly review facilitiesand systems. During the walk-through, staff rate eightbuilding elements based on ASTM (American Society forTesting and Materials) International’s UNIFORMAT II,Classification for Building Elements. The building elementsare then rated.

Getting the Most from FacilityAssessmentsBy Jason Sawyer and Kendra Gastright

5 Excellent Normal preventive maintenancerequired.

4 Good Some minor repairs could be required.Safe to use, meets all codes.

3 Fair More minor repairs required. Wear andtear noticeable. Meets most codes.

2 Poor Significant repairs required. Brokenelements. Wear and tear excessive.

1 Bad Replacement required. Unsafe to use.

The Smithsonian Institution Castle.

Ruins at the Smithsonian Environmental Research Center.

A rating of 0 means that a system did not exist in aspecific facility.The building systems we concentrate on include:

• Structure (foundations, slabs, floors, pavements)

• Roof/Shell (roofing, gutters, flashing)

• Exterior (walls, windows, doors)

• Interior finishes (floors, walls, ceilings, doors, stairs)

• Electrical (distribution, lighting, other wiring/controls)

• HVAC (HVAC and other mechanical systems)

• Plumbing (water, sewer, fire-protection piping)

• Conveyance (cranes, elevators, hoisting equipment)

Our facilities are varied. We have to assess animalenclosures, labs, office spaces and galleries, all using the samemethod. We developed a parametric Deferred Maintenance(DM) model, using the DoD’s Parametric Cost EstimatingSystem (PACES), to determine a percentage value for alleight systems within each facility category, to make surescoring meant the same thing, whether it was a cheetahenclosure or an art museum. We next calculate a system percentage of repairs needed

for the eight systems, based on each of the five condition


SCI Convey Electrical Exterior HVAC Interior Plumbing Roofing Structure FCI

EMZ 90.10% 93.40% 98.60% 59.90% 97.10% 92.80% 45.60% 99.00% 85.50%

GPZ 88.10% 98.50% 98.90% 90.60% 95.00% 97.10% 62.00% 99.90% 92.90%

NMZ 95.90% 89.60% 96.90% 89.20% 94.30% 92.90% 81.80% 99.70% 93.10%

SAO 60.00% 98.10% 87.60% 97.10% 97.20% 96.30% 84.30% 99.40% 93.90%

SERC 95.20% 93.40% 97.80% 92.50% 97.10% 93.90% 89.80% 98.70% 94.90%

SMZ 84.60% 83.10% 98.10% 75.70% 86.30% 79.40% 84.90% 92.70% 86.50%

STRI 97.50% 75.40% 68.40% 87.10% 86.60% 89.30% 57.70% 75.90% 76.60%

Suitland 97.50% 97.80% 97.60% 97.50% 98.90% 97.70% 65.60% 94.10% 93.20%

UNWV 76.70% 83.50% 87.80% 86.00% 91.00% 91.80% 82.50% 91.40% 88.30%

WMZ 98.00% 87.00% 90.00% 98.00% 90.00% 90.00% 62.00% 99.00% 89.00%

Total 90.80% 89.10% 95.30% 83.10% 91.90% 89.60% 71.00% 95.70% 89.30%

Facility Condition Index—Systems Chart

Building Name FY07 FY08 FY09 FY10 FY11 FY12 FY13

ARTS AND INDUSTRIES 39.7 39.7 39.7 32.7 37 22.3 41.8

CASTLE 72.1 73 73 72.8 72.7 70.9 72.7

RENWICK 73.9 73.9 73.9 73.9 75.7 71.9 76.9

STRI (PANAMA) 86.2 86.2 81.9 87 87 87.5 81.9

NATIONAL AIR AND SPACE MUSEUM-MALL

82.7 82.7 82.2 82.2 85.3 84 87

HIRSHHORN 91.1 91.1 91.1 90.9 90.9 90.7 87.2

NATIONAL MUSEUM OF THE AMERICAN INDIAN (NY) 87 87 87 87 87 90 88.4

NATIONAL MUSEUM OF AMERICAN HISTORY

81.4 82 84.5 88.7 89 91.7 89

NATIONAL ZOOLOGICAL PARK 88.6 89.1 79 77.2 88 87.9 89.1

NATIONAL AIR AND SPACE MUSEUM—HAZY

94 91.2 92.9 92.8 91.2 95.1 90.3

QUADRANGLE 89.6 89.6 89.6 89.5 93 94.5 91.5

SMITHSONIAN ENVIRONMENTAL RESEARCH CENTER

92.6 92.6 95.6 93.7 93.7 95.1 91.6

NATIONAL MUSEUM OF NATURAL HISTORY

83.1 86.8 89.6 90.1 90.7 91.4 92.9

ANACOSTIA COMMUNITY MUSEUM

94 95.2 95.2 94.1 94.1 94 93.6

FREER 87.8 87.8 87.8 88.4 89.5 92.6 94

SUITLAND 86 88.1 94 94 94.8 92.5 94.3

DONALD W. REYNOLDS CENTER

98.2 94.8 94.8 94.8 94.8 94.6 94.8

SMITHSONIAN ASTROPHYSICAL OBSERVATORY

94 95.3 95.5 95.8 96.7 94.9 96.1

NATIONAL MUSEUM OF THE AMERICAN INDIAN

96.3 96.3 96.5 96.5 96.6 95 96.6

COOPER-HEWITT NATIONAL DESIGN MUSEUM

87.9 90.4 90.3 90 90.2 89.5 98.3

SI Wide 85.3 86.2 86.2 88.7 88.4 88.8 89.4

Facility Condition Index


ratings. These were developed from estimated original con -struction costs, using RSMeans CostWorks or recent capitalprojects we’ve just completed as a baseline. Our process allowsus to complete the data call quickly, and at a much lowercost than having a dedicated full-time workforce completethe task, or contracting the work out to a third party.When field assessments are complete, the ratings are

placed into our computerized maintenance managementsystem, where our program converts the assessed conditionratings into three useful metrics: 1) the System ConditionIndex Rating (SCI); 2) the Facility Condition Index (FCI);and 3) the DM Cost Estimate. All three metrics are capableof providing information in a variety of ways (by systems orby facilities) to facilities managers.The System Condition Index (SCI) calculation deter mines

the condition of a specific facility system across a group offacilities. It can be calculated at the Facility, Zone and/orInstitution level to identify which of the eight facility systemsis in greater need of repair, and to assist in prioritizingfacility systems projects for multiple facilities. Assessingat the system level allows us to see what parts of any givenfacility most require renewal.FCI is a calculation that takes the sum of the eight

systems’ deferred maintenance value, divided by the sumof the system CRVs for each facility, and provides a con di -tion percentage. FCI percentages are used at the building,campus and institutional levels to quickly assess one needas compared to others.Our data is used to build capital and maintenance plans,

help determine the priority of our facility requirementswhen we cannot address them all, and provide an easy-to-understand condition report to our leadership. We con tinueto improve our process, and it has proven an effectivetool in helping justify our budget requests and tell ourfacility story.

Jason Sawyer is Associate Director, Systems Engineering Group,and Kendra Gastright is Director, Office of Facilities Managementand Reliability at the Smithsonian Institution in Washington, D.C.

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SPIE enhances the quality of life by

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SPIE’s 37,000 employees work from nearly 500 locations

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Become aMemberof IAMFA


Christchurch Art Gallery Te Puna o Waiwhetu, with itscollection of more than 6,400 works of art, opened onMay 10, 2003, and has since attracted over 3.4 million

visitors, with some forty per cent visiting from outsideChristchurch. Our purpose-built art gallery had been open for over

seven years when, on September 4, 2010, North CanterburyNew Zealand was rocked by a magnitude 7.1 earthquake.

We closed for ten days, thinking at the time that it feltlike a lifetime. As the aftershocks continued, the Gallery’sdirector successfully managed the impact of these onlender per cep tions, and we were able to bring the tour-ing exhibition Ron Mueck to Christchurch for a highlysuccessful three months. None of us, however, anticipated the earthquakes that

would follow. Nearly six months later, on February 22, 2011,a devastating magnitude 6.3 earthquake struck centralChristchurch. It became the second-deadliest naturaldisaster ever recorded in New Zealand, with 185 deaths.Within an hour of the earthquake, and for the next sevenmonths, Christchurch Art Gallery, the strongest centralbuilding available, became the Emergency OperationsCentre and the city’s Civil Defence Headquarters.The central part of the city was closed off, and essential

services were shut down due to concerns about fire. Weworked long days to ensure that adequate lighting, heatingand humidity levels in the Gallery were maintained—notonly to protect the city’s precious art collections, but alsoto cater for more than 400 civil defence staff who suddenlyfound themselves working out of the Gallery.

Christchurch Art Gallery Te Puna o WaiwhetuMaintaining a Facility Through 13,000 Seismic Eventsand Numerous Major RepairsBy Lynley McDougall

Christchurch Art Gallery Te Puna o Waiwhetu in 2003.

The Central City Red Zone was a public exclusion zone in centralChristchurch, established after the February 2011 earthquakes.

The office of the Christchurch Art Gallery Library after theearthquakes.


The Gallery’s backup generators kicked into action afterthe earthquake, ensuring that the building had power andlighting; but there was no water. The Gallery environmenthad to be maintained to keep the art safe, so we establisheda temporary water supply in the basement with a 10,000-litretank. We built a makeshift pump system, and connected it

to the air-conditioning unit and boilers on the roof, fivefloors above. Our core business changed from presentingworks of art to caring for 100% of the collection in storage,as well as caring for emergency services staff working inexhibition spaces.Throughout 2011, frequent aftershocks caused main

and back-up chillers to fail, and in June 2011 two of fourcompressors failed. Obsolete parts prevented repairs, andinsurance discussions added complexity. We investigatedoptions such as a portable chilled-water plant and completereplacement of the existing plant. With continuing after -shocks, another two compressors failed. It was fortuitousthat a chilled-water-link project between the Gallery and theCity Council’s refurbished civic offices close by was underconstruction during 2011; these works were accelerated toassist us. Chilled water from the trigeneration plant at thecivic building was pumped under Worcester Boulevard to theGallery, allowing us to maintain temperature and humidity.

Emergency services staff working in exhibition spaces.

Inspection and removal of precast concrete panels in the foyer.

Our ten-thousand-litre tank, and the small pump used as amakeshift water supply to the plant room five floors above.

Computerised relevelling pumps in the Christchurch Art Gallerybasement car park, monitoring and delivering injection groutingunder the building.


Christchurch Art Gallery has been closed since February 22,2011. Detailed engineering investigations were under taken,and a computer model of the building was developed totest engineering assumptions regarding the building’sstrength. Unfortunately, this modelling revealed previouslyunrecognised damage to the secondary structural elements,as well as the fact that the building had moved out of level.To restore local and international confidence in the building,both in terms of seismic resilience and environmentalcontrols, a repair programme of improvements has beendeveloped. These involve re-levelling, retrofitting baseisolation, repairing a wavy glass façade and parapets, andrepairing electrical and mechanical services. Our currentfocus is ensuring that we do the repairs necessary to bringour building up to (and, we hope, exceeding) the newbuilding code. The first part of the repair programme started late in

2013 with work to the foundations, bringing the buildingback to level, reinstating seismic resilience, and mitigatingthe effects of liquefaction. Computer-controlled deepinjection grouting was completed in March 2014. Retrofittingbase isolation is the next phase. This involves installingbearings and pads to protect the building and our col lec -tions from future seismic shocks. This complex designmust incorporate a system for the glass façade—effectivelya “curtain wall” comprising 2,184 laminated panes of glass. Inside the Gallery, cracked walls are being restored, and

damaged ceilings and lighting tracks replaced. Buildingservices need replacing, as electrical insulation was damagedand cables have been stretched, with their capacity reduced.Shaking has caused some precast panels to fracture, andthe fixing points of others to weaken. In order to repairthese components, they must be removed from the building,with roof sections across the whole width of the Galleryalso removed.Despite this, the Gallery remains a functioning building

requiring continued temperature and humidity manage ment

for the collection, including contingency plans andappropriate back-up systems. We have implemented athorough risk management programme with contractors,and have learned how essential it is to review and updateour Business Continuity Plan. Our new plan is far morefocused, and sets out required actions for Gallery staffto prepare for, respond to and recover from a majoremergency involving Gallery operations. Although the Gallery remains closed to the public, it is

currently occupied by a reduced staff and we have stead -fastly retained the collections onsite. The demolition of theneighbouring fourteen-storey apartment block in 2011 meantwe needed to relocate the collection to former exhibitionspaces on the other side of the building, and increase securitymonitoring. Now, in 2014, we are taking the opportunityto improve our collection storage spaces, installing twenty-five per cent more racking and developing improvedhanging systems.Christchurch Art Gallery needs to be robust. We need

to guarantee the safety of the works of art entrusted to usby the people of Christchurch, and to assure the ownersof priceless and irreplaceable works of art from around theworld that we can protect these works while they remainin our care. Displaying important works of art is essentialfor the cultural health of any city.It will take at least a further two years to complete the

building work. In the meantime, we continue to provideoff-site exhibitions and public programmes to keep ourvisitors engaged, and to lift the spirits of Cantabriansand tourists. Re-opening is currently scheduled for late 2015, although

a date cannot be fixed until further tenders are let. How -ever, we are all very much looking forward to our grandre-opening exhibition LIFT!

Lynley McDougall is Visitor Services and Facility Manager atChristchurch Art Gallery Te Puna o Waiwhetu.

Relevelling equipment in the Christchurch Art Gallery basementcar park.

The Art Gallery Apartment building during the demolition process.

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The Canadian Museum of History (formerly theCanadian Museum of Civilization) is Canada’s most-visited museum. Due to its geographical location in

a region with heavy winter snows and sometimes-extremecold, there is an inherent requirement for hydronic snowmelting on the exterior portions of the car and bus ramps(Figure 1 shows a typical ramp). As the name implies, this type of system is designed

to melt snow that falls and accumulates on each of theMuseum’s four ramps: car entrance, car exit, bus entranceand bus exit. The original control system was unreliableand inefficient; as a result, it required building operatorsto activate and deactivate the system manually, to set theglycol supply temperature to a high of 50°C (122°F) orlow of 35°C (95°F). There was also no modulation of thefour-way valves on each of the ramps, which resulted in thesystem either not being started soon enough, or runningmuch longer than necessary, while also not operating asefficiently as it could.Our system is comprised of a main glycol loop, six pumps,

one shell-and-tube heat exchanger and four four-way valves.Figure 2 shows the Building Automation System (BAS)graphic for the snow-melting system. Pumps 1 through 4 areeach 5 HP, and serve to circulate hot glycol through thenetwork of IPEX piping within each of the ramps. Pump 5is 15 HP, and is used to circulate the heated glycol throughthe shell-and-tube heat exchanger and the main glycol loop.Pump 6 is 5 HP, and is used to circulate boiler-supplied hotwater through the shell-and-tube heat exchanger.

Snow-Melting Modifications toVehicle Ramps at the CanadianMuseum of History By Terry Brambles

Figure 1: Parking structure ramp. Figure 2: The BAS snow-melting graphic.

The 2013–2014 fiscal year did not allow for full imple me -ntation of all of the modifications. Consequently, only partof the work was carried out. The initial phase of the projectallowed us to automate activation of the snow-meltingsystem, based on immediate sensing of falling snow, andto deactivate it whenever there was no snow on the sensors.The system employs four snow-sensor switches (Figures 3

and 4) that are prevented from operating if the outdoortemperature is above 3.3°C (38.0°F). Below this temperature,the sensors will activate the system when the slightest traceof snow or rain lands on the sensor disc. A minimum oftwo sensors must activate in order for the system to start;this is to prevent false triggering of the system, shouldsomeone throw snow on a sensor. Once the system is activated, all of the pumps start and

the glycol begins to heat via the heat exchanger to a highsetpoint of 50°C (122°F). This continues for a period oftwo hours, after which the system begins to modulate tomaintain a ramp setpoint, based on an outdoor tem per -ature curve. When the snow has stopped falling and thesnow sensors do not detect any snow, there is a minimumperiod of one hour that each snow sensor’s internal switchwill stay closed, plus a further two hours that are pro -grammed into the software of the BAS. Normally, all ofthe snow sensor switches must open for the system toenter into the shut down mode, but should one switchstay closed while the others have opened, the system willinitiate shutdown one hour after the normal two-hourBAS programmed period.


Using an outdoor temperature curve to select the amountof heat that is delivered to the ramps has saved on operationalcosts, by warming each ramp only enough to melt the fallingsnow. At this stage in the project, we have given the building’soperators the ability to override the system in all respects—activation, deactivation, temperature, pumps, and valvemodulation. However, to ensure that the system is not leftON or OFF, or left at a high temperature, etc., the system isprogrammed to revert back to automatic after two hours.Manual override of the system will be required until fullimplementation of the modifications has been completed.At present, we are relying on the ramp-return tempera -

tures to gauge how much heat there is on the ramp surface.The new sensors utilize infrared temperature sensing,which will provide us with a much more accurate readingof the slab surface temperature.Phase 2 of the project will see the installation of a much

more sophisticated non-invasive snow and ice sensor thatalso senses the slab temperature. This type of sensor is usedon highways and airport runways. The sensors employ opticsthat, with software, differentiate between ice, black ice,snow, water, and frost. By installing these types of sensors,we will be able to reduce the running time of the systemfurther, as well as the need for operator intervention. Thesnow-sensor switches are very sensitive, and periodicallythey activate the system when there is just a gust of windthat blows snow onto the sensor disc. Even after installingthe optical sensors, we will still make use of these snowsensor switches as a second line of sensing and redundancy.

With the new optical sensors, the system will start oncesnow has begun to accumulate on the ramps, then shut downwhen the ramps are clear. Programming of the system willalso allow for the continued operation of only the rampsthat still have some snow left on them. Thus, if some of theramps are clear and others are not, the ones that are clearwill shut down, while the others will continue to operate.There are times when the surfaces of the ramps are wet

but not slippery; this would cause the building operator toactivate the system as a precaution, because ice might beforming. In most cases, ice was not developing, due to thebuildup of salt that was picked up by vehicles and depositedonto the surface of the ramps. The optical sensors will beable to determine if ice is actually forming, or if the surfaceis just wet.As part of Phase 2, we are considering installing Variable

Frequency Drives (VFDs) on each of the pumps to allowfor better control over the flow in each ramp, the mainglycol loop, and the boiler hot-water supply to theshell-and-tube exchanger.Once the new system is fully installed and operational,

we expect to see considerable savings in both utility costsand manpower, while continuing to ensure the safety ofvisitors using our car and bus ramps.

Terry Brambles is the Canadian Museum of History’s Mechanicaland Electrical Technologist. He was involved with the originalconstruction of the Museum during the 1980s, and is the residentexpert on all of the Museum’s mechanical and electrical systems.

Figure 3: Closeup of one of the snow-sensor switches. Figure 4: Typical installation for one of the snow-sensor switches.

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2014 IAMFA CONFERENCE PRELIMINARY SCHEDULE

I N T E R N A T I O N A L A S S O C I A T I O N O F I A M F A 1 4M U S E U M F A C I L I T Y A D M I N I S T R A T O R S

Riverside Museum and the Glenlee

The Burrell Collection

Scottish National Portrait Gallery

National Museum of Flight

National Library of Scotland

DELEGATE PROGRAMSUNDAY,

09:00–16:00 Benchmarking & Learning Workshop

NOTE: This is a separate workshop for benchmarking participants only. If youwere not a participant in the 2014 benchmarking exercise, and would like toattend this session, please visit www.NewIAMFA.org to register.

National Library of Scotland

15:00–17:00 Conference Registration

17:00–19:00 Opening Reception

MONDAY, 07:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow

09:45–10:30 Presentation No. 1—Mark O'Neill

10:30–11:15 Coffee Break

11:15–11:45 Presentation No. 2—Dr. Martin Bellamy and Muriel King

11:45–12:45 Presentation No. 3—Introduction to Burrell and Burrell Redevelopment

12:45–15:00 Lunch, followed by guided tours around Burrell Museum

15:00–17:00 Travel to Riverside Museum, followed by orientation talk and self-guidedtour of Riverside

Riverside Museum Glasgow

17:00–18:30 Drinks Reception aboard Tall Ship Glenlee

18:30–21:30 Travel to Kelvingrove Art Gallery and Museum, followed by Burns Supper Kelvingrove Art Gallery and Museum

21:30–23:00 Return to Edinburgh

TUESDAY, 09:00–09:30 Meet at National Museum of Scotland, followed by welcome and

introduction of SponsorsNational Museum of Scotland

09:30–10:00 Presentation No. 1—Gareth Hoskins

10:00–10:30 Presentation No. 2—Metaphor Exhibition Designers


11:15–11:45 Presentation No. 3—Steensen Varming

11:45–12:15 Benchmarking Discussion

12:30–14:30 Lunch, followed by IAMFA AGM

15:00–16:00 IAMFA Board meeting with Regional Chairs

Camfil Drinks Reception

WEDNESDAY, 08:30–08:45 Meet at National Gallery, followed by welcome and introduction

of SponsorsNational Gallery on the Mound

09:00–09:45 Presentation No. 1





12:30–13:30 Lunch

13:30–15:00 Tram ride to National Portrait Gallery—Self-guided tour of Portrait Gallery National Portrait Gallery

15:00–15:30 Tram ride/Walk back to hotel

17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception andGala Dinner

Royal Botanic Garden, Edinburgh

21:30–22:00 Travel back to Hotel

THURSDAY, 10:30–11:00 Meet for bus to New Lanark

11:00–12:00 Travel to New Lanark

12:00–13:00 Lunch New Lanark

13:00–16:00 Guided Tours of New Lanark



Kelvingrove Art Gallery and Museum

Royal Botanic Garden

Rosslyn Chapel

National Galleries of Scotland

National Museum of Scotland

GUEST PROGRAM 14 SEPTEMBER 2014

15:00–17:00 Conference Registration National Library of Scotland

17:00–19:00 Opening Reception

15 SEPTEMBER 201407:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow


10:15–11:30 Guided tours of Burrell Museum

11:30–13:00 Travel to Kelvingrove, followed by lunch Kelvingrove Art Gallery and Museum

13:00–13:30 Organ recital in main entrance hall

13:30–15:00 Introduction to Kelvingrove, followed by guided tours

15:00–17:00 Travel to Riverside, orientation, then self-guided tour of Riverside Riverside Museum Glasgow

17:00–18:30 Drinks Reception aboard Tall Ship Glenlee

18:30–21:30 Travel to Kelvingrove Art Gallery and Museum, followed by Burns Supper Kelvingrove Art Gallery and Museum


16 SEPTEMBER 201409:30–10:15 Travel to East Fortune—Museum of Flight

10:15–11:30 Guided tours of Museum and/or Coffee Break East Fortune—Museum of Flight

11:30–12:00 Travel to Haddington for lunch

12:00–13:00 Lunch at Maitland Hotel Maitland Hotel Haddington

13:00–13:45 Travel to Rosslyn Chapel

13:45–15:00 Tour of Rosslyn Chapel Rosslyn Chapel

15:00–16:00 Travel back to National Museum of Scotland to meet delegates National Museum of Scotland

Camfil Drinks Reception

17 SEPTEMBER 201409:00–10:00 Walk—Grassmarket–Greyfriars Graveyard–George IV Bridge–Deacon Brodie

10:00–10:30 Coffee Break Scottish Historic Building TrustRiddle’s Court

10:30–10:45 Walk to Mary King’s Close

10:45–11:45 Mary King’s Close—Two tours: one group browsing; one group on tour Mary King’s Close

12:00–12:30 Walk down Royal Mile

12:30–13:15 Lunch Scottish Storytelling Centre

13:15–14:00 Walk down Royal Mile—Dunbar’s Close Garden

14:00–15:30 Scottish Parliament—Two tours: one group browsing; one group on tour Scottish Parliament Building

15:30–16:30 Walk back to Hotel

17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception andGala Dinner

Royal Botanic Garden, Edinburgh

21:30–22:00 Travel back to Hotel

18 SEPTEMBER 201410:30–11:00 Meet for bus to New Lanark

11:00–12:00 Travel to New Lanark

12:00–13:00 Lunch New Lanark

13:00–16:00 Guided Tours of New Lanark




2014 SCOTLAND CONFERENCE VENUES


From benchmarking to best practices, energy efficiency to artifactpreservation, The Care and Keeping of Cultural Facilities: A Best Practice Guidebook for Museum Facility Managementshows the way. Judie Cooper and Angela Person-Harm have crafteda book that is both a guide for those new to the field, as well as areference for experienced professionals.

—G. Wayne Clough, Secretary of the Smithsonian Institution

Written as a guidebook that spe cif ically addressesfacility management in cultural institutions, TheCare and Keeping of Cultural Facilities is a text that

addresses a wide range of issues. The book is aimed atmuseum admin istrators who need to learn more aboutfacility management, as well as facility managers who arestepping into the museum environ ment for the first time.It conveys the importance of strategically managingfacilities to support the institution’s mission. The book has been welcomed by several

undergraduate and graduate facilities manage -ment programs as a text to help develop thenext gener a tion of cultural facility managers.The Care and Keeping of Cultural Facilities fillsa gap in museum administration literatureby providing best practices guidance that canbe used to increase efficiency, save money,and improve the visitor experience.From the evolution of cultural facili ties,

to current trends, to the strategic role thatfacility management (FM) plays in supporting acultural enter prise, this book is full of helpfulinfor mation. Understanding strategic plan -ning, operations and maintenance, capitalimprovement planning and sustain abilitywill help stakeholders’ better position themselves for thebenefit of the cultural facility. Risk management, disaster assis tance and safety all play

unique roles in managing a cultural facility, and arediscussed at length. Training facilities staff is also explored,as this has a direct relationship to the effective perfor -mance of building systems. And, as more cultural facilitiesbecome used as venues for special events, it is increas inglyimportant that cultural facilities understand the potentialbenefits and drawbacks to hosting these types of events.

The Care and Keeping of Cultural Facilities explores thechal lenges, processes and questions facing FMs today.Just as interesting as the book, however, is the story behindits creation.In 2010, the Office of Facilities Management and Reliability

(OFMR) at the Smithsonian Institution welcomed a groupof summer interns to work on projects that would helpthem translate their academic knowledge into a real-worldwork product. One of the interns that summer was Angela

Person-Harm. Angela came to the Smithsonian as she wasfinishing her Master’s degree in Museum Studies at theUniversity of Oklahoma. She also had an under grad uatedegree in Environmental Design, and her project involveddocumenting best practices in the areas of knowl edgetransfer and training in a complex facility managementorganization. One of Angela’s assignments was to write a magazine

article on facility management, using her background inenvironmental design to summarize what it takes to managea museum. She noted that, in her four years of undergraduatestudies and two years of graduate studies, she’d never hadany instruction in facility management and, in fact, hadnot even heard the term “facility management”. Angela and I co-authored the article, “A Work of Art:

The Keeping of Cultural Facilities,” which was published inthe February 2011 issue of Facility Manage ment Journal. We

wanted to write about the complexities and uniqueaspects of facility management in cultural facili ties,and we especially wanted the information to beunderstandable to exhibitions and curatorial staff. Shortly after the article was pub lished, I was

contacted by the American Alliance of Museums(AAM). One of their board members had readthe article, and invited us to make a pre sentationat the AAM conference about what it takes tomaintain a cultural facility, and why facilitymanagement should matter to curatorial andexhibitions staff. The extension of this invitation suggested how

interested AAM was in the topic, since we didn’thave to go through a formal vetting process. Atthe conference, curators approached us andsaid they had never considered the facility

management challenges in exhibition spaces—not becausethey were not interested, but simply because no one hadever addressed these chal lenges in a comprehensive mannerrelating directly to their work. They wanted to learn more,and were recep tive to understanding the importance ofFM on their exhibitions and space. On the way back from the AAM conference, Angela

and I talked about how surprising it was that our audiencewas so intrigued and interested in what we had to say. Wedecided that, with such positive feedback from the con -ference, we would try to put the infor mation—alongwith additional FM research, knowledge and practicalexperience—into a more formal format. The conversationduring the flight from Houston to Washington wentsomething like this:

Judie: “I think we should write a book.”

Angela: “Okay. Have you ever written a book before?”

Judie: “No. Have you?”

The Making of a BookBy Judie Cooper


Angela: “No.”

Judie: “The audience seemed really interested in what wewere saying. Let’s give it a try. After all, what is the worstthing they could say to us? No?”

Neither of us knew anyone in the publishing world, sowe cold-called publishers to get a feel for their interest insuch a book. When asked by a publisher specializing inmuseum publications if there was another book like ourson the market, we said that the role of facility managementwithin the museum community is evolving as the FMprofession matures. We added that our recent experienceat the AAM conference indicated a market of museumexecutives wanting to better understand their facilities andhow they should be professionally managed. The publisherimmediately said it wanted the book—which meant wewere now committed to writing it.Angela returned to the Smithsonian as a Research

Fellow the following year, after completing her Master’sdegree. While she worked on her Ph.D. in HumanGeography, we also worked together on The Care andKeeping of Cultural Facilities: A Best Practice Guidebook forMuseum Facility Management. The book was published byRowman and Littlefield, with a fore word by G. WayneClough, Secretary of the Smithsonian Institution.The book is geared toward museum administrators,

curators, and cultural facilities board members andadminis trators, and is designed to help them see facility

management as more than just keeping a building clean.We want readers to appreciate that cultural facilitymanagement is about viewing the facility strategically,as an asset to be managed well. Cultural facilities include not only museums, but also

other spaces such as zoos, performing arts spaces, libraries,archives and theaters. This book informs staff of thesefacilities, one chapter at a time, about the inner workingsof facility management, and how they can benefit theirfacilities by understand ing them, planning and caring forthem, operating and maintaining them, and managingthem as the irreplaceable assets that they are. The book seeks to bridge the gap between operating/

maintaining and planning/designing, and to help create anenvironment in which these disci plines can work together tocreate better environments for collections, staff, and visitors.It also seeks to educate museum staff about the intricaciesof managing a facility, so that they can partner with thefacility management team for the benefit of the institution.

The Care and Keeping of Cultural Facilities is available onlineat retailers such as Amazon, and in bookstores. It can also beordered directly through the publishers Rowman & Littlefield(Rowman.com), and you can receive a 30% discount usingpromotion code 4M14CKCF until December 31, 2014.

Judie Cooper, CFM, is a facility management analyst with the Officeof Facilities Management and Reliability of the Smithsonian Institution.She is a frequent speaker on facility management issues, as well asthe importance of their strategic alignment with the enterprise itself.


Getting Started withBenchmarking By Keith McClanahan

Many IAMFA members who have not benchmarkedhave difficulty getting started in the benchmarkingprocess. We have listened to comments regarding

how formidable and time-consuming the process can be,and have really streamlined it so that it is much easier toobtain a high “value add” within a minimal amount of time.Here is a suggested approach to help you to get startedwith the IAMFA benchmarking program, which is designedto take the pain and drudgery out of the process. We haveused actual “screenshot” examples from the IAMFA/FacilityIssues website to illustrate how easy the it is. This approachwill help you obtain key output reports in a minimal amountof time. The first thing to remember is that, with only a few

benchmarking values, you can usually see where you standon more than 95% of your operating costs. If you’re notcurrently benchmarking, getting 95% of the portfolio costsinto a benchmarking program would be a good first step.The chart below shows the 2013 median results from IAMFAbenchmarking participants. Note that, by benchmarking justtheir Utilities, Maintenance, Custodial, and Security costs,participants are benchmarking 98% of their controllableoperating costs.

Potential benchmarking participants often ask me howmuch time it will take to complete the survey. The answervaries, since it depends on how much information they willbe providing. The IAMFA benchmarking tool has beencom pletely redesigned during the past year. It is muchmore flexible, and can accommodate data inputs based onthe time you have available. If you have access to the data

noted below, it should take between 30 and 60 minutes tocomplete these inputs. So, what do you really need to get started with bench -

marking and get some useful outputs? At Facility Issues,we call these inputs “Tier I” data fields. By inputting theseTier I data fields, you will be able to see how your perfor -mance compares with others on most of the KPI charts,in the shortest possible time.Let’s begin with the demographic inputs. There are only

four questions here.Once you have these in the system, the information will

be carried over from year to year. You only need to go backand change the information that needs to be updated. Ourwebsite tester at Facility Issues reports that it took her twominutes to complete this form.You’ll note in all the screenshots from the website that

there is a blue next to some questions. By hovering overthe you can obtain additional information about whatcosts should be included, and what the units should be. This


is a feature that participants have told us they really like. Allthe information and definitions are on the same screen, andthere is no “looking around” for additional clarification. Next, let’s look at space information. This form appears

really formidable, but if you’re a first-time participant, youdon’t need to complete the entire form. All you really needto complete is question B1. It is important to get this arearight, since we use that value as the denominator for allcalculations, to normalize the cost per square foot or costper square meter.

If you have more information, that’s great. It’s reallyhelpful to show your space breakdown by the various types;but that can come later. Most organizations have this data,but organizing it in a way that can be input in the IAMFAbenchmarking tool takes some time. The IAMFA benchmarking survey is collecting informa -

tion on set points and relative humidity in all areas in whichcollections are displayed or stored. Ongoing studies arein progress, and this benchmarking data is being usedwith curators to show that these temperature ranges canbe relaxed. In most locations, this can have a significantimpact on utility expenses.

The Janitorial section is next. This is one of the easiestsections in which to add data. All you really need to provideis the total janitorial costs and the area cleaned.If you’re uncertain about how much work is performed

by internal staff, and how much by contractors, just makean estimate so that the total costs of janitorial services areincluded in question J1. If you’re not sure about the areacleaned, look at the gross square area submitted in the demo -graphic section, and make an appropriate percentage

reduction. For most institutions, the area cleaned worksout to about 90% of the gross area.Now let’s look at the maintenance section. Again, this is a

long section and most first-time participants are not willingto complete all the items; then again, you don’t have to.

There are 12 questions here, but the critical questionis M1. Again, if you’re uncertain about how much of thework is performed by your internal staff, and how muchby your contract staff, then you can make an estimate.Just be sure the total maintenance cost is reflected in thetwo numbers.Security represents a higher budget percentage for

cultural institutions than most other types of facilities.Good comparisons are important, so that you can showyour executive leadership that your costs are in line withothers. There are five questions in the security section, butS1 is the critical one. Other values, such as the number ofsecurity employees, how access is controlled, and the numberof training hours can all be provided later.

The next section we will cover is Utilities. There are12 questions here, but some are much more importantthan others. In discussions with our Steering Committee, wehave concluded that there is probably more cost pressureon this issue than any other component in the bench mark -ing survey. In many areas of the world, it was a difficult andcold winter; gas prices are up significantly, electricity costsare increasing, and it sometimes seems that all the initiativesto save energy have been taken away by cost increases.


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The critical questions here are: • U1—energy costs, and• U7—energy consumption from utilities

Most of your costs are probably from electricity and naturalgas. If you can provide these, then you will have entered themajority of your energy costs into the bench marking system.Another very useful comparison is the energy intensity, whichis obtained from the U7 input. If both of these questionsare answered, then the key performance indicators forenergy costs and utilization will have been provided. After entering this basic information, you will be able

to see how you compare on the major KPI charts for:• Utilities• Maintenance• Custodial• Security

That is a significant achievement for between 30 and60 minutes of time.To obtain the maximum benefit from the IAMFA bench -

marking application, you should return and input additionaldata. However, after you’ve entered your Tier I data, take alook at your output charts and discuss your organization’sperformance with others. The benefits of benchmarking willbecome highly visible, and a critical source of informationfor your organization.

Keith McClanahan is the principal at Facility Issues Inc., whichadministers IAMFA’s annual benchmarking exercise.


Although a Burns Supper isusually held on January 25—the birthday of Robert Burns,

Scotland’s greatest poet—we arepleased to confirm that IAMFA Con -ference participants will be going toa real Burns Supper on the Mondayevening. But who was Robert Burns, andwhy is his birthday celebrated aroundthe world by Scots and non-Scots alike? Robert Burns, who was born on

January 25, 1759, is more popularlyknown as “Rabbie” Burns. He is widelyregarded as the national poet ofScotland, and is celebrated worldwide.He is the best-known of the poets whohave written in the Scots language,although much of his writing is alsoin English and a light Scots dialect,making it accessible to an audienceoutside Scotland. He is regarded as apioneer of the Romantic movementand, after his death, became a culturalicon in Scotland as well as amongScottish expa triates around the world.Celebration of his life and work becamealmost a charismatic cult during the19th and 20th centuries, and hisinfluence on Scottish literature haslong been strong. In addition to producing original

compositions, Burns also collected folksongs from across Scotland, often revis -ing or adapting them. His poem (andsong) Auld Lang Syne is often sung atHogmanay (the last day of the year), andScots Wha Hae served for a long time asone of Scotland’s unofficial nationalanthems. Other poems and songs byBurns that remain well known aroundthe world today include “A Red, RedRose,” “A Man’s a Man for A’ That,”“To a Louse, To a Mouse,” “The Battleof Sherramuir,” “Tam o’ Shanter” and“Ae Fond Kiss.”Burns was the son of a farmer, and

farming was destined to be his mainoccupation until, later in life, hebecame an excise man in Dumfries.

engraver and music seller with a love ofold Scots songs, and a determinationto preserve them. Burns shared thisinterest, and became an enthusiasticcon tributor to The Scots Musical Museum.The first volume was pub lished in 1787,and included three songs by Burns. Hecontributed 40 songs to Volume Two,and he was ultimately responsible forabout a third of the 600 songs in thewhole collection, in addition to makinga considerable editorial contribution.The final volume was published in 1803.Upon his return to Ayrshire on

February 18, 1788, he resumed hisrelationship with Jean Armour. OnMarch 18, he took a lease on the farmof Ellisland near Dumfries, settlingthere on June 11. He also trained asan excise man, in case farming con -tinued to prove unsuccessful. He wasappointed to duties in Customs andExcise in 1789, and eventually gave upthe farm in 1791. In November 1790,he wrote “Tam o’ Shanter”, and it wasat this time that, asked to write lyrics forThe Melodies of Scotland, he respondedby contributing over 100 songs. Arguablyhis claim to immortality rests chieflyupon these volumes, which placedhim in the front rank of lyric poets. On the morning of July 21, 1796,

Burns died in Dumfries, at the age of37. The funeral took place on July 25:the same day that his son Maxwell wasborn. Burns was at first buried in thefar corner of St. Michael’s Churchyardin Dumfries, but his body was moved toits final location in the same cemetery,the Burns Mausoleum, in September1815. The body of his widow JeanArmour was buried with his in 1834.Through his 12 children, Burns hadover 600 living descendants as of 2012.So that’s the man; what about the

supper? Yes, you will enjoy a tradi tionalBurns Supper, which includes haggis.Haggis is traditionally served with

A Real Burns Supper at IAMFA AnnualConference in ScotlandBy Jack Plumb

Robert Burns

His real love, however, was his poetry,which would eventually bring him fame. Following the death of his father,

and struggling to support his familythrough farming, Burns decided totake a job in Jamaica. Unfortunately, helacked the funds to pay for his passageto the West Indies, so a friend suggestedthat he publish his poems. On July 31,1786, John Wilson published works byRobert Burns in book simply titled,Poems, today known as the KilmarnockVolume. It sold for three shillings, andcontained much of his best writing. Thesuccess of the work was immediate,and soon Burns was known acrossthe country. Such was the support and encour -

age ment for this first edition that Burnswas advised to travel to Edinburgh,where he would find more support forthe publication of a second edition. OnNovember 27, 1786, Burns borroweda pony and set out for Edinburgh. Thefirst Edinburgh edition of Poems waspublished on April 17, 1787. For thisedition, Alexander Nasmyth was com -missioned to paint the oval bust-lengthportrait now in the Scottish NationalPortrait Gallery, which was turned intoan engraving to provide a frontispiecefor the book. In Edinburgh in early 1787, Burns

met James Johnson, a struggling music


mashed potatoes (tatties) and mashedturnips (neeps). Whilst you have mostprobably all heard of the stories of whatgoes into haggis, sorry to disappointyou, but modern haggis is nothing likethat. Modern haggis is made from acombination of beef, lamb, oatmeal,seasoning and spices, all wrapped ina natural casing—just like salami. You can also opt for vegetarian

haggis, which is made in the same way,

but with kidney beans, lentils, rootvegetables and cereals all packed intothe same natural casing. Haggis does

not contain wheat, but oatmeal mayhave come into contact with wheat inthe field, or at harvesting, and haggiscannot be classified as gluten-free.However, some people on a gluten-freediet can happily eat haggis.We also intend to offer a traditional

dessert course with cranachan, (amixture of whipped cream, whisky,honey and fresh raspberries, toppedwith roasted oatmeal), followed byoatcakes and cheese, all washed downwith the “water of life” (uisge beatha):Scottish whisky. When the meal reachesthe coffee stage, various speeches andtoasts are given. Finally, the host will call upon

one of the guests to give the vote ofthanks, after which everyone is askedto stand, join hands, and sing AuldLang Syne, bringing the evening toan end.

Jack Plumb is the Head of Estates at theNational Library of Scotland, and theScotland 2104 Conference Chair.

Desert cranachan with the “water of life”—Scottish whisky.

INSPIRED DESIGN, INNOVATIVEENGINEERING

Clients Include:

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National Gallery of Art

Smithsonian National Airand Space Museum

Smithsonian Natural History Museum

U.S. Holocaust Museum

Virginia Museum of Fine Arts

Walters Art Museum

Winterthur Museum

For more information, visitwww.muellerassoc.com410.646.4500

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

Robert Marino, PE, LEED APPresident, Mueller Associates

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Haggis platter at a Burns Supper.


As a scientist and inventor—witha keen interest in electricity—Benjamin Franklin would likely

have appreciated modern innovationsin energy-efficiency and the conser -vation of natural resources. After acomprehensive two-year renovation,the Philadelphia museum that honorsFranklin now reflects the latest prin -ciples in sustainability, while also provid -ing an enhanced visitor experienceand introduction to the statesman’slife and achievements.The Benjamin Franklin Museum

originally opened in 1976 to commem -orate the U.S. Bicentennial. Set inIndependence National HistoricalPark, the Museum and surroundingFranklin Court were designed byRobert Venturi in collaboration withDenise Scott Brown, John Rauch, andpreservation architect John Milner. Thecourt design features the acclaimed“ghost” structures: white metal framesoutlining the volumes of Franklin’s

house and the print shop run by hisgrandson, set upon the undergroundfoundations of the house.The Museum itself was largely built

underground, providing an insulatedenvelope for the building that did notrequire alteration during the recentmodernization. According to a recentcase study published by the NationalPark Service (NPS), “SustainabilityMeets Adaptability at IndependenceNational Historical Park,” the under -ground structure is “sealed muchtighter than aboveground buildings,”and, together with its easily accessibledowntown loca tion, the Museum,as an existing building, offered“inherent sustainability.”

An Artful, Practical UpdateAlthough the Museum did not requiresignificant structural alterations, NPSrecognized that it was much in need ofupdating in terms of building systems,

access, circulation, daylighting, andexhibits. The design team for the ren o -va tion was led by Quinn Evans Architects,with Casson Mann providing exhibitdesign, and Affiliated Engineers design -ing the building-system improvements.Objectives included the creation ofa more inviting museum entryway;enhancing the sense of connectionbetween the underground exhibitionspace and the court above; trans -forming the exhibits to offer a moreinteractive, visitor-directed experience(the original approach called for highlysequenced circulation that allowedlarge crowds to move through quickly);expanded orientation areas and a newgift shop; and mechanical, electrical,and life safety system upgrades.To create a clear point of entry

and expanded space for visitors asthey arrive, Quinn Evans Architectsenclosed an area that was previouslycovered by a canvas canopy, and createda distinctive glass entry pavilion. The

The Benjamin Franklin MuseumRenewing a Philadelphia LandmarkBy Thomas C. Jester

A new view window, overlooking thefamed “ghost” structures, provides morenatural daylight into the undergroundmuseum, reducing the need for electriclighting. LED lights were installed duringthe renovation.

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The Benjamin Franklin Museum’s new entry pavilion features an energy-efficient glasscurtainwall with a unique pattern recalling hand-molded brick.


new curtainwall interprets the brickfaçade’s Flemish bond pattern with aterracotta-colored ceramic frit patternapplied to the glass, recalling thesurface texture of hand-molded brick.According to the NPS case study, “theceramic brick pattern featured in thecurtainwall is not only attractive, but italso reduces the amount of light andheat energy entering the building.”The customized glass, provided bySaint-Gobain, is double-glazed, low-emissivity (“low-e”), and argon-filled,making it “highly efficient in sealingthe building.”The new portal echoes the design

of the original 1976 canvas awning—areference to the Philadelphia traditionof open-air market shelters—with acopper-clad canopy. The canopy’slinear composition is relieved by a large,new window that brightens the interiorand re-introduces the ghost house tovisitors as they return to the surfaceafter experiencing the exhibits. Oriented due east, the glass façade

is constructed as a “shadow box” withglazing placed at both the outer andinner planes of the curtainwall frame.

The inner glass is frosted with a ceramicfrit mezzotint. “In the afternoon, whenthe façade is in shadow, the glazingcreates a gauzy, translucent scrim,”says Carl Elefante, FAIA, principal-in-charge for Quinn Evans Architects.“In direct sun, it glows, animated withshadows cast by the ghost house. Theshadows become a playful elementwithin the space.”NPS notes the additional sustainable

benefits: “The new structure also allowsnatural daylighting to enter the build -ing, and even reach the undergroundmuseum section, which reduces theneed for electric lighting during theday. . . To further increase energysavings, light-emitting diode (LED)lamps were used in lighting throughoutthe building.”

Linking Past and PresentIn addition to the entry pavilion,interior improvements include a newstaircase leading from the court levelto the underground galleries. Cast-in-place concrete elements express,for the first time, the predominately

concrete underground structure. Newexhibits enable visitors to flow freelythroughout the Museum, exploring rep -resentations of rooms from Franklin’shouse depicting themes that presentthe patriot’s character, personality,interests, intellect, and accomplish -ments. Each room contains historicalobjects, documents, and a variety ofaudiovisual and interactive displays.Improvements for sustainability

also include the installation of water-conserving fixtures, use of recycledand low-VOC materials, and the con -nection of the Museum to the park’scentral chilled-water plant, which hassignificantly reduced the energy usedfor cooling the building.A dedicated exit staircase has also

been added, with a new Museum shopadjacent to the exit staircase at thecourt level. As visitors make their lastturn on the staircase, they see thedramatic image of the ghost houseframed through the view window,reorienting them to Franklin Court.Elefante notes that the steel ghost

structures played a pivotal role in devel -oping the concepts for the renovationdesign. “Venturi’s ghost structures arestill as stunning and surprising today asthey were in 1976,” says Elefante. “Theyreflect a double stroke of genius:Franklin’s home is defined as amemorial, yet there is an intellectualhonesty about what isn’t there andwhat we don’t know about this impor -tant place. The new glass pavilion,with the fritted glass and large viewwindow framing the ghost house,responds to these structures.”The modernization—both ambitious

in scope, yet respectful of the celebratedoriginal design—has been well receivedby critics and the public. The renova -tion meets the Guiding Principles forFederal Leadership in High Performanceand Sustainable Buildings. The full casestudy appears in the NPS 2013 AnnualEnvironmental Progress Report.

Tom Jester, AIA, FAPT, LEED AP, servedas Quinn Evans Architects’ projectmanager on the renovation of theBenjamin Franklin Museum.The design of the new glazed curtainwall animates the interior with a dramatic shadow effect.

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Hopefully you will have already booked your visitto Scotland in September for the 24th AnnualIAMFA Conference. If not, I cannot stress enough

how important it is for you to log onto the IAMFA website(http://newiamfa.org/) and use the link to book yourhotel room; they are going fast.In the spirit of all things Scottish, you will have read my

previous article about the theme of the Conference, whichis the fourth dimension—time—and which tells the storyof how Scotland continuously reinvents itself as a modern,culturally advanced nation. However, the Conference will alsocelebrate Scotland’s past, so here are some of the significantachievements by Scots in the past which we take for grantedin our everyday lives. So, IAMFA Scotland 2014 delegatesand guests, fasten your seat belts and enjoy the ride.Welcome to Scotland, and I hope you have enjoyed the

first night in your hotel, which of course includes breakfast.Your breakfast will feature toast, and marmalade inventedby Mrs Keiller of Dundee. To make sure you’re not latefor the first coach ride to Glasgow, check the electricclock, invented by Alexander Bain of Caithness, thenmake sure you have your raincoat to hand, patented byCharles MacIntosh from Glasgow.The coach will travel on the motorway surfaced with

tarmac invented by John MacAdam of Ayr, and of coursethe coach will be fitted with pneumatic tyres invented byRobert Thompson of Stonehaven in 1847 and improvedand patented by John Dunlop of Dreghorn in 1888. Beforethe coach ride, you might well have travelled on the trainpowered by a steam engine invented by James Wattof Greenock.At our Conference venue, you may well visit the shop to

purchase an adhesive stamp—invented by John Chalmersof Dundee—to put on your postcard home. Realising youneed cash, you may visit an automated teller machine,invented by John Shepard-Barron of Inverness in 1967.

You might wish to call home using the telephone inventedby Alexander Graham Bell, born in Edinburgh. During thatcall, you learn that your son is reading Kidnapped, writtenby Robert Louis Stevenson of Edinburgh; your son asks thatyou visit the Hawes Inn in South Queensferry, still operatingas a licenced premises. Your daughter is playing on herbicycle, invented by Kirkpatrick MacMillan of Thornhill,outside in the garden. Missing the children, you think backto when you were expecting your first child, and to thatfirst ultrasound image—a technique first developed byIan Donald in Glasgow. Later, you enjoy a beef sandwich—Aberdeen Angus

beef, of course, which is raised in Aberdeenshire, and iswidely considered the best beef in the world. Now, startingto get fed up of all things Scottish, you turn to the Bible,only to find that its first translation into English was com -missioned by King James VI—yes, you guessed correctly—a Scot. Approaching the end of your patience, you contem -plate the end with your breech-loading rifle, invented byCaptain Patrick Ferguson of Pitfours. Should you missand injure yourself, you might be treated with penicillin,discovered by Sir Alexander Fleming of Darvel, or givenchloroform, an anaesthetic first used by Sir James YoungSimpson of Bathgate. Finally, making it back to your hotel room, you switch on

the television, invented by John Logie Baird of Helensburgh,which uses the electromagnetic theory that stemmed fromdevelopment work carried out by John Clerk Maxwell ofEdinburgh. With nowhere else to go to escape these Scots,there is only one last resort: yes, the pub. Pull out yourBank of England—yes, founded by William Paterson ofDumfries—ten-pound note and buy yourself—and me!—the best whisky in the world: yes, Scottish Whisky. I hope you all have a great time.

Jack Plumb is the Head of Estates at the National Libraryof Scotland, and the Scotland 2104 Conference Chair.

IAMFA Scotland 2014 A Tongue-in-Cheek View of HistoryBy Jack Plumb


S C O T L A N DInternational ConferenceSeptember 14-18, 2014


New England Chapter UpdateTo welcome Alan Dirican to his new job with HarvardUniversity’s Dumbarton Oaks facility in Washington, D.C.,Dave Geldart, John Lannon and Jim Moisson met him fora lunch meeting while he was in training in Cambridge,Massachusetts on February 12. As usual, good information,facilities wisdom, and a tasty lunch were shared by all, whilediscussing the upcoming 2016 IAMFA Conference in Boston.

sunlight that enters the room, preventing damage that cancause collection pieces to fade, yellow, and become brittle. The former gray glass was replaced with a new bronze-

colored glass that brings a warm, welcome glow to the house,restoring Winterthur to founder Henry Francis du Pont’svision of maintaining the atmosphere of a gentleman’sprivate residence. Another advantage to the Plexiglas® isthat the historical window frames are now visible from theexterior of the building. The new windows create a moreinviting outer appearance; prior to this, the windows lookedlike black holes.Beginning in March, workers began encasing the house

in ground-to-roofline scaffolding. Over the next year themuseum’s 410 windows, 15 doors, and approximately800 shutters will be replaced, restoring the iconic exteriorof du Pont’s former home to the architect’s original1930s vision.The exterior renovation project is much more extensive

than Phase 1, and is scheduled to continue until December2014. Many parts of the exterior windows will be replaced,including deteriorating shutters. The wooden shutters willbe changed to a composite material composed of fiberglass.Every effort has been made to preserve the wooden windowsashes and frames, a compromise to maintain the historicalintegrity of the house—though Winterthur’s mission is notthat of a historical house, but rather the preservation of thehistorical architecture that contains the home’s collection.Only three of the existing shutters are original to the

home; the conservation department will preserve theseshutters, as they contain important historical informationon paint color. The failing window frames will be repairedand restored from a pinkish paint to their original color,now known as Hazy Skies.Other parts of the ongoing renovation include repairs

to gutters, downspouts, and some chimneys. In addition, themaintenance and sealing of adjacent woodwork will end theintrusion of cold drafts, humid air, and damaging insects.In the interest of making the scaffolding project as pleas -

ing to the eye as possible to Winterthur’s many visitors thisyear, the building will be wrapped in a scrim, which willfeature an image from the Winterthur Archives. The $4.5 million renovation project, implemented by

the local company, EDis, will restore Winterthur closer tothe 1930s vision of the home.A corresponding project is set to begin in July. The

Cottage’s conservatory, home to the Museum Store’sgarden and plant retail space, will be rebuilt to includenew glass and iron mullions. Renovations to The Cottage,by SC&A Construction, are necessary for the restorationand structure of the conservatory.Come back and see Winterthur in 2015 to view H. F.

du Pont’s former home transformed, both inside-and-out!For renovation updates and images, please visit:

http://renovation.winterthur.org

REGIONAL UPDATES AND MEMBER NEWS

Dumbarton Oaks in Washington, D.C.

Philadelphia Regional Chapter UpdateA New Look for Winterthur—Inside and Out!Important renovation projects are now underway tofurther enhance the visitor experience at WinterthurMuseum, Garden & Library.Inside, Winterthur has completed the first phase of

a year-long renovation to the Museum. Tinted glass orPlexiglas® was installed in the windows to filter damagingUV and visible light. The tinted layer reduces the level of

Winterthur Museum, Garden & Library. Photo: Jeannette Lindvig


Northern California and Nevada RegionalChapterBy Jennifer Fragomeni

On April 18, the Northern California Chapter met at theWestern Railway Museum in Solano County, California.The Western Railway Museum is dedicated to preservingand interpreting the electric railways of the western UnitedStates in general, and northern California in particular.The Museum includes 95 cars, two restoration shops, threecar sheds, and 22 miles of historical track. Secretary of theBoard, John Krauskopf, made special arrangements for theNorthern California Chapter to be able to visit on a daywhen the Museum is normally closed, and acted as our hostfor the afternoon. Roger Bergmans (Operations Superin -tendent) and Christina March (Public Programs Manager)also accompanied the group.The meeting kicked off with a ride over the preserved

main line of the Sacramento Northern Railroad in the parlorcar of “The Scenic Limited.” During the ride, the groupdiscussed the benefits of benchmarking and attending theIAMFA Annual Conferences. Jennifer Fragomeni sharedFacility Issues’ 2013 presentation, “Benchmarking Effectively”.After the ride, the group visited the 37,000-square-foot,

state-of-the-art “Car House Three” (the Loring C. JensenMemorial Car House). To protect the historical artifactshoused inside, this $2.5M facility is built like a wine cave.The all-steel building is heavily insulated throughout, withfour inches of rockwool in the walls, and heavy fiberglassbelow the roof. These features keep annual temperature

variations between 55°F and 70°F without any heating orcooling machinery, as well as providing fireproofing. A 10 mm vapor barrier is buried under the floor to

prevent moisture from wicking up into the building fromthe clay substrate. Three low-velocity fans, each 20 feet indiameter, circulate air and prevent condensation fromforming. The building has no windows. Low-UV lampsoperate only when the building is occupied, to keep therestoration work fresh.More than one-quarter of the capital budget was dedi cated

to the extensive fire-protection system. The site of theWestern Railway Museum is nine miles from city water, soit was necessary to sink a new well, build a 220,000-gallonwater storage tank, install a diesel pump, bury high-pressure

The parlor car of The Scenic Limited, with authentic 1915 interior.Left to right: Tamara Hayes, SF Museum at the Mint; ChuckMignacco, Exploratorium; Christina March, Western RailwayMuseum; John Krauskopf, Western Railway Museum; Joe Brennan,SFMOMA (retired); and Chris Bernard, Lindsay Wildlife Museum.

The luxury train car that was Maude’s home in the film Harold and Maude.

Exterior of “Car House Three.” Left to right: John Krauskopf,Western Railway Museum; Christina March, Western RailwayMuseum; Jennifer Fragomeni, Exploratorium; Joe Brennan,SFMOMA (retired); Chris Bernard, Lindsay Wildlife Museum;and Charlie Booth, ABM Facility Services.


water mains and fire hydrants, and increase the strengthof the clear-span trusses of the car house to support thewet-charge pipes. The fire department also required theWestern Railway Museum to install access roads to “CarHouse Three” so that trucks could access the buildingduring the rainy season, when the local soil will notsupport a vehicle.After the fascinating tour of the car house, the group got

a quick visit to the restoration shops, to see where the magicis carried out on the rail cars, top to bottom. The WesternRailway Museum manages to do amazingly meticulousrestoration work with its dedicated all-volunteer crew. Thesize of some of the machinery needed to do the restorationwork was truly impressive.After many thanks for the informative afternoon, it was

time to go home. The Northern California Chapter had anafternoon that none of us will soon forget.

Jennifer Fragomeni is Director of Facilities at the Exploratorium inSan Francisco, California USA, and is the Chair of the NorthernCalifornia/Nevada Chapter of IAMFA.

Joe Brennan recently led a cleft palate and repair missionfor the Alliance for Smiles in remote Weining, China—1,000 miles west of Canton, and 500 miles north of Hanoi.Below is one of the daily briefings from the mission.


Jacks hold up a train car undergoing restoration.

The Monarch engine lathe used to resurface train wheels.

Los Angeles Regional Chapter UpdateWhat an evening Arts Earth Partnership, LACMA and theCity of Los Angeles had on March 13! It wasn’t a night fordeep conversation about the state of environment, but amoment to pause, celebrate and regroup in order to moveforward and tackle the big issues facing our planet today,through the arts.

The Los Angeles County Museum of Art.

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It’s very rare to get a cross-section of society into oneroom. Artists, politicians, city representatives,environmentalists, sustainability leaders, activists, realtors,designers—they were all there. If you were there, it wasbecause you understand how important the arts sector is,and the major impact this sector can have. Even if you are not an artist yourself, you likely love the

arts. There is a reason for that. The next time you are in agallery or museum; at a play, concert, or dance perfor mance;or in a studio, think about the impact that art is having onthe world, and everything that went into the art you’recontemplating, from its inception to its final display. Themessage is important, and the medium is as well. Lesswaste=more art!AEP and LACMA express their thanks for everyone

who came out and supported their efforts with the GreenArts Program in Los Angeles, and a special thank you toall those that participated in the ceremony, volunteeredand sponsored.

driver got lost along the way. The weather was pretty awful,with very poor visibility, due to a heavy mist that was toplague the group for the whole week. Hopefully whenConference participants travel this route in the fall, theirdriver will not get lost—and the weather will be perfect,with clear visibility for miles.On Monday, we visited all the host sites in Edinburgh,

which included the National Library of Scotland, theNational Galleries, the National Portrait Gallery and theNational Museum—and that was all before lunch! We weremet at the venues by the teams responsible for those days,and heard about the various presentations and tours thathave been lined up for delegates and their guests. On Tuesday, it was off to Glasgow to visit the Burrell

Museum, Kelvingrove Art Gallery and Museum, and theRiverside Museum. At the Riverside Museum, we boardedthe Tall Ship Glenlee to view the site for the Monday eveningdrinks reception. It was then back into the minivan andoff to New Lanark, where we met up with former IAMFAmember—and current Deputy Chairman of the Boardof Trustees at New Lanark—Bill Jackson. Then back toEdinburgh to meet up with the U.K. membership—includ -ing Dan McKenzie, M.D. of Steensen Varming, our veryfirst corporate sponsor—all of whom had travelled up toEdinburgh for the joint U.K. IAMFA and Conservationmeeting, which was to be held at the National Library ofScotland the next day.On Wednesday, we welcomed over 40 U.K. IAMFA

members and Conservation colleagues to the bi-annualU.K. IAMFA meeting. The first presentation, titled “The key to a successful

FM Partnership,” was delivered by Brian Jamieson of ECGFacilities, who gave a challenging presentation on howgovernment procurement procedures, whilst requiringsignificant amounts of paperwork, do not give FM suppliersa real opportunity to demonstrate what they can do. Hesuggested that a couple of additional steps should beadded to the current procurement procedure: first, a visitto the potential supplier’s office to see where the servicesare generated; and second, a visit to an existing client tosee firsthand how those services were delivered—perhapssomething for us FM purchasers to take on board.Second up was Chris Donohue of Cofely GDF Suez, whose

presentation was titled “i on the future”. The title of hispresentation couldn’t have been more apt because, whilstit seemed like a presentation predicting the future, it wasactually about the present, and what current technology,using the iPhone, could deliver today. We were introducedto Google Glass and iBeacon—both readily available today,with software that is already loaded onto all iPhones.Chris explained that the iBeacon—a small battery-powered

device—can be strategically placed in various locations,including buildings, and that it can “talk” to Google Glasssoftware on an iPhone to identify the iPhone’s location.Using this location information, the iPhone can then carryout any number of tasks: for instance, identify what the

U.K. Regional ChapterBy Jack Plumb

April 2014—so it must be time for the IAMFA Board to visitScotland and check out progress on this year’s AnnualConference. The Board arrived in Edinburgh on Fridayand Saturday at the end of March. I collected the groupfrom one of your Conference hotels on the Sunday to visitsome of the venues arranged for the guest tour.Our first stop was the National Museum of Flight for a

look at the Concorde, which is on display there. We thentravelled to Rosslyn Chapel with an entertaining journeythrough the East Lothian countryside—especially as the

Honorees and Presenters (left to right): Adam Meltzer, Arts:EarthPartnership; Karen Coca for Enrique Zaldivar; Mike Bonin,Councilman for the 11th District; Joel Shapiro, Electric Lodge;David Biggs, LA DWP; Randy Murphy, LACMA; Justin Yoffe,Arts:Earth Partnership.


iPhone is looking at in order to provide detailed informa -tion on the picture/object, including what it is, and evenwhether or not you’d like to buy a copy. The software could also be used by a conservator to

receive information about a space that is now out of itsdesigned environmental envelope, or an FM person beingdirected to a faulty piece of equipment. In this case, theiPhone could transmit images back to a central locationfor technical support. To me, this exciting technologycan be used in any number of ways, limited only by ourown imaginations!After a short break for coffee, George Adams of SPIE

Matthew Hall, SPIE UK Engineering Director, and currentPresident of Chartered Institute of Building ServicesEngineers, gave a presentation on “A City’s Journey on theCarbon Express.” At the heart of George’s presentation wasa call to restrict global climate change to 2ºC—at least, thatshould be our goal, however unlikely we are to reach it.George explained that, at current consumption rates, weare on target to use our entire carbon budget within thenext 25 years, unless significant action is taken now. George went on to say that there are unfortunately two

things working against us: rapid industrialisation in thedeveloping world, and a steady increase in the world’spopulation. George then explained the issue of heatintensity within inner cities, making the point that up to70% of the world’s population lives in cities, and researchhas shown that, as far back as 1830, the average overnighttemperature in cities has been as much as 5–6°C warmerthan surrounding rural areas, and that during the summerof 2003 the difference rose to 10ºC in London.George then asked what can be done to help this situation.

He chooses to see this as a major opportunity for theconstruction industry, including building operators likeourselves. Governments also have an important role toplay, especially as they have had 20 years of conferenceswith very little to show for them, (Montreal Protocolexcepted). On the down side, coal-fired energy productionis still climbing—rising 50% between 2008 and 2010—andthere is still no legal protection for the environment. Georgeended his presentation with a proposal from Polly Higginsof Earth is Our Business for the introduction of a fifthinternational law, which would effectively make it an offenceto damage the environment.The final presentation was delivered by Mike Vinson of

Camfil. Mike’s presentation was about molecular filtration,specifically focused on removing ozone pollution fromnational archives. Mike explained that ozone is a powerfuloxidant and, whilst it performs a very useful role in theupper atmosphere by reflecting the worst of the sun’s rays,closer to the ground it does bring about oxidation. Oxidation causes yellowing and the formation of acids

in organic materials. This can cause dyes and pigments tofade, rubber to crack, textiles to become brittle, and paint

binders to destabilize. Mike added that the control of ozonewas now just as important as the control of previously knownpollutants such as sulphur dioxide and nitrogen dioxide. At the Camfil R&D facility in Sweden, they have

developed the first ozone-removal efficiency-rating system;this is believed to be a first in the filtration industry. Mikeconcluded by encouraging us as building operators to startmeasuring the levels of ozone within our collection spaces,to ensure that we are using the correct molecular filtrationmethods to keep ozone, as well other known pollutants,from damaging our collections. The presentation session for the morning ended with the

all the presenters as well as Dan Mackenzie being invitedup onto the stage to take questions from the audience.Following lunch, it was the turn of the IAMFA Board to

take the stage and answer questions from the audience. Alively debate followed, with the Board answering questionsabout benchmarking; its developing relationship withconservators, especially in the U.K.; and the Board’s ownelection procedures. The meeting was wrapped up by yours truly, with thanks

to the Board, the presenters and finally, the most importantattendees—yes, the U.K. membership and their col leagues—for taking the time to travel to Edinburgh for this meeting,especially as the meeting was held so close to the end ofthe U.K. financial year.On Thursday and Friday, the Board was still hard at work

with all-day meetings to discuss IAMFA business, includingthe development of the membership strategy, the sponsorshipstrategy and of course the 2014 Conference. On Saturday, members of the IAMFA Board made their

weary way back home, hopefully secure in the knowledgethat the 2014 Annual Conference will be a fantastic event—and that the weather cannot possibly be as bad as it wasduring the week. Here’s hoping!

Jack Plumb is Head of Estates at the National Library of Scotland,IAMFA UK Representative and Chair of the IAMFA Scotland 2014Organising Committee.


Papyrus

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A N I N D E X O F

PapyrusTECHNICAL AND HISTORICALARTICLES CAN BE FOUND AT

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IAMFA MEMBERS—ORGANIZATIONS

Art Gallery of New SouthWalesSydney, New South Wales

Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaMelbourne

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Portrait Galleryof AustraliaCanberra, ACT

Parkes Place CanberraCanberra, ACT

Port Arthur Historic SitesPort Arthur, Tasmania

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Aanischaaukamikw CreeCultural InstituteOuje-Bougoumou, Quebec

Black and McDonaldOttawa, Ontario

Canada Science &Technology MuseumCorporationOttawa, Ontario

Canadian Museum of HistoryGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Canadian Museum forHuman RightsWinnipeg, Manitoba

Integrated HeritageManagementAlmonte, Ontario

Library Archives of CanadaGatineau, Quebec

AUSTRALIA

CANADA

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Peterborough Museum &ArchivesPeterborough, Ontario

Physical Resource BureauOttawa, Ontario

Protect Heritage Corp.Orleans, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Steensen VarmingHong Kong

Steensen VarmingCopenhagen

Credit AgricoleParis

Polymnia Venezia srlVenezia Mestre

Auckland War MuseumAuckland

Christchurch Art GalleryChristchurch, Canterbury

Royal New Zealand NavyDevonport, Auckland

Uxbridge Creative CentreHowick, Auckland

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Cofely LtdWorcester Park, Surrey

CHINA

DENMARK

FRANCE

ITALY

NEW ZEALAND

UNITED KINGDOM

The Energy ConsortiumNorbury, London, England

Glasgow Life, GlasgowCity CouncilGlasgow, Scotland

Historic Royal PalacesMolesey, Surrey

The National ArchivesRichmond, Surrey

National Galleries ofScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museums LiverpoolLiverpool, England

National Museums ofScotlandEdinburgh, Scotland

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Norland Managed ServicesLondon, England

Royal Academy of Arts,Burlington House, PiccadillyLondon, England

Science MuseumLondon, England

SPIE Matthew HallSuffolk, England

SPIE UKLondon, England

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

White Chapel GalleryLondon, England

Aegis Property GroupPhiladelphia, PA

AFS Chemical FiltrationGroupBurlington, MA

UNITED STATES

Allied BartonWallingford, PA

Anacostia CommunityMuseumWashington, DC

Architect of the CapitolWashington, DC

architrve pc architectsWashington, DC

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta , GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMoorestown, NJ

Belimo Aircontrols USA, Inc.Midlothian, VA

Boston AthenaeumBoston, MA

Brandywine ConservancyLincoln University, PA

Brooklyn Museum of ArtBrooklyn, NY

Buro HappoldNew York, NY

California Academyof SciencesSan Francisco, CA

Carnegie Museumsof PittsburghPittsburgh, PA

CBT ArchitectsBoston, MA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Currier Museum of ArtManchester, NH

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

Delaware Museum ofNatural HistoryWilmington, DE

DERBIGUM Americas, Inc.Kansas City, MO

Dumbarton Oaks ResearchLibrary and CollectionWashington, DC

Ewing ColeDeptford, NJPhiladelphia, PAWashington, DC

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, HI

Friends of the High Line New York, NY

GlenstonePotomac, MD

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumsCambridge, MA

High Museum of ArtAtlanta , GA

Hillwood Museum Estateand GardensWashington, DC

Hirshhorn Museum andSculpture GardenWashington, DC

Image Permanence Institute— Rochester Instituteof TechnologyRochester, NY

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

LB&B AssociatesFulton, MD

LF Driscoll Co.Wayne, PA

Library of CongressWashington, DC

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

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

McGuire Engineers, Inc.Chicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Fine Arts —St. Petersburg FloridaSaint Petersburg, FL

Museum of Modern ArtNew York, NY

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Gallery of ArtLandover , MD

National Museum ofAfrican American Historyand CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

National Museum ofthe American Indian,George Gustav Heye CenterNew York, NY

National Portrait GalleryWashington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceCorona, NY

Oakland Museum ofCaliforniaOakland, CA

Peabody Essex MuseumSalem, MA

PennoniPhiladelphia, PA

Philadelphia Museum of ArtPhiladelphia, PA

QuinnEvens ArchitectsAnn Arbor, MI

Reading Public MuseumReading, PA

Renwick GalleryWashington, DC

San Francisco Art InstituteSan Francisco, CA

San Francisco Museum atthe MintSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smith Group JJRWashington , DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Airand Space MuseumBurke, VA

SodexoWaltham, MACanyon Country, CA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Stanford University LibrariesStanford, CA

Synthesis IncorporatedColumbia, MD

U.S. Holocaust MemorialMuseumWashington, DC

WebcorAlameda, CA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Ziger/Snead ArchitectsBaltimore, MD


IAMFA MEMBERS—ORGANIZATIONS

UNITED STATES cont’d

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your

listing, please contact

Randy Murphy at

[email protected]

McGuire Engineers is aproud affiliate memberof IAMFA since 2001.

www.mepcinc.com

Papyrus Spring 2014

Education

Transcript of Papyrus Spring 2014