Papyrus Fall 2007

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 8
NUMBER 3 PAPYRUS WINTER
2007–2008
The Seventeenth Annual IAMFA Conference in
Ottawa: A Profusion of Culture, Learning and
Hospitality
by Joe May
2007 marked the 150th anniversary of Ottawa’s selection as capital, and this was also going to be an IAMFA conference
Canada’s capital city. Like many other IAMFA members, this to remember for years to come.
was my first trip to Ottawa-Gatineau—and what a pleasant This year’s conference began, as it has in the past, with the
surprise it was. My first impression of Ottawa came before Sunday Benchmarking Conference, involving those members
I even reached the hotel on the evening prior to the start who participated in the 2007 benchmarking exercise. This
of the conference. It was during my trip into the city center year’s 49 participants represented a significant increase
from the airport that it became very clear how clean and over recent years, and suggested that efforts to increase
well manicured this city truly is. Along the route, there was participation were paying off. Each participant brought
a smattering of color in the trees, as Fall was making its to the Sunday conference a summary of their institution’s
attempt to take over the warm summer evenings. Upon activities, major changes which had occurred over the past
arrival at the Chateau Laurier Hotel, I noticed that my year, and one best practice to share with the group. As in the
home for the next five days was going to be next door to recent past, there was a significant focus on uncovering op-
Canada’s Parliament Buildings. I had a feeling right then portunities for energy savings, as well as on issues affecting
that this was going to be a very special stay in Canada’s security. Our benchmarking coordinator, Keith McClanahan
continued on page 2
INSIDE THIS ISSUE
Message from the
President . . . . . . . . . . . . . . . . 5
Regional Chapters . . . . . . . . 8
A Footnote to History . . . . . . 11
The Art Institute of Chicago
Unique Fan Wall System . . . 12
The British Library Centre
for Conservation . . . . . . . . . 16
Special Shopping Days . . . . . 17
Members Directory . . . . . . . 18
Conference Attendees on the Plaza outside the Canadian Museum of Civilization’s main
exhibition building. Letter from the Editor . . . . . 27

2. The Seventeenth Annual IAMFA Conference in Ottawa — continued from page 1
from Facility Issues, provided an overview of the results of
the 2007 benchmarking exercise, and Jack Plumb from the
National Library of Scotland gave us an overview of progress
with the Organization’s Building Labeling System, which is
aimed at measuring participant institutions’ progress with
respect to sustainability and the efficient use of resources.
There were numerous other presentations throughout the
day, as well as plenty of discussion on a variety of topics
facing our members.
Day One wrapped up Sunday evening with the IAMFA
Conference Opening Ceremony at the Fairmont Chateau
Laurier, complete with canapés and a jazz band. Opening
comments by IAMFA President Guy Larocque offered a
glimpse of what was in store for us during the next three
days of the conference. A bird’s-eye view of the Preservation Center interior and
Monday morning brought the start of the IAMFA Confer- conference attendees.
ence itself, beginning with breakfast at the National Gallery
of Canada. A short walk from the hotel brought the spec- received a thorough tour of the facility, and were able to
tacular facility into focus, complete with an eight-legged see firsthand how the facility is operated and maintained.
sculpture guarding the entrance. (Didn’t we see this same In the meantime, participants in the conference guest
spider at the Guggenheim in Bilbao two years ago?) program attended breakfast with the members at the
Presentations by Nick Artim on fire protection and Keith National Gallery, then spent the remainder of the day
McClanahan on this year’s benchmarking effort, along with touring Parliament and seeing the city by boat cruise.
a tour and lunch in the rotunda of the National Gallery, On Monday evening, we all boarded coaches and traveled
capped our Monday morning on Day One of the conference. to L’Oree du Bois Restaurant, located deep within Gatineau
Following lunch, members traveled by coach to the Library Park for a wonderful dinner at a delightful farmhouse turned
and Archives Canada Preservation Center. This facility, located haute cuisine. The turn-of-the-century farmhouse is now
in Gatineau, Quebec, houses all of Library and Archives home to one of the most respected French cuisine restaurants
Canada’s preservation laboratories. In addition, there are in the National Capital Region. It was a marvelous evening
records storage vaults which accommodate a significant that included local delicacies and great regional wines.
portion of Canada’s documentary heritage. The Preservation Day Two of the conference began with breakfast at the
Centre is a building-within-a-building. An outer shell of glass Canada Science and Technology Museum, between two
and steel creates an environmental buffer zone for the interior steam engines in the Locomotive Bay. What a surprise this
concrete structure, which comprises preservation laboratories, was; it felt like being transported back in time to another
records storage vaults and other operations. Members world from the one in which we live today.
Maman [Mother] by French-born artist Louise Bourgeois, in front Breakfast in the Locomotive Bay.
of the main entrance of the National Gallery of Canada.
2

3. Jerry Shiner from Keepsafe Systems made a very inter- Members began Day Three of the conference traveling
esting presentation during the morning on the application to the Canadian War Museum. This museum opened in
and advantages of using microclimate display case systems, May of 2005, and presents visitors with some of the most
then we split up into smaller groups for a detailed tour of powerful, moving and harrowing records of war ever dis-
the Museum offered by members of the staff. I lost count of played. The design team, including Guy Larocque, set out
how many buttons I pushed, dials that I turned, and levers to create an intense, emotional, memorable and, above all,
that I pulled while experiencing all the technology-related honest presentation of the military events which have helped
exhibits. define Canada’s national identity. It was a moving experi-
Late in the morning, we traveled on to the Canada ence touring the museum, and it was clear that the design
Aviation Museum, where we had a thorough tour and lunch team succeeded in evoking Canadian military heritage with
in the hangar, right alongside vintage aircraft. The Canada both passion and respect.
Aviation Museum’s mandate is to collect, preserve, depict Members then participated in IAMFA’s annual business
and display aviation-related objects of all types, and interpret meeting and listened to reports from each member of
their significance to Canada and the world. the board of directors. We all thank Dan Davies from the
The Canada Aviation Museum is recognized as having National Zoo in Washington for his efforts over the past
the most extensive aviation collection in Canada, and one two years as editor of Papyrus and Secretary of IAMFA,
of the best in the world. and also I want to thank IAMFA members for their vote of
In the afternoon, members headed over to the Library confidence in my election as Dan’s successor in this exciting
and Archives Canada Exhibition Hall for a presentation role as Papyrus Editor.
from James Duda, who is the Facility Management Officer At the War Museum, members heard presentations from
at the U.S. Library of Congress, on the Library’s new National Michael Lundholm, who is the principal architect with
Audiovisual Conservation Center. This facility is the first Lundholm Associates Architects. He discussed the process
centralized facility in America specially planned and designed of museum design, and how architecture has tremendous
for the acquisition, cataloging, storage and preservation potential to enrich the museum visitor’s experience, while
of the nation’s heritage collections of moving images and also providing a productive and healthy environment for a
sound recordings. museum’s work. Richard Harding, Divisional Manager for
Conference guests spent Day Two of the conference Black & McDonald Limited, also made a presentation to
traveling to Montreal for a marathon day of shopping and members regarding the state of today’s new maintenance
tours. The IAMFA Board of Directors met during the evening models which incorporate preventive, predictive, and pro-
to discuss the organization’s finances, business objectives active maintenance, life cycle replacement systems, all within
and strategies for the upcoming year, while members and a world of tightening maintenance budgets.
guests ventured out on their own to explore Ottawa’s Guests of IAMFA members toured the Royal Canadian
dining alternatives. Mint and the Governor General’s Residence during the
continued on page 4
Conference attendees inside the hangar at the Canada Aviation
Museum. Outgoing IAMFA Secretary and Papyrus Editor Dan Davies.
3

4. The Seventeenth Annual IAMFA Conference in Ottawa — continued from page 3
morning of Day Three, and rejoined the members at the
Canadian War Museum after having lunch and trying their
luck at the Casino Lac Leamy. Could it really be true that
all of the guests were winners at the Casino?
After a tour of the War Museum, members and guests
returned to the Chateau Laurier for an opportunity to relax
for a while before leaving for the closing gala dinner, held
this year at the Canadian Museum of Civilization. The
Canadian Museum of Civilization is recognized as one of
the premier cultural facilities of the twentieth century, and
is also home to the Canadian Postal Museum, the Canadian
Children’s Museum, and an IMAX® theatre. The Museum
houses more than 3.75 million artifacts spanning the disci-
plines of history, archaeology, folk culture, ethnology,
postal communications and various other areas of heritage John De Lucy making a presentation at the closing gala.
study. After our arrival and group photo, members and
guests had an opportunity to walk through many of the
sets used to display these amazing artifacts, prior to being feeling our British colleagues have something up their
seated for the gala dinner. Live musicians, intricate lighting sleeve in store for IAMFA members next year. We’d better
and the wonderful atmosphere of the Museum’s Grand stay tuned to future editions of Papyrus for more details.
Hall, all made for an unforgettable evening. Numerous other speakers entertained the audience during
Guy Larocque served as Master of Ceremonies, and pre- the evening of festivities, and as the evening wound down
sented a history of the seventeen years of IAMFA conferences. we began to say our goodbyes to all of our colleagues and
John De Lucy was handed the torch to continue with his friends that we visit and benchmark with each year.
team’s preparations for the 18th Annual Conference, to be Yes, Ottawa, this was a conference that will remain in
held next September in London, England. I have a funny our minds and hearts for years to come.
Closing gala in the Canadian Museum of Civilization’s stunning Grand Hall.
4

5. Message from the President
gates themselves. Yes, you: our valued peers in the field of facility management
IAMFA members who actually partici- of cultural institutions, and partake in
pate in the annual conferences. Your the learning, the networking and the
active participation in these activities camaraderie that will once again make
is the true measure by which success this conference a great success. I look
Guy Larocque, is determined for our conferences. forward to seeing all of you in London
President of IAMFA
Some of the Executive members of in September 2008.
local museums who came to the gala
dinner observed that IAMFA members Guy Larocque, P. Eng.
The Key to a Successful are a dynamic group of people who President, IAMFA
IAMFA Conference appear to be passionate about their
As I write this, ten weeks have now professions, and who truly seek out IAMFA/ Papyrus
passed since the end of our most networking opportunities with their WINTER 2007–2008
recent annual conference held in peers. I am not sure if they happened
Editor
Ottawa-Gatineau, Canada, and we to be sitting next to the tables where Joe May
have just had our first winter snowfall. the folks from the U.K. or the folks J. Paul Getty Trust
It seems like only yesterday when we from the Smithsonian were sitting, and
Papyrus Correspondents
said our goodbyes, but the memories thus hearing a lot of chuckling, but Joe Brennan
of those four intensive days will remain truly I must concur that, all kidding William Caddick
with me for a long, long time. And, as aside, if you haven’t yet attended an John de Lucy
I received e-mail messages from many annual IAMFA conference, you are Peter Fotheringham
of you in the days and weeks following missing out on a tremendous learning Guy Larocque
opportunity and a chance to share Joe May
the conference to tell me how much
information and trade stories on your Michael Murphy
you learned from and appreciated this
successes and challenges that you William Stangeland
event, I couldn’t help but wonder
Harry Wanless
about the elements that resulted in would not obtain anywhere else in
this successful IAMFA conference. our specialized field of work. Design and Layout
In particular, I would once again like Phredd Grafix
Certainly, there was all of the plan-
ning, the dedication of the organizing to thank Ian MacLean of the Canada Editing
team who brought their creative ideas Science and Technology Museum and Artistic License
and expertise to the table, the call for Pierrette Lagroie of the National Gallery
Spanish Editor
technical presentations, the quest for of Canada, who made tremendous Fernando Pascal
sponsorship support and the coordi- contributions, and on whom I was
able to count on when the going got Printed in the U.S.A. by
nation of all of the logistics—to name Lake Litho
but a few of the tasks that went into tough. I would also like to thank Ed
organizing this kind of event. These Richard of the National Gallery of ISSN 1682-5241
elements must be performed compe- Canada, Terresa McIntosh and
tently, often in difficult circumstances, Dominique Hébert of Library and
and are very time-consuming for the Archives Canada, Jean Allard of the
organizers. It is also important for the Gatineau Preservation Centre and
Conference Chair to act as Master of Marc Chrétien of the Canadian
Ceremonies, which requires four days Museum of Nature.
Statements of fact and opinion are made
of concentration, a certain amount As we close the chapter on this last on the responsibility of authors alone and
of improvisation to cover slip-ups, successful conference, we turn our do not imply an opinion on the part of the
editors, officers, or members of IAMFA. The
and even personal sacrifice at times. attention to London, England and next editors of IAMFA Papyrus reserve the right
Although these elements are para- September. This will be an opportunity to accept or to reject any Article or
advertisement submitted for publication.
mount for the proper production of an for our European friends to come in
While we have made every attempt to ensure
IAMFA conference, however, what is it great numbers, along with the IAMFA that reproduction rights have been acquired
for the illustrations used in this newsletter,
that makes a conference truly successful? members from other corners of the please let us know if we have inadvertently
Upon further reflection, it came to world, to take advantage of another overlooked your copyright, and we will rectify
the matter in a future issue.
me. It is the involvement of the dele- extraordinary opportunity to meet their
5

6. Mot du président
essentiels à la réussite d’une conférence autres régions du monde, pour profiter
de l’IAMFA, n’y a-t-il pas un autre d’une autre belle occasion de ren-
ingrédient qui assure le succès? contrer leurs collègues du domaine de
À force d’y penser, j’ai conclu la gestion des institutions culturelles,
qu’il s’agissait de la participation des d’acquérir de nouvelles connaissances,
Guy Larocque, délégués eux-mêmes. Oui, vous, les de tisser des liens et de se divertir. Cette
President de l’IAMFA prochaine conférence sera, j’en suis cer-
membres de l’IAMFA qui participez
avec enthousiasme aux conférences tain, une réussite éclatante. Je me réjouis
annuelles. Votre participation à ces déjà à l’idée de tous vous rencontrer à
Qu’est-ce qui fait le
manifestations est la mesure du succès Londres en septembre 2008!
succès d’une conférence de nos conférences.
de l’IAMFA? Certains membres de l’exécutif de Guy Larocque, ing.
Dix semaines déjà on passé depuis nos musées locaux assistaient au dîner Président de l’IAMFA
la fin de notre dernière conférence de gala. Ils m’ont fait remarquer que
annuelle, qui s’est tenue à Ottawa/ les membres de l’IAMFA formaient
Gatineau, au Canada. En ce jour de un groupe dynamique, semblaient IAMFA Board of Directors
novembre, tandis que je rédige ce mot se passionner pour leur profession et
à l’intention de nos membres, nous cherchaient véritablement à resserrer President
Guy Larocque
avons droit à la première neige de leurs liens avec leurs pairs. J’ignore si,
Canadian Museum of Civilization
l’hiver. Il me semble que nous nous par hasard, ces membres de l’exécutif and Canadian War Museum
sommes quittés hier à peine, et le sou- se trouvaient à proximité des tables de Gatineau, Canada
venir de ces quatre journées intenses nos collègues du R.-U. ou de la Smith- guy.larocque@civilization.ca
m’accompagnera encore longtemps. sonian et s’ils ont saisi quelques bribes
Dans les jours et les semaines qui ont de toutes ces conversations animées! V.P., Administration
Blague à part, si vous n’avez pas encore Richard Kowalczyk
suivi la conférence, j’ai reçu de nom-
Smithsonian Institution
breux courriels de membres qui me assisté à une conférence de l’IAMFA
Washington, D.C., USA
disaient à quel point la manifestation vous avez laissé échapper d’excellentes kowalczykr@nasm.si.edu
les avait enrichis. Je n’ai pu m’empêcher occasions d’apprendre et d’échanger
de me demander quels éléments avec des collègues venus de tous les V.P., Regional Affairs
avaient permis de si bien réussir cette coins de notre univers de spécialistes. John de Lucy
J’aimerais en particulier remercier à The British Library
conférence de l’IAMFA.
London, U.K.
Évidemment, il faut compter sur tout nouveau Ian MacLean, du Musée des
john.delucy@bl.uk
le travail de planification et le dévoue- sciences et de la technologie du Canada,
ment d’une équipe organisatrice pleine et Pierrette Lagroie, du Musée des Treasurer
de talents et d’expérience, les demandes beaux-arts du Canada, pour leur contri- Jim Moisson
de communications techniques, la bution exceptionnelle et l’aide qu’ils Harvard University Art Museums
recherche de commanditaires et la coor- m’ont apportée dans les moments de Cambridge, MA, USA
crise. Je me dois également de men- james_moisson@harvard.edu
dination de tous les aspects logistiques,
pour ne mentionner que quelques-unes tionner l’appui des personnes suivantes : Secretary and Papyrus Editor
des tâches nécessaires à l’organisation Ed Richard, du Musée des beaux-arts du Joseph May
de ce type de manifestation. Tout ce Canada, Terresa McIntosh et Dominique J. Paul Getty Trust
travail doit être fait avec compétence, Hébert, de Bibliothèque et Archives Los Angeles, CA, USA
souvent dans des circonstances diffi- Canada, Jean Allard, du Centre de pré- JMay@getty.edu
ciles, et il faut y consacrer beaucoup servation de Gatineau, et Marc Chrétien,
Chairman — Conference 2008
de temps. Il importe également que le du Musée canadien de la nature. John de Lucy
président de la conférence remplisse Forts du succès de notre dernière The British Library
bien son rôle de maître de cérémonie, conférence, nous pouvons maintenant London, United Kingdom
ce qui lui demande quatre jours de con- tourner nos regards vers Londres, au john.delucy@bl.uk
centration, un certain talent pour l’im- R.-U., où nous serons en septembre
provisation afin de couvrir les impairs, et prochain. Nos amis européens pour- For additional contact information,
please visit our website at
quelques sacrifices personnels à l’occa- ront y venir en grand nombre, tout www.iamfa.org
sion. Pourtant, outre tous ces éléments comme les membres de l’IAMFA des
6

7. Mensaje del Presidente
pensar los errores y, en ocasiones, Tras poner punto final a esta última
cierto sacrificio personal. Sin embargo, conferencia exitosa, dirigimos nuestra
aunque todos estos elementos son atención a Londres (Reino Unido),
fundamentales para asegurar el buen donde se celebrará la conferencia de
Guy Larocque, funcionamiento de una conferencia de 2008 el próximo mes de septiembre.
Presidente de la la IAMFA, ¿qué es lo que realmente Será la oportunidad para que nuestros
IAMFA
determina su éxito? amigos europeos participen con una
Tras reflexionar más a fondo sobre fuerte representación, junto con otros
La clave para una la cuestión, me di cuenta. Es la partici- miembros de la IAMFA de otros rincones
pación de los propios delegados. Sí, de del mundo, a fin de aprovechar otra
Conferencia de la Ustedes, nuestros codiciados miembros ocasión extraordinaria para reunirse
IAMFA exitosa de la IAMFA que asisten a las confer- con sus colegas del campo de la
Al momento de escribir estas líneas, encias anuales. Es su participación administración de instalaciones de
en este día de noviembre, con la pri- activa lo que determina el éxito de instituciones culturales, y participar en
mera nevada del invierno ya en el nuestras conferencias. las actividades de aprendizaje y estable-
suelo, han trascurrido diez semanas Algunos de los directivos de nuestros cimiento de contactos, y el ambiente
desde la celebración de nuestra última museos locales que asistieron a la cena jovial que harán una vez más de esta
conferencia anual en Ottawa/Gatineau de gala observaron que los miembros conferencia un éxito rotundo. Aguardo
(Canadá). Parece que fuera ayer cuando de la IAMFA constituyen un grupo con impaciencia verlos a todos en
nos despedíamos, aunque guardaré dinámico, apasionados por su profesión septiembre de 2008.
por mucho tiempo el recuerdo de esas y que realmente buscan oportunidades
cuatro jornadas intensas. En los días y para establecer contactos con sus Ing. Guy Larocque
semanas que siguieron a la conferencia colegas. No estoy seguro de si, por Presidente de la IAMFA
recibí mensajes electrónicos de muchos casualidad, se sentaron cerca de las
de Ustedes para decirme cuánto habían mesas en las que estaban los miembros Regional Chapters
aprendido en el evento y cómo lo del Reino Unido o del Smithsonian y
Atlanta, U.S.A.
habían apreciado, y no pude evitar apreciaron su ambiente risueño pero, Kevin Streiter, High Museum of Art
reflexionar sobre cuáles fueron los risas aparte, coincido en que si todavía Australia
elementos que contribuyeron al éxito no han asistido a una conferencia anual Kim Reason, Museum Victoria
de esta conferencia de la IAMFA. de la IAMFA, están desaprovechando Bilbao, Spain
Sin lugar a dudas, tengo que men- una extraordinaria oportunidad para Rogelio Diez, Guggenheim Museum
cionar todo el trabajo de planificación, aprender y para intercambiar infor- Chicago, U.S.A.
William Caddick, Art Institute of Chicago
la dedicación del equipo organizador mación y experiencias profesionales
de sus éxitos y desafíos, que no podrían Hawaii, U.S.A.
que contribuyó a la conferencia con Robert White, Honolulu Academy of Arts
sus ideas creativas y conocimientos obtener en ningún otro lugar en
Los Angeles, U.S.A.
especializados, la convocatoria de nuestra área de trabajo especializada. Joe May, J. Paul Getty Trust
presentaciones técnicas, los esfuerzos En particular, quisiera expresar mi New England, USA
para obtener apoyo de patrocinio y agradecimiento una vez más a Ian John H. Lannon, Boston Athenaeum
la coordinación de todos los aspectos MacLean, del Museo de Ciencias y New York, USA
logísticos, por no mencionar más que Tecnología de Canadá, y Pierrette Mark Demairo, Neue Galerie
algunas de las tareas que requirió Lagroie, del Museo Nacional de Bellas New Zealand
Patricia Morgan, Auckland Art Gallery
organizar este tipo de evento. Todas Artes de Canadá, por su importantísima
contribución y por el apoyo que me Ottawa-Gatineau, Canada
estas funciones, que deben ser desemp- Ian MacLean, Canada Science and
eñadas de forma competente y, a ofrecieron cuando surgieron dificultades. Technology Museum Corporation
menudo, en circunstancias difíciles, Gracias también a Ed Richard, del San Francisco, U.S.A.
exigen a los organizadores mucho Museo Nacional de Bellas Artes de Joe Brennan, San Francisco Museum of
Modern Art
tiempo. Es importante también que el Canadá, Terresa McIntosh y Dominique
United Kingdom
Presidente de la Conferencia ejerza las Hébert, de la Biblioteca y Archivos de Jack Plumb, National Library of Scotland,
funciones de maestro de ceremonias Canadá, Jean Allard, del Centro de Edinburgh
durante el evento, lo que requiere Preservación de Gatineau, y Marc Washington/Baltimore, USA
Chrétien, del Museo Canadiense de Robert Evans, Hirshhorn Museum &
cuatro días de concentración, una cierta Sculpture Garden
capacidad de improvisación para com- la Naturaleza.
7

8. Regional Chapters
Northern California
Chapter
by Joe Brennan
On November 14, IAMFA’s Northern
California Chapter convened at the
University of California Berkeley Art
Museum (BAM) and Pacific Film Archive
(PFA) for a fine lecture on Electrical
Safety. Keith Gershon, Electrical Safety
Officer of the Lawerence Berkeley
National Laboratory, put the provisions
and implementation of NFPA 70E in
perspective for us vis-à-vis California
OSHA and Federal OSHS. This focused
on safety work-related practices, train-
ing, personal protective equipment and
work on energized equipment. The gist
of his message is that NFPA technically
has not been adopted into either Cal
OSHA or Fed OSHA, but it is on its way,
and as managers we are best served The front of the building, where an iconic work of art is expressed in steel.
by conforming to it as it protects
employees, equipment and property,
as we are elsewhere legally (and staff in one capacity or another since The innovation was a string linkage
morally) mandated to do. the facility opened in 1970. The tour from the doorknob to the light switch,
Following Keith’s excellent Power- included their art vaults, where we saw which turns the lights off as you leave
Point presentation, our host John an ingenious conservation initiative— the room: literally going green on a
Downing led us on a tour of the facility. proof once again that, despite the vast shoestring! The museum building gets
John is BAM and PFA’s Technical and number of facility tours one takes, there steam from a central plant and uses
Training Supervisor, and has been on is always something to be learned. an absorptive chiller for their HVAC
The back of the building, where steel has been added to Attendees gather prior to entering the facility.
seismically strengthen the compromised structure
8

9. needs. In the mechanical spaces, we
saw the most beautiful transformer
any of us have ever witnessed in
stainless steel, beauty being in the
eye of the beholder . . . and art being
anything you can get away with.
Attending were:
Jeff Phairas
Chief Engineer, SFMOMA
Joe Brennan
Director of Facilities, SFMOMA
Robert Larmon
Facilities Director, Contemporary
Jewish Museum
Jennifer Fragomeni
Exploratorium
Andy Black
Exploratorium
Terry Zukoski
Director of Facilities, Glide Memorial
continued on page 10
Keith Gershon doing what he does very well.
Innovative light-switching to mimic occupancy sensor control of lighting. Feast your eyes!
9

10. Regional Chapters — continued from page 9
Northern California Chapter Tour of the We also visited the pump and filter room for the water
Letterman Digital Arts Center feature: an imported stream running through the campus
by Joe Brennan with its own pond at its base. It is “imported” in that the
rocks were all picked from a streambed in Northern
The IAMFA Meeting at the Letterman Digital Arts Center California and transported to the site and reassembled in a
was well attended and much appreciated. Many thanks to manner best recreating the original, a painstaking effort of
our hosts Andres Noyes and Orlando Castro! perfectionism by landscape architect Lawrence Halpren
We began the tour atop the complex, where we saw its and George Lucas. The stream and pond are maintained
massive chillers and cooling towers, along with the exten- clear and clean without chlorine by the use of sand and
sive measures taken in the construction to isolate their noise biological filtration plus ozone in an amazing maze of
and vibration from the occupants of the building just below. stainless steel piping, allowing the stream to gain volume
We then wound down through the complex, seeing many along its course just as it would in nature.
sights along the way until we reached the garage level, where Following the tour, we were treated to an opportunity to
there are eight emergency generators capable of producing lunch in their cafeteria, with its world-famous views of the
nine megawatts. In addition, we visited their huge battery Golden Gate, Marin Headlands and San Francisco Bay. I
room, designed to provide power for the switchover period guess the company and food were so good I stopped
between loss of commercial power and full output of the taking pictures at that point.
generators coming online to carry the load. Thanks again to Andres, Orlando and the LDAC!
On the roof of the Letterman Digital Arts Center. Battery Room in the Letterman Digital Arts Center.
Emergency generators in the basement of the Letterman Digital The “imported” stream which runs through the campus, featuring
Arts Center. rock brought from a streambed in Northern California.
10

11. A Footnote to History
by Peter Fotheringham
Peter
Fotheringham
On June 1, 2007 I left the National will recollect a memorable talk on Committee meetings allowed us to
Gallery in London to take up a new disaster preparedness in a fairly grim visit and enjoy the hospitality of col-
post at the University of Greenwich, New York hotel room. Still, onward leagues like Kevin Streiter in Atlanta
where I am now happily plying my and upward, and the following year and Joe Brennan in San Francisco, both
trade (gre.ac.uk for a quick look!). I was co-opted to committee as the of whom were duped into giving their
The following reminiscence is unre- forthcoming co-host of the Edinburgh time to become committee members
searched and may offend through conference. Despite doing my best to and, in Joe’s case, to take on a con-
omission or inaccuracy! In particular, I dump this on Robert Galbraith by ference. I also remember spending
hope I have got name spellings correct. moving to the National Gallery in a rather surreal day in what felt like
I joined the Museum and Galleries London in 1994, I was stuck with it. a gothic chapel in the depth of the
sector in 1989, when I was appointed I have to own up to the fact that Rijksmuseum in Amsterdam. All to
Building Manager at the National Robert and his staff did the work, spread the IAMFA message.
Galleries of Scotland. The cultural shock and the conference gave me a great My committee duties ended after
of dealing with staff in the gallery was excuse to get back to Edinburgh for the London conference in 2002, and I
put into focus when Nick Artim, who regular meetings without too much of have since enjoyed the annual gather-
was then advising the National Library the pain. The event itself in 1997 was ing in San Francisco and Los Angeles
of Scotland, recommended I join a the organisation’s first foray beyond in a more relaxed frame of mind.
support group: IAMFA. So, in 1992, I North American shores and, given Pressure of work forced me to miss
packed my bags for a conference in the proximity of a number of world- out on Bilbao and Boston. My final
Kansas City to meet like-minded facility famous golf courses, was a resounding contribution has been to attend the
managers. The relief was immediate; success. initial organisational meetings for the
it turns out that museum staff are the In the same year, the then-president London conference in 2008. Once
same the world over, and I was able Lloyd Randolph left the Getty after again, I have ducked out and left it to
to swap and share tales that no one hosting a conference at which we got others to complete the work, but the
outside of IAMFA would even begin our first look at that wonderful new good spirits of the meetings with John
to believe. I was so enthused by the building, and I found myself, by De Lucy, Harry Wanless, David Saunders,
whole experience (it may also have default, President for the remainder Stephen Gill, Frank Brown and others
been late at night and in a bar when of his term. My time as President was have reminded me that IAMFA is about
it happened), that I volunteered to then extended for a further term when forming friendships and having fun,
organise a conference in Scotland in the membership elected me to the post while offering a network that may
1997. It seemed a suitably long time in until September 2002. There were no help solve some of your problems.
the future and Miller Lite was a new other candidates! This meant attend- I think I made 11 of the last 15
and deeply beguiling experience. ing conferences in Ottawa, Chicago, conferences, and I will miss IAMFA. It
From memory, which is of course Washington, and my swan song at is a nice-sized group and it has a great
dimming with age and fallible, the London, in an official capacity. Time membership which has turned over
next trip was to Cincinnati, followed on committee has its benefits. Friend- relatively slowly, which means there
the following year by Toronto, then ships blossomed as a small group are lots of friendly, familiar faces
New York, then suddenly Los Angeles battled to keep everything on an even around. I wish you all success in the
was upon me. I was being slowly keel. Vinny Magorrian, Randy Murphy, future, and I will try to meet you in
sucked in to the organisation: I was Pierre Lepage, Carole Beauvais, Marla London next year. If anyone wants to
asked to recruit in the U.K. and, in Channon and Bill Caddick were all keep in touch please send an e-mail
New York, was asked to speak at one part of that group, and each contri- to p.fotheringham@gre.ac.uk.
of the sessions. Those of you present buted to the growth of the organisation.
11

12. The Art Institute of Chicago’s
Unique Fan Wall System
by William Caddick, William Stangeland and Michael Murphy
When the aging air-handling units at
the Art Institute of Chicago (AIC)
needed to be replaced, C. Lee, project
manager at the AIC; William Caddick,
executive director of the physical
plant for the AIC, and the team at
McGuire Engineers (MEPC®) developed
a unique solution that Tony McGuire
of MEPC had previously learned about
when he consulted on a project for
Cook County Prison. McGuire advised
Caddick to try a fan wall.
The decision to install fan walls in
the AIC was a unique solution, since
the technology had never been used
in museums—nor, for that matter, in
Chicago. As part of a major overhaul
of the museum’s mechanical, electrical
and structural systems, Lee performed
due diligence on the concept and pro-
vided overall supervision and manage-
ment of the process. The curators and
conservators of the museum participated
by advising on the temperature and The Art Institute of Chicago.
humidity conditions that needed to
be maintained. William Caddick and
the MEPC team studied the approach became necessary to upgrade and intensive. Many were nearing the end
carefully and designed and executed replace existing air-handling units of their useful lives. Replacement of
the design and installation. which served the galleries throughout these units became a necessity when
The project has been a resounding the building. Not only do the fine adequate control of temperature and
success. The fan wall solved many of artwork and artifacts require proper humidity conditions became less reliable
the problems associated with upgrading temperature and humidity conditions to due to the increasing possibility of a
the air handling units in an older struc- preserve their appearance and physical critical component failure in the aging
ture, while also adding efficiency and integrity, but the building needs to equipment.
unprecedented control over temperature maintain comfortable conditions for In pre-emptively replacing the
and humidity conditions. the public. The structure itself is a mix old air-handling units, the engineers
of old and newer architecture, includ- needed to consider a number of factors,
The Museum Structure— ing various spaces that had been added from the small size of the entryways to
Mixing the Old with in the last several decades and a com- the interstitial spaces used for mecha-
the New pletely new wing which is currently nical and other equipment, to future
under construction. The entire project accessibility of the system for mainte-
The Art Institute of Chicago (AIC) is a
at the AIC was purely an engineering nance and repairs. This difficult task
magnificent structure built in the 1890s
effort with mechanical, electrical, was made even more challenging by
on top of rubble from the Great Chicago
structural and commissioning needs. the location of the units within the
Fire of 1871. Located in the heart of
downtown on Michigan Avenue, it structure, and the physical size of the
anchors the southern end of the newly Meeting the Challenges units being replaced, which range from
built Millennium Park. The air-handling units had been in 10,000 CFM to 30,000 CFM. William
As might be expected, the building service for 50 years in some instances Caddick and MEPC developed a plan
presented many challenges when it and, as a result, became maintenance- to replace the aging units in a planned
12

13. sequence. The idea was to assure that facilitate replacement of the such that each separate replacement
there would be minimal disruption to equipment. air-handling unit would have built in
museum exhibit spaces and that there A fan wall uses many smaller fans, N+1 redundancy. This meant that each
would be no impact on scheduled rather than units with one or two system could suffer a fan failure and
events. Removal and replacement supply fans. This approach incorpo- continue to deliver the required design
required precision scheduling and rates multiple, specially designed, airflow for space conditioning. The
staging of equipment and labor in high-efficiency, small-diameter, direct- direct-driven fans used in this tech-
order to minimize the downtime for driven plenum fans. These are mounted nology also eliminate costly, and some-
in an array within the airway tunnel times troublesome, maintenance of fan
each system and area being served
of the air-handlers. bearings, belts, and sheaves.
by the unit being replaced.
The engineers’ recommendation to
After detailed analysis, MEPC rec-
Benefits of the System move forward with the multiple-fan
ommended a fan wall as the best of
approach also makes the positioning
several potential solutions for replace- In addition to meeting the challenges
of the replacement air-handlers—
ment of the air-handlers. Newly avail- of installing the new system within the
knocked down for field re-assembly
able from HuntAir, these fan walls had existing structure, designers also identi-
by factory supervised crews—much
been used for a number of applications fied other major benefits of the multiple
easier than a conventional fan system
fan array solution. The unique system
in which temperature and humidity are would require. All components, includ-
features extremely low radiated and
critical, such as scientific labs. William ing the fans, were transported to the
airborne noise levels, and virtually
Caddick, MEPC and HuntAir devel- assembly sites using existing routes of
eliminated vibration due to rotor im-
oped a strategy to bring the fan wall access, including building elevators,
balance and airway tunnel turbulence.
technology to the AIC. Other features of the design included catwalks and service corridors, with-
Of the several potential solutions portability of components, reduced out necessitating any building demo-
for the AIC, the fan wall option posed air-handling unit footprint and, perhaps lition. According to MEPC, that alone
the least risk of downtime and offered most importantly, offered redundancy was a huge factor in maintaining a
the best opportunity for a rapid return and reliability that was simply unachiev- tight replacement schedule for each
to normal system operation. It also able with conventional fan system air-handler, and greatly reduced the
minimized or eliminated the need to replacement options. Per the direction overall project costs compared to
remove or demolish any of the public of William Caddick, the replacement alternative solutions. In addition to the
spaces within the AIC in order to air-handling units were configured benefits achieved with reliability and
ease of installation, higher energy
efficiency, reduced low-frequency
noise, and minimal vibration levels
have also been achieved.
To date, seven systems have under-
gone replacement of their air-handling
units over the course of two-and-a-half
years. Results have been highly praised:
curators and conservators are not only
happy with the temperature and humid-
ity conditions, but with the improved
acoustical conditions as well. AIC staff
is now requiring that this technology be
used in its new, modern wing which
is being designed by world-renowned
architect Renzo Piano.
William Caddick is Executive Director
of the Physical Plant at the Art Institute
of Chicago and a member of IAMFA;
William Stangeland is Senior Vice-
President of MEPC, and Michael Murphy
is a Project Engineer at MEPC.
Construction of a fan wall at AIC.
13

14. Ottawa — The 17th Annu
14

15. Annual IAMFA Conference
15

16. The British Library Centre for Conservation
by John de Lucy and Harry Wanless
The British Library Centre for Conser-
vation (BLCC) is an exciting new
extension of the main building and is
the first major building project since
the St. Pancras site opened in 1997.
The Library took ownership of the build-
ing—which has been completed on
budget and on time—on January 17,
2007. The Centre provides purpose-built
accommodation designed to meet the
specific requirements of the two main
occupant groups: Book Conservation
and Sound Archive Technical Services.
The Centre has been designed to
meet very specific technical require-
ments for the activities that are to take
place there. For example:
• The top floor of the BLCC will house
the four Book Conservation studios.
Here there is a requirement for good,
Interior of the new British Library Centre for Conservation.
even north light all year round;
hence, the sawtooth roof is specifi-
cally designed to maximise light • In a key area on the middle floor, the technologies are constantly
coming into the conservation studios. boxes are manufactured to house changing and developing.
• Separate areas are provided for wet and protect collection items. Mounts
• The British Library Centre for
and dry conservation processes and for works of art on paper and for
Conservation is not just a building,
for finishing (decorating and lettering) collection items that are to be
however. The British Library Centre
the books, with provision for visitors exhibited will also be cut using
for conservation represents new
to observe processes in all areas. state-of-the-art computer-aided
opportunities for behind-the-scenes
cutting machines.
• Casual visitors to the Centre can tours and access for the public, for
learn more about book conserva- • The high-tech purpose-built theme public information and learning
tion and sound preservation from continues on the lower floor, which programmes, and for specialist
the exhibition in the entrance houses the British Library Sound training in conservation and sound
display, entered from the terrace Archive’s Technical Section. preservation.
joining the new building to the
main British Library building. • The sound studios on this floor
Book Conservation Studios
float to ensure that the sound
• Also on the top level, there is pro-
recordings are not compromised There are three conservation studios
vision for seminars, training work-
by sounds and other vibrations accommodated in a large studio space.
shops and master classes that will
from adjoining sites, or from within Each studio has 12 fixed conservation
be programmed throughout the year.
the new building. benches specifically designed for users’
• The middle floor of the develop- requirements. Running alongside these
ment provides Conservation with • The work carried out in these studios is a dedicated wet area for
essential support areas such as studios enables greater access to washing and other aqueous treatments
technical examination areas, materials the Sound Archive’s collections, of collections items. There is an addi-
store areas and areas equipped and ensures that the content of tional studio—more flexible than the
with fume extraction units for existing collections is preserved others—to accommodate project work,
specialist conservation treatments. and remains accessible even though workshops and demonstrations and
16

17. training programmes. In recognition of nical expertise and equipment, while In order to provide greater informa-
the need to train book conservators, a also improving access to BL collections tion to the public and readers on the
two-year Foundation Degree in Book through greater onsite and remote important work carried out by the
Conservation—offered by Camberwell access to Sound Archive holdings. BLCC, there is an exhibition that pro-
College of Arts as part of the Univer- vides insight into the types of problems
sity of Arts London, and run in asso- Public Tours and Visitors associated with the deterioration of
ciation with British Library and other collections, and the range of solutions
Visitors to the Centre will gain greater
partner organisations—commenced in available to preserve collections for
insight into what keeps books on
September 2007. future use. This work employs modern
shelves and sound recordings avail-
technologies and considerable knowl-
able, through a programme of weekly
The Sound Archive Studios edge of material science, alongside
public tours, school programmes,
centuries old craft skills and this will
Designed to meet the exacting stan- themed tours and seminars. They will
be reflected in the exhibition design.
dards required for high-quality sound be able to see that collections have
If you attend the IAMFA Conference
preservation, remastering and copying, lifecycles—pasts, presents and futures—
in London from September 15 to 17,
the Sound Archive Studios are housed and that, in order to maintain them
2008, you will have an opportunity to
on the lower floor of the building. and make them accessible to people,
visit this building and experience its
There are eight transfer channels, one the British Library uses blends of
unique design qualities.
recording studio, two transfer studios, modern knowledge, traditional skills
a small workshop, and a laboratory. and a continuum of technologies.
These facilities will have the direct As well as a greatly improved work- John de Lucy is Head of Estates and
benefits of improving the Library’s ing environment for staff, the building Facilities, and Harry Wanless is
ability to produce in-house preservation provides optimum conditions to show- Property and Construction Project
copies of recorded sound items to an case the work that is undertaken by Manager, at the British Library in
archival standard with appropriate tech- Conservation and Sound professionals. London, England.
Special Shopping Days
by John de Lucy
Joe Brennan of our Northern California Chapter recently shared
a coupon with me that SFMOMA uses each year to offer special
discounts to friends and family. Participants need only print
out the coupon and write in “Joe Brennan, Facilities” to take
advantage of a 20% discount on all merchandise in the Museum’s
store throughout the day on Saturday, December 1. Using Joe’s
coupon also gives him the chance to win a gift certificate which
he can either keep or pass on.
I know that many museums have special shopping days for
members and patrons, but this seems a unique way to thank
the people who support us in a more personal way throughout
the year. I would be interested in hearing if anyone else out
there has a similar programme.
17

18. IAMFA Members Directory 2007
Carole Beauvais Richard Harding Jose-Luis Oliveros
AUSTRALIA Bureau de la transformation Black & McDonald Limited Canadian Center for
de la DGSDE 2460 Don Reid Drive Architecture
Dan Mackenzie 300 Avenue Laurier Ottawa, Ontario 1920 Bailes
Steensen Varming Piece B2104-I K1H 1E1 Montreal, Quebec
160 Sailors Bay Road Ottawa, Ontario Canada H3H 2S6
Northbridge K1A 0M7 rharding@ Canada
Sydney, NSW Canada blackandmcdonald.com jolivero@cca.qc.ca
2063
Australia Dominique Hébert Ed Richard
dan.mackenzie@ Leo Bourque Library and Archives Canada, National Gallery of Canada
steensenvarming.com.au ATCO Frontec Corporation Portrait Gallery of Canada 380 Sussex Drive
1200 Montreal Road 395 Wellington Street Ottawa, Ontario
Dean Marshall Building M-19, Room 328D 4th floor KIN9N4
National Gallery of Australia Ottawa, Ontario Ottawa, Ontario Canada
GPO Box 1150 K1A 0R6 K1A 0N4 erichard@gallery.ca
Canberra, ACT Canada Canada
2601 leo.bourque@atcofrontec.com dominique.hebert@ Jon Roodbol
Australia lac-bac.gc.ca Royal British Columbia
dean.marshall@nga.gov.au Chan-Hung Do Museum
Canadian Museum of Guy Larocque 675 Belleville Street
Tony van Noordenburg Civilization Canadian Museum of Victoria, British Columbia
National Gallery of Victoria 100 Laurier Street Civilization V8W 9W2
7259 St. Kilda Road VIC 8004 Gatineau, Quebec 100 Laurier Street Canada
180 St. Kilda Road J8X 4H2 P.O. Box 3100, Station”B” jroodbol@royalbcmuseum.bc.ca
Melbourne, Victoria Canada Gatineau, Quebec
3004 chan.do@civilisations.ca J8X 4H2
Australia Canada FRANCE
t.van.noordenburg@ Ian Follett guy.larocque@civilisations.ca
ngv.vic.gov.au Facility Management Services
LTD Pierre Lepage Gérard Bailly
Anthony Williams 45 Maryland Place SW musée de quai Branly
Sydney Opera House Calgary, Alberta 329 Carpenter’s Point 222 Rue de l’Université
Bennelong Point T2V 2E6 PO Box 135 Paris, 75343
GPO Box 4274 Canada Wolfe Island, Ontario CEDEX 07
Sydney, NSW fmsltd@fmsltd.com Canada France
2000 pierrelepage8@msn.com gerard.bailly@quaibranly.fr
Australia Mario Gasperetti
Library and Archives Canada Pam Lowings Nadim Callabe
awilliams@
550 Boulevard de la Cité Royal British Columbia musée de quai Branly
sydneyoperahouse.com
Gatineau, Quebec Museum 222 Rue de l’Université
Shaun Woodhouse K1A 0N4 675 Belleville Street Paris, 75343
Australian Center for the Canada Victoria, British Columbia CEDEX 07
Moving Image mario.gasperetti@lac-bac.gc.ca V8W 9W2 France
PO Box 14 Canada nadim.callabe@quaibranly.fr
Flinders Lane Alain Gendron plowings@royalbcmuseum.bc.ca
Melbourne, VIC Canadian Museum of
8009 Civilization Ian MacLean THE NETHERLANDS
Australia 100 Laurier Street Canada Science & Technology
shaun.woodhouse@acmi.net.au P.O. Box 3100, Station”B” Museum Corporation
Gatineau, Quebec P.O. Box 9724 Station T Karen Keeman
J8X 4H2 2421 Lancaster Rd. Rijksmuseum Amsterdam
Canada Ottawa, Ontario P.O. Box 74888
CANADA alain.gendron@civilisations.ca K1G5A3 Hobbemastraat 20
Canada Amsterdam,
Jean Allard Toby Greenbaum imaclean@technomuses.ca 1070 DN
Library and Archives Canada Physical Resource Bureau (SRD) The Netherlands
550 Boulevard de la Cité Dept of Foreign Affairs and Terresa McIntosh k.keeman@rijksmuseum.nl
Gatineau, Quebec Int’l Trade (DFAIT) Library and Archives Canada,
K1A 0N4 125 Sussex Drive Portrait Gallery of Canada
Canada Ottawa, Ontario 395 Wellington Street
jean.d.allard@lac-bac.gc.ca K1A 0G2 Ottawa, Ontario
Canada K0E 1J0
toby.greenbaum@ Canada
international.gc.ca terresa.mcintosh@lac-bac.gc.ca
18

19. IAMFA Members Directory 2007
Ray French Joe Brennan
NEW ZEALAND Tate UNITED STATES San Francisco Museum of
Millbank Modern Art
Mike Heinemann London, England Fernando Pascal 151 Third St.
Christchurch Art Gallery Te SW1P 4RG Smithsonian Institution San Francisco, CA
Puna O Waiwhetu UK Smithsonian Tropical Research 94103
Worcester Boulevard ray.french@tate.org.uk Institute USA
PO Box 2626 APO AA, 34002 jbrennan@sfmoma.org
Christchurch, Canterbury Robert Galbraith USA
New Zealand National Galleries of Scotland pascalf@si.edu Kelly Bridge
mike.heinemann@ccc.govt.nz 73 Belford Road Dean Gallery J. Paul Getty Trust
Edinburgh, Scotland 1200 Getty Center Drive
Patricia Morgan EH4 3DS Los Angeles, CA
ARIZONA
Auckland Art Gallery -Toi O UK 90049
Tamaki rgalbraith@ Keith McClanahan USA
P.O.Box 5449 nationalgalleries.org Facility Issues kbridge@getty.edu
Auckland, Auckland PO Box 1447
New Zealand Stephen Gill Flagstaff, AZ Jim Bullock
patricia.morgan@ The British Museum 86002-1447 J. Paul Getty Trust
aucklandcity.govt.nz Great Russell Street USA 1200 Getty Center Drive
London, England keithmcc@facilityissues.com Suite 100
WC1B 3DG Los Angeles, CA
UK 90049-1678
SPAIN sgill@thebritishmuseum.ac.uk USA
ARKANSAS jbullock@getty.edu
Rogelio Diez Jack Plumb
John Pagan
Museo Guggenheim — Bilbao National Library of Scotland George Calvo
Arkansas Art Center
Abandoibarra 2 George IV Bridge Huntington Library
P.O.Box 2137
Bilbao, Viz Caya Edinburgh, Scotland 1151 Oxford Road
Little Rock, AR
48001 EH1 1EW San Marino, CA
77023-2137
Spain UK 91108
USA
rdiez@guggenheim-bilbao.es j.plumb@nls.uk USA
john.pagan@arkarts.com
gcalvo@huntington.org
David Sanders
Natural History Museum William Carr
UNITED KINGDOM Cromwell Road CALIFORNIA Huntington Library
London, England 1151 Oxford Road
Frank Brown SW7 5BD Gordon Bailey San Marino, CA
National Gallery, London UK Asian Art Museum 91108
Trafalgar Square d.sanders@nhm.ac.uk 200 Larkin Street USA
London, England Room 2211 wcarr@huntington.org
WC2N 5DN Harry Wanless San Francisco, CA
UK British Library 94102 Brenda Cobb-Williams
frank.brown@ 96 Euston Road USA Asian Art Museum
ng-london.org.uk London, England gbailey@asianart.org 200 Larkin Street
NW12DB Room 2211
John de Lucy UK Donald Battjes San Francisco, CA
British Library harry.wanless@bl.uk Los Angeles County Museum 94102
96 Euston Road of Art USA
London, England Ian Williams 5905 Wilshire Blvd bwilliams@asianart.org
NW12DB National Museums Liverpool Los Angeles, CA
UK 127 Dale Street 90036 John Coplin
john.delucy@bl.uk Liverpool, England USA Santa Barbara Museum of Art
L2 2JH dbattjes@lacma.org 1130 State St.
Peter Fotheringham UK Santa Barbara, CA
University of Greenwich ian.williams@ Noreen Bergin 92101
Avery Hill Campus, Southwood liverpoolmuseums.org.uk PlanReady, Inc. USA
Lodge 17500 Depot Street, #200 jcoplin@sbmuseart.org
Avery Hill Road, Eltham Morgan Hill, CA
London, England 95037
SE9 2UG USA
UK nbergin@planready.com
p.fotheringham@gre.ac.uk
19

20. IAMFA Members Directory 2007
Patty Lacson Linda Simons Richard Moore
USA (cont’d) Fine Arts Museum of Lavi Industries Yale University Art Gallery
San Francisco 27810 Avenue Hopkins P.O.Box 208271
CALIFORNIA cont’d 50 Hagiwara Tea Garden Drive Valencia, CA New Haven, CT
Golden Gate Park 91355 06520-8271
John Donohoe San Francisco, CA USA USA
J. Paul Getty Trust 94118 lindas@lavi.com richard.moore@yale.edu
1200 Getty Center Drive USA
Suite 100 placson@famsf.org Gerry Socco Cindy Snarski
Los Angeles, CA Yerba Buena Center for the Mystic Seaport Museum
90049-1678 Joseph May Arts 75 Greenmanville Avenue
USA J. Paul Getty Trust 701 Mission Street PO Box 6000
jdonohoe@getty.edu 1200 Getty Center Drive San Francisco, CA Mystic, CT
Suite 100 94103-3138 06355
John Downing Los Angeles, CA USA USA
Berkeley Art Museum/Pacific 90049-1678 gsocco@ybca.org cindy.snarski@mysticseaport.org
Film Archive USA
2625 Durant Avenue jmay@getty.edu Will Spencer
Berkeley, CA J. Paul Getty Trust DELAWARE
94720-2250 Mike McCaughin 1200 Getty Center Drive
USA ProPM, Inc. Suite 100 Bruce Canter
jdown@berkeley.edu 3470 Mt. Diablo Blvd. Ste.A205 Los Angeles, CA Delaware Art Museum
Lafayette, CA 90049-1678 2301 Kentmere Parkway
Jennifer Fragomeni 94549 USA Wilmington, DE
Exploratorium USA wspencer@getty.edu 19806
3601 Lyon Street mikem@propminc.com USA
San Francisco, CA Nils Welin bcanter@delart.org
94123 Gary McKean Cypress Security, LLC
USA J. Paul Getty Trust 457 Minna Street John Castle
jfrago@exploratorium.edu 1200 Getty Center Drive San Francisco, CA Winterthur Museum, Garden
Los Angeles, CA 94103 and Library
Roger Fricke 90049 USA Building 37
Matt Construction Corporation USA nwelin@cypress-security.com Winterthur, DE
9814 Norwalk Boulevard gmckean@getty.edu 19735
Suite 100 USA
Santa Fe Springs, CA Randy Murphy CONNECTICUT jcastle@winterthur.org
90670 Museum of Contemporary Art
USA — Los Angeles Jose Branco Michael Downs
rfricke@mattconstruction.com 250 S. Grand Ave. Yale University Art Gallery Hagley Museum & Library
Los Angeles, CA P.O. Box 208271 P.O. Box 3630
Oren Gray 90012 New Haven, CT Wilmington, DE
J. Paul Getty Trust USA 06520-8271 19807-0630
1200 Getty Center Drive rmurphy@moca.org USA USA
Suite 100V jose.branco@yale.edu 27299@udel.edu
Los Angeles, CA Ann Roche
90049-2600 Rutherford & Chekene Ernest Conrad
USA 55 Second Street suite 600 Landmark Facilities Group, Inc. DISTRICT OF COLUMBIA
ogray@getty.edu San Francisco, CA 252 East Avenue
94105 Norwalk, CT Dan Davies
Jim Hartman USA 06855 Smithsonian Institution
Fine Arts Museum of aroche@ruthchek.com USA General Services Building –
San Francisco econrad@lfginc.com Level 2 MRC 5512
Golden Gate Park Michael Rogers 3001 Connecticut Avenue NW
50 Hagiwara Tea Garden Drive J. Paul Getty Trust George Conte Washington, D.C.
San Francisco, CA 1200 Getty Center Drive Yale Center for British Art 20013-7012
94118-4501 Suite 100 P.O. Box 208280 USA
USA Los Angeles, CA New Haven, CT ddavies@si.edu
jhartman@famsf.org 90049-1678 06520-8280
USA USA Richard Day
mrogers@getty.edu george.conte@yale.edu Smithsonian Institution
10th and Constitution Ave NW
Washington, D.C.
20056
USA
dayr@si.edu
20

21. IAMFA Members Directory 2007
Jim Duda Kurt Sisson ILLINOIS IOWA
The Library of Congress National Gallery of Art —
101 Independence Ave., S.E. Washington Thomas Barnes Ed Mahlstadt
Washington, D.C. 6th & Constitution Art Institute of Chicago Des Moines Art Center
20540-9420 Washington, D.C. 111 South Michigan Avenue 4700 Grand Avenue
USA 20565 Chicago, IL Des Moines, IA
JDUDA@LOC.GOV USA 60603 50312
k-sisson@nga.gov USA USA
Wayne Field tbarnes@artic.edu emahlstadt@
Smithsonian Institution Larry Stuebing desmoinesartcenter.org
4720 Opp-Metro Support Smithsonian Institution Bill Caddick
Branch PO Box 37012 MRC 908 Art Institute of Chicago
Washington, D.C. 7509th Street NW Suite 5200 111 South Michigan Avenue MARYLAND
20560-0908 Washington, D.C. Chicago, IL
USA 20013-7012 60603 Alan Dirican
fieldwa@opp.si.edu USA USA Baltimore Museum of Art
stuebla@si.edu wcaddick@artic.edu 10 Art Museum Drive
Jon Gibbons Baltimore, MD
Office of Facilities Engineering Charles Ingles 21218-3898
& Operations FLORIDA Advantage Operations USA
Smithsonian Institution 111 South Michigan Avenue adirican@artbma.org
750 8th Street Bob Evans Chicago, IL
Washington, D.C. 1101 River Reach Drive 60603-6110 Maurice Evans
20560 Apt 405 USA Smithsonian Institution
USA Fort Lauderdale, FL chuck_ingles@msn.com 4210 Silver Hill Road
gibbonsj@si.edu 33315 Suitland, MD
USA Patrick Jones 20746
Neal Graham evansro48@gmail.com Art Institute of Chicago USA
The Library of Congress 111 South Michigan Avenue evansma@si.edu
101 Independence Ave., S.E. Vincent Magorrian Chicago, IL
Room LM-225 306 Lexingdale Driev 60603 Jeffrey Greene
Washington, D.C. Orlando, FL USA Banneker Douglas Museum
20540-9420 32828 pjones@artic.edu 84 Franklin St.
USA USA Annapolis, MD
NGRA@LOC.GOV pets375@aol.com Anthony McGuire 21401
McGuire Engineers USA
Larry Grauberger 300 S. Riverside Plaza jgreene@mdp.state.md.us
Smithsonian Institution Chicago, IL
GEORGIA
Office of Facilities 60606 Richard Kowalczyk
Management and Reliability Sean Flynn USA Paul E. Garber Facility
900 Jefferson Dr. SW Linc Facility Services tony@mcguireng.com 3904 Old Silver Hill Road
PO Box 37012 (MRC 412) 4394 Millwater Crossing Building 10
Washington, D.C. Douglasville, GA Don Meckley Suitland, MD
20013-7012 30135 Museum of Contemporary Art 20746
USA USA — Chicago USA
graubergerl@si.edu sean.flynn@lincfs.com 220 E. Chicago Ave. kowalczykr@si.edu
Chicago, IL
Ron Hawkins Kevin Streiter 60611 John Standish
Smithsonian Institution High Museum of Art USA Smithsonian Institution
12th & Independence SW 1280 Peachtree NE dmeckley@mcachicago.org 26833 North Sandgates Road
Washington, D.C. Atlanta, GA Mechanicsville, MD
20024 30309 Jennifer Christakes 20659
USA USA Museum of Science and USA
rhawkins@qfac.si.edu kevin.streiter@ Industry standishj@si.edu
woodruffcenter.org 57th Street & South Lake
Fletcher Johnston Shore Drive
Hirshhorn Museum & Chicago, IL
Sculpture Garden 60637
Independence Ave at 7th St. SW
HAWAII USA
Washington, D.C. Robert White Jennifer.Christakes@
20560 Honolulu Academy of Arts msichicago.org
USA 900 South Beretania Street
fletchj@hmsg.si.edu Honolulu, HI
96814
USA
rwhite@honoluluacademy.org
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