Papyrus Spring 2015

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

Message fromIAMFA’s VP ofAdministration

LED Adoptionby Museums

New ContinuousImprovementSeriesA Practical Guide for

Sustainable Climate

Control and Lighting

VOL. 16, NO. 1 SPRING 2015VOL. 16, NO. 1 SPRING 2015

Schedule for the

25th IAMFA Conference

in Chicago

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 — John Bixler Smithsonian [email protected]

Denis SmalleyLibrary of [email protected]

REGIONAL CHAPTERSIAMFA BOARD OF DIRECTORS

Message from the Vice-President of Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . 4

Message from the President . . . . . . . . . . . . . . . . . . . 5

LED Adoption by Museums—Survey Results andRecommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Within These Walls . . . . . . . . . . . . . . . . . . . . . . . . . . 8

A Practical Guide for Sustainable Climate Controland Lighting in Museums and Galleries . . . . . . . . . . 9

Benchmarking Utility Best Practices . . . . . . . . . . . . . 10

Historic Building Information Management:Mount Vernon 3-D Model Underway. . . . . . . . . . . . 12

Ownership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

2015 IAFMA Conference Schedule . . . . . . . . . . . . . . 18

A Visit to The Mary Rose . . . . . . . . . . . . . . . . . . . . . . 21

Best Practices Feature Article: Continuous Improvement . . . . . . . . . . . . . . . . . . . . . 24

Communication Within the National Library of Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Regional Updates and Member News . . . . . . . . . . . 29

IAMFA Members—Organizations . . . . . . . . . . . . . . . 33

For more information on becoming a member of IAMFA, please visit

www.NewIAMFA.org

Cover photo: The two bronze lions in front of the Art Institute of Chicago were a gift from Mrs. Henry Field for the Institute’s opening in 1893. The Art Institute is hosting the 25th IAMFA Annual Conference in September 2015.

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 reservethe right to accept or to reject anyarticle or advertisement submittedfor publication.

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 16, Number 1Spring 2015

EditorJack Plumb

ContributorsNancy BechtolJohn Bixler Robert FinkJennifer FragomeniNeal GrahamJoe Hernandez-KolskiJoe MayKeith McClanahan

Randy MurphyJack PlumbJohn SmalleyAlyson SteeleAllan TyrrellU.S. Department of EnergyEmrah Baki UlasThomas A. Westerkamp Jay Yelen

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

President Nancy 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]

EditorJack PlumbNational Library of ScotlandEdinburgh, Scotland [email protected]

2015 Conference ChairBill CaddickArt Institute of ChicagoChicago, Illinois, [email protected]

2016 Conference ChairJames MoissonHarvard Art MuseumsCambridge, Massachusetts, [email protected]

For additional contact information, please visit our website at www.NewIAMFA.org

Randy MurphyVice-President of Administration

2 PAPYRUS SPRING 2015

MESSAGE FROM THE VICE-PRESIDENT OF ADMINISTRATION

collections. We have also benefited fromthe input and dedication of IAMFAmembers, who have led our all-volunteerassociation to the outstandingorganization it is today. It is my pleasure to announce that,

as we turn 25, IAMFA is launching anexciting new Corporate SponsorshipProgram, in addition to our highlysuccessful Conference SponsorshipProgram, to ensure that the educationalopportunities and support IAMFAprovides will continue for the next25 years and beyond. For new CorporateSponsors, this is a unique and one-time-

only opportunity to become FoundingCorporate Sponsors, ensuring theongoing success of IAMFA and thework it does.Corporate Sponsorship of IAMFA

provides unequalled, ongoing andmeaningful connections to IAMFAMember Organizations in Australia,New Zealand, Canada, Europe andthe United States—in other words, tomany of the world’s top cultural orga -nizations. We at IAMFA are keen to

Dear IAMFA Members andSponsors,

TThis year, we reach an importantmilestone in IAMFA’s history—our 25th Anniversary. It will be

celebrated, aptly enough, in Chicago,where it all began with our first con -fer ence in 1990. This will be a greatopportunity to celebrate the past25 years, which have taken us froma small group of museums with bigdreams of creating a professionalorganization of museum facilitiesadministrators—originally led byGeorge Preston of the Art Instituteof Chicago—to the IAMFA of today.Much has happened over these past25 years, but one constant has beenthe continuing development andgrowth of IAMFA, and its lasting valueto our cultural and corporate member -ship, our sponsors, and the internationalcultural community. While we take a moment this year

to acknowledge the past, it is really theopportunities and promise of IAMFA’svery bright future—and our next25 years—that we are celebrating.This is, of course, made possible inlarge part through the dedication andcontributions of our members, but alsothrough the consistent and ongoingsupport of our sponsors. Throughout its first 25 years, IAMFA

has been lucky to have ConferenceSponsors who have shared in our goal ofproviding outstanding facility manage -ment of the buildings and operationsdedicated to the preservation and pre -sentation of the world’s most important

explore ways in which our CorporateSponsors can achieve their goalsthrough sponsorship and through theintroduction of products and servicesto our Member Organizations. It isthrough this process that our memberswill learn of new and existing solutionsthat support our various missions,while also helping us to achieve ourmutual objectives. Our existing sponsors and Corporate

Members are among the most creativecompanies in their respective industries,and are a perfect match for our equallycreative cultural organizations. It isgoing to be exciting, and great fun, tosee how we can work together to makeimportant connections, and help eachother solve issues, prosper and, quitesimply, operate our institutions in thebest and most efficient ways possible. IAMFA offers Corporate Sponsors

an opportunity to reach an influentialmarket of nearly 300 internationalMember Organizations in the culturalsector through the triannual publi ca -tion Papyrus, which features technicalarticles, full-page sponsorship recog -nition, and sponsor listings. Digitalmedia is also available to sponsorsthrough our website newiamfa.org,with recognition on the homepage,archives of educational presentations byCorporate Sponsors, and the Papyruselectronic archive. IAMFA’s LinkedIn group provides

sponsors with direct social-media accessto 850 members from 54 countriesthrough ongoing communication,personal messages, announcements tothe LinkedIn group, an annual listingof Corporate Sponsors, along withthe possibility of targeted promotionsand contests. In addition, Corporate Sponsors

will enjoy an opportunity to meet andconnect with members during IAMFA’sannual multi-day conference, at whichthe latest technologies and productsare shared. Sponsors also receive

Help us Celebrate our25th Anniversary!

It is my pleasure toannounce . . . IAMFA islaunching an exciting newCorporate SponsorshipProgram, in addition to ourhighly successful ConferenceSponsorship Program, toensure that the educationalopportunities and supportIAMFA provides willcontinue for the next25 years and beyond.

PAPYRUS SPRING 2015 3

value your support, and look forwardto talking with you about this newprogram and how we might be ableto help one another. If you are not currently a sponsor,

but would like to become one, please letus know. If you are already a sponsorand know of another company ofwhich we should be aware, we wantto hear from you as well. If you’re aCultural Organization member, weneed your assistance, too. Please let us know if you are aware

of a company that is interested insponsoring IAMFA, or one with whichyou work that you think other IAMFAmembers should know about. IAMFAMembers can also help by rememberingto consider our sponsors when mak -ing purchasing decisions—whenyou support our sponsors, you aresupporting IAMFA. We will be reaching out to all of you

as the program grows, but please don’twait for us—we would be pleased to hearyour ideas at any time. You can contactme via email at [email protected] [email protected], and byphone at 001.323.857.4725.I would also like to take this oppor -

tunity to acknowledge and thankNancy Bechtol, my Co-Chair, and ourCorporate Sponsorship Committeemembers, Rich Reinert, Stacey Wittigand Shaun Woodhouse, for theirleadership and contributions. If youwould like to serve on the CorporateSponsorship Committee, please let usknow; we welcome your participation. A special thank you as well to Bill

Caddick and Patrick Jones, our hosts forthe 2015 IAMFA Annual Conference.They have been great partners incoordinating our Corporate andConference Sponsorship programsduring this Founding CorporateSponsorship launch. I would also liketo thank and recognize Members ofthe IAMFA Board for their wisdomand support.

In closing, I hope that you will joinus for our 25th Annual Conferencein Chicago from September 20–24,where we are expecting more than100 museum facility administratorsand sponsors from around the world.It will be an excellent opportunity tonetwork with peers, and to learn aboutnew trends and technologies fromindustry leaders and technical experts.It should be quite a party—we lookforward to sharing in the celebrationwith you.

Randy Murphy is Director of Operations atthe Los Angeles County Museum of Art,and has served on the IAMFA Board ofDirectors in numerous roles for many years,spanning much of IAMFA’s history. Randycan be reached at [email protected] [email protected], and by phone at001.323.857.4725.

recog nition at the conference fortheir contributions and participation.IAMFA conferences provide excellentnetworking opportunities, allowingmembers and sponsors to build lastingprofessional relationships.

The IAMFA Diplomat Award,periodically presented at the AnnualConference, is another way in whichwe recognize corporations that havesignificantly advanced IAMFA’s missionby making exceptional contributionsto the state of design, construction,operation and maintenance of culturalfacilities. There is also a LifetimeAchieve ment Award that recognizes out -standing career achievements or contri -butions to IAMFA’s mission. CorporateSponsors can also connect with themany IAMFA Chapters across the globethrough Regional Chapter meetings.So, how can you help us celebrate

our 25th Anniversary? We are in theprocess of reaching out to all of ourpast and current Conference Sponsorsand, if you haven’t yet heard from us,you will very soon. Of course, pleasefeel free to reach out to us as well. We

IAMFA offers CorporateSponsors an opportunity toreach an influential marketof nearly 300 internationalMember Organizations inthe cultural sector throughthe triannual publicationPapyrus, which featurestechnical articles, full-pagesponsorship recognition,and sponsor listings.

So, with a new editor, what changescan you expect? Well, my first task willbe to try and maintain the quality andstandards that Joe has achieved overthe years: a massive undertaking inits own right. In trying to reach thatgoal, I have a few ideas on how wecan perhaps expand the educationalcontent by asking learned colleagues—especially suppliers of specialist plantand equip ment that we as estate/facilitymanagers employ—to provide technicalarticles. To all our specialist suppliers,then, please get in touch, as we wouldlike to both tap into your specialistknowledge, and learn more aboutyour products. In the interests of improving com -

mu nication between the IAMFA Boardand you, the IAMFA membership,we will also be asking Board Membersto provide short résumés of theirprogress in their individual areasof responsi bility. This month, weare pleased to include a piece fromRandy Murphy, VP Administration,regarding his work on the newCorporate Sponsorship strategy. In addition to these initiatives, of

course, we still want to hear from you,our members, as often as possible. Thisis your magazine, and should reflectyour knowledge and experiences, so Iwould ask for your continued supportin providing your stories. I am sure weall have experiences that would be ofinterest to our colleagues. As I haveoften said, if I can write an article, so canyou, so please get those keyboards going.Moving on, I know that Bill Caddick

and Patrick Jones are hard at workpreparing for our next internationalconference, which will be held inChicago from Sunday, September 20(the Benchmarking workshop) toWednesday, September 23, with an

For regular visitors to the IAMFAwebsite, (newiamfa.org), yes, therumour is true: Joe May has finally

hung up his pen, and I have taken overas editor of Papyrus. The good news isthat, whilst Joe has stepped down as aMember of the IAMFA Board, he isstill working away in the backgroundin his role as IAMFA webmaster andmanager of the IAMFA LinkedIn site,while also supporting the regularpublication of Papyrus. Those of you with longer memories

will remember Papyrus as rather thinmonochrome magazine. Under Joe’seditorial leadership, the magazine isnow produced in full glorious colour,sometimes with well over 50 pages.What I have noticed most is an increasein the number and quality of technicalarticles, which I know have been of greatvalue, and do contribute to our continualprofessional development (CPD). What may not be so obvious to

fellow IAMFA members is that Joe hasalso almost singlehandedly renewedthe IAMFA website from top to bottom,while also setting up the LinkedIn sitefor IAMFA members. At last count,the LinkedIn site had 848 members in54 countries—a magnificent achieve -ment by anybody’s standard. I am surethat IAMFA’s membership will be withme when I say that we owe a great debtof gratitude to Joe May for all his workon the IAMFA board, and his tirelessefforts in promoting the IAMFA cause.So, on behalf of all IAMFA members,thank you, Joe May!


optional extra day on Thursday,September 24. For details of theconference, please visit the website,where details of the conferencevenues are displayed, including alink to the Hyatt Regency Chicago,our conference hotel. This particular international con -

ference in Chicago celebrates a veryimportant anniversary in the history ofIAMFA. It is fitting that we are returningto Chicago, where it all began in 1990,when George Preston, Director ofPhysical Plant at the Art Institute ofChicago, recognized the importance ofsharing knowledge and experience withfellow professionals. Along with otherlikeminded colleagues, he accordinglylaid the groundwork for the organisa -tion we know today. To honour thatvision, this important 25th anniversaryis being celebrated in George Preston’shometown of Chicago. From previous experience I know

that, once we get into July and August,things really start to pick up with thesheer number of last-minute detailsthat need to be resolved as the start ofthe conference draws ever nearer. Tohelp, please go to the website’s Paymentpage as soon as you can to sign up andconfirm your conference attendance.Please remember that the Thursday tripis an addition to the main conferencebooking, and needs to booked and paidfor on the Payment page. Nothingmakes management of the conferenceeasier than by knowing just how manycolleagues have signed up as delegates,guests, and for the additional day. Whilst we are on the subject of

payments, if you have not already paid,please remember that your 2015 IAMFAmembership fee was due on January 1,so please remember to pay before thelast date, which is July 15, 2015.

Jack PlumbEditor, Papyrus

LETTER FROM THE EDITOR

this extra day to visit cultural facilitiesin towns outside of the host city. Weare all going to be in for a real treatin September as we celebrate our25th year in the same town as ourvery first meeting. In January, we welcomed Jack Plumb

back onto the IAMFA Board, to take theplace of Joe May as the Board Memberresponsible for editorial work. Wewere all so very sorry to lose Joe onthe Board; he has worked tirelessly forIAMFA for years, but needed to take abreak to concentrate on his day job.For many weeks during the year, Joewould clock nearly 20 hours a weekhandling our IAMFA workload. Hisdedication to IAMFA was truly a part-time job, and we will likely never replacethat level of effort with another volun -teer Board Member. We all work hard,but Joe set a bar no one else has yetbeen able to match! Joe is still managing our Papyrus

magazine, and serves as editor ofour website and LinkedIn group.This work still requires a minimumof 10 hours per week, but it is betterthan the 20-plus hours he used toput in for us. We are most fortunate,however, that Jack is willing to joinup with us again. The transitionhas also been seamless because ofhow well these two work together. There are other members of IAMFA

whose volunteer efforts are absolutelycritical to our association. Our RegionalChapter Chairs come immediately tomind, because we would only cometogether once a year without thisgroup of dedicated members. TheUK Chapter actually organizes a two-dayconference for each of their regionalchapter meetings. The WashingtonMetro chapter organizes excellentlectures and tours around a specific

theme at various cultural institutionsin their region. Two different chaptersin California have continued a tradi -tion, for more than a decade, of solidscheduled meetings and tours. TheirCalifornia best practice is actuallyhelping to advise a group from thenorthwestern USA and Canada, asthey organize their first meeting asa new chapter of IAMFA. These jobs are not easy, but our

Chapter Chairs make them look justthat. We have gathered this group ofChapter Chairs at the past two AnnualMeetings and will do so again inChicago, as it helps to get them alltogether to share experiences, ideas andpractices. IAMFA is all about networkingand sharing our professional expe -riences with one another, and ourChapter Chairs are key to our successin reaching that goal. One of my goals is to encourage

every member of IAMFA to do a littlebit more for our association. If weeach got involved in making this abetter organization, we would be ableto do everything we have outlined inour Strategic Plan. Each of us couldcontribute an article to Papyrus, post afacilities question within the LinkedIngroup, organize a tour or presentationfor their local Chapter, or considerhosting an Annual Conference in 2018,2019 or 2020. I am a firm believer that your

career will benefit if you do decideto take a step forward and help just abit more than you already do, becausewe are an organization of volunteers,and we need you. I can’t thank ourexisting volunteers enough for allthey do, and I look forward to workingwith each and every one of you inthe future!

Running an association of our sizewith volunteers is not an easy task.I am reminded every month

during our Board meetings just howchallenging it is to oversee a member -ship of hundreds of professionals fromall over the world, utilizing folks whoalready have very busy day jobs! We also organize our annual

meetings with volunteers—this year,Bill Caddick and Patrick Jones arekey. I have watched them slowly butsurely organize this year’s conference.One month they handle sponsorship;another month, the museum sites wewill see; and yet another month, thelogistics of transportation and edu ca -tional programming. I marvel at howit all comes together, one month ata time, proving that an annual con -ference of our size and quality canindeed be pulled together by adedicated membership. I hope you have already gone to

our website and registered for the25th Annual IAMFA conference inChicago this coming September. Wehave provided a detailed schedule forthis year’s program in this edition ofPapyrus. Each day has been programmedfrom morning till night, starting onSunday with our Benchmarking Work -shop, and ending on Thursday withan extra day trip by bus to Milwaukeeto tour museums in that part of thecountry. Some of us just can’t seeenough during the official three daysof the conference, and truly appreciate


Nancy BechtolPresident, IAMFA

MESSAGE FROM THE PRESIDENT


The recent switch to LEDs toilluminate Michelangelo’smasterpiece on the ceiling of the

Sistine Chapel is just one of the latestin a series of high-profile installationsthat show how far the technology hascome—not only in terms of its accep -tance and adoption, but also in termsof its performance. But solid-statelighting (SSL) is a long way frombeing a slam-dunk in such settings,where the heightened stakes canmagnify the importance of some ofSSL’s remaining issues. To shed light on the matter (pun

intended), in June 2014, PacificNorth west National Laboratory con -ducted a survey of museums on behalfof the Department of Energy (DOE),the Getty Conservation Institute (GCI),and the Canadian ConservationInstitute (CCI). The responses andrecommendations—which are pre -sented in a new GATEWAY report,SSL Adoption by Museums: Survey Results,Analysis, and Recommendations—offervaluable insights for manufacturers,as well as for specifiers and museums.The report analyzes the survey

responses of 46 members of themuseum community, who had requesteda copy of the document Guidelines forAssessing Solid-State Lighting (SSL) forMuseums, a pivotal resource written in2011 by Jim Druzik of GCI and StefanMichalski of CCI. Most of those whoresponded to the survey were museumdirectors, designers, conservators,curators, as well as those involved incollections care and registration; abouta third were international.More than two-thirds (68%) of

respondents placed a high priority onenergy efficiency. Respondents alsoindicated, however, that they wouldn’tsacrifice potential damage or lightquality/aesthetics to achieve it. At thesame time, they acknowledged thatlighting quality is not necessarily

dimin ished by higher-source efficacy,and that it’s possible to achieveboth high lm/W and high-qualityLED performance.More than half (51%) identified

incandescent as their principal lightingtype, with LED at 40% (compared toalmost none in 2009); CFL at 13%;linear fluorescent at 11%; and others(including metal halide, halogen, anddaylight) at 22%. Color, spectral powerdistribution (SPD), and damage poten -tial were the main considerations inlamp selection, with affordable, high-performing, attractive products thatwon’t become obsolete considered key.When evaluating potential damage,the majority considered ultravioletand infrared content, and about halfconsidered short-wavelength emissionsin the SPD.Although 75% of respondents expe -

rienced early LED product failures,the maximum reported failure ratewas only 2.5% of the installed lampsor fixtures. The most-noted sources offailure were electronic components(drivers, power supplies), rather thanthe LED sources themselves. Respon -dents indicated that they’re looking forwarranties that cover LED chips and

electronics, lumen depreciation, andcolor shift, and some are even lookingfor warranties that are longer thantheir return-on-investment period.When asked whether they would

consider and implement another LEDinstallation, 71% indicated yes; 6%, no;and 32% of respondents said theyalready had. When evaluating thesuccess of the installed LED lighting,respondents solicited feedback fromgroups of observers: unanimouslyfavorable from the public, and 97%favorable from museum staff.Dimming was generally deemed

important to achieve required low-lightlevels, down to 5 fc (50 lux). Nearlytwo-thirds (over 65%) of respondentswould use lighting controls if theyworked with their existing lamp-basedinfrastructure and afforded lamp-by-lamp control of light intensity (and, ifpossible, chromaticity). They wouldalso like the ability to monitor lux levelson an object-by-object basis. Dimmingincompatibilities still exist and, due tothe added challenge, older systems ofmechanical controls (e.g., screens)are still being used to modify the lightoutput of lamps, because they aresimple, inexpensive, and effective.

LED Adoption by MuseumsSurvey Results and RecommendationsBy the U.S. Department of Energy


It was clear from the survey thatmuseums would use controls if theywere user-friendly and not prohibi -tively expensive. Wireless controlswould be easier to retrofit, becauseno additional control wires need berun between the dimmer and theload, and luminaires equipped with awireless receiver could be individuallydimmed to customize light output fora specific object. This would allow forsetting and maintaining illuminanceswithin conservation parameters (thusmore easily tracking lux-hours on anobject-by-object basis) and provideadditional energy savings, as compared

to using screens to reduce output.However, survey respondents indi catedthat, at this point in time, controls aretoo complicated; this is likely to changein the coming years.Respondents were skeptical about

the predicted life of LED lightingproducts, due to the lack of “real”proof. Although L70 (the point atwhich lumen depreciation reaches30%) is often accepted as the typicalfailing criterion, this is not alwaysadopted by the museum community;significantly shorter lifespans, such as5,000 hours, are frequently used ineconomic analysis.

Overall, questionnaire responsesand comments showed that there isstill confusion about different LEDproducts and what museum staffshould be asking for, as well as con -cerns about maintenance. It was clearfrom the responses that educationand experience are needed atmultiple levels.

A link to the complete GATEWAY report,SSL Adoption by Museums: Survey Results,Analysis, and Recommendations can befound on IAMFA Education page atwww.newiamfa.org.

For more information on becoming a member of the International Association of Museum Facility Administrators, please visit

www.NewIAMFA.org

Become a Member of IAMFA


I’m in my car once againI wouldn’t be doing this if Jess wasn’t my best friendIt’s her birthdayAnd she wants to see the Urs Fischer exhibit todayAnd the voice inside my head is screaming

Are you crazy?Why did you click “going” instead of “maybe?”

Now you have no choiceYou’re driving downtown on a FridayDid you even think about parking?Well, there goes your whole day!

As I pull a U-Turn and grab a meterThe voice is getting even louder

Haven’t you been paying attentionYou know the score

You’ve got way too much to doYou don’t have time for fun anymore

You’ve gotta keep posting, liking and tweetingYou’ve gotta keep up

Keep your head down 24-7A 9 to 5 is no longer enough!

I buy my ticketAttach my buttonAnd the voice inside my headIt just keeps comin’

China is beating us at math and science!And your college roommate just made a funny video about the rebel

alliance!Why go to a museum?You’ve got to go viral!

I step in the doors andI am greeted by the sweetest elderly woman in the historyof elderly women

Her smile says

Say goodbye to that voiceIt’s about to disappear

Cuz fortunately that voice doesn’t have a membership here

And now all I hearIs nothingNo, it’s something

A studyingA surveyingA calmness breached occasionally by a child cryingI see my friends“Oh my god, I haven’t seen you in forever, how’veyou been?”

And we do what our ancestors did before freewaysWe walkWe readWe talkWe breatheWowI have to take a step forwardTo really notice the detailsImagine the processLook at thatI have to take a step backTo really enjoy what’s in front of meThe pure artistry that has been preserved for allof us to see

Including these high school kids all around meI see the lights going on inside their eyesThey are not snap chattingThese are memories that will surviveAnd the voice inside my head whispers

It’s pretty cool, right?This is what you are meant to do with your life

See the world differentlyCreate something with meaning

In a world where human life is fragileWhere loved ones come and go

Within these wallsIt is our collective creative energy

We together uphold

Like a dot on a canvasI feel smaller than I’ve ever feltYet a part of something more important than meOne giant connected line of historyI am reminded of everything and everyoneWho existed before meSo I can share this experience with those who areborn from me

And on and on and on we goInto infinity.

© Joe Hernandez-Kolski

Within These WallsBy Joe Hernandez-Kolski

Joe Hernández-Kolski is a two-time HBO Def Poet and EmmyAward-Winner, actor/poet/comedian. Visit his website atwww.pochojoe.com.


Museums and galleries engage audiences acrossgenerations, contributing long-term value to ourcommunities through the preservation, research,

interpretation and exhibition of historical and contem poraryart, objects and stories. As such, they are well placed toadvocate sustainable practices, foster a culture of environ -mental stewardship, and champion green issues. By enhancingtheir own sustainability, museums and galleries are ableto set a positive example, demonstrate leadership to theircommunities, and effect positive change.The changing and evolving nature of museums and

galleries has, on the other hand, resulted in a wide spectrumof exhibition and spatial typologies over time. The objectsthese institutions house range from historical manuscriptsand ancient objects, to organic specimens and fossils, andfrom Renaissance paintings to contemporary art and digitalmedia, and much more. They are stored or exhibited, temporarily or permanently,

in spaces that range from small to large, private to publiclyowned, within building types of different complexities thataccordingly require varying systems for climate controland lighting. As a result, the capital, operational andmainte nance budgets of these facilities also present verydiverse typologies that serve different objectives, priorities,organisational structures and processes. All of these factors make a sustainable approach to climate

control and lighting in museums and galleries a non-prescriptive task. With such a widely variant spatial and con -textual range, establishing common criteria and metho dologiesis not only challenging, but also may not adequately respondto the specific needs that will best serve these facilities. Moreover, in this era of sustainability and energy use,

best-practice expectations for building systems are alsorapidly evolving. Museum and gallery facilities are underincreasing pressure to reduce their environmental impact andbecome more efficiently run, whilst maintaining an optimalenvironment for exhibition display remains the key concern.

A Practical Guide for Sustainable Climate Control andLighting in Museums and Galleries is a study developed bySteensen Varming and International Conservation Services.This work was commissioned by Museums and GalleriesQueensland, in partnership with the Museums & Galleriesof New South Wales, the Regional and Public GalleriesAssociation of New South Wales, and the Regional GalleriesAssociation of Queensland. The Guide has been informed by national and interna -

tional theory and practice, and aims to contribute to the abilityof museums and galleries across the globe to strike a balancewhen it comes to providing a well-rounded back ground andpractical approaches for complex issues. While the technical

A Practical Guide for SustainableClimate Control and Lighting inMuseums and GalleriesBy Emrah Baki Ulas, Steensen Varming

Cover Image from The Practical Guide for Sustainable ClimateControl and Lighting in Museums and Galleries; Art Gallery ofNew South Wales Asian Gallery Image © 2005, Steensen Varming

issues discussed are of regular debate, and should always beconsidered with specific regard to the local environment,the Guide provides principles that are largely applicable,or at least informative, for most facilities around the world.This initiative received funding from the Australian

Government’s Department of Industry and Science as apart of the Energy Efficiency Information Grants Program,and is supported by the Visual Arts and Craft Strategy, aninitiative of the Australian, state and territorial governments. A link to The Practical Guide for Sustainable Climate Control

and Lighting in Museums and Galleries can be found on theIAMFA website’s Education page at newiamfa.org.

Emrah Baki Ulas is an Associate with Steensen Varming,and is based in Sydney, Australia. Emrah can be reached [email protected]


Utility costs always seem to be on the lists of hot topicsor top issues among IAMFA members. When youlook at the overall spending pie chart for the IAMFA

Benchmarks Survey, it’s easy to understand why. The medianspending for utilities, maintenance, and security costs areabout equal for the group, and represent nearly ninetypercent of total operating costs. IAMFA members whoare working to improve their budget performance andfocusing on utilities are working on one of the criticalcomponents of their costs.

At the last Benchmarking Practices and LearningWorkshop, many participants were using benchmarking toreduce their utility expenses or consumption. Some werefocused on specific issues or problems they were experi -encing with extreme weather or rate hikes, while otherswere looking at their overall performance. Benchmarkingcan help with both issues and more.

Most IAMFA members are familiar with the bench -marking concepts. There are web-based forms to enterregarding a given institution’s demographics, such as grossarea, visitor counts, age, etc. This demographic informationis needed so that the costs and consumption can be norma -lized among all benchmarking participants. For continuingparticipants, we carry over the prior year’s data, so thatthey need only enter the information that has changed. Then there are the specific forms for the various major cost

components. One example of a portion of the utility-costsection is shown in Figure 1. From this data, the IAMFA Benchmarking Survey

provides normalized charts to compare the following:

• Electrical cost per KWH

• Electrical consumption per GSF or GSM

• Electrical cost per GSF or GSM

• Total utility cost per GSF or GSM

All of the cost charts are available in the participant’scurrency. Figure 2 shows how participants compare to theirbenchmarked peers for total utility costs. Note that eachvertical bar represents an institution, and that each insti -tution is coded so that only the participants can identifyone another. The cost (US dollars in this example) ranges

BENCHMARKING

Benchmarking Utility BestPracticesBy Keith McClanahan, Facility Issues

Participants in the Benchmarking and Learning Workshopheld during the 2014 IAMFA Annual Conference in Edinburgh,Scotland.

Figure 1: Annual Utilities Costs—IAMFA 2014 BenchmarkingSurvey—Facility Issues


from a low of $1.23 to $19.44 per GSF (gross square foot),with a median cost of $3.39. A question many of the participants asked at the Bench -

marking Practices and Learning Workshop in Edinburgh was,“What can I do to move to the left on this chart, withoutaffecting our collections?” To improve your institution’s per -formance, you need to know what to change in your facility.One way to do that is to compare what others are doing. The IAMFA Benchmarking Survey can help with that by

analyzing which best practices have been implemented byquartile of performance. Over the past several years, theSteering Committee and Facility Issues have been identifying“Best Practices.” The Utility Best Practices are organizedinto nine sections, and Benchmarking participants indicatewhich of these best practices have been implemented.Fgure 3 is a screenshot showing the Utility Best Practices;the details of the “Commissioning” section (UB2) havebeen expanded to show all the questions.

Next we will review implementation results, to see if thesebest practices affect the utility-cost performance. The resultsfor the same section highlighted above are shown in thetable below (Figure 4) with the implementation rate shownfor the overall group and by quartile. This is enlighteningfor several reasons:

1. The first-quartile participants have the highestimplementation rates.

2.. The fourth-quartile participants have the lowestimplementation rates.

3.. The second and third quartiles show mixed results, sothere are clearly other factors affecting utility per for -mance. After all, this is only one of the nine Best Practicessections in the utility section of the report. Other bestpractices will have an impact on performance.

4.. The results offer good analytical data that couldhelp support a recommendation to implementmore commissioning at a given institution.

Facilities managers should carefully analyze all of theBest Practices to determine which would offer the highestreturn on investment and the highest benefit in reducingutility costs. By applying these, you are sure to improve yourperformance. For a little bit of your time, you will receivequite a bit of valuable feedback on which Best Practiceswould have the most benefit in improving your performance. The Benchmarking Survey is endorsed by IAMFA,

and registration for the 2015 survey is open. To register,please go to: www.facilityissues.com or [email protected].

Keith McClanahan is Principle with Facility Issues Inc., and isthe coordinator of IAMFA’s Annual Benchmarking Exercise.

Figure 3: Utilities Best Practices—IAMFA 2014 BenchmarkingSurvey—Facility Issues

Figure 2: Annual Utilities Costs per Area—IAMFA 2014Benchmarking Survey—Facility Issues

Figure 4: Utilities Best Practices Implementation Results byQuartile—IAMFA 2014 Benchmarking Survey—Facility Issues


George Washington was ameticu lous record-keeper.Among the documents and

artifacts main tained today by theMount Vernon Ladies’ Association aremany of the first President’s extensivenotes regarding the design and con -struction of his stately mansion alongthe Potomac River. After acquiringthe property in 1754, Washingtoncarefully documented the evolutionof the circa-1735 farm house over thenext 45 years, as he oversaw MountVernon’s expansion to a 21-roommansion with numerous outbuildings,gardens, and landscaped grounds.Today, in keeping with Washington’s

tradition of detailed record-keepingand vigilant stewardship of the property,the Mount Vernon Ladies’ Association(MVLA) is developing a state-of-the-art3-D model and database that will provideaccess to an unprecedented amountof information regarding the mansionand site. This Historic Building Infor -mation Management (HBIM) tool willserve as a “virtual file cabinet,” enablingscholars, curators, and facility managersto explore, utilize, and update layersof historical documentation, records,images, and as-built conditions forthe property.

Revealing the Layersof HistoryTo refine the HBIM concept, and carryout a pilot project to prove the concept’sviability, MVLA turned to Quinn EvansArchitects, a firm that has completedseveral projects at Mount Vernon,includ ing restoration of the 16-sidedtreading barn, greenhouse, and whiskeydistillery. The four-person MVLA-QuinnEvans working group began with thenorth end of the mansion, whichincludes the saloon room, or “NewRoom,” as a pilot area. Based on the

success of this first phase, the team isnow proceeding with documentationof the entire mansion. The process began with a review

of decades of relevant documentation,including the plantation’s HistoricStructures Report (HSR) and CulturalLandscape Report (CLR), drawings cre -ated by archaeologist Morley Williamsin the 1930s, and new records fromMVLA’s recent restoration of the NewRoom. Quinn Evans team membersalso toured the structure, includingcrawling through difficult-to-reachareas with Thomas Reinhart, MVLA’sdeputy director for architecture, inorder to access the house’s framing.A series of laser scans provided

another critical layer of information,revealing the complexity of the framingabove the New Room in particular.Working closely with Reinhart, Quinn

Evans incorporated the informationfrom this array of sources into a detailedmodel of the building, carefully repre -senting the construction logic as wellas spatial organization of the mansion. The initial effort documented some

interesting aspects of the framing ofthe New Room. In a crawlspace above,wooden hangers made of scrap lumbersupport the room’s beautifully curvedceiling. In one instance, scans depicteda piece of crown molding reused as ahanger. Close inspection of the elementindicated that it was likely repurposedfrom another part of the house affectedby the building of the New Room.Instal lation of an air-conditioningsystem in the 1990s had damaged thisfragment of historical crown molding—an example of the type of inadvertentharm to historical fabric the team hopesthe HBIM will prevent in the future.

Historic Building InformationManagementMount Vernon 3-D Model UnderwayBy Alyson Steele and Robert Fink

Mount Vernon mansion along the Potomac River in Virginia.


Customizing to MVLARequirementsAs Quinn Evans began to model thestructure, team members workedclosely with MVLA to establish clearnaming conventions that would buildupon and integrate conventions of theextensive MVLA documentation for the

database. For example, all historicalbuildings on the estate have a three-letter prefix, such as MAN for mansionor STA for Stable, and each room hasan identifying number. As a multi-dimensional visual record, the HBIMuses these MVLA conventions, andbuilds upon them to create uniqueidentifiers for walls, doors, fixtures,

The New Room.

Quinn Evans Architects mock-up of a graphic user interface for the Mount Vernon HBIM.

framing members, and other compo -nents, to allow for straightforwardqueries. Users will be able to findinformation spatially, or by searchingthe database. The model integrates two basic types

of information about building elements:essential and cultural. Essential infor -mation, or the inherent properties ofthe building elements, will be embeddedinto the system as custom parametersof the model elements themselves. Thisincludes the date of original installation,material properties and data, crafts -men, manufacturers, products, repairs,and maintenance dates. These cus-tom parameters incorporate infor ma -tion from Washington’s era to thepresent day. Cultural information will be provided

by linking reference documents to thebuilding elements, and will supplementthat information with rich detail, includ -ing photographs; analytical documents;historical references; stories regardingdesign, construction and conservation;information about people and events;and myths and legends. In this way,users can either quickly access basicinformation on the history and main -tenance of an element, or go deeperand retrieve its complete archivalrecord. All of the information willserve to guide future restorationsand support ongoing stewardship atMount Vernon.

A User-Friendly ModelQuinn Evans created the 3-D modelusing Autodesk’s Revit® software.Through a custom-designed workflow,the model was then imported into Esri’sArcGIS platform. The 3-D capabilityof CityEngine, and the user-friendlyaccessibility of Web Scene, will enableusers to access information about boththe buildings and the landscape fromdesktops or mobile devices, retrievingdetails ranging from nails and door -knobs to the location of the property’shoney locust trees. Searches will takeusers through different eras of con struc -tion, and detail all aspects of facilitymanagement, including timetables formaintenance. The database will soon beput to good use, for example, in guidingthe installation of a new fire-suppression


system, ensuring that the incorporationof the new system’s equipment,piping, and sprinkler heads will notdamage the historic structure.“With 280 years of history to preserve

and reference, while accommodatingapproximately one million visitors ayear, the MVLA will rely heavily on theHBIM to guide many aspects of ourstewardship,” Reinhart notes. Ongoingrestoration and preservation efforts,including maintenance, will clearlybenefit from this dynamic tool. AndGeorge Washington’s 45 years ofdetailed records—now in the processof being captured in the database—can be routinely accessed, as well assafely preserved, among the estate’shistorical artifacts.

Alyson Steele, AIA, LEED AP, is a principal,and Robert Fink, AIA, is an associate withQuinn Evans Architects.

Web Scene screenshot of the overall mansion.

Revit model with a filter applied, indicatingthe dates of construction. Revit model showing properties of a wall in the user interface.

Past issues of Papyruscan be found on IAMFA’s website

www.NewIAMFA.org


Let’s face it: who of us working infacilities management doesn’t takeownership? When something goes

wrong, you take it personally. After all,we virtually live in our museums, don’twe? We collectively and individuallylook to build a better mousetrap. For some of us, that statement can be

taken quite literally. I started workingas the Director of Properties at theChicago History Museum in March2010. With five years under my belthere, you would think I’d be used toit. But something manages to surpriseme about once a week at these facilities.It stays on my mind until I close my eyesfor the night, and forces them openin the early hours of the morning. I’mjust like you. My museum might beconsidered somewhat on the smallerside, but it can be plenty to handlethroughout the course of the day. The Chicago History Museum comes

in at about 265,000 square feet. I handleday-to-day operations for the Museum’ssupport staff, which includes our engi -neer (that’s right, I have only one); theA/V technician; an offsite custo dian;and the chief of security. I also overseeour outsourced housekeeping depart -ment, which tends to get accidentallyblended into the building maintenancedepartment. Being a smaller museum, the theory

often called upon is “All hands ondeck.” One minute I will find myselfworking on a budget report or speakingat a staff meeting; the next I might berodding a clogged toilet. That is just howit is. My job description was originallythree pages long. I ruin a lot of neckties. The person who had the job before

me was here quite a long time. He hadhis own filing system, which I wouldconsider controlled chaos. I was work -ing in his old office for a week before

I discovered that it was carpeted. Thenumber of artifacts and documents inthe main building alone could totalover 23 million. But honestly, we havenever attempted to count them. Wehave been at this location, (our fifth)since 1931. Our original name was theChicago Historical Society. We went through a re-branding/

remodeling in 2006. At that time, weopened a permanent gallery, com -plete with Chicago’s first L-car, onloan from the CTA. It is one of theoldest historical artifacts that you canstill touch and walk through. Everytime I go through it, I still can’t getover just how small people used to be.In the 1970s, a structure was added tothe building, doubling its footprintand relocating its entrance to faceClark Street, instead of the park atthe east side. An HVAC system wasinstalled that was locally controlledby pneumatics.

In the mid-1980s, the museum onceagain got a major renovation, giving itthe look it has today from the outside.It was around that time that some ofthe areas were given electronic controlsand linked with a building automationsystem. Then, again in 2006, when weadded our Crossroads Gallery, moreHVAC upgrades were added, andanother building automation systemwas put in place to handle the new areas.This gave the CHM three independentHVAC systems. Each does not knowwhat the other is doing. I am quitecertain that the original plan was toeliminate the old systems when thenew ones were installed, but budgetshad to be maintained and, since theold systems were limping along, theywere still considered “working.” Theresult is a complicated array of systems,tubes and wires that only a seasonedengineer could love. It was what Iconsider a “Franken-VAC.”

OwnershipBy Jay Yelen

The Chicago History Museum.


We have two offsite storage facilitiesfor which I am responsible as well.One is 20,000 sq. ft. and the other is100,000 sq. ft. I’m sure you’re won der -ing why we have such a small storagesite at 20,000. To the best of my knowl -edge, the site was sold to us by the FirstNational Bank of Chicago for a dollarin the 1980s. It was once a bombshelter, built above ground, and buriedinto the side of a man-made hill. Beinginside it is as bone-chilling as it sounds.The concrete ceiling is 18 inches thick,and the front door is almost a thousandpounds. It will take a 3-megaton blastfrom 3 miles away. Just inside the entrance, there are

decontamination showers and disabledhorns and lights to warn of highradiation. There are two generators inthe machine room that were discon -nected long ago. Their 30,000-gallonfuel tank is now a sump basin for accessrainwater. Since the building is under -ground, it manages to stay at 62 degreesall year round. There is an air-handlerand a boiler, but the air-cooling systemhasn’t worked in years. We would onlyrun it to dry the place out. The custodian there has a system of

portable dehumidi fiers he uses aroundthe building. He has the humility lockedin at 45% almost all year, as well. Ifyou can picture painted concrete andcinder block walls that return into abeige vinyl composition 1960s floortile, complete with a white metal galleykitchen, then you would have a prettyclear vision of that place. All of that,lit by cool-white fluorescent lights,

running from one end of the spaceto the other. The most dank items are the dig-out

exits. Positioned in the far oppositecorners of the space, there are two3 ¥ 3-foot metal doors. Opening themexposes a wood-slat array that holdsback fine gravel. Bolted to the doorinside is an army-type shovel. The ideais to remove the slats and dig the gravelout, exposing a tunnel and ladder tothe surface for evacuation, in the eventthat the doors could not be opened inthe front. I was told that the chamberholding the gravel was three feet square,and over 20 feet to the surface. Itwould be an awful procedure to digout and, after all these years, I’m noteven sure that the gravel would con -tinue to flow out of the hatch. Anotherexit has since been installed nearby,but the dig-outs remain as a reminderof what we were willing to do to protectourselves from a threat that almosthappened not too many years ago.For five years I have maintained

these properties. I would like to saythat I have been able to make moderateimprove ments. We have reduced ourpneumatic-controlled areas by 30%,and added another stacked coolingmodule on to our staged coolingsystem. In the summer, we switch oursystem to a centrifugal chiller. Thiswill give us time to clean and maintainthe staged system. In the winter, weclean the centrifugal. We have an array of solar panels that

produce 45 kw of power that feeds backinto our grid. We now have two working

low-pressure boilers that have a linkage-less control system to dial them down.We use heating in the summer tobalance our humidity and temperature,as well as provide hot domestic water. As much as I would like to, I find it

difficult to take in outside air, due topollution and high humidity here inthe city. Being next to the lake, we tendto stay around a high 70% humidity,although we require between 40 and50%. We are always reacting to theaging systems, which I consider to bethe true nature of this beast. It has all given me some gray hair,

which I will accept in place of losingmore of it than I already have. I amcalled upon day and night. I am theperson cringing next to the largebreaker that is tripped as I throw itback on. The people here have turnedinto my one big dysfunctional family,and I wouldn’t have it any other way. I’d love to write more, but my

phone just rang, and I have to drivedown to the Museum tonight, sincethere was another power glitch by ourelectric supplier. It’s 8˚F out, and thechiller tower probably has two hoursbefore it will freeze over. I hope to meet you in September at

the IAMFA Conference, and we cantalk about the CHM as well as the cityitself. If it happened in Chicago, wehave it here at the Chicago HistoryMuseum. We are Chicago!

Jay Yelen is Director of Properties at theChicago History Museum, and can bereached at [email protected].

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2015 IAMFA CONFERENCE SCHEDULE

Spirit of Chicago

Field Museum of Natural History

Art Institute of Chicago

Harley-Davidson Museum

Milwaukee Public Museum

DELEGATE PROGRAMSUNDAY,

09:00–16:00 Benchmarking and Learning Workshop

Separate registration required for those who did not participate in the2014 Annual Benchmarking Exercise — please see Payment Page atwww.newiamfa.org

Hyatt Regency Chicago

18:00–21:00 Travel to Tommy Gun’s Garage for Opening Reception Tommy Gun’s Garage

MONDAY, 09:00–10:00 Travel to Field Museum of Natural History—Introductions Field Museum of Natural History

10:00–10:30 Presentation No. 1: Roger Machin/Methods and Materials

10:30–11:00 Coffee Break

11:00–11:30 Presentation No. 2: Steensen Varming

11:30–12:00 Presentation No. 3: Camfil Farr

12:00–13:00 Lunch for Delegates and Guests

13:00–15:00 Facility and Exhibition Tours: Field Museum and Shedd Aquarium Field Museum of Natural History andShedd Aquarium

15:00–15:30 Return to Hyatt Regency Chicago Hyatt Regency Chicago

18:00–21:00 Lake Michigan Dinner Cruise on the Spirit of Chicago Spirit of Chicago


TUESDAY, 09:00–10:00 Travel to Museum of Science and Industry—Introductions Museum of Science and Industry

10:00–10:30 Presentation No. 4: McGuire Engineers

10:30–11:00 Coffee Break

11:00–11:30 Presentation No. 5: Lighting Services Inc.

11:30–12:00 Presentation No. 6: Ed McDonald

12:00–12:30 Tour of the U-505 and Exhibitions

12:30–13:30 Lunch

13:30–14:00 Benchmarking Discussion

14:00–15:30 IAMFA AGM


Camfil Farr Drinks Reception (Tentative)

WEDNESDAY, 09:00–09:30 Travel to the Art Institute of Chicago Art Institute of Chicago

09:30–10:00 Presentation No. 7: Vibration Management in Museum Construction

10:00–10:30 Presentation No. 8: Building the Modern Wing—Turner Construction

10:30–11:00 Coffee Break for Delegates and Guests

11:00–11:30 Presentation No. 9: Security Benchmarking Survey Results—Doug Hall/Smithsonian

11:30–12:00 Presentation No. 10: Best Practices in Understanding Mechanical Systems—John Bixler/Smithsonian

12:00–13:00 Lunch

13:00–13:30 Presentation No. 11: Pepper Construction

13:30–14:00 Presentation No. 12: Fan Wall Technology—Nortek and Hill Mechanicals

14:00–15:00 Facility Tour: Art Institute of Chicago


17:30–18:30 Travel to the Art Institute of Chicago—Group Photo Art Institute of Chicago

18:30–21:30 Gala: Modern Wing at the Art Institute of Chicago


THURSDAY, 09:00–11:00 Travel to Milwaukee

11:00–12:00 Tour of the Milwaukee Public Museum Milwaukee Public Museum

12:00–12:30 Travel to the Harley Davidson Museum Harley Davidson Museum

12:30–14:30 Lunch and Tour of the Harley Davidson Museum

14:30–16:30 Return to Chicago Hyatt Regency Chicago


Lincoln Park Zoo

The Peggy Notebaert NatureMuseum—The Museum of theChicago Academy of Sciences

Shedd Aquarium

Museum of Science and Industry

Adler Planetarium

GUEST PROGRAM 20 SEPTEMBER 2015

15:00–17:00 Registration Hyatt Regency Chicago

18:00–21:00 Travel to Tommy Gun’s Garage for Opening Reception Tommy Gun’s Garage

21 SEPTEMBER 201509:00–10:00 Travel to the Adler Planetarium—Introductions Adler Planetarium

10:00–10:30 Sky Show

10:30–11:30 Coffee Break—Self-guided exhibition tour

11:30–12:00 Walk to Field Museum

12:00–13:00 Lunch for Delegates and Guests Field Museum

13:30–13:45 Self-Guided Tour—Field Museum

13:45–15:00 Walk to Shedd Aquarium and Programming Shedd Aquarium


18:00–21:00 Lake Michigan Dinner Cruise on the Spirit of Chicago Spirit of Chicago


22 SEPTEMBER 201510:00–10:30 Bus to Peggy Notebaert Nature Museum Peggy Notebaert Nature Museum

10:30–11:30 Welcome and Tour

11:30–12:30 Lunch for Guests

12:30–12:45 Introduction to the Lincoln Park Zoo

12:45–13:00 Walk to Lincoln Park Zoo

13:00–14:30 Tour of Lincoln Park Zoo Lincoln Park Zoo


Camfil Farr Drinks Reception (Tentative)

23 SEPTEMBER 201509:00–09:30 Travel to the Art Institute of Chicago Art Institute of Chicago

09:30–10:30 Docent-Led Tours

10:30–11:00 Coffee Break for Delegates and Guests

11:00–12:00 Docent-Led Tours

12:00–12:30 Walk to Union League Club

12:30–14:00 Lunch at Union League Club and Tour Union League Club


17:30–18:30 Travel to the Art Institute of Chicago—Group Photo Art Institute of Chicago

18:30–21:30 Gala: Modern Wing at the Art Institute of Chicago


24 SEPTEMBER 201509:00–11:00 Travel to Milwaukee

11:00–12:00 Tour of the Milwaukee Public Museum Milwaukee Public Museum

12:00–12:30 Travel to the Harley Davidson Museum Harley Davidson Museum

12:30–14:30 Lunch and Tour of the Harley Davidson Museum

14:30–16:30 Return to Chicago Hyatt Regency Chicago

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INDEPENDENT CONSTRUCTION AND PROPERTY CONSULTANTS

CONTACT David Logue

Gardiner & Theobald LLPG1 Building

5 George SquareGlasgow, G2 1DY

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COST MANAGEMENT · PROJECT MANAGEMENTCDM CO-ORDINATOR · CONSTRUCTION AND PROPERTY TAX

CONSTRUCTION MANAGEMENT · DEVELOPMENT MANAGEMENTDEVELOPMENT MONITORING · DISPUTE MANAGEMENT

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NATIONAL MUSEUM OF SCOTLAND

United Kingdom, Americas and the Caribbean, Asia, Europe, Middle East


On December 4, 2014, a group a of 12 engineersand facility mangers from the UK Chapter ofIAMFA were treated by Dr. Eleanor Scholfield

and her team to a tremendous day out at PortsmouthNaval Dockyard, where we visited the Mary Rose exhibition(http://www.historicdockyard.co.uk/).A presentation at the IAMFA Scotland Annual

Conference in September had whetted my appetite formore information about the flagship of Henry VIII, theMary Rose. After I contacted the Museum, Eleanor arrangedfor us to have a group visit to view the new £27-millionbuilding and learn about the conservation processes thatare ongoing to preserve the Mary Rose and its artefacts forthe public.The Historic Naval Dockyard itself houses some other

remarkable ships and displays. Nelson’s 1765 ship, HMSVictory, upon the decks of which he died at Trafalgar, isalso on display. The Dockyard features Great Britain’s first iron-hulled,

steam-powered warship as well: HMS Warrior, built in 1860.We were also treated to the sight of HMS Alliance, a

British submarine from the Second World War, which hasrecently undergone a £7-million refit. In addition, therewere a number of other exhibition spaces that we did nothave time to visit. The Dockyard is still a working dock, and shares space

with modern warships of the Royal Navy—some of whichwere in port when we visited.Back to the Mary Rose and the Museum. She was built at

Portsmouth in 1510, primarily of English oak. Launched in1511, she served for 34 years in the English Navy, but sankin 1545 in the Solent, off Portsmouth and the Isle of Wight.It is not clear exactly why she sank, although there are a

number of different theories. She went down with all hands(up to 450 men), and only 25 escaped. Unsuccessful attempts were made to raise her, and then

she was lost until 1836, when she was rediscovered. Soonafter, she was forgotten again until 1965, when a team led byAlexander McKee set out to find her a second time. Thereis a series of images called the Cowdray Engravingsshowing the loss of the Mary Rose, made around 1547. Thewreck was found very near this spot. She was finally raisedin 1982, and the conservation story starts there.The ship had been partially covered in silt at the bottom

of the estuary, which had helped to preserve her. The exposedpart had rotted away, but the silt had prevented considerabledeterioration to what remained. A great deal of time wasspent in the preparation to lift her. I certainly rememberwatching on television—along with up to 60 million people—

A Visit to The Mary RoseBy Allan Tyrrell

The Mary Rose Museum.

MIKE PEEL (W

WW.MIKEPEEL.NET)

HMS Victory. HMS Warrior.


as the remains of the ship were lifted from the seabed,attached to a steel frame, and lifted onto a nearby barge.The frame was then bought to Portsmouth Dock, where

the conservation process began. The team at Portsmouthexplained to us how they went about this, along with theintriguing technicalities involved in preserving an artefactlike a Tudor ship. Only one other ship of similar agehad ever been raised—the Vasa, a 17th-century Swedishwarship—and they had to get the systems right, otherwisethey could have lost everything. Once ashore, the Mary Rose was wrapped in protective

foam and polythene and constantly sprayed to keep herwet. She was housed just behind HMS Victory, and a hallwas built around her. She was sprayed with chilled andrecycled fresh water 24 hours a day for 19 years. This

prevented the wood from drying out, removed salt, andstopped bacteria from growing on the timbers.Members of the public could come and view the ship

from a viewing bridge. In 1985, she was turned upright, andtitanium supports were installed to support her. Mean while,archaeological work was going on inside the ship itself,with the first priority being to clean out as much of thesediment as possible.Once the ship had been turned upright, the team was

able to replace the deck timbers. Any missing timbers werereplaced with specially manufactured titanium beams. Allthe timbers and features were photographed and documentedbefore being reinstalled.The last timber was put into place in 1993. In 1994, the

conservation spray was changed to Polyethylene Glycol(PEG), a wax that gradually replaces water in the timbers.Since 2004, they have been using a more concentratedform of PEG, which coats the outer layers of the timbersto seal them. The sprays were switched off during the first half of

2013. The hull is now being dried out in environmentallycontrolled conditions in a sealed hot box where, over thenext three years, they will be removing an estimated 100tons of water from the timbers: dehumidification on amammoth scale!The Museum is housed in a Grade 1-listed dry dock. We

were taken into the base of the dock, which was sealed offfrom the sea, then used to house the Mary Rose and theplant needed to carry out maintenance of the hull. Thesight of the remains of this great ship; the way the Museumopens up to enable you to gaze inside of the hulk; and thepresentation of the artefacts on display (as many as 19,000were raised during the retrieval process, including manyskeletons) are things that stay with you long after you haveleft Portsmouth.

The Mary Rose, with her distinct carrack profile and high “castles”fore and aft. Although the number of guns and gun ports is notentirely correct, the picture is generally an accurate illustration ofthe ship.

The Mary Rose turned upright during restoration.


The Mary Rose hull and her artefacts are housed in a build -ing that was designed and built specifically for that purpose.The architect envisaged the building as an oyster housing apearl, and it is certainly a striking addition—and a surprisinglyeffective contrast to HMS Victory, which is immediately adjacent. The building sits in Number 3 dock, which is itself a

listed monument. It is supported by four main structuralpiles driven 16.5 metres into the substrate, with additionalfoundations for subsidiary support within the dock. Thebuilding took just short of three years to build. During thewhole of this time, the PEG spraying of the hull and fine-tolerance environmental conditions had to be maintainedwithin the hot box, in addition to the need to physicallyprotect the hull—while the original Wemyss building wasdismantled, and the new building erected around it. The strikingly streamlined building gives no indication

of the state-of-the-art systems and equipment within. Thesesupply the hull, artefacts and visitors with the finely tunedenvironmental conditions required to maintain conserva -tion of the hull and artefacts, while also ensuring visitor

comfort. This is achieved via three plant rooms containingboilers, air-handling units, circulating pumps, dehumidifiers,humidifiers, and sensing equipment that is controlled andmonitored by a Building Management System. They provideenvironmentally controlled, monitored air to the ship hall,galleries and artefacts inside the Museum. The building measures 74 ¥ 29 ¥ 17 metres, with three

gallery floors, and a lower working and plant level withinthe dock itself. The structure of the building comprises asteel portal frame, incorporating nearly 500 tons of steel,with insulated walls and a uniquely insulated roof, whichtogether lead to a thermally efficient building. The com -plexity of the systems within can be illustrated by the factthat the systems incorporate 400,000 metres of electricalcabling; 1,500 metres of steel piping; and 8,000 metres ofcopper piping! Our group of IAMFA UK Chapter members were amazed

by the efforts that have gone into the presentation of thisamazing ship, and the buildings and systems that househer. We had a great day at Portsmouth—the Museum wasvery interesting, and we all agreed that we would be goingback soon.The link at the beginning of this article provides

additional information on this interesting museum, andthe dedication of the team of conservators, engineers andother staff who look after her. We are hoping that EleanorSchofield and others from the Mary Rose Museum willjoin IAMFA and become regular participants in the UKChapter; they will be a great asset. Visit the Education pageof newiamfa.org and select the IAMFA Annual ConferencePresentations button to view a half-hour video presentationon the Mary Rose Museum.

Allan Tyrrell is Chief Engineer at the National Portrait Galleryat Trafalgar Square in London. Allan can be reached [email protected] from the Mary Rose.


Maintaining the status quo justdoesn’t help you compete,so if you like being at the

top of your game, you need to lookcontinuously for ways to improve.For years now, most facility managers

at cultural institutions haven’t had tomake an actual decision about whetherthey should look for better ways toaccomplish work, or ways to reduceconsumption of energy and water. Cutsin operating budgets have forced thisupon us. So continuous improve mentis important; in fact, it is a necessity,and almost everyone tries to do it inone way or another. The question is:how can we do a better job of it? With this article, Papyrus is begin ning

a series on Continuous Improvement,and we’d like to invite everyone tocontribute to future articles. Prior to my [Joe’s] days working at

the Getty Museum in Los Angeles, Ispent 20 years with an industrial engi -neering firm that focused on improvingwork methods and worker productivity.I worked with clients ranging from pro -ducers of teabags to the Space Shuttle,to everything in between, and industriesfrom coal mining to meat packing,banking to infant vaccination, andeven museums! They all had one thing in common

when it came to their efforts to improveoperations. Every improve ment inmethod or process they ever madebegan with an idea and ended inimple mentation. Most liked to cal -culate the savings also, but not always;sometimes they didn’t want anyone toknow that there had even been roomfor improvement. So, a very good place to start for those

trying to implement a continuousimprovement program is to create astructure that includes a way to generatelots of improvement ideas, along witha way to manage those ideas through

further. Auditing maintenanceoperations allows you to:

• Identify high-potential areas ofimprovement

• Calculate potential savings basedon these improvements

• Know how to quickly find specificimprovements

• Start a continuous-improvementprogram

• Justify improvement costs basedon realistic program savings anda known return on investment

Maintenance audits can be per -formed annually to reveal furtherimportant ideas for improvementsand savings. You can do a Paretoanalysis of the budget accounts. Rankaccounts from the highest dollaramount to the lowest. Apply the 80/20rule: 80% of the dollars expended arein 20% of the accounts. While allthe accounts can offer some potentialfor improvement, these high-dollaraccounts are a good place to startto find substantial and immediatecost savings.Some data is already available, and

if we do it a little at a time, we canavoid a last-minute rush. What followsis some information that we can alluse to make it easier.Start with your annual operating and

capital budgets. Whether the facilityhas 200,000 square feet or 2,000,000,there are certain items that come upyear after year that the facility has tobudget for. You will already have apretty good idea of the annual costs ofitems such as preventive maintenance,minor routine maintenance, utilitiesand much more. Other items, such assnow removal, emergency repairs, andthe like are variable, but can be gener -ally accounted for in a well-prepared

BEST PRACTICES FEATURE ARTICLE

Continuous ImprovementIf You’re not Getting Better, You’re Probably Getting Worse!By Thomas A. Westerkamp and Joseph E. May

to implementation. It sounds simple,and it can be. It doesn’t need to involvea lot of sigmas or control charts; itjust needs to get everyone lookingfor waste, and generating ideas forhow to eliminate (or at least reduce)that waste. And, when anyone does get an idea

for a way to improve operations, it’svery important to document the idea,so that it doesn’t slip between thecracks. If you are one of those seekingto get better at continuous improve -ment, one of the first steps is to have aprocedure in place that is going to keepthe pipeline filled with improvementideas, along with a way to track themthrough to completion. In the next issue of Papyrus, we’ll

continue with an example of how youcan implement a simple tracking systemfor continuous improvement ideas,which will help you get started quickly. But first, let’s talk a little more

about how to generate ideas forimprovement. It shouldn’t come asa big surprise that many, if not most,ideas for improvement come from thepeople who are closest to the work.That’s right: the people who managethe work, and the people who actuallyperform the work. It is surprising whatyou can learn when you just ask a tech -nician, “What could be done to makethis job easier for you?” At the Getty, weimplemented more than 200 improve -ments over a period of a few years bymeeting with supervisors, then withtechnicians, to help generate ideasfor improvement and help get themimplemented. There are other ways to identify

opportunities to improve the wayin which work is accomplished. AMaintenance Process Audit at budget-preparation time is an excellent way touncover cost-improvement ideas thatcan result in stretching budget dollars


budget. Finally, contributions to thecapital fund for those big-ticket itemsthat are going to appear in a few yearsneed to be accounted for as well. Another source of savings oppor -

tunities that can contribute to theprocess is the Work Order System.Using the Work Order System andEquipment History, you can searchfor repetitive repairs that are high-maintenance when it comes to bothfrequency and hours. Using the repairhistory, you can determine the averageinterval between repair occurrences, andaverage repair time per occur rence. Inmost report modules in the Computer -ized Maintenance Management System,there are Pareto reports that can beautomatically generated using a metricsuch as descending total labor andmaterial cost by Equipment Number. Again, after ranking the items, you

will find that the 80/20 rule applies:that is, a disproportionally large numberof dollars are spent on a small numberof equipment items. You can then focuson two ways to reduce costs: (1) designout the cause of the high cost usingroot-cause analysis, or (2) re-analyzethe preventive maintenance frequencyand method. For example, frequentbearing failure may be due to the wronglube or wrong frequency—too muchlube at a time, or too often, blowsseals and allows dirt or moisture todestroy the metal; too seldom, or notenough, allows the bearing to dry out:same result—or both.Using troubleshooting results can

reveal still more ideas for improvement.

You may have noticed an increase inwater use by comparing water and sewerbills from one period to another. Byusing sub-metering, or checking forleaks in fixtures, or listening for waterflow when or where none should beflowing, you can isolate the cause andlower water consumption. You canoften feel water flowing simply byplacing a hand on the drain line inthe basement. Other non-destructive testing

equipment can identify ideas forimprovement: vibration analysis todetect excessive vibration on rotatingequipment; ultrasonic testing onmechanical or electrical equipment;infrared testing for excessive heat; oilanalysis for oil deterioration or metalparticles; power-actor meters to detecthigh kilovolt amp reactive power losses.These are just a few examples of usingpredictive maintenance to find ideasfor improvement.Using improvements in technology

offers a very fertile field for cost im -provement. Everything from lightingto paints to HVAC, to electrical dis -tribution, roofing, security, and allbuilding systems, have undergonecontinuous design improvement dueto the need for manufacturers to gaincompetitive advantage. Other factors driving these improve -

ments in technology are governmentmandates and changes to buildingcodes. For example, certain fluorescenttubes can no longer be manufacturedin the U.S. or imported from othercountries. When the current inventory

runs out, alternative lighting suchas newer fluorescent or LED lightfixtures will have to be installed. Suchupgrades not only save a great deal ofenergy, but can also result in rebatesfrom the power company to offset thecapital cost of the installation. HVAC systems have undergone

major design improvements as a resultof government efforts to reduce ozonedepletion. A whole array of new air-conditioning refrigerants is in usetoday, replacing R22, the standard formany years. Another example is roofing.The standard building material usedto be multi-ply asphalt, with or withoutstone ballast. Today, many new single-ply options are available, such as TPOand EPDM.Continuous improvement is an

important goal, and we’d like to tapinto the expertise of IAMFA membersand others who have been successfulin running efforts aimed at achievingit. Please join in if you feel that youhave something to contribute, andhelp everyone to benefit from yoursuccesses. We will have more on thistopic in the next issue of Papyrus.

Tom Westerkamp is one of the leadingexperts in the field of MaintenanceManagement, with a career spanning fivedecades, helping countless companiesaround the world. He’s given back bycontributing nearly 200 articles to variouspublications, including Papyrus. Tom can bereached at [email protected]. Joe Mayhas worked in the field of IndustrialEngineering his entire career, and servedon the IAMFA Board of Directors forten years. Joe can be reached [email protected].

For more information on becoming a member of the International Association of Museum Facility Administrators,

please visit

www.NewIAMFA.org

Become a Member of IAMFA


This article will chart the progressof radio communication withinthe estate of the National Library

of Scotland. At the recent IAMFAconference in Scotland, some of youwill have enjoyed the Benchmarking,Registration and Opening receptionin the Library’s main building onGeorge IV Bridge. The bulk of theLibrary’s work is carried out in thisbuild ing, and in two other facilitieslocated within Edinburgh City centre:the Causewayside and Lawnmarketbuildings. When I first joined the Library in

1995, we communicated primarilyvia pagers, some of which supportedvoice communication. The actual useof these devices was very limited, how -ever—due, we assumed, to the fact thatthe buildings were heavily reinforcedsteel structures. Two-way radios werealso introduced, mainly for the useof fire marshals. The same problemoccurred here as well, with very limitedreception for these radios and a lack ofcommunications between buildings. The next problem was identified

when the Library invited the local firebrigade—Scottish Fire and RescueService (SFRS)—into the buildingfor familiarisation with our sprinklerinstallation. We met to discuss ways inwhich the SFRS would tackle a firewithin the building, incorporating useof the sprinkler installation. At thatfirst meeting, it was quickly noted thatreception for their radios was alsoseverely limited by the structure ofthe building. As a result, the SFRS setdown a desirable operational (radiofrequency) signal level that they thoughtachievable throughout the building. Faced with this requirement, I set

about trying to find a way to introducean aerial system to the Library thatwould allow improved reception forradios/pagers, while also addressingSFRS requirements. I had read anarticle about this type of commu ni ca tion

utilising the fibre-optic cable networkrecently installed between the threecentral Edinburgh buildings.

• The communications network had toallow the existing pager system towork throughout George IV Bridge,Causewayside and Lawn market,utilising the fibre-optic networkrecently installed between the threecentral Edinburgh buildings.

• The communications network hadto be able to address health andsafety issues such as man down andlone working, as well other desir -able features such as text messaging,and even support for wireless LANs.

To meet these requirements, athorough search of the market wascarried out. Whilst there were plentyof “box” suppliers in the market thatcould just about meet one of theobjectives, nothing we found gaveus confidence that any specificationrequirement could be fully achieved.Various systems to provide mobilecommunications were considered,including:

• Cordless telephone technology,especially DECT (digitally enhancedcordless telephones). This tech -nology would have required a largenumber of transmitter positions tobe carefully distributed throughoutthe building, and would have meant

Communication Within theNational Library of ScotlandBy Jack Plumb

problem during construction of theMont Blanc tunnel, which was solvedusing a “leaky feeder”. A leaky feederor radiating cable, as the name suggests,is a communication system used inunderground mining and other tunnelenvironments, and is designed toradiate a signal down the length ofthe cable.Once I had decided that this

radiating cable could be a part of apossible solution to my commu ni -cations problem, my next task wasto identify a supplier with sufficienttechnical knowledge. We needed themto design a system for a multi-storeybuilding, half of which was effectivelyunderground. Most importantly, weneeded the system to meet SFRSrequirements and demonstrate that theirRF specification was being achieved.These assorted challenges could

accordingly be used as the specificationrequirements for a new communica -tions network, and can be summedup as follows:

• The communications network hadto allow fire-brigade radios to operatethroughout George IV Bridge andCausewayside, while meeting theSFRS’s desired specification forcommunications networks.

• The communications network had toallow two-way radios to operate with -in and between George IV Bridge,Causewayside and Lawn market,


complete replacement of all existingequipment within the Library, in -cluding existing two-way radios andpager equipment. A further drawbackwas that a separate network wouldstill have been required to supportthe fire-brigade radio system, whichwas the main reason for theseconsiderations in the first place.

• Standard mobile telephones.These were not really considered,as they lacked the necessary pene -tration into the building, and wouldhave incurred costly running fees.In addition, a separate networkwould still have been required tosupport the fire-brigade radio system.

This where a big slice of luck camealong—the kind that we all experienceat some point in our careers. Whentalking to my boss at the time aboutmy frustrations in trying to find some -one I could trust to design a commu -ni ca tions system for the Library, hesug gested that I should meet a friendof his. This friend was in the radiocommunications industry, and hadbeen running his own comminica-tions company since March 1994,utilising CT2, DECT and low-powerradio solutiions. Jack Hood and I first met in 1996.

He explained that, after working formany years for two well-known radiomanufacturers, he had set up his owncompany—Integrated Services—to design bespoke communicationssystems. Jack suggested that we shouldstart by asking the SFRS for specificradio requirements that would allowtheir radios to work in a fire situation,anywhere in the building. The SFRS determined that the signal

strength they required was a minimumof about minus 93dBm. We suspectthis may have been the first time theyhad ever been asked this question withthe intent of actually delivering aninstallation that included a verifiableway of demonstrating that this signalstrength was, in fact, being deliveredto any location within the building.After considering these alternatives,the Library decided to proceed withan evolutionary process based on theleaky-feeder technology.

Jack’s first task was to design equip -ment that could be transported throughthe Library’s restricted access to mea -sure various attentuations created bythe building’s structure. From theseresults, he would then need to designan aerial system based on leaky-feedertechnology, in order to provide radiocommunication that would supportboth the fire brigade and the Library’stwo-way radio installations.A master plan was agreed as follows:

• Install a new radio communicationsfeeder network within Causewaysidewhich, with suitably designed filtersand access points, would meet thefire brigade’s operational require -ments within the complex. This newcommunications network wouldalso integrate the Library’s two-wayradios and pagers. As an addedbonus, a connection to the Cause way -side pager system was designed towork over the existing Library-ownedinter-building fibre-optic cabling.

• Install a new communications feedernetwork within George IV Bridgewhich, with suitably designed filtersand base stations, would provide thesame capabilities as Causewayside.In addition to this installation,further enhancements were made toinclude installation of a telephonehandset in each control room,allow ing any radio in Causewaysideto talk over the network to thesecurity suite in George IV Bridge,and vice-versa.

• Install a new radio communicationssystem within Lawnmarket which,with suitably designed filters andbase stations, would provide com -prehensive radio communication toGeorge IV Bridge over the network.In addition to this installation, extraradios were purchased with lone-working and man-down capability,which considerably reduced therisks when a lone security guardwas touring Causewayside at night.

The biggest drawback to this systemwas that each of the manned buildingscould only communicate with the tele -phone handset in each security suite.This meant that the lone-working andman-down capabilities of the radios

were useless when either security suitewas not manned. To address thisweakness, the next step was to sourcean audio “routing” switch, which wouldallow any radio in any building to com -municate with any radio in any otherbuilding. Ideally, this switch wouldhave a connection to a computer, thusallowing full control, monitoring andinvestigation of the radio communi ca -tions network. The final requirementof this switch was that it support twoseparate frequencies, which wouldallow future replacement of theLibrary’s antiquated pager installationwith radio-based communications.Once this switch was installed and

commissioned, the final stage of theplan involved replacing the pager instal -lation with a radio-based communica -tions system. This would mean tradingin the existing pager frequencies—onefor transmission and one for receiving—and replacing them with a new fre -quency for the operation of a new radioinstallation. This meant that securitywould have sole use of one frequencyand the rest—porters, estates, contrac -tors and book fetchers—would haveuse of the second frequency. To ensure that each of these differ -

ent groups would not have to listen tothe chatter of other groups, each setof radios would be programmed withsub audio-tones, so that only radios inthat group could send and receivemessages. Certain key individuals hadradios that could operate on bothchannels for use in emergencies.Implementation of this plan was

carried out, starting in Causewayside in1998. The Causewayside array consistsof some 14 dual-band (VHF/UHF)tuned in situ “Hot-Spot” dipoles,installed beneath the false floors onLevels 2, 4 and 6 in Phases I and II ofthe building. All services are combinedinto the array via a VHF/UHF combiner. The installation in George IV Bridge

was completed in 2000, with a networkthat consisted of a mix of leaky feeder,19 dual-band “Hot Spot” whips, and adual-band collinear aerial. Like Cause -wayside, all services are combined intothe network. The final phase of theplan occurred in 2001, with the instal -lation of a combiner fed into a singledual-band collinear aerial.


SFRS access to the networks in bothGeorge IV Bridge and Causewayside isprovided by externally mounted boxes,which have lids that open to switch theRF feed from the box via the RF switchdirect into the network. This allowsthe SFRS to connect their base stationdirectly into this box, which facilitatesdirect communication via their radiosover the building networks. This givesfirefighters solid communicationanywhere within these two buildings.

No SFRS access was provided for theLawnmarket building, as it can beadequately covered using existingSFRS communications arrangements.Security control is provided via

Motorola Centro Plus controllerslocated within the Causewayside andGeorge IV Bridge security suites. These,in turn, control Motorola Eurobaserepeaters located at each of the sites.Battery back-up secures eight hours’operation for George IV bridge andfour hours’ operation for Causeway side.The repeater panels have an extraadvantage over a simplex base byallowing users intercommunicationover the network. To allow Causewayside and George

IV Bridge to work either autonomouslyor as one, a line switch has been pro -vided in the George IV Bridge securitysuite. This utilises the Library’s existinginter-building fibre-optic network,installed between the three sites,which provides video, data andspeech interconectivity. In 2014, following a check to deter -

mine whether or not the existing net -works would support digital signals, thethree existing anaologue base stationswere replaced with digital base stations.This allows the bases to communicatewith one another, and their users, overthe Library’s IT Network. As a conse -quence, the handheld radios also hadto be changed to digital ones. The Library now has a solid, control -

lable radio installation, allowing com -

munication to be carried out betweenevery location in every building, toevery location in any other building,whilst retaining SFRS access as before.With the change to a digital service, allradios can be programmed to providedifferent capabilities—the most obviousbeing that, with a change of channelon the handheld radio, that radiobecomes a man-down/lone-workerradio that is in regular communicationwith either security suite, (usuallyprogrammed to the George IV Bridgesecurity suite). This means just a littlemore safety for the lone security opera -tive carrying out nighttime tours ofthe Causewayside building. Finally, at the beginning of 2015, it

was decided to follow the more modernpractice adopted by large buildingcomplexes of truly integrating the FireService into the networks “full time”by installing a dedicated repeater atGeorge IV Bridge and Causewaysidefor the sole use of the SFRS. Thesestations are live, but their transmissioncapability is restricted and controlledfrom override switches located at twospecific locations at both sites. Thisnow allows the Fire Service to turnup should there be a call, and imme -diately begin using our network for“fireground” communications with aminimum of fuss.

Jack Plumb is Head of Estates at the NationalLibrary of Scotland, and serves on the IAMFABoard of Directors as Editor.

New digital base station installationinstalled within Lawnmarket Building.

Past issues of Papyrus

can be found on IAMFA’s website

www.NewIAMFA.org

A N I N D E X O F

PapyrusTECHNICAL AND

HISTORICAL ARTICLES CAN BE FOUND AT

www.NewIAMFA.org

A N I N D E X O F

PapyrusTECHNICAL AND

HISTORICAL ARTICLES CAN BE FOUND AT

www.NewIAMFA.org


Washington, D.C.–BaltimoreRegional ChapterBy John Bixler and John Smalley

The Washington-Baltimore Chapter meeting was held onFebruary 11, 2015 at the Folger Shakespeare Library inWashington, D.C., and was hosted by IAMFA memberDavid Conine. The meeting was sponsored by MuellerAssociates, which made a presentation and generouslyprovided lunch for the 44 attendees.

Jessica Reid from Mueller Associates began by introducingMueller, and gave us bios for herself, Bob Marino andTodd Garing. Todd Garing made a presentation on Building Infor -

mation Modeling (BIM) and Revit 3-D modeling. A lot ofgreat questions were asked by our members, and questionswere posed to us as facility managers. We discussed how afacility manager can use this technology. Todd explainedthat sub mittals could be tied in, and that maintenanceand preventive maintenance can be incorporated withnumerous options.

Next, Todd and David made a presentation on over -coming various obstacles in order to provide temperatureand humidity control in the Rare Collections and exhibitspaces associated with the Folger Shakespeare Library. Thiswas followed by a tour of the boiler room. I’d like to say a special thank you to Muller Associates; it

was great having their team take part in our Chapter meeting.

Northern California Regional ChapterBy Jennifer Fragomeni

The Northern California Chapter has had a very activewinter. Instead of our usual single meeting, we met twice:on December 17 and February 17. Both meetings were wellattended and included tours of very interesting facilities:one historical and one new construction.In December, we had an opportunity to meet at The

Old Mint. The Old Mint is the site of the San FranciscoMuseum and Historical Society, which has plans for amajor renovation. We were hosted at this historical site byour friend and colleague, IAMFA member Tamara Hayes,before she departed from her role as Sales and EventManager to pursue a Masters degree in Museum Studies. We enjoyed a fascinating presentation about the renovation

plans from architect Belinda Young of HOK, followed byan entertaining historical tour led by Historical Societydocent, Jason. It was a fun and fitting way for us to bid“adieu” to Tamara.After the holidays, Charlie Booth of ABM Facility Services

offered to coordinate a tour of San Francisco’s new TransbayTransit Center. This is an important civic constructionproject for the San Francisco Bay Area. Even though theNorthern California Chapter had already had its winterquarter meeting, this opportunity was too good to pass up!

REGIONAL UPDATES AND MEMBER NEWS

Jessica Reid from Mueller Associates addresses attendees.

Host David Conine making a presentation to the group. Stonework damaged by 19th-century acid fog at The Old Mint.


We met in February, and we were treated to a deliciouslunch of dim sum at the famous Yank Sing restaurant,sponsored by ABM. After lunch, ABM Vice-President of Sales, Lance Graville,

gave a short presentation on the services ABM has to offer.Then we walked to the offices of the Transbay Joint PowersAuthority for a bird’s-eye view of the project site and apresentation of the project plans, followed by a tour alongthe project perimeter by their engineers. The project engineers were obviously proud of the work

in progress, and answered all of our questions with animpressive depth of knowledge. We are all looking forwardto seeing how phase one of the Transbay Transit Centerturns out in 2017.

Current activity in the Northern California Chapter hasnow extended beyond our two winter quarter meetings.There is a move afoot to help establish a new chapter withour neighbors to the north in Oregon, Washington, andBritish Columbia! Stay tuned . . .

Southern California Regional ChapterBy Randy Murphy

The Southern California Regional Chapter kicked off 2015with Muse, Mix & Mingle, a new Regional Chapter meetingconcept for greater Los Angeles. The meeting was co-hostedby IAMFA and Arts Earth Partnership, and was held at thenew Los Angeles County Museum of Art’s (LACMA) officesoverlooking the Museum with sweeping views of theHollywood Hills, the iconic Hollywood Sign, and UrbanLight a work of art by Chris Burden. Over 30 guests were

REGIONAL UPDATES AND MEMBER NEWS

Left to right: Weston Perry, Image Bi/ISIS; Jesse Jackson,Exploratorium; Mark Palmer, SF Environment; Dan Dunn,The Museum of the San Ramon Valley; Tamara Hayes, TheOld Mint-San Francisco Historical Society; Jennifer Fragomeni,Exploratorium; Jesse MacQuiddy, Exploratorium; Heather HickmanHolland, San Francisco Art Institute; Joe Brennan, SFMOMA(retired); Charles Booth, ABM Facility Services; Lilly Stamets, UCSFMedical Center; and Edgar Maxion, Stanford University Libraries.

Left to right: Nils Welin, Eon Venture; Bill McMorris, OaklandMuseum of California; Lisa Llewellyn, Oakland Museum ofCalifornia; Lynnda Tran, ABM Facilities Services; Chuck Mignacco,Exploratorium; John Krauskopf, Western Railway Museum; JesseJackson, Exploratorium; Jesse MacQuiddy, Exploratorium; ShaniKrevsky, Exploratorium; Greg Zaharoff, Fine Arts Museums ofSan Francisco; Charlie Booth, ABM Facilities Services; Mike Badger,Fine Arts Museums of San Francisco; Heather Hickman Holland,San Francisco Art Institute; Joe Brennan, SFMOMA (retired);Jennifer Fragomeni, Exploratorium; Dan Dunn, The Museumof the San Ramon Valley; and Jeff Phairas, SFMOMA.

Large steel beamsserve to temporarilyshore up thefoundations ofbuildings adjacent tothe Transbay Center’sconstruction sitein downtownSan Francisco.The constructionsite containsmore temporarysteel shoring thanthe permanent steelstructure will have.

Aerial view of LACMA and the display, Urban Light an artinstallation by Chris Burden.


in attendance, representing 17 museums, culturalinstitutions and other partners. In many ways, this was an organizing meeting for what the

group hopes will become a triannual or quarterly meeting.The afternoon began with a pure mix and mingle, with gueststaking the opportunity to get to know one another whileenjoying organic, locally sourced fruits, cheeses and breads,in keeping with the sustainable focus of this first meeting. After a welcome and introductions, the program was

turned over to Justin Yoffe, Executive Director of Arts EarthPartnership (AEP), who served as Master of Ceremonies forthe event. Guests were treated to a the reading of a poemwritten and performed for the occasion by two-time HBODef Poet and Emmy Award-winning actor/poet/comedian,Joe Hernández-Kolski. I hope you had an opportunity toread the poem in this issue. This was followed by a presentation by Justin on Green

Business Certification through AEP for the Arts Sector.Justin elaborated on what the program can offer museumsas we look to be good stewards of our buildings, collections,and the planet. He also spoke on the power of an artscoalition and “having a seat at the table” when we discussour sustainable future.I spoke next about IAMFA, and the benefits of becoming

an IAMFA member. We talked about the upcoming AnnualConference in Chicago, Papyrus, the website newiamfa.org,and our LinkedIn Group. It was encouraging to see theaudience’s interest when we talked about IAMFA.

David Hodgins, Executive Director of the BetterBuilding Challenge Los Angeles, spoke on ShepherdingBetter Buildings through the Los Angeles Better BuildingsChallenge. David outlined the efforts of Mayor AntonioVillaraigosa and the City of Los Angeles to launch a com -pre hensive array of programs designed to reduce energyconsumption in existing buildings—from retrofittingcity-owned facilities and affordable housing stock, to workingwith the private sector to support the financing of energy-and water-efficiency upgrades in commercial buildings.

Los Angeles has set a goal of 20% minimum overallsavings on 30 million combined square feet of projects,supported through the three programs. The city will workwith and recognize private-sector property owners (includ -ing our cultural organizations) that make commitmentsof their own to reduce energy consumption by at least20% by 2020, in keeping with the goals of the BetterBuildings Challenge.

Matt Petersen, General Manager of the Los AngelesOffice of Sustainability and the Environment, is the city’sfirst-ever chief sustainability officer, and oversees the city’senvironmental practices. He spoke on how LA seeks tocreate a more sustainable and livable city by:

• Improving land-use planning to promote neighborhoodquality of life

• Conserving energy and water

• Mitigating and adapting to climate change

• Constructing transit options for an accessible future

• Promoting affordability and environmental justice

• Restoring and reinventing the LA River

Through these and other steps, LA is working towardscreating “The Sustainable City— Los Angeles in 2050.”The afternoon concluded with an opportunity for more

mingling, food and an opportunity to view the LACMAGalleries. Funding for the afternoon (and future meetings)was generously provided by an outreach grant to Arts EarthPartnership from the Los Angeles Department of Waterand Power. Following the meeting, a survey was sent to all attendees

for feedback on the meeting, and how everyone wouldlike to shape these meetings in future. We also askedattendees to provide contact information on othercultural facilities that might be interested in attendingfuture meetings.

In attendance were over 30 people representing 17 culturalinstitutions and organizations.

Matt Petersen, General Manager of the Los Angeles Office ofSustainability and the Environment, the city’s first-ever chiefsustainability officer.

The next meeting of the IAMFA Southern CaliforniaRegional Chapter will be held at the Getty Center onThursday April 16 at 10:30 a.m.

Please save the date for the next IAMFA Regional Chapter Meeting

DATE: Thursday, April 16TIME: 10:30 a.m. to 12:30 p.m.LOCATION: The Getty Center

Mike Rogers, Facilities Director of the J. Paul GettyTrust, invites you to join your colleagues at a roundtableto include such topics as:

• International Visitorship

• Cultural Property Protection

• Energy conservation and rising utility costs

• Collections HVAC Environment Management

Other News from LABy Joe May

On March 5, LA visitors Bob and Mary Ann Morrone,along with myself and my friend Sally, met Randy Murphyat the Los Angeles County Museum of Art for lunch and agreat tour! Thank you, Randy, for hosting us for this mini-reunion. LACMA has some amazing exhibits; we were all soimpressed. Wow, this would be a great venue for a futureAnnual Conference!

Hawaii NewsBy Neal Graham

Over the Christmas holidays, at the invitation of NoelaniAh Yuen, Facilities and Security Manager of ’Iolani Palacein Honolulu, I had an opportunity to tour the Palace.Saturday, December 27, 2014 marked the 180th celebrationof Queen Kapiolani’s Birthday event and picture belowshows Noelani and I prior to our tour of the Palace. ’Iolani Palace, located in the Capitol district of downtown

Honolulu, is the only royal palace in the United States. Itwas originally an official residence of the reigning Hawaiiansovereign, and is now a National Historic Landmark listedon the National Register of Historic Places. Two monarchs governed from ’Iolani Palace: King

Kalakaua and Queen Lili‘uokalani, although KamehamehaIII, IV, V, and Lunalilo had their main residences here aswell. After the monarchy was overthrown in 1893, the build -ing was used as the Capitol building for the ProvisionalGovernment for the Republic, Territory, and State ofHawaii until 1969. The Palace was restored and openedto the public as a museum in 1978.

UK ChapterBy Jack Plumb

Please keep May 14 and 15 open for our next IAMFA UKMeeting. Arrangements are being made at the BritishLibrary in London for another excellent program. We willannounce meeting details in the LinkedIn Group whenthey are finalized. Please contact Patrick Dixon at [email protected] or

Jack Plumb at [email protected] soon if you have suggestionsfor the meeting agenda.

Our group stands in front of the Levitated Mass a large-scalesculpture by Michael Heizer. The installation consists of a 340-tonboulder affixed above a concrete trench through which visitorsmay walk. The nature, expense and scale of the installation madeit an instant topic of discussion within the art world.

IAMFA Members Neal Graham and Noelani Ah Yuen.


Art Gallery of New SouthWalesSydney, NSW

Australian Centre for theMoving ImageMelbourne, VIC

FED Square PTY LTDMelbourne, VIC

Museum of Applied Arts andScienceUltimo, NSW

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaMelbourne

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, VIC

National Library of AustraliaCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Port Arthur Historic SitesPort Arthur, Tasmania

Queensland Art Gallery/Gallery of Modern ArtSouth Brisbane, Queensland

Questacon — The NationalScience and Technology CentreCanberra, ACT

South Australian MuseumAdelaide, SA

Steensen VarmingSydney

Aanischaaukamikw –Cree Cultural InstituteOujé-Bougoumou, Quebec

Black & McDonaldOttawa, Ontario

Canada Science andTechnology MuseumCorporationOttawa, Ontario

Canadian Museum of HistoryGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

AUSTRALIA

CANADA

Canadian Museum for HumanRightsWinnipeg, Manitoba

Integrated HeritageManagementAlmonte, Ontario

Library and Archives CanadaGatineau, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Peterborough Museum& ArchivesPeterborough, Ontario

Protect Heritage Corp.Orleans, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Steensen VarmingHong Kong

West Kowloon CulturalDistrict AuthorityTsim Sha Tsui, Kowloon,Hong Kong

Steensen Varming Copenhagen

Cité des sciences etde l’industrieParis, Cedex 19

Crédit AgricoleParis

Polymnia Venezia srlVenezia Mestre

Auckland War MuseumAuckland

Christchurch Art GalleryChristchurch, Canterbury

Royal New Zealand NavyDevonport, Auckland

Uxbridge Creative CentreHowick, Auckland

CHINA

DENMARK

FRANCE

ITALY

NEW ZEALAND

Centro de la ImagenLima

British Film InstituteSouth Bank, London, England

British LibraryLondon, England

British MuseumLondon, England

Cofely LtdWorcester Park, Surrey, England

EMCEL Filters LimitedHorsham, West Sussex, England

The Energy ConsortiumNorbury, London, England

Glasgow Life, Glasgow CityCouncilGlasgow, Scotland

Heriot-Watt UniversityEdinburgh, Scotland

Historic Royal PalacesMolesey, Surrey, England

Imperial War MuseumLondon, England

Museum of LondonLondon, England

National Portrait GalleryLondon, England

The National ArchivesRichmond, Surrey, England

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum WalesCardiff, Wales

National Museums LiverpoolLiverpool, England

National Museums ScotlandEdinburgh, Midlothian, Scotland

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Norland Managed ServicesLimitedLondon, England

UNITED KINGDOM

PERU Royal Academy of Arts,Burlington House, PiccadillyLondon, England

Science Museum GroupLondon, England

SPIE Suffolk, England

TateLondon, England

University of GreenwichLondon, England

Victoria and Albert MuseumLondon, England

Whitechapel GalleryLondon, England

360 Energy GroupChicago, IL

A.T. Still University Museumof Osteopathic MedicineKirksville, MO

ACE GroupPhiladelphia, PA

Adler PlanetariumChicago, IL

Aegis Property GroupPhiladelphia, PA

AFS Chemical Filtration GroupBurlington, MA

AlliedBartonWallingford, PA

American Academy of Artsand LettersNew York, NY

American BookbindersMuseumSan Francisco, CA

American Museum of NaturalHistoryNew York, NY

Amon Carter Museum ofAmerican ArtFort Worth, TX

Anacostia CommunityMuseumWashington, DC

Architect of the CapitolWashington, DC

Architect of the Capitol,Library Buildings and GroundWashington, DC

architrave p.c., architectsWashington, DC

UNITED STATES


IAMFA MEMBERS—ORGANIZATIONS

Art Conservation &Restoration by JSFRedwood City, CA

Art Conservation de RigueurSan Francisco, CA

Art Institute of ChicagoChicago, IL

Arts and Industries Building Washington, DC

ArupCambridge, MA

Asian Art Museum ofSan FranciscoSan Francisco, CA

Atlanta History CenterAtlanta, GA

Ayers Saint Gross ArchitectsBaltimore, MD

The Bakken MuseumMinneapolis, MN

Baltimore Museum of ArtBaltimore, MD

The Bancroft Library,University of CaliforniaBerkeley, CA

The Barnes FoundationMoorestown, NJ

Belimo Aircontrols USA, IncMidlothian, VA

Bellevue Arts MuseumBellevue, WA

Billings Farm and MuseumWoodstock, VT

Boston AthenaeumBoston, MA

Brandywine ConservancyLincoln University, PA

Brigham Young UniversityMuseum of ArtProvo, UT

Bronx Council on the ArtsBronx, NY

Brooklyn MuseumBrooklyn, NY

Bruce E. Brooks & AssociatesPhiladelphia, PA

Burke Museum of NaturalHistory and CultureSeattle, WA

BuroHappold EngineeringNew York, NY

California Academy ofSciencesSan Francisco, CA

California Historical SocietySan Francisco, CA

California State LibrarySacramento, CA

California State University,FullertonFullerton, CA

Camfil LimitedRiverdale, NJ

Carnegie Museums ofPittsburghPittsburgh, PA

Cathedral Church of St. Johnthe DivineNew York, NY

CBT ArchitectsBoston, MA

Cecil H. Green Library,Stanford UniversityStanford, CA

Center for HistorySouth Bend, IN

Center for Jewish HistoryNew York, NY

Center for Research LibrariesChicago, IL

Chicago Children’s MuseumChicago, IL

Chicago History MuseumChicago, IL

The Chinati FoundationMarfa, TX

The City College of New YorkNew York, NY

City of DallasDallas, TX

Cleveland Museum of ArtCleveland, OH

Colección Patricia Phelpsde CisnerosNew York, NY

Colonial WilliamsburgFoundationWilliamsburg, VA

Columbia UniversityNew York, NY

Columbia University LibrariesNew York, NY

Condé NastBrooklyn, NY

Cooper-Hewitt NationalDesign MuseumNew York, NY

Core FoundationLongwood, FL

Crozier Fine Arts Inc. New York City, NY

Currier Museum of ArtManchester, NH

Cypress Private SecuritySan Francisco, CA

Dallas Museum of ArtDallas, TX

Davis Museum at WellesleyCollegeWellesley, MA

DC Commission on the Artsand HumanitiesWashington, DC

Delaware Art MuseumWilmington, DE

Delaware Museum of NaturalHistoryWilmington, DE

Department of the InteriorWashington, DC

DERBIGUM Americas, Inc.Kansas City, MO

Des Moines Art CenterDes Moines, IA

Digital Game MuseumSanta Clara, CA

Dumbarton Oaks ResearchLibrary and CollectionWashington, DC

eProvenanceBelmont, MA

Eugene McDermott Library,The University of Texas atDallasRichardson, TX

EwingColePhiladelphia, PA

Exploration Place — TheSedgwick County Scienceand Discovery CenterWichita, KS

ExploratoriumSan Francisco, CA

Facility Dynamics EngineeringWilliamsburg, VA

Facility IssuesFlagstaff, AZ

Faulconer Gallery, GrinnellCollegeGrinnell, IA

Federal Reserve BoardWashington, DC

The Field MuseumChicago, IL

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Fort Monroe AuthorityHampton, VA

Fort Wayne Museum of ArtFt. Wayne, IN

Fort Worth Museum ofScience and HistoryFort Worth, TX

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Frick Art Reference LibraryNew York, NY

The Frick CollectionNew York, NY

Friends of ’Iolani PalaceHonolulu, HI

Friends of the High Line New York, NY

Gann Preservation Services,LLCDallas, TX

Garrison/Lull Inc.Princeton Junction, NJ

George Eastman HouseShelter Island, NY

The George WashingtonUniversityWashington, DC

Gilder Lehrman Institute ofAmerican HistoryNew York, NY

Girl Scouts of the USANew York, NY

GlenstonePotomac, MD

Hagley Museum and LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harpers Ferry Center/National Park ServiceCharles Town, WV



UNITED STATES cont’d

Harry Ransom CenterAustin, TX

Harvard Art MuseumsCambridge, MA

Harvard Library, HarvardUniversityCambridge, MA

Harvard UniversityCambridge, MA

Helen A Houp Fine ArtConservation, Inc.Dallas, TX

Hewlett-Woodmere PublicLibraryHewlett, NY

High Museum of ArtAtlanta, GA

The Hill GroupFranklin Park, IL

Hill Museum & ManuscriptLibraryCollegeville, MN

Hillwood Estate, Museum &GardensWashington, DC

Hirshhorn Museum andSculpture GardenWashington, DC

Historic New EnglandHaverhill, MA

Illinois State MuseumSpringfield, IL

Image Permanence InstituteRochester, NY

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Joan Mitchell FoundationNew York, NY

John F. Kennedy PresidentialLibrary & MuseumBoston, MA

Jordan Paul Arts Inc.Bronx, NY

Kimbell Art MuseumFort Worth, TX

Kohl Children’s MuseumGlenview, IL

Kuniej Berry AssociatesChicago, IL

Layman DesignSkokie, IL

LB&B AssociatesColumbia, MD

LF Driscoll Co.Wayne, PA

Library of CongressWashington, DC

Library of Congress PackardCampus for Audio-VisualConservationCulpeper, VA

Lighting Services Inc.Stony Point, NY

Logan Museum ofAnthropology at BeloitCollegeBeloit, WI

Los Angeles County Museumof ArtLos Angeles, CA

Lunder Conservation CenterWashington, DC

Maine HIstorical SocietyPortland, MN

Marsh-Billings-RockefellerNational Historical ParkWoodstock, VT

McGuire Engineers, Inc.Chicago, IL

The Menil CollectionHouston, TX

Metro Space, Inc.Chicago, IL

The Metropolitan Museumof ArtNew York, NY

Midwest Energy EfficiencyAllianceChicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

MOCALos Angeles, CA

The Modern Art Museumof Fort WorthFort Worth, TX

Mohonk Mountain HouseNew Paltz, NY

The Morgan Library &MuseumNew York, NY

Morr-Sharp AssociatesChicago, IL

Morven ParkLeesburg, VA

Mount Holyoke CollegeSouth Hadley, MA

Mueller AssociatesBaltimore, MD

Museum of ComparativeZoologyCambridge, MA

Museum of Fine Arts, BostonBoston, MA

Museum of Fine Arts,HoustonHouston, TX

Museum of Fine Arts,St. Petersburg FloridaSt. Petersburg, FL

Museum of Jewish HeritageNew York, NY

Museum of Modern ArtNew York, NY

Museum of Science andIndustryChicago, IL

Naper SettlementNaperville, IL

National Agricultural LibraryBeltsville, MD

National Air and SpaceMuseumChantilly, VA

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

The National Archives atFort WorthFort Worth, TX

National Endowment forthe HumanitiesWashington, DC

National Gallery of ArtWashington, DC

National Institutes of HealthBethesda, MD

The National LGBT MuseumWashington, DC

National Library of Medicine —National Institutes of HealthBethesda, MD

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia, PA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Museum of theMarine CorpsTriangle, VA

National Museum of Womenin the ArtsWashington, DC

National Park ServiceWashington, DC

National Portrait GalleryWashington, DC

National Postal MuseumWashington, DC

National September 11Memorial & MuseumNew York, NY

National Zoological ParkWashington, DC

Naval History and HeritageCommandWashington, DC

Nelson-Atkins Museum of ArtKansas City, MO

Neue GalerieNew York, NY

New York Academy ofMedicineNew York City, NY

New York Botanical GardenBronx, NY

New York City Fire MuseumNew York, NY

New York Hall of ScienceCorona, NY

New York Public LibraryNew York, NY


New York UniversityNew York, NY

New York University LibrariesNew York, NY

New-York Historical SocietyNew York, NY

North Carolina Museumof ArtRaleigh, NC

Northeast DocumentConservation CenterAndover, MA

Northern Illinois UniversityDeKalb, IL

Northern Illinois UniversityArt MuseumDeKalb, IL

NSCSacramento, CA

Oakland Museum of CaliforniaOakland, CA

Orlandini Art ConservationChevy Chase, MD

Peabody Essex MuseumSalem, MA

Peabody Museum ofArchaeology and Ethnologyat Harvard UniversityCambridge, MA

Philadelphia Museum of ArtPhiladelphia, PA

The Phillips CollectionWashington, DC

Phoebe A. Hearst Museumof AnthropologyBerkeley, CA

Pixar Animation StudiosEmeryville, CA

Plains Art MuseumFargo, ND

Princeton University LibraryPrinceton, NJ

Princeton UniversityPrinceton, NJ

Quinn Evans ArchitectsAnn Arbor, MI

Quinn Evans ArchitectsWashington, DC

Reading Public MuseumReading, PA

Renwick GalleryWashington, DC

Rhode Island School of DesignProvidence, RI

Rhode Island School ofDesign Museum of ArtProvidence, RI

The Rubin Museum of ArtNew York, NY

Solomon R. GuggenheimMuseumNew York, NY

Saint Louis Art MuseumSt. Louis, MO

Saint Mary’s CollegeMoraga, CA

Saint Peter’s UniversityJersey City, NJ

Sam Noble MuseumNorman, OK

San Francisco Art InstituteSan Francisco, CA

San Francisco Museum ofModern ArtOakland, CA

Santa Barbara Museum of ArtSanta Barbara, CA

Schweitzer EngineeringLaboratories, Inc.Pullman, WA

Shedd AquariumChicago, IL

Sid Richardson MuseumFort Worth, TX

Siemens Industry, Inc.Cypress, CA

Simmons School of Libraryand Information ScienceMt. Hermon, MA

The Sixth Floor Museum atDealey PlazaDallas, TX

Skirball Cultural CenterLos Angeles, CA

SmithGroupJJRWashington, DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian InstitutionMuseum Support CenterSuitland, MD

Society of the Holy Child JesusRosemont, PA

SodexoWaltham, MA

Solomon R. GuggenheimFoundationNew York, NY

Spurlock Museum, Universityof IllinoisUrbana, IL

Stanford University LibrariesStanford, CA

Staten Island MuseumStaten Island, NY

Sustainable MuseumsCarlisle, MA

Synthesis IncorporatedColumbia, MD

TDIndustriesDallas, TX

Ted Swigon AssociatesBeverly Shores, IN

Turtle Bay Exploration ParkRedding, CA

U.S. Holocaust MemorialMuseumWashington, DC

UC Berkeley LibraryRichmond, CA

UCSF LibrarySan Francisco, CA

The Ukrainian Historical andEducational CenterSomerset, NJ

United NationsNew York, NY

United States MintWashington, DC

University of ArizonaMuseum of ArtTucson, AZ

University of California,BerkeleyBerkeley, CA

University of California, DavisDavis, CA

University of MarylandCollege Park, MD

The University of Texasat ArlingtonArlington, TX

The University of Texasat AustinAustin, TX

The University of Texasat DallasRichardson, TX

University of WashingtonLibrariesSeattle, WA

US Coast GuardForestville, MD

USDA National AgriculturalLibraryBeltsville, MD

The Walt Disney FamilyMuseumSan Francisco, CA

WebcorAlameda, CA

West Lake ConservatorsSkaneateles, NY

Wildlife Conservation SocietyBronx, NY

Winterthur Museum, Gardenand LibraryWinterthur, DE

WittigwriterFlagstaff, AZ

Worcester Art MuseumWorcester, MA

Yale Peabody Museumof Natural History New Haven, CT

Yale UniversityNew Haven, CT

Yale University Art GalleryNew Haven, CT

Yosemite National ParkYosemite, CA

Ziger/Snead ArchitectsBaltimore, MD

Zimmerli Art Musuem atRutgers UniversityNew Brunswick, NJ



UNITED STATES cont’d

Although we do ourbest to ensure that ourDirectory information isas up-to-date as possible,errors and omissions

can always occur. If youwould like to makeany changes to yourlisting, please contact Randy Murphy at

[email protected]

Papyrus Spring 2015

Education

Transcript of Papyrus Spring 2015