Even as the Smithsonian Institution’s National Air and SpaceMuseum (NASM) staff were moving aircraft and spacecraftinto the facility on the Mall in Washington, D.C. for its 1976opening, they recognized that this grand three-block-longfacility would not be large enough. For more than twodecades, the Museum has been dreaming of a second facility,with access to a runway. This dream is now coming true,with the construction of the Steven F. Udvar-Hazy Center atWashington Dulles International Airport in northern Virginia.

Designed by Hellmuth, Obata + Kassabaum (HOK), theCenter will provide 760,000 square feet of environmentally-controlled space in which the Museum can protect some80 per cent of the National Collection, which is not routinelyenjoyed by the public. More than 200 aircraft and more than100 spacecraft, as well as thousands of smaller artifacts, willbe on display. The complex includes a huge aviation hangar,nearly 1,000 feet long, 250 feet wide, and more than 100 feettall. Its arched roof will provide height enough to hangaircraft at two levels, in addition to those on the concrete

floor. Some key aircraft destined for Dulles include an SR-71 reconnaissance aircraft; the Boeing B-29 Enola Gay,which dropped the atomic bomb on Hiroshima; the proto-type Boeing 707 airliner; a B-17; a B-25; an F-4 and a C-130which saw service in Vietnam; aerobatic aircraft; businessjets, and general aviation classics. The space hangar wasdesigned to preserve the Space Shuttle Enterprise, the firstorbiter off the assembly line.

Aircraft restoration will be performed in full view of thepublic. Visitors will be able to keep track of airport arrivalsand departures from an observation tower, and they canwatch the latest large-format films at the IMAX® theatre.Researchers and modelers will use the archives as theysearch blueprints, technical records, and photo collections.Classrooms will provide educators and students with formallearning opportunities.

Congress approved the design of this project in 1993,along with $8 million for design. Three years later, law-makers told the Institution that they could proceed with

PAPYRUSVOLUME 3 SPRINGNUMBER 2 2002

continued on page 2

The National Air and Space Museum Goes to Dulleswith its Second Facilityby Lin Ezell

INSIDE

Letter from the President . . 5

Regional Chapters . . . . . . 6

Security Challenges . . . . . 8

Preserving the Australian War Memorial . . . . . . . . 10

New Members . . . . . . . . 12

Developing Your Evacuation Plan . . . . . . . 14

From the Editor’s Desk . . . 18

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

Large aircraft, like the Enola Gay B-29 bomber (right foreground), will fit easily in theaviation hangar, where some 200 aircraft will be displayed.

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construction, but that no federal dollarswould be used to do so. Air and SpaceMuseum fundraisers thus began themonumental task of seeking supportto build “America’s Hangar”.

The Museum broke ground on thesite during the spring of 2000. Dividedinto four distinct phases of work, thisimportant infrastructure work is beinggenerously funded and managed by theVirginia Department of Transportation.Hensel Phelps Construction Co. (HPCC),the general contractor selected by theSmithsonian to build the Center, arrivedon the site in the spring of 2001. With avery mild winter in its favour, the con-struction team was able to get aheadof schedule towards an opening date ofDecember 2003 — the 100th anniver-sary of the first powered flight by theWright brothers.

The building was designed so thatit could be undertaken in phases if allfunds were not available at the outset.Smithsonian officials first let a $125.7-

million base-building contract thatincluded the public amenities wing(theatre, tower, classrooms, food ser-vice, museum shop, and back-of-housesupport spaces) and the aviation hangar.In March 2002, the Institution exer-cised its option for the space hangarfor $8 million. Still to be funded arethe restoration hangar, collectionsprocessing and archives unit, and adense-storage collections wing. It isthe Museum’s intent that the entirecomplex will be built without a breakin progress, and fundraising effortsare in high gear to realize the balance.

The Museum was an integral partof the planning and design process.Museum staff knew, better than anyone,the needs of the collections intendedfor the new Center. They knew theloads the floor would need to bear,the doors that would work best, thesecurity enhancements required bythe profession, the temperature andhumidity levels needed to conserve

this showcase of American accomp-lishments. Museum staff also fullyunderstood the shortcomings of theexisting building, and planned for thespecial events business which will helppay the bills at the new facility bybuilding in catering kitchens through-out, and specialty storage spaces atthe loading dock. Security and infor-mation technology staff worked withHOK and HPCC to ensure that the ITbackbone could support technologicalupgrades of the future. Building man-agers and engineers are also an integralpart of the team, looking ahead to com-missioning and efficient maintenanceand operations. A small planning-designcore team at the NASM has grown toinclude virtually all departments, asthe NASM moves to a “one museum/two locations” mode of operations.

Throughout the design — and nowduring construction — the Museum hasdedicated one full-time person to workalongside the Institution’s Office ofFacilities Engineering and Operationsteam. This ensures that the “customer”is always represented, along with theplanning, design, and constructionmanagers. That intense participation isat the top of a growing list of lessonsthat project coordinator Lin Ezell sharedwith the IAMFA at its annual conferencein December 2001. A few months later,she expanded that presentation withcolleagues in Ottawa. For a copy ofthe latest lessons list, e-mail her atlin.ezell@nasm.si.edu. Here are acouple favourites:

• Architect Selection. When mostof us think of selecting an architect,we think in terms of design. We’reattracted to designs on paper orexisting buildings that are similarin purpose, scale and ambienceto what we have in mind for ourproject. There are at least two otheraspects of architect selection thatare equally important. The first isthe architect’s willingness to learnand willingness to teach. The archi-tect must learn the unique vocabulary

The 760,000-square-foot Udvar-Hazy Center is being built on the northern half of a 176-acresite four miles south of the terminals at Dulles International Airport. The large central utilityplant can be seen at the lower left. The 1,000-foot-long aviation hangar, in the centre of thephoto, is being built from north to south. The theatre and tower steel can be seen along theright, and is also being worked from north to south.

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of the museum world, and must cometo truly understand your needs. Inreturn, they have to teach you abouta whole new world, with the resultthat your knowledge expands aswell. The second factor in architectselection is the architect’s ability tomanage a large, complex project. Ifthe firm can’t account for the manysubcontractors who will be calledinto the job, can’t keep deadlines,and doesn’t follow through ondetails, even the best conceptdesign won’t become a reality.

• Contingency Planning. Don’twait until your best-laid plans aredashed — or your boss or boardquestion your final design and itscost estimate — to formally plancontingencies. Contingencies couldinclude phasing the project in, scalingit down, or postponing construc-tion. Work with your architectto translate contingencies intodocumentation which reflectsthese alternatives and provides costestimates for the different scenarios.Using this strategy, at any point dur-ing the design phase, the drawingsand specs will reflect your completebuild-out, but will also give youbackup room if you need it, withoutyour having to pay the architect torethink and redraw all the constructiondocuments.

• No Rest for the Owner. Just becauseyou’ve lived with the planning anddesign effort for years, don’t thinkyou, as the building’s “owner” cannow sit back and enjoy watching itbe built. Stay involved every day!Even with the best constructiondrawings in the world, the ownerneeds to, and remain enthusiasticallyinvolved in the construction process.Material samples that may havepassed muster five years ago mayno longer be available; you needto approve the substitute. Or saythat the museum’s new managerof revenue-generation has a greatscheme for running an outdoor café,

which is going to require a majorreworking of the civil drawings,new utility requirements, new side-walks — can you do it without ithaving an impact on your openingday? The ABC Company just intro-duced a better trash-storage system— can you make the substitutewithin the space designed at theloading dock? Shop drawings bringto light a roof decking hanger thatis unsightly — what would be moreacceptable? And the list goes on.Assign a single point of contactto work with the constructionteam — an individual who has theauthority to bring resolution to thesekind of issues. Your representativeshould be intimately familiar with thedesign, and know who to go to onthe museum’s staff to get feedback.

The Steven F. Udvar-Hazy Center’sgreat size is its most important asset— and its greatest challenge. For amuseum, stable temperature andhumidity levels are required, but itwill be difficult to maintain a stableenvironment in the arched aviationhangar. And the energy to keep itstable will be expensive. To keepcosts reasonable, the plant will featurea 770-ton ice-storage system, whichwill operate at night to supplementthe three chillers, for a total capacityof 2,700 tons. The Smithsonian tookspecial care in the design of themechanical, electrical, and plumbingsystems. A large utilities trench takeschilled and hot water, domestic coldwater, and sprinkler system waterfrom the central utility plant on the west

Steel figures promi-nently in the Center’sconstruction. ADFInternational is thefabricator, workingas a subcontractor toHPCC. Trusses for theaviation hangar arefabricated in threesections, each sectionbeing lifted by craneto its position in thehangar. The two 58-foot-long sidesections each weigh35 tons. The 228-foot-long centre sectionsweigh 70 tons each.

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HOK designed theUdvar-Hazy Centerto be at home in anairport environment.

4

side of the complex, across the aviationhangar to the east wing. Electrical anddata lines will run on a regular gridacross the aviation and space hangarfloors in Walker ducts underneathconcrete slabs. A number of pre-sets(58) will be available, precisely locatedin areas of the hangars where theMuseum expects to mount “exhibitstations.” Future sites will be providedby core-drilling into the ducts.

Customer involvement from con-ception through move-in and start-upwill ensure the National Air and SpaceMuseum delivery of the building itneeds in order to preserve the NationalCollection of air and space artifacts inperpetuity, and to share them with thepublic. Mark your calendars now, andplan to join the expected 3.5 to 4 mil-lion visitors that will come to the StevenF. Udvar-Hazy Center each year.

Lin EzellProject ManagerSteven F. Udvar-Hazy Center

Lin Ezell is Project Coordinator forthe National Air and Space Museum’s(NASM) new Steven F. Udvar-HazyCenter. Prior to her appointment asteam leader, she was Assistant Directorfor Collections Management at theNASM, directing the activities of theMuseum’s Paul Garber Preservation,Restoration, and Storage Facility inMaryland from 1986 until 1996. Shewas also a curator, and later actingchair, for the Museum’s Space Scienceand Exploration Department. From1974 to 1984, she worked as a historianfor the National Aeronautics and SpaceAdministration (NASA), co-authoringhistories of the Apollo-Soyuz Test Projectand the Viking Mars landing pro-gramme. A native of Illinois, Lin Ezellis a faculty member in the historicpreservation certificate programmeat the Loudoun County campus ofNorthern Virginia Community College,and is the author of Out of Harm’sWay: Moving America’s Lighthouse,published in April 2001.

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THE LONDON 2002 CONFERENCESeptember 22–25, 2002

INTERNATIONAL ASSOCIATION OF MUSEUM FACILITYADMINISTRATORS

M YES! Sign me up to attend the 2002 IAMFA Annual Conference inLondon, England.

Name: ___________________________________________________________________________

Title: ____________________________________________________________________________

Institution:_______________________________________________________________________

Address: _________________________________________________________________________

City: _________________________________________ Postal/Zip Code: _________________

State/Province/County: ______________________ Country: _________________________

Phone: ________________________________ Fax: ____________________________________

E-mail: __________________________________________________________________________

Special dietary requirements:____________________________________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M Member Fee: $350

M Non-member conference fee: $400

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

M Guest Programme: $250 Guest Name: _________________________________

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

Please remit to: International Association of Museum Facility Administratorsc/o Karen PlouviezThe British Museum96 Euston Road London, NW1 2DBUnited KingdomI require an invoice: M Yes M No

SUGGESTED ACCOMMODATIONA limited number of twin/double rooms has been reserved in two high-gradehotels (the Thistle Piccadilly and the Thistle Trafalgar) in the heart of London,within easy walking distance of the three conference venues. The hotelshave recently been refurbished to high standards, and all rooms are air-conditioned. A special rate of £150 per night has been negotiated for IAMFAdelegates for the period of September 21–28, 2002. The rooms have alreadybeen reserved, and delegates must confirm their rooms by contacting thehotels directly. Please ask for “in-house reservations” and quote bookingreference “TRAF 02”. In order to avoid disappointment, please note thatrooms should be reserved as soon as possible.

Thistle Trafalgar + 44 (0) 20 7930 4477 Thistle Piccadilly + 44 (0) 20 7930 4033

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

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As we gradually work our way throughthe year, and spring begins to push backthe wind and rain of a British winter, Ifeel I can now look forward to the yearahead. As has probably been the casefor everyone, at the National Gallerywe noticed a downturn in visitorsafter last September, but are graduallypicking up again and feel confidencereturning. Easter was very busy, andwe are looking forward optimisticallyto our busy summer season.

We are very involved at the Gallerywith a major project due to go out totender in July 2002, with work on thesite to begin in October. That means Ishould just about be able to squeeze inthe London conference before we startto demolish the building. We are tryingto ensure that we cover all the bases,and have already begun a programmeof decants to clear the space for theworks. We even have an archaeologicaldig planned for the summer, after initialboreholes revealed the possibility ofAnglo-Saxon activity on the site of ournew plant room. We are also settingup the usual array of tests to setbackground levels for dust, noiseand vibration, so that we can measurehow badly we are affecting the build-ing, the collection, and staff living andworking close to the construction work.

I am looking forward to the Londonconference with mixed emotions, It isthe 12th meeting of the organizationand the second in the United Kingdom.I hope the next meeting in Europe willbe on the Continent, and that we willbe able to widen our net even further.The London Conference will certainlybe worth the trip — Karen Plouviezhas set up the venues, and a numberof first-class speakers have already

agreed to present. The spouse pro-gramme is also looking good, althoughI am sure the whole family will findsomething to do in London without toomuch prompting from the organizers.My regret is that I will be standing downfrom the Board, and will no longerbe at the centre of activities withinthe organization. It will, however, benice to turn up at the 2003 conferencewithout worrying about attendance,organization or finances!

The turnover of the Board is healthy,ensuring a flow of new ideas and rein-vigorating our activities. As always,however, the process can only moveforward if we have volunteers for thevacant posts. Please contact myself orMarla Chanin-Tobar if you feel youwould like to get involved at Boardor committee level.

In the meantime, I have to thankPierre Lepage for the last edition ofPapyrus. It was full of quality andinterest, and I once again make a pleaon his behalf for articles and stories forfuture issues. Ian Follett of FacilitiesManagement has embarked on thesecond year of benchmarking, and Ihope that those who participated lastyear will sign up again, and that manymore of you will take this opportunity tolearn from your peers in the museumscommunity across the world. We intendto run a benchmarking workshop inLondon, and this will once again giveyou the opportunity to discuss ideaswith friends and colleagues.

Members of the Board met in theNetherlands in April, and took thisopportunity to meet with colleagues inAmsterdam, where the Rijksmuseumagreed to host our meeting. We hopethat this contact will encourage newfriends to make the trip to London inSeptember. In my next letter, I willreport on the meeting in greater detail,and will hopefully be able to outlineConference 2003 in San Francisco,where Jo Brennan and Terry Zukoskiare already beginning to gather together

the network necessary to pull off asuccessful meeting. I must admit tolooking forward to some sun on theWest Coast and I know that it will bea popular venue.

I hope all goes well for you over thesummer, and look forward to seeingyou again in September in London.

Peter FotheringhamNational Gallery, LondonApril 2002

Letter from the President

IAMFAPresident,PeterFotheringham

IAMFA Board ofDirectors

PresidentPeter FotheringhamThe National GalleryLondon, Englandpeter.fotheringham@ng-org.uk

V.P., AdministrationMarla Chanin-TobarMeridian International CenterWashington, D.C., U.S.A.mctobar@meridian.org

V.P., Regional AffairsCarole BeauvaisNational Archives of Canada andNational Library of CanadaOttawa, Canadacbeauvais@archives.ca

TreasurerWilliam CaddickArt Institute of ChicagoChicago, U.S.A.wcaddick@artic.edu

Secretary and Papyrus EditorPierre LepageCanadian Museum of Civilization andCanadian War MuseumHull, Canadapierre.lepage@civilization.ca

Chairman — Conference 2002Karen PlouviezThe British LibraryLondon, Englandkaren.plouviez@bl.uk

Chairman — Conference 2003Joe BrennanSan Francisco Museum of Modern ArtSan Francisco, U.S.A.jbrennan@sfmoma.org

For additional contact information,please visit our website at

www.iamfa.org

6

Welkom to Amsterdam . . . the capitalof inspiration. Yes, yes, I am writingto you from Amsterdam following themid-year Board meeting and a future-chapter creation meeting. I am sittingall by myself at a small table at one ofthe city’s many relaxing cafés by thecanals — not the type of café whereyou get to inhale some type of “aro-matic herb” and feel ????, if you knowwhat I mean, but a respectable littleplace where I can travel back downmemory lane and tell you all aboutour IAMFA business in Amsterdam.

Did you know that this city housessome of the world’s most beautiful workof art, has more canals than Venice,more bridges than Paris, and show-cases imposing seventeenth-centurycanal houses — most of which areclassified as historical monuments?Amsterdam is truly a city of cultureand . . . of museums and interestingsights. And this is what brought us tothe Netherlands, with the hope thatwe could introduce our Associationto our colleague facilities managershere, and perhaps start a new RegionalChapter in the Netherlands.

Unfortunately, our one member inAmsterdam from the Rijksmuseum, whowas organizing the event for us, had leftthe museum a few weeks ago, and wedid not have the turnout we expectedfor the event. However, the personacting as the Facilities Manager for thenext few months, Mr. Jan W. Abrahamse,and his colleague Mrs. Antine Van derLeest, organized a very interesting andworthwhile event for us.

My Holland adventure began on acold, windy and grey Friday morningin mid-April, as I tried to find my wayby tram to the Museumplein (an urbansquare in which Amsterdam’s majormuseums are located). Shivering (Ishould have brought a pair of gloves,a hat and my winter coat) and tiredfrom jet lag, I breathed a sigh of reliefwhen I finally found my fellow IAMFABoard members at one of the manyentrances to the impressive Rijks-museum (National Museum), built in1885. There, we were warmly greetedby interim Facilities Manager, JanAbrahamse, and by some of his staffmembers, and we all went to a meetingroom where we were introduced to a

colleague from the Van Gogh Museum:Mr. Jan Kruls (yes another Jan — it isa popular name in the Netherlands),Project leader and also acting as interimFacilities Manager. We then proceededwith discussions about the IAMFA andhow the Association could providevaluable expertise and networking tothem. We followed with a behind-the-scenes tour of the Museum. Whenwe passed by the galleries, I got aquick glance at beautiful paintingsby renowned Old Masters from theNetherlands and elsewhere —Rembrandt, Vermeer . . . I told myselfthat I absolutely had to come back laterto visit the entire museum. Followingour tour, we said our goodbyes andoffered many thanks to Jan and staff,then continued the day with a visit tothe Van Gogh Museum, located withinwalking distance of the Rijksmuseum.Ah! It was sunny outside . . . As wewalked towards the Van Gogh Museumon the museum square, I was ableto appreciate the architecture of thesurrounding historical buildings. TheVan Gogh Museum, which openedin 1973, is one of the most prominentmuseums devoted to a single artist —in this case, Vincent Van Gogh. There,Jan (the other Jan) courteously gaveus another behind-the-scenes tour,and we spent some time discussingtemperature-control issues with theoperational staff. We ended the daywith a visit to the galleries, alongwith many goodbyes and promisesof meeting at the September 2002conference in London.

It is too early to say if we will have anew Regional Chapter in Amsterdam asa result of our meeting. There is how-ever, great potential for a Chapter in thearea, which would bring together theRijksmuseum, the Van Gogh Museum,the Stedelijk Museum of Modern Art,the Amsterdam Historic Museum,the Anne Frank House Museum, theMaritime Museum, to name but afew — and perhaps even a number

Regional Chapters — Because I Got High . . .

IAMFA Board of Directors Meeting in Amsterdam. Pictured, from left to right:Peter Fotheringham, Karen Plouviez, Carole Beauvais, Jan Kruls, Jan Abrahamse,Antine Van der Leest, Pierre Lepage and Bill Caddick.

7

of museums from The Hague, a nearbycity. More work is certainly neededto reach out to the other facilitiesmanagers in those two cities. I amconfident that in time, the IAMFA willbe established in the Netherlands.

I will keep vivid memories of myvisit to the Rijksmuseum, the Van GoghMuseum, and of Amsterdam. The twoJans were very amicable, and I wouldlike to thank them for arranging visits totheir respective museums, and to invitethem to pursue the work of reachingtheir colleagues in Amsterdam andThe Hague. A special thank you, as

well, to Antine Van der Leest formaking the meeting possible at theRijksmuseum.

Despite the fact that I was cold,almost killed by a bicycle (@*!#@*!!),and at times got completely lost inthe city, I had a great time, met newIAMFA colleagues, learned new thingsand savoured very good coffee andapple pie (koffie and appeltaart). I loveAmsterdam because I got high . . . onculture and art.

Carole BeauvaisVice-President, Regional Affairs

Chairpersons of Regional Chapters

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

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

Ottawa-Hull, CanadaToby GreenbaumPublic Works & Government Services

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

London, EnglandKaren Plouviez The British Library

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

Coordinators of Future Chapters

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

Bilbao, SpainRogelio DiezGuggenheim Museum

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

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

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

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

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

Sydney, AustraliaBob ScottThe Powerhouse Museum

Amsterdam, The NetherlandsJan AbrahamseThe Rijksmuseum

The Rijksmuseum

View of the Van GoghMuseum from the roof of the Rijksmuseum.

Canal in Amsterdam

8

Managing an effective security pro-gramme in our museums, galleries andsimilar facilities is, at the very least, asignificant challenge. Conditions changeon an ongoing basis, and we mustremain capable of reacting quicklyand effectively.

Who can ever forget the events ofSeptember 11, 2001? That day’s horrificevents changed our world dramatically,and created new challenges for thoseof us in the security field. It has raisednew questions as well resurrecting someolder ones: What steps should we take?How much should we spend? Shouldwe use technology, manpower, or both?And so forth.

There is certainly no one right answerfor these and other questions. Thereare, however, a number of helpfulsteps we can take, regardless of wherewe are, or the challenges we face.

Threat Risk Assessment —The Detailed Security AuditThis is the single most important stepto be taken. In order to develop aneffective security programme or strat-egy, you need to understand the risks.These assessments and audits shouldbe carried out on a regular basis, andshould include a test of the variouselements in your security programme.They can be performed internally by aqualified resource, or outsourced to aqualified consultant. In either case, theresultant report will provide valuableinformation, which may be of assistancein obtaining funding for changes thatmay be required. At a minimum, thereport should identify all potential riskfactors, while also making recommenda-tions on dealing with the identified risks.

Once a programme is in place, itshould be reviewed annually — or moreoften if circumstances dictate. The

programme should also be visibly sup-ported by the most senior managementif it is to be effective.

Use of TechnologyThis is one area which can be thedownfall of any effective securityprogramme. Excellent technologyexists in the area of intrusion detection,closed-circuit video surveillance, andaccess control. Since these are all big-ticket items, those with responsibilityfor security should remain involvedthroughout the procurement process.Bad decision-making in this area canrender your programme ineffectiveand the fix is usually very expensive.

Beta versions and proprietary sys-tems should be avoided unless thereis no choice. Many good supplierswith excellent, proven and market-tested products exist. You should alsoask to see the proposed products oper-ating in a setting similar to yours. Talkto the end user to get their experiencewith the product.

Pre-qualify a number of suppliersto ensure that they can, in fact, meetyour needs in terms of product andservice, including after-sales service.This will give you a degree of comfortwhen making a final selection. Ask eachproponent to make a presentation anddemonstrate the products and servicethey are offering. Seek out currentand, in particular, past clients and askthem about their experiences with thissupplier. If they did not continue withthis supplier, why not?

Determine what other value orservice each supplier offers. Considerservices such as professional consulting,investigative services, cash handling,central station monitoring. Are theseservices provided by the supplier’semployees or contracted out?

Don’t expect what you don’tinspect!

Security PersonnelThis is another area which requiressound decision-making. Questionsyou will need to ask include:

• Should I hire in-house security staff?

• Should I use contract staff?

• Should I consider a combinationof both?

• How do I select a suitable vendor?

The answers to these questionsare difficult, and a single approach toeach and every situation is not possible.Again, your threat risk assessment canand should provide some guidance inthis area.

In most cases, a combination of in-house and contract staff is a viableoption. In-house staff can providean important interface between yourinstitution and the contract supplier,and ensure that you’re getting theservices you’ve contracted.

In a number of areas, contractcompanies are being asked to staffpositions usually filled by in-house staff.In these cases, it is vitally important tobe involved in the selection process.Provide the contract agency with adetailed profile of the person youare looking for, and ask to interviewa number of potential candidates.In addition, you might want to havecontract staff carry out regular safetyand security audits and review theresults with facility management.

In selecting a suitable supplier, pre-qualify potential suppliers. For example:

• Ask for proof of financial viability.

• Ask for a list of past and presentcontracts similar to yours, andspeak with them.

The Security Challenge Keeping Museums and Similar

Facilities Secure in Challenging Timesby Bill McQuirter

9

• Ask for résumés for those peoplewho will ensure the successfuldelivery of the services beingrequested.

• Determine what technology theybring to the table and at what cost.This is an important issue, as it canbe an indication of a company’scommitment to the industry, andto you as a client. Examples ofthis type of technolgy include: tourconfirmation systems, computerizedbooking system, security incidentreporting system, etc.

• Consider using a price-point systemto determine the successful supplier.Your rating system can include areassuch as: their time in business, qual-ity programme, business references,financial viability, assessment of thepotential suppliers’ description ofhow they intend to meet your needs,résumés of suppliers’ managementteams, etc. You can determine aminimum number of points whichyou consider necessary, and dividethe total points achieved into the costsubmitted for comparison purposes.

• Where and when possible, specifythe pay rates for all of the contractstaff being supplied, and reservethe right to audit pay records.

• Consider setting targets for turnover.This area is critically important, asthere is a proven direct relationshipbetween wages and retention.

• Ask to see the company qualityprogramme, and meet the peoplewho administer it.

• Have each of the shortlisted propo-nents make a presentation basedon their proposal, and ask that thosepeople who will be directly involvedin providing the service be involvedin the presentation.

• Visit the supplier’s facilities andspeak with a number of employees.

• Ask for details of any training pro-gramme and ask to see any manuals,videos, etc. Consider sitting in on atraining session.

• Is the training a recognized pro-gramme — i.e., InternationalFoundation of Protection Officers,American Society for IndustrialSecurity, Community Colleges, etc?

• Does the supplier pay benefits orhave an incentive programme forits employees? If so, obtain a copyand verify.

The ContractWhile it is impossible to create a singlecontract for each and every facility orlocation, based on my backgroundas a supplier, user, and as a currentsupplier, there are a few things thatcan significantly improve your chancesof success.

• Pre-qualify your potential supplier.

• Look for a supplier interested inpartnering.

• Consider a long-term agreement toencourage the partner to make thenecessary investments in peopleand equipment.

• Set minimum pay rates for allcontract staff.

• Clearly outline your trainingrequirements.

• Provide clear and concise expec-tations, and insist on delivery inaccordance with those expectations.

• Provide clear and concise “PostOrders” and review and revisethese at least annually.

• Accept pricing which is realistic,and which allows your supplierto make a reasonable return.

• Consider a mutual cancellationclause for pre-determined reasons.

• Insist on regular contact with yourcontractor’s senior management.

• Set up Continuous ImprovementTeams involving the contractor’sstaff on a regular basis.

Bill McQuirter has more than 30 years’experience in law enforcement andsecurity. He is currently NationalCapital District Manager for SecuritasCanada Limited. Since the late 1980s,Securitas — which numbers more than220,000 employees in Europe andNorth America — has worked towardsmaking the security industry moreprofessional and specialized, and hashelped spearhead an evolution in theindustry, including better rules andregulations and higher standards forethics, training and wages. In theNational Capital Region, the companydelivers security services to the NationalGallery, the Canada Museum of Scienceand Technology, the Canada AviationMuseum, the Canada AgriculturalMuseum and the Canadian Museumof Civilization. Bill is also an activemember of both CSIS and ASIS, and isa member of the Advisory Group for alocal Community College SecurityManagement programme.

10

Many a man lying out there atPozieres or in the low scrub atGallipoli, with his poor tired sensesbarely working through the feverof his brain, has thought in his lastmoments: “Well – well – it’s over;but in Australia they will be proudof this.”

— Charles Bean

The above quotation from Australianofficial war correspondent Charles Beanunderlies his inspiration in 1915 forthe establishment of an Australian WarMemorial to ensure that the war serviceof Australians would be well remem-bered, and that all could be proud oftheir sacrifice. Australians have foughtoverseas in many theatres of war,including South Africa, North Africa,France, New Guinea, Korea andVietnam. It is, however, the landingat Gallipoli, Turkey on April 25,1915that is indelibly etched in the Australianpsyche as a day to honour those whoserved. This is the Australian nationalholiday known as ANZAC Day.

Following the First World War,Charles Bean lobbied for the realiza-tion of his dream of an Australian WarMemorial to house the many thousandsof relics that had been collected underhis supervision during the First WorldWar. His dream was realized whenthe Australian War Memorial officiallyopened on November 11, 1941. Build-ing had commenced in February 1934,and was completed through the difficultyears of the Great Depression. Thisresulted in the use of some substandardmaterials and workmanship, whichwould leave a challenging legacy forfacilities managers to deal with overthe ensuing fifty or more years.

The original building was constructedwith some 6,265 square metres of exhi-bition space, and was to house onlyrelics of the First World War. However,

with construction not completed until1941 — when the Second World Warwas already well underway — spacewas always going to be inadequate.The original building was extendedin 1973, with the addition of an extra1,772 square metres, providing a total8,037 square metres of exhibition spacein the national heritage-listed Memorialbuilding. The Memorial is now Australia’sleading tourist attraction, and welcomesapproximately one million onsitevisitors each year.

Given that the Memorial’s exhibitionspaces house precious relics of war —ranging from large items such as air-craft, to small personal items such asletters and handkerchiefs — condi-tions within the building are extremelyimportant. Museum standards for pre-serving cultural material need to bethoroughly implemented: temperatureand relative humidity are major prob-lems which need to be addressed, alongwith protecting the collections from

physical damage, biological infestation,pollution and unwanted light.

The most significant building con-servation project completed in recentyears has been restoration of the Hallof Memory.

Hall of MemoryRefurbishment — Mosaic ConservationThe Memorial’s Hall of Memory isthe central commemorative area forthe nation, housing the Tomb of theUnknown Solider. As shown in thepicture, it is an imposing mosaic (thebiggest in the Southern Hemisphere)located under the dome of the Memorial,and contains some six million individualmosaic tiles (tesserae) and threemagnificent stained-glass windows.

In July 1998, a condition and con-servation report was compiled on thecondition of the Hall’s mosaics, follow-ing the dislodgement of tesserae over

Preservation Of A National Treasure: The Australian War Memorial

by Mark Dawes and Risden Knightley

The Hall of Memory

11

a period of time. The architecturalcompany Bligh Voller Neild, withhelp from International ConservationServices, compiled this report, whichformed the basis of the project work.The report revealed that major cracksin the substructure were causing tilesto detach. The cracks themselves werelargely the result of a lack of expan-sion joints in the original construction.Nature thus determined its own expan-sion needs, necessitating the currentreconstruction programme.

The tesserae range in thickness from3 mm to 6 mm, and from 10 mm to20 mm square in size. They are madefrom coloured glass blown in largecircular plates, then cut to size. Theglass colours in the mosaic numberabout 55, with a further two types ofgilded glass tesserae. Fortunately, staffhad accumulated loose tesserae as theyhad become dislodged over time, andsubstantial quantities of the 18 affectedcolours were kept from the originalfabrication of the mosaic in the 1950s.

It was clear from the beginningof the conservation work that therewould be some damage and losscaused to the tesserae that had to beremoved. This would necessitate thereplacement of individual tessera. Thisdamage was caused both by shiftingof the Memorial over the past 50 years,which had caused tiles to crack, aswell as to damage sustained duringthe cutting and removal of tiles duringconservation. The full range of coloursused in the original mosaic was notavailable from the collected tesserae,nor the collection held by the AWMconservation department. Accordingly,further replacement glass was found andordered from Angelo Orsoni of Murano,Venice — the original suppliers.

Mosaic Removal andReplacementThe concept for mosaic removal, devel-oped during exploratory work, involvedfacing-up a substantial section of themosaic which needed to be removed,followed by cutting away from behind.

Cutting away the mosaic from itsrender substrate was originally handledwith an undercutting machine, speciallydeveloped during the conservationtrial stage. This involved first cuttingalong grout lines with a fine Dremel®

tool grinding wheel, then undercuttingbehind. Although this proved effective,it also created considerable strain onthe tool’s bearings, causing motorsto burn out regularly. The diamond-tipped grinding wheels were thusattached to small angle-grinders, whichcut in at an angle behind one row oftesserae only, thus allowing that rowto be folded back (supported by thefacings), creating access to the nextrow. This process continued until thewhole section came free. The secondhalf of the dome, in which tesseraewere removed one at a time, used thesame procedure, except that — insteadof rows of tesserae being folded back— each tessera was removed as itwas freed.

The cutting of much-needed expan-sion joint lines in the relaid mosaic wasundertaken with a 4-inch diamond-tipped blade in an angle grinder. Ametal straight edge was used as a guide.Some chipping of the mosaic alongthe cutting line occurred during thisprocess. Where this was more than

4 mm in size, the chipped tesserawas cut out and replaced.

The facing was made of nylonfly wire attached with PVA glue. Theperceived advantage of this methodwas that the PVA glue dries clear, thusallowing the mosaic section and indi-vidual tesserae to be visible throughthe facing. The original mosaic sectionswere constructed on sheets of paper,approximately A4 in size, to whichthe grout was applied and the wholesection then offered up onto the render,to which grout had also been applied.It was expected that this process couldbe replicated in the reapplicationof the removed sections, once theexpansion joints had been created.

In reality, however, a different tech-nique was needed to insert a removedsection into the mosaic (as was hap-pening during the conservation work)from the laying of one section aboveanother, as happened in the originallaying. In addition, the original facingof paper attached with some form ofpaste glue came away more easily thanthe flywire attached with PVA. The PVAtended to soften progressively as aresult of contact with the water contentof the grout, and caused the replacedsection to slump. It was not, therefore,strong enough to support the mosaic

continued on page 12

12

in position during the setting of thegrout. Nor was the PVA bond weakenough for the facing to be easilyremoved while the grout was setting.

The entire first half of the dome,including the apse, was faced withflywire attached with PVA, whichmeant the above problems had to be

resolved during reapplication. In thedome in particular, the end result wasnot as uniformly smooth as had beenoriginally intended.

For the second half of the dome,the process was modified, in that eachindividual tessera was removed, cleanedof grout, and glued with PVA imme-diately to a paper carbon rubbingwhich had been made of the relevantsection of the mosaic. Although thisappeared to be more labour-intensive,as it involved the individual removalof each tessera, it saved considerabletime in the overall process. This wasbecause the cleaning of grout residueand preparation for relaying of eachsection of the PVA-adhered flywirerequired extensive off-site labourbefore the sections could be relaid.Both schemes, however, achieved theconservation aim of maintaining theoriginal pattern and juxtaposition ofeach tessera.

The entire surface of the mosaicwas cleaned following completion ofthe work on both sides. Cleaning wasundertaken with soft bristle brushesand Synperonic N, a non-ionic deter-gent. Where fly spots remained afterthis process, they were carefullyremoved with a razor blade.

Re-OpeningFollowing the extensive three-yearrestoration process, Her Majesty, QueenElizabeth II, officially reopened theHall of Memory in 1999. It now looksmagnificent – come and see!

Mark Dawes is one of three AssistantDirectors at the Australian WarMemorial, and is head of theCorporate Services Division.

Risden Knightley is the Manager ofBuildings Security and Services atthe Australian War Memorial.

The International Association of Museum Facility Administrators is pleased to welcomethe following new members:

Subscribing MembersIan Follett — Facility Management Services — Calgary, AB, CanadaJeffrey Ryan — Jackson and Ryan Architects — Houston, TX, U.S.A.

Regular MembersDavid Geldart — Museum of Fine Arts — Boston, MA, U.S.A.

Jim Hartman — Fine Arts Museum of San Francisco — San Francisco, CA, U.S.A.

Paul Huber — Advantage Operations — Chicago, IL, U.S.A.

James S. Labeck — Isabella Stewart Gardner Museum — Boston, MA, U.S.A.

Tom Peck — Colonial Williamsburgh Foundation — Williamsburgh, PA, U.S.A.

Richard J. Reinert — Affiliated Building Systems — Philadelphia, PA, U.S.A.

David Roth — Children Museum Inc. — Boston, MA, U.S.A.

Lynn Row — Ontario Science Centre — North York, ON, Canada

Brenda Sheridan — Long Beach Museum of Art — Long Beach, CA, U.S.A.

Debbie Towers — Morikami Museum & Japanese Gardens — Delray Beach, FL, U.S.A.

Associate MembersJeffrey H. Greene — Banneker-Douglas Museum — Baltimore, MD, U.S.A.Will Spencer — J. Paul Getty Museum — Los Angeles, CA, U.S.A.

New IAMFA Members

Australian War Memorial — continued from page 11

13

The undersigned institution wishes toparticipate in Museum Benchmarks 2002,Survey of Facility Management Practices,and agrees to:

• Provide complete and accurate datain a timely manner.

• Maintain the confidentiality of thesurvey questionnaire and survey data.

• Use the survey data for internalorganizational purposes only.

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

• Pay FACILITY MANAGEMENT SERVICESLTD $1,350 in U.S. funds to benchmarkone facility.

M If you require an invoice, please check.

PAYMENT IN FULL IS DUE UPONREGISTRATION.

Fee: $1,350 U.S. (due upon registration)

This year’s fee is consistent with the fees charged toover 90 organizations, involving 10 benchmarkingsurveys, in the last 7 years.

The fee includes:

• The Survey Report, which includes:

• Survey data

• charts of all data, listed under each organization’sname

• a Survey summary

• summary charts and graphs of industry averages,ratios and trends

• an executive summary

• a summary that provides comments and recom-mendations on key performance measurementsand practices in facility management

• A full-day workshop, including best practicesand networking

Key Dates

• February to April 19, 2002: Receipt of SurveyParticipation Agreement

• February to April 22, 2002: Distribution of SurveyQuestionnaire (upon receipt of ParticipationAgreement)

• June 14, 2002: Return of completed SurveyQuestionnaire

• August 30, 2002: Survey Report mailed to participatingorganizations

• September 22, 2002: Benchmarking and Best PracticesWorkshop in London, England

How Do I Sign On or Get More Information?Complete and return the Survey Participation Agreementon page 9, or contact Ian Follett at:

Tel.: 1 (403) 259-5964Fax: 1 (403) 255-7116E-mail: fmsltd@fmsltd.com

Museum Benchmarks 2002, Survey of Facility Management Practices

Institution Date

Signing Authority (please print) Title

Signature Telephone

Mailing Address

Fax E-Mail Address

Please fax the completed agreement to: Ian Follett, BAA, CFMPresidentFACILITY MANAGEMENT SERVICES LTDTel: 1 (403) 259-5964Fax: 1 (403) 255-7116E-mail: fmsltd@fmsltd.com

SURVEY PARTICIPATION AGREEMENT

14

We are all involved in emergency plan-ning in one way or another, and manyfacilities managers are responsible fordrafting these procedures for theirmuseums. Images of Windsor Castleduring and after the disastrous fireof 1992 are graphic reminders of thedevastation we may face if we dropour guard.

This article goes back to first prin-ciples, re-stating the basics of evacu-ation, to help remind us what we aretrying to achieve, what documentationmay be necessary, and what elsewe may need to tell staff within themuseum. The phases of emergencyresponse are often described asfollows:

• The Initial Response involvesthe protection of life, property andcollections, and the first decisionswill probably be taken by thoseonsite. Any threat to life will nor-mally lead to an evacuation of themuseum, or part of the museum,by staff prior to the arrival of emer-gency services, but it is importantthat the initial reaction is appropriateto the threat.

• Consolidation occurs with thearrival at the scene of emergencyservices personnel (police, fire andambulance services), who will takecharge of the site, set up perimetersand establish procedures and mea-sures following up on the initialresponse. The museum and otheragencies begin to play a role byproviding a variety of support,resources, and services on request.

• Recovery begins once the emer-gency has stabilized and emergencyservices have scaled back their oper-ations, with their eventual with-drawal from the scene. During thisphase, the museum will graduallytake on responsibility for organizingand implementing recovery mea-sures, in co-operation with the

emergency services. The buildingwill have been made structurallysafe, and salvage may be possible.

• Restoration of Normality occurswhen those seriously affected bythe emergency begin to receiveafter-care and welfare. Conservationwill begin on damaged artifacts; thebuilding will be restored to use, andservices normally available to thepublic will begin to be reinstated.These operations are principallythe responsibility of the museum,together with the organizationsit has selected to help throughpartnering or by contract.

An evacuation plan is likely tobe the most important element of theInitial Response, although it shouldbe noted that there are some situationsin which evacuation may not be appro-priate (gas attack or bomb threat fromoutside the museum, for example). Thedecision to evacuate or not is an assess-ment that must be made in the first fewmoments of any emergency, If imple-mented, however, the plan should:

• ensure that employees and others(visitors, contractors etc.) in the

museum at the time of an incidentare aware of the actions necessaryfor evacuation, or can be led tosafety, and

• ensure that the museum can besafely evacuated whatever the threat.The causes of an evacuation maybe varied, and the plan shouldbe based on local risk (the mostfrequent reason for evacuation inthe United Kingdom being fire).

Once agreed and adopted, theplan must be fully documented andpublicized so that all those who needto know what to do are aware of itsexistence and content. Copies shouldbe kept where it is available for allemployees to inspect at any time. Thisdocumentation usually takes the formof what may be termed the MuseumDisaster Manual. It will have an impacton everyone within the museum, andwill therefore form the basis of anyemergency-related training or instructionwhich the museum provides.

The degree to which the plan isdeveloped and managed is dependenton the size and nature of the museum.For small organizations, the formal

The Importance of Evacuation Plansby Peter Fotheringham and Peter J. Gyere

15

explanation and display of a standardfire action notice, at appropriate loca-tions, may be sufficient. However,for more complex buildings or orga-nizations, the plan will need to becomprehensive and specific. Where thebuilding under review is shared withother occupants, the evacuation planshould be developed in consultationwith all of those within the building.

Preparation of the plan should alsobe carried out in conjunction with thefire risk assessment for the museum,to ensure site-specific recommendations.There is no regulated method for settingout an evacuation plan; however, thefollowing points may be relevant tothe compilation of plans for a varietyof scenarios:

• Actions in the event of/discoveryof a threat: Details of actions willvary from museum to museum (e.g.,the extent to which staff becomeinvolved in first aid, firefighting, etc.);however, it is essential that the fun-damental evacuation procedure isunderstood and strongly reinforced.

• Fire warning: The method bywhich the occupants of a buildingare informed that there is a fire orincident may appear straightforward;however, buildings do not alwayshave a common sounding alarm.Sites in which noise is part of every-day operations may require lightsor a combination of lights andsounders etc. Whatever methodis used, it is essential that thefire warning signal is instantlyrecognizable to everyone onsite.

• Evacuation procedure andassembly point(s): Staff andcontractors should know the mosteffective route from their most likelylocation (e.g. work station/area)and, once clear of the building,the appropriate assembly point(s)around the building should bereadily identifiable. Visitors cannotbe expected to know the most directroute out of a large museum, andspecial provision is usually madefor staff to clear the public areas,

directing visitors to the nearest exists.Contractors working onsite shouldknow the quickest means of escapefrom the area in which they areworking.

• Firefighting equipment: Thelocation and use of the varioustypes of extinguisher should berecorded and staff instructed in theiruse and, if appropriate, when a blazeshould be tackled. It may be policynot to tackle a fire, and this shouldbe made clear to all staff.

• Specific employee duties: Identifyany procedures that must be carriedout before staff leave their workarea. This might involve turningoff machinery or power supplies,or directing visitors to safe exits.There should be nominated firemarshals throughout the museum,who will be responsible for seeingthat a given area is evacuated, andfor helping account for staff at theassembly point.

• At-risk occupants: Designate at-riskgroups and plan safe evacuationfor those with disabilities, membersof the public, contractors or thoseworking in remote or isolated areas.

• Procedures for high-risk areas:If there are any dangerous processes

being undertaken within laboratoriesor workshops, establish specificprocedures for “making safe” theprocesses before the museum isevacuated. In particular, conservationdepartments and workshops mayhave stores of chemicals or gascylinders.

• Summoning emergency services:This may fall under specific employeeduties, but it must be clear where theresponsibility lies. At the NationalGallery in London, this action isonly ever taken by trained securitycontrol room staff, in order to ensurethat the best possible information isrelayed to the emergency services.A member of staff discovering athreat simply telephones the SecurityControl Room.

• Liaison with emergency services:Nominate the staff responsible forpassing on local knowledge toemergency services, and ensurethat record information is availablefor consultation.

Complex museum buildings will findthe inclusion of architectural drawingsof the workplace a valuable additionto the plan. These can be used to rein-force the text, in addition to indicatingfeatures which may be valuable to

continued on page 16

16

the emergency services. These mightinclude:

• Essential structural features:These include doorways, walls,partitions, corridors, staircases etc.Of particular importance are thoseelements designated specifically asfire-resistant: e.g., those forming linesof compartmentation throughoutthe building.

• Escape routes: The “first choice”and alternative escape routes fromall areas of the building should beindicated, as well as any refuges,should they be provided.

• Means for fighting fire: Detailsof the location, number and typeof portable firefighting equipment.

• Fire warning: Locations ofmanually-operated fire alarm call-points and the main firealarm control panel.

• Emergency lighting: Locationof, and control equipment for,emergency lighting.

• Sprinkler system: Location oftanks, pumps and control valves.

• Utilities: Location of the mainelectrical supply switches, mainswater shut-off, main gas/oil shut-off etc.

After publishing the plan, the pro-vision of regular staff training is essential(this should include those working inthe museum outside the usual hours,such as cleaners, security, etc.) to rein-force the issues raised. It is importantthat staff regard the information pro-vided as relevant and applicable to theeveryday situations in which they findthemselves. Information should alsobe understandable, taking into accountthose with learning difficulties, or those

for whom English is not their first lan-guage. When staff are given additionalduties (such as fire wardens/marshals)they should be trained to a higherlevel than other staff, and their levelof knowledge and understandingshould be assessed through routineevacuation drills.

In the United Kingdom, irrespectiveof the size or complexity of a work-place, a defined evacuation plan is alegal requirement, and the onus is onthe employer, or person controlling theworkplace, to ensure that a suitable planhas been developed; that all staff arefamiliar with the contents of the plan,and that all are aware how it is to beput into action in event of an incident.

In addition to developing and publi-cizing the evacuation plan, it may beappropriate to offer staff guidance inthe assessment of risk. Many find itdifficult to gauge a threat, and may

Evacuation Plans — continued from page 15

17

over- or under-react. To help its staff,the National Gallery has establisheda simple hierarchy which is used todetermine how and when an incidentshould be reported. Staff are encouragedto establish in their own minds whetherthey think something needs to be done:

• immediately (there is an actual threat;

• the same day (the situation is likelyto cause a threat very soon), or

• within a day or two (risk is low butmay eventually cause a threat).

The highest levels of threat are:

• Immediate threat to life of staff andvisitors.

• Immediate threat to the structure orweathering of buildings.

• Immediate threat to the collection.

Any threat to life or buildings shouldbe acted upon without delay, by:

• advising others immediately andensuring that your line manager isaware of the situation, and

• carrying out whatever action youcan which may alleviate the situation.

Any threat to the collection should bemet by:

• advising others immediately andensuring that your line manager isaware of the situation;

• awaiting the arrival of specialist staffwho will supervise any action, and

• if possible, take protective actionwithout handling the item underthreat.

When the risk is high but not immediate,or does not directly threaten life, therisk will generally break down into twoareas: the collection, and the building.

• If the collection: Advise your linemanager.

• If the building: Contact the Helpdeskby telephone.

When the risk is low and you areanticipating a problem that maydevelop:

• advise your line manager;

• contact the Helpdesk by telephoneor by e-mail @ [address of yourhelpdesk], and

• follow up if the situation gets worse.

A simple set of rules along theselines may reassure staff generally andcould reduce the workload of hard-pressed facilities staff, who are forcedto react to all reports of emergencies.The upcoming September 2002 con-ference in London will have a day ofin-depth discussion about EmergencyPlanning in its widest sense.

Peter Fotheringham is Head of Buildingand Facilities for the National Galleryin London, England, and is Presidentof the IAMFA. Peter J. Gyere is theMarketing Manager of LawrenceWebster Forrest (LWF) Limited ofLondon, England. Lawrence WebsterForest are fire and engineeringconsultants with specialist expertisein fire safety. LWF provides servicesto government, healthcare, commerceand industry and work in some of theUnited Kingdom’s most prestigiousbuildings. The firm undertakes firesafety surveys and audits, fire safetyengineering commissions, fire riskassessments, preparation of emer-gency procedures, and electrical andmechanical fire systems. They can bereached on the Web at www.lwf.co.uk.

18

Dear colleagues,

It was a pleasure to work on theproduction of the first issue of thenewly-redesigned Papyrus, which gaveus an opportunity to introduce a newjournal concept more in keeping withour identity as a professional associ-ation. I hope you find, as I do, that thenew format provides a useful forumfor topics of interest to you all, and thatyou like its new contemporary look.

An Editorial, the Letter from thePresident, and news from RegionalChapters will be ongoing columnsin the journal, but we look forwardto featuring many more topics in eachissue — topics as varied as the museumfacilities business itself.

What seems to appear simple in theproduction of an association’s journalis, in fact, quite the contrary. The issueyou’re holding in your hands is theresult of cooperative effort on the partof a number of enthusiastic individuals— from writers, to article editors, to thejournal’s designer, and other criticalresources. Such a journal will be asdynamic and informative as its member-ship wants it to be. Articles don’t fallout of the sky, of course, and deadlinesare critical to keep up with its produc-tion. This is why today I would liketo ask all of our IAMFA members tocommit yourselves to the success ofyour journal.

The journal’s main purposes are tokeep us all in touch with one another,to learn from new construction andrenovation projects in the museumworld, to challenge what works andwhat doesn’t work in operations andmaintenance, and to share information

on outsource services efficiencies, draw-backs and various service providers.Papyrus is a window on the world,when you think that our associationof museum facility specialists hasrepresentation on three continents.What better opportunity can there beto draw perspective from the ‘’thinkoutside the box’’ principle.

All this to say that this journal hasa highly useful mandate and requiresthat you get involved. Let us knowabout your successes; forward anarticle you’ve read that you think isworth sharing with your colleagues;ask one of your institution’s suppliersto write an article about their servicesand the difference they bring to yourinstitution. Tell us if you want to adver-tise job opportunities, or even if youwant to acquire or sell specific facilityequipment. Tell us also about whatyou like — and what you don’t like —with respect to content in your journal.Tell us about specific information orthemes that you would like us to coverin future issues.

The IAMFA gives full attention to anysuggestion which contributes to theenhancement of communication amongits members. Papyrus is an excellenttool with which to achieve that goal,and we hope that you’ll join your col-leagues in getting involved. With thehelp of your articles and story ideas,we can help ensure that our membersremain their own best source of mutualinformation and support.

I look forward to hearing fromyou soon!

Pierre LepagePapyrus Editor

IAMFA/PapyrusWINTER 2002

EditorPierre Lepage

Papyrus Correspondents

Peter FotheringhamUnited Kingdom

Peter J. GyereUnited Kingdom

Lin EzellUnited States

Carole BeauvaisCanada

Bill McQuirterCanada

M. Dawes, R.J. KnightleyAustralia

Production CoordinationJulie CoderreDeborah Brownrigg

Design and LayoutPhredd Grafix

EditingArtistic License

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

ISSN 1682-5241

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

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

for publication.

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

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

From the Editor’s Desk

19

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

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

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

Cordially yours,The Board of the International of Museum FacilityAdministrators

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

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

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

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

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

Become a Member of the IAMFAand Get a Friend to Join

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

M Regular Member $150 M Associate Member $ 50

M Affiliate Member $ 50 M Subscribing Member $300

Institution: __________________________________________________________________________________________________________________

Name: ______________________________________________________________________________ Title: ________________________________

Address: ____________________________________________________________________________ City: _________________________________

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

Phone: _____________________________________ Fax: ____________________________________ E-mail: ______________________________

ALL FEES ARE PAYABLE IN U.S. DOLLARS

M I enclose a check in the amount of $ ____________________

M Please invoice me

✁

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

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

Website: www.iama.org

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

Papyrus Order Form and Change ofAddress Form for Non-Members

M YES! I would like to receive the quarterly journal of IAMFA at $20.00 US/year (free for IAMFA members)

If you are already a non-member subscriber, you may also use this form to make any corrections tothe information which appears on your current address label. Please ensure that you send us youroriginal address label when returning this form to us, and thanks for helping us to keep our recordsup-to-date!

First Name: ______________________________ Middle Name/Initial(s): __________________ Family Name: _______________________

Title: ________________________________________________________________________________________________________________________

Association: ________________________________________________________________________________________________________________

Address: ____________________________________________________________________________ City: _________________________________

State/Province: __________________________ Zip/Postal Code: _______________________ Country: ____________________________

Phone: __________________________________ Fax: ____________________________________ E-mail: ______________________________

IAMFA/PapyrusINTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS

M If this is a change of address, please return this form by fax to IAMFA, c/o Julie Coderre at: 1 (819) 776-8353. You may also e-mail your changes to julie.coderre@civilization.ca.

M If you are subscribing to Papyrus, please send this form, along with your payment of $20.00 US to:

IAMFA/PapyrusP.O. Box 1505

Washington, D.C. 20013-1505, U.S.A.