papyrus summer fall 2012

44
PAPYRUS VOL. 13, NO. 2 SUMMER–FALL 2012 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS VOL. 13, NO. 2 SUMMER–FALL 2012 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS The Philadelphia Museum of Art— One Venue for the IAMFA Annual Conference Who’s Afraid of Green Museums: Fear and Loathing and HVAC Carbon Management at National Museums Liverpool Introducing the American Institute for Conservation of Artistic and Historic Works— Collection Care Network

Post on 11-Sep-2014

1.061 views

Category:

Education


1 download

DESCRIPTION

Papyrus Summer Fall 2012

TRANSCRIPT

Page 1: Papyrus Summer Fall 2012

PAPYRUSVOL. 13, NO. 2 SUMMER–FALL 2012

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

VOL. 13, NO. 2 SUMMER–FALL 2012

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

The Philadelphia Museum of Art—

One Venue for the IAMFAAnnual Conference

Who’s Afraid ofGreen Museums:

Fear and Loathingand HVAC

Carbon Management at National Museums Liverpool

Introducing the AmericanInstitute for Conservation ofArtistic and Historic Works—

Collection Care Network

Page 2: Papyrus Summer Fall 2012

Positive Varming Environments since 1933

Steensen Varming and Varming International Alliance provide unrivalled expertise in museum, gallery and archive projects.

The Clore Gallery, Tate, LondonNomura Gallery, Tate, LondonHoly Sepulchre, Jerusalem Casula Powerhouse Museum, SydneyTate in the North, LiverpoolMuseum of Modern Art, LondonArt Gallery of New South Wales, SydneyChester Beatty Library, Dublin Australian War Memorial, CanberraThe Mint Building, SydneyVictoria & Albert Museum, LondonSir John Soanes Museum, LondonScience Museum, Wellcome Wing, LondonWhitechapel Art Gallery, LondonFrederikborg Castle, CopenhagenSculpture Museum, LondonAuckland Art Gallery, AucklandNational Portrait Gallery, CanberraNational Gallery of Australia, CanberraNational Library of Australia, SydneyAustralian Museum, SydneyRoyal Scottish Academy / Playfair, EdinburghGuinness Storehouse Visitor Centre, DublinPrehistoric Museums Arhus, The Utzon Centre, AalborgSydney Opera House, Sydney

Australia Denmark Hong Kong Ireland (Varming) United Kingdom (SVM)

www.steensenvarming.com

Building Services Solutions

Buildings

Physiology

Strategies

Page 3: Papyrus Summer Fall 2012

IAMFA/PapyrusVol. 13, Number 2Summer–Fall 2012

EditorJoe May

CorrespondentsMichael ArnyHershow Al-BaraziChris BaileyNiall CooperDan DaviesJohn De Lucy

Maurice EvansJoe MayPatricia MorganJack PlumbRich ReinertIan WilliamsStacey WittigElizabeth Wylie

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in the U.S.A. byKnight Printing

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 — Ray [email protected]

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

Los Angeles, USA — Randy Murphy,Los Angeles County Museum of [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 — Ed Richard, National Gallery of [email protected]

Philadelphia, USA — John Castle,Winterthur Museum & [email protected]

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

United Kingdom — Jack Plumb,National Library of [email protected]

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

MEMBER REGIONS

Cover photo: Inside the Conservatory at Longwood Gardens, venue for the 2012 IAMFA Conference. Photo by Joe May

Past issues of Papyrus canbe found on IAMFA's

website: www.IAMFA.org

PresidentJohn de LucyThe British Library (Retired)London, United [email protected]

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

V.P., Regional Affairs and 2012 Conference ChairJohn CastleWinterthur Museum, Garden and LibraryWinterthur, DE, [email protected]

TreasurerAlan DiricanBaltimore Museum of ArtBaltimore, MD, [email protected]

SecretaryPatricia MorganAuckland Art Gallery Toi o Tamaki Auckland, New Zealandpatricia.morgan@

aucklandcouncil.govt.nz

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

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

IAMFA BOARD OF DIRECTORS

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

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

Introducing the American Institute for Conservation of Artistic and Historic Works—Collection Care Network . . . . . . . . . . . . . . . . . . . . . . . 4

Who’s Afraid of Green Museums: Fear and Loathing and HVAC . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Benchmarking Options: New Energy Survey and Classic Comprehensive Survey . . . . . . . . . . . . . . . 12

The Philadelphia Museum of Art . . . . . . . . . . . . . . . . 14

Yo, Philly! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

External Vertical Shade Automation Projectat the California Academy of Sciences . . . . . . . . . . . . 16

The National Geographic Society is a LEED-EBRecertification Star. . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

2012 IAMFA Conference Schedule . . . . . . . . . . . . . . . 20

Carbon Management at National Museums Liverpool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Awards for the Auckland Art Gallery . . . . . . . . . . . . . 28

Architect of the Capitol’s Office of Security Programs Recognized for Excellence inCustomer Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

IAMFA Environmental Group Meeting—Manchester Museum . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Regional Updates and Member News . . . . . . . . . . . . 34

IAMFA Members—Organizations . . . . . . . . . . . . . . . . 36

Index of Papyrus Technical and Historical Articles . . . 38

Contents

For additional contact information,

please visit our website atwww.iamfa.org

For more information on becomminga member of the InternationalAssociation of Museum FacilityAdministrators, please visit

www.iamfa.org

Page 4: Papyrus Summer Fall 2012

and construction, as well as in ongoingoperations. You’ll read about the Philadelphia

Art Museum, which is a venue for theIAMFA Conference in September, andyou’ll be able to practice up on yourcolloquial Philadelphia terminology sothat you can be prepared to speak as thelocals do . . . you never know when thismay come in handy while in Philadelphiafor the 2012 IAMFA Annual Conference!Hershow Al-Barazi has contributed

an interesting article about the ExternalVertical Shade Automation Project at thegreenest museum on Earth. Many of youvisited the California Academy of Sciencesduring the 2010 IAMFA Conference inSan Francisco, but may not be awarethat they received their second LEEDPlatinum award in 2011. You will also findan update from Pat Morgan about themany awards received by the AucklandArt Gallery during the past year. TheAuckland Art Gallery was a venue for the2011 IAMFA Conference, and host of atruly unforgettable closing gala at the2011 Conference. We will never forgetthat evening; I wish every one readingthis could have been present.Michael Arny, President at the

Leonardo Academy, writes in this issueabout LEED certification at the NationalGeographic Society. You may remem berMichael from when he joined us in Bilbao,Spain at the 2006 IAMFA Con ference.Michael and I made a joint presentationabout the Getty Center’s new LEED-EBCertification in 2005, which was the firstpost-pilot LEED-EB Certification in thenation. Michael actually chaired the com -mittee that developed LEED for ExistingBuildings. You will read about the orga ni -zation that received the very first LEED-EB Certification in the nation duringthe LEED-EB pilot program back in2003. Congratulations to the NationalGeo gra phic Society on their new LEEDrecertification at the Gold level.

Ian Williams and Chris Bailey of theMuseum of Liverpool describe some ofthe actions taken over the past 12 yearsin understanding, managing and re duc - ing energy consumption, as well as thecarbon impact of National MuseumsLiverpool (NML) on society. These actionshave culminated in NML recently beingplaced joint first in the UK Carbon Reduc -tion National League Tables. NationalMuseums Liverpool is a group of ninemuseums and galleries from Liverpool. You’ll also read about recognition of

the Architect of the Capitol’s Office ofSecurity Programs by Building OperatingManagement Magazine with its FMXcel -lence Award for excellence in customerservice. The FMXcellence awards recog -nize facilities management teams that“spearhead and execute stand-out projectsand programs.” You may remember thatwe visited the U.S. Capitol during our2009 IAMFA Conference.Please make sure you also read the

update about the latest U.K. RegionalMeeting hosted by Nicola Walker, Headof Collection Care and Access at theManchester Museum. There is more newsabout the growing movement to reassesstemperature and RH settings. Please alsosee Stacey Wittig’s update about the IAMFAAnnual Benchmarking Exercise—andmake sure you plan on attending theBenchmarking and Learning WorkshopSeptember 16 in Philadelphia.One last thing; I’d like to report that

IAMFA’s LinkedIn Group continuesto grow, now with 358 members from31 countries. If you know someone whomyou think may benefit from learningmore about IAMFA, please encouragethem to join our LinkedIn group, andto also visit our new website,www.NewIAMFA.ORG. There’s more in this issue; I hope you

enjoy it. Thank you so much to everyonewho contributed articles.

Greetings from Los Angeles!

As I write this, we are now justtwo months from IAMFA’s 22ndAnnual Conference in the Mid-

Atlantic region of the United States. Theconference organizing committee reportsthat progress in planning this year’sconference is on track, and both thecommittee and the IAMFA Board areeager to see IAMFA members again inSeptember at venues in Philadelphiaand the surrounding region.Please make sure you read John

De Lucy’s Message from the President inthis issue of Papyrus, as this will be hisfinal one. John has been a superb leaderfor IAMFA during the past four years,and we all look forward to seeing himand wife Livi this September at the con -ference. We all hope that, despite hisretiring from the British Library, Johnwill continue to remain active in IAMFA.In this issue of Papyrus, you will find

a variety of articles both from IAMFAmembers, and non-members who areleaders in their field. Please read thearticle in this issue contributed by theAmerican Institute of Conservators. Thisarticle provides an introduction to AIC—and, we hope, the beginning of a grow -ing collaborative effort between AIC andIAMFA members to evaluate possiblerevisions to environmental specifica -tions, and how this could foster higherlevels of energy conservation at culturalinstitutions in America and beyond. You will also find an article by Elizabeth

Wylie and Niall Cooper titled “Who’sAfraid of Green Museums: Fear andLoathing and HVAC”. This article is afollow-up to a session at the AmericanAssociation of Museum’s (AAM) AnnualConference in Minneapolis in late April2012. During a provocative forum, expertsexamined many of the ques tions thatarise when museums undertake a capitalproject and want to pursue environ -mentally sustainable practice in design

Joe May Editor, Papyrus

Letter from the Editor

2 PAPYRUS SUMMER–FALL 2012

Page 5: Papyrus Summer Fall 2012

learning from our peers how they haveimproved delivery of facilities services,so we can return home and make ourown improvements—ample justificationfor attending our conference! The third benefit has been participa -

tion in the benchmarking group to com -pare how we were managing our costsagainst similar cultural organisations,and learning from them how to managebetter. The fourth is the strong bondsand friendships you build up with like-minded professionals—both to discussideas and help solve problems at yourown organisation—again supported byJoe May in his management of a largeand growing LinkedIn group.At this year’s conference, you will

not be able to resist Monday’s tour ofthe Philadelphia Museum of Art, whichis an amazing building that has justfinished a major extension. Followingthat tour, we’ll be heading to the newlyrefur bished Rodin Museum, and a brand-new museum: The Barnes Foundation,completed during this summer.Tuesday will be a real treat, as we

tour and learn about four museums inDelaware, three of which are linked tothe Du Pont family. We’ll all end the daywith a lovely dinner in the LongwoodGardens Conservatory, followed by astunning Fountain Show. The hugefountain pump house will excite eventhose without an engineering bent!Wednesday is based around the

Independence National Historical Park.We’ll go behind the scenes of a newlyfinished museum, tour the NationalConstitution Centre, and visit the LibertyBell (still with a crack, thank goodness!),before our Gala dinner in the NationalConstitution Center.

The excellent guest programme forour partners, I know, is also an enormousattraction. Please do everything you canto attend, learn what others are doing,and renew friendships with your col -leagues. The hard times and financialpressures you currently face are not likelyto abate in the year ahead, so it is essentialthat you and your facilities departmentscontinue to demonstrate where you addvalue to your organisations—hopefullyreducing the risk of your role beingquestioned or removed. Hopefully youhave learned enough through IAMFA toshow that you are not just a cost centre,but can have a highly positive businessimpact on your cultural organisation.Have you delivered a material reductionin operating costs over the past twoyears, and are you seen as an integratedbusiness manager by the rest of yourcorporate colleagues?Many thanks again to our Board for

supporting me over the past four years,and helping make IAMFA a much moreprofessional organisation. Also to myprevious PA, Merida Fitzgerald, for beingthe power (engine?) behind the role, andHarry Wanless for his help and supportat the British Library (mostly rewritingeverything I did)! Harry, rude as always,did think Merida was the real President,and I was just the frontman!One minor achievement: I think I

have persuaded my American friends tobe more adventurous in wearing colour -ful socks—but unfortunately not to undothe mistake they made in 1776. I hope to see you all at the conference

in September, when you can tell me howyou are managing in these tough times.When you receive this issue of Papyrus,I will be in Tuscany preparing for my fullretirement—see photo above!

This will be my last “Message fromthe President” before I hand overto your new President at our Mid-

Atlantic conference in September. I havereally enjoyed the past four years, andthank you all for your support—bothto me, and to our organisation—duringthis period, particularly through yourparticipation at our conferences inWashington, San Francisco, and Auckland,all of which have been such a success. John Castle and his team have put

together a wonderful programme forthis year’s Mid-Atlantic conference inPhiladelphia and Delaware. We will bevisiting eight top museums and galleries,which I know you will find fascinatingand helpful in solving some of your localfacilities problems. I understand that wealready have 120 people booked intohotels, so this one might even be biggerthan the London conference in 2008!It has been tempting to want to expand

IAMFA into a much larger association.I have belonged to large associations inthe past, however, and they do lose theclose friendships which we build togetherat IAMFA, as well as requiring costlyadministration and infrastructure. It isthe close relationships, friendliness andwillingness to help—plus the fun thatwe have when we meet—that has madethis organisation my favourite of allthe professional organisations to whichI have belonged.I have received four key benefits from

my association with IAMFA. The first is thepublication of Papyrus, which con tainssuch relevant and interesting articles—andhas been made such a success by Joe Mayover the past four years. The second is thelearning opportunity in going behindthe scenes of the world’s best museumsand galleries at each annual conference,

John de LucyPresident, IAMFA

Message from the President

PAPYRUS SUMMER–FALL 2012 3

Page 6: Papyrus Summer Fall 2012

4 PAPYRUS SUMMER–FALL 2012

Have you ever had difficultyobtain ing professional con ser -vation advice on a specialized

topic? Would you like easy-to-navigateaccess to the conservation com munity?Did you know that many conservatorshave wanted to be better connected tothe professional facility managementcommunity?To facilitate this kind of connection

and communication, the AmericanInstitute for Conservation of Artistic andHistoric Works (AIC) recently estab -lished its Collection Care Network(CCN). Created in early 2012, theCollection Care Network combinesthe preservation knowledge and skillsof AIC members, and links them withallied professionals. The AIC CCN iscommitted to advancing the criticalimportance of preventive conservationas the most effective means of pro mot -ing the long-term preservation of cul -tural property, and recognizes that bothpreservation and stewardship rest uponthe talents and skills of numerousprofessionals and volunteers. The AIC CCN serves people in every

preservation profession: archaeologists,architects, archives staff, art handlers,collection care specialists, collectionmanagers, conservators, curators, engi -neers, entomologists, exhibit designers,facilities staff, historic house museumstaff, library staff, mount makers,preparators, preventive conservationmaterials vendors, registrars, tech ni -cians, and the many others who aid inpreservation. For more on our man -date and purpose, please visit ourwebsite at www.conservation-us.org/collectioncare.Since its first meeting at Winterthur,

Delaware (USA), funded by a gener -ous grant from Tru Vue, AIC CCN has

become available since its previousprint edition. Moving the publicationto the web will expand access and im -prove timely integration of new infor -mation. Review and critique of draftsegments will be possible on-line. Lookfor the STASH link in 2013 on theConservation OnLine (CoOL) websiteat www.cool.conservation-us.org.Future collaborative projects on

other collection-care topics are alsobeing developed. One such projectseeks to team AIC CCN with alliedprofessionals to develop a wiki-basedpublication on exhibition standards andguidelines. The entries will describekey steps in planning, developing, andmaintaining exhibitions from a preser -vation point of view. The project willbuild upon the work of former U.S.National Park Service conservatorToby Rafael and museum consultant

Introducing the AmericanInstitute for Conservation ofArtistic and Historic Works—Collection Care NetworkBy the AIC Collection Care Network

The SPNHC book, STASH, which will bereproduced and expanded in a jointpartnership between AIC CCN and SPNHC.

worked to support the critical work ofcollection care by bringing togetherpreservation organizations, profes -sionals, and information resources.The Network’s aim is to foster dynamicexchange among those engaged inpreventive care, to expand the bodyof preventive care knowledge, and todisseminate this knowledge in order tosupport the work of all collection carepractitioners and allied professionals.In May 2012, AIC CCN was launched

at the aptly named 40th annual AICmeeting, Connecting to Conservation:Outreach and Advocacy in Albuquerque,New Mexico (USA). As part of the“Outreach to Allies” session, attendeeswere invited to share ideas and sug ges -tions for future projects. The formatincluded brief videos of various stake -holders in the preservation fielddiscussing the dilemmas they faced.Among these videos, a lighting designerand an architect presented building-related issues. It is vital that this dis cus -sion continues beyond that nationalAIC meeting. Please visit the AIC blogat www.conservators-converse.org/where you will soon have an oppor -tunity to view the videos and addyour voice.One of the major goals of AIC CCN

is to pursue collaborative projects incollection care. Recently, the Societyfor the Preservation of Natural HistoryCollections (SPNHC) and AIC CCNannounced that the Kress Foundationhas funded the development of a web-based resource entitled, STASH:Storage Techniques for Art, Science,and History collections. Based on aformer SPNHC publication, this ven -ture will present an expanded rangeof storage solutions, and integratethe many new materials which have

Page 7: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 5

Felicity Devlin. Some modules havealready been posted on the AIC wiki,with more expected later this summer.This topic, along with many others, canbe found at www.conservation-wiki.com.The direct link to Conservation Stan -dards & Guidelines for ExhibitionsUtilizing Museum Collections iswww.conservation-wiki.com/ex.We invite you to collaborate in

developing our next projects, andto consider joining us at upcomingnational meetings. “ContemporaryIssues in Conservation” is the themefor the May 29 to June 1, 2013 meeting,planned for Indianapolis. We welcomesug ges tions to help us shape aworkshop to present at this meeting. Looking ahead to our 2014 national

meeting in San Francisco, we envisiona conference program focusing onpreventive care, incorporating the ideasof many of our preservation allies.We look forward to beginning a

long and enriching exchange betweenour organizations.

Joelle Wickens, Chair 2012–2014Winterthur Museum, Wilmington, [email protected]

Rebecca Fifield, Vice-Chair2012–2014Metropolitan Museum of Art,New York, [email protected]

Wendy Claire Jessup, Secretary2012–2013Private Practice, Arlington, [email protected]

Karen Pavelka, Treasurer 2012–2015University of Texas at Austin, Austin, [email protected]

Gretchen Guidess, Communications& Outreach 2012–2015Historic New England, Haverhill, [email protected]

Robert Waller, Editor 2012–2015Protect Heritage Corp., Ottawa, ON [email protected]

Patricia Silence, Founding MemberColonial Williamsburg Foundation,Williamsburg, [email protected]

Julia Brennan, Founding MemberPrivate Practice, Washington, [email protected]

Rachael Perkins Arenstein, Founding MemberPrivate Practice, Scarsdale, [email protected]

Catharine Hawks, Founding MemberNational Museum of Natural History,Washington [email protected]

Board of the AIC Collection Care Network

www.pennoni.comProviding Engineering Services Since 1966

Construction Services Energy & Sustainability Environmental Geotechnical Grant Writing Laboratory Testing Landscape Architecture Materials Testing & Inspection MEP Municipal Planning Site Design Structural Survey & Geomatics Transportation Water/Wastewater

Delaware Maryland New Jersey Pennsylvania Virgina New York Ohio Massachusetts New Hampshire Connecticut

Winterthur Museum, Garden & Library, Winterthur, DE

New Maryland are Delaw

irginaVania vennsyl Pw Jersey

sachusetts MasOhio ork New Y York a

Co New Hampshire chusetts

onnecticut

MEPing & InspecestTTestials Mater

eturchitecape ArLandscingesty T TestLaborator

ingitrGrant Wal Geotechnicalonmentvir En

yainabilitgy & Sust Enervicesion Sert Construc

iont c

ater

roviding Eng P

wasteater/WWaste W Water/Wionattranspor T

icsy & Geomatev Surtural Struc

Site Design Planning Municipal

ineering Services

1966 s Since w

.pennoni.comwwww.pennoni.com

om

Page 8: Papyrus Summer Fall 2012

6 PAPYRUS SUMMER–FALL 2012

This article is a follow-up to a session at the AmericanAssociation of Museum’s (AAM) Annual Conferencein Minneapolis in late April 2012. In a provocative

forum, experts examined many of the questions that arisewhen museums undertake a capital project and want topursue environmentally sustainable practice in design andconstruction, as well as in ongoing operations. Capital construction projects are not a common occur -

rence within the career trajectories of most museum pro -fessionals. The session aimed to empower museum leadershipto ask and seek answers to tough questions. The challengeof designing, building and operating environmentally sus -tainable museums (new, existing, and historical) is a multi-headed hydra that sows conflicts around budget and need,desire and reality, vision and capacity. The job of articu lat -ing goals, matching budget and schedule, and keeping thevision and intended outcome in sight is a tall order. Addin new green technologies, differing metrics, and shiftingcollections care standards, and you end up with a brew ofchallenges and opportunities. There are significant barriers to greening museums, many

of which arise from confusion related to costs and tech nolo - gies. The session’s format provoked a candid explorationof barriers and points of conflict. Onsite questions, as wellas those pre-solicited from the field, stimulated a frankexamination of the issues. Sample questions included:How important is LEED certification to achieving a greenmuseum? Given the current discussion about collectionscare standards, how do you design for a situation in flux?Can you provide an example of when you have questioned

Who’s Afraid of Green Museums Fear and Loathing and HVACBy Elizabeth Wylie and Niall Cooper

This sample of 60+ LEED certified museums shows distributionacross the rating levels, with Silver predominant.

CO

UR

TESY

: B

UR

O H

APPO

LD

LEED-certified museums over a ten-year period.

CO

UR

TESY

: B

UR

O H

APPO

LD

a design brief? We have an 1880s building—won’t greeningcost too much?Top-flight experts—all of whom either have been, or are

currently involved in some of the country’s most high-profilemuseum building projects—offered valuable experienced-based perspectives. The primary outcome was that partici pantswere empowered to ask questions, question assump tions,and push for excellence. The saying goes that the bestbuildings are the result of the best clients. This session wasaimed at helping participants be better clients, getting theresults that they want and that the museum field needs:green buildings that perform and make a positive contri bu -tion to the fabric of their communities. We wanted to helpto make the connection between the design and construc -tion process and mission-fulfillment, underscoring long-termthinking, and the power of green for branding and education,as well as environmental responsibility.The idea for this forum was born of a conversation we

had when we wanted to collaborate on an AAM session.While brainstorming, we kept circling back to the samebasic issue: Why aren’t museums greener? They are here forthe long haul, right? Their missions revolve around savingcollections for the “future”, right? This results in the expen -diture of untold resources on energy and water—resourcesthat are at risk, and which are harmful to the environmentin their production/extraction. Other industries are alreadypositioning themselves to adapt to climate change ininnovative, systems-based ways that can serve as models.Museums have started this process, but . . .We looked at the LEED program (www.usgbc.org), just

one of many metrics, and where museums fall within thenearly 10,000 LEED certified projects. Certified is the lowest

Page 9: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 7

rating and Platinum is the highest (or most resource efficient).Silver is little more than what is required by code in somestates. In a sample of 60+ LEED certified museums, Silveris the predominant target.If you look at the rate of adoption, there was a precipi tous

falling-off of deep green around the time stricter energyrequirements were rolled out in the 2009 version of LEED.It seems that museums are interested in—and indeed,are—going green; but they just aren’t reaching higher,which is something other sectors (colleges, universities andcorporations, for example) are already doing. Why aren’tmuseums—trusted and valued institutions with smart staffand leadership—similarly positioning themselves to adapt?The technology and professional expertise exists to help

museums get to deep green; as a whole, however, the industryhas been behind the curve in getting there. What are thebarriers? What are the solutions to help museums get tofearless green?

The Project Kick-Off Meeting For the session, we tried something new: a roleplayingexercise. Audience members were invited to become “flieson the wall” during a project kick-off meeting. This wasfollowed by a randomized Q&A to keep it lively and edu -cational. The approach was intended to explore a serioussubject in a fun way, in order to cut through the fear andconfusion, and show how to get where museums want to go.

Elizabeth Wylie LEED AP BD+C, Principal, WYLIE projectsElizabeth is a museum-oholic art historian who dreamsthat museums will start adopting a longer strategic view,and position themselves to adapt to climate change withresource-efficient buildings and sites, for the ultimate inmission-fulfillment.

Veronica Szalus, Director of Exhibits, NationalChildren’s Museum Veronica is a director of exhibits by day, and an installationartist by night. She focuses on green practices in bothfields, utilizing repurposed materials in many of herinstallations, and fighting the good fight for incorporatingsustainable practices in exhibit design and daily operationsat the Museum.

Matthew Siegal, Chair, Conservation and CollectionsManagement, Museum of Fine Arts, BostonTrained as a ceramist and a glassblower, Matthew managesone of the largest art collections in North America. Helongs for the museum community to be able to set asidethe minu tiae of daily operations, and embrace broaderdiscourse—such as, how do we, as a society, determine theappropriate share of resources to commit to preservationof our material culture? As collection stewards, what dowe owe the present generation, what do we owe futuregenerations, and how do we use the finite lives of theobjects we collect?

James Alexander FAIA LEED AP, Principal, Finegold AlexanderJim is an architect and reuse pioneer, who is delighted tosee early preservation efforts joined with environmentalsustainability. He sees how this merger can positively shapecommunity through architecture, and wonders what new“green” expression will mean for the built environment.

Niall Cooper CEng MCISBE BEng (Hons) MSt,Associate Principal, Buro HappoldNiall is an engineer, thinker and tinkerer with seventeenyears of engineering, thinking and tinkering under hisbelt. He has engineered, thought about and tinkered withmuseums across the United States. Of all the buildingshe has engineered, thought about and tinkered with,museums are his favorite.

Nico Kienzl, DDES, LEED AP BD+C, ASHRAE HBDP,Director, New York, Atelier TenNico is a recovering architect, as well as a sustainability andbuilding physics expert who enjoys seeing art in naturaldaylight and museums that connect to their surroundingenvironment. Too tightly controlled museum environmentsgive him “museum head” and reduce his attention span toabout 30 minutes.

Meredith Mack, Executive Vice-President, Rise Group LLCMeredith likes to make things work, and get things done. Asa result, she often finds herself a project manager or admin -istrator at fascinating places like museums, learning howto implement new systems and ideas like “green building”.

Sarah Brophy, LEED AP EBOM, Principal, bMuse:Sustainable MuseumsSarah’s coolest green experiences as a volunteer includeplanting grasses to rebuild habitat in the Chesapeake Bay,training as a marine-mammal-stranding team member(unfortunately we get the dead ones), and building trailson conservation land. She is dreaming of the day whenmuseums operate as ecosystems!

Christopher Mekal, Principal, Mekal ConsultingChris looks forward to the day when green design is asunquestioned in building programs as electricity. In themeantime, he keeps a sharp (and sometimes skeptical) eyeon the bottom line.

The ExpertsSince we designed the session in an unconventional way, each expert provided an unconventional bio.

Page 10: Papyrus Summer Fall 2012

8 PAPYRUS SUMMER–FALL 2012

The scene is 45 minutes into an hour-long project kick-off meeting. The team has already introduced itself, sharedexisting documentation, and reviewed schedule and budget,and program goals are being discussed. We enter as thearchitect has just asked for specifics on what the Ownerbroadly described as “Green” approaches.As the scenario played out and the audience asked

questions, the themes below emerged as areas that posepotential barriers to museums reaching for fearless green.

How do I know what Green is?Without exception, every member of the panel agreed thatearly definition of sustainability goals is one of the singlemost important factors affecting costs—and ultimately per -formance—down the line. There was also agreement thateach museum needs to educate itself about sustainability, andwhat it means for them as an institution—not just withinthe context of a building project, but also going forwardin terms of operations and education. Cross-disciplinary

representation on the Building Committee—includingstaff working in collections care, exhibits, advancement and,yes, facility management—was seen as important. Estab -lishing a Green Team is optimal for developing, managingand monitoring museum-wide green practice going forward.Making a commitment and embedding sustainable practiceinto your organizational values can have a substantialimpact on how you design, operate, fund, and interpretyour green building.

The LEED Certification process scares me. I feeloverwhelmed? What can I do? LEED is a recognized brand, and your audience and finan -cial supporters likely know and appreciate that there is someverification of sustainability. The LEED process has beenstreamlined over time: documentation is less onerous (newonline tools help, as has LEED’s adoption in the market -place), and professionals are more skilled. There is still someconcern about what is sometimes called a LEED premium.

The Roleplay ScenarioOwnerEmerald Museum and Gardens, a beloved local, privatenon-profit institution.

Program Art museum with non-living, “encyclopedic” collections,plus living botanical garden and designed landscape.

Existing Building20,000 sf Beaux Arts style, built in 1896; includes galleries,offices, and 5,000 sf of collection storage.

Expansion15,000 sf, to include visitor services, café, gift shop, socialspace, special exhibition galleries, performance andeducation spaces.

SystemsAir-conditioning installed in 1950s; steam heating systemwith scattered upgrades over the years.

SiteFive acres in tight urban setting in the Minneapolis/St. Paulmetropolitan area.

Total SF35,000 sf (renovation and new construction).

Total Project Budget: $36.4 millionHard costs: $28 million (@$800/sf) • Soft costs: $8.4 million(@ 30%)

The PlayersDirectorFormer Chief Curator, in position one year, following the25-year tenure of the former Director. In Sweden visitingthe family of the museum’s founders and positioning forcampaign ask, he has entrusted the Head of the Building

Committee with leadership on the project. He has neverbeen through a major capital project.

Head of Building Committee (Sarah)Long-time Trustee and potential major donor. She is a self-made gazillionaire (invented a portable composter thathas taken the marketplace by storm). She isknowledgeable about sustainability principles, but hasnever been through a major capital project.

CFO (Chris)New to position (about six months). His last museum closedone year after the new building opened. He is traumatized bycapital-project cost overruns and lack of operational planning.He is watchful of the bottom line and a green skeptic.

Exhibition Designer (Veronica)Head of the Museum’s Green Team and a sustainabilityadvocate. She has never been through a major capitalproject.

Collections Manager (Matthew)Long-time staff person with conservation background. He hasbeen through minor storage and gallery-upgrade projects.

Facilities Manager With a military background and 30 years at the museum,he has been through small-scale, patchwork capital upgrades.He couldn’t make the meeting, as he had to attend to anemergency systems failure.

Design Team (Jim, Niall and Nico)An architect, an HVAC engineer, and a sustainability consul -tant. All are experienced and possess award-winning talentand technical expertise.

Owner’s Project Manager (Meredith)Savvy and experienced, she has been in the trenches bothas a client and as an OPM. She knows her way around allaspects of capital projects.

Page 11: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 9

Studies show, however, that working with a truly integrateddesign team—and establishing and committing to greengoals early in the process—can minimize or even eliminateany premium for sustainable design and construction.There is also general recognition that some of the LEED

criteria are not geared towards the special requirements ofmuseums. To begin to address this, members of PIC Green(AAM’s sustainability committee: www.facebook.com/PICGreen) have formed an ad hoc committee on LEEDin museums. Encouraged by the U.S. Green BuildingCouncil (USGBC), the group has started reaching out toLEED-certified museums to foster an evalu ation mindset, tocomment on LEED 2012 (now v4.0), and to make recom -mendations for LEED and ways to increase its effectivenessfor museums. This work parallels similar conversationsbetween PIC Green, AAM and Energy Star (the Environ -mental Protection Agency and Department of Energy’senergy-efficiency program: www.energystar.gov/) to findways in which the museum community can better use thisonline tool. When asked if LEED is necessary for the Emerald Museum

and Gardens expansion project, the roleplay engineerresponded that “it’s not necessary, but is a good frameworkfor our approach as a design collective.” For the EmeraldMuseum and Gardens, the idea is to “choose our own destinywith goals that make sense for what we are trying to do.”From an engineering perspective, the team could work up

the budget by looking at the following three areas ofopportunity with increasing order-of-magnitude costs.

1. Don’t forget the big picture and your long-term goals.Look well beyond simple payback by examining largerinvestments that keep paying for the life of the building(ground-source heat pumps, etc.).

2. Look at the interface and integration between thehistorical building and new construction.

3. Design a super-efficient new-build component throughintegrated systems and building-envelope strategies.

Benchmarking was also mentioned, as was IAMFA’sannual benchmarking report. Participants in the exerciseknow how useful that kind of data can be over time, as ithas resulted in significant savings in operating expenses.Knowing how your museum currently sits in relation toits contemporaries is important. Tracking overall energyusage (often referred to Energy Usage Intensity, or EUI)provides a useful benchmark for how well the buildingfabric and systems are working together as a whole. It’s not easy to obtain a true apples-to-apples comparison

in EUI between museum buildings, given the wide varietyof spaces and program configurations. How ever, carefullymeasuring where and how energy is used (when comparedto similar building programs and geographical locations)can provide an extremely useful guide in forensic engineering

Page 12: Papyrus Summer Fall 2012

10 PAPYRUS SUMMER–FALL 2012

efforts, which can improve both climate con trol marginsand overall energy usage. It can also be used to set realisticEUI-improvement targets for renovations, as well as sensiblegreen-stretch exercises for new building components. Suchassessments can be hugely beneficial prior to engaging insignificant capital development pro grams of expansion orupgrade. These exercises can help tune the system designand prioritize upgrades, in order to obtain the “biggestbang for your buck”. The take-away is about looking holistically at your institu -

tion, your project, locale and culture. It is also about mea -surement and goal-setting. Return-on-Investment (ROI) wascited as one decision-making tool that can help museumscome to terms with what is sometimes described as a “greenpremium”. A truly integrated design team can work withenergy modelers and cost estimators to test scenarios forvarious building and systems schemes, and can lead thecharge in discussing trade-offs.

There is a dizzying array of products and technologiesout there. How can I measure the cost-effectiveness ofinstalling these?Again, measurement plays a role in understanding how thebuilding is being used and how to continually adapt andimprove energy efficiency as space use shifts and changes.An example is sub-metering. By monitoring every compo -nent of energy use in the building, facility managers cangather and analyze data, and respond by changing the wayin which the building is operated, in order to maximizeopportunities to save even more energy. An important point was made here about operating a

green building. As the roleplay sustainability consultantput it, “We can design a great sustainable LEED Platinumproject, and still have a really crappy building if we don’trun it right.” Making sure the building is actually operatedand maintained over time, the way it was designed to beoperated and maintained, is critical. The panel reinforcedthe fact that engaging facility staff at the beginning of acapital project can have a substantial impact on the outcome. Commissioning—a systematic assessment of building-

system design and post-occupancy performance—is requiredby the LEED program, and is a good idea whether LEEDcertification is pursued or not. Retro-commissioning is alsouseful for existing building systems. In each case, com mis -sioning ensures that the building is operating as efficientlyand safely as possible, and that it is operated and maintainedby well-trained staff. This activity can also address some ofthe fear that springs up when the design team is specifyinghighly interactive design strategies and sophisticatedcontrol systems.

How do I convince my museum to become energyefficient? How do I make sure that the art is notsacrificed in the process?Internal buy-in was identified as a significant barrier, withleadership questioning the costs, and staff reticent to adoptnew approaches that seemed at odds with commonly acceptedcollections care and exhibition practices. The roleplay CFO,

a green skeptic, did concede that, as environmental respon -sibility becomes more important to museum audiences,they expect and are looking for evidence that resourcesare being used wisely.

Can we succeed in a fundraising campaign if wearen’t green? The roleplay major donor said she would absolutely supportgreen approaches, saying she would work with the advance -ment office to target asks around the kinds of things thatmotivate donors. She suggested that “some are only inter -ested in green bling” (e.g., PV panels that can be easilyidentified), while others understand that integrated greenapproaches aren’t necessarily visible. Showing leadership,she noted, has tremendous benefits, and can be leveragedfor more support. There is also the compelling argumentfor donors that raising money for green-building purposesis in fact front-loading operating costs, since capital sup -port is traditionally easier to raise than operating funds.This kind of thinking is again looking holistically at aninstitution’s needs.Telling the green story before, during and after con -

struction can educate and inform, while also generatingsupport both internally and externally. What are the sus -tainable design features inherent your existing historicalbuilding that you are restoring and/or reactivating in yourrenovation project? How is the new construction designedto take advantage of passive green-design strategies (solarand wind orientation, envelope design, etc.)? You can also get a lot of mileage out of things you don’t

see, which can also capture the imagination. While thatgeothermal heat-pump system might be kind of “techy”,it is interesting to think about the principles of the system.Standing-column wells that are 1,500 feet deep can bedescribed as measuring the height of the Empire StateBuilding—underneath your building. You can furtherexplain that this means you can avoid giant cooling towerson the roof, which might mar the building’s historical con -text, which in turn feeds into a preservation story. Sharingthe ideas behind sustainable-design strategies provides oppor -tunities to connect energy efficiency to mission-fulfillmentand the true cost of collections care.Greening heritage buildings is not as daunting as one

imagines when thinking about historic district commissionsand the Secretary of the Interior’s Guidelines. Often it issimply about letting the historical building do what it wasdesigned to do, in terms of thermal mass, ventilation, andday lighting. Comparative studies of historical windows andinsulation strategies support restoration and retrofitting forpreservation-oriented green building (www.english-heritage.org.uk/professional/research/buildings/energy-efficiency/thermal-performance-of-traditional-windows/). Preservation of collections, and the compatibility of this

with sustainable design, has been demonstrated by leader -ship among collecting institutions that have led the waywith deep-green buildings that conserve resources whilealso carrying out the mandate-based work of preserving theobjects, creatures, plants, and structures in their care. This

Page 13: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 11

has been, and will continue to be, facilitated by new thinkingabout collection-care practices. The conservation communityhas ramped up the conversation and, indeed, has begun tooutline new risk-based parameters for conditioned spacesfor objects (www.iiconservation.org/sites/default/files/dialogues/plus-minus-en.pdf). This has created discomfort for some who have rigidly

held to the 50%RH/72°C formulation that many museumcurators and collection managers have had seared into theirbrains. Scientific research, education, and honest discus -sions within the field are shifting practice. This greaterflexibility has also extended to day lighting. Increased daylighting (direct, reflected, and diffused), in galleries as wellas in museum public spaces, reduces energy use and coolingload, while also improving the visitor experience. The visitor experience lies at the heart of these issues—

after all, what else is the point of saving all this stuff? As theroleplay collections manager put it, “As far as I am concerned,the objects we collect have no value without the humancomponent. They have no relationship to one another inour absence. The value they have is for our access and ourinteraction with them. If we were to be simply concernedwith the preservation of our objects, we would neverdisplay them, we would never loan them out, and theywould live forever in a dark storage vault.” Clearly, museums have already made the decision that is

not what we want to do. Within that context, museums are

reliant on increasingly at-risk resources in order to fulfilltheir mandates to preserve collections forever. Acceptingthat—and understanding that energy and water are critical,if we are to continue to enjoy and learn from our collec -tions—is the first step towards fearless green. And thatrequires leadership and a longer view. The good news is that museums across the globe have

already shown leadership and a willingness to step onto thegreen road and follow it for the long term. The examplesset by these early adopters and continual adapters areimportant in encouraging others, large and small, to follow.Professional training programs with embedded sustainability,as well as a general green zeitgeist, have also begun tobreak down barriers. Finally, it is up to those who design,build, and run museums—architects, engineers, directors,curators, facility managers, et al—to demonstrate that theyare connecting the dots between mission-fulfillment andthe health of the planet, and that they are taking action tosecure a bright future for both collections and people.

Elizabeth Wylie LEED AP BD+C is Principal at WYLIE projects, aconsultancy providing strategy, marketing, development, andsustainability planning for the A/E/C industry and for museum,cultural and preservation organizations.

Niall Cooper CEng MCIBSE BEng (Hons) MSt is an AssociatePrincipal at Buro Happold, an independent international practice of consulting engineers.

ATKIN OLSHIN SCHADE ARCHITECTSThe Anne d’Harnoncourt Sculpture Garden and Parking Facility

125 SOUTH NINTH STREET, SUITE 900 | PHILADELPHIA, PA 19107 | 215.925.7812 | blog.aosarchitects.com

Page 14: Papyrus Summer Fall 2012

12 PAPYRUS SUMMER–FALL 2012

The IAMFA Benchmarking Steer -ing Committee just released a newenergy survey to help facili ties

reduce energy costs and consumption.The IAMFA Energy Survey gives IAMFAmembers a second benchmarkingoption. The new survey was designedto meet the needs of smaller museumsand conservators who are looking forbenchmarking data to support changesin environmental conditions. The IAMFA Energy Survey measures

results from the same survey questionsfound in the energy section of theclassic IAMFA Benchmarking Survey.The essential difference between thetwo surveys is that the IAMFA EnergySurvey does not collect cleaning, main -tenance, landscaping or security data. Both IAMFA benchmarking surveys

collect more data on summer/wintertemperature and humidity setpointsthan in previous years. The SteeringCommittee looked at the feasibility ofan energy study over a year ago, afterfacility managers in the U.K. broughtthe need to the Committee’s attention.Additionally, the Committee had beeninterested for years in increasing par -ticipation from small institutions, whichhave neither the budget nor the man -power for the complete survey. TheEnergy Survey, offered at a reducedfee, appears to meet the needs ofboth groups.“I think it is absolutely vital that

Facility Managers not only keep energyconsumption under very close scrutiny,but also benchmark that energy con -sumption with their peers. With muchwork currently underway to make theenvironmental control of collectionspaces more sustainable, energy con -sumption should be reducing. So thereal question is: Is it reducing enough?

One way to really measure this is toparticipate in the IAMFA bench mark -ing exercise and attend the annualbenchmarking workshop. Recognizingthat this is not practicable for all mem -bers, IAMFA has proposed a shorterenergy survey, which will at least recordenergy consumption and compare thatconsumption with their peers,” saidJack Plumb, Facilities Manager, NationalLibrary of Scotland.The IAMFA Benchmarking Steer ing

Committee formed a subcommittee,con ducted a pricing survey, and dis -cussed definitions and appropriatesurvey questions. The subcommitteein cluded Guy Larocque, KeithMcClanahan, Randy Murphy, JackPlumb, David Redrup, David Sandersand Stacey Wittig. With International Council of

Museums (ICOM) conservators andEuropean Bizot Group museum direc -tors becoming more focused on envi -ronmental guidelines, the subcom -mittee recommended questions abouttemperature and humidity setpointvariances in different types of spaces.Hence, setpoints are collected forExhibition Areas—Permanent Displays;Exhibition Areas—Temporary Exhibi -tions; Conservation/Lab Areas; Collec -tion Holding Areas, not including anyoff-site storage; Collection Storage;and Library space, among seven otherspace categories. The data collected isvery specific to museums, libraries andarchives, unlike other benchmarkingstudies. Harry Wanless, retired fromthe British Library, called it “comparingapples to apples.”The subcommittee completed the

IAMFA Energy Survey in time for theannual European meeting in Paris lastMarch. Guy Larocque edited the French

translation for the survey and brochure,which was distributed in the handoutsto each attendee.In May, the IAMFA Energy Survey

was presented to the IAMFA Environ -mental Group Meeting held at theManchester Museum. According toparticipants, Jack Plumb providedan excellent overview of IAMFA andbenchmarking at the joint Conserva -tion and Estates/Facilities meeting.The concept of benchmarking wasnew to some of the participants fromsmaller institutions. Not only will conservators and facility

managers, new to IAMFA benchmark -ing, get a tool to help meet the demandsof government mandates for measur ingand reducing energy cost and con -sump tion, but longtime participantsof the classic study will be able to addsites for which measuring energy iscrucial, but a full survey is not warranted.For example, Plumb completes thecomplete survey every year for his mainfacility, but is looking to benchmarkother sites for the Energy Survey alone.Participants of the Energy Survey

will also be able to print out an IAMFAEnergy Label to display in their build -ings. Four years of data are neededfor a valid energy label. The IAMFAEnergy Survey is offered at one-thirdthe fee of the complete benchmarkingsurvey. Enrollment and results will beavailable year round. Read more at:www.facilityissues.com/Museums/E_IndexE.htm

Stacey Wittig, Marketing Director at FacilityIssues, is an IAMFA member and sits on theIAMFA Benchmarking Steering Committee.She can be reached at [email protected] or 928-255-4943 (GMT -7 hours).

Benchmarking Options: New Energy Survey and ClassicComprehensive SurveyBy Stacey Wittig

Page 15: Papyrus Summer Fall 2012

“Our IAMFA clients are knowledgeable andsophisticated about their design objectivesfor museum spaces. We are proud to support these unique environments with our specialized engineering expertise.”

Robert Marino, PE, LEED APPresident Mueller Associates

For more information, visit www.muellerassoc.com410.646.4500

IS A PROUD SPONSOR OF THE 22ND ANNUAL IAMFA CONFERENCE, MID-ATLANTIC, USA

Walters Art Museum

CLIENTS INCLUDE:

Baltimore Museum of Art

Delaware Museum of Natural History

Hagley Museum and Library

Monticello Visitor Center

National Gallery of Art

Smithsonian Natural History Museum

U.S. Holocaust Museum

Virginia Museum of Fine Arts

Walters Art Museum

Winterthur Museum

INSPIRED DESIGN,INNOVATIVE ENGINEERING

Walters Art Museum

Page 16: Papyrus Summer Fall 2012

14 PAPYRUS SUMMER–FALL 2012

The Philadelphia Museum of Art is housed in a uniqueand spectacular landmark building that is as much asymbol of the greatness of the City of Philadelphia

as Independence Hall or the Liberty Bell. As intense asource of civic pride today as it was when it first openedover eighty years ago, the building has always stood asthe physical expression of Philadelphia’s most ambitiouscultural aspirations.When it first opened in 1928, only ten percent of the

galleries were fully completed and installed. The decadessince have been characterized by extraordinary and steadygrowth, and by the late 1970s acquisitions of great works ofart and donations of legendary private collections filled allavailable physical space. In 1981, the Museum completed anarchitectural master plan, intended to maximize the Museum’sfacilities for collections and programming. Among the mostnotable results of this undertaking were the reinstallationof 90 galleries of European Art, completed in 1995, and theexpansion of our art-handling facility, which will open soon. The master plan identified the limitations of the Museum’s

physical plant. There was a very real need—exceeding theMuseum’s existing capacity—for significantly expandedspace in which to display and store the collections adequately,house the Library, and provide work areas for staff.Simply put, there was no room left to grow, which is per -

haps the most troubling reality for a Museum fighting to keeppace with the ever-expanding needs and interests of thepublic it serves. While annual attendance and demand forour internationally acclaimed programs continue to increase,adequate space is not always available to accom modate morevisitors. The legacy of deferred maintenance was also apparent,as was the lack of sufficient parking for our visitors.The creation of new physical space consistent with

the integrity, beauty, and architectural significance of thePhiladelphia Museum of Art was a priority in preparing theinstitution for tomorrow’s visitors. The expanded facility willprovide for the future growth of collections and pro grams,along with state-of-the-art facilities for art storage and con -servation, a technologically advanced library and learningcenter, and adequate staff and back-office operations. Itwas estimated that 150,000 square feet would be requiredto meet all of the needs cited within the master plan.

In 2002, the Philadelphia Museum of Art started bring -ing the objectives of the master plan to fruition. Variousprojects were implemented in phases:

• Purchase of a 50,000-square-foot building, which wasconverted to an art storage facility in 2004.

• Purchase of the Reliance Standard Life Building, whichwas converted to the Perelman Building in 2007.

• Main Building Exterior Envelope Project in 2009.

• Opening of the newly constructed Parking/SculptureGarden facility in 2009.

• Expansion of the main building art-handling facilityinvolving 38,000 square feet of new structure and 24,000square feet of renovated space in 2012.

The expanded art-handling facility, which will open inAugust 2012, will include a dedicated art-loading dock, adedicated loading dock for general materials, a collectionarea for recyclable materials, various workshops, IT labs,and a distance-learning broadcast studio. During the September 2012 IAMFA conference, we

look forward to showing you around the new art-handlingfacility.

Rich Reinert is Facility Contracts Manager at the PhiladelphiaMuseum of Art.

The Philadelphia Museum of Art By Rich Reinert

The Philadelphia Museum of Art.

Expansion of main building art-handling facility, opening in August 2012.

Page 17: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 15

Yo! Prepare to learn a unique version of the Englishlanguage. The key is to train your brain to fill in theblanks—so, when trying to speak Philly slang, put

your brain on half-speed and have at it. Here in Philly, we are so excited to be welcoming our

friends from IAMFA that I thought we had better pass alongthis little translation guide. If you’re bringing one of thosetranslator dictionary dingies, you can put that jawn—er,book—away. My advice, if you get into a Philly slangdiscussion, is to watch for clues in body language. By the way, “jawn” pretty much means anything. It’s a

word used in Philadelphia to describe any noun when theright word cannot be remembered within a reasonablespace of time.Let’s try a few words, just to get you acclimated.

A-needing: AnythingBaffroom: BathroomConfer-bill: ComfortableDo-inn: Doing—greeting, as in “Hal-yu-do-inn”.

Respond by saying “Hal-yu-do-inn” in adeeper tone.

Fildelfia: PhiladelphiaFi-dollar: Five DollarsGa-head: Go aheadGet-in: GettingHaf: One-halfI-dear: IdeaIce-in: IcingJeeet?: Did you eat?Kant: CannotLy-berry: LibraryMayan: Mine. Not those ancient Indians.Nut-in: NothingOff-en: OftenPock-a-book: PurseRoun: AroundSow-filly: South PhiladelphiaTawk: TalkTo-mara: TomorrowUnderneef: UnderneathWooder: WaterWit: With (When ordering a cheese steak you may

be asked wit or wit-out. That means CheeseWiz. Or not).

You-ze: The plural version of “you”.

I hope this helps you-ze. If you need a-neding, ga-head nsend me an email. You-ze kant wander roun Filedelfia wit-out speaking the language. Of course I’m over-exaggerating. You’ll have a great

time here.

Rich Reinert is Facility Contracts Manager at the PhiladelphiaMuseum of Art.

LANDSCAPE ARCHITECTURE / URBAN DESIGN / PLANNING

PHILADELPHIA / 215.440.0030 LOS ANGELES / 323.387.3598

[email protected]

SCAPE ARCHITECTURE / URBAN DESIGN / PLANNINGLAND

RE / URBAN DESIGN / PLANNING

PHILADELPHIA / 3000.215.440S ANGELESO L 985.37323.38 /

[email protected]

Yo, Philly!By Rich Reinert

Page 18: Papyrus Summer Fall 2012

16 PAPYRUS SUMMER–FALL 2012

The California Academy of Sciences has exterior shadesinstalled on the east, south, and west façades of theResearch, Collection, and Administration (RC&A)

buildings. Yes, they do help provide some relief from thesun’s glare, but mostly they prevent heat-loading from thesun. Reducing the heat load = reducing the amount ofcooling needed = energy savings! Until recently, the shades were on a timer to extend/

retract, depending on the time of day. The shades wouldbe lowered regardless of actual conditions. For example,some floors that require shade during the summer may notrequire shade during the winter, and the time of day thata floor requires shade changes throughout the year. Ourbeloved fog may have enveloped the building, and it maybe raining—regardless, the shades would be lowered onschedule.We needed to automate the shades to extend or retract

based on the sun’s actual intensity and position. We alsoneeded to integrate this automation into the BuildingManagement System (BMS).We mounted three solar irradiance sensors (facing east,

south and west) to measure the sun’s direction and anglerelative to the roof’s surface.Using the sensor’s signals and vector analysis, the

system calculates the approximate position of the sunthroughout the day, in terms of the elevation and azimuth

angles (angle from the horizon, and the angle from eastto west).The building’s orientation and the effect of the canopy

creates shade on the different floors. With this information,we calculated a range of elevation angles for each floor,and a range of azimuth angles for each wing.Finally, we created an interface screen on the BMS to

monitor the signals coming from each of the solar sensors,and provide a visual indication of the shades that shouldbe lowered.

External Vertical Shade AutomationProject at the California Academyof SciencesBy Hershow Al-Barazi

Fig. 1: Southeast weather station with solar sensors.

Fig. 2: Building orientation. Fig. 3: Canopy shade angles.

Page 19: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 17

This screen also allows the Operations Departmentto remotely extend or retract the shades for regularmaintenance.Employees are still given the choice (via the manual

shade controls on each floor) to lower the shades whenthey are not required, but the system controls the need forthem to be down on sunny days.Academy employee Hershow Al-Barazi, under the watchful

eye of Ari Harding, Director of Building Systems, completedthe installation and programming.

Hershow Al-Barazi was part of the CAS LEED O&M Certificationteam, and works primarily with the Air Handling and BuildingManagement system to help monitor and maintain ambientconditions in the administrative offices, live exhibits, andcollections.

Figure 4: BMS vertical shade interface.

Figure 5: Rear of the Academy, with the shades up.

Past issues of Papyruscan be found on IAMFA's website

www.IAMFA.org

Page 20: Papyrus Summer Fall 2012

18 PAPYRUS SUMMER–FALL 2012

The National Geographic Societyis one of the world’s largest non-profit scientific and educational

organizations. Founded in 1888 to“increase and diffuse geographicknowledge,” the Society works toinspire people to care about the planet.It reaches more than 400 millionpeople worldwide each month throughits official journal, National Geographicand other magazines, as well as theNational Geographic Channel, tele -vision documentaries, music, radio,films, books, DVDs, maps, exhibitions,live events, school publishing programs,interactive media, and merchandise.The National Geographic Society hasfunded more than 10,000 scientificresearch, conservation and explorationprojects, and supports an educationalprogram promoting geographic literacy.The National Geographic Society

also works to provide a model for cor -porate sustainability. The Society hasbeen involved from the very beginningin Leadership in Energy and Environ -mental Design (LEED®), a ratingsystem developed by the U.S. GreenBuilding Council (USGBC) to promotebuilding sustainability. The NationalGeographic Society headquarters build -ing was, in fact, the first building to becertified under the LEED for ExistingBuildings (LEED-EB) pilot program,earning Silver certification in 2003. Thisbuilding is a multi-purpose buildingmeasuring 746,237 square feet, withoffices, museum space, a gift shop,a cafeteria and meeting spaces. Themuseum space is about three percentof the building’s total floor area.Robert Cline, Vice President, General

Services, at National Geographic, said,“The LEED program is a great tool formaintaining the high performanceof our headquarters building, and isvery consistent with the values of theNational Geographic Society.”LEED-EB requires recertification

every one to five years. This is because

the rating system is all about main tain -ing existing building performance,while also having a continuous improve -ment program in place to improveperformance over time.

The National Geographic Societyhas been an early adopter of bothinitial LEED-EB certification andongoing recertification. The Societyhas recertified its headquarters on aregular basis.

History of LEEDRecertificationThe first cycle of recertification led toGold recertification being earned in2009, under the LEED-EB v2.0 ratingsystem. The Society started the recerti -fication cycle as soon as the USGBCstarted to define the process and therequirements for recertification.The second cycle of recertification

led to the earning of Gold recertificationin 2010, under the LEED-EB v2.0rating system.The third cycle of recertification led

to the earning of Gold recertificationin 2012, under the LEED-EB Oper ationand Maintenance v2008 rating system(LEED-EB O&M 2008).Over the nine years since the build -

ing’s initial certification, the NationalGeographic Society has implementedcontinuous sustainability improvementmeasures, guided by the LEED-EB rat -ing system. It uses Leonardo Academyas its LEED consultant for ongoingrecertification efforts. The NationalGeographic Society has now earnedGold certification twice under LEED-EB v2.0, and once under LEED-EBO&M 2008.

The National Geographic Society is a LEED-EB Recertification StarBy Michael Arny

“The LEED program is agreat tool for maintainingthe high performance of ourheadquarters building, andis very consistent with thevalues of the NationalGeographic Society.”

—Robert Cline, Vice President,General Services, at the NationalGeographic Society

Page 21: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 19

During the past nine years, theNational Geographic Society hasimple mented many green actionsto increase its sustainabilityperformance, including:

• Recycling 56.4% of all waste througha comprehensive diversion program,including cafeteria recycling andcomposting.

• A comprehensive alternative trans -portation and commuting program,including flexible schedules, tele -commuting, bicycle racks and pre -ferred parking for carpools andalternative-fuel vehicles.

• Fixture water-use reduction 30%greater than LEED requirements(with a calculated savings of1,133,057 gallons per year).

• A multi-phase plan to upgradebuild ing control systems overseveral years.

• An overhaul of the major mecha nicalsystems that led to a 20% decreasein energy use.

• Formation of a corporate Go Greensteering committee and fivesubcommittees.

• Purchase of wind RECs covering100% of energy use.

• Participation in an energy demand-response program.

Michael Arny, President ofLeonardo Academy, said, “TheNational Geographic Society hastaken a strong leadership position indemonstrating the importance ofongoing recertification under theLEED-EB rating system as a tool formaintaining and increasing buildingperformance over time. All building-owning organizations face the challengeof institutionalizing continuous improve -ment of building performance into theirorganizations’ DNA, and LEED-EBprovides a robust framework forachieving this while maintaining themarket value of the facility asset.”

Michael Arny has been a leader on energy,environmental and sustainability issues formore than 30 years. He is the Presidentand founder of the charitable, non-profitorganization Leonardo Academy, whichadvances sustainability and puts the com -petitive market to work on improvingthe environment. Mr. Arny chaired thecommittee that developed LEED forExisting Buildings. He can be reachedat www.leonardoacademy.org

“We take great pride in ourLEED status. Being able tosay we are LEED-EB Gold isa badge of honor. Yet, wehave a target out therecalled LEED Platinumthat serves as a constantreminder that we canalways do better.”

—Hans Wegner, Chief SustainabilityOfficer at the NationalGeographic Society

Chubb refers to the insurers of the Chubb Group of Insurance Companies. Actual coverage is subject to the language of the policies as issued. Chubb, Box 1615, Warren, NJ 07061-1615. © 2012 Chubb & Son, a division of Federal Insurance Company.

Tailored Solutions for Treasured Institutions

Property | Liability | Auto | Workers Compensation | Umbrella Fine Arts | Directors & Officers | Employment Practices

Fiduciary | and more

Please visit us online at www.chubb.com/culturalinstitutions.

Think EXPERIENCE. Think Chubb.

BUSINESS INSURANCE FOR CULTURAL INSTITUTIONS

The IAMFA LinkedIn Group now has

360 members from 31 countries. Join the

Group and see what everyone is talking about,

and PLEASE...join in the discussions;

we'd like to hear what you have to say.

linkedin.com

Page 22: Papyrus Summer Fall 2012

20 PAPYRUS SUMMER–FALL 2012

National Museum of AmericanJewish History

2012 IAMFA Con

Independence Hall

Longwood Gardens

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

IAMFA2012

Hagley Museum

National Constitution Center

DELEGATE PROGRAM SUNDAY,

8:00 am Benchmarking workshop Ritz-Carlton—Petite BallroomNOTE: This is a separate workshop for benchmarking participants only, and not part of the main IAMFA Conference.

3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room

5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange Room

MONDAY, 8:10-9:00 am Trolleys depart for Philadelphia Museum of Art, Timothy Rub or Gail Harrity

Opening Remarks/Notes

9:00-9:25 am Presentation 1: Making Museums & Cultural Institutions Safer Stacy Irving, Philadelphia Crime Prevention Council

9:30-9:50 am Presentation 2: Master Planning at the PMA Aegis Property Group

9:55-10:40 am Presentation 3: Construction Challenges at the PMA Atkin, Olshin, Schade

10:40 am Coffee and Break Sponsored by Hess Corporation

11:00-12:30 pm Tour Options: BAS, Behind-the-Scenes & Art Gallery Tour, Philadelphia Museum of Art Self-Guided Tour

12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant— Sponsored by Tri-Dim Filter Corp.

1:30 pm Walk to Barnes Foundation Welcome

2:00-2:25 pm Presentation 4: TBD

2:30-2:50 pm Presentation 5: Designing a Positive Environment: Steensen Varming Sustainable Approaches

3:00-4:00 pm Tour Options: Exterior Building Architecture and Landscaping The Barnes Foundation

4:00-4:45 pm Open time to walk the Museum The Barnes Foundation

4:45-5:00 pm Walk to the Ritz-Carlton

5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD

5:30 pm IAMFA Board Meeting/Dinner Ritz Carlton—John Adams Room

TUESDAY, 7:30-8:30 am Bus Depart to Delaware Welcome from Danielle Rice

8:40-10:30 am Annual General Meeting, Tour Collections Delaware Art Museum

10:30-12:00 pm Bus trip to Winterthur, Welcome, Guided Museum Tour Winterthur or Tram Tour

12:00-1:00 pm Lunch & Stanley Steamers too! Winterthur—Sponsored by Mueller Associates

1:15-2:30 pm Brown Horticulture Learning Center Project, Winterthur Stanley Steamers, Garden Tram Tour

2:45-3:15 pm Bus trip to Hagley Museum Opening Remarks: Geoff Halfpenny

3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum

5:00 pm Buses depart for Longwood Gardens

5:30-6:30 pm Tour Options: Pump Room, Conservatory with Longwood Gardens, Conservatory guide, tunnels

6:30-9:30 pm Cocktails, Dinner in Conservatory, Fountain Show Longwood Gardens, Conservatory— Sponsored by Pennoni

9:30 pm Buses depart for Ritz-Carlton

WEDNESDAY, 7:30 am Trolleys depart for National Museum of American Opening Remarks—TBD

Jewish History

8:15-9:00 am Presentation 6: Using Benchmarking Results to Benefit K. McClanahan, G. Larocque, your Organization K Gastright, J. Plumb

8:15-9:00 am Board Meeting with new Board Members National Museum of American Jewish History

9:00 am Coffee Break

9:20-10:10 am Presentation 7: Advancements in Fire Protection Speaker: Jack Mawhinney, Hughes Associates

10:10-12:00 pm Tour Options: Facilities Tour, Collections Tour, National Museum of American Building Tour, open time to tour Jewish History

12:00-1:00 pm Lunch National Museum of American Jewish History

1:15-4:00 pm Walk to Independence Visitor Center, self-guided Independence National Historical Liberty Bell Tour, guided tours of park, or free time National Park

4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off

4:30-6:30 pm Free time

6:45 pm Trolleys depart for Gala (show, cocktails, dinner, speakers) National Constitution Center

11:00 pm Buses depart for Ritz-Carlton

Page 23: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 21

ference Schedule

Philadelphia Museum of Art

Ritz-Carlton Philadelphia

Rodin Museum

Winterthur Museum and CountryEstate

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

IAMFA2012

The Delaware Art Museum

GUEST PROGRAM SEPTEMBER 16, 2012

3:00-5:00 pm Conference Registration Ritz-Carlton—The Vault Room

5:00-7:00 pm Opening Reception Ritz-Carlton—Exchange Room

SEPTEMBER 17, 2012 8:45 am Gather in hotel lobby for trolley departure (9:00)

9:00-11:00 am Trolley tour of Philadelphia Trolley Tours

11:00-12:30 pm Break and Self-Guided Gallery Tour/Visit Museum Store Philadelphia Museum of Art

12:30-1:30 pm Lunch at Philadelphia Museum of Art Granite Hill Restaurant— Sponsored by Tri-Dim Filter Corp.

1:30 pm Walk to Barnes Foundation Welcome

1:50-2:30 pm Museum Tour Mystery Museum

2:30-4:45 pm TBA TBA

4:45-5:00 pm Walk to the Ritz-Carlton

5:00-7:30 pm Happy Hour and Appetizers, free evening Ritz-Carlton—Room TBD

SEPTEMBER 18, 2012 7:30-8:30 am Bus Depart to Delaware Welcome from Danielle Rice

8:40-10:30 am Tour Museum and hands-on activity in Studio Room Delaware Art Museum

10:30-12:00 pm Bus trip to Winterthur, Welcome, Garden Tram Tour Winterthur

12:00-1:00 pm Lunch & Stanley Steamers too! Winterthur—Sponsored by Mueller Associates

1:15-2:30 pm Guided Museum Tour Winterthur

2:45-3:15 pm Bus Trip to Hagley Museum Opening Remarks: Geoff Halfpenny

3:15-5:00 pm Property Tour, River Front, Gunpowder Demonstration Hagley Museum

5:00 pm Buses Depart to Longwood Gardens

5:30-6:30 pm Tours Longwood Gardens, Conservatory

6:30-9:30 pm Cocktails, Dinner in the Conservatory, Fountain Show Longwood Gardens, Conservatory— Sponsored by Pennoni

9:30 pm Buses depart for Ritz-Carlton

SEPTEMBER 19, 2012 7:30-10:45 am Free Time

10:00 am Gather in hotel lobby for trolley

10:15 am Trolley departs for National Museum of American Jewish History

10:30-12:00 pm Tour gallery spaces National Museum of American Jewish History

12:00-1:00 pm Lunch National Museum of American Jewish History

1:15-4:00 pm Walk to Independence Visitor Center, self-guided Independence National Historical Liberty Bell Tour, guided tours of park, or free time National Park

4:00 pm Trolleys depart for Ritz-Carlton Catch trolleys at original drop-off

4:30-6:30 pm Free time

6:45 pm Trolleys depart for Gala (show, cocktails, dinner, speakers) National Constitution Center

11:00 pm Buses depart for Ritz-Carlton

Page 24: Papyrus Summer Fall 2012

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 — $200 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 — $75 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 — $75 annually. An affiliate member isany full-time employee of a member institution who is notdirectly involved in the facilities management department.

Retired Member — $75 annually. A retired member isretired, and no longer involved in facilities management.

Subscribing Member — $400 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 $200 � Retired Member $ 75

� Affiliate Member $ 75 � Subscribing Member $400

� Associate Member $ 75 � 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 454Bel Air, MD 21014, USA

Website: www.iamfa.org

Become a Member of IAMFABecome a Member of IAMFAAND GET A FRIEND TO JOIN

Page 25: Papyrus Summer Fall 2012

www.lfdriscoll.com 610.668.0950.lfdriscoll.com www m 610.668.0950

Page 26: Papyrus Summer Fall 2012

24 PAPYRUS SUMMER–FALL 2012

National Museums Liverpool (NML) is a group ofmuseums and galleries, with diverse venues thatattracted over three million visitors last year. Our

collections are among the most important and varied inEurope, containing everything from Impressionist paintingsand rare beetles, to a lifejacket from the Titanic. Membersof the public have free access to these collections in thefollowing venues across Merseyside:

Carbon Management at NationalMuseums LiverpoolBy Ian Williams and Chris Bailey

The Walker Art Gallery.

World Museum Liverpool.

Merseyside Maritime Museum, which also houses the The UKBorder Agency Museum, and the International Slavery Museum.

The Conservation Centre.

The County Sessions House.

Page 27: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 25

NML has some of the most interest -ing and important buildings in theregion in which to show off its magnifi -cent collections; however, the historicalnature of these buildings have pre -sented a challenge when it comes toenergy/carbon management. This article provides a brief over -

view of some of the actions taken overthe past 12 years to understand, manageand reduce energy consumption andby doing so, reducing the carbonimpact on society. These actions haveculminated in NML recently beingplaced joint first in the UK CarbonReduction National League Tables.When preparing an Energy and

Environmental Policy 12 years ago,NML put in place energy-saving envi -ronmental measures, which led toaccreditation as an energy-efficientorganisation from the NationalEnergy Foundation in 2002.

NML realised at a very early stagethat improvements could only beassessed if a baseline of informationwas collected, and targets set usingthat information. NML made a majorinvestment in installing half- hourlymoni toring throughout its Estate over

a period of two years. This system pro -vided the information to map trendsin electricity, gas and water use, bothfor buildings as a whole, and—in thecase of the larger venues—by area,through sub-metering.These actions assisted NML to gain

re-accreditation from the EnergyFoundation in 2005 and 2008, andCarbon Trust Accreditation in 2010and 2012.The most significant energy use in

NML’s buildings is the “Base Load”. Asmany of the buildings require envi ron - mental control for the protection ofartefacts, the Base Load exists 24 hoursa day. Managing this has requiredcare ful analysis and reference to thehalf-hourly data. There was an increasing trend

in energy usage until 2008, with con -sump tion peaking at approximately13 gigawatts of gas and 16 gigawatts

The Piermasters House.

Lady Lever Art Gallery.

Ian Williams (left) and Chris Bailey (right)receiving the Carbon Champions awardat the recent Merseyside EnvironmentalAwards.

Sudley House.

Museum of Liverpool.

Page 28: Papyrus Summer Fall 2012

26 PAPYRUS SUMMER–FALL 2012

of electricity across the venues. Thiswas due, in part, to the physical growthof the Estate and the opening of newgalleries throughout the first half ofthe decade. Although energy con sump -tion had increased, energy consumptionper square metre was being reduced.The electrical infrastructure of the

Estate, given the age, nature and useof the different venues, had beenaltered and added-to over the past40 to 50 years, leading to (in places)inefficient electrical performance.This has led, in turn, to two specificschemes: the introduction of power-factor correction equipment, to reducethe adverse effect of motors and flu -orescent lights on the system; and,more recently, the introduction of aVoltage Optimisation system.At World Museum Liverpool (where

energy consumption is highest), anenergy-stabilising and -reducing systemwas installed, which delivers a fixed222 volts, reducing energy and main -tenance to machinery. The system isdelivering an average 7% reduction inelectrical consumption at the venue.NML funded the scheme through aUK Government Energy Savings Loan,which is repaid from NML energysavings over four years.To develop staff involvement and

commitment, NML initially launchedan Energy Champions forum, whichwas specifically geared to localisedenergy watch and action. This groupachieved a limited number of successesover the years. In 2010, a broader“Green Forum” was created with stafffrom each building, representing alllevels of management, including repre -

sentation from an Executive Director.This was designed with a much broaderscope, in order to engage the organisa -tion’s whole approach to sustainability.The Forum has created a Vision State -ment, a Sustainability Policy (whichhas superseded the previous Energyand Environmental Policy), and anAction Plan. The group meets on aregular basis to discuss and developthe organisation’s green credentials. NML has (in line with government

requirements) con tinually assessedand reported energy/water usage overtime. The result of this—in additionto the development of energy-efficientinitiatives and prudent manage ment—is that the targets originally set in 2002have been exceeded, as verified throughaccreditations from the EnergyFoundation and Carbon Trust.NML’s newest Venue “The Museum

of Liverpool” has been designed as atwenty-first-century building, and hasreceived much acclaim for its greeninitiatives. The Museum is poweredusing state-of-the-art renewable andenergy-efficient technologies. Its com -bined heat and power (CHP) systemat full capacity will reduce carbonemissions by 884 tonnes each. Thebuilding also benefits from a rainwater-harvesting system, which supplies“grey” water to the Museum’s toilets.Prior to opening in July 2011, the build - ing achieved an A-rated energy per -formance certificate, and has recentlywon the Museums & Heritage Awardfor Sustainability. CNN, in its climate-change television docu mentary, TheRoad to Durban: A Green City Journeyproduced in preparation for the United

Nations Climate Change Conferencein Durban (2011), hailed the Museumof Liverpool as “one of the greenestmuseums on earth”.The Carbon Reduction Commit -

ment Energy Efficiency Scheme (CRC)in the UK is a new regulatory incen -tive to improve energy efficiency inlarge public and private organisations.This mandatory scheme aims not onlyto improve energy efficiency, but alsoto reduce the amount of carbondioxide (CO2) emitted in the UK.Every organisation whose annual half-hourly metered electricity was above6,000 MWh in 2009–2010 was obligedto participate. NML’s energy andfacilities team submitted energy datareports, and evidence of accreditedenergy management systems in thesummer of 2011. A Performance League Table

including 2,104 partici pants hasrecently been released (December2011), placing NML joint first with anemissions level of 9,207t CO2. Thishigh standard was achieved throughthe initiatives taken over time in orderto improve how energy use is measuredand, more particularly, managed. Since 2011, NML has set new targets

based on the Government’s SustainableDevelopment in Government guid -ance. Although these targets are chal -lenging, the organisation believes it iswell placed to drive towards meetingthese in the coming years.

Chris Bailey is Estate Manager for NationalMuseums Liverpool. Ian Williams is Directorof Estate Management at National MuseumsLiverpool, and has been a member ofIAMFA since 2008

It all starts with healthy habits:

� Maintain a balanced diet.

� Exercise regularly.

� Get plenty of rest.

� Wash hands thoroughly—for atleast 10–20 seconds—and often.

� Stay home when you are sick.

� Cough or sneeze into yoursleeve, not hands.

� Routinely clean and disinfectdesks and common areas.

� Keep up on immunizations.

� Avoid close contact withthose who are ill.

EPIDEMIC PREVENTION AT WORKAlliedBarton Security Services | AlliedBarton.com

Page 29: Papyrus Summer Fall 2012
Page 30: Papyrus Summer Fall 2012

28 PAPYRUS SUMMER–FALL 2012

The Auckland Art Gallery has been winning a numberof awards in recent weeks, and we are all feeling veryproud! We thought this might interest IAMFA members

—particularly those who attended the 21st IAMFA Conferencelast year in Auckland.Auckland Art Gallery Toi o Tamaki has won the

International Award for Architectural Excellence fromThe Royal Institute of British Architects—the first time aNew Zealand building has won. The awards are given toonly 12 buildings a year, and recognise some of the world’smost imaginative, dramatic and green buildings. Otherwinners in 2012 include the world’s tallest building: theGuangzhou Finance Centre. This international award comes within a month of the

Gallery also winning the New Zealand Architecture Medalat the New Zealand Architecture Awards, and the Supreme

Award at the 2012 Property Industry Awards: the highestaccolade a New Zealand commercial property can receive. Gallery director Chris Saines said, “We set out to develop

a world-class gallery, and FJMT+Archimedia’s elegant andconsidered design has been instrumental in achieving thatgoal. Judging by the response of the near 600,000 visitorsto date, this restored and expanded heritage building hasbecome a flagship for the city’s architectural and urbandesign future.”

Full list of awards won by Auckland ArtGallery Toi o Tamaki in 2012:

2012 Royal Institute of British Architects • International Award for Architectural Excellence

2012 NZ Museum Awards• Project Achievement Award for Museum or GalleryDevelopment

2012 NZIA Awards • New Zealand Institute of Architects incorporated, NZArchitecture Award, Heritage—May 25, 2012

• New Zealand Institute of Architects incorporated, NZArchitecture Award, Public Architecture—May 25, 2012

• New Zealand Institute of Architects incorporated, NZArchitecture Medal—May 25, 2012

2012 Property Council New Zealand Property IndustryAwards • Education and Arts Property Award• Heritage and Adaptive Reuses Property Award• Supreme Award

Patricia Morgan is Head of Learning & Gallery Services at AucklandArt Gallery Toi o Tamaki.

Awards for the Auckland Art GalleryBy Patricia Morgan

IAMFA members tour the galleries.Entrance to the Art Gallery.

The New Auckland Art Gallery.

Page 31: Papyrus Summer Fall 2012
Page 32: Papyrus Summer Fall 2012

30 PAPYRUS SUMMER–FALL 2012

The Architect of the Capitol’sOffice of Security Programs wasrecently recognized by Building

Operating Management Magazine with itsFMXcellence Award for excellence incustomer service. The FMXcellenceawards recognize facilities manage mentteams that “spearhead and executestand-out projects and programs.” Thehonorees are chosen for demonstratingthat they add significant value to theircustomers by helping to achieve theirbroader goals.“Providing extraordinary customer

service and going the extra mile areamong our agency’s strategic goals,and receiving this award, which recog -nizes that we are achieving our mission,is a great honor,” said Architect ofthe Capitol Stephen T. Ayers, FAIA,LEED AP. The AOC’s Office of Security

Programs (OSP) is responsible for thecare, maintenance, and operations

changed, there was, on average, abacklog of 380 work orders, and itwould take an average of 55 days tocomplete a work order request. Afterthe new process was put in place, therewere fewer than 20 outstanding workorders, and it would take only threedays to complete a customer request. “In addition to rolling out the new

work order system, OSP staff initiatedan educational campaign to inform ourcustomers about the services we pro -vide, and the improvements we madeto the work order process,” notedKenneth Eads, Director of the AOC’sOffice of Security Programs. “Our teamdid a great job of analyzing the changesthat needed to be made. They workedclosely with the U.S. Capitol Police toimplement the changes, and they havesuccessfully made this process moreeffective and efficient—as demon -strated by this award for excellencein customer service.”

Architect of the Capitol’s Office ofSecurity Programs Recognizedfor Excellence in Customer Service

of the U.S. Capitol Police’s buildingsand grounds, while also providing cus -tomer service and support related tothe physical security of the Capitolcampus. To improve its customer ser -vice concerning issuing, tracking, andresponding to customer work orders,Office of Security Programs staff imple -mented a new and improved workorder system, in conjunction with theU.S. Capitol Police. The new workorder process eliminated the use ofredundant systems across the two agen -cies by consolidating all work ordersinto one system. In addition, it createda new customer service center as thecentral point of contact for all cus tomerrequests, ensuring timely response andclose-out of work orders, and imple -mented a “Pulse Survey” that providedimmediate feedback from customers asto the quality of the service they received. The improvements were dramatic.

Before the work order system was

Become a Memberof IAMFA

For more information on becoming a member of the

International Association of Museum Facility Administrators, please visit

WWW.IAMFA.ORG

or

See page 22 for details and enrollment form

Page 33: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 31

Another sunny day, another fantastic venue—it mustbe the latest gathering of UK IAMFA members.And so it was, the occasion being the latest IAMFA

Environmental Group meeting, where over thirty IAMFAmembers and preservation professions get together todiscuss common themes. David Redrup, our IAMFA colleague at the Tate Gallery,

held the first meeting following a request from UK membersto work more closely with our preservation colleagues tomove towards a more sustainable environmental control ofcollection spaces and archives. This was our third meetingof this group, and I do think that these meetings are startingto lead to a better understanding all round. We are very grateful to our host for this meeting, Nicola

Walker, Head of Collection Care and Access at the ManchesterMuseum/The Whitworth Art Gallery. Nicola is also on theManchester University Sustainability Group, representingthe Museum. Nicola provided the first presentation on the £12-million

development of the Whitworth Art Gallery. Nicola explainedthat the Whitworth Gallery became part of the Universityin 1959, so this major development is being managed bythe University. The University is a signatory to the 2005Tallories Declaration: an official commitment to environ -mental sustainability in higher-education establishments. Asthe Museum representative with the University SustainabilityGroup, Nicola has a seat at all design team meetings.

To come up with a basic sustainable design, the designteam identified a number of fundamental proposals, whichwere accepted by the University:

• Provide gallery space that did not need air-conditioning.

• Provide a view of parkland at the rear of the Gallery tobring the Gallery closer to the public.

• Move current archive storage to an existing basementlocation, improving the environmental stability of thecollection.

• Achieve a BREEAM (Building Research EstablishmentEnergy Assessment Method) “Excellent” rating.

The design team, working with Museum staff, identifiedexisting underground vaults as the most environmentallystable location within the Museum. Following a satisfactoryanalysis of the flood risk, these were accordingly deemedadaptable as an ideal location for the archive store. Thisleft the main hall, formerly used as an archive store, as anideal place to form new galleries. The hall also had anunbroken gable end, which could be opened out onto apublic park, thereby meeting one of the fundamentalprinciples of the design brief.The design team then turned its attention to deciding

the environmental control parameters for the archivestore and new galleries. The design team looked at theBIZOT (NMDC) standards—16°C–28°C (61°F– 44°F)and 30%–70% RH—and also VAM (Victoria and AlbertMuseum) standards—18°C–25°C (65°F–77°F) and 40%-65% RH. Using these broader parameters, and the

IAMFA EnvironmentalGroup Meeting—Manchester Museum By Jack Plumb

Gallery front exterior: Whitworth Art Gallery at Manchester University.

MUMA design for WAG park entrance—Whitworth Art Galleryat Manchester University—showing proposed extension.

Page 34: Papyrus Summer Fall 2012

32 PAPYRUS SUMMER–FALL 2012

latest guidance documentation—PAS 198 and PD5454—the design of the new galleries will have a passive approachwith no air-conditioning, and will be naturally ventilated. Dean Whiteside, also of the Manchester Museum, pro -

vided the next presentation on how the Museum went aboutinstalling a green roof over its canteen area. The green roofwas funded with European finance, provided through aManchester Council initiative. He explained how a detailedstructural investigation of the roof was required to ensurethat the existing roof could support the green roof. TheMuseum managed to persuade the University to bring for -ward planned maintenance of the roof, in order to installa new roof membrane with an anticipated 20-year lifecycle.The Museum took considerable time to decide on whichplant to use, and eventually decided on sedum as the plantthat best met their requirements. Dean also spoke about other initiatives that the Museum

had started, including the establishment of a small allot mentgarden to demonstrate what could be grown in Manchester’scity centre. The garden is cared for by staff, volunteers andstudents, who together have managed to grow over 30 vari -eties of vegetables, herbs and fruits. Another initiative,involving the installation of beehives on the roof of theWhitworth Art Gallery, sounds very similar to the GrandPalais in Paris. Patrick Dixon of the British Library was next up, telling

us how even with a brand-new building—the fully automaticstorage facility, which some colleagues fortunate enough to

attend the 2008 IAMFA conference in London would haveseen—there can be problems. Patrick explained that, oncethe plant was in operation, despite the fact that it was main -taining the correct environmental conditions, energy con -sumption was still considerably higher than predicted. Thiseven included boilers running through the summer andchillers operational through the winter. With close obser -vation of the BMS controls, it was noticed that the differentplants were actually fighting one another: as one unit wentinto cooling mode, it caused the adjacent unit to go intoheating mode. The solution was simple enough: the deadband for the environmental control regime was increased,leading to a considerable reduction in plant operation. Thisamply demonstrates the benefits of having an intelligentclient managing the contractors who are generally in chargeon a daily basis.The final presentation was made by Paul Davies, Head

of Estates and Facilities at the National Archive. Paul hasbeen working for a number of years with Kostas Ntanos,Head of Conservation and Development at the NationalArchive, to establish the most effective balance betweencontrolling an archive’s environmental parameters andlong-term protection of the collection stored within thatarchive. In his presentation, Paul described how he took thisgreat work by Kostas and turned it into a control regime foran air conditioning system, which he has called “sea sonaldrift”. I won’t go into the details of this presentation here,as the work by both Paul and Kostas fully deserves a moredetailed explanation. Perhaps something to look forwardto in a future edition of Papyrus.The meeting was wound up by David Redrup of the

Tate, who expressed his thanks to Nicola Walker and theManchester Museum for being our hosts for the morning. On a final note, David Sanders announced that he will be

retiring from his post as Director of Estates and the NaturalHistory Museum in June. David has made a significant con -tribution to IAMFA, and I am sure that all of our IAMFAcolleagues around the world will miss David as much aswe will miss him here in the U.K. David has supported theBenchmarking working group for a number of years now,and I know that group will be the poorer for his absence.The good news is that David will be Philadelphia—nodoubt to tell us all how difficult it is to be retired, andthe challenges that brings!

Jack Plumb is Head of Estates at the National Library of Scotlandand is the U.K. Region Chair for IAMFA.

UK IAMFA members gather for the third meeting of the UKEnvironmental Group.

Become a Member of IAMFAFor more information on becoming a member of the

International Association of Museum Facility Administrators, please visit WWW.IAMFA.ORG

Page 35: Papyrus Summer Fall 2012

From Fire Protection Systems Design to Performance Based Approaches to Meeting the Codes Hughes Associates – We Understand Your Needs… Planning Your Next Fire Protection System Upgrade – Avoid Costly Mistakes! The fire protection system for your facility has reached or soon will reach the end of its operational life cycle. Now you must upgrade the system. You will want to ensure the system upgrade meets your budget, meets the requirements of the state and local codes that govern your facility, and that the upgrade meets your corporate fire protection goals such as:

Life Safety Property Protection Mission Continuity Heritage Preservation Environmental Protection

Hughes Associates can help… With innovative approaches to Code compliance – We listen.

Widener Gallery, National Gallery of Art, Washington, D.C Philadelphia Museum of Art

Hughes Associates, Inc. 3610 Commerce Drive | Suite 817 | Baltimore, Maryland 21227 Tel: 410.737.8677 x 221 | [email protected] | www.haifire.com

Page 36: Papyrus Summer Fall 2012

34 PAPYRUS SUMMER–FALL 2012

Baltimore-Washington, D.C. Member RegionQuarterly Meeting of the Baltimore-Washington, D.C.Member RegionBy Maurice Evans

The Baltimore-Washington, D.C. Member Region held itsquarterly meeting on Wednesday, June 6, with over 35 mem -bers in attendance. The meeting was held at the NationalMuseum of the American Indian (NMAI), SmithsonianInstitution. John Bixler, a Zone Facilities Manager at theSmithsonian Institution, presented a captivating presen -tation titled “An Overview of NMAI LEED CertificationAccomplishment”. John’s presentation provided an overview of the obsta -

cles and challenges they had to endure in order to achieveLEED certification. His presentation initiated plenty ofdiscussion concerning LEED certification. Roger Changwas also introduced on behalf of the AAM GreenBuilding Initiative. During the meeting, IAMFA members were also informed

of the exciting news that Washington, D.C. will host the2013 IAMFA Annual Conference. Planning for that con -ference will start soon, but in the meantime, members ofthe Baltimore-Washington, D.C. Member Region are look -ing forward to seeing everyone at the upcoming annualconference in September.

Smithsonian Office of FacilitiesManagement & Reliability HoldSafety Stand Down at the NationalZoological ParkBy Dan Davies

The Smithsonian Office of Facilities Management &Reliability (OFMR) held a Safety Stand Down at theNational Zoological Park (NZP) on Monday, June 5, 2012.They celebrated 221 days without an OFMR lost-timeinjury—a site record dating back more than five years. Theevent was inspired by a brief burst of near-miss incidentsthat could have caused injuries but, due in part to enhancedawareness, did not. Among these incidents were timely responses to a freon

refrigerant spill, a fuel oil spill, and a pallet jack accident.The Stand Down, organized by Mary Lariviere, InterimNZP Safety Coordinator, included a crowd-rousing sessionwith Nancy Bechtol, Director, OFMR, and welcomingremarks from Dennis Kelly, Director NZP. Morning presentations on safety policy and theory were

given by Steve Walden and Chuck Fry, and by Mary Lariviere,all from the Office of Safety Health & Environmental Man -agement (OSHEM). After burgers and dogs in the alley,

afternoon sessions focused on applying some of that theoryin Personal Protective Equipment (PPE) assessments, andJob Hazard Analysis (JHA) exercises. Fully half of the OFMRstaff at NZP participated actively in this Safety Stand Down.

United Kingdom Member RegionJohn De Lucy’s Fourth of July Update

On July 5, 2012, Randy Murphy wrote to the IAMFA Board:

Hope all had a great Fourth of July, particularly you John—I assume there were huge celebrations in London!

Randy

John’s reply:

On July 4, all I heard was wailing and the gnashing of teeth.How can you celebrate the madness of our shared King George theThird? Don’t forget he was your king too, for 16 years! In 1776, mytown here—ROYAL Tunbridge Wells—was celebrating 170 yearsof history. The Pantiles, next to where I live, was the first street inthe world to be built for the sole purpose of perambulation in 1660,and has never carried any traffic of any kind. If any of you care tovisit me, I will happily take you for a perambulation on the Pantiles!!

One walks on the Pantilesto show off one’s fine clothes!

My two pith helmets, one whiteand one brown, worn by my fatherin Malaya and Tanganyikaduring colonial times (which Iknow you remain jealous of),cause quite a stir on the Pantiles.

I know you will not be able toresist, so let me know when youplan to visit. We can have lunchon my Mediterranean Terrace atthe back of my garden.

Regional Updates and Member News

IAMFA President John De Lucylooking very dapper in one ofhis pith helmets.

The Mediterranean Terrace at the De Lucy house, decorated for theFourth of July.

Page 37: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 35

Please visit www.visittunbridgewells.com/site/discover-the-town/the-pantiles for more images and information on the Pantilesin Tunbridge Wells.

Yours, John

New Zealand Member RegionBy Patricia Morgan

Following the 2011 conference in Auckland, there washeight ened enthusiasm from New Zealand members tomeet on a regular basis. At Cliff Heywood’s kind invita -tion—and through his proactive approach in actuallyencouraging us to get together—a group of us met at hisfacility, the Navy Museum in Devonport, on May 24. Thisdate coincided with a visit to Auckland by Rob Stevens andPam Harris from the National Library of New Zealand inWellington, so they joined us as well. Others in attendancewere John Glen (Auckland Museum), John Manning(Te Papa, Wellington), Murray Dick (Voyager MaritimeMuseum), and Patricia Morgan (Auckland Art Gallery).The day included a welcome from David Wright,

Director of the Navy Museum, and his interesting presen -tation on the Museum’s long-term development plan. Wewere also given a tour of the Museum’s collection store andthe Navy base, including the Armoury. An update on the 2012 conference (which John Glen

will attend) and upcoming Board vacancies was given, andthose present also wanted to note their appreciation forJohn De Lucy’s leadership as President of the Association.Discussions were held on how we can increase New Zealand’smembership in IAMFA, and there was a roundtable dis -cussion on issues and developments occurring at eachattendee’s institution. It was agreed to hold the next session in Wellington in

late October, so that there would be feedback on the 2012conference in Philadelphia. All in all, it was a great firstmeeting—and Cliff even ensured that the sun was shining,so the views over the Waitemata Harbour were spectacular!

Patricia Morgan is Head of Learning & Gallery Services at AucklandArt Gallery Toi o T¯amaki.

Left to Right: John Glen, Rob Stevens, Patricia Morgan (seated),Pam Harris, John Manning, Cliff Heywood.

Page 38: Papyrus Summer Fall 2012

36 PAPYRUS SUMMER–FALL 2012

Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaCarlton, Victoria

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Museum of AustraliaAldgate, South Australia

National Portrait GalleryCanberra, ACT

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum ofCivilizationGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Cofely Services Inc.Montreal, Quebec

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Nova Scotia MuseumHalifax, Nova Scotia

Peterborough Museum &ArchivesPeterborough, Ontario

AUSTRALIA

CANADA

Physical Resource BureauOttawa, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Sir Sandford Fleming CollegePeterborough, Ontario

GrandpalaisParis

Auckland Art Gallery Toi o TamakiAuckland, Auckland

Auckland CouncilAuckland

Auckland MuseumAuckland

Camfil Farr, New ZealandAuckland

Christchurch Art GalleryChristchurch, Canterbury

Coffey Projects

The Department of InternalAffairsWellington, North Island

Hawkins Construction LtdAuckland,

National Library ofNew ZealandWellington

Royal New Zealand NavyDevonport, Auckland

Te Papa Tongarewa Museumof New ZealandWellington

Qatar Museums AuthorityDoha

Qatar National MuseumDoha

FRANCE

NEW ZEALAND

QATAR

British LibraryLondon, England

British MuseumLondon, England

Camfil LimitedHaslingden, Lancashire

Compton Verney House TrustCompton Verney, Warwickshire

Creative ConsultingPartnership LLPLondon, England

Historic Royal PalacesMolesey, Surrey

The National ArchivesRichmond, Surrey

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScotlandEdinburgh, Scotland

National Museum of Science& IndustryLondon, Middlesex

National Museums LiverpoolLiverpool, England

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

The Wellcome TrustLondon, England

UNITED KINGDOM

AFS Chemical Filtration GroupBurlington, MA

Alaska State MuseumJuneau, AK

Anacostia CommunityMuseumWashington, DC

Aquarium of the BaySan Francisco, CA

Architect of the CapitolWashington, DC

Architrve PC ArchitectsWashington, DC

Arkansas Art CenterLittle Rock, AR

Art Institute of ChicagoChicago, IL

Arts and Industries BuildingWashington, DC

Atlanta History CenterAtlanta , GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMerion, PA

Beyer Blinder BelleNew York, NY

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

California Academy ofSciencesSan Francisco, CA

Carnegie Museums ofPittsburghPittsburgh, PA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Cypress Security, LLCSan Francisco, CA

UNITED STATES

IAMFA Members — Organizations

Page 39: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 37

Delaware Art MuseumWilmington, DE

Delaware Museum of NaturalHistoryWilmington, DE

Ewing ColePhiladelphia, PA

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of the High Line New York, NY

Getty CenterLos Angeles, CA

Hagley Museum & LibraryWilmington, DE

Hammer MuseumLos Angeles, CA

Harvard Art MuseumsCambridge, MA

High Museum of ArtAtlanta , GA

Hirshhorn Museum andSculpture GardenWashington, DC

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Lee Construction ConsultantsLLCRichmond, VA

Library of CongressWashington, DC

Library of Congress (Packard Campus for AudioVisual Conservation)Culpeper, VA

Lighting Services Inc.Stony Point, NY

Longwood Gardens, IncKennett Square, PA

Los Angeles County Museumof ArtLos Angeles, CA

McGuire EngineersChicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Modern ArtNew York, NY

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenterChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Constitution CenterPhiladelphia , PA

National Gallery of ArtLandover, MD

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia,, PA

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Portrait Gallery Washington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceQueens, NY

Oakland Museum of CaliforniaOakland, CA

Pacific West Region of theNational Park ServiceSan Francisco, CA

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Renwick GalleryWashington, DC

Salvador Dali MuseumSt Petersburg, FL

San Francisco Art InstituteSan Francisco, CA

San Francisco MaritimeNational Historical ParkSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Air andSpace MuseumSuitland, MD

SodexoWaltham, MA

SodexoCanyon Country, CA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Synthesis IncorporatedColumbia, MD

Thomas JeffersonFoundation, Inc.Charlottesville, VA

United States HolocaustMemorial MuseumArlington, VA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Although we do our best

to ensure that our

Directory information is

as up-to-date as possible,

errors and omissions can

always occur. If you

would like to make any

changes to your

listing, please contact

Alan Dirican at

[email protected]

Page 40: Papyrus Summer Fall 2012

38 PAPYRUS SUMMER–FALL 2012

Index of Papyrus Technical and Historical Articles

Title Author(s) Issue2009 Engineering Excellence Awards—Recovering the Lost Stream at Winterthur Pennoni Associates Winter 2009

2010 Benchmarking Practices and Learning Workshop Revealed Stacey Wittig Winter 2010

2012 IAMFA Annual European Meeting Jack Plumb Spring 2012

The A.A. Bakhrushin State Central Theatre Museum Dmitry V. Rodionov Spring 2009

A New High for Atlanta Kevin Streiter Summer 2003

Air Quality Standards for Preservation Environments Chris Muller Winter 2010

Air Tightness Strategies—The British Library Additional Storage Program John de Lucy and Julian Taylor Summer 2006Construction Project

Air-to-Water Heat Pump for Domestic Hot-Water Generation Allan Tyrrell Fall 2011

Apprenticing in Facilities Management Kate Hickman Summer 2006

Architect of the Capitol Begins Restoration of the Capitol Dome Skirt Architect of the Capitol Winter 2012

Architect of the Capitol Begins Conservation of Statue of Freedom Architect of the Capitol Spring 2012

The Art Institute of Chicago’s Unique Fan Wall System William Caddick, William Strangeland, and Winter 2007Michael Murphy

Auckland Art Gallery Toi o Tamaki—Building Development Update Patricia Morgan Summer 2010

Auckland Art Gallery Toi o Tamaki—The Kauri Ceilings Patricia Morgan Winter 2010

The Auckland Art Gallery Toi o Tamaki Opens its Doors to Virtual Visitors Catherine Lomas, David Reeves and Patricia Morgan Summer 2003

Be Seen in the Right Light: The Value of a Tight Lighting Specification Mark Rowling Summer 2003

Benchmarking: A Comparison over Time Stacey Wittig Summer 2010

Benchmarking: Are We Still Relevant? Stacey Wittig Spring 2012

Benchmarking: How to Use Data as an Agent for Change Stacey Wittig Fall 2011

Benchmarking Participants Save Their Institutions an Average of $1.79 M Stacey Wittig Spring 2011

Benchmarking Workshop Reveals Best Practices that Save Money Stacey Wittig Winter 2012

Best Practices Daniel D. Davies Summer 2002

Best Practices in Recycling San Francisco Department of the Environment Winter 2010

Beyond Hipopta agavis—Wet Collections Facility Design Walter L. Crimm and Bryan L. Stemen Spring 2004

Black & McDonald, CMM, and Museums Richard E. Harding and Edmond Richard Summer 2002

Boiler Replacement at the Natural History Museum in London Glynnan Barham Fall 2008

British Library: An Energy-Saving Case Study Patrick Dixon Spring 2011

British Library Additional Storage Program John de Lucy Summer 2007

The British Library Centre for Conservation John deLucy and Harry Wanless Winter 2007

The Canadian War Museum—River Water for Sanitary Use: Richard Harding Summer 2006Trials and Tribulations

Carbon Saving at the Natural History Museum London CIBSE— Glynnan Barham Spring 2008100 Days of Carbon Saving

Cool Efficiency at Chicago’s Museum of Science and Industry—Careful Elizabeth Miller, Anthony B. McGuire, Winter 2009Planning and Analysis Leads to Successful Installation of New Central Plant David M. Brooks and Michael J. Murphy

The Delaware Art Museum Celebrates its 100th Anniversary Bruce Canter and Molly Keresztury Spring 2012

The Donald W. Reynolds Center for American Art and Portraiture Opens in Daniel Davies and the Reynolds Center Public Summer 2006Washington, D.C. Affairs Staff

Electrical Maintenance: An Opportunity Often Missed Arthur Miller Spring 2004

Energy Management Improvements at the Canadian Museum of Civilization Guy Larocque and Todd Keeley Winter 2002

Energy Star Roofs are Cool Richard Stomber Spring 2008

Existing Building Commissioning Rebecca T. Ellis Spring 2008

Experiences of a Facility Manager during the Evolution of Building Automation Vincent Magorrian Spring 2010

Exploratorium Construction Update Jennifer Fragomeni Fall 2011

Facility Managers Lead the Move to Green with Improvements Thomas A. Westerkamp Summer 2010in Energy Efficiency

Fade-Testing of Museum Objects at the National Museum of Australia Nicola Smith and Bruce Ford Fall 2011

Family Ties to the Auckland Museum John deLucy Fall 2011

Fire Protection and the British Library Repository John de Lucy Spring 2006

Getty Center Becomes First Facility in the U.S. to be Rated “Green” Joe May Spring 2005through LEED-EB Certification

Grand Prix Winner for Architecture in Scottish Design Awards 2002— Alastair Cunningham and Chris Mclaren Summer 2002Engineering the Sustainable Museum Environment at the Museum of Scottish Country Life

Green vs. Sustainable Rebecca T. Ellis Spring 2012

Hagley Museum and Library Michael Downs Spring 2012

The Harley-Davidson Museum—The First Museum to Gain GREENGUARD Tim Dotson Winter 2009Certification

Page 41: Papyrus Summer Fall 2012

PAPYRUS SUMMER–FALL 2012 39

Heritage Preservation Publishes First Comprehensive Study of Loss to Nation’s Heritage Preservation Winter 2003Cultural Heritage as a Result of 9/11

History, Legacy in the New Canadian War Museum Raymond Moriyama Spring 2003

IAMFA . . . The First Twenty Years IAMFA Members Summer 2010

The Importance of Evacuation Plans Peter Fotheringham and Peter J. Gyere Spring 2002

Improving and Adding Value for Benchmarking Participants—A Year in Review Stacey Wittig Spring 2009

In the Light of Day—Daylight in Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Spring 2011

The Installations of the Guggenheim Museum Bilbao: A Dialogue Between Rogelio Diez and Luis Pablo Elvira Summer 2002Engineering and Architecture

Is Outsourcing Right for Your Organization? Guy Larocque Fall 2006

It Began Just Like any Ordinary Day—A Museum Facility Manager’s View of Lloyd O. Headley Summer 2002September 11

Lean Green Means Museum Restroom Sustainability and Savings Thomas A. Westerkamp Summer 2009

Lean Leadership in Facility Management Stephanie Wurtzel and Judie Cooper Spring 2012

LED Use in the Museum Environment Ken Kane Winter 2010

LEED Certification for the National Museum of the American Indian John Bixler Winter 2012

The Library of Parliament—Ready for a New Generation Mary F. Soper Spring 2005

Light Culture and Light Typology Mirjam Roos and Emrah Baki Ulas Winter 2010

Lighting: Control and Innovation Mark Rowling, ERCO Lighting Ltd Winter 2003

Long-Term Preservation at the Library of Congress Nancy Lev-Alexander Spring 2010

Looking at Art in a New Light—Conservation to Conversation Mirjam Roos and Emrah Baki Ulas Fall 2011

Looking at Art in a New Light—Greening Exhibition Spaces Mirjam Roos and Emrah Baki Ulas Winter 2012

Major Renovation Project at the National Gallery of Scotland Robert Galbraith Summer 2003

Making Light Work: How to Fit a Drum into a Rectangle—The full story behind Mark Rowling, ERCO Lighting, Ltd. Spring 2003the lighting of the Great Court in the British Museum, London

Management of Energy Consumption—A Best Practice? Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004David Erhardt

Meet Archie, the Four-Legged Pest Controller Sara Carroll Fall 2011

Members Reveal Five Practical Applications of Benchmarking Stacey Wittig Spring 2010

Members Share Benchmarking Success—How to Use Benchmarking Results Stacey Wittig Summer 2009

Microclimate Control in Museums Jerry Shiner Summer 2005

More than Just a Pretty Façade: Exterior Cleaning Richard P. Kadlubowski and Coleman H. Bynum Winter 2002

Museum and Gallery Air Conditioning Control Systems Howard Hall Fall 2006

Museum and Gallery Maintenance Outsourcing—A Journey Richard Harding Summer 2003

Museum Environmental Standards in a Changing Environment Vicki Humphrey and Julian Bickersteth Winter 2012

The Museum of Fine Arts, Boston Reopens its Huntington Avenue Entrance David Geldart Summer 2009

The National Air and Space Museum Goes to Dulles with its Second Facility Lin Ezell Spring 2002

The National Gallery—Casting New Light on Old Masters Steve Vandyke Summer 2010

National Library of New Zealand Building Redevelopment Rob Stevens and Pam Harris Fall 2011

National Museums Liverpool Ian Williams Fall 2008

The National Portrait Gallery: A Plant Replacement Strategy Allan Tyrrell and John Crane Fall 2008

The National Portrait Gallery in Canberra, Australia Chris Arkins Summer 2009

Networking and Sharing of Information: Our True Purpose Vincent Magorrian Spring 2009

New Building for the National Library of Greece John de Lucy Spring 2010

New Environmental Guidelines at the Smithsonian Institution Marion F. Mecklenburg, Charles S. Tumosa, and Winter 2004David Erhardt

Old Buildings, Old Systems and Older Books: Fighting Mold and Decay in the Michael Dixon Summer 2003Twenty-First Century

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Winter 2010Part One

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Spring 2011Part Two

Operations Review Reveals Hidden Maintenance Improvement Resources— Thomas Westerkamp Fall 2011Part Three

Optimise Air Filtration and Minimise Energy Costs Chris Ecob Spring 2009

Out of Sight, Out of Mind: Museum Collections in Storage at Serious Risk Simon Lambert Winter 2012Around the World

Overview: Application of Molecular Filtration for Artefact Preservation Chris Ecob Spring 2008

Pandas Up-Close and Personal: A Tour of the Smithsonian National Zoo’s Alana Housholder Fall 2006New Asia Trail

Title Author(s) Issue

Page 42: Papyrus Summer Fall 2012

40 PAPYRUS SUMMER–FALL 2012

Periodic Electrical Inspection and Testing—A Different Approach Jack Plumb Winter 2010

Preservation Of A National Treasure: The Australian War Memorial Mark Dawes and Risden Knightley Spring 2002

Proposals for the Labelling of Buildings Jack Plumb Summer 2007

Proposals for the Labelling of Buildings Jack Plumb Spring 2008

Protecting the Historic Thomas Jefferson Building from the Footsteps of Time Gregory H. Simmons and Christopher Mile Spring 2012

Recent Activities in Indoor Air Quality and Climate in Cultural and William A. Esposito Winter 2002Heritage Institutions

Record Attendance at Best Practices Workshop—Benchmarking Stacey Wittig Winter 2009Continues to be an Indispensable Tool

Reflections on Papyrus Pierre Lepage Summer 2010

Renaissance at the Royal Ontario Museum—Daniel Libeskind’s Crystal Design Royal Ontario Museum Winter 2003

Renovating the Baltimore Museum of Art C. L. Taylor Spring 2012

Restoring a Landmark: Conservation Projects at Tudor Place Alana Housholder and Jana Shafagoj Fall 2006

Te Wao Nui at Auckland Zoo Natalie Hansby Winter 2010

The Royal Exhibition Building in Melbourne Kim Reason Winter 2004

Safeguarding Cultural Heritage: Partnerships and Resources Jane S. Long Spring 2003

The Security Challenge Keeping Museums and Similar Facilities Secure Bill McQuirter Spring 2002in Challenging Times

Smart Chilled Water at the National Portrait Gallery Allan Tyrrell and Kevin Dunn Spring 2012

The Smithsonian Tropical Research Institute Fernando Pascal Fall 2006

The Smithsonian Institution’s Arts and Industries Building Phase-2 Maurice Evans Fall 2011Renovation Project

The Smithsonian’s Approach To Condition Assessment—Deferred Maintenance Larry Grauberger Summer 2008Parametric Estimating

A Sustainable Design Approach to Preservation Centres Martin Turpin Winter 2012

Tales from the British Library—A Year of Energy Opportunities Paddy Hastings Spring 2010

Transformation at the Los Angeles County Museum of Art Donald Battjes Summer 2008

Transforming a Globally Unique Cultural Institution Shaun Woodhouse Winter 2009

An Unexpected Attendance at the Lighting Designer's Academy Awards Alan Dirican Winter 2012

United States Library of Congress—Archival Storage Facility, Fort Meade Jon W. Netherton and Neal Graham Spring 2008Protecting the Past, Present and Future

The United States Library of Congress Archival Storage Facility— Jon Netherton Winter 2009Protecting the Past, Present and Future

Urban Bird Control: A Green Alternative Stacey Wittig Fall 2008

Using Thermal Imaging to Diagnose Water Penetration and Condensation Marion F. Mecklenburg and Alan Pride Summer 2005of the Walls at the Hirshhorn Museum

The Visitor Experience Project at the British Museum Sara Carroll Spring 2009

Work Management Center Communication John L. Standish, Sr. Fall 2006

Index of Papyrus Technical and Historical Articles (cont’d)

Title Author(s) Issue

Reserve thisspace to

advertise ina future issue ofPapyrus

Please contact the Editor of Papyrus for details

Page 43: Papyrus Summer Fall 2012

McGuire Engineers is a diverse and experienced team of dedicated individuals whose primary goal is to partner with our clients in developing their building engineering systems with effective, efficient, economic and innovative solutions. We offer engineered excellence through a full range of in-house engineering services in Heating, Ventilation and Air Conditioning (HVAC), Electrical, Plumbing, Sprinkler and Life Safety Systems. In addition to traditional services, McGuire Engineers also provides engineering consultation in feasibility, energy and sustainability studies, peer and code review, due diligence and reserve reports, forensic and expert witness consultations, LEED consultancy, construction management administration, and commissioning. McGuire Engineers has become increasingly dedicated to and specialized in the design of engineering systems for museums and cultural centers. This includes historic renovation and preservation, artifact storage, special exhibits, and base building systems.

McGuire Engineers is aproud affiliate memberof IAMFA since 2001.

www.mepcinc.com

Page 44: Papyrus Summer Fall 2012

The 22nd Annual IAMFA ConferenceMID-ATLANTIC, USA

September 16–19, 2012

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

IAMFA2012