1. 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
PAPYRUS
VOL. 12, NO. 2 FALL 2011
Benchmarking: 80 Questions Air to Water
Schedule for the IAMFA
How to Use Data to Assess the Heat Pump for
Annual Conference in
as an Agent Productivity of Domestic Hot-Water
Auckland, NZ
for Change Your Organization Generation

3. Contents
Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . 2 Looking at Art in a New Light—Part Three in
a Four-Part Series: Conservation to Conversation . . . 23
Message from the President . . . . . . . . . . . . . . . . . . . . 3
2011 IAMFA Conference Schedule . . . . . . . . . . . . . . . 26
Update—IAMFA Annual Conference in Auckland . . . 4
Operations Review Reveals Hidden Maintenance
Benchmarking: How to Use Data as an Agent
Improvement Resources—Part Three in a
for Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Three-Part Series: How to Evaluate Your
Fade-Testing of Museum Objects at the Operations Review Results . . . . . . . . . . . . . . . . . . . . . 28
National Museum of Australia . . . . . . . . . . . . . . . . . . 12
The Smithsonian Institution’s Arts and Industries
Family Ties to the Auckland Museum . . . . . . . . . . . . . 14 Building Phase-2 Renovation Project . . . . . . . . . . . . . 42
MOTAT’s Aviation Display Hall has More Action Exploratorium Construction Update. . . . . . . . . . . . . . 44
on the “Wings” than the All Blacks . . . . . . . . . . . . . . 15
Harvard Art Museums Renovation and
Air-to-Water Heat Pump for Domestic
Expansion Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Hot-Water Generation. . . . . . . . . . . . . . . . . . . . . . . . . 16
Torpedo Bay: New Home of the Royal Chapter News and Regional Updates . . . . . . . . . . . . . 47
New Zealand Navy Museum . . . . . . . . . . . . . . . . . . . . 17
IAMFA Members—Organizations . . . . . . . . . . . . . . . . 48
Meet Archie, the Four-Legged Pest Controller . . . . . 18
Index of Papyrus Technical and Historical Articles . . . 50
National Library of New Zealand Building
Redevelopment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Puzzle Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Cover photo: The silver fern—photographed at the Auckland Zoo—is widely used to represent New Zealand and New Zealanders. Photo: John Castle
IAMFA BOARD OF DIRECTORS REGIONAL CHAPTERS
President Secretary and Papyrus Editor Atlanta, U.S.A. — Kevin Streiter, Ottawa-Gatineau, Canada —
John de Lucy Joseph E. May High Museum of Art Marc Chretien, Canadian Museum
kevin.streiter@woodruffcenter.org of Nature
The British Library (Retired) Sustainability Engineer mchretien@mus-nature.ca
London, United Kingdom Los Angeles, CA, USA Australia — Ray McMaster, Australian
john.delucy@btinternet.com joemay001@hotmail.com National Maritime Museum Philadelphia, USA — John Castle,
rmcmaster@anmm.gov.au Winterthur Museum & Garden
V.P., Administration Chairman — Conference 2011 jcastle@winterthur.org
Bilbao, Spain — Rogelio Diez,
Randy Murphy Patricia Morgan Guggenheim Museum San Francisco, USA — Joe Brennan,
Los Angeles County Museum Auckland Art Gallery rdiez@guggenheim-bilbao.es San Francisco Museum of Modern Art
of Art Toi o Tamaki
¯ jbrennan@sfmoma.org
Chicago, USA — William Caddick,
Los Angeles, CA, USA Auckland, New Zealand Art Institute of Chicago United Kingdom — Jack Plumb,
RMurphy@lacma.org Patricia.Morgan@ wcaddick@artic.edu National Library of Scotland
aucklandcouncil.govt.nz j.plumb@nls.uk
V.P., Regional Affairs Los Angeles, USA — Randy Murphy,
Los Angeles County Museum of Art Washington/Baltimore, USA —
John Castle Membership Committee Chair rmurphy@lacma.org Maurice Evans, Smithsonian
Winterthur Museum, Guy Larocque Institution
Garden and Library Canadian Museum of New England, USA — John H. evansma@si.edu
Lannon, Boston Athenaeum
Winterthur, DE, USA Civilization lannon@bostonathenaeum.org
jcastle@winterthur.org Gatineau, QC, Canada For more information on
guy.larocque@civilization.ca New York, USA — Mark Demairo, becomming a member of the
Treasurer Neue Galerie International Association of
Alan Dirican markdemairo@neuegalerie.org
Museum Facility Administrators,
Baltimore Museum of Art For additional contact information, New Zealand — Patricia Morgan, please visit
Baltimore, MD, USA please visit our website at Auckland Art Gallery www.iamfa.org
adirican@artbma.org www.iamfa.org patricia.morgan@aucklandcity.govt.nz
IAMFA/ Papyrus Bruce Ford Design and Layout Statements of fact and opinion
Vol. 12, Number 2 Jennifer Fragomeni Phredd Grafix are made on the responsibility of
Fall 2011 Pam Harris authors alone and do not imply an
Joe May Editing opinion on the part of the editors,
Editor Jim Moisson Artistic License officers, or members of IAMFA. The
editors of IAMFA Papyrus reserve the
Joe May Patricia Morgan Printed in the U.S.A. by right to accept or to reject any Article
Mirjam Roos Knight Printing or advertisement submitted for
Papyrus Correspondents Nicola Smith publication.
Auckland Conference Team Rob Stevens ISSN 1682-5241
Joe Brennan Allan Tyrrell While we have made every attempt to
ensure that reproduction rights have
Sara Carroll Emrah Baki Ulas
been acquired for the illustrations
John Castle Thomas Westerkamp used in this newsletter, please let
John de Lucy Stacey Wittig us know if we have inadvertently
Maurice Evans David C. Wright overlooked your copyright, and
we will rectify the matter in a
future issue.
Past issues of Papyrus can be found on IAMFA's website: www.IAMFA.org

4. Letter from the Editor
Joe May
Editor, Papyrus
Greetings from Los Angeles! Please see the articles about the Royal the first step in managing something
Navy Museum and the Museum of is to measure it. This basic manage-
D
uring the time since the last
Transport and Technology in this issue. ment principle dates back to the 1800s,
issue of Papyrus was published,
You’ll also find part-three of two and is attributed to Frederick Taylor,
IAMFA’s Board of Directors
informative series of articles: “Seeing who is considered the Father of
decided to open up its LinkedIn Group
Art in a New Light” by Emrah Ulas and Scientific Management.
to non-members, and the Group has
accordingly grown to 160 members You will notice in this issue of
from 17 countries. The LinkedIn Group Papyrus that we have not translated
is an effective way for IAMFA’s mem- the Message from the President or
bers, and others engaged in common Everyone wants to have articles about the upcoming annual
interests, to tap into the collective a productive workforce, conference. This is purely a cost-based
knowledge of the Group. If you haven’t decision, related not only to translation
and the first step in costs, but also the added publishing,
yet joined the Group, I hope you will
consider doing so now. The more who managing something is printing, and postage costs. We are
join, the more beneficial the Group to measure it. currently looking into possible ways
will become, and we believe that more to translate an electronic version of
members in the Group who do not cur- Papyrus into numerous languages
rently belong to IAMFA will see that using translation software.
membership has many advantages. If you have not visited our website
Mirjam Roos from Steensen Varming
This issue of Papyrus has a record www.iamfa.org recently, you will find
(Australia) Pty Ltd; and “Operations
number of informative articles, thanks that we now have an index of past tech-
Review Reveals Hidden Maintenance
to the willingness of so many IAMFA Improvement Resources” by Tom nical articles and historical articles with
members to share their recent expe- Westerkamp. The latter also includes links to the appropriate issue of Papyrus.
riences in operating their facilities. a multiple-choice questionnaire to I hope you will take advantage of this
In this issue, you’ll find an update assess the productivity of your institu- resource to find how other IAMFA
on IAMFA’s Annual Conference in tion’s maintenance workforce. Please members have dealt with issues you
Auckland, New Zealand, and I hope take advantage of this opportunity; it face now.
you will soon finalize your plans to costs you nothing to complete this Finally, thank you to everyone who
attend. In the past few issues of Papyrus, questionnaire, and you can determine contributed material for this issue of
the New Zealand Conference hosts have your score by yourself. Everyone wants Papyrus, and to the advertisers who
written articles about their facilities. to have a productive workforce, and support our organization.
2 PAPYRUS FALL 2011

5. Message from the President
John de Lucy
President, IAMFA
A
ll six of the Auckland cultural and they are keen to tell you about the whole-life cost of the project, and
institutions that are hosting us their experiences. They have had to can make a financial difference of mil-
for our November conference take seismic activity into account in their lions over time. I know most of us are
will have been through major refurbish- building works, which has led to many agreed that designers and construction
ments, extensions or construction work challenges, and you will learn how inno- companies must provide integrated
in the past few years, so there is plenty vative they have been in overcoming solutions that put an end to poor per -
to see and learn about for those of you these obstacles. formance of buildings after handover
who join us. The directors of all six Those of you who know Pat Morgan to clients. Through our conferences,
organisations met with the IAMFA will not be surprised to learn that, not we have seen many excellent examples
Board on their sites at our mid-year only has she been fully engaged in com- of how our members get it right.
board meeting, and expressed their pleting a major new extension at the This conference will give you a valu-
delight that we were bringing our Art Gallery and arranging to move able opportunity to learn professionally
conference to them. They are fully back in, but she has also put together from our New Zealand members, and
supportive of this conference, and an excellent programme for us all. I also about their culture. The Europeans
looking forward to hosting you all. encourage all of our members to book and North Americans have a relatively
All of this construction activity was their hotel rooms and sign up for the mature facilities management pro-
of course not for our conference, but conference now, so that she can plan fession and industry, but there is a lot
we are lucky that we will see the recently her numbers. to be learned from the New Zealanders,
finished product of major upgrades In addition to seeing the physical who often approach issues in a differ-
at Auckland’s museums and galleries. results of a great deal of construction ent way. You are bound to pick up
They are particularly proud of their work, we’ll also be learning about the ideas that are not common in your
use of New Zealand’s ancient kauri fruits of successful collaboration. The country. Knowledge exchange of how
wood, which is a delight to look at. New Zealanders seem to have the right things are done elsewhere will help
You will see fantastic examples of this model for public-sector construction you create improved environments,
usage in the ceilings at the Art Gallery procurement, which creates an align- and will help us all do our jobs better.
(shown on the cover of the last issue ment of interest between those who You, our members, are the life-
of Papyrus), in the “cocoon” at the design and construct a cultural facility blood of IAMFA, and through your
Auckland Museum, and at the Museum and those who subsequently occupy and membership I hope you obtain increas-
of Transport and Technology. It is lovely manage it. Pat has plenty of examples ing value to your organisations and
to see this handsome wood used so of how, by working together, they have professional standing. Make sure you
extensively. produced a fantastic new building that improve your networking and edu-
Facilities Managers often bemoan works for everyone! cational opportunities by attending
their lack of involvement in the plan- For those of you with similar stories, our conferences!
ning of a construction project. Similar I encourage you to write an article for See you in Auckland, everyone!
to what we saw in San Francisco last year, publication in Papyrus. It helps us all
however, those who will be running to learn how others have managed to get John de Lucy
the Auckland buildings when finished the message across that the occupation Head of Estates, British Library
have been fully involved in the process, of our buildings is a key component in (Retired)
PAPYRUS FALL 2011 3

6. Update—IAMFA Annual Conference
in Auckland
P
lease finalize your plans now to extra workshop space for art classes. The expansion will increase exhi-
attend this year’s exotic, action- Several artists maintained studio space bition space by 50%, resulting in over
packed 21st IAMFA Conference in in the complex during the period just 4,200 square meters of gallery space,
Auckland, New Zealand. The agenda after the Second World War; weaver which will be able to display up to
is full of educational content, oppor- Ilse Von Randow utilized the clock 900 works of art, and will provide
tunities to network with your fellow tower rooms and created the Art dedicated education, child and family
IAMFA members, and an opportunity Gallery Ceremonial curtains onsite, spaces. As part of the upgrade, existing
to see how museum facilities are man- executed as part of a modernization parts of the structure have been reno-
aged in a part of the world that many in the 1950s. vated and restored, and what was in
IAMFA members have never seen. From 1969 to 1971 the building effect an adaptive re-use building has
Please review the agenda for the underwent remodeling, and a new wing finally been transformed into a logical
21st IAMFA Annual Conference in and sculpture garden were added. In and cohesive twenty-first-century
the centerfold of this issue. 1971, the public library was moved purpose-built art gallery building.
Many of us are challenged these to the new Auckland Public Library The Conference team led by
days with budget constraints, and building, designed by Ewen Wainscott, Patricia Morgan is excited that con-
many more are deeply into major in nearby Lorne Street. There have ference goers will have the opportunity
redevelopment projects. This spring’s been a number of major and minor to see the amazing new Auckland Art
(fall in the Northern Hemisphere) building works since that time. Gallery within weeks of its reopening.
conference will be an opportunity to In 2003, Auckland Council con-
learn from your peers, who are going firmed its support for the seismic
strengthening, heritage protection
Auckland Civic Theatre
through the same challenges that you
and reinstatement and extension of The Auckland Civic Theatre is inter-
are. Please don’t overlook this tremen-
this Category A heritage listed build- nationally significant as the largest
dous opportunity to learn from your
ing, at a total cost of NZ$121 million. surviving atmospheric cinema in
fellow IAMFA members.
The completed building will re-open Australasia (and also one of the only
There are numerous venues partici-
to the public on September 3, 2011, seven of its style remaining in the
pating in this year’s conference. Here
three years from the date construction world), and as the first purpose-built
is a brief history of each of them.
commenced onsite. cinema of this type in New Zealand. It
is also known for its Indian-inspired
Auckland Art Gallery foyer, which includes seated Buddhas,
The main gallery building of the twisted columns and domed ceilings.
Auckland Art Gallery was originally The main auditorium was designed
designed by Melbourne architects in a similar style, imitating a Moorish
Grainger and Charles D’Ebro, to garden with turrets, minarets, spires
house not only the Art Gallery but and tiled roofs, as well as several
also the City Council Offices, Lecture famous Abyssinian panther statues.
Theatre, and Public Library. It was When it opened, it could hold 2,750
constructed of brick and plaster in an people, and even with its currently
early French Renaissance style and was reduced seating, it is still the largest
completed in 1887, with an extension— theatre in New Zealand.
the East Gallery—built in 1916. It was The Auckland Civic Theatre was
three storeys high, with an attic in the the creation of Thomas O’Brien, who
steeply pitched roofs, and a six-storey built a movie empire in Auckland’s
clock tower. inner suburbs in the 1920s. He first
The new building eventually proved brought the atmospheric cinema—a
too small to house all the Council theatre style which gives the impression
departments and, following comple- that audiences are seated in an out-
tion of the Auckland Town Hall in door venue, complete with twinkling
The Auckland Art Gallery, still under
1911, all Council departments left the construction in this photo, combines the night sky—to New Zealand when he
Gallery building. This allowed expan- old with the new, and features beautiful opened Dunedin’s Moorish-style
sion of the Gallery’s facilities, including kauri wood in its new ceilings. Empire De Luxe Theatre in 1928. The
4 PAPYRUS FALL 2011

7. Government Domain, commanding an
impressive view of Waitemata Harbour.
The building is considered one of
the finest Greco-Roman buildings in
the Southern Hemisphere. It has an
“A” classification from the New Zealand
Historic Places Trust, designating it as
a building whose preservation is of the
utmost importance. Of particular inter-
est is the interior plasterwork, which
incorporates Maori details in an amal-
gam of Neo-Greek and Art Deco styles.
Similarly, the exterior bas-reliefs depict-
ing twentieth-century armed forces and
personnel are in a style which mixes
Neo-Greek with Art Deco. The bulk of
the building is English Portland Stone,
with detailing in New Zealand granite
from the Coromandel Peninsula.
Two additions were made to the
1929 building, the first in the late
1950s to commemorate the Second
The Auckland Civic Theatre. World War, when an administration
annex with a large semi-circular court-
yard was added to the southern rear.
Civic opened amid great fanfare in in the Neoclassical style, and sitting This extension is of concrete block con-
December 1929, but the onset of the on a grassed plinth (the remains of a struction, rendered in cement stucco
Great Depression contributed to disap- dormant volcano) in the Auckland to harmonize with the Portland Stone
pointing attendance—as did O’Brien’s Domain: a large public park close to of the earlier building. The second
stubborn insistence on showing British the Auckland Central Business District. addition was in 2006, when the inner
rather than the more popular American The Auckland Museum traces its courtyard was enclosed in the grand
films—and O’Brien eventually went lineage back to 1852, when it was estab- atrium at the southern entrance.
bankrupt. After several modifications lished in a farm worker’s cottage on the The quotation “The Whole Earth is
during the ensuing decades, the Theatre current site of Auckland University. the Sepulchre of Famous Men” over
was eventually restored to very near its With an initial call for the donation of the front porch is attributed to the
original design in the late 1990s. wool specimens for display, it attracted Greek general, Pericles, in keeping with
The Theatre also recently gained 708 visitors in its first year.
some insider fame when it was used One of the visitors during the 1890s
for the scenes representing a period- was the French artist Gauguin, who
style New York theater in Peter Jackson’s sketched several Maori items, later
King Kong remake. incorporating these into his Tahitian-
We plan to hold our opening period paintings.
reception in the foyer of the Auckland In the early years of the twentieth
Civic Theatre. It is a stunning venue, century, the Museum and its collections
and we promise you will be amazed! flourished under visionary curator
Thomas Cheeseman, who tried to
establish a sense of order, separating
Auckland Museum the natural history, classical sculpture
The Auckland War Memorial Museum and anthropological collections, which
(or simply the Auckland Museum) is had previously been displayed in a
one of New Zealand’s most important rather unsystematic way. The need for
museums and war memorials. Its col- better display conditions and extra space
lections concentrate on New Zealand necessitated a move from the Princes
history (and especially the history of Street site, and eventually the project
the Auckland Region), natural history, for a purpose-built museum merged
and military history. with that of a war memorial to com-
The Museum is also one of the most memorate soldiers lost in the First
iconic Auckland buildings, constructed World War. The site was a hill in the Atrium at the Auckland Museum.
PAPYRUS FALL 2011 5

8. its commemorative status to affairs of The tower is part of the SKYCITY
a martial nature. Auckland casino complex, having
Over the past two decades, the been originally built for Harrah’s
Museum has been renovated and Entertainment, Inc. The tower attracts
extended in two stages. The first stage, an average 1,450 visitors per day (over
in the 1990s, saw the existing build- 500,000 per year).
ing restored, and the exhibits partly The upper portion of the tower
replaced for NZ$43 million. The second contains two restaurants and a cafe,
stage of this restoration involved the including a revolving restaurant
construction of a great dome/atrium located 190 meters from the ground,
within the central courtyard, increas- turning 360 degrees once every hour.
ing the building’s floor area by 60% Conference attendees will have lunch
(an addition of 9,600 m2) for a price Model of the Museum, showing the new
in the revolving restaurant during the
of NZ$64.5 million. The second stage copper dome/atrium at the rear.
Conference. The tower has three
was completed in 2007.
observation decks at different heights,
The copper and glass dome, as well
Innovate NZ Gold Award (Structural each providing 360-degree views of
as the viewing platform/event centre
Engineering) for the redevelopment. the city. The main observation level
beneath it, quickly won the admiration
at 186 meters has 38-mm-thick glass
of critics and the public alike, being
Auckland Sky Tower sections of flooring, providing a view
noted for “its undulating lines, which
echo the volcanic landscape and hills straight through to the ground. The
The Sky Tower is an observation and
around Auckland.” Standing in the telecommunications tower located on topmost observation deck—the Skydeck
event center underneath the top of the the corner of Victoria and Federal Streets —sits just below the main antenna at
dome was likened to being beneath the in the Auckland Central Business 220 meters, and offers views of up to
“cream-coloured belly of a giant sting- District. It is 328 meters (1,076 feet) 82 kilometers in the distance.
ray . . . with its rippling wings hovering tall, as measured from ground level to The tower also features the
over the distinctive city skyline.” In the top of the mast, making it the tallest “SkyJump”: a 192-meter jump off
June 2007, the Grand Atrium project freestanding structure in the Southern the observation deck, during which
also received the Supreme Award of the Hemisphere, and the 15th-tallest mem- a jumper can reach speeds of up to
New Zealand Property Council, which ber of the World Federation of Great 85 km/h (53 mph). The jump is guide-
noted it as being “world-class” and a Towers. Due to its shape and height, cable-controlled to prevent jumpers
successful exercise in combining com- especially when compared to the next from colliding with the tower in the
plex design and heritage demands. The tallest structures, it has become an event of wind gusts. Climbs into the
Museum has also received the ACENZ iconic structure in Auckland’s skyline. antenna mast portion (300 m/980 ft
The Auckland Sky Tower. View of Auckland Harbour from the Sky Tower.
6 PAPYRUS FALL 2011

9. heights) are also possible for tour with both native and exotic wildlife. incorporating key conservation issues
groups, as is a walk around the exterior. Auckland Zoo’s contributions to con- and actions throughout. Te Wao Nui
The tower is also used for tele- servation also include a wide range of will be home to more than 100 native
communications and broadcasting, research, in-situ and ex-situ wildlife plant species and around 60 different
with the Auckland Peering Exchange management, and education projects. animal species—many new or never
(APE) located on Level 48. The aerial Te Wao Nui, the New Zealand before seen at the Zoo.
at the top of the tower hosts the precinct, will open to the public in Auckland Zoo is a full institutional
largest FM combiner in the world, September 2011. This is the biggest member of the Zoo and Aquarium
which combines with 58 wireless development the Zoo has ever under- Association (ZAA), and received ISO
microwave links located above the top taken, and is dedicated entirely to show- 14001 accreditation for its Environ-
restaurant to provide a number of casing New Zealand’s native flora, fauna, mental Management System in 2007.
services. These include television, and culture. The new exhibit encom-
wireless Internet, radio transmitter, passes six diverse habitats: The Coast, Museum of Transport and
and weather-measurement services. The Islands, The Wetlands, The Night,
The Forest, and The High Country,
Technology
The Museum of Transport and Tech-
Auckland Zoo nology (MOTAT) was established in
Auckland Zoo opened in 1922, and by 1960 by a number of groups including
1930 a sizeable collection of animals the Old Time Transport Preservation
had been assembled. After the Second League, which was formed in 1957
World War, the collection grew further, and preserved trams and railway
and in 1973 the Zoo expanded further locomotives. MOTAT was formally
into the adjacent Western Springs Park. opened in 1964.
From the late 1980s to the present day, Exhibits include trains, trams, vintage
many old exhibits have been phased traction engines, carriages, cars, buses,
out and replaced by modern natural- trolleybuses and trucks, fire engines,
istic enclosures, and Auckland Zoo is electrical equipment, Space flight
now set in 17 hectares (42 acres) of exhibits (including a Corporal rocket),
stunning park-like grounds. and general science exhibits. There is
Auckland Zoo is a truly modern zoo, also a “colonial village” of early shops
driven by a passion for wildlife and and houses, including a fencible cot-
conservation. Not only is Auckland tage (a style built for retired military
Zoo dedicated to making a difference personnel) and a blacksmith shop.
to wildlife and the environment, it Known in the past as the Sir Keith
jumps at the chance to inspire others to Park Memorial Airfield—named after
do the same. In today’s world, where Keith Park, the Battle of Britain and
most people live in urban environ- Battle of Malta hero—MOTAT’s avia-
ments, zoos play a key role in offering tion collection is on a separate site,
experiences for people to connect The new Wetlands habitat in Te Wao Nui. adjacent to Waitemata Harbour and
One of Auckland Zoo’s ambassador cheetahs during a behind-the- New hangar under construction at MOTAT.
scenes walking tour.
PAPYRUS FALL 2011 7

10. Auckland Zoo. It contains memorials heritage, so that they honour the con- maritime museum. It is located on
to Fleet Air Arm and RAF Bomber tribution New Zealand’s sea warriors Hobson Wharf Auckland, adjacent to
Command pilots, as well as radar and have made to peace, security and pros- Viaduct Harbour. It houses exhibitions
other aviation related material, and perity. The Museum’s mission is to spanning New Zealand’s maritime
includes workshops for work on other capture and preserve New Zealand’s history from the first Polynesian
vehicles. The main feature, however, is naval culture and heritage for current explorers to modern-day triumphs in
the collection of New Zealand civil air- and future generations through col- the America’s Cup. Its Maori name is
craft, as well as some Royal New Zealand lection, preservation, presentation, “Te Huiteanaui-A-Tangaroa”: Holder
Air Force aircraft. education, research and scholarship. of the Treasures of Sea God Tangaroa.
There is also a military section, which Torpedo Bay, on the shores of the A NZ$8-million extension to the
restores and demonstrates a selection harbour at Devonport, is the new northern end of the Museum opened
of Second World War military trucks, home of the Navy Museum. The in late 2009, and houses a permanent
light-tracked vehicles and tanks used by move to Torpedo Bay has been both exhibition about Sir Peter Blake, includ-
Allied forces. The military section has an outstanding opportunity and an ing the original NZL 32 (Black Magic).
regular open days, when the Military incredible journey. The exhibition is called Blue Water,
Reenactment Society displays and Torpedo Bay itself is a site of excep- Black Magic.
demonstrates the vehicles and uniforms. tional significance, having been a key
MOTAT 2 also has an operational part of Auckland’s early defence system,
railway with a kilometer of track, as well as having been continuously
Mudbrick Vineyard
stations and a selection of former occupied by New Zealand military The Mudbrick Vineyard is one of
New Zealand Government Railways, forces since 1880. Torpedo Bay is the Waiheke’s best-known wineries, and
light industrial locomotives, wagons most substantial and intact surviving includes a Provence-style restaurant
and carriages. nineteenth-century mining base in made of mudbrick. The vineyard pro-
MOTAT 2 is undergoing a major New Zealand. duces merlot, chardonnay, cabernet
expansion project to increase its Relocating the Museum to Torpedo sauvignon, and Syrah grapes.
covered display space. This involves Bay has added a new chapter to the Waiheke Island is an island in the
moving and restoring the existing site’s extraordinary heritage, with Hauraki Gulf of New Zealand, located
blister hangar and constructing a new the original 1896 buildings being about 17.7 kilometers (11.0 miles)
and larger building to extend the main redeveloped to accommodate the from Auckland. The island is the
display hangar. The project is planned new Museum. second largest in the Hauraki Gulf
for completion in late 2011 at an Conference attendees will visit the after Great Barrier Island. It is also the
estimated cost of NZ$16.6 million. Royal Navy Museum on Tuesday after- most populated, with nearly 8,000
noon, after enjoying a bird’s-eye view permanent residents, plus another
of it during lunch in the Sky Tower. estimated 3,400 who have second or
Royal Navy Museum at holiday homes on the island. It is
Torpedo Bay New Zealand’s most densely popu-
The Royal Navy Museum’s vision is Voyager New Zealand lated island, with 83.58 people/km2,
to enrich the lives of present and Maritime Museum and the third most populated after
future generations with an awareness The Voyager New Zealand Maritime the North and South Island. It is the
of New Zealand’s naval culture and Museum is New Zealand’s premier most accessible offshore island in the
View of the extension centered around NZL32 Black
Magic: the boat on which Team New Zealand, led by Sir
Exhibits at the Royal Navy Museum. Peter Blake, won the America’s Cup in 1995.
8 PAPYRUS FALL 2011

11. Langham Hotel The hotel’s restaurant, Partington’s,
The Langham Hotel is a five-star hotel is named after the windmill founder,
in Auckland, and occupies the historic and has won various awards, including
site of Partington’s Windmill, a local Restaurant of the Year in 2006.
landmark until its demolition in 1950.
The Langham Hotel is located near
numerous Auckland attractions and
landmarks, such as the Auckland
Domain, the Auckland Central Busi-
ness District, and the Auckland War
Memorial Museum. It offers a compli-
mentary city bus shuttle so that guests
Dining room at the Mudbrick Vineyard, can easily access various attractions.
overlooking the Bay on Waiheke Island.
Gulf, due to regular passenger and
car ferry services and some air links.
Waiheke translates as “the descending
waters” or “ebbing water”.
Members and guests will travel to
Waiheke Island by catamaran at the
end of the first day of the Conference
to enjoy the sunset with cocktails,
followed by an unforgettable dinner
and networking with IAMFA members
and guests. Lobby at the Langham Hotel. Typical room at the Langham Hotel.
Delivering extraordinary
outcomes
Coffey Projects is a leading project management company and
works in partnership with clients through the project lifecycle.
Some of our iconic cultural projects in New Zealand and
Australia include the Christchurch Art Gallery, Canterbury
Museum, National Gallery of Victoria and the Sydney Opera
House facility upgrades.
Our expertise includes:
• business case development
• project scope definition
• program management
• value management
• strategic risk management
• design management
• negotiations and approvals
• contract procurement
• project close-out
• post occupation studies
coffey.com
PAPYRUS FALL 2011 9

12. Benchmarking: How to Use
Data as an Agent for Change
By Stacey Wittig
B
enchmarking is more than just data collection. The constraints based in part on how our building operation
real value of the IAMFA Benchmarking Exercise costs compared to those of similar facilities.”
comes from the understanding of how your peers are May included charts in his presentation to senior man-
doing similar jobs for less cost. Indeed, IAMFA participants agement that tracked cost per square foot with both the
have saved US$3.11 per GSF over the past five years by “All Fine Arts Museums” and “All Participants” groups.
implementing “pretested” practical solutions. But, you may “The first year our costs were noticeably higher than both
ask, how do you motivate others in your organization to of these average groups,” notes May.
implement the best practices revealed through bench- “We began a best-practices effort to reduce our operating
marking? As others will tell you, use the benchmarking costs and, as we added another year’s data to the charts,
data as an agent for change. we could see the gap between our costs and the averages
A key component to benchmarking success lies in com- narrow, until—six years into the benchmarking exercise—
municating the findings to your organization. Benchmarking our costs were near or below the averages of other bench-
expert Keith McClanahan recommends three different marking participants. While inflation drove higher operating
strategies for communicating to the various groups within costs for most facilities, we reduced our costs by a significant
your organization. Here are some quick tips: percentage,” he adds.
When communicating to senior management, make a
presentation of key findings and action plans. To reach your FM organization:
1) Post key charts from the report in highly visible areas.
1) Compare your costs and user satisfaction with your
peers using key charts* included in the IAMFA report. 2) Use benchmarking results as a basis for goal-setting—
data shared by a collective of institutions helps create
2) List the peers.
acceptance for change.
3) If this is your first time benchmarking, emphasize that
3) The report will identify improved work processes—
benchmarking is a learning process, and encourage
recognize those involved.
them not to overreact to your first-year data findings.
4) Communicate the benefits of benchmarking: for example,
4) Present action plans that you have identified from the
when auditors see benchmarking results, they will often
best practices listed in the report.
turn away to focus on other departments.
“Benchmarking got a lot of attention with senior man-
agement,” says Joe May, Sustainability Engineer and former
Manager, Maintenance Planning and Support, for a large
Los Angeles museum. “It was an important factor in budget
allocations. Each year, I would list the most significant
improvements made to reduce each category of building
operation costs, and made a presentation with the results to
senior management and functional heads. In turn, senior
management overseeing Facilities would provide budget
*Key Charts included in the IAMFA Benchmarking Report:
• Space utilization: GSF/person
• Variable Costs
— Electrical usage per GSF
— Maintenance cost per GSF
— Custodial cost per area cleaned
— Total operating cost per GSF
• Fixed Costs Implementing handheld devices to dispatch maintenance job
— Depreciation or orders improves worker efficiency between 5% and 10% and
— Depreciation + Insurance + Taxes + Rent improves response times and customer service.
10 PAPYRUS FALL 2011

13. An effective BMS (Building Management System) will identify Sharing of best practices is a key component of the IAMFA
where energy is being utilized, as well as opportunities for savings. benchmarking program.
5) Benchmarking is a two-way street: ask those in your Stacey Wittig is Marketing Director for Facility Issues, endorsed
FM organization for suggestions for improvement. by IAMFA to facilitate the benchmarking exercise. She may be
reached at stacey.wittig@facilityissues.com or 928-255-4943. Learn
more about benchmarking at www.facilityissues.com/museums
“Each month I would meet with Facilities Supervisors
and Shop Technicians to log ideas for improvement, and
would update the log following each meeting to track our
progress in implementing their ideas,” says May. “By the sixth
year, we had implemented over two hundred ideas to reduce INSPIRED DESIGN, INNOVATIVE
operating costs.” Some of these ideas for improvement
were shared as best practices in IAMFA benchmark reports. ENGINEERING
Communicate with your Customers/Users by sending a
short, written summary report:
1) Include where you stand, and what you are doing to
improve.
2) Point out improvements since the last report.
3) If you have done an occupancy report, respond by e-mail Smithsonian Institution - National History Museum
or phone to each employee who provided contact infor-
mation. Let them know if you are or are not implementing Our
their requests or suggestions. Clients Include:
Baltimore
“I think any structured program to reduce operating costs For more information, visit
Museum of Art
must have certain steps that advance the process from an www.muellerassoc.com Delaware Museum of
idea stage through implementation of operating improve- 410.646.4500 Natural History
ments,” says May, who used a Methods Improvement Control Monticello Visitor Center
System for twenty years with consulting clients prior to his “Our museum clients, and the National Gallery of Art
tenure at the museum. “It is very simple, and it works. If architects they select, are Smithsonian Natural
sophisticated and knowledgeable History Museum
you find anyone who would like to learn more about how about their objectives. We
it works, I would be happy to provide more information pride ourselves on being U.S. Holocaust Museum
up to the challenge.”
individually.” Virginia Museum
The IAMFA Benchmarking Practices and Learning Robert Marino, of Fine Arts
PE, LEED AP Walters Art Museum
Workshop will take place on November 13, 2011 in Auckland, President,
New Zealand. The workshop is open to benchmarking Mueller Associates Winterthur Museum
participants. Non-participants are welcome to register at
www.iamfa.org as paid observers.
PAPYRUS FALL 2011 11

14. Fade-Testing of Museum Objects at the
National Museum of Australia
By Nicola Smith and Bruce Ford
O
ne of the fundamental dilemmas in museums is the It is also the case that 50 lux illumination is often inade-
need to exhibit collections, which include objects quate for comfortable viewing, especially for older visitors
that are sensitive to light. Light not only fades some (taken as anyone over 40 years of age), or for objects with
colours, but these reactions are cumulative and irreversible.1 fine details, objects that are dark in colour or large in size,
Every museum has its most important or most popular and objects with long viewing distances. The over-50 demo-
objects that are in constant demand for display; however, graphic comprises 60% of NMA visitors; but interestingly,
to paraphrase Oscar Wilde, museums risk destroying that as with other museums worldwide, negative feedback on
which they most love. exhibition lighting is not a common complaint in visitor
Exhibition lighting guidelines at many international surveys. Low lighting is often taken as a sign of the impor-
museums still refer to Thompson’s The Museum Environment tance of the artifacts, and an indication the museum is taking
(1978) in which he recommends “50 lux for very sensitive good care of its collection. This needs to be reconsidered,
objects,” and 200 lux for less fugitive materials. More recent because there are times when exhibition lighting design
exposure frameworks have also introduced the element of does not even reach the minimum lighting standards for
time: e.g., the Victoria and Albert Museum lighting guide- public circulation.
lines (1999) recommend 50 lux for a 20% exposure period With the increasing use of risk management in museums,
(often taken as two years of display over a ten-year period) the NMA has been questioning some of the underlying
for all potentially light-sensitive materials corresponding to assumptions of its previous lighting guidelines. We are
equivalent International Organization for Standardization slowly moving from an “every object is equal” model to
(ISO) Blue Wool (BW) standards 1-4; and permanent dis- a risk-management model, in which the significance of
play at 150 lux for more durable materials equivalent to objects or collections, and the specific risks to which they
BW 5-8. The BW fading standards are standardised swatches are exposed, become the drivers for collection manage-
of fabric manufactured for the International Organization ment decisions. To do this we are using a technique which
for Standardization that fade at known rates under par- involves correlating individual colourants on an object with
ticular conditions, with BW 8 being the most stable, and the ISO standards.
BW 1 the least. The use of ISO Blue Wool standards are In the late 1990s, Dr. Paul Whitmore, a scientist at the
helpful where fading information exists for the specific Carnegie Mellon University Art Conservation Research
objects or materials. Where data does exist (often European Center, invented a machine for just this purpose. The
fine art), it is usually derived from accelerated aging studies Oriel® Fading Test System is able to provide virtually non-
on surrogate samples that are likely to behave differently to destructive fade testing of each colour on a real object in
real objects with their unique histories of production, use 10-15 minutes. Each colour is exposed to a tiny spot of very
and exposure. bright light (5,000,000 lux), and its response is recorded.
Many museums, however, including the National Museum The test is virtually non-destructive, because the faded
of Australia (NMA), are full of potentially light-sensitive area is about the size of the head of a pin and, because
material for which there is little or no fading information
available. We know the amount of fading is dependent on
the specific dye, pigment and/or substrate, the intensity of
the light and the length of exposure. Because very little is
known about fade rates for specific objects, some conserva-
tors tend to recommend that organic materials are routinely
displayed at 50 lux and rotated off display every two years.
This generates a huge amount of work, however, and
becomes unsustainable in terms of staff time, budgets, and
object selection. Applying general rules means that the
resources involved in protecting sensitive items are not
targeted to the areas of identified need and, even worse,
the small percentage of highly light-sensitive material may
not be adequately protected.
1Lightcan also affect the very structure of some materials; however, Bruce Ford and Nicola Smith using the fading test machine on
for the purposes of this discussion the focus is on fading. Azaria Chamberlain’s christening gown.
12 PAPYRUS FALL 2011

15. the extent of fading is carefully limited, it remains below to be very different for different museums and galleries,
what is perceptible to the human eye (even if the size of especially those that have most of their collection on per-
the area was larger). manent display, or those that regularly rotate exhibitions
Although the fading response of an object exposed to for reasons other than limiting light damage. However, all
typical museum lighting will not be exactly the same as that collections would benefit from the identification of objects
which follows exposure to the very bright light of this accel- most at risk of fading, especially within the group considered
erated aging machine, this method allows colourants to be to be the most significant or popular, and thus in constant
separated out across the light-sensitive Blue Wool 1-4 range. demand for display.
In fact, it can reliably identify those colourants most at risk The NMA has used this machine in conjunction with a
of light damage—the “fast-faders”—from the medium and significance-based assessment to modify and inform our
more stable ranges. lighting guidelines. This approach provides better pro-
In 2008, the NMA purchased the necessary equipment tection for the most vulnerable and significant collection
and began testing many of the objects destined for the per- items at a much lower cost, and recommended illumina-
manent exhibition areas illustrating Australian history and tion levels have increased for all but the most light-fugitive
society. A broad cross-section of the collection was tested objects. The aim is for greater dialogue between lighting
across acrylic paintings, natural and synthetic dyed objects designers, conservators and curators; improved access;
and textiles, photographs, inks on historical documents, better-looking exhibitions in which the public can see the
fur and resins, and even modern plastics. It was found that detail of objects on display; and more targeted expenditure,
exhibition duration recommendations were unchanged for providing value for money.
40% of the objects, and that restrictions had to be tight- The next challenge for conservators, lighting engineers
ened for a relatively small group of fugitive objects, while and facilities managers is how and when to introduce solid-
the rest were assessed as being safe for longer display than state lamps. Performance, cost effectiveness and collection
previously recommended. safety will all be drivers in the decision-making process. Like
At a rough estimate, the average cost of a changeover at the issue of lighting-exposure guidelines, this will require
the NMA is around A$1,000 (including mounting, fabrica- collaborative effort across the various disciplines involved
tion, text panels, graphics and lighting). The Museum has in protecting and displaying our common heritage.
around 3,000 objects on display in its permanent galleries,
and each time an object can be extended on display from Nicola Smith is Deputy Manager Conservation, and Bruce Ford is
two years to five or even ten years, this can save the Museum Conservation Scientist, Art & Archival at the National Museum of
a considerable amount of money. These figures are likely Australia in Canberra.
Fade data for Azaria Chamberlain’s christening gown. The effect of micro-fade testing results on exhibition duration, as
compared to previous recommendations.
Become a Member of IAMFA
For more information on becoming a member of the
International Association of Museum Facility Administrators, please visit
WWW.IAMFA.ORG
PAPYRUS FALL 2011 13

16. Family Ties to the Auckland Museum
A
t our recent Board meeting in
Auckland, IAMFA President
John de Lucy came face to face
with a stunning piece of family history.
One of the Museum’s exhibits is an
ornate silver bowl, presented to John’s
great-grandfather Edward Selby Little
nearly 100 years ago. Little was hon- IAMFA President John
oured for his work hosting and facili- de Lucy at the Auckland
tating—at his Shanghai home—the Museum, holding the
beautiful silver bowl
Chinese peace negotiations that brought presented to his great-
an end to the long rule of the Manchu grandfather, Edward
Dynasty and its Emperor, and marked Selby Little, for his part
the beginning of the Republic of China in the Chinese Peace
under Sun Yat-sen. The country’s cen- negotiations that led to
the founding of the
tennial celebrations will begin next Republic of China.
year on February 12, 2012.
The Qing Dynasty, also known as the
Manchu Dynasty, was the last dynasty
of China, ruling from 1644 to 1912
(with a brief, abortive restoration in
1917). It was preceded by the Ming
Dynasty, and followed by the Republic
of China. The dynasty was founded by
the Manchu clan, Aisin Gioro, in mod-
ern northeastern China (also known
as Manchuria). Starting in 1644, it
expanded into China proper and its
surrounding territories, establishing the
Signing of the Treaty
Empire of the Great Qing (simplified at Edward Selby Little’s
Chinese). house, February 12,
Sun Yat-sen (1866–1925) was a Han 1912. This photograph
Chinese doctor, revolutionary and polit- was taken on the
ical leader. As the foremost pioneer of verandah of 30 Gordon
Road, Shanghai, after
Nationalist China, Sun is frequently the signing of the peace
referred to as the “Father of the Nation” negotiations that led
(國父), a view agreed upon by both the to the founding of the
People’s Republic of China and the original Republic of
Republic of China. Sun played an China. Back, left to
right: Tong Shao Yi,
instrumental role in the overthrow of Representative of the
the Qing Dynasty during the Xinhai Manchu Dynasty and
Revolution, and was the first provisional Edward Selby Little. Front,
president when the Republic of China left to right: Amelia
was founded in 1912. He later co- Gladys Little (John de
Lucy’s grandmother);
founded the Kuomintang (Chinese Wu Ting Fang, Repre-
National People’s Party) which he served senting Dr. Sun Yat-sen;
as its first leader. Sun was a uniting figure and Caroline Amelia Little
in post-Imperial China, and remains (John de Lucy’s great-
unique among twentieth-century grandmother).
Chinese politicians for remaining
widely revered among people on
both sides of the Taiwan Strait.
14 PAPYRUS FALL 2011

17. MOTAT’s Aviation Display Hall has
More Action on the “Wings” than
the All Blacks
N
ew Zealand’s largest clear-span
CARTER HOLT HARVEY
wooden structure is steadily tak-
ing form at Auckland’s Museum
of Transport and Technology (MOTAT),
with the new NZ$15-million Aviation
Display Hall set for completion in time
for the anticipated influx of domestic
and international visitors in September.
The 2,750m2 custom-designed
Display Hall is more than double the
size of MOTAT’s existing Aviation
Hangar. The expanded facility will
house around 40 MOTAT aircraft,
including the newly loaned RNZAF
Skyhawk, Sunderland and Solent
flying boats, Lancaster Bomber, DC3,
Cessna and Tiger Moth.
The construction phase follows stage
one of the aviation project: the relo- Inside the new MOTAT Aviation Display Hall.
cation and restoration of MOTAT’s
original World War II Blister Hangar. our volunteer team, have space to be running around it as well, including
The Blister Hangar is the workshop displayed properly in all their glory. tours hosted by some of our aviation
used by volunteers who restore the The previous hangar was becoming volunteers.”
aircraft in the collection. cramped, and we even had to keep The new building is large enough
MOTAT Museum Director Jeremy many of our prized planes, such as the to allow aircraft to be moved within
Hubbard says that the new structure Sunderland Flying Boat, outside.” the Hall as the exhibitions change,
upgrade will provide enhanced hous- “The Display Hall,” adds Hubbard, while also providing a unique expe-
ing for the collection, and will allow “will be a fantastic attraction for rience in a venue that can be hired
for the exhibitions to be upgraded both local and international visitors, out for special events.
to tell the stories of the aircraft, the where they will be able to learn about The northern façade is a translu-
people who flew them, and their New Zealand’s aviation history and the cent skin, which assists in providing
contribution to the development of stories associated with our magnificent natural temperature regulation, includ-
New Zealand. “We are committed to aircraft collection, housed in a world- ing heating and cooling. The structure
ensuring that these historic planes, class structure. We’re working towards contains 440,000 nails, all inserted by
which have been lovingly restored by getting more and more activities up and hand, as well as 531 cubic metres of
poured concrete.
CARTER HOLT HARVEY
Mr. Hubbard notes that the Display
Hall has been created with the next gen-
eration in mind. “We have created some-
thing that will last well into the future,
and will keep generations of Kiwis
coming back to MOTAT to learn all
about New Zealand’s aviation history.”
Following completion of the
Aviation Display Hall, MOTAT will focus
on upgrading the existing Aviation
Hangar, building a new entrance to
the site, and adding washrooms.
Exterior view of the new MOTAT Aviation Display Hall.
PAPYRUS FALL 2011 15

18. Air-to-Water Heat Pump for Domestic
Hot-Water Generation
By Allan Tyrrell
T
he National Portrait Gallery peratures of up to 50˚C. At present,
(NPG) in London recently this unit is providing 2–3 cubic metres
installed an air-source heat- of hot water a day. While this is only a
pump unit in one of its plant rooms, small amount, the unit has capacity for
to replace a domestic hot-water calori- future expansion, and it has proven
fier. This was undertaken as a trial to that DHW generation from this source
test the efficiency claims of the manu- is feasible.
facturers, and as part of an overall strat- The risk of Legionella has been dealt
egy to reduce the carbon footprint of with through an automatic pasteurisa-
the building. tion cycle that uses less expensive over-
At the NPG, the boilers operate to night electricity and an electric heater
provide steam-injection for humidity to raise the water temperature beyond The National Portrait Gallery in London,
control, and steam-to-water calorifiers the standard supply temperature. England.
to provide low-temperature hot water High levels of insulation allow the
for heating. Domestic hot water is stored water temperature to be main- all savings achieved by the system’s
heated by localised electric calorifiers. tained in a storage vessel, and a heat greater efficiency.
The steam infrastructure is extensive, exchanger between refrigerant gases Recent replacement of the main
and the cost of removal and substi- and the primary water source removes chillers with higher-efficiency units—
tution with other forms of humidity any risk of contamination to the water along with a chiller capacity more
control would be high. The boilers supply. While this is still a new instal- closely matched to the cooling require-
were replaced in 2006 with high- lation, it has so far proven reliable and ment of the building, using chillers with
efficiency units. capable of supplying sufficient capacity. different size capacities—has further
The steam plant and pipework have Higher maintenance costs are a down improved matters. LED lighting has
an elevated surface temperature, and side when compared to the system reduced the consumption of power
there are heat losses to the local space, it replaced, but will still show over- through higher efficiency and lower
even with good levels of insulation. heat output, reducing the cooling load
This, along with other plant functions, on the plant. Continual development
has meant elevated temperatures in of the Building Management System
plant rooms and, in some cases, heat to control the environmental require-
transfer to adjacent areas, which must ments of the building more efficiently,
then be countered with cooling. Instal- and rationalization of specialised areas
lation of the off-the-shelf air-source heat have enabled us to reduce the main
pump offered us a chance to reduce ventilation plant speeds and running
the ambient temperatures in the plant times. The installation of voltage opti-
room, and to use waste energy to misation equipment has also played a
generate domestic hot water. major role in the reduction of energy
Savings of up to 66% have been use at the Gallery.
proven in electricity consumption for Discussion with other engineers
domestic hot-water (DHW) generation, and Facility Managers through IAMFA
as compared to electric immersion- has often sparked ideas for develop-
type heaters (typically 45kwh/week ment, along with the visits to other
from 135kwh/week). In addition, plant institutions, while the information
room temperatures have dropped gained through articles in Papyrus is
with the supply of air as cool as 15˚C generally very useful.
from the heat pump, while medium-
grade heat from the condenser unit Allan Tyrrell is Engineering Manager at the
has provided a supply of water at tem- The new Altherma Air Source Heat Pump. National Portrait Gallery in London.
16 PAPYRUS FALL 2011

19. Torpedo Bay
New Home of the Royal New Zealand Navy Museum
By Commander David C. Wright
I
n October 2010, Torpedo Bay,
located on the picturesque shores of
Waitemata Harbour in Devonport,
Auckland, became Torpedo Bay: Te
Kainga O Te Waka Taonga O Te Taua
Moana (Torpedo Bay: “Home of the
canoe of treasures of the Sea Warriors”).
After 25 years in temporary accommo-
dation, the Royal New Zealand Navy
Museum relocated from its site on
Spring Street, Devonport to this historic
waterfront site.
The move to Torpedo Bay has been
an incredible opportunity. Torpedo Bay
itself is of exceptional heritage sig-
nificance: not only was it a key part of
Auckland’s early defence system, but it
has also been continuously occupied
by New Zealand military forces since Aerial view of the Royal Navy Museum at Torpedo Bay.
1880. Torpedo Bay is also the most sub-
stantial and intact nineteenth-century
the lens of the Navy’s values: commit- facilities spanning both sides of
mining base in New Zealand.
ment, courage and comradeship. Waitemata Harbour.
Relocating the Museum to Torpedo
As New Zealand’s only Navy Museum, Since opening in October 2010,
Bay has allowed the Museum to leverage
the Torpedo Bay facility strongly com- the Museum has welcomed more
the site’s extraordinary heritage value,
plements other icons of New Zealand’s than 80,000 visitors, and is on track to
by adaptively re-using existing onsite
military, maritime and social heritage, welcome over 100,000 people in its
heritage buildings to accommodate the
such as the Auckland War Memorial first year of operation. The Museum
new Museum. Inside, in addition to an
Museum, the Voyager Maritime is quickly becoming an important
outstanding café, conference facility and
Museum, North Head, Bastion Point component of the cultural landscape
education space, completely new per-
and the Auckland Art Gallery. Along- in the Auckland area.
manent exhibitions showcase the story of
side Auckland’s other museums and
the Navy’s contribution to the develop-
heritage sites, this creates an unmatched Commander David C. Wright is Director at
ment of New Zealand’s identity through
clutch of valuable national historic the Navy Museum.
Torpedo Bay. Gallery 6 at the Royal Navy Museum.
PAPYRUS FALL 2011 17

20. Meet Archie, the Four-Legged
Pest Controller
By Sara Carroll
R
odent infestations can be damag-
ing to an organisation’s reputa-
tion, as well as to its bottom line.
And in Museum facilities they can also
threaten the collections. It usually falls
to the soft services team to manage
the pest control contract, in conjunc-
tion with cleaning. Needless to say,
catering areas tend to be vulnerable
to rodent infestation because of the
ready food supplies—despite vigilance
and strict hygiene and cleaning regimes.
Another area in which mice are often
seen is in the educational services
lunchroom. During the school year,
this is a very heavily used resource,
where large numbers of schoolchildren
enjoy their packed lunches, supple-
mented from the vending machines.
And you can imagine the mess and
rubbish they leave behind! The bin
areas in most facilities back onto an
external roadway, so it is relatively easy
for mice to enter the building.
Apparently, mice are developing
resistance to rodenticides, and are also Archie visited the British Museum because they can target their attentions
learning how to avoid conventional in June. His handler took him to the on specific areas.
traps. A novel solution is required to catering areas, and to the school ser- Staff who watched Archie in action
fight this ongoing battle. And that’s vices lunchroom. Happily, the hygiene were charmed. He never stops moving,
where Archie comes in. He is a cute regime in the kitchens must be paying unless and until he senses current mice
and lively springer spaniel—and is off, because he showed little interest activity. Only then does he calm down.
also on the MITIE (our facilities during his thorough search. The lunch- Otherwise, he wags his tail in perpetual
management outsourcing company) room, however, was another matter. motion as he is guided around the
payroll. He has been (expensively) He stood stock-still and pointed his building by his handler.
trained to sniff out active mouse infes- nose at several locations in this area,
tations, and to indicate regularly used thus identifying the routes used by Sara Carroll is Head of Building Services at
“runs”. Often, these cannot be detected mice. After Archie has done his work, the British Museum in London.
by other means. As a result, effective the technicians can move in. They place
traps can be placed more accurately. fewer traps and use less rodenticide,
Past issues of Papyrus
can be found on IAMFA's website
www.IAMFA.org
18 PAPYRUS FALL 2011

21. National Library of New Zealand
Building Redevelopment
By Rob Stevens and Pam Harris
T
he National Library of New Zealand (NLNZ) has
recently embarked on a significant modernisation
programme. The New Generation programme is
aimed at transforming the services the Library offers
to customers, both in response to the growing digital
environment and to focus on providing improved services.
In 2007, the Library published its 10-year strategic
priorities, “Strategic Directions to 2017”, following a
fundamental review of how its funding baseline was
prioritised, its productivity, and its capacity and capability
for change. In 2008, an integrated implementation pro-
gramme was established, charged with “repositioning and
modernising the National Library.”
The scope and objectives of the change programme
are wide-ranging and touch on all areas of the Library’s
operations, but can be broadly categorised as follows: National Library of New Zealand in Wellington.
• Delivering improved services: developing and delivering
new and improved services.
the new Auckland centre (completed in May 2010), as well
• Infrastructure: enhancing the National Library’s presence as developing online platforms to support the new services.
and supporting infrastructure in Wellington and Auckland,
and creating a stronger digital platform. Wellington Facility Upgrade
• People: transforming staff capability and organisational The redevelopment of the Library’s Wellington building is
culture to sustain the new services, and realigning crucial to the modernisation programme. Designed in the
business structures and funding to support the delivery 1970s in the “Brutalist” architectural style and built in the
of the new services framework. 1980s, the 2008 business case identified three key problems:
• The integrity and safety of the Library collections were at
The successful delivery of redeveloped services is critically
risk if storage space and service issues were not improved.
dependent upon supportive infrastructure, so a key part of
the New Generation strategy is improving infrastructure, • Aging plant and infrastructure were increasing the
both physical and digital. This includes the redevelopment risk of failure that could cause irreplaceable loss to the
of the National Library’s Wellington headquarters building, heritage collections.
Concept for the ground floor exhibition area and gallery. Concept for the service hubs in the Alexander Turnbull Library.
PAPYRUS FALL 2011 19

22. • The impact of New Zealand’s cultural, social and eco- As part of the reorganisation, storage conditions for
nomic capital was under-realised because the Library’s heritage collections will be improved from 55% to 100%
collections were not easily accessible. of collections housed in appropriate controlled-atmosphere
rooms. The environments range from 2 +/- 2°C and 30
The upgrade of the Wellington facility, which houses and +/- 5%RH through 18 +/- 2°C and 48 +/- 5%RH.
provides access to collections (including the internationally
recognised heritage collections of the Alexander Turnbull Relocation Project
Library) is due to be completed in late 2012. The scope of
Because the scope of the facility upgrade extended over
the project includes full interior refurbishment, extensive
the entire main building, an early decision was made to
new shelving, replacement of the aging plant and a new roof
relocate Library operations for the duration of the con-
system. The building has six levels, and a total floor area of
struction. In 2010, the Library completed moving its staff
23,400 m2. The redevelopment budget is NZ$65 million.
A critical factor in the success of the redevelopment was and operations to four temporary premises in Wellington.
solving the problem of collections storage space, which in This included the relocation of some higher-use and
2008 was estimated to run out in two years. A number of researcher-requested collections; however, for practical
options were considered, including additions to the build- reasons, this amounted to less than 20% of the collections
ing, moving some collections offsite, and the chosen solu- held in the building. The bulk of collections (valued at
tion of increasing the efficiency of space utilisation in the nearly US$1 billion) had to be closed and either moved
building. Improvements in the utilisation of space were offsite, or managed onsite during construction.
achieved by consolidating public-service points and staff work An investigation into housing the closed collections off-
areas, but most importantly by reorganising and intensifying site determined that all of the options were quite challeng-
the Library collections storage, adding a further 20 years of ing. New Zealand is a seismically actively country (most
collections growth capacity within the facility. recently a series of earthquakes has caused extensive damage
in the city of Christchurch), and Wellington is not only built
on a major fault zone but is also coastal, with large areas at
risk from liquefaction and tsunamis. The analysis of oppor-
tunity and risks undertaken concluded that the collections
would need to be transported to Auckland, which is 700 km
by road from Wellington. The risk and costs involved in
such a move were assessed to be higher than managing the
collections onsite during construction, so a decision was
made to pack up and store the closed collections onsite.
Packing Up Collections
The challenge of moving a large number of the unique
heritage collections—including manuscripts, rare books,
ephemera, cartography, photographic materials, drawings,
paintings and prints, oral and music recordings—required
extensive planning. Working with the library’s conservators
Collection protection: temporary plastic sheeting to contain dust and curators, collections were carefully pre-packed to
and volatile organic compounds. ensure that they were safely protected for their physical
New film-negative store under construction. Pre-pack and storage of newspapers.
20 PAPYRUS FALL 2011