Papyrus Spring 2014

PAPYRUS
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 SI N T E R N AT I O N A L A S S O C I AT I O N O F M U S E U M F A C I L I T Y A D M I N I S T R AT O R S
Preview of the
24th IAMFA
Annual
Conference
in Scotland
Getting the
Most from
Facility
Assessments
Update on
Christchurch
NZ's Recovery
Hydronic Snow-Melting
at the Canadian
Museum of History
VOL. 15, NO. 1 SPRING 2014VOL. 15, NO. 1 SPRING 2014

Atlanta, U.S.A. — Kevin Streiter
High Museum of Art
kevin.streiter@woodruffcenter.org
Australia — Shaun Woodhouse
Australian Centre for the
Moving Image
Shaun.Woodhouse@acmi.net.au
Chicago, USA — William Caddick
Art Institute of Chicago
wcaddick@artic.edu
Los Angeles, USA — David Cervantes
Los Angeles County Museum of Art
dcervant@lacma.org
New England, USA —
Jim Moisson
Harvard Art Museums
james_moisson@harvard.edu
New York, USA — Mark Demairo
Neue Galerie
markdemairo@neuegalerie.org
New Zealand — Cliff Heywood
Royal New Zealand Navy
clifford.heywood@nzdf.mil.nz
Ottawa-Gatineau, Canada —
Ed Richard
National Gallery of Canada
ERichard@Gallery.ca
Philadelphia, USA — Rich Reinert
Philadelphia Museum of Art
RReinert@philamuseum.org
Northern California, USA —
Jennifer Fragomeni
Exploratorium
jfrago@exploratorium.edu
United Kingdom — Jack Plumb
National Library of Scotland
j.plumb@nls.uk
Washington/Baltimore, USA —
Maurice Evans
Smithsonian Institution
evansma@si.edu
REGIONAL CHAPTERS
President and
2013 Conference Chair
Nancy Bechtol
Smithsonian Institution
Washington, DC, USA
bechtna@si.edu
V.P., Administration
Randy Murphy
Los Angeles County Museum of Art
Los Angeles, CA, USA
RMurphy@lacma.org
V.P., Regional Affairs
Brian Coleman
Museum Victoria
Melbourne, Australia
bcoleman@museum.vic.gov.au
Treasurer
Alan Dirican
Dumbarton Oaks
Washington, DC, USA
DiricanA@doaks.org
Secretary
David Sanders
Natural History Museum (Retired)
London, UK
d.sanders@bham.ac.uk
Editor
Joseph E. May
Sustainability Engineer
Los Angeles, CA, USA
joemay001@hotmail.com
2014 Conference Chair
Jack Plumb
Edinburgh, UK
j.plumb@nls.uk
IAMFA BOARD OF DIRECTORS
Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . 2
Message from the President . . . . . . . . . . . . . . . . . . 3
Preview of the 2014 IAMFA Annual Conference
in Edinburgh and Glasgow, Scotland . . . . . . . . . . . . 4
Getting the Most from Facility Assessments.. . . . . . . 6
Christchurch Art Gallery Te Puna o Waiwhetu:
Maintaining a Facility Through 13,000 Seismic
Events and Numerous Major Repairs. . . . . . . . . . . . . 9
Snow-Melting Modifications to Vehicle Ramps
at the Canadian Museum of History . . . . . . . . . . . . . 13
2014 IAMFA Conference Preliminary Schedule . . . . . 16
The Making of a Book . . . . . . . . . . . . . . . . . . . . . . . . 20
Getting Started with Benchmarking . . . . . . . . . . . . . 22
A Real Burns Supper at IAMFA Annual Conference
in Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Benjamin Franklin Museum: Renewing a
Philadelphia Landmark . . . . . . . . . . . . . . . . . . . . . . . 27
IAMFA Scotland 2014: A Tongue-in-Cheek
View of History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Regional Updates and Member News . . . . . . . . . . . . 30
IAMFA Members—Organizations . . . . . . . . . . . . . . . 35
For additional
contact information,
please visit our website at
www.NewIAMFA.org
For more information on
becoming a member of the
International Association of
Museum Facility Administrators,
please visit www.NewIAMFA.org
Cover photo: Roofline of Rosslyn Chapel, Edinburgh, Scotland. Photo: Joe May
CONTENTS
Statements of fact and opinion
are made on the responsibility of
authors alone and do not imply an
opinion on the part of the editors,
officers, or members of IAMFA. The
editors of IAMFA Papyrus reserve the
right to accept or to reject any Article
or advertisement submitted for
publication.
While we have made every attempt to
ensure that reproduction rights have
been acquired for the illustrations
used in this newsletter, please let us
know if we have inadvertently over-
looked your copyright, and we will
rectify the matter in a future issue.
IAMFA/Papyrus
Volume 15, Number 1
Spring 2014
Editor
Joe May
Contributors
Nancy Bechtol
Terry Brambles
Judie Cooper
Jennifer Fragomeni
Kendra Gastright
Thomas C. Jester
Joe May
Keith McClanahan
Lynley McDougall
Jack Plumb
Jason Sawyer
Design and Layout
Phredd Grafix
Editing
Artistic License
Printed in the U.S.A. by
Knight Printing
ISSN 1682-5241
Past issues of Papyrus can be found on
IAMFA's website: www.NewIAMFA.org

members to gather and begin celebrat-
ing our 25th year. You will read much
in this issue about Scotland, as well as
the plans for this year’s Conference.
Jack Plumb and his excellent team are
making arrangements for us, and I can
ensure that you won’t be disappointed.
There is a two-page centerfold in this
issue with pictures from our visit in
early April. The venues are stunning!
You’ll also find a preliminary sched-
ule of Conference events. As always,
please visit www.NewIAMFA.Org for
the latest details on the Conference’s
educational program.
There is also an article in this issue
about the three Glasgow venues that
we’ll visit in the fall. The day in Glasgow
will culminate in a traditional Burns
Supper—you can read more about what
a Burns Supper involves in this issue.
This looks to be about as close as it gets
to traditional life in Scotland . . . I can’t
wait! Jack Plumb has also written an
article in this issue about Scotland’s
historical contributions to society, and
I look forward to seeing if it’s all true.
He must be exaggerating! We will learn
more about the Edinburgh venues in
the next issue of Papyrus.
In this issue, you’ll find an article
about getting the most from Facility
Assessments, contributed by Kendra
Gastright and Jason Sawyer of the
Smithsonian Institution. You will also
read about a book crafted by Judie
Cooper and Angela Person-Harm at
the Smithsonian titled The Care and
Keeping of Cultural Facilities: A Best
Practice Guidebook for Museum Facility
Management. This new book is both a
guide for those new to the field, and
a reference for experienced profes-
sionals. You will also read about getting
started with benchmarking, along
Greetings from Los Angeles!
W
elcome to the Spring 2014
issue of Papyrus. As I write
this, IAMFA is beginning its
25th year since its 1990 inauguration
in Chicago. Since the very first meeting
called by founding member George
Preston, IAMFA’s purpose has been to
assist its members in improving design,
construction, and operation of their
cultural facilities. It seems only fitting
that IAMFA will complete its 25th year
back in Chicago: location for our
25th Annual Conference in Fall 2015.
IAMFA’s Board of Directors recently
had its mid-year Board meeting in
Scotland, where we reviewed plans for
the 24th IAMFA Annual Conference,
set for September this year. Please read
Nancy Bechtol’s message to learn more
about our excellent meeting. While
in Scotland, Patrick Jones from the
Art Institute of Chicago told us that he
and Bill Caddick, who will host next
year’s 25th Annual Conference, recently
found a box of papers left by George
Preston, containing many of IAMFA’s
original documents. I hope all of our
members will remain in close touch
over the next year as we approach our
25th anniversary. Maybe the discovery
of these original documents will shed
light on some of the details that may
have been lost about IAMFA’s origins.
For now, however, it seems fitting that we
begin the celebration. The countdown
has started!
Having just visited the venues for the
2014 Scotland Conference, I can’t think
of a better place for all of IAMFA’s
2 PAPYRUS SPRING 2014
with changes planned to simplify the
process for participation in the 2014
Benchmarking exercise that Keith
McClanahan coordinates each year.
Lynley McDougall has contributed
an update on how Christchurch,
New Zealand is recovering from the
devastating earthquakes that struck the
city just prior to our 2011 Conference
in Auckland. Wouldn’t it be wonderful
if IAMFA could gather someday in
Christchurch to celebrate its full
recovery from those tragic events!
Terry Brambles’ article in this
issue describes a new energy-efficient
system for hydronic snow-melting
at the Canadian Museum of History.
Quinn Evans Architects, which is
an IAMFA Corporate Member and
sponsor, has also contributed an
article about the sustainable features
incorporated in their design of a
renewed Benjamin Franklin Museum
in Philadelphia. We were in the
vicinity of the Franklin Museum
when we visited the Philadelphia
Museum of Art during the 2012
IAMFA Conference.
There is much to read about in this
issue of Papyrus. Many thanks to our
members and other contributors who
provide the educational content for
this magazine.
Please stay abreast of developments
leading up to the Scotland 2014
Conference. There are some dead-
lines that you need to be aware of, in
order to book your hotel accommoda-
tions and to register for this fall’s
Conference. Please read on, or visit
www.NewIAMFA.org. We don’t want
anyone to miss this kickoff to our
celebration of IAMFA’s 25th year.
Please don’t wait until the last minute
to make your plans to attend.
Joe May
Editor, Papyrus
LETTER FROM THE EDITOR

Annual Conference in September. We
toured the Rosslyn Chapel and the
National Museum of Flight on Sunday.
It was such a large group that Gavin
Moffat often had to assist us in getting
around to the various locations. He was
a dream to travel with, and we can’t
thank him enough for giving up his life
that week to take care of our group. The
Rosslyn Chapel should be on your must-
see list when you come to Edinburgh
this fall; it is one of the oldest, most
remarkable, and most beautiful stone
buildings I have ever seen.
We toured the National Library
of Scotland, the National Museum of
Scotland, and the National Portrait
Gallery on the following day. We have
Sean Gillespie and Fiona Stewart from
the National Museum of Scotland to
thank for their fantastic behind-the-
scenes tour. We also want to thank
Michael Browne and Jacqueline Ridge
from the National Galleries for their
time with us; every member is in for
such a treat this fall! These museums
and cultural institutions are magnificent
in every way.
Our Gala dinner will be held at
the Royal Botanic Garden. We were
conducted around the site by Colin
Smith and Sara Griffiths and, even on
a cold spring day, the gardens were
gorgeous! I can’t wait to see these
gardens in September, and we can’t
thank the Botanic enough for hosting
our organization.
All day Tuesday we spent in Glasgow,
touring several of the Glasgow Life
museums. There are nine museums in
all, and we only got to tour three, but
they were amazing! David Thomson
spent the entire day with us, and left
us simply amazed by the quality of each
cultural site we toured. It is incredible
to realize that this Glasgow collection
of museums is free for all visitors.
Somehow Jack, Gavin and Linda
MacMillan managed to host a Chapter
meeting on the Wednesday of our visit.
The Board got to mingle with about
40 IAMFA members from all over
Europe, and enjoyed great presentations
by many of our Conference sponsors.
The Board was certainly very impressed
by this two-day Chapter meeting.
This fall, three Board positions—
President, VP Administration, and
Editor—are all up for re-election.
You can find a list of duties for each
position at www.newiamfa.org on the
Members Only page. Randy Murphy
and Joe May have worked hard to
update these job descriptions, and
they now accurately reflect the key
roles for each position.
You can also find out how the
Nominating Committee Policy works
on the Members Only page. If you
are interested in serving on IAMFA’s
Board of Directors, please email David
Sanders and Alan Dirican. We welcome
anyone interested in assisting with the
work of this Board. David and Alan
will get right back to you with what
you need to do to submit your name
for consideration.
The Board is always looking for
member assistance, so please get in
touch with any of us if you have some
great ideas and are willing to help.
Since we are all volunteers, we can
always use help! I look forward to
seeing each of you in September, and
I can’t thank Jack Plumb and his
planning committee enough for all
they have already done to organize
such a great meeting.
T
he weather seemed to be just
terrible, no matter what part of
the world you lived in this past
winter. Heavy rains and flooding in
southern England, drought and fires
in California, snow and more snow
in the Midwest and on the East Coast
from Atlanta, Georgia up through
Maine and into Canada, all demanded
our attention as facilities managers.
The winter flew by, but in chaos! I was
reminded daily of the value of our
occupation in the workplace while
dealing with roof leaks, hazardous
sidewalks and steps, frozen pipes, and
museum closure protocols. I am sure
I am not alone!
The sun is out now, temperatures
are finally above freezing, and the
weather has changed with the onset of
spring. Our Board met in Edinburgh,
Scotland during the first week of April
and, though it rained and was cold
every day, we had a grand time. Spring
was not evident in the temperature
of the air, but it was definitely in full
bloom with gorgeous displays of spring
bulbs and flowering magnolia trees.
We had a fantastic time touring each
of the museums and cultural sites we
will see in September during our
Annual Conference. We also held two
days of Board meetings, discussing our
plans for sponsorship, membership
and our strategic plan.
The fearless Jack Plumb organized
our Board meeting as well as a Regional
Chapter meeting for the Wednesday—
all during the same week! He is also
leading the team putting together our
PAPYRUS SPRING 2014 3
Nancy Bechtol
President, IAMFA
MESSAGE FROM THE PRESIDENT

N
eil MacGregor, Director of the
British Museum in London, has
described the collections of
Glasgow’s museums as “one of the
greatest civic collections in Europe.”
The city’s museums are run by
Glasgow Life, a charitable organisation
that runs nine museums, as well as
libraries, sports centres, arts venues
and theatres on behalf of Glasgow City
Council, which also provides the
majority of Glasgow Life’s funding.
The museums are collectively known
as Glasgow Museums, and include
the Riverside Museum, the Burrell
Collection, Kelvingrove Museum, the
People’s Palace, the Gallery of Modern
Art, St Mungo Museum of Religious
Life and Art, Scotland Street Museum,
Provand’s Lordship, and Glasgow
Museums Resource Centre. Entry is
free to all of the museums, and they
attract over 3 million visits a year, draw-
ing visitors from local communities,
from across Scotland and other parts of
the U.K., and from around the world.
The collections were largely built
during the period when Glasgow was
Preview of the 2014 IAMFA Annual
Conference in Edinburgh and Glasgow,
Scotland
The Burrell Collection, Glasgow. Interior of the Burrell, Glasgow.
one of the wealthiest and most popu-
lous cities in the United Kingdom. In
the 19th century and the first half of
the 20th, the Glasgow and River Clyde
area was a globally important producer
of heavy engineering, such as ships
and locomotives.
The Burrell Collection is Glasgow’s
greatest single civic gift, comprising
over 9,000 items given to the city by
Sir William Burrell and his wife. The
purpose-built Burrell museum building,
opened in 1983 and now famous in
its own right, houses internationally
important collections of tapestries,
stained glass, Chinese ceramics and
19th-century European art, among its
many treasures. This eclectic collection
enjoys a fabulous location in a park and
woodland setting, and the museum
offers visitors an extensive programme
of guided tours, staff-led gallery talks,
and family activities throughout the year.
The Riverside Museum, Scotland’s
Museum of Transport and Travel, is a
purpose-built museum designed by
Zaha Hadid Associates. It is located on
the River Clyde alongside the Tall Ship
Glenlee, and opened in 2011. It substan-
tially re-defines the visitor experience
of a transport museum, greatly improves
conditions for the collections, and
interprets Glasgow’s internationally
significant maritime history in-situ. The
project is part of the ongoing redevelop-
ment of the Clyde, and the Riverside
Museum won the prestigious European
Museum Academy Micheletti award
for the best Science, Technical and
Industrial Museum in Europe 2012, and
in May 2013 won the equally presti-
gious European Museum of the Year
Award 2013. This is the first time that a
museum has won both major European
museum prizes.
The collections at the Riverside
Museum are displayed through nine
main themes: The Streets (1895–1980);
The River Clyde; Transport and Leisure;
Made in Scotland; Looks and Fashion;
Crossing the World; Cutting Edge:
Past, Present and Future; Disasters
and Crashes; and Getting There.
Kelvingrove Art Gallery and Museum
is one of the most-visited attractions in
Scotland. This Grade A-listed building

was designed by architects John Simpson
and E.J. Milner Allen of London for the
1901 International Exhibition, and was
opened as a museum on October 25,
1902. It is the largest civic museum and
art gallery in Britain, and its collections
are of international importance. It
houses internationally important col-
lections of art, which are particularly
strong in works by 17th-century Dutch
and 19th-century French artists, as well
as nationally important collections of
arms and armour, natural history, anthro-
pology and archaeology. The displays
include 100 “stories” and approxi-
mately 8,000 objects in 22 galleries.
Kelvingrove is, to an unusual degree,
deeply embedded in the life of the
city. It aims to combine the qualities
of a friendly local museum with
world-class scale and quality.
These are just a few of the exciting
venues awaiting you at this year’s
IAMFA Conference. In our next issue,
we’ll take a closer look at the sites in
Edinburgh, so stay tuned!
The Riverside Museum, Glasgow. Kelvingrove Art Gallery and Museum, Glasgow.

A
ll facility managers develop methods for creating
capital and maintenance plans. Common practices
include master planning exercises and periodic
inspections. The Smithsonian Institution—with more than
700 individual facilities and 12 million-plus maintained
gross square feet—uses both methods.
As a quasi-federal agency, the Smithsonian tries to follow
all federal mandates and guidelines as much as practical.
One of these mandates requires an annual quantified report
of our facility condition. Instead of making this into an
annual data drill, we made a concerted effort to turn this
process into something that works for us. These quantified
values are mere snapshots-in-time of the condition of each
of our facilities. They include an estimate of the current
replacement value of the facility (CRV), the deferred
maintenance (DM) value, and an index calculated from
these estimates called the Facility Condition Index (FCI).
FCI calculations are performed as follows:
FCI = [1 – (Total DM/Total CRV)] ¥ 100
We are free to determine our own way of estimating
both DM and CRV. Some agencies hire a third party to
inspect and quantify their maintenance backlog. Prior to
2007, we managed a detailed inspection process, in which
we inspected each asset and specified projects that
addressed needs and maintenance requirements, and
assigned a value to those projects.
Since then, our assessment has evolved into a rapid
visual inspection of eight different building systems within
each facility. Site visits are conducted every three years
using several two-person teams of experienced engineers,
contractors, and tradesmen, who quickly review facilities
and systems. During the walk-through, staff rate eight
building elements based on ASTM (American Society for
Testing and Materials) International’s UNIFORMAT II,
Classification for Building Elements. The building elements
are then rated.
Getting the Most from Facility
Assessments
By Jason Sawyer and Kendra Gastright
5 Excellent Normal preventive maintenance
required.
4 Good Some minor repairs could be required.
Safe to use, meets all codes.
3 Fair More minor repairs required. Wear and
tear noticeable. Meets most codes.
2 Poor Significant repairs required. Broken
elements. Wear and tear excessive.
1 Bad Replacement required. Unsafe to use.
The Smithsonian Institution Castle.
Ruins at the Smithsonian Environmental Research Center.
A rating of 0 means that a system did not exist in a
specific facility.
The building systems we concentrate on include:
• Structure (foundations, slabs, floors, pavements)
• Roof/Shell (roofing, gutters, flashing)
• Exterior (walls, windows, doors)
• Interior finishes (floors, walls, ceilings, doors, stairs)
• Electrical (distribution, lighting, other wiring/controls)
• HVAC (HVAC and other mechanical systems)
• Plumbing (water, sewer, fire-protection piping)
• Conveyance (cranes, elevators, hoisting equipment)
Our facilities are varied. We have to assess animal
enclosures, labs, office spaces and galleries, all using the same
method. We developed a parametric Deferred Maintenance
(DM) model, using the DoD’s Parametric Cost Estimating
System (PACES), to determine a percentage value for all
eight systems within each facility category, to make sure
scoring meant the same thing, whether it was a cheetah
enclosure or an art museum.
We next calculate a system percentage of repairs needed
for the eight systems, based on each of the five condition

SCI Convey Electrical Exterior HVAC Interior Plumbing Roofing Structure FCI
EMZ 90.10% 93.40% 98.60% 59.90% 97.10% 92.80% 45.60% 99.00% 85.50%
GPZ 88.10% 98.50% 98.90% 90.60% 95.00% 97.10% 62.00% 99.90% 92.90%
NMZ 95.90% 89.60% 96.90% 89.20% 94.30% 92.90% 81.80% 99.70% 93.10%
SAO 60.00% 98.10% 87.60% 97.10% 97.20% 96.30% 84.30% 99.40% 93.90%
SERC 95.20% 93.40% 97.80% 92.50% 97.10% 93.90% 89.80% 98.70% 94.90%
SMZ 84.60% 83.10% 98.10% 75.70% 86.30% 79.40% 84.90% 92.70% 86.50%
STRI 97.50% 75.40% 68.40% 87.10% 86.60% 89.30% 57.70% 75.90% 76.60%
Suitland 97.50% 97.80% 97.60% 97.50% 98.90% 97.70% 65.60% 94.10% 93.20%
UNWV 76.70% 83.50% 87.80% 86.00% 91.00% 91.80% 82.50% 91.40% 88.30%
WMZ 98.00% 87.00% 90.00% 98.00% 90.00% 90.00% 62.00% 99.00% 89.00%
Total 90.80% 89.10% 95.30% 83.10% 91.90% 89.60% 71.00% 95.70% 89.30%
Facility Condition Index—Systems Chart
Building Name FY07 FY08 FY09 FY10 FY11 FY12 FY13
ARTS AND INDUSTRIES 39.7 39.7 39.7 32.7 37 22.3 41.8
CASTLE 72.1 73 73 72.8 72.7 70.9 72.7
RENWICK 73.9 73.9 73.9 73.9 75.7 71.9 76.9
STRI (PANAMA) 86.2 86.2 81.9 87 87 87.5 81.9
NATIONAL AIR AND SPACE
MUSEUM-MALL
82.7 82.7 82.2 82.2 85.3 84 87
HIRSHHORN 91.1 91.1 91.1 90.9 90.9 90.7 87.2
NATIONAL MUSEUM OF THE
AMERICAN INDIAN (NY) 87 87 87 87 87 90 88.4
NATIONAL MUSEUM OF
AMERICAN HISTORY
81.4 82 84.5 88.7 89 91.7 89
NATIONAL ZOOLOGICAL PARK 88.6 89.1 79 77.2 88 87.9 89.1
NATIONAL AIR AND SPACE
MUSEUM—HAZY
94 91.2 92.9 92.8 91.2 95.1 90.3
QUADRANGLE 89.6 89.6 89.6 89.5 93 94.5 91.5
SMITHSONIAN ENVIRONMENTAL
RESEARCH CENTER
92.6 92.6 95.6 93.7 93.7 95.1 91.6
NATIONAL MUSEUM OF
NATURAL HISTORY
83.1 86.8 89.6 90.1 90.7 91.4 92.9
ANACOSTIA COMMUNITY
MUSEUM
94 95.2 95.2 94.1 94.1 94 93.6
FREER 87.8 87.8 87.8 88.4 89.5 92.6 94
SUITLAND 86 88.1 94 94 94.8 92.5 94.3
DONALD W. REYNOLDS
CENTER
98.2 94.8 94.8 94.8 94.8 94.6 94.8
SMITHSONIAN ASTROPHYSICAL
OBSERVATORY
94 95.3 95.5 95.8 96.7 94.9 96.1
NATIONAL MUSEUM OF THE
AMERICAN INDIAN
96.3 96.3 96.5 96.5 96.6 95 96.6
COOPER-HEWITT NATIONAL
DESIGN MUSEUM
87.9 90.4 90.3 90 90.2 89.5 98.3
SI Wide 85.3 86.2 86.2 88.7 88.4 88.8 89.4
Facility Condition Index

ratings. These were developed from estimated original con-
struction costs, using RSMeans CostWorks or recent capital
projects we’ve just completed as a baseline. Our process allows
us to complete the data call quickly, and at a much lower
cost than having a dedicated full-time workforce complete
the task, or contracting the work out to a third party.
When field assessments are complete, the ratings are
placed into our computerized maintenance management
system, where our program converts the assessed condition
ratings into three useful metrics: 1) the System Condition
Index Rating (SCI); 2) the Facility Condition Index (FCI);
and 3) the DM Cost Estimate. All three metrics are capable
of providing information in a variety of ways (by systems or
by facilities) to facilities managers.
The System Condition Index (SCI) calculation determines
the condition of a specific facility system across a group of
facilities. It can be calculated at the Facility, Zone and/or
Institution level to identify which of the eight facility systems
is in greater need of repair, and to assist in prioritizing
facility systems projects for multiple facilities. Assessing
at the system level allows us to see what parts of any given
facility most require renewal.
FCI is a calculation that takes the sum of the eight
systems’ deferred maintenance value, divided by the sum
of the system CRVs for each facility, and provides a condi-
tion percentage. FCI percentages are used at the building,
campus and institutional levels to quickly assess one need
as compared to others.
Our data is used to build capital and maintenance plans,
help determine the priority of our facility requirements
when we cannot address them all, and provide an easy-to-
understand condition report to our leadership. We continue
to improve our process, and it has proven an effective
tool in helping justify our budget requests and tell our
facility story.
Jason Sawyer is Associate Director, Systems Engineering Group,
and Kendra Gastright is Director, Office of Facilities Management
and Reliability at the Smithsonian Institution in Washington, D.C.
SPIE UK provide energy focused,
safety and environmentally focused
solutions through multi-technical
and support services from initial
design, through installation,
testing, commissioning to long
term maintenance and facilities
management. SPIE Matthew Hall,
SPIE WHS, Garside Laycock, Alard
Electrical Ltd, SPIE FS Northern
(UK) and SPIE Power & Nuclear UK
represent the operations of SPIE
within the UK. Together, they employ
almost 3000 employees from 28
regional offices throughout the UK.
SPIE UK are part of the SPIE
Group, the independent European
leader in electrical and mechanical
engineering and HVAC services,
energy and communication systems.
SPIE enhances the quality of life by
helping local and regional authorities
and companies design, build,
operate and maintain facilities that
are more energy-efficient and environmentally friendly.
SPIE’s 37,000 employees work from nearly 500 locations
in 31 countries and in 2013 SPIE posted production of
€4.6 billion over its four strategic segments “Energies”,
“e-fficient buildings”, “Smart City” and “Industry
Services” and generated adjusted operating profit (EBITA)
of €298 million.
For more information contact:
+44 (0)20 7105 2300
Or visit us at: www.spieuk.com
For more information on
becoming a member of the
International Association of Museum
Facility Administrators, please visit
www.NewIAMFA.org
Become a
Member
of IAMFA

C
hristchurch Art Gallery Te Puna o Waiwhetu, with its
collection of more than 6,400 works of art, opened on
May 10, 2003, and has since attracted over 3.4 million
visitors, with some forty per cent visiting from outside
Christchurch.
Our purpose-built art gallery had been open for over
seven years when, on September 4, 2010, North Canterbury
New Zealand was rocked by a magnitude 7.1 earthquake.
We closed for ten days, thinking at the time that it felt
like a lifetime. As the aftershocks continued, the Gallery’s
director successfully managed the impact of these on
lender perceptions, and we were able to bring the tour-
ing exhibition Ron Mueck to Christchurch for a highly
successful three months.
None of us, however, anticipated the earthquakes that
would follow. Nearly six months later, on February 22, 2011,
a devastating magnitude 6.3 earthquake struck central
Christchurch. It became the second-deadliest natural
disaster ever recorded in New Zealand, with 185 deaths.
Within an hour of the earthquake, and for the next seven
months, Christchurch Art Gallery, the strongest central
building available, became the Emergency Operations
Centre and the city’s Civil Defence Headquarters.
The central part of the city was closed off, and essential
services were shut down due to concerns about fire. We
worked long days to ensure that adequate lighting, heating
and humidity levels in the Gallery were maintained—not
only to protect the city’s precious art collections, but also
to cater for more than 400 civil defence staff who suddenly
found themselves working out of the Gallery.
Christchurch Art Gallery
Te Puna o Waiwhetu
Maintaining a Facility Through 13,000 Seismic Events
and Numerous Major Repairs
By Lynley McDougall
Christchurch Art Gallery Te Puna o Waiwhetu in 2003.
The Central City Red Zone was a public exclusion zone in central
Christchurch, established after the February 2011 earthquakes.
The office of the Christchurch Art Gallery Library after the
earthquakes.

The Gallery’s backup generators kicked into action after
the earthquake, ensuring that the building had power and
lighting; but there was no water. The Gallery environment
had to be maintained to keep the art safe, so we established
a temporary water supply in the basement with a 10,000-litre
tank. We built a makeshift pump system, and connected it
to the air-conditioning unit and boilers on the roof, five
floors above. Our core business changed from presenting
works of art to caring for 100% of the collection in storage,
as well as caring for emergency services staff working in
exhibition spaces.
Throughout 2011, frequent aftershocks caused main
and back-up chillers to fail, and in June 2011 two of four
compressors failed. Obsolete parts prevented repairs, and
insurance discussions added complexity. We investigated
options such as a portable chilled-water plant and complete
replacement of the existing plant. With continuing after-
shocks, another two compressors failed. It was fortuitous
that a chilled-water-link project between the Gallery and the
City Council’s refurbished civic offices close by was under
construction during 2011; these works were accelerated to
assist us. Chilled water from the trigeneration plant at the
civic building was pumped under Worcester Boulevard to the
Gallery, allowing us to maintain temperature and humidity.
Emergency services staff working in exhibition spaces.
Inspection and removal of precast concrete panels in the foyer.
Our ten-thousand-litre tank, and the small pump used as a
makeshift water supply to the plant room five floors above.
Computerised relevelling pumps in the Christchurch Art Gallery
basement car park, monitoring and delivering injection grouting
under the building.

Christchurch Art Gallery has been closed since February 22,
2011. Detailed engineering investigations were undertaken,
and a computer model of the building was developed to
test engineering assumptions regarding the building’s
strength. Unfortunately, this modelling revealed previously
unrecognised damage to the secondary structural elements,
as well as the fact that the building had moved out of level.
To restore local and international confidence in the building,
both in terms of seismic resilience and environmental
controls, a repair programme of improvements has been
developed. These involve re-levelling, retrofitting base
isolation, repairing a wavy glass façade and parapets, and
repairing electrical and mechanical services. Our current
focus is ensuring that we do the repairs necessary to bring
our building up to (and, we hope, exceeding) the new
building code.
The first part of the repair programme started late in
2013 with work to the foundations, bringing the building
back to level, reinstating seismic resilience, and mitigating
the effects of liquefaction. Computer-controlled deep
injection grouting was completed in March 2014. Retrofitting
base isolation is the next phase. This involves installing
bearings and pads to protect the building and our collec-
tions from future seismic shocks. This complex design
must incorporate a system for the glass façade—effectively
a “curtain wall” comprising 2,184 laminated panes of glass.
Inside the Gallery, cracked walls are being restored, and
damaged ceilings and lighting tracks replaced. Building
services need replacing, as electrical insulation was damaged
and cables have been stretched, with their capacity reduced.
Shaking has caused some precast panels to fracture, and
the fixing points of others to weaken. In order to repair
these components, they must be removed from the building,
with roof sections across the whole width of the Gallery
also removed.
Despite this, the Gallery remains a functioning building
requiring continued temperature and humidity management
for the collection, including contingency plans and
appropriate back-up systems. We have implemented a
thorough risk management programme with contractors,
and have learned how essential it is to review and update
our Business Continuity Plan. Our new plan is far more
focused, and sets out required actions for Gallery staff
to prepare for, respond to and recover from a major
emergency involving Gallery operations.
Although the Gallery remains closed to the public, it is
currently occupied by a reduced staff and we have stead-
fastly retained the collections onsite. The demolition of the
neighbouring fourteen-storey apartment block in 2011 meant
we needed to relocate the collection to former exhibition
spaces on the other side of the building, and increase security
monitoring. Now, in 2014, we are taking the opportunity
to improve our collection storage spaces, installing twenty-
five per cent more racking and developing improved
hanging systems.
Christchurch Art Gallery needs to be robust. We need
to guarantee the safety of the works of art entrusted to us
by the people of Christchurch, and to assure the owners
of priceless and irreplaceable works of art from around the
world that we can protect these works while they remain
in our care. Displaying important works of art is essential
for the cultural health of any city.
It will take at least a further two years to complete the
building work. In the meantime, we continue to provide
off-site exhibitions and public programmes to keep our
visitors engaged, and to lift the spirits of Cantabrians
and tourists.
Re-opening is currently scheduled for late 2015, although
a date cannot be fixed until further tenders are let. How-
ever, we are all very much looking forward to our grand
re-opening exhibition LIFT!
Lynley McDougall is Visitor Services and Facility Manager at
Christchurch Art Gallery Te Puna o Waiwhetu.
Relevelling equipment in the Christchurch Art Gallery basement
car park.
The Art Gallery Apartment building during the demolition process.

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T
he Canadian Museum of History (formerly the
Canadian Museum of Civilization) is Canada’s most-
visited museum. Due to its geographical location in
a region with heavy winter snows and sometimes-extreme
cold, there is an inherent requirement for hydronic snow
melting on the exterior portions of the car and bus ramps
(Figure 1 shows a typical ramp).
As the name implies, this type of system is designed
to melt snow that falls and accumulates on each of the
Museum’s four ramps: car entrance, car exit, bus entrance
and bus exit. The original control system was unreliable
and inefficient; as a result, it required building operators
to activate and deactivate the system manually, to set the
glycol supply temperature to a high of 50°C (122°F) or
low of 35°C (95°F). There was also no modulation of the
four-way valves on each of the ramps, which resulted in the
system either not being started soon enough, or running
much longer than necessary, while also not operating as
efficiently as it could.
Our system is comprised of a main glycol loop, six pumps,
one shell-and-tube heat exchanger and four four-way valves.
Figure 2 shows the Building Automation System (BAS)
graphic for the snow-melting system. Pumps 1 through 4 are
each 5 HP, and serve to circulate hot glycol through the
network of IPEX piping within each of the ramps. Pump 5
is 15 HP, and is used to circulate the heated glycol through
the shell-and-tube heat exchanger and the main glycol loop.
Pump 6 is 5 HP, and is used to circulate boiler-supplied hot
water through the shell-and-tube heat exchanger.
Snow-Melting Modifications to
Vehicle Ramps at the Canadian
Museum of History
By Terry Brambles
Figure 1: Parking structure ramp. Figure 2: The BAS snow-melting graphic.
The 2013–2014 fiscal year did not allow for full impleme-
ntation of all of the modifications. Consequently, only part
of the work was carried out. The initial phase of the project
allowed us to automate activation of the snow-melting
system, based on immediate sensing of falling snow, and
to deactivate it whenever there was no snow on the sensors.
The system employs four snow-sensor switches (Figures 3
and 4) that are prevented from operating if the outdoor
temperature is above 3.3°C (38.0°F). Below this temperature,
the sensors will activate the system when the slightest trace
of snow or rain lands on the sensor disc. A minimum of
two sensors must activate in order for the system to start;
this is to prevent false triggering of the system, should
someone throw snow on a sensor.
Once the system is activated, all of the pumps start and
the glycol begins to heat via the heat exchanger to a high
setpoint of 50°C (122°F). This continues for a period of
two hours, after which the system begins to modulate to
maintain a ramp setpoint, based on an outdoor temper-
ature curve. When the snow has stopped falling and the
snow sensors do not detect any snow, there is a minimum
period of one hour that each snow sensor’s internal switch
will stay closed, plus a further two hours that are pro-
grammed into the software of the BAS. Normally, all of
the snow sensor switches must open for the system to
enter into the shutdown mode, but should one switch
stay closed while the others have opened, the system will
initiate shutdown one hour after the normal two-hour
BAS programmed period.

Using an outdoor temperature curve to select the amount
of heat that is delivered to the ramps has saved on operational
costs, by warming each ramp only enough to melt the falling
snow. At this stage in the project, we have given the building’s
operators the ability to override the system in all respects—
activation, deactivation, temperature, pumps, and valve
modulation. However, to ensure that the system is not left
ON or OFF, or left at a high temperature, etc., the system is
programmed to revert back to automatic after two hours.
Manual override of the system will be required until full
implementation of the modifications has been completed.
At present, we are relying on the ramp-return tempera-
tures to gauge how much heat there is on the ramp surface.
The new sensors utilize infrared temperature sensing,
which will provide us with a much more accurate reading
of the slab surface temperature.
Phase 2 of the project will see the installation of a much
more sophisticated non-invasive snow and ice sensor that
also senses the slab temperature. This type of sensor is used
on highways and airport runways. The sensors employ optics
that, with software, differentiate between ice, black ice,
snow, water, and frost. By installing these types of sensors,
we will be able to reduce the running time of the system
further, as well as the need for operator intervention. The
snow-sensor switches are very sensitive, and periodically
they activate the system when there is just a gust of wind
that blows snow onto the sensor disc. Even after installing
the optical sensors, we will still make use of these snow
sensor switches as a second line of sensing and redundancy.
With the new optical sensors, the system will start once
snow has begun to accumulate on the ramps, then shut down
when the ramps are clear. Programming of the system will
also allow for the continued operation of only the ramps
that still have some snow left on them. Thus, if some of the
ramps are clear and others are not, the ones that are clear
will shut down, while the others will continue to operate.
There are times when the surfaces of the ramps are wet
but not slippery; this would cause the building operator to
activate the system as a precaution, because ice might be
forming. In most cases, ice was not developing, due to the
buildup of salt that was picked up by vehicles and deposited
onto the surface of the ramps. The optical sensors will be
able to determine if ice is actually forming, or if the surface
is just wet.
As part of Phase 2, we are considering installing Variable
Frequency Drives (VFDs) on each of the pumps to allow
for better control over the flow in each ramp, the main
glycol loop, and the boiler hot-water supply to the
shell-and-tube exchanger.
Once the new system is fully installed and operational,
we expect to see considerable savings in both utility costs
and manpower, while continuing to ensure the safety of
visitors using our car and bus ramps.
Terry Brambles is the Canadian Museum of History’s Mechanical
and Electrical Technologist. He was involved with the original
construction of the Museum during the 1980s, and is the resident
expert on all of the Museum’s mechanical and electrical systems.
Figure 3: Closeup of one of the snow-sensor switches. Figure 4: Typical installation for one of the snow-sensor switches.
Past issues of Papyrus
can be found on IAMFA’s website
www.NewIAMFA.org

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2014 IAMFA CONFERENCE PRELIMINARY SCHEDULE
I N T E R N A T I O N A L A S S O C I A T I O N O F
I A M F A 1 4
M U S E U M F A C I L I T Y A D M I N I S T R A T O R S
Riverside Museum and the Glenlee
The Burrell Collection
Scottish National Portrait Gallery
National Museum of Flight
DELEGATE PROGRAM
SUNDAY,
09:00–16:00 Benchmarking & Learning Workshop
NOTE: This is a separate workshop for benchmarking participants only. If you
were not a participant in the 2014 benchmarking exercise, and would like to
attend this session, please visit www.NewIAMFA.org to register.
15:00–17:00 Conference Registration
17:00–19:00 Opening Reception
MONDAY,
07:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow
09:45–10:30 Presentation No. 1—Mark O'Neill
10:30–11:15 Coffee Break
11:15–11:45 Presentation No. 2—Dr. Martin Bellamy and Muriel King
11:45–12:45 Presentation No. 3—Introduction to Burrell and Burrell Redevelopment
12:45–15:00 Lunch, followed by guided tours around Burrell Museum
15:00–17:00 Travel to Riverside Museum, followed by orientation talk and self-guided
tour of Riverside
Riverside Museum Glasgow
17:00–18:30 Drinks Reception aboard Tall Ship Glenlee
18:30–21:30 Travel to Kelvingrove Art Gallery and Museum, followed by Burns Supper Kelvingrove Art Gallery and Museum
21:30–23:00 Return to Edinburgh
TUESDAY,
09:00–09:30 Meet at National Museum of Scotland, followed by welcome and
introduction of Sponsors
National Museum of Scotland
09:30–10:00 Presentation No. 1—Gareth Hoskins
10:00–10:30 Presentation No. 2—Metaphor Exhibition Designers
11:15–11:45 Presentation No. 3—Steensen Varming
11:45–12:15 Benchmarking Discussion
12:30–14:30 Lunch, followed by IAMFA AGM
15:00–16:00 IAMFA Board meeting with Regional Chairs
Camfil Drinks Reception
WEDNESDAY,
08:30–08:45 Meet at National Gallery, followed by welcome and introduction
of Sponsors
National Gallery on the Mound
09:00–09:45 Presentation No. 1
12:30–13:30 Lunch
13:30–15:00 Tram ride to National Portrait Gallery—Self-guided tour of Portrait Gallery National Portrait Gallery
15:00–15:30 Tram ride/Walk back to hotel
17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception and
Gala Dinner
Royal Botanic Garden, Edinburgh
21:30–22:00 Travel back to Hotel
THURSDAY,
10:30–11:00 Meet for bus to New Lanark
11:00–12:00 Travel to New Lanark
12:00–13:00 Lunch New Lanark
13:00–16:00 Guided Tours of New Lanark

Kelvingrove Art Gallery and Museum
Royal Botanic Garden
Rosslyn Chapel
National Galleries of Scotland
National Museum of Scotland
GUEST PROGRAM
14 SEPTEMBER 2014
15:00–17:00 Conference Registration National Library of Scotland
17:00–19:00 Opening Reception
15 SEPTEMBER 2014
07:30–09:30 Travel to Burrell Museum, Opening Remarks and Introduction of Sponsors Burrell Museum Glasgow
10:15–11:30 Guided tours of Burrell Museum
11:30–13:00 Travel to Kelvingrove, followed by lunch Kelvingrove Art Gallery and Museum
13:00–13:30 Organ recital in main entrance hall
13:30–15:00 Introduction to Kelvingrove, followed by guided tours
15:00–17:00 Travel to Riverside, orientation, then self-guided tour of Riverside Riverside Museum Glasgow
17:00–18:30 Drinks Reception aboard Tall Ship Glenlee
18:30–21:30 Travel to Kelvingrove Art Gallery and Museum, followed by Burns Supper Kelvingrove Art Gallery and Museum
16 SEPTEMBER 2014
09:30–10:15 Travel to East Fortune—Museum of Flight
10:15–11:30 Guided tours of Museum and/or Coffee Break East Fortune—Museum of Flight
11:30–12:00 Travel to Haddington for lunch
12:00–13:00 Lunch at Maitland Hotel Maitland Hotel Haddington
13:00–13:45 Travel to Rosslyn Chapel
13:45–15:00 Tour of Rosslyn Chapel Rosslyn Chapel
15:00–16:00 Travel back to National Museum of Scotland to meet delegates National Museum of Scotland
Camfil Drinks Reception
17 SEPTEMBER 2014
09:00–10:00 Walk—Grassmarket–Greyfriars Graveyard–George IV Bridge–Deacon Brodie
10:00–10:30 Coffee Break Scottish Historic Building Trust
Riddle’s Court
10:30–10:45 Walk to Mary King’s Close
10:45–11:45 Mary King’s Close—Two tours: one group browsing; one group on tour Mary King’s Close
12:00–12:30 Walk down Royal Mile
12:30–13:15 Lunch Scottish Storytelling Centre
13:15–14:00 Walk down Royal Mile—Dunbar’s Close Garden
14:00–15:30 Scottish Parliament—Two tours: one group browsing; one group on tour Scottish Parliament Building
15:30–16:30 Walk back to Hotel
17:30–21:30 Travel to Royal Botanic Garden, Team Photo, Drinks Reception and
Gala Dinner
Royal Botanic Garden, Edinburgh
21:30–22:00 Travel back to Hotel
18 SEPTEMBER 2014
10:30–11:00 Meet for bus to New Lanark
11:00–12:00 Travel to New Lanark
12:00–13:00 Lunch New Lanark
13:00–16:00 Guided Tours of New Lanark
I A M F A 1 4

2014 SCOTLAND CONFERENCE VENUES

From benchmarking to best practices, energy efficiency to artifact
preservation, The Care and Keeping of Cultural Facilities:
A Best Practice Guidebook for Museum Facility Management
shows the way. Judie Cooper and Angela Person-Harm have crafted
a book that is both a guide for those new to the field, as well as a
reference for experienced professionals.
—G. Wayne Clough,
Secretary of the Smithsonian Institution
W
ritten as a guidebook that specifically addresses
facility management in cultural institutions, The
Care and Keeping of Cultural Facilities is a text that
addresses a wide range of issues. The book is aimed at
museum administrators who need to learn more about
facility management, as well as facility managers who are
stepping into the museum environment for the first time.
It conveys the importance of strategically managing
facilities to support the institution’s mission.
The book has been welcomed by several
undergraduate and graduate facilities manage-
ment programs as a text to help develop the
next generation of cultural facility managers.
The Care and Keeping of Cultural Facilities fills
a gap in museum administration literature
by providing best practices guidance that can
be used to increase efficiency, save money,
and improve the visitor experience.
From the evolution of cultural facilities,
to current trends, to the strategic role that
facility management (FM) plays in supporting a
cultural enterprise, this book is full of helpful
information. Understanding strategic plan-
ning, operations and maintenance, capital
improvement planning and sustainability
will help stakeholders’ better position themselves for the
benefit of the cultural facility.
Risk management, disaster assistance and safety all play
unique roles in managing a cultural facility, and are
discussed at length. Training facilities staff is also explored,
as this has a direct relationship to the effective perfor-
mance of building systems. And, as more cultural facilities
become used as venues for special events, it is increasingly
important that cultural facilities understand the potential
benefits and drawbacks to hosting these types of events.
The Care and Keeping of Cultural Facilities explores the
challenges, processes and questions facing FMs today.
Just as interesting as the book, however, is the story behind
its creation.
In 2010, the Office of Facilities Management and Reliability
(OFMR) at the Smithsonian Institution welcomed a group
of summer interns to work on projects that would help
them translate their academic knowledge into a real-world
work product. One of the interns that summer was Angela
Person-Harm. Angela came to the Smithsonian as she was
finishing her Master’s degree in Museum Studies at the
University of Oklahoma. She also had an undergraduate
degree in Environmental Design, and her project involved
documenting best practices in the areas of knowledge
transfer and training in a complex facility management
organization.
One of Angela’s assignments was to write a magazine
article on facility management, using her background in
environmental design to summarize what it takes to manage
a museum. She noted that, in her four years of undergraduate
studies and two years of graduate studies, she’d never had
any instruction in facility management and, in fact, had
not even heard the term “facility management”.
Angela and I co-authored the article, “A Work of Art:
The Keeping of Cultural Facilities,” which was published in
the February 2011 issue of Facility Management Journal. We
wanted to write about the complexities and unique
aspects of facility management in cultural facilities,
and we especially wanted the information to be
understandable to exhibitions and curatorial staff.
Shortly after the article was published, I was
contacted by the American Alliance of Museums
(AAM). One of their board members had read
the article, and invited us to make a presentation
at the AAM conference about what it takes to
maintain a cultural facility, and why facility
management should matter to curatorial and
exhibitions staff.
The extension of this invitation suggested how
interested AAM was in the topic, since we didn’t
have to go through a formal vetting process. At
the conference, curators approached us and
said they had never considered the facility
management challenges in exhibition spaces—not because
they were not interested, but simply because no one had
ever addressed these challenges in a comprehensive manner
relating directly to their work. They wanted to learn more,
and were receptive to understanding the importance of
FM on their exhibitions and space.
On the way back from the AAM conference, Angela
and I talked about how surprising it was that our audience
was so intrigued and interested in what we had to say. We
decided that, with such positive feedback from the con-
ference, we would try to put the information—along
with additional FM research, knowledge and practical
experience—into a more formal format. The conversation
during the flight from Houston to Washington went
something like this:
Judie: “I think we should write a book.”
Angela: “Okay. Have you ever written a book before?”
Judie: “No. Have you?”
The Making of a Book
By Judie Cooper

Angela: “No.”
Judie: “The audience seemed really interested in what we
were saying. Let’s give it a try. After all, what is the worst
thing they could say to us? No?”
Neither of us knew anyone in the publishing world, so
we cold-called publishers to get a feel for their interest in
such a book. When asked by a publisher specializing in
museum publications if there was another book like ours
on the market, we said that the role of facility management
within the museum community is evolving as the FM
profession matures. We added that our recent experience
at the AAM conference indicated a market of museum
executives wanting to better understand their facilities and
how they should be professionally managed. The publisher
immediately said it wanted the book—which meant we
were now committed to writing it.
Angela returned to the Smithsonian as a Research
Fellow the following year, after completing her Master’s
degree. While she worked on her Ph.D. in Human
Geography, we also worked together on The Care and
Keeping of Cultural Facilities: A Best Practice Guidebook for
Museum Facility Management. The book was published by
Rowman and Littlefield, with a foreword by G. Wayne
Clough, Secretary of the Smithsonian Institution.
The book is geared toward museum administrators,
curators, and cultural facilities board members and
administrators, and is designed to help them see facility
management as more than just keeping a building clean.
We want readers to appreciate that cultural facility
management is about viewing the facility strategically,
as an asset to be managed well.
Cultural facilities include not only museums, but also
other spaces such as zoos, performing arts spaces, libraries,
archives and theaters. This book informs staff of these
facilities, one chapter at a time, about the inner workings
of facility management, and how they can benefit their
facilities by understanding them, planning and caring for
them, operating and maintaining them, and managing
them as the irreplaceable assets that they are.
The book seeks to bridge the gap between operating/
maintaining and planning/designing, and to help create an
environment in which these disciplines can work together to
create better environments for collections, staff, and visitors.
It also seeks to educate museum staff about the intricacies
of managing a facility, so that they can partner with the
facility management team for the benefit of the institution.
The Care and Keeping of Cultural Facilities is available online
at retailers such as Amazon, and in bookstores. It can also be
ordered directly through the publishers Rowman & Littlefield
(Rowman.com), and you can receive a 30% discount using
promotion code 4M14CKCF until December 31, 2014.
Judie Cooper, CFM, is a facility management analyst with the Office
of Facilities Management and Reliability of the Smithsonian Institution.
She is a frequent speaker on facility management issues, as well as
the importance of their strategic alignment with the enterprise itself.

Getting Started with
Benchmarking
By Keith McClanahan
M
any IAMFA members who have not benchmarked
have difficulty getting started in the benchmarking
process. We have listened to comments regarding
how formidable and time-consuming the process can be,
and have really streamlined it so that it is much easier to
obtain a high “value add” within a minimal amount of time.
Here is a suggested approach to help you to get started
with the IAMFA benchmarking program, which is designed
to take the pain and drudgery out of the process. We have
used actual “screenshot” examples from the IAMFA/Facility
Issues website to illustrate how easy the it is. This approach
will help you obtain key output reports in a minimal amount
of time.
The first thing to remember is that, with only a few
benchmarking values, you can usually see where you stand
on more than 95% of your operating costs. If you’re not
currently benchmarking, getting 95% of the portfolio costs
into a benchmarking program would be a good first step.
The chart below shows the 2013 median results from IAMFA
benchmarking participants. Note that, by benchmarking just
their Utilities, Maintenance, Custodial, and Security costs,
participants are benchmarking 98% of their controllable
operating costs.
Potential benchmarking participants often ask me how
much time it will take to complete the survey. The answer
varies, since it depends on how much information they will
be providing. The IAMFA benchmarking tool has been
completely redesigned during the past year. It is much
more flexible, and can accommodate data inputs based on
the time you have available. If you have access to the data
noted below, it should take between 30 and 60 minutes to
complete these inputs.
So, what do you really need to get started with bench-
marking and get some useful outputs? At Facility Issues,
we call these inputs “Tier I” data fields. By inputting these
Tier I data fields, you will be able to see how your perfor-
mance compares with others on most of the KPI charts,
in the shortest possible time.
Let’s begin with the demographic inputs. There are only
four questions here.
Once you have these in the system, the information will
be carried over from year to year. You only need to go back
and change the information that needs to be updated. Our
website tester at Facility Issues reports that it took her two
minutes to complete this form.
You’ll note in all the screenshots from the website that
there is a blue next to some questions. By hovering over
the you can obtain additional information about what
costs should be included, and what the units should be. This

is a feature that participants have told us they really like. All
the information and definitions are on the same screen, and
there is no “looking around” for additional clarification.
Next, let’s look at space information. This form appears
really formidable, but if you’re a first-time participant, you
don’t need to complete the entire form. All you really need
to complete is question B1. It is important to get this area
right, since we use that value as the denominator for all
calculations, to normalize the cost per square foot or cost
per square meter.
If you have more information, that’s great. It’s really
helpful to show your space breakdown by the various types;
but that can come later. Most organizations have this data,
but organizing it in a way that can be input in the IAMFA
benchmarking tool takes some time.
The IAMFA benchmarking survey is collecting informa-
tion on set points and relative humidity in all areas in which
collections are displayed or stored. Ongoing studies are
in progress, and this benchmarking data is being used
with curators to show that these temperature ranges can
be relaxed. In most locations, this can have a significant
impact on utility expenses.
The Janitorial section is next. This is one of the easiest
sections in which to add data. All you really need to provide
is the total janitorial costs and the area cleaned.
If you’re uncertain about how much work is performed
by internal staff, and how much by contractors, just make
an estimate so that the total costs of janitorial services are
included in question J1. If you’re not sure about the area
cleaned, look at the gross square area submitted in the demo-
graphic section, and make an appropriate percentage
reduction. For most institutions, the area cleaned works
out to about 90% of the gross area.
Now let’s look at the maintenance section. Again, this is a
long section and most first-time participants are not willing
to complete all the items; then again, you don’t have to.
There are 12 questions here, but the critical question
is M1. Again, if you’re uncertain about how much of the
work is performed by your internal staff, and how much
by your contract staff, then you can make an estimate.
Just be sure the total maintenance cost is reflected in the
two numbers.
Security represents a higher budget percentage for
cultural institutions than most other types of facilities.
Good comparisons are important, so that you can show
your executive leadership that your costs are in line with
others. There are five questions in the security section, but
S1 is the critical one. Other values, such as the number of
security employees, how access is controlled, and the number
of training hours can all be provided later.
The next section we will cover is Utilities. There are
12 questions here, but some are much more important
than others. In discussions with our Steering Committee, we
have concluded that there is probably more cost pressure
on this issue than any other component in the benchmark-
ing survey. In many areas of the world, it was a difficult and
cold winter; gas prices are up significantly, electricity costs
are increasing, and it sometimes seems that all the initiatives
to save energy have been taken away by cost increases.

Your Partner in FM
is to maintain your environmental conditions
to the highest possible standards with the aim
of maximising the life expectancy of your
collections, by providing you with passionate,
highly trained engineering and management
teams.
Contact us at www.ecg-facilities.com
ECG Facilities Services is a proud sponsor of the
24th Annual IAMFA Conference in Scotland 2014
The critical questions here are:
• U1—energy costs, and
• U7—energy consumption from utilities
Most of your costs are probably from electricity and natural
gas. If you can provide these, then you will have entered the
majority of your energy costs into the benchmarking system.
Another very useful comparison is the energy intensity, which
is obtained from the U7 input. If both of these questions
are answered, then the key performance indicators for
energy costs and utilization will have been provided.
After entering this basic information, you will be able
to see how you compare on the major KPI charts for:
• Utilities
• Maintenance
• Custodial
• Security
That is a significant achievement for between 30 and
60 minutes of time.
To obtain the maximum benefit from the IAMFA bench-
marking application, you should return and input additional
data. However, after you’ve entered your Tier I data, take a
look at your output charts and discuss your organization’s
performance with others. The benefits of benchmarking will
become highly visible, and a critical source of information
for your organization.
Keith McClanahan is the principal at Facility Issues Inc., which
administers IAMFA’s annual benchmarking exercise.

A
lthough a Burns Supper is
usually held on January 25—
the birthday of Robert Burns,
Scotland’s greatest poet—we are
pleased to confirm that IAMFA Con-
ference participants will be going to
a real Burns Supper on the Monday
evening. But who was Robert Burns, and
why is his birthday celebrated around
the world by Scots and non-Scots alike?
Robert Burns, who was born on
January 25, 1759, is more popularly
known as “Rabbie” Burns. He is widely
regarded as the national poet of
Scotland, and is celebrated worldwide.
He is the best-known of the poets who
have written in the Scots language,
although much of his writing is also
in English and a light Scots dialect,
making it accessible to an audience
outside Scotland. He is regarded as a
pioneer of the Romantic movement
and, after his death, became a cultural
icon in Scotland as well as among
Scottish expatriates around the world.
Celebration of his life and work became
almost a charismatic cult during the
19th and 20th centuries, and his
influence on Scottish literature has
long been strong.
In addition to producing original
compositions, Burns also collected folk
songs from across Scotland, often revis-
ing or adapting them. His poem (and
song) Auld Lang Syne is often sung at
Hogmanay (the last day of the year), and
Scots Wha Hae served for a long time as
one of Scotland’s unofficial national
anthems. Other poems and songs by
Burns that remain well known around
the world today include “A Red, Red
Rose,” “A Man’s a Man for A’ That,”
“To a Louse, To a Mouse,” “The Battle
of Sherramuir,” “Tam o’ Shanter” and
“Ae Fond Kiss.”
Burns was the son of a farmer, and
farming was destined to be his main
occupation until, later in life, he
became an excise man in Dumfries.
engraver and music seller with a love of
old Scots songs, and a determination
to preserve them. Burns shared this
interest, and became an enthusiastic
contributor to The Scots Musical Museum.
The first volume was published in 1787,
and included three songs by Burns. He
contributed 40 songs to Volume Two,
and he was ultimately responsible for
about a third of the 600 songs in the
whole collection, in addition to making
a considerable editorial contribution.
The final volume was published in 1803.
Upon his return to Ayrshire on
February 18, 1788, he resumed his
relationship with Jean Armour. On
March 18, he took a lease on the farm
of Ellisland near Dumfries, settling
there on June 11. He also trained as
an excise man, in case farming con-
tinued to prove unsuccessful. He was
appointed to duties in Customs and
Excise in 1789, and eventually gave up
the farm in 1791. In November 1790,
he wrote “Tam o’ Shanter”, and it was
at this time that, asked to write lyrics for
The Melodies of Scotland, he responded
by contributing over 100 songs. Arguably
his claim to immortality rests chiefly
upon these volumes, which placed
him in the front rank of lyric poets.
On the morning of July 21, 1796,
Burns died in Dumfries, at the age of
37. The funeral took place on July 25:
the same day that his son Maxwell was
born. Burns was at first buried in the
far corner of St. Michael’s Churchyard
in Dumfries, but his body was moved to
its final location in the same cemetery,
the Burns Mausoleum, in September
1815. The body of his widow Jean
Armour was buried with his in 1834.
Through his 12 children, Burns had
over 600 living descendants as of 2012.
So that’s the man; what about the
supper? Yes, you will enjoy a traditional
Burns Supper, which includes haggis.
Haggis is traditionally served with
A Real Burns Supper at IAMFA Annual
Conference in Scotland
By Jack Plumb
Robert Burns
His real love, however, was his poetry,
which would eventually bring him fame.
Following the death of his father,
and struggling to support his family
through farming, Burns decided to
take a job in Jamaica. Unfortunately, he
lacked the funds to pay for his passage
to the West Indies, so a friend suggested
that he publish his poems. On July 31,
1786, John Wilson published works by
Robert Burns in book simply titled,
Poems, today known as the Kilmarnock
Volume. It sold for three shillings, and
contained much of his best writing. The
success of the work was immediate,
and soon Burns was known across
the country.
Such was the support and encour-
agement for this first edition that Burns
was advised to travel to Edinburgh,
where he would find more support for
the publication of a second edition. On
November 27, 1786, Burns borrowed
a pony and set out for Edinburgh. The
first Edinburgh edition of Poems was
published on April 17, 1787. For this
edition, Alexander Nasmyth was com-
missioned to paint the oval bust-length
portrait now in the Scottish National
Portrait Gallery, which was turned into
an engraving to provide a frontispiece
for the book.
In Edinburgh in early 1787, Burns
met James Johnson, a struggling music

mashed potatoes (tatties) and mashed
turnips (neeps). Whilst you have most
probably all heard of the stories of what
goes into haggis, sorry to disappoint
you, but modern haggis is nothing like
that. Modern haggis is made from a
combination of beef, lamb, oatmeal,
seasoning and spices, all wrapped in
a natural casing—just like salami.
You can also opt for vegetarian
haggis, which is made in the same way,
but with kidney beans, lentils, root
vegetables and cereals all packed into
the same natural casing. Haggis does
not contain wheat, but oatmeal may
have come into contact with wheat in
the field, or at harvesting, and haggis
cannot be classified as gluten-free.
However, some people on a gluten-free
diet can happily eat haggis.
We also intend to offer a traditional
dessert course with cranachan, (a
mixture of whipped cream, whisky,
honey and fresh raspberries, topped
with roasted oatmeal), followed by
oatcakes and cheese, all washed down
with the “water of life” (uisge beatha):
Scottish whisky. When the meal reaches
the coffee stage, various speeches and
toasts are given.
Finally, the host will call upon
one of the guests to give the vote of
thanks, after which everyone is asked
to stand, join hands, and sing Auld
Lang Syne, bringing the evening to
an end.
Jack Plumb is the Head of Estates at the
National Library of Scotland, and the
Scotland 2104 Conference Chair.
Desert cranachan with the “water of life”—
Scottish whisky.
INSPIRED DESIGN, INNOVATIVE
ENGINEERING
Clients Include:
Baltimore
Museum of Art
Delaware Museum of
Natural History
National Gallery of Art
Smithsonian National Air
and Space Museum
Smithsonian Natural
History Museum
U.S. Holocaust Museum
Virginia Museum
of Fine Arts
Walters Art Museum
Winterthur Museum
For more information, visit
www.muellerassoc.com
410.646.4500
“Our museum clients, and the
architects they select, are
sophisticated and knowledgeable
about their objectives.We
pride ourselves on being
up to the challenge.”
Robert Marino,
PE, LEED AP
President,
Mueller Associates
The IAMFA LinkedIn Group now has over
680 members from 48 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
Haggis platter at a Burns Supper.

A
s a scientist and inventor—with
a keen interest in electricity—
Benjamin Franklin would likely
have appreciated modern innovations
in energy-efficiency and the conser-
vation of natural resources. After a
comprehensive two-year renovation,
the Philadelphia museum that honors
Franklin now reflects the latest prin-
ciples in sustainability, while also provid-
ing an enhanced visitor experience
and introduction to the statesman’s
life and achievements.
The Benjamin Franklin Museum
originally opened in 1976 to commem-
orate the U.S. Bicentennial. Set in
Independence National Historical
Park, the Museum and surrounding
Franklin Court were designed by
Robert Venturi in collaboration with
Denise Scott Brown, John Rauch, and
preservation architect John Milner. The
court design features the acclaimed
“ghost” structures: white metal frames
outlining the volumes of Franklin’s
house and the print shop run by his
grandson, set upon the underground
foundations of the house.
The Museum itself was largely built
underground, providing an insulated
envelope for the building that did not
require alteration during the recent
modernization. According to a recent
case study published by the National
Park Service (NPS), “Sustainability
Meets Adaptability at Independence
National Historical Park,” the under-
ground structure is “sealed much
tighter than aboveground buildings,”
and, together with its easily accessible
downtown location, the Museum,
as an existing building, offered
“inherent sustainability.”
An Artful, Practical Update
Although the Museum did not require
significant structural alterations, NPS
recognized that it was much in need of
updating in terms of building systems,
access, circulation, daylighting, and
exhibits. The design team for the reno-
vation was led by Quinn Evans Architects,
with Casson Mann providing exhibit
design, and Affiliated Engineers design-
ing the building-system improvements.
Objectives included the creation of
a more inviting museum entryway;
enhancing the sense of connection
between the underground exhibition
space and the court above; trans-
forming the exhibits to offer a more
interactive, visitor-directed experience
(the original approach called for highly
sequenced circulation that allowed
large crowds to move through quickly);
expanded orientation areas and a new
gift shop; and mechanical, electrical,
and life safety system upgrades.
To create a clear point of entry
and expanded space for visitors as
they arrive, Quinn Evans Architects
enclosed an area that was previously
covered by a canvas canopy, and created
a distinctive glass entry pavilion. The
The Benjamin Franklin Museum
Renewing a Philadelphia Landmark
By Thomas C. Jester
A new view window, overlooking the
famed “ghost” structures, provides more
natural daylight into the underground
museum, reducing the need for electric
lighting. LED lights were installed during
the renovation.
JOSEPHM.KITCHENPHOTOGRAPHY
The Benjamin Franklin Museum’s new entry pavilion features an energy-efficient glass
curtainwall with a unique pattern recalling hand-molded brick.

new curtainwall interprets the brick
façade’s Flemish bond pattern with a
terracotta-colored ceramic frit pattern
applied to the glass, recalling the
surface texture of hand-molded brick.
According to the NPS case study, “the
ceramic brick pattern featured in the
curtainwall is not only attractive, but it
also reduces the amount of light and
heat energy entering the building.”
The customized glass, provided by
Saint-Gobain, is double-glazed, low-
emissivity (“low-e”), and argon-filled,
making it “highly efficient in sealing
the building.”
The new portal echoes the design
of the original 1976 canvas awning—a
reference to the Philadelphia tradition
of open-air market shelters—with a
copper-clad canopy. The canopy’s
linear composition is relieved by a large,
new window that brightens the interior
and re-introduces the ghost house to
visitors as they return to the surface
after experiencing the exhibits.
Oriented due east, the glass façade
is constructed as a “shadow box” with
glazing placed at both the outer and
inner planes of the curtainwall frame.
The inner glass is frosted with a ceramic
frit mezzotint. “In the afternoon, when
the façade is in shadow, the glazing
creates a gauzy, translucent scrim,”
says Carl Elefante, FAIA, principal-in-
charge for Quinn Evans Architects.
“In direct sun, it glows, animated with
shadows cast by the ghost house. The
shadows become a playful element
within the space.”
NPS notes the additional sustainable
benefits: “The new structure also allows
natural daylighting to enter the build-
ing, and even reach the underground
museum section, which reduces the
need for electric lighting during the
day. . . To further increase energy
savings, light-emitting diode (LED)
lamps were used in lighting throughout
the building.”
Linking Past and Present
In addition to the entry pavilion,
interior improvements include a new
staircase leading from the court level
to the underground galleries. Cast-
in-place concrete elements express,
for the first time, the predominately
concrete underground structure. New
exhibits enable visitors to flow freely
throughout the Museum, exploring rep-
resentations of rooms from Franklin’s
house depicting themes that present
the patriot’s character, personality,
interests, intellect, and accomplish-
ments. Each room contains historical
objects, documents, and a variety of
audiovisual and interactive displays.
Improvements for sustainability
also include the installation of water-
conserving fixtures, use of recycled
and low-VOC materials, and the con-
nection of the Museum to the park’s
central chilled-water plant, which has
significantly reduced the energy used
for cooling the building.
A dedicated exit staircase has also
been added, with a new Museum shop
adjacent to the exit staircase at the
court level. As visitors make their last
turn on the staircase, they see the
dramatic image of the ghost house
framed through the view window,
reorienting them to Franklin Court.
Elefante notes that the steel ghost
structures played a pivotal role in devel-
oping the concepts for the renovation
design. “Venturi’s ghost structures are
still as stunning and surprising today as
they were in 1976,” says Elefante. “They
reflect a double stroke of genius:
Franklin’s home is defined as a
memorial, yet there is an intellectual
honesty about what isn’t there and
what we don’t know about this impor-
tant place. The new glass pavilion,
with the fritted glass and large view
window framing the ghost house,
responds to these structures.”
The modernization—both ambitious
in scope, yet respectful of the celebrated
original design—has been well received
by critics and the public. The renova-
tion meets the Guiding Principles for
Federal Leadership in High Performance
and Sustainable Buildings. The full case
study appears in the NPS 2013 Annual
Environmental Progress Report.
Tom Jester, AIA, FAPT, LEED AP, served
as Quinn Evans Architects’ project
manager on the renovation of the
Benjamin Franklin Museum.The design of the new glazed curtainwall animates the interior with a dramatic shadow effect.

H
opefully you will have already booked your visit
to Scotland in September for the 24th Annual
IAMFA Conference. If not, I cannot stress enough
how important it is for you to log onto the IAMFA website
(http://newiamfa.org/) and use the link to book your
hotel room; they are going fast.
In the spirit of all things Scottish, you will have read my
previous article about the theme of the Conference, which
is the fourth dimension—time—and which tells the story
of how Scotland continuously reinvents itself as a modern,
culturally advanced nation. However, the Conference will also
celebrate Scotland’s past, so here are some of the significant
achievements by Scots in the past which we take for granted
in our everyday lives. So, IAMFA Scotland 2014 delegates
and guests, fasten your seat belts and enjoy the ride.
Welcome to Scotland, and I hope you have enjoyed the
first night in your hotel, which of course includes breakfast.
Your breakfast will feature toast, and marmalade invented
by Mrs Keiller of Dundee. To make sure you’re not late
for the first coach ride to Glasgow, check the electric
clock, invented by Alexander Bain of Caithness, then
make sure you have your raincoat to hand, patented by
Charles MacIntosh from Glasgow.
The coach will travel on the motorway surfaced with
tarmac invented by John MacAdam of Ayr, and of course
the coach will be fitted with pneumatic tyres invented by
Robert Thompson of Stonehaven in 1847 and improved
and patented by John Dunlop of Dreghorn in 1888. Before
the coach ride, you might well have travelled on the train
powered by a steam engine invented by James Watt
of Greenock.
At our Conference venue, you may well visit the shop to
purchase an adhesive stamp—invented by John Chalmers
of Dundee—to put on your postcard home. Realising you
need cash, you may visit an automated teller machine,
invented by John Shepard-Barron of Inverness in 1967.
You might wish to call home using the telephone invented
by Alexander Graham Bell, born in Edinburgh. During that
call, you learn that your son is reading Kidnapped, written
by Robert Louis Stevenson of Edinburgh; your son asks that
you visit the Hawes Inn in South Queensferry, still operating
as a licenced premises. Your daughter is playing on her
bicycle, invented by Kirkpatrick MacMillan of Thornhill,
outside in the garden. Missing the children, you think back
to when you were expecting your first child, and to that
first ultrasound image—a technique first developed by
Ian Donald in Glasgow.
Later, you enjoy a beef sandwich—Aberdeen Angus
beef, of course, which is raised in Aberdeenshire, and is
widely considered the best beef in the world. Now, starting
to get fed up of all things Scottish, you turn to the Bible,
only to find that its first translation into English was com-
missioned by King James VI—yes, you guessed correctly—
a Scot. Approaching the end of your patience, you contem-
plate the end with your breech-loading rifle, invented by
Captain Patrick Ferguson of Pitfours. Should you miss
and injure yourself, you might be treated with penicillin,
discovered by Sir Alexander Fleming of Darvel, or given
chloroform, an anaesthetic first used by Sir James Young
Simpson of Bathgate.
Finally, making it back to your hotel room, you switch on
the television, invented by John Logie Baird of Helensburgh,
which uses the electromagnetic theory that stemmed from
development work carried out by John Clerk Maxwell of
Edinburgh. With nowhere else to go to escape these Scots,
there is only one last resort: yes, the pub. Pull out your
Bank of England—yes, founded by William Paterson of
Dumfries—ten-pound note and buy yourself—and me!—
the best whisky in the world: yes, Scottish Whisky.
I hope you all have a great time.
Jack Plumb is the Head of Estates at the National Library
of Scotland, and the Scotland 2104 Conference Chair.
IAMFA Scotland 2014
A Tongue-in-Cheek View of History
By Jack Plumb
I A M F A 1 4
SCO TLAND
International Conference
September 14-18, 2014

New England Chapter Update
To welcome Alan Dirican to his new job with Harvard
University’s Dumbarton Oaks facility in Washington, D.C.,
Dave Geldart, John Lannon and Jim Moisson met him for
a lunch meeting while he was in training in Cambridge,
Massachusetts on February 12. As usual, good information,
facilities wisdom, and a tasty lunch were shared by all, while
discussing the upcoming 2016 IAMFA Conference in Boston.
sunlight that enters the room, preventing damage that can
cause collection pieces to fade, yellow, and become brittle.
The former gray glass was replaced with a new bronze-
colored glass that brings a warm, welcome glow to the house,
restoring Winterthur to founder Henry Francis du Pont’s
vision of maintaining the atmosphere of a gentleman’s
private residence. Another advantage to the Plexiglas® is
that the historical window frames are now visible from the
exterior of the building. The new windows create a more
inviting outer appearance; prior to this, the windows looked
like black holes.
Beginning in March, workers began encasing the house
in ground-to-roofline scaffolding. Over the next year the
museum’s 410 windows, 15 doors, and approximately
800 shutters will be replaced, restoring the iconic exterior
of du Pont’s former home to the architect’s original
1930s vision.
The exterior renovation project is much more extensive
than Phase 1, and is scheduled to continue until December
2014. Many parts of the exterior windows will be replaced,
including deteriorating shutters. The wooden shutters will
be changed to a composite material composed of fiberglass.
Every effort has been made to preserve the wooden window
sashes and frames, a compromise to maintain the historical
integrity of the house—though Winterthur’s mission is not
that of a historical house, but rather the preservation of the
historical architecture that contains the home’s collection.
Only three of the existing shutters are original to the
home; the conservation department will preserve these
shutters, as they contain important historical information
on paint color. The failing window frames will be repaired
and restored from a pinkish paint to their original color,
now known as Hazy Skies.
Other parts of the ongoing renovation include repairs
to gutters, downspouts, and some chimneys. In addition, the
maintenance and sealing of adjacent woodwork will end the
intrusion of cold drafts, humid air, and damaging insects.
In the interest of making the scaffolding project as pleas-
ing to the eye as possible to Winterthur’s many visitors this
year, the building will be wrapped in a scrim, which will
feature an image from the Winterthur Archives.
The $4.5 million renovation project, implemented by
the local company, EDis, will restore Winterthur closer to
the 1930s vision of the home.
A corresponding project is set to begin in July. The
Cottage’s conservatory, home to the Museum Store’s
garden and plant retail space, will be rebuilt to include
new glass and iron mullions. Renovations to The Cottage,
by SC&A Construction, are necessary for the restoration
and structure of the conservatory.
Come back and see Winterthur in 2015 to view H. F.
du Pont’s former home transformed, both inside-and-out!
For renovation updates and images, please visit:
http://renovation.winterthur.org
REGIONAL UPDATES AND MEMBER NEWS
Dumbarton Oaks in Washington, D.C.
Philadelphia Regional Chapter Update
A New Look for Winterthur—Inside and Out!
Important renovation projects are now underway to
further enhance the visitor experience at Winterthur
Museum, Garden & Library.
Inside, Winterthur has completed the first phase of
a year-long renovation to the Museum. Tinted glass or
Plexiglas® was installed in the windows to filter damaging
UV and visible light. The tinted layer reduces the level of
Winterthur Museum, Garden & Library. Photo: Jeannette Lindvig

Northern California and Nevada Regional
Chapter
By Jennifer Fragomeni
On April 18, the Northern California Chapter met at the
Western Railway Museum in Solano County, California.
The Western Railway Museum is dedicated to preserving
and interpreting the electric railways of the western United
States in general, and northern California in particular.
The Museum includes 95 cars, two restoration shops, three
car sheds, and 22 miles of historical track. Secretary of the
Board, John Krauskopf, made special arrangements for the
Northern California Chapter to be able to visit on a day
when the Museum is normally closed, and acted as our host
for the afternoon. Roger Bergmans (Operations Superin-
tendent) and Christina March (Public Programs Manager)
also accompanied the group.
The meeting kicked off with a ride over the preserved
main line of the Sacramento Northern Railroad in the parlor
car of “The Scenic Limited.” During the ride, the group
discussed the benefits of benchmarking and attending the
IAMFA Annual Conferences. Jennifer Fragomeni shared
Facility Issues’ 2013 presentation, “Benchmarking Effectively”.
After the ride, the group visited the 37,000-square-foot,
state-of-the-art “Car House Three” (the Loring C. Jensen
Memorial Car House). To protect the historical artifacts
housed inside, this $2.5M facility is built like a wine cave.
The all-steel building is heavily insulated throughout, with
four inches of rockwool in the walls, and heavy fiberglass
below the roof. These features keep annual temperature
variations between 55°F and 70°F without any heating or
cooling machinery, as well as providing fireproofing.
A 10 mm vapor barrier is buried under the floor to
prevent moisture from wicking up into the building from
the clay substrate. Three low-velocity fans, each 20 feet in
diameter, circulate air and prevent condensation from
forming. The building has no windows. Low-UV lamps
operate only when the building is occupied, to keep the
restoration work fresh.
More than one-quarter of the capital budget was dedicated
to the extensive fire-protection system. The site of the
Western Railway Museum is nine miles from city water, so
it was necessary to sink a new well, build a 220,000-gallon
water storage tank, install a diesel pump, bury high-pressure
The parlor car of The Scenic Limited, with authentic 1915 interior.
Left to right: Tamara Hayes, SF Museum at the Mint; Chuck
Mignacco, Exploratorium; Christina March, Western Railway
Museum; John Krauskopf, Western Railway Museum; Joe Brennan,
SFMOMA (retired); and Chris Bernard, Lindsay Wildlife Museum.
The luxury train car that was Maude’s home in the film
Harold and Maude.
Exterior of “Car House Three.” Left to right: John Krauskopf,
Western Railway Museum; Christina March, Western Railway
Museum; Jennifer Fragomeni, Exploratorium; Joe Brennan,
SFMOMA (retired); Chris Bernard, Lindsay Wildlife Museum;
and Charlie Booth, ABM Facility Services.

water mains and fire hydrants, and increase the strength
of the clear-span trusses of the car house to support the
wet-charge pipes. The fire department also required the
Western Railway Museum to install access roads to “Car
House Three” so that trucks could access the building
during the rainy season, when the local soil will not
support a vehicle.
After the fascinating tour of the car house, the group got
a quick visit to the restoration shops, to see where the magic
is carried out on the rail cars, top to bottom. The Western
Railway Museum manages to do amazingly meticulous
restoration work with its dedicated all-volunteer crew. The
size of some of the machinery needed to do the restoration
work was truly impressive.
After many thanks for the informative afternoon, it was
time to go home. The Northern California Chapter had an
afternoon that none of us will soon forget.
Jennifer Fragomeni is Director of Facilities at the Exploratorium in
San Francisco, California USA, and is the Chair of the Northern
California/Nevada Chapter of IAMFA.
Joe Brennan recently led a cleft palate and repair mission
for the Alliance for Smiles in remote Weining, China—
1,000 miles west of Canton, and 500 miles north of Hanoi.
Below is one of the daily briefings from the mission.
REGIONAL UPDATES AND MEMBER NEWS
Jacks hold up a train car undergoing restoration.
The Monarch engine lathe used to resurface train wheels.
Los Angeles Regional Chapter Update
What an evening Arts Earth Partnership, LACMA and the
City of Los Angeles had on March 13! It wasn’t a night for
deep conversation about the state of environment, but a
moment to pause, celebrate and regroup in order to move
forward and tackle the big issues facing our planet today,
through the arts.
The Los Angeles County Museum of Art.
©2008MUSEUMASSOCIATES/LACMA

It’s very rare to get a cross-section of society into one
room. Artists, politicians, city representatives,
environmentalists, sustainability leaders, activists, realtors,
designers—they were all there. If you were there, it was
because you understand how important the arts sector is,
and the major impact this sector can have.
Even if you are not an artist yourself, you likely love the
arts. There is a reason for that. The next time you are in a
gallery or museum; at a play, concert, or dance performance;
or in a studio, think about the impact that art is having on
the world, and everything that went into the art you’re
contemplating, from its inception to its final display. The
message is important, and the medium is as well. Less
waste=more art!
AEP and LACMA express their thanks for everyone
who came out and supported their efforts with the Green
Arts Program in Los Angeles, and a special thank you to
all those that participated in the ceremony, volunteered
and sponsored.
driver got lost along the way. The weather was pretty awful,
with very poor visibility, due to a heavy mist that was to
plague the group for the whole week. Hopefully when
Conference participants travel this route in the fall, their
driver will not get lost—and the weather will be perfect,
with clear visibility for miles.
On Monday, we visited all the host sites in Edinburgh,
which included the National Library of Scotland, the
National Galleries, the National Portrait Gallery and the
National Museum—and that was all before lunch! We were
met at the venues by the teams responsible for those days,
and heard about the various presentations and tours that
have been lined up for delegates and their guests.
On Tuesday, it was off to Glasgow to visit the Burrell
Museum, Kelvingrove Art Gallery and Museum, and the
Riverside Museum. At the Riverside Museum, we boarded
the Tall Ship Glenlee to view the site for the Monday evening
drinks reception. It was then back into the minivan and
off to New Lanark, where we met up with former IAMFA
member—and current Deputy Chairman of the Board
of Trustees at New Lanark—Bill Jackson. Then back to
Edinburgh to meet up with the U.K. membership—includ-
ing Dan McKenzie, M.D. of Steensen Varming, our very
first corporate sponsor—all of whom had travelled up to
Edinburgh for the joint U.K. IAMFA and Conservation
meeting, which was to be held at the National Library of
Scotland the next day.
On Wednesday, we welcomed over 40 U.K. IAMFA
members and Conservation colleagues to the bi-annual
U.K. IAMFA meeting.
The first presentation, titled “The key to a successful
FM Partnership,” was delivered by Brian Jamieson of ECG
Facilities, who gave a challenging presentation on how
government procurement procedures, whilst requiring
significant amounts of paperwork, do not give FM suppliers
a real opportunity to demonstrate what they can do. He
suggested that a couple of additional steps should be
added to the current procurement procedure: first, a visit
to the potential supplier’s office to see where the services
are generated; and second, a visit to an existing client to
see firsthand how those services were delivered—perhaps
something for us FM purchasers to take on board.
Second up was Chris Donohue of Cofely GDF Suez, whose
presentation was titled “i on the future”. The title of his
presentation couldn’t have been more apt because, whilst
it seemed like a presentation predicting the future, it was
actually about the present, and what current technology,
using the iPhone, could deliver today. We were introduced
to Google Glass and iBeacon—both readily available today,
with software that is already loaded onto all iPhones.
Chris explained that the iBeacon—a small battery-powered
device—can be strategically placed in various locations,
including buildings, and that it can “talk” to Google Glass
software on an iPhone to identify the iPhone’s location.
Using this location information, the iPhone can then carry
out any number of tasks: for instance, identify what the
U.K. Regional Chapter
By Jack Plumb
April 2014—so it must be time for the IAMFA Board to visit
Scotland and check out progress on this year’s Annual
Conference. The Board arrived in Edinburgh on Friday
and Saturday at the end of March. I collected the group
from one of your Conference hotels on the Sunday to visit
some of the venues arranged for the guest tour.
Our first stop was the National Museum of Flight for a
look at the Concorde, which is on display there. We then
travelled to Rosslyn Chapel with an entertaining journey
through the East Lothian countryside—especially as the
Honorees and Presenters (left to right): Adam Meltzer, Arts:Earth
Partnership; Karen Coca for Enrique Zaldivar; Mike Bonin,
Councilman for the 11th District; Joel Shapiro, Electric Lodge;
David Biggs, LA DWP; Randy Murphy, LACMA; Justin Yoffe,
Arts:Earth Partnership.

Papyrus Spring 2014

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