Papyrus Summer 2013

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

PAPYRUS
VOL. 14, NO. 2

Building Information
Modeling

Sustainability Efforts
at the National
Gallery of Art

SUMMER–FALL 2013

Delegate and Guest
Programs for the
23rd IAMFA Conference

Predictive
Maintenance

CONTENTS
Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . .

2

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

20

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

3

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

23

Harley-Davidson Museum Hosts Facility
Managers 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

Best Practices Feature Article: Reducing Energy
Consumption and Greenhouse Gas Emissions at
the National Gallery of Art in Washington, D.C. . . .

4

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

6

Building Information Modelling:
“To BIM or not to BIM?” . . . . . . . . . . . . . . . . . . . . . .
Predictive Maintenance: Knowing How to See . . . . .
2013 IAMFA Conference Schedule . . . . . . . . . . . . . . .

9
12
16

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 on
¯
an inlet of the Uchi River features blossoms in the foreground and the Suijin Shrine in the distance. Collection of the Library of Congress

IAMFA BOARD OF DIRECTORS

MEMBER REGIONS

President and
2013 Conference Chair
Nancy Bechtol
Smithsonian Institution
Washington, DC, USA
bechtna@si.edu

Atlanta, U.S.A. — Kevin Streiter
High Museum of Art
kevin.streiter@woodruffcenter.org

V.P., Administration
Randy Murphy
Los Angeles County Museum of Art
Los Angeles, CA, USA
RMurphy@lacma.org
V.P., Regional Affairs
John Castle
Winterthur Museum,
Garden and Library
Winterthur, DE, USA
jcastle@winterthur.org

Secretary
David Sanders
Natural History Museum (Retired)
London, UK
d.sanders@bham.ac.uk
Editor
Joseph E. May
Sustainability Engineer
Los Angeles, CA, USA
joemay001@hotmail.com
2014 Conference Chair
Jack Plumb
National Library of Scotland
Edinburgh, UK
j.plumb@nls.uk

Treasurer
Alan Dirican
Dumbarton Oaks
Washington, DC, USA
DiricanA@doaks.org

For additional
contact information,
please visit our website at
www.NewIAMFA.org

IAMFA/ Papyrus

Ted Huynh
David Matthews
Joe May
Jim Moisson
Jack Plumb
David Samec
Alyson Steele
Thomas A. Westerkamp
Stacey Wittig

Vol. 14, Number 2
Summer–Fall 2013
Editor
Joe May
Contributors
Nancy Bechtol
Judith Capen
Sam Collard
David Conine
Maurice Evans
Rob Fink
Cecily Grzywacz

Australia — Shaun Woodhouse
Australian Centre for the
Moving Image
Shaun.Woodhouse@acmi.net.au
Chicago, USA — William Caddick
Art Institute of Chicago
wcaddick@artic.edu
Los Angeles, USA — Randy Murphy
Los Angeles County Museum of Art
rmurphy@lacma.org
New England, USA —
Jim Moisson
Harvard Art Museums
james_moisson@harvard.edu
New York, USA — Mark Demairo
Neue Galerie
markdemairo@neuegalerie.org
New Zealand — Cliff Heywood
Royal New Zealand Navy
clifford.heywood@nzdf.mil.nz

Printed in the U.S.A. by
Knight Printing
ISSN 1682-5241

Design and Layout
Phredd Grafix
Editing
Artistic License

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

Ottawa-Gatineau, Canada —
Ed Richard
National Gallery of Canada
ERichard@Gallery.ca
Philadelphia, USA — John Castle
Winterthur Museum & Garden
jcastle@winterthur.org
Northern California, USA —
Jennifer Fragomeni
Exploratorium
jfrago@exploratorium.edu
United Kingdom — Jack Plumb
National Library of Scotland
j.plumb@nls.uk
Washington/Baltimore, USA —
Maurice Evans
Smithsonian Institution
evansma@si.edu
For more information on
becomming a member of the
International Association of
Museum Facility Administrators,
please visit www.NewIAMFA.org

Statements of fact and opinion
are made on the responsibility of
authors alone and do not imply an
opinion on the part of the editors,
officers, or members of IAMFA. The
editors of IAMFA Papyrus reserve the
right to accept or to reject any Article
or advertisement submitted for
publication.
While we have made every attempt to
ensure that reproduction rights have
been acquired for the illustrations
used in this newsletter, please let us
know if we have inadvertently overlooked your copyright, and we will
rectify the matter in a future issue.

LETTER FROM THE EDITOR

Joe May
Editor, Papyrus

Greetings from Los Angeles!

I

n this issue of Papyrus, you will find
up-to-date plans for the 23rd Annual
IAMFA Conference in Washington,
D.C. If you haven’t attended one of
IAMFA’s annual conferences before, or
are new to the organization, you probably wonder why we spend so much time
discussing plans for our annual conference. Here is my reason: I attended
my first IAMFA conference in 2003 in
San Francisco, and by the end of the
conference I was hooked! I haven’t
missed an IAMFA conference since.
I think my experience may not be
that much different from that of most
IAMFA members. The conference is
more than just the presentations, where
you learn about topics important for
managing your facilities department.
It’s more than the behind-the-scenes
tours of the venues, where you see new
practices that have been implemented.
It’s more than the dinners and social
events, where you make friends with
your peers, or renew friendships with
those you see each year. It’s more than
the closing gala, always staged in the
most elegant settings you can imagine.
The first gala I attended was held
in the Legion of Honor in Golden
Gate Park in San Francisco. I couldn’t
believe how beautiful it was having
dinner inside the gallery amidst all of
the amazing sculptures. It’s obvious
why so many IAMFA members bring
along a guest or partner to take part in
the Guest Program; you see so many
wonderful sights that remain with you
as memories forever. I hope some of
you who have not before attended an
annual conference will take a chance

2

PAPYRUS SUMMER–FALL 2013

and see what you are missing, and why
we publish so much material in Papyrus,
and on our website, about IAMFA’s
annual conference.
In this issue of Papyrus, we have
numerous articles contributed by our
corporate members, benchmarking
facilitator, regular members from our
member institutions, and members
from IAMFA’s LinkedIn Group.
You will find two articles on Building
Information Modeling (BIM), written
by Steensen Varming and Quinn Evans
Architects. If you haven’t experienced
BIM firsthand, these articles provide a
very good explanation of what advantages BIM offers, and why you should
consider using this approach for future
expansion or redevelopment projects.
Stacey Wittig from Facilities Issues
(our annual benchmarking coordinator) writes about Facility Issues’
twenty-second annual Facility Managers
Roundtable at the Harley-Davidson
Museum in Milwaukee, Wisconsin,
one of IAMFA’s member institutions.
The Facility Managers Roundtable is
a diverse group that meets to discuss
best practices gleaned from annual
benchmarking studies, much like the
IAMFA benchmarking group will do
in October.
The Best Practices Feature Article in
this issue was written by IAMFA members from the National Gallery of Art in
Washington, D.C., and describes improvements made to reduce energy use
and greenhouse gas emissions by 20%.
This was accomplished in just the first
few years of the program . . . and they
are 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 years
consulting in the field of Maintenance
Management. Tom is simply the best
engineer I’ve ever known—and a tremendous resource, if you ever need
to discuss an issue with your maintenance operations. Tom authored the
Maintenance Manager’s Standard Manual
20 years ago, and it is a great tool for
any 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-

ing the IAMFA conference in October.
You will also find an article about a
project at another conference venue,
the United States Holocaust Memorial
Museum (USHMM). When it was time
to resurface the nearly quarter-mile
of exterior handrails, architrave p.c.,
architects and the USHMM settled on
a innovative approach that I know you
will find very interesting.
In the centerfold of this issue, we
have a collage of pictures taken at
IAMFA’s mid-year Board of Directors
meeting in Washington, D.C. I hope this
sampling of images from the conference venues will entice a few members
who have never taken the step to attend
the conference. Careful, or you may
also get hooked!
I hope that everyone this issue
reaches has had an opportunity to visit
the Members Only Page on our website.
If you haven’t visited the Members
Only Page, you’ll find current updates
on IAMFA. In 2010 and 2011, members
participated in strategic planning
sessions at the annual conference, and
numerous suggestions were contributed
for improving IAMFA. The Members
Only Page has a PowerPoint presentation that summarizes the results of
those efforts. This fall at the conference,
the Board will be introducing new plans
to strengthen IAMFA during the next
five years, and Nancy Bechtol will discuss these plans during the annual
general meeting in Washington, D.C.
I hope that many of you will also join
in and contribute to these efforts. The
Board looks forward to updating
everyone this fall.
We’ve just added our members list
to the Members Only Page also, as well
as bylaws, our Nominating Committee
Policy, and numerous other news items.
If you have suggestions for how we can
further use the Members Only Page,
please send me a message.
Finally, a LinkedIn Group update:
we now have 586 group members from
47 countries. If you haven’t joined yet,
please do so.
I hope you enjoy this issue; thank
you to everyone who contributed
content, and to our advertisers whose
generous support helps offset the cost
of publishing Papyrus.

MESSAGE FROM THE PRESIDENT

Nancy Bechtol
President, IAMFA

T

he Washington, D.C. Conference
Committee remains hard at work
planning the upcoming Annual
Conference on October 20–24. I hope
everyone is planning to come early and
stay late to enjoy the benchmarking
session on Sunday, as well as the extra
day they have planned for Thursday.
The IAMFA Board had a fabulous
meeting in early May, and walked
through the entire planned program.
We all came away with no doubt that
this meeting will be up to our usual
IAMFA par in terms of excellence in
annual conference planning and execution. The Board stayed at the Gaylord
National Resort Hotel during this meeting, which was very comfortable, with
lots of large open spaces for gathering,
as well as great shopping and restaurants. I am confident everyone will
enjoy this hotel, as there is something
for everyone at this resort location.
The Board and I can’t thank everyone enough for taking us on tours
through the Folger Shakespeare Library,
the Holocaust Memorial Museum, the
Library of Congress, the Glenstone
Gallery, the National Archives, the
Smithsonian’s Environmental Research
Center and the National Zoo. I hope
you enjoy Joe May’s photographs from
that meeting in this issue of Papyrus.
The planning committee, headed
by Tiffany Myers, is doing an outstanding job pulling together all of
the details for the conference. The
team represents all of the leading
museums, archives and libraries of the
Washington, D.C. metropolitan area.
Team members Kristy Brosius (U.S.

Holocaust Memorial Museum), Tony
Cerveny (Glenstone), Neal Graham
(Library of Congress), Mark Sprouse
(National Archives and Records
Administration), Kendra Gastright
(Smithsonian Institution) and Dave
Samec (National Gallery of Art) have
been meeting monthly to plan our meeting, and promise a fabulous program.
Please register and reserve your hotel
room right away, if you haven’t already
done so. Rooms are going very fast!
All annual meetings require substantial sponsorship to be successful.
IAMFA is very fortunate to have several
corporate sponsors who have supported
us for years, assisting with many annual
conferences. I am most appreciative of
John Bixler, Zone Facilities Manager for

IAMFA is very fortunate
to have several corporate
sponsors who have
supported us for years,
assisting with many
annual conferences.

the Smithsonian Institution, for leading
the charge this year in securing and
raising over $50,000 in funding toward
this year’s conference. Many IAMFA
members have supported John’s efforts
and assisted with contacts and networking, and the results are amazing! He is
still working toward securing even more
support! The entire Board cannot thank
the thirteen 2013 sponsors enough.
This level of sponsorship provides
enough funding that we can avoid
increasing our conference registration
fees for members and their guests.
Have you visited the NewIAMFA.org
Conference Page recently? All registration details for the conference can be
found there. We will also be resetting
the password for the Members Only
Page in the next few months, as soon

as everyone has paid their annual dues
for this calendar year. We established
a July 15 deadline this year, but have
extended it for another month to give
folks time to pay their dues. This was
the first year with an established deadline, and over 100 of our members did
pay on time!
In the spring issue of Papyrus, I
asked for volunteers to serve on the
Board; however, no one has come
forward so far. The Board is still keen
to welcome anyone interested in serving on the Board, and it is never too
late to express your interest. We are
always looking for volunteer help and
assistance. Fortunately, all current Board
members who are completing their
terms are willing to go on for another
term. Voting Members in good standing should have seen a ballot from
Randy Murphy earlier in July. Please
look for it and vote! It is important
that we hear from as many members
as possible.
We look forward to welcoming
Bill Caddick from the Art Institute of
Chicago to the IAMFA Board this fall,
and to our upcoming annual meeting
in Chicago in 2015. We have DC 2013
and Scotland 2014 to enjoy before we
all head to Chicago in 2015. Jack Plumb
is busy planning our meeting in
Scotland already, and has secured the
hotel and all of the venues. The Board
can’t wait to visit him in April of 2014
to see what his team has planned for
all of us, come September 14–17,
2014. Make sure to save those dates
on your calendar.
The Board has drafted a new fiveyear Strategic Plan, Corporate Sponsorship Plan and Membership Plan,
and we will be rolling these plans out
to our members during the October
2013 annual conference. We are all
very excited about the strategic direction these three plans provide for our
Association over the course of the next
decade. We hope to reach out to you,
and offer ways for all of our members
to become more involved in their
facilities association.
I hope everyone is having a wonder ful summer, and I look forward to
being with you all in October.


3

BEST PRACTICES FEATURE ARTICLE

Reducing Energy Consumption
and Greenhouse Gas Emissions
at the National Gallery of Art
in Washington, D.C.
By Cecily Grzywacz, David Matthews, Ted Huynh and David Samec

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

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

4


©NATIONAL GALLERY OF ART

I

n October 2009, Presidential Executive Order 13514 for
Federal Leadership in Environmental, Energy, and
Economic Performance was signed, mandating a 30%
reduction in energy use and a 30% reduction in greenhouse
gas (GHG) emissions for all Executive Agencies by the year
2020: 30/30 by 2020. While the National Gallery of Art
(NGA) is not an Executive Agency, we strive to follow the
Order’s spirit. In 2012, Darrell Willson, Administrator and
Senior Sustainability Officer, presented the NGA Strategic
Sustainability Performance Plan (SSPP) to staff: a plan which
recognized that each of us can contribute to making a
difference 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 greenhouse gas (GHG) emissions by the year 2020—or 20/20
by 2020. By the end of 2012, these goals had nearly been
achieved: energy use was reduced by 17% (Figure 1), and
GHG 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 Executive
Order’s 30/30 by 2020.
The following projects and accomplishments were
identified in the Gallery’s SSPP:

Primary chilled water pumps.

• Building Automation System (BAS) upgrades to include
Sequence 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

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

Administrator Facilities Management’s (AFM’s) energyconservation measures have been gradually implemented
to ensure that modifications have no adverse impact on the
preservation environment for the Gallery’s priceless collections: 70 ± 5°F with 50 ± 5 % RH (70/50). The Gallery
maintains these parameters using heating, ventilation and
air-conditioning (HVAC) units based on 1920s air-washer
technology. Fortunately, these air-washer HVAC systems are
very effective at achieving 70/50. Unfortunately, they are
also energy-intensive.
Unlike most U.S. federal buildings, but like all museums,
the Gallery must condition its spaces 24 hours a day, 7 days
a week, every day of the year, for the preservation of priceless works of art. Still, there was an opportunity to reduce
energy use and save funds. The Gallery is open to the public
7 hours a day; the volume of air conditioned was adjusted
based on expected occupancy and time of day. Spaces only
need 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 conditioned by 10 billion pounds per year with the energy

©NATIONAL GALLERY OF ART

• Expanded recycling program: cardboard, acrylic, all
paper, 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 task
lighting when leaving for the day
• Increased staff subsidy for public transportation;
additional bike racks
• Indoor Air Quality (IAQ): replacement of harsh chemicals
with green products (cleaning, landscaping, maintenance)
and low- to zero-VOC paints
The East Building of the National Gallery of Art.

conservation measures implemented thus far. Based on
recent savings trends, AFM has projected utility-cost reductions to help offset the impact of sequestration. We have
a lot of work ahead of us in order to meet this aggressive
goal. With all of us working together, however, we expect
to be successful.
The energy and cost savings are the result of a change in
the Gallery’s traditional culture. We have discovered better
ways to manage the facility using common-sense approaches,
while considering the needs of all stakeholders. AFM has
enhanced communications with other departments and
divisions. This in turn has led to mutual education of our different fields, areas of expertise, concerns and responsibilities
and, most importantly, successful collaborations.
Cecily Grzywacz is the Facilities Scientist; David Matthews is the
Energy Manager; Ted Huynh is the Senior Mechanical Engineer;
and David Samec is the Chief of Facilities Management at the
National Gallery of Art in Washington, D.C.

IAMFA·13
IAMFA COMES TO THE
WASHINGTON DC METRO AREA

October 20–24, 2013
PLEASE VISIT

www.NewIAMFA.org
TO REGISTER


5

WILD

EXPECTATIONS?
NO PROBLEM.

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.

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.

Q U I N N E VA N S

ARCHITECTS

The Folger Shakespeare Library
By David Conine

H

ave you ever wondered how
Romeo wooed Juliet? Or how
Hollywood turned Cyrano de
Bergerac into the movie Roxanne?
Whether you are interested in Shakespearean tragedies or comedies, your
search will lead you to the Folger
Shakespeare Library—one of the
world’s largest resources for the
works of William Shakespeare.

Institutional Overview
The Folger Shakespeare Library is
located near the U.S. Capitol, the
Supreme Court, and the Library of
Congress. It opened in 1932 as “a gift
to the American people” from Henry
Clay Folger and his wife Emily Jordan
Folger. An independent board of
27 members governs, and the Trustees
of Amherst College (Henry Folger’s
alma mater) administers the Folger, in
accordance with Mr. Folger’s bequest.
The current annual operating
budget is $15.6 million. The Folger’s
staff includes 100 regular full-time, six
grant-funded full-time, and 34 parttime employees. In July 2011, the
Board appointed the seventh Director
of the Folger Shakespeare Library,
Dr. Michael Witmore.
The Folger Shakespeare Library is
a world-class center for scholarship,
learning, culture, and the arts. It is
home to the world’s largest Shakespeare
collection and the world’s third-largest
collection of early modern English
books and manuscripts, and is a primary
repository for rare materials on the early
modern period in Continental Europe.
Standing in the Folger’s rare book
vaults, one is surrounded by half of
the books printed in English before
1640. As an internationally recognized
research library, the Folger is a hub for
advanced scholarly programs in the
humanities; an innovator in the preservation of rare materials; a national
leader in how Shakespeare is taught
in grades K–12; and an award-winning
producer of cultural and arts programs.

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

The power and depth of the Folger’s
collection inspires the best scholarship
in college and university classrooms,
leading scholarly publications, and
new discoveries in the field. The Folger
shares the wealth of its collection
with everyone from Shakespearean
scholars to actors, students, and
teachers. Scholars from more than
20 countries and 242 colleges and
universities come to study and take
part in a diverse array of conferences,
seminars, and symposia. Over 50,000
pages of collection materials are available online in a digital image database.
Researchers and teachers from across
the globe can access the Library’s bibliographic information through the
online database, Hamnet, as well as the
Folger’s website (www.folger.edu), which
also includes lesson plans, exhibitions,
and subject-themed resources.

Building Overview
As previously mentioned, the Library
was built in 1932 by Henry and Emily
Folger. Henry Folger was an avid
Shakespearean collector, as well as the

president and chairman of Standard
Oil of New York. Sadly, Henry Folger
never saw the completion of the Folger
Shakespeare Library. The building was
later completed by Emily Folger, with
the assistance of architect Paul Cret,
who is also known for the Federal
Reserve Bank and the Rodin Museum
in Philadelphia, in addition to the
Southwest D.C. Power Plant.
The Folger Shakespeare Library has
multiple components, including the
Exhibition Hall, Old Reading Room,
New Reading Room, Theatre, meeting
rooms, offices, collection spaces, and
additional exhibit spaces. The majority
of these areas were part of the original
building in 1932. A major renovation
in 1978 included the addition of the
New Reading Room, 17 offices, two
conference rooms, mechanical modifications, and additional collection
spaces. During this renovation, the
Folger started utilizing the Architect of
the Capital Chilled Water and Steam.
The Folger has also experienced many
other minor renovations, ranging from
upgrading the Theatre to rearranging
office configurations.

7

Currently, the Folger is in the midst
of an institution-wide strategic plan.
Some areas being evaluated include
architectural, structural, mechanical,
electrical, plumbing, fire detection, fire
suppression, security concerns, ADA
regulations, LEED practices, collection
needs, hazardous materials, and space
usage and availability. These evaluations
could potentially lead to a major renovation in the near future. In the meantime, the Folger’s Exhibition Hall and
critical mechanical systems are currently
under construction. The Exhibition
Hall renovation will be described in
further detail on October 21 at the
2013 IAMFA Annual Conference in
Washington, D.C. The mechanical
renovation was previously described on
pages 20–21 in the article “Preserving
the Works of Shakespeare” in the
Spring 2013 issue of Papyrus.

Performing Arts
The Folger presents a variety of per forming arts and cultural programs:
exhibitions, theater, music, poetry,
lectures, and performance-based educational programs for audiences of all
ages. Folger exhibitions bring the collection to life by putting the Library’s
treasures on view for the public through
a rotating, free exhibition series.
Folger Theatre is the centerpiece
of the Folger Shakespeare Library’s
programs for the public. Its thoughtprovoking productions, performed
in an Elizabethan theatre, have won
18 Helen Hayes Award awards for
excellence in acting, direction, design,
and production. These include the
best-play-of the-year awards for Folger
Theatre’s 2010 Hamlet and 2006
Measure for Measure.
The Folger Consort, led by Robert
Eisenstein (Five College Consortium,
Massachusetts) and Christopher Kendall

(University of Michigan), has been at
the forefront of the Washington area’s
distinguished tradition of early music
for more than 30 years. The Folger
Consort has been named the Best
Chamber Music Ensemble by the
Washington Area Music Awards for
the past four consecutive years.

Education
The Folger’s award-winning K–12 education programs are a vital part of its
outreach activities, bringing students
to perform on its Elizabethan stage,
and taking Folger educators into the
classrooms of D.C. schools. The Library’s
professional development programs
reach teachers around the country, with
workshops and institutes in a dozen
states each year, as well as web-based
courses and curriculum. The Folger
developed all of its programs in response
to teachers’ stated needs, knowing
that Shakespeare is studied in more
than 90% of our nation’s high schools,

and each serves as a point of entry to
understanding the language and the
context in which Shakespeare wrote.

Special Events
The Folger also organizes and facilitates
special events for non-profit and forprofit events. These events range from
educational to political to corporate
events. The Exhibition Hall, Old
Reading Room, New Reading Room,
and the Theatre are utilized for these
special events. Some of these events
are the only times that the public may
access certain areas. For example, the
Folger celebrated its 80th anniversary
last year with its annual birthday party
for William Shakespeare. During these
birthday parties, the Library opens its
doors to the public and they have
access to the Reading Rooms.
David Conine, LEED AP, is Head of Facilities
at the Folger Shakespeare Library in
Washington, D.C. David has been a
member of IAMFA since 2010.

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

Past issues of Papyrus
can be found on IAMFA's website
www.NewIAMFA.org

8


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

What is Building Information Modelling (BIM), and
should I consider using it on my next project?
BIM is a 3D digital representation of a building. The BIM
model presents the physical and functional information of
a building format as an accurate assessment of the building,
its form, its engineering services and, potentially, its assets.
Using BIM, design and construction teams can “build
before they build” in a virtual environment. Information
embedded within the model, if correctly set up and maintained, will serve the building during its lifetime. The “as
built” or “as fitted” BIM model can then be expanded and
modified with each new iteration of the building’s design
and intended use.
Challenging structures made possible by BIM
Both new-build and refurbished museum buildings can create
an opportunity for the client and the project architect to produce a design statement which pays homage to the historical
context and form of the existing building or, alternatively,
expresses the new building as a more challenging architectural form and statement. In itself, the building can become
an engineering and tourist attraction during its construction,

as well as in its final built form, creating significant interest
while ultimately contributing to the quality of the visitor
experience. The deployment of BIM allows design teams to
integrate and efficiently engage with increasingly complex
building geometry that traditionally would pose significant
challenges to design and construction teams. Thorough
analysis in a virtual 3D building format allows stakeholders
to conceptualise and review options for the proposed gallery
spaces, structure, enclosure and MEP systems.
Increased engagement with stakeholders
Add to this BIM “fly-throughs” from completed models and
those in progress, and increasingly informed decisions
become possible for museum curators—especially those new
to the design and construction process. BIM aids designers,
builders and clients alike in maximising visual and revenuegenerating relationships and opportunities for exhibition
areas. Collaborating in BIM allows design teams, builders
and major trade suppliers to minimise risks in the building
programme. BIM thus enables teams to provide unique,
complex, bespoke designs that can be assembled using
offsite prefabrication techniques.

3D BIM model view.

9

Asset Management in BIM—late adoption
Museums, by their very function, record and capture our
links to the past. Because of their age, however, they cannot
always offer good information on structural elements and
engineering systems, which in itself poses a significant
challenge. Information on the building and its assets may
be contained in paper records, or a proprietary electronic
register or database that was designed before the utilisation
of BIM on the project. Complicating matters, the quality of
content normally diminishes through use.
Most of the benefits of BIM are currently realised during
the design and construction of a facility. The FM and Asset
Management element of BIM is not, as yet, a consistent
and mainstream deliverable to clients. BIM can be useful,
however, to museums in planning, accommodating and
validating how new and existing exhibits can be produced.
A number of “pathfinder” projects are currently detailing
their Operations and Maintenance and Asset Management
in a BIM model.
Can BIM be used on an existing building?
Retrofitting of museum buildings using BIM can now be
seen as a different prospect, together with laser scanning
to capture building geometry, spatial relationships, geographical data and building components. This can present
an accurate and detailed “as-built” overview of the entire
building interior and exterior. When converted from a point
cloud 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 learning.

Equipment tagged in BIM model.

10


This was achieved through early adopters pushing the
boundaries of what BIM could do. Whilst not all attempts
were entirely and wholly successful, new learning in BIM
was achieved, and we learned through our successes, and
sometimes through intelligent failure.
Increasingly, BIM management models of delivery, governance and procedures are being authored without the
learning earned through custom, practice and use. Onerous
and untried BIM requirements are often specified, which
by their very nature and risk of litigation discourage new
and early adopters from applying BIM “stretch” and pushing
the current boundaries. It is important that we consider what
we can achieve today; that this is supported by an “evidencedbased“ approach to BIM; and that we write performance
requirements that the industry can confidently achieve.
Potential BIM enablers and barriers to implementation
There are a number of criteria that can affect a team’s ability
to engage in BIM. If tackled correctly, however, these can
create a more effective platform for a new project working
in BIM. And, whilst there can be perceived and real barriers
to the implementation of BIM, these are not usually sufficient
in magnitude for you not to deploy a BIM project.
Potential enablers include:
• Most designers will be working in BIM, or thinking
about it. Choose a team that has been working in BIM
for a number of years, and has mature BIM working
processes, 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 frequency
ID 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 help
in the transition to BIM.
• Museum BIM case studies for similar projects will give
you insight into the successful adoption of BIM, as well
as areas to consider for improvement.
• Governments may require BIM on the project as part
of a National Procurement Strategy.
• BIM can be deployed for planning exhibits through
extensive visualisation and planning.
• BIM can help verification of the proposed build in a
virtual environment.
Potential barriers include:
• The extent of current CAD or record drawings in a 2D
format.
• The building’s existing asset register is not BIM-enabled,
and the time required to convert the information is
overwhelming to the building’s operators. The facilities
managers are not familiar with BIM, and therefore do
not consider BIM viable.
• The building’s current designers do not work in BIM.
In this instance, you should consider whether they are
the right people for your exciting new project.
• The Return on Investment in deploying BIM on the
project is not clearly defined and measurable, and staff
are not trained to work in BIM.

MAINTENA
MAINTENANCE & REPAIR
ANCE REPAIR
PAIR
WATER TREATMENT SERVICES
WATER TREATMENT SERVICES
ATMENT
DESIGN BUILD
DESIGN
PREDICT
TIVE ANALYSIS
L
PREDICTIVE ANALYSIS
PREFABRICATION / OFFSITE
PREFABRICATION
CONS
STRUCTION
CONSTRUCTION
BUILDING AUTOMATION
G AUTOMATION
A
COMM
MISSIONING
COMMISSIONING
ENERGY RETROFITS
Y
EQUIPMENT REPLACEMENTS
FACILITY UPGRADES
Y
FACILITY
BUILDING INFORMATION MODELING (BIM)
ATION
INFORMATION
OPERATION & MAINTENANCE
A
OPERATION
LEED DESIGN
D

24/7 Emergency Service
Emerg
gency
(800) 827-5010
827-5010
8
www.limbachinc.com
www.limb
bachinc.com

• Immature industry standards exist that can be
universally adopted.
• Cost of entry seems high to the client. Clients should
not fund the development of BIM. The cost of entry is
borne by efficiencies realised in the design and
construction processes.
• It can appear hard to keep the BIM model relevant for
the lifecycle of the building.
• Specifying the BIM inputs and outputs during the
design and construction development for FM can
be challenging.
Whilst there can be no conclusive guarantee that BIM
will benefit your project, there is sufficient evidence to suggest that teams which work in BIM achieve better project
outcomes within the environs of the project build.
Sam Collard is a Technical Director for Steensen Varming, a firm
of Building Services Consulting Engineers who have an extensive
worldwide portfolio in museums and art galleries. He has been
involved in the management and implementation of Building
Information Modelling (BIM) on over 50 projects, in the U.S.,
Canada, Scandinavia, the United Kingdom, India and Australia.

11

Predictive Maintenance
Knowing How to See
By Thomas A. Westerkamp

L

eonardo da Vinci (1452–1503),
famous as the artist who painted
the Mona Lisa, was also a highly
talented and creative inventor, engineer and architect. He conceptualized
and sketched technology centuries
before its time, including prototypes
for a tank, helicopter, calculator and
solar power. Da Vinci taught at a studio
in Milan, where he expounded to his
art students on saper vedere, or “knowing how to see”. He said that the key to
art is perspective. Creativity is knowing
how to see. He stressed altering perspective, viewing the subject from several
directions until one sees and fully
understands the subject.
The successful museum facility manager is a modern da Vinci. The FM
is constantly challenged to imagine,
often under difficult time constraints,
ways of achieving maintenance cost and
functional objectives. The cost objective
results when a workable budget is completed and funds are approved; when
actual cost versus budget is maintained;
and when optimum lifecycle cost is
approached more closely. The functional objective is achieved when the
facility meets design intent, and continuous improvement is institutionalized
as a reliable, sustainable way of life.
To stay ahead of all the demands,
the FM uses Predictive Maintenance
(PdM), a highly effective means of
achieving saper vedere when used as an
integral part of the annual preventive
maintenance program. PdM employs
da Vinci’s principle by extending the
senses of touch (vibration, temperature)
and sight (vision, thermal imaging),
as well as trending (rate of change of
conditions). These are all examples of
how to see the entire facility from different perspectives. Each of these PdM
measures offers a different perspective
to improve understanding; identify

12


optimual repair intervals; and optimize
the lifecycle of structural, mechanical,
and electrical assets. It uncovers hidden,
impending breakdowns before they
occur, averting health and safety issues
and major damage costs. Energy and
cost savings, continuous improvement,
greater reliability, and getting more
out of budget dollars, are all realistic
outcomes. The following are a few
real-life examples of PdM at work:
• Improving HVAC/R systems—using
a clamp-on ammeter to measure
compressor amps, then adding
compressor oil and seeing amps
drop, electric bills decrease, and
compressor life extended. Also, a
refrigerant leak detector with the

[Predictive Maintenance]
employs da Vinci’s principle
by extending the senses
of touch (vibration,
temperature) and sight
(vision, thermal imaging),
as well as trending (rate of
change of conditions).

new semi-conductor sensor is very
sensitive to small leaks of most
refrigerants in use today.
• Optimal constant temperature and
RH is maintained to protect art collections with intelligent thermostats,
as well as a temperature and relative
humidity recorder-controller to
document trends.

• Integrity checks of roofs and exterior
walls using coring, contact moisture
meters, and thermal imaging—these
inspections reveal roof damage, allowing repairs to be done earlier, often
before they are obvious, thereby
reducing roof-maintenance costs and
interior damage. Simple improvements such as soft shoes, protective
walkways, and care in walking or
setting equipment on the roof, can
avoid punctures that turn into leaks.
Frequently checking roof flashing,
joints and seals around penetrations,
and resealing them, will add years to
roofing systems. And frequent use
of imaging to locate moisture under
the surface will lower costs by avoiding interior damage that remains hidden in walls and above ceilings until
major water damage has occurred.
• Piping system—camera inspections,
test specimens, and use of flow submetering to see where all the water
is going are ways in which “knowing
how to see” can save. Some facilities
use routine cleaning of all piping
on a scheduled basis to keep piping
clear; but not all pipelines become
blocked at the same rate. Some
pipe disassembly is wasted. Also,
the frequency may be too often, in
which case the cost is higher than
needed. In other cases, the frequency is not often enough, in
which case the piping becomes
blocked, interrupting service and
costing emergency rates to fix. On
the other hand, using fiber-optic
cable and a camera, lines are
checked and cleaned at optimal,
scheduled intervals, minimizing
unscheduled downtime and costs.
• Test specimens are useful for
measuring the rate of piping wall

corrosion and erosion. The technician prepares a specimen of the
same material as the pipe wall,
threaded on one end, and rodshaped on the other. The diameter
of the rod end is measured with a
micrometer to thousandths of an
inch. A bushing is welded to the
pipe wall at the test location—near
an elbow, for example, where high
erosion is likely. The specimen is
threaded into the bushing and
remains for a recorded period of
time, say a year. It is removed a year
later and measured. If the original
diameter of the machined rod was
0.500 inch and the diameter a year
later was found to be 0.400 inch,
then the rate of wall loss is 0.100 inch
per year. The years of life are calculated by dividing the original wall
thickness—say 0.250 inch—by the
rate of loss: 0.100 inch, or two-anda-half years. This method is far better
than the play-it-safe approach—
changing the pipe before it wears
out, or the take-a-chance method—
letting it fail before replacing it.
• Sub-metering water consumption
can find leaks and high usage areas
early; can measure the effects of
upgrading to low-flow fixtures; and
can control water cost even when
rates are going up.
• Infrared scanning of the electrical
distribution system for hot spots—
the electrical distribution system is
one of those “out of sight, out of
mind” elements of a facility. Distribution system design, motor and
control design, and switchgear have
benefitted from major design improvements over the years. Almost
no problems happen. But wait. What
about power outages? What about
transformer explosions? Lightning
strikes? Relay outages due to overload? Downtime does happen in the
wider infrastructure, and can happen
inside the facility, too. The way to
find out if hidden problems are
threatening the distribution system
is saper vedere. You could go around
and visually inspect, but you won’t

see much out of the ordinary. You
could touch motors, controls, conduit and switchgear looking for hot
spots. But a safer, more sensitive
way to do this is with non-contact
thermal imaging.
• Energy efficiency through lighting
upgrades can enhance constant
lumen output: a critical factor in
improving the longevity of art. Are
those incandescent lights costing
too much and providing diminishing output over their lives? Are
fluorescent lights in the galleries,
garage, halls, offices, classrooms
humming? Are ballast replacements
happening frequently? You could
keep using old technology, but 100and 75-watt incandescent bulbs and
T12 fluorescent tubes, introduced

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

in 1938, are no longer legally manufactured in the U.S. When supplies
are gone, upgrades will be needed.
Measuring lumen output may indicate significant lighting loss in these
old lamps. Switching to LEDs or
other high-efficiency lighting will
bring the lighting level up to a more
constant optimum, and switching
to more efficient lamps will improve
function and save many dollars in
energy and maintenance cost. LEDs
last 50,000 hours or more—that’s
five years without changing, at an
energy cost that is as low as ten
percent of incandescent cost for
the same lighting level.

• Lube program—another PdM technique is facility-wide lube analysis.
Using the right lubricant, applied
with the right method, at the correct frequency, in all the right
locations, sounds simple. In fact,
however, a comprehensive lube
program requires a lot of careful
planning and can be aided by lube
analysis, by a lubricant supplier doing
an assessment, and by setting up an
annual program.
• Vibration analysis—blower motors,
bearings and drives; pumps; vent
fans; generators; turbines and
compressors all have one thing
in common: they have rotating
elements. Since the 1950s, vibration
analysis has been used to predict the
remaining life in rotating machines.
Measured amplitude and frequency
of vibration tell the technician a lot
about condition and remaining life.
Actual vibration amplitude close
to the breaking point on a general
severity chart means an impending
breakdown. The frequency of the
high vibration identifies the component. For example, if the high
vibration is at a frequency of four
times the rotating speed, and the
pump has an impeller with four
blades, then the impeller needs to
be rebalanced or replaced to avoid
serious damage.
• Vibration analysis acceptance testing
is another method that can ensure
that equipment fits the application,
ensuring long life for new rotatingequipment installations.
• Studies show that, if not tested, fifty
percent of circuit breakers do not
function normally after five years,
mostly due to mechanical problems.
Circuit-breaker vibration analyzers
perform trip tests, recording and
comparing the first trip with later
trips to identify problems such as
spring weakening and excess friction.
An accelerometer circuit-breaker
analyzer app uses the same iDevice
capability that senses pull of gravity,
and rotates a smart phone picture


13

from landscape to portrait format,
to differentiate horizontal from
vertical axis tests.
• Ultrasound—facility managers can
apply ultrasound, acoustic-emission
analysis to detect high-frequency
noise inaudible to the human ear. It
detects leaks in boilers, condensers,
steam and air systems, and other big
energy consumers. It is also very
effective in detecting electrical
discharges such as arcing, tracking
and corona. A manufacturer saved
nearly $80,000 annually by correcting numerous leaks in the air system
after a brief ultrasound inspection.
Other ultrasound uses include the
monitoring of bearing, lube and
machine conditions.

14


Six Steps to Initiating
Predictive Maintenance
Is PdM right for your facility? If you
want to find out, have an outside firm
run a pilot test on a sample of missioncritical equipment and provide a
savings-versus-cost analysis before committing to purchase of PdM analyzers.
Once a clear justification can be made,
selling the program is easier. Once the
all-in decision is reached, a six-step
PdM installation program consists
of the following:
1. Select the assets to include.
2. Design a history record for each

asset as part of the CMMS.
3. Select PdM analyzer(s).
4. Establish measurement intervals as
part of the preventive maintenance
program.
5. Initiate readings; record results.
6. Analyze records for corrective action.

Payback for PdM analysis costs has
been shown to be very rapid—often
less than a year. What is the worth of
one avoided roof or pipe leak? One
avoided electrical transformer fire?
One avoided arc flash fire? Saper vedere
makes obsolete other costly, unreliable
“take-a-chance” or “play-it-safe” strategies for deciding when to repair, keeping the facility in top condition, and
earning rave reviews from employees
and visitors.
Thomas A. Westerkamp is a consultant,
lecturer, and author of the Maintenance
Manager’s Standard Manual and
AWARE.MPS, Maintenance Productivity
Suite. He founded Productivity Network
Innovations, LLC (PNI), www.pninc.com
in 1986, and has written over 200 articles
for Maintenance Solutions and numerous
trade journals.

2013 IAMFA CONFERENCE SCHEDULE
DELEGATE PROGRAM
SATURDAY,
3:00-5:00 pm

Conference Registration

Gaylord National Resort

8:00-9:00 am



Benchmarking and Learning Workshop


SUNDAY,
9:00 am-3:00 pm

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

1:00-5:00 pm

Folger Shakespeare Library



5:00-7:00 pm

Opening Reception


MONDAY,
8:45-9:45 am

Gaylord Lobby

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

1:30-2:30 pm

Special Presentation: Around the World, Music, Preservation, TBD

2:45-3:30 pm

National Museum of American
History

Travel to Folger Library, and Opening Remarks

9:50-10:30 am

Presentation—Session 1A: Developing a Long Term Collections
Storage Plan for the Library of Congress

Charon Johnson, Library of Congress

Presentation—Session 1B: Campus-wide Safety Upgrades

Matt Harrison & Jonathan Shriner
Library of Congress

Presentation—2A: LED Case Study at Trafalgar Square or Energy

Chris Tiernan

3:45-4:30 pm

James Madison Building

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

8:45 am

Meet in Lobby for National Zoological Park

10:20-10:30 am

Opening Remarks/Today’s Notes

10:30-11:15 am

Presentation: Climate Responsive Building Envelopes

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

3:00-3:45 pm

Presentation: Organic Grounds Management

Paul Tukey, Glenstone

4:00-5:00 pm

Bus Trip to Gaylord Hotel & Free Evening


6:30 pm

IAMFA Board Meeting

Grace's Mandarin

7:35 am

Gather in Lobby for Bus Departure for the United States Holocaust Memorial Museum

8:35-9:45 am


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

12:30-1:30 pm


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


8:15 am

Meet in Lobby for Smithsonian Environmental Research Center


9:15-11:00 am

Tour Smithsonian Environmental Research Center

SERC

TUESDAY,

National Archives

National Zoological Park
Chris Arkins, Emrah Baki Ulas—
Steensen Varming

Panel Discussion

WEDNESDAY,
Air and Space Udvar-Hazy Center

National Zoological Park

United States Holocaust Memorial
Museum

National Museum of American History

THURSDAY,

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

Gaylord National Resort &
Convention Center

16


National Archives and Records
Administration

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

GUEST PROGRAM
OCTOBER 19, 2013
3:00-5:00 pm



OCTOBER 20, 2013
8:00-9:00 am



8:30-8:45 am

Meet in lobby for travel to Arlington National Cemetery


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. Lee
Memorial

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

1:00-5:00 pm



5:00-7:00 pm

Opening Reception


OCTOBER 21, 2013
8:45-9:45 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


1:30-2:30 pm

Special Presentation: Around the World, Music, Preservation, TBD

2:30-3:00 pm

Travel to 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


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

Library of Congress’s James
Madison Memorial Building

Washington, D.C. Memorials

United States Botanical Gardens

Glenstone Museum

OCTOBER 22, 2013
8:45 am

Gather in Hotel Lobby for Bus Departure to the National Zoological Park

10:20-11:30 am

Behind-the-Scene Programmed Tours

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

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

Smithsonian Institution National
Zoological Park

National Gallery of Art

United States Holocaust Memorial
Museum


OCTOBER 23, 2013
8:45 am

Gather in Lobby for Bus Departure for the United States Holocaust Memorial Museum

9:35-10:45 am


10:45-11:00 am

Visit USHMM Gift Shop

11:00-12:30 pm

Walk to National Museum of American History, then lunch

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 NMNH
Gift Shop

3:00-3:45 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

Next to Space Shuttle Discovery

9:30-10:00 pm

Gather for Bus Trip back to Gaylord


U.S. Holocaust Memorial Museum

Smithsonian Institution National
Museum of American History

Hirshhorn Museum and Sculpture
Garden

National Museum of Natural History

OCTOBER 24, 2013
8:15 am

Meet in Lobby for Smithsonian Environmental Research Center


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 Records
Administration

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

Smithsonian Environmental
Research Center

17

2013 IAMFA CONFERENCE VENUES

18



19

BIM for Building Operations
and Upgrades
By Alyson Steele and Rob Fink

T

he use of Building Information Modeling (BIM) in
architecture, engineering, and construction has
soared over the past decade, with this powerful 3D
modeling tool now used routinely for new facilities. The
digital technology has enabled teams to improve communication and visualization; coordinate and integrate building
systems; test and evaluate alternatives; and assess proposed
design concepts for functional attributes such as daylight,
glare, and energy use.

amount of digitally available information, such as a scan or
a jpeg, to be paired with a centralized information management system and mobile devices. Facility owners and managers
don’t need to commit to a full-fledged 3D model with

A Watershed Moment
While BIM has greatly facilitated the design process for
new buildings and expansions, we are now beginning to
see frequent use of the technology for ongoing building
operations, upgrades, and repairs as well. Recent advances
in the way we access, edit, share, and maintain digital information has created a watershed moment in facilities management—a major step forward for building operations,
which can save museums and galleries significant amounts
of time and money.
The latest technology, which supports a new wave of
“Project Information Management”, or PIM, enables any

Digitized photos overlaid with color-coded
repair marks helped prioritize façade repairs at
the Sherman Building.

20


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

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

materials and systems. Instead, use of these software tools
can help address specific operational and troubleshooting
issues quickly and efficiently, while also permanently
recording the building information for future use.

Point Solution Approach
Many museum owners and facility managers will appreciate
the “point solution approach” as they begin to take advantage
of BIM for operations. This approach addresses a particular
problem, crisis situation, or operational task by using BIM
and mobile technology for greater efficiency, communications, consistency, and establishment of a digital record.
For example, Quinn Evans Architects recently assessed
needed repairs at the Sherman Building on the grounds of
the Armed Forces Retirement Home in Washington, D.C.
The 107,000-square-foot building, a National Historic
Landmark, had suffered damage in an August 2011 earthquake. Our consulting team began with jpegs of existing
plans, elevations, and photos, in tandem with PIM software—
in this case, Newforma® Punch List. At the site, using iPads
and construction lifts, the team inspected the damage and
identified major repair tasks—specifying, for example, exterior
cracks, open joints, missing mortar, and staining. The resulting punch list was used to formulate the contractor’s scope
of work. A similar punch-list effort could also serve as the
basis for an ongoing maintenance program.
Newforma’s Info Exchange software was particularly
useful on another recent project for a large institutional
client in Washington, D.C. The project involved inspection
of 1,200 doors throughout the facility, in order to review
accessibility and functionality. To manage the scope and
progress, we used several software programs that together

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

enabled us to optimize information—reusing data and
eliminating duplication—while Info Exchange enabled us
to 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 fields
on laptops to collect data. Using a combination of AutoCAD,
Revit®, Microsoft Excel, and Microsoft Access, we generated
a project schedule and construction documents. Onsite,
iPads facilitated updates to the punch list and the viewing
of specifications, product cut sheets, and construction drawings and submissions. Here, PIM proved especially useful
in streamlining the door inspection and repair process for
a routine facilities operation challenge.
The Smithsonian Institution is also taking advantage of
BIM software capabilities in assessing mechanical systems
at the 1.3-million-square-foot National Museum of Natural
History in Washington, D.C. Using laptops and iPhones,
scans of as-built drawings, coupled with systems diagrams
and jpegs, can together be accessed in the field. This
method facilitates the identification of discrepancies in
existing records—such as incremental changes that may
not have been documented—and helps staff establish
priorities for facility recommissioning.

Enterprise Approach
The “enterprise approach” to BIM for building operations
is the most powerful—a holistic, comprehensive approach,
rather than an as-needed process for maintenance or repair
issues that arise. The enterprise approach enables owners
and facility managers to benefit from the broad array of
powerful BIM tools now available, and strategize for longterm operations and maintenance.
This approach requires the most upfront investment,
but over time will offer significant advantages and time/cost
savings, from addressing preventive maintenance issues early
on, to being able to respond to emergency repair needs
promptly and efficiently. While the point solution approach
is useful for tackling challenges on a project basis, the enterprise approach is certainly optimal, offering widespread
benefits and value in building operations.
With museums and galleries constantly looking to minimize expenditures for facilities management, maintenance,
repairs, and improvements, BIM now offers multi-faceted
technological tools that can expedite and streamline the use
of critical building information. BIM is no longer limited
to the realm of major new construction, and no longer
implies comprehensive 3D modeling. It is now a flexible
and targeted tool for routine use—another important step
forward in helping museum owners in the responsible
stewardship 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.


21

Get a Grip
Sustainable Handrails at the United States
Holocaust Memorial Museum
By Judith Capen

A

lmost thirty million hands on 1,255 linear feet
of painted steel handrails over 20 years created a
problem for the United States Holocaust Memorial
Museum (USHMM). In a building open 363 days a year,
a massive handrail-repainting project was too logistically
challenging. But the worn and multi-colored railings, and
the bare steel and red primer showing through the graygreen finish color, compromised the architectural intent of
the 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 part
of the experience of the building as a metaphor for
the Holocaust.
Painted steel is used prominently and deliberately throughout the interior of the Museum in overhead trusses, extensive
guardrails, and steel-tube handrails. All the steel is painted
the same custom gray-green matte finish color, which was
actually 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 as
the old toxic versions. The longest-lasting touch-up at the
Museum lasted no more than three years. In addition, paint
build-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 handrail problem poses an interesting challenge. Often, the
artifacts in a museum are curated and protected, while the
museum building itself is seen as just a container. This
museum 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 can
be removed to a conservation studio for restoration, the
Holocaust Museum’s twelve hundred feet of handrails, bolted
and welded to brackets, can’t be removed. Restoration work
has to be done during the sixteen hours a day the Museum
is closed to the public. Interventions have to be odor- and
fume-free by 10:00 a.m. each day, when the Museum opens.
In addition to technical feasibility, the work had to be cost
effective 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 Museum
needed a solution consistent with the architectural aesthetic
of the building.
We realized that this handrail study was not a typical
contractor effort, so we brought in a firm of architectural
conservators, Conservation Solutions Incorporated (CSI),
with whom we have worked in the past. They do diagnostic/

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

investigation work, not unlike what we do architecturally;
but they also do hands-on conservation. They were involved
from the very beginning in identifying and testing paint
stripping and refinishing options.
With the Museum and CSI, we reviewed the problem’s
history, reviewing records, original specs, previous repainting campaigns, and the handrails themselves. CSI
proposed paint-stripping products, paints, and, ultimately,
patination chemicals (“patination” here refers to the use
of chemicals to color the steel handrails) to test, including
gel strippers and a range of “high performance” paints.
Realizing that, over the past fifteen years, Museum
maintenance staff had worked through the range of typical
approaches to refinishing, we looked for end runs in
addition to obvious possibilities.


23

For a seemingly simple project—“repaint steel handrails”—
we innovated by:
Involving conservators to control testing processes
closely, and develop processes that could be
replicated.

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

Field testing stripping and refinishing methods to
establish methods and processes, as follows:
• We early recommended that good candidates for
paint removal and re-finishing should be field tested,
subjected to normal visitor wear, and monitored
for performance.

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

• Field testing had to replicate the projected work conditions with all work done during off hours, railings
completely usable at museum opening, and no lingering
fumes or odors. Mockups allowed us to assess how long
various stripping and refinishing options actually took,
assess Museum disruption, and estimate costs. In the
process, we also fine-tuned methods.

• We spent four nights testing chemical and laser paint
removal methods, then applying five finishes: two patination and three paint. We discovered that some of the
chemical/gel paint strippers worked not at all; some,
difficult to pinpoint, caused odors in the Museum the
next day. We then monitored the test finish areas for
nine months.

• At the end of the project’s research phase, we proposed
three to five nights in the Museum, testing six paint
removal methods, installing five different finishes, and
monitoring them for up to a year.

Laser stripping for paint removal:
• Robert Weinstein, principal at architrave, first saw laser
paint stripping (or “de-coating”) demonstrated at an

The laser at work.

This handrail on the ramp behind the platform in the Hall of
Witness has an “Egyptian Lacquer” finish with hand-worn
patination. Its appearance has an appropriate continuity with
the surrounding finishes.

24


APT (Association for Preservation Technology) conference
on hazardous materials.
• Laser stripping seemed to offer an ideal solution
for this project. Lasers remove coatings without the
clean-up associated with other paint removal products,
control minor residual vapors with built-in fumecontainment systems, and pose virtually no risk to
surrounding finishes.
Patination as a finish alternative to paint:
• The years since the Museum’s opening had clearly
established that paint on heavily-used handrails
is 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 was
originally finished with an “Egyptian Lacquer,” patinated
by hand wear. This section’s finish is consistent with the
building’s architecture, and looked good after 13 years
of service. Unfortunately, the Museum has been unable
to replicate it. It is possibly a particular metal finisher’s
proprietary 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 by
the 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 professional
metals conservators or a conservation firm, rather than
a construction contractor. The specialized nature of the
paint removal and metal re-finishing demands the sort
of detail attention conservators bring to their work,
including care in protecting surrounding finishes.

We discovered this previously unknown fabrication flaw under
layers of paint: an area filled with putty for a smooth, paintable
surface. We also found grinding and welding marks at corners
and armature attachment locations, and a stippled texture on
some railing sections.

• We suggested that the USHMM include a Competency
of Bidder Specification for the paint removal and patination specialties in the contract documents, if indeed
a traditional full set of drawings and specifications
is required.
• We also recommended that the Museum use the findings
of the mock-up and monitoring as the basis for the
Request for Proposal, targeting the announcement
to the American Institute of Conservators (AIC).
In spite of our methodical investigation, we encountered
the unexpected. One surprise was the discovery, on the
first night of paint removal, of fabrication defects in the
steel pipe railings, previously obscured by filler and paint.

Findings and Recommendations
Paint Rremoval
The laser method ranked highest of all the removal methods
tested, scoring 26 out of our evaluation matrix’s 28 possible
points. While not a traditional paint removal method, laser
de-coating has significant advantages over chemical removers:
• No hazardous or bulky waste requiring clean up and
disposal. No environmental issues.
• No odor during or after paint removal, as the paint
becomes odorless and dust-free plasma.
• Little to no chance of damage to the Museum’s
architectural finishes—unlike chemical strippers—
making protecting surroundings unnecessary.
• The only safety equipment necessary for the person
removing the paint is special-lens glasses.

Test Areas 6 and 7: dark and light patination.

• It is quick to set up and take down, providing flexibility
in mobilizing and demobilizing.

25

Even so, the laser is not without preparation and demobilization. Protecting Museum staff within 60 feet of the
laser light is a concern, solved with a lightweight enclosure
around paint removal areas, staff wearing safety glasses, or
keeping staff outside the laser light zone.
Rental of the laser equipment is expensive. While we
used a 150W machine for the trials, we recommended a
1000W laser to strip paint much faster, estimated at two to
three minutes per linear foot. This laser requires a lot of
power, which the USHMM’s existing electrical system could
support, 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 chemical
remover we tested, meeting selection criteria best.
Finish
• We recommended patination, ranking highest in the
selection criteria.
• We estimated a five- to fifteen-year life for patination,
with routine monthly wipe-down with corrosioninhibiting towelettes.
• Application ease, short drying time, and no curing period
makes patination of the railings the most cost-effective
finish over the longer term, especially compared to
annual recoating of paint surfaces and periodic
complete paint removal, priming, and repainting.
• The patinated railing is finished in one continuous
operation, with one application of chemical patination
immediately after stripping, repair, and cleaning. This
avoids repeated nightly set-up and demobilization for
multiple finish coats. The railing is ready for use after
the patination chemicals and corrosion inhibitor dry—
about a minute. This process minimizes disruption to
Museum operations.
• Repairing fabrication flaws, dings, and dents adds
expense to patination, although not to painting, since
the paint finish covers the flaws.
• The three patinated test areas worked with the building’s
aesthetic and continued to look good for the six-month
monitoring, showing no wear, demonstrating durability
and ease of maintenance.
Paint
• If the Museum decided to keep repainting the handrails, we recommended Rustoleum Gray #7852 Primer
and DevGuard 4303 Rust Preventative Eggshell enamel.
Of the paints tested, it was the most durable, maintaining an acceptable appearance through the
monitoring period.

26


Since completion of our study on railing refinishing at
the USHMM, the Museum has proceeded with incremental
handrail refinishing and a maintenance program of monthly
applications of Cortec Cor Wipes on refinished handrails.
In February, 2013, the Museum stripped and patinated a
final 825 feet of handrails, completing handrail refinishing
in all exhibition and public areas. The Museum continued
to refine methods as they proceeded with refinishing. They
diluted the patination formula further to match the finish
of the handrails completed in the Hall of Witness in 2011
for a more transparent finish.
Surprises continued to appear, too. The Museum discovered at least four different steel alloys in the handrails
refinished since the study. The different alloys have required
various sanding methods, various amounts of sanding, and
variations in the patination formulas.
Dianne Driscoll, USHMM Facilities Specialist, reported
on the continued refinishing, “It was very difficult to figure
out the new formula, due to so [much variation] with the
handrail metals. Each handrail length required a change
in the formula to have a uniform appearance.” She further
observed that the more dilute patina formula shows less
rust and was easier to maintain from the beginning, while
presenting a very clean look that closely matches other areas.
Careful, detailed study over almost 18 months resulted
in a successful and sustainable method for refinishing
hundreds of feet of handrails in an internationally important building. Rebecca Stevens reflected, “I find it rewarding
to know that together we found a refinishing process and
maintenance practice that works for the Museum.”
Judith Capen, RA, is a principal at architrave p.c., architects in
Washington, D.C. If you would like the longer version of this
article, with product names and more detail, please contact
her at judith.capen@architravepc.com.

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, Registered
Architect, principal; Robert Weinstein, Registered
Architect, principal in charge
• Rebecca Stevens, AIA, Project Architect, principal
investigator
• Conservation Solutions Incorporated Conservators
• Mark Rabinowitz, Vice President, senior conservator
• Patty Miller, conservator

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Harley-Davidson Museum
Hosts Facility Managers
Roundtable
By Stacey Wittig

L

ast month, Facility Issues held the twenty-second annual
Facility Managers Roundtable at the Harley-Davidson
Museum in Milwaukee, Wisconsin. The Facility Managers
Roundtable is a diverse group that meets to discuss best
practices gleaned from annual benchmarking studies, much
like the IAMFA benchmarking group will do in October.
Joyce Koker, the Museum’s Facilities and Systems
Manager, and a member of IAMFA, gave the roundtable
group a back-of-house tour of the five-year-young museum,
the only Harley-Davidson museum in the world. “This is the
largest collection of Harley-Davidson motorcycles anywhere—
there are more in storage than on display,” said Koker, who
gave 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. Over
the past 150 years, the site had been home to Morton Salt,
Lake Shore Sand and Gravel, and others reflecting an industrial history similar to Harley-Davidson. A large portion of

the site was below the floodplain elevation, and had to be
raised before construction of the Museum began. “It was
fortuitous that the Wisconsin Department of Transportation
had a large project in the area going on at the same time.
There was construction all around us. We received approximately 80,000 cubic yards of clean soil to raise the elevation
of the property from those DOT road projects,” said Koker.
Half of the parking space west of the main campus is in
what the Museum calls “parking gardens” where overflow
visitors park on grassy areas edged with low-maintenance
native plants, trees and bushes.

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

IAMFA member Joyce Koker gives a Harley-Davidson Museum
back-of-house tour to the Facility Managers Roundtable group.

28


The Harley-Davidson Museum, surrounded by water on three sides.

“We rely heavily on contractors—that’s our model,” said
Koker as she guided the group around the two 300-ton
chillers that cool the whole campus. The chillers, in addition
to four high-efficiency boilers, help meet the Museum’s
stringent temperature and humidity requirements.
“We have a preventative maintenance program for the
stainless steel heat exchangers used in our humidification
system, to prevent corrosion issues,” said Koker. UV lighting
is used for mold control in the air handlers when lowered
chilled water temperatures create additional condensation in
those units. Another best practice that the Harley-Davidson
Museum implemented was installation of LED lights inside
the decorative metal muffler-shaped fixtures hanging high

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

in the lobby and main entry area. “We would have to change
the previous bulbs once per month, before they switched
to LEDs. Based on the quantity of outdoor lighting, we
continue to look for opportunities to use LED lighting
where the technology and implementation makes sense,”
added Koker.
Later, Jonathan Smith, Facilities Manager, HarleyDavidson Financial Services, Inc. in Carson City, Nevada,
delivered a presentation on how to use the janitorial portion of the benchmarking report. “The CFO questioned
the amount we pay for snow removal and, as a direct result
of the benchmarking surveys, we verified what we were
paying,” said Smith. Similarly, Smith took the benchmarking
results to his cleaning contractor and negotiated a huge
reduction in monthly cleaning costs.
In a Hot Topics discussion, Smith revealed that he uses
Grainger USB data loggers to monitor repeat hot and cold
calls from clients in his call-center facility, which was designed
in the shape of Harley-Davidson’s unique V-Twin engines.
The Harley-Davidson participants in the Facility Managers
Roundtable all talked about the extreme loyalty of their
employees. “Fifty percent of our employees have HarleyDavidson tattooed on their bodies,” said Grayson Albert,
Facility Manager at the Harley-Davidson Pilgrim Road
Powertrain Operations facility.
The Harley-Davidson Museum is in the third size classification—125,000–249,000 GSF: 11,000–23,000 GSM—of
the IAMFA benchmarking study.
Stacey Wittig is Marketing Director at Facility Issues. She welcomes your questions about IAMFA benchmarking participation
or sponsorship. Contact her at 001-928-225-4943 or
Stacey.wittig@facilityissues.com.

Reserve this space to advertise
in a future issue of Papyrus

Please contact the
Editor of Papyrus
for details


29

Become a Member
of IAMFA
International Association of Museum Facility Administrators
membership offers invaluable professional benefits for its
hundreds of facility managers of archives, libraries, museums
and other cultural institutions.

Join IAMFA and give your career a boost!

Benefits of IAMFA Membership:
• Annual IAMFA Conferences
• Free Subscription to Triennial Papyrus Magazine
• Benchmarking Exercises
• Earn Continuing Education Units
• Network with Your Peers
• Exclusive Job Postings
. . . and more!

There are several Membership Categories to choose from:
• Member: $200/year
• Associate Member: $75/year
• Corporate Member: $400/year
• Retired Member: $75/year

For more information on IAMFA benefits, membership categories
or to become a member, please go to

http://newiamfa.org/membership-benefits.php
Email: iamfa.membership@gmail.com

LINKED IN GROUP COLLABORATIVE ARTICLE

Which Call Center Structure Works
Best for You?
Question Posted in the IAMFA
LinkedIn Group: We are exploring

different options on how to man a
call center. Of particular interest is
if others may be outsourcing this
function. The overall goal is to have
someone answer, regardless of time
of day. Thanks in advance for your
suggestions.
Response 1: At our museum, we use
our 24/7 security control room as our
call centre. The security control room
operator records the call in a daily
operations software application, then
dispatches the request to the appropriate responsibility centre, such as
Facility Management, Conservation,
Exhibitions, Public Affairs, Marketing,
etc. The security control centre may
receive anywhere from none to a dozen
calls a day, and they usually occur during the 8:00 a.m. to 5:00 p.m., Monday-

to-Friday workweek, because they most
often come from staff.
Response 2: We have a “hotline num-

ber” that is answered 24/7 also, but we
use FP&O administrative staff from
7:30 a.m. to 4:30 p.m., Monday to
Friday, to answer calls and dispatch
trades; custodians and managers to
deal with the issue reported; and the
security console to man the hotline
after hours. We have handled nearly
2,800 calls YTD through our CMMS
system repair module. I’ve used an
outside call center in the past, but the
issue always is familiarity with the facility.
Response 3: We have a 24/7 call center,
with a dedicated number and email
site as well. I believe our organization
has developed a cost-effective means
to balance the need for customer service with the need to monitor facility

environmental conditions. Our call
center, providing a 24/7 presence,
is staffed by a team of 12; consisting
of six mechanical engineering technicians, four customer service representatives, and two program analysts.
Our staff reacts both to concerns
identified by the building automation
system, and requests submitted by
customers, by entering the requests
into the CMMS and notifying the
appropriate service provider needed
to address the request.
During the past year, our group has
processed 24,374 requests for service.
I would hesitate at the thought of outsourcing this function. Having a group
that is familiar with a facility—the
service agreements, customers, and
providers—can have its benefits, as
well as a direct impact upon the level of
service provided by an organization.

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31

REGIONAL UPDATES AND MEMBER NEWS

By Jim Moisson

On April 26, IAMFA’s New England Member Region
gathered at the job site for a tour of the Harvard Art
Museums Expansion and Renovation Project, designed by
the Renzo Piano Building Workshop. The New England
Member Region is also assembling the necessary approvals
for 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 Region
By Jack Plumb

On April 23, twenty or so IAMFA members travelled to
Liverpool for the Spring meeting of the U.K. IAMFA
Member Region, at Tate Liverpool.
In the evening, we all gathered at a local hostelry for
greetings to old friends, and introductions to new IAMFA
colleagues. The evening meal was sponsored by Spie Matthew
Hall. Mike Freeland and his colleagues from Spie Matthew
Hall, as well as the Facilities Manager at the Tate—a wellknown face to IAMFA members—were also on hand to
ensure that we all had a great time. A very special thank
you to Spie Matthew Hall.
On Wednesday morning, our host David Redrup
welcomed us to Tate Liverpool, and provided the first
presentation, explaining the development of the Tate of
the North—or Tate Liverpool, as it is now known. The Tate
Liverpool building was originally one of the warehouses
built as part of the Albert Dock complex that opened in
1846. The docks covered about seven acres, and were the
first structure in Britain to be built from cast iron, brick
and stone, with no structural wood. As a result, it was the
first non-combustible warehouse system in the world.

32


In the 1980s, Alan Bowness, then-director of the Tate,
decided to create a “Tate of the North”, as the project
became 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 Trustees
visited the Dock in November 1981, during their site-selection
process, and made the decision to set up in Liverpool. Construction commenced in October 1985, and Tate Liverpool
opened to the public in May 1988. In 2008, Liverpool was
named European Capital of Culture. To celebrate this, in
2007 Tate Liverpool hosted the Turner Prize: the first time
the 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 team
specialises in providing the most economical suppliers
of energy to the higher-education sector in England and
Wales. Studying this market in detail gives Richard and
his team valuable insight into the energy market.
Richard explained that, with the U.K. Government’s current Energy Reform Bill—which includes de-carbonisation
of the U.K. generation market—and with a current growth in
demand—the demand for electricity in the U.K. will exceed
generation in 2018. With a 1% reduction in electricity, this
only pushes demand exceeding supply to 2022. However,
with local supplies of gas becoming scarcer, electricity
generators 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 the
price of oil. To emphasise the requirement to reduce the
use of fossil fuels, Richard mentioned that, in March 2013,
the U.K. used 137% of its normal consumption, due to
abnormally cold temperatures. In addition, the U.K. rough
storage site beneath the North Sea was empty for the first
time in 12 years.
©TATE PHOTOGRAPHY

New England Member Region

Tate Liverpool.

Richard also briefly discussed the emergence of hydraulic
fracturing of rock (fracking), which involves injecting pressurised liquid into boreholes to release natural gas. Whilst
this 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, including
contaminated groundwater, depletion of freshwater sources,
and potential air pollution. Richard concluded that, whilst
suitable sites for fracking had been identified in the U.K.,
because of these environmental issues it was unlikely that
more densely populated places, like Britain, would see
significant expansion of this process. Richard did leave us
with one rather frightening thought: a prediction that
energy prices would double by 2020—scary indeed.
Next up was Michael Reeve of Working Environments,
who took us through the selection of the central chillerplant selection process that he has recently delivered for
the current Tate Britain development project. Michael
explained that, first of all, working with the project’s consulting engineers—Max Fordham Consulting Engineers—
they established an estimated chilled-water load throughout
the year, then set about selecting a suitable chiller plant to
meet that load profile.
What became very apparent was that using conventional
chiller technology was not going to meet the load profile
with the efficiency demanded by the sustainability team at
the Tate, without utilising Turbocor technology. Whilst this
chiller technology is more expensive that convention screw,
scroll, or compression chiller technology, Michael was able
to demonstrate that Turbocor chillers would provide a reasonable payback and meet the efficiency requirements of the
Tate. Following a tendering process, ICS Industrial Cooling
was 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, National
Archives as well as Tate Britain. Perhaps this is something to
consider for your own next chiller replacement project?)
The last presentation of the morning was delivered by
Gemma Driscoll, the sustainability manager at the Tate, who
gave us an update on the progress they had made with their
conservation colleagues in working to reduce energy consumption, and hence their carbon footprint.
Gemma explained that, in 2007, the Tate started to think
about its sustainability responsibilities, initially mostly driven
by its social responsibility issues. The focus has now moved
on, however, to waste management issues. The Tate has now
produced a Green Vision. This targets a 15% reduction in
carbon emissions, a 33% reduction in waste to landfill, and
a 38% reduction in water consumption by 2015, based on a
2007/2008 baseline. Whilst these are the headline aspirations of the Green Vision, Gemma stated that the Tate is
looking to become a major influence within the cultural
sector by working towards an ISO14001 accreditation and
increased level of public involvement.

After lunch, we were treated—and I do not use that word
lightly—to a visit to the new Museum of Liverpool, which
included a presentation on the tri-generation installation
that provides the Museum of Liverpool with its electricity,
heating and cooling. Most of us well remember the hospitality shown by Ian Williams and Chris Bailey at our IAMFA
meeting in Liverpool in 2010, when we visited the almost
complete Museum of Liverpool. This time, we got to see the
completed 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 of
the day and the issues they are dealing with at the moment,
along with a chance to meet new colleagues. For this evening
we were especially grateful to welcome Norland Managed
Services, 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 our
joint meeting. First up was John Bevin of the National
Science and Industry Museum (NSIM), who introduced
Louise Burden, Head of Conservation, and Matt Moore,
head of their site at Wroughton and Sustainable Development Manager. Wroughton is a former RAF site just outside
Swindon, and now houses the NSIM’s large objects in
former aircraft hangers.
The NSIM team explained that they had just completed
a new hanger, lined with “hempcrete” panels. Hempcrete
is a breathable, self-insulating and carbon-negative material.
The hempcrete panels were lined with mesh and timber
panels; the mesh was installed to stop rodents entering the
building. The minimums of relative humidities of between
40% and 60%, and temperatures between 14°C and 16°C,
have been achieved.
Chris Collins, Head of Conservation at the Natural History
Museum, delivered the next presentation. Chris explained
that they were currently carrying out a top-to-bottom
review of collection storage, called the “Collection Storage

The Museum of Liverpool.


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