Papyrus Winter 2014 2015

PAPYRUSI 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 the25th IAMFA AnnualConference in Chicago

Climate Control of theArnamagnæan Archive

Progress Report forIAMFA’s Strategic Plan

The “Russian Doll”and Other Unique

Approaches toFire Protection

VOL. 15, NO. 3 WINTER 2014–2015VOL. 15, NO. 3 WINTER 2014–2015

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

Australia — Shaun WoodhouseAustralian Centre for theMoving [email protected]

Chicago, USA — William CaddickArt Institute of Chicago [email protected]

Los Angeles, USA — David CervantesLos Angeles County Museum of [email protected]

New England, USA — Jim Moisson Harvard Art [email protected]

New York, USA — Mark DemairoNeue [email protected]

New Zealand — Cliff HeywoodRoyal New Zealand [email protected]

Ottawa-Gatineau, Canada — Ed Richard National Gallery of [email protected]

Philadelphia, USA — Rich ReinertPhiladelphia Museum of [email protected]

Northern California, USA —Jennifer Fragomeni [email protected]

United Kingdom — Jack PlumbNational Library of [email protected]

Washington/Baltimore, USA — John Bixler Smithsonian [email protected]

Denis SmalleyLibrary of [email protected]

REGIONAL CHAPTERS

President Nancy BechtolSmithsonian InstitutionWashington, DC, [email protected]

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

V.P., Regional AffairsBrian ColemanMuseum VictoriaMelbourne, [email protected]

TreasurerAlan DiricanDumbarton OaksWashington, DC, [email protected]

SecretaryDavid SandersNatural History Museum (Retired)London, UK [email protected]

2015 Conference ChairBill CaddickArt Institute of ChicagoChicago, Illinois, [email protected]

2016 Conference ChairJames MoissonHarvard Art MuseumsCambridge, Massachusetts, [email protected]

IAMFA BOARD OF DIRECTORS

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

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

IAMFA Five-Year Strategic Plan (2013–2018):A Progress Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Recap of the 24th IAMFA Annual Conference in Scotland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2014 IAMFA Scotland Guest Program . . . . . . . . . . . . 13

It’s Always a Pleasure—The 2014 IAMFAConference Guest Program . . . . . . . . . . . . . . . . . . . . 15

Preview of the 25th IAMFA Annual Conferencein Chicago . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

2014 Benchmarking Practices and Learning Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The “Russian Doll” and Other Unique Fire-Protection Approaches for Irreplaceable Collections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Climate Control of the Arnamagnæan Archive. . . . . 33

IAMFA Peer Recognition Award . . . . . . . . . . . . . . . . 37

Best Practices Feature Article: Patch-to-Match: Art or Science? . . . . . . . . . . . . . . . . 38

Regional Updates and Member News . . . . . . . . . . . . 45

IAMFA Members—Organizations . . . . . . . . . . . . . . . 49

For additional contact information,

please visit our website atwww.NewIAMFA.org

For more information on becoming a member of IAMFA, please visit

www.NewIAMFA.org

Cover photo: The Centre Hall at Kelvingrove Art Gallery and Museum was the venue for the Burns Supper, during the 24th IAMFA Conference in Scotland.Photo: Ashley Davies

CONTENTS

Statements of fact and opinionare made on the responsibility ofauthors alone and do not imply anopinion on the part of the editors,officers, or members of IAMFA. Theeditors of IAMFA Papyrus reservethe right to accept or to reject anyArticle or advertisement submittedfor publication.

While we have made every attempt toensure that reproduction rights havebeen acquired for the illustrationsused in this newsletter, please let usknow if we have inadvertently over -looked your copyright, and we willrectify the matter in a future issue.

IAMFA/PapyrusVolume 15, Number 3Winter 2014–2015

EditorJoe May

ContributorsLars Aasbjerg Jensen Nancy BechtolBill CaddickJudith CapenChristine ColemanHal DavisMaurice EvansNancy EvansMette Jakobsen

Patrick JonesPoul Klenz LarsenJoe MayKeith McClanahanTiffany MyersTim PadfieldJack PlumbRich ReinertMorten Ryhl-SvendsenRobert Weinstein

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in the U.S.A. byKnight Printing

ISSN 1682-5241

Past issues of Papyrus can be found onIAMFA's website: www.NewIAMFA.org

Chicago, I was fortunate to visit manyof the museums in Chicago as a kid, andthey were great nearly 50 years ago.I wonder if anything has changed inthe past 50 years?

Chicago has a rich history, and it’sbeen 15 years since IAMFA met for anannual conference there. It will be amilestone year for IAMFA. IAMFA wasfounded in 1990 by George Preston,who was Director of Physical Plant at theArt Institute of Chicago. It is so fittingthat we are back in Chicago, hosted bythe Art Institute, to celebrate IAMFA’s25th anniversary.

In this issue, you’ll find numerousarticles from our members, along withone from one of our 777 LinkedInGroup members: Morten Ryhl-Svensen,who is an associate professor at theSchool of Conservation (KADK) inCopenhagen. The article is about asmall archive of the ArnamagnæanInstitute at Copenhagen University,which has almost entirely passive air-conditioning, due to its placementbetween a corridor in a permanentlywarm building and the building’s outerwall. Thanks, Morten and colleagues,for submitting this interesting article.

We included 300 images from theScotland Conference in the centerfoldof this issue of Papyrus, but if you wantto see more, we have uploaded a fewthousand to our IAMFA Archive. Youcan find a link on the Members Onlypage of our website www newiamfa.orgto view and download them fromIAMFA’s new Dropbox Archive. You’llalso see a link on that page to make arecommendation for a Peer Recog ni -tion Award. Tiffany Myers is heading upa committee to nominate an annualaward recipient from IAMFA’s member -ship who has made significant contri -butions to our mission. Please take a fewminutes to recommend someone youbelieve has helped IAMFA to becomea better organization. You can read

Greetings from Los Angeles!

Since the last issue of Papyrus, wehave traveled to Scotland for the24th Annual IAMFA Conference,

and I hope you were one of the recordnumber of attendees. Jack Plumb andhis team put on a terrific event for us,and I’ll never forget it!

We were there during the history-making referendum, in which theScottish people ended up voting toremain part of the United Kingdom.It was so interesting to see all of themaneuvering going on alongside ofwhat we were there for, which was oneof the best annual conferences in ourhistory. I hope you have a chance toread the Conference Recap article inthis issue.

Having been on the IAMFA Boardsince 2005, I’ve learned that, before oneof our conferences is finished, planningfor next year’s conference has alreadybeen underway for some time. Thereare a lot of moving parts involved inorga nizing a conference, and ourChicago hosts have been planningfor a while now; you will start to learnmore about their plans in this winterissue. There is an article by Patrick Jonesand Bill Caddick with preliminaryplans—but I happen to know someof the surprises that you won’t readabout in this issue, so keep an eye onour website, and you may be amongthe first to hear about these surprises.You won’t be disap pointed! Havinggrown up about a hundred miles from

2 PAPYRUS WINTER 2014–2015

more about this new Peer RecognitionAward program in this issue.

You have no doubt heard aboutthe Five-Year Strategic Plan by now.IAMFA’s Board of Directors prepareda progress update on the strategic planin this issue. Please read about ourprogress to date, and join one of thecommittees organized to advance thesegoals. Please give back if you feel thatyou’ve benefitted from being a memberof IAMFA.

One of our corporate members—Hal Davis of SmithGroupJJr—has alsocontributed an article: “The ‘RussianDoll’ and Other Unique Approachesto Fire Protection for IrreplaceableCollections.” Hal leads SmithGroupJJr’sCultural Studio in Washington, DC.SmithGroupJJr is one of the largestarchitecture, engineering and plan -ning firms in the U.S., ranked #1 fordesign quality.

In addition, Robert Weinsteinand Judith Capen have contributedan article called “Repairing OldConcrete at Meridian Hill Park inWashington, D.C.” This is a veryinteresting project, conducted ina highly systematic manner.

Finally, a treat for all of us: twoof the guests at this year’s ScotlandConference wrote about their expe -riences. Thank you so much, ChrisColeman and Nancy Evans. Manyof us don’t get to experience all theinteresting and fun things that theguests get to see during the guestprogram. If you brought a guest tothe conference this year, I hope youmake sure you let them read thesetwo articles. It is so neat that two ofthe guests had such a great time thatthey sent articles about their trip.

I hope 2015 is a wonderful yearfor all of you. It will soon be time tostart celebrating; after all, IAMFA willturn 25 years old when we meet nextautumn in Chicago.

Joe MayEditor, Papyrus

LETTER FROM THE EDITOR

program that was very successful. Oursincere thanks go to our sponsors forall of their support in Scotland, and Ilook forward to working with themagain for our Chicago Conferencein 2015.

In Edinburgh, we awarded oursecond Diplomat Award to the muchdeserving Camfil Ltd. Camfil has beena sponsor of IAMFA longer than anyother corporation, and has alwayssponsored an evening reception duringthe conference that is not to be missed!I had the pleasure of sitting next toChris Ecob with Camfil at our GalaDinner and, boy, was that a treat—hiscompany, the setting and the food!

Three of our finest longstandingand devoted members, Bob Morrone,Jack Plumb, and Harry Wanless, wereawarded with the Lifetime AchievementAward at the conference, and justseeing the surprise on their faceswhen their names were called waspriceless! It is very important that wealways take time to remember how farwe have come as an organization fromthose early days, nearly 25 years ago.It is because of the dedication ofprofessionals like Bob, Jack, andHarry that we are where we are today.

The Organizing Committee did anoutstanding job putting together theeducational program for our 2014Conference. The conference startedwith a Benchmarking Workshop that47 people attended at the NationalLibrary of Scotland, in their famousReading Room. We followed the work -shop with an opening reception in thesame beautiful Library so that everyone—guests and members alike—couldenjoy the space.

On Monday, we traveled to Glasgowfor a full day and evening of events infive different cultural locations. Westarted the day at the Burrell, andended it at Kelvingrove with a BurnsSupper. It was a very long day, but Iwouldn’t have changed a single minute.We have many to thank for organizing

such a fabulous day, but I must mentionDavid Thomson, who worked with usfor months leading up to our confer -ence, as well as all day on the Mondayof our conference.

Tuesday we spent at the NationalMuseum of Scotland, and were treatedto several more excellent educationalsessions, as well as excellent museumtours. On Wednesday, we visited theNational Galleries of Scotland, andwere hosted to a full-day symposium onsustainability topics from outstandingexperts in our profession.

Our optional day on Thursdaybrought us to New Lanark for awonderful day of touring this expan -sive historical property. Thanks so muchto everyone involved in planning andexecuting these fabulous days inScotland for our membership andguests. I will never forget my time inEdinburgh and Glasgow, and theprofessional acquaintances made.

If you missed the 24th AnnualIAMFA Conference, you missed agreat experience.

Next year, we will host our 25thAnnual Conference in Chicago, Illinois,home to the first-ever IAMFA Confer -ence. Bill Caddick and Patrick Jonesare busy organizing this conferencefor September 20–24, 2015. Check outtheir article in this edition of Papyrusto see what they are already planningfor our visit.

The Board has a very busy winter andspring planned, with much ongoingwork in our new sponsorship andmembership committees. If you areinterested in helping us out on oneof these committees, please let Randyor Brian know; they are always lookingfor members who want to help.

In the meantime, I wish everyone avery merry holiday season, and all thevery best in 2015. Thank you for yourcontinued support of IAMFA, andall the good work it does to improveour profession.

This is my seventh letter to themembership as the President ofIAMFA. I accepted the nomination

of another term as your President atour annual meeting in Edinburgh,Scotland, just two months ago. We alsovoted in Randy Murphy, Vice-Presidentfor Administration, and Joe May, Editorof Papyrus, for another term as well.We conducted this business and muchmore during our IAMFA annualgeneral meeting at the NationalMuseum of Scotland.

Speaking of Scotland, were youone of the 85 IAMFA members whoattended the Annual Conference inEdinburgh? If you were, you know howfabulous it was! Every single minute ofevery day was programmed with out -standing educational sessions, museumtours and networking with colleagues.From breakfast through dinner, wetoured the cultural sites of Edinburghand Glasgow.

The 2014 Annual Meeting Orga ni -zing Committee, led by Jack Plumb,just simply outdid itself in every waypossible. The work that goes into orga -nizing a great conference is extensive,and it was evident at every location thatthe planning was done, and that it paidoff. For our membership, everythingjust flowed perfectly throughout theconference at each and every location.We cannot thank this team enough fora job well done!

A quality conference depends uponsolid sponsorship from our corporatefriends, and Jack did an amazing job put -ting together an excellent sponsor ship

PAPYRUS WINTER 2014–2015 3

Nancy BechtolPresident, IAMFA

MESSAGE FROM THE PRESIDENT


IAMFA has a history of strategicplanning. Many of us remembermeeting during the 2005 Annual

Conference in Bilbao, Spain, to discusshow we could improve IAMFA as anorganization. That was the first meetingof which we were aware, althoughthere were probably others earlierin our organization’s history.

We met again during the 2010Conference in San Francisco, whereall of the conference attendees enthu -siastically contributed their ideas, andtogether we generated a list of ourStrengths, Weaknesses, Threats, andOpportunities for Improvement. In2011, attendees at the IAMFA Confer -ence in Auckland met again to prioritizethe ideas on these lists from our sessionin San Francisco. These were the topfour priority items in each category:

Strengths• Publishing Benchmarking Data• The Annual Conference• Papyrus• Vehicles for Sharing Knowledge

Weaknesses• Website is out of Date• Lack of Participation by Smaller

Institutions• No Permanent Staff; All Volunteers• Need Better Sharing of Technical

Information

Threats• Economic Conditions May Prevent

Members from Attending theConference

• Lack of Process in Educating UpperManagement that Facilities is aCore Business

• Member Organizations May notSee the Importance of Attendingthe Conference

• Reductions in Operating Budgets

leadership duties while in the midstof planning the excellent IAMFAConference in Washington, D.C.Nancy asked the Board to considerwhat strategic goals IAMFA shouldhave for the next five years. We hadworked hard to address the prioritiesidentified during the 2010 and 2011Strategic Planning Exercises, but ourefforts were becoming less focused,and it was again time to take a stepback and regroup.

The Board identified six goals thatwe believed should be the focus of ourefforts for the next five years, and wepresented this new Strategic Plan tothe membership at the 2013 IAMFAConference. The complete plan isavailable on our website, but the sixgoals are as follows:

• Grow Membership • Develop Sponsorships • Establish Financial Fitness• Achieve Educational Excellence• Increase Communication• Enhance Metrics and Technology

It has now been two years sincewe established these six goals, andwe’d like to provide an update ofour progress to date.

Grow MembershipWe established a membership com -mittee in 2013 made up of Boardmembers and several members ofIAMFA, and just revised the membershipof this committee this year. The com -mittee, now led by Brian Colemanand David Sanders, has worked thispast year to improve individual andinstitutional membership. It has recentlydeveloped a membership plan withmany great initiatives, some of whichare described below.

IAMFA Five-Year Strategic Plan(2013–2018)A Progress ReportBy the IAMFA Board of Directors

Opportunities for Improvement• Improve Marketing; Website is not

User-Friendly

• Add Value by Sharing Best Practices

• Develop a Searchable Databaseof Issues

• Establish Guidelines for Temperatureand RH Settings

The Strategic Planning Exercises of2010 and 2011 were useful in identi fy -ing the best opportunities for improve -ment. After the 2011 Conference, theBoard began discus sing how we shouldbegin working on these improvementopportunities.

Over the following year, a great dealof work was done behind the sceneson the Number One item: developinga new website. That year, we alsodeveloped job descriptions for Boardpositions. We changed the bylaws toallow all members to vote duringelections—rather than limiting it tothose attending the conference—andallowed members to vote by email.We developed a new NominatingCommittee Policy to make sure thebest candidates were selected to serveon the Board of Directors.

In addition, we developed guide -lines for administration of the GeorgePreston Memorial Award, and IAMFA’sLifetime Achievement Award, to ensureproper recognition of those whohelp IAMFA achieve its mission. Weformalized marketing material for thenew website, identifying the benefits ofIAMFA Membership, and we developedan Index of Technical and HistoricalArticles published in past issues ofPapyrus. It was a very busy year forBoard members who were able tocontribute their time.

In 2012, Nancy Bechtol was electedPresident of IAMFA, taking up her


This past year, we explored reachingpotential new members by offering afree 2015 IAMFA membership toattendees at a range of workshopsaimed at museum facility managers.These were: the Midwest MuseumSustainable Lighting Symposium inChicago in September, and five work -shops on Sustainable PreservationPractices for Managing Storage Envi -ronments presented by the ImagePermanence Institute, which is amember of IAMFA. To date, five ofthe six workshops have taken place,and we have 383 new IAMFA trialmembers for 2015.

Brian Coleman and ShaunWoodhouse from Australia havealso been speaking with membersof an organization called PACA thathas similarities to IAMFA, and will beinviting selected members for a free2015 IAMFA membership. We will seehow many of these trial members wecan retain at the end of 2015, but wethink that trial memberships may bea very economical and effective wayto publicize IAMFA as an organizationrepresenting their profession.

We decided in 2013 that we neededto develop a proper way to recognizeIAMFA’s corporate members for theircontributions to IAMFA’s mission.We rely heavily upon our corporatemembers for their specialized expertise,and for their sponsorship of IAMFA.In 2013 and 2014, we recognizedSteensen Varming and Camfil Ltd.for their contributions to IAMFA bypresenting them with the IAMFADiplomat Award.

IAMFA has 12 Regional Chaptersaround the world. We need to ask forhelp from the Chairs of these RegionalChapters to reach out to potential newmembers and to help retain existingmembers in their geographical regions.We’ve held breakfast meetings with theChapter Chairs during the past twoannual conferences, and are begin -ning teleconferences soon with all theChapters to determine what more wecan do to involve the Chapters.

We’ve focused more effort over thepast two years on reaching memberswho are about to let their annualmem berships lapse. Everyone is so

busy doing their jobs that sometimesthey just don’t get their dues paid.IAMFA depends on these membershipfees to sustain the organization, andwe are working hard to retain ourvalued existing members, even aswe reach out to new ones.

This year, IAMFA is introducinga Peer Recognition Award. This willbe similar to Hollywood’s People’sChoice Awards, in that our memberswill vote for the person they believehas helped the organization prosperin achieving its mission. We hope every -one will visit the website’s Members

Only page to vote for whomever youbelieve most deserves the Award inits first year.

We will soon begin to offer financialassistance to inactive Chapters to helpthem host meetings. Regional Chapters,you will hear about this soon. TheMembership Committee will also bedeveloping position descriptions forChapter Chairs soon, capitalizing onwhat has worked well for some Chaptersin order to help jumpstart activitiesin Chapters that have becomerelatively inactive.

Develop SponsorshipsWe began to develop a Corporate Spon -sorship Plan in 2012 with John Castle’shelp. Randy Murphy continued thatwork, and produced the final plan that

we are currently executing. This planwill be carried out by the newly devel -oped Sponsorship Committee, whichwill have its first official meeting inDecember 2014.

For many years, we’ve soughtthe help of Conference sponsorsin providing IAMFA’s great annualconferences, but this year we are intro -ducing a new Corporate SponsorshipProgram. The Corporate SponsorshipProgram will be somewhat similar toprograms supporting public televisionand radio in the U.S. If you are a cor -porate member of IAMFA, we will betalking with you soon about becominga Corporate Sponsor, and hope youwill feel that the benefits of corporatesponsorship are right for you. Thesponsorship benefits are designed tooptimize collaboration and partnershipbetween IAMFA members and yourcompany, and to increase your accessto IAMFA’s membership. As men tionedin the previous goal, we will also con -tinue to recognize our top corporatesponsors at our gala dinners for theircommitted support to IAMFA.

This past year, we began to recognizeour sponsors by placing their logos onour website, and when a visitor clickson a corporate logo, they are takento the sponsor’s website. CorporateSponsor logos are located at the topof our homepage, while ConferenceSponsor logos are on the Conferencepage. There are numerous benefitsto corporate sponsorship, includingManager-level privileges in IAMFA’sLinkedIn Group, which providesdirect access to our 777 LinkedInGroup Members around the world.A Manager can search members bygeographic region, and will be able toperiodically send messages to specificmembers, or to make an announcementto the entire group.

The greatest opportunity for ourCorporate Sponsors is that of estab -lishing a relationship with IAMFAmembers needing their expertise,their services, or their products. Overtime, IAMFA members establish cordialrelationships based on trust, and theselead to business opportunities withIAMFA members and the facilitiesthey represent.

This past year, we explored

reaching potential new

members by offering a free

2015 IAMFA membership

to attendees at a range

of workshops aimed at

museum facility managers.


Establish Financial FitnessIAMFA is a small not-for-profit asso -ciation, led by volunteer memberswho serve on the Board. Our sizeand strength are dependent upon ourfinancial strength. Most of our incomecomes from annual membership fees,and we try to keep these as low aspossible to attract members from alltypes of cultural institutions.

The Board decided we neededto increase our savings to be moreresilient, in case we ever had a majorproblem with an annual conference.That could be disastrous for a smallassociation which relies on its annualconference for financial support.Because IAMFA has limited means ofgenerating revenue, we depend largelyon the generosity of sponsors to expandour offerings, and increase the benefitsof membership in IAMFA. So it followsthat our success in achieving thisgoal depends on the success of the“Develop Sponsorships” goal.

Establishing financial fitness alsodepends on controlling our costs.By offering a Corporate SponsorshipProgram that increases access to ourmembers, we hope to grow sponsor -ships, which will in turn allow us to

increase professional support to all ourmembers, and to the broader museumfacility administration profession.

In the past year, IAMFA TreasurerAlan Dirican has begun developing anannual budget for review by the Boardand by the membership at the AnnualGeneral Meeting, held during the

conference. The Board has also imple -mented an internal audit procedure toensure that our costs are aligned withour objectives, and that all expendi -tures and revenues are accounted forproperly, and according to non-profittax laws.

The good news is that, as a result ofseveral years of very successful corporatesponsorship and annual meetings, wehave been able to reach our goal ofsecuring more savings to improve ourrainy day fund. We have quadrupledour savings since 2010!

The bad news is that we still have along way to go in securing funding formuch-needed capital improvementsfor our organization. We need to mod -ernize our website, and purchase amembership software program—toname just a few of our requirements.It is a good thing this is a five-yearstrategic plan!

Achieve EducationalExcellenceOver the past few years, we have workedhard on improving the educationalcontent of our annual Conference andChapter meeting programs. ScotlandConference attendees will remember,in particular, our Wednesday programin Edinburgh at the National Galleriesof Scotland, which offered a qualitysymposium on sustainability andmanaging our collections.

We have come a very long way, buthave much work ahead in this goal.This past year, we added an Educationpage to our website to house documentsthat we feel can benefit both IAMFAmembers and visitors. The Educationpage has numerous sub-pages withConference presentations, RegionalChapter presentations, promotions,workshops, and other resources thatmembers want to share. We’ve postedall of the 2013 Conference presen ta -tions, and most from 2014, includingvideotaped presentations from theWednesday joint day with conservatorsand facilities attendees.

Viewing videotaped presentations isa new capability just since we establishedan IAMFA DropBox Archive. 3,000photo graphs have been posted fromthe 2014 Scotland Conference, and we

can house large video files, which waspreviously impossible through ourexisting website host. From time to time,we will post links on our MembersOnly page to targeted folders in thearchive that you may want to see, suchas conference photos.

Our new IAMFA Archive holdsorganizational documents, policies,past Papyrus supporting documents,conference planning files, conferencephotos, presentations, website supportfiles, and more. Please let us know ifyou have a resource that you would liketo share with your fellow members,and we will include it either on ourEducation page or our MembersOnly page.

Increase CommunicationCommunication between Boardmembers is very good. We currentlymeet monthly by teleconference, andwe often email one another daily whenworking on various issues. MonthlyBoard meetings began in 2013, andwill continue as they have been mosthelpful in moving our strategic plan -ning actions forward throughout theyear. The Board now meets for a fullweek during our spring Board meeting,which has allowed us time to reallywork on specific plans and projects.

Have you noticed theimprovements in quality, layout andcontent of our Papyrus magazinessince 2010? Every single issue iscreated with the goal of communicationto our members and our profession.Editor Joe May has done an amazing

This past year, we added

an Education page to our

website to house documents

that we feel can benefit

both IAMFA members

and visitors.

Because IAMFA has limited

means of generating

revenue, we depend

largely on the generosity

of sponsors to expand

our offerings . . .


job in producing every edition, andhe has plans for more improvementsto come. What he needs from all ofus is articles!

Since 2009, our LinkedIn Grouphas provided a means for IAMFAmembers to communicate with oneanother as they wish. There are timeswhen there are numerous posts in oneday, and there are times when thereare no posts for a month. We hopeIAMFA members feel free to use theLinkedIn Group to ask for opinions ontopics that present challenges. Whensomeone posts a question, it usuallygets numerous responses within a dayor so. Our members are eager to help!

The area that we feel needs the mostattention is communication betweenBoard members and the IAMFA mem -bership. Except for the President andEditor, each of whom writes a messagein each issue of Papyrus, other Boardmembers communicate with the IAMFAmembership formally five minuteseach year at the Annual General

Meeting, and not all the membersattend the Conference.

Obviously, there are occasional emailblasts that go out to all members, butthere is limited communicationbetween the Board and the IAMFAmembership. We are proposing thatall IAMFA Board members contributea letter in Papyrus at least once eachyear—and hopefully more often—with a summary of their activitiesand accomplishments. This will keepeveryone informed of what the Boardis working on.

Enhance Metrics andTechnologyA little over a year ago, we begantracking monthly website statistics. Weuse Yola as our website platform, andwe now plot new data each month inExcel to update charts that show trendsin site visits, total pageviews, and uniquenumbers of visitors. To date, we havenot taken any formal steps to increase

traffic to the site, but that is a goal. Inthe coming year we will be researchinghow we can best do this. If any memberhas experience with this, we would loveto hear from you.

Several of you have volunteered tohelp by serving on one of the commit -tees to advance these six goals. We arestarting to get some significant tractionon all of them, and hope you will joinin and become part of the effort tomake IAMFA an even greater orga ni -zation serving our profession. If youare not on a committee, please considerdedicating some time to IAMFA; you’llfind out how worthwhile it is.

The IAMFA Board of Directors: Nancy Bechtol,Smithsonian Institution; Bill Caddick,Art Institute of Chicago; Brian Coleman,Museum Victoria, Melbourne, Australia;Alan Dirican, Dumbarton Oaks, Washington,D.C.; Joe May, Retired, Getty Trust,Los Angeles; Jim Moisson, Harvard ArtMuseums, Boston; Randy Murphy,Los Angeles County Museum of Art; andDavid Sanders, Retired, Natural HistoryMuseum, London.


The 24th IAMFA Conference in Scotland will beremembered in part for taking place during theweek leading up to the history-making referendum

in Scotland regarding whether or not Scotland shouldbecome an independent country. As nations around theworld watched for the latest information on the upcomingvote, IAMFA’s members and guests began arriving inEdinburgh for their annual conference.

We had all been looking forward to coming to Scotland,and what we found when we arrived was a sense of nationalpride, parades, debates, and healthy discussion about thefuture of Scotland. Despite such a patriotic, thought-provoking, and emotional subject, I never heard of oneinstance in which Scottish citizens were less than respectfulabout their individual views on the upcoming vote. Everyonewas either was a “Yes” or a “No,” but no matter what theoutcome, I had a sense that the Scottish were still going tobe Scottish, and Scotland was still going to be Scotland,whether or not the majority of its citizens felt that theyshould remain part of the United Kingdom.

I was so impressed by the Scottish people—and what aconference our Scottish IAMFA members put on!

Jack Plumb from the National Library of Scotland leda team of conference organizers who did an amazing jobin planning the conference. Here is the entire team:

National Library of ScotlandJack PlumbLinda MacMillanLiz HamiltonGavin Moffat

Glasgow LifeDavid ThomsonAlex McLeanJane Rowlands

National Galleries of ScotlandJacqueline RidgeMichael Browne

Recap of the 24th IAMFA AnnualConference in ScotlandIncredible Hospitality, Beautiful Sights, a Referendumfor Independence, One of the Best Educational Programsin IAMFA’s History, and Thriving Cultural Institutions Seen in the Fourth DimensionBy Joe May

National Museum of ScotlandFiona StewartSean GillespieAngela Whitehead

Royal Botanic Garden EdinburghSara GriffithsColin Smith

I know how much time they all spent planning this year’sconference. They did an amazing job, and we will neverforget the sights and sounds of this year’s conference. And,alongside all the educational aspects and terrific socialevents, some of us even tried something new—for me, itwas HAGGIS!

The theme of this year’s conference was “the fourthdimension”—the fourth dimension being time. Scotlandhas a famous past, but they have reinvented that past toprovide a new cultural heritage for the children of Scotlandto embrace and take forward. The program was carefullyorganized to tell this story, starting in Glasgow where wesaw how an industrialized city reinvented itself as a moderncultural tourist destination. We found Glasgow burstingwith wonderful museums and galleries, both old and new.

This year’s conference was record-setting! There were87 delegates and 57 guests in attendance. On top of that, theWednesday plenary session was a joint meeting of IAMFAmembers and their conservator counterparts, for a total of115 attendees. This was a real success, and demonstrates thegrowing cooperation between facilities professionals andconservators, especially in their efforts to preserve artifactswhile improving sustainability at our cultural institutions.

On Wednesday, the conference had attendance of morethan 170. The presentations made on Wednesday werevideotaped, and you can view them on IAMFA’s Website’sEducation page.

It is also very important that we recognize the sponsorswho made this year’s Conference possible.

A. McGillivray Electrical & Refrigeration Electricians—Electrical & Refrigeration Contractors and Engineering


Bruynzeel—Storage Systems

Camfil Ltd.—Molecular Filtration Preserves Artifacts

Chubb Fire and Security—Making your World a Safer Place

Cofely GDF Suez—If it’s outside your business focus, it’score to ours

ECG Facility Services—On site or on call; a seamlessFacilities solution

EMCEL Filters—State of the Art filters . . . for the Artsof the State

Gardiner & Theobald—Building for Museums—Independent Construction and Property Consultants

Grundfos Pumps—Demand More, Demand GrundfosMagna3

Hardies Property & Construction Consultants—Professional solutions to all of your Property &Construction requirements

Intelligent Counting—Visitor Management Systems

Link 51—Solving your collection storage needs

Norland Managed Services—Delivering Excellent FMto Museums, Galleries, and Heritage Buildings

SPIE Facility Services—Global Reach, Local Presence

Steensen Varming—Specializes in civil, structural andbuilding services engineering, with offices in Denmark,Australia, United Kingdom, Hong Kong, and Ireland

Xicato / Mike Stoane Lighting—Equipment Design +Manufacture

These sponsors contributed to the intellectual contentthrough presentations, and by generously contributingfinancially—enabling the spectacular venues, trips, andmeals we all enjoyed during this year’s conference. Weurge IAMFA members to keep this in mind when in need

of products, services, and expertise of the type offered bythese conference sponsors.

Day One of the conference began, as in past years, withthe Benchmarking Practices and Learning Workshop forIAMFA members participating in the annual benchmarkingexercise. This valuable exercise allows member institu-tions to compare building operation costs and practices,in order to find better ways to get things done. Please seeKeith McClanahan’s recap of the Benchmarking Practicesand Learning Workshop in this issue of Papyrus.

The opening reception for this year’s IAMFA Conferencewas held at the National Library of Scotland. It was a greatevening, spent visiting with old friends we hadn’t seen sincelast year’s conference in Washington, D.C. and meetingmany new first-time conference attendees, while we enjoyedappetizers and cocktails.

Because of the numbers attending this year’s conference,and the number of events occurring in around Edinburgh,three hotels welcomed delegates and guests. The APEXInternational, APEX City, and IBIS Centre were greathomes for IAMFA members.

As in past years, the Scotland Conference includedseparate programs for both delegates and their guests.During the five days, the two programs took place in tandemas delegates and guests travelled to the 14 venues includedin this year’s conference. Special mention should be made ofLiz Hamilton and Gavin Moffat and the rest of the Libraryteam, who did their best to look after all the guests duringtheir tour. Both delegates and guests spent much of theirtime together at the same venues, while accomplishingtheir individual objectives: learning and networking fordelegates, and exploration and discovery for the guests.

The venues included in the 2014 Conference were:

The Burrell CollectionEdinburgh CastleKelvingrove Art Gallery and MuseumMary King’s CloseNational Galleries of ScotlandNational Library of ScotlandNational Museum of FlightNational Museum of ScotlandNational Portrait GalleryNew LanarkScottish ParliamentRiverside MuseumRosslyn ChapelRoyal Botanic Garden Edinburgh

During the delegate program, members heard thefollowing presentations:

• Why are Museums Important to Glasgow?—Duncan Morran

• The History and Development of Glasgow Museums—Dr. Martin Bellamy

• Burrell Redevelopment—Alex McLean

• Transformation, The National Museum of Scotland—Gareth Hoskins

Attendees at the optional Benchmarking and Learning Workshopon the Sunday prior to the start of the IAMFA Conference, forthose participating in the 2014 IAMFA Benchmarking Exercise.


• Back to the Future, Adapting Heritage Buildings intoModern Museums and Galleries—Dan MacKenzie

• The Making of the New Rijksmuseum—Karen Keeman

• The Mary Rose Museum—Alan Hutton

• The World Conservation and Exhibitions Centre at theBritish Museum—Dr. David Saunders

• Ensuring a Sustainable Future for Properties in theCare of Historic Scotland—Ewan Hyslop

• The Development of the Scottish National PortraitGallery—3 years on—Mark Napier and Jacqueline Ridge

During the conference, the IAMFA Board of Directorsmet twice: first to prepare for the IAMFA Annual GeneralMeeting, and a second time with Chairs of IAMFA’s RegionalChapters for breakfast and a discussion of new steps tosupport the regional chapters, as well as to ask for theRegional Chairs’ input and participation in IAMFA’sstrategic plan.

The Annual General Meeting takes place each yearduring the IAMFA Conference. At this meeting, eachBoard member addresses the membership with adiscussion of:

• Regional Chapter Activities

• IAMFA Administration

• Treasury

• Papyrus Magazine

• IAMFA Website

• IAMFA LinkedIn Group

• Strategic Plans

• Election Results

• Preview of next year’s IAMFA Conference (Chicago)

IAMFA’s President, Nancy Bechtol, reviewed accom -plish ments with regard to our five-year Strategic Plan,introduced last year at the Annual General Meeting inWashington, D.C. The Strategic Plan can be found onthe Members Only page of www.newiamfa.org. IAMFA ispositioned to expand its partnerships, and to reach newmembers across the globe. To that end, IAMFA introducedsix goals for the next five years, aimed at continuing tostrengthen and grow our organization. IAMFA formedcommittees for goals one and two, and much has beenaccomplished towards those goals. Please see the separatearticle in this issue for an update on progress toward thefollowing six goals:

• Grow Membership

• Develop Sponsorships

• Establish Financial Fitness

• Achieve Educational Excellence

• Increase Communication

• Enhance Metrics and Technology

Numerous members have stepped up to help on thesecommittees. We encourage all IAMFA members to volunteerto participate on one of these six committees. Our successdepends on everyone contributing. Please give back if you’vebenefitted from IAMFA in the past!

Three Board positions were up for election in 2014:President, VP Administration, and Editor. There were nonew volunteers to serve in these positions for the next twoyears. Nancy Bechtol, Randy Murphy, and Joe May eachvolunteered to serve another two-year term in these positions.

On Wednesday evening, delegates and guests traveled tothe gala by coach, and upon arrival the evening began witha group photo, and cocktails and canapés at the NationalBotanics in Edinburgh. It was a beautiful venue for theconference’s closing gala.

The Botanics at Edinburgh is a hugely important playerin a worldwide network of institutions seeking to ensurethat biodiversity is not further eroded. Covering approxi -mately 70 acres, nearly 273,000 individual plants are grownat the Botanics in Edinburgh and its three smaller satellitegardens (known as Regional Gardens), located in otherparts of Scotland. These represent around 13,300 differentspecies from all over the world, or about 4% of all knownplant species.

Attendees enjoyed a delicious dinner, accompanied by avariety of wines, and a dinner program. Four IAMFA memberswere recognized with awards at this year’s closing gala.

The first was Corporate Member, Camfil Ltd., which hasbeen a corporate member of IAMFA for many years. Camfilis the world’s largest and leading manufacturer of airfilters. Camfil is well known for molecular filtration—acost-effective method of controlling harmful pollutantsthat threaten safe storage and display conditions. Camfilprovides various solutions, depending on the types andconcentrations of gaseous pollutants, the type of artifactto be protected, and the layout of the ventilation system.

Camfil was presented with the IAMFA Diplomat Awardfor its educational contributions to, and support of, IAMFA.Accepting the award on behalf of Camfil was Chris Ecob.IAMFA is very fortunate to have Camfil as a Corporate

2014 IAMFA Conference group photo.


Member and Sponsor of IAMFA. We rely so much on thegenerosity of our sponsors, and Camfil’s contributions toIAMFA’s mission have been invaluable. All of IAMFA’smembers have benefitted from the expertise they sharewith us, and we also benefit from the products they providewhen we are in need of their expertise.

We hope Camfil Ltd. will display this award in theiroffices to demonstrate to their staff and clients how muchwe value them as a company, and also how much we valuethem as members of IAMFA.

The second award of the evening was a Lifetime Achieve -ment Award presented to Harry Wanless, a retired IAMFAmember from the British Library. Harry has been a memberof IAMFA for more than ten years, and was a charter memberof IAMFA’s Benchmarking Steering Committee. Harry and hiswife Sheila have attended every annual IAMFA Conferencesince his first in 2004.

In 2010, Harry made a suggestion to the Board that wemeet after the AGM each year, so that we could discussmember suggestions while they were fresh in our memories.It was this suggestion that made us rethink how the Boardplans its meetings at conferences, mid-year Board meetings,

and monthly teleconferences. Since then, the Board hassignificantly increased the meeting time at conferences andmid-year meetings, and this extra time planning has helpedtremendously. IAMFA is a prospering, healthy, and growingorganization; and we owe this in part to the greater timethat the Board spends planning and exploring new ideas.Harry’s suggestion back in 2010 helped us get to this point.

A second Lifetime Achievement Award was presented toIAMFA Charter Member, Robert Morrone. Following a longcareer at the Philadelphia Museum of Art, Bob retired in2009, but came back from retirement, along with his wifeMary Ann, to be key members of the team planning the2012 IAMFA Conference in Philadelphia. Bob is one ofthe best known of IAMFA’s members, attending nearly allof IAMFA’s 24 Annual Conferences. Bob was awarded theIAMFA Lifetime Achievement Award for his dedication to,and support of, IAMFA for all these years.

The final Lifetime Achievement Award of the eveningwas presented to IAMFA member, and host of the 2014Scotland Conference, Jack Plumb, of the National Libraryof Scotland (NLS). Jack has been a long-time IAMFAmember, and is one of the leading contributors to IAMFA’s

Chris Ecob of Camfil Ltd. (center) accepts the 2014 IAMFADiplomat Award for the company’s years of support for IAMFA’smission. The award was presented by Jack Plumb (left), host of the2014 Scotland Conference, and Nancy Bechtol, IAMFA’s President.

Bob Morrone (second from left) accepts the IAMFA LifetimeAchievement Award presented by Rich Reinert (left), Alan Dirican(third from left), and Nancy Bechtol (right).

Harry Wanless (center) is awarded IAMFA’s Lifetime AchievementAward by John DeLucy, past President of IAMFA (left) and IAMFAPresident Nancy Bechtol (right).

Jack Plumb (second from left) receives the final Lifetime AchievementAward of the evening from David Sanders (left), Joe May (secondfrom right), and Nancy Bechtol, (right).


magazine, Papyrus. As editor of Papyrus, I have a real appre -ciation for the dedication Jack’s shown to IAMFA, sharingtechnology and improvements made over the years at NLS.

Jack also served as the UK Chapter chair for many years,coordinating local meetings in the UK, and reporting newsfrom the UK Chapter. During the past three years, Jack haswritten ten articles for Papyrus, and another six chapterupdates. His contributions to Papyrus have helped to makeit an excellent technical journal and this, along with hisreadiness to share improvements with his fellow members,earned Jack IAMFA’s 2014 Lifetime Achievement Award.Congratulations, Jack! Thank you for your service onIAMFA’s Board of Directors, and for giving us one of themost unforgettable IAMFA Conferences in our history.

As dinner wound down, Bill Caddick, host of next year’s25th IAMFA Conference, described preliminary plans forthe conference, which is scheduled for September 20–24,2015 in Chicago. Please mark your calendars, and makesure you join us next year for another unforgettableIAMFA Conference.

This brought an end to the closing gala, and the endof a wonderful 24th Annual Conference—or almost.

What remained was the final, optional extra day of toursin New Lanark. New Lanark is a village on the River Clyde,

approximately 40 kilometers southeast of Glasgow. It wasfounded in 1786 by David Dale, who built cotton mills andhousing for millworkers. Dale built the mills there in abrief partnership with the English inventor and entre pre -neur Richard Arkwright, to take advantage of the waterpower provided by the only waterfalls on the River Clyde.

Under the ownership of a partnership that includedDale’s son-in-law, Robert Owen—a Welsh philanthropistand social reformer—New Lanark became a successfulbusiness. It was the epitome of utopian socialism, as wellas an early example of a planned settlement, and thusan important milestone in the historical development ofurban planning.

The New Lanark mills operated until 1968. Followinga period of decline, the New Lanark Conservation Trust(NLCT) was founded in 1974 to prevent demolition of thevillage. By 2006, most of the buildings had been restored,and the village has become a major tourist attraction. It isone of five UNESCO World Heritage Sites in Scotland,and an Anchor Point of ERIH—The European Route ofIndustrial Heritage.

The 2014 Scotland Conference was an adventure! Wewere there firsthand to see a historic referendum, whichresulted in Scotland remaining part of the United Kingdom.We saw so many interesting sights at the conference venues,and enjoyed so many opportunities to learn and networkwith our peers from scores of cultural institutions acrossthe globe.

For me, the most memorable event was the Burns Supperheld on Monday evening at Kelvingrove Art Gallery andMuseum in Glasgow. What an evening! I will never forgetall the sights and sounds from that night. For me, it wasexactly what I had imagined a traditional Scottish Supperto be. The actors made it even more remarkable. I wish allof our members could have been there to see it.

I know how hard our conference hosts worked to makethe 2014 IAMFA Conference so unforgettable. My sincerethanks to the conference team—and particularly our host,Jack Plumb. Jack, you do more than most IAMFA membersrealize. Thank you!

Joe May has served on IAMFA’s Board of Directors since 2005, andis the webmaster and editor of IAMFA’s magazine, Papyrus.

Bill Caddick presents a preview of the 2015 IAMFA ChicagoConference.

For more information on becoming a member of the International Association of Museum Facility Administrators, please visit

www.NewIAMFA.orgSee page 30 for more information on membership benefits

Become a Member of IAMFA


Ihave had the pleasure of attendingthe IAMFA guest programs since2001. They afford us an opportunity

to reconnect with old friends and tomeet new people from all over theworld. It doesn’t get any better thanthat, and you make great contacts forfuture vacations!

Each host city has the opportunityto showcase their location and all ithas to offer. We had the great fortunethis year to be in Edinburgh, a very his -torical city, during the historic Scotlandreferendum for indepen dence. Therewere “yes” and “no” banners hangingall over the country, and lively groupsgathering everywhere to promote theirpoint of view. In the end, the “no”votes won 55% and Scotland remainspart of the United Kingdom.

On another note, the Royal andAncient Golf Club of St. Andrews votedto admit their first female players intheir 260-year history! Progress knowsno bounds!!

There is no better way to exploreEdinburgh, which is built on sevenhills, than on foot. Get ready for someheart-pounding climbs and descents!We began our walking tour in theGrassmarket, which has evolved froma location where farmers would tradegoods and cattle, and public executionswere held, to a trendy area filled withsome of the oldest pubs and cafes. Wewalked to Greyfriars, the first churchbuilt after the reformation in 1602.We heard a feel-good story was abouta Skye Terrier called Bobby, whoseloyalty to his owner lasted 14 yearsafter his owner’s death in 1858. Hewas fed by the locals, and lay over hismaster’s grave in Greyfriars Kirkyardevery day until his own death. He wasrewarded with a statue in front ofGreyfriars Bobby Pub, and in 1961Walt Disney turned his story into a film.

Next, we headed over to the RoyalMile: the main thoroughfare in OldTown that runs from the Castle to thePalace of Holyroodhouse, the officialresidence of Her Majesty the Queen.This area was the site of some of theearliest multi-story buildings in the1500s, which housed approximately80,000 people in cramped andunsanitary conditions.

Back in the 1600s, this area was abustling commercial area, open to thesky. Four hundred years later, our tourof Mary King’s Close kept us under -ground for 45 minutes. How did thathappen? The city was rebuilt on top ofthese early buildings, so they are nowunderground. Our tour guide, dressedas a resident of the time, led us intoa warren of rooms showing us howfamilies lived in one room. They onlyhad a “bucket” for personal use, whichwas emptied out the window into thestreets twice a day. You can well imaginethe unsanitary conditions both insidethe house and outdoors! Bathing wasconsidered unhealthy, so it was very“fragrant” and disease was rampant.

During the tour, three portraits ofreal people who lived in the area—including prominent businesswomanMary King—came to life and spoke tous about life at that time. It was veryentertaining, and made us thankfulfor our own living conditions.

Further down the Royal Mile, in themidst of old stone buildings, we arrivedat the new Parliament building con -structed of steel, oak and granite. In1997, the Scottish people voted tobuild their first Parliament in almost300 years.

The Holyrood site that was selectedfor the building showed evidence ofoccupation as far back as medievaltimes. There was an architecturalcompetition for the building, and aSpaniard was chosen. His designconcept was to show the relationshipbetween the building and the surround -ing landscape, with sustainability beingthe driving force. The site has wonmany architectural awards, but of

2014 IAMFA Scotland Guest ProgramBy Nancy Evans

Greyfriars Bobby. Mary King’s Close.


course generated quite a bit of con -troversy when it cost ten times theoriginal budget and ran three yearsbehind schedule. Time to update theprocurement model!

A full day trip to Glasgow fordelegates and guests was a rousingsuccess. We were able to visit three

outstanding museums and celebratethe day with a traditional Burns dinner.Haggis anyone? Songs and poetryreadings completed the evening.We left for Edinburgh singing“Auld Lang Syne.”

This was IAMFA’s first return toScotland since the previous conference

there in 1998. I’m sure the numberof participants was quite a bit largerthis time.

This is a great organization withwonderful members and guests. I havegreat respect for all the hosts, and theplanning they do for our conferences.The behind-the-scenes coordinationand planning that takes place for morethan a year always culminates in yetanother fantastic conference. The joyis seeing old friends, and making newones, while experiencing anotherinteresting city.

I’m already scouting out what elseto do in Chicago next September,when Bill Caddick wows us with the2015 Conference.

Until then . . .

Nancy Evans lives in Fort Lauderdale, Florida,with her husband Buck, who retired fromthe Smithsonian after 31 years. Nancyhas a fast-paced job planning meetingtrips from start to finish for domestic andinternational clientele visiting South Florida.Scotland was Nancy’s 14th IAMFAConference. She can be reached [email protected] public entrance of the Scottish Parliament building, opened in October 2004.

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Once again, it was an absolutepleasure to be part of a well-established group, which not

only looks after its members superbly,but also the large contingency of per -sonnel who come and look after theirpartners’ passports!

This is my fourth year accompany ingBrian to the IAMFA Annual Conference,and I have to say that it only gets betterwith each passing year. Not only do Iget to walk through some of the mostbeautiful buildings in the world, sleepin the most divine establishments, dinein the most unforgettable rooms (or asthe case may be in Delaware–LongwoodGardens Conservatory), but I also meetmany wonderful people who makeboth mine and Brian’s journey amemorable one.

The very full Guest Program onthe Tuesday took us out through therural areas of Scotland to the NationalMuseum of Flight. To see and read thestory of how the Scots managed to geta Concorde from London, down theThames, then through the townships

from the wonderful visual surround -ings, the musical entertainment—and,of course, the consumption of thehaggis—will always be a memory toshare with friends.

It’s not always easy going overseaswhen you know your partner has hisown schedule, and you have to findyour own way around with people youdon’t know. It is, however—and I hopewill continue to be—a highlight of ouryear, as was this year as well, after havingonce again met, laughed, dined andcavorted with new and old friends.

I thank IAMFA for this opportunityof a lifetime, and look forward withgreat anticipation to carrying Brian’spassport to Chicago next year.

Christine Coleman lives in Melbourne,Australia, and with husband Brian hasthree children and two grandchildren.Chris works fulltime as a teacher assistant(Integration Aide) at a special school forstudents with mild intellectual disabilities,ages five to eighteen, and at the momentis building a website to support IntegrationAides across Australia.

It’s Always a Pleasure The 2014 IAMFA Conference Guest Program By Christine Coleman

Rosslyn Chapel. Preparations for the Burns Supper at KelvingroveArt Gallery and Museum.

and countryside of Bonnie Scotlandwithout a hitch, was amazing. We con -tinued on our discovery tour and arrivedat the Maitland Hotel in Haddingtonfor a scrumptious lunch of localsalmon, then finished the day with avisit to the famous Rosslyn Chapel.

On Wednesday, we all had variousactivities we could attend in and aroundthe beautiful Edinburgh District. It reallyis a very special place to visit and enjoythe history of a nation.

For me, the highlight this year wasthe Burns Supper. The Guest Programhad taken us to Kelvingrove Art Galleryand Museum earlier that day, but noth -ing could prepare me for the momentI looked down from the mezzaninebalcony to see the foyer transformedinto what would be our dining expe -rience for the evening. I was over -whelmed by its grandeur, and thethought of experiencing what is atreasured and valued Scottish tradition.

To then hear the bagpipes pipingin the haggis was the icing on the cake.A night that engaged all our senses,

McGuire Engineers is aproud affiliate memberof IAMFA since 2001.

www.mepcinc.com


In 2015, IAMFA will celebrateits 25th anniversary. In 1990,George Preston, Director of

Physical Plant at the Art Instituteof Chicago, first saw the impor -tance of founding a professionalorganization of museum facilitiesadministrators and, along withcolleagues from several othercities, laid the groundwork forthe organization we know today.It is a fitting honor to George’svision that this important mile -stone will be observed at the 2015IAMFA Conference in Chicago.

The Chicago of 2015 is vastlydifferent from that of GeorgePreston’s time. In 1990, the Loop—Chicago’s downtown—was a commercial district just recovering from the urbanproblems of the sixties and seventies. With the exceptionof a few cultural institutions, the center of the city wasvacant at night.

A swath of railroad tracks running east of MichiganAvenue was a legacy of Chicago’s past as America’s railwayhub. Chicago, which has always been the laboratory ofAmerican architecture, had only recently realized theimportance of preserving its historically important buildings.Sadly, many important monuments to Chicago’s greatness—conceived by architects as notable as Sullivan, Burnhamand Wright—were lost due to various failed “urbanrenewal” schemes.

The past 25 years in Chicago have been among the mostexciting and revolutionary in the life of this great American

Preview of the 25th IAMFA AnnualConference in ChicagoBy Bill Caddick and Patrick Jones

IAMFA Founder GeorgePreston, former Directorof Physical Plant at theArt Institute of Chicago.

The Chicago skyline today, with the Shedd Aquarium on the far left.

city. In 1991, led by Michael Jordan, the Chicago Bullsbasketball team won the National Basketball AssociationChampionship for the first time. They went on to do sofive more times during the next decade.

The United Center, home of the Bulls and the ChicagoBlackhawks hockey team, was erected in celebration of thisaccomplishment. This stadium, prominent to air travellersflying above the city, is known as “the house that Jordanbuilt.” In 1996, Bill Clinton was nominated for a secondterm as U.S. President in the United Center. It was the firstpresidential convention to be held in Chicago since theill-fated events of 1968, and heralded the nation’s renewedlove affair with the “Second City”. Chicago is also thehome town of U.S. President Barrack Obama, who beganhis career here as a community organizer.

Due to zoning changes in the 1990s, the Loop became aresidential district for the first time. With the influx of newdowntown residents became a busy place at all hours. TheTheater District was formed and several large houses—including the Oriental Theater, the Cadillac Palace, theBank of America Theater, the Goodman and the AuditoriumTheater—found new life, and remain a vital componentof the cultural life of the city.

The City of Chicago, in acknowledgement of its new -found status, undertook several dramatic projects to improveinfrastructure. The Orange Line of the Chicago TransitAuthority was opened, for the first time providing trainservice between Midway Airport and the Loop. Both ofChicago’s airports—Midway and O’Hare—now have trainservice, and “the El” remains the most time-efficient wayto travel between the airports and downtown.

By far, the crowning achievement of this period wasthe opening of Millennium Park in 2004. This spectacle

of landscape architecture replaced the aforementionedrailyard east of Michigan Avenue. The park is anchored bythe Jay Pritzker Pavilion: a monumental bandshell designedby architect Frank Gehry. Gehry was also the architect ofthe Guggenheim Museum in Bilbao, Spain, which will befamiliar to IAMFA members who attended the conferencethere in 2005.

The Pritzker Pavilion is the site of numerous publicconcerts, and is the place where Chicago welcomes itsreturning heroes. Cloud Gate, an adjacent public sculptureby artist Anish Kapoor, is a continuing source of wonderto visitors. This sculpture, known by Chicagoans as “thebean”, has become as important a symbol of the city as theSears Tower or Wrigley Field.

Venues to Date for the 25th ConferenceThe Chicago Conference team has selected the HyattRegency Chicago as the event hotel for the 2015 IAMFAConference. This hotel will be familiar to IAMFA memberswho attended the last Chicago conference in 2000. TheHyatt Regency is ideally located on the south bank of the

Chicago River near Lake Michigan. It will allow our dele -gates and guests easy access to the Loop, as well as to NorthMichigan Avenue—known as the “Magnificent Mile”—whichis Chicago’s famous shopping promenade.

The hotel affords beautiful views of the Chicago River, andsuch important architectural gems as the Wrigley Buildingand Tribune Tower. The Hyatt Regency Chicago will bethe venue for the Annual Benchmarking and LearningWorkshop to be held on Sunday, September 20, 2015. Wehave negotiated a block of rooms for the conference, andwhen it becomes available, we’ll provide a link on the website’sConference page for you to make your reservations.

The Art Institute of ChicagoThe Art Institute of Chicago is the second-largest encyclo -pedic fine art museum in the United States. The museum issituated at the corner of Michigan Avenue and Adams, whichis the point of origin of the fabled Route 66. Route 66—the“Mother Road”—originally ran from Chicago to Los Angeles.It is perhaps the most famous highway in American history,and has been celebrated in the works of artists as diverseas John Steinbeck and Nat “King” Cole. It is a Chicagotradition for visitors to have their picture taken by the old66 sign across from the museum.

Located in Grant Park, the Art Institute occupies a two-block area. The Beaux-Arts base building, with its iconicbronze lions, was originally constructed as a lecture hallfor the World’s Columbian Exhibition of 1893. Visitors areencouraged to read the popular novel The Devil in the WhiteCity by author Erik Larson for an exciting fictional accountof the fair and its time. The museum has since expandedto a facility of over one million square feet (92,000 m2).

New to IAMFA delegates who attended the conferencein 2000 is the Modern Wing, which opened in May 2009.Designed by Renzo Piano, and described by him as a“temple of light,” this new structure occupies a full quarterof the museum’s total plant area, and houses its Modernand Contemporary art collections. This building, with itsdistinctive use of daylighting and light-harvesting, will be ofgreat interest to our delegates. The building mechanicalsare creatively placed below a garden, and employ fan-walltechnology air-handling systems. The Modern Wing is

Millennium Park, with Pritzker Pavilion connected to Grant Parkby the Nichols Bridgeway.

Hyatt Regency Chicago. The Modern Wing of the Art Institute of Chicago.



joined to Millennium Park by the Nichols Bridgeway,also designed by Piano. The Bridgeway allows visitors aneasy transition between the natural beauty of the parkand the museum’s collections.

In September 2014, the Art Institute learned that it hadbeen named the No. 1 museum in the U.S. and in the world,according to the Travelers Choice awards announced bythe travel website, TripAdvisor. With a staff of over 700employees, the Art Institute is a “people’s favorite” andwelcomes 1.4 million visitors a year. It is also known forits devoted membership of 98,000.

The Museum CampusLocated southeast of the Loop in Grant Park is the MuseumCampus, which affords visitors a spectacular view of the cityacross Lake Michigan. Developed in the 1920s, the MuseumCampus is home to the Field Museum of Natural History,the Shedd Aquarium, the Adler Planetarium, and SoldierField—home of Chicago’s beloved National Football Leagueteam, the Bears.

The Field Museum of Natural HistoryOne of the world’s largest natural history museums, theField Museum also had its roots in the 1893 world’s fair.Named for the great Chicago merchant and philanthropistMarshall Field, the Museum opened in 1921 in its monu -mental, purpose-built facility. The Field welcomes as manyas two million visitors a year.

In addition to its permanent exhibitions and ever-expanding collections, the Field Museum is considered atop-flight research facility with a large scientific staff. TheField’s most famous resident is Sue, the most completeand best-preserved Tyrannosaurus Rex fossil in the world.The Field’s facilities staff is noted for their success inmaintaining excellent conditions while preserving theMuseum’s 1920s grandeur.

The Shedd AquariumIt has been a few years since an IAMFA Conference hasincluded a visit to an aquarium. The Shedd Aquarium,which opened to the public in 1930, was the most-visitedaquarium in the United States in 2005, and is one ofChicago’s most popular attractions. The five-million-gallonfacility is perhaps best known for the Abbot Oceanarium,which opened in 1991. The Oceanarium is the largestindoor marine mammal facility in the world, featuringdolphins, beluga whales, sea lions and otters.

Among Chicago cultural institutions, the Shedd Aquariumis the clear leader in sustainable and green facilities practices.In 2006, in a ceremony presided over by then-MayorRichard M. Daley, the Shedd was recognized as Chicago’sgreenest museum.

The Adler PlanetariumLike the Shedd Aquarium, America’s first planetariumopened to the public in 1930, projecting the night sky ontoan indoor dome with a projector developed by the Carl ZeissWorks. Today, the Adler boasts three full-sized auditoriums,a large collection of astronomical artifacts, and an importantresearch facility. The Adler actively brings the stars to thepeople. One of your correspondents had the privilege ofobserving both occurrences of the Transit of Venus there,in 2004 and 2012. This phenomenon will not occur againuntil 2117, over a century from now.

Hyde Park, on Chicago’s South Side, is perhaps bestknown for the University of Chicago. The nearby KenwoodDistrict was once home to President Obama. As a young man,past IAMFA president and conference host Bill Caddickbegan his career in the steam tunnels below the University.He was then known as “the kid.” Bill went on to become,at age 36, the youngest Facility Director in the history ofthe University.

The Field Museum of Natural History.

The Shedd Aquarium at dawn. The Adler Planetarium.

The Museum of Science and IndustryLike the Art Institute, the Museum of Science and Industryoccupies a facility originally constructed for the World’sColumbian Exhibition of 1893. The building was theExhibition’s “Palace of Arts” and is one of the only remain -ing structures from “the White City.” The museum housesU-505—one of the only German submarines to survive theSecond World War—which was gallantly saved from scuttlingby the U.S. Navy in 1944, when it was captured.

Also on display at the Museum is the Apollo 8 capsule:the first manned spacecraft to orbit the moon. Chicago-area native Jim Lovell was a crew member on the Apollo 8mission, and went on to command Apollo 13, which wasfeatured in Ron Howard’s 1995 film. It was Lovell whouttered the famous words, “Houston, we have a problem.”

The Museum of Contemporary ArtLocated at the northern end of the Magnificent Mile is theMuseum of Contemporary Art (MCA). With its beginningsin the 1960s, the MCA currently houses an extensive collec -tion of post-Second World War art objects. The MCA’scurrent facility, designed by architect Josef Paul Kleihues,opened to the public in 1996. In 2014, the MCA set newattendance records with its exhibition celebrating the lifeof pop sensation David Bowie.

We will keep you updated in future issues of Papyrus,and on the website, with last-minute additions to venueswe’ll visit for social activities, for the guest program, aswell as information on the educational program for theconference. We do plan on offering an optional extra day oftours on the Thursday of Conference week, and will providedetails on that as soon as they are nailed down. Until then,please pencil September 20–24, 2015. We have a fewsurprises up our sleeve that we don’t want you to miss.

Come see where IAMFA was born!

Bill Caddick is VP, Department of Physical Plant, and Patrick Jones isManager, Off-Site Facilities and Energy at the Art Institute of Chicago.They will be our hosts for the 25th Annual IAMFA Conference.


The Museum of Science and Industry.

The Museum of Contemporary Art.


The 2014 Benchmarking Work -shop was a special treat for thoseattending the IAMFA conference

in Edinburgh, Scotland this year. Inprevious years, the workshop has beenheld in a hotel conference room, butthis year the event was hosted by JackPlumb and held in the Reading Roomof the National Library of Scotland(NLS). Surrounded by the Library’spriceless collection, participantsengaged in an active, spirited, dialogueto exchange best practices from theirinstitutions. What a special venue!

“Benchmarking is more than datacollection. The real value for the par -ticipants is in understanding how otherorganizations are doing similar jobsfor less cost or with a higher quality,”says Keith McClanahan of Facility Issues.“That is really what the benchmarkingworkshop is all about.” The workshopprovides a forum for networking,finding others with similar issuesand opportunities, and sharing best

practices that can be implementedby participants.

Each institution was invited to makea short presentation on recent changes,issues, and what is going well. Duringthis roundtable discussion, members geta good understanding of the problemsat each institution, and it’s always sur -prising to see how much they all havein common. Nearly everyone seems tohave issues with attracting and retain -ing electricians, mechanics, buildingengineers, and janitorial staff. Someparticipants discussed training optionsthat they had started to help with thisshortfall. Others reported that they areusing more contractors to supplementin-house staff. All agreed that this is aproblem that is just going to get worsein future, as retirements accelerate andthe existing workforce ages out.

Energy costs and their budgetaryimpact were also very hot topics. Mostof the participants reported increasedutility rates, along with more extreme

weather. That combination increasedboth consumption and costs for many.We discussed options to create consor -tiums to leverage power purchases,water savings initiatives, recycling,and salvage programs.

2014 Benchmarking Practicesand Learning WorkshopBy Keith McClanahan

Jack Plumb addresses attendees at theBenchmarking and Learning Workshop.

Attendees at the Benchmarking and Learning Workshop.

Kendra Gastright addresses attendees.

Dave Samec, of the National Galleryof Art, discussed an ongoing filterevaluation project that was utilizingmore compact rigid filters. All optionsare under consideration to achieve theenergy reduction targets stipulated byan Executive Order. Dave also sharedhis humorous experience with socialnetworking. On a very cold day at theNational Gallery, a large plume ofsteam was visible. Twitter accountsmistakenly reported a smoke incidentat the National Gallery, and Dave hadto navigate through Twitter to learnabout it. A quick show of hands indi -cated that Dave was not the only personin the room without a Twitter account;hardly anyone else present had one.

Jack Plumb provided both a presen -tation and a tour of the NLS mechanicalspaces. One of the most significantreasons the NLS has achieved energyutilization reductions, is the widerrange of operating temperatures andhumidity that have been agreed to bythe collections staff. Following consul -tation with NLS Collection Care col -leagues, the Library decided on thefollowing operational criteria:

• 15°C (59°F) to 20°C (68°F)

• 40% RH to 60% RH

The wider range of operatingcriteria and targeted mechanical systemupgrades has significantly improvedenergy utilization at the NLS.

Jack discussed and presentedthe application of the TurbomiserCompressor. This machine has acompressor rotor held in a magneticfield, which means it is infinitely variable

for load capability and contains no oil.All of the participants were able to tourthe mechanical equipment rooms andsee this compressor.

As often happens when touring afacility, some of the participants justcannot seem to keep their hands offthe equipment. The equipment space iscrowded, and it is easy to get dis tracted.Note the hearing protection dispenseron the wall in the photo at the bottom.

Can you guess how many facilitymanagers it takes to replace the coverof the earplug dispenser? Just a note:Bill was not the only person whoknocked it off.

One of the items we collect afterevery benchmarking workshop is acomment and feedback form. It wasrefreshing to read these commentsand note that this was a rewarding andproductive workshop for all attendees.Everyone indicated they would attend aworkshop again, that the topics coveredwere relevant and useful, and that theworkshop added value to the Confer -ence. Participants said that this was oneof the high points of the conferenceand a great opportunity for networking.

Thanks to everyone who attendedand helped make this a successfulworkshop.

Keith McClanahan is Principal at FacilityIssues Inc., which administers IAMFA’sAnnual Benchmarking Exercise. Keith canbe reached at [email protected]


Dave Samec discusses ongoing filterevaluation project.

Keith McClanahan, Facility Issues, Inc.Bill Caddick reaches for ear plugs.

Jack Plumb takes attendees on a tour ofthe NLS Plant.

Turbomiser Compressor.

Free-cooling heat exchanger at the NationalLibrary of Scotland.


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International Association of Museum Facility Administratorsmembership offers invaluable professional benefits for its

hundreds of facility managers of archives, libraries, museumsand other cultural institutions.

Benefits of IAMFA Membership:

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As architects and engineers specializing in museumfacilities, we are often faced with requests fromowners of rare collections to design facilities that meet

requirements not covered by current codes or standards. Onesuch instance involved work for the Library of Congress’National Audio-Visual Conservation Center in Culpeper,Virginia. A major benefactor had purchased the primarilyunderground and abandoned Richmond Federal Reserveemergency preparedness center, just outside Culpeper.The plan was to adapt the facility for use by the Library tohouse, conserve, and protect its vast collection of motionpicture, broadcast, and recorded sound material.

This facility was to contain all of the Library’s collectionsin as sustainable an environment as possible—includingtheir collection of highly combustible and explosive nitratefilm. Because of the film’s volatility, NFPA 40 was specificallywritten to define how nitrate film must be stored, limitingnot only the amount of nitrate film to be stored in eachfour-hour fire-rated vault, but also limiting the size of thevaults. What NFPA 40 also required was 100% outside airinto each vault, without crossover to, or return throughany other vault, in order to prevent contamination fromspreading from one vault to the next.

This was, of course, highly inefficient in energy terms,especially considering that there would be 124 vaults. Withour consulting engineers and the benefactor’s sponsorship,we designed a damper system, tested it through FM Global,gained the approval of the Authorities Having Jurisdiction(AHJs), and had the system accepted by NFPA as an accept -able nitrate-film storage alternative that enables return airto the vaults, thus saving major operational costs.

The system was also applied in the design of 122 nitratestorage vaults for the UCLA Film Archive in Santa Clarita.The UCLA facility was also financially supported by thesame benefactor and was approved by the AHJs of bothSanta Clarita and Los Angeles County. The damper systemis available on the market for applications that requirehighly rated fire containment.

Recently, we were asked by a major film studio to designtheir new film vaults, which would contain their “crownjewels.” With the request, came a strong desire not to haveany water-suppression system—even pre-action systems—in their vaults. Water is highly detrimental to film, as wellas to other collections. However, since AHJs have routinelyrequired water-based suppression systems—at least as aback-up to a clean agent suppression system, as in the caseof the Culpeper project for non-nitrate collections—weneeded to develop a design that would be approved by theAHJ, while omitting water suppression within the vaults.

In considering the design and working with the studioand the AHJ, we felt that if the vaults could be designed in

The “Russian Doll” and Other UniqueFire Protection Approaches forIrreplaceable CollectionsBy Hal Davis

The Library of Congress National Audio-Visual Conservation Center.

Upper mechanical space of Nitrate Vaults. Section at Nitrate Vaults.

such a way that they would be completely insulated—withoutpenetrations for structure or other utilities through the topof the vault enclosure—and made water tight, then we couldplace them inside an outer shell that was fully covered by awater based pre-action suppression system. Thus was bornthe idea of the “Russian Doll” design. The inner shell isprotected with only a two-stage clean-agent suppressionsystem, and the outer shell is protected by a pre-actionwater-based protection system.

Additionally, we structured the outer enclosure withdeep trusses that spanned the insulated, watertight andstructured vaults beneath. The depth of the truss gave usenough room for an interstitial space housing all of thehigh-performance mechanical/electrical equipment to meetrequired conditions in the vaults below and in adjoiningpersonnel/processing spaces.

We covered the trusses and outer walls with economicalenclosure materials, and made the resulting buffer a semi-conditioned space above the vaults. By providing circulationon the perimeter of the vaults, we further cushioned theimpact of solar and weather conditions on the inner vaults.The outer skin of sloped metal roof and rain screen siding

thus became the first line of defense against UV and weathermigration, as well as intrusion. The exterior building skinextends the life of the waterproof membrane, and equalizespressure differences between the inside and outside ofthe vaults.

The box-within-a-box design also helped increase theseismic performance of the structure, enabling the designto exceed seismic code requirements. The lighter outerstructure was designed with braced frames and largerfootings to act separately from the inner concrete-insulatedstructure of the vaults.

The concept serves a multitude of purposes, includingadding an extra layer of security, service circulation,increased insulation, moisture protection, and improvedseismic response. The concept can be applied to any rare,irreplaceable collections.

Hal Davis, FAIA, is a Senior VP with SmithGroupJJr, and leadstheir Cultural Studio in Washington, D.C. He has over 35 years’experience in the design and construction of technologicallycomplex and highly technical facilities. He can be reached [email protected].

Exterior of studio’s film vaults.


THANKYOU

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Abstract The small archive at the ArnamagnæanInstitute has almost completely passiveair-conditioning, due to its placementbetween a corridor in the permanentlywarm Copenhagen University buildingin Copenhagen, Denmark, and thebuilding’s outer wall. It is well insulatedon the side next to the warm building,and thinly insulated towards the out -vside. As a result, its temperature isapproximately one-third between theinterior build ing temperature, andthe average outside temperature.

The annual average temperaturein the archive is above the annualaverage outside temperate, makingthe annual average relative humidity(RH) auto matically lower than thatoutside at about 50%. The day-to-dayRH remains steady throughout theyear, because of humidity bufferingon the walls, and by the hygroscopiccontent of the archive.

Fine control of RH is provided bypumping in outside air when it is, bychance, at the right water-vapour con -tent to push the archive RH towards itstarget 50%. The pump’s energy con -sumption is negligible, but heat from

the usually warmer building interiorpasses through the archive to the out -side, so it does use energy. The RH hasremained within the envelope of 48%to 58% over a period of 7 years. Thetemperature has varied within the rangeof 14–24°C with a gentle annual cycle.

IntroductionThere is a small archive of medieval man - uscripts in a build ing at CopenhagenUniversity (Figure 1), with an unusualclimate-control solution. It was designedfrom the outset not to use air condi -tioning. Instead, its relative humidity(RH) control relies on a combinationof humidity-buffering from the archive’scontents, and a few degrees of winterheating due to leakage from thepermanently warmed building thatpartially surrounds it.

The temperature varies throughoutthe year, being close to the inside tem -perature in summer, but around a thirdless than the indoor temperature inmid-winter. The ampli tude of thisannual temperature cycle is controlledby the relative thickness of the insu -lation against the building interiorand against the outside air. A cutawaydiagram of the construction is shownin Figure 2; the interior is shown inFigure 3; and a schematic drawing ofthe climate control principle is shownin Figure 4. In this article, we analyze

the climatic performance of the archivesince 2006.

Construction MaterialsThe structure of the archive is rein -forced concrete. Outside this structure,there is thermal insulation of varyingthick nesses. Attached to the insidesurface of the walls is a 50 mm layerof “gasbeton” blocks. This is a porouscalcium-aluminium silicate with afibrous structure. It is the best humiditybuffer among orthodox constructionmaterials.

The blocks have been coated witha single layer of silicate paint, whichprevents dust while allowing air todiffuse into the blocks. The floor isconcrete, hardened with fluosilicate.The ceiling is 4 layers of 13 mm gypsumboard, with insula tion above. Theshelv ing is hard enamelled steel. Themassive concrete walls were specifiedfor physical rather than climaticsecurity, but add useful heat capacity.The door opens into the office area,so air infiltration is mainly from thebuilding rather than from the outside.

Climate Control of theArnamagnæan ArchiveBy Tim Padfield, Morten Ryhl-Svendsen, Poul Klenz Larsen, Mette Jakobsen and Lars Aasbjerg Jensen

Figure 1. The building at CopenhagenUniversity housing the ArnamagnæanInstitute. The archive is the room behindthe windowless portion of the long façade.

Figure 2. A cutaway diagram showing thestructure of the archive. The insulationtowards the interior of the building is thickerthan the insulation on the outer walls.

Figure 3. A view of the interior of thearchive. It measures 10 ¥ 4 ¥ 3 m high.The lobby is visible beyond the armouredand insulated door. The duct for pumpedoutside air is just visible above and to theleft of the door.

The Climate ControlPrincipleRelative humidity is controlled byensuring that the annual averagetemperature within the archive isabout eight degrees above the annualaverage outside temperature. This willautomatically give an average RH inthe archive of around 50%.

Because the room is nearly airtightand full of humidity-buffering paperand parchment documents, the archivecan cruise over long periods of disequi -librium between inside and outsidewater vapour concentration, without theRH changing much. This means thatthe winter temperature can be higherthan the theoretical ideal value, andthe summer temperature lower.

The archive temperature excessover ambient is kept low in summerand high in winter by the balance ofheat flow into the archive from theinhabited building. The building sur -rounds four surfaces of the archive, andthe heat flow to the outside is throughthe two exterior walls.

The insulation’s thickness has beencalculated to ensure that the archivetemperature is approximately the day -time temperature of the outside air insummer, decreasing to about 14°C inwinter. Without humidity buffer ing,this would give a low RH in winter ofaround 30%, and a high summer RHof around 70%. However, humiditybuffering is provided by the archive

construction and by the pack ag ingmaterials, as well as by the archiveditems. This humidity buffering onlyworks if the air infiltration rate is low. Inthis archive, it is about 0.1 air changesper hour.

There is mechanical fine control ofthe climate to supple ment the humiditybuffering. Occasionally, particularly insummer, the water-vapour content ofoutside air, if pumped into the archive,will push the interior RH towards the50% target. The pump increases theair exchange rate from 0.1 to about0.5 per hour. It is activated by thebuilding management computer.

Sensors inside the archive andoutside the building first calculate themoisture content of air at the targetvalue 50% RH, as well as the current

archive temperature. Then the actualwater-vapour content is calculated forboth inside and outside air, using rela -tive humidity and temperature sensors.If the outside water-vapour contentis closer to the target than the insideconcentration, the pump is activated.It passes outside air through a filter fordust and pollutants, then releases itat the far end of the room, to exhaustthrough a vent near the door.

The balance of water-vapour contentinside and out is shown in Figure 5 asshaded areas above and below the zeroline. Shading above the line indicatesexcess water vapour in the outside air.The energy used by the pump is negli -gible, but the heat energy movingthrough the exterior walls of the archiveamounts to about 14 kWh/m3 per year.


Figure 4. A perspective sketch showinghow the archive temperature is set bycompeting heat flows through the interiorand exterior walls. The RH is fine-tuned bypumping in air when by chance the outsideair has suitable water-vapour content.

Figure 5. The year 2010 in the archive. The red segments of the RH trace at the top indicateperiods when outside air was pumped in to raise the air exchange rate from 0.1 per hourto 0.5 per hour. The shaded strips identify major pumping events, and show how theycorrelate with the difference in water-vapour content between the outside and the archiveair. The dashed horizontal line marks the target RH.

Figure 6. A record of the archive climate over the past seven years, compared with themonthly average outside temperature and the outside temperature span. The spikes showthe climate in the conservator’s office when the logger was retrieved to extract its data.


Comparison of MeasuredResults and TheoreticalPerformanceThere is an excess of water vapourwithin the archive, averaged over theyear. To investigate this mystery, wehave to look at the mixing ratio ofthe inside and outside air masses.

The average mixing ratio insideshould be the same as outside; other -wise, there must be an independentaddition of water to the inside air. Thisseems to be the case. The outside-to-inside mixing ratios were 44:56. This isthe ratio of areas under the curves inFigure 7. The most significant infiltra -tion is from the corridor, and from theadjacent office. Also, workers within thearchive will add water vapour directly.

Air PollutionAn unventilated room will accumulatecarbon dioxide from people within it.The archive is active, but not busy. Itemsare fetched for study in the adjacentreading room. The spikes of carbondioxide are detectable, and the con cen -tration is continuously monitored forboth safety of people and securityagainst unauthorised entry. Typically,there is one visit per day; this usually onlyraises the concen tration to 600 ppm,which is acceptable. The limit for per -manently occupied spaces is generallyput at 1000 ppm, depending on localbuilding regulations. The RH also risesbriefly, but is buffered by absorptioninto the archive materials.

Pollution from outside is interceptedby a carbon filter in the pumping system.Pollution generated internally—prin -cipally acetic acid vapour—is absorbed

by recirculation through the samecarbon filter.

Conformity with StandardsAt the time the archive was designed,the internationally influential standardfor archives was British StandardBS5454:2000. The temperature spec -ification was very strict: choose anytemperature between 16 and 19°C, thenapply a variation limit of ±1°C to thattemperature. The RH allowance was35% to 60%, with ±5% around thechosen target. The archive nearlyachieves the RH standard. Recently,the guidance has been relaxed con -sider ably, but not enough to retro-regularise the temperature in thisarchive. PD5454:2012 allows a tem -perature span from 13°C to 20°C forsensitive collections.

The archive temperature exceedsthis upper limit for nearly a quarter ofthe time. The effect on the chemicaldegradation rate is approximatelycompensated by the lower winter tem -perature: the same fraction of the timeis below 17°C. The minimum tempera -ture was 13.5°C. The span of the annualcycle is typically eleven degrees.

The 20°C upper limit advised byPD5454 has no particular significancefor the chemical or physical stability ofartifacts, yet it is already used as a firmspecification. One should insteadfollow the normal building engineers’practice of specifying a temperaturethat can be achieved while the localweather is within its normal range,while accepting that the outsidetemperature will be unusually highfor short periods.

For Northern Europe, a reasonabledesign target for passive climate controlof archives would be 25°C. This isachievable without mechanical aid,whereas 20°C is not easily achieved.Such a limit is advocated in the jointdeclaration of the InternationalInstitute for Conservation (IIC) andthe conservation committee of theInternational Council Of Museums(ICOM-CC). This declaration (IIC 2014)endorses previously existing guidelineswhich set temperature limits at 16–25°C(BIZOT) and 15–25°C (AICCM & AIC).

ConclusionsThe archive has performed well inproviding a moderate climate. The RHhas remained within 6% of 50% for thepast seven years. This good performanceis not entirely attributable to the cun -ning design. The winter temperatureis higher than it should be theoretically,but works because the infiltrating airhas been humidified by human activitywithin the building. The weather-dependent pumping of outside airhas contributed largely to keepingthe RH down during the vulnerablesummer period.

The approximately ten-degree-amplitude smooth annual cycle presentsno scientifically documented dangerto the collection. The 14°C minimumin winter presents a small danger oftransiently high RH at the object sur -face, when it is taken out to the readingroom. However, a brief accli matisationin an airtight insulated bag will entirelyeliminate this risk.

This principle of running the archivewith a temperature cycle that rises toabout the same as outside during thesummer but remains much warmerthan ambient in winter has also beenapplied to free-standing archives. Inthis case, it is necessary to maintain aminimum temperature of around 14°Cin winter, depending on the localclimate. Only thermostat control isnecessary; the buffering by the archivedmaterial will automatically ensure astable and moderate RH throughoutthe year. A systematic treatment of thephysics of low-energy climate controlin archives and museum storage isgiven in Padfield et al 2013. A moreFigure 7. The mixing ratio of the air outside and inside the archive.


detailed account of the Arnamagnæanarchive climate can be found in thereferences below.

ReferencesA longer version of this article isavailable at:

http://www.conservationphysics.org/arna/arnamag2014.pdf

For a systematic treatment of lowenergy climate control in museumstores and archives, please see:

Tim Padfield, Poul Klenz Larsen,Morten Ryhl-Svendsen and Lars

Aasbjerg Jensen. (2013). “Lowenergy museum storage” (in press).Papers delivered at the Parisconfer ence of the Centre derecherche sur la conservationdes collections, October 2013. www.con servationphysics.org/storage/low-energy-museum-storage.php

IIC, 2014. “IIC announces declarationon Environmental Guidelines”, https://www.iiconservation.org/node/5168 (accessed at 2014-10-05).

Tim Padfield is a freelance microclimateconsultant living in Devon, United Kingdom:

[email protected].

Morten Ryhl-Svendsen is associateprofessor at the School of Conservationin Copenhagen: [email protected].

Poul Klenz Larsen is senior consultant forhistoric buildings at the National Museumof Denmark: [email protected].

Mette Jakobsen is conservator forthe Arnamagnæan Collection:[email protected].

Lars Aasbjerg Jensen is climate specialistat the National Museum of Denmark:[email protected].

Past issues of Papyruscan be found on IAMFA’s website

www.NewIAMFA.org

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The IAMFA Board of Directors is excited to announce thekickoff of a Peer Recognition Awards Program as part ofIAMFAs 25th Anniversary in 2015. This is an oppor tunity

for IAMFA members to recognize significant contributionsmade by their peers that further the goals of our organization.

The peer recognition program will be led by Tiffany Myersof the Smithsonian Institution, along with a small com mit teeof IAMFA members. This will be the first member-managedaward within IAMFA to recognize our finest membersand their contributions to our organization. The otherthree awards—the George Preston Memorial, LifetimeAchievement, and IAMFA Diplomat Awards—are alloverseen by the IAMFA Board.

The committee will accept nomi nations until March 31,2015. Please consider nominating an IAMFA peer who hasmade significant contributions in furthering the field offacilities management in cultural institutions.

Eligibility is simple:

Who can receive an award?ALL IAMFA members

RestrictionsNo one may nominate:• Oneself or family member or partner• Current Peer Recognition Award Committee Members

IAMFA Peer Recognition AwardBy Tiffany Myers

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Nominations will be rated and ranked based on how theactivity or accomplishment furthers the field of facilitiesmanagement. If you have questions about the IAMFA PeerRecognition Program, please contact one of the following:

Nominations must be submitted by 11:59 p.m. onMarch 31, 2015. To submit a member for consideration,please send a completed IAMFA Peer Nomination form(found on the IAMFA website’s Members Only page) viaemail to Tiffany Myers at [email protected].

Tiffany Myers is Executive Assistant to the Director and DeputyDirector, Office of Facilities Engineering and Operations, at theSmithsonian Institution, and is Chair of the IAMFA PeerRecognition Awards Committee

Tiffany MyersSmithsonian Institution(202) 633-5689 [email protected]

Adrienne JacksonSmithsonian [email protected]

Neal GrahamLibrary of [email protected]

Cecily GrzywaczNational Gallery of [email protected]

Dan MackenzieSteensen [email protected]


BEST PRACTICES

“Patch-to-match” is too easy to say, and too hard toaccomplish. We’ve all seen this note on drawings,in specs, and heard people in the field say it while

waving an arm.Our challenge was to patch and reconstruct elements

of exposed aggregate concrete which had been describedin superlatives in the 2001 Meridian Hill Park CulturalLandscape Report: remarkable integrity . . . masterful sureness ofdesign and construction . . . unprecedented at the time . . . distin -guishing Meridian Hill as a nationally significant historic resource.

This concrete surpasses any typical today: visually, indurability, and in fineness of detail. Add to the challengethat the concrete is in a National Historic Landmark—one of less than 20 historical designed landcapes in nearly2,300 National Historic Landmarks.

Why Should You Be Interested In This?Our museums occupy ever-older buildings. Often, they areparts of the collections themselves. Everyone curating build -ings is faced with challenges of making seamless repairs.While not everyone has to match early 20th century exposedaggregate concrete, our firm’s experience patching-to-matchat Meridian Hill Park illustrates a methodology that can beapplied to other materials.

SummaryWe first worked on Meridian Hill Park (MHP) in 1999,authoring a Cultural Landscape Report (CLR) for theNational Park Service (NPS). The CLR was not our firstinvolvement with the Park. We had visited and marveled atthe extraordinary concrete from 1979, and even discoveredthat family members had visited the park in 1941.

In 2000, we began working with the NPS on a series ofprojects to reverse the effects of underfunded maintenancefor parks during World War II and the Cold War. Urbanpoverty, crime, and drugs all took their toll on park and city.

One of our projects at the Park was repairing its exposedaggregate concrete: one of the earliest applications of thatkind of concrete. Concrete is used throughout the Parkarchitecturally to shape the site into a 16th-century ItalianRenaissance hill garden with a bit of French formal tossedin. The concrete was intended to evoke richly carved stoneas found in those landscapes. Which it does, amazingly.

Concrete is used for every aspect of design in MHP.Walls are extraordinarily varied, ranging from 6 curbs toa 17 high retaining wall. Some are simple in design andprofile, others are curved, with built-in, molded seats,

Patch-to-MatchArt or Science? By Robert Weinstein and Judith Capen

Example of concrete survey.

punctuated with sections of balusters, or topped withscrolls, urns, and obelisks.

Exposed aggregate concrete also forms walkways and stairs,freestanding benches, highly articulated niche foun tains,freestanding fountain basins, and the sensational forcedperspective cascades, which drop 40 feet.

Our projects covered work on all concrete in the Park,both functional and ornamental, all of which is integral tothe Park’s Neoclassical design.

Over two years, we were able to replicate and developmethods allowing a contractor to patch-to-match historicalconcrete, and to replace concrete not replicated or patchedsuccessfully since completion of the Park in 1936.


The major steps in the process were:

• Survey

• Establishing priorities

• Material science

• Research

• Experimenting

• Documentation

• Contract documents incorporating lessons learned

• Construction

This is not “low-bid” friendly, nor does it lend itself tocrisis response.

Survey, Documentation, and Typingof Existing ConditionsCreate typology of failures and locate them in the parkTo understand the extent and nature of material failuresthreatening the historical fabric, our first step involvedexhaustive, and exhausting, surveys of the entire 12-acresite. Over a period of months, in temperatures rangingfrom too hot to too cold, we surveyed every crack andinstance of concrete failure in the Park.

We created typologies of failures, locating, measuring,describing, and quantifying each on horizontal and verticalsurfaces as well as on decorative elements, using defini tionsfrom Guide for Making a Condition Survey of Concrete in Service(1992). The list covered all of the original/historical andreplacement concrete, and included virtually every type ofconcrete failure possible.

We gave each failure a unique name and a series ofalpha-numeric designations to describe the deterioration,magnitude, and difficulty of repair. For example, C-123 F-3is the 123rd crack identified, appears fixable, and is a widecrack. Each failure was located on a plan and described indetail in a schedule.

In all, we documented more than 2,000 individual failures.

Identifying concrete mixes and patterns(aggregate types, sizes, colors)By the time the Park was completed in 1936, the verticalelements were still the original buff-colored exposedaggregates, but horizontal surfaces had become explorationsof texture, color, and pattern.

We identified 17 different pavement and curb patternsin the Park, listing them with primary aggregate types andlocations, locating joints and changes in surface and pattern.In all, we identified 4 aggregate types and 22 mixes.

Assessing repair difficultyAs we surveyed, we assessed each defect using the followingcriteria:

• Appears fixable

• Replace—to nearest control joint

• Previous repair

• Missing section of concrete along wide crack

• Missing aggregate

Coping with Limited Budgets:Establishing PrioritiesThe NPS never has enough money to do everything, sowe needed an objective way to decide what to do first. Wecreated an evaluation matrix with 88 deficiency categoriesacross 5 impact/value of repair factors. Each deficiencycategory was given a 1–10 score in each of the 5 factors.We tallied the scores, and the higher the score the greaterthe priority.

To establish the 5 impact/value of repair factors, wedeveloped a repair philosophy with three things propellinga failure to the top of the priority list: safety, stitch-in-time,and high visibility.

Safety is high value in any public place. Tripping hazards,often at heaved or settled paving, and the possibility of

Example of pavement pattern survey.

pieces of concrete falling from overhead, were the majorpotential concerns at MHP.

Our “stitch-in-time” factor addressed highly cost-effectiveyet modest efforts to slow any deterioration that could leadto catastrophic failure. Sealing today’s small cracks to excludewater and slow down freeze-thaw cycles is economical, doable,and extremely cost-effective.

Failures on highly visible and distinctive features threatenedthe visual and historical integrity of this National HistoricLandmark. Examples included missing pieces of prominentfountain bowls or balusters. These repairs were high priority.

Although this system arrives at seemingly common-senseresults, it gave the NPS, a government agency, confidencethat they were spending taxpayers’ money responsibly.The Park Service’s final list of priorities was: crack repairs;decrease stair-tripping hazards; and protect Park integrityby replacing severely deteriorated piers, patching fountainbowls and balusters with missing bits, and cleaning allthe concrete.

Material Science Analysis, EvaluationWhile some of the failures seemed pretty predicable in oldconcrete, we nonetheless needed to eliminate potential,more exotic, deterioration mechanisms. If present and leftunchecked, the concrete would continue to deteriorateat an accelerating rate. We contracted a concrete testing

laboratory that took two concrete core samples for analy-sis, to compare the physical and chemical componentsof concrete in good condition, with some exhibitingadvanced deterioration.

Happily, this testing eliminated the most worrisomepotential deterioration mechanism (alkali-silica reaction)as a root cause. It also provided important information onthe size, spacing, and color of the aggregate.

Historical Research to UnderstandOriginal MethodsThe more one studies MHP, the more extraordinary it is.While an Italian Renaissance Hill Garden in the capital ofthe world’s longest-lived modern democracy is odd, evenodder is that an idealized 16th-century design was executedin the early 20th century in a new, plastic material. It iscurious that concrete, newly rediscovered in the modernera, was used to replicate cut, tooled, and carved blocks ofstone. Finally, it is wonderful that MHP’s original designteam pioneered exposed aggregate concrete in this earlyapplication so successfully, creating an installation thatremains impressive today in both its aestheticaccomplishments and its durability.

The designers of the Park began in 1915 with the modestdesire for concrete to be an economical substitute forcut stone. But the first test panel was described by themas “cold,” “grey,” and “muddy.”

Innovation was clearly needed.Enter John J. Earley and the Earley Studio. Young John

Earley trained in sculpture and stone-carving in his father’s


BEST PRACTICES

Some of the Park’s decorative concrete. The 16th Street entrance built by John Earley.


studio, becoming known for his work in plaster and stuccobefore his involvement with the Park’s construction. At first,everyone thought the solution to the problems of “cold,grey amd muddy” concrete would be to coat or stucco it,thus Earley.

This was the beginning of John Earley’s lifelong loveaffair with making concrete decorative. He understoodconcrete’s components—cement, sand, and aggregate—from his work with stucco, and began experimenting.

From our work on the CLR, we knew Earley had deve -loped methods for pouring and finishing concrete, littleresembling today’s standards, to achieve the Park’s warmlybuff-colored walls with different aggregates in a single pour.

We knew the aggregate, Potomac River pebbles, wascritical to the wall color. We knew Earley had inventedsomething he called “step” or “gap” grading for the aggre -gate. Instead of the “well-graded” aggregate typical in bothhis and our day, Earley graded his aggregate basically aslarge and small to get more density of stone when exposed.

We knew Earley experimented with mix proportionsand, especially, amounts of water. A wetter mix allowed himto fill complex forms to achieve the precision of detail evid -ent throughout the Park. He also had strategies to removethis added water and, finally, he stripped the formwork early,when the concrete was green and the cement haze couldbe easily scrubbed off the aggregate.

We had the theory, but needed practical methods.

Slogging: Trials and Mockups forReplicable MethodsPriorities established, we had to develop methods for thedifferent types of repairs needed. We considered a trialrepair successful if realistically achievable and a good matchto adjacent concrete.

Distinct categories of repair to master included:cleaning, crack repairs, reconstruction, and patching.

CleaningDirty concrete isn’t conventionally high priority, but isimpor tant both to improve appearance, and to ensure thatrepairs match clean, not dirty, adjacent concrete.

We documented surface soiling, organic growth, calciumdeposits (some very three-dimensional), and graffiti.

Historical preservation canon is to use the gentlest meanspossible for cleaning. The days of wanton sandblasting andpowerful chemicals are long gone. We began test-cleaningwith water, detergent, and bristle brushes, and progressedthrough cold and hot pressure washes and variouscommercial cleaners.

We tested D/2 and Roundup (effective on moss witha two-week dwell time!) for organic growth.

Finally, we tried Jos, a blasting system with a helicalpattern. Ultimately, this was the only system able to removethe calcium deposits and graffiti without damaginghistorical fabric.

Stitch-in-time: Test crack repairsSuccessful methods we tested included micro-injectionat narrow vertical cracks, cementations materials at widervertical cracks and spalls, and a two-stage full-penetrationinjection with low-viscosity vinyl ester, topped with flexibleacrylic resin, at larger cracks.

The most-damaged walls were those with hairline-crackedtops, pretty clear freeze/thaw causality, so we tested a clearbreathable sealer for top horizontal surfaces—wall copingsand pier caps—to protect against future water infiltration.

Reconstruction/replicationBy far, our toughest challenge was re-creating Earley’sconcrete in quality and appearance.

To succeed, we had to re-create mixes and methods.Concrete mixes haven’t changed in the past hundred years.However, historical records for the Park showed that Earleyhad considered some less conventional cement/sand/aggregate proportions. We knew they looked at/experimentedwith different cement colors and aggregate density, allto achieve the character-defining and striking exposedaggregate concrete we find today. Once we nailed downthose variables, we had to re-create Earley’s specific methods.

Graph of aggregate sizes illustrating the “gap-grading” John Earleydeveloped to achieve density and uniformity of aggregate whenexposed by scrubbing.

Everyday example of gap grading.

How the heck did he achieve single-pour walls with two orthree different aggregate sizes exposed? How did he achievethe fineness/delicacy of detail in site-cast CONCRETE?

Test mixesBob Armbruster, who has experience with a number ofJohn J. Earley sites, was a key consultant for concretematching: creating appropriate mix designs, findingsources for materials, and developing methods. Weselected 12 of the most widely used mixes in the Park—some precast, some cast-in-place, and some pavement—for the target mixes.

Armbruster took samples, sometimes removing loosefragments, and core drilling at other times.

The search for aggregatesSince the exposed aggregate provides the concrete’s color,finding matching aggregates was critical, but surprisinglydifficult.

The original buff coarse aggregates were from thePotomac River, at a site now under Washington’s NationalAirport. Even if still accessible, we wouldn’t be allowedto dredge for gravel, because dredging in rivers like thePotomac with contaminated sediments is prohibited.

Armbruster’s search for aggregate was comprehensive,and lasted 6 months. Finding matching aggregates requiredscience, art, and persistence, involving:

• Consulting the leading national distributor of decorativeaggregates, who identified two dozen potential quarries

• Contacting aggregate associations and state geologistsin 3 adjacent states

• Searching 250 photographs of decorative aggregates

• Contacting terrazzo supply houses for samples fromtheir libraries; traveling to 2 libraries

• Ordering 100–200-pound bags of the 12 best candidates

• Calling all quarries and stone suppliers listed in phonebooks near the quarries with the best candidates

• Visiting 6 active quarries

• Comparing more than 700 samples

• Making 50 different mixes from the best; choosing7 matching the target mixes

Once we had target aggregates, petrographic examina tioncompared the new stone to the historical, which is helpfulfor aggregate size and color. The human eye has to evaluatecolor, texture, translucency or opacity, reflectance, andappearance when wet, dry, and embedded.

Finding fine aggregates was not difficult. Original specscalled for white sand, without specifying size, type, or grada -tion. Petrography identified the sand in all the samples asprimarily white quartz, with bits of clear and light-brownquartz and fractional amounts of other minerals. Aciddigestion and sieve analysis established sand gradationsin each mix. Massaponax concrete sand was the best colormatch, but had to be custom-sieved for proper gradation.


BEST PRACTICES

Core sample.

Mix Proportioning: The concrete at MHP is gap-graded—its aggregate is fine and coarse, with nothing between.When densely packed and proportioned just right, thecoarse aggregate is exposed and the surface appears to bea mosaic of uniformly sized stones. Too much sand, or non-uniform placement, won’t look densely packed. Inadequatesand and/or poorly consolidated concrete will cause voidsor honeycombing between the coarse aggregate.

Cement: The Earley Studio used white cement from theAtlas Portland Cement Company, now produced by LehighPortland Cement Company, which we ultimately specifiedfor the repairs.

Coloring admixtures: The historical concrete varied incolor, hue, and intensity at different locations. Armbrusterrecommended that color variations of the cement pastebe matched to adjacencies with mineral pigments. Heprovided a palette of 15 cement-paste reference sampleswith varying amounts of pigments.

Repair mixture proportions: Historical specificationsrequired mixes of 1:2:4, 1:1.5:4, and 1:1:3—cement, sand,and coarse aggregate. But these mixes did not produce thetight packing of the coarse aggregate in the Park. Armbrusterexperimented with reducing the volume of sand and cementuntil the finish appearance matched, creating 7 differentmix proportions for 12 samples.

Testing methods: mockups and trial construction Filling cracks was one thing, but replicating one of thehistorical piers was another challenge altogether.

In addition to demonstrating that it is possible to developconcrete mixes to match the historical ones at MHP withcurrently available materials, we also needed to prove it


possible to cast exposed aggregate concrete with the sameextraordinary detail and crispness of line that Earley andother contractors achieved at this site 80 years ago.

Four deteriorated piers at the north entrances to thePark looked almost melted from freeze-thaw cycling. Theywere candidates for replication. Some fountain basins and afew balusters with significant missing concrete were candi -dates for patch-to-match. A number of walkways and stepsneeded to be replaced in part or whole.

We began with the Pier 102, deteriorated beyond anypossibility of repair. After documenting it, we recruited amasonry restoration contractor to reconstruct it.

Before work began in the Park, the contractor mademortar-tight formwork, screened the aggregate (stone andsand), and gathered required materials. In the shop, hemade several mock-ups, partial and full, before tryingone in the field. We discovered the mix used in the smallsamples would not work for a full pier, so had to reducethe coarse aggregate. Placing the concrete with five-gallonbuckets, and consolidating with hand tamping, producedthe best results.

Demolition revealed the reinforcing in the pier to be insuch good condition that we just cleaned it, coated it witha zinc-rich primer, and reused it—like a dental cap.

In hopes of forestalling future cracking at the top wereplaced that reinforcing with a grid of stainless steel.

Form release was clearly critical to achieving the extra -ordinarily detailed forms of the Park. Earley Studio recordsindicated that they used animal fat and soapstone to producea mild retarder, but we used modern, commercially availableagents. The form was belted together at the top and braced.

The Earley Studio placed concrete using an adjustedslump method, pouring the first lift with a wet mix, andsubsequent pours with progressively stiffer mixes.

Not embracing this method, the concrete industry todayrelies on mechanical vibration for the same result. We usedthe modern method for our test.

Depending on temperature and humidity, we thoughtthe concrete would need 12–18 hours to cure enough tostrip the forms, with the concrete still green enough to betooled and scrubbed. Therefore, the contractor placed theconcrete in the evening, in order to strip the forms earlythe next morning for daylight.

All materials were carefully measured at the site, andbatched by weight to calibrate to a half-bag of cement tomatch mixer capacity.

Concrete was dumped into the form from five-gallonbuckets then consolidated using 2¥4s and 1¥4s with specialcare so the aggregate was in contact with the form. Thecontractor built a view port in the form to check on the curing.

They removed the forms top down, starting at 5:30 a.m.the next morning. The “scrubbing” began at the bottomwhere the concrete was more set up, with hand-brushingand rinsing. Because the concrete set up faster thananticipated, the contractor pressure washed with 1,600 psi,straight tip, 1–2 inches from the surface.

The concrete popped off in one corner of the rustica tionwhen the formwork was stripped. All the other surfaces andcorners were fine. This lost corner provided an opportunityto demonstrate patching techniques later.

Since the trial was in November, the pier was wrappedin plastic sheeting and covered with an insulating blanketafter scrubbing. We anticipated leaving the wrapping onfor two weeks for a slow cure, but the blanket was stolen.Luckily the weather was mild and damp and the exposedconcrete cured well, illustrating how random factors canderail the best-laid plans.

After a January corner-patching failed, we tried again inMarch and warmer weather. The contractor’s stone restora -tion specialist set a threaded stainless steel rod in epoxy,undercut the adjacent concrete for for a good mechanicalbond, and saturated the area. He then hand-placed a verydry mix matching that of the pier. He used a small section ofthe formwork to shape the patch. He put selected aggregatein the cement piece-by-piece. When the patch was stiffenough, he gently scrubbed it with a bristle brush to exposethe aggregate. It then air-cured.

In May, when water was turned on in the Park, thecontractor returned and lightly washed the entire pier witha 1:10 solution of muriatic acid, using bristle brushes toremove the fine film of cement residue on the surfaceof the stones. Then the pier was rinsed with lots of water.

The experiment was a success.

Documentation: Creating a Record of MethodsWe methodically documented the condition of the concrete,and proved that cleaning, sealing of horizontal joints, andtest patching of joints and small spalls were all feasible, anddescribed how. Armbruster thoroughly documented theprocess of searching for the materials, screening for properly-sized aggregate and sand, developed mixes, and createda library of samples. Our testing contractor brought it alltogether at the pier and patch, proving replication feasible.This documentation provided a solid foundation for contractdocuments for the Park’s concrete restoration.

Contract Documents: Incorporating Lessons LearnedPhase I, stitch-in-time crack-sealing, began concreterestoration at the Park. Phase II included more complexrepairs and replication/reconstructions of concrete.

Our 99 sheets of drawings for the two phases incorpo -rated our surveys locating and describing every crack andhow it was to be filled. Phase II described repair and replace -ment of pavement, steps and curbs and repairs of spallsand larger failures, including a baluster, part of a fountainbowl, and, of course, partial and full replacements of piers.

Our specifications for the work incorporated lessonslearned from the successful tests and mock-ups. Whilegood results with available materials were proven possible,it still wasn’t a cookbook project.

The many different conditions at the Park due to amultitude of deterioration types, the variety of aggregates/mixes, variables of temperature and humidity affectingcuring times, and an ever-changing availability of materials,all made construction a shifting set of targets. Even vagariesof season and operation, such as when water is available atthe Park, can affect the work.

Armbruster’s small samples and mixes created a startingpoint to develop specific mixes for each repair condition,but each contractor still needed enough time to develophis own samples and techniques.

Getting good work is not easy or inexpensive, but ISpossible with careful preparation and a clear understandingof the variables.

ConstructionOnce the contractor was on the site, the end of thispatch-to-match trial was in sight.

A testament to all the preliminaries, construction wentfairly smoothly, with the main glitches unrelated to thetechnical concrete work. One pier looked great but wasseriously out of plumb, and bench boards were prema turelyremoved “to look like progress” meaning no freestandingbenches in the Park for months and months.

Interestingly, while the patch-to-match directive can bemeaningless, it was actually an effective mechanism in theconstruction of MHP in the 1920s and 1930s.

John J. Earley, the Park’s concrete genius, worked closelywith other contractors to build the first elements in thePark to exacting standards. Later specifications for Parkconstruction included the directive “to match the physical

and visual characteristics” of previously built sections.They did, too.

We visited the Park recently, on a beautiful spring dayin 2014. The Park was teeming with people, and a vibrantdrum circle provided background beat. Our concrete repairwork, fountain restoration, and shelter reconstruction alllooked wonderful. The patches were impossible to find.We wouldn’t have known the reconstructed piers weren’toriginal without looking really closely. And the bare grasson the upper mall from the Frisbee, soccer, and lacrosseplayers attested to the place of this landmark park in thelife of the city and neighborhood. Even a quick look showsthe Park is flourishing, both socially and physically.

Ten years after we finished our work in the Park, workcontinues. John Earley’s 16th Street entrance is scaffoldedand being restored, using methods and mixes we developed,repaying the initial investment in investigation.

Acknowledgments:Bob Armbruster, The Armbruster Company, Inc.C.A. Lindman, Inc.Concrete Technology LaboratoriesMarianne GrahamThe survey interns

Robert Weinstein, RA, and Judith Capen, RA, are principals andco-founders of architrave p.c., architects. Since 1982, architravehas worked on Washington, D.C. landmarks including Meridian HillPark, the U.S. Capitol Building, Library of Congress buildings, theHolocaust Museum, all the Federal Triangle Federal buildings,and all the Smithsonian Mall buildings. They can be reachedat [email protected] [email protected].


BEST PRACTICES

We documented Pier 102, includingdetailed measured drawings.

Mapping cracks and spalls in Pier 102. Finished test pier.

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Washington, D.C.–Baltimore RegionalChapterBy Maurice Evans

The final Washington, D.C.–Baltimore Chapter meetingduring my term as Chapter Chair was held on July 25 at theSmithsonian’s new Mathias Lab, located at the SmithsonianEnvironmental Research Center (SERC) in Edgewater,Maryland. Over 20 people were present, representing6 different agencies and cultural institutions.

The meeting kicked off with an introduction of visitorsand members. Chapter business was discussed, and afterlunch the program prepared by Daren Kennedy, the ZoneManager of the SERC Zone began. The program show casedthe newly completed Mathias Lab, its operations, constructionand sustainability. The Mathias Lab is a 128,000-square-footsustainable state-of-the-art environmental research facilitythat utilizes both solar and geothermal energy. Thereare plans to submit a package to the USGBC for LEEDplatinum certification.

The presentation was given by Steve Groh, ProjectManager for the Smithsonian, and Bob Gallagher,Executive Officer for SERC, on how collaboration andpartnering by all parties made the project a success.

The tour included a walk through the Central UtilityPlant to give all an opportunity to see the geothermalsystems, solar hot-water systems and several other keyaspects of the building, including some of the lab areasand the grounds.

John Bixler and Denis Smalley will be taking over thereins as co-Chairs for the Washington, D.C.–BaltimoreChapter for the upcoming year. The next meeting isscheduled to take place at Folger Shakespeare Library,hosted by David Conine.

IAMFA Museum Conference Tour GiftReceives Multiple Awards

Mueller Associates, Quinn Evans Architects TeamUp for “Go Wild” Campaign at Fall 2013 Zoo Dayin Washington, D.C.

Baltimore, Maryland—August 5, 2014

A creative giveaway item forattendees at the InternationalAssociation of Museum FacilityAdministrators (IAMFA) 2013Conference in Washington, D.C.has won multiple awards from theSociety for Marketing ProfessionalServices (SMPS). The brightlycolored snack bag was given topartici pants who toured theNational Zoological Park as partof the Conference’s “Zoo Day”event. The bags were createdand donated by IAMFA sponsorsMueller Associates andQuinn Evans Architects.

The giveaway included a bright orange cooler bag,custom-designed snack packages, a branded water bottle,and a promotional card with a “Wild Expectations/GoWild” theme. The theme was developed by MuellerAssociates and Quinn Evans Architects to underscore theirexperience with challenging design projects. In additionto numerous museum and library projects throughoutthe East Coast, the team has several projects underway atthe Zoo.

At the SMPS National Conference in San Antonio inJuly, the project was awarded Second Place in the TradeshowMarketing category. The snack bag was a winner among 210entries submitted to the SMPS Marketing CommunicationsAwards program nationwide.

Regionally, the Washington, D.C. chapter of SMPS awardedthe campaign its “People’s Choice” award, along with an

Charles “Mac” Mathias Laboratory with Chapter meeting attendees.

Charles “Mac” Mathias Laboratory with Chapter meeting attendees.

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REGIONAL UPDATES AND MEMBER NEWS

Honorable Mention in Tradeshow Marketing. The awardshave been presented to Jessica Reid, Director of BusinessDevelopment for Mueller Associates, and Jeanine Quaglia,principal and Director of Marketing for Quinn EvansArchitects. Both Reid and Quaglia are members of SMPS.

Smithsonian Institution representatives, who served ashosts for the “Zoo Day” event, noted that “the orange coolerbags were a huge hit. Not only were the cooler bags practical,but it made it very easy to see the members and guests asthey walked around the National Zoological Park.”

About Mueller AssociatesEstablished in 1966, Mueller Associates provides mechanical,electrical, and plumbing engineering services for facilitiesthroughout the Northeast and Mid-Atlantic. The firm spe -cializes in engineering for academic buildings, museums,libraries, performing arts centers, healthcare settings, andother institutional and corporate facilities requiring stringentenvironmental control, energy-conserving, and sustainabledesigns. For more information, visit www.muellerassoc.com.

About Quinn Evans ArchitectsEstablished in 1984, Quinn Evans Architects specializes inarchitecture, planning, urban revitalization, and historicalpreservation, including sustainable preservation and steward -ship. The firm has more than 60 professionals in offices inWashington, D.C., and Ann Arbor, Michigan; and studiosin Detroit, Michigan, and Madison, Wisconsin. For moreinformation, visit www.quinnevans.com.

Philadelphia Regional Chapter UpdateBy Rich Reinert

A meeting of the Philadelphia Regional Chapter took placeon November 4, 2014, at the Philadelphia Museum of ArtPerelman Building. The meeting was highly productive,

as members discussed a variety of topics, including workorder systems, branding, and tight budgets, to name a few.

Tozour-Trane, along with Cooney Coil & Energy, gavea pre sentation on new chilled-water coil, freeze-blocktechnology. Tozour-Trane graciously sponsored lunchfor attendees.

UK ChapterBy Jack Plumb

On Thursday, November 6, 15 respectable looking gentle -men and 2 sophisticated ladies walked through SchipholAirport and made their way to Amsterdam city centre. Agroup looking for entertainment in the red-light district?Or perhaps on their way to try some of the “wacky-tobacky”coffee shops?

Well, none of these things. It was the IAMFA UK Chapter,in town at the invitation of Karen Keeman, Facilities Managerat the Rijksmuseum. We all enjoyed Karen’s presentation atthe IAMFA Scotland 2014 conference back in September,and some of us were keen on visiting the museum for our -selves. In conversation with Karen we decided that, insteadof visiting in ones and twos, the UK Chapter would visit asa group, and the date agreed was Friday, November 7.

Arriving on the Thursday gave us an opportunity tohave a look around. Your author took some time to visit theKoninklijke Bibliotheek, (National Library of Netherlands).I was very grateful to my hosts Wim Oosenbrug, TheoVermeulen and Christel Nieboer for showing me aroundand explaining the challenges they faced.

One of these challenges is that the Netherlands govern -ment has ruled that all public buildings in Holland mustmeet the latest fire standards, and must remove all tracesof asbestos. Whilst the current Bibliotheek was only opened1982, the building nevertheless has a number of passive fire-protection issues, while also containing significant amountsof asbestos. As if that weren’t enough, Christel mentionedthat recent government legislation has made the manage ment



The Koninklijke Bibliotheek.


of local lending libraries a responsibility of the Koninklijke,so Christel now has to house an additional 100 staff. Wim,Theo and Christel certainly have a lot on their plates; I hopeto keep in touch to see how they get on.

After a normal quiet and relaxed evening with theUK gang, it was early to bed, ready for the next day at theRijksmuseum in Amsterdam. We gathered at the Estatesoffices next door to the Rijksmuseum for the morning’spresentations. Karen ran through the agenda for the day,then introduced Igor Santhagens, Project Manager forthe Museum Interior.

Igor explained that the Rijksmuseum was first openedin 1885 and, as there was no electric lighting in those days,the museum was built with a great many windows and rooflights, allowing as much natural daylight could enter thebuilding as possible.

After more than a century of intensive use, this hugebuilding needed a radical makeover. In 2000, the govern -ment of the day gave the go-ahead. After a lengthy period ofpreparation, work finally started in 2004. The main buildingwas handed over in 2012, and work began on preparing forthe opening. Following its refit, this internationally renownedmuseum is now fully compliant with the requirements ofour modern age.

Igor then took us through a couple of the most signifi -cant developments that took place during the refurbishment.First of all, he explained that Philips Lighting—one of thefounding members of the Philips Wing of the Rijksmuseum—realized that, whilst they were one of the market leaders inLED lighting technology, they had not ventured into themuseum/gallery market. Working closely with Igor andhis team at the museum, Philips thus set about designingLED lamps suitable for installation at the museum, whilealso meeting the exacting requirements of the Spanisharchitects, Cruz y Ortiz.

The final test was to illuminate one of the most famouspaintings in the Rijksmuseum—Rembrandt’s The NightWatch—until museum curators were satisfied that therewas an improvement over the previous tungsten halogenstandard for gallery lighting. In the end, some 3800 LEDlamps, (3000K CRI 93) have been employed throughoutthe lighting installation.

Secondly, Igor explained how the external walls had beentreated with a 25 mm layer of Calcitherm board. Historicaland heritage buildings require a far more holistic approachto insulating in order to avoid degradation and damage,necessitating a need to balance energy efficiency with breath -ability and damp protection whilst, most importantly, main -taining the characteristics of the building and preservingthe internal façade.

Lighting ring.

Militia Company of District II under the Command of Captain FransBanninck Cocq (1642) by Rembrandt van Rijn, commonly referredto as The Night Watch.

The Rijksmuseum, showing the cycle path—the source of aproblem or two.

Calcitherm is made from calcium silicate, a micro-porousmineral building material with good insulating properties.Its high capillary action ensures humidity regulation, andthe nature of the material means that mould cannot formon its surface. All the windows were provided with secon -dary glazing, not only to improve the insulation value, butmore importantly to improve the air tightness of the building.As all museum/gallery facility managers know, it is far moreimportant to improve the air tightness of a museum/gallerythan it is to improve the insulation value.

After a coffee break, Karen introduced Nico Stoop,Head of the museum’s Technical Department. Nico tookus through the development of the mechanical servicesthat were totally renewed during the refurbishment. Thesewere required to be totally invisible and silent—where havewe heard that before?

At the Rijksmuseum, they achieved this remarkable featby providing an underground service corridor right aroundthe building. This service corridor not only provides accessfor both mechanical and electrical services, but also housesthe air-handling units at regular intervals.

Nico went on to explain that the Dutch governmenthad very serious carbon-reduction ambitions, so to meetthese exacting standards, ground-source heat pumps wereemployed. For the ground source, instead of installingpipework installations deep in the ground, the Rijksmuseumuses the vast underground water system that exists beneaththe streets of Amsterdam—rejecting heat into this under -ground water system in the summer, and reusing that heatfor heating during the winter. Whilst the museum doeshave a boiler and chiller plants, for most of the year thesesystems remain idle whilst the heat pumps do all the work.

Environmental control of the museum galleries isallowed to drift between 23°C +/- 2°C in the summerto 20°C +/- 2°C in the winter, with a maximum drift of0.5°C per month. For the RH: 54% +/- 5% in the summerto 50% +/- 5% in the winter, with a maximum drift of1% per month. To manage this, a sophisticated and com -prehensive BMS installation has been employed not onlycontrolling environmental conditions within the museum,but also providing automatic lighting control to managethe lighting installation at different times of day.

Nico and Karen then took us on a back-of-house tourof the museum to see for ourselves the remarkable andvery well thought-out plantrooms installed as part of therefur bishment. After lunch and the team photo, we splitinto two groups to have a look at the educational facilitiesincluded within the refurbishment, and also a conserva-tion facility that really looked the part. We were veryfortunate to meet Paul van Duin, a recognised authorityon furniture restoration.

We then had the rest of the afternoon to have a reallygood look around the museum, to see for ourselves theattention to detail in the refurbishment, which just adds tothe fantastic collection on display. For any IAMFA colleaguesvisiting Amsterdam, a trip to the Rijksmuseum is an absolutemust, if only to observe a really good museum refurbishment.

Jack Plumb is Head of Estates at the National Library of Scotland.



Team photo, including Karen Keeman and Nico Stoop.

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Art Gallery of New SouthWalesSydney, New South Wales

Australian Centre for theMoving ImageMelbourne, VIC

Museum of Old and New Art Berriedale, Tasmania

Museum VictoriaMelbourne

National Gallery of AustraliaCanberra, ACT

National Library of AustraliaCanberra, ACT

National Portrait Galleryof AustraliaCanberra, ACT

Port Arthur Historic SitesPort Arthur, Tasmania

Questacon, The NationalScience and TechnologyCenterCanberra, ACT

Steensen VarmingSydney

Aanischaaukamikw CreeCultural InstitiuteOuje-Bougoumou, Quebec

Black and McDonaldOttawa, Ontario

Canada Science & TechnologyMuseum CorporationOttawa, Ontario

Canadian Museum of HistoryGatineau, Quebec

Canadian Museum of NatureOttawa, Ontario

Candian Museum forHuman RightsWinnipeg, Manitoba

Integrated HeritageManagementAlmonte, Ontario

Library Archives of CanadaGatineau, Quebec

AUSTRALIA

CANADA

Lundholm AssociatesArchitectsToronto, Ontario

National Gallery of CanadaOttawa, Ontario

Peterborough Museum &ArchivesPeterborough, Ontario

Physical Resource BureauOttawa, Ontario

Protect Heritage Corp.Orleans, Ontario

Royal British ColumbiaMuseumVictoria, British Columbia

Steensen Varming Hong Kong

West Kowloon CulturalDistrict AuthorityTsim Sha Tsui, Kowloon,

Hong Kong

Steensen Varming Copenhagen

Cité des sciences etde l’industrieParis, Cedex 19

Credit AgricoleParis

Polymnia Venezia srlVenezia Mestre

Auckland War MuseumAuckland

Christchurch Art GalleryChristchurch, Canterbury

Royal New Zealand NavyDevonport, Auckland

Uxbridge Creative CentreHowick, Auckland

Centro de la ImagenLima

DENMARK

FRANCE

ITALY

NEW ZEALAND

PERU

CHINA

British Film InstituteLondon, England

British LibraryLondon, England

British MuseumLondon, England

Cofely LtdWorcester Park, Surrey, England

Emcel Filters LimitedHorsham, West Sussex, England

The Energy ConsortiumNorbury, London, England

Glasgow Life, Glasgow CityCouncilGlasgow, Scotland

Heriot-Watt UniversityEdinburgh, Scotland

Historic Royal PalacesMolesey, Surrey, England

Imperial War MuseumLondon, England

Museum of LondonLondon, England

The National ArchivesRichmond, Surrey, England

National Galleries of ScotlandEdinburgh, Scotland

National Gallery, LondonLondon, England

National Library of ScottlandEdinburgh, Scotland

National Museum WalesCardif, Wales

National Museums LiverpoolLiverpool, England

National Museums ofScotlandEdinburgh, Scotland

National Portrait GalleryLondon, England

Natural History MuseumLondon, England

Norland Managed ServicesLimitedLondon, England

Royal Academy of Arts,Burlington House, PiccadillyLondon, England

UNITED KINGDOM Science Museum GroupLondon, England

SPIESuffolk, England

SPIELondon, England

TateLondon, England

University of GreenwichLondon, England

Victoria & Albert MuseumLondon, England

White Chapel GalleryLondon, England

360 Energy GroupChicago, IL

A.T. Still University Museumof Osteopathic MedicineKirksville, MO

ACE GroupPhiladelphia, PA

Adler PlanetariumChicago, IL

Aegis Property GroupPhiladelphia, PA

AFS Chemical Filtration GroupBurlington, MA

Alied BartonWallingford, PA

American Academy of Artsand LettersNew York, NY

American BookbindersMuseumSan Francisco, CA

American Museum of NaturalHistoryNew York, NY

Anacostia CommunityMuseumWashington, DC

Architect of the CapitolWashington, DC

Architect of the Capitol,Libraray Buildings andGroundWashington, DC

architrve pc architectsWashington, DC

UNITED STATES


IAMFA MEMBERS—ORGANIZATIONS

Art Conservation de RigueurSan Francisco, CA

Art Institute of ChicagoChicago, IL

Arts and Industries Building Washington, DC

ArupCambridge, MA

Asian Art Museum of SanFranciscoSan Francisco, CA

Atlanta History CenterAtlanta , GA

Ayers, Saint, Gross ArchitectsBaltimore, MD

The Bakken MuseumMinneapolis, MN

Baltimore Museum of ArtBaltimore, MD

The Bancroft Library,University of CaliforniaBerkeley, CA

The Barnes FoundationMoorestown, NJ

Belimo Aircontrols USA, Inc.Midlothian, VA

Bellevue Arts MuseumBellevue, WA

Billings Farm & MuseumWoodstock, VT

Boston AthenaeumBoston, MA

Boston Museum of Fine ArtsBoston, MA

Brandywine ConservancyLincoln University, PA

Brigham Young UniversityMuseum of ArtProvo, UT

Brigham Young UniversityMuseum of ArtProvo, UT

Bronx Council on the ArtsBronx, NY

Brooklyn MuseumBrooklyn, NY

Bruce E. Brooks andAssociatesPhiladelphia, PA

Burke Museum of NaturalHistory and CultureSeattle , WA

Buro HappoldNew York, NY

California Academy ofSciencesSan Francisco, CA

California Historical SocietySan Francisco, CA

California State LibrarySacramento, CA

California State University,FullertonFullerton, CA

Camfil LimitedRiverdale, NJ

Carnegie Museumsof PittsburghPittsburgh, PA

Cathedral Church of St. Johnthe DivineNew York, NY

CBT ArchitectsBoston, MA

Center for HistorySouth Bend, IN

Center for Jewish History New York, NY

Center for Research LibrariesChicago , IL

Chicago Children’s MuseumChicago, IL

Chicago History MuseumChicago, IL

The City College of New YorkNew York, NY

Cleveland Museum of ArtCleveland, OH

Colección Patricia Phelpsde CisnerosNew York, NY

Colonial WilliamsburgFoundationWilliamsburg, VA

Columbia UniversityNew York, NY

Columbia University LibrariesNew York, NY

Conde NastBrooklyn, NY

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Core FoundationLongwood, FL

Crozier Fine Arts, Inc.Newark, NJ

Crozier Fine Arts, Inc.New York City , NY

Currier Museum of ArtManchester, NH

Cypress Private SecuritySan Francisco, CA

Davis Museum at WellesleyCollegeWellesley, MA

DC Commission on the Artsand HumanitiesWashington, DC

Delaware Art MuseumWilmington, DE

Delaware Museum of NaturalHistoryWilmington, DE

Department of the InteriorWashington, DC

DERBIGUM Americas, Inc.Kansas City, MO

Des Moines Art CenterDes Moines, IA

Digital Game MuseumSanta Clara, CA

Donald W. Reynolds Centerfor American Art andPortraitureWashington, DC

Dumbarton Oaks ResearchLibrary and CollectionWashington, DC

eProvenanceBelmont, MA

EwingCole Philadelphia, PA

ExploratoriumSan Francisco, CA

Facility Dynamics EngineeringWilliamsburg, VA

Facility IssuesFlagstaff, AZ

Faulconer Gallery, GrinnellCollegeGrinnell, IA

Federal Reserve BoardWashington, DC

The Field MuseumChicago, IL

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Fort Monroe AuthorityHampton, VA

Fort Wayne Museum of ArtFt. Wayne, IN

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Frick Art Reference LibraryNew York, NY

The Frick CollectionNew York, NY

Friends of Iolani PalaceHonolulu, HI

Friends of the High Line New York, NY

Garrison/Lull Inc.Princeton Jct, NJ

George Eastman HouseShelter Island, NY

The George WashingtonUniversityWashington, DC

Gilder Lehrman Instituteof American HistoryNew York, NY

Girl Scouts of the USANew York, NY

GlenstonePotomac, MD

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harpers FerryCenter/National Park ServiceCharles Town, WV

Harvard Art MuseumsCambridge, MA



UNITED STATES cont’d

Harvard Library, HarvardUniversityCambridge, MA

Harvard UniversityCambridge, MA

Harvard University PeabodyMuseum Cambridge, MA

Hewlett-Woodmere PublicLibraryHewlett, NY

High Museum of ArtAtlanta , GA

The Hill GroupFranklin Park, IL

Hill Museum & ManuscriptLibrary (HMML)Collegeville, MN

Hillwood Museum Estateand GardensWashington, DC

Hirshhorn Museum andSculpture GardenWashington, DC

Historic New EnglandHaverhill, MA

Illinois State MuseumSpringfield, IL

Image Permanence Institute —Rochester Institute ofTechnologyRochester, NY

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

Joan Mitchell FoundationNew York, NY

John F. Kennedy PresidentialLibrary & MuseumBoston, MA

Jordan Paul Arts Inc.Bronx, NY

Kimbell Art MuseumFort Worth, TX

Kohl Childrens MuseumGlenview, IL

Kuniej Berry AssociatesChicago, IL

Layman DesignSkokie, IL

LB&B AssociatesFulton, MD

LF Driscoll Co.Wayne, PA

Library of Congress Washington , DC

Library of Congress (PackardCampus for Audio VisualConservation)Culpeper, VA

Lighting Services Inc.Stony Point, NY

Logan Museum ofAnthropology atBeloit CollegeBeloit, WI

Los Angeles County Museumof ArtLos Angeles, CA

Lunder Conservation CenterWashington, DC

Maine HIstorical SocietyPortland, MN

Marsh-Billings-RockefellerNational Historical ParkWoodstock, VT

McGuire Engineers, Inc.Chicago, Il

The Menil CollectionHouston, TX

Metro Space, Inc.Chicago, IL

The Metropolitan Museumof ArtNew York, NY

Midwest Energy EfficiencyAllianceChicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

MOCALos Angeles, CA

Mohonk Mountain HouseNew Paltz, NY

The MorganNew York, NY

Morr Sharp AssociatesChicago, IL

Morven ParkLeesburg, Va

Mount Holyoke CollegeSouth Hadley, MA

Mueller Associates Baltimore , MD

Museum of Art Rhode IslandSchool of DesignProvidence, RI

Museum of ComparativeZoologyCambridge, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Fine Arts —BostonBoston , MA

Museum of Fine Arts —St. Petersburg FloridaSaint Petersburg, FL

Museum of Jewish HeritageNew York, NY

Museum of Modern ArtNew York, NY

Museum of Science & IndustryChicago, IL

Naper SettlementNaperville, IL

National Agricultural LibraryBeltsville, MD

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenteChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Endowment forthe HumanitiesWashington, DC

National Gallery of ArtUniversity Park, MD

National Institutes of HealthBethesda, MD

National Institutes of Health,National Library of MedicineBetheada, MD

The National LGBT MuseumWashington, DC

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum of AfricanArt, History and CultureSuitland, MD

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia, PN

National Museum of NaturalHistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Museum of theMarine CorpsTriangle, VA

National Park ServiceWashington, DC

National Portrait GalleryWashington , DC

National Postal MuseumWashington, DC

National September 11Memorial and MuseumOceanside, NY

National Zoological ParkWashington, DC

Naval History and HeritageCommandWashington Navy Yard, DC

Nelson-Atkins Museum of ArtKansas City, MO

Neue GalerieNew York, NY

New York Academy ofMedicineNew York City, NY

New York Botanical GardenBronx, NY

New York City Fire MuseumNew York, NY


New York Hall of ScienceCorona, NY

New York Public LibraryNew York, NY

New York UniversityNew York, NY

New York University LibrariesNew York, NY

New-York Historical SocietyNew York, NY

Northeast DocumentConservation CenterAndover, MA

Northern Illinois UniversityDeKalb, IL

Northern Illinois UniversityArt MuseumDeKalb, IL

NSCSacramento, CA

Oakland Museum ofCaliforniaOakland, CA

Orlandini Art ConservationChevy Chase, MD

Peabody Essex MuseumNorth Reading, MA

Peabody Museum ofArchaeology and EthnologyCambridge, MA

Philadelphia Museum of ArtPhiladelphia, PA

The Phillips CollectionWashington, DC

Phoebe A. Hearst Museumof AnthropologyBerkeley, CA

Pixar Animation StudioEmeryville, CA

Plains Art MuseumFargo, ND

Princeton Univerisity LibraryPrinceton , NJ

Princeton UniversityPrinceton, NJ

QuinnEvens ArchitectsAnn Arbor, MI

Reading Public MuseumReading, PA

Renwick GalleryWashington, DC

Restoration by JSFRedwood City, CA

Rhode Island School of DesignProvidence, RI

RISD MusuemProvidence, RI

The Rubin Museum of ArtNew York, NY

S.R. Guggenheim MuseumNew York, NY

Saint Louis Art MuseumSt. Louis, MO

Saint Mary’s CollegeMoraga, CA

Saint Peter’s UniversityJersey City, NJ

San Francisco Art InstituteSan Francisco, CA

San Francisco Museum atthe MintSan Francisco, CA

San Francisco Museum ofModern ArtOakland, CA

Santa Barbara Museum of ArtSanta Barbara, CA

Shedd AquariumChicago, IL

Simmons School of Libraryand Information StudiesMt. Hermon, MA

The Sixth Floor Museumat Dealey PlazaDallas, TX

Smith Group JJRWashington , DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstititionWashington , DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian InstitutionMuseum Support CenterSuitland, MD

Smithsonian National Airand Space MuseumBurke, VA

Society of the Holy Child JesusRosemont, PA

SodexoWaltham, MA

Solomon R. GuggenheimFoundationNew York, NY

Spurlock Museum at theUniversity of IllinoisUrbana, IL

Stanford University Cecil H.Green LibraryStanford, CA

Stanford University LibrariesStanford, CA

Staten Island MuseumStaten Island, NY

Sustainable MuseumsCarlisle, MA

Synthesis IncorporatedColumbia, MD

Ted Swigon AssociatesBeverly Shores, IN

Turtle Bay Exploration ParkRedding, CA

U.S. Holocaust MemorialMuseumArlington, VA

UC Berkeley LibraryRichmond, CA

UCSF LibrarySan Francisco, CA

The Ukrainian Historical andEducational Center of NJSomerset, NJ

United NationsNew York, NY

United States MintWashington, DC

University of ArizonaMuseum of ArtTucson, AZ

University of CaliforniaBerkeley, CA

University of California,BerkeleyBerkeley, CA

University of California, DavisDavis, CA

University of MarylandCollege Park, MD

University of WashingtonLibrariesSeattle, WA

US Coast GuardForestville, MD

USDA National AgriculturalLibraryBeltsville, MD

The Walt Disney FamilyMuseumSan Francisco, CA

WebcorAlameda, CA

West Lake ConservatorsSkaneateles, NY

Wildlife Conservation SocietyBronx, NY

Winterthur Museum, Gardenand LibraryWinterthur, DE

WittigwriterFlagstaff, AZ

Worcester Art MuseumWorcester, MA

Yale Peabody Museum ofNatural History New Haven, CT

Yale UniversityNew Haven, CT

Yale University Art GalleryNew Haven, CT

Yosemite National ParkYosemite, CA

Ziger/Snead ArchitectsBaltimore, MD

Zimmerli Art Musuem:Rutgers UniversityNew Brunswick, NJ



UNITED STATES cont’d

Although we do ourbest to ensure that ourDirectory information is

as up-to-date as possible,errors and omissions

can always occur. If youwould like to makeany changes to your

listing, please contact Randy Murphy at

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