Papyrus Summer 2004

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
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
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
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
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
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
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
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
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
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
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 &
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
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
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
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
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
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
Los Angeles, CA
90049-1678
USA
rromo@getty.edu
Will Spencer
J. Paul Getty Trust
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

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
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
111 South Michigan
Chicago, IL
60603
USA
wcaddick@artic.edu
Paul Huber
3906 N. Monticello Ave
Chicago, IL
60618-4128
USA
pshuber@telocity.com
Charles Ingles
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

12
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
800 W. Wells Street
Milwaukee, WI
53233
USA
bannister@mpm.edu
Lezlee Kryszewski
800 W. Wells Street
Milwaukee, WI
53233
USA
kryszewski@mpm.edu
Spence Stehno
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
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.

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
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
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
Chicago Chapter, USA
William Caddick
The Art Institute of Chicago
Regional Chapters — continued from page 14

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
Rogelio Diez
Toby Greenbaum
Library & Archives of Canada & the
National Museums
James Moisson
Spence Stehno
Kevin Streiter
High Museum of Art
Production Coordination
Lezlee Kryszewski
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.

Papyrus Summer 2004

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