Your SlideShare is downloading. ×
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Papyrus Summer 2004
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Papyrus Summer 2004

409

Published on

Papyrus Summer 2004

Papyrus Summer 2004

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
409
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
4
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. The 15th annual IAMFA Conference will be held in Bilbao, in Spain’s Basque region. The autonomous Basque territory is in northern Spain, lapped by the Cantabrian Sea. It covers an area of 7,234 square kilometers (4,495 square miles) and has a population of more than two million. It is made up of three provinces: Alava, Bizkaia and Gipuzkoa, whose provincial capitals are Vitoria-Gasteiz, Bilbao and Donostia- San Sebastian, respectively. The official languages of the region are Spanish, and Basque: the region’s original language, whose roots are still not known. The Basque region enjoys a warm climate, without great seasonal fluctuations. This hospitable climate, together with the wild sea, picturesque towns, majestic mountains and luxuriant vegetation, make this a region designed to surprise and delight its visitors. If anything characterizes the Basque region, it is its excellent cuisine and the quality of restaurants which range from the sophisticated to the humble. Traditional Basque cuisine, based on simple methods of preparation, owes its success to the quality of available raw materials (fish, meat, cheeses, etc.). In recent years, Basque nouvelle cuisine has also begun incorporating new ingredients, aromas and textures. Basque dishes are always accompanied by Rioja wine, from the province of Alava, or with cider or txakolí (Basque white wine). PAPYRUSVOLUME 5 SUMMER NUMBER 2 2004 The 15th Annual IAMFA Conference 2005 — Bilbao, September 25–28, 2005 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 INSIDE THIS ISSUE Letter from the President . . . . . . . . . . . . . . . . 5 IAMFA Conference in New England . . . . . . . . 6 Membership List . . . . . . . . . . . . . . . . . . . . . . . 9 Regional Chapters Update . . . . . . . . . . . . . . 14 Treasurer’s Report . . . . . . . . . . . . . . . . . . . . . 15 From the Editor’s Desk. . . . . . . . . . . . . . . . . . 16 Main entrance of the Guggenheim Museum in Bilbao, with the Jeff Koons topiary “puppy” on the right. continued on page 2
  • 2. 2 The Basque region is strategically located in the easternmost part of the Cantabrian coast, sharing borders with the southeastern areas of France. It also has an important network of communications and road, railway and air transportation which enables easy and prompt access. Its international airports and rail, road or sea connections conveniently link the region to the rest of the world. The region has an interesting and experienced museum group whose main flagship is the Guggenheim Bilbao Museum. The variety and quality contained in its exhibition rooms and monumental features are a constant delight. In addition the region boasts a wide range of cultural activities throughout the year, including an interesting opera season concentrated in Bilbao during the winter months, and music festivals such as the Jazz Festival in Vitoria and San Sebastian. Each valley, each fishing port, and each of the summits in the Basque region offers yet another beautiful spot to be discovered. The untamed beauty that is present in most of the territory contrasts with the craggy and winding coastline, and with the area’s beautiful beaches and picturesque fishing ports. Throughout the region, there are unique natural venues from which to contemplate and enjoy its people, its gastronomy, and its monuments. Bilbao Bilbao is nestled between the Nervión River and the mountains. It is a metrop- olis that follows the river from its mouth to its outlet on the Atlantic Ocean, and it is impossible to understand Bilbao without reaching the sea. Erandio, Bara- kaldo, Getxo, Portugalete, Santurtzi are all parts of the same community, that work, celebrate and live entwined, although in different councils. Bilbao’s history, commerce, mines, shipyards, blast furnaces and port are the past and the present of this collection of councils, which lie along the banks of the river’s mouth (the heart of the city) and embody Metropolitan Bilbao. Bilbao is the capital of Bizkaia, and is the most populated council of the metropolitan area. Bilbao drives the region: a thrilling change during this period of intense rejuvenation and activity. This drive is changing Bilbao’s face and spirit, and it has found its symbol in the Guggenheim Museum. The Museum heralded a change in the city, but actually comprises only a small part of the city’s wider transfor- mation, which includes a subway, the Euskalduna Concert Hall, and Abando Ibarra, among other things. Above all, the Museum functions as a symbol of the rediscovery of old institutions and resources that seemed somewhat for- gotten: the Museum of Fine Arts, the Old Quarter, the Arriaga Theatre, and the city’s commercial soul. When we talk about great cuisine, Bilbao is a must-see destination. Basque gastronomy has some of its temples here, but a simple poteo (a small glass of wine here or there, accompanied by delicious pintxos or tapas) also takes you close to one of the city’s greatest charms: its people and its manners. For those who love shopping, Bilbao offers a wide range of quality shops. Most of all, however, Bilbao delights visitors with its bridges, vistas, buildings, squares and gardens, designed to enchant anyone who comes to spend a few days in the capital of Bizkaia. The Guggenheim Bilbao Museum Designed by architect Frank Gehry, the Guggenheim Museum Bilbao of Modern and Contemporary Art was inaugurated in October 1997, following five years of construction. This unique museum, built on a 32,500-square-meter (8-acre) site in the center of Bilbao, is a remark- able feat of engineering. On one side it runs down to the waterfront along the Nervión River, 16 meters (52 feet) The 15th Annual IAMFA Conference 2005 — continued from page 1 Location of Bilbao. Ceiling of the atrium at the Guggenheim Museum in Bilbao.
  • 3. 3 below the rest of the city of Bilbao. Another end is pierced through by the huge Puente de La Salve: one of the main access routes into the city It is a perfect setting: architecture for art’s sake. The building itself is an extraordinary combination of intercon- necting shapes. Orthogonal limestone blocks contrast with curved and bent forms covered in titanium. Glass curtain walls provide the building with the light and transparency it needs. Owing to their mathematical complexity, the sinuous stone, glass, and titanium curves were designed with the aid of com- puters. The glass walls were made and installed to protect the works of art from heat and radiation. The half-millimeter thick “fish-scale” titanium panels cover- ing most of the building are guaranteed to last one hundred years. Taken as a whole, Gehry’s design creates a spec- tacular, eminently visible structure that has the presence of a huge sculpture set against the backdrop of the city. Eleven thousand square meters of exhibition space are distributed through- out19 galleries. Ten of these galleries have an almost classical orthogonal look, and can be identified from the outside by their stone finishes. Nine other, irregularly-shaped, galleries offer a marked contrast, and can be identified from outside by their unusual architec- ture and the covering of titanium. By playing with volumes and perspectives, these galleries provide huge interior spaces that somehow manage not to overwhelm the visitor. Large-scale artworks are housed in an exceptional 30-meter-wide (98-foot-wide), 130-meter- long (426-foot-long) gallery free of columns, and with flooring specially prepared to cope with the comings and goings of visitors and museum staff, as well as the sheer weight of the works on display there. Seen from the outside, this gallery slides underneath the Puente de La Salve and runs up against the end of the tower that embraces the bridge and brings it into the building. There is a harmonious tie between the architectural shapes and the con- tents of each gallery. This undoubtedly simplifies a tour through the Museum while the atrium, in its very center, and the walkways that link one gallery with another — showing different perspectives of the exhibition spaces — facilitate the location of galleries and services at any time. As visitors enter the Museum they learn that under the external complex appearance of the architectural shapes, there lies a neat, clear world in which it is easy to find one’s way around. History The choice of Bilbao as the venue for one of the Guggenheim European centers is best understood in the context of the initiatives implemented by the Basque authorities to help revitalize the region’s recession-plagued economic infrastructure. These initiatives were also seen as a means of increasing the chances of the city’s metropolitan area becoming the major reference point for European regions along the Atlantic seaboard The Guggenheim Museum Bilbao is one of the most important ingredients in the plan to redevelop the city of Bilbao. The plan, involving a number of major projects conceived by some of the world’s most prestigious architects, includes the work now in progress to increase operational capacity at the city’s port; the revamping of the city’s airport, a mission entrusted to Spanish architect Santiago Calatrava; a new Con- ference and Performing Arts Center, designed by Federico Soriano; the construction of a metropolitan railway — much of it underground — designed by Sir Norman Foster, and a new foot- bridge crossing the river at Uribitarte, also the work of Calatrava. Development of the extensive area running along the riverbank by the Guggenheim Museum Bilbao was also included in the plan, and is the brain- child of architect César Pelli. The Guggenheim Museum Bilbao is the result of a unique process of collaboration between the Basque authorities and the Solomon R. Guggenheim Foundation, based largely on the complementary nature of their resources. The Basque authorities provided political and cul- tural backing, along with the financing that enabled the Museum to be built and to operate, while the Solomon R. Guggenheim Foundation contributed its collections of Modern and contemporary art, its programs of special exhibitions, and its experience in the administration East side of the Guggenheim Museum in Bilbao. continued on page 4
  • 4. 4 and management of museums of international caliber. First Steps The ambitious plan for bringing the Guggenheim Museum to Bilbao got underway in February 1991, when high-ranking representatives of the Basque authorities contacted the Solomon R. Guggenheim Foundation with a proposal for the latter to take part in the movement to revitalize Bilbao in particular, and the Basque region in general. In December 1991, after months of negotiations, an agreement was signed. Up and Running After identifying the ideal site for the new Museum and choosing the archi- tect to design the landmark building required for the project, in July 1992 the Basque Government and the Provincial Council of Bizkaia set up the Consortium for the Guggenheim Bilbao Project, whose mission was to supervise the Museum’s planning and construction process. Architect Frank Gehry presented his model for the Museum building in February 1993, and the foundation stone was laid on October 23 of that year. In October 1994, work began on the structure of what was to become the Guggenheim Museum Bilbao. On October 3, 1997, with the building finished and com- pletely fitted out, a fortnight of inau- gural events began that ended when the Museum opened its doors to the general public for the first time on October 19. Less than one year later, the Basque Museum had already received more than 1,300,000 visitors. 2005 Conference It is a bit early to present next year’s conference topics, but we are already preparing and a range of high-interest themes that we are sure will be a great experience for all who attend the con- ference. In addition, in upcoming issues of Papyrus we will be sharing travel information that you will find helpful, such as tollway and freeway informa- tion, climate, shopping venues, and other tips that will make your travel experience enjoyable. More information: www.euskadi.net The 15th Annual IAMFA Conference 2005 — continued from page 3 Rogelio Diez Chairperson 2005 IAMFA Conference The man with the Number 2 on his helmet is not a curator of fine arts or an art handler! This is not a new “outside” gallery or exhibit. These are not the winning buyers in an art auction. This disaster was the result of the institution catching on fire from someone using a heat gun to peel paint. The location was a cultural institution in the Midwestern U.S. Do you have a disaster plan? Do you have any stories like this to share and help us learn how to do our jobs better? Please send any stories or articles that you would like to share for the next issue of Papyrus. We have excellent layout editors that can help mold the story, so don’t be shy. What’s wrong with this picture?
  • 5. 5 With summer upon us, we in the facility world, like others, start our many summer projects. From the many e-mails I’ve received, I can see that this summer is no different than those in the past. However, I would like to acknowledge that this e-mail cross- communication among our members also contained valuable suggestions and advice, as well as members’ exper- iences and history. This is truly the core of our IAMFA “mission”. This year marks my eighth year with IAMFA — six of these as a board member. This year also marks the end of my term as president. I would like to thank the many members who have supported IAMFA, and the many board members that have served. IAMFA is a volunteer organization, and relies on its board members to actively engage in the responsibilities and duties of IAMFA in order to keep it whole. I feel honored to have been associated with our many members, and have been blessed to serve with this current board, which has worked very hard to make IAMFA truly sound. Also departing this year is Treasurer Kevin Streiter, whose term will also end in September. I would like to congratu- late Kevin for his excellent work. As a former treasurer myself, I can say without hesitation that Kevin has done a world-class job of keeping IAMFA organized and current. I would also like to thank him for his involvement in our annual conferences. From the first time we met Kevin in Atlanta, I knew Kevin was a “Southern Gentlemen”; however, little did I realize the type of commitment he would give, and has given, to the IAMFA organization. My personal thanks to Kevin for his outstanding efforts. I urge all of our members to reflect on what they can contribute to this organization, and to consider becoming board members. IAMFA pays dividends in many different ways, and as a board member you will experience new rela- tionships and the many different aspects of our global museums. Please consider this opportunity and forward your name to any board member, or mention your interest when registering for the Boston Conference. Jim Moisson and the New England Chapter have set our 2004 annual con- ference in motion with a intriguing agenda and of course, a great guest program as well. Please make your reservation A.S.A.P. in order to secure our IAMFA rate at the Boston Back Bay Hilton. You can also view the conference information on our IAMFA Web Site at www.iamfa.org. Over the past few months, the IAMFA board has had several teleconferences, during which many important subjects have been reviewed. In particular, I am pleased to report that our financial status shows a positive cash flow, with 98 of 152 members listed as paid. Toby Greenbaum, V.P. for Regional Affairs, has been “plowing the fields” with hopes of establishing new chapters. We welcome any and all suggestions in this matter. Guy Larocque, V.P. for Administration, has been active in our updates of the Web page, as well as securing our 2005 annual conference in Spain — excellent work! Jim Moisson has been the spokes- man for the New England Chapter and Chairperson for the Boston Annual Conference. His enormous efforts and commitment are gratefully acknowledged. Larry Bannister, Secretary/Papyrus Editor, along with Lezlee Kryszewski, have been a great team, documenting our meetings with the utmost accuracy. If anyone is interested in submitting a article for Papyrus please contact Larry or Lezlee at bannister@mpm.edu or kryszewski@mpm.edu. Finally, on behalf of the Board of Directors I would like to extend my best wishes to all our members as I look forward to seeing everyone in Boston. Have a safe and enjoyable summer. William D. Caddick President, IAMFA Letter from the President IAMFA President, Bill Caddick IAMFA Board of Directors President Bill Caddick Art Institute of Chicago Chicago, USA wcaddick@artic.edu V.P., Administration Guy Larocque Canadian Museum of Civilization and Canadian War Museum Gatineau, Canada guy.larocque@civilization.ca V.P., Regional Affairs Toby Greenbaum Library & Archives of Canada and the National Museums Gatineau, Canada toby.greenbaum@pwgsc.gc.ca Treasurer Kevin Streiter High Museum of Art Atlanta, USA kevin.streiter@woodruffcenter.org Secretary and Papyrus Editor Larry Bannister Milwaukee Public Museum Milwaukee, USA bannister@mpm.edu Chairman — Conference 2004 Jim Moisson Harvard University Art Museums Cambridge, USA james_moisson@harvard.edu Chairman — Conference 2005 Rogelio Diez Museo Guggenheim-Bilbao Bilbao, Spain For additional contact information, please visit our website at www.iamfa.org
  • 6. 6 As chairperson of the 2004 Annual Conference, I am pleased to report that our conference is shaping up nicely. The New England Chapter aims to host a conference that will long be remembered for good content and collegial fun, following up on the success of the San Francisco confer- ence of 2003 and paving the way for a great time in Bilbao in 2005. Our dates have been firmed up: Sunday, September 19 to Wednesday, Septem- ber 22, 2004. We hope you’ll join us for a really good time as summer turns to fall in New England. But first things first. As many of you know, there is a companion event that takes place just before the conference actually commences. It is the Bench- marking Survey Workshop run by Facilities Management Services, during which Ian Follett and Nancy Nauss bring together all those who have chosen to participate in this year’s benchmarking exercise. This enjoyable and information- rich, day-long workshop is sponsored in part by the Smithsonian Institution. The workshop will be held at Boston’s Back Bay Hilton, the main hotel for the IAMFA conference, from about 8:00 a.m. to 4:00 p.m. on Sunday, September 19. For those who are not participating in the Benchmarking Survey, but would like to attend the Benchmarking Work- shop in Boston, please contact Ian or Nancy in Calgary, Canada at 403-259-5964 or at fmsltd@fmsltd.com. Official registration for IAMFA New England 2004 will take place at the Back Bay Hilton just outside the survey workshop meeting room from 3:00– 5:00 p.m. on Sunday. That will be the place to pick up your conference tote bag, general materials and conference manual. While we expect, and would Learning, Lobster, and Laughter: The IAMFA 2004 Conference in New England Join us at the September conference for a cruise on the James J. Doherty (operated by the Boston Harbor Cruises Company), shown here in Boston Harbor.
  • 7. 7 greatly appreciate, payment in advance — especially to help with planning and establishment of attendance — we will also accept payment at registration. Do bear in mind that the FMS Bench- marking Survey/Workshop and the hotel and travel arrangements are financially separate from the conference cost. After registration, we will cruise on Boston Harbor from 6:00–9:00 p.m. with food and drink aboard the S.S. Doherty. We have reserved a guaranteed minimum of 60 hotel rooms at the Boston Back Bay Hilton for the period of Saturday, September 18 through Wednesday, September 22. The confer- ence rate is $165 per night per room, single or double occupancy. Early hotel registration is strongly recommended during this busy season in Boston. To make a reservation, call 1-800-HILTONS and make sure to mention the IAMFA conference at the Back Bay Hilton to get the special rate. If you prefer to stay at a different hotel, or if the Hilton is full, bear in mind that our transpor- tation arrangements will be centered at the conference hotel. Program ideas have developed rapidly and well. On Monday we plan to discuss architectural master plan- ning at the Isabella Stuart Gardner Museum and the Museum of Fine Arts: two of Boston’s cultural treasures. We hope to hear from a number of dis- tinguished professionals who have helped these two institutions along their way. That session will be fol- lowed by a tour of the Museum of Fine Arts (MFA) with an eye toward their dismantling and moving of period room interiors in preparation for their upcoming renovation and expansion project. Our guest program, to be hosted by Joni Parker-Roach of Thoughtroads, Inc. will visit the Gardner and MFA as well, then split off for a bus trip to historic Concord, Massachusetts and some local museums. Guests will rejoin the main group at the Codman Estate, a historic property belonging to the Society for the Preservation of New England Antiquities, for an evening meal of barbecue and lobster in a country setting. Tuesday will send conference guests off to visit the mansions of Newport, Rhode Island, while conference par- ticipants visit the Boston Athenaeum: an important cultural feature of Boston’s Beacon Hill. There we will have round- table sessions on museum HVAC and lighting. The likely presenters for the HVAC portion are Hank Anthony of Exergen, Ernie Conrad of Landmark Facilities Group, Bill Lull of Garrison/ Lull and Joe Manfredi of Vanderweil. For the lighting portion, we hope to hear from Stephen Cannon-Brookes, Ken Kane of Lighting Services Inc., Mark Rowling of ERCO, and Paul Zaferiou of Lam Partners. These pan- elists are being firmed up as of this writing. I anticipate good presentations and time for questions, so come pre- pared. We’ll adjourn for lunch and stroll through Beacon Hill and Back Bay, ending up at a simple vendor and contractor fair at the Back Bay Hilton from about 2:00–4:00 p.m. Then you’ll have free time to explore Boston on your own. If you want to get Red Sox tickets, the team is in town, but by now only single tickets are available, if that. Fenway Park is nearby and a great place to see a game. Tuesday evening would be your best bet. On Wednesday morning, conferees and guests will ride a bus to Salem, Massachusetts to visit the Peabody Essex Museum (PEM). We’ll have breakfast and lunch at this wonderful new facility and visit the Yin Yu Tang House, which was brought over from China and reconstructed as one of the museum’s exhibitions. At the PEM, presenters will speak to us about build- ing automation systems, computer- aided facility management and secu- rity. We anticipate hearing from Ray Thompson of Johnson Controls, Herb Lustig and Bud Yanak of Invisa, Dan Lohnes of Essex Alarm, Bob Ducibella of Ducibella Ventore Chapman and Janis Jaye-Phelps of Terminal Velocity. continued on page 8 On deck on the Boston Harbor cruise.
  • 8. 8 The guest program will visit a number of historic sites and points of interest in historic Salem. In the afternoon, we will all depart Salem for the Back Bay Hilton to freshen up for our final events: a reception and closing banquet at the Harvard University Art Museums. We’ll meet first at Adolphus Busch Hall, then adjourn to the Fogg Art Museum for dinner. And that will be the end of it. Some may depart that night, some the next morning. But hopefully we will all go back home to the challenges and joys that face us at work, refreshed by having had a good time with good people. We look forward to seeing you in September. James Moisson Director of Facilities Operations Harvard University Art Museums IAMFA 2004 Annual Conference Chairperson 2004 Annual Conference Team David Geldart, Museum of Fine Arts David Grimard, Currier Gallery of Art Jim Labeck, Isabella Stuart Gardner Museum John Lannon, Boston Athenaeum Bob Monk, Peabody Essex Museum James Moisson in the Sackler Lobby, Harvard University Art Museums. Learning, Lobster, and Laughter — continued from page 7 IAMFA 2004 IN BOSTON The New England Chapter welcomes you! September 19–22, 2004 INTERNATIONAL ASSOCIATION OF MUSEUM FACILITY ADMINISTRATORS Ⅺ YES! Sign me up to attend the 2004 IAMFA Annual Conference in Boston, Massachusetts, USA 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 Ⅺ Member conference fee: $375 (after Sept. 1, add $50) Ⅺ Non-member conference fee: $425 (after Sept. 1, add $50) Ⅺ Sign me up as a new member: $150 Ⅺ Guest program fee: $250 (after Sept. 1, add $50) Ⅺ One-day attendance fee: $150 per day Ⅺ MON Ⅺ TUE Ⅺ WED I require an invoice: Ⅺ Yes Ⅺ No Please remit to: International Association of Museum Facility Administrators (IAMFA) P.O. Box 7518 Atlanta GA 30357-0518 USA SUGGESTED ACCOMMODATION We have reserved a limited number of hotel rooms at the Boston Back Bay Hilton for the period of Saturday, September 18 through Wednesday, September 22. The conference rate is $165 per night per room, single or double occupancy. Early hotel registration is strongly recommended during this busy season in Boston. To contact the Back Bay Hilton directly, call 617-236-1100. Ask for Reservations and make sure to mention the IAMFA conference to get the special rate. Or, you may call 1-800-HILTONS and ask for the Boston Back Bay Hilton. If you do prefer to do business with a different hotel, or if the Hilton is full, please bear in mind that we plan to make frequent use of the MBTA subway system. Please check the IAMFA website for updates at: www.iamfa.org ¡
  • 9. 9 Glenn Hodges Australian Museum 6 College St. Sydney Australia 2010 glennh@austmus.gov.au Michael Landsbergen Powerhouse Museum 500 Harris Street, Ultimo Sydney Australia NSW 2007 michael@phm.gov.au Robert Webb Powerhouse Museum/Applied Arts & Sciences 500 Harris Street Ultimo P.O. Box K346 Haymarket 1238 Sydney Australia NSW 207 Jean Allard National Archives of Canada Library Room 132 344 Wellington Street Ottawa, Ontario K1A 0N3 Canada dmcaron@archives.ca Carole Beauvais National Archives of Canada Corporate Services/Services Corporatifs 344 Rue Wellington Room 5076 Ottawa, Ontario K1A 0N3 Canada CaroleBeauvais@archives.ca Dale Cameron National Archives of Canada – Preservation Branch 344 Wellington St Room 5080 Ottawa, Ontario K1A 0N3 Canada dcameron@archives.ca CANADA AUSTRALIA Robert Chartrand Canada Science & Technology Museum Corporation P.O. Box 9724 Station T 2421 Lancaster Rd Ottawa, Ontario K1G 5A3 Canada rchartrand@nmstc.ca Ian Follet Facility Management Service LTD 45 Maryland Place SW Calgary, Alberta T2V 2E6 Canada fmsltd@fmsltd.com Toby Greenbaum Portrait Gallery of Canada Birks Building 107 Sparks Street 6th floor, Station 624 Ottawa, Ontario K1A 0N3 Canada toby.greenbaum@pwgsc.gc.ca Richard Harding Black & MacDonald Limited 100 Laurier Street Gatineau, Quebec J8X 4H2 Canada Chan Hung Do Canadian Museum of Civilization 100 Laurier Street Gatineau, Quebec J8X 4H2 Canada chan.do@civilization.ca Jean-Guy La Jeunesse Canadian Museum of Civilization 100 Laurier Street P.O. Box 3100, Station”B” Gatineau, Quebec J8X 4H2 Canada jean-guy.lajeunesse@ civilization.ca Lucie Lanctot Canadian Museum of Nature P.O. Box 3443 Station D Ottawa, Ontario K1P 6P4 Canada Guy Larocque Canadian Museum of Civilization 100 Laurier Street Gatineau, Quebec J8X 4H2 Canada Guy.Larocque@civilizations.ca Pierre LePage Canadian Museum of Civilization 100 Laurier Street P.O. Box 3100 Station “B” Gatineau, Quebec J8X 4H2 Canada pierre.lepage@civilization.ca Ian MacLean Canada Science & Technology Museum Corporation 2421 Lancaster Rd. P.O. Box 9724 Station T Ottawa, Ontario K1G 5A3 Canada imaclean@technomuses.ca Terresa McIntosh Portrait Gallery of Canada & National Archives of Canada 344 Wellington Street Ottawa, Ontario K1A 0N3 Canada tmintosh@archives.ca Jose-Luis Oliveros Canadian Center for Architecture 1920 Bailes Montreal, Quebec H3H 2S6 Canada jolivero@cca.qc.ca Christian Page Canadian Museum of Civilization 100 Laurier Street Gatineau, Quebec J8X 4H2 Canada christian.page@civilization.ca Ed Richard National Gallery of Canada 380 Sussex Drive Ottawa, Ontario KIN9N4 Canada erichard@gallery.ca Julie Sevigny Canada Traveling Exhibitios Indemnification Program/Canadian Heritage 15 Eddy Street 15-3-A Gatineau, Quebec K1A0M5 Canada julie_sevigny@pch.gc.ca John DeLucy British Library 96 Euston Road London, England NW12DB john.delucy@bl.uk Peter Fotheringham National Gallery, London Trafalgar Square London, England WC2N 5DN peter.fotheringham@ng- london.org.uk Graham Pellow Natural History Museum Crownwell Road London, England SW75BD g.pellow@nhm.ac.uk Karen Keeman Rijks Museum P.O. Box 74888 1070 DN Amsterdam Amsterdam The Netherlands k.keeman@rijksmuseum.nl Patricia Morgan Auckland Art Gallery – Toi O Tamaki P.O.Box 5449 Auckland, New Zealand morgan@akcity.govt.ne NEW ZEALAND THE NETHERLANDS ENGLAND IAMFA Members Directory 2004
  • 10. 10 Robert Galbraith National Galleries of Scotland 73 Belford Road Dean Gallery Edinburgh, Scotland EH4 3DS robert.galbraith@ natgalscot.ac.uk Jack Plumb National Library of Scotland George IV Bridge Edinburgh, Scotland EH1 1EW Rogelio Diez Museo Guggenheim-Bilbao Abandoibarra 2 Bilbao, Viz Caya 48001 Spain Rdiez@guggenheim-bilbao.es ARKANSAS John Pagan Arkansas Art Center P.O.Box 2137 Little Rock, AR 77023-2137 USA jpagan@arkarts.com CALIFORNIA Gordon Bailey Asian Art Museum 200 Larkin Street Room 2211 San Francisco, CA 94102 USA gbailey@asianart.org Donald Battjes Los Angeles County Museum of Art 5905 Wilshire Blvd Los Angeles, CA 90036 USA dbattjes@lacma.org USA SPAIN SCOTLAND Joe Brennan San Francisco Museum of Modern Art 151 Third St. San Francisco, CA 94103 USA jbrennan@sfmoma.org James Bullock J. Paul Getty Trust 1200 Getty Center Drive Suite 100 Los Angeles, CA 90049-1678 USA jbullock@getty.edu Brenda Cobb-Williams Asian Art Museum 200 Larkin Street Room 2211 San Francisco, CA 94102 USA bwilliams@asianart.org John Coplin Santa Barbara Museum of Art 1130 State St. Santa Barbara, CA 92101 USA jcoplin@sbmuseart.org John Donohoe J. Paul Getty Trust 1200 Getty Center Drive Suite 100 Los Angeles, CA 90049-1678 USA jdonohoe@getty.edu Michael Falarski Computer History Museum 1401 N. Shoreline Blvd. Mountain View, CA 94043 USA falarski@computerhistory.org Jennifer Fragomeni Exploratorium 3601 Lyon Street San Francisco, CA 94123 USA jfrago@exploratorium.edu Mitchell Gaul San Diego Museum of Art P.O. Box 12-2107 San Diego, CA 91112-2107 USA mwgaul@sdmart.org Oren Gray J. Paul Getty Trust 1200 Getty Center Drive Suite 100 Los Angeles, CA 90049-1678 USA ogray@getty.edu Jim Hartman Fine Arts Museum of San Francisco 233 Post St. 4th Floor San Francisco, CA 94102 USA jhartma@famsf.org Andy Hirshfield Exploratorium 3601 Lyon Street San Francisco, CA 94123 USA andyhh@exploratorium.edu Sherin Kyte Fine Arts Museum of San Francisco Lincoln Park 100 34th Avenue San Francisco, CA 94121 USA skyte@famsf.org Joseph May J. Paul Getty Trust 1200 Getty Center Dr. Suite 100 Los Angeles, CA 90049-1678 USA jmay@getty.edu Mike McCaughin Edward Pike Company/ ProPM, Inc. 3470 Mt. Diablo Blvd. Ste.A205 Lafayette, CA 94549 USA mike.m@propminc.com Bill Milny Oakland Museum of Art – California 1000 Oak Street Oakland, CA 94619 USA bmilny@museumca.org Randy Murphy Museum of Contemporary Art – Los Angeles 250 S. Grand Ave. Los Angeles, CA 90012 USA rmurphy@moca.org Mary Omotto Japanese American National Museum 369 East First St. Los Angeles, CA 90012 USA momoto@janm.org Michael Orth J. Paul Getty Trust 1200 Getty Center Drive Suite 100 Los Angeles, CA 90049-1678 USA morth@getty.edu Ann Roche Rutherford & Chekene 427 13th Street, 2nd floor P.O.Box 2068 Oakland, CA 94612 USA aroche@ruthchek.com Ronald Romo J. Paul Getty Trust 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA rromo@getty.edu Will Spencer J. Paul Getty Trust 1200 Getty Center Drive Los Angeles, CA 90049-1678 USA wspencer@getty.edu Leonard Vasquez Charles M. Schulz Museum 2301 Hardies Lane San Rosa, CA 95403 USA leonard@schulzmuseum.org Yerba Buena Center for the Arts 701 Mission St. San Francisco, CA 941123 USA IAMFA Members Directory 2004
  • 11. 11 CONNECTICUT Ernest Conrad Landmark Facilities Group,Inc. 252 East Avenue Norwalk, CT 06855 USA econrad@lfginc.com George Conte Yale Center for British Art P.O. Box 208280 New Haven, CT 06520-8280 USA george.conte@yale.edu DELAWARE John Castle Winterthur Museum Butler’s House Route 52 Winterthur, DE 19735 USA Michael Dixon Winterthur Butler’s House Route 52 Winterthur, DE 19735 USA mdixon@winterthur.org Michael Downs Hagley Museum & Library P.O. Box 3630 Wilmington, DE 19807-0630 USA 27299@udel.edu DISTRICT OF COLUMBIA Michael Giamber National Gallery of Art- Washington 6th & Constitution Washington, DC 20565 USA m.giamber@naa.gov Fletcher Johnston Hirshhorn Museum & Sculpture Garden Independence Ave at 7th St. SW Washington, DC 20560 USA fletchj@hmsg.si.edu Richard Kowalczyk Smithsonian-National Air & Space Museum Independence Avenue at Sixth Street NW Washington, DC 20560-0303 USA richard.kowalczyk@nasm.si.edu Eugene Ramatowski U.S. Holocaust Museum 100 Raoul Wallenburg Pl SW Washington, DC 20024 USA eramatowski@ushmm.org Kurt Sisson National Gallery of Art – Washington 6th & Constitution Washington, DC 20565 USA k-sisson@nga.gov GEORGIA Kevin Streiter High Museum of Art 1280 Peachtree NE Atlanta, GA 30309 USA kevin.streiter@ woodruffcenter.org HAWAII Robert White Honolulu Academy of Arts 900 South Beretania Street Honolulu, HI 96814 USA rwhite@honoluluacademy.org ILLINOIS Thomas Barnes Art Institute of Chicago 111 South Michigan Ave Chicago, IL 60603 USA tbarnes@artic.edu Brendan Berry Advantage Operations 125 East Monroe Chicago, IL 60603 USA bberrjci@artic.edu William Caddick Art Institute of Chicago 111 South Michigan Chicago, IL 60603 USA wcaddick@artic.edu Paul Huber Advantage Operations 3906 N. Monticello Ave Chicago, IL 60618-4128 USA pshuber@telocity.com Charles Ingles Advantage Operations 111 S. Michigan Ave Chicago, IL 60603-6110 USA chcuk_ingles@msn.com Anthony McGuire McGuire Engineers 300 S. Riverside Plaza Chicago, IL 60606 USA tony@mcquireng.com Don Meckley Museum of Contemporary Art – Chicago 220 E. Chicago Ave. Chicago, IL 60611 USA dmeckley@mcachicago.org INDIANA Steven Ernest Indianapolis Museum of Art 4000 Michigan Road Indianapolis, IN 46208 USA sernest@ima.art.org MARYLAND Alan Dirican Baltimore Museum of Art 10 Art Museum Drive Baltimore, MD 02128-3898 USA adirican@artbma.org Robert Marino, P.E. Mueller Associates, Inc. 1401 S. Edgewood Baltimore, MD 21227 USA Rmarion@MuellerAssoc.com MASSACHUSETTS David Geldart Museum of Fine Arts – Boston 465 Huntington Avenue Boston, MA 02115 USA dgeldart@mfa.org James Labeck Isabella Stewart Gardner Museum 2 Palace Road Boston, MA 02115 USA jlabeck@isgm.org Emily Mikolayvus Eric Carle Museum of Picture Book 125 West Bay Rd. Amherst, MA 01002 USA emilym@picturebookart.org James Moisson Harvard University Art Museums 32 Quincy St. Cambridge, MA 02138 USA james_moisson@harvard.edu Robert Monk Peabody Essex Museum East India Square Salem, MA 01970 USA robrt_monk@pem.org David Roth Children’s Museum – Boston 300 Congress Street Boston, MA 02210 USA roth@bostonkids.org NEVADA Kenneth Christian Nevada Museum of Art 160 West Liberty St. Reno, NV 89501 USA christian@nevadaart.org Aurore Giguet UNLV Marjorie Barrick Museum 4505 Maryland Parkway Las Vegas, NV 89154 USA gigueta@ unlv.edu IAMFA Members Directory 2004
  • 12. 12 IAMFA Members Directory 2004 NEW HAMPSHIRE David Grimard Currier Museum of Art 201 Myrtle Way Manchester, NH 03104 USA dgrimard@currier.org NEW JERSEY Richard Stomber Newark Museum 49 Washington Street Newark, NJ 07102-3176 USA r.stomber@newarkmuseum.org NEW YORK Ciro Bottacavoli IEN Magazine 5 Penn Plaza New York City, NY 10001 USA cab@pmgnet.com William Esposito Ambient Group, Inc. 55 W 39th St. 12 Floor New York City, NY 10018 USA Daniel Gelman Lighting Services Inc. 2 Kay Fries Drive Stony Point, NY 10980-1996 USA Mark Malekshahi Cosentini Associates 2 Penn Plaza New York, NY 10121 USA Thomas Scally Metropolitan Museum Of Art 1000 5th Avenue New York City, NY 10028 USA tom.scally@metmuseum.org Harry Soldati Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238 USA soldati@brooklynmuseum.org Stanley Zwiren Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, NY 11238 USA zwiren@brooklynmuseum.org OHIO Tom Catalioti Cleveland Museum of Art 11150 East Blvd Cleveland, OH 44106 USA catalioti@cma-oh.org Ian Herron Cleveland Museum of Art 11150 East Blvd Cleveland, OH 44106 USA herron@cmaoh.org David Leach Columbus Art Museum 400 East Broad St. Columbus, OH 43215 USA dleach@cmaohio.org PENNSYLVANIA Douglas Bowerman Allentown Art Museum Fifth and Count Street P.O. Box 388 Allentown, PA 18105-0388 USA operations@ allentownartmuseum.org Carnegie Museums 4400 Forbes Ave. Pittsburg, PA 15213 USA Walt Crimm Ewing Cole Cherry Brott 100 North Sixth St. 6th Fl Philadelphia, PA 19106 USA wcrimm@ewingcole.com Vince DiPiero Allied Security 3606 Horizon Drive King of Prussia, PA 19406 USA vince.dipiero@alliedsecurity.com Robert Morrone Philadelphia Museum Of Art P.O.Box 7646 Philadelphia, PA 19101-7646 USA rmorrone@philamuseum.org Peter Poncheri Jr. Foundation for the Reading Public Museum 500 Museum Rd Reading, PA 19611-1425 USA pete356@aol.com Richard Reinert Affiliated Building System 2600 Benjamin Franklin Pkwy Philadelphia, PA 19130 USA SOUTH CAROLINA William Taylor Cultural Facilities Management Group 385 S. Spring Street Spartanburg, SC 29306 USA bitay@spartanarts.org TENNESSEE Steve Kirby First Center of the Visual Arts 919 Broadway Nashville, TN 37203 USA skirby@firstcenter.org TEXAS Bruce Causey Corporate Care 3800 Distribution Blvd. Houston, TX 77018 USA bcausey@corporatecare.com Henry Griffin Museum of Fine Arts-Houston PO Box 6826 Houston, TX 77265-6826 USA hgriffin@mfah.org VIRGINIA Tom Peck Colonial Williamsburg Foundation P.O.Box 1776 Williamsburg, VA 23187-1776 USA tlpeck@cwf.org WASHINGTON Jeffery Tosh Seattle Art Museum 100 University Street Seattle, WA 98101-2902 USA WISCONSIN Larry Bannister Milwaukee Public Museum 800 W. Wells Street Milwaukee, WI 53233 USA bannister@mpm.edu Lezlee Kryszewski Milwaukee Public Museum 800 W. Wells Street Milwaukee, WI 53233 USA kryszewski@mpm.edu Spence Stehno Milwaukee Public Museum 800 W. Wells Street Milwaukee, WI 53233 USA spence@mpm.edu This list reflects membership dues paid as of July 9, 2004. Although we do our best to ensure that our Directory information is as up-to-date as possible, errors and omissions can always occur. If you would like to make any changes to your listing, please contact Lezlee Kryszewski at kryszewski@mpm.edu. Thank you very much. USA (cont’d)
  • 13. 13 On behalf of the membership and Board, we invite you to join with other museums and cultural organizations through- out the world in becoming a member of the only organization exclusively devoted to museum and cultural facility admin- istrators: the International Association of Museum Facility Administrators (IAMFA). As a member, you will join a growing list of museum and cultural facility administrators in their efforts to provide a standard of excellence and quality in planning, development and design, construction, operation and maintenance of cultural facilities of all sizes and varieties of programming. The Association currently has representation in several countries on three continents. Our goal is to increase membership in institutions throughout the world. Your involvement in the IAMFA will continue the growth of the organization and provide you with excellent educational and networking opportunities. As your colleagues, we look forward to welcoming you to membership in the IAMFA. Cordially yours, The Board of the International Association of Museum Facility Administrators Membership Opportunities Join the IAMFA at any of the following levels and enjoy full benefits of membership: Regular Member — $150 annually. A regular member holds the position of principal administration in direct charge of the management of facilities, and represents their institution(s) as a member of the association. Associate Member — $50 annually. An associate member is a full-time facilities management employee (professional, administrative or supervisor), below the level of the facility administrator of the member association. Affiliate Member — $50 annually. An affiliate member is any full-time employee of a member institution who is not directly involved in the facilities management department. Subscribing Member — $300 annually. A subscribing member is an individual, organization, manufacturer of supplier of goods services to the institutions who ascribes to the policies and programmes of the Aassociation, and wishes to support the activities of the Association. Become a Member of the IAMFA and Get a Friend to Join YES! I would like to join the IAMFA as a: Ⅺ Regular Member $150 Ⅺ Associate Member $ 50 Ⅺ Affiliate Member $ 50 Ⅺ 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 Ⅺ I enclose a check in the amount of $ ____________________ Ⅺ 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 Museum Facility Administrators c/o Kevin Streiter, High Museum of Art 1280 Peachtree Street N.E. Atlanta, Georgia 30309 U.S.A. Website: www.iamfa.org Ⅺ I am interested in joining. Please have a member contact me.
  • 14. As summer starts to amble into our lives, the IAMFA chapters are gearing down for the summer and gearing up for trips to Boston in September. There isn’t a lot of new information to share from the chapters, but we do know that the newly-formed New England chapter is busy putting the final touches on the IAMFA conference, which we are all looking forward to attending. Joe Brennan, Chair of the Northern California chapter, has an update that I will share with you below. I promise a fuller update of chapter activities in upcoming issues of Papyrus. For now, I would like to let you know a little more about several chapters in the making. As I mentioned in the Spring issue, Patricia Morgan, our member in Auckland (Auckland Art Gallery, New Zealand), has undertaken orga- nizing a chapter. She and a colleague are visiting sister organizations in New Zealand and Australia in July on museum business, and will use that opportunity to sell those organizations on IAMFA. I will have an update on their efforts in the next issue. I have also just heard from Kim Reason at Museum Victoria (Melbourne, Australia), who is interested in establishing a chapter down under! With all this interest, I am sure we will soon have a couple of active southern hemisphere chapters in the works. Sounds like a great des- tination for a conference! If you are in the southern hemisphere and would like to connect with either Patricia Morgan (patricia.morgan@aucklandcity.govt.nz) or Kim Reason (kreason@museum.vic. gov.au) please feel free to drop them an e-mail. In my last Papyrus update, I men- tioned the untimely demise of the New York chapter. Since then I have spoken to Dale Gregory (American Folk Art Museum, Lincoln Center) who has been the co-chair of a New York organization called the Museum, Library and Cultural Properties Facility Group of Greater New York. It seems that a number of our members (now mostly retired) were also part of this loosely- knit organization that meets on a regular basis to network, share information and organize learning sessions, much like our existing regional chapters do. We are in the midst of seeing how we can reactivate the New York Chapter, perhaps through an alliance with this vital organization. They are holding their next meeting on July 20 at the Society of Illustrators. Please get in touch with Dale at dgregory@folkartmuseum.org for more information. Those of you who have colleagues in Southern California, let them know about Joe May’s quest to start a chapter in Southern California (jmay@getty.edu). He has committed, in his Performance Accord no less, to do a whole lot of outreach and develop an IAMFA chapter in Los Angeles and beyond. We will collectively hold him to it! As you all know, we are looking to develop networks of like-minded cul- tural organizations in order to strengthen our knowledge and membership base and provide a network of information that will be useful to all of our members. When you are out visiting other museums and cultural institutions, remember to toot IAMFA’s horn. If you would like additional copies of Papyrus, or some updated copies of the IAMFA pamphlet, please let me know and I will forward them to you. They are great tools for explaining what IAMFA is to perspective members. Toby Greenbaum, Chairperson, Regional Chapter, Ottawa-Gatineau Canada Regional Chapters Chairpersons of Regional Chapters Ottawa-Gatineau Chapter, Canada Terresa McIntosh Portrait Gallery of Canada & National Archives of Canada Northern California Chapter, USA Joe Brennan San Francisco Museum of Modern Art New England Chapter, USA James Labeck Isabella Stewart Gardner Museum Jim Moisson 2004 IAMFA Conference Chair Harvard University Art Museums New York Chapter, USA Looking for a new Chairperson United Kingdom Chapter Peter Fotheringham National Gallery, London Washington/Baltimore Chapter, USA Fletcher Johnston Hirshorn Museum & Sculpture Garden 14 continued on page 15 Expect news from the UK, Ottawa/Gatineau, Washington, and New England chapters in the next issue of Papyrus.
  • 15. 15 Greetings from your 2004 IAMFA treasurer. I hope everyone is enjoying the summer and that your respective museums are doing well this season. The summer is often a good time to catch up on projects, and many of us have fiscal years ending, budgets to wrestle with, and so on. Here in Atlanta, I am busy with all of the above, in addition to a large construction project that takes up much of my time. But busy schedules aside, I know that I am not alone in excitedly anticipating the 2004 IAMFA conference in Boston this September. As your treasurer, this is a particularly rewarding time, as I get to review everyone’s membership records, etc. and re-visit all the names of you, my fellow museum colleagues, and remember all of the great times we’ve shared in conferences past. I look forward to visiting with all of you, and participating in the wonderful networking that occurs at our annual gatherings. Our finances continue to be robust, due to the support of our members as well as our generous sponsors. A hearty thanks to all of you who have sent in your membership dues and conference registrations and fees thus far. Please don’t wait until the last minute to take care of your dues and fees, and also take note that this year there is a late charge of $50.00 for conference fees received after September 1. Be well, everyone. It has been a pleasure serving you as IAMFA treasurer for the last two years. See y’all in Boston! Kevin Streiter Treasurer, IAMFA Kevin Streiter Treasurer, IAMFA A Word from Your Treasurer Also, don’t forget the IAMFA website at www.imafa.org! Do not hesitate to get in touch with me (toby.greenbaum@ pwgsc.gc.ca — 819-775-7317) for additional information. I wish you all a wonderful summer (or winter, if you’re in the southern hemisphere) and look forward to seeing you in Boston in September. Toby Greenbaum Vice-President Regional Affairs, IAMFA Southern California Chapter Report The Northern California Chapter has convened two quarterly meetings this year. The first, on February 18, was hosted by Bill Miny at the Oakland Museum of California where we toured their new conservation lab, recently- installed energy conservation equipment and back-of-house. We were also treated to a docent tour of David Ireland’s work on display. This was well attended by 18 people. The second was March 19, hosted by San Francisco’s Moscone Centre. We saw their massive rooftop Photovoltaic installation and the huge new Moscone North addition building to the complex bringing their total size to over a million square feet. This was sparsely attended by five people. Our two meetings to close out 2004 will be at the Computer History Museum in Mountain View on August 18 and the old San Francisco Mint, soon to become home of the San Francisco Museum and Historical Society, with a tentative date of November 17. Joe Brennan SFMOMA Director of Facilities Jbrennan@SFMOMA.org Future Chapters Southern California Chapter, USA Joe May J. Paul Getty Trust New Zealand Chapter Patricia Morgan Auckland Art Gallery — Toi O Tamaki Australia Chapter Kim Reason Museum Victoria Atlanta Chapter, USA Kevin Streiter High Museum of Art Bilboa Chapter, Spain Rogelio Diez Museo Guggenheim-Bilbao Chicago Chapter, USA William Caddick The Art Institute of Chicago Regional Chapters — continued from page 14
  • 16. Now after being enlightened by our Papyrus articles, we should be gearing up for our Annual Conference in Boston. Jim Moisson, the Director of Facilities Operations for Harvard University Art Museums, and Chairperson of the con- ference, has tantalized you with points of interest and photos of what’s in store this year. Boston, a city rich in colonial past, makes it a bastion for museums and historic settings, and I am certain you will not be able to pass up this year’s conference. The conference will be filled with many activities, both fun and informa- tional. This year, our presentations will be formatted in a roundtable panel discussion style. Come prepared. I don’t want to put anyone on the spot, but we will be asking for your partici- pation on relevant issues that we all encounter. Our invited experts will share knowledge on topics ranging from HVAC system design and operation, to lighting control, to facility management systems and security. There will be more than enough topics to season the pot for even the most hardened Museum Facility Administrator. What Facility Management System (FMS) do you utilize at your facility? What are its capa- bilities? Can you access your system over the Internet? What is the most productive use of your FMS? And of course, we cannot forget: how does your FMS help your bottom line? This is all food for thought, and remember that most FMS programs can tie your HVAC, lighting and security together. Which leads me to my next question: is this a good idea? Start thinking of the questions you can bring to the table. The sessions will be stimulating only if you bring an inquiring mind and an appetite to feast at some of the venues afterwards. The Annual Conference also brings us together for our membership meeting and election of officers to the Board of Directors. This year there will be two vacancies on the Board to be filled, so come prepared to nominate or to be a nominee. All nominees must consent prior to being placed on the ballot. Those of you who have served as board members can already attest to the fact that it is a fun and stimulating way to serve your colleagues, and a prestigious international organization like IAMFA. Now is the time to reserve your place at the conference and book one of the rooms at the Back Bay Hilton that was held just for you. Come early and join in the fun by attending the Benchmarking Survey Workshop before the conference on Sunday morning, September 19. I’m looking forward to seeing you at the conference and workshop. I’ll be there for both events, so stop by and let’s compare stories. Looking forward to our next issue, it is always important for me to hear from our membership and readers of Papyrus. The articles you see in these pages are a direct result of your inquiries and submissions. One way to help plant a seed for future topics, might be to have your staff walk the floors of your facility and take note of a particular problem situation or difficult task. Write their observations down and send them to me for review and possible feedback from an expert in the next issue of Papyrus. Another idea: do you have an expansion or renovation taking place at your facility? We are always looking for new and stimulating articles, and the best places to find them are from you, our members and readers. See you in Boston, Larry N. Bannister Secretary, IAFMA 16 Letter from the Editor Larry Bannister, Editor, Papyrus IAMFA/Papyrus SUMMER 2004 Editor Larry Bannister Papyrus Correspondents Bill Caddick Art Institute of Chicago Rogelio Diez Museo Guggenheim-Bilbao Toby Greenbaum Library & Archives of Canada & the National Museums James Moisson Harvard University Art Museums Spence Stehno Milwaukee Public Museum Kevin Streiter High Museum of Art Production Coordination Lezlee Kryszewski Milwaukee Public Museum Design and Layout Phredd Grafix Editing Artistic License Printed in the United States by Graphicolor, Inc. ISSN 1682-5241 Statements of fact and opinion are made on the responsibility of authors alone and do not imply an opinion on the part of the editors, officers, or members of IAMFA. The editors of IAMFA Papyrus reserve the right to accept or to reject any Article or advertisement submitted for publication. While we have made every attempt to ensure that reproduction rights have been acquired for the illustrations used in this newsletter, please let us know if we have inadvertently overlooked your copyright, and we will rectify the matter in a future issue.

×