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The website that we go through as a revision

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http://vlib.moh.gov.my/cms/content.jsp?id=com.tms.cms.bookmark.Bookmark_4745d0da-a000003c-1dfa4900-8b9361eb

https://www.britannica.com/topic/museum-cultural-institution/Types-of-museums

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NAME : Siti  Hajar Binti M. Fazid
MATRIK NUMBER : 2021851316
ADRESS : No 42, Jalan selasih 3 Taman Pasir Putih, 81700, Pasir Gudang, Johor
AGE : 20
DATE OF BIRTH : 25/11/2002
CONTACT NUMBER : 0192599074

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NAME : AHMAD DANIAL BIN AZIZ
MATRIK NUMBER : 2021895666
ADRESS : No 25, Jalan Nilam, Bandar Mas, Kota Tinggi, Johor
AGE : 19
DATE OF BIRTH : 3/11/2003
CONTACT NUMBER  : 0177754470

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NAME : NADIA NATASHA
MATRIK NUMBER : 2021104857
ADRESS : Lot 3123, Jalan Tanjung Agas 30/41, Kg Jln Kebun, Seksyen 30, 40460 Shah Alam, Selangor
AGE : 20
DATE OF BIRTH : 28/10/02
CONTACT NUMBER : 0182281511

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NAME : MUHAMMAD AMIR IZAD BIN NOR HISHAM
MATRIK NUMBER : 2021866896
ADRESS : No. 45 Jalan Sentosa 2 Taman Sri Sentosa, Pontian Johor
AGE : 19
DATE OF BIRTH : 10/11/2003
CONTACT NUMBER : 01131880311

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https://www.jstor.org/stable/40856759

https://web.library.yale.edu/building/sterling-memorial-library

https://en.wikipedia.org/wiki/Sterling_Memorial_Library

https://www.traditionalbuilding.com/projects/yale-sterling-memorial-library

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https://en.wikipedia.org/wiki/Tate_Modern

https://www.tate.org.uk/

https://icom.museum/en/

https://www.inexhibit.com/mymuseum/tate-modern/

https://www.artfund.org/whats-on/museums-and-galleries/tate-modern

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Roles
Yale University's (YUL) role Library aspires to be a company that assists clients in finding and acquiring high-quality information. The library's role will also include solving learning challenges and other activities. Furthermore, the library's role will inspire every student to read by emphasizing that every book is used by every student and that every book requires a reader. As a result, the library must provide customer-friendly and quick service. The Sterling Memorial Library offers various advantages to students. For example, the library will collect and student performance distributions and borrows. The library role will also collect information such as the student's id, the borrowed book's id, as well as data and times related to the borrowing and material return processes. The library will examine all of the information gathered. This position will aid in improving customer service quality.

Responsibility
The responsibility of the Sterling Memorial Library is to coordinate the system and planning of digital resources in manuscripts and archives while taking into account the passage of time. Keep up with professional and technological advances that affect the department's automated systems and digital resources on a regular basis. As a result, the sterling memorial library suggests that the library be upgraded, as well as software and equipment, to be in line with the library university's goals and policies. Furthermore, through reports, committee services, and active professional partnerships, the Sterling Memorial Library is responsible for improving communication and digital resource planning with university professional groups. Furthermore, the library is responsible for accepting any problems that students may have, and the library will try its utmost to resolve the issue. The LCS Library Collection Service will also be in responsibility of all operations relating to the library's shelving facilities. If your body is weak, the library will care for you by taking a book from a high shelf.

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Numerous target users for the Sterling Memorial Library include those who require a comfortable and convenient learning environment. Furthermore, they require protection while studying. Additionally, users want proper lighting in order to understand, which is neither too dark nor too bright. However, customers require a sturdy and long-lasting furniture design since they are concerned that when there are many books on a shelf, the shelf may collapse over. As a result, when using the library, the user should consider substantial furniture. Furthermore, they require a vast, not confined, research space. Further, users require effective data technology. Students also want a pleasant ambiance, and the books must be well organized to simplify the searching for the materials.

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The Sterling Memorial Library is Yale's largest library. A custom internal navigation system was built and deployed as part of the Library's Nave Restoration and Renovation Project to consistently indicate main destinations and improve overall navigation. The bronze and glass sign system incorporates architectural characteristics from the building into its design; significant room signs, in particular, have individual border treatments based on each room's specific ornamental patterns.

Changing space needs, the growth of published material, new information technology, and campus engagement all influenced library planning and architecture at Sterling Memorial Library, one of the country's largest academic libraries.

According to documented texts, the main entryway represents ancient civiliza- tions. Mr. Lee Lawrie of New York City created the sketch model, and Mr. René P. Chambellan of Montreal created the full-size sculptures based on the sketch. A figure of a Medieval Scholar divides the gateway into two components, with the central panel over the left door depicting more ancient civilizations: the Egyptian sign, the Phenician ship, and the Babylonian winged bull. Two angles containing Cro-Magnon, Egyptian, Babylonian, and Hebrew writings, with characteristic scribes, flank each side of this central panel.

The 60-foot ceiling part of the monastery, the 3,000 clerestory-stained glass windows, and the Altar's celery distribution table are all visible evidence of the cathedral. In 1930, the Sterling memorial library was constructed. Architect Rogers designed a portion of the master plan. He has constructed a Yale collegiate gothic persona that is semi-built. With its characteristic tower and cross-style pattern, John William Sterling is the most prolific contributor, having sold over 2.5 million books. Alma Mater murals are used to design library coinage and woodwork.

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First of all, we had to enlist the assistance and guidance of a few well-respected individuals in order to complete our task, and we owe them our deepest appreciation. We are quite pleased with the outcome of this job. We would like to express our thanks to Madam Azura Kamarudzzaman in UITM Segamat for providing us with a suitable assignment guideline during multiple consultations. We would also want to express our heartfelt appreciation to everyone who has heled us write this assignment, both directly and indirectly.

We are very grateful because we managed to complete this assignment within the time given by Madam Azura. This assignment cannot be completed without the effort and co-operation from ourselves to being committed towards this assignment

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Information agencies are organizations that specialize in information activities, such as gathering, storing, processing, managing, conserving, producing, and disseminating data so that future generations might reap great advantages and values for a variety of purposes.

The primary functions of information agencies are knowledge archiving, cultural and heritage preservation, and knowledge dissemination. Information Agencies will serve as information retrievals for educational and social interaction purposes in the same way. There are three different kinds of information agencies.

These are the type of information agencies:
- Libraries
- Museum
- Archive

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·      The National Archives of Spain or The National Historical Archives of Spain is a national system of Archives and State Centers maintained by the Archive (Archivo) department of the Spanish Ministry of Culture. The National Historical Archive was created in 1866, with the mission of organizing all the documentation originating in religious institutions that had come into the State's possession as a consequence of the processes of selling off church lands in the 19th century.

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The organization at Tate Modern are known as a Board of trustees, its determines policy and, together with senior Tate staff, sets the strategic direction for Tate. As an oversees the management of the gallery, with the Trustees acting as guardians of the public interest. The Board decides on major acquisitions and resource allocations. It represents Tate externally, monitors the organization's performance against its agreed objectives and targets, and ensures the stewardship of public funds. The Board of Trustees is supported by a series of Sub-committees and Advisory Councils, as well as Tate's connected charities and subsidiaries.

Sub-committees and Advisory Councils are part of the Board's work supplemented by standing sub-committees that have different responsibilities and cover different aspects of the Board's work. In addition, there are four site councils whose role is to advise the site Directors on the overall running of each gallery.

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The Department Secretary, as the Department's Principal Accounting Officer, is responsible for the overall organization, management, and staffing of the sponsor Department, and for ensuring that there is a high standard of financial management in the Department as a whole.

Satisfied that the framework of internal controls applied by Tate conforms to the requirements of regularity, propriety, and good financial management.

Responsible for ensuring that the financial and other management controls, such as the Financial Memorandum applied by Department to Tate are appropriate and sufficient to safeguard public funds and for ensuring Tate's compliance with those controls.

Accountable to Parliament for the issue of grant in aid, for ensuring that the subvention is within the ambit and amount of the Resource Estimate, that Parliamentary authority has been sought and given, and for the framework for achieving value for money.

Function Unit

To communicate and maintain an effective relationship with Tate and to ensure timely consulting about policy, resources, and other relevant matters.

To communicate relevant Government policy to Tate and advise on the interpretation of that policy, and to provide specific advice to Tate as necessary.

To monitor and review Tate's performance against Funding Agreement targets against its resource and capital provision.

To advise the Secretary of State, at a strategic level, on how well Tate is achieving its current objectives and whether it is delivering value for money.

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Tate holds the national collection of British art from 1500 to the present day and international modern and contemporary art. British art is represented by artists chosen for their contribution to its history and development, rather than their nationality alone. The collection continues to expand its holding of modern and contemporary art from around the world.

Tate's art collection is inspired and has been embraced by all media, from painting, sculpture, drawing, and prints to photography, film, video, installations, and performance to archive material including letters, sketchbooks, and manuscripts. Tate is committed to expanding the geographical remit of its collection. Tate does not allocate more of its funds to either historic or contemporary works, as it needs flexibility in order to react to the market and what is available. The potential acquisition of contemporary art is considered by artists who have already made a significant contribution and have achieved national or international recognition.

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Responsible
In the International Council of Museum Code of Ethics, the section Professional Conduct annotates responsibility: to the Collections, to the Public, and Colleagues and the Profession more broadly. The code is offered as a means of professional self-regulation. It sets out 'minimum standards of conduct and performance to which all museum professional staff throughout the world may reasonably aspire. At the same time, it also provides a clear statement of what the public may justifiably expect from a museum profession'.
Responsible to the collection is set out as the first key area. Interestingly, of all the sections on professional responsibility, that of the relationship to the public that current tensions and debates have and attitudes entailed in the notion of professional responsibility for the education curator? Responsibility to the Collection takes the form of keeping up to date with art historical subject knowledge and contributing to pushing forward the diversification of the Collection so that it becomes more international. Responsibility colleagues and the profession takes the form of being engaged in research and of disseminating and sharing good practice through conversation, conference contributions publication. It can also take the form of sharing and supporting professional development through mentoring, for example, of the colleagues new to the profession. At the managerial level responsibility to colleagues also includes administrative tasks such as budget and staff management. Responsible to an audience that distinctive quality of an educator's professionalism emerges. Responsibility, especially in relation to the public, can be recast as a form of duty of care that embraces not just the intellectual experience of our visitors, but also cares for their emotional and physical well-being whilst at the museum, recognizing and respecting the embodied visitor who has physical and emotional needs as well as aesthetic as cognitive ones.

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Objectives, Mission, Vision, Aims, Functions

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Objectives, Mission, Vision, Aims, Functions

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Objectives

The objective of the portal of Spanish archives is to serve as a vehicle for the dissemination over the internet of Spain's historic documentary heritage conserved in the network of centers in the Ministry of  Education, Culture, and Sport.

Also, another objective of the archive is a directory of archives providing information on the documentary assets and collections contained in each archive, described according to ISAD-G standards, and a list of the authorities that have context information regarding the producers of the documentation.

Mission

The mission of organizing all the documentation originating in religious institutions that had come into the State’s possession as a consequence of the processes of selling off church lands.

Vision

Together with an institution’s mission and values, are usually the result of several keys procedural steps involved in strategic planning and hence generally form part of the content of the plan.

Aims

Their aims are to reveal the continent's cultural richness. It does so by highlighting those sites which have contributed over the years to the development of a common European identity and legacy, either from a historical, artistic, or ideological perspective.

Functions

Their functions are to conserve and protect the historical documentary heritage that it already guards and that which should continue to arrive (since it is an open archive), describe the information content of the documents, and make the documentary collections accessible to both the researcher and the citizen. , as well as promote their cultural dissemination.

Planning, development and maintenance of the Central Archive

Assessment related to state owner archives managed by other ministries.

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Tate Modern: email proposals.modern@tate.org.uk

For Frequently Asked Question https://www.tate.org.uk/about-us/frequently-asked-questions for more detail hello@tate.org.uk

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Tate galleries are open

Thank you so much for your continued support.

Last updated 9 December 2021

General FAQs

If you haven't found the answer to your query, check our other FAQ pages or contact us at hello@tate.org.uk.

Booking tickets

Will I need to book a ticket?

Yes, we're asking all visitors, including Members, Patrons, Supporters and Corporate Partners, to book a timed ticket in advance. This is so we can manage the number of people in the galleries at any one time.

Advance booking is strongly recommended to avoid disappointment and this can be done online or over the phone at 020 7887 8888 (10.30-17.00 daily). Tickets for the free collection may also be available on the door.

Are timed tickets free?

Timed tickets to visit the collections at Tate Modern, Tate Britain and Tate Liverpool are free of charge. To avoid disappointment, these should be booked in advance, and can be done online or over the phone at 020 7887 8888 (10.30-17.00 daily). Tickets for temporary exhibitions and Tate St Ives need to be purchased online in advance.

I'm a Tate Member, do I need a timed ticket?

Yes, you will still be able to book to visit collections and exhibitions for free. However, to enable us to manage the number of people in the gallery we are asking Members to book for each visit. This can be done by signing in to your membership online, and then booking a timed ticket to the collectionor exhibition you'd like to visit.

Please only book tickets that you will use so as many people can enjoy the exhibitions as possible. If you book tickets you can't use, you are able to cancel these in your membership account online so that we can offer the tickets to someone else to enjoy. For more information take a look through our Membership FAQs.

If I have an exhibition ticket but want to also see the collection when I visit, do I have to book a separate collection ticket?

Exhibition tickets also give access to visit the collection.

Can I get a ticket in person on the day?

We anticipate that some tickets will remain available each day, allowing visitors to get a ticket in-person at the gallery, but we recommend everyone books online in advance to avoid disappointment.

I have paid for tickets to visit an exhibition during the dates the galleries were closed.

Thank you for your support. We have attempted to contact everyone by email to give opportunity to support us further by donating the value of your ticket to Tate or to have the value refunded. If you have not received an email from us please check your junk mail folder or email hello@tate.org.uk.

Can I book a group visit?

You are welcome to visit as a group, but we ask that you divide up into smaller groups of no more than 6 when in the galleries.

Can I change the date of my booked visit?

Absolutely. If you have a ticket for a date when we were closed and it has not been donated or refunded and you would like to change them for a future visit we would be happy to exchange them. Please email hello@tate.org.uk or call us on 0207 887 8888 (10.30-17.00) and the team will be more than happy to help.

Hygiene and safety measures

What social distancing and hygiene measures do you have in place?

We are continuing to manage visitor numbers through timed tickets through the galleries and exhibitions. There is hand sanitiser available in key areas, increased cleaning regimes in toilets and other high use areas, and screens in place at all desks.

Will I need to wear a mask or face covering?

Yes, face coverings are mandatory in our galleries, unless you are exempt. This is in line with government guidelines.

What personal protective equipment have you provided for your staff?

All our front of house colleagues are given coverings to wear. They also have hand sanitiser and wipes for equipment, and further items have been issued depending on the team member's role.

What steps have you taken to ensure visitors with disabilities have access to the galleries?

Tate is for everyone and we want to be as accessible and inclusive as possible in everything we do. We have ensured that maximum access and inclusion has been considered at every stage of our plan for reopening to create a comfortable and enjoyable experience for everyone who visits.

If I'm unwell on the day of my visit, what should I do?

If you or anyone you live with displays symptoms associated with Covid-19 please stay at home until it is safe to visit the galleries. If you would like to re-arrange your ticket, please call 020 7887 8888 (10.00-17.00).

How long am I allowed in each room?

You can visit each gallery room for as long or short a time as you like.

Facilities and events

Will the toilets be open?

Yes, there are toilets available, with social distancing measures and extra cleaning regimes in place.

Will cloakrooms be open?

Yes, the cloakrooms are open but capacity is limited so please avoid bringing bulky coats and bags to the galleries. Items larger than cabin bag size (55cm x 40cm x 20cm) are not permitted at all.

Can I bring my skateboard, scooter or folding bike into the gallery?

You can bring your non-electric skateboard, non-electric scooter, or folding bike into Tate Modern or Tate Britain, but it must be put in the cloakroom. Cloakroom capacity is limited, so if the cloakroom is full, we regret we will not be able to let your bring your item in.

Electric scooters and electric skateboards are not permitted in the gallery.

Will you be giving out maps or leaflets?

To minimise touch points, we're not giving out paper maps. There will be exhibition leaflets available for exhibition visitors to pick up. There will still be large print guides available in exhibitions, with extra cleaning measures in place for these. There are digital versions of maps and exhibition leaflets available on the Tate website.

Are buggies allowed in the gallery?

Yes, as always we welcome visitors with young children and buggies to come and enjoy the galleries.

Will family activities be taking place?

There are limited family programmes running at the moment. Please see Visit Tate Modern with Your Family for upcoming UNIQLO Tate Play events at Tate Modern.

Will guided tours be taking place?

Our volunteer guides often give pop-up talks at Tate Modern and Tate Britain, but please ask a colleague for details when you visit.

I'm a visitor with access needs, am I still able to book out mobility scooters and wheelchairs for my visit?

Yes, we are still able to lend wheelchairs and mobility scooters, with enhanced cleaning measures in place. These need to be pre-booked, please email hello@tate.org.uk.

Can I visit the Library and Archive at Tate Britain?

Yes, the Library and Archive is open for the public. Visits will be by appointment only, to book please contact reading.rooms@tate.org.uk.

Can I visit the Prints and Drawings Rooms at Tate Britain?

Yes, the Prints and Drawings Rooms is for the public. Visits will be by appointment only, to book please contact studyroom@tate.org.uk.

General FAQs

General information about art and artists

Tate can help answer queries about works in the collection but we are not in a position to give general information about art and artists.

How do I contact an artist in the Tate collection?

Tate cannot give out contact details for artists in the Tate collection or who are exhibiting at Tate. Artists can be contacted via their representing commercial gallery.

How do I get my work of art authenticated and valued?

Tate is unable to authenticate or value works of art owned by private individuals. For advice regarding the identification of works of art, contact a reputable art dealer or auction house.

I would like to exhibit my work at Tate. How do I submit an exhibition proposal?

Temporary exhibitions at all Tate galleries range from major retrospectives, historic and group shows to commissions for specific display spaces such as the Turbine Hall at Tate Modern and the Duveen Galleries at Tate Britain. While Tate Modern focuses on producing exhibitions of international modern and contemporary art, the programme at Tate Britain concentrates on British art from 1500 to the present day. Tate Liverpool shows both British and international modern and contemporary art from 1900 to the present day, as well as displays from the Tate collection. Tate St Ives focuses on showing works of art in the surroundings and atmosphere in which they were created.

Tate's exhibition programmes are planned three years or more in advance, and most exhibitions are the result of proposals generated by our in-house curatorial teams or collaborations with other institutions. The majority of exhibitions and commissions arise from direct invitations to artists and curators. Therefore we can only rarely accommodate unsolicited projects.

If you would like to send an exhibition proposal or examples of your work this should be directed to:

Submissions will be reviewed by staff in the respective curatorial teams, but please note the following:

We only accept submissions by email

You should include a letter introducing your work/project to us, and a CVwhere appropriate

If you are proposing an exhibition, please tell us your ideal timescale for realising the project

Owing to the large volume of proposals received, Tate will only be able to respond to those proposals which would be appropriate for our programmes

Tate will endeavour to respond to those proposals of suitability within two to three months; we are grateful for your patience while we consider them

If you are seeking your first exhibition in the UK, you may find it more helpful to contact some smaller galleries in the first instance

We are not a commercial gallery, and therefore cannot represent artists or sell works on their behalf

Due to the pressures on Tate curators' time, we are unable to provide specific feedback

There is no need for you to send additional materials to the offices of the Director of Tate Modern, Director of Tate Britain, or Director of Tate.

How do I propose a work of art for acquisition by Tate?

Before proposing a work for acquisition, please familiarise yourself with Tate's collection and acquisition policy and procedures. For instructions on how to propose an artwork for acquisition by Tate, see collection which features a contacts section at the end of the page.

How can I find an exhibition space?

The magazine Artist's Newsletter is essential reading for anyone trying to set up or apply for an exhibition. This is available monthly from most art bookshops or by subscription. The magazine features articles on all aspects of art and art practices across the UK but its most useful sections are 'Opportunities' and 'Small Ads'. These sections list useful contacts for commissions, awards, open submission exhibitions, residencies, studios, materials, courses, equipment and more. The magazine is also available online by subscription.

Artist's Newsletter Publications also produce some of the most practical advice books available to artists, which can be obtained by mail order or from some retail outlets ( ICA, The Photographers' Gallery and the Whitechapel Gallery, for example). Some useful titles include: Directory of Exhibition Spaces, Investigating Galleries and Organising Your Exhibition.

How do I apply to a commercial gallery?

When choosing a gallery to approach it is vital to check whether or not they show a similar type or medium of work as your own. The books listed above should help with this information.

There is also a monthly free magazine called (available from most London galleries including Tate), which has an index identifying the types of art shown by each gallery. Also useful is the free monthly guide to exhibitions at UK galleries called New Exhibitions of Contemporary Art, available from galleries and museums.

A gallery should first be approached by letter including:

An up-to-date education and exhibition CV

Up to 10 slides/photographs of recent work clearly labelled with your name, dimensions and medium of the work (remember to mark which way up they should be viewed, even if it seems obvious)

A covering letter including an artist's statement

An SAE for return of your materials

How do I hire a gallery?

If you prefer to set up your own show, a number of galleries do offer their spaces for rent. In recent years there have also emerged a number of alternative spaces for those who wish to show their work outside the formal context of the gallery. Details on these spaces can be found in the publications listed above.

May I use the Tate logo?

Tate does not allow use of the Tate logo on personal or commercial websites without prior consent.

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Thank you so much for your continued support. Last updated 9 December 2021 If you haven't found the answer to your query, check our other FAQ pages or contact us at hello@tate.org.uk. Will I need to book a ticket? Yes, we're asking all visitors, including Members, Patrons, Supporters and Corporate Partners, to book a timed ticket in advance.

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Tourism

Artistic

Art Students

Researcher

Historical

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The former Bankside Power Station has been developed into the Tate Modern Art Gallery and a bridge built over the Thames to St Pau's Cathedral. The area become one of the foremost tourist destinations in London. But so much money was spent on the gallery conversion that hardly any was left for the landscape design area between the gallery and the river. A fresh green space was designed in (1999-2000) by the Kienast Vogt Partnership in association with Charles Funk Associates.

Landscape
Gardens are important topographical sites that mediate between the city and the building. Blurring the gap inside and outside the gardens. Thus the turbine hall with gardens to the west of the entrance is a prominent feature of both. The plate that happened several times between the river's condenser promenade and the chimney to the turbine hall where it becomes a platform. Riverfront area, coastal gardens, divided into three parts: a central area, made up of birch trees; To the west is Arbolitum, a line of clusters of birch trees, providing a place of rest and relaxation. And the eastern garden, with its small clusters of birches, on the houses of the adjoining buildings. The surface of the gravel, which is used throughout, is covered with shields, bindings, or asphalt. With the addition of soft gravel, the riverbank continues to expand.

Domestic birch bushes burn along the riverbanks as the forest grows. But birch is also an important tree that falls and stands on industrial lands and is a symbol of change in abandoned lands.

West Market landscaping is done at the urging of Bank Sydney and between the open space and the framed areas of the southern roof. The ramp leading to the turbine hall was placed in the center. To the north, in front of the cafe, is a stepping-down exit. By groups of spears.

The southern terraces were divided into two designated gardens, surrounded by hedges. Self-awareness of these spaces invites contemplative characters to relax or play. Hedges, conical stands, white quince, and apple blossoms bloom in different seasons. Along the southern border, maple, London, and plane trees, with the topographic design of the lawn, enhance the local effect. Yellow and white daffodils grow on lawns in the spring. They have gone into squares, but those with geometry will be gone.

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The Organization chart that The National Archive of Spain use is the functional hybrid that shows the structure of an organization and the relationships and relative ranks of its parts and positions /jobs. It is because these organizational charts can very quickly become out-of-date, especially for large organizations like The national archive that change their staff regularly. Also, this chart help manage all the state-owned and carry out the archives high comission.

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Space in Yale University's Sterling Memorial Library 

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Space in Yale University's Sterling Memorial Library 

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Sterling Memorial Library (SML) is our largest library on campus. Bass library lies just underneath it, and our super high-tech Center for Teaching and Learning (CTL) is connected to SML through the music library (no video recording of any kind is allowed in the CTL, so I couldn't get footage :( But feel free to look it up on your own!)

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Sterling Memorial Library (SML) is our largest library on campus. Bass library lies just underneath it, and our super high-tech Center for Teaching and Learning (CTL) is connected to SML through the music library (no video recording of any kind is allowed in the CTL, so I couldn't get footage :( But feel free to look it up on your own!)

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The current headquarters of the National Historical Archives was inaugurated on 13 October 1953 and was designed and built as a new plant for use as an archive. Located in one of the highest areas of the city of Madrid, in the building complex of the High Council for Scientific Research located on the grounds of the Board of Further Education and Student Residence. His style was inspired by the architecture of El Escorial which was so promoted in Franco’s time and its author was Mr. Manuel Chumillas.

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Yale University Sterling Library | New Haven CT

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What to expect when visiting The National Archives

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A Short Guide to the Tate Modern in London

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The value and interest of these funds are incalculable, not only as a documentary source for global or specific studies on the activity of people and institutions but also above all, for its character of testimony and guarantee of the rights of the citizens.

Moreover, notaries have been visited many times that looks same like National Library, which is why millions of documents have come down to us that offer researchers important resources for the history of mentality about religious, moral, political, and cultural, and the economic history that tells about prices, trade, and industrial activities, rural and urban social history (social structure and class, property regime, a labor regime, family composition, death and that, in short, tells us about the life of men in material and spiritual aspects.
Next, The National Archives of Spain had millions of history of Spain, about World War I and World War II so too the place where promoting the conservation of the documentary heritage as well as its national and international promotion and dissemination.

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Responsible
The responsibilities of all parties should be established at the beginning of the investigation. To facilitate this process, they recommend that before the investigative hearing begins, investigative staff meet with the National Archives, and, if applicable, a representative of the sponsoring department. This will help the investigation implement an effective information management process and ensure all parties are clear about how the records will be transmitted after the conclusion of the investigation.

There are roles collection staff that  should have:

The chairman of the inquiry must ensure that investigation records are thorough and orderly and shall establish a secretariat responsible for the management as well as carry out internal investigation records operations transfer custody of the investigation records to a government department or the National Archives at the end of the investigation

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Mostly the target users are the Prime Minister, Minister of Education, Culture and Sport and research sector also leaders who look after the safety and security of the people can obtain the collection inside The National archive of Spain but we can access the collections that are we must request an appointment by this contact form. We should clearly specify the nature and purpose of your research, as well as the start and end dates of the reference documents we wish to consult. We must also present:

DNI or passport if you are not a Spanish national.

Two letters of introduction signed by notable persons from the academic or research sector.

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During pandemic Covid- 19 happen, The National Archive of Spain aimed to determine the type of transparency documents and collections that archives as organizational units publish on their websites. The transparency-related indicators used in the searches were based on the management documents published on 7 university library websites identified in an earlier study. This is an information service that helps us as a citizen to search some collections via the internet.

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https://www.culturaydeporte.gob.es/cultura/areas/archivos/mc/archivos/ahn/servicios/servicio-de-reprografia.html

https://e-archivo.uc3m.es/bitstream/handle/10016/26846/spanish_AS_2018_ps.pdf;jsessionid=54BA44D190CDFB407885A4BC1613AE6D?sequence=1

http://www.spainisculture.com/resultados/busquedaGeneral.html?l=en&q=facilities+on+archive&enviar=Send

https://www.bde.es/bde/en/secciones/servicios/Profesionales/Archivo_Historic/Archivo_Historico.html

https://www.comunidad.madrid/centros/archivo-historico-protocolos-madrid

# data[].attributes.attachment_link.description
Servicio de reprografía del Archivo Histórico Nacional

# data[].attributes.body
https://www.youtube.com/watch?v=EEu4mEw_0c4