Papyrus Winter 2003

IAMFA 2003 welcomes you to the City by the Bay! The13th Annual IAMFA conference will be held this year inSan Francisco, from September 21 to 24, 2003. Septemberis a great time of year to visit. Although San Francisco enjoysa mild Mediterranean climate year-round, our best monthsare September and October, when the weather is warm andclear, and relatively fog-free!

We are excited to be hosting this year’s IAMFA conference,and we look forward to welcoming all of you and your gueststo our museum-rich environment. The host institutions willbe the San Francisco Museum of Modern Art, the CaliforniaAcademy of Sciences, the San Francisco Fine Arts Museumsand the Yerba Buena Center for the Arts.

Each day has a specific theme to keep things livelyand interesting. Monday’s theme is “Museums in the City”,hosted at the San Francisco Museum of Modern Art and theYerba Buena Center for the Arts. Following a tour of the newhome for the Asian Art Museum on Monday afternoon, you’llenjoy a cocktail reception and a free evening.

Tuesday’s theme is “Museums in the Park”, hosted at theCalifornia Academy of Sciences in Golden Gate Park and thePalace of the Legion of Honor in Lincoln Park. On Tuesdayevening, we’ll gather to enjoy a true California barbecue.

Wednesday’s Theme is “Museums on the Water”, featuringthe locations at the Presidio (guardian of the Golden Gate,where the Pacific Ocean meets San Francisco Bay), theSan Francisco Maritime Museum at Aquatic Park, andAlcatraz Island on the Bay. Wednesday evening culminatesin the traditional conference closing festivities and banquet.

The main subject areas for this year’s conference will be:

• Seismic Issues — the building, retrofitting and operationof Museums in Earthquake Country

• The Role of Museums in Redevelopment andCommunity Building — museums as agents of change

• Museum Security issues — what has changed in thepast two years and what practices, procedures andequipment support those changes?

PAPYRUSVOLUME 4 WINTERNUMBER 1 2003

continued on page 2

San Francisco Calling — The 13th Annual IAMFAConference

INSIDE

Letter from the President . . 4

Regional Chapters . . . . . . 5

Lighting: Control andInnovation . . . . . . . . . . . 8

Benchmarking Review . . 13

Heritage Loss Post 9/11 . . . 18

Crystal Design for ROMRenaissance . . . . . . . . . . 20

From the Editor’s Desk . . . 24

The San Francisco Museum of Modern Art.

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

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• The Museum as Sanctuary:Facilities Revenue, Golden Gooseor Deal with the Devil?

• The Storage and Archiving ofElectronic Media — the entry ofdigital art into art conservation,storage and retrieval

Sponsors will be exhibiting theirproducts and services in concert withour sessions on Monday and Tuesday.In addition, we will be offering highlightpresentations on the facilities storiesbehind three of our main historic land-marks. The intricacies of maintainingthe Golden Gate Bridge, San Francisco’scable cars and the former federalprison on Alcatraz Island will becovered, showcasing the storiesbehind the faces we all know.

This year’s guest program will includea fabulous trip to Wine Country onMonday, highlighted by a visit to Copia(the American Center for Wine, Foodand The Arts), and a winery (or few).Tuesday features a narrated walkingtour of the downtown area, beginningacross the street from Hotel Milano atthe old U.S. Mint, and ending at theclassic Garden Court in the Palace Hotel

for lunch. On Tuesday afternoon, gueststravel down the Peninsula to the hugetudor Filoli Mansion and Gardens, setamidst the huge Crystal Springs Preserve.The Preserve contains two large lakesatop the San Andreas Fault, which arepart of San Francisco’s water supplysystem. The guest program will thenrejoin conference delegates for the Tues-day evening barbecue. Wednesday willbe unscheduled for guests, with the rec-ommendation that they join the delegategroup for our tour of Alcatraz Island.

The conference hotel will be theHotel Milano, located at 55 Fifth Streetbetween Mission and Market Streets,conveniently near the San FranciscoMuseum of Modern Art (SFMOMA) andYerba Buena Gardens, and just aroundthe corner from the San Francisco Centreand Nordstrom. The Milano is SFMOMA’schoice for visiting artists and curators,and the room rate during the conferencewill be $109 for a single, $20 more for

each additional person. Conference par-ticipants should reserve their accommo-dation directly with the Hotel Milanoat 1-800-398-7555. We are holding ablock of rooms at this price in thisconvenient location, so please bookearly. The group room rate will applyto rooms booked from September 19through September 28 for those arrivingearly, staying later or both!

For airline bookings and additionaltravel assistance I recommend Jane Scottat Art of Travel, 1-800-948-6673. Be sureto mention “IAMFA” when you call theHotel Milano or Jane Scott.

We look forward to hosting youall at this year’s Annual IAMFAConference!

Joe BrennanChairman — Conference 2003

For more information on this year’sconference, please contact us [email protected]

San Francisco Calling — continued frompage 1

The California Academy of Sciences.

The Golden Gate Bridge Alcatraz Island.

One of San Francisco’s famed cable cars— the only mobile National Monumentsin the world.

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IAMFA 2003 IN SAN FRANCISCOThe Northern California Chapter Welcomes you!

September 21–24, 2003

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITYADMINISTRATORS

M YES! Sign me up to attend the 2003 IAMFA Annual Conference inSan Francisco, California, U.S.A.

Name: ___________________________________________________________________________

Title: ____________________________________________________________________________

Institution:_______________________________________________________________________

Address: _________________________________________________________________________

City: _________________________________________ Postal/Zip Code: _________________

State/Province/County: ______________________ Country: _________________________

Phone: ________________________________ Fax: ____________________________________

E-mail: __________________________________________________________________________

Special dietary requirements:____________________________________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M Member Fee: $350

M Non-member conference fee: $400

M Sign me up as a new IAMFA member: $150

M Guest Programme: $250 Guest Name: _________________________________

M Day Attendance: $150 per day M MON M TUE M WED

Please remit to: International Association of Museum Facility AdministratorsIAMFAP.O. Box 1505Washington, D.C. 20013-1505 U.S.A.I require an invoice: M Yes M No

SUGGESTED ACCOMMODATIONThe conference hotel will be the Hotel Milano, located at 55 Fifth Streetbetween Mission and Market Streets, conveniently near the San FranciscoMuseum of Modern Art (SFMOMA) and Yerba Buena Gardens, and justaround the corner from the San Francisco Centre and Nordstrom. The Milanois SFMOMA’s choice for visiting artists and curators, and the room rate duringthe conference will be $109 for a single, $20 more for each additional person.Conference participants should reserve their accommodation directly with theHotel Milano at 1-800-398-7555. We are holding a block of rooms at this pricein this convenient location, so please book early. The group room rate willapply to rooms booked from September 19 through September 28 for thosearriving early, staying later or both!

For airline bookings and additional travel assistance we recommend Jane Scottat Art of Travel, 1-800-948-6673. Be sure to mention “IAMFA” when you callthe Hotel Milano or Jane Scott.

Please check the IAMFA website for updates at: www.iamfa.org

Chairpersons of Regional Chapters

Los Angeles, U.S.A.James SurwilloJapanese American National Museum

New York, U.S.A.Lloyd HeadleyThe Brooklyn Children’s Museum

Ottawa-Hull, CanadaToby GreenbaumPublic Works & Government Services

San Francisco, U.S.A.Joe BrennanSan Francisco Museum of Modern Art

United KingdomNomination to come

Washington-Baltimore, U.S.A.Fletcher Johnston Hirshorn Museum & Sculpture Garden

Coordinators of Future Chapters

Atlanta, U.S.A.Kevin StreiterHigh Museum of Art

Bilbao, SpainRogelio DiezGuggenheim Museum

Chicago, U.S.A.William CaddickArt Institute of Chicago

Houston-San Antonio, U.S.A.Gary Morrison McNay Art Museum

Pennsylvania, U.S.A.Victor T. RazzeBrandywine River Museum andConservatory

Seattle, U.S.A.Patrick DowlingWhatcom Museum of History and Art

Cleveland, U.S.A.Tom CataliotiCleveland Museum of Art

Sydney, AustraliaBob ScottThe Powerhouse Museum

Pittsburgh, U.S.A.Larry ArmstrongCarnegie Museums

4

With the London Conference behind usI, like other members, returned homewith thoughts of how our many diff-erent and diverse institutions compare— not only with the ever-impressiveLondon museums and other culturalfacilities, but also with the facilities weare individually responsible for. Britain’smuseums date back centuries, but ascurrent museum administrators they,in common with the rest of us, arechallenged by today’s high-tech stan-dards and demands. This makes us allrealize that, even though we are all indifferent locations, we do have manythings in common.

Again, I would like to express mysincere gratitude to Peter Fotheringhamfor his dedication to IAMFA, not onlyduring his term as president, but alsofor his ability to successfully guideour membership to where it is today.I would also like to thank the entireLondon Conference Committee for theiroutstanding job in keeping the con-ference and guest program on track.We will surely always remember a fewoutstanding events which occurredwhile we were in London: the marchon Parliament, an earthquake, a Tubestrike, a few members getting stuck inan elevator, and late-night fire alarms.All joking aside, I know that hostingconferences can drain individuals, bothphysically and mentally; however, Peterand the London Conference Committeedid a fantastic job in hosting anothersuccessful conference.

As outgoing Treasurer, please beaware that although the 2003 member-ship dues forms will be mailed out bymy institution, payment should be sentto our new Treasurer, Kevin Streiter atour P.O. Box in Washington. Kevin will

provide a report on membership at the2003 conference in San Francisco.

I have been in contact with JoeBrennan, the Chairperson for our 2003Conference, and the program soundsquite interesting. I hope Joe can con-tinue the streak of great weather forthe upcoming conference. Duringour business meeting in London, wehad the election of three new boardmembers. Enclosed in this issue ofPapyrus, you will find the currentlisting of our 2002–2003 board ofdirectors. I encourage all members tointeract with the board of directors often.

With many of our institutions facingbudgetary difficulties, IAMFA membersneed, now more than ever, to sharetheir years of experience and usebenchmarking information to supportthe ongoing challenges we all face. Oneof our subscribing members, Ian Follettof Facility Management Services inCalgary, Canada, has a bank of bench-marking information regarding facilityoperations. Look for his benchmarkingupdate on page 13 of this newsletter.You may also contact Ian at his e-mailaddress [email protected] for assistancewith your own benchmarking efforts.

As I write this, the holidays are fastapproaching, and I would like to takethis opportunity to wish all a safeand festive holiday season, and mayeveryone experience good health andmany blessings in 2003.

Bill CaddickPresident, IAMFADecember 2002

Letter from the President

IAMFAPresident, Bill Caddick

IAMFA Board ofDirectors

PresidentBill CaddickArt Institute of ChicagoChicago, [email protected]

V.P., AdministrationGuy LarocqueCanadian Museum of Civilization andCanadian War MuseumGatineau, [email protected]

V.P., Regional AffairsCarole BeauvaisNational Archives of Canada andNational Library of CanadaOttawa, [email protected]

TreasurerKevin StreiterHigh Museum of ArtAtlanta, [email protected]

Secretary and Papyrus EditorPierre LepageCanadian Museum of Civilization andCanadian War MuseumGatineau, [email protected]

Chairman — Conference 2003Joe BrennanSan Francisco Museum of Modern ArtSan Francisco, [email protected]

Chairman — Conference 2004Larry ArmstrongCarnegie MuseumsPittsburgh, [email protected]

For additional contact information,please visit our website at

www.iamfa.org

5

Ottawa-Gatineau (Canada)ChapterSpecial thanks to Toby Greenbaum forthis report.

The Ottawa-Gatineau Chapter meetsquarterly and draws its membershipfrom senior facility management per-sonnel from most of the region’s nationalmuseums and cultural facilities. Thereis a membership of approximately15 people, but there is still work tobe done to recruit other local facilitiesmanagers. The Chapter also hopes towiden its reach to Montreal, whichhas a vibrant museum community.

The Chapter met twice in 2001–2002.The first meeting was held in November2001 at the Gatineau Preservation Centreof the National Archives of Canada;the second was in May 2002 at theVictoria Memorial Museum Building ofthe Canadian Museum of Nature. Themeeting at the Gatineau PreservationCentre included a insightful presentationon Utility Deregulation and GreenPower, a subject that is very topicalwith deregulation of electricity in April2002, as well as an in-depth tour ofthe Preservation Centre. The focus ofMay’s meeting was Emergency Evacu-ation and Fire Safety training software,which turned out to be a most usefuland interesting presentation. Each meet-ing was well-attended, and proved auseful way to share information aboutour individual institutions as well assharing interests among the participants.All meetings are held over the lunchperiod and costs are limited and aregenerally covered by those who attend.We have yet to use any of the moniesearmarked by IAMFA for regional use.

Upcoming meetings will be held atthe National Arts Centre, the Museumof Science and Technology and theAviation Museum. Each meeting willinclude a back-of-house tour and atopic of interest to the group, such asa presentation of the design of the newCanadian War Museum by the design

Regional Chapters

Carole Beauvais, Vice-President,RegionalChapters

The text of this article is adapted froma report presented at the AnnualConference in London, England inSeptember 2002. The report coveredregional activities for the year2001–2002.

I think everyone will agree that the year2001–2002 has been one of many chal-lenges for most IAMFA members. It hasalso been a year of tragedy, with theevents of September 11, 2002 affectingmost of us in one way or another.

September 11 also had an impacton regional activity. For many of ourchapters, increased security and build-ing issues made it almost impossibleto find the time to meet on a regularbasis, if at all. It feels as though we mayactually have lost a year of work, as thechapters struggled with greatly increasedworkloads, reduced budgets for externalactivities as a result of urgent securitycosts at their institutions, and so forth.What a year it has been!

There were, however, many posi-tive developments over the past year,including:

• a meeting with colleagues fromAmsterdam in April 2002, to begina new Chapter in the Netherlands;

• a number of publicity blitzes usingour revamped Papyrus newsletter.Every three months, Chapter Chair-persons and Coordinators wereprovided with several copies ofPapyrus to mail out to potentialIAMFA members (many thanks toPierre Lepage!);

• the establishment of a new Chapterin the Cleveland/Cincinnati area(Ohio), although more outreachwork is required;

• the ongoing establishment of a newChapter in Australia, although moreoutreach work is required;

• much-appreciated help from DanielDavies to design the RegionalChapters Web pages, as well asfrom Richard Kowalczyk whodesigned a first draft;

• ongoing and active participation fromour Chairpersons and Coordinatorsin writing articles for Papyrus aboutregional activities and various otherareas of concern to us all.

For more on what’s going on ineach of our current and futureChapters, read on!

London/Edinburgh (U.K.)ChapterSpecial thanks to Karen Plouviez forthis report.

The U.K. Chapter has a steady mem-bership of about 30 facilities/propertyprofessionals, representing many ofthe country’s major cultural institutions.Meetings are well attended.

The Chapter’s third meeting in 2001took place on November 23 at the BritishMuseum. This meeting included a pre-sentation on, and tour of, the GreatCourt, a £98M project funded by theMillennium Commission, The HeritageLottery Fund and sponsorship, anddesigned to refurbish a number of gal-leries and increase public circulationspace. There was also a presentationfrom the Office of Government Com-merce, a newly created departmenttasked with improving the success ofmajor projects (including construction)in the government sector. Finally,members updated each other on thevarious projects taking place withintheir organizations.

The Chapter is in the process ofconfirming dates for upcoming meet-ings. It is hoped that one meeting peryear will be hosted by a museum orgallery outside London. continued on page 6

6

architects. A meeting at the CanadianCentre of Architecture in Montrealcould also be on the agenda.

New York ChapterSpecial thanks to Lloyd Headley for thisreport.

The New York Chapter is very active,meeting 12 times over the past year formeetings, and four times for social events.Monthly attendance is consistent, withan average 25–30 people each time. TheChapter’s IAMFA group membershipremains at 6 members, however. Thereare many other institutions which wouldlike to become members of IAMFA;unfortunately, due to 9/11 and nobudget for conferences, they are hesitantto commit themselves. Nevertheless, theChapter continues to approach memberswith the possibility of joining IAMFA.

The Chapter’s focus over the pastyear involved working with a task forceof representatives from the Mayor’sOffice O.E.M. (Office Emergency Man-agement) to develop a Disaster Planfor New York City’s cultural institutions.The goal is to ensure that each institu-tion has a plan; follow-up will involvecreating suitable resources for mutualsupport and assistance in an emergency.The Disaster Plan is almost complete andwas presented to the full committeeon October 23, 2002.

Washington/BaltimoreChapterSpecial thanks to Fletcher Johnston forthis report.

There has been little time to rest inthe Washington Region since the 2001Annual Conference (first plannedfor September) and actually held inDecember, and until December 2001,the Chapter concentrated its activitiesaround the planning for the 2001 IAMFAConference in Washington. In addition,all of the Chapter’s members have beenbusy working on their Disaster Pre-paredness Plans and increasing theirsecurity awareness.

Members of the Smithsonian Institu-tion are also hard at work planning theimplementation phase of the recentlyannounced reorganization and consol-idation of museum building manage-ment departments and their staff. Theactual effective date will be the start ofthe fiscal year on October 1; however,many museums are expected to beoperating under the new plan beforethat time. The plan is similar to the onethat William Brubaker of the Smithsonianoutlined during his breakfast talk to con-ference attendees in December 2001.

Northern California ChapterSpecial thanks to Joe Brennan for thisreport.

On February 12, 2002, the Chapter metat the headquarters of the Asian ArtMuseum project for an orientation andtour of the old San Francisco PublicLibrary building, soon to be convertedinto a great venue. The tour was hostedby Jim Killoran of the project team. Thebuilding has a classic Greco-Romandesign with columns across the stonefaçade and a grand marble staircaseinside. The design for the new facilityoptimizes the original skylighting andadds glass-enclosed escalators for circu-lation. Base isolation — a procedurein which the building is cut free fromits foundation, raised, then bufferedwith one-meter isolators between thetwo layers — has been added to givethe converted building seismic resis-tance. The Asian Art Museum will beready to open early next year, andwill be included on the 2003 IAMFAconference agenda.

On April 20, 2002, the Chapter metat the unique outdoor sculpture garden,Runnymede, in Woodside, California.This private collection features160 piecescollected over the past three decadesby the Spreckles/Rosenkrans family,and represents both local and inter-national artists. The event was hostedby family friend and IAMFA member,Terry Zukoski, and included a tourand barbecue picnic in a lupine-filledmeadow atop the property, and wasa delightful time for all who attended.

The group also toured the outdoorcurator’s shop in a huge old woodenbarn used for maintaining both thesculptures and a collection of earlyhorse-drawn farm implements. It was atthis meeting that the Chapter decidedto take on hosting and organizationalactivities for the 2003 IAMFAconference in San Francisco.

The Chapter’s next meeting was slatedfor October 2002 at the BlackhawkMuseum in Danville, California.

Los Angeles/SouthernCalifornia ChapterSpecial thanks to James Surwillo forthis report.

Numerous new security issues followingthe events of September 11, 2002 hada considerable effect on this Chapter’sactivities. This is a relatively smallchapter, but current outreach activitiesinclude ongoing targeting of a list of8–10 facilities with potential interest inIAMFA membership.

Future Chapters

Houston/ San Antonio (USA)Special thanks to Gary Morrison forthis report.

Over the past year, Gary has sent outpersonalized letters to about 40 contactsin Texas, along with photocopies ofa recent issue of Papyrus. This wasfollowed up with a mailing of copiesof the last issue of Papyrus to a largerlist. The response has been very dis-appointing, and Gary is open to ideason what to try next.

Atlanta (USA)Special thanks to Kevin Streiter for thisreport.

Efforts to get this Chapter going havebeen very slow, primarily because ofseverely slashed budgets for all facilitiesin this area, particularly since the eventsof September 11, 2001. Kevin was ableto generate some interest in IAMFA priorto September 11, but the current con-sensus among his colleagues is that theirtight budgets won’t allow them to pay

Regional Chapters — continued frompage 5

7

dues, etc., let alone attend annual con-ferences. As the economy improves hewill be making another recruiting effort.

Seattle (USA)Special thanks to Patrick Dowling forthis report.

This future Chapter will soon be in aposition to send out contact informationto museums in the Pacific Northwest.They are currently developing their firstcontact list, along with an introductionletter about the national organization,and a call to join the new regionalChapter. The Chapter hopes to be upand running within the next year, andmay be looking for additional infor-mation and support from IAMFA tohelp them get off the ground.

Chicago (USA)Special thanks to Bill Caddick for thisreport.

Due to many position changes in theChicago area, and cutbacks at manyinstitutions, it has been very hard togain support for this Chapter at thistime. However, this group is happy toreport that Don Mackly is back at theMCA and is recovering well from hiscancer surgery. Don plans to attendthe 2004 conference and more meetingsare planned on how to recruit fromthe Chicago area.

Pennsylvania (USA)Special thanks to Victor T. Razze forthis report.

At present, the goals of Pennsylvaniagroup are: member expansion within thepotential Chapter; building an efficientcommunications network for regionalmembers, and developing an educa-tional initiative. Although success onthe latter two items has been limited,the Pennsylvania region has gainedfour new members this year.

Cleveland/ Cincinnati (USA)Special thanks to Tom Catalioti for thisreport.

Work has begun on the creation ofa Northern Ohio Chapter of IAMFA.

The initial goal is to attract the largerCleveland institutions: the ClevelandBotanical Gardens, the ClevelandMuseum of Natural History, the GreatLakes Science Center, and the Rock andRoll Hall of Fame. As the BotanicalGardens and the Museum of NaturalHistory have just completed, or are soonto complete, significant renovations,the time seems propitious to introducethem to the potential benefits of IAMFAparticipation. To this end Tom has hadpreliminary discussions with his facilitiescounterparts at both institutions, and willsoon have similar talks with the Rockand Roll Hall of Fame and the ScienceCenter. If these larger institutions can beformed into a core chapter, then smallerCleveland and surrounding area institu-tions will be contacted and encouragedto participate. These second-phase insti-tutions could include the ClevelandChildren’s Museum, the Cleveland HealthMuseum, the Crawford Auto Museum,the Akron Art Institute, and the ToledoMuseum of Art.

Bilbao (Spain)Special thanks to Rogelio Diez for thisreport.

Although conversations with othermuseums and cultural institutions inSpain were somewhat minimal overthe past year, there are ongoingefforts to attract Spanish members,using the Papyrus newsletter as anintroduction to IAMFA, along with apersonalized letter.

Sydney (Australia)Special thanks to Bob Scott for this report.

The International Museums and GalleriesFacilities Management BenchmarkingSurvey conducted by the IAMFA had afavourable impact on a number of themajor Australian cultural institutions. Thesurvey opened up a dialogue betweenfacilities managers and promoted discus-sion on topics of common interest,particularly the issue of funding foroperational expenditure.

Each of the major Australian museumsand galleries receives its primary fundingfrom its respective State or Federal

Government, and is required to submitforward estimates to the funding bodyon required expenditure each year.With the various government authoritiesmoving towards the adoption of “TotalAsset Management Plans” to supportfunding bids, the benchmarking surveybecomes a useful tool to supplementthese bids.

A number of the Australian institu-tions’ facilities managers have recentlybecome IAMFA members and, withcontinued promulgation of the Associa-tion’s activities, there is potential foran Australian Chapter in the not-too-distant future.

Amsterdam (Netherlands)A meeting with IAMFA Board memberstook place in April 2002 with represe-ntatives from the Van Gogh Museumand the Rijksmuseum. Following thismeeting, Jan Abrahamse of the Rijks-museum sent out copies of Papyrus tosome major museums in Amsterdam andthe area. It is hoped that a new Chaptercan be created in the near future.

As you can see, much work remains tobe done to actively promote the growthof IAMFA in the regions. To achievethis goal, IAMFA needs the supportand dedication of not only the ChaptersChairpersons and Coordinators, but thecommitment of all members to recruitnew members and to bring forwardnew ideas for activities that might beof interest to other facility managersin your region.

In our profession, we are all verybusy people, but if we work together,we will get better results, and will beable to create, maintain and enlargethe networks of facilities professionalsin the regions. These are the colleagueswho can help us when the going getsrough, or be there to celebrate yoursuccesses. For my part, I will continueto work hard to give you the assistanceyou need in achieving this goal for2002-2003.

Carole Beauvais.Vice-President, Regional AffairsDecember 2002

8

This is an abridged version of the talkgiven at the 12th Annual Conferenceof the International Association ofMuseum Facility Administrators at theNational Gallery in London, England.

IntroductionA comment by Dr David Saunders, theScientific Advisor at the National Galleryin London is particularly relevant in allsituations relating to exhibits of paint-ings, drawings, etc.: “If you can see ityou are damaging it”

This shocking truth indicates thatlight itself is detrimental to the survivalof paintings — in fact, to most forms ofartwork. This is most evident relative tothe exhibition of watercolour paintings.At the Tate Britain, a recent exhibitionof the work of watercolourist ThomasGirtin (1775–1804), was displayed.Two hundred years later, the majorityof the paintings — especially the mostartistic and popular ones — are blandcompared to what can be seen of theiroriginal colourful appearance.

ConceptsTo consider the control of museum andgallery lighting, and continued innova-tion in this area, it is worth consideringa number of projects throughout theworld. Whereas nowadays cities arerecognized by key landmarks, in pre-vious centuries it was mainly palacesthat contained the artistic wealth of thenation. Now the national artistic wealthis becoming better known through the“Landmarks of Artistic Heritage”.

In our 24-hour society we can makefull use of our ability to travel, exploreand experience the wealth of othercities and nations. Designers have thusbecome aware of the need to createidentifiable landmarks. As we all know,it is the ability of those of us involved inthe professions associated with museumsand art galleries — who are key to

enhancing the experience of visitors,while conserving our heritage forfuture generations.

The creation of special events forpeople is most importantly achieved bythe first impression, by the external andinternal appearance of the building,including its façade and entrance foyer.

The Louvre in Paris has a distinctive,unique and impressive entrance, whichis created by lamps which are set intothe perimeter base of the pyramid. Theyare 90-watt, 12-volt low-voltage halogenlamps installed in a specially developedreflector system, filling the 22-metre-highpyramid with light.

In all buildings, the size and scale ofspaces are important, as is the lighting(the fourth dimension of architecture)to enhance the appearance of thebuilding. At the same time, all lightingdesign requires that three objectivesbe achieved: activity, architecture andaesthetics. Thus, it must first be deter-mined what the space’s activities are;then, how the architecture should beintegrated and revealed and, thirdly,how lighting can set the mood oratmosphere of the space.

The Grand Louvre’s receptionconcourse consists of a vast facility,approximately nine metres belowground level. All visitor services,

The pyramid at the centre of the Louvre’sCour Napoleon in Paris is an exceptionalexample of an architectural statementmaking a “Landmark of Artistic Heritage”

including an information desk, cloak-rooms, a lecture hall, restaurants andmuseum shops can be found there.The question here is: what is essentialfor the visitor? The answer is primarilythat circulation routes have to be iden-tifiable, and information has to beclearly provided. Visitors either arrivealready being familiar with the buildingand its layout, or not knowing andthen having to spend time to decidewhere to go and how to get there.

Lighting is thus used in relation tospace, to provide a comfortable tran-sition and appeal for visitors movingbetween galleries. When they arrive inthe gallery, we can think back to theactivity; in this case it is the viewingof the quality of artwork. This requiresthe use of a wide variety of presenta-tion techniques in order to heightenthe impact. More on this later.

Before we consider purpose-builtbuildings we should consider buildingswhich were built centuries ago, suchas palaces, which have had to be up-graded by the installation of modernlighting equipment.

The first we will consider is theHermitage Museum in St. Petersburg,which uses an additive concept. Builtaround the collection of Peter the Great,this museum is characterized by giltand marble interiors built over threecenturies ago. The lighting is “additive”yet blends in unobtrusively with thesplendid classical interior. Track,mounted flat on the cornices carriesspotlights and ceiling washlights.

It is important to approach all dis-play lighting projects by first decidinghow to balance accent lighting levelswith ambient lighting. This balancedetermines the concentration of light,which will make the overall appear-ance either more or less dramatic, andcan increase focal accents. Some of theexhibits are very small. The GonzagaCameo just such a piece and, as one

Lighting: Control and Innovationby Mark Rowling, ERCO Lighting Ltd

9

of the masterpieces of Hellenistic gem-cutting requires extremely carefullighting. The use of ambient lightingalone would result in an inferior light-ing effect, as we see, or rather perceive,as much by shadows as we do by thelight falling on an object.

The optimum angle for the key-light which is often referred to as the“Museum Angle” is 30° off the verticaland preferably 30° to the side to helpavoid glare for viewers. These areonly “default” angles, and can beadjusted above and below and to

either side for increased or reduceddramatic effects.

The second palace we will consideris the Vatican; a neoclassical buildingwhich required improved lighting. Inthis case, lighting equipment could beintegrated into the ceiling. By usinglockable aiming, the servicing and re-lamping of the luminaires becamean easy, repeatable procedure.

In all galleries — but especially whereboth wall displays and freestanding dis-plays exist — the concept of lightingdesign follows a circulation route which,it is assumed, the visitor will follow. Sowe can ask “where will the focal pointsbe, and when will they be seen?” “Wherewill the visitor stand to view the object?”

Another suggestion is to consider thequestion, “What do you want to see,and when do you want to see it?” Withthis in mind, the lighting designer cancreate perceptual hierarchy. Humanperception is attracted firstly by people,so we see faces and people first, afterwhich we see movement, then bright-ness, high contrast, vivid colours and,lastly, strong patterns.

At the same time, there is one otherthing that we have to consider: “Whatis the viewing distance for the object?”In other words, how do we go aboutavoiding flare (reflected glare) off thepainting?

When the object is small, the viewingdistance can be down to 300 mm or less.The angle of light from the spotlightcan thus be as close as allowable; i.e.,28° off the vertical to avoid the shadowof the observer’s head on the picture.The larger the painting, the further theobserver is likely to stand away fromit, in which case the angle can be upto 38°. The limitation being that thelighting does not produce flare. Anyseating provided in the gallery wherethe eye level of the viewer is loweredfrom 1.75 metres to about 1.25 metresabove the floor, can cause a deviationfrom this and, if possible, should beaccommodated in the planning.

Virtually all buildings make useof windows for daylight, and requireonly supplemental artificial lighting.

In the Hermitage Museum, St. Petersburg,as part of the museum’s renovationprogram, discreet lighting was installedfrom the only available position: thecornice.

Stage lighting teaches us that all three-dimensional artwork requires key light froma single source, infill light to simulate thesky and backlight, which normally fallsonto a vertical surface but can includean element of silhouette lighting.

Foundation Beyeler Museum, Basle. Accent lighting is usually halogen spotlighting with lightsources positioned to illuminate and to create shadows in the sculpture. The key/accentlighting is warmer and more natural, mimicking the sun in the sky.

continued on page 10

10

This results in a variety of degreesof complexity in the design of theexhibition spaces.

As daylight has a colour temperatureof ± 4000°K (Kelvin), it can be ideallyintegrated with supplementary, halogenlighting at ± 3000°K. This is because,in most modern galleries, the intentionis to provide a natural feeling lightas a diffused sky. Hence, the colourtemperature of 4000°K for ambientlighting is ideal.

This approach generally resultsin comfortable, open, clean spaces.Optimal viewing conditions can beproduced with ambient lighting, pre-dominantly from the luminous ceilingabove, reflected off the walls. Formodern art, the preference is generallyfor this type of open, clear space, witha low component of accent lighting.Natural light enters the building througha louvre system, internal blinds andsensor control.

Now let’s consider an integratedlighting approach in a modern galleryspace with recessed fixtures. Even witha low ceiling, there is uniform wash-lighting both horizontally and vertically,enabling visitors to view works of artunder consistent lighting conditionsand without glare. Hanging paintingsflat against the wall helps to avoidthe disturbing shadows which deepframes can cause.

On the subject of optimal colourrendition, full-colour spectrum halogenlamps have a higher colour temperaturethan incandescent, whereas the colourof fluorescent lamps is inconsistent.This is because specific deficienciesexist in fluorescent tubes, dependingupon the combination of phosphorsthat it contains. Tungsten halogen pro-duces consistent colour, which eventhe best fluorescent lamps cannot match.So, in spite of the high efficiency offluorescent lamps, they lack spectralquality and are less effective for thelighting of artwork.

Another advantage of point lightsources such as tungsten halogen lamps

is that they produce specular light.This accentuates the surface textureof paintings, which is particularlyrelevant for oil paintings but also forwatercolours, charcoal and pencilsketches — anything, in fact, withan interesting surface.

The National Gallery in London hasextremely sophisticated means of con-trolling annual exposure of its works

of art to light (Table 1). One interestinginnovation is that the Gallery is con-sidering special arrangements forselected artwork to be illuminated tofar higher levels for special exhibitions.This will enable people with poor eye-sight, or those who want the privilegeof seeing the works even more clearlythan normal, to better appreciate theart. We know that visual acuity reduces

Picture Gallery, Berlin. In the Gallery, illumination comes from recessed washlights fittedwith halogen lamps.

Table 1Recommended maximum exposure limits in illuminance hours per year

depending on the susceptibility of the object on display

European AmericanMaterial (Lux-Hours/Year) (Footcandle-Hours/Year)

Highly Susceptible: 54,000 5,000textile, cotton, natural 54lx x 8h/day x 125 days/yr 5fc x 8h/day x 125days/yrfibres, furs, silk, writing ink, paper documents, lace, fugitive dyes, watercolours, wool

Moderately Susceptible: 580,000 48,000textile with stable dyes, 220lx x 8h/day x 300 days/yr 20fc x 8h/day x 300days/yroil paintings, wood finishes, leather, some plastics

Least Susceptible: dependent on exhibition dependent on exhibition metal, stone, ceramic, situation. situation.most minerals

Lighting — continued from page 9

11

with age; the simple rule of thumb isthat a 60-year-old person requires threetimes the light of a 20-year-old to seeat the same level.

As was stated at the beginning ofthis article, “If you can see it you aredamaging it.” Any radiation that hasno visible light should be eliminated;dichroic filters are ideal for this purpose.The wavelength at which cut-off of

visible light occurs is 400 nanometers,beyon which virtually all visible lightis transmitted. This means a negligiblereduction in the colour rendering indexand in colour shifts. (See Table 2)

The light sources used in gallerylighting consist predominantly of twotypes: thermal radiators and dischargetypes. Thermal radiators are PAR incan-descent lamps and Tungsten halogen

lamps with either main voltage or lowvoltage. Discharge lamps are eitherfluorescent or metal halide lamps.

The selection of lamps should bebased on a number of factors; colourrendition, brilliance, colour temper-ature, photochemical and thermalradiation and energy efficiency, eachof which should be evaluated for thebest presentation of the exhibits.

Factors such as flicker, consistency ofcolour rendering and humming controlgear are constantly being improved indischarge lighting. This innovation isalso making higher efficiencies andlonger bulb life a reality.

Moving from lamps to luminaires(or for our North American cousins,fixtures), if we consider integratedor additive lighting, we know that anumber of options exist. Great effort ismade to produce effective light distribu-tion in both installation options. Thesmaller the aperture in a recessed fix-ture or spotlight, the lower the lightoutput will be. There is great benefitto be gained from larger reflectors,which can produce higher efficiencyand peak intensities in the beam. Thereflector’s shape and size shape lightdistribution. This can also be achievedthrough the use of lenses, which can betinted and coated, as is the case withthe set used by the National Gallery.They have two versions: clear and blue;i.e., nominally 3000°K and 4000°K. Bothare available in two beam shapes, inorder to produce the lighting for gallerywalls and paintings from a distance of11 metres.

Culture is no longer regarded as aminor attraction, but as an economicforce in the post-industrial twenty-firstcentury. In the magnificent Guggenheimbuilding, volume creates its own char-acteristic interplay of light and shadow,especially effective after dark whenreflected in water.

In all of the Guggenheim’s galleries,there is plenty of light for space-consuming art through batteries ofwallwashers and projectors to supple-ment the zenithal daylight. In fact,the spotlights which were used in this

Table 3Lamp Types used in Museum Lighting

Thermal Radiators Fluorescent Metal Halides

Table 2Data for selected glass ultra-violet filters

Colour Colour temperature rendering UV Content

Filter shift (K) index (Ra) (microwatts/lumen)

None 0 99 165

Window glass +10 100 125

Pilkington MR2 -30 99 84

ERCO Ultraviolet Filter -110 100 43

Schott Oralan Glass -190 99 33

Schott Uvilex 1 glass -170 97 7

Bausch & Lomb +30 99 <1

Balzers dichroic -70 99 <1

• Point-focused filamentcreates brilliance onreflective and refractiveobjects, reinforcesmodelling and textures.

• Continuous spectrum ofradiant energy, givesnatural colour rendition(CRI).

• Illuminance level canbe easily switched anddimmed.

• Low UV and high IR.

• Colour temperature iswarm (CCT : 2700 K to3100 K).

• 2000 hours lamp life.

• Diffused source gives flatillumination, whichdiminishes brilliance,modelling and texture.

• CRI is generally low.

• Dimming is complicatedand costly.

• High UV and low IR.

• CCT is 3000 K to 6000 K.

• Lamp life is 8000 hours.

• Good energy efficiency.

• Point-focused lightsource similar tothermal radiators.

• Good CRI.

• Dimming is difficult andcostly.

• High UV and high IR.

• CCT is similar tofluorescent.

• Lamp life is 5800 hours.

• Good energy efficiency.

• Constancy of CRI andCCT are subjective.

continued on page 12

12

project have become standard productsin the ERCO range. They have at leasttwo features which make them unique:the locking facility, and the snoot whichprovides a reduced aperture with highlyeffective glare-control.

The lighting is from catwalks, whichare clearly differentiated, technicalelements in the architecture. Paintedto match the walls and ceilings, andwell above the normal field of vision,they become less apparent. As thehuman visual cut-off angle is 40°, thismeans that the catwalks do not normallyintrude into the visitor’s field-of-view.They are shaped to follow the curve ofthe walls, keeping offset distances con-stant, which is essential for consistentwall illumination.

Monumental artwork requires carefulplanning in order to create the effectof a single source. This helps replicatethe effect of sun and sky, rather than amultiplicity of points, which can lookunnatural. At all costs, the goal is toavoid a “spotty” appearance.

The visual aspect of lighting for artgalleries and museums rests fundamen-tally with the co-ordinated approachof a professional team, working toachieve optimal lighting effects for thevisitor. As in all cases of lighting design,the three aspects of interior lighting

design must be taken into account bothindividually, and in conjunction withone another. The activity, the aestheticsand the architecture are thus unifiedto produce the desired effects.

Mark Rowling has worked in lightingdesign since 1970. Since August 1986he has worked with ERCO Lighting Ltdin London, where he was the TechnicalDirector and subsequently Sales and

Technical Director. He qualified asChartered Engineer in August 1990,and became a Fellow of the CharteredInstitute of Building Services Engineersin November 1992. Since joining ERCO,he has been dedicated to excellence ininterior lighting design — particularlyin museums and galleries. In October1999, he established a training orga-nization within ERCO, consisting of35 trainers and coaches worldwide.

Lighting — continued from page 11

Controlling light requires the use of efficient well-designed, high quality reflectors.

The Guggenheim in Bilbao is gaining worldwide recognition as amajor gallery for the display of both two-dimensional and three-dimensional artwork.

Osaka Maritime Museum, Osaka. The Osaka Maritime Museumby Paul Andreu, Aeroports de Paris, features a beautiful glasshemisphere. This presents considerable challenges in lightingdesign, particularly since it is important for ambient lighting tosupport the simplicity of the building.

13

Museum Benchmarks 2002,Survey of FacilityManagement PracticesThis Survey followed the very success-ful first benchmarking survey completedin 2001. Primary performance measure-ments were repeated — which allowsfor the tracking of trends — and newtopics added. New topics for the 2002Survey included organizational structure,project management practices, disasterrecovery planning and facility manage-ment operating approaches. Seventy-six museums and art institutions haveparticipated in the benchmarking andbest practices Surveys of 2001 and 2002.

An Annual ExerciseParticipants at the benchmarking work-shop in London, England once againvoted to continue the benchmarkingsurvey as an annual exercise. TheMuseum Benchmarks Survey for 2003will repeat the tracking of primaryperformance measurements andgather data on new topics.

Some Highlights of theMuseums Benchmarks2002 Survey Report

1. Area Cleaned (per janitorialworker)2002: 25,800 sq. ft. (2,400 m2)2001: 23,900 sq. ft. (2,200 m2)

2. Have signed an energy supplycontract? Yes (57%)

3. Have a UPS system? Yes (69%)

4. Building Maintenance Area(per worker)2002: 36,400 sq. ft. (3,400 m2)2001: 33,500 sq. ft. (3,100 m2)

5. Have a Disaster Recovery Planfor facilities? Yes (83%)

6. Structure of FacilityManagement Department• Separate department (50%) • Division of Department (43%)

7. Type of Organizational Design• Service Design (93%)

Definition: organizational designbased on types of service provided,such as planning & design, projectmanagement, security, etc.

8. How Select Contractor?• Lowest cost (37%) • Best value (47%)

9. Facility Management OperatingApproach• Service group with customers

(77%) • FM is our responsibility (20% –

not recognize having internalcustomers)

10. Track Internal CustomerSatisfaction?• Annually to all (9%)• After major projects (36%)• After minor projects (27%)

11. Any Chargeback of FacilityCosts? Yes (37%)• Outsource vendors must do it.

Most in-house service groupsdon’t.

Purchase of Benchmarks2002 Survey ReportThe Report can be purchased for$1,000 US. Please contact Ian Follett,Facility Management Services Ltd, [email protected], 1-403-259-5964 orby fax at 1-403-255-7116.

The Survey Report is the result of a31-page questionnaire, and includes afive-page Executive Summary of results,a comprehensive five-page listing offacility management related operationaldefinitions and 29 pages of data analysis.Data was gathered and analyzed onthe following topics: description offacilities, space utilization, temperature

and relative humidity, janitorial/custodialservices, utilities, building maintenance,exterior grounds maintenance, buildingsecurity, cost of building operations,facility rentals/special functions, telecom-muting, disaster recovery plan, organi-zational structure, project management,facility management operating approach,service level agreements, outsourcing,customer satisfaction, chargeback offacility costs, and important issues facingfacility managers. The best practices ofparticipating institutions, as listed andbriefly described by each institution,are also included in the Survey Report.

Benchmarking and BestPractices WorkshopThis one-day Workshop, part of theMuseum Benchmarks 2002, Surveyof Facility Management Practices, washeld in London, England prior to theSeptember 2002 IAMFA Conference.

The following institutions wererepresented at this workshop:

Auckland Art Gallery Toi o TamakiNational Gallery (London)Smithsonian Institution — Renwick

GalleryAustralian War MemorialNational Library of CanadaSmithsonian National Air & Space

MuseumCanadian Museum of CivilizationNational Library of ScotlandSmithsonian National Museum of

Natural HistoryCanadian Museum of NatureNewark MuseumThe Baltimore Museum of ArtCanadian War MuseumPhiladelphia Museum of ArtThe Carnegie Museums of PittsburghNational Archives of CanadaPowerhouse Museum (Australia)Winterthur (Delaware)National Gallery of Art (Washington,

D.C.)

Benchmarking Reviewby Ian Follett, President, Facilities Management Services Ltd.

14

Workshop Highlights

Benchmarking Presentation

• What benchmarking is and isn’t, thedo’s and don’ts, and how utilize data

Survey Results

• Presentation and discussion ofsurvey results including first timedata and possible trends

Best Practices Presentations (in random order)

• RFP Process Via the Internet(Richard Kowalczyk, SmithsonianNational Air and Space Museum)

• Facility Management FunctionalEvaluations By External Consultants(Larry Armstrong, The CarnegieMuseums of Pittsburgh)

• Building Automation System (KurtSisson, National Gallery of Art,Washington, D.C.)

• Total Asset Management Planning(Michael Landsbergen, PowerhouseMuseum (Sydney, Australia)

Best Practices Identification

• Many facility management practiceswere listed and participants askedwhether each practice was a bestpractice that should be utilized byall facility managers, or not.

• This listing and identification of bestpractices will be repeated in theMuseum Benchmarks 2003 Survey.

Focus Groups

• Five separate groups discussed thefollowing topics:

• Best Facility Management GroupAward Criteria

• Customer Satisfaction

• Continuous Improvement ofBenchmarking Exercise

• How Do More With Less?

• Disaster Recovery Plan For Facilities

Fee: $1,350 US — due upon registration (same fee as last year).

The fee includes:

1. Survey Questionnaire Development• approximately 25-40% of the survey will gather data

on new subjects

2. Survey Report, including: • Survey data • charts of all data listed under each organization’s

name • Survey Summary• summary charts and graphs of industry averages, ratios

and trends• Executive Summary• a summary that provides comments and

recommendations on key performance measurementsand practices in facility management

3. Full-day workshop, including best practices andnetworking

Key Dates

• Feb.–May, 2003: Receipt of Survey ParticipationAgreement

• Feb.–June, 2003: Distribution of Survey Questionnaire(upon receipt of Participation Agreement)

• July 1, 2003: Return of Completed Survey Questionnaire

• August 29, 2003: Survey Report mailed to ParticipatingOrganizations

• September 21, 2003: Benchmarking and Best PracticesWorkshop in San Francisco, CA

Excuses for not Benchmarking

• We’re too busy doing projects — i.e., We’re too busyworking hard to learn how to work smart.

• We participated in a benchmarking survey previouslyand we’re right in the middle of the pack — i.e., We’rehappy to be average. Continuous learning is notimportant

How Do I Sign On or Get More Information?

Complete and return the Survey Participation Agreement, orcontact Ian Follett at:

Tel.: 1 (403) 259-5964Fax: 1 (403) 255-7116E-mail: [email protected]: www.fmsltd.com

Reminder:

Don’t forget to budget for:

• this year’s benchmarking exercise and IAMFA Conference

• $1,350 US for the Benchmarks Survey, including theWorkshop

• cost of IAMFA conference, travel and accommodation inSan Francisco

This Year’s Survey: Museum Benchmarks 2003, Survey of Facility Management Practices

15

Thank You Awards

• All best practice presenters

• Peter Fotheringham, NationalGallery, London, U.K. for greathospitality, including workshoproom, equipment and cateredluncheon

• All those who helped in question-naire development and the Report’sexecutive summary

Some Uses of Survey Data• To identify strengths and weaknesses

• To establish goals and action plans(strategic planning)

• To justify costs and practices

• To support business cases for change

• To identify institutions with bestpractices

• To learn from these institutions

Key BenchmarkingRequirements andObjectivesThe essence of benchmarking islearning from others, including:

• humility: others can do some thingsbetter

• learning from others is faster (andtherefore smarter) than startingfrom scratch

• learning must be a continuousprocess

• it’s not about getting a good reportcard

• “what” (the benchmark) without“how” (the process) is an emptystatement

• measurements are overemphasized,processes (practices) areoverlooked

• a key tool for staying competitive,supporting customers, effectivenessand strategic planning

SURVEY PARTICIPATION AGREEMENT

The undersigned institution wishes to participate in MuseumBenchmarks 2003, Survey of Facility Management Practices, andagrees to:

• Provide complete and accurate data in a timely manner.

• Maintain the confidentiality of the survey questionnaire and surveydata.

• Use the survey data for internal organizational purposes only.

• Not provide the survey questionnaire or survey data to any otherorganizations or individuals.

• Pay FACILITY MANAGEMENT SERVICES LTD $1,350 in U.S. fundsto benchmark one facility.

M If you require an invoice, please check.

PAYMENT IN FULL IS DUE UPON REGISTRATION.

Institution Date

Signing Authority (please print) Title

Signature Telephone

Mailing Address

Fax E-Mail Address

Please fax the completed agreement to: Ian Follett, BAA, CFMPresidentFACILITY MANAGEMENT SERVICES LTDTel: 1 (403) 259-5964Fax: 1 (403) 255-7116E-mail: [email protected]

16

Here are the summaries of the focusgroup exercises held at the bench-marking and best practices workshopin London, England.

Thanks very much for the active par-ticipation of all workshop attendees. Itwas a great day. We were very surprisedat the energy shown in the workshopdespite a 5–9 hour time zone changefor most of the participants.

And an extra thank you for thosethat made a best practice presentationand to Peter Fotheringham for hishospitality, including workshop room,equipment and catered luncheon.

FOCUS GROUP EXERCISES The following is a summary of theresponses (in italics) to the focus groupquestions as provided at the Workshop.

Focus Group #1 Best Facility Management GroupAward CriteriaIf there was an annual award for BestFacility Management Group in amuseum or art gallery, what wouldbe the award criteria?

List:• the key performance measurements,

and any other requirements that youthink should comprise the awardcriteria

• why your award criteria areappropriate for determining theBest Facility Management Group

Answer:• 2 awards:

— one for large facilities (600,000sq.ft.)

— one for small facilities• IAMFA member in good standing• Nomination process or self-

nomination• Overall appearance of facility —

clean restrooms, no brokenwindows or graffiti, groundsclear of debris, chewing gum etc.

• Innovation — implementationof new procedures for bestpractices

• Demonstrated performanceimprovement as benchmarkedor supported by data

• Testimonials from peers,subordinates, supervisors

Focus Group #2 Customer SatisfactionOne half of all participating museumsand art galleries say that customersatisfaction/service is an importantissue facing facility managers.

List:• the reasons for customer satisfaction/

service being an important issue

• the aspects of customer satisfaction/service that should be tracked ie.what facility management servicesare most important to customersand therefore what customersatisfaction data should be gathered

• the action steps, processes and/orpractices that should be imple-mented to track and improvecustomer satisfaction/service

• how ensure these action steps,processes and/or practices areimplemented and take placeconsistently

Answer:• Reasons• gain useful feedback• care about customer’s needs• establishing trends• relationship building• justifies resource levels• marketing your services• helps resource allocation• What Should be Tracked• job request details• when the work will be done

(planned)• who will do the work• communication with customer• delays incurred/interim solutions• track different trades• informing customer of

completion• encourage customer

comments/suggestions

Summaries of Focus Group Exercises — London, September 2002

by Ian Follett

Focus group participants at the 2002 IAMFA London Conference.

17

• Implement Tracking Process• reporting mechanisms on data

collected• establish meaningful

performance targets• suggestion box• customer satisfaction survey

(electronic/phone etc.)• disseminate information collected,

both to providers and customers• Ensuring Steps Are Implemented• assign responsibilities• inform customer of what to expect• routine meetings with providers

to set and report on serviceoutcomes

• analyze problems encounteredto find solutions with thoseproviding the services

Focus Group #3Continuous Improvement ofBenchmarking ExerciseHow can this benchmarking exercisebe improved?

List, as appropriate:• what additional data on current

topics should be collected

• what data on new topics wouldhelp you do a better job

• what can be done to improve theSurvey Report eg. ease of use,value of Summary of Results(executive summary), listing ofSurvey Data of each institution,customization of Report (show dataof each institution besideperformance data).

Answer:• Not to comment on whole 2002

exercise• Concentrate on utilities, cleaning,

special events, health and safety• Utilities• more detailed information

reference to kwh/energy insteadof cost basedNB — record unit cost of utilities,degree day data for heating/cooling plus all energy recordedas Carbon Em.

• Cleaning• Recorded in hr./m2 plus

reference to standard of cleanersplus link between cleaning andoccupation/visitors

• Special Events• hours spent• in-house vs. outsourced• Health and Safety• pest control• environment management• chemical handling

Focus Group #4How Do We Do More With Less?Sixty-seven percent (67%) of allparticipating museums and artgalleries say doing more with less isan important issue facing facilitymanagers.

List:• the reasons for ‘doing more with

less’ being an important issue

• the things (processes, practices,etc.) a facility manager can do to‘do more with less’ — to be moreefficient and effective

• how ensure the most importantprocesses, practices, etc. areimplemented

Answer:• Reasons• increase revenue• reduction in budget, $/staff• economy = endowment• not for profit• Processes, practices• outsourcing• technology• energy management systems

(EMS)• reorganization (staff, tasks)• procedures• Implementation• business case (facts, payback, etc.)• not re-inventing the wheel (ie

IAMFA, other museums)• feedback

Focus Group #5Disaster Recovery Plan for Facilities(DRP)Eighty-three percent (83%) of all par-ticipating museum and art galleries saythey have an up-to-date disaster recoveryplan for facilities.

List:• the facility management related

procedures, roles, processes andfunctions that should be identifiedand addressed in a disasterrecovery plan for facilities

• the people who should be involvedin developing and updating theDRP

• the process or practice for ensuringthe DRP is updated regularly

• the important facilities: related datathat should be stored off-site

Answer:• Roles/Processes/Functions• who is in charge/responsibilities• authorities — purchasing, etc.• PR — who and what said• damage assessment• response plan/actions• categories of events• security of site• alternate sources — resources• control center• People Involved• FM staff• Security• Conservation• IT• PAO/PR• Occupational Health & Safety• Senior Management• Authorities• Updated Regularly• scheduled updates• exercises• senior management responsibility• insurance• Off-Site Data• plans — as-built drawings• operating manuals• list of contractors• emergency procedures• IT records

18

WASHINGTON, D.C. (June 3, 2002) —Although the nation suffered incalcu-lable personal and economic losses onSeptember 11, 2001, little has been writ-ten about the destruction of America’scultural and historical legacy — untilnow. Heritage Preservation, the nation’sleading non-profit advocate for theproper care of our cultural heritage,has just published Cataclysm andChallenge, a 26-page report offeringthe first comprehensive study of whatwas lost — both in Lower Manhattanand at the Pentagon — on that day.The report also highlights findingsobtained from a survey — conductedin the months immediately following9/11 — of 122 museums, libraries,

archives and other collecting institu-tions in Lower Manhattan. It revealssignificant lessons that may helpprotect our nation’s cultural heritagefrom future disasters.

The survey, supported by the BayFoundation in New York City and theNational Endowment for the Humanities,included questions related to emergencypreparedness, response and recovery.Heritage Preservation prepared thereport on behalf of the Heritage Emer-gency National Task Force, a partnershipof 34 federal agencies and nationalassociations founded with the FederalEmergency Management Agency (FEMA)in 1995 to help protect museums,archives, libraries and historic sitesfrom disasters.

“While basic emergency responseprocedures worked well to protecttreasured collections on 9/11, thesurvey results show that there aresignificant gaps in preparedness,”said Lawrence L. Reger, President ofHeritage Preservation. “Quick-thinkingstaff members who turned off air intakesystems saved valuable collections fromcorrosive soot and debris. However,more than half the organizations sur-veyed had only minimal emergencyresponse procedures. Our culturalheritage is vulnerable to potentialfuture disasters.”

The organizations that participatedin the survey included Fraunces TavernMuseum, Henry Street Settlement/LouisAbrons Art Center, Museum of AfricanArt, Museum of Jewish Heritage, NationalMuseum of the American Indian, NewMuseum of Contemporary Art, New YorkPublic Library – New Amsterdam branch,South Street Seaport Museum, andTrinity Church Archives.

Among the Heritage Preservationsurvey’s findings:

• Only 46% of the institutions surveyedhad a written emergency plan, andonly 42% had staff trained in disasterresponse procedures.

• Only 60% of respondents had acurrent collections catalogue orinventory, and more than half didnot keep an off-site record of theirinventory. Had the destruction of9/11 been more widespread through-out Lower Manhattan, many collectinginstitutions would have been leftwith no complete record of whathad been lost.

• Although the events of 9/11 werecaused by an unprecedented act ofterror, the study found that standardemergency plans and responsesturned out to be the most effectiveway of dealing with the resultingdamage.

• A full 80% of survey respondentsreported interruptions in commu-nications in the weeks following9/11; 67% experienced a decreasein public visitation. Although thesurvey did not set out to examineeconomic impact, respondents indi-cated that decreased revenue wasone of their primary concerns andwas closely linked to communicationsproblems and the drop in publicattendance.

• In light of the events of 9/11, 68% ofrespondents said their staffs wouldbenefit from emergency managementtraining; 67% intended to createnew emergency plans or reviseexisting ones.

Heritage Preservation Publishes First Comprehensive Study of Loss to

Nation’s Cultural Heritage as a Result of 9/11

Report of Losses to Artistic, Historicand Archival Heritage in LowerManhattan and at the PentagonIncludes Results of Survey of AffectedInstitutions Regarding EmergencyResponse Procedures

19

Based on survey findings and exten-sive follow-up interviews conductedby Heritage Preservation, Cataclysmand Challenge offers specific recom-mendations concerning emergencyplanning for collecting institutions. Keyamong these are calls for increasedstaff training and for current collectionsinventories. The report also calls formore effective communications betweenthe emergency management and cul-tural heritage fields. It urges museums,libraries and archives to begin a dialoguewith local emergency officials beforedisaster strikes. The Heritage EmergencyNational Task Force will address thisissue in the next year.

The recommendations are designedto address any type of emergency, andthey apply to collecting institutionsthroughout the country. The reportencourages professional associations,government agencies and privatefoundations concerned about culturalheritage to make disaster managementa priority.

Cataclysm and Challenge alsodescribes the diverse cultural heritageuniverse that existed in and around theWorld Trade Center before the attacksof 9/11. It provides an overview of theartwork, historic buildings and artifacts,archives and libraries that were destroyedor damaged, as well as the conditionof those that survived. The reportdemonstrates that the cultural heritagelost included not only well knownworks of art such as Louise Nevelson’ssculpture, Skygate-New York, and JuanMiro’s World Trade Center Tapestry,but also archives and artifacts thatrepresent the richness of the country’shistory. Other examples of materialslost include:

• An estimated $4 million in records,equipment and historical data fromthe archives of the Helen KellerInternational Foundation — includingfirst editions of Keller’s books, price-less photographs and original letters.

• Thousands of artifacts from an18th century African burial groundand more than one million artifactsfrom the 19th century working classneighborhood of Five Points – dis-covered in 1991 during excavationfor the Foley Square federal court-house and one of the most importantarchaeological finds in the historyof Lower Manhattan.

• Archives from the Port Authority ofNew York and New Jersey datingback to the 1920s, documentingthe construction of the WorldTrade Center and other New Yorklandmarks.

In spite of these irreplaceable losses,stories of discovery and resourcefulnessalso emerge from the report:

• At the Museum of Jewish Heritage,automated shutdown of outside airvents failed when electrical powerwas cut off to the area. With theTwin Towers ablaze in the back-ground, museum engineers climbedto the roof, hand cranked the ventsclosed, and stayed to turn off watervalves even as police warned of theTowers’ collapse and ordered thearea evacuated. When staff wereable to return to the building theyfound not a trace of dust inside.

• Months after the disaster, 100,000photographic negatives belongingto the Port Authority of New Yorkand New Jersey were found at theWorld Trade Center site. Ranging incondition from ruined to pristine,these negatives convey a pictorialhistory of the metropolitan trans-portation system that includes thebuilding of the George WashingtonBridge and the Holland and Lincolntunnels.

• Bent Propeller, a stabile by AlexanderCalder, was one of the best-knownworks of art at the World Trade Centerand was presumed destroyed. Shortly

after the disaster, the artist’s grandsonAlexander Rower began distributingflyers that described the sculpture torecovery workers. As a result, morethan 35% of the sculpture has nowbeen found.

Selected highlights in the study illus-trate how individual institutions copedwith the aftermath of the disaster —ranging from the Seamen’s ChurchInstitute’s role as a refuge for rescueworkers to the historic fireboats thatpumped water to combat the blaze.A special section is devoted to thedestruction of cultural property at thePentagon, which includes historicaldocuments dating back to the early19th century and art collections of theArmy, Navy, Air Force and Marine Corps.

Heritage Preservation is a nationalnon-profit organization based inWashington, DC. In partnership withthe FEMA, it sponsors the HeritageEmergency National Task Force. Forthe complete text of the report, go towww.heritagepreservation.org/NEWS/Cataclym.htm.

Reprinted from the Heritage Preservationwebsite, www.heritagepreservation.org.Used with permission. © 2002 HeritagePreservation.

IAMFA wishes to thank Jane Long,Director Heritage Emergency NationalTask Force Heritage Preservation, forthis article contribution to Papyrus.

20

Museums in Canada have been exper-iencing a renaissance through a num-ber of new construction and renovationprojects. This trend is the result ofnewly available government fundingat the Federal and Provincial levels,which aims to restore ageing buildingsthat have been the victim of years ofneglect due funding constraints duringthe past decade.

At the federal level, the CanadianMuseum of Civilization Corporation iscurrently undertaking the constructionof a new purpose-built Canadian WarMuseum to replace several old buildingswhich did not meet modern museumstandards. In addition, at the federallevel here in the National Capital Regionarea, the National Aviation Museum isbuilding an extension to its hangarsand administrative wing; the CanadianMuseum of Nature building is under-going a massive interior renovation, anew National Portrait Gallery is beingbuilt in the building that used to housethe American Embassy, and a new facil-ity is being planned for the CanadaScience and Technology Museum.

At the provincial level, the RoyalOntario Museum is in the design stagesfor a massive nenovation project. Thearchitect who was selected, basedon an international design contest,is Daniel Libeskind of Germany. TheROM Renaissance is the focus of thearticle which follows, included here asan example of the recent “renaissance”in the modernization of Canadianmuseum facilities.

Guy LarocqueIAMFA Vice-President, AdministrationDecember 2002

Daniel Libeskind andthe Crystal Design forRenaissance ROMThe architect selected for the RoyalOntario Museum’s Master Plan hadto meet complex requirements, manyof them not immediately visible toobservers. The Architect SelectionCommittee kept all these requirementsin mind in assessing the candidates. Atthe end of the day, Daniel Libeskind’sproposal met most of them well, whichled to his selection on February 26.

1. Serving the ROM’s Content Planin New and Renovated Galleries

The ROM has the luxury — andchallenge — of expressing two greatmuseum missions — human civilizationand natural history. It is both the “Met”of Toronto — an institution of cosmo-politan culture — and a leading museumof natural history, with strong researchcomponents supporting both fields.

These dual missions must sit comfort-ably together, distinct but overlappingwhere it makes sense. They needplaces to be on their own, and placesto touch. Our content plan recognizes

this in the “narrative spine” and inother gallery development principles.

The ROM also requires space torenew older galleries, and to liberatemajor collections stranded in the vaults.(The project will generate an additional40,000 square feet for galleries throughreallocations and new construction —the equivalent of two full floors of theQueen’s Park wing.) And we want todisplay these things using the greatadvantage of our location on the cornerof Bloor and Queen’s Park, openingthe museum much more to the streetand community.

Daniel Libeskind’s crystal designcreates six major new gallery spacesdirectly over Bloor Street, where theircontents will be glimpsed through theglass, and where visitors will havewonderful views down Bloor frominside. The dinosaur gallery will beamong these spaces and be a dramaticsight from across the street on a coldwinter’s night.

Four of these crystal galleries willmerge into the east and west wings,creating broader floor plates and goodcirculation. Atriums within the crystaldesign will accommodate larger displays,such as whales and, perhaps, crest poles.

The crystal design offers direct BloorStreet frontage to a commodious retailshop that may include a coffee bar. TheBloor Street lobby will be large enoughto accommodate much bigger crowds.(We intend to double our attendanceto 1.6 million annually.) The main doorsare angled toward the corner of BloorStreet and Avenue Road. Two intriguingstaircases will lead up to the crystalgalleries — one themed after nature,the other after culture. There will alsobe three elevators. Another staircase

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

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will lead down to the blockbusterspace below, large enough to accom-modate the biggest travelling exhibitions.This blockbuster space will be connectedat grade to the loading dock, eliminatingthe need for elevators to accommodatemajor exhibitions. The lobby will workvery well to express the museum’scharacter, clarify options and distributecrowds. Beyond the lobby, public spaceopens out toward Samuel Hall-CurrellyGallery through dramatic new atriums.

By retaining the centre block, andbuilding on the foundations of theTerrace Galleries, Libeskind createssignificant new spaces that can beeasily integrated into our currenthistoric footprint. The Libeskind planalso provides for renovation of theeast and west wings, opening theirwindows and spaces to light for newgalleries. For all its drama, the crystaldesign provides an eminently practicalsolution to our program needs.

2. Education, Program Space

The Libeskind plan requires us to elevateeducation facilities from B2. He proposesthey be integrated into a new LearningCentre on the main floor where thelibrary stacks and HR offices are now.This would give much greater profileto the educational mission of the ROM.The Learning centre would include thelibrary front office, our digital galleryand resource centre for electronic accessto the collections and, perhaps, a small

theatre space. The washrooms wouldbe moved, linking the Learning Centredirectly into Samuel Hall-Currelly Gallery.

The B1 level of the east wing wouldbe retained for education programming,including an upgraded ROM theatre.An improved group entrance would beaccommodated within the glass spirecoming down from the roof on thesouth. All galleries will be designedto better accommodate school andgroup visits. Other program spacesmay be insinuated into various partsof the building.

3. Public Amenities and SpecialFunctions

Libeskind will reopen the link betweenCurrelly-Samuel and the west wing alongPhilosopher’s Walk. A new rotundawill be created in the west wing, toecho the original rotunda in the east,which will be fully restored. This willcreate a beautiful new east-west spineof public space, excellent for orienta-tion, special programming and specialfunctions organized by our MuseumSales department. The current EatonCourt space will be enlarged, so totalcontiguous space available for publicpurposes on the main floor will besignificantly larger.

A catering preparation space is envi-sioned in the southwest area of Currellyon the restaurant elevator core. We canalso plan to build convenient storagespace for chairs and tables, create a

permanent stage and build in soundsystems and lighting capabilities.

In addition to, the Libeskind planenvisions a new family cafeteria atgrade level along Philosopher’s Walk,an adjoining bar/café and a restauranton the roof of the west wing witha roof garden facing south over theUniversity of Toronto and the city. Allthese spaces will be linked through asingle food service core.

Smaller mini-lounges can also bedesigned into gallery spaces, especiallywhere exterior views are good.

More elevators will be installed, morestaircases will be opened and all facilitieswill be accessible to the disabled.

4. Back of House

Considerably more office space will becreated in two levels along the roof.Coincident with Renaissance ROM isthe development of a new ROM-ownedand designed collection storage facilityin Oakville. This will relieve pressureon the curatorial centre and allow forbetter space use there.

5. Architecture

Daniel Libeskind meets the programfor architecture by leaving all of thehistoric structures in place, taking outonly the Terrace Galleries, and creatinga bold new foil to the existing buildingsat Bloor Street. His crystalline structuretouches lightly on the north face ofthe east wing, and then he intelligentlyunites the old and new across the entiresite by vaulting over the roof and creat-ing glass slivers on the west and southfacades. This avoids the crystal designlooking as though it were simply anaddition to the north. It weds the oldand new across the entire fabric of thesite, but delicately and elegantly.

At the same time, the Bloor Streetfaçade is bold, ebullient and confident,filled with promise and intrigue. Atnight it will be a beautiful glowingicon for the central city, and the city

continued on page 22

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itself. Remarkably as well, the Libeskindscheme creates another excellent facefor the building from above. Surroundedby high rises and often over-flown, theROM’s new roofscape will offer a won-derful visual palette looking down, alovely ziggurat in the grid of the city.

And ROM curator Des Collinsreminds us that the crystallized formof limestone — of which the historicROM is built — is called a CalciteRhomb. Daniel Libeskind’s plan can bedescribed as the crystallized form —the Rhomb of the ROM.

6. Cost and Construction

Estimates of cost on Daniel Libeskind’sproposal were the lowest among thethree finalists. His proposal also createsthe least disruption to the museumduring construction, allowing us tokeep more of the museum open. Itis also the fastest to complete.

7. Relationships

It is said that we are not only choosinga vision, or an architect, but a relation-ship. Everything we know about DanielLibeskind and his business partner wifeNina, give us great confidence in thequality of the dialogue we will havewith them and their colleagues overthe next several years. They have livedin Toronto, Nina was raised here, andtheir three children are Canadian citi-zens. They know the city and fully shareour ambitions to create a wonderfulnew centre of public purpose andpleasure at this critical place and time.

Next StepsMany of the ideas now in conceptualdrawing will be amended over the nextyear as our ROM staff teams explorethe plans and improve them. Theseteams will include curators, teachers,program and museum sales staff, volun-

teers, security officers, IT gurus, librariansand technicians. We will also continueto present our plans for galleries andamenities to the public. The RenaissanceROM project itself will be developedas an exhibit, with supporting educa-tional content. Our Web site ROM.ON.CAwill continue to keep visitors abreastof our developments.

We are proud to have attracted DanielLibeskind to this important project, towhich he has already given so muchintelligent and creative thought.

Reprinted from the Royal OntarioMuseum website, www.rom.on.ca/masterplan/studio_crystal.php. Usedwith permission. © 2002 RoyalOntario Museum.

Royal Ontario Museum — continued from page 21

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On behalf of the membership and Board, we invite you tojoin with other museums and cultural organizations through-out the world in becoming a member of the only organizationexclusively devoted to museum and cultural facility admin-istrators: the International Association of Museum FacilityAdministrators (IAMFA). As a member, you will join a growinglist of museum and cultural facility administrators in theirefforts to provide a standard of excellence and quality inplanning, development and design, construction, operationand maintenance of cultural facilities of all sizes and varietiesof programming.

The Association currently has representation in severalcountries on three continents. Our goal is to increasemembership in institutions throughout the world.

Your involvement in the IAMFA will continue the growthof the organization and provide you with excellent educationaland networking opportunities. As your colleagues, we lookforward to welcoming you to membership in the IAMFA.

Cordially yours,The Board of the International of Museum FacilityAdministrators

Membership OpportunitiesJoin the IAMFA at any of the following levels and enjoy fullbenefits of membership:

Regular Member — $150 annually. A regular memberholds the position of principal administration in directcharge of the management of facilities, and represents theirinstitution(s) as a member of the association.

Associate Member — $50 annually. An associate memberis a full-time facilities management employee (professional,administrative or supervisor), below the level of the facilityadministrator of the member association.

Affiliate Member — $50 annually. An affiliate member isany full-time employee of a member institution who is notdirectly involved in the facilities management department.

Subscribing Member — $300 annually. A subscribingmember is an individual, organization, manufacturer ofsupplier of goods services to the institutions who ascribesto the policies and programmes of the Aassociation, andwishes to support the activities of the Association.

Become a Member of the IAMFAand Get a Friend to Join

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YES! I would like to join the IAMFA as a:

M Regular Member $150 M Associate Member $ 50

M Affiliate Member $ 50 M Subscribing Member $300

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M I enclose a check in the amount of $ ____________________

M Please invoice me

✁

Send in your membership dues by using the convenient form below. Don’t forget to make a copy to give to a colleague.

Please remit to: International Association of MuseumFacility AdministratorsP.O. Box 1505, Washington, D.C. 20013-1505 U.S.A.

Website: www.iamfa.org

M I am interested in joining.Please have a membercontact me.

24

An advertisement policy for Papyruswas approved at the General Assemblyof the Membership in London onSeptember 25, 2002. Under this policy,we will soon be able to publish adver-tisements for services related to facilitymanagement in cultural institutions.Advertisements will not exceed one pageper issue, which can be subdividedinto 8 quads.

Fees for advertisers will be $200 USper quad, to run in three consecutiveissues. As space is obviously quitelimited, requests for advertising spacewill be honoured on a first-come, first-served basis, upon reception of pay-ment, including a confirmation letterfrom the facility manager of the insti-tution using these services. Payment is

to be made out to IAMFA and sent tothe Papyrus Editor’s address below.

Funds received from advertisingwill be used for production ofPapyrus. You are all encouragedto promote this opportunity amonglocal service providers of facility-related services to your institution.

Pierre LepageEditorPapyrus100 Laurier StreetGatineau, QuebecJ8X 4H2 [email protected]

IAMFA/PapyrusWINTER 2003

EditorPierre Lepage

Papyrus Correspondents

Joe Brennan

Bill Caddick

Carole Beauvais

Ian Follett

Mark Rowling

Guy Larocque

Tony Hushion (Royal Ontario Museum)

Jane Long (Heritage Preservation)

Production CoordinationJulie Coderre

Design and LayoutPhredd Grafix

EditingArtistic License

Printed in Canada bySt-Joseph M.O.M. Printing

ISSN 1682-5241

Statements of fact and opinion are madeon the responsibility of authors alone

and do not imply an opinion on the partof the editors, officers, or members ofIAMFA. The editors of IAMFA Papyrusreserve the right to accept or to rejectany Article or advertisement submitted

for publication.

While we have made every attempt to ensurethat reproduction rights have been acquiredfor the illustrations used in this newsletter,please let us know if we have inadvertently

overlooked your copyright, and we will rectifythe matter in a future issue.

From the Editor’s DeskAdvertisement in Papyrus

The International Association of Museum Facility Administrators is pleased

to welcome the following new members:

Regular Members

Mark Dawes — Australian War Memorial, Canberra, Australia

Glen Hodges — Australian Museum, Sydney, Australia

Gerald Hubbard — Museum of Science and Industry, Chicago, U.S.A.

Richard Stomber — Newark Museum, Newark, U.S.A.

Marvin Wyatt — Atlanta Botanical Garden, Atlanta, U.S.A.

Josée Neron — Musée d’Art Contemporain de Montréal, Montreal, Canada

Richard Reinert — Philadelphia Museum, Philadelphia, U.S.A.

Christian Pagé — Canadian Museum of Civilization, Gatineau, Canada

Patricia Morgan — Auckland Art Gallery, Toi o Tamaki, Auckland,New Zealand

New IAMFA Members