Project alliancing at National Museum of Australia : the collaborative process

Project alliancing is a new alternative to traditional project delivery systems, especially in the commercial building sector. The Collaborative Process is a theoretical model of people and systems characteristics that are required to reduce the adversarial nature of most construction projects. Although developed separately, both are responses to the same pressures. Project alliancing was just used successfully to complete the National Museum of Australia. This project was analyzed as a case study to determine the extent to which it could be classified as a “collaborative project”. Five key elements of The Collaborative Process were reviewed and numerous examples from the management of this project were cited that support the theoretical recommendations of this model. In the case of this project, significant added value was delivered to the client and many innovations resulted from the collective work of the parties to the contract. It was concluded that project alliances for commercial buildings offer many advantages over traditional project delivery systems, which are related to increasing the levels of collaboration among a project management team.

An example of developing a business model for information and communication technologies (ICT) adoption on construction projects – the National Museum of Australia project

Effective use of information and communication technologies (ICT) is necessary for delivering efficiency and improved project delivery in the construction industry. Convincing clients or contracting organisations to embrace ICT is a difficult task, there are few templates of an ICT business model for the industry to use. ICT application in the construction industry is relatively low compared to automotive and aerospace industries. The National Museum of Australia project provides a unique opportunity for investigating and reporting on this deficiency in publicly available knowledge. Concentrates on the business model content and objectives, briefly indicates the evaluation framework that was used to evaluate ICT effectiveness.

Project alliancing and information technology in building construction : the National Museum of Australia

The construction industry demands priority from all governments because it impacts economically and socially on all citizens. A number of recent studies have identified inefficiencies in the Australian construction industry by modelling the building process. A culture of reform supported by industry and government is now emerging in the industry – one in which alternate forms of project delivery are being trialed. The Australian Building and Construction Industry Action Agenda brought together industry and government to identify actions necessary to lift Australia’s innovative and knowledge creating capacity at the sector level. A central activity under this Action Agenda was dissemination of information relating to industry best practice initiatives in innovation, project delivery and the use of information technology. Government and industry identified project alliance contracting and more advanced information technology as means to increase efficiency in construction as part of a new innovative procurement environment.

Computer databases and the Jewish Museum of Australia : investigating the future to access the past

This thesis aims to analyse the needs of museums in terms of computer databases, examine the ways in which these databases can assist with cataloguing and museum operations in general, and survey current database programs available. The Jewish Museum of Australia is used as a pilot study to practically apply the issues discussed.

The changing role of the museum curator

The hypothesis of this thesis is that the traditional role of the museum curator has fundamentally changed. The role of the curator was found to vary according to the context in which the curator worked but overall, significant changes were found to be occurring within the curatorial role.

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Case study of the National Museum (Action Peninsula) project

The Acton Peninsula project alliance is the first project alliance in building construction in the world. The project alliance is set out to achieve the best possible outcome for the project with all participants in the alliance sharing both risks and rewards. The construction of the National Museum of Australia and the Australian Institute of Aboriginal and Torres Strait Islander Studies, on Acton Peninsula in Canberra, will be a significant Australian architectural and construction achievement. The design and construction project team is committed to achieve outstanding results in all aspects of the design, construction and delivery of this significant national project. Innovation and creativity are valued, and outstanding performance will be rewarded.

Cultural policy and Australia's national cultural heritage: Issues and challenges in the GLAM landscape

In 2012 the Australian Commonwealth government was scheduled to release the first dedicated policy for culture and the arts since the Keating government's Creative Nation (1994). Investing in a Creative Australia was to appear after a lengthy period of consultation between the Commonwealth government and all interested cultural sectors and organisations. When it eventuates, the policy will be of particular interest to those information professionals working in the GLAM (galleries, libraries, archives and museums) environment. GLAM is a cross-institutional field which seeks to find points of commonality among various cultural-heritage institutions, while still recognising their points of difference. Digitisation, collaboration and convergence are key themes and characteristics of the GLAM sector and its associated theoretical discipline. The GLAM movement has seen many institutions seeking to work together to create networks of practice that are beneficial to the cultural-heritage industry and sector. With a new Australian cultural policy imminent, it is timely to reflect on the issues and challenges that GLAM principles present to national cultural-heritage institutions by discussing their current practices. In doing so, it is possible to suggest productive ways forward for these institutions which could then be supported at a policy level by the Commonwealth government. Specifically, this paper examines four institutions: the National Gallery of Australia, the National Library of Australia, the National Archives of Australia and the National Museum of Australia. The paper reflects on their responses to the Commonwealth's 2011 Cultural Policy Discussion Paper. It argues that by encouraging and supporting collecting institutions to participate more fully in GLAM practices the Commonwealth government's cultural policy would enable far greater public access to, and participation in, Australia's cultural heritage. Furthermore, by considering these four institutions, the paper presents a discussion of the challenges and the opportunities that GLAM theoretical and disciplinary principles present to the cultural-heritage sector. Implications for Best Practice * GLAM is a developing field of theory and practice that encompasses many issues and challenges for practitioners in this area. * GLAM principles and practices are increasingly influencing the cultural-heritage sector. * Cultural policy is a key element in shaping the future of Australia's cultural-heritage sector and needs to incorporate GLAM principles.

Object-love at the Science Museum: cultural geographies of museum storerooms

The field of museum geography is taking on new significance as geographers and museum-studies scholars make sense of the spatial relations between the people, things, practices and buildings that make and remake museums. In order to strengthen this spatial interest in museums, this paper makes important connections between recent work in cultural geography and museum studies on love, materiality and the museum effect. This paper marks a departure from the preoccupation with the public spaces of museums to go behind the scenes of the Science Museum in London to explore its rarely visited, but nonetheless lively, small-to-medium-sized object storerooms at Blythe House. Incorporating field diary entries and interview extracts from two research projects based upon the museum storerooms at Blythe House, this paper brings to life the social interactions that take place between museum curators and conservators and the objects they care for. This focus on object-love enables scholars to consider anew what museums are and what they are for, the life of the museum object in the storeroom, and the emotional practices of professional curatorship and conservation. This journey into the storeroom at Blythe House makes explicit how object-love shapes museum space.

Pricing in the museum sector : the need to balance social responsibility and organisational viability

An essential component of marketing strategy is pricing. Pricing in museums, however, is problematic as issues beyond cost recovery or surplus, such as social responsibilities, need to be considered. This area of marketing is under researched. The aim of this study is to address the research gap by synthesising the literature on pricing strategy in the museum sector. The study found that there are a number of strategies being advocated with regard to pricing in the museum sector in the literature, each representing various perspectives of museology. A research agenda was proposed to assist marketers in the museum sector to meet their organisational needs, whilst balancing their social responsibilities.