PAPYRUSVOLUME 9 SUMMERNUMBER 2 2008

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

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

Message from the President / Mot du président / Mensaje del Presidente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

The Smithsonian’s Approach To Condition Assessment—Deferred Maintenance Parametric Estimating . . . . . . . . . . . . . . . 6

Transformation at the Los Angeles County Museum of Art . . . . 8

IAMFA Annual Conference / Congrès annuel de l’IAMFA / Conferencia Anual de la IAMFA . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Regional Chapters Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Member News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

IAMFA Members—Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Time is running out to register for

IAMFA LONDON 200814–17 September

http://www.iamfa.org/

You know you wantto be there!

August 13, 2008 – cut-off date has been extended for the special hotel rates13 août 2008 – date limite repoussée quant aux tarifs spéciaux de l’hôtel

13 de agosto de 2008 – la fecha límite se ha extendido para las tarifas especiales de hotel

August 20, 2008 – cut-off date for early-bird conference rate20 août 2008 – date limite du tarif « Réservez-tôt » au congrès

20 de agosto de 2008 – fecha límite para la tarifa de preinscripción de la conferencia

INSIDE THIS ISSUE

2

Greetings from Los Angeles!The English writer Alexandra LouiseBreed said, “When change stops, you’redead.” As busy as we are dealing withchanges at our institutions, her wordscan serve as a reminder to embracechange! We deal with change all thetime as facilities professionals; andsometimes when it happens, it happensfast, and we’d better be ready! Embraceit, and change keeps things fresh, itkeeps life interesting, it keeps us fromgetting bored with the same old thingday after day. Let me share a fewsignificant changes with you.

You will notice a few changes withthis edition of Papyrus. We all wantIAMFA to grow and prosper, and toattract more international, and pos-sibly non-English-speaking, members.Because of this, you will see moreSpanish and French text alongsideEnglish in this edition. You will alsosee information in this edition aboutthe fall annual conference in London.The hosts are busy looking at waysto provide simultaneous translationsinto French and Spanish at this year’sconference for an expected increasein non-English speaking attendees.These are good changes that shouldhelp our organization grow.

As you know, The J. Paul Getty Trusthas been my home for the past sevenyears, and it has been a catalyst formany changes. This is the seventh yearthat the Getty has participated in theannual IAMFA Benchmarking Exercise.During that time, the Getty Trust sig-nificantly reduced building operationcosts to bring them in line with theaverage operation cost per square footof other member institutions. These

changes were good, and Jim Bullock,the Getty’s Director of Facilities, deservesthe credit for improving the FacilitiesDepartment while managing thesechanges. Many of you met Jim in 2006when Los Angeles hosted the annualconference. Jim is a true professional,someone I am proud to know, andsomeone from whom I learned a lotover the years. At the start of 2008,Jim Bullock retired as Director ofFacilities: a change that the Getty Trusthad to address. During Jim’s tenure, inaddition to reducing operation costsby 20%, the Getty Center becamethe first facility in the USA to becomeLEED-EB (Leadership in Energy andEnvironmental Design, Existing Buildingcategory) certified, following the LEEDpilot program. LEED-EB is administeredby the U.S. Green Building Council(www.usgbc.org). In April of this year,the Getty Center achieved another firstby becoming the first facility in thenation to be recertified in LEED, thistime at the higher “Silver” level. JimBullock, his staff, and the J. Paul GettyTrust are very proud of this accomplish-ment. I am grateful that Jim asked me tobe project administrator for the LEEDproject. I really do believe it is one ofthe most important projects that canbe undertaken by an organization.

There is another change I musttell you about. In May of this year theGetty Trust eliminated me, my depart-ment, and over one hundred otherpositions to reallocate funds. Yes,change can be abrupt! While thischange (my departure) does not havean immediate impact on my positionas IAMFA Secretary and PapyrusEditor, it will possibly have an effectin the long term. In one way, this is a

disappointing change, given the friend-ships that I have developed with IAMFAmembers over the past seven years.But, like most changes that we face,when we embrace them, the outcomecan be very positive. My immediateplans are to assist others to achieveLEED certification. I believe this is aworthy pursuit, and one that manyIAMFA members will want to focuson in the future. Cultural institutions,because of their limited funding sources,will be asked to reduce operationalcosts. We can turn this challengearound and lead by example in theupcoming years as we see a Greeningin our society. The Green movementis a change that we must all supportto preserve the fundamentals of exis-tence for future generations. Manyof you have already taken steps tobecome Greener, but we can all domore. Those of you that haven’t,embrace the change, and join themovement to Green your facilities.

So fellow members, while myfuture has greater uncertainty, I dolook forward to the future. I wish allof you the best, and I look forward toseeing you in London. The plans forthe conference are spectacular!

I would like to finish by thankingall of you who contributed to thisedition of Papyrus—please enjoy it,and I hope you learn something newwhile reading it.

Joe MaySecretary, IAMFA and Editor of Papyrus

If you have articles for future issues,please send them to my new e-mailaddress, joemay001@hotmail.com

Joe May — Editor, Papyrus

Letter from the Editor

3

Message from the PresidentMot du président

Mensaje del Presidente

Guy LarocquePresident / Président / Presidente, IAMFA

In the Service of IAMFAThis is my last address to you inPapyrus as President of IAMFA. As youknow, I will not be seeking re-electionto the Board of Directors at this fall’sbusiness meeting during the Londonconference. It has been an honour anda privilege to serve you, the members,during these past few years. I greatlyappreciate the confidence that youhave shown in allowing me to lead agroup of museum facility professionalswith such integrity. I am proud of thegreat strides that IAMFA has accom-plished with your support, enthusiasmand tenacity, and I feel very privilegedto be associated with you.

Together, we have accomplished somuch during these past four years—starting with our strategic planningworkshop in Bilbao, where we laidthe groundwork for IAMFA’s prioritiesduring the ensuing five years. Sincethen, we have increased our member-ship by 10% per year to about 200 mem-bers in eight countries. Participationin the annual Museums Benchmarkingsurvey has increased to over 60 partici-pants, thanks to the good work andsupport of the IAMFA BenchmarkingCommittee. A Display Energy Certificatewas developed by IAMFA’s BuildingLabelling Committee. We have startedpublishing our once English-onlyPapyrus newsletter with articles writtenin French and Spanish as well. We arealso now publishing this newsletter infull colour. A Yahoo Group was set upon IAMFA’s website to provide a securemembers-only discussion forum. In

Au service de l’IAMFACe sera mon dernier article dansPapyrus à titre de président de l’IAMFA.Comme vous le savez sans doute, jene solliciterai pas de nouveau mandatau conseil d’administration à notreséance de travail, cet automne, à laconférence à Londres. Ce fut pour moiun honneur et un privilège de vousservir et de travailler avec vous, lesmembres, au cours des dernièresannées. J’apprécie la confiance quevous m’avez manifestée quand vousm’avez élu pour diriger ce groupede professionnels de musée de laplus haute intégrité. Je suis très fierdes grands progrès que l’IAMFA aaccomplis grâce à votre soutien, àvotre enthousiasme et à votre ténacitéet je me sens très privilégié d’êtreassocié à vous.

Ensemble, nous avons accomplid’énormes progrès au cours des quatredernières années. À notre atelier deplanification stratégique, à Bilbao, nousavons jeté les bases des priorités del’IAMFA pour les cinq années suivantes.Depuis, l’effectif de notre associationa augmenté de 10 % par année etnous comptons aujourd’hui quelque200 membres dans huit pays. Au coursdes dernières années, grâce à l’excellenttravail et au soutien du comité del’analyse comparative de l’Association,nous avons réussi à accroître à plus de60 le nombre de participants au sondageannuel sur les indices de référence.Le comité d’appellation des édificesde l’Association a créé un certificatd’énergie. Notre bulletin d’information,

Al de IAMFAEste es el último discurso que les dirijoen Papyrus como Presidente de IAMFA.Como saben, no buscare la reeleccióna un cargo en la Junta Directiva esteotoño en nuestra sesión de trabajodurante la conferencia de Londres. Hasido un honor y un privilegio servirlesa ustedes, los miembros, durante estosúltimos años. Agradezco enormementela confianza que han mostrado al per-mitirme dirigir un grupo tan magníficode profesionales de instalaciones demuseos de tanta integridad. Me enor-gullecen los grandes avances que halogrado IAMFA con su apoyo, entu-siasmo y tenacidad y me siento muyprivilegiado de estar asociado a ustedes.

Juntos, hemos logrado muchísimodurante los últimos cuatro años. Empe-zando por nuestro taller de planifica-ción estratégica celebrado en Bilbao, enel que realizamos el trabajo preliminarpara las prioridades de la IAMFAdurante los siguientes cinco años. Desdeentonces hemos aumentado nuestronúmero de miembros en un 10% alaño hasta alcanzar 200 miembros enocho países. Hemos incrementado laparticipación en la encuesta anual deEvaluación comparativa de museos amás de 60 participantes durante losúltimos años, gracias al gran trabajoy apoyo del Comité de EvaluaciónComparativa de IAMFA. El Comité deEtiquetado de Edificios de IAMFA creóun Certificado de Energía de Muestra.Hemos empezado a publicar nuestroboletín informativo Papyrus, anterior-mente sólo en inglés, con artículos

continued on page 4 suite à la page 4 sigue en la página 4

4

addition, IAMFA has recently becomeaffiliated with the International Councilof Museums (ICOM), which has resultedin increased international exposure and

Papyrus, jadis publié en anglais seule-ment, compte aujourd’hui des articlesen français et en espagnol ainsi quedes images en couleurs. Dans le siteWeb de l’Association, nous avons crééun groupe Yahoo pour offrir un forumde discussion sécurisé accessible auxmembres seulement. L’IAMFA s’estrécemment associée au Conseil inter-national des musées (ICOM), ce quia permis d’accroître la pertinence et lavisibilité internationales de notre asso-ciation. Il sera important d’assurer lesuivi de ces réalisations pour veiller à lasurvie et au développement de l’IAMFAen tant qu’association professionnelle.

L’IAMFA n’aurait pas pu connaîtretout ce succès sans le dévouement etles efforts assidus de mes collèguesmembres du conseil d’administration.Jim Moisson a amélioré l’intégrité et latransparence des comptes de l’IAMFA etla tenue des données sur nos membresau fil des années. Richard Kowalczyka contribué des solutions pratiques etingénieuses à la gestion du site Web eta exercé un jugement exemplaire dansl’administration de l’Association. Johnde Lucy a mis à contribution sa vasteexpérience dans les milieux internatio-naux et sa capacité d’influence pourfavoriser la croissance de notre effectif.Je ne saurais oublier Dan Davies, quia récemment quitté le Conseil, et sonextraordinaire dévouement ainsi quesa créativité novatrice pour la produc-tion de notre bulletin Papyrus et enfin,Joe May qui atteint avec Papyrus denouveaux sommets d’excellence depuisqu’il est devenu membre du Conseil.Je suis plein d’admiration à l’égard dutravail prodigieux et de l’engagementdont ils font preuve, à titre de membresbénévoles du Conseil, et de l’attentionapportée à l’essor de l’IAMFA. Jecontinue de chérir la camaraderie quenous avons partagée au fil des ans.

C’est donc avec tristesse que jequitte mon poste au Conseil. J’ai hâtetoutefois de continuer mon travailau sein du comité international del’Association où je m’emploierai à

escritos también en francés y español.Asi mismo estamos publicando ahoraeste boletín a todo color. Se creó ungrupo de Yahoo en el sitio Web deIAMFA para ofrecer un foro de debateseguro sólo para miembros. IAMFA seha afiliado recientemente al ConsejoInternacional de Museos (ICOM), locual ha dado como resultado una mayorexposición y relevancia para nuestraasociación en el ámbito internacional.Será importante hacer un seguimientode estos logros para que la IAMFApueda seguir sobreviviendo y desarrol-lándose como asociación profesional.

El éxito que IAMFA ha tenido durantelos últimos años no habría podidolograrse de no ser por el duro trabajoy la dedicación de mis compañeros dela Junta Directiva. Me gustaría reconocerlas enormes contribuciones de JimMoisson, que ha mejorado la integridady la transparencia de las cuentas deIAMFA y el mantenimiento de losdatos de los miembros a lo largo delos años, a Richard Kowalczyk, que hacontribuido con soluciones inteligentesy prácticas para la gestión del sitio Weby su criterio sólido en la administraciónde la Asociación, a John de Lucy, que hacontribuido con su amplia experienciaen círculos internacionales y en apti-tudes de influencia para promover elcrecimiento de nuestra membresía, aDan Davies, que se retiró recientementede la Junta, por su tremenda dedicacióne innovaciones creativas en la produc-ción del boletín informativo Papyrus,y a Joe May, que ha llevado Papyrusa nuevas cotas de excelencia desdeque ocupó el cargo de miembro dela Junta. Como miembros voluntariosde la Junta, los admiro por todo suduro trabajo y compromiso para hacerque la IAMFA tenga el éxito del quedisfruta actualmente y seguiré valorandola camaradería que compartimosdurante años.

Por tanto, me entristece dejar mipuesto en la Junta, pero aguardo coninterés continuar mi trabajo en elComité Internacional de IAMFA, donde

IAMFA/PapyrusSUMMER 2008

EditorJoe May

Papyrus CorrespondentsDonald BattjesJoe BrennanJohn de LucyMerida FitzgeraldJennifer FragomeniDavid GeldartLarry GraubergerGuy LarocqueIan MacLeanJoe MayJames MoissonPatricia MorganRich ReinertCharles Saumarez Smith/Charles RossKevin StreiterStacey Wittig

Design and LayoutPhredd Grafix

TranslationDominique Fortier, Valencia Léger (French)Carmen Pelaez (Spanish)

EditingArtistic License (English)Fernando Pascal (Spanish)

Printed in the U.S.A. byLake Litho

ISSN 1682-5241

Statements of fact and opinion are madeon the responsibility of authors alone anddo not imply an opinion on the part of theeditors, officers, or members of IAMFA. Theeditors of IAMFA Papyrus reserve the right

to accept or to reject any Article oradvertisement submitted for publication.

While we have made every attempt to ensurethat reproduction rights have been acquiredfor the illustrations used in this newsletter,please let us know if we have inadvertently

overlooked your copyright, and we will rectifythe matter in a future issue.

Message from the President —continued from page 3

Mot du président – suite de la page 3

Mensaje del Presidente – viene de la página 3

5

relevance for our Association. It willbe important to follow up on theseaccomplishments, in order for IAMFAto continue to survive and develop asa professional association.

The success that IAMFA has enjoyedover these past few years could nothave been accomplished were it notfor the hard work and dedication ofmy fellow Board members. I wouldlike to acknowledge the tremendouscontributions of Jim Moisson, who hasimproved the integrity and transparencyof IAMFA’s accounts and the keepingof membership data over the years;Richard Kowalczyk, who has contrib-uted intelligent and practical solutionsto the management of the website andhis sound judgment in the administra-tion of the Association; John de Lucy,who has contributed his extensiveexperience in international circles andinfluence skills to promote the growth ofour membership; Dan Davies, recentlyretired from the Board, for his tremen-dous dedication and creative innovationsin producing the Papyrus newsletter;and Joe May, who has taken Papyrusto new heights of excellence sincebecoming a Board member. As volun-teer Board members, I admire them forall of their hard work and commitmentto making IAMFA the success that it istoday, and I will continue to cherishthe camaraderie that we have sharedover the years.

So, it is with sadness that I leave myposition on the Board, but I look for-ward to continuing my work on IAMFA’sInternational Committee, where I willcontinue to forge IAMFA’s networksacross the globe and try to attractnew opportunities for growth in ourmembership. I invite all members ofIAMFA to become more involved withour Association activities, conferences,Papyrus articles and networking withother cultural institutions. Your contri-butions will always be needed in theservice of IAMFA.

Guy Larocque, P. Eng.President, IAMFA

créer des réseaux de l’IAMFA partoutdans le monde et à trouver des occa-sions d’accroître l’effectif de notreassociation. Pour terminer, je voudraisinviter tous les membres de l’IAMFA às’impliquer davantage dans les activitésde l’Association, notamment aux confé-rences, en contribuant des articles àPapyrus et en tissant des liens avecd’autres établissements culturels.L’Association aura toujours besoin devous pour grandir et s’améliorer.

Guy Larocque, ing.Président, IAMFA

seguiré forjando las redes de IAMFAen todo el mundo e intentaré atraernuevas oportunidades de crecimientode nuestros miembros. Invito a todoslos miembros de IAMFA a participarmás en las actividades y conferenciasde nuestra asociación, a contribuir enartículos de Papyrus y en la creaciónde redes de contacto con otras insti-tuciones culturales. Siempre se nece-sitarán sus contribuciones en serviciode IAMFA.

Guy Larocque, Ingeniero Presidente, IAMFA

IAMFA Board of Directors

PresidentGuy LarocqueCanadian Museum of Civilizationand Canadian War MuseumGatineau, Canadaguy.larocque@civilization.ca

V.P., AdministrationRichard KowalczykSmithsonian InstitutionWashington, D.C., USAkowalczykr@nasm.si.edu

V.P., Regional AffairsJohn de LucyThe British LibraryLondon, U.K.john.delucy@bl.uk

TreasurerJim MoissonHarvard University Art Museums Cambridge, MA, USAjames_moisson@harvard.edu

Secretary and Papyrus EditorJoseph MaySustainability EngineerLos Angeles, CA, USAjoemay001@hotmail.com

Chairman — Conference 2008John de LucyThe British LibraryLondon, United Kingdomjohn.delucy@bl.uk

For additional contact information,please visit our website at

www.iamfa.org

Regional Chapters

Atlanta, U.S.A.Kevin Streiter, High Museum of Art

AustraliaKim Reason, Museum Victoria

Bilbao, SpainRogelio Diez, Guggenheim Museum

Chicago, U.S.A.William Caddick, Art Institute of Chicago

Hawaii, U.S.A.Robert White, Honolulu Academy of Arts

Los Angeles, U.S.A.Joe May

New England, USAJohn H. Lannon, Boston Athenaeum

New York, USAMark Demairo, Neue Galerie

New ZealandPatricia Morgan, Auckland Art Gallery

Ottawa-Gatineau, CanadaIan MacLean, Canada Science andTechnology Museum Corporation

Philadelphia, U.S.A.Richard Reinert, Philadelphia Museumof Art

San Francisco, U.S.A.Joe Brennan, San Francisco Museum ofModern Art

United KingdomBill Jackson, National Library of Scotland,Edinburgh

Washington/Baltimore, USARobert Evans, Hirshhorn Museum &Sculpture Garden

6

For the past decade, the Smithsonian Institution has beenperforming detailed, traditional Facility Condition Assessments(FCA), incorporating the principles of Reliability-CenteredMaintenance (RCM) into the process. In 2007, we changedour approach to condition assessments, and adopted theDeferred Maintenance (DM) Parametric Estimating techniqueto calculate DM—the backlog of maintenance and minorrepair costs—as well as the System Condition Index (SCI),and Facility Condition Index (FCI). The maintenance, repairand upgrading of Smithsonian facilities is primarily fundedby the U.S. Congress (some private funding is used for majorupgrades), which puts the Smithsonian in competition withother federal agencies for U.S. taxpayers’ dollars. As a result,we adopted an approach used by other federal agencies,defining the condition of our facilities in terms of deferredmaintenance and FCI.

The Smithsonian extends well beyond the museums onthe Mall in Washington, D.C., with a scientific research andeducation mission throughout the world. We have over 600facilities and over 950,000 gross square meters to maintain.In addition to the museums in the Washington D.C. area andNew York (Cooper-Hewitt Design Center), our inventory of

facilities includes the National Zoo and animal conservationresearch center, a tropical research institute in Panama,an environmental research center on Chesapeake Bay inMaryland, and astrophysical observatories in Arizona andHawaii. This diversity leads to a wide range of facility typesand sizes—from public museums and galleries to collectionstorage, laboratories and research, housing and dormitories,animal enclosures, and other support facilities. Our newapproach allows us to survey and assess the condition ofthis wide variety of maintained property within a relativelyshort period of time.

The Deferred Maintenance Approach Traditional condition assessments were project-driven.Specific deficiencies were identified, and the cost to correctthese deficiencies was established. Unfunded projects thenbecame our maintenance and repair backlog. The approachnow used is based on a rating of the overall condition ofeight systems in a facility, and an application of parameterscorrelating this condition rating to a degree of deterioration,and then to the value of the facility. The result is an amountof deferred maintenance expressed in dollars (USD).

The Smithsonian’s Approach ToCondition Assessment—

Deferred Maintenance Parametric EstimatingBy Larry Grauberger

The Smithsonian Castle

7

Ratings vary from “1” (functional failure has occurredand replacement is required) to “5” (is fully functional andwill continue to be so with routine maintenance). Theeight systems rated are:

• Structure • Exterior• Roofing• HVAC• Electrical• Plumbing• Conveyances • Interior

A facility can thus be scored by rating each of the eightsystems from one to five, using the criteria below (or zeroif a specific system does not exist; i.e., no elevators).

The other key component is establishing a CurrentReplacement Value (CRV) for a facility. This is a difficultbut key step (what, for example, would be the cost ofreplacing the Smithsonian Castle on the Mall?). Fortunately,we have recent construction data from our new NationalMuseum of the American Indian, and from our new Air andSpace Museum in Virginia. However, collecting realisticcost data for the wide variety and location of our facilitiesrequired research into published cost indices such as theEngineering News Record Building Cost Index, recent realestate assessments (New York), and GSA square-meter costdata for similar types of facilities. The real value of the CRVis to assign a degree of significance to a facility.

Once a CRV is established, it is distributed over the eightsystems, depending upon the type of building. This is whereyou have the flexibility to give weight to certain systems,depending upon the type and use of the facility. For example,for a laboratory you may want to give a higher percentagedistribution to your HVAC, Electrical and Plumbing systems,and reduce the significance of Interior. For collection storage,we gave increased weight to Roofing and HVAC, due tothe contents of these facilities, and for museums the samefor Interior as well. We developed 35 separate facility typeswith varying distribution of the CRV.

The final step is to associate the condition rating to thisdistributed CRV. This is done using established weightingfactors for each condition rating and for each system. UsingRSMeans™, the System Condition CRV percentage valueswere developed by comparing cost estimates for variouslevels of facility system repair work to cost estimates forfacility system construction. This allows the calculationof Deferred Maintenance to take into account a “degreeof significance” for the severity of deterioration withineach system. Both a System Condition Index (SCI) and aFacility Condition Index (FCI) can then be calculated. FCI = [1 – (DM/CRV)] X 100%.

The ResultsIn 2007, the Smithsonian had a total Current ReplacementValue of 5.3 billion USD and a total Deferred Maintenanceof 778 million USD, which resulted in a FCI of 85.3%. Usingcriteria from other federal agencies and APPA, an FCI below90% is considered to be in the “Poor” condition category.The three systems that fared the worst were Roofing (60.4%),HVAC (70.5%) and Conveyances (82.3%). The componentsin the best condition were Structure (95.4%) and Interior(93.9%). The $778 million in Deferred Maintenance representsthe degree of deterioration that has occurred in a dollaramount. Another way to look at this number is as the amountwe would have to invest in our facilities to raise them fromtheir current state to an overall Good (5) condition.

Pros and ConsWe, as facility managers, have an intuitive sense of whatcondition our facilities are in. The problem rests in quanti-fying this condition and communicating it to the budgetand finance people. This approach does that. In FY2009,the Smithsonian is expecting a substantial increase in main-tenance and revitalization funding, based in part on thisdata. This approach will not tell you which specific repairor replacement projects are needed, but it will direct youto the facilities and systems that need the most attention. Inour case, our Capital Revitalization Program is now lookingat directing more funding to repairing Roofing and HVACsystems, and to the buildings that need this attention. Itcan be easily kept up to date, as upgrades are made andperiodic resurveys can be done using 2007 as a base year.

This approach does need a fairly large inventory offacilities to make the data statistically significant. If anorganization has one or two large facilities, it is better toidentify the projects that are needed to correct deficienciesand develop a backlog from this list of projects. Thisbacklog can be updated as needs are identified and anyunfunded projects then become deferred maintenance.

Larry Grauberger, P.E. CMRP, is in the Systems EngineeringDivision, Office of Facilities Management and Reliability, atthe Smithsonian Institution in Washington, D.C.

Condition Rating Criteria

5 Excellent Normal preventive maintenance required.

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

3 Fair More minor repairs required. Wear and tearnoticeable. Meets most codes.

2 Poor Significant repairs required. Broken elements.Wear and tear excessive.

1 Bad Replacement required. Unsafe to use.

5

4

3

2

1

8

The Los Angeles County Museum of Art(LACMA) recently announced “Trans-formation”: a three-phase expansionand renovation project which will dra-matically change LACMA’s six-building,20-acre campus over the next ten years,unifying it into a coherent whole.

Key elements include creation ofthe Broad Contemporary Art Museum(BCAM) at LACMA, with some 60,000square feet of gallery space dedicatedto modern and contemporary art; thecreation of additional galleries, publicspaces, and gardens; site-specific out-door artworks; new parking facilities;a trans-campus concourse linking theeast and west sides of the grounds;and the revitalization and reinstallationof the Ahmanson Building, includingthe addition of a grand staircase toorganize the flow of visitors throughthe building. In addition, by freeinggallery space in the existing museumbuildings, the creation of BCAM willenable LACMA to reconfigure andreinstall much of its permanent collec-tion, giving new prominence to theart of Latin America and Asia. Projectarchitect for the first two phases ofTransformation is the Renzo-PianoBuilding Workshop.

Phase I opened in February 2008,and included:

• The Broad Contemporary ArtMuseum, BCAM: a new buildingwith 60,000 square feet of galleryspace specifically designed to exhibitmodern and contemporary art.

• The BP Grand Entrance: an 8,100-square-foot, open-air pavilion whichwill serve as the Museum’s mainentrance, orientation space, andpublic art plaza.

• Chris Burden’s Urban Light: aninstallation of more than 200antique, cast-iron street lampsrecovered from Los Angeles,powered by solar panels installedatop the BP Grand Entrance.

• Robert Irwin’s palm garden, whichuses carefully-selected palm treesto build upon the architectural rigorof Renzo-Piano’s design, creating anatural space surrounding BCAMand the BP Grand Entrance.

• The Dona S. and Dwight M. KendallConcourse: a covered walkway link-ing the eastern and western sectionsof the 1/3-mile-long campus.

• Reconfiguration of the AhmansonBuilding, with major refurbishmentsto the central atrium and the addi-tion of a grand staircase that hasreorganized the flow of visitorsthrough the building. The plaza levelof the building included reinstallationof the Museum’s collection of ModernArt, featuring paintings, sculptureand works on paper by artists suchas Picasso, Kandinsky, and Matisse.The reinstalled floor will also includegalleries devoted to German andAustrian Expressionism and AbstractExpressionism.

• A new parking garage on twounderground levels, allowing forthe expansion of Hancock Parkand connected green spacesabove ground.

Donald Battjes is Chief of Operations &Facility Planning at the Los AngelesCounty Museum of Art in California.

The Los Angeles County Museum of Art site plan.

Broad Contemporary Art Museum atthe Los Angeles County Museum.

BP Grand Entrance of the Los AngelesCounty Museum.

Transformation at the Los Angeles County Museum of Art

REN

ZO

-PIA

NO

BU

ILD

ING

WO

RK

SHO

P

REN

ZO

-PIA

NO

BU

ILD

ING

WO

RK

SHO

PR

EN

ZO

-PIA

NO

BU

ILD

ING

WO

RK

SHO

P

By Donald Battjes

9

On behalf of the membership and Board, we invite you tojoin with other museums and cultural organizations through-out the world in becoming a member of the only organizationexclusively devoted to museum and cultural facility admin-istrators: the International Association of Museum FacilityAdministrators (IAMFA). As a member, you will join a growinglist of museum and cultural facility administrators in theirefforts to provide a standard of excellence and quality inplanning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varietiesof programming.

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

Your involvement in the IAMFA will continue the growthof the organization and provide you with excellent educationaland networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA.

Cordially yours,The Board of the International Association of Museum Facility Administrators

Membership OpportunitiesJoin the IAMFA at any of the following levels and enjoy fullbenefits of membership:

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

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

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

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

Become a Member of the IAMFAand Get a Friend to Join

YES! I would like to join the IAMFA as a:

M Regular Member $150 M Associate Member $ 50

M Affiliate Member $ 50 M Subscribing Member $300

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M I enclose a check in the amount of $ ____________________

M Please invoice me

✁

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

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

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

Website: www.iamfa.org

M I am interested in joining.Please have a membercontact me.

10

We have some fantastic venuesfor the IAMFA 2008 Londonconference. Here is a taste ofjust three of the venues we willbe visiting in September. See thewhole conference programmeat http://www.iamfa.org/

Royal Observatory,Greenwich Monday, September 15

The National Maritime Museum (NMM)opened the final element of its £16-million redevelopment of the RoyalObservatory, Greenwich — the culmi-nation of five years’ work — on Friday,May 25, 2007.

The eye-catching central feature of theredesigned site is the futuristic, bronze-clad, 120-seat Peter Harrison Planetarium— now the only live public planetariumin London — which provides a spectacularintroduction to the night sky and beyond.

The Peter Harrison Planetarium isequipped with one of the most advanced

Nous disposons de lieux fantas-tiques pour le congrès 2008 del’IAMFA à Londres. Voici un aperçude trois des endroits que nousvisiterons en septembre. Voir leprogramme complet du congrèsà http://www.iamfa.org/

Royal Observatory,Greenwich Le lundi 15 septembre

Le National Maritime Museum a ouvertle dernier élément de son réaménage-ment du Royal Observatory, Greenwich,au coût de 16 millions de livres – pointculminant de cinq années de travail – levendredi 25 mai 2007.

L’élément central, accrocheur, de celieu reconfiguré est le Peter HarrisonPlanetarium, un bâtiment futuristerevêtu de bronze comptant 120 sièges –désormais le seul planétarium publicen activité à Londres – qui constitueune introduction spectaculaire au cielnocturne, et plus encore.

Le Peter Harrison Planetarium est équipéde l’un des projecteurs laser numériquesles plus avancés au monde – le seul desa catégorie en Europe –, et le voyage

Tenemos unos lugares fantásticospara la conferencia de Londresde la IAMFA 2008. Aquí tienenuna muestra de sólo tres delos lugares que visitaremos enseptiembre. El programa completode la conferencia puede verseen http://www.iamfa.org/

Real Observatorio,Greenwich Lunes, 15 de septiembre

El Museo Marítimo Nacional (NMM)culmino la ultima fase del reacondi-cionamiento del Observatorio Realde Greenwich de 16 millones de librasesterlinas – la culminación de cincoaños de trabajo– el viernes, 25 de mayode 2007.

El llamativo elemento central rediseñadoes el futurista Planetario Peter Harrison,revestido de bronce y con 120 asientos–ahora el único planetario públicoen Londres– que proporciona unaespectacular introducción al cielonocturno y más allá.

El Planetario Peter Harrison está equipadocon uno de los proyectores digitalesmás avanzados del mundo – y el únicode este tipo en Europa – que proporciona

IAMFA Annual Conference • September 14–17Congrès annuel de l’IAMFA • Du 14 au 17 septembre

Conferencia Anual de la IAMFA • 14-17 de septiembre

Exterior of Peter Harrison Planetarium (Bronze Cone and Terrace).South Building entrance leading on toPlanetarium Foyer.

11

digital laser projectors in the world —and the only one of its kind in Europe —providing startling clarity to the journeythrough space. The shows are presentedby real astronomers working at the RoyalObservatory, who are also on hand toanswer questions about the heavens.

The 45-ton, patinated, bronze-clad conewhich houses the Planetarium is adramatic new addition to the skyline. Itsdramatic geometry embodies celestialco-ordinates familiar to navigators andastronomers down through the ages.Tilted at 51.5 degrees (the latitude ofGreenwich) it stands astride the PrimeMeridian (Longitude 0º). Its south ele-vation points upwards directly to thePole Star and its north elevation to theastronomical zenith, while its truncatedroof represents the celestial equator inthe form of a reflective glass disc.

dans l’espace s’effectue avec une nettetésaisissante. Ce sont de vrais astronomes,à l’emploi du Royal Observatory, quianiment les présentations, et ils sontégalement à la disposition du publicpour répondre aux questions au sujetde la voûte céleste.

Le cône à revêtement de bronze patinéde 45 tonnes qui loge le planétariumreprésente un ajout de première impor-tance à la ligne d’horizon. Sa géométrieremarquable intègre les coordonnéescélestes familières aux astronomes etnavigateurs à travers les âges. Incliné à51,5 degrés (la latitude de Greenwich), ilse trouve à cheval sur le méridien origine(longitude 0º). Son élévation sud pointevers le haut, précisément en directionde l’étoile Polaire et son élévation nordvers le zénith astronomique, alors que satoiture tronquée représente l’équateurcéleste sous la forme d’un disque deverre réfléchissant.

una claridad asombrosa al viaje por elespacio. Las proyecciones están presen-tadas por verdaderos astrónomos quetrabajan en el Real Observatorio, y quetambién están disponibles para respondera preguntas sobre el firmamento.

El cono revestido de bronce platinado de45 toneladas que alberga el Planetarioes un nuevo y espectacular elemento delos edificios perfilados contra el horizonte.Su espectacular geometría incorporacoordenadas celestiales que les sonfamiliares a los navegadores y los astró-nomos a través de los tiempos. Inclinadoa 51.5 grados (latitud de Greenwich) seerige por donde pasa el meridiano cero(Longitud 0º). Su elevación sur apuntadirectamente a la Estrella Polar y suelevación norte al cenit astronómico,mientras que su tejado truncadorepresenta el ecuador celestial enforma de disco de vidrio refractante.

Sky Tonight show description

As part of the member and guestprogramme on Monday, September 15,you’ll enjoy a fantastic tour of whatyou can see for yourselves in tonight’snight sky, presented live by a RoyalObservatory astronomer. Whichconstellations and planets, cosmic gasclouds, comets or shooting stars can wesee? Many of the planets in our solarsystem can be seen with the unaidedeye — can we see them tonight, and ifso, where? These questions, and manymore, are answered in the Sky Tonightpresentation.

Description de la causerie « SkyTonight » (le ciel ce soir)

Au programme le lundi 15 septembrepour les membres et les invités, unemerveilleuse tournée du ciel que vouspouvez voir le soir même, présentéesur place par une astronome du RoyalObservatory. Quels constellations etplanètes, nuages de gaz cosmiques,comètes ou étoiles filantes pouvons-nous voir? On peut observer plusieursdes planètes de notre système solaire àl’œil nu – peut-on en voir ce soir, et dansl’affirmative, où? On trouvera réponseà ces questions, et à beaucoup d’autres,à la présentation « Sky Tonight ».

Descripción de la presentación “SkyTonight” (“El cielo esta noche”)

Como parte del programa para miembrose invitados el lunes, 15 de septiembre,disfrutarán de una fantástica visita delo que ustedes pueden ver por símismos en el cielo nocturno de hoy,presentada en directo por un astrónomodel Observatorio Real. ¿Qué constela-ciones y planetas, nubes de gas cósmico,cometas o estrellas fugaces podemosver? Muchos de los planetas de nuestrosistema solar pueden verse a simplevista sin ayuda, ¿podemos verlos estanoche, y si es así, dónde? Estas preguntas,y muchas más, se responden en lapresentación Sky Tonight.

Peter Harrison Planetarium Auditorium Interior.

12

History of the NationalGallery, London — see more of the NationalGallery on Monday,September 15

Construction of the WilkinsBuilding

By Charles Saumarez Smith (‘TheBuilding’, July 2006); abridged andedited by Charles Ross (June 2008)

The first building to house the NationalGallery was Angerstein’s house in PallMall: a standard, three-bay, domesticdwelling with a large room on the firstfloor. It was immediately evident thatthe house was hopelessly inadequatefor its task as England’s National Gallery.An engraving was published soon after-wards which compared Angerstein’shouse to the splendours of the southwing of the Louvre, stretching as far asthe eye could see (figure 1).

In August 1831, William Wilkins proposedthat the King’s Mews should be adaptedin such a way that it might house boththe Royal Academy and the NationalGallery. On September 16, 1831, theTrustees of the National Gallery met to

National Gallery, Londres(son histoire) – pour en savoir plus,se reporter au lundi15 septembre

Construction de l’édifice Wilkins

Par Charles Saumarez Smith (TheBuilding, juillet 2006); abrégé etpublié par Charles Ross (juin 2008)

La maison Angerstein, sur Pall Mall, aété le premier édifice à abriter le muséedes beaux-arts (National Gallery). Il s’agitd’une habitation familiale courante àtrois baies comportant une grandepièce au rez-de-chaussée. Il est devenuévident, dès le départ, que les lieuxétaient totalement inadéquats pourloger le National Gallery de l’Angle-terre. Une gravure, parue par la suite,compare la maison Angerstein à lasplendide aile sud du Louvre, quis’étend aussi loin que la vue peutporter (figure 1).

En août 1831, William Wilkins proposeque les écuries royales soient adaptéespour pouvoir accueillir le National Galleryet la Royal Academy. Le 16 septembre1831, les administrateurs du NationalGallery se réunissent pour examiner les

Historia de la GaleríaNacional, Londres – véase más de la GaleríaNacional el lunes, 15 de septiembre

Construcción del Edificio Wilkins

Por Charles Saumarez Smith (‘TheBuilding’, Julio de 2006); abreviadoy editado por Charles Ross (Juniode 2008)

El primer edificio que albergó la GaleríaNacional fue la casa de Angerstein enPall Mall: una vivienda domésticaestándar de tres salientes con unahabitación grande en el primer piso.Fue inmediatamente evidente que lacasa era totalmente inadecuada paraalbergar la Galería Nacional de Inglaterra.Poco después fue publicado un grabadoen el que se comparaba la casa deAngerstein a los esplendores del ala surdel Louvre, extendiéndose hasta dondepuede llegar la vista (figura 1).

En agosto de 1831, William Wilkinspropuso que las caballerizas del Rey seadaptaran de tal forma que pudieranalbergar la Real Academia y la GaleríaNacional. El 16 de septiembre de 1831, losmiembros del Consejo de Administración

IAMFA Annual Conference • Congrès annuel

Figure 1

13

consider Wilkins’ proposals and agreedthat Angerstein’s house was clearlyinadequate and that Wilkins’s ideasprovided the best possible, as well asthe most economical, solution. Theywrote to the then-Prime Minister, LordGrey, suggesting that the proposal was‘the most practicable that has hithertobeen offered to them and well adaptedto that purpose’.

In May 1832, Lord Duncannon establisheda committee to consider the whole ques-tion as to how best to house the NationalGallery and the Royal Academy. Threearchitects were then invited to submitproposals: John Nash, C.R. Cockerelland William Wilkins.

Nash put forward a proposal for a long,colonnaded building, akin in characterto his terraces around Regent’s Park.Cockerell’s magnificent proposals for agallery 400 feet long over an arcade ofshops were thought to be too expensive.Wilkins’s initial idea, on the other hand,was, as before, a matter of adaptingthe old Royal Mews building, and it wason this basis that he was selected: as anarchitect who was prepared to beresponsible for a relatively economicalmakeover of an existing building.

However, by June 1832, the committeehad become slightly more ambitious inits ideas and Wilkins was asked, instead,to put forward proposals for a free-standing building which would re-usethe columns and entablature of CarltonHouse: the palace of the Prince Regent,which had recently been demolished.

Wilkins proposed a building that waslong and low and somewhat utilitarian,combining the National Gallery on thewest and the Academy on the east, intoa single façade.

Many people both then and since havelamented the absence in his design of aproper sense of monumentality. It ishard now to reconstruct the hostilitywhich faced the building of every majorproject during the period of public workswhich followed the Napoleonic Wars:the determination to save public money

propositions de M. Wilkins, conviennentque la maison Angerstein ne fait vraimentpas l’affaire et que les idées proposéespar M. Wilkins constituent la meilleuresolution et la solution la plus écono-mique. Ils écrivent au premier ministrede l’époque, lord Grey, et mentionnentque c’est cette proposition, « parmicelles qui leur ont été présentées, quiest la plus susceptible d’être réalisée etqui répond le mieux aux besoins ».

En mai 1832, lord Duncannon met surpied un comité pour étudier dans sonensemble la meilleure manière d’abriterle National Gallery et la Royal Academy.Trois architectes sont invités à présenterun projet : John Nash, C. R. Cockerell etWilliam Wilkins.

M. Nash propose un édifice en longueur,à colonnades, semblable à ceux de sesterrasses autour de Regent’s Park. Lesuperbe projet de M. Cockerell, quiprévoit un musée de 400 pieds de longau-dessus d’un passage voûté occupépar des boutiques, est jugé trop coûteux.C’est sur la base de sa première propo-sition, qui vise à transformer les anciennesécuries royales, que l’architecte Wilkinsest choisi : il est prêt à se chargerdu réaménagement relativementéconomique d’un bâtiment existant.

Toutefois, dès juin 1832, le comitédevient légèrement plus ambitieux etl’on demande plutôt à M. Wilkins detravailler aux plans d’un édifice auto-nome qui récupérerait les colonnes etl’entablement de Carlton House, le palaisdu prince régent démoli depuis peu.

M. Wilkins propose un édifice long etbas, plutôt utilitaire, qui combine, dansune façade unique, le National Galleryà l’ouest et la Royal Academy à l’est.

De nombreuses personnes se plaignent,alors et depuis, de son faible sens de lamonumentalité. Il est difficile aujourd’huide rendre l’atmosphère d’hostilité quientoure la construction de n’importequel édifice important durant la périodede travaux publics qui a suivi les guerresnapoléoniennes : l’acharnement à écono-miser les deniers publics à tout prix etle dégoût pour tout ce qui a un petit air

de la Galería Nacional se reunieron paraconsiderar las propuestas de Wilkins yacordaron que la casa de Angersteinera claramente inadecuada y que lasideas de Wilkins ofrecían la mejorsolución posible, además de la máseconómica. Escribieron al entoncesPrimer Ministro, Lord Grey, sugiriendoque la propuesta era ‘la más viable quese les había presentado hasta entonces yestaba bien adaptada para ese propósito’.

En mayo de 1832, Lord Duncannonestableció un comité para considerarla cuestión de cómo albergar mejor laGalería Nacional y la Real Academia.Tres arquitectos fueron invitados apresentar propuestas: John Nash,C.R. Cockerell y William Wilkins.

Nash presentó una propuesta de unedificio largo y con columnatas, parecidoen su carácter a sus terrazas alrededorde Regent Park. Las magníficas pro-puestas de Cockerell para una galeríade 400 pies (unos 122 m) de largo porencima de una galería comercial detiendas se consideraron demasiadocaras. Por otra parte, la idea inicial deWilkins, fue como antes una cuestiónde adaptar el antiguo edificio de lasCaballerizas Reales, y sobre esta basefue seleccionado: como arquitecto queestaba preparado para ser responsablede una transformación relativamenteeconómica de un edificio existente.

Sin embargo, para junio de 1832, elcomité se había vuelto ligeramente másambicioso en sus ideas y se pidió aWilkins que presentara propuestas paraun edificio autónomo que reutilizaríalas columnas y el entablado de la CasaCarlton: el palacio del Príncipe Regente,que había sido demolido recientemente.

Wilkins propuso un edificio que era largoy bajo y un tanto utilitario, combinandola Galería Nacional en el oeste y laAcademia en el este, en una sola fachada.

Mucha gente tanto entonces como desdeentonces, ha lamentado la ausencia ensu diseño de un verdadero sentido demonumentalidad. Es difícil ahorareconstruir la hostilidad a la que hizofrente la construcción de todos los

de l’IAMFA • Conferencia Anual de la IAMFA

sigue en la página 14suite à la page 14continued on page 14

14

at all costs, and the distaste for anythingwhich might smack of folie de grandeur.Wilkins judged his clients correctly. Therewas just enough of a hint of grandeurin the central section of the façade.One of the reasons why the design wasjudged acceptable in the political cir-cumstances of the early 1830s — andhas been viewed with some affectionever since — is probably its lack ofpomposity. It is not much different instyle and character — nor, indeed, incost — to a moderately grand, GreekRevival country house. It was plannedto cost £41,000 if built of brick, and£10,000 more if built of stone.

By January 1833, Wilkins’s design of theNational Gallery was nearly complete. Inorder to protect the view of the façadeof St. Martin-in-the-Fields, the fronthad been set back 50 feet further norththan Wilkins had originally planned.

In August, Lord Duncannon was forcedto admit in the House of Commons thatthe costs had now risen to £70,000 andsuggested that the whole scheme shouldperhaps be scrapped. Wilkins was, notsurprisingly, devastated and wrote toLord Duncannon that ‘Your Lordshipcannot be expected to be fully aware ofthis change of plans on my professionalpractice but I know it must be such aswill leave me no option but that ofretiring altogether from practice.’ Forwhatever reason, this was a temporaryglitch and, on August 30, 1833, theTreasury approved the scheme.

In August of 1833 the Treasury finallygave approval for Wilkins scheme andworks commenced in the autumn ofthat year. Wilkins’s creativity faced anumber of constraints, not least havingto incorporate columns from theportico of the demolished CarltonHouse into his façade.

The building was finally available forinspection by Queen Victoria on April 7,1838, and the National Gallery openedto the general public two days later. TheTimes greeted its opening as follows:

The rooms . . . are but badly calcu-lated for the purpose, and theinterior of the plan is more thancommensurate in defects with the

de « folie des grandeurs ». M. Wilkinssaisit bien ce que veulent ses clients. Ilne glisse qu’un soupçon de « grandiose» dans la partie centrale de la façade.Le fait qu’il n’ait rien de pompeux estprobablement la raison pour laquelleson concept est jugé acceptable dans lecontexte politique du début des années1830 – et qu’on le regarde avec unecertaine tendresse depuis. Il n’est pasbien différent, sur les plans du style etde l’inspiration – ni, non plus, du coût –,d’un manoir moyennement grand destyle néogrec. Il devait coûter 41 000 livress’il était construit en briques et 10 000livres de plus s’il était érigé en pierres.

En janvier 1833, les dessins du NationalGallery de M. Wilkins sont pratiquementterminés. De manière à préserver la vuede la façade de St. Martin-in-the-Fields,la façade principale est placée en retraitde 50 pieds plus au nord de ce queM. Wilkins avait prévu à l’origine.

En août, lord Duncannon est forcéd’avouer à la Chambre des communesque les coûts s’élèvent maintenant à70 000 livres et suggère que l’on rejettele projet en entier. M. Wilkins est, cequi n’a rien d’étonnant, anéanti, et ilécrit à lord Duncannon que « messirene peut être parfaitement au courantde l’effet de ce changement de planssur l’exercice de ma profession, maisje sais qu’il est tel qu’il ne me laisseraaucun autre choix que de quitter lemétier ». Pour une raison quelconque,le problème n’est que passager et, le30 août 1833, le ministère des Finances(Treasury) approuve le projet.

En août 1833, le Treasury approuveenfin le projet de M. Wilkins et lestravaux commencent à l’automne. Lacréativité de M. Wilkins subit un certainnombre de contraintes, en particuliercelle d’avoir à intégrer à sa façade lescolonnes du portique de Carlton Houseaprès sa démolition.

L’édifice est finalement prêt à êtreinspecté par la reine Victoria le 7 avril1838 et le National Gallery ouvre sesportes au grand public deux jours plustard. Le Times salue ainsi l’événement :

Les salles […] sont mal calculéespour l’usage, et l’intérieur du planest plus que comparable en défautsaux absurdités et au mauvais goût

principales proyectos durante el períodode obras públicas posterior a las GuerrasNapoleónicas: la determinación deahorrar fondos públicos a toda costa, yla aversión a cualquier cosa que pudieraoler a locura de grandeza. Wilkins juzgócorrectamente a sus clientes. Habíajusto un toque suficiente de grandezaen la sección central de la fachada. Unade las razones por las que el diseño seconsideró aceptable en las circunstanciaspolíticas de principios de la década de1830 – y se ha visto con cierto afectodesde entonces–, es probablemente sufalta de pomposidad. No es muy diferenteen estilo y carácter – ni, de hecho en costo– a una casa de campo moderadamentegrande de Renacimiento griego. Seplaneó que costaría 41,000 libras si seconstruía de ladrillo, y 10,000 librasmás si se construía de piedra.

Para enero de 1833, el diseño de Wilkinsde la Galería Nacional estaba casi com-pleto. Para proteger la vista de lafachada de St. Martin-in-the-Fields, elfrente se había puesto 50 pies más alnorte de lo que había planeado Wilkinsoriginalmente.

En agosto, Lord Duncannon fue obligadoa admitir en la Cámara de los Comunesque los costos habían subido a 70,000libras y sugirió que quizás deberíaabandonarse todo el proyecto. Comoes lógico, Wilkins estaba devastado yle escribió a Lord Duncannon que ‘Nodebe esperarse que su Señoría estétotalmente enterado de este cambio deplanes en mi ejercicio profesional perosé que debe ser tal que no me dejaráotra opción que la de retirarme total-mente del ejercicio ’. Por cualquierrazón, esto fue un problema técnicotemporal y el 30 de agosto de 1833,el Tesorero aprobó el plan.

En agosto de 1833 el Tesorero diofinalmente la aprobación para que seiniciaran el plan de Wilkins y las obrasempezaron en el otoño de ese año. Lacreatividad de Wilkins se enfrentó avarias limitaciones, entre ellas el tenerque incorporar las columnas del pórticode la demolida Casa Carlton a su fachada.

El edificio finalmente estuvo disponiblepara la inspección por la Reina Victoria el7 de abril de 1838 y la Galería Nacionalabrió al público general dos días después.El Times recibió su apertura como sigue:

IAMFA Annual Conference, National Gallery— continued from page 13

Congrès annuel de l’IAMFA, NationalGallery — suite de la page 13

Conferencia Anual de la IAMFA, GaleríaNacional — viene de la página 13

15

absurdities and bad taste of theoutside . . . It is distressing to seethe manner in which the picturesare hid in little receptacles.

Thackeray, meanwhile, described it as ‘alittle gin-shop’. And King William IV issaid to have described it just before hisdeath, in his last recorded utterance, as‘a nasty little pokey hole’. Some feelthat from that point onwards, most ofthe efforts of all subsequent buildingprojects at the National Gallery havebeen intended to correct, as far aspossible, the defects of William Wilkins’soriginal design.

de l’extérieur […] Il est péniblede constater la manière dont lesœuvres sont cachées dans de petitsréceptacles.

M. Thackeray, entre-temps, le décritcomme un « petit estaminet ». Et l’ondit que le roi William IV l’aurait décrit,juste avant sa mort, dans sa dernièreintervention notée, comme un « vilainpetit boui-boui, un trou ». D’aucunspensent qu’à partir de ce moment, tousles projets de construction touchant leNational Gallery ont visé à corriger, parla majorité des efforts consentis etautant que possible, les défauts duprojet original de William Wilkins.

Las salas . . . están mal calculadaspara el propósito, y el interior delplan es totalmente acorde en losdefectos con lo absurdo y el malgusto del exterior . . . Es penoso verla manera en que están escondidoslos cuadros en pequeños recipientes.

Thackeray, mientras tanto, la describiócomo ‘una pequeña licorería’. Se diceque el Rey Guillermo IV la describiójusto antes de su muerte, en su últimadeclaración registrada, como ‘unpequeño y feo agujero’. Algunos creenque desde ese punto en adelante, lamayoría de los esfuerzos de todos losposteriores proyectos de construcciónen la Galería Nacional han tenido comopropósito corregir, en la medida de loposible, los defectos del diseño originalde William Wilkins.

Left to right: Jonathan Pearson, LondonBusiness Unit Director, Norland ManagedServices Ltd. presenting John de Lucy (Headof Estates & Facilities, The British Library)with a cheque for sponsorship of theIAMFA 2008 London conference. Norland isthe 2008 conference’s largest sponsor.

De gauche à droite : Jonathan Pearson,Directeur du centre de profit de Londres,Norland Managed Services Ltd., remet unchèque à John de Lucy (chef des Successionset Installations, The British Library) à titrede commandite pour le congrès 2008de l’IAMFA à Londres. Norland estle commanditaire le plus importantdu congrès.

De izquierda a derecha: Jonathan Pearson,Director, Área de Negocios de Londres,Norland Managed Services Ltd. presentandoa John de Lucy (Jefe de Propiedades eInstalaciones, La Biblioteca Británica) uncheque para el patrocinio de la conferenciade IAMFA 2008 de Londres. Norland es elprincipal patrocinador de la conferenciade 2008.

16

Optional Visit to BritishLibrary Additional StorageBuilding/York Thursday, September 18

Due to generous sponsorship, we areable to offer this visit for ONLY US$50!!!Please register for this visit if you haven’talready at http://www.iamfa.org/.

This is an incredible value. We havearranged a fabulous programme forthe day — from a visit to the BritishLibrary’s world class, fully automated,high density storage building (protectedby a low-oxygen atmosphere) to lunchat the 650-year-old Merchant Adven-turers’ Hall in York, followed by aguided walking tour of this lovelymedieval walled city.

Visite facultative del‘édifice d’entreposagesupplémentaire de laBritish Library à YorkLe jeudi 18 septembre

En raison d’une généreuse commandite,nous sommes à même d’offrir cette visiteommandite, nous sommes à même d’offrircette visite pour seulement 50 $ US!!!Prière de vous inscrire pour cettevisite si vous ne l’avez déjà fait àhttp://www.iamfa.org/.

Voilà une activité drôlement avantageuse.Nous avons organisé un fabuleuxprogramme pour la journée – qui vade la visite de l’édifice d’entreposage àstockage compact (protégé par uneatmosphère contrôlée faible en oxy-gène) complètement automatisé et deniveau international de la British Libraryau goûter au Merchant Adventurers’Hall, vieux de 650 ans, suivi d’une visiteguidée à pied dans les murs de cettemagnifique cité médiévale qu’est York.

Visita opcional al Edificiode almacenamientoadicional de la BibliotecaBritánica/York Jueves, 18 de septiembre

¡Debido a un generoso patrocinio,podemos ofrecer esta visita porSÓLO US$50! Inscríbase en estavisita si no lo ha hecho todavía enhttp://www.iamfa.org/.

Este es un precio increíble. Hemosorganizado un programa fabulosodurante el día: desde una visita aledificio de almacenamiento de laBiblioteca Británica, de gran densidad,totalmente automático y de tallamundial (protegido por una atmósferabaja en oxígeno) hasta un almuerzo enel Merchant Adventurer´s Hall en York,que tiene 650 años, seguido de unavisita a pie guiada de esta hermosaciudad medieval amurallada.

IAMFA Annual ConferenceCongrès annuel de l’IAMFA

Conferencia Anual de la IAMFA

British Library Additional Storage Building,Boston Spa.

Internal — high-bay, high-density racking.

Merchant Adventurers’ Hall, York. Internal — The Great Hall.

The Shambles, York. York Minster. York Gate.

YORK PHOTOS COURTESY OF / PHOTOS DE YORK GRACIEUSETÉ DE / LAS FOTOS DE YORK SON CORTESÍA DEhttp://photoeverywhere.co.uk

17

Philadelphia ChapterBy Richard Reinert

On April 2, the members of the Philadelphia Chaptergathered at the newly renovated Perelman Building. ThePerelman Building is a new addition to the PhiladelphiaMuseum of Art and houses prints, drawings and photographs,costumes and textiles, to name a few.

The group toured the Museum’s new galleries and back-of-house areas. After the tour, chapter membersengaged in lively discussion to promote IAMFA amongother area museums.

San Francisco ChapterBy Joe Brennan

New Museum opens in San Francisco! The ContemporaryJewish Museum opened the doors of its new home onYerba Buena Gardens on June 8. Since its founding in1984, the Contemporary Jewish Museum has engagedaudiences of all ages and backgrounds through dynamicexhibitions and programs that explore contemporaryperspectives on Jewish culture, history, art and ideas.

Formerly housed in small rented facilities on SecondStreet, their new 63,000-square-foot facility is architect’sDaniel Libeskind’s wonderful adaptive reuse of a historicalbuilding. What started life as a Willis Polk-designed electricalpower substation in 1907 now manifests Libeskind’s design,combining the history of an early-twentieth-century San Francisco landmark with the dynamism ofcontemporary architecture.

The building embodies a number of symbolic referencesto Jewish concepts. Most notably, Libeskind was inspiredby the Hebrew phrase L’Chaim (To Life), because of itsconnection to the role the substation played in restoring

energy and to the cityafter the 1906 earth-quake, and the Museum’smission to be a livelycenter for engagingaudiences with Jewishculture. The architectbased the extension’sconceptual organizingprincipals on the twosymbolic Hebrew lettersrepresenting chai (life):chet and yud. From theoutside, the extensionsare most remarkable fortheir unique shape, as well as their skin: vibrant bluemetallic steel, which changes color depending on the timeof day, weather or one’s vantage point.

The CJM is a vibrant new member of the dozen museumsnow surrounding the Yerba Buena Gardens, and a mostwelcome addition to our city’s rich cultural heritage. FacilitiesManager Robert Larmon has recently joined IAMFA and willbe hosting an IAMFA tour of the new facility on August 13,2008. For more information and photos of the CJM, pleasesee www.thecjm.org.

Atlanta ChapterBy Kevin Streiter

We are pleased to welcome Benjamin Webb from theWoodruff Art Center here in Atlanta to our chapter.

Ottawa-Gatineau ChapterBy Ian MacLean

On April 25, the Ottawa-Gatineau Chapter met at theCanadian Museum of Nature. Seventeen members werein attendance to have lunch and socialize. Our hosts wereMarc Chrétien and Martin Leclerc.

Following lunch, we spilt into two groups to tour thefacility. The first tour was of the recently renovated westside of the Museum. We visited all floors and were givena behind-the-scenes look at the Mechanical and Electricalsystems. We also had an opportunity to see new exhibitsand the type of construction used to control temperatureand relative humidity. Wall construction consists of aninterior wall with vapour barrier on the exterior, an interstitialspace of two feet which is conditioned, and the originalexterior wall of stone.

Regional Chapters

Left to right: Bruce Canter, Delaware Museum of Art; John Castle,Winterthur Museum; Mike Downs, Hagley Museum and RichReinert, Philadelphia Museum of Art.

continued on page 18

18

Our second tour was of the area under construction onthe east side of the building. As you can see from the photos,seismic reinforcement is part of the project. Correction offoundation settlement is another aspect of the project, as youcan see from the curvature of the floor in one of the photos.

The Canadian Museum of Nature occupies the VictoriaMemorial Museum Building, which was constructed almostone hundred years ago. It is considered one of the mostsignificant heritage structures in Canada.

ALL PHOTOS: © PCL CONSTRUCTION]

Regional Chapters, Ottawa-Gatineau — continued from page 17

19

Patricia Morgan of the Auckland Art Gallery and herhusband Tony own a 40-foot fractional rig yacht, calledWhitebait. They use the boat for cruising and, keen sailorthat he is, Tony also campaigns the boat, both fully crewedand in a shorthanded sailing series (two people on the boat).Every three years, the Shorthanded Sailing Association ofNew Zealand (SSANZ) organises a two-handed yacht racearound the north island of New Zealand in February. Therace is split into four legs, with a stop of between 24–72 hoursat each finish.

Leg 1: Auckland to Whangaroa (northeastern tip of thenorth island) — distance 250 miles.

Leg 2: Whangaroa to Wellington, (southern tip of northisland) — distance 500+ miles.

Leg 3: Wellington to Napier (western side) — distance280 miles.

Leg 4: Napier back to Auckland — distance 300+ miles.

This year the race took 15 days to complete (includingstopovers).

Tony managed to pick up a couple of prizes for firstoverall (line and handicap) on Leg 3 in his division, andplacings on handicap for the overall race of 6th (PHRF)and 2nd (ORC). It is a very challenging race, as you canimagine, with some legs requiring several days’ sailing and,during the night, one crew member sails the boat while theother gets a little sleep (or tries to!).

Pat reports that she is “very proud that he did the race,did well, and got back home safely!!”

David Geldart of the Museum of Fine Arts (MFA), Boston,reports that, on June 20, the MFA opened its State StreetCorporation Fenway Entrance with a ribbon-cuttingceremony hosted by Malcolm Rogers, Director of theMuseum. Boston Mayor Thomas M. Menino was inattendance, as were Jay Hooley, President and ChiefOperating Officer, State Street Corporation; MFA Trusteesand staff; and special guests. The opening was madepossible by the generosity of State Street Corporation,which provided the MFA with a gift of $10 million inSeptember 2007: the largest corporate donation in theMuseum’s history.

The MFA’s façade to the north, which overlooks theBack Bay Fens and features an expansive row of grandIonic columns, had been closed for nearly three decades.The opening of the State Street Corporation Fenway Entranceis part of the Museum’s Building Project, designed by archi-tects Foster + Partners (London). By reopening the historicentrance, the MFA will enhance its connection to the Fenwayand Longwood neighborhoods, and enliven its relationshipwith the Back Bay Fens, renewing the appeal of one of thecountry’s great urban parks: Frederick Law Olmsted’sEmerald Necklace.

In celebration of the opening, the Museum hosted a freeCommunity Day on Sunday, June 22, presented by StateStreet Corporation. As Malcolm Rogers noted, “The openingof the State Street Corporation Fenway Entrance gives usthe wonderful opportunity to welcome in our neighborsfrom the surrounding communities through the historicaldoors of the Evans Wing. This is a momentous occasion forthe MFA and Boston, and we deeply appreciate State StreetCorporation’s commitment to furthering our vision for aworld-class art museum in Boston.”

Member News

continued on page 20

20

His name may not familiarto many of our currentmembers, but VincentMagorrian was a chartermember of IAMFA. He sentus this note, which maygive some of you an ideaof what IAMFA was orig-inally all about—andwhat we still excel at today.

Many of you may not know me, but I was a past Presidentof IAMFA, and also its Education Chairman for a number ofyears. Back when I was a charter member, our goal was tomake facilities management departments equal to all otherdepartments within a museum. We did this by workingwith curators, conservators, and even directors, to helpthem understand the complications and importance ofFacility Directors.

I was Director Of Operations for the Museum Of ModernArt (MOMA) in New York City for 16 years, before retiringon disability. During my time at MOMA, I worked hard toremind the Museum’s CEO, its department heads, and evenits Board of Directors, that we had to remain both currentand aggressive in keeping energy costs, health and safetyissues, and fire safety up to date if we were to protect, notonly the art in our care, but also Museum employees andvisitors. Part of this process involved allowing conservatorsto review my methods in maintaining temperature andrelative humidity. I also worked closely with many of themto prove that lighting could be used to display art and otherobjects in exactly the manner they wanted, while still allowingthe Museum to save money.

As a department, facilities management never generatesrevenue, so it is sometimes looked upon as an easy placeto scale back. This is one of the reasons I began workingon energy conservation. When I first went to MOMA, I simplyobserved for a period of time. Next, I convinced thedirector to allow me to put in DDC Controls to monitor,but not yet control. I then realized that the facility wastrying to cool, heat, humidify and dehumidify—all at thesame time. I knew that this was not necessary, so we setup the DDC to control as well, and began to accomplishmany things. If we did not have to dehumidify, then wedid not have to keep chill water at 42˚F or below. We alsosaw that we did not always have to humidify, so we beganto control the range of the steam humidification valves onour Air Handlers. When we noted that the fans always ranat 100% load, I installed variable-speed drives and putparameters in the controllers to ensure that speed neversurpassed 85% or dropped below 30%. This was all donewith the blessing of the conservation department, whichmonitored the environment to see if there were any negative

effects, and found none. I also went to the vendor, and webegan creating history logs of gallery conditions by havingthermostats and humidistats in various gallery areas servingdifferent Air Handlers.

The savings were phenomenal. One estimate was thatwe saved $1.5 million in a year and a half—a rate whichimproved each year—and this method has now become astandard means of environmental control in museums andgalleries. Because of the opportunities it offers for membersto share information and learn from one another, IAMFAhas become an organization which enjoys great respectamong facilities managers, and my hope is that it continuesto grow for many years to come.

Jennifer Fragomeni, Facilities Director at San Francisco’sExploratorium, reports that the Exploratorium is stillactively pursuing relocation to Piers 15 and 17 on the city’sEmbarcadero. She notes that is a long public process,involving many public agencies, historical preservation,environmental and special interest and neighborhoodgroups. The Exploratorium currently has an exclusivenegotiating agreement with the Port of San Francisco, andis looking forward to a successful conclusion at the end ofthe long due diligence process. The Environmental ImpactReview Process is underway, and by late 2009, Jenniferhopes that the Exploratorium will be able to announce itsplanned future relocation.

Staff at the Philadelphia Museum ofArt were saddened by the June 1 lossof Ann d’Harnoncourt, Director andCEO of the Museum. According toRich Reinert, “Ann had led theinstitution with greatness and gracesince 1982. Her death is a severe lossto the Museum and the world of art,and we will all miss her greatly.”

Kevin Streiter, Manager of Facilities and Logistics of theHigh Museum of Art in Atlanta recently appeared in a CNNnews feature on the Museum’s green roof system. “It willprotect the roof both in the summer and winter, save moneyon energy consumption, and use storm water, which other-wise would run off into the city’s sewer,” said Streiter,describing the seedam roof. View the informative newsarticle at: http://www.cnn.com/video/#/video/tech/2008/06/20/barral.green.roof.cnn?iref=videosearch.

Member News — continued from page 19

21

Conservators and their colleagues are responding tothe need to reduce the environmental impact of theirprofessional activities. Such efforts may also anticipateregulatory requirements, given national and internationalcommitments to reduce carbon emissions. On April 24, 2009,the Department of Conservation and Scientific Research atthe British Museum will host a one-day meeting called“Going Green: Towards Sustainability in Conservation”,at the Clore Education Centre. This meeting will allowprofessionals to demonstrate and share best practices, andaims to show examples of successful practical adaptationsdesigned to increase sustainability within the conservationstudio as well as within the broader aspects of collections care.

Keynote speakers will include Sarah Staniforth, HistoricProperties Director, National Trust; Brian Hayton, Memberof the Museums Association Council and Assistant Director(Cultural Services) Bradford MDC, and Nancy Bell, Head ofCollections Care, National Archives, Kew.

Please see www.britishmuseum.org/whats_on/events_calendar/going_green.aspx for registrationinformation and a call for papers.

Joe May was interviewed by the BBC at the Getty Villaabout the Getty’s sustainability efforts. The interview willbe featured in Part Two of a six-part series titled Cutting-Edge California, which will premiere this November onBBC World.

Can you say OUCH…?!A very dapper-lookingJohn DeLucy from theBritish Library recoversfrom his injuries.

(Better ask Johnyourself at the Londonconference aboutwhat happened.)

Joe Brennan of San Francisco MOMA reports, “We are on our way to a Rooftop Garden. Our big lift of BIG steel—110-footbeams weighing 32.5 tons each—was a watershed moment in the project!”

Here’s what it looked like on the ground being bolt-spliced together; each half arrived on its own truck.

This shows the two of them in place between the museum andgarage building— that’s our little crane in the background. This is the walkway taking shape, suspended below the beams.

22

Australian Center for theMoving ImageMelbourne, VIC

Australian National MaritimeMuseumSydney, NSW

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, Victoria

National Portrait Gallery ofAustraliaCanberra, ACT

Steensen VarmingSydney, NSW

Tasmanian Museum and ArtGalleryHobart, Tasmania

ATCO Frontec CorporationOttawa, Ontario

Baxtec Mechanical ServicesOttawa, Ontario

Black & McDonald LimitedOttawa, Ontario

Bureau de la transformationde la DGSDEOttawa, Ontario

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Center forArchitectureMontreal, Quebec

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Facility ManagementServices LTDCalgary, Alberta

CANADA

AUSTRALIA Heritage CanadaGatineau, Quebec

Library and Archives CanadaGatineau, Quebec

Library and Archives Canada,Portrait Gallery of CanadaOttawa, Ontario

Microclimate TechnologiesInc.Mississauga, Ontario

National Gallery of CanadaOttawa, Ontario

Naval Museum of QuebecQuebec, Quebec

Nova Scotia MuseumHalifax, Nova Scotia

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Royal Ontario MuseumToronto, Ontario

TEGG ServiceOttawa, Ontario

Bibliothèque Nationalede FranceParis

Musée de quai BranlyParis

Rijksmuseum AmsterdamAmsterdam

Auckland Art Gallery — ToiO TamakiAuckland

Christchurch Art Gallery TePuna O WaiwhetuChristchurch, Canterbury

NEW ZEALAND

THE NETHERLANDS

FRANCE

Museo Guggenheim —BilbaoBilbao, Viz Caya

British LibraryLondon, England

The British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Capita Systems LimitedColwyn Bay, Conwy

EMCORLondon, Middlesex TW0

The Imperial War MuseumLondon, England

Museum of Science andIndustryManchester, Lancashire

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Maritime MuseumGreenwich, England

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

TateLondon, England

University of GreenwichLondon, England

The Wellcome TrustLondon, England

UNITED KINGDOM

SPAIN

Allentown Art MuseumAllentown, PA

AlliedBarton SecurityServicesKing of Prussia, PA

American Air FilterInternationalDoylestown, PA

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

The Arts PartnershipSpartanburg, SC

Asian Art MuseumSan Francisco, CA

Baltimore Museum of ArtBaltimore, MD

Banneker Douglas MuseumAnnapolis, MD

Berkeley Art Museum/PacificFilm ArchiveBerkeley, CA

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Buffalo Bill Historical CenterCody, WY

Camfill FarrNorth Grafton, MA

Clark Art InstituteWilliamstown, MA

Cleveland Museum of ArtCleveland, OH

Columbus Museum of ArtColumbus, OH

Corporate CareHouston, TX

Corporate Facility ServicesCary, NC

Cypress Security, LLCSan Francisco, CA

UNITED STATES

IAMFA Members — Organizations

23

IAMFA Members — Organizations

Delaware Art MuseumWilmington, DE

Des Moines Art CenterDes Moines, IA

Detroit Institute of ArtsDetroit, MI

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum of SanFranciscoSan Francisco, CA

Fire Safety NetworkMiddlebury, VT

Foundation for the ReadingPublic MuseumReading, PA

Frist Center of the Visual ArtsNashville, TN

George Eastman HouseRochester, NY

Hagley Museum & LibraryWilmington, DE

Harvard Art MuseumCambridge, MA

The Hermitage, Home ofPresident Andrew JacksonHermitage, TN

The High Desert MuseumBend, OR

High Museum of ArtAtlanta, GA

Honolulu Academy of ArtsHonolulu, HI

Huntington LibrarySan Marino, CA

Isabella Stewart GardnerMuseumBoston, MA

J. Paul Getty TrustLos Angeles, CA

Landmark Facilities Group,Inc.Norwalk, CT

Lavi IndustriesValencia, CA

Lee ConstructionConsultants LLCRichmond, VA

The Library of CongressWashington, DC

Lighting Services Inc.Stony Point, NY

Los Angeles County Museumof ArtLos Angeles, CA

Mariner’s MuseumNewport News, VA

Massachusetts HistoricalSocietyBoston, MA

Matt ConstructionCorporationSanta Fe Springs, CA

McGuire EngineersChicago, IL

Metropolitan Museum of ArtNew York, NY

Milwaukee Public MuseumMilwaukee, WI

The Morgan Library andMuseumNew York, NY

Morikami Museum andJapanese GardensDelray Beach, FL

Museum of ContemporaryArt — Chicago Chicago, IL

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Science andIndustryChicago, IL

National Gallery of Art —WashingtonLandover, MD

Nelson-Atkins Museum of ArtKansas City, MO

Neue GalerieNew York, NY

Nevada Museum of ArtReno, NV

New York Historical SocietyNew York, NY

Newark MuseumNewark, NJ

Office of FacilitiesEngineering & OperationsWashington, DC

Paul E. Garber FacilitySuitland, MD

Philadelphia Museum of ArtPhiladelphia, PA

PlanReady, Inc.Morgan Hill, CA

Preservation Society ofNewport CountyNewport News, RI

ProPM, Inc.Lafayette, CA

Questions and SolutionsEngineering, Inc.Chaska, MN

Rutherford & Chekene San Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

Seattle Art MuseumSeattle , WA

Smithsonian InstitutionWashington, DC

Solomon R. GuggenheimMuseumNew York, NY

Valentine Richmond HistoryCenterRichmond, VA

Widener Library, HarvardUniversityCambridge, MA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Worcester Art MuseumWorcester, MA

Yale Center for British ArtNew Haven, CT

Yale University Art GalleryNew Haven, CT

Yerba Buena Center forthe ArtsSan Francisco, CA

This list reflectsmembership dues

paid as of July 8, 2008.

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your listing,

please contact

Jim Moisson at

james_moisson@harvard.edu

Thank you very much.

“To be fully effective, benchmarking must be repeated.”— Bengt Karlöf, benchmarking strategist

“The search for best practices through benchmarking is a cornerstone activity for IAMFA members.”

— Guy Larocque, IAMFA President

How do you become a low-cost provider while maintaining superior customer satisfaction? Many IAMFA memberswill tell you that the annual IAMFA benchmarking exercise is the key to answering this conundrum.

This year, a record number of cultural institutions will be participating in the IAMFA benchmark study. Thestreamlined survey questionnaire is updated every year by the IAMFA Benchmarking Steering Committee toensure that the data reflects changes in the industry.

Members of the Benchmarking Steering Committee include Donald Battjes, Los Angeles County Museum of Art;John Castle, Winterthur Museum; James Duda, Library of Congress; Patrick Jones, Art Institute of Chicago; John Lannon,Boston Athenaeum; Guy Larocque, Canadian Museum of Civilization; Pam Lowings, Royal British Columbia Museum;Dean Marshall, National Gallery of Australia; Keith McClanahan, Chairman, Facility Issues; Monica Pleasant, Libraryof Congress; Jon Roodbol, Royal British Columbia Museum; Kevin Streiter, High Museum of Art; Harry Wanless,The British Library; and Stacey Wittig, Facility Issues.

The deadline for registration falls shortly after the delivery of this publication. You may still be able to register atwww.facilityissues.com/Registration/REG_IAMFA.asp

What do IAMFA members get for the benchmarking fee?

m Online, easy-to-use Survey Questionnaire that includes:

• Comprehensive definitions of all performance-relatedterms and measurements.

• Clearly-written questions for consistent and useful dataon key performance indicators.

m Customized Survey Report that includes:

• Executive Summary — comments and recommendationson key performance measurements, practices and trendsin facility management.

• Survey Results (individualized) — charts and graphs ofindustry averages, ratios and trends that compare theperformance measurements of each institution toindustry average performance measurements.

m Best Practices — a listing of the best practices of individual institutions from all survey years.

m Full-Day Workshop — includes best-practice presentations and networking through focus group exercises.

For more information, please call Stacey Wittig of Facility Issues. She may be reached at 928-255-4943 or at stacey.wittig@facilityissues.com

RESULTS 2005

CUSTODIAL/JANIT ORIAL SERVICES

Area Cleaned Per FTE W orkerper sq.ft. 2005 2004 2003 2002Fine Art 21,800 20,800 25,000 20,500History 24,400 26,800 18,000 25,600

Archives 30,800 40,200 53,400

per sq.m. 2005 2004 2003 2002Fine Art 2,000 1,900 2,500 1,900History 2,300 2,500 1,700 2,400

Archives 2,900 3,700 5,000

Facility Issues

IAMFA BenchmarkingThe Key to Implementing Best Practices