Papyrus Summer 2013

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

PredictiveMaintenance

Delegate and GuestPrograms for the

23rd IAMFA Conference

Sustainability Effortsat the NationalGallery of Art

Building InformationModeling

VOL. 14, NO. 2 SUMMER–FALL 2013

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 — Randy MurphyLos 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 — John CastleWinterthur Museum & [email protected]

Northern California, USA —Jennifer Fragomeni [email protected]

United Kingdom — Jack PlumbNational Library of [email protected]

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

MEMBER REGIONS

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

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

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

TreasurerAlan DiricanDumbarton OaksWashington, DC, [email protected]

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

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

2014 Conference ChairJack Plumb National Library of ScotlandEdinburgh, [email protected]

IAMFA BOARD OF DIRECTORS

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

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

Best Practices Feature Article: Reducing EnergyConsumption and Greenhouse Gas Emissions atthe National Gallery of Art in Washington, D.C. . . . 4

The Folger Shakespeare Library . . . . . . . . . . . . . . . . . 6

Building Information Modelling: “To BIM or not to BIM?” . . . . . . . . . . . . . . . . . . . . . . 9

Predictive Maintenance: Knowing How to See . . . . . 12

2013 IAMFA Conference Schedule . . . . . . . . . . . . . . . 16

BIM for Building Operations and Upgrades . . . . . . . 20

Get a Grip: Sustainable Handrails at the United States Holocaust Memorial Museum . . . . . . . 23

Harley-Davidson Museum Hosts FacilityManagers Roundtable . . . . . . . . . . . . . . . . . . . . . . . . 28

Linked In Group Collaborative Article: Which Call Center Structure Works Best for You? . . . 31

Regional Updates and Member News . . . . . . . . . . . . 32

IAMFA Members—Organizations . . . . . . . . . . . . . . . 35

For additional

contact information,

please visit our website at

www.NewIAMFA.org

For more information onbecomming a member of the International Association of

Museum Facility Administrators, please visit www.NewIAMFA.org

Cover photo: View from Massaki of Suijin Shrine, Uchigawa Inlet, and Sekiya by Ando Hiroshige (1797–1858). This view through a semi-circle of boats onan inlet of the Uchi River features blossoms in the foreground and the Suijin Shrine in the distance. Collection of the Library of Congress

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 reserve theright to accept or to reject any Articleor advertisement submitted forpublication.

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

IAMFA/PapyrusVol. 14, Number 2Summer–Fall 2013

EditorJoe May

ContributorsNancy BechtolJudith CapenSam CollardDavid ConineMaurice EvansRob FinkCecily Grzywacz

Ted HuynhDavid MatthewsJoe MayJim MoissonJack PlumbDavid SamecAlyson Steele Thomas A. WesterkampStacey Wittig

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

and see what you are missing, and whywe publish so much material in Papyrus,and on our website, about IAMFA’sannual conference. In this issue of Papyrus, we have

numerous articles contributed by ourcorporate members, benchmarkingfacilitator, regular members from ourmember institutions, and membersfrom IAMFA’s LinkedIn Group. You will find two articles on Building

Information Modeling (BIM), writtenby Steensen Varming and Quinn EvansArchitects. If you haven’t experiencedBIM firsthand, these articles provide avery good explanation of what advan -tages BIM offers, and why you shouldconsider using this approach for futureexpansion or redevelopment projects. Stacey Wittig from Facilities Issues

(our annual benchmarking coor di -nator) writes about Facility Issues’twenty-second annual Facility ManagersRoundtable at the Harley-DavidsonMuseum in Milwaukee, Wisconsin,one of IAMFA’s member institutions.The Facility Managers Roundtable isa diverse group that meets to discussbest practices gleaned from annualbenchmarking studies, much like theIAMFA benchmarking group will doin October.The Best Practices Feature Article in

this issue was written by IAMFA mem -bers from the National Gallery of Art inWashington, D.C., and describes im -provements made to reduce energy useand greenhouse gas emissions by 20%.This was accomplished in just the firstfew years of the program . . . and theyare not stopping there!You will find an article on Predictive

Maintenance by Tom Westerkamp,whom I’ve known for over 30 years,and who’s spent the past 50 yearsconsulting in the field of MaintenanceManagement. Tom is simply the bestengineer I’ve ever known—and a tre -mendous resource, if you ever needto discuss an issue with your main te -nance operations. Tom authored theMaintenance Manager’s Standard Manual20 years ago, and it is a great tool forany maintenance department.You will find an article in this issue

with an overview of the Folger Library:one of the venues that you will visit dur -

Greetings from Los Angeles!

In this issue of Papyrus, you will findup-to-date plans for the 23rd AnnualIAMFA Conference in Washington,

D.C. If you haven’t attended one ofIAMFA’s annual conferences before, orare new to the organization, you prob -ably wonder why we spend so much timediscussing plans for our annual con -fer ence. Here is my reason: I attendedmy first IAMFA conference in 2003 inSan Francisco, and by the end of theconference I was hooked! I haven’tmissed an IAMFA conference since. I think my experience may not be

that much different from that of mostIAMFA members. The conference ismore than just the presentations, whereyou learn about topics important formanaging your facilities department.It’s more than the behind-the-scenestours of the venues, where you see newpractices that have been implemented.It’s more than the dinners and socialevents, where you make friends withyour peers, or renew friendships withthose you see each year. It’s more thanthe closing gala, always staged in themost elegant settings you can imagine. The first gala I attended was held

in the Legion of Honor in GoldenGate Park in San Francisco. I couldn’tbelieve how beautiful it was havingdinner inside the gallery amidst all ofthe amazing sculptures. It’s obviouswhy so many IAMFA members bringalong a guest or partner to take part inthe Guest Program; you see so manywonderful sights that remain with youas memories forever. I hope some ofyou who have not before attended anannual conference will take a chance

2 PAPYRUS SUMMER–FALL 2013

ing the IAMFA conference in October.You will also find an article about aproject at another conference venue,the United States Holocaust MemorialMuseum (USHMM). When it was timeto resurface the nearly quarter-mileof exterior handrails, architrave p.c.,architects and the USHMM settled ona innovative approach that I know youwill find very interesting.In the centerfold of this issue, we

have a collage of pictures taken atIAMFA’s mid-year Board of Directorsmeeting in Washington, D.C. I hope thissampling of images from the confer -ence venues will entice a few memberswho have never taken the step to attendthe conference. Careful, or you mayalso get hooked!I hope that everyone this issue

reaches has had an opportunity to visitthe Members Only Page on our website.If you haven’t visited the MembersOnly Page, you’ll find current updateson IAMFA. In 2010 and 2011, membersparticipated in strategic planningsessions at the annual conference, andnumerous suggestions were contributedfor improving IAMFA. The MembersOnly Page has a PowerPoint pre sen ta -tion that summarizes the results ofthose efforts. This fall at the conference,the Board will be introducing new plansto strengthen IAMFA during the nextfive years, and Nancy Bechtol will dis -cuss these plans during the annualgeneral meeting in Washington, D.C.I hope that many of you will also joinin and contribute to these efforts. TheBoard looks forward to updatingeveryone this fall.We’ve just added our members list

to the Members Only Page also, as wellas bylaws, our Nominating CommitteePolicy, and numerous other news items.If you have suggestions for how we canfurther use the Members Only Page,please send me a message.Finally, a LinkedIn Group update:

we now have 586 group members from47 countries. If you haven’t joined yet,please do so.I hope you enjoy this issue; thank

you to everyone who contributedcontent, and to our advertisers whosegenerous support helps offset the costof publishing Papyrus.

Joe MayEditor, Papyrus

LETTER FROM THE EDITOR

Holocaust Memorial Museum), TonyCerveny (Glenstone), Neal Graham(Library of Congress), Mark Sprouse(National Archives and RecordsAdministration), Kendra Gastright(Smithsonian Institution) and DaveSamec (National Gallery of Art) havebeen meeting monthly to plan our meet -ing, and promise a fabulous pro gram.Please register and reserve your hotelroom right away, if you haven’t alreadydone so. Rooms are going very fast! All annual meetings require sub -

stantial sponsorship to be successful.IAMFA is very fortunate to have severalcorporate sponsors who have supportedus for years, assisting with many annualconferences. I am most appreciative ofJohn Bixler, Zone Facilities Manager for

the Smithsonian Institution, for leadingthe charge this year in secur ing andraising over $50,000 in funding towardthis year’s conference. Many IAMFAmembers have supported John’s effortsand assisted with contacts and network -ing, and the results are amazing! He isstill working toward securing even moresupport! The entire Board cannot thankthe thirteen 2013 sponsors enough.This level of sponsorship providesenough funding that we can avoidincreasing our conference registrationfees for members and their guests.Have you visited the NewIAMFA.org

Conference Page recently? All registra -tion details for the conference can befound there. We will also be resettingthe password for the Members OnlyPage in the next few months, as soon

as everyone has paid their annual duesfor this calendar year. We establisheda July 15 deadline this year, but haveextended it for another month to givefolks time to pay their dues. This wasthe first year with an established dead -line, and over 100 of our members didpay on time! In the spring issue of Papyrus, I

asked for volunteers to serve on theBoard; however, no one has comeforward so far. The Board is still keento welcome anyone interested in serv -ing on the Board, and it is never toolate to express your interest. We arealways looking for volunteer help andassistance. Fortunately, all current Boardmembers who are completing theirterms are willing to go on for anotherterm. Voting Members in good stand -ing should have seen a ballot fromRandy Murphy earlier in July. Pleaselook for it and vote! It is importantthat we hear from as many membersas possible. We look forward to welcoming

Bill Caddick from the Art Institute ofChicago to the IAMFA Board this fall,and to our upcoming annual meetingin Chicago in 2015. We have DC 2013and Scotland 2014 to enjoy before weall head to Chicago in 2015. Jack Plumbis busy planning our meeting inScotland already, and has secured thehotel and all of the venues. The Boardcan’t wait to visit him in April of 2014to see what his team has planned forall of us, come September 14–17,2014. Make sure to save those dateson your calendar. The Board has drafted a new five-

year Strategic Plan, Corporate Spon -sorship Plan and Membership Plan,and we will be rolling these plans outto our members during the October2013 annual conference. We are allvery excited about the strategic direc -tion these three plans provide for ourAssociation over the course of the nextdecade. We hope to reach out to you,and offer ways for all of our membersto become more involved in theirfacilities association. I hope everyone is having a won der -

ful summer, and I look forward tobeing with you all in October.

The Washington, D.C. ConferenceCommittee remains hard at workplanning the upcoming Annual

Conference on October 20–24. I hopeeveryone is planning to come early andstay late to enjoy the bench markingsession on Sunday, as well as the extraday they have planned for Thursday. The IAMFA Board had a fabulous

meeting in early May, and walkedthrough the entire planned program.We all came away with no doubt thatthis meeting will be up to our usualIAMFA par in terms of excellence inannual conference planning and exe -cution. The Board stayed at the GaylordNational Resort Hotel during this meet -ing, which was very comfortable, withlots of large open spaces for gathering,as well as great shopping and restau -rants. I am confident everyone willenjoy this hotel, as there is somethingfor everyone at this resort location. The Board and I can’t thank every -

one enough for taking us on toursthrough the Folger Shakespeare Library,the Holocaust Memorial Museum, theLibrary of Congress, the GlenstoneGallery, the National Archives, theSmithsonian’s Environmental ResearchCenter and the National Zoo. I hopeyou enjoy Joe May’s photographs fromthat meeting in this issue of Papyrus. The planning committee, headed

by Tiffany Myers, is doing an out -standing job pulling together all ofthe details for the conference. Theteam represents all of the leadingmuseums, archives and libraries of theWashington, D.C. metropolitan area.Team members Kristy Brosius (U.S.

PAPYRUS SUMMER–FALL 2013 3

Nancy BechtolPresident, IAMFA

MESSAGE FROM THE PRESIDENT

IAMFA is very fortunate

to have several corporate

sponsors who have

supported us for years,

assisting with many

annual conferences.


In October 2009, Presidential Executive Order 13514 forFederal Leadership in Environmental, Energy, andEconomic Performance was signed, mandating a 30%

reduction in energy use and a 30% reduction in green housegas (GHG) emissions for all Executive Agencies by the year2020: 30/30 by 2020. While the National Gallery of Art(NGA) is not an Executive Agency, we strive to follow theOrder’s spirit. In 2012, Darrell Willson, Administrator andSenior Sustainability Officer, presented the NGA StrategicSustainability Performance Plan (SSPP) to staff: a plan whichrecognized that each of us can contribute to making adifference in our energy use and costs. The National Gallery of Art set SSPP goals for a 20%

reduction in energy use, and a 20% reduction in green -house gas (GHG) emissions by the year 2020—or 20/20by 2020. By the end of 2012, these goals had nearly beenachieved: energy use was reduced by 17% (Figure 1), andGHG emissions were reduced by 23% (Figure 2). By re-investing some of the energy savings in emerging

technologies, we believe that we can approach the ExecutiveOrder’s 30/30 by 2020. The following projects and accomplishments were

identified in the Gallery’s SSPP:

• HVAC optimization and retro-commissioning• Chiller Plant modification: heat exchanger de-ratingand installation of fourth heat exchanger

• Building Automation System (BAS) upgrades to includeSequence Modifications

• Reduction in potable water use by more than 16%

• Acquisition of EnergyStar or FEMP-rated equipment

• Increased use of office supplies with recycled paper content

• Recycling of building materials and construction waste

BEST PRACTICES FEATURE ARTICLE

Reducing Energy Consumptionand Greenhouse Gas Emissionsat the National Gallery of Artin Washington, D.C.By Cecily Grzywacz, David Matthews, Ted Huynh and David Samec

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Primary chilled water pumps.

Figure 1: By the end of 2012, the National Gallery of Art hadreduced energy consumption by 17% from the 2008 baseline.

Figure 2: By FY2012, partial retro-commissioning of the NationalGallery of Art’s air-washer air-handling units had reducedgreenhouse gas emissions by 23% from the 2008 baseline.


• Expanded recycling program: cardboard, acrylic, allpaper, and special items

• Lighting: more energy-efficient lamps (T-8, T-5, CFL,LEDs) and occupancy sensors

• Prototype touchless men’s restroom (WB Main Floor)

• Encouraging staff to turn off room, office and tasklighting when leaving for the day

• Increased staff subsidy for public transportation;additional bike racks

• Indoor Air Quality (IAQ): replacement of harsh chemicalswith green products (cleaning, landscaping, maintenance)and low- to zero-VOC paints

Administrator Facilities Management’s (AFM’s) energy-conservation measures have been gradually implementedto ensure that modifications have no adverse impact on thepreservation environment for the Gallery’s priceless collec -tions: 70 ± 5°F with 50 ± 5 % RH (70/50). The Gallerymaintains these parameters using heating, ventilation andair-conditioning (HVAC) units based on 1920s air-washertechnology. Fortunately, these air-washer HVAC systems arevery effective at achieving 70/50. Unfortunately, they arealso energy-intensive. Unlike most U.S. federal buildings, but like all museums,

the Gallery must condition its spaces 24 hours a day, 7 daysa week, every day of the year, for the preservation of price -less works of art. Still, there was an opportunity to reduceenergy use and save funds. The Gallery is open to the public7 hours a day; the volume of air conditioned was adjustedbased on expected occupancy and time of day. Spaces onlyneed to be fully illuminated during public and work hours;again, we were able to reduce the amount of air conditioned. AFM has been able to reduce the amount of air con -

ditioned by 10 billion pounds per year with the energy

conservation measures implemented thus far. Based onrecent savings trends, AFM has projected utility-cost reduc -tions to help offset the impact of sequestration. We havea lot of work ahead of us in order to meet this aggressivegoal. With all of us working together, however, we expectto be successful.The energy and cost savings are the result of a change in

the Gallery’s traditional culture. We have discovered betterways to manage the facility using common-sense approaches,while considering the needs of all stakeholders. AFM hasenhanced communications with other departments anddivisions. This in turn has led to mutual education of our dif -ferent fields, areas of expertise, concerns and responsibilitiesand, most importantly, successful collaborations.

Cecily Grzywacz is the Facilities Scientist; David Matthews is theEnergy Manager; Ted Huynh is the Senior Mechanical Engineer;and David Samec is the Chief of Facilities Management at theNational Gallery of Art in Washington, D.C.

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The East Building of the National Gallery of Art.

PLEASE VISIT

www.NewIAMFA.orgTO REGISTER

IAMFA 13·IAMFA COMES TO THE

WASHINGTON DC METRO AREA

October 20–24, 2013

EXPECTATIONS?NO PROBLEM.

QUINN EVANSA R C H I T E C T S

Quinn Evans Architects and

Mueller Associates are currently working

together on several projects for the Smithsonian

Institution at the National Zoological Park, including upgrades

to the Great Ape House, Panda House, and Visitor Center.

For more information on our work with museums, visitor centers,

theaters, performing arts facilities, libraries, zoos, and more, visit

www.quinnevans.com and www.muellerassoc.com.

From climate-controlled museum environments to

environmentally sensitive zoo enclosures, Quinn Evans

Architects and Mueller Associates have tamed

some of the most complex architectural and

mechanical engineering projects in the region.

If you’ve got an adventurous design

project—whether new construction,

an addition or historic renovation—

we’re here to make you

wildly successful.

WILD


Have you ever wondered howRomeo wooed Juliet? Or howHollywood turned Cyrano de

Bergerac into the movie Roxanne?Whether you are interested in Shakes -pear ean tragedies or comedies, yoursearch will lead you to the FolgerShakespeare Library—one of theworld’s largest resources for theworks of William Shakespeare.

Institutional OverviewThe Folger Shakespeare Library islocated near the U.S. Capitol, theSupreme Court, and the Library ofCongress. It opened in 1932 as “a giftto the American people” from HenryClay Folger and his wife Emily JordanFolger. An independent board of27 members governs, and the Trusteesof Amherst College (Henry Folger’salma mater) administers the Folger, inaccordance with Mr. Folger’s bequest. The current annual operating

budget is $15.6 million. The Folger’sstaff includes 100 regular full-time, sixgrant-funded full-time, and 34 part-time employees. In July 2011, theBoard appointed the seventh Directorof the Folger Shakespeare Library,Dr. Michael Witmore.The Folger Shakespeare Library is

a world-class center for scholarship,learning, culture, and the arts. It ishome to the world’s largest Shakespearecollection and the world’s third-largestcollection of early modern Englishbooks and manuscripts, and is a primaryrepository for rare materials on the earlymodern period in Continental Europe. Standing in the Folger’s rare book

vaults, one is surrounded by half ofthe books printed in English before1640. As an internationally recognizedresearch library, the Folger is a hub foradvanced scholarly programs in thehumanities; an innovator in the preser -vation of rare materials; a nationalleader in how Shakespeare is taughtin grades K–12; and an award-winningproducer of cultural and arts programs.

The power and depth of the Folger’scollection inspires the best scholarshipin college and university classrooms,leading scholarly publications, andnew discoveries in the field. The Folgershares the wealth of its collectionwith everyone from Shakespeareanscholars to actors, students, andteachers. Scholars from more than20 countries and 242 colleges anduniversities come to study and takepart in a diverse array of conferences,seminars, and symposia. Over 50,000pages of collection materials are avail -able online in a digital image database.Researchers and teachers from acrossthe globe can access the Library’s bib -liographic information through theonline database, Hamnet, as well as theFolger’s website (www.folger.edu), whichalso includes lesson plans, exhibitions,and subject-themed resources.

Building OverviewAs previously mentioned, the Librarywas built in 1932 by Henry and EmilyFolger. Henry Folger was an avidShakespearean collector, as well as the

president and chairman of StandardOil of New York. Sadly, Henry Folgernever saw the completion of the FolgerShakespeare Library. The building waslater completed by Emily Folger, withthe assistance of architect Paul Cret,who is also known for the FederalReserve Bank and the Rodin Museumin Philadelphia, in addition to theSouthwest D.C. Power Plant. The Folger Shakespeare Library has

multiple components, including theExhibition Hall, Old Reading Room,New Reading Room, Theatre, meetingrooms, offices, collection spaces, andadditional exhibit spaces. The majorityof these areas were part of the originalbuilding in 1932. A major renovationin 1978 included the addition of theNew Reading Room, 17 offices, twocon ference rooms, mechanical modi -fications, and additional collectionspaces. During this renovation, theFolger started utilizing the Architect ofthe Capital Chilled Water and Steam.The Folger has also experienced manyother minor renovations, ranging fromupgrading the Theatre to rearrangingoffice configurations.

The Folger Shakespeare LibraryBy David Conine

Folger Shakespeare Library, West Entrance: corner of 2nd Street and East Capitol Street.

Currently, the Folger is in the midstof an institution-wide strategic plan.Some areas being evaluated includearchitectural, structural, mechanical,electrical, plumbing, fire detection, firesuppression, security concerns, ADAregulations, LEED practices, collectionneeds, hazardous materials, and spaceusage and availability. These evaluationscould potentially lead to a major reno -vation in the near future. In the mean -time, the Folger’s Exhibition Hall andcritical mechanical systems are currentlyunder construction. The ExhibitionHall renovation will be described infurther detail on October 21 at the2013 IAMFA Annual Conference inWashington, D.C. The mechanicalrenovation was previously described onpages 20–21 in the article “Preservingthe Works of Shakespeare” in theSpring 2013 issue of Papyrus.

Performing ArtsThe Folger presents a variety of per -form ing arts and cultural programs:exhibitions, theater, music, poetry,lectures, and performance-based edu -cational programs for audiences of allages. Folger exhibitions bring the col -lection to life by putting the Library’streasures on view for the public througha rotating, free exhibition series.Folger Theatre is the centerpieceof the Folger Shakespeare Library’sprograms for the public. Its thought-provoking productions, performedin an Elizabethan theatre, have won18 Helen Hayes Award awards forexcellence in acting, direction, design,and production. These include thebest-play-of the-year awards for FolgerTheatre’s 2010 Hamlet and 2006Measure for Measure. The Folger Consort, led by Robert

Eisenstein (Five College Consortium,Massachusetts) and Christopher Kendall

(University of Michigan), has been atthe forefront of the Washington area’sdistinguished tradition of early musicfor more than 30 years. The FolgerConsort has been named the BestChamber Music Ensemble by theWashington Area Music Awards forthe past four consecutive years.

EducationThe Folger’s award-winning K–12 edu -cation programs are a vital part of itsoutreach activities, bringing studentsto perform on its Elizabethan stage,and taking Folger educators into theclass rooms of D.C. schools. The Library’sprofessional development programsreach teachers around the country, withworkshops and institutes in a dozenstates each year, as well as web-basedcourses and curriculum. The Folgerdeveloped all of its programs in responseto teachers’ stated needs, knowingthat Shakespeare is studied in morethan 90% of our nation’s high schools,

and each serves as a point of entry tounderstanding the language and thecontext in which Shakespeare wrote.

Special EventsThe Folger also organizes and facilitatesspecial events for non-profit and for-profit events. These events range fromeducational to political to corporateevents. The Exhibition Hall, OldReading Room, New Reading Room,and the Theatre are utilized for thesespecial events. Some of these eventsare the only times that the public mayaccess certain areas. For example, theFolger celebrated its 80th anniversarylast year with its annual birthday partyfor William Shakespeare. During thesebirthday parties, the Library opens itsdoors to the public and they haveaccess to the Reading Rooms.

David Conine, LEED AP, is Head of Facilitiesat the Folger Shakespeare Library inWashington, D.C. David has been amember of IAMFA since 2010.

Owiso Odera as Othello, and Ian Merrill Peakes as Iago in Shakespeare’s Othello, presentedat the Folger Theatre in the fall of 2011.


Past issues of Papyruscan be found on IAMFA's website

www.NewIAMFA.org


What is Building Information Modelling (BIM), andshould I consider using it on my next project?BIM is a 3D digital representation of a building. The BIMmodel presents the physical and functional informa tion ofa building format as an accurate assessm ent of the building,its form, its engineering services and, potentially, its assets. Using BIM, design and con struc tion teams can “build

before they build” in a virtual environment. Informationembedded within the model, if correctly set up and main -tained, will serve the building during its lifetime. The “asbuilt” or “as fitted” BIM model can then be expanded andmodified with each new iteration of the building’s designand intended use.

Challenging structures made possible by BIM Both new-build and refurbished museum buildings can createan opportunity for the client and the project architect to pro -duce a design statement which pays homage to the historicalcontext and form of the existing building or, alter natively,expresses the new building as a more challenging archi tec -tural form and statement. In itself, the building can becomean engineering and tourist attraction during its con struction,

as well as in its final built form, creating significant interestwhile ultimately contributing to the quality of the visitorexperience. The deployment of BIM allows design teams tointegrate and efficiently engage with increasingly com plexbuilding geometry that tra ditionally would pose significantchal lenges to design and construction teams. Thoroughanalysis in a virtual 3D build ing format allows stakeholdersto conceptualise and review options for the proposed galleryspaces, structure, enclosure and MEP systems.

Increased engagement with stakeholdersAdd to this BIM “fly-throughs” from completed models andthose in pro gress, and increasingly informed deci sionsbecome possible for museum curators—especially those newto the design and construction process. BIM aids designers,builders and clients alike in maximising visual and revenue-generating relationships and oppor tu nities for exhibitionareas. Collabo rating in BIM allows design teams, buildersand major trade suppliers to minimise risks in the buildingprogramme. BIM thus enables teams to provide unique,complex, bespoke designs that can be assembled usingoffsite prefabrication techniques.

Building Information Modelling“To BIM or not to BIM?”By Sam Collard

3D BIM model view.

Asset Management in BIM—late adoptionMuseums, by their very function, record and capture ourlinks to the past. Because of their age, however, they cannotalways offer good infor mation on structural elements andengineering systems, which in itself poses a significantchallenge. Infor ma tion on the building and its assets maybe contained in paper records, or a proprietary electronicregister or data base that was designed before the utili sationof BIM on the project. Com pli cating matters, the quality ofcontent normally diminishes through use.Most of the benefits of BIM are cur rently realised during

the design and construction of a facility. The FM and AssetManagement element of BIM is not, as yet, a consistentand main stream deliverable to clients. BIM can be useful,however, to museums in planning, accommodating andvalidating how new and existing exhibits can be produced.A number of “pathfinder” projects are currently detailingtheir Operations and Maintenance and Asset Managementin a BIM model.

Can BIM be used on an existing building?Retrofitting of museum buildings using BIM can now beseen as a different prospect, together with laser scanningto capture building geometry, spatial relationships, geo -graphical data and building components. This can presentan accurate and detailed “as-built” over view of the entirebuilding interior and exterior. When converted from a pointcloud scan, this can be used to prepare a 3D BIM model.

BIM, governance and knowledge sharing The early adoption of BIM created a substantial amount of“Ba”—a concept for new acquired knowledge and learn ing.


Equipment tagged in BIM model.

This was achieved through early adopters pushing theboundaries of what BIM could do. Whilst not all attemptswere entirely and wholly successful, new learning in BIMwas achieved, and we learned through our successes, andsometimes through intelligent failure.Increasingly, BIM management models of delivery, gov -

ernance and procedures are being authored with out thelearning earned through custom, practice and use. Onerousand untried BIM requirements are often specified, whichby their very nature and risk of litigation discourage newand early adopters from applying BIM “stretch” and pushingthe current boundaries. It is important that we consider whatwe can achieve today; that this is supported by an “evidenced-based“ approach to BIM; and that we write performancerequirements that the industry can confidently achieve.

Potential BIM enablers and barriers to implementationThere are a number of criteria that can affect a team’s abilityto engage in BIM. If tackled correctly, however, these cancreate a more effective platform for a new project workingin BIM. And, whilst there can be perceived and real barriersto the implementation of BIM, these are not usually sufficientin magnitude for you not to deploy a BIM project.

Potential enablers include:

• Most designers will be working in BIM, or thinkingabout it. Choose a team that has been working in BIMfor a number of years, and has mature BIM workingprocesses, and BIM object content.

• The proposed constructors may already work in BIM,and would like to use it on the project.


• The asset software you use, or are considering using,may already be BIM-enabled. Consider radio fre quencyID tagging of assets and link this to your asset database,the BIM model, and mobile technology.

• There are skilled practitioners involved in the project,such as BIM model managers, who are available to helpin the transition to BIM.

• Museum BIM case studies for similar projects will giveyou insight into the successful adoption of BIM, as wellas areas to consider for improvement.

• Governments may require BIM on the project as partof a National Procurement Strategy.

• BIM can be deployed for planning exhibits throughextensive visualisation and planning.

• BIM can help verification of the proposed build in avirtual environment.

Potential barriers include:

• The extent of current CAD or record drawings in a 2Dformat.

• The building’s existing asset register is not BIM-enabled,and the time required to convert the infor ma tion isoverwhelming to the building’s operators. The facilitiesmanagers are not familiar with BIM, and therefore donot consider BIM viable.

• The building’s current designers do not work in BIM.In this instance, you should consider whether they arethe right people for your exciting new project.

• The Return on Investment in deploy ing BIM on theproject is not clearly defined and measurable, and staffare not trained to work in BIM.

• Immature industry standards exist that can beuniversally adopted.

• Cost of entry seems high to the client. Clients shouldnot fund the devel opment of BIM. The cost of entry isborne by efficiencies realised in the design andconstruction processes.

• It can appear hard to keep the BIM model relevant forthe lifecycle of the building.

• Specifying the BIM inputs and outputs during thedesign and construction development for FM canbe challenging.

Whilst there can be no conclusive guarantee that BIMwill benefit your project, there is sufficient evidence to sug -gest that teams which work in BIM achieve better projectoutcomes within the environs of the project build.

Sam Collard is a Technical Director for Steensen Varming, a firmof Building Services Consulting Engineers who have an extensiveworldwide portfolio in museums and art galleries. He has beeninvolved in the management and implementation of BuildingInformation Modelling (BIM) on over 50 projects, in the U.S.,Canada, Scandinavia, the United Kingdom, India and Australia.

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Leonardo da Vinci (1452–1503),famous as the artist who paintedthe Mona Lisa, was also a highly

talented and creative inventor, engi -neer and architect. He conceptualizedand sketched technology centuriesbefore its time, including prototypesfor a tank, helicopter, calculator andsolar power. Da Vinci taught at a studioin Milan, where he expounded to hisart students on saper vedere, or “know -ing how to see”. He said that the key toart is perspective. Creativity is knowinghow to see. He stressed altering per spec -tive, viewing the subject from severaldirections until one sees and fullyunderstands the subject. The successful museum facility man -

ager is a modern da Vinci. The FMis constantly challenged to imagine,often under difficult time constraints,ways of achieving maintenance cost andfunctional objectives. The cost objectiveresults when a workable budget is com -pleted and funds are approved; whenactual cost versus budget is maintained;and when optimum lifecycle cost isapproached more closely. The func -tional objective is achieved when thefacility meets design intent, and con tin -uous improvement is institutionalizedas a reliable, sustainable way of life. To stay ahead of all the demands,

the FM uses Predictive Maintenance(PdM), a highly effective means ofachieving saper vedere when used as anintegral part of the annual preventivemaintenance program. PdM employsda Vinci’s principle by extending thesenses of touch (vibration, temperature)and sight (vision, thermal imaging),as well as trending (rate of change ofconditions). These are all examples ofhow to see the entire facility from dif -ferent perspectives. Each of these PdMmeasures offers a different perspectiveto improve understanding; identify

Predictive Maintenance Knowing How to SeeBy Thomas A. Westerkamp

optimual repair intervals; and optimizethe lifecycle of structural, mechanical,and electrical assets. It uncovers hidden,impending breakdowns before theyoccur, averting health and safety issuesand major damage costs. Energy andcost savings, continuous improvement,greater reliability, and getting moreout of budget dollars, are all realisticoutcomes. The following are a fewreal-life examples of PdM at work:

• Improving HVAC/R systems—usinga clamp-on ammeter to measurecom pressor amps, then addingcompressor oil and seeing ampsdrop, electric bills decrease, andcompressor life extended. Also, arefrigerant leak detector with the

new semi-conductor sensor is verysensitive to small leaks of mostrefrigerants in use today.

• Optimal constant temperature andRH is maintained to protect art col -lections with intelligent thermostats,as well as a temperature and relativehumidity recorder-controller todocument trends.

[Predictive Maintenance]employs da Vinci’s principleby extending the sensesof touch (vibration,temperature) and sight(vision, thermal imaging),as well as trending (rate of

change of conditions).

• Integrity checks of roofs and exteriorwalls using coring, contact moisturemeters, and thermal imaging—theseinspections reveal roof damage, allow -ing repairs to be done earlier, oftenbefore they are obvious, therebyreducing roof-maintenance costs andinterior damage. Simple improve -ments such as soft shoes, protectivewalkways, and care in walking orsetting equipment on the roof, canavoid punctures that turn into leaks.Frequently checking roof flashing,joints and seals around penetrations,and resealing them, will add years toroofing systems. And frequent useof imaging to locate moisture underthe surface will lower costs by avoid -ing interior damage that remains hid -den in walls and above ceilings untilmajor water damage has occurred.

• Piping system—camera inspections,test specimens, and use of flow sub-metering to see where all the wateris going are ways in which “knowinghow to see” can save. Some facilitiesuse routine cleaning of all pipingon a scheduled basis to keep pipingclear; but not all pipelines becomeblocked at the same rate. Somepipe disassembly is wasted. Also,the frequency may be too often, inwhich case the cost is higher thanneeded. In other cases, the fre -quency is not often enough, inwhich case the piping becomesblocked, interrupting service andcosting emergency rates to fix. Onthe other hand, using fiber-opticcable and a camera, lines arechecked and cleaned at optimal,scheduled intervals, minimizingunscheduled downtime and costs.

• Test specimens are useful formeasuring the rate of piping wall


corrosion and erosion. The tech -nician prepares a specimen of thesame material as the pipe wall,threaded on one end, and rod-shaped on the other. The diameterof the rod end is measured with amicrometer to thousandths of aninch. A bushing is welded to thepipe wall at the test location—nearan elbow, for example, where higherosion is likely. The specimen isthreaded into the bushing andremains for a recorded period oftime, say a year. It is removed a yearlater and measured. If the originaldiameter of the machined rod was0.500 inch and the diameter a yearlater was found to be 0.400 inch,then the rate of wall loss is 0.100 inchper year. The years of life are calcu -lated by dividing the original wallthickness—say 0.250 inch—by therate of loss: 0.100 inch, or two-and-a-half years. This method is far betterthan the play-it-safe approach—changing the pipe before it wearsout, or the take-a-chance method—letting it fail before replacing it.

• Sub-metering water consumptioncan find leaks and high usage areasearly; can measure the effects ofupgrading to low-flow fixtures; andcan control water cost even whenrates are going up.

• Infrared scanning of the electricaldistribution system for hot spots—the electrical distribution system isone of those “out of sight, out ofmind” elements of a facility. Distri -bution system design, motor andcontrol design, and switchgear havebenefitted from major design im -provements over the years. Almostno problems happen. But wait. Whatabout power outages? What abouttransformer explosions? Lightningstrikes? Relay outages due to over -load? Downtime does happen in thewider infrastructure, and can happeninside the facility, too. The way tofind out if hidden problems arethreatening the distribution systemis saper vedere. You could go aroundand visually inspect, but you won’t

see much out of the ordinary. Youcould touch motors, controls, con -duit and switchgear looking for hotspots. But a safer, more sensitiveway to do this is with non-contactthermal imaging.

• Energy efficiency through lightingupgrades can enhance constantlumen output: a critical factor inimproving the longevity of art. Arethose incandescent lights costingtoo much and providing dimin ish -ing output over their lives? Arefluorescent lights in the galleries,garage, halls, offices, classroomshumming? Are ballast replacementshappening frequently? You couldkeep using old technology, but 100-and 75-watt incandescent bulbs andT12 fluorescent tubes, introduced

in 1938, are no longer legally man -ufactured in the U.S. When suppliesare gone, upgrades will be needed.Measuring lumen output may indi -cate significant lighting loss in theseold lamps. Switching to LEDs orother high-efficiency lighting willbring the lighting level up to a moreconstant optimum, and switchingto more efficient lamps will improvefunction and save many dollars inenergy and maintenance cost. LEDslast 50,000 hours or more—that’sfive years without changing, at anenergy cost that is as low as tenpercent of incandescent cost forthe same lighting level.

• Lube program—another PdM tech -nique is facility-wide lube analysis.Using the right lubricant, appliedwith the right method, at the cor -rect frequency, in all the rightlocations, sounds simple. In fact,however, a comprehensive lubeprogram requires a lot of carefulplanning and can be aided by lubeanalysis, by a lubricant supplier doingan assessment, and by setting up anannual program.

• Vibration analysis—blower motors,bearings and drives; pumps; ventfans; generators; turbines andcompressors all have one thingin common: they have rotatingelements. Since the 1950s, vibrationanalysis has been used to predict theremaining life in rotating machines.Measured amplitude and frequencyof vibration tell the technician a lotabout condition and remaining life.Actual vibration amplitude closeto the breaking point on a generalseverity chart means an impendingbreakdown. The frequency of thehigh vibration identifies the com -ponent. For example, if the highvibration is at a frequency of fourtimes the rotating speed, and thepump has an impeller with fourblades, then the impeller needs tobe rebalanced or replaced to avoidserious damage.

• Vibration analysis acceptance test ingis another method that can ensurethat equipment fits the application,ensuring long life for new rotating-equipment installations.

• Studies show that, if not tested, fiftypercent of circuit breakers do notfunction normally after five years,mostly due to mechanical problems.Circuit-breaker vibration analyzersperform trip tests, recording andcomparing the first trip with latertrips to identify problems such asspring weakening and excess friction.An accelerometer circuit-breakeranalyzer app uses the same iDevicecapability that senses pull of gravity,and rotates a smart phone picture

Infrared scanning of theelectrical distributionsystem for hot spots—the electrical distributionsystem is one of those“out of sight, out of mind”elements of a facility.


from landscape to portrait format,to differentiate horizontal fromvertical axis tests.

• Ultrasound—facility managers canapply ultrasound, acoustic-emissionanalysis to detect high-frequencynoise inaudible to the human ear. Itdetects leaks in boilers, condensers,steam and air systems, and other bigenergy consumers. It is also veryeffective in detecting electricaldischarges such as arcing, trackingand corona. A manufacturer savednearly $80,000 annually by correct -ing numerous leaks in the air systemafter a brief ultrasound inspection.Other ultrasound uses include themonitoring of bearing, lube andmachine conditions.

Six Steps to InitiatingPredictive MaintenanceIs PdM right for your facility? If youwant to find out, have an outside firmrun a pilot test on a sample of mission-critical equipment and provide asavings-versus-cost analysis before com - mitting to purchase of PdM analyzers.Once a clear justification can be made,selling the program is easier. Once theall-in decision is reached, a six-stepPdM installation program consistsof the following:

1. Select the assets to include.

2. Design a history record for eachasset as part of the CMMS.

3. Select PdM analyzer(s).

4. Establish measurement intervals aspart of the preventive maintenanceprogram.

5. Initiate readings; record results.

6. Analyze records for corrective action.

Payback for PdM analysis costs hasbeen shown to be very rapid—oftenless than a year. What is the worth ofone avoided roof or pipe leak? Oneavoided electrical transformer fire?One avoided arc flash fire? Saper vederemakes obsolete other costly, unre liable“take-a-chance” or “play-it-safe” strate -gies for deciding when to repair, keep -ing the facility in top condition, andearning rave reviews from employeesand visitors.

Thomas A. Westerkamp is a consultant,lecturer, and author of the MaintenanceManager’s Standard Manual andAWARE.MPS, Maintenance ProductivitySuite. He founded Productivity NetworkInnovations, LLC (PNI), www.pninc.comin 1986, and has written over 200 articlesfor Maintenance Solutions and numeroustrade journals.


2013 IAMFA CONFERENCE SCHEDULE

Folger Shakespeare Library

Air and Space Udvar-Hazy Center

Gaylord National Resort &Convention Center

National Museum of AmericanHistory

National Zoological Park

National Archives

DELEGATE PROGRAMSATURDAY,

3:00-5:00 pm Conference Registration Gaylord National Resort

SUNDAY, 8:00-9:00 am Conference Registration Gaylord National Resort

9:00 am-3:00 pm Benchmarking and Learning Workshop

NOTE: This is a separate workshop for benchmarking participants only,and not part of the IAMFA Conference.

Gaylord National Resort


5:00-7:00 pm Opening Reception Gaylord National Resort

MONDAY, 8:45-9:45 am Travel to Folger Library, and Opening Remarks Gaylord Lobby

9:50-10:30 am Presentation: Window Upgrades and Preventing Moisture Intrusion Folger Library

10:30-12:00 pm Coffee Break, then Behind the Scenes Tours

12:00-1:30 pm Travel, then Lunch at the Library of Congress James Madison Building

1:30-2:30 pm Special Presentation: Around the World, Music, Preservation, TBD

2:45-3:30 pm Presentation—Session 1A: Developing a Long Term CollectionsStorage Plan for the Library of Congress

Charon Johnson, Library of Congress

Presentation—Session 1B: Campus-wide Safety Upgrades Matt Harrison & Jonathan ShrinerLibrary of Congress

3:45-4:30 pm Presentation—2A: LED Case Study at Trafalgar Square or Energy Chris Tiernan

Presentation—2B: Energy Reduction Program for Capitol Buildings Chuck Iliff

4:30-6:00 pm Special Presentations & Light Hor d’oeuvres Library of Congress

6:15-7:30 pm Travel, then Dinner at the National Museum of African Art National Museum of African Art

7:30-9:45 pm Depart for Memorial Bus Tour, finish back at Gaylord Hotel

TUESDAY, 8:45 am Meet in Lobby for National Zoological Park National Zoological Park

10:20-10:30 am Opening Remarks/Today’s Notes

10:30-11:15 am Presentation: Climate Responsive Building Envelopes Chris Arkins, Emrah Baki Ulas—Steensen Varming

11:30-12:30 pm Lunch

12:30-2:00 pm Self-Guided Tours and Programmed Tours

2:15-3:00 pm Presentation: Shifts in Environmental Parameters Requirements Panel Discussion

3:00-3:45 pm Presentation: Organic Grounds Management Paul Tukey, Glenstone

4:00-5:00 pm Bus Trip to Gaylord Hotel & Free Evening Gaylord National Resort

6:30 pm IAMFA Board Meeting Grace's Mandarin

WEDNESDAY, 7:35 am Gather in Lobby for Bus Departure for the United States Holocaust Memorial Museum

8:35-9:45 am Self-Guided Tours and Programmed Tours United States Holocaust MemorialMuseum

9:45-10:00 am Coffee Break

10:00-11:00 am Annual General Meeting

11:10-12:30 pm Walk to National Museum of American History, then lunch National Museum of American History

12:30-1:30 pm Self-Guided Tours and Programmed Tours

1:45-2:15 pm Presentation: Benchmarking Recap Presentation Keith McClanahan

2:25-3:15 pm Presentation: Hypoxic Fire Protection System National Museum of American History

3:30-4:00 pm Bus Trip to Gaylord Hotel

5:30-9:30 pm Travel to Gala Dinner at the Smithsonian Institution National Air and Space Museum— Steven F. Udvar-Hazy Center

9:30-10:00 pm Gather for Bus Trip back to Gaylord Gaylord National Resort

THURSDAY, 8:15 am Meet in Lobby for Smithsonian Environmental Research Center Gaylord National Resort

9:15-11:00 am Tour Smithsonian Environmental Research Center SERC

11:00 am-2:00 pm Travel to NARA in Greenbelt for Lunch and Tour National Archives and RecordsAdministration

2:00-5:00 pm Travel to Glenstone for a Tour, Wine & Cheese Glenstone Museum

5:15-6:30 pm Load Buses for trip back to the Gaylord Hotel Conference Adjourns


Hirshhorn Museum and SculptureGarden

Glenstone Museum

Library of Congress’s JamesMadison Memorial Building

Smithsonian EnvironmentalResearch Center

United States Holocaust MemorialMuseum

GUEST PROGRAM OCTOBER 19, 2013


OCTOBER 20, 20138:00-9:00 am Conference Registration Gaylord National Resort

8:30-8:45 am Meet in lobby for travel to Arlington National Cemetery Gaylord National Resort

10:00-10:30 am Changing of the Guard at the Tomb of the Unknowns Arlington National Cemetery

10:30-12:00 pm Robert F. Kennedy & President Kennedy Gravesites Arlington House & Robert E. LeeMemorial

12:00-3:00 pm Depart for lunch at Chart House, then shopping in Alexandria, VA Alexandria, VA

3:00 pm Meet King St Dock for Water Taxi to Gaylord Hotel Water Taxi to Gaylord


5:00-7:00 pm Opening Reception Gaylord National Resort

OCTOBER 21, 20138:45-9:45 am Travel to Folger Library, and Opening Remarks Gaylord Lobby

9:40-10:45 am Tour Folger Library Folger Library

10:45-12:15 pm Travel to, and tour Capitol Visitors Center Capitol Visitor’s Center

12:15-1:30 pm Travel, then Lunch at the Library of Congress James Madison Building

1:30-2:30 pm Special Presentation: Around the World, Music, Preservation, TBD

2:30-3:00 pm Travel to United States Botanical Gardens United States Botanical Gardens

3:00-4:15 pm Tour of United States Botanical Gardens

4:15-6:00 pm Travel to LOC, then Special Presentations & Light Hor d’oeuvres James Madison Building

6:15-7:30 pm Travel, then Dinner at the National Museum of African Art National Museum of African Art

7:30-9:45 pm Depart for Memorial Bus Tour, finish back at Gaylord Hotel Washington, D.C. Memorials

OCTOBER 22, 20138:45 am Gather in Hotel Lobby for Bus Departure to the National Zoological Park

10:20-11:30 am Behind-the-Scene Programmed Tours Smithsonian Institution NationalZoological Park

11:30-12:30 pm Lunch

12:30-1:30 pm Behind-the-Scene Programmed Tours

1:30-1:45 pm National Zoological Gift Shop

2:00-2:30 pm Travel to National Gallery of Art National Gallery of Art

2:30-4:00 pm Tour of Natioanl Gallery of and visit NGA Gift Shop

4:00-4:45 pm Load Buses for Trip back to Gaylord National Resort and Free Evening Gaylord National Resort

OCTOBER 23, 20138:45 am Gather in Lobby for Bus Departure for the United States Holocaust Memorial Museum

9:35-10:45 am Self-Guided Tours and Programmed Tours U.S. Holocaust Memorial Museum

10:45-11:00 am Visit USHMM Gift Shop

11:00-12:30 pm Walk to National Museum of American History, then lunch Smithsonian Institution NationalMuseum of American History

12:30-1:30 pm Tour National Museum of American History

1:30-1:45 Visit NMAH Gift Shop

1:45-3:00 pm Walk to National Museum of Natural History; Tour and Visit NMNHGift Shop

National Museum of Natural History

3:00-3:45 pm Bus Trip to Gaylord Hotel

5:30-9:30 pm Travel to Gala Dinner at the Smithsonian Institution National Airand Space Museum—Steven F. Udvar-Hazy Center

Next to Space Shuttle Discovery

9:30-10:00 pm Gather for Bus Trip back to Gaylord Gaylord National Resort

OCTOBER 24, 20138:15 am Meet in Lobby for Smithsonian Environmental Research Center Gaylord National Resort

9:15-11:00 am Tour Smithsonian Environmental Research Center SERC

11:00 am-2:00 pm Travel to NARA in Greenbelt for Lunch and Tour National Archives and RecordsAdministration

2:00-5:00 pm Travel to Glenstone for a tour Glenstone Museum

5:15-6:30 pm Load Buses for trip back to the Gaylord Hotel Conference Adjourns


2013 IAMFA CONFERENCE VENUES



The use of Building Information Modeling (BIM) inarchitecture, engineering, and construction hassoared over the past decade, with this powerful 3D

modeling tool now used routinely for new facilities. Thedigital technology has enabled teams to improve communi -ca tion and visu alization; coordinate and integrate buildingsystems; test and evaluate alternatives; and assess proposeddesign concepts for functional attributes such as daylight,glare, and energy use.

A Watershed MomentWhile BIM has greatly facilitated the design process fornew buildings and expansions, we are now beginning tosee frequent use of the technology for ongoing buildingoperations, upgrades, and repairs as well. Recent advancesin the way we access, edit, share, and main tain digital infor -mation has created a watershed moment in facilities man -agement—a major step forward for building operations,which can save museums and galleries significant amountsof time and money. The latest technology, which sup ports a new wave of

“Project Information Management”, or PIM, enables any

BIM for Building Operationsand UpgradesBy Alyson Steele and Rob Fink

Following an earthquake in 2011, a combination of BIM software,iPads, and construction lifts aided consultants in assessing neededrepairs at the historical Sherman Building in Washington, D.C.

Digitized photos overlaid with color-codedrepair marks helped prioritize façade repairs atthe Sherman Building.

Digitized information for the Sherman Building included a color-coded survey ofexterior conditions.

amount of digitally available infor ma tion, such as a scan ora jpeg, to be paired with a centralized information manage -ment system and mobile devices. Facility owners and managersdon’t need to commit to a full-fledged 3D model with


materials and systems. Instead, use of these software toolscan help address specific operational and troubleshootingissues quickly and efficiently, while also permanentlyrecording the building information for future use.

Point Solution ApproachMany museum owners and facility managers will appreciatethe “point solution approach” as they begin to take advantageof BIM for operations. This approach addresses a particularproblem, crisis situation, or operational task by using BIMand mobile tech nol ogy for greater efficiency, communica -tions, consistency, and establishment of a digital record. For example, Quinn Evans Architects recently assessed

needed repairs at the Sherman Building on the grounds ofthe Armed Forces Retirement Home in Washington, D.C.The 107,000-square-foot building, a National HistoricLandmark, had suffered damage in an August 2011 earth -quake. Our consulting team began with jpegs of existingplans, elevations, and photos, in tandem with PIM software—in this case, Newforma® Punch List. At the site, using iPadsand construction lifts, the team inspected the damage andidentified major repair tasks—specifying, for example, exteriorcracks, open joints, missing mortar, and staining. The result -ing punch list was used to formulate the con tractor’s scopeof work. A similar punch-list effort could also serve as thebasis for an ongoing maintenance program.Newforma’s Info Exchange soft ware was particularly

useful on another recent project for a large institutionalclient in Washington, D.C. The project involved inspectionof 1,200 doors throughout the facility, in order to reviewaccessibility and functionality. To manage the scope andprogress, we used several software programs that together

enabled us to optimize infor mation—reusing data andeliminating duplication—while Info Exchange enabled usto share and update the information with the project team. We created a database outlining the scope of work for

the door project using a standard form with preset fieldson laptops to collect data. Using a com bi nation of AutoCAD,Revit®, Microsoft Excel, and Microsoft Access, we gen er ateda project schedule and construc tion documents. Onsite,iPads facilitated updates to the punch list and the view ingof specifications, product cut sheets, and construction draw -ings and sub mis sions. Here, PIM proved especially usefulin streamlining the door inspection and repair process fora routine facilities operation challenge.The Smithsonian Institution is also taking advantage of

BIM software capa bilities in assessing mechanical systemsat the 1.3-million-square-foot National Museum of NaturalHistory in Washington, D.C. Using laptops and iPhones,scans of as-built drawings, coupled with systems diagramsand jpegs, can together be accessed in the field. Thismethod facilitates the iden tification of discrepancies inexisting records—such as incremental changes that maynot have been documented—and helps staff establishpriorities for facility recommissioning.

Enterprise ApproachThe “enterprise approach” to BIM for building operationsis the most powerful—a holistic, comprehensive approach,rather than an as-needed process for maintenance or repairissues that arise. The enterprise approach enables ownersand facility managers to benefit from the broad array ofpowerful BIM tools now available, and strategize for long-term operations and maintenance. This approach requires the most upfront investment,

but over time will offer significant advantages and time/costsavings, from addressing preventive maintenance issues earlyon, to being able to respond to emergency repair needspromptly and efficiently. While the point solu tion approachis useful for tackling challenges on a pro ject basis, the enter - prise approach is certainly optimal, offering wide spreadbenefits and value in building operations.With museums and galleries con stantly looking to mini -

mize expen di tures for facilities management, main tenance,repairs, and improvements, BIM now offers multi-facetedtechno logical tools that can expedite and streamline the useof critical building information. BIM is no longer limitedto the realm of major new construction, and no longerimplies comprehensive 3D modeling. It is now a flexibleand targeted tool for routine use—another important stepforward in helping museum owners in the responsiblestewardship of their buildings.

Alyson Steel, AIA, LEED AP BD+C, is a principal and Rob Fink, AIA,an associate with Quinn Evans Architects in Washington, D.C.

An interactive iPad application using BIM software facilitated thepunch-list process for the inspection and repair of several hundreddoors at the Kennedy Center in Washington, D.C.


Almost thirty million hands on 1,255 linear feetof painted steel handrails over 20 years created aproblem for the United States Holocaust Memorial

Museum (USHMM). In a building open 363 days a year,a massive handrail-repainting project was too logisticallychallenging. But the worn and multi-colored railings, andthe bare steel and red primer showing through the gray-green finish color, compromised the architectural intent ofthe award-winning building, and a solution had to be found.The architecture of the building choreographs visitors

along particular paths, toward stairs and bridges, as partof the experience of the building as a metaphor forthe Holocaust. Painted steel is used prominently and deliberately through -

out the interior of the Museum in overhead trusses, extensiveguardrails, and steel-tube handrails. All the steel is paintedthe same custom gray-green matte finish color, which wasactually named for the Museum: “USHMM Gray”.An unintended consequence of paint reformulations to

reduce VOCs is that today’s paint doesn’t hold up as well asthe old toxic versions. The longest-lasting touch-up at theMuseum lasted no more than three years. In addition, paintbuild-up contributed to the problem of unsightly paint.The USHMM hired our firm, architrave p.c., architects,

to help find a long-term solution to paint wear. The hand -rail problem poses an interesting challenge. Often, theartifacts in a museum are curated and protected, while themuseum building itself is seen as just a container. Thismuseum building, however, is integral to the collection.The worn paint on the highly visible handrails detracted

from the quality of the space. And, unlike artifacts that canbe removed to a conservation studio for restoration, theHolocaust Museum’s twelve hundred feet of handrails, boltedand welded to brackets, can’t be removed. Restora tion workhas to be done during the sixteen hours a day the Museumis closed to the public. Interventions have to be odor- andfume-free by 10:00 a.m. each day, when the Museum opens.In addition to technical feasibility, the work had to be costeffective in both the long and short term, as well as durable.The Museum needed a solution that was environmentally,

practically, and economically sustainable. And the Museumneeded a solution consistent with the architectural aestheticof the building.We realized that this handrail study was not a typical

contractor effort, so we brought in a firm of architecturalconservators, Conservation Solutions Incorporated (CSI),with whom we have worked in the past. They do diagnostic/

investigation work, not unlike what we do architecturally;but they also do hands-on conservation. They were involvedfrom the very beginning in identifying and testing paintstripping and refinishing options.With the Museum and CSI, we reviewed the problem’s

history, reviewing records, original specs, previous re-painting campaigns, and the handrails themselves. CSIproposed paint-stripping products, paints, and, ultimately,patination chemicals (“patination” here refers to the useof chemicals to color the steel handrails) to test, includinggel strippers and a range of “high performance” paints.Realizing that, over the past fifteen years, Museum

maintenance staff had worked through the range of typicalapproaches to refinishing, we looked for end runs inaddition to obvious possibilities.

Get a GripSustainable Handrails at the United StatesHolocaust Memorial MuseumBy Judith Capen

The prominence of the red primer showing through at a sectionof worn paint emphasizes wear on painted handrails at theUnited States Holocaust Memorial Museum, leading to ourstudy of refinishing options for the Museum.


For a seemingly simple project—“repaint steel handrails”—we innovated by:

Involving conservators to control testing processesclosely, and develop processes that could bereplicated.

Field testing stripping and refinishing methods toestablish methods and processes, as follows:

• We early recommended that good candidates forpaint removal and re-finishing should be field tested,subjected to normal visitor wear, and monitoredfor performance.

• Field testing had to replicate the projected work con -ditions with all work done during off hours, railingscompletely usable at museum opening, and no lingeringfumes or odors. Mockups allowed us to assess how longvarious stripping and refinishing options actually took,assess Museum disruption, and estimate costs. In theprocess, we also fine-tuned methods.

• At the end of the project’s research phase, we proposedthree to five nights in the Museum, testing six paintremoval methods, installing five different finishes, andmonitoring them for up to a year.

• While handrails are located throughout the building,the railings along the monumental stairs in the centralHall of Witness—the building’s most visually prominentarea—receive the most use and show the most wear.With Museum staff, we selected the heavily used southrailing on that stair for the mockups.

• Rebecca Stevens, principal investigator for the projectfrom our office, developed the field-testing plan,including evaluation rating sheets for paint removal,finishes, and monitoring. Rebecca commented on howpleased she was that USHMM accepted our plan. “Mostinstitutions want immediate answers. The monitoringperiod gave us time to see what worked best.”

• We spent four nights testing chemical and laser paintremoval methods, then applying five finishes: two patina -tion and three paint. We discovered that some of thechemical/gel paint strippers worked not at all; some,difficult to pinpoint, caused odors in the Museum thenext day. We then monitored the test finish areas fornine months.

Laser stripping for paint removal:

• Robert Weinstein, principal at architrave, first saw laserpaint stripping (or “de-coating”) demonstrated at an

This handrail on the ramp behind the platform in the Hall ofWitness has an “Egyptian Lacquer” finish with hand-wornpatination. Its appearance has an appropriate continuity withthe surrounding finishes.The laser at work.


APT (Association for Preservation Technology) conferenceon hazardous materials.

• Laser stripping seemed to offer an ideal solutionfor this project. Lasers remove coatings without theclean-up associated with other paint removal products,control minor residual vapors with built-in fume-containment systems, and pose virtually no risk tosurrounding finishes.

Patination as a finish alternative to paint:

• The years since the Museum’s opening had clearlyestablished that paint on heavily-used handrailsis problematic.

• One end run to re-painting was not repainting at all,but patinating the railings with a chemical finish.

• One hand- and guard-rail section in the Museum wasoriginally finished with an “Egyptian Lacquer,” pati natedby hand wear. This section’s finish is consistent with thebuilding’s architecture, and looked good after 13 yearsof service. Unfortunately, the Museum has been unableto replicate it. It is possibly a particular metal finisher’sproprietary finish.

• During one of our initial site visits, Dianne Driscoll,Facilities Specialist with the Museum, and Michael Zisk,Museum Architect, showed us this railing and its finish,observing that it had performed well. This acceptance bythe Museum presented the possibility of a no-paint finish.

Qualification of contract workers:

• If the Museum selected patination for the handrail finish,we suggested that the work be done by professionalmetals conservators or a conservation firm, rather thana construction contractor. The specialized nature of thepaint removal and metal re-finishing demands the sortof detail attention conservators bring to their work,including care in protecting surrounding finishes.

• We suggested that the USHMM include a Competencyof Bidder Specification for the paint removal and pati -nation specialties in the contract documents, if indeeda traditional full set of drawings and specificationsis required.

• We also recommended that the Museum use the findingsof the mock-up and monitoring as the basis for theRequest for Proposal, targeting the announcementto the American Institute of Conservators (AIC).

In spite of our methodical investigation, we encounteredthe unexpected. One surprise was the discovery, on thefirst night of paint removal, of fabrication defects in thesteel pipe railings, previously obscured by filler and paint.

Findings and RecommendationsPaint Rremoval

The laser method ranked highest of all the removal methodstested, scoring 26 out of our evaluation matrix’s 28 possiblepoints. While not a traditional paint removal method, laserde-coating has significant advantages over chemical removers:

• No hazardous or bulky waste requiring clean up anddisposal. No environmental issues.

• No odor during or after paint removal, as the paintbecomes odorless and dust-free plasma.

• Little to no chance of damage to the Museum’sarchitectural finishes—unlike chemical strippers—making protecting surroundings unnecessary.

• The only safety equipment necessary for the personremoving the paint is special-lens glasses.

• It is quick to set up and take down, providing flexibilityin mobilizing and demobilizing.Test Areas 6 and 7: dark and light patination.

We discovered this previously unknown fabrication flaw underlayers of paint: an area filled with putty for a smooth, paintablesurface. We also found grinding and welding marks at cornersand armature attachment locations, and a stippled texture onsome railing sections.


Even so, the laser is not without preparation and demo -bilization. Protecting Museum staff within 60 feet of thelaser light is a concern, solved with a lightweight enclosurearound paint removal areas, staff wearing safety glasses, orkeeping staff outside the laser light zone.Rental of the laser equipment is expensive. While we

used a 150W machine for the trials, we recommended a1000W laser to strip paint much faster, estimated at two tothree minutes per linear foot. This laser requires a lot ofpower, which the USHMM’s existing electrical system couldsupport, and storage space on site during the project.Some chemical paint removal is still necessary to remove

paint from areas the laser light can’t reach and touch up.ProSoCo Fast-Acting Stripper is the most effective chemicalremover we tested, meeting selection criteria best.

Finish

• We recommended patination, ranking highest in theselection criteria.

• We estimated a five- to fifteen-year life for patination,with routine monthly wipe-down with corrosion-inhibiting towelettes.

• Application ease, short drying time, and no curing periodmakes patination of the railings the most cost-effectivefinish over the longer term, especially compared toannual recoating of paint surfaces and periodiccomplete paint removal, priming, and repainting.

• The patinated railing is finished in one continuousoperation, with one application of chemical patinationimmediately after stripping, repair, and cleaning. Thisavoids repeated nightly set-up and demobilization formultiple finish coats. The railing is ready for use afterthe patination chemicals and corrosion inhibitor dry—about a minute. This process minimizes disruption toMuseum operations.

• Repairing fabrication flaws, dings, and dents addsexpense to patination, although not to painting, sincethe paint finish covers the flaws.

• The three patinated test areas worked with the building’saesthetic and continued to look good for the six-monthmonitoring, showing no wear, demonstrating durabilityand ease of maintenance.

Paint

• If the Museum decided to keep repainting the hand -rails, we recommended Rustoleum Gray #7852 Primerand DevGuard 4303 Rust Preventative Eggshell enamel.Of the paints tested, it was the most durable, main -taining an acceptable appearance through themonitoring period.

Since completion of our study on railing refinishing atthe USHMM, the Museum has proceeded with incrementalhandrail refinishing and a maintenance program of monthlyapplications of Cortec Cor Wipes on refinished handrails.In February, 2013, the Museum stripped and patinated a

final 825 feet of handrails, completing handrail refinishingin all exhibition and public areas. The Museum continuedto refine methods as they proceeded with refinishing. Theydiluted the patination formula further to match the finishof the handrails completed in the Hall of Witness in 2011for a more transparent finish.Surprises continued to appear, too. The Museum dis -

covered at least four different steel alloys in the handrailsrefinished since the study. The different alloys have requiredvarious sanding methods, various amounts of sanding, andvariations in the patination formulas.Dianne Driscoll, USHMM Facilities Specialist, reported

on the continued refinishing, “It was very difficult to figureout the new formula, due to so [much variation] with thehandrail metals. Each handrail length required a changein the formula to have a uniform appearance.” She furtherobserved that the more dilute patina formula shows lessrust and was easier to maintain from the beginning, whilepresenting a very clean look that closely matches other areas.Careful, detailed study over almost 18 months resulted

in a successful and sustainable method for refinishinghundreds of feet of handrails in an internationally impor -tant building. Rebecca Stevens reflected, “I find it rewardingto know that together we found a refinishing process andmaintenance practice that works for the Museum.”

Judith Capen, RA, is a principal at architrave p.c., architects inWashington, D.C. If you would like the longer version of thisarticle, with product names and more detail, please contacther at [email protected].

Link to video of 1000-Watt laser:http://youtu.be/09QkTKLkPNE

The United States Holocaust Memorial Museum(USHMM) and Project Team• Michael Zisk, Museum Architect

• Eugene Ramatowski, Facility Manager

• Dianne Driscoll, Facilities Specialist

• architrave p.c., architects—Judith Capen, RegisteredArchitect, principal; Robert Weinstein, RegisteredArchitect, principal in charge

• Rebecca Stevens, AIA, Project Architect, principalinvestigator

• Conservation Solutions Incorporated Conservators

• Mark Rabinowitz, Vice President, senior conservator

• Patty Miller, conservator

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Last month, Facility Issues held the twenty-second annualFacility Managers Roundtable at the Harley-DavidsonMuseum in Milwaukee, Wisconsin. The Facility Managers

Roundtable is a diverse group that meets to discuss bestpractices gleaned from annual bench marking studies, muchlike the IAMFA benchmarking group will do in October.Joyce Koker, the Museum’s Facilities and Systems

Manager, and a member of IAMFA, gave the roundtablegroup a back-of-house tour of the five-year-young museum,the only Harley-Davidson museum in the world. “This is thelargest collection of Harley-Davidson motorcycles any where—there are more in storage than on display,” said Koker, whogave a brief history of the Museum’s construction.“We wanted a brownfield location; this site was attractive,

because there is water on three sides,” Koker added. Overthe past 150 years, the site had been home to Morton Salt,Lake Shore Sand and Gravel, and others reflecting an indus -trial history similar to Harley-Davidson. A large portion of

the site was below the floodplain elevation, and had to beraised before construction of the Museum began. “It wasfortuitous that the Wisconsin Department of Transportationhad a large project in the area going on at the same time.There was construction all around us. We received approx -imately 80,000 cubic yards of clean soil to raise the elevationof the property from those DOT road projects,” said Koker.Half of the parking space west of the main campus is inwhat the Museum calls “parking gardens” where overflowvisitors park on grassy areas edged with low-maintenancenative plants, trees and bushes.

Harley-Davidson MuseumHosts Facility ManagersRoundtableBy Stacey Wittig

The Harley-Davidson Museum, Milwaukee, Wisconsin, recentlyhosted the annual Facility Managers Roundtable.

IAMFA member Joyce Koker gives a Harley-Davidson Museumback-of-house tour to the Facility Managers Roundtable group. The Harley-Davidson Museum, surrounded by water on three sides.


“We rely heavily on contractors—that’s our model,” saidKoker as she guided the group around the two 300-tonchillers that cool the whole campus. The chillers, in addi tionto four high-efficiency boilers, help meet the Museum’sstringent temperature and humidity requirements. “We have a preventative maintenance program for the

stainless steel heat exchangers used in our humidificationsystem, to prevent corrosion issues,” said Koker. UV light ingis used for mold control in the air handlers when loweredchilled water temperatures create additional condensation inthose units. Another best practice that the Harley-DavidsonMuseum implemented was installation of LED lights insidethe decorative metal muffler-shaped fixtures hanging high

in the lobby and main entry area. “We would have to changethe previous bulbs once per month, before they switchedto LEDs. Based on the quantity of outdoor lighting, wecontinue to look for opportunities to use LED lightingwhere the technology and implementation makes sense,”added Koker.Later, Jonathan Smith, Facilities Manager, Harley-

Davidson Financial Services, Inc. in Carson City, Nevada,delivered a presentation on how to use the janitorial por -tion of the benchmarking report. “The CFO questionedthe amount we pay for snow removal and, as a direct resultof the benchmarking surveys, we verified what we werepaying,” said Smith. Similarly, Smith took the bench markingresults to his cleaning contractor and negotiated a hugereduction in monthly cleaning costs.In a Hot Topics discussion, Smith revealed that he uses

Grainger USB data loggers to monitor repeat hot and coldcalls from clients in his call-center facility, which was designedin the shape of Harley-Davidson’s unique V-Twin engines.The Harley-Davidson participants in the Facility ManagersRoundtable all talked about the extreme loyalty of theiremployees. “Fifty percent of our employees have Harley-Davidson tattooed on their bodies,” said Grayson Albert,Facility Manager at the Harley-Davidson Pilgrim RoadPowertrain Operations facility.The Harley-Davidson Museum is in the third size class i -

fication—125,000–249,000 GSF: 11,000–23,000 GSM—ofthe IAMFA benchmarking study.

Stacey Wittig is Marketing Director at Facility Issues. She wel-comes your questions about IAMFA benchmarking participationor sponsorship. Contact her at 001-928-225-4943 [email protected].

Duct socks work well near garage doors that are opening andclosing more frequently than Harley-Davidson curators would like.

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Question Posted in the IAMFALinkedIn Group: We are exploringdifferent options on how to man acall center. Of particular interest isif others may be outsourcing thisfunction. The overall goal is to havesome one answer, regardless of timeof day. Thanks in advance for yoursuggestions.

Response 1: At our museum, we useour 24/7 security control room as ourcall centre. The security control roomoperator records the call in a dailyoperations software application, thendispatches the request to the appro -priate responsibility centre, such asFacility Management, Conservation,Exhibitions, Public Affairs, Marketing,etc. The security control centre mayreceive anywhere from none to a dozencalls a day, and they usually occur dur -ing the 8:00 a.m. to 5:00 p.m., Monday-

to-Friday workweek, because they mostoften come from staff.

Response 2: We have a “hotline num -ber” that is answered 24/7 also, but weuse FP&O administrative staff from7:30 a.m. to 4:30 p.m., Monday toFriday, to answer calls and dispatchtrades; custodians and managers todeal with the issue reported; and thesecurity console to man the hotlineafter hours. We have handled nearly2,800 calls YTD through our CMMSsystem repair module. I’ve used anoutside call center in the past, but theissue always is familiarity with the facility.

Response 3:We have a 24/7 call center,with a dedicated number and emailsite as well. I believe our organ i zationhas developed a cost-effective meansto balance the need for cus tomer ser -vice with the need to monitor facility

environmental conditions. Our callcenter, providing a 24/7 presence,is staffed by a team of 12; consistingof six mechanical engineering tech -nicians, four customer service repre -sentatives, and two program analysts.Our staff reacts both to concernsidentified by the building automationsystem, and requests submitted bycustomers, by entering the requestsinto the CMMS and notifying theappropriate service provider neededto address the request.

During the past year, our group hasprocessed 24,374 requests for service.I would hesitate at the thought of out -sourcing this function. Having a groupthat is familiar with a facility—theservice agreements, customers, andproviders—can have its benefits, aswell as a direct impact upon the level ofservice provided by an organization.

Which Call Center Structure WorksBest for You?

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New England Member RegionBy Jim Moisson

On April 26, IAMFA’s New England Member Regiongathered at the job site for a tour of the Harvard ArtMuseums Expansion and Renovation Project, designed bythe Renzo Piano Building Workshop. The New EnglandMember Region is also assembling the necessary approvalsfor possible hosting of IAMFA’s 2016 Annual Conference.

Left to right: Pete Atkinson, Harvard Art Museums; John Lannon,Boston Athenaeum; Jim Moisson, Harvard Art Museums;Dave Geldart, Museum of Fine Arts, Boston; Jim Labeck,Isabella Stewart Gardner Museum and Mike Holland,Isabella Stewart Gardner Museum.

U.K. Member RegionBy Jack Plumb

On April 23, twenty or so IAMFA members travelled toLiverpool for the Spring meeting of the U.K. IAMFAMember Region, at Tate Liverpool. In the evening, we all gathered at a local hostelry for

greetings to old friends, and introductions to new IAMFAcolleagues. The evening meal was sponsored by Spie MatthewHall. Mike Freeland and his colleagues from Spie MatthewHall, as well as the Facilities Manager at the Tate—a well-known face to IAMFA members—were also on hand toensure that we all had a great time. A very special thankyou to Spie Matthew Hall.On Wednesday morning, our host David Redrup

welcomed us to Tate Liverpool, and provided the firstpresentation, explaining the development of the Tate ofthe North—or Tate Liverpool, as it is now known. The TateLiverpool building was originally one of the warehousesbuilt as part of the Albert Dock complex that opened in1846. The docks covered about seven acres, and were thefirst structure in Britain to be built from cast iron, brickand stone, with no structural wood. As a result, it was thefirst non-combustible warehouse system in the world.

In the 1980s, Alan Bowness, then-director of the Tate,decided to create a “Tate of the North”, as the projectbecame known. In 1981, redevelopment of the dock began,when the Merseyside Development Corporation was set up,with the Maritime Museum leasing one of the warehouses,along with the opening of restaurants and bars. Tate Trusteesvisited the Dock in November 1981, during their site-selectionprocess, and made the decision to set up in Liverpool. Con -struction commenced in October 1985, and Tate Liverpoolopened to the public in May 1988. In 2008, Liverpool wasnamed European Capital of Culture. To celebrate this, in2007 Tate Liverpool hosted the Turner Prize: the first timethe competition had been held outside London. Nowadays,the gallery is a firm favourite with the Liverpool public,welcoming more than 600,000 visitors a year. Next up was Richard Murphy of the Energy Consortium,

(TEC) which is a not-for-profit organisation whose teamspecialises in providing the most economical suppliersof energy to the higher-education sector in England andWales. Studying this market in detail gives Richard andhis team valuable insight into the energy market. Richard explained that, with the U.K. Government’s cur -

rent Energy Reform Bill—which includes de-carbo ni sationof the U.K. generation market—and with a current growth indemand—the demand for electricity in the U.K. will exceedgeneration in 2018. With a 1% reduction in elec tricity, thisonly pushes demand exceeding supply to 2022. However,with local supplies of gas becoming scarcer, electricitygenerators were turning to LNG (Liquefied Natural Gas)as a possible alternative source of energy. In the U.K., 25% of gas consumption already comes

from LNG, and 80% of the price is directly linked to theprice of oil. To emphasise the requirement to reduce theuse of fossil fuels, Richard mentioned that, in March 2013,the U.K. used 137% of its normal consumption, due toabnormally cold temperatures. In addition, the U.K. roughstorage site beneath the North Sea was empty for the firsttime in 12 years.

REGIONAL UPDATES AND MEMBER NEWS

Tate Liverpool.

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Richard also briefly discussed the emergence of hydraulicfracturing of rock (fracking), which involves injecting pres -surised liquid into boreholes to release natural gas. Whilstthis process has been very successful—especially in the U.S.,where it has substantially reduced the cost of natural gas—there can be significant environmental impact, includingcontaminated groundwater, depletion of freshwater sources,and potential air pollution. Richard concluded that, whilstsuitable sites for fracking had been identified in the U.K.,because of these environmental issues it was unlikely thatmore densely populated places, like Britain, would seesignificant expansion of this process. Richard did leave uswith one rather frightening thought: a prediction thatenergy prices would double by 2020—scary indeed.Next up was Michael Reeve of Working Environments,

who took us through the selection of the central chiller-plant selection process that he has recently delivered forthe current Tate Britain development project. Michaelexplained that, first of all, working with the project’s con -sulting engineers—Max Fordham Consulting Engineers—they established an estimated chilled-water load throughoutthe year, then set about selecting a suitable chiller plant tomeet that load profile. What became very apparent was that using conventional

chiller technology was not going to meet the load profilewith the efficiency demanded by the sustainability team atthe Tate, without utilising Turbocor technology. Whilst thischiller technology is more expensive that convention screw,scroll, or compression chiller technology, Michael was ableto demonstrate that Turbocor chillers would provide a rea -sonable payback and meet the efficiency requirements of theTate. Following a tendering process, ICS Industrial Coolingwas appointed to supply and install Turbocor chillers. (It should be noted that more and more IAMFA sites are

installing Turbocor chillers, including the British Library,National Gallery, National Library of Scotland, NationalArchives as well as Tate Britain. Perhaps this is something toconsider for your own next chiller replacement project?)The last presentation of the morning was delivered by

Gemma Driscoll, the sustainability manager at the Tate, whogave us an update on the progress they had made with theirconservation colleagues in working to reduce energy con -sumption, and hence their carbon footprint. Gemma explained that, in 2007, the Tate started to think

about its sustainability responsibilities, initially mostly drivenby its social responsibility issues. The focus has now movedon, however, to waste management issues. The Tate has nowproduced a Green Vision. This targets a 15% reduction incarbon emissions, a 33% reduction in waste to landfill, anda 38% reduction in water consumption by 2015, based on a2007/2008 baseline. Whilst these are the headline aspira -tions of the Green Vision, Gemma stated that the Tate islooking to become a major influence within the culturalsector by working towards an ISO14001 accreditation andincreased level of public involvement.

After lunch, we were treated—and I do not use that wordlightly—to a visit to the new Museum of Liverpool, whichincluded a presentation on the tri-generation installationthat provides the Museum of Liverpool with its electricity,heating and cooling. Most of us well remember the hospi -tality shown by Ian Williams and Chris Bailey at our IAMFAmeeting in Liverpool in 2010, when we visited the almostcomplete Museum of Liverpool. This time, we got to see thecompleted Museum of Liverpool with all its exhibits in place. The evening saw IAMFA members do what they do best:

meet up with old friends and discuss the presentations ofthe day and the issues they are dealing with at the moment,along with a chance to meet new colleagues. For this eveningwe were especially grateful to welcome Norland ManagedServices, who sponsored the Wednesday evening dinner—a very special thank you for that.On Thursday morning, it was back to Tate Liverpool,

where we welcomed our conservation colleagues for ourjoint meeting. First up was John Bevin of the NationalScience and Industry Museum (NSIM), who introducedLouise Burden, Head of Conservation, and Matt Moore,head of their site at Wroughton and Sustainable Develop -ment Manager. Wroughton is a former RAF site just outsideSwindon, and now houses the NSIM’s large objects informer aircraft hangers. The NSIM team explained that they had just completed

a new hanger, lined with “hempcrete” panels. Hempcreteis a breathable, self-insulating and carbon-negative material.The hempcrete panels were lined with mesh and timberpanels; the mesh was installed to stop rodents entering thebuilding. The minimums of relative humidities of between40% and 60%, and temperatures between 14°C and 16°C,have been achieved.

Chris Collins, Head of Conservation at the Natural HistoryMuseum, delivered the next presentation. Chris explainedthat they were currently carrying out a top-to-bottomreview of collection storage, called the “Collection Storage

The Museum of Liverpool.


Infrastructure Project” (CSIP). This review has resulted inCSIP Environmental Standards being set for the design ofthe new Earth Sciences development currently underway:

Area Description Temperatures

Non-storage 18–20°C

Collection area adjacent to work space 16–20°C

Collection storage 15–17°C

Wet collection storage 13–15°C (This is because ethanol hasa flash point of 16.6°C)

Humidity (RH): 40–50% rate of change not to exceed2%/hr and 20%/week

The next presentation was delivered by David Crombie,Senior Painting Conservator at the National Museums ofLiverpool. He took us through their recent experienceswith the Walker Art Gallery, where the air conditioningthat served some galleries—but not all—had failed or werefailing. The challenge became deciding what to do next. David explained that the museum decided to go back to

basics to try to understand the implications of not replacingall of the air-conditioning equipment. The museum carriedout a heat survey of the building to understand how thedifferent rooms performed during the day. As a result ofthis investigation, David and his team started to change theway they thought about preserving the collection. In the end,it was determined that sustainable climate control could beachieved with the installation of portable humidifiers,without the use of any air-conditioning equipment.

Helen Smith, Preventative Conservator at the Tate, gavethe next presentation, explaining how the Tate was nowinstalling LED lighting for their exhibits. Helen pointedto the work by Joe Padfield at the National Gallery, whichprovided a good insight into how conservators thoughtabout LED lighting. The final presentation of the day was given by Steve

Watson, Engineering Manager at the Royal Academy (RA),and Becca Jones, formerly Sustainability Coordinator at theRoyal Academy, but now a Project Manager at the NaturalHistory Museum. Steve opened by explaining the projectto refurbish Burlington House. This first required a costedMaster Plan, in order to attract the major sponsorshiprequired to fund the project. Unfortunately, no sponsor -ship could be found, so the RA had to come up with thefunding plan itself, which has been achieved up to 2018.Becca then explained the sustainability issues developedfor the refurbishment—and delivered—to achieve reducedrunning costs. David Redrup thanked everyone for their participation,

especially those who presented over the two days. He agreedthat continuing to meet with our conservation colleagueswas the only way our cultural establishments could continue

to preserve our valuable collections in a sustainable way.He looked forward to our next meeting in the late autumn.Final thanks were given to Spie Matthew Hall and NorlandManaged Services as well as Tate Liverpool, for all theirhospitality over the two days.

Washington, D.C.-BaltimoreMember RegionBy Maurice Evans

In the midst of planning and preparing to host the upcom -ing annual conference in October; the Washington, D.C.-Baltimore Member Region took time out and held its firstquarterly meeting for 2013 on April 25. Neal Graham ofthe Library of Congress was the host for the meeting. The meeting was very well attended, with over 35 par -

ticipants. It was a chance for everyone to get together andrelax a little, and discuss some of the ongoing issues attheir museums. The program included two presentations entitled

“Operational Energy Reduction Initiatives” and “TheAdams Building Monumental Doors Life Safety Fix”. Themeeting also included a buffet-style lunch and a tour ofthe door-fix project at the Library of Congress.

REGIONAL UPDATES AND MEMBER NEWS

Members of the Washington, D.C.-Baltimore Member Regionat their quarterly meeting, held at the Library of Congress onApril 25.

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Art Institute of ChicagoChicago, IL

Arts and Industries Building Washington, DC

Atlanta History CenterAtlanta , GA

Baltimore Museum of ArtBaltimore, MD

The Barnes FoundationMerion, PA

Belimo Aircontrols USA, IncMidlothian, VA

Boston AthenaeumBoston, MA

Brooklyn Museum of ArtBrooklyn, NY

Buro HappoldNew York, NY

California Academy of SciencesSan Francisco, CA

Carnegie Museums ofPittsburghPittsburgh, PA

CBT ArchitectsBoston, MA

Cleveland Museum of ArtCleveland, OH

Cooper-Hewitt, NationalDesign MuseumNew York, NY

Currier Museum of ArtManchester, NH

Cypress Security, LLCSan Francisco, CA

Delaware Art MuseumWilmington, DE

Delaware Museum of NaturalHistoryWilmington, DE

UNITED STATES


IAMFA MEMBERS—ORGANIZATIONS

DERBIGUM Americas, Inc.Kansas City, MO

Ewing ColeWashington, DC

ExploratoriumSan Francisco, CA

Facility IssuesFlagstaff, AZ

Fine Arts Museum ofSan FranciscoSan Francisco, CA

Folger Shakespeare LibraryWashington, DC

Freer Gallery of Art andArthur M. Sackler GalleryWashington, DC

Friends of Iolani PalaceHonolulu, Hawaii

Friends of the High Line New York, NY

Getty CenterLos Angeles, CA

GlenstonePotomac, MD

Hagley Museum & LibraryWilmington, DE

Harley-Davidson MuseumMilwaukee, WI

Harvard Art MuseumsCambridge, MA

High Museum of ArtAtlanta , GA

Hirshhorn Museum andSculpture GardenWashington, DC

Image Permanence InstituteRochester, NY

J. Paul Getty TrustLos Angeles, CA

The Jewish MuseumNew York, NY

LF Driscoll Co.Wayne, PA

Library of CongressWashington, DC

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

Lighting Services Inc.Stony Point, NY

Longwood Gardens, IncKennett Square, PA

Los Angeles County Museumof ArtLos Angeles, CA

McGuire Engineers, Inc.Chicago, IL

Milwaukee Public MuseumMilwaukee, WI

MinnetristaMuncie, IN

Mueller AssociatesBaltimore, MD

Museum of Fine Arts —BostonBoston, MA

Museum of Fine Arts —HoustonHouston, TX

Museum of Modern ArtNew York, NY

National Air and SpaceMuseumWashington, DC

National Air and SpaceMuseum, Udvar-Hazy CenteChantilly, VA

National Archives andRecords AdministrationCollege Park, MD

National Constitution CenterPhiladelphia , PA

National Gallery of ArtLandover , MD

National Museum of AfricanAmerican History and CultureWashington, DC

National Museum ofAfrican ArtWashington, DC

National Museum ofAmerican HistoryWashington, DC

National Museum ofAmerican Jewish HistoryPhiladelphia,, PA

National Museum ofNatural HistoryWashington, DC

National Museum of theAmerican IndianWashington, DC

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

National Portrait Gallery Washington, DC

National Postal MuseumWashington, DC

National Zoological ParkWashington, DC

Neue GalerieNew York, NY

New York Hall of ScienceCorona, NY

Oakland Museum ofCaliforniaOakland, CA

Pacific West Region of theNational Park ServiceSan Francisco, CA

Peabody Essex MuseumNorth Reading, MA

PennoniPhiladelphia, PA

Philadelphia Museum of ArtPhiladelphia, PA

Questions and SolutionsEngineering, Inc.Chaska, MN

Quinn Evans ArchitectsAnn Arbor, MI

Renwick GalleryWashington, DC

San Francisco Art InstituteSan Francisco, CA

San Francisco Museum ofModern ArtSan Francisco, CA

Santa Barbara Museum of ArtSanta Barbara, CA

The Sixth Floor Museum atDealey PlazaDallas, TX

Smith Group JJRWashington , DC

Smithsonian American ArtMuseumWashington, DC

Smithsonian InstitutionWashington, DC

Smithsonian InstitutionBuilding, The CastleWashington, DC

Smithsonian National Air andSpace MuseumBurke, VA

SodexoWaltham, MA

SodexoCanyon Country, CA

Solomon R. GuggenheimFoundationNew York, NY

Stanford University GreenLibraryStanford, CA

Synthesis IncorporatedColumbia, MD

Thomas JeffersonFoundation, Inc.Charlottesville, VA

U.S. Holocaust MemorialMuseumArlington, VA

University of PennsylvaniaMuseumPhiladelphia, PA

WebcorAlameda, CA

Winterthur Museum, Gardenand LibraryWinterthur, DE

Yale University Art GalleryNew Haven, CT

Ziger/Snead ArchitectsBaltimore, MD


IAMFA MEMBERS—ORGANIZATIONS

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 make any

changes to yourlisting, please contact

Randy Murphy at

[email protected]

UNITED STATES cont’d

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

McGuire Engineers has become increasingly dedicated to and specialized in the design of engineering systems for museums and cultural centers. This includes historic renovation and preservation, artifact storage, special exhibits, and base building systems.

McGuire Engineers is aproud affiliate memberof IAMFA since 2001.

www.mepcinc.com

WASHINGTON DC METRO AREA

October 20-24, 2013

IAMFA 13·

Song 1 by Doug Aitken at the Hirshhorn Museum in Washington, DCGraphic Design: Alfonzo Garner Jr.Photograph: Eric Long

Papyrus Summer 2013

Education

red primer

infor ma tion

spie matthew

memorial bus

quinn evans

harvard art

bus trip back

tour national