Papyrus Summer 2009

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PAPYRUS VOL. 10, NO. 2 SUMMER/FALL 2009 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS What to Expect at the 19th Annual IAMFA Conference in Washington, D.C. Lean Green Means Museum Restroom Sustainability and Savings The National Portrait Gallery in Canberra, Australia VOL. 10, NO. 2 SUMMER/FALL 2009 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

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Papyrus Summer 2009

Transcript of Papyrus Summer 2009

Page 1: Papyrus Summer 2009

PAPYRUSVOL. 10, NO. 2 SUMMER/FALL 2009

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

What to Expect at the 19th Annual

IAMFA Conference in Washington, D.C.

Lean Green Means MuseumRestroom Sustainability

and Savings

The National Portrait Gallery

in Canberra, Australia

VOL. 10, NO. 2 SUMMER/FALL 2009

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

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IAMFA/PapyrusVol. 10, Number 2Summer/Fall 2009

EditorJoe May

Papyrus CorrespondentsChris Arkins Joe BrennanJohn CastleJohn de LucyDavid Geldart

Guy LarocqueDean MarshallJoe May Thomas A. WesterkampStacey Wittig

Design and LayoutPhredd Grafix

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

EditingArtistic License

Printed in the U.S.A. byLake Litho

ISSN 1682-5241

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

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

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

Australia — Dean Marshall, NationalGallery of [email protected]

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

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

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

Los Angeles, USA — Joe [email protected]

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

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

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

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

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

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

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

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

REGIONAL CHAPTERS

PresidentJohn de LucyThe British LibraryLondon, United [email protected]

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

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

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

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

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

Head of International AffairsGuy LarocqueThe Canadian Museum of

CivilizationGatineau, QC, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

IAMFA BOARD OF DIRECTORS

Cover photo: Great Hall. View from the second floor south corridor. Library of Congress Thomas Jefferson Building, Washington, D.C. Site of the Annual IAMFA Conference Gala to be held on November 4, 2009. Photo courtesy of the Library of Congress.

Letter from the Editor1

Message from the President / Mot du président / Mensaje del Presidente 2

This Year’s Educational Program /Le programme éducatif au Congrès annuel /El Programa Educativo de este Año5

The 2009 Guest Program /Le programme 2009 pour les invités / El Programa de Invitados del 200911

Lean Green Means Museum RestroomSustainability and Savings17

The Museum of Fine Arts, Boston ReopensIts Huntington Avenue Entrance22

Report on International Affairs /Rapport sur les affaires internationales /Reporte de Asuntos Internacionales24

The National Portrait Gallery in Canberra, Australia27

Members Share Benchmarking Success36

IAMFA Members — Organizations38

Regional Updates and Member News40

Contents

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Summer has come and gone soquickly this year, and normallymany IAMFA members would be

leaving soon to take part in the annualIAMFA conference. Maybe it‘s goodthis year that our annual conferencewill be about six weeks later than usual,since so many of our members’ institu -tions have had to tighten their beltssignificantly to deal with the slumpingeconomy. Even during this past week,however, there have been signs thatthe worst is over: European mediaannounced that the recession inEurope is over; markets in the U.S.have rebounded fifty percent fromtheir lows; Asian markets have surged;and a picture that was quite grim sixmonths ago has gotten significantlybetter. Experts now say that full recoverywill be slow, but most market analystsagree that we will not retest the Marchlows, and that we are now again in abull market. This is good news for ourcultural institutions, since many operateon endowments and other fundingsources that were hurt badly duringthe past year and a half.

The bad economy forced many ofour members to find new and creativeways to operate in a leaner fashionbecause of cuts to operating budgets.The opportunity that we have now isto learn from each other about thechanges we all made to become lean.The agenda for this fall’s annual con -ference follows this theme, and I hopethat all of our members will be able totake full advantage of this opportunityto learn from one another about how

they’ve coped with recent economicchallenges.

In the spring edition of Papyrus (andthis issue), I hope you’ve also noticedour new look. The number of con tribu -tors to Papyrus has recently increased,and we thought this was a good oppor -tunity to make Papyrus look more likea mainstream magazine, with a typicallyhigher circulation. I hope you had anopportunity to read the last issue, andthat you like the new format.

One big difference that you may havenoticed between Papyrus and othermagazines is that we have no advertise -ments. At first glance, this might seemlike a good difference, but as Papyrusgrows in size and complexity, the costsassociated with its publication are alsogrowing. The question I would like toraise now with Papyrus readers is whetherthe introduction of adver tise ments wouldcreate a win-win situ ation for IAMFAmembers, the IAMFA orga nization,and potential advertisers that couldpossibly use our publication to aid inmarketing their products and services.If we can determine that there areadvan tages to all parties, this might be alogical change to introduce to Papyrus.

Additional revenue from sellingadvertisements in Papyrus would nodoubt enable our organization toenhance its efforts to reach newpotential members around the globe,and expand the organization. A newsource of revenue could also offset thecost of producing Papyrus, and providea means of increasing the learningopportunities associated with our

annual conference and with Papyrusitself. One question is whether theintroduction of advertisements byproduct and service providers wouldalso benefit our members by intro duc -ing them to new products and servicesthat could improve operations at theirinstitutions, and whether advertise -ments in Papyrus might lead to newbusiness opportunities for our potentialadvertisers.

In discussing this opportunity withmembers of our Board, we determinedthat there are sufficient potential bene -fits to all the associated parties for usto try introducing advertisements inPapyrus. On page 21 you will see a halfpage inviting advertisers to use Papyrusas a means to reach new clients. I hopeyou’ll look in future issues of Papyrusfor opportunities to engage in a win-winrelationship with the suppliers thatsupport our organization throughadvertising.

Six hundred copies of the Springedition of Papyrus were distributedbetween IAMFA members, prospectiveIAMFA members, and ICOM members.As we continue to have more IAMFAmembers author articles in Papyrus, Ilook for the value of the publication—and its circulation—to increase.

Lastly, I would like to thank every -one who contributed to this issueof Papyrus. I hope you enjoy thisissue, and learn something newwhile reading it.

Joe MayEditor, Papyrus Magazine

Joe May — Editor, Papyrus

Letter from the Editor

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L e programme du congrès deWashington (du 1er au 4 novem bre2009) s’annonce très bien, et

je suis sûr qu’il vous procure tous lesargu ments pour convaincre vos patronsque vous devez y assister – surtout quele thème du congrès est « Meilleurespratiques en gérance de l’informa tiqueen période de difficultés économiques »!Le principal avantage consistera en lapossibilité de voir ce qui se passe dansles coulisses de tous ces mer veil leuxétablissements culturels pour observercomment on traite de problèmes sem -blables à ceux que vous rencontrezdans votre organisme.

Et comment résister à la gammed’activités offertes tant à Baltimore ledimanche qu’à Washington pour lecongrès lui-même? Le National Galleryof Art (musée national des beaux-arts)et le National Museum of the AmericanIndian (musée national des Amérin -diens) constituent de fabuleux endroitspour donner le coup d’envoi du con -grès le lundi, suivis du Capitole, de laLibrary of Congress (Bibliothèque duCongrès), de l’American Art Museum(musée d’art américain) et du NationalPortrait Gallery (musée national duportrait) le mardi. Des visites auxNational Archives (archives nationales)et au Museum of American History(musée d’histoire américaine) lemercredi nous conduisent à la soiréede clôture qui aura lieu dans le superbegrand hall de l’édifice Thomas Jeffersonde la Bibliothèque du Congrès (aucuntravail au cours de cette soirée, que duplaisir). Assurez-vous d’y être!

¡El programa para la confer -encia en Washington, D.C.(1-4 de noviembre de 2009)

se ve muy bien, y estoy seguro que lesde suficiente justificación para reco -mendar a sus organizaciones que debenasistir—sobre todo dado que el temade la conferencia es “Las Mejoras Prac -ticas de Administración de Insta lac ionesen Tiempos Económicos difíciles”! Elprincipal beneficio será la oportuni -dad de ir tras bastidores en todas estasinsti tuciones culturales maravillosaspara descubrir como manejan losproblemas similares que tienen ensus respectivas organizaciones.

¿Cómo se pueden resistir acom -pañar nos después de ver la lista deactividades, tanto en Baltimore eldomingo como en Washington para elresto de la conferencia? La GaleríaNacional de Arte y el Museo Nacionaldel Indígena Americano son entornosfantásticos para comenzar la conferenciael lunes, seguido por el Capitolio, laBiblioteca del Congreso, el Museo deArte Americano, y la Galería Nacionalde Retratos el martes. Las visitas a losArchivos Nacionales y el Museo deHistoria Americana el miércoles termi -nan con la fiesta de gala para el cierreen el Gran Salón del Edificio de ThomasJefferson en la Biblioteca de Congreso(no hay trabajo esta noche—solamentediversión). ¡Asegúrense de asistir!

En estos tiempos difíciles, es esencialque nosotros y nuestros departamentosde mantenimiento enseñen la maneraen que agregamos valor a nuestrasorganizaciones, o podríamos correr

Message from the PresidentMessage du présidentMensaje del Presidente

John de LucyPresident / Président /Presidente, IAMFA

The programme for the Washingtonconference (November 1–4, 2009)is looking very good, and I am

sure it provides you with ample justi -fication for recommending to yourinstitutions that you must attend—especially as the conference theme is“Best Practices in Facilities Manage mentin Tough Economic Times”! The keybenefit will be an opportunity to gobehind the scenes at all these wonderfulcultural institutions to see how they aredealing with the same problems youare facing at your own organisations.

How can you resist the great line-upof activities, both in Baltimore onSunday and Washington for the mainconference itself? The National Galleryof Art and the National Museum of theAmerican Indian are fantastic venuesto kick off the conference on Monday,followed by the Capitol, Library ofCongress, American Art Museum andNational Portrait Gallery on Tuesday.The National Archives and the Museumof American History on Wednesdaylead us to the closing gala dinner in thebeautiful Great Hall of the ThomasJefferson Building at the Library ofCongress (no work on this evening—just pure pleasure). Make sure youare there!!

In these hard times, it is essentialthat we and our facilities departmentsdemonstrate where we add value toour organisations, or we could riskour role being questioned. We are notjust a cost centre or process-orientatedfunction, but can have a highly positivebusiness impact. How many of us focus

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PAPYRUS SUMMER/FALL 2009 3

on using the language of business whentalking to our stakeholders about howwe deliver a material reduction in oper -ating costs? It is important to ensurethat we are seen as integrated businessmanagers. Do we question the structureof our cost base—which is likely toinvolve a high proportion of person nelcosts—in such a way that our overheadcan allow the service and costs to flexwith the uncertainties?

Our challenge is to move resourcingoverheads from an employment modelto a project model: in other words,resourcing delivery and changing pri -orities as they come—as projects andtargets to be achieved—rather thanexpecting to have it all covered aheadof time by budgeted jobs. So it couldbe about more flexible job descriptionsand multi-skilling. How can we resource

the changing landscape, reduce costs,deliver the required but changingservice levels, and manage the busi -ness profitably? Please let us know—preferably with a note to Joe Mayfor Papyrus!!

Do we all have contingency plans inplace to address the possible effectsof a flu pandemic during the comingwinter period? What if we, or our serviceproviders, only have 50% of staffattendance on any one day? How willthe necessary services be provided?

What are we doing to reduce ourcarbon footprint? In the U.K., the

Dans ces temps difficiles, il est essen -tiel que nos services des installations demême que nous montrions à quellesrubriques nous ajoutons de la valeurà nos organisations, ou il se pourraitque notre rôle soit remis en question.Nous ne sommes pas qu’un centrede coûts ni une fonction axée sur lesprocessus; nous pouvons aussi avoirun impact infiniment positif sur lesaffaires. Combien d’entre nous don -nent priorité à la langue des affaireslorsqu’ils s’adressent à nos partenairessur la manière d’effectuer une réduc -tion importante des frais d’exploitation?Il est important de s’assurer que noussommes perçus comme des gestion -naires d’activités intégrées. Remettons-nous en question la structure descoûts – qui comporte probablementune grosse proportion de coûts relatifsau personnel – d’une telle façon quenos coûts indirects puissent permettrela flexibilité du service et des coûts enpériode d’incertitude?

Notre défi consiste à faire passer lescoûts indirects associés au recrute mentet à la gestion des effectifs de modèled’emploi à modèle de projet : autre mentdit, le recrutement et les change mentsde priorités comme ils se présentent –comme cibles à être atteintes et projetsà être réalisés – plutôt que de s’attendreà avoir tout prévu d’avance par desemplois budgétés. Alors il pourraits’agir de descriptions de tâches plussouples et de qualifications multiples.Comment pouvons-nous recruter etgérer les effectifs dans un contexte enévolution, réduire les coûts, assurerla prestation des services requis maischangeants et gérer l’entreprise demanière rentable? Prière de nous lefaire savoir – de préférence dans unenote à Joe May pour Papyrus!

Est-ce que nous disposons tous deplans d’intervention pour remédieraux effets potentiels d’une pandémiede grippe au cours de l’hiver prochain?Qu’arrivera-t-il si nous, ou nos presta -taires de services, n’avons que 50 %de notre personnel sur place à un cer -tain moment? Comment les servicesnécessaires seront-ils assurés?

Que faisons-nous pour réduire notreempreinte carbone? Au Royaume-Uni,le gouvernement impose un engage -ment relatif à la réduction du carbone

el riesgo de que se cuestione nuestrotrabajo. No tenemos una función úni -camente enfocada en costos o solamenteen procesos, sino también tenemosun papel positivo e importante parainfluir en el negocio. ¿Cuántos denosotros nos enfocamos en usar ellenguaje de los negocios cuandohablamos con los interesados sobrecomo lograr una reducción identifi -cable de costos de operación? Esimportante, asegurarse que nos veancomo miembros integrados en la admi -nistración del negocio. ¿Analizamos laestructura de nuestra base de costos—la cual probablemente involucra unalto porcentaje de costos de personal—de modo que nuestros gastos generalespuedan permitir que fluctúen el servicioy los costos según los variablesdesconocidos?

Nuestro reto es de reemplazar elmodelo de estimar y asignar fondosbasado en costos de personal a unobasado en costos de proyectos; en otraspalabras, se programan los fondosnecesarios en repuesta de las entregaso los cambios de prioridades—en vistade proyectos o metas por lograr—envez de planear cubrir todos los costosde antemano a través de tareas presu -puestadas. De este modo se enfocamás en descripciones flexibles deposiciones y en conseguir empleadoscon múltiples capacidades. ¿Comopodemos programar fondos en vistade un entorno impredecible, reducircostos, entregar los niveles requeridosde servicio, y también manejar losnegocios con ganancias? ¡¡Por favor,déjennos saber sus ideas, preferible -mente con una nota para Joe Maypara Papyrus!!

¿Todos tenemos planes de contin -gencia para enfrentar los posiblesefectos de una pandémica de influenzadurante el próximo periodo de invi -erno? ¿Que pasa si nosotros, o nuestrosproveedores de servicio, solamentecuentan con un 50% del personalen un determinado día? ¿Cómo serealizarán los servicios necesarios?

¿Qué hacemos para reducir nuestrahuella de carbono? En el Reino Unido,el Gobierno ha hecho obligatorio unCompromiso para Reducir la Produc -ción de Carbono, que se le aplicará atodos los edificios públicos grandes,

What are we doing

to reduce our carbon

footprint?

Que faisons-nous pour

réduire notre empreinte

carbone?

¿Qué hacemos para

reducir nuestra huella

de carbono?

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Government is imposing a CarbonReduction Commitment, which willapply to all large public buildings,including museums and galleries, asof April 2010. This will mean refocus -ing our operations to take a new rangeof metrics into account—especiallymeasuring carbon dioxide output.The costs will be significant, and wewill all be trying hard to minimise them.It will be an opportunity to demon -strate expertise and play a leading rolein managing the changed focus oncarbon from something to “use” tosomething to “trade”.

No pressure of course, but makesure you come to the conference inWashington and tell us all how youare dealing with these issues!

(Carbon Reduction Commitment), quis’appli quera à tous les grands édificespublics, y compris les musées et lesmusées d’art, dès avril 2010. Cela sig -nifiera la réorientation de nos activitéspour prendre en compte une nouvellegamme de mesures – en particulier lamesure de la production de dioxydede carbone. Les coûts seront impor -tants, et nous nous efforcerons tousde les minimiser. Ce sera l’occasion dedémontrer notre expertise et de jouerun rôle prépondérant dans la gestiondu changement d’orientation quantau carbone, qui passera de la notiond’« utilisation » à celle d’« échange ».

Pas de presse, bien entendu, maisassurez-vous de venir au congrès àWashington et de nous dire commentvous composez avec ces situations!

incluyendo los museos y las galerías,a partir de abril del 2010. Esto nosobligará a buscar un nuevo enfoquede nuestras organizaciones para tomaren cuenta los nuevos requisitos—especialmente la medida de la pro -ducción de dióxido de carbono. Loscostos serán significantes, y todos nosesforzaremos para minimizarlos. Seráuna oportunidad para demostrarnuestros conocimientos y tomar unpapel de liderazgo para manejar elcambio de enfoque de carbono de algoque se consume a algo que se negocia.

¡No hay presión por supuesto, peroasegúrense de asistir a la conferenciaen Washington, D.C. para compartircon nosotros como se enfrentanestos retos!

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Everyone who attends an IAMFAconference knows that the net -working opportunities are excep -

tional, and this year’s educationalprogram promises to be as impressiveas in previous years. The programplanned for this year’s 19th AnnualIAMFA Conference in Washington,D.C. promises to provide you withcutting-edge facilities education andbest practices that can be appliedimmediately to your cultural institu -tion—takeaways that will be essentialin positioning your organization forlong-term success.

The conference begins on Sundaywith a one-day benchmarking work -shop at the Baltimore Museum of Art.Keith McClanahan of Facility Issueswill be sharing benchmarking infor -mation from museums around theworld, making this workshop a greatplace to see how benchmarking infor -mation can be immediately applied toyour facility. The information Keithhas gathered over the past few yearsprovides a solid foundation in helpingyour facility benchmark with othermuseums and cultural institutionsaround the world.

On Monday, three speakers fromthe National Gallery of Art will discussthe latest trends in Building AutomationSystems (BAS), and how data can be

Quiconque assiste au congrès del’IAMFA sait que les occasionsde réseautage y sont exception -

nelles, et le programme éducatif decette année promet d’être aussi im -pres sionnant que celui des annéespassées. Le programme prévu pource 19e Congrès annuel de l’IAMFA àWashington (D.C.) garantit de vousoffrir le fin du fin en matière de for -mation et de pratiques exemplaires eninformatique qui pourront s’appliquerimmédiatement à vos établissementsculturels. Vous y trouverez des outils àemporter qui s’avéreront essentielspour mettre votre organisme en posi -tion de réussir pendant longtemps.

Le congrès commence dimanchepar un atelier d’une journée sur l’éta -lonnage au Museum of Art (muséed’art) de Baltimore. Keith McClanahanparlera de l’étalonnage qui se fait dansles musées autour du monde, et cesera la place idéale pour voir commentdes données d’étalonnage peuvents’appliquer immédiatement à votreétablissement. Les informations queKeith McClanahan a recueillies aucours des dernières années constituentune base solide pour vous aider àcom parer votre établissement avecd’autres dans le monde des muséeset des établissements culturels partoutdans le monde.

Todos los que asisten a una con -ferencia de IAMFA saben que lasoportunidades para desarrollar

redes de contactos son excepcionalesy el programa educativo de este añopromete ser igual de impresionantecomo en años pasados. El programaplanificado para la Conferencia Anualde IAMFA en Washington, D.C. deeste año debe educarles en las mejoraspracticas y mantenimiento con tecno -logía de punta que se pueden aplicarde inmediato en sus instituciones cul -turales. Recibirán bastante informa ciónesencial para posicionar sus organi -zaciones para el éxito a largo plazo.

La conferencia comienza el domingocon un taller de un día de evaluacióncomparativa (benchmarking) en elMuseo de Arte de Baltimore. KeithMcClanahan compartirá informaciónde encuestas de evaluación comparativade museos alrededor del mundo, y asíconvertirá a este taller en un lugar per -fecto para aprender como los resultadosde estas encuestas se aplicaran deinme diato a sus organizaciones. Lainformación recabada a través de losúltimos años por Keith McClanahanservirá de base sólida para ayudar asus organizaciones a realizar encuestasde información comparativa con otrosmuseos e instituciones culturalesalrededor del mundo.

What to Expect from this Year’sEducational Program at the IAMFAAnnual Conference

À quoi s’attendre du programmeéducatif cette année au Congrèsannuel de l’IAMFA

Que Esperar del Programa Educativode este Año: Información

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gathered at the enterprise level to sup -port the preservation of art. Alarmstatus and reporting, activity and alarmhis tories and custom applications atthe enterprise level can reveal currenttrends while also aggregating the datafor easier interpretation. In addition,the speakers will discuss publication ofthe trends and results through a desk -top application, which allows manage -ment and conservators easy access toBAS information. They will also speakabout Open Systems Building Auto ma -tion, and how to move from a single-source BAS provider to a multiple-source BAS solution, thereby gainingprice competitiveness and security thatis not available from a sole-source pro -vider. After the presentation concludes,there will be a tour of the NationalGallery’s BAS, during which staff willbe available to answer questions andoffer suggestions for improved BASimplementation in your facility.

The National Museum of theAmerican Indian is one of the Smith -sonian Institution’s newest museums,and is currently in the process of pur -suing LEED certification. Monday

Lundi, trois conférenciers duNational Gallery of Art (muséenational des beaux-arts) traiteront desdernières tendances en matière desystèmes immotiques (systèmes auto -matisés dans les grands immeubles)et de la manière dont les donnéespeuvent être recueillies à l’échelle del’entreprise pour aider à conserver lesœuvres d’art. L’état et la signalisationdes alarmes, les historiques des activitéset des alarmes ainsi que les appli ca tionssur mesure à l’échelle de l’entreprisepeuvent révéler les tendances cou -rantes tout en regroupant les donnéespour en faciliter l’interprétation. Deplus, les conférenciers examineront lapublication des tendances et des résul -tats par l’entremise d’une applicationlogicielle, qui permet aux dirigeants etaux conservateurs d’accéder facile mentaux données des systèmes immotiques.Ils parleront également des systèmesimmotiques ouverts, et de la manièrede passer d’un fournisseur de systèmesimmotiques provenant d’une seulesource à une solution multisourcesquant à ces systèmes, et ainsi accroîtrela compétitivité des prix et la sécurité

El lunes, tres oradores de la GaleríaNacional de Arte discutirán las ultimastendencias en los Sistemas de Auto -matización de Edificios (SAE) y decomo la información puede serrecabada a nivel empresarial paraapoyar la conservación del arte. Lainterpretación del estado operacionalde alarmas, sus reportes e historiales,en conjunto con las aplicaciones espe -cíficas e individuales a nivel empresarialsacará a lucir las últimas tendenciasmientras también agrupa la informa -ción para facilitar la interpretación.Además discutirán la publicación delas tendencias y resultados además deuna aplicación para computadora/ordenador personal, que brindará unacceso sencillo a la información deSAE a los administradores y encargadosde la conservación. También hablaránde Sistemas Abiertos Automatizadosde Edificios (BAS), y como cambiarde una fuente única de suministro poruna solución BAS de múltiples fuentesde suministro y lograr mejor compe ti -tividad y seguridad que no se consiguede una sola fuente. Al concluir lapresentación, se visitará el BAS de laGalería Nacional, donde el personalencargado estará a sus órdenes paracontestar preguntas y ofrecerles suge -rencias para mejorar la implementaciónde BAS en sus operaciones.

El Museo Nacional del IndígenaAmericano es uno de los museos masnuevos del Instituto Smithsonian, yestá en el proceso de conseguir cer -tificación de LEED. La presentacióndel lunes por la tarde describirá laexperiencia de lograr la certificaciónde un edificio sostenible para tresinstalaciones de museos, por mediodel sistema del Consejo de Liderazgode Estados Unidos de Diseño deEdificios Sostenibles (“LEED”).

Los estudios incluirán el Museo delGetty, la Vereda de los Elefantes delParque Zoológico Nacional del InstitutoSmithsonian, y el Museo Nacional deHistoria Natural del Instituto Smith -sonian. Se abarcará tres escenariosde certificación, el de edificios ya con -struidos, el de construcciones nuevas,y el de construcciones no terminadas,además de una gama de variables quese aplicaran a entornos optimizadospara preciosas obras de arte, elefantes

A systems reliability engineering technician using airborne ultrasound to test the seal aroundthe new Star-Spangled Banner display chamber.

Agent technique de la fiabilité des systèmes utilisant l’ultrason aérien pour vérifier le jointd’étanchéité autour de la nouvelle pièce de présentation de la Bannière étoilée.

Un técnico de confiabilidad de sistemas utilizando ultrasonido conducido por aire paracomprobar el sello de la nueva vitrina de la antigua Bandera De Estados Unidos.

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afternoon’s presentation will describethe experience of achieving sustainablebuilding certification for three museumfacilities, using the U.S. Green BuildingCouncil Leadership in Energy andEnvi ronmental Design (LEED) system.Case studies will include The GettyMuseum, the Smithsonian InstitutionNational Zoological Park ElephantTrails facility, and the SmithsonianInstitution National Museum of NaturalHistory. Existing building, new con -struction and partial building certifi -cation scenarios will be addressed,along with the range of factors whichapply to environments optimized forpriceless works of art, live elephants,and a museum director. Following thepresentation, attendees will participatein a discussion of environmentally safeLEED programs and practices thatcan translate directly to your facility.

On Tuesday morning, participantswill convene at the Library of Congress

qui ne se trouvent pas auprès d’unfournisseur d’une seule source. À lafin de la présentation, il y aura unevisite des systèmes immotiques duNational Gallery au cours de laquellele personnel répondra aux questionset donnera des suggestions de miseen application améliorée des systèmesimmotiques dans votre établissement.

Le National Museum of theAmerican Indian (musée national desAmérindiens) est l’un des musées lesplus récents du complexe de muséesSmithsonian (Smithsonian Institu tion),et il est présentement dans le pro -cessus d’obtention de la certificationLEED. La présentation de lundi après-midi fera état de l’expérience associéeà la démarche de certification de bâti -ment durable de trois installationsmuséales suivant le système LEED(Leadership in Energy and Environ -mental Design) établi par le Conseilaméricain du bâtiment durable. Lesétudes de cas comprendront le GettyMuseum, l’installation des pistes deséléphants du National Zoological Park(jardin zoologique national) duSmithsonian et le National Museumof Natural History (musée nationald’histoire naturelle) du Smithsonian.On présentera des scénarios de cer -tification concernant un bâtimentexistant, une nouvelle construction etune partie d’un bâtiment accompagnésde la gamme des facteurs qui s’appli -quent à des environnements optimiséspour des œuvres d’art sans prix, deséléphants vivants et une personne quidirige un musée. Après la présentation,les personnes présentes participerontà une discussion au sujet des pro -grammes et pratiques LEED respec -tueux de l’environnement qui peuventse mettre en application directementà votre installation.

Mardi matin, les participants etparticipantes se réuniront à la Libraryof Congress (Bibliothèque du Congrès)pour examiner les exigences liées auxlois courantes Energy Policy Act (EPAct)[loi sur la politique énergétique] etEnergy Independence and Security Act(EISA) [loi sur l’autonomie et lasécurité énergétiques], et survoler lespratiques de comptage actuelles afind’acquérir quelques mesures à prendreet à mettre à exécution à leurs propres

de carne y hueso y un director demuseo. Después de la presentaciónlos participantes discutirán los pro -gramas y las practicas inofensivas parael medioambiente de LEED que sepodrán aplicar directamente a susinstalaciones.

El martes por la mañana, los par tici -pantes se encontraran en la Bibliotecadel Congreso para repasar los requisitosde la Acta de Política de Energía (EPA)corriente y la Acta de Seguridad eIndependencia Energética (EISA) yrevisar las ultimas practicas de moni -toreo de medidor para aprender algu -nos pasos que podrán implementarseen sus propias instituciones. Los par -ticipantes también aprenderán de losContratos de Rendimiento de AhorrosEnergéticos (ESPC) y sus probablesefectos en las operaciones de los museosy de las instituciones culturales. Tambiénhablarán expertos sobre la prevenciónde incendios y la importancia de opti -mizar los entornos de almacenaje y deexhibición para promover la con ser va -ción a largo plazo de las colecciones,además de la planificación en conjunto,revisión de proyectos de construcción yde mantenimiento que pueden impactarel bienestar de las colecciones.

El martes por la tarde, los partici -pantes sabrá por que enfocarse delleno en utilizar las mejores practicasen limpieza y mejorar los conocimientosy técnicas del personal relevantes, pasoscríticos en mejorar la apariencia ymantenimiento de instituciones icónicascon presupuestos limitados. Ya que laspersonas tienden a formar opinionesde una organización en base de laapariencia y limpieza de sus instala -ciones, el Instituto de Administraciónde Limpieza (Cleaning ManagementInstitute) y el Instituto Smithsonian sehan unido para mejorar las técnicasde limpieza en sus instituciones quede alto volumen de uso a través de laeducación de su personal y de la imple -mentación de las técnicas óptimas delimpieza. Lograr que la apariencia y lahigiene de los edificios más viejos semantengan a la par con las institu cionesmás nuevas es un reto que se les asignaa técnicos de limpieza certi fi cados paralos cuales la edu cación y el entre na -miento son críticos y deben ser cons -tantes. No importa si su organiza ción

A systems reliability engineering technicianusing airborne ultrasound to test the glassseals of the new Star-Spangled Bannerdisplay chamber.

Agent technique de la fiabilité des systèmesutilisant l’ultrason aérien pour vérifier lesjoints d’étanchéité de la paroi de verre dela nouvelle pièce de présentation de laBannière étoilée.

Un técnico de confiabilidad de sistemasutilizando ultrasonido conducido por airepara verificar los sellos de la nueva vitrinade la Antigua Bandera de Estados Unidos.

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8 PAPYRUS SUMMER/FALL 2009

to review the current requirements ofthe Energy Policy Act (EPAct) and EnergyIndependence and Security Act (EISA),and review current metering practicesto hear about some steps they can takeat their own institutions. Attendeeswill also learn about Energy SavingsPerformance Contracts (ESPCs) andthe impact these are likely to have onoperations at museums and culturalinstitutions. Experts will also speakabout fire protection and the impor -tance of optimizing storage and exhibitclimates to promote the long-termpreservation of collections, as well ascollaborative planning and review ofconstruction projects and maintenanceprograms which could affect collections.

On Tuesday afternoon, attendeeswill learn why a strong focus on bestpractices in cleaning, and improvingstaff cleaning knowledge and practices,are key steps in supporting the appear -ance and maintenance of iconic facilitieswith limited budgets. Since people tendto form opinions of any orga ni zationfrom the appearance and clean linessof its facilities, the Cleaning Manage -ment Institute and the SmithsonianInstitution have partnered to upgradecleaning practices in facilities with heavytraffic by educating staff and imple ment -ing best cleaning practices. Maintainingaging buildings with results approxi mat -ing appearance and hygiene in newerfacilities is a challenge being addressed

établissements. Ces personnes appren -dront également ce qu’il en est descontrats de performance en économied’énergie (Energy Savings PerformanceContracts) et l’impact que ces dernierssont susceptibles d’avoir sur l’exploi -tation des établissements culturels etdes musées. Des spécialistes vont aussiparler de protection contre l’incendieet de l’importance d’optimiser lestempératures dans les réserves et lesexpositions afin de favoriser la conser -vation à long terme des collections, demême que de planification et d’examenen collaboration des projets de con -struction et des programmes d’entretienqui pourraient affecter les collections.

Mardi après-midi, les personnes pré -sentes apprendront pourquoi l’extrêmeattention portée aux pra tiques exem -plaires en matière de nettoyage etl’amélioration des con naissances etdes pratiques du personnel qui effectuele nettoyage constituent des actions depremière importance dans le soutienà l’apparence et à l’entretien d’instal -lations basées sur l’iconographie avecdes budgets comprimés. Puisque lesgens ont tendance à fonder leur opiniond’un organisme sur l’appa rence etla propreté de ses installations, leSmithsonian et le Cleaning Manage -ment Institute (institut de gestion dunettoyage) ont établi un partenariatpour rehausser les pratiques en matièrede nettoyage utilisées dans les instal -lations à grande affluence en formantle personnel et en mettant en œuvredes pratiques exemplaires en matièrede nettoyage. Effectuer l’entretiend’édifices vieillissants en maintenantl’apparence et l’hygiène à des niveauxsemblables à ceux des nouvelles instal -lations représente un défi que des per -sonnes professionnelles certifiées enentretien ont à relever, et pour quila formation et l’apprentissage sontessentiels et doivent être continus.Que votre organisme fasse faire l’entre -tien à l’interne ou le donne à contratà l’extérieur, voilà de l’informationque vous voudrez posséder de manièreà améliorer le nettoyage et l’apparencede vos installations.

Mercredi matin, il y aura une pré -sentation sur la planification desbudgets d’immobilisations et d’entre -tien. Dans les grands musées ou les

realiza su propia limpieza o por mediode un contrato externo, esta informa -ción será útil para mejorar la limpiezay apariencia de sus instituciones.

El miércoles por la mañana se brin -dará una presentacion.de planificaciónde presupuesto de mantenimiento yproyectos de capital. En los museosgrandes o complejos de museos, laplanificación, ejecución y asignaciónde fondos para el programa capital demejoras permanentes, y el programade mantenimiento de prevención yde reparaciones menores, típicamentese ejecutan por personal distintocon diferentes fuentes de fondos,y probablemente con contratistasdistintos. Las dos áreas tienen unarelación muy estrecha, sin embargo,las decisiones que se toman al ejecutarlas obras de construcción capitalespueden afectar profundamente elmantenimiento subsiguiente. Y además,las practicas de mantenimiento y deoperaciones pueden aumentar la vidade un edificio y sus sistemas, o apurarsu decaída y necesidad de repara ciones.Estudios de varios museos distintos delInstituto Smithsonian y sus centrosde investigaciones hacen énfasis enproyectos específicos donde las exce -lentes decisiones durante el diseñocrearon buenas condiciones para lasoperaciones y mantenimiento. Casos

The 19th Annual IAMFA

Conference will provide

you with insights

Le 19e Congrès annuel

de l’IAMFA vous donnera

des idées

La conferencia anual

de IAMFA les facilitara

nuevos conceptos

A systems reliability engineering technicianconducting vibration data collection on amotor.

Agent technique de la fiabilité des systèmesrecueillant des données sur les vibrationsd’un moteur électrique.

Un técnico de confiabilidad de sistemasrecopilando información de vibración deun motor.

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by professionally certified custodialtechnicians, for whom edu cation andtraining is critical and must be ongoing.Whether your organization handlescleaning in-house or through out sourc -ing, this is information you will want tohave in order to improve the cleaningand appearance of your facilities.

Wednesday morning will feature apresentation on capital and mainte -nance budget planning. In majormuseums or museum complexes, theplanning, execution and funding of acapital program of permanent improve -ments, and a maintenance program ofpreventive and small repair, are typicallycarried out by different personnel,with different funding sources—andprobably different contractors. Thetwo areas have a symbiotic relation -ship, however, and decisions madewhen major capital work is undertakencan have a profound effect on latermaintenance. In addition, maintenanceand operations practices can greatlyenhance the life of a building and itssystems, or hasten their damage andneed for repair. Case studies fromseveral different Smithsonian museumsand research centers highlight specificprojects in which excellent decision-making during the design processcreated good conditions for oper -ations and maintenance. Cases willalso be discussed in which difficultand costly maintenance issues resulted,even with the best of design intentions.This session will provide you withtakeaways of “lessons learned” whichcan be immediately applied to yourown projects, in order to bettersynchronize capital improvementswith maintenance projects.

The single most important tool indetermining what maintenance toperform on critical assets is ReliabilityCentered Maintenance (RCM), whichwill be explored in the Wednesdayafternoon session. Traditionally, orga -nizations perform preventive main -tenance on their assets on a routinebasis, with emergency repairs whensystems cease to function properly.Modern practices based on RCM analy -ses will provide attendees with differentapproaches to RCM, which can beapplied in the manner most appro -priate for extending the life of the asset.

complexes muséaux, les activités deplanification, d’exécution et de finance -ment du programme d’investissementdes améliorations permanentes ainsique du programme des petites répa -rations et des réparations préventivessont habituellement effectuées par dupersonnel différent, avec de l’argentprovenant de sources différentes etprobablement en ayant recours à desentrepreneurs différents. Toutefois, ily a une relation symbiotique entre cesdeux secteurs, et les décisions priseslorsque de grands projets d’immo bi li -sation sont entrepris affectent l’entre -tien en amont. De plus, les pratiquesen matière d’exploitation et d’entretienpeuvent améliorer grandement la vied’un bâtiment et de ses systèmes, ouprécipiter leur endommagement ou lanécessité de les réparer. Des études decas de plusieurs différents musées etcentres de recherche du Smithsonianattirent l’attention sur des projets spé -cifiques dans lesquels d’excellentesdécisions prises au cours de la con -ception ont engendré de bonnes con -ditions d’exploitation et d’entretien. Onverra également des cas où même les

también se discutirán en los cualessurgieron necesidades de mante ni mi -ento costosas y difíciles aun cuandolos diseños se habían realizado conlas mejores intenciones. Esta sesióntambién les brindara una serie de “lec -ciones aprendidas” que se podrán aplicarde inmediato a sus proyectos paracoordinar mejor las mejoras capitalescon los proyectos de mantenimiento.

La herramienta mas importante endecidir que mantenimiento realizaren bienes críticos es Ingeniería deMantenimiento basado en Confia bi -lidad (RCM), lo cual se describe en lasesión de miércoles por la tarde. Portradición, las organizaciones realizanmantenimiento preventivo de unamanera rutina, con reparacionesde emergencia cuando los sistemasse dañan. Las practicas basadas enanalices de RCM les proveerán a losparticipantes otros métodos de RCMque se podrán aplicar de la maneramas apropiada para aumentar la vidade los bienes. Se compartirán tantométricos significativos para deter minarla necesidad de RCM y el progreso ylos beneficios de RCM como también

Systems reliability engineering technicians reviewing the Motor Circuit Analysis (MCA) testresults of a fire pump.

Agents techniques de la fiabilité des systèmes examinant des résultats d’analyse du circuitdu moteur d’une pompe à incendie.

Técnicos de confiabilidad de sistemas analizando los resultados de una prueba de circuitode motor de una bomba de incendio.

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10 PAPYRUS SUMMER/FALL 2009

Meaningful metrics that help evaluatethe need for RCM and the progressand benefits of RCM will be shared, aswell as traditional pitfalls to avoid whenpreparing for an RCM project.

Whether you want to know moreabout sustainability, automated con -trols, or how capital and maintenanceprojects interact, the educationalprogram at the 19th Annual IAMFAConference will provide you withinsights as well as takeaways, so thatyou can immediately apply your newknowledge to your organization. Thismuch expertise in one place is one ofthe tremendous benefits of the IAMFAconference, and the IAMFA conferenceprogram committee is working toensure that the educational programsare highly relevant to you and yourorganization.

meil leures intentions sur le plan de lacon ception ont abouti à des problèmesd’entretien épineux et coûteux. Cetteséance vous fournira des éléments de« leçons apprises » qui peuvent s’appli - quer immédiatement à vos projets, demanière à mieux harmoniser les projetsd’immobilisations et ceux d’entretien.

L’outil unique le plus importantpour déterminer quelle maintenanceeffectuer sur des biens de premièreimportance, c’est la maintenance axéesur la fiabilité (MAF), et on l’expli queramercredi après-midi. Habituellement,les organismes procèdent à la main -tenance préventive routinière de leursbiens, et des réparations d’urgencesont exécutées lorsque les systèmescessent de fonctionner correctement.Les pratiques modernes basées sur lesanalyses de MAF procureront aux per -sonnes présentes différentes approchesde MAF qui peuvent s’appliquer dela manière la plus appropriée pourprolonger la durée de vie du bien. Desmesures significatives qui aident àévaluer les besoins en matière de MAFainsi que les avantages et l’évolutionde la MAF seront mis en commun, demême que les traditionnels écueils àéviter lorsque l’on se prépare pourun projet MAF.

Que vous désiriez en savoir plus surla durabilité et les contrôles auto matisésou sur la manière dont interagissent lesprojets d’immobilisations et d’entre tien,le programme éducatif du 19e Congrèsannuel de l’IAMFA vous donnera desidées et des éléments à retenir de façonà pouvoir mettre immédiatement enapplication vos nouvelles connais -sances dans votre établissement.Autant d’exper tise en un seul endroitconstitue l’un des formidables avan -tages du congrès de l’IAMFA, et lecomité des programmes de l’IAMFAveille à ce que les programmes éducatifscorrespondent parfaitement à vosbesoins et à ceux de votre organisme.

los peligros que hay que evitar cuandose prepara para un proyecto de RCM.

No importa si les interese aprendermás de la sostenibilidad, los controlesautomatizados, o la relación entreproyectos de mantenimiento y deobras de construcción de capital; ladecimanovena conferencia anual deIAMFA les facilitara nuevos conceptosy métodos que podrán aplicar en susrespectivas instituciones. Tanta expe -riencia en un solo lugar es uno de losgrandes beneficios de la conferencia deIAMFA, y el comité de conferenciasde IAMFA está trabajando para asegu -rarse que los programas educativossean de gran uso para Ustedes y susorganizaciones.

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The 2009 IAMFA Annual Confer -ence is approaching quickly, andthe conference team has been

working diligently to provide an unfor -gettable experience for all attendees.In the spring issue of Papyrus, IAMFAmembers were given a chance to previewwhat’s in store for them at this year’sconference. That said, guests of IAMFAmembers need not worry—we’veplanned an extraordinary program forthem as well.

We’ve orchestrated a string of fun-filled days in the Washington, D.C.area for guests. Here are a few of thenational treasures that you’ll have a

Le Congrès annuel 2009 de l’IAMFAapproche à grands pas, et l’équipechargée de l’organisation a fait

diligence pour offrir une expérienceinoubliable à toutes les personnes quiy participent. Dans le numéro duprintemps de Papyrus, les membres del’IAMFA ont eu un aperçu de ce qu’ily avait en vitrine pour eux au congrèsde cette année. Cela dit, les invités desmembres de l’IAMFA ne seront pas enreste – nous leur avons concocté unprogramme extraordinaire à eux aussi.

Nous avons orchestré une suite dejournées remplies de plaisir dans larégion de Washington (D.C.) pour les

La Conferencia Anual de IAMFAse aproxima rápidamente, y todoel equipo de planificación de la

conferencia trabaja arduamente paraque sea una experiencia inolvidablepara los participantes. En la ediciónde primavera de Papyrus, se les diouna oportunidad a los miembros deIAMFA de ver de antemano lo planeadopara la conferencia de este año. Nose preocupen, tenemos un programaextraordinario previsto para Ustedeslos invitados también.

Hemos elaborado una serie dedías llenos de diversión en el área deWashington, D.C. para los invitados.

Something for EveryoneThe 2009 Guest Program

Pour tous les goûtsLe programme 2009 pour les invités

Algo para cada personaEl Programa de Invitados del 2009

The National Aquarium in Baltimore. L’aquarium national à Baltimore. El Acuario Nacional de Baltimore.

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chance to visit during this year’sconference:

• The National Gallery of Art

• The Library of Congress

• The U.S. Capitol Visitor Center

• The National Museum of NaturalHistory

• The National Aquarium

• The National Zoo

• Mount Vernon

As you can see from this preview, wehave planned an exciting programthat includes a diverse assortment ofevents for your enjoyment.

The guest program will begin onSunday, November 1 at the BaltimoreMuseum of Art. While IAMFA mem -bers participate in the annual bench -marking seminar, their guests will havea chance to explore the BaltimoreMuseum of Art and enjoy some ofBaltimore’s finest seafood. In addi -tion, they will take in a live dolphin

invités. Voici quelques-uns des trésorsnationaux que vous aurez l’occasionde visiter durant le congrès de cetteannée :

• le National Gallery of Art (muséenational des beaux-arts)

• la Library of Congress (Bibliothèquedu Congrès)

• l’U.S. Capitol Visitor Center (centred’accueil du Capitole des É.-U.)

• le National Museum of NaturalHistory (musée national d’histoirenaturelle)

• le National Aquarium (aquariumnational)

• le National Zoo (jardin zoologiquenational)

• Mount Vernon

Comme vous pouvez voir par cet aper -çu, nous avons planifié un programmeemballant qui comprend un assortimentvarié d’activités pour votre agrément.

Le programme pour les invités com -mencera le dimanche, 1er novembreau Museum of Art (musée d’art) deBaltimore. Alors que les membresde l’IAMFA participent au colloqueannuel sur l’étalonnage, leurs hôtesauront la chance d’explorer le muséed’art de Baltimore et de se régaler decertains des fruits de mer les plus finsde Baltimore. De plus, ils assisterontà un spectacle de dauphins à l’aqua -rium national avant de retournerà Washington pour la cérémonied’ouverture du congrès.

Lundi, les invités profiteront d’unpetit-déjeuner continental au NationalGallery of Art (musée national desbeaux-arts). Après, on les conduiradans les salles du musée, où les col -lections comprennent des œuvres deLéonard de Vinci, Raphaël, Rembrandt,Vermeer, Goya, Ingres et Delacroix,pour n’en nommer que quelques-uns.Après la visite du musée national desbeaux-arts, un autocar emmènera toutle monde visiter la demeure de GeorgeWashington : le domaine et les jardinsde Mount Vernon. Au retour de leurjournée complète de visites, les invités –et les membres de l’IAMFA – appré -cieront une scintillante activité ensoirée. Cette dernière comprendra unevisite de monuments en autocar, au

Aquí están algunos de los tesorosnacionales a los cuales tendrán laoportunidad de visitar durante laconferencia de este año.

• La Galería Nacional de Arte

• La Biblioteca del Congreso

• El Centro de Visitas para el Capitolio

• El Museo Nacional de la HistoriaNatural

• El Acuario Nacional

• El Zoológico Nacional

• Mount Vernon

Como pueden ver con este pantallazo,planeamos un programa emocionanteque incluye una selección diversa deeventos para su esparcimiento.

El programa de invitados empezaráel domingo, el 1 de Noviembre, en elMuseo de Arte de Baltimore. Mientraslos miembros de IAMFA participanen el seminario anual de evaluacióncomparativa, sus invitados tendrán laoportunidad de explorar el Museode Arte de Baltimore y disfrutar desu mejor comida de mariscos. Ademásverán un espectáculo en vivo de delfinesen el Acuario Nacional antes de regresara Washington, D.C. para la ceremoniade apertura de la conferencia.

El lunes, los invitados disfrutaránde un desayuno estilo continental enla Galería Nacional de Arte. Despuésdel desayuno, los invitados irán a unagira con guía por la Galería Nacional,donde las colecciones incluyen lasobras de Leonardo da Vinci, Raphael,Rembrandt, Vermeer, Goya, Ingres yDelacroix, para nombrar unos cuantossolamente. Después de su gira de laGalería Nacional de Arte, todos mon -tarán un autobús para ir a visitar la casade George Washington: La Estancia ylos Jardines de Mount Vernon. Despuésde regresar de su día completo devisitas, los invitados—en conjunto conlos miembros de IAMFA—disfrutaránde un evento nocturno reluciente. Lanoche incluirá una gira de los monu -mentos conmemorativos en autobús,durante el cual verán muchos de losmás importantes de los Estados Unidos,en diferentes puntos de la ciudad. Elpaseo en autobús parará en algunosde estos monumentos de renombrecomo el Monumento Conmemorativo

The National Gallery of Art in Washington,D.C. is home to one of the world’s finestart collections, including this painting byFrench artist Elisabeth-Louise Vigée Le Brun(1755–1842): The Marquise de Pezay andthe Marquise de Rougé with Her Two Sons,1787.

Le National Gallery of Art (musée nationaldes beaux-arts), à Washington (D.C.), abritel’une des plus belles collections d’œuvresd’art du monde, notamment cette peinturede l’artiste française Louise Élisabeth VigéeLe Brun (1755-1842) : La marquise dePezay et la marquise de Rougé avec sesenfants, 1787.

La Galería Nacional en Washington, D.C. esla sede de una de las mejores colecciones dearte del mundo, e incluye esta obra pintadapor la artista francesa Elisabeth-Louise VigéeLe Brun (1775-1842): El Marques de Pezayy la Marquesa de Rougé con Sus Dos Hijos,1787.

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PAPYRUS SUMMER/FALL 2009 13

show at the National Aquarium beforeheading back to Washington, D.C. forthe conference’s opening ceremony.

On Monday, guests will enjoy acontinental breakfast at the NationalGallery of Art. After breakfast, guestswill be led on a tour of the Gallery, wherecollections include work by Leonardoda Vinci, Raphael, Rembrandt, Vermeer,Goya, Ingres and Delacroix, to name buta few. After the tour, guests will boarda bus to visit George Washington’shome: the Mount Vernon Estate andGardens. Upon returning from theirfull day of touring, guests—along withIAMFA members—will enjoy a sparklingevening event. The evening will includea Monument bus tour, during whichyou will see many of the United States’most prominent monuments, locatedthroughout the city. The tour bus willstop at some of these well-known monu -ments, including the Vietnam Memorialand the World War II Memorial, allow -ing everyone to stretch their legs beforeyou settle in for the evening.

On the third day, the guest andmember programs overlap, allowing

cours de laquelle vous verrez plu sieursdes monuments les plus importantsdes États-Unis, situés à la grandeur dela ville. L’autocar s’arrêtera à certainsde ces monuments notoires, dont leVietnam Memorial (monument com -mémoratif du Vietnam) et le WorldWar II Memorial (monument commé -moratif de la Seconde Guerre mon -diale), question de vous dégourdir lesjambes avant de regagner vos quartierspour la nuit.

La troisième journée, le programmedes invités et celui des membres sechevauchent, permettant à tous devisiter les mêmes endroits. Les invitéset les membres commenceront lajournée par un tour du tout nouvelU.S. Capitol Visitor Center (centred’accueil du Capitole), situé dans lecomplexe du Capitole. Après avoir prisla mesure de la vigueur du Capitole,tout le monde se dirigera vers laLibrary of Congress (Bibliothèquedu Congrès) pour une grande visitede l’installation, suivie d’un repas surplace. À la Bibliothèque du Congrès,tout le monde pénétrera dans le plus

de Vietnam y el Monumento Con -memo rativo de la Segunda GuerraMundial, para darles una oportunidadpara estirarse antes de acostarse.

El Tercer Día, los programas de losinvitados y de los miembros se unen,y así permiten que todos visiten losmismos lugares. Los invitados y miem -bros por igual empezarán el día conuna gira del nuevo Centro de Visi tantes,situado en el complejo del Capitoliode los Estados Unidos. Después deexperimentar la vitalidad del Capitoliode los EEUU todos se encaminarán ala Biblioteca del Congreso para unavisita especial, seguido por un almu -erzo en el sitio. En la Biblioteca delCongreso, todo el mundo apreciará lainstitución cultural federal más antiguadel mundo, donde se almacena lacolección bibliotecaria más grande delmundo. No obstante, el día todavía nose acaba; después de visitar la Bibliotecadel Congreso, los invitados se dirigiránal Museo de Historia Natural delInstituto Smithsonian. Aquí, se les pre -sentará la oportunidad de ver variasexhibiciones, incluyendo el famosodiamante Hope y la imponente Galeríade Sant Ocean, solamente para nom -brar algunas. Al terminar su gira delmuseo, todo el mundo verá una pelí -cula en el teatro IMAX, así conclu yendolas actividades programadas para elTercer Dia. Después de ver la película,todo el mundo podrá aprovechar de unrato libre para emprender sus propiasaventuras—o descansar temprano enpreparación del Cuarto Día.

El Cuarto Día empieza con una giraal Parque Zoológico Nacional delInstituto Smithsonian, que se fundóhace un siglo. En el zoológico, losinvitados podrán visitar el Camino deAsia, donde se encuentra la Casa delos Osos Panda, y vislumbrar al jovenoso, Tai Shan. Luego podrán parar enla tienda de regalos y, tal vez surja laoportunidad de charlar con algunode los cuidadores de los osos panda.Después de visitar al Zoológico Nacional,los invitados viajarán a la ResidenciaHillwood, su Museo, y Jardines. Hillwoodes la antigua residencia de la SeñoraMarjorie Merriweather Post, herederade la fortuna del cereal Post. Durantesu visita a Hillwood, los invitados pas -earán por los exuberantes jardines y

The National WWII Memorial in Washington, D.C. The Second World War is the onlytwentieth-century event to be commemorated on the National Mall’s central axis.

Le National WWII Memorial (monument commémoratif national de la Seconde Guerremondiale) à Washington (D.C.). La Seconde Guerre mondiale est le seul évènement duXXe siècle à être commémoré dans l’axe central piétonnier National Mall.

El Monumento Conmemorativo Nacional de la Segunda Guerra Mundial en Washington,D.C. La Segunda Guerra Mundial es el único acontecimiento del siglo veinte conmemoradoen el axis central del Mall Nacional.

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14 PAPYRUS SUMMER/FALL 2009

everyone to visit the same venues.Guests and members alike will beginthe day with a tour of the brand newU.S. Capitol Visitor Center, located inthe U.S. Capitol complex. After expe -riencing the vibrancy of the U.S. Capitol,everybody will proceed to the U.S.Library of Congress for a grand tour ofthe facility, followed by lunch on-site.At the Library of Congress, everyonewill take in the oldest federal culturalinstitution in the United States, whichhouses the largest library collectionin the world. The day isn’t over yet,however: after visiting the Library ofCongress, guests will head over to theSmithsonian Institution’s NationalMuseum of Natural History. Here, theywill get a chance to see several exhibits,including the infamous Hope Diamondand the breathtaking Sant Ocean Hall,just to name a few. Upon completingtheir tour of the museum, everyonewill view a movie in the IMAX Theater,bringing Day Three’s scheduled pro -gramming to a close. After viewingthe film, everyone will be able to takeadvantage of some free time to ventureout on their own—or get a headstarton resting up for Day Four!

Day Four begins with a visit to theSmithsonian National Zoological Park,which was founded more than a cen -tury ago. At the zoo, guests will visitthe Asia Trail, where the Panda Houseis located, and get a glimpse of theyoung panda, Tai Shan. Then they canstop at the gift shop and, perhaps, geta chance to talk with one of the panda -keepers. After touring the NationalZoo, guests will travel to the HillwoodEstate, Museum, and Gardens. Hillwoodis the former estate of Mrs. MarjorieMerriweather Post, heiress to the Postcereal fortune. During their visit toHillwood, guests will tour the lushgardens and have an opportunityto view some of Post’s collection ofRussian imperial art—the most compre -hensive collection outside of Russiaitself. After touring, guests will relaxand enjoy a fine lunch catered by theHillwood Café before heading backto prepare for the evening’s formalIAMFA Gala. The Gala, held in thebreathtaking U.S. Library of Congress’sThomas Jefferson Building, will be an

vieil établissement culturel fédéral desÉtats-Unis, qui abrite la collection delivres la plus volumineuse du monde.Mais la journée n’est pas encore finie :après la visite de la Bibliothèque duCongrès, les invités mettront le capsur le National Museum of NaturalHistory (musée national d’histoirenaturelle) du Smithsonian. Ici, ilsauront l’occasion de voir plusieursexpositions, notamment le diamantmaudit Hope et l’époustouflante sallesur l’océan Sant Ocean Hall, pour n’ennommer que quelques-unes. Aprèscette visite, tout le monde sera invité àvoir un film au théâtre IMAX, sur quoiprendra fin cette troisième journée« programmée ». Après le film, chacuneet chacun pourront profiter d’un tempslibre pour faire ce qui leur plait – ouprendre une longueur d’avance et sereposer en vue de la quatrième journée!

La quatrième journée commencepar une visite au National ZoologicalPark (jardin zoologique national)du Smithsonian, qui a été fondé il ya plus d’un siècle. Au zoo, les invitésvisiteront l’Asia Trail (piste de l’Asie),où se trouve le pavillon des pandas, etjetteront un coup d’œil à Tai Shan, lepetit panda. Puis ils pourront s’arrêterà la boutique de cadeaux et, peut-être,avoir la chance de discuter avec unedes personnes qui s’occupent despandas. Après la visite au zoo national,les invités se rendront au domaineHillwood Estate pour visiter le muséeet les jardins. Hillwood est l’anciendomaine de Mme Marjorie Merri weatherPost, héritière de la fortune des céré -ales Post. Durant leur visite du domaineHillwood, les invités feront le tour desjardins luxuriants et auront la chancede voir quelques œuvres de la collectiond’art de la Russie impériale des Post –la collection la plus complète à l’exté -rieur de la Russie même. Après la visite,ce sera l’heure de la détente pour lesinvités, et ils se délecteront d’un délicatgoûter préparé au Hillwood Café avantde repartir pour aller se préparer pourla soirée de gala officielle de l’IAMFA.La soirée, qui aura lieu dans le superbeédifice Thomas Jefferson de la Biblio -thèque du Congrès, sera un évènementde premier ordre plein d’animationpour tous.

verán parte de la colección de la Sra.Post de Arte Imperial Ruso—la colec -ción más impresionante fuera de Rusia.Después del paseo, los invitados podránrelajarse y disfrutar de un fino almu erzosuministrado por el Café Hillwoodantes de regresar para alistarse para lagala formal en la noche de clausura.Esta gala, planeada en el Edificio deThomas Jefferson de la Biblioteca delCongreso de Estados Unidos, será unevento elegante lleno de emoción paratodos los que asistan.

Esta gala espectacular concluye elprograma oficial; no obstante, si deseanpueden agregar un día adicional deactividades de programación plani fi -cada a su visita al área de Washington,D.C. Para este día adicional, se hanorganizado algunas actividades inol vi -dables que estarán disponibles a uncosto módico. Estas actividades empi -ezan el jueves por la mañana con unpaseo pintoresco en autobús a lasladeras de las Montañas de Blue Ridgeen Culpeper, Virginia. Una vez enCulpeper, los invitados podrán visitar alcentro de Conservación del Congreso.Después de visitar al Centro de Con -servación, se dirigirán al premiadoViñedo y Cava de Prince Michel, donderecorrerán el Viñedo y gozarán de unalmuerzo en ese entorno pintoresco.A esa hora, habrá una cata de vinos—que debe complacer tanto a expertosen vinos como a los aficionados.

¡Y todavía el día no se ha acabado!Después de salir de Prince Michel,

One of the giant pandas at the NationalZoo in Washington, D.C.

Un des grands pandas au jardin zoologiquenational à Washington (D.C.).

Uno de los osos panda del ZoológicoNacional en Washington, D.C.

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PAPYRUS SUMMER/FALL 2009 15

elegant event full of excitement foreveryone in attendance.

The spectacular Gala concludes theofficial guest program; however, guestsmay wish to add an additional day ofplanned programming to their visit tothe D.C. area. For those who plan tostay an additional day, some unfor get -table activities will be available at amodest cost. The optional day beginson Thursday morning with a scenicbus ride to the foothills of the BlueRidge Mountains in Culpeper, Virginia.Once in Culpeper, guests will visit theLibrary of Congress ConservationCenter. After touring of the Conser -vation Center, guests will head to theawardwinning Prince Michel Vineyardand Winery, where they will tour thevineyard and enjoy lunch in pictur -esque surroundings. At this time, winesampling—which should please bothconnoisseurs and novices alike—willbe made available.

The day’s planned activities con -tinue, even after two enjoyable tours,lunch and wine-tasting. After leavingPrince Michel, everyone will departfor the Smithsonian Institution Udvar-Hazy Air and Space Museum. At theUdvar-Hazy, guests will get a chanceto see the Space Shuttle Enterprise, theGemini VII space capsule, and even theMobile Quarantine Unit used uponthe return of the famed Apollo 11 crew,among other fascinating aviation andspace artifacts.

If this is your first time visiting theWashington, D.C. area—or even if youare a returning visitor—the IAMFAD.C. Metro Chapter is sure that there issomething for every interest in its guestprogram. Autumn in the Washington,D.C. area is quite pleasant, with com -fortable temperatures that averagea high of 57 degrees Fahrenheit(14 degrees Celsius) and a low of40 degrees Fahrenheit (4.5 degreesCelsius). Come prepared with walkingshoes, and be ready to enjoy friends—old and new—at the IAMFA 2009Annual Conference in Washington,D.C. We look forward to seeing youin November!

Le spectaculaire gala met fin au pro -gramme officiel des invités. Toutefois,ceux-ci peuvent ajouter une journéesupplémentaire d’activités planifiées àleur visite de la région du D.C. Pourcelles et ceux qui projettent de resterune journée additionnelle, des activitésinoubliables seront offertes à coûtmodique. La journée facultative com -mence le jeudi matin par une pro -menade pittoresque en autocar versCulpeper (Virginie), situé dans lescontreforts des Blue Ridge Mountains.Une fois à Culpeper, les invités visi te -ront le centre de conservation de laBibliothèque du Congrès. Après cettevisite, ils se déplaceront vers le vignobleprimé Prince Michel Vineyard andWinery, où ils visiteront le vignoble etprofiteront d’un repas dans un envi -ronnement pittoresque. À ce moment,une dégustation de vin – qui devraitplaire tant aux connaisseurs qu’auxnovices – sera offerte.

Les activités prévues pour la journéese poursuivent, même après deux visitesagréables, un goûter et une dégustationde vin. Après avoir quitté Prince Michel,le groupe partira pour l’Udvar-HazyAir and Space Museum (musée del’air et de l’espace Udvar-Hazy) duSmithsonian. À cet endroit, les invitésauront l’occasion de voir la navettespatiale Enterprise, la capsule spatialeGemini VII et même la caravane dequarantaine utilisée au retour ducélèbre équipage d’Apollo 11, entreautres artefacts fascinantsreprésentant l’espace et l’aviation.

S’il s’agit de votre première visitedans la région de Washington (D.C.) –ou même si vous visitez à nouveau larégion —, la section régionale métro -politaine du D.C. de l’IAMFA peutvous assurer qu’il y en a pour tous lesgoûts dans son programme pour leshôtes. L’automne, dans la région deWashington, est très plaisant; destempé ratures maximales confortables sesituent en moyenne à 14 °C (57 ºF) et à4,5 °C (40 ºF) au minimum. N’oubliezpas d’apporter vos chaussures demarche et préparez-vous à rencontrerdes amis – anciens et nouveaux – auCongrès annuel 2009 de l’IAMFA àWashington (D.C.). Nous avons hâtede vous voir en novembre!

todos irán al Museo de Udvar-Hazyde Aviación y el Espacio del InstitutoSmithsonian en donde podrémosapreciar el trasbordador Enterprise,la capsula espacial de Gemini VII, einclusive la unidad móvil de cuaren tenautilizada al regreso de la tripulación delfamoso Apollo II, entre otros artefactosfascinantes de la aviación y espacio.

Si es la primera vez que visitan alárea de Washington, D.C.—o aun si lohan visitado antes—los miembros delcapitulo de IAMFA de Washingtonestán seguros que este programa lebrinde algo de interés a cada parti ci -pante. El otoño en Washington, D.C.es muy agradable y las temperaturasoscilan entre un máximo de 57 gradosFahrenheit (14 grados Celsius) y unmíni mo 40 grados Fahrenheit(4.5 grados Celsius). Traigan zapatoscómodos para caminar y prepárensepara disfrutar de las viejas y nuevasamistades en la Conferencia Anual de2009 de IAMFA en Washington, D.C.¡Estamos con ganas de volver a verlosa todos en noviembre!

Hillwood Estate, Museum, and Gardens.Hillwood is the former estate of Mrs.Marjorie Merriweather Post, heiress tothe Post cereal fortune.

Le musée et les jardins du domaine HillwoodEstate. Hillwood est l’ancien domaine deMme Marjorie Merriweather Post, héritièrede la fortune des céréales Post.

La Residencia Hillwood, Su Museo y susJardines. Hillwood es la antigua residenciade la Señora Marjorie MerriweatherPost, heredera de la fortuna del cerealmarca Post.

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

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

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

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

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

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

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

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

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

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

YES! I would like to join IAMFA as a:

� Regular Member $150 � Retired Member $ 50

� Affiliate Member $ 50 � Subscribing Member $300

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

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

� I enclose a check in the amount of $ ____________________

� Please invoice me

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

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

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

Website: www.iamfa.org

Become a Member of IAMFAAnd get a friend to join

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PAPYRUS SUMMER/FALL 2009 17

How, then, do you reduce usageto offset increasing costs? There areseveral ways: upgrade old fixtures;stop leaks; eliminate the need to runseveral gallons of water into the sewerto get it hot; eliminate running waterunnecessarily; eliminate using potablewater for landscaping; perform deferredmaintenance; and promote properconservation with signage at the pointof use. Each of these improvements hasa one-time cost, but institution alizesbenefits so that savings repeat yearafter year.

The first step is to measure usage.You need to know not just total usage,but how it is distributed among variousareas in order to effectively control it.Some methods for measuring rest roomwater include: plumbing manufacturers’online calculators based on number,type and age of fixtures; dimensionsof fixtures such as toilet tanks, con -verted into gallons; scoop and bucket,emptying water into a container ofknown size; siphoning into a containerof known size; timing flow of faucetsinto a container of known size; andsub-metering.

Of these various options, sub-metering products (see examples inFigure 1) offer distinct improvements

in the way usage is measured. Avail -able features include: wireless inlinemeters; battery-operation with 4,000-hour battery life; typical 1- and 2-inchpipe sizes with capacity up to 300 gpm;digital instantaneous flow rate andresettable total flow; auto-sleep whenflow stops, auto-on when flow resumes;easy installation; and low maintenance—for example, changing batteriesrequires removing four screws, replac -ing batteries and replacing four screws.Also, for large piping networks, thereare wired meters that can be moni toredfrom a central computer for an entiremulti-building or campus-type complex.

Some uses for sub-metering are:total building or area flow; individualfixture flow; and detecting and mea -suring leakage cost. For example, tomeasure leakage: read the meter, thenread it again in two hours. If the leakagewas 40 gallons, and the rate is $7 per1,000 gallons, cost per year is:

40 x 4,380 (two-hour periods in ayear) x $7/1,000 = $1,226 annual loss(improvement opportunity)

Plumbing fixtures can contributesignificantly to a water conservationplan—especially if your building is30–40 years old, as is the case for thou -sands of facilities throughout the U.S.In 1992, the Federal Energy Policy Actmandated new maximum flow ratesfor all new and upgraded fixtures asfollows: faucets—2.5 gpm maximum;showerheads—1.5 gpm; toilets—1.6 gal -lons per flush; and urinals—1 gpf. Com -pared to pre-1990s fixtures, these ratesrepresent a reduction of 75–80% inwater usage. In addition, newer high-efficiency toilets (HET) are rated at1.28 gpf, and waterless urinal up gradeshave typically saved 10,000–40,000gallons per year.

Some early fixture changes did notmeet expectations because older bowl

Lean Green Means Museum RestroomSustainability and SavingsBy Thomas A. Westerkamp

Figure 1: Inline digital sub-metering systems.

With budgets extremely tightthese days, it is a challengefor museum facility managers

to continue facility upgrades while alsokeeping costs in line. Restrooms areoften key to how staff and visitors eval -u ate the entire museum experience.As such, restrooms present an oppor -tunity for us to showcase our sustain -ability efforts as we reduce costs, earnhigh marks with users, and increaseattendance.

This article describes how to balancetechnical performance, environmentalimprovements, and cost reduction in awinning combination that will enhancesustainability and visitor appeal, andheighten the support of managementwhen it comes time to approve bud -gets. The article focuses on threeconservation areas in particular:

• Water conservation

• Supply conservation

• Maintenance and laborconservation

Water ConservationFacility managers in the U.S. faceincreasing water conservation chal -lenges as water and sewage ratesincrease across the country. Over thepast decade, rates have increased anaverage of 7 percent each year, ulti -mately doubling water and sewagecosts. Rates in the U.S. are currentlybetween $3 and $15 per thousandgallons. Since annual rate increaseswould meet with strong consumer resis -tance, rates remained constant for along time, then increased all at once.Shocked consumers have experienced100% year-over-year increases in someareas. As a result, doing nothing aboutwater conservation will automaticallyincrease costs against already strainedbudgets. Rates are not under our directcontrol—but usage can be.

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designs were not compatible with newlow-flow valves. HET valves, for example,may require new bowl designs (seeFigure 2). Bowls now have the flowrate permanently imprinted on therim. Other water-saving innovationsinclude auto-flush valves to replacetime-actuated valves, and dual flushvalves that operate in one directionfor flushing liquids, and the oppositedirection for flushing solids.

New sensor-operated sink faucetscan be wired, battery-operated, oroperated by photovoltaic cell. Thelatter offers energy savings, too. Inte -grated into the lavatory top, PV cellsdraw their energy from restroom light -ing. They provide no-touch operationvia motion sensors, require no battery ormaintenance, and reduce water usage.

Supply ConservationSupply conservation—efficient use ofpaper products, dispensers and clean ingchemicals—offers further lean-greenmeans. For example:

Paper ProductsRolls of tissue and paper towels withhigher sheet counts are less costly,reduce the need for low-inventorychecks, and reduce instances of emptydispensers. Measuring full-roll sheetcount should be done periodically toensure you are getting what you payfor. Switching to air hand-dryers elimi -nates towel inventory cost, eliminatesfilling empty dispensers and emptying

waste receptacles, so you save bothinventory and maintenance costs.

DispensersSwitching from liquid to foam soapsaves in two ways: less soap is used,and pipes do not clog as often withsoap and other build-up. Measuringsoap dispenser flow and installingrestrictors will also reduce the cost ofsoap and maintenance. Updating totouchless towel dispensers operated byproximity sensor, or center-pull toweldispensers, improves sanitation andeliminates waste.

Translucent dispensers offer instantvisibility for re-supply checks, makingstock-outs less likely and reducing cus -todial time. In addition, cartridge typesoap replacements eliminate pouringtime. Positioning the soap dischargespout over the sink bowl saves cleaningtime by eliminating the need to cleanexcess soap from the sink counter.

New proximity-sensor air hand-dryersuse high-velocity, short cycle times. Theydry hands in 10–15 seconds and use80% less energy. Similar units are in -stalled in the Design Museum of Londonand the Science Museum of London.

Dispensers for sanitary productsoffer dual channels, allowing the userto select from two product choices.

Low-stock lights warn when re-supplyis needed. Many sanitary products areflushable, but not all. A fairly frequentoccurrence of clogged toilets and over -flows is experienced in some high-traffic facilities. Wet floors can be ahealth-and-safety issue, and createincon venience to users and highermaintenance costs to unclog the toilet,mop up, sanitize, and dry fixtures andthe floor. Point-of-use signage andtouchless waste product disposal canencourage proper disposal and improveuser comfort, while also reducing costs.

Very short-cycle toilet seat sanitizersare another innovation. They spray theseat and dry it in less than ten seconds,making it quickly ready for reuse. Inaddition to improving hygiene, theyalso save on tissue or seat covers usedfor this purpose, and reduce cloggingand the amount of water required forflushing paper products.

The program being implementedat the Museum of Science and Industry(see Figure 3) in Chicago, on the shoresof Lake Michigan, is a good exampleof progress in restroom upgrades,despite budgetary constraints. One ofthe features in their recent restroomupgrades is the replacement of 24 exist -ing urinals with waterless urinals. Theseuse cartridges containing blue odor-

Figure 2: Upgraded bowl design ensuresHET flush valve effectiveness.

Figure 3: The Museum of Science and Industry in Chicago.

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sealing fluids that have a capacity of7,500 uses before fluid replacement isnecessary. They are estimated to save750,000 gallons of water per year, easilyjustifying their cost. Another innovationat the Museum is their greywater recy -cling program, that will collect andfilter sink water, recycling it to flushtoilets. Significant savings in electricalenergy are also expected from lightswitches in the restrooms, which areactivated by motion sensor.

Cleaning ChemicalsTwo important rules for custodiansusing cleaning chemicals are: wearpersonal protective equipment (PPE),and know the contents of MaterialSafety Data Sheets for all products used.

The best cleaning chemicals removesoil quickly and easily; remove bacteria,germs and viruses; leave a fresh, cleanappearance; are safe for custodians andoccupants; are safe for the environment;and are cost-effective.

Cleaning and sanitizing chemicalsare expensive. A gallon of cleaner/disinfectant costs far more than agallon of paint, and doesn’t last nearlyas long. A few basic rules can go a longway toward savings:

• Use mild cleaners for daily cleaning.

• Reserve heavy-duty cleaners forweekly or less frequent cleaning.

• Avoid toxic or environmentallyharmful ingredients.

• Prioritize as follows: no chemicals,where possible, then green chemicals;always less chemicals.

• Measuring concentrates carefully,not estimating, saves $$$$.

• Do a base lab assessment and periodiclab checks to test effectiveness ofcleaning.

One example requiring no chemicalsis cleaning restroom mirrors. Plainwater and a squeegee will save cleaner,reduce paper towel use, reduce fullwaste receptacles, and is safer with lesschemical exposure. Another exampleis cleaning clogged drains. Periodicuse of chemicals for unplugging sinksand toilets and cleaning drain lines maybe necessary; however, if you notice

continued increase in use of thesechemicals, it’s probably time to do athorough cleanout with mechanicalcleaners such as snakes or augers, thatcan open up narrowed lines andreduce the cost of chemicals.

An innovative floor cleaning systemis also receiving excellent reviews. Thetouchless water cleaner uses plain wateras the floor-cleaning agent. The wateris electrically charged and suffusedwith oxygen bubbles, and separatesinto negatively and positively chargedwater, which provides the acid sanitizerand alkaline cleaner, respectively. Whenthe sanitizing and cleaning cycles arecomplete, the water is removed andreturned to ordinary water, which canbe recycled and filtered for reuse asnon-potable toilet water.

An indoor pressure washer/dryercan be used to clean and sanitize sinks,toilets, fixtures, walls, partitions andfloors. It combines a chemical pro -portioning injector, a pressure washer,and vacuum drying in a single unit(see Figure 4). The chemical propor -tioner is first used to spray the cleaner/sanitizer on the surface. Then the pres -sure washer sprays high-velocity waterto remove dirt and bacteria, flushingit onto the floor. Finally, the surface isvacuum-dried, removing the dirt- andbacteria-laden water. This process leavesthe cleaned and sanitized floor 60 timescleaner than the mop-and-bucket

method, and nearly dry. The totalcycle time is much shorter, requiringless labor, no contact with dirty water,and the restroom can be returned toservice with less inconvenience to users.

“Clean, sanitize and verify” is thebest way to ensure that your processprotects the health of employees andvisitors alike. Periodic sampling ofsurfaces with a hygiene monitoringsystem is a good follow-up procedure,along with periodic checks by an out -side lab. With a typical hygiene moni -toring system (see Figure 5), thetechnician applies a swab to collecta sample of the surface and places itin a swab tube. A chemical reagent isbroken into the sealed tube, flowingonto the swab sample. The tube is theninserted into the hand-held meter, andthe digital readout records the level ofadenosine triphosphate (ATP): a mole -cule found in all animal, bacterial,mold, plant, and yeast cells.

Maintenance Material andLabor ConservationHere is an example of how sub-meter ingcan be used to improve the planningand scheduling of maintenance, whilealso improving sustainability and sav -ings. By measuring total flow and sub-meter flows, facility managers can doPareto analyses showing user volumeas a percentage of total from greatest

Figure 4: Touchless cleaning with cleaner,sanitizer, vacuum.

Figure 5: This hygiene monitoring systemmeasures ATP levels.

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to least, allowing them to prioritizeimprovements. Quick savings upfrontcan pay for later, more time-intensiveimprovements. For example, if fixtureleaks and high traffic combine to makea lobby restroom a 1,000,000-gallonuser—10 percent of an institutionaltotal of 10,000,000 gallons—fixingthese leaks and upgrading this rest -room will have a major impact oncost. The savings generated can thenbe applied to other upgrades, priori -tized according to the Pareto analysis:areas of greatest benefit first.

Another way to use this same tech -nique is to apply the Pareto analysis toequipment history records. Assumingyou keep accurate and complete laborand material history as a part of thework order system, make a list of allrestrooms in descending order ofmaintenance and custodial cost. Drillinto this information to find out whyrestroom A—the costliest to main -tain—is consuming so much of themaintenance budget. If, for example,the problem is old (pre-1990s) fixturesthat require a lot of attention—notethat they also create very high waterusage, and that upgrades offer a 75–80%reduction in water use—then this isfurther justification for making an up -grade of this restroom a high priority.This will not only reduce water cost,but will also reduce maintenance laborand material costs.

As a sustainability program unfolds,successful facility managers recordstandard practices for all restrooms ina facility. The typical standard practicesdocument contains the following:

• Standard vendor sources

• Uniform materiel and fixtures

• Aesthetic criteria

• Standard design guidelines

• Standard signage

• A continuous restroom cost improve -ment program, based on a formalplanning function and standardmaintenance and custodial routes,methods and times

• Built-in compliance with NFPA,ADA, OSHA, EPA

• Annual review policy and auditpractices

Standard Vendor SourcesManagement should determine stan -dard sources for each category ofmateriel: accessories such as partitions,fixtures, dispensers, cleaning chem -icals, and supplies. These sourceswould be rated based on service,quality, on-time delivery, and price.Benefits include:

• Vendor stock to reduce your in-housestocking space needs

• Annual contracts = quantity discounts

• Inventory cost reduction

• Known lead times

• High availability when vendorknows your usage

• Low cost

• Better, more consistent quality andservice

Full-utilization maintenance sched -uling—that is, ensuring that all main -tenance technicians and custodianshave a full day’s work every day—requires constant attention. It mighthelp to consider the following missionstatement as a focus for your cost-savingsprogram:

The mission of the FacilitiesDepartment is to provide optimal:

• Quantity and

• Quality of maintenance service

• On time

• Safely

• At a reasonable cost

One of the major challenges for main -tenance managers is to properly balanceall five of these goals.

Supervisor SchedulingResponsibilitiesSupervisors’ responsibilities play amajor role in effective scheduling ofrestroom maintenance, and can bedivided into two categories: develop -ment and utilization. Supervisorsdevelop staffing by doing skill-gap

analyses, and by recommendingtraining customized to filling the gapbetween the skills an individual workeralready has against those he or shestill needs. Training can be providedby a combination of staff, on-the-jobtraining, and vendor-conductedinstruc tion. Line supervisors shouldspend most of their time visiting jobsites to ensure full utilization of theirmaintenance and custodial workers.Their time should be spent mainlyobserving and verifying that crewshave enough work scheduled eachday; are assigned and dispatched in atimely manner; are not experiencingdelays; and are using effective andefficient methods. Such observationsoffer a goldmine of ideas for improv -ing maintenance and the delivery ofcustodial services.

Plan for High Productivity Productivity is a combination of utiliza -tion (time spent working); methods(methods used as compared to goodindustry practice), and performance(pace while working, which is a combi -nation of skill and effort). Many work-sampling studies have confirmed that,in the absence of formal planningbased on standard methods and times,productivity will tend to be about50%—that is, four hours’ actual workcompleted for eight hours’ pay. Of thethree factors, utilization and methods—which are controllable by manage -ment—typically offer the greatestopportunity for improvement.

The first step successful facilitymanagers take in planning for highproductivity is to update planning andscheduling processes to ensure daily,full-utilization scheduling for eachworker. This includes using a formalplanning function and standard routes,methods and times to determine a fullday’s work for a full day’s pay. Knowingthese standard methods, and develop -ing worker skills, results in continuousimprovement, better quality andquantity of work, timely completion,greater safety and lower costs. Lean,green restrooms save a lot of money.

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PAPYRUS SUMMER/FALL 2009 21

Schedule to Maintain AccessOne key to effective scheduling ofrestroom maintenance is to providea high level of restroom availability,thereby minimizing inconvenience tousers. One way of doing this is design -ing the layout of high traffic restroomswith this principle in mind by dividingthe restroom into two separate, dupli -cate, adjoining spaces. During high-traffic times, both spaces are in use.In an emergency, such as clearing aclogged toilet, one side is blocked offwhile the other remains in use. Routinedaily maintenance is carried out dur -ing low-traffic times by alternatelyblocking off one side, then the other.

SummaryThis article shows how lean, greenrestrooms can translate into sustain -ability and savings. Facilities managerscan conserve water, conserve suppliesand conserve maintenance labor andmaterials while promoting and en hanc - ing user satisfaction, providing a comfor -table visitor experience, and increasingmuseum attendance. Pro gram costsare one-time; program benefits arelasting—repeating year after year,and far exceeding costs to provide asubstantial return on investment.

Thomas A. Westerkamp is CEO andManaging Partner of Productivity NetworkInnovations L.L.C., and is one of America’sleading authorities on maintenancemanagement as well as author of theMaintenance Manager’s Standard Manual.

Additional Resources• American Water Works

Association, www.awwa.org

• ANSI/ASME A112.19.9 HydraulicPerformance Requirements forWater Closets, www.ANSI.org

• Design innovations,www.bestrestrooms.com

• Public Restroom Design Guidelinesand Specifications, Los AngelesWorld Airways, July 2008,www.lawa.org

• U.S. Green Building Council, LEEDRating System, www.usgbc.org

Reserve this space toadvertise in a future

issue of Papyrus

Please contact theEditor of Papyrus

for details

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22 PAPYRUS SUMMER/FALL 2009

architect Guy Lowell for the Museum, which first openedon November 9, 1909. The reopening of the entrance marksan important milestone in the MFA’s history and in thisvisionary building project designed by Foster + Partners(London).

The Museum of Fine Arts, Boston, was founded in 1870,and the original building at Copley Square opened onJuly 4, 1876. To accommodate its growing collection, the MFAmoved to its current location at 465 Huntington Avenue,where it opened on November 9, 1909. Throughout the

The Museum of Fine Arts,Boston Reopens its HuntingtonAvenue EntranceBy David Geldart

On April 23, 2009, the grand Huntington Avenueentrance to the Museum of Fine Arts, Bostonreopened to the public during a special ceremony.

The entrance, which had been closed for renovations sinceJune 2008, now features extensive new landscaping, as wellas a handsome plaza of Deer Isle Granite that is twice thesize of the previous plaza. Renovations have made theentrance fully accessible, and amenities have been addedto enhance the visitor experience. The redesign comple -ments the classic Beaux Arts façade originally conceived by

The new Museum of Fine Arts plaza and entrance on Avenue of the Arts.

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PAPYRUS SUMMER/FALL 2009 23

past century, visitors from around the world have cometo view the Museum’s encyclopedic collection of nearly450,000 works of art. The Huntington Avenue entrance tothe MFA closed in July 1990 for economic reasons, but wasreopened by Malcolm Rogers in April 1995—shortly afterhis appointment as the Museum’s director—as a symbolof the MFA’s commitment to surrounding communities.During a ceremony in 1998, Huntington Avenue wasdedicated as the “Avenue of the Arts” by Boston’s MayorMenino and Malcolm Rogers.

The reopening of the entrance restores the Museum’scentral spine, as originally conceived by Guy Lowell in his1909 plan. This central axis extends north from the entranceon the Avenue of the Arts to the State Street CorporationFenway Entrance (which opened in June 2008), over look -ing the Back Bay Fens. The renovation of the entranceis one of many elements in the Museum’s multifacetedBuilding Project, slated for completion in late 2010.

The changes to this entrance enable it to be fully accessible,increase its visitor amenities, and make it more beautifuland inviting with an enlarged plaza, new lighting, and land -scaping. The entrance includes ramps on either side of themain stairs, automated doors, graded floors, and wide entry -ways leading into the foyer. A grant from Bank of Americasupported these design elements as well as the Museum’songoing Access Programming: a series of services andofferings that engage participants of all ages and abilitiesin the life of the Museum.

The Museum’s enlarged semi-circular driveway is pavedwith Deer Isle Granite from the same quarry in Maine asthe granite used for the Museum’s original façade. Theplaza in front of the entry—now doubled in size and alsomade of Deer Isle Granite—is enhanced with new lighting.Continuing in its place of prominence overlooking the Avenueof the Arts is Cyrus Dallin’s bronze sculpture, Appeal to theGreat Spirit (1909). On either side of the entrance, two longgranite benches, lit from below, provide seating, and behindthese are two newly planted Kwanzan cherry trees, approx -

imately 20 feet tall, as well as more than 150 yew bushes thathave been placed along the grassy areas surrounding theMuseum entrance. New granite steps and lighted brass hand -rails lead to the front doors, which are flanked by raisedplinths. Each plinth features s a monumental brass urn witha spring planting of pussy willows, daffodils, peonies, andivy provided by the MFA Associates: the Museum’s volun -teer group. In addition, the building’s three original carvedoak-and-bronze doorways have been refinished, as has thesurrounding façade.

Inside, the MFA’s elegant foyer has been reconceivedas a sculpture court. The center is occupied by ThomasCrawford’s sculpture Orpheus and Cerberus (1843): a com -manding statue rising more than six feet above its three-foot stone pediment. Crafted of Seravezza Marble, thesculpture was installed at the entrance of the first Museumbuilding at Copley Square in 1876. Now, 133 years later,it once again graces the Museum’s foyer.

Joining Orpheus and Cerberus are two other notable sculp -tures: on the left is Young Columbus (1871), created in marbleby Giulio Monteverde, and on the right is Bacchante andInfant Faun (cast in 1909), a bronze by Frederick MacMonnies.Two additional sculptures are included in the foyer, both byHiram Powers: Bust of Eve Disconsolate (about 1871–1872)and Faith (about 1872). Renovations to the foyer includenew lighting, refinished limestone walls and columns, andnew Tennessee Marble floors, inclined for accessibility.To the right of the sculpture court is a new ticketing area,where the painting Gould’s Hill (1972) by Neil Welliver ison view.

The spacious room features a five-terminal ticket deskover which six 50-inch flat-panel LCD screens offer infor -mation about admission, exhibitions, museum hours, andtickets. Self-serve ticket kiosks, an ATM, and a coat checkare among the nearby visitor amenities.

The reopening of the entrance represents one of manyMFA initiatives to enhance its landmark building on theAvenue of the Arts. It is a key component of the Museum’sBuilding Project, which is designed to enrich the ways inwhich visitors encounter the MFA’s great works of art, whilealso improving navigation through its galleries and increas -ing space for its encyclopedic collection, educational pro -grams, and special exhibitions. Designed by Pritzker Prize-winning architects Foster + Partners (London), the MFA’sBuilding Project restores Lowell’s vision for the Museum andintroduces major twenty-first-century elements: an AmericanWing and the soaring glass Ruth and Carl J. Shapiro FamilyCourtyard, which together encompass more than 150,000square feet; the Jean S. and Frederic A. Sharf Visitor Center(which opened in June 2008); the Ann and Graham GundGallery for rotating exhibitions; the Barbara and TheodoreAlfond Auditorium; and new galleries and educational spaces.

For more on the MFA and its Building Project, pleasevisit www.mfa.org.

David Geldart is Director of Facilities at the Museum of Fine Artin Boston, Massachusetts.

The foyer has been transformed into a sculpture court, featuringThomas Crawford’s Orpheus and Cerberus (1843) on the centralpediment.

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24 PAPYRUS SUMMER/FALL 2009

The International Council ofMuseums (ICOM) held its four-day annual Advisory Committee

meetings in Paris during the secondweek of June 2009. This committeeis composed of representatives fromICOM’s National and InternationalCommittees, and from Affiliated Orga -nizations such as IAMFA. Dele gatesfrom 153 countries, representing27,000 members, attended this con -ference. The meetings were held atthe UNESCO building in Paris, and theexposure that IAMFA receives throughthis global network of museumprofessionals is truly impressive.

Two other IAMFA members joinedme at this ICOM conference: RogelioDiez, Head of Maintenance and Instal -lations, Guggenheim Bilbao Museum;and Mario Gasperetti, Manager, Stra -tegic Accommodation, Library andArchives Canada. Our common objec -tives were to increase IAMFA’s profileon the world stage through net work -ing with the delegates, to promote

Le comité consultatif du Conseilinternational des musées (ICOM)a tenu ses quatre journées de

réunions annuelles à Paris la deux -ième semaine de juin 2009. Ce comitése compose de représentants descomités nationaux et internationaux del’ICOM de même que d’orga nismesaffiliés comme l’IAMFA. Des per sonnesdéléguées provenant de 153 paysreprésentant 27 000 membres ontassisté à cette rencontre. Les réunionsont eu lieu dans l’édifice de l’UNESCOà Paris. Et la couverture que l’IAMFAobtient par le biais de ce réseau mondialest vraiment impressionnante.

Deux autres membres de l’IAMFAse sont joints à moi pour ce congrès :Rogelio Diez, responsable de lamaintenance et des installations auMusée Guggenheim Bilbao, et MarioGasperetti, directeur de la gestionintégrée des locaux à Bibliothèque etArchives Canada. Nous avions commeobjectifs communs d’augmenter la visi -bilité de l’IAMFA sur la scène mondiale

Los miembros del Consejo Inter -nacional de Museos (ICOM) sereunieron por cuatro días en

Paris la segunda semana de juniode 2009 para su reunión anual. Estecomité se compone de los represen -tantes del Comité Nacional y el ComitéInternacional de ICOM y de otrasOrganizaciones Afiliadas como IAMFA.Delegados de 153 países, quienes repre -sentan a 27,000 miembros, asistieron aesta conferencia. Las reuniones se cele -braron en el edificio de UNESCO enParis, y la visibilidad que recibe IAMFAa través de esta red de profesionalesde museos es impresionante.

Dos otros miembros de IAMFA meacompañaron a esta conferencia deICOM: Rogelio Diez, Encargado deMantenimiento y Instalaciones, Museode Guggenheim en Bilbao; y MarioGasperetti, Gerente, AcomodacionesEstrategicas, Biblioteca y Archivos deCanadá. Nuestros objetivos en comúneran de aumentar la visibilidad deIAMFA en el escenario mundial a travésdel desarrollo de contactos con losdelegados, promover el mandato deIAMFA, y reclutar a nuevos miembrosinternacionales.

Rogelio hizo progreso con variosde los delegados de la conferencia dehabla hispana. Es posible que veamosnuestros miembros de Costa Rica y deotros países de Centro y Sur América.Mario hizo contacto con algunos dele -gados italianos, además de delegadosfranco parlantes. Por mi parte, renovécontactos con algunas personas quehabía conocido el año pasado, y tambiénhice varios nuevos contactos durantela conferencia. Coloqué 50 ejemplaresde la última edición de Papyrus encimade unas mesas de exhibición a laentrada del gran salón de conferencias,y los delegados inter nacionales se losllevaron todos. Esperamos que se nos

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

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PAPYRUS SUMMER/FALL 2009 25

par le biais du réseautage avec lespersonnes déléguées, de promouvoirle mandat de l’IAMFA et de recruterde nouveaux membres internationaux.

Rogelio a ouvert la voie auprèsde plusieurs délégués hispanophones.Ainsi, nous pourrions voir de nou veauxmembres du Costa Rica et d’autres paysd’Amérique centrale et d’Amériquelatine. Mario a établi des relationsavec des délégués italiens de mêmequ’avec des délégués francophones.Pour ma part, j’ai repris contact avecdes personnes que j’avais rencontréesl’année dernière et aussi fait plusieursnouvelles connaissances au cours de ceséjour. J’ai déposé environ 50 exem -plaires du dernier numéro de Papyrussur les tables situées immédiatement àl’entrée de la grande salle de confé -rences, et ils ont tous été ramassés pardes délégués internationaux. Nous sou -haitons que nos efforts aboutissent àl’adhésion de plusieurs nouveauxmembres à l’IAMFA tout en aug men -tant la visibilité de notre associationprofessionnelle dans d’autres pays.

Rogelio, Mario et moi avons eu lachance, un soir que nous mangionsau restaurant, d’être assis à la tablevoisine de la présidente de l’ICOM,Alissandra Cummins, directrice desBarbados Museums and HistoricalSociety (musées et société d’histoirede la Barbade). Nous avons eu uneconversation des plus intéressantes ausujet de l’IAMFA et des problèmes querencontrent les musées dans le mondeaujourd’hui. Mme Cummins s’est diteheureuse de la présence de l’IAMFA àces rencontres du comité consultatif,et elle a souligné l’importance que lesmembres mettent en commun leurspratiques en matière de gestion desinstallations muséales. Ainsi a-t-ellesuggéré que les membres de l’IAMFAoffrent d’examiner les plans de cons -truction et de fonctionnement d’autresmusées membres de l’ICOM quideman dent des commentaires quantaux pratiques exemplaires. Le Comitéinternational de l’ICOM pour la sécu -rité dans les musées (ICMS) le faitpour tout membre de l’ICOM quidemande de l’aide en ce qui concerneles questions de sécurité. Cela pour -rait être un nouveau projet à discuterà notre congrès de Washington en

sumen nuevos miembros a IAMFA araíz de nuestros esfuerzos, mientras seincremente la visibilidad de nuestraasociación profesional en otros países.

Una noche mientras cenábamos enun restaurante, Rogelio, Mario y yotuvimos la suerte que se sentara en lamesa de al lado, la Presidente de ICOM,Alissandra Cummins, quien es laDirectora de la Sociedad Histórica yde los Museos de Barbados. Conver -samos de una manera amena acerca deIAMFA y de los retos que se enfrentanlos museos hoy día. Ella agradeció laparticipación de IAMFA en las confer -encias del Comité de Consultorio de

ICOM, y recalcó la importancia de com -partir las practicas de mantenimientode instalaciones de museos (MuseumFacility Management practices) conlos otros miembros. Sugirió ella que losmiembros de IAMFA pudieran ofrecerrevisar los planes de operación y deconstruccion de edificios de otrosmuseos de ICOM que pidan asesora -miento sobre las mejores prácticas. ElConsejo Internacional de Seguridadde Museos (ICMS) ofrece sugerenciasa los miembros de ICOM que piden

IAMFA’s mandate, and to recruitnew international members.

Rogelio made inroads with severalof the Spanish-speaking delegates atthe conference, and we may see newmembers from Costa Rica and otherCentral and South American countries.Mario made contact with the Italiandele gates, as well as with French-speaking delegates. I renewed acquain -tances that I had made last year, andalso made several other new contactsduring our time at the conference.I placed about 50 copies of the lastissue of Papyrus on display tables lo -cated just outside the large confer -ence room, and all were picked up bya number of inter national delegates.We hope that our efforts will result inthe addition of several new members toIAMFA, while also raising the profileof our professional association inother countries.

Rogelio, Mario and I were fortu nateone evening during a restaurant dinnerthat the President of ICOM, AlissandraCummins, who is the Director BarbadosMuseums and Historical Society, hap -pened to sit at the table next to ours.We had a wonderful conversation aboutIAMFA and the issues facing museumsin the world today. Ms. Cummins ex -pres sed her appreciation for IAMFA’spresence at these ICOM Advisory Com -mittee conferences, and underlinedthe importance of sharing our museumfacility management practices with theother members. One suggestion thatshe made was for IAMFA members tooffer to review the building construc tionand operating plans of other ICOMmuseums who ask for help and com -ment on best practices. The Inter na -tional Council of Museum Security(ICMS) does this for any ICOM mem -ber who asks for help with securityissues. This may be a new initiativefor discussion at our conference inWashington this November that couldserve IAMFA members as well.

The theme of this conference cen -tred around the impact on museumsof the global economic crisis. Oneof the keynote speakers at this confer -ence observed current trends in U.S.museums. For example, larger art/history museums are struggling mostwith the decline in tourism, gifts and

The theme of this

conference cen tred

around the impact on

museums of the global

economic crisis.

Le thème de la rencontre

portait sur l’impact de

la crise économique

mondiale sur les musées.

Esta conferencia se

enfocó en el impacto que

tiene en museos la crisis

económica global.

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26 PAPYRUS SUMMER/FALL 2009

endowments; children’s museums areholding up in visitation growth withless reliance on endowments; hyper-local museums are surviving with per -sonal connections, retaining gifts andhaving less reliance on endowments.Another keynote speaker predictedthat, although there will be manymuseum closures because of the eco -nomic downturn, the world will seean increase in many new museums, ascountries look protect their economiesand tend to promote and preserve theexpression of their identities and oftheir heritage. So, it’s not all bad newsfor museums around the world.

Because European museums makeup about 85% of ICOM’s member -ship, this organization is interestedin branch ing out to other continents.For example, the 2010 tri-annual ICOMconference will take place in Shanghai,and the 2013 conference will be in Riode Janeiro. This bodes well for IAMFA’sdrive to increased membership onthose continents as well.

I will provide an update on Inter -national Affairs to IAMFA membersattending the 2009 conference inWashington this November. Pleaseencourage your organizations to joinICOM if they haven’t already doneso, as it is important to maintain atleast 50% representation to maintainIAMFA’s status as an AffiliatedOrganization to ICOM.

Guy Larocque heads up IAMFA’sInternational Affairs, and is a formerPresident of IAMFA.

novembre, et cela pourrait égalementservir aux membres de l’IAMFA.

Le thème de la rencontre portaitsur l’impact de la crise économiquemondiale sur les musées. Un desconférenciers principaux a surveillél’évolution des tendances actuellesdans les musées des États-Unis. Parexemple, les grands musées d’art/histoire ont du mal principalementavec le déclin du tourisme, des dons etdes dotations; les musées des enfantsmaintiennent la croissance des entrées,mais avec moins d’assurance de dota -tion et les musées strictement locauxsurvivent grâce aux relations person -nelles, avec des dons qui se maintien -nent et en composant avec des dotationsmoins certaines. Un autre confé renciera prévu que, même si de nombreuxmusées autour du monde devrontfermer leurs portes en raison du ralen -tissement économique, de nombreuxautres verront le jour, puisque les payscherchent à protéger leur économieet ont tendance à promouvoir et àconserver l’expression de leur identitéet de leur patrimoine. Alors, il n’y apas que de mauvaises nouvelles pourles musées dans le monde.

Comme les musées européens repré -sentent environ 85 % des membres del’ICOM, l’organisme désire étendreses ramifications sur d’autres continents.Par exemple, la Conférence généralede l’ICOM, organisée tous les troisans, aura lieu à Shanghai en 2010 et àRio de Janeiro en 2013. Cela est de bonaugure en regard des efforts marquésque fait l’IAMFA pour augmenterégalement son taux d’adhésion surces continents.

Je ferai une mise à jour sur lesaffaires internationales à l’intentiondes membres de l’IAMFA présents auCongrès de 2009 à Washington ennovembre. Prière d’encourager vosétablissements à devenir membres del’ICOM, si ce n’est déjà fait, puisqu’ilest important de maintenir au moins50 % de représentation pour quel’IAMFA garde son statut d’Organisationaffiliée à l’ICOM.

Guy Larocque est notre chef d’affairesinternationales, et est ancien présidentde l’IAMFA.

ayuda referente temas de seguridad.Esto puede ser una nueva iniciativapara discutirse en nuestra conferenciaen Washington, D.C. este noviembreque les serviría a los miembros deIAMFA también.

Esta conferencia se enfocó en elimpacto que tiene en museos la crisiseconómica global. Uno de los oradoresprincipales de esta conferencia des -cribió ciertas tendencias que se hanapreciado en museos de los EEUU.Por ejemplo los museos mas grandesde historia y arte se ven mas afectadospor la reducción en turismo, regalos ydonaciones; los museos para niñosmanejan el aumento de visitas conmenos dependencia de donaciones;mientras que museos mas chicos alnivel local sobreviven por medio decontactos personales, regalos, y conmenos dependencia de donaciones.Otro orador principal pronostica que,a pesar del cierre de muchos museospor la economía, el número de nuevosmuseos en el mundo aumentará, mien -tras los países vigilan por la protecciónde sus identidades y su patrimonio.Así que, la pronostica para los museosalrededor del mundo no es todo mala.

Ya que los museos europeos compo -nen casi 85% de la membresía deICOM, esta organización tiene interésen expandirse a otros continentes. Porejemplo la conferencia que se celebracada tres años de ICOM tomará lugaren Shanghai, y la conferencia de 2013será en Río de Janeiro. Estos entor-nos favorecen la meta de IAMFA deaumentar la membresía en estoscontinentes también.

A los miembros de IAMFA queasisten a la conferencia de IAMFA enWashington, D.C. en noviembre 2009,les daré un reporte actualizado deAsuntos Internacionales. Por favorexhorten a sus organizaciones de unirsea ICOM si no lo han hecho todavía,dado que es importante sostener porlo menos una partici pación de 50%para mantener la condición deIAMFA como Organización Afiliadaa ICOM.

Guy Larocque se encarga de los AsuntosInternacionales de IAMFA, y era presidentede IAMFA.

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• Public and staff carpark for 186 cars• Back-of-house storage and registration—2000 m2

Design Conditions

Interior• Temp.: 21°C +/– 2°C• Humidity: 50% RH +/– 5%

Exterior• Location: Canberra, Australian Capital Territory• Elevation above sea level: 560 m• Latitude: South 35°17’• Latitude: East 149°07’• Diurnal range (critical areas): 20°C• Summer (critical areas): 42°C dry bulb, 20°C wet bulb• Winter (critical areas): –9°C

Structure• 11,000 m2 concrete• 1,000 tonnes steel reinforcement• 1,400 m2 glazing• 4,500 m2 roof sheeting• 260 roof trusses• 2,100 m2 timber flooring

Building ServicesSteensen Varming played an integral role in managingand coordinating the design of the mechanical, electrical,specialist lighting and ecologically sustainable design services.

Innovative solutions, balanced with sound engineeringpractices, were required to provide a facility that could suc -cessfully blend the strict conservation measures required forworks of art in the most energy efficient and environmentallyconscious manner.

Key to the success of this project was our team’s colla bo -rative design approach, which began with identifying Eco -logically Sustainable Development (ESD) solutions withinthe framework of the building’s function and conservationrequirements. These were developed through rigorous testsof practical issues such as economics, buildability, reliabilityand long term maintenance/operational needs.

This project exemplifies how a collaborative design processcan deliver a low-energy building without compromisingfunctionality.

The key features of excellence demonstrated by thisproject encompassed aspects of innovation, design excel -lence and thorough modeling, as well as assessment ofthe initiatives required to obtain the project outcomesdescribed below.

The National Portrait Galleryin Canberra, AustraliaBy Chris Arkins

Since opening in December 2008, the National PortraitGallery has become a prominent cultural feature inCanberra, welcoming 540,000 visitors. This is well in

excess of the annual forecast, which was exceeded in thefirst four months of operation.

To date, the National Portrait Gallery has been awardedthe 2009 Canberra Medallion, ACT Architecture Awards;the Romaldo Giurgola Award for Public Architecture, ACTArchitecture Awards; the Light in Architecture Prize, ACTArchitecture Awards; and the MBA Award for Project ofthe Year 2009.

The new Gallery is situated in the iconic ParliamentaryPrecinct, and sits alongside other established institu-tional buildings: the National Gallery of Australia, andthe High Court of Australia. The Gallery houses over400 portraits of prominent Australians who helped toshape the country.

For the first ten years of the its life, the National PortraitGallery used the spaces of Old Parliament House for variousprograms and exhibitions exploring the traditions andcurrency of portrait practice in Australia.

While the spaces of Old Parliament House provedadaptable to the National Portrait Gallery’s programs, itsgrowing profile and collection necessitated the move to adedicated building. Funding for the AU$87-million buildingwas provided in the 2005 Federal Budget, and Sydney-basedarchitectural firm Johnson Pilton Walker was awarded thejob of creating the Gallery, with construction commencingin December 2006.

The design of the new building draws inspiration fromCanberra’s environment and natural light, and links thevisitor’s experience of the gallery spaces to the Australianlandscape. The concept for the new Gallery is grounded inthe experience of looking at portraiture and, in its emphasison human scale, the building favours intimacy and connec -tion in lieu of reverence and the monumental. As was thecase during the Gallery’s time at Old Parliament House,the new spaces are about face-to-face experiences withindividual lives.

Project StatisticsBuilding• Three gallery spaces 70 m x 12 m x 4 m• Includes ablutions and theatrette (120 people)• One foyer space 20 m x 12 m x 7 m• Kitchen, cafe and boutique space• Function room and education rooms• Administration spaces

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28 PAPYRUS SUMMER/FALL 2009

Ecologically Sustainable DevelopmentSustainability goes far beyond energy and water con sump -tion; it encompasses the selection of materials, work methods,adaptability and, most importantly, acceptance of theoccupants. This can be achieved only through a rigorous,thoughtful and quality-driven design process.

Ecologically Sustainable Design (ESD) is a key priorityfor any responsible client and design team. However, in thedesign of gallery spaces, this responsibility must be balancedwith the traditional, and often conflicting, challenges ofproviding effective display of the collection, a comfortableand safe environment for visitors and staff, and conditionsconducive to collection preservation and conservation.

It is therefore important that ESD principles are notpursued as the ultimate priority, as this will inevitably resultin the Gallery being unable to fulfil its obligation to carefor the collection. At the National Portrait Gallery, we haveapproached design in an integrated manner, in order to max -imise the benefits of ESD elements that are complimentaryto providing suitable environmental conditions.

Our design approach began with identifying ESD solu -tions within the framework of the building’s purpose andfunctions, developed through rigorous tests of practicalissues such as economics, buildability, reliability and long-term maintenance/operation. Ideally, we wanted to pro -vide a fully functional building requiring minimal activeintervention and, when needed, to ensure that such systemsare the most efficient—in other words, a building with asmall ecological footprint.

DaylightingThe daylighting system in the gallery spaces works with, andcomplements, air-conditioning systems in these spaces by

using high-level monitors and lanterns for relief air/returnair. This allows natural light to enter the spaces while alsominimising the impact of heat gain on the space in summer,and the risk of condensation in winter. Adjustable blindsare used to control daylight levels, when required, forsensitive works of art, including video art.

The uniqueness of natural lighting has always made itan attractive option in the lighting design of art galleries.Daylight provides colour quality that cannot be satisfactorilyduplicated by artificial lighting. The constant variation inpattern and intensity of daylight is another desired quality.

The usage of windows also provides Gallery visitors witha connection to the outside world. Contact between theAustralian landscape and the exhibits is desirable, andprovides visual relief.

In order for daylighting to provide a comfortable andsafe visual environment, the main design objectives for theNational Portrait Gallery were to illuminate the interiorspaces—in particular, the public spaces within the Galleryadjacent to public entrances and gallery exhibition areas—and to provide transition zones from high outside illu mi na -tion levels as people enter the Gallery, to the low illuminationlevels in the Gallery spaces. Daylight ingress is intended toprovide ambient light to accentuate the architectural formand highlight building spaces only. Artificial lighting is alsoused to provide general and ambient lighting. Artificiallighting is used to light the works of art themselves.

To accurately predict and assess the performance ofthe daylighting systems, Radiance—a predictive lightingvisualisation software package—was used.

Various artificial sky conditions during the year were mod -elled in order to assess the performance of the systems withrespect to illumination levels and distribution through out

Figure 1: The introduction of natural light into the Gallery’s spaces provides illumination without the need for artificial lighting, as well asimproved space ambience, a better quality of light, views to the exterior, and dynamic plays of light designed to create interesting lightingeffects within a specific area.

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the Gallery spaces. Figures 2 and 3 demonstrate some of thedaylight modelling undertaken during the design stage.

Mixed-Mode Ventilation Mixed-mode ventilation is a combination of natural venti -lation and air-conditioning employed to provide thermalcomfort for the offices, function rooms and the cafe.Windows that open allow building occupants access tonatural ventilation when external temperatures areacceptable—which is expected to be at least 50% of the

year. Only during climate extremes would air-conditioningbe required.

This strategy is expected to provide the following benefits:

Quantitative Benefits • No air conditioning required for up to 50% of the year • Significant energy savings • Estimated plant payback period of 2–5 years• Reduced reliance on mechanical plant • Reduced maintenance requirements

Figure 4: Stereographic analysis of building.

Figure 2: Daylight in one gallery space via perimeter vertical glazing.

Figure 3: Daylight analysis of one skylight option.

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30 PAPYRUS SUMMER/FALL 2009

Qualitative Benefits • Improved indoor air quality, due to higher levels offresh air being introduced to the space (100% outsideair would be used in natural ventilation mode)

• Less environmental impact

Solar Protection/Access Shading systems play an integral role in controlling solarloads and maximising the building’s thermal performance.

Double-glazing is used to provide improved thermal per -formance in winter, while also helping to prevent con den -sation. The building is protected from direct solar pene trationusing a combination of external shading elements (projectedoverhangs) and careful location of glazed areas, as well asblinds and shades that can be operated from the inside.

Stereographic analysis has also been undertaken forthe site, based on a bulk building form to assess expectedovershadowing from the building, and to identify appro -priate responses for external shading systems for eachfaçade. The site’s orientation and resulting building orien -tation leads to solar exposure on all façades. Particularattention was required for the northeastern and north -western façades—particularly during winter periods, whenthe Sun’s altitude is lowest. The extent of overshadowingin morning and afternoon periods indicate the depth ofsun penetration that will occur through these façades. Acombination of external shading elements and interiorshades/blinds were required to control sun ingress andglare during these times.

Thermal Mass/Insulation Appropriate use of thermal mass has been employed tohelp maintain and regulate strict temperature controls andhumidity set-points—particularly during the climate extremesexperienced in Canberra. Thermal mass also provides aninsulating cocoon to protect works of art in the event of apower failure, by reducing the rate of atmospheric changein gallery spaces.

Thermal mass and insulation have the following benefitswhen used in the correct application and climate, especiallyin the passive control of critical environments such as thebuilding’s gallery and art storage spaces:

• Dampening the effects of changing loads within a space(both temperature and humidity)

• Reduced reliance on active mechanical systems, thusmitigating risk

• Protection from changing external conditions

• More stable conditions (both temperature andhumidity) for environmentally sensitive items

• Reduced mean radiant temperature and improvedcomfort to occupants, and lower risk to the collection(microclimates)

• Reduction in energy loads

• Reduction in water use (humidity control)

• Reduced risk of condensation (especially behindart works)

One of the objectives identified in the brief was theneed to avoid an over-reliance on mechanical systems toachieve thermal stability. Where this is the case, periodicbreakdowns could mean that the variability suffered by awork of art over a given period can exceed the variabilitythat would occur had mechanical temperature controlbeen available.

In the gallery spaces, high levels of insulation were usedto limit heat loss during winter. The high thermal mass ofthe building provides protection to the exhibits by pro -viding an environment that is stable, both in temperatureand humidity. In the event of a failure in air-conditioning,the space can be closed, providing a protected and stableenvironment for the exhibits until the air-conditioningsystem can be reinstated.

Mechanical ServicesActive Energy-Efficient MeasuresThe active measures described below were incorporatedinto the design in order to reduce energy consumption.

• Ultrasonic humidification: offers substantial energysavings when compared to traditional steam-basedsystems.

• Energy-efficient chillers: the chilled water plant is servedvia three high-efficiency water-cooled chillers that featureextremely efficient low-load capabilities and competitivefull-load capabilities, which dramatically reduce energyconsumption. The chillers are coupled with totally oil-free compressors, resulting in higher efficiency andreduced maintenance.

• CO2 monitoring and control: outdoor air quantities aremodulated, based on the number of people present

Figure 5: Summer Solstice (9:00 a.m., December 21), showing howbuilding would be overshadowed.

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PAPYRUS SUMMER/FALL 2009 31

within the building. This leads to substantial energysavings, as only the outside air that is required to meetvariable occupancy loads for the building is heatedor cooled.

• Heat recovery: the Gallery’s air-handling units incor -porate Run-around coils across the unit’s cooling coil.When dehumidification is required—a process thatinvolves overcooling the air to reduce moisture, thenreheating—the Run-around coil reduces the energyrequired for reheating by transferring heat energy fromone side of the coil to the other.

• Car park ventilation: the car park exhaust system hasCO monitoring and control to reduce fan speeds duringlow usage times, thus reducing energy consumption.

• The use of energy-efficient motors, with variable-speeddrives for pumps and fans.

• Energy management systems integrated with a directdigitally controlled BMS system to allow monitoring,targeting and load-shedding capability of a selectedplant, if viable.

• Efficient insulation of distribution pipework andductwork to minimise unwanted heat gains/losses.

Air-Conditioning SystemsEach gallery space is served via a dedicated air-handlingsystem that allows individual control and set-point adjust ment

Figure 6: Air-distribution concept for the Gallery’s car park.

Figure 7: 3-D model of plant and ductwork layouts.

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32 PAPYRUS SUMMER/FALL 2009

for each air-handling unit. From a risk-management per -spective, this limits the effect to disruption of conditionsduring planned maintenance or shutdown.

The Gallery’s air-handling plant employs air filters thatprovide the necessary air quality for exhibits, while alsohelping to reduce mandatory minimum fresh air quantities,particularly in high-traffic areas. Zoning of all air-conditioningsystems acknowledged the different dynamic loads andconditions likely to occur.

Air is distributed in the gallery spaces in a way thatminimises draughts or major variations in conditionswithin the space, at a temperature differential acceptableto exhibits and occupants. Air velocities can range between0.1 m/s and 0.6 m/s, depending on the actual tem pera tureof the air, without causing discomfort. In specialist areas,however, air movement was designed to ensure that correctscavenging and capture velocities are met, as occupantsafety and/or equipment/exhibit conditions were thedetermining factor.

Consideration of the effect of the air-conditioningsystem on transition zones and gallery spaces open to theentrance foyer has been taken into account. Surroundinggallery spaces open to this area were designed and balancedto be under positive pressure compared to this zone, toensure that their conditions are not adversely affectedby the different system philosophies and conditions.

New gallery spaces were designed with separate air-handling units to provide AA Class conditions, as stipulatedby ASHRAE, and were based on a constant-volume approach.

Ultrasonic HumidificationUltrasonic humidifiers have been used to provide humidifi -cation for the galleries and storage areas. Ultrasonic humid -ifiers function by generating a water mist that can be injected

Figure 9: Another exterior view of the National Portrait Gallery,showing clerestory illumination from outside.

into an air-supply stream. Electronic oscillations are con -verted to mechanical oscillations via a piezo electronicdisk, which is immersed into the humidifier’s feed waterreservoir. By focusing high-frequency oscillations at thesurface of the water reservoir, a fine mist is produced. Thisis quickly absorbed into the air stream, thus increasing theair’s relative humidity.

Ultrasonic humidifiers have proven an excellent alter -native in achieving precise humidity control within spaceswhere very specific environmental criteria are required. Asthe humidification process is adiabatic, substantial energysavings can be achieved over equivalent systems that requireboiling of the feed water (up to 90% less energy in produc -tion alone). In addition, low electrical demands and main -tenance requirements reduce the cost of humidifying tobelow that of alternative adiabatic processes, while stillproviding sensitive relative humidity control. Other OHSand maintenance issues can also be designed out whenappropriate maintenance regimes are applied, leading toa generally cleaner system.

As the ultrasonic systems are able to pulse accurately tosatisfy load/part load requirements, the main savings arerealised by not requiring the system to constantly saturate anddehumidify the air using the cooling coil, with associatedlevels of reheat.

Lighting DesignIn addition to optimal performance and essential functionalrequirements—including art conservation, flexibility, func -tionality and serviceability—some of the key requirementsfor the lighting installation were aesthetic quality, enhance -ment of spatial geometry and clean overall composition. Inboth regards, lighting design was guided by the architec tural

Figure 8: Exterior of the National Portrait Gallery, showing some ofthe external lighting effects.

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intent of Johnson Pilton Walker, and was developed in closecollaboration with the architects to ensure the best possibleintegration of the lighting systems with the architectural design.

The primary lighting philosophy in the galleries involveda dual-element artificial lighting system. The base lightinglayer of this system comprises a uniform wash of light. Asan added enhancement, supplementary framing luminariesare used to add accents, highlight individual pieces, andminimise shadows created by the picture frames.

The primary lighting philosophy applied to hangingzones involves a dual element artificial lighting system.The base layer of this system comprises a uniform washof light across vertical hanging surfaces. The base lightingfor the perimeter walls consists of continuous rows ofrecessed linear fluorescent wallwashers, concealed in anarchitectural detail.

As the first fluorescent exhibition lighting system usedin a major gallery in Australia, the wallwashers providemaximum efficiency and low energy consumption, whilst

Figure 10: The Contemporary Gallery, showing the “glowing ceiling” effect achieved with fluorescent lighting.

creating optimal uniformity of light and functioning as anintegral architectural component. All fluorescent lightsources used within the gallery spaces used lamps with highcolour rendering, providing excellent colour renderingproperties. Each fitting can be controlled individually via aDALI system that is part of the overall lighting control system.

As an added enhancement to this base lighting layer,supplementary framing luminaries are used to supplementthe wash lighting by adding accents, highlighting indi vidualpieces and minimising shadows created by the pictureframes. The framing spots are also used to enhance thevisibility of exhibits by raising the luminosity where con ser -vation requires low light levels. Parallel arranged lightingtracks, serving the enhanced lighting of the perimeter wallsand the lighting of internal partition layouts, are set up tounderline the geometry and clarity of the space. Light-levelsensors, concealed in track-mounted luminaire heads,monitor the illumination of particular works of art, aspart of the conservation strategy.

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34 PAPYRUS SUMMER/FALL 2009

The architectural environment and uniqueness of thegallery spaces is enhanced by lighting the architecturaldetail of the translucent glazed clerestory windows thatdefine the space. Slimline fluorescent luminaires, concealedwithin the clerestory window detail, supplement natural lightand serve both the external appearance of the buildingand interior appreciation of the space.

The Contemporary Gallery varies from the other spacesthrough a different lighting atmosphere created by an inter - nally illuminated “glowing ceiling”, using fluorescent lumi -naires which provide an even, diffuse lighting to the Gallery.

Particular consideration to the colour temperature oflight sources in the gallery spaces was necessary, since inci -dental daylight is a key element of the Gallery design, and

has an impact on the visual appearance of works of art. Thebest lighting sources were found to have a neutral CorrelatedColour Temperature of 4000K, creating a balance withincoming daylight. All track-mounted halogen luminaireshave been equipped with colour conversion lenses to matchthe natural light and fluorescent lamps.

Lighting levels in the more narrow circulation galleriesare lower than in the main exhibition spaces, to allow foradaptation and to increase the perceived brightness ofthe main galleries. To define the more confined space, acustom pendant fitting has been developed for this projectthat embraces the architectural language and scale of thespace. Another version of this pendant has been developedfor the seating area in the Main Foyer.

Figure 11: Gallery illumination using fluorescent luminaires which simulate daylight.

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Consistency of luminaire languageand lighting elements contribute to acoherent lighting concept that sup portsand enhances the architectural intentof the building. All luminaires through -out the galleries and public spaces areconnected to an intelligent lightingcontrol system that allows for dimming,scene-setting, time-clock control andinterface with light-level sensors.

The new National Portrait Galleryin Canberra combines ecological bestpractices with cutting-edge conceptsin atmospheric controls and lighting.Designed as a showcase for Australia’shuman history, it also functions as ashow case of environmental sustain -ability and economical solutions tosome of our most challenging modernfacilities issues.

Chris Arkins is Director at STEENSENVARMING (Australia) Pty Ltd inNorthbridge, Australia.

Figure 13: Main foyer of the National Portrait Gallery, demonstrating some of the more striking lighting effects developed in conjunctionwith the architectural concept.

Figure 12: Another view of the Contemporary Gallery.

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36 PAPYRUS SUMMER/FALL 2009

to be somewhat higher than other orga -nizations. At the conference in Ottawa,one thing that people were doing waschecking their lighting.” During the2007 Benchmarking “Best Practices”Workshop, the Getty Center shared howthey reduced energy costs by replacingless-efficient ballasts and lamps.

Through the Best Practices Work -shop, the IAMFA benchmarking studyshifts the focus from “what” to “how”.The Getty Center’s shared best prac -tice inspired those at the British Library.“Since then, we’ve been changing ourlighting fixtures to more efficientunits,” says Wanless.

“Annual IAMFA benchmarking alsohelps with quality tasks,” Wanless adds.“We needed benchmarking data forthe purposes of gaining the ISO 9001Quality Certification.” Much of thedata collected by the IAMFA bench -

marking exercise can be used in LEEDcertification as well.

“I’ve been at the National Galleryfor only four months now,” says newDirector of Facilities, David Samec.“I was at the National Air and SpaceMuseum and worked on the newNational Museum of African AmericanHistory and Culture.” During his tenurewith the Smithsonian, Samec relied onannual IAMFA benchmarking data aspart of decision-making processes.

“I used the data when the needwould arise—for instance, custodialstaffing numbers. We felt like we didnot have enough personnel, but weweren’t sure. Was it a productivityissue? The benchmarking data helpedtremendously,” Samec says.

During the architectural designphase of the new National Museum ofAfrican American History and Culture,

Members Share Benchmarking Success How to Use Benchmarking ResultsBy Stacey Wittig

Sharing new construction techniques at the Natural History Museum in London, England.

John Castle of the WinterthurMuseum, Garden and Library suc -cessfully uses IAMFA bench marking

data to reinforce his department’sperformance to senior management.“I can tell them ‘We really don’t spendthat much money.’ When they ask ‘Howdo you know?’ I present the bench -marking summary report,” explainsthe Director of Facilities Services.

“I use the summary report, whichcontains the cost per area of five majorareas: custodial, utilities, maintenance,groundskeeping and security.” Castlegives a five-minute PowerPoint presen -tation, which displays the color graphsand charts provided in the annualIAMFA benchmarking report. “Thecomparisons of cost-per-square-foot aresomething that senior managementcan latch onto.”

Harry Wanless of the British Libraryagrees. “If you are benchmarkingannually and monitoring change overtime, you are demonstrating an openmanagement approach. Benchmark -ing demonstrates a degree of trans par -ency: that you are not hiding anything.When you can demonstrate that youare apply ing the learning, then a lot ofmanagement boards will be supportive.”

Wanless prefers the annual IAMFAbenchmarking exercise to other bench -marking studies. “You have to compareapples to apples, and the IAMFA bench -marking does that. It is a reliable mea -sure of self to like organizations,” saysthe Property Support Manager.

“With IAMFA benchmarking,” hecontinues, “presentation of the sta tis -tics also includes what the organi za tionhas done—not just a comparison offigure against figure. From that, we canalso pick up better, best or differentpractices.

“It’s all these things that others aredoing that spark an idea. For example,two years ago our energy cost seemed

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PAPYRUS SUMMER/FALL 2009 37

parison to our own. It helped me gaugethat we were—mathematically—staffedwhere we should be,” says Samec.

The Canadian Museum of Civiliza -tion has used IAMFA’s annual bench -marking reports as an independent,third-party guideline. “It proves toour principal funders, the CanadianGovernment’s Treasury Board, thatour buildings are among the top per -formers among many internationalmuseums, and that requests for addi -tional funding for critical infrastructurerepairs are verifiable and legitimate,”says Guy Larocque, the Museum’sDirector of Facilities Managementand Security. “As a result, our museumhas secured additional funding forthe next five years to undertake majorbuilding repairs and upgrades.”

“We started benchmarking in 1999with other institutions and with our -selves, and the results that we obtainedduring those early years really grabbedour attention as to the great value thatcomparable performance indicatorscan bring to effect changes that willimprove performance,” Larocque adds.

“We have adopted a philosophyof continuous improvement, and theonly way to achieve that is to havemeasur able results—of which annual

bench marking data plays an impor -tant part,” says Larocque, who is alsoa past-President of IAMFA.

“Backed up with hard, factual infor -mation and really good trend informa -tion, you can demonstrate that you are,hopefully, getting leaner and moreeffective,” says Wanless. “Benchmarkingdemonstrates that you are applyingwhat you are learning.”

Takeaways • Easily extract graphs and charts

from the electronic version of theannual IAMFA benchmarkingreport for presentations to seniormanagement.

• Attend The Best Practices Workshopfor insiders’ “how-tos”.

• ISO 9001 Quality Certification andLEED Certification process easedwith commitment tobenchmarking.

• Use benchmarking data to provelegitimacy of funding requests.

Stacey Wittig is Marketing Director forFacilities Issues, which administers IAMFA’syearly benchmarking exercise.

Samec used benchmarking data fromother Smithsonian sites to projectpreliminary numbers. “We could givepretty good figures. As facility expertswe were asked for staffing and costestimates to be submitted to Congress.”

When he arrived at Washington,D.C.’s National Gallery, he could findno benchmarking data. “Fine arts isa lot different. The temperature andhumidity tolerances are much tighter.When I got here, I wanted to look atother fine arts museums. I tried to usethe Whitestone book. The closest thingto museums there was churches. TheIFMA (International Facility Manage -ment Association) study was like lookingat the data from a 20,000-foot level.

“When looking at costs for museumstaffing and FTE (full-time equivalent)funding justifications, the IAMFA studyat the 2,000-foot level is much closer towhat I need. I fought hard for a full-blown benchmark study,” says Samecwho registered the National Galleryfor the 2009 IAMFA benchmarkingexercise.

“The IAMFA data is specifically formuseums, which is beautiful! I usedthe National Gallery in London, theNational Gallery of Canada and others’IAMFA benchmarking data in com -

Exterior of the new Darwin Centre at theNatural History Museum in London: aneight-storey concrete shell encased in aglass box. Discussing best practices on the roof of the National Gallery in London, England.

Page 40: Papyrus Summer 2009

Australian Center for theMoving ImageMelbourne, VIC

Australian National MaritimeMuseumSydney, NSW

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Gallery of VictoriaMelbourne, Victoria

National Library of AustraliaCanberra, ACT

National Portrait Gallery ofAustraliaCanberra, ACT

Steensen VarmingSydney, NSW

Tasmanian Museum and ArtGalleryHobart, Tasmania

Black & McDonald LimitedOttawa, Ontario

Bureau de la transformationde la DGSDEOttawa, Ontario

Camfil Farr Canada Inc.Ottawa, Ontario

Canada Science &Technology MuseumCorporationOttawa, Ontario

Canadian Center forArchitectureMontreal, Quebec

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

AUSTRALIA

CANADA

Facility ManagementServices LTDCalgary, Alberta

Library and Archives CanadaGatineau, Quebec

Library and Archives Canada,Portrait Gallery of CanadaOttawa, Ontario

National Gallery of CanadaOttawa, Ontario

Naval Museum of QuebecQuebec, Quebec

Nova Scotia MuseumHalifax, NS

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Royal Ontario MuseumToronto, Ontario

Bibliothèque Nationale deFranceParis

International Council ofMuseumsParis

musée de quai BranlyParis

National Library of theNetherlandsDen Haag, Zuid-Holland

Auckland Art Gallery —Toi O TamakiAuckland, Auckland

Christchurch Art GalleryTe Puna O WaiwhetuChristchurch, Canterbury

FRANCE

THE NETHERLANDS

NEW ZEALAND

A. A. Bakhrushin StateCentral Theatre MuseumMoscow

Museo Guggenheim — BilbaoBilbao, Viz Caya

British LibraryLondon, England

The British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Capita Systems LimitedColwyn Bay, Conwy

EMCORLondon, Middlesex TW0

English HeritageLondon, England

The Imperial War MuseumLondon, England

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Maritime MuseumGreenwich, England

National Museum of Scienceand IndustryLondon, England

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

SPAIN

UNITED KINGDOM

RUSSIA TateLondon, England

TPS ConsultEdinburgh, Scotland

University of GreenwichLondon, England

Victoria and Albert MuseumLondon, England

The Wellcome TrustLondon, England

Allentown Art MuseumAllentown, PA

Architect of the CapitolWashington, DC

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

UNITED STATES

38 PAPYRUS SUMMER/FALL 2009

IAMFA Members — Organizations

Page 41: Papyrus Summer 2009

Corporate CareHouston, TX

Corporate Facility ServicesCary, NC

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

Des Moines Art CenterDes Moines, IA

Detroit Institute of ArtsDetroit, MI

DFI Resources, LLCAustin, TX

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Fire Safety NetworkMiddlebury, VT

Foundation for the ReadingPublic MuseumReading, PA

Frist Center of the Visual ArtsNashville, TN

George Eastman HouseRochester, NY

Glide FoundationSan Francisco, CA

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumCambridge, MA

Henry Ford MuseumDearborn, MI

Henry Morrison FlaglerMuseumPalm Beach, FL

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

The Jewish MuseumNew York, NY

Landmark Facilities Group, Inc.Norwalk, CT

Lavi IndustriesValencia, CA

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

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 ContemporaryArt — ClevelandCleveland, OH

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of the ShenandoahValeyWinchester, VA

National Gallery of Art —WashingtonWashington, DC

Nelson-Atkins Museum of ArtKansas City, MO

Neue GalerieNew York, NY

New York Historical SocietyNew York, NY

Newark MuseumNewark, NJ

Norton Museum of ArtWest Palm Beach, FL

Office of FacilitiesEngineering & OperationsWashington, DC

Paul E. Garber FacilitySuitland, MD

Philadelphia Museum of ArtPhiladelphia, PA

Preservation Society ofNewport CountyNewport News, RI

ProPM, Inc.Lafayette, CA

Questions and SolutionsEngineering, Inc.Chaska, MN

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

Seattle Art MuseumSeattle , WA

SIU Castle and Arts andIndustries BuildingWashington, DC

Smithsonian InstitutionWashington, DC

Solomon R. GuggenheimMuseumNew York, NY

Tudor Place Foundation Inc.Washington, DC

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

PAPYRUS SUMMER/FALL 2009 39

IAMFA Members — Organizations

This list reflectsmembership dues

paid as of July 30, 2009

Although we do our bestto ensure that our

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

always occur. If youwould like to make any

changes to yourlisting, please contact

Jim Moisson at james_moisson@

harvard.edu

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40 PAPYRUS SUMMER/FALL 2009

Australia Chapter

By Dean Marshall

The national cultural institutions Facilities ManagementWorking Group met in June 2009 to discuss the following:

• Review of agency contracts due to expire in 12 months

• Issues to be covered in the next 12 months—energymanagement and monitoring

• Electricity procurement

• Energy efficiency in government operations—PublicBuildings Forum

• International Association of Museum FacilityAdministrators (IAMFA)

• On-call (after hours) coverage by contractors

• Fire isolations

• Swine flu

• Campus works near Questacon and the National Libraryof Australia

The Chapter’s next meeting is scheduled for August 27, 2009at the National Maritime Museum in Sydney.

Dean Marshall is Head of Facilities Management at the NationalGallery of Australia in Canberra.

Northern California Chapter

By Joe Brennan

On May 13, the Northern California Chapter held itssecond “quarterly” meeting for 2009 with a tour of theGolden Gate Bridge Seismic Retrofit Project. The tourprovided members with a unique opportunity to view anddiscuss ongoing maintenance of the city’s prime asset.Even landmarks need retrofitting from time to time. Thiskind of work must be done under additional restrictiondue to their status—not to mention the ceaseless traffic,onslaught of weather, public oversight, budgetary wrang -ling, etc. The tour was of great interest to all of us facilitiestypes operating in a seismically active area. Chief engineerDenis Mulligan and Deputy Chief Engineer Ewa Bauerwere our hosts.

The Chapter’s third quarterly meeting was held onAugust 13, and involved an “insiders’ tour” of AT&T Parkin San Francisco. This time, the focus was on the facilitieschallenges facing a sports arena known as “The BestAddress in Baseball”. By its very nature, AT&T Park has

exaggerated facilities issues that parallel common museumconcerns such as visitor services, landscape maintenance,vendor utilities and relations, restroom upkeep, outdoorlighting, special events, AV systems, employee lockerrooms, etc. This fascinating tour gave members a newperspective—and perhaps a better appreciation for ourown situations.

Members of the Northern California Chapter were alsoreminded that this Chapter will be hosting the annualIAMFA Conference in San Francisco on October 17–20,2010. Members were reminded that, although this is amajor undertaking, it is also a lot of fun—to say nothingof the great sense of accomplishment and satisfactionthat comes with providing our IAMFA colleagues withan edifying and entertaining conference. There are stillopenings on all the Conference committees, and memberswere reminded that the biggest effort at the momentinvolves fundraising and sponsorship.

Joe Brennan is the Director of Facilities at the San FranciscoMuseum of Modern Art.

New York Organizational Meeting Held

By John Castle

Several years back, there was an active IAMFA chapter inNew York. Over time, the group’s focus shifted to othertopics, such as security, and many of the names changedas well. In an effort to rekindle interest in IAMFA with thisgroup of professionals, a summer meeting was held at theCooper-Hewitt, National Design Museum in Manhattanwith several IAMFA Board members.

Regional Updates and Member News

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Jim Moisson (Treasurer), Nancy Bechtol (WashingtonConference Chair) and John Castle (Vice-President,Regional Affairs) met with 30 museum professionals in aninformal setting over lunch. Mark DeMairo from New York’sNeue Galerie opened the meeting with some personalobservations about what IAMFA has meant to him. JohnCastle followed with a short history of IAMFA and what ithas done in the past few years. Nancy Bechtol discussedwhat was being planned for the Washington Conference,with a description of the exciting program events in store.Jim Moisson closed with a passionate discussion about whothe typical IAMFA member is and what he/she is all about.

After lunch, a back-of-house tour was provided by theaccommodating staff at the Cooper-Hewitt and was enjoyedby the guests. As many of you know, back-of-house toursare a trademark of IAMFA outings, and are a unique treatfor members.

Many thanks to the Smithsonian’s Cooper-Hewitt forits assistance, and a special thanks to Mark DeMairo, whoprovided boots-on-the-ground support for the meeting.

John Castle is Director of Facility Services at the WinterthurMuseum & Garden in Winterthur, Delaware.

John Castle’s son Daniel (lower left), and his teammateswon the Delaware State competition and placed 13th outof 51 teams in the International Odyssey for the Mind (OM)competition. OM is an international educational programfor students. Teams apply their creativity to solve problemsthat range from building mechanical devices to presentingtheir own interpretation of literary classics. They thencompete at the State and World levels. Thousands of teamsfrom across the U.S., as well as about 25 other countries,take part in this program each year.

Harry Wanless, Merida Fitzgerald, and Johnde Lucy show off their new vegetable and herbgarden at the British Library. The Mayor ofLondon, Boris Johnson, visited the Library onAugust 5, 2009, and was delighted to find thatwe could contribute two new green environ -ments to the Capital Growth scheme of 2,012new city gardens by the time of the Olympics in2012. A flower bed near the staff bicycle rackshas been planted with vegetables for the staffrestaurant: artichokes, carrots, onions, beetroot,cherry tomatoes, spinach, celery, potatoes (twovarieties) and lettuce. And on the first floorterrace a herb garden has been planted withthyme, sage, rosemary and mint—as requestedby our head chef for use in the restaurants.

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