Papyrus Summer 2008

1. 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 FA C I L I T Y A D M I N I S T R AT O R S
VOLUME 9
NUMBER 2 PAPYRUS Time is running out to register for
SUMMER
2008
IAMFA LONDON 2008
14 –17 September
You know you want
to be there!
http://www.iamfa.org/
August 13, 2008 – cut-off date has been extended for the special hotel rates
13 août 2008 – date limite repoussée quant aux tarifs spéciaux de l’hôtel
13 de agosto de 2008 – la fecha límite se ha extendido para las tarifas especiales de hotel
August 20, 2008 – cut-off date for early-bird conference rate
20 août 2008 – date limite du tarif « Réservez-tôt » au congrès
20 de agosto de 2008 – fecha límite para la tarifa de preinscripción de la conferencia
INSIDE THIS ISSUE
Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 IAMFA Annual Conference / Congrès annuel de l’IAMFA /
Message from the President / Mot du président / Conferencia Anual de la IAMFA . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Mensaje del Presidente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Regional Chapters Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
The Smithsonian’s Approach To Condition Assessment— Member News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Deferred Maintenance Parametric Estimating . . . . . . . . . . . . . . . 6 IAMFA Members—Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Transformation at the Los Angeles County Museum of Art . . . . 8

2. Letter from the Editor
Joe May — Editor, Papyrus
Greetings from Los Angeles! changes were good, and Jim Bullock, disappointing change, given the friend-
The English writer Alexandra Louise the Getty’s Director of Facilities, deserves ships that I have developed with IAMFA
the credit for improving the Facilities members over the past seven years.
Breed said, “When change stops, you’re
Department while managing these But, like most changes that we face,
dead.” As busy as we are dealing with
changes. Many of you met Jim in 2006 when we embrace them, the outcome
changes at our institutions, her words
when Los Angeles hosted the annual can be very positive. My immediate
can serve as a reminder to embrace
conference. Jim is a true professional, plans are to assist others to achieve
change! We deal with change all the
someone I am proud to know, and LEED certification. I believe this is a
time as facilities professionals; and
someone from whom I learned a lot worthy pursuit, and one that many
sometimes when it happens, it happens
over the years. At the start of 2008, IAMFA members will want to focus
fast, and we’d better be ready! Embrace
Jim Bullock retired as Director of on in the future. Cultural institutions,
it, and change keeps things fresh, it
Facilities: a change that the Getty Trust because of their limited funding sources,
keeps life interesting, it keeps us from
had to address. During Jim’s tenure, in will be asked to reduce operational
getting bored with the same old thing
addition to reducing operation costs costs. We can turn this challenge
day after day. Let me share a few
by 20%, the Getty Center became around and lead by example in the
significant changes with you.
the first facility in the USA to become upcoming years as we see a Greening
You will notice a few changes with LEED-EB (Leadership in Energy and
this edition of Papyrus. We all want in our society. The Green movement
Environmental Design, Existing Building
IAMFA to grow and prosper, and to is a change that we must all support
category) certified, following the LEED
attract more international, and pos- to preserve the fundamentals of exis-
pilot program. LEED-EB is administered
sibly non-English-speaking, members. tence for future generations. Many
by the U.S. Green Building Council
Because of this, you will see more of you have already taken steps to
(www.usgbc.org). In April of this year,
Spanish and French text alongside become Greener, but we can all do
the Getty Center achieved another first
English in this edition. You will also more. Those of you that haven’t,
by becoming the first facility in the
see information in this edition about embrace the change, and join the
nation to be recertified in LEED, this
the fall annual conference in London. time at the higher “Silver” level. Jim movement to Green your facilities.
The hosts are busy looking at ways Bullock, his staff, and the J. Paul Getty So fellow members, while my
to provide simultaneous translations Trust are very proud of this accomplish- future has greater uncertainty, I do
into French and Spanish at this year’s ment. I am grateful that Jim asked me to look forward to the future. I wish all
conference for an expected increase be project administrator for the LEED of you the best, and I look forward to
in non-English speaking attendees. project. I really do believe it is one of seeing you in London. The plans for
These are good changes that should the most important projects that can the conference are spectacular!
help our organization grow. be undertaken by an organization. I would like to finish by thanking
As you know, The J. Paul Getty Trust There is another change I must all of you who contributed to this
has been my home for the past seven tell you about. In May of this year the edition of Papyrus—please enjoy it,
years, and it has been a catalyst for Getty Trust eliminated me, my depart- and I hope you learn something new
many changes. This is the seventh year ment, and over one hundred other while reading it.
that the Getty has participated in the positions to reallocate funds. Yes,
annual IAMFA Benchmarking Exercise. change can be abrupt! While this Joe May
During that time, the Getty Trust sig- change (my departure) does not have Secretary, IAMFA and Editor of Papyrus
nificantly reduced building operation an immediate impact on my position
costs to bring them in line with the as IAMFA Secretary and Papyrus If you have articles for future issues,
average operation cost per square foot Editor, it will possibly have an effect please send them to my new e-mail
of other member institutions. These in the long term. In one way, this is a address, joemay001@hotmail.com
2

3. Message from the President
Mot du président
Mensaje del Presidente
Guy Larocque
President / Président / Presidente, IAMFA
In the Service of IAMFA Au service de l’IAMFA Al de IAMFA
This is my last address to you in Ce sera mon dernier article dans Este es el último discurso que les dirijo
Papyrus as President of IAMFA. As you Papyrus à titre de président de l’IAMFA. en Papyrus como Presidente de IAMFA.
know, I will not be seeking re-election Comme vous le savez sans doute, je Como saben, no buscare la reelección
to the Board of Directors at this fall’s ne solliciterai pas de nouveau mandat a un cargo en la Junta Directiva este
business meeting during the London au conseil d’administration à notre otoño en nuestra sesión de trabajo
conference. It has been an honour and séance de travail, cet automne, à la durante la conferencia de Londres. Ha
a privilege to serve you, the members, conférence à Londres. Ce fut pour moi sido un honor y un privilegio servirles
during these past few years. I greatly un honneur et un privilège de vous a ustedes, los miembros, durante estos
appreciate the confidence that you servir et de travailler avec vous, les últimos años. Agradezco enormemente
have shown in allowing me to lead a membres, au cours des dernières la confianza que han mostrado al per-
group of museum facility professionals années. J’apprécie la confiance que mitirme dirigir un grupo tan magnífico
with such integrity. I am proud of the vous m’avez manifestée quand vous de profesionales de instalaciones de
great strides that IAMFA has accom- m’avez élu pour diriger ce groupe museos de tanta integridad. Me enor-
plished with your support, enthusiasm de professionnels de musée de la gullecen los grandes avances que ha
and tenacity, and I feel very privileged plus haute intégrité. Je suis très fier logrado IAMFA con su apoyo, entu-
to be associated with you. des grands progrès que l’IAMFA a siasmo y tenacidad y me siento muy
Together, we have accomplished so accomplis grâce à votre soutien, à privilegiado de estar asociado a ustedes.
much during these past four years— votre enthousiasme et à votre ténacité Juntos, hemos logrado muchísimo
starting with our strategic planning et je me sens très privilégié d’être durante los últimos cuatro años. Empe-
workshop in Bilbao, where we laid associé à vous. zando por nuestro taller de planifica-
the groundwork for IAMFA’s priorities Ensemble, nous avons accompli ción estratégica celebrado en Bilbao, en
during the ensuing five years. Since d’énormes progrès au cours des quatre el que realizamos el trabajo preliminar
then, we have increased our member- dernières années. À notre atelier de para las prioridades de la IAMFA
ship by 10% per year to about 200 mem- planification stratégique, à Bilbao, nous durante los siguientes cinco años. Desde
bers in eight countries. Participation avons jeté les bases des priorités de entonces hemos aumentado nuestro
in the annual Museums Benchmarking l’IAMFA pour les cinq années suivantes. número de miembros en un 10% al
survey has increased to over 60 partici- Depuis, l’effectif de notre association año hasta alcanzar 200 miembros en
pants, thanks to the good work and a augmenté de 10 % par année et ocho países. Hemos incrementado la
support of the IAMFA Benchmarking nous comptons aujourd’hui quelque participación en la encuesta anual de
Committee. A Display Energy Certificate 200 membres dans huit pays. Au cours Evaluación comparativa de museos a
was developed by IAMFA’s Building des dernières années, grâce à l’excellent más de 60 participantes durante los
Labelling Committee. We have started travail et au soutien du comité de últimos años, gracias al gran trabajo
publishing our once English-only l’analyse comparative de l’Association, y apoyo del Comité de Evaluación
Papyrus newsletter with articles written nous avons réussi à accroître à plus de Comparativa de IAMFA. El Comité de
in French and Spanish as well. We are 60 le nombre de participants au sondage Etiquetado de Edificios de IAMFA creó
also now publishing this newsletter in annuel sur les indices de référence. un Certificado de Energía de Muestra.
full colour. A Yahoo Group was set up Le comité d’appellation des édifices Hemos empezado a publicar nuestro
on IAMFA’s website to provide a secure de l’Association a créé un certificat boletín informativo Papyrus, anterior-
members-only discussion forum. In d’énergie. Notre bulletin d’information, mente sólo en inglés, con artículos
continued on page 4 suite à la page 4 sigue en la página 4
3

4. Message from the President — Mot du président – Mensaje del Presidente –
continued from page 3 suite de la page 3 viene de la página 3
addition, IAMFA has recently become Papyrus, jadis publié en anglais seule- escritos también en francés y español.
affiliated with the International Council ment, compte aujourd’hui des articles Asi mismo estamos publicando ahora
of Museums (ICOM), which has resulted en français et en espagnol ainsi que este boletín a todo color. Se creó un
in increased international exposure and des images en couleurs. Dans le site grupo de Yahoo en el sitio Web de
Web de l’Association, nous avons créé IAMFA para ofrecer un foro de debate
un groupe Yahoo pour offrir un forum seguro sólo para miembros. IAMFA se
IAMFA/ Papyrus de discussion sécurisé accessible aux ha afiliado recientemente al Consejo
SUMMER 2008 membres seulement. L’IAMFA s’est Internacional de Museos (ICOM), lo
récemment associée au Conseil inter- cual ha dado como resultado una mayor
Editor
Joe May
national des musées (ICOM), ce qui exposición y relevancia para nuestra
a permis d’accroître la pertinence et la asociación en el ámbito internacional.
Papyrus Correspondents visibilité internationales de notre asso- Será importante hacer un seguimiento
Donald Battjes
ciation. Il sera important d’assurer le de estos logros para que la IAMFA
Joe Brennan
John de Lucy suivi de ces réalisations pour veiller à la pueda seguir sobreviviendo y desarrol-
Merida Fitzgerald survie et au développement de l’IAMFA lándose como asociación profesional.
Jennifer Fragomeni en tant qu’association professionnelle. El éxito que IAMFA ha tenido durante
David Geldart L’IAMFA n’aurait pas pu connaître los últimos años no habría podido
Larry Grauberger
Guy Larocque
tout ce succès sans le dévouement et lograrse de no ser por el duro trabajo
Ian MacLean les efforts assidus de mes collègues y la dedicación de mis compañeros de
Joe May membres du conseil d’administration. la Junta Directiva. Me gustaría reconocer
James Moisson Jim Moisson a amélioré l’intégrité et la las enormes contribuciones de Jim
Patricia Morgan transparence des comptes de l’IAMFA et Moisson, que ha mejorado la integridad
Rich Reinert
Charles Saumarez Smith/Charles Ross
la tenue des données sur nos membres y la transparencia de las cuentas de
Kevin Streiter au fil des années. Richard Kowalczyk IAMFA y el mantenimiento de los
Stacey Wittig a contribué des solutions pratiques et datos de los miembros a lo largo de
Design and Layout ingénieuses à la gestion du site Web et los años, a Richard Kowalczyk, que ha
Phredd Grafix a exercé un jugement exemplaire dans contribuido con soluciones inteligentes
l’administration de l’Association. John y prácticas para la gestión del sitio Web
Translation
Dominique Fortier, Valencia Léger (French)
de Lucy a mis à contribution sa vaste y su criterio sólido en la administración
Carmen Pelaez (Spanish) expérience dans les milieux internatio- de la Asociación, a John de Lucy, que ha
naux et sa capacité d’influence pour contribuido con su amplia experiencia
Editing
favoriser la croissance de notre effectif. en círculos internacionales y en apti-
Artistic License (English)
Fernando Pascal (Spanish) Je ne saurais oublier Dan Davies, qui tudes de influencia para promover el
a récemment quitté le Conseil, et son crecimiento de nuestra membresía, a
Printed in the U.S.A. by
extraordinaire dévouement ainsi que Dan Davies, que se retiró recientemente
Lake Litho
sa créativité novatrice pour la produc- de la Junta, por su tremenda dedicación
ISSN 1682-5241 tion de notre bulletin Papyrus et enfin, e innovaciones creativas en la produc-
Joe May qui atteint avec Papyrus de ción del boletín informativo Papyrus,
nouveaux sommets d’excellence depuis y a Joe May, que ha llevado Papyrus
qu’il est devenu membre du Conseil. a nuevas cotas de excelencia desde
Je suis plein d’admiration à l’égard du que ocupó el cargo de miembro de
travail prodigieux et de l’engagement la Junta. Como miembros voluntarios
dont ils font preuve, à titre de membres de la Junta, los admiro por todo su
Statements of fact and opinion are made
on the responsibility of authors alone and bénévoles du Conseil, et de l’attention duro trabajo y compromiso para hacer
do not imply an opinion on the part of the apportée à l’essor de l’IAMFA. Je que la IAMFA tenga el éxito del que
editors, officers, or members of IAMFA. The
editors of IAMFA Papyrus reserve the right continue de chérir la camaraderie que disfruta actualmente y seguiré valorando
to accept or to reject any Article or nous avons partagée au fil des ans. la camaradería que compartimos
advertisement submitted for publication.
C’est donc avec tristesse que je durante años.
While we have made every attempt to ensure
that reproduction rights have been acquired quitte mon poste au Conseil. J’ai hâte Por tanto, me entristece dejar mi
for the illustrations used in this newsletter, toutefois de continuer mon travail puesto en la Junta, pero aguardo con
please let us know if we have inadvertently
overlooked your copyright, and we will rectify au sein du comité international de interés continuar mi trabajo en el
the matter in a future issue.
l’Association où je m’emploierai à Comité Internacional de IAMFA, donde
4

5. relevance for our Association. It will créer des réseaux de l’IAMFA partout seguiré forjando las redes de IAMFA
be important to follow up on these dans le monde et à trouver des occa- en todo el mundo e intentaré atraer
accomplishments, in order for IAMFA sions d’accroître l’effectif de notre nuevas oportunidades de crecimiento
to continue to survive and develop as association. Pour terminer, je voudrais de nuestros miembros. Invito a todos
a professional association. inviter tous les membres de l’IAMFA à los miembros de IAMFA a participar
The success that IAMFA has enjoyed s’impliquer davantage dans les activités más en las actividades y conferencias
over these past few years could not de l’Association, notamment aux confé- de nuestra asociación, a contribuir en
have been accomplished were it not rences, en contribuant des articles à artículos de Papyrus y en la creación
for the hard work and dedication of Papyrus et en tissant des liens avec de redes de contacto con otras insti-
my fellow Board members. I would d’autres établissements culturels. tuciones culturales. Siempre se nece-
like to acknowledge the tremendous L’Association aura toujours besoin de sitarán sus contribuciones en servicio
contributions of Jim Moisson, who has vous pour grandir et s’améliorer. de IAMFA.
improved the integrity and transparency
of IAMFA’s accounts and the keeping Guy Larocque, ing. Guy Larocque, Ingeniero
of membership data over the years; Président, IAMFA Presidente, IAMFA
Richard Kowalczyk, who has contrib-
uted intelligent and practical solutions
to the management of the website and IAMFA Board of Directors Regional Chapters
his sound judgment in the administra- Atlanta, U.S.A.
President
tion of the Association; John de Lucy, Guy Larocque Kevin Streiter, High Museum of Art
who has contributed his extensive Canadian Museum of Civilization
Australia
experience in international circles and and Canadian War Museum Kim Reason, Museum Victoria
influence skills to promote the growth of Gatineau, Canada
our membership; Dan Davies, recently guy.larocque@civilization.ca Bilbao, Spain
retired from the Board, for his tremen- Rogelio Diez, Guggenheim Museum
dous dedication and creative innovations V.P., Administration
Chicago, U.S.A.
Richard Kowalczyk
in producing the Papyrus newsletter; Smithsonian Institution
William Caddick, Art Institute of Chicago
and Joe May, who has taken Papyrus Washington, D.C., USA Hawaii, U.S.A.
to new heights of excellence since kowalczykr@nasm.si.edu Robert White, Honolulu Academy of Arts
becoming a Board member. As volun-
teer Board members, I admire them for V.P., Regional Affairs Los Angeles, U.S.A.
John de Lucy Joe May
all of their hard work and commitment
to making IAMFA the success that it is The British Library New England, USA
London, U.K. John H. Lannon, Boston Athenaeum
today, and I will continue to cherish
john.delucy@bl.uk
the camaraderie that we have shared New York, USA
over the years. Treasurer Mark Demairo, Neue Galerie
So, it is with sadness that I leave my Jim Moisson
New Zealand
position on the Board, but I look for- Harvard University Art Museums
Patricia Morgan, Auckland Art Gallery
ward to continuing my work on IAMFA’s Cambridge, MA, USA
International Committee, where I will james_moisson@harvard.edu Ottawa-Gatineau, Canada
Ian MacLean, Canada Science and
continue to forge IAMFA’s networks
Secretary and Papyrus Editor Technology Museum Corporation
across the globe and try to attract Joseph May
new opportunities for growth in our Sustainability Engineer Philadelphia, U.S.A.
membership. I invite all members of Richard Reinert, Philadelphia Museum
Los Angeles, CA, USA
of Art
IAMFA to become more involved with joemay001@hotmail.com
our Association activities, conferences, San Francisco, U.S.A.
Papyrus articles and networking with Chairman — Conference 2008 Joe Brennan, San Francisco Museum of
other cultural institutions. Your contri- John de Lucy Modern Art
The British Library
butions will always be needed in the United Kingdom
London, United Kingdom
service of IAMFA. Bill Jackson, National Library of Scotland,
john.delucy@bl.uk
Edinburgh
Guy Larocque, P. Eng. For additional contact information, Washington/Baltimore, USA
President, IAMFA please visit our website at Robert Evans, Hirshhorn Museum &
www.iamfa.org Sculpture Garden
5

6. The Smithsonian’s Approach To
Condition Assessment—
Deferred Maintenance Parametric Estimating
By Larry Grauberger
For the past decade, the Smithsonian Institution has been facilities includes the National Zoo and animal conservation
performing detailed, traditional Facility Condition Assessments research center, a tropical research institute in Panama,
(FCA), incorporating the principles of Reliability-Centered an environmental research center on Chesapeake Bay in
Maintenance (RCM) into the process. In 2007, we changed Maryland, and astrophysical observatories in Arizona and
our approach to condition assessments, and adopted the Hawaii. This diversity leads to a wide range of facility types
Deferred Maintenance (DM) Parametric Estimating technique and sizes—from public museums and galleries to collection
to calculate DM—the backlog of maintenance and minor storage, laboratories and research, housing and dormitories,
repair costs—as well as the System Condition Index (SCI), animal enclosures, and other support facilities. Our new
and Facility Condition Index (FCI). The maintenance, repair approach allows us to survey and assess the condition of
and upgrading of Smithsonian facilities is primarily funded this wide variety of maintained property within a relatively
by the U.S. Congress (some private funding is used for major short period of time.
upgrades), which puts the Smithsonian in competition with
other federal agencies for U.S. taxpayers’ dollars. As a result, The Deferred Maintenance Approach
we adopted an approach used by other federal agencies, Traditional condition assessments were project-driven.
defining the condition of our facilities in terms of deferred Specific deficiencies were identified, and the cost to correct
maintenance and FCI. these deficiencies was established. Unfunded projects then
The Smithsonian extends well beyond the museums on became our maintenance and repair backlog. The approach
the Mall in Washington, D.C., with a scientific research and now used is based on a rating of the overall condition of
education mission throughout the world. We have over 600 eight systems in a facility, and an application of parameters
facilities and over 950,000 gross square meters to maintain. correlating this condition rating to a degree of deterioration,
In addition to the museums in the Washington D.C. area and and then to the value of the facility. The result is an amount
New York (Cooper-Hewitt Design Center), our inventory of of deferred maintenance expressed in dollars (USD).
The Smithsonian Castle
6

7. Ratings vary from “1” (functional failure has occurred The final step is to associate the condition rating to this
and replacement is required) to “5” (is fully functional and distributed CRV. This is done using established weighting
will continue to be so with routine maintenance). The factors for each condition rating and for each system. Using
eight systems rated are: RSMeans™, the System Condition CRV percentage values
• Structure were developed by comparing cost estimates for various
• Exterior levels of facility system repair work to cost estimates for
• Roofing facility system construction. This allows the calculation
• HVAC of Deferred Maintenance to take into account a “degree
• Electrical of significance” for the severity of deterioration within
• Plumbing each system. Both a System Condition Index (SCI) and a
• Conveyances Facility Condition Index (FCI) can then be calculated.
• Interior FCI = [1 – (DM/CRV)] X 100%.
A facility can thus be scored by rating each of the eight The Results
systems from one to five, using the criteria below (or zero In 2007, the Smithsonian had a total Current Replacement
if a specific system does not exist; i.e., no elevators). Value of 5.3 billion USD and a total Deferred Maintenance
of 778 million USD, which resulted in a FCI of 85.3%. Using
criteria from other federal agencies and APPA, an FCI below
Condition Rating Criteria 90% is considered to be in the “Poor” condition category.
The three systems that fared the worst were Roofing (60.4%),
55 Excellent Normal preventive maintenance required. HVAC (70.5%) and Conveyances (82.3%). The components
4 Good Some minor repairs could be required. Safe to in the best condition were Structure (95.4%) and Interior
4
use, meets all codes. (93.9%). The $778 million in Deferred Maintenance represents
3
3
Fair More minor repairs required. Wear and tear the degree of deterioration that has occurred in a dollar
noticeable. Meets most codes. amount. Another way to look at this number is as the amount
2 Poor Significant repairs required. Broken elements. we would have to invest in our facilities to raise them from
2
Wear and tear excessive.
their current state to an overall Good (5) condition.
11 Bad Replacement required. Unsafe to use.
Pros and Cons
We, as facility managers, have an intuitive sense of what
The other key component is establishing a Current condition our facilities are in. The problem rests in quanti-
Replacement Value (CRV) for a facility. This is a difficult fying this condition and communicating it to the budget
but key step (what, for example, would be the cost of and finance people. This approach does that. In FY2009,
replacing the Smithsonian Castle on the Mall?). Fortunately, the Smithsonian is expecting a substantial increase in main-
we have recent construction data from our new National tenance and revitalization funding, based in part on this
Museum of the American Indian, and from our new Air and data. This approach will not tell you which specific repair
Space Museum in Virginia. However, collecting realistic or replacement projects are needed, but it will direct you
cost data for the wide variety and location of our facilities to the facilities and systems that need the most attention. In
required research into published cost indices such as the our case, our Capital Revitalization Program is now looking
Engineering News Record Building Cost Index, recent real at directing more funding to repairing Roofing and HVAC
estate assessments (New York), and GSA square-meter cost systems, and to the buildings that need this attention. It
data for similar types of facilities. The real value of the CRV can be easily kept up to date, as upgrades are made and
is to assign a degree of significance to a facility. periodic resurveys can be done using 2007 as a base year.
Once a CRV is established, it is distributed over the eight This approach does need a fairly large inventory of
systems, depending upon the type of building. This is where facilities to make the data statistically significant. If an
you have the flexibility to give weight to certain systems, organization has one or two large facilities, it is better to
depending upon the type and use of the facility. For example, identify the projects that are needed to correct deficiencies
for a laboratory you may want to give a higher percentage and develop a backlog from this list of projects. This
distribution to your HVAC, Electrical and Plumbing systems, backlog can be updated as needs are identified and any
and reduce the significance of Interior. For collection storage, unfunded projects then become deferred maintenance.
we gave increased weight to Roofing and HVAC, due to
the contents of these facilities, and for museums the same Larry Grauberger, P.E. CMRP, is in the Systems Engineering
for Interior as well. We developed 35 separate facility types Division, Office of Facilities Management and Reliability, at
with varying distribution of the CRV. the Smithsonian Institution in Washington, D.C.
7

8. Transformation at the
Los Angeles County Museum of Art
By Donald Battjes
The Los Angeles County Museum of Art Phase I opened in February 2008, • Reconfiguration of the Ahmanson
(LACMA) recently announced “Trans- and included: Building, with major refurbishments
formation”: a three-phase expansion to the central atrium and the addi-
and renovation project which will dra- • The Broad Contemporary Art tion of a grand staircase that has
matically change LACMA’s six-building, Museum, BCAM: a new building reorganized the flow of visitors
20-acre campus over the next ten years, with 60,000 square feet of gallery through the building. The plaza level
unifying it into a coherent whole. space specifically designed to exhibit of the building included reinstallation
Key elements include creation of modern and contemporary art. of the Museum’s collection of Modern
the Broad Contemporary Art Museum • The BP Grand Entrance: an 8,100- Art, featuring paintings, sculpture
(BCAM) at LACMA, with some 60,000 square-foot, open-air pavilion which and works on paper by artists such
square feet of gallery space dedicated will serve as the Museum’s main as Picasso, Kandinsky, and Matisse.
to modern and contemporary art; the entrance, orientation space, and The reinstalled floor will also include
creation of additional galleries, public public art plaza. galleries devoted to German and
spaces, and gardens; site-specific out- Austrian Expressionism and Abstract
door artworks; new parking facilities; • Chris Burden’s Urban Light: an Expressionism.
a trans-campus concourse linking the installation of more than 200
• A new parking garage on two
east and west sides of the grounds; antique, cast-iron street lamps
underground levels, allowing for
and the revitalization and reinstallation recovered from Los Angeles,
the expansion of Hancock Park
of the Ahmanson Building, including powered by solar panels installed
and connected green spaces
the addition of a grand staircase to atop the BP Grand Entrance.
above ground.
organize the flow of visitors through
• Robert Irwin’s palm garden, which
the building. In addition, by freeing Donald Battjes is Chief of Operations &
uses carefully-selected palm trees
gallery space in the existing museum Facility Planning at the Los Angeles
to build upon the architectural rigor
buildings, the creation of BCAM will County Museum of Art in California.
of Renzo-Piano’s design, creating a
enable LACMA to reconfigure and
natural space surrounding BCAM
reinstall much of its permanent collec-
RENZO-PIANO BUILDING WORKSHOP
and the BP Grand Entrance.
tion, giving new prominence to the
art of Latin America and Asia. Project • The Dona S. and Dwight M. Kendall
architect for the first two phases of Concourse: a covered walkway link-
Transformation is the Renzo-Piano ing the eastern and western sections
Building Workshop. of the 1/3-mile-long campus.
RENZO-PIANO BUILDING WORKSHOP
Broad Contemporary Art Museum at
the Los Angeles County Museum. RENZO-PIANO BUILDING WORKSHOP
BP Grand Entrance of the Los Angeles
The Los Angeles County Museum of Art site plan. County Museum.
8

9. Become a Member of the IAMFA
and Get a Friend to Join
On behalf of the membership and Board, we invite you to Membership Opportunities
join with other museums and cultural organizations through-
out the world in becoming a member of the only organization Join the IAMFA at any of the following levels and enjoy full
exclusively devoted to museum and cultural facility admin- benefits of membership:
istrators: the International Association of Museum Facility Regular Member — $150 annually. A regular member
Administrators (IAMFA). As a member, you will join a growing holds the position of principal administration in direct
list of museum and cultural facility administrators in their charge of the management of facilities, and represents their
efforts to provide a standard of excellence and quality in institution(s) as a member of the association.
planning, development and design, construction, operation
and maintenance of cultural facilities of all sizes and varieties Associate Member — $50 annually. An associate member
of programming. is a full-time facilities management employee (professional,
The Association currently has representation in several administrative or supervisor), below the level of the facility
countries on three continents. Our goal is to increase administrator of the member association.
membership in institutions throughout the world. Affiliate Member — $50 annually. An affiliate member is
Your involvement in the IAMFA will continue the growth any full-time employee of a member institution who is not
of the organization and provide you with excellent educational directly involved in the facilities management department.
and networking opportunities. As your colleagues, we look
forward to welcoming you to membership in the IAMFA. Subscribing Member — $300 annually. A subscribing
member is an individual, organization, manufacturer of
Cordially yours, supplier of goods services to the institutions who ascribes
The Board of the International Association to the policies and programmes of the Association, and
of Museum Facility Administrators wishes to support the activities of the Association.
Send in your membership dues by using the convenient form below.
Membership payments and conference registration can also be made online at www.IAMFA.org
Don’t forget to make a copy to give to a colleague.
¡
YES! I would like to join the IAMFA as a:
Ⅺ I am interested in joining.
Ⅺ Regular Member $150 Ⅺ Associate Member $ 50 Please have a member
Ⅺ Affiliate Member $ 50 Ⅺ Subscribing Member $300 contact me.
Institution: __________________________________________________________________________________________________________________
Name: ______________________________________________________________________________ Title: ________________________________
Address: ____________________________________________________________________________ City: _________________________________
State/Province: _______________________ Zip/Postal Code: _______________________ Country:_____________________________
Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________
ALL FEES ARE PAYABLE IN U.S. DOLLARS Please remit to:
International Association of Museum Facility Administrators
Ⅺ I enclose a check in the amount of $ ____________________ P.O. Box 277
Groton, MA 01450, USA
Ⅺ Please invoice me
Website: www.iamfa.org
9

10. IAMFA Annual Conference • September 14 –17
Congrès annuel de l’IAMFA • Du 14 au 17 septembre
Conferencia Anual de la IAMFA • 14 -17 de septiembre
We have some fantastic venues Nous disposons de lieux fantas- Tenemos unos lugares fantásticos
for the IAMFA 2008 London tiques pour le congrès 2008 de para la conferencia de Londres
conference. Here is a taste of l’IAMFA à Londres. Voici un aperçu de la IAMFA 2008. Aquí tienen
just three of the venues we will de trois des endroits que nous una muestra de sólo tres de
be visiting in September. See the visiterons en septembre. Voir le los lugares que visitaremos en
whole conference programme programme complet du congrès septiembre. El programa completo
at http://www.iamfa.org/ à http://www.iamfa.org/ de la conferencia puede verse
en http://www.iamfa.org/
Royal Observatory, Royal Observatory, Real Observatorio,
Greenwich Greenwich Greenwich
Monday, September 15 Le lundi 15 septembre Lunes, 15 de septiembre
The National Maritime Museum (NMM) Le National Maritime Museum a ouvert El Museo Marítimo Nacional (NMM)
opened the final element of its £16- le dernier élément de son réaménage- culmino la ultima fase del reacondi-
million redevelopment of the Royal ment du Royal Observatory, Greenwich, cionamiento del Observatorio Real
Observatory, Greenwich — the culmi- au coût de 16 millions de livres – point de Greenwich de 16 millones de libras
nation of five years’ work — on Friday, culminant de cinq années de travail – le esterlinas – la culminación de cinco
May 25, 2007. vendredi 25 mai 2007. años de trabajo– el viernes, 25 de mayo
de 2007.
The eye-catching central feature of the L’élément central, accrocheur, de ce
redesigned site is the futuristic, bronze- lieu reconfiguré est le Peter Harrison El llamativo elemento central rediseñado
clad, 120-seat Peter Harrison Planetarium Planetarium, un bâtiment futuriste es el futurista Planetario Peter Harrison,
— now the only live public planetarium revêtu de bronze comptant 120 sièges – revestido de bronce y con 120 asientos
in London — which provides a spectacular désormais le seul planétarium public –ahora el único planetario público
introduction to the night sky and beyond. en activité à Londres – qui constitue en Londres– que proporciona una
une introduction spectaculaire au ciel espectacular introducción al cielo
The Peter Harrison Planetarium is
nocturne, et plus encore. nocturno y más allá.
equipped with one of the most advanced
Le Peter Harrison Planetarium est équipé El Planetario Peter Harrison está equipado
de l’un des projecteurs laser numériques con uno de los proyectores digitales
les plus avancés au monde – le seul de más avanzados del mundo – y el único
sa catégorie en Europe –, et le voyage de este tipo en Europa – que proporciona
South Building entrance leading on to
Planetarium Foyer. Exterior of Peter Harrison Planetarium (Bronze Cone and Terrace).
10

11. digital laser projectors in the world — dans l’espace s’effectue avec une netteté una claridad asombrosa al viaje por el
and the only one of its kind in Europe — saisissante. Ce sont de vrais astronomes, espacio. Las proyecciones están presen-
providing startling clarity to the journey à l’emploi du Royal Observatory, qui tadas por verdaderos astrónomos que
through space. The shows are presented animent les présentations, et ils sont trabajan en el Real Observatorio, y que
by real astronomers working at the Royal également à la disposition du public también están disponibles para responder
Observatory, who are also on hand to pour répondre aux questions au sujet a preguntas sobre el firmamento.
answer questions about the heavens. de la voûte céleste.
El cono revestido de bronce platinado de
The 45-ton, patinated, bronze-clad cone Le cône à revêtement de bronze patiné 45 toneladas que alberga el Planetario
which houses the Planetarium is a de 45 tonnes qui loge le planétarium es un nuevo y espectacular elemento de
dramatic new addition to the skyline. Its représente un ajout de première impor- los edificios perfilados contra el horizonte.
dramatic geometry embodies celestial tance à la ligne d’horizon. Sa géométrie Su espectacular geometría incorpora
co-ordinates familiar to navigators and remarquable intègre les coordonnées coordenadas celestiales que les son
astronomers down through the ages. célestes familières aux astronomes et familiares a los navegadores y los astró-
Tilted at 51.5 degrees (the latitude of navigateurs à travers les âges. Incliné à nomos a través de los tiempos. Inclinado
Greenwich) it stands astride the Prime 51,5 degrés (la latitude de Greenwich), il a 51.5 grados (latitud de Greenwich) se
Meridian (Longitude 0º). Its south ele- se trouve à cheval sur le méridien origine erige por donde pasa el meridiano cero
vation points upwards directly to the (longitude 0º). Son élévation sud pointe (Longitud 0º). Su elevación sur apunta
Pole Star and its north elevation to the vers le haut, précisément en direction directamente a la Estrella Polar y su
astronomical zenith, while its truncated de l’étoile Polaire et son élévation nord elevación norte al cenit astronómico,
roof represents the celestial equator in vers le zénith astronomique, alors que sa mientras que su tejado truncado
the form of a reflective glass disc. toiture tronquée représente l’équateur representa el ecuador celestial en
céleste sous la forme d’un disque de forma de disco de vidrio refractante.
verre réfléchissant.
Peter Harrison Planetarium Auditorium Interior.
Sky Tonight show description Description de la causerie « Sky Descripción de la presentación “Sky
As part of the member and guest Tonight » (le ciel ce soir) Tonight” (“El cielo esta noche”)
programme on Monday, September 15, Au programme le lundi 15 septembre Como parte del programa para miembros
you’ll enjoy a fantastic tour of what pour les membres et les invités, une e invitados el lunes, 15 de septiembre,
you can see for yourselves in tonight’s merveilleuse tournée du ciel que vous disfrutarán de una fantástica visita de
night sky, presented live by a Royal pouvez voir le soir même, présentée lo que ustedes pueden ver por sí
Observatory astronomer. Which sur place par une astronome du Royal mismos en el cielo nocturno de hoy,
constellations and planets, cosmic gas Observatory. Quels constellations et presentada en directo por un astrónomo
clouds, comets or shooting stars can we planètes, nuages de gaz cosmiques, del Observatorio Real. ¿Qué constela-
see? Many of the planets in our solar comètes ou étoiles filantes pouvons- ciones y planetas, nubes de gas cósmico,
system can be seen with the unaided nous voir? On peut observer plusieurs cometas o estrellas fugaces podemos
eye — can we see them tonight, and if des planètes de notre système solaire à ver? Muchos de los planetas de nuestro
so, where? These questions, and many l’œil nu – peut-on en voir ce soir, et dans sistema solar pueden verse a simple
more, are answered in the Sky Tonight l’affirmative, où? On trouvera réponse vista sin ayuda, ¿podemos verlos esta
presentation. à ces questions, et à beaucoup d’autres, noche, y si es así, dónde? Estas preguntas,
à la présentation « Sky Tonight ». y muchas más, se responden en la
presentación Sky Tonight.
11

12. IAMFA Annual Conference • Congrès annuel
History of the National National Gallery, Londres Historia de la Galería
Gallery, London — (son histoire) – Nacional, Londres –
see more of the National pour en savoir plus, véase más de la Galería
Gallery on Monday, se reporter au lundi Nacional el lunes,
September 15 15 septembre 15 de septiembre
Construction of the Wilkins Construction de l’édifice Wilkins Construcción del Edificio Wilkins
Building Par Charles Saumarez Smith (The Por Charles Saumarez Smith (‘The
Building, juillet 2006); abrégé et Building’, Julio de 2006); abreviado
By Charles Saumarez Smith (‘The
publié par Charles Ross (juin 2008) y editado por Charles Ross (Junio
Building’, July 2006); abridged and
de 2008)
edited by Charles Ross (June 2008) La maison Angerstein, sur Pall Mall, a
été le premier édifice à abriter le musée El primer edificio que albergó la Galería
The first building to house the National des beaux-arts (National Gallery). Il s’agit Nacional fue la casa de Angerstein en
Gallery was Angerstein’s house in Pall d’une habitation familiale courante à Pall Mall: una vivienda doméstica
Mall: a standard, three-bay, domestic trois baies comportant une grande estándar de tres salientes con una
dwelling with a large room on the first pièce au rez-de-chaussée. Il est devenu habitación grande en el primer piso.
floor. It was immediately evident that évident, dès le départ, que les lieux Fue inmediatamente evidente que la
the house was hopelessly inadequate étaient totalement inadéquats pour casa era totalmente inadecuada para
for its task as England’s National Gallery. loger le National Gallery de l’Angle- albergar la Galería Nacional de Inglaterra.
An engraving was published soon after- terre. Une gravure, parue par la suite, Poco después fue publicado un grabado
wards which compared Angerstein’s compare la maison Angerstein à la en el que se comparaba la casa de
house to the splendours of the south splendide aile sud du Louvre, qui Angerstein a los esplendores del ala sur
wing of the Louvre, stretching as far as s’étend aussi loin que la vue peut del Louvre, extendiéndose hasta donde
the eye could see (figure 1). porter (figure 1). puede llegar la vista (figura 1).
In August 1831, William Wilkins proposed En août 1831, William Wilkins propose En agosto de 1831, William Wilkins
that the King’s Mews should be adapted que les écuries royales soient adaptées propuso que las caballerizas del Rey se
in such a way that it might house both pour pouvoir accueillir le National Gallery adaptaran de tal forma que pudieran
the Royal Academy and the National et la Royal Academy. Le 16 septembre albergar la Real Academia y la Galería
Gallery. On September 16, 1831, the 1831, les administrateurs du National Nacional. El 16 de septiembre de 1831, los
Trustees of the National Gallery met to Gallery se réunissent pour examiner les miembros del Consejo de Administración
Figure 1
12

13. de l’IAMFA • Conferencia Anual de la IAMFA
consider Wilkins’ proposals and agreed propositions de M. Wilkins, conviennent de la Galería Nacional se reunieron para
that Angerstein’s house was clearly que la maison Angerstein ne fait vraiment considerar las propuestas de Wilkins y
inadequate and that Wilkins’s ideas pas l’affaire et que les idées proposées acordaron que la casa de Angerstein
provided the best possible, as well as par M. Wilkins constituent la meilleure era claramente inadecuada y que las
the most economical, solution. They solution et la solution la plus écono- ideas de Wilkins ofrecían la mejor
wrote to the then-Prime Minister, Lord mique. Ils écrivent au premier ministre solución posible, además de la más
Grey, suggesting that the proposal was de l’époque, lord Grey, et mentionnent económica. Escribieron al entonces
‘the most practicable that has hitherto que c’est cette proposition, « parmi Primer Ministro, Lord Grey, sugiriendo
been offered to them and well adapted celles qui leur ont été présentées, qui que la propuesta era ‘la más viable que
to that purpose’. est la plus susceptible d’être réalisée et se les había presentado hasta entonces y
qui répond le mieux aux besoins ». estaba bien adaptada para ese propósito’.
In May 1832, Lord Duncannon established
a committee to consider the whole ques- En mai 1832, lord Duncannon met sur En mayo de 1832, Lord Duncannon
tion as to how best to house the National pied un comité pour étudier dans son estableció un comité para considerar
Gallery and the Royal Academy. Three ensemble la meilleure manière d’abriter la cuestión de cómo albergar mejor la
architects were then invited to submit le National Gallery et la Royal Academy. Galería Nacional y la Real Academia.
proposals: John Nash, C.R. Cockerell Trois architectes sont invités à présenter Tres arquitectos fueron invitados a
and William Wilkins. un projet : John Nash, C. R. Cockerell et presentar propuestas: John Nash,
William Wilkins. C.R. Cockerell y William Wilkins.
Nash put forward a proposal for a long,
colonnaded building, akin in character M. Nash propose un édifice en longueur, Nash presentó una propuesta de un
à colonnades, semblable à ceux de ses edificio largo y con columnatas, parecido
to his terraces around Regent’s Park.
terrasses autour de Regent’s Park. Le en su carácter a sus terrazas alrededor
Cockerell’s magnificent proposals for a
superbe projet de M. Cockerell, qui de Regent Park. Las magníficas pro-
gallery 400 feet long over an arcade of
prévoit un musée de 400 pieds de long puestas de Cockerell para una galería
shops were thought to be too expensive.
au-dessus d’un passage voûté occupé de 400 pies (unos 122 m) de largo por
Wilkins’s initial idea, on the other hand,
par des boutiques, est jugé trop coûteux. encima de una galería comercial de
was, as before, a matter of adapting
C’est sur la base de sa première propo- tiendas se consideraron demasiado
the old Royal Mews building, and it was
sition, qui vise à transformer les anciennes caras. Por otra parte, la idea inicial de
on this basis that he was selected: as an
écuries royales, que l’architecte Wilkins Wilkins, fue como antes una cuestión
architect who was prepared to be
est choisi : il est prêt à se charger de adaptar el antiguo edificio de las
responsible for a relatively economical
du réaménagement relativement Caballerizas Reales, y sobre esta base
makeover of an existing building.
économique d’un bâtiment existant. fue seleccionado: como arquitecto que
However, by June 1832, the committee estaba preparado para ser responsable
Toutefois, dès juin 1832, le comité de una transformación relativamente
had become slightly more ambitious in devient légèrement plus ambitieux et
its ideas and Wilkins was asked, instead, económica de un edificio existente.
l’on demande plutôt à M. Wilkins de
to put forward proposals for a free- travailler aux plans d’un édifice auto- Sin embargo, para junio de 1832, el
standing building which would re-use nome qui récupérerait les colonnes et comité se había vuelto ligeramente más
the columns and entablature of Carlton l’entablement de Carlton House, le palais ambicioso en sus ideas y se pidió a
House: the palace of the Prince Regent, du prince régent démoli depuis peu. Wilkins que presentara propuestas para
which had recently been demolished. un edificio autónomo que reutilizaría
M. Wilkins propose un édifice long et las columnas y el entablado de la Casa
Wilkins proposed a building that was bas, plutôt utilitaire, qui combine, dans
long and low and somewhat utilitarian, Carlton: el palacio del Príncipe Regente,
une façade unique, le National Gallery que había sido demolido recientemente.
combining the National Gallery on the à l’ouest et la Royal Academy à l’est.
west and the Academy on the east, into Wilkins propuso un edificio que era largo
a single façade. De nombreuses personnes se plaignent, y bajo y un tanto utilitario, combinando
alors et depuis, de son faible sens de la la Galería Nacional en el oeste y la
Many people both then and since have monumentalité. Il est difficile aujourd’hui Academia en el este, en una sola fachada.
lamented the absence in his design of a de rendre l’atmosphère d’hostilité qui
proper sense of monumentality. It is entoure la construction de n’importe Mucha gente tanto entonces como desde
hard now to reconstruct the hostility quel édifice important durant la période entonces, ha lamentado la ausencia en
which faced the building of every major de travaux publics qui a suivi les guerres su diseño de un verdadero sentido de
project during the period of public works napoléoniennes : l’acharnement à écono- monumentalidad. Es difícil ahora
which followed the Napoleonic Wars: miser les deniers publics à tout prix et reconstruir la hostilidad a la que hizo
the determination to save public money le dégoût pour tout ce qui a un petit air frente la construcción de todos los
continued on page 14 suite à la page 14 sigue en la página 14
13

14. IAMFA Annual Conference, National Gallery Congrès annuel de l’IAMFA, National Conferencia Anual de la IAMFA, Galería
— continued from page 13 Gallery — suite de la page 13 Nacional — viene de la página 13
at all costs, and the distaste for anything de « folie des grandeurs ». M. Wilkins principales proyectos durante el período
which might smack of folie de grandeur. saisit bien ce que veulent ses clients. Il de obras públicas posterior a las Guerras
Wilkins judged his clients correctly. There ne glisse qu’un soupçon de « grandiose Napoleónicas: la determinación de
was just enough of a hint of grandeur » dans la partie centrale de la façade. ahorrar fondos públicos a toda costa, y
in the central section of the façade. Le fait qu’il n’ait rien de pompeux est la aversión a cualquier cosa que pudiera
One of the reasons why the design was probablement la raison pour laquelle oler a locura de grandeza. Wilkins juzgó
judged acceptable in the political cir- son concept est jugé acceptable dans le correctamente a sus clientes. Había
cumstances of the early 1830s — and contexte politique du début des années justo un toque suficiente de grandeza
has been viewed with some affection 1830 – et qu’on le regarde avec une en la sección central de la fachada. Una
ever since — is probably its lack of certaine tendresse depuis. Il n’est pas de las razones por las que el diseño se
pomposity. It is not much different in bien différent, sur les plans du style et consideró aceptable en las circunstancias
style and character — nor, indeed, in de l’inspiration – ni, non plus, du coût –, políticas de principios de la década de
cost — to a moderately grand, Greek d’un manoir moyennement grand de 1830 – y se ha visto con cierto afecto
Revival country house. It was planned style néogrec. Il devait coûter 41 000 livres desde entonces–, es probablemente su
to cost £41,000 if built of brick, and s’il était construit en briques et 10 000 falta de pomposidad. No es muy diferente
£10,000 more if built of stone. livres de plus s’il était érigé en pierres. en estilo y carácter – ni, de hecho en costo
– a una casa de campo moderadamente
En janvier 1833, les dessins du National grande de Renacimiento griego. Se
By January 1833, Wilkins’s design of the
Gallery de M. Wilkins sont pratiquement planeó que costaría 41,000 libras si se
National Gallery was nearly complete. In
terminés. De manière à préserver la vue construía de ladrillo, y 10,000 libras
order to protect the view of the façade
de la façade de St. Martin-in-the-Fields, más si se construía de piedra.
of St. Martin-in-the-Fields, the front
la façade principale est placée en retrait
had been set back 50 feet further north Para enero de 1833, el diseño de Wilkins
de 50 pieds plus au nord de ce que
than Wilkins had originally planned. de la Galería Nacional estaba casi com-
M. Wilkins avait prévu à l’origine.
pleto. Para proteger la vista de la
In August, Lord Duncannon was forced En août, lord Duncannon est forcé fachada de St. Martin-in-the-Fields, el
to admit in the House of Commons that d’avouer à la Chambre des communes frente se había puesto 50 pies más al
the costs had now risen to £70,000 and que les coûts s’élèvent maintenant à norte de lo que había planeado Wilkins
suggested that the whole scheme should 70 000 livres et suggère que l’on rejette originalmente.
perhaps be scrapped. Wilkins was, not le projet en entier. M. Wilkins est, ce
surprisingly, devastated and wrote to qui n’a rien d’étonnant, anéanti, et il En agosto, Lord Duncannon fue obligado
Lord Duncannon that ‘Your Lordship écrit à lord Duncannon que « messire a admitir en la Cámara de los Comunes
cannot be expected to be fully aware of ne peut être parfaitement au courant que los costos habían subido a 70,000
this change of plans on my professional de l’effet de ce changement de plans libras y sugirió que quizás debería
practice but I know it must be such as sur l’exercice de ma profession, mais abandonarse todo el proyecto. Como
will leave me no option but that of je sais qu’il est tel qu’il ne me laissera es lógico, Wilkins estaba devastado y
retiring altogether from practice.’ For aucun autre choix que de quitter le le escribió a Lord Duncannon que ‘No
whatever reason, this was a temporary métier ». Pour une raison quelconque, debe esperarse que su Señoría esté
glitch and, on August 30, 1833, the le problème n’est que passager et, le totalmente enterado de este cambio de
Treasury approved the scheme. 30 août 1833, le ministère des Finances planes en mi ejercicio profesional pero
(Treasury) approuve le projet. sé que debe ser tal que no me dejará
In August of 1833 the Treasury finally otra opción que la de retirarme total-
gave approval for Wilkins scheme and En août 1833, le Treasury approuve mente del ejercicio ’. Por cualquier
works commenced in the autumn of enfin le projet de M. Wilkins et les razón, esto fue un problema técnico
that year. Wilkins’s creativity faced a travaux commencent à l’automne. La temporal y el 30 de agosto de 1833,
number of constraints, not least having créativité de M. Wilkins subit un certain el Tesorero aprobó el plan.
to incorporate columns from the nombre de contraintes, en particulier
celle d’avoir à intégrer à sa façade les En agosto de 1833 el Tesorero dio
portico of the demolished Carlton
colonnes du portique de Carlton House finalmente la aprobación para que se
House into his façade.
après sa démolition. iniciaran el plan de Wilkins y las obras
empezaron en el otoño de ese año. La
The building was finally available for L’édifice est finalement prêt à être creatividad de Wilkins se enfrentó a
inspection by Queen Victoria on April 7, inspecté par la reine Victoria le 7 avril varias limitaciones, entre ellas el tener
1838, and the National Gallery opened 1838 et le National Gallery ouvre ses que incorporar las columnas del pórtico
to the general public two days later. The portes au grand public deux jours plus de la demolida Casa Carlton a su fachada.
Times greeted its opening as follows: tard. Le Times salue ainsi l’événement :
El edificio finalmente estuvo disponible
The rooms . . . are but badly calcu- Les salles […] sont mal calculées para la inspección por la Reina Victoria el
lated for the purpose, and the pour l’usage, et l’intérieur du plan 7 de abril de 1838 y la Galería Nacional
interior of the plan is more than est plus que comparable en défauts abrió al público general dos días después.
commensurate in defects with the aux absurdités et au mauvais goût El Times recibió su apertura como sigue:
14

15. absurdities and bad taste of the de l’extérieur […] Il est pénible Las salas . . . están mal calculadas
outside . . . It is distressing to see de constater la manière dont les para el propósito, y el interior del
the manner in which the pictures œuvres sont cachées dans de petits plan es totalmente acorde en los
are hid in little receptacles. réceptacles. defectos con lo absurdo y el mal
gusto del exterior . . . Es penoso ver
Thackeray, meanwhile, described it as ‘a M. Thackeray, entre-temps, le décrit
la manera en que están escondidos
little gin-shop’. And King William IV is comme un « petit estaminet ». Et l’on
los cuadros en pequeños recipientes.
said to have described it just before his dit que le roi William IV l’aurait décrit,
death, in his last recorded utterance, as juste avant sa mort, dans sa dernière Thackeray, mientras tanto, la describió
‘a nasty little pokey hole’. Some feel intervention notée, comme un « vilain como ‘una pequeña licorería’. Se dice
that from that point onwards, most of petit boui-boui, un trou ». D’aucuns que el Rey Guillermo IV la describió
the efforts of all subsequent building pensent qu’à partir de ce moment, tous justo antes de su muerte, en su última
projects at the National Gallery have les projets de construction touchant le declaración registrada, como ‘un
been intended to correct, as far as National Gallery ont visé à corriger, par pequeño y feo agujero’. Algunos creen
possible, the defects of William Wilkins’s la majorité des efforts consentis et que desde ese punto en adelante, la
original design. autant que possible, les défauts du mayoría de los esfuerzos de todos los
projet original de William Wilkins. posteriores proyectos de construcción
en la Galería Nacional han tenido como
propósito corregir, en la medida de lo
posible, los defectos del diseño original
de William Wilkins.
Left to right: Jonathan Pearson, London De gauche à droite : Jonathan Pearson, De izquierda a derecha: Jonathan Pearson,
Business Unit Director, Norland Managed Directeur du centre de profit de Londres, Director, Área de Negocios de Londres,
Services Ltd. presenting John de Lucy (Head Norland Managed Services Ltd., remet un Norland Managed Services Ltd. presentando
of Estates & Facilities, The British Library) chèque à John de Lucy (chef des Successions a John de Lucy (Jefe de Propiedades e
with a cheque for sponsorship of the et Installations, The British Library) à titre Instalaciones, La Biblioteca Británica) un
IAMFA 2008 London conference. Norland is de commandite pour le congrès 2008 cheque para el patrocinio de la conferencia
the 2008 conference’s largest sponsor. de l’IAMFA à Londres. Norland est de IAMFA 2008 de Londres. Norland es el
le commanditaire le plus important principal patrocinador de la conferencia
du congrès. de 2008.
15

16. IAMFA Annual Conference
Congrès annuel de l’IAMFA
Conferencia Anual de la IAMFA
Optional Visit to British Visite facultative de Visita opcional al Edificio
Library Additional Storage l‘édifice d’entreposage de almacenamiento
Building/York supplémentaire de la adicional de la Biblioteca
Thursday, September 18 British Library à York Británica/York
Due to generous sponsorship, we are Le jeudi 18 septembre Jueves, 18 de septiembre
able to offer this visit for ONLY US$50!!! En raison d’une généreuse commandite, ¡Debido a un generoso patrocinio,
Please register for this visit if you haven’t nous sommes à même d’offrir cette visite podemos ofrecer esta visita por
already at http://www.iamfa.org/. ommandite, nous sommes à même d’offrir SÓLO US$50! Inscríbase en esta
This is an incredible value. We have cette visite pour seulement 50 $ US!!! visita si no lo ha hecho todavía en
arranged a fabulous programme for Prière de vous inscrire pour cette http://www.iamfa.org/.
the day — from a visit to the British visite si vous ne l’avez déjà fait à
Este es un precio increíble. Hemos
Library’s world class, fully automated, http://www.iamfa.org/.
organizado un programa fabuloso
high density storage building (protected Voilà une activité drôlement avantageuse. durante el día: desde una visita al
by a low-oxygen atmosphere) to lunch Nous avons organisé un fabuleux edificio de almacenamiento de la
at the 650-year-old Merchant Adven- programme pour la journée – qui va Biblioteca Británica, de gran densidad,
turers’ Hall in York, followed by a de la visite de l’édifice d’entreposage à totalmente automático y de talla
guided walking tour of this lovely stockage compact (protégé par une mundial (protegido por una atmósfera
medieval walled city. atmosphère contrôlée faible en oxy- baja en oxígeno) hasta un almuerzo en
gène) complètement automatisé et de el Merchant Adventurer´s Hall en York,
niveau international de la British Library que tiene 650 años, seguido de una
au goûter au Merchant Adventurers’ visita a pie guiada de esta hermosa
Hall, vieux de 650 ans, suivi d’une visite ciudad medieval amurallada.
guidée à pied dans les murs de cette
magnifique cité médiévale qu’est York.
British Library Additional Storage Building,
Boston Spa.
Merchant Adventurers’ Hall, York. Internal — The Great Hall.
Internal — high-bay, high-density racking. The Shambles, York. York Minster. York Gate.
YORK PHOTOS COURTESY OF / PHOTOS DE YORK GRACIEUSETÉ DE / LAS FOTOS DE YORK SON CORTESÍA DE
http://photoeverywhere.co.uk
16

17. Regional Chapters
Philadelphia Chapter energy and to the city
after the 1906 earth-
By Richard Reinert
quake, and the Museum’s
On April 2, the members of the Philadelphia Chapter mission to be a lively
gathered at the newly renovated Perelman Building. The center for engaging
Perelman Building is a new addition to the Philadelphia audiences with Jewish
Museum of Art and houses prints, drawings and photographs, culture. The architect
costumes and textiles, to name a few. based the extension’s
The group toured the Museum’s new galleries and conceptual organizing
back-of-house areas. After the tour, chapter members principals on the two
engaged in lively discussion to promote IAMFA among symbolic Hebrew letters
other area museums. representing chai (life):
chet and yud. From the
outside, the extensions
are most remarkable for
their unique shape, as well as their skin: vibrant blue
metallic steel, which changes color depending on the time
of day, weather or one’s vantage point.
The CJM is a vibrant new member of the dozen museums
now surrounding the Yerba Buena Gardens, and a most
welcome addition to our city’s rich cultural heritage. Facilities
Manager Robert Larmon has recently joined IAMFA and will
be hosting an IAMFA tour of the new facility on August 13,
2008. For more information and photos of the CJM, please
see www.thecjm.org.
Left to right: Bruce Canter, Delaware Museum of Art; John Castle,
Winterthur Museum; Mike Downs, Hagley Museum and Rich
Reinert, Philadelphia Museum of Art. Atlanta Chapter
By Kevin Streiter
San Francisco Chapter We are pleased to welcome Benjamin Webb from the
By Joe Brennan Woodruff Art Center here in Atlanta to our chapter.
New Museum opens in San Francisco! The Contemporary
Jewish Museum opened the doors of its new home on
Yerba Buena Gardens on June 8. Since its founding in Ottawa-Gatineau Chapter
1984, the Contemporary Jewish Museum has engaged By Ian MacLean
audiences of all ages and backgrounds through dynamic On April 25, the Ottawa-Gatineau Chapter met at the
exhibitions and programs that explore contemporary Canadian Museum of Nature. Seventeen members were
perspectives on Jewish culture, history, art and ideas. in attendance to have lunch and socialize. Our hosts were
Formerly housed in small rented facilities on Second Marc Chrétien and Martin Leclerc.
Street, their new 63,000-square-foot facility is architect’s Following lunch, we spilt into two groups to tour the
Daniel Libeskind’s wonderful adaptive reuse of a historical facility. The first tour was of the recently renovated west
building. What started life as a Willis Polk-designed electrical side of the Museum. We visited all floors and were given
power substation in 1907 now manifests Libeskind’s design, a behind-the-scenes look at the Mechanical and Electrical
combining the history of an early-twentieth- systems. We also had an opportunity to see new exhibits
century San Francisco landmark with the dynamism of and the type of construction used to control temperature
contemporary architecture. and relative humidity. Wall construction consists of an
The building embodies a number of symbolic references interior wall with vapour barrier on the exterior, an interstitial
to Jewish concepts. Most notably, Libeskind was inspired space of two feet which is conditioned, and the original
by the Hebrew phrase L’Chaim (To Life), because of its exterior wall of stone.
connection to the role the substation played in restoring continued on page 18
17

18. Regional Chapters, Ottawa-Gatineau — continued from page 17
Our second tour was of the area under construction on The Canadian Museum of Nature occupies the Victoria
the east side of the building. As you can see from the photos, Memorial Museum Building, which was constructed almost
seismic reinforcement is part of the project. Correction of one hundred years ago. It is considered one of the most
foundation settlement is another aspect of the project, as you significant heritage structures in Canada.
can see from the curvature of the floor in one of the photos.
ALL PHOTOS: © PCL CONSTRUCTION]
18

19. Member News
Patricia Morgan of the Auckland Art Gallery and her David Geldart of the Museum of Fine Arts (MFA), Boston,
husband Tony own a 40-foot fractional rig yacht, called reports that, on June 20, the MFA opened its State Street
Whitebait. They use the boat for cruising and, keen sailor Corporation Fenway Entrance with a ribbon-cutting
that he is, Tony also campaigns the boat, both fully crewed ceremony hosted by Malcolm Rogers, Director of the
and in a shorthanded sailing series (two people on the boat). Museum. Boston Mayor Thomas M. Menino was in
Every three years, the Shorthanded Sailing Association of attendance, as were Jay Hooley, President and Chief
New Zealand (SSANZ) organises a two-handed yacht race Operating Officer, State Street Corporation; MFA Trustees
around the north island of New Zealand in February. The and staff; and special guests. The opening was made
race is split into four legs, with a stop of between 24–72 hours possible by the generosity of State Street Corporation,
at each finish. which provided the MFA with a gift of $10 million in
Leg 1: Auckland to Whangaroa (northeastern tip of the September 2007: the largest corporate donation in the
north island) — distance 250 miles. Museum’s history.
The MFA’s façade to the north, which overlooks the
Leg 2: Whangaroa to Wellington, (southern tip of north Back Bay Fens and features an expansive row of grand
island) — distance 500+ miles. Ionic columns, had been closed for nearly three decades.
Leg 3: Wellington to Napier (western side) — distance The opening of the State Street Corporation Fenway Entrance
280 miles. is part of the Museum’s Building Project, designed by archi-
tects Foster + Partners (London). By reopening the historic
Leg 4: Napier back to Auckland — distance 300+ miles. entrance, the MFA will enhance its connection to the Fenway
and Longwood neighborhoods, and enliven its relationship
This year the race took 15 days to complete (including with the Back Bay Fens, renewing the appeal of one of the
stopovers). country’s great urban parks: Frederick Law Olmsted’s
Tony managed to pick up a couple of prizes for first Emerald Necklace.
overall (line and handicap) on Leg 3 in his division, and In celebration of the opening, the Museum hosted a free
placings on handicap for the overall race of 6th (PHRF) Community Day on Sunday, June 22, presented by State
and 2nd (ORC). It is a very challenging race, as you can Street Corporation. As Malcolm Rogers noted, “The opening
imagine, with some legs requiring several days’ sailing and, of the State Street Corporation Fenway Entrance gives us
during the night, one crew member sails the boat while the the wonderful opportunity to welcome in our neighbors
other gets a little sleep (or tries to!). from the surrounding communities through the historical
Pat reports that she is “very proud that he did the race, doors of the Evans Wing. This is a momentous occasion for
did well, and got back home safely!!” the MFA and Boston, and we deeply appreciate State Street
Corporation’s commitment to furthering our vision for a
world-class art museum in Boston.”
continued on page 20
19