28 Museums, art galleries and temporary exhibition spaces CI/Sfb:75 UDC: 727.7 Uniclass: F754 & F755
Geoffrey Matthews Geoffrey Matthews is a museum consultant
KEY POINTS: The expansion policy The circulation system The storage system Environmental control
• • • •
Contents 1 Introduction 2 Area data 3 General planning 4 Exhibition and collection storage spaces 5 Interpretation, communication and display 6 Ancillary accommodation 7 Environment and conservation 8 Security and services 9 Bibliography
1 INTRODUCTION 1.01 ‘A museum is an institution which collects, documents, preserves, exhibits and interprets material evidence and associated information for the public benefit’ (Museums Association (UK), 1984).
1.02 The design of museums, art galleries and the temporary exhibition spaces associated with similar organizations involves the housing of a wide range of functions broadly indicated in the common
definitions of a museum. Museums, however, vary considerably in size, organization and purpose. It is important therefore to consider the particular context and features that characterize a museum in the process of developing concepts. 1.03 Collections in national museums are very large and varied in material and generally of international importance. The National Maritime Museum in Greenwich, for example, houses collections of machinery, boats, costumes, medals, ship models, paintings, silver, weapons, and scientific instruments, among many other types of material. Such museums are staffed by a wide range of highly qualified experts in collection management, research, conservation, public relations and marketing. In some local and private museums collections are small, specific in material content and of specialist or local interest. Many such museums have only one qualified curator to oversee management of the collections and public services, and many of the specialist functions may be provided by outside bodies such as the Area Museum Councils. 28.1 shows a typology of museums based on subject/museological approach, collection characterization, and type of institution.
2 AREA DATA 2.01 There is no convenient formula for determining the areas to be devoted to the different functions. The client’s intentions in respect of public access to collections, information and staff, and of commitment to research and conservation will provide an initial guide.
28.1 A museum typology based on: museological approach/interpretive discipline; collection characterization; and institution characterization 28-1
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Museums, art galleries and temporary exhibition spaces
2.02 Some museums may have only a small proportion of the permanent collections on public exhibition at any one time, the bulk remaining in storage and accessible for research and conservation purposes only. Well-serviced temporary exhibition space may be a priority in such cases. Other museums may have smaller collections attractive enough to the visiting public to warrant the development of sophisticated exhibitions with a designed life of several years. In such cases storage space may be needed primarily for the expansion of the collections, and considerable effort may be made to develop educational programmes.
3 GENERAL PLANNING 3.01 The relationships between functions are common to all museums and art galleries. The flow diagram 28.2 shows collection item movements in the operation of collection services, but note that not every operation necessarily requires a separate space, and some services may be provided by outside agencies. As far as possible, collection movement and public circulation should be kept separate. 28.3 shows one approach to zoning and expansion based on this principle. 28.4 shows a possible layout for a small museum in which interpretive exhibitions and educational programmes are central to its operation. Where a museum is to be developed around a large-scale permanent installation this should be integrated into the interpretive scheme at an early stage. Examples are Jorvik Viking Centre’s archaeological site and the National Railway Museum’s turntables.
28.4 A possible layout diagram for a small museum
3.02 Museums are long-term developments: concepts for layout and massing should therefore be capable of expansion in all areas and a degree of internal rearrangement, particularly in work and ancillary areas. 28.5 shows possible massing concepts, and 28.6 illustrates the three methods of expansion.
4 EXHIBITION AND COLLECTION STORAGE SPACES 4.01 The layout of public areas in a museum, 28.7, may be based on a simple concept of free circulation around a single open-plan exhibition space, 28.7a, or on more complex concepts related to generic interpretive structures. It is important to consider the nature of the narratives appropriate to the museum’s objects of interest. The storyline of an exhibition may be translated into: linear arrangement of spaces with beginning, middle and end, • A28.7b the essentially linear storyline leads naturally • Abackloopto thewhere beginning, 28.7c arrangement of core and satellites where each theme or • An detailed treatment of a subject leads back to a central introductory or orientational area, 28.7a
more complex scheme combining linear, loop and core• Asatellite arrangement of spaces which is specifically structured
28.2 Flow diagram of collection item movements in the operation of collection services: exhibitions, conservation and collections management
•
to account for more or less stable relationships between collections and interpretive themes, 28.7d or A labyrinthine arrangement where the relationships between areas can be varied from exhibition to exhibition by managing the public circulation, 28.7e.
28.3 A layout concept showing a clear relationship between museum functions and an approach to zoning and expansion
Museums, art galleries and temporary exhibition spaces
28-3
28.5 Two basic massing concepts that allow public areas to be organised on one level
28.7 Genetic plans for exhibit and open-access storage areas: a Open plan; b Core Ăž satellites; c Linear procession; d Loop; e Complex; f Labyrinth
28.6 Three modes of expansion: a Block addition; b Extension; c New building
4.02 In any arrangement of exhibition spaces consider the problem of orientation, at the entrance to the museum and at key decision points in the museum information and visible clues should be provided to enable the visitor to grasp the organization of the collections, the interpretive scheme, and the public services offered by the museum. The aim of orientation is not only easy understanding of the building layout but more crucially to facilitate access to collections, information and museum services. Many museums carefully control access to all collection storage spaces. However, it is increasingly worth considering the provision of open-access storage areas particularly for collection study. The former requires that storage areas are made secure and that visitors are closely supervised. Open access, on the other hand, requires that secure forms of storage equipment and furniture are arranged in very compact layouts. 28.8 shows a typical layout for a storage area fitted out with ranks of secure display cases. 28.9 shows a secure storage area with open-floor storage for larger collection items.
5 INTERPRETATION, COMMUNICATION AND DISPLAY 5.01 At an early stage the communications strategy of the museum should be determined. The relative importance and coordination of exhibition, education, publication, live interpretation and other forms of direct communication with the public are the essential factors that will determine the interface between staff and public. It is not sufficient to consider only the relationship between visitor and displayed collections, a wide variety of media are now used in
1 2 3 4 5 6
Entrance from main exhibit areas Orientation point Ranks of cases glazed on all sides Full-height wall cases Fire exit Controlled access to staff areas and secure storage
28.8 Method of layout in open-access storage areas museum exhibitions to facilitate communication with the visiting public – graphic display, audio-visual, theatre, video, computer graphics, animatronics, tableau and reconstruction, and working environments. Once beyond the stage of producing a general scheme it is important to consult an exhibition designer and a museum consultant to explore the matrix of interactions between people, information and collections that must be accommodated. A wide range of academic expertise may be brought to bear in the interpretation of collections for exhibition purposes. Within the framework that the initial consultations provide, informed decisions may be made regarding the interpretive process and
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Controlled entrance lobby Inspection area Clear aisles Grid marked on floor, e.g. 1.5 m squares lettered in one direction, numbered in the other 5 Fire exit 1 2 3 4
28.9 Grid system for open-floor secure storage area
28.11 Each of exhibit types in 28.10 may have any combination of the following elements: a Item or items from the collection; b Fixing mount, support or plinth; c Preservation: protection of vulnerable or removeable parts, lock, alarm, barrier, glazing, thermo-hydrometer (contained exhibits may have buffering material against changes in relative humidity); d Lighting; e Interpretive material: label, graphic information, sound, audio-visual, kinetic device, interactive device techniques, and the choice of media and types of exhibit to be employed. 28.10 shows a broad typology of exhibit and media installations, and 28.11 indicates the physical elements associated with exhibits. Reference should be made to the anthropometric data in Chapter 2 in determining coordinating dimensions; for example, the range of eye levels represented in the visiting population.
6 ANCILLARY ACCOMMODATION 6.01 For guidance on space requirements and design criteria for offices, catering facilities, sanitary installations and cloakrooms, circulation spaces, loading bays, retail areas, auditoria, educational facilities, laboratories, and libraries reference should be made to other chapters in this book.
7 ENVIRONMENT AND CONSERVATION
28.10 Exhibits may be of four basic types: a,b,c Hanging or wall mounted; d,e Free-standing and open exhibits; f,g,h Contained exhibits and display cases
7.01 Relative humidity and temperature Special consideration must be given to proper control of relative humidity, temperature and air pollution in all collection areas of a museum or art gallery. This includes: exhibition areas; collection storage; and conservation, display and photographic work areas. Passive, low-tech approaches may be considered where climate and the inertia of the building allow. Full air conditioning may be required to cope with climatic extremes, even in this case the building envelope should provide a sufficient buffering effect to
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28-5
28.12 Psychrometric chart showing safety and comfort zones for museums, art galleries and archives prevent sudden changes in relative humidity during periods of repair or maintenance. 28.12 shows suitable conditions in museums, while Table I gives the ranges of museum interior temperature and relative humidity recommended in various climatic zones.
Table I Recommended temperatures and relative humidities in various climatic zones Climate
Temp ( C)
RH (%)
Humid tropics
20–22
65
Acceptable for mixed collections. However, RH too high for iron and chloride-containing bronzes. Air circulation very important
Temperate coastal and other non-arid regions
20–22
55
Widely recommended for paintings, furniture, wooden sculpture in Europe, satisfactory for mixed collections. May cause condensation and frosting difficulties in old buildings, especially inland Europe and northern North America
Temperate inland regions
20–22
45–50
A compromise for mixed collections and where condensation may be a problem. May be best level for textiles and paper exposed to light
Arid regions
20–22
40–45
Acceptable for display of local material. Ideal for metal-only collections
Notes
7.02 Air pollution Information about local air quality should be sought and used to decide on the appropriate approach to control. If air filtration is necessary it should not be of the electrostatic type, as malfunction can result in the generation of highly damaging ozone levels.
7.03 Light and lighting Museum lighting is a complex subject. It is important, particularly in art museums, to determine a clear policy on the approach to natural and artificial lighting. Direct sunlight should not fall on any collection item and UV radiation must be effectively eliminated from all light reaching a collection item: at the higher energy end of the spectrum light is very effective in initiating chemical change in vulnerable materials. The maximum light dosage recommended for different categories of collection item is summarised in Table II. These dosages are normally achieved by limiting the level of illumination on collection items during visiting hours to 50 lux per annum on the most sensitive material such as paper, textile, watercolour and 200 lux on other sensitive materials such as wood, leather, oil paint. The eye has a limited ability to adapt to changes in brightness, and as the visitor moves through the museum sudden changes in lighting levels and extreme contrasts of brightness in the field of view should be avoided. However, a reasonable range of contrast should be maintained in conditions of low illumination to prevent a dull effect and possible problems of visual accommodation.
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Table II Recommended maximum light dosages Type of collection
Dosage (kilolux-h)
Notes
Objects specially sensitive to light, e.g. textiles, costumes, watercolours, tapestries, prints and drawings, manuscripts, miniatures, paintings in distemper media, wallpapers, gouache, dyed leather. Most natural history items, including botanical specimens, fur and feathers
200
Usually only possible to achieve with artificial lighting
Oil and tempera paintings, undyed leather, horn, bone and ivory, oriental lacquer
650
If a daylight component is used great reduction of UV is necessary
Objects insensitive to light, e.g. metal, stone, glass, ceramics, jewellery, enamel, and objects in which colour change is not of high importance
950
Higher dosage is possible but usually unnecessary
7.04 Acoustics and zoning The transport of sound through structure should be controlled. Functional zones should be provided with surface or sub-surface materials that dampen impact sounds and isolating cavities to interrupt the structural transmission of sound. Noise levels should be controlled within zones by appropriate choices of material finishes on floors, walls and ceilings, and the shaping of interior spaces to prevent flutter and unwanted amplifying effects. To generalise and simplify, the penetration of low-frequency sound is lessened by structural mass, of middle frequencies by diffusing and absorbing surfaces, and of high-frequency sound by the elimination of smallscale air gaps in doors, windows and partition walls.
8 SECURITY AND SERVICES 8.01 Security Many security problems can be avoided by keeping the number of access points to the site and to the building to a minimum. The ideal is one public entrance monitored by information staff and/or attendants, and one staff entrance controlled by the security staff responsible for key control and the checking of deliveries and outside contractors. 8.02 Secure areas The health and safety of the public and the staff and collection security are the prime considerations in determining the zoning of the museum into secure areas. During open hours it may be sufficient to separate public and staff areas. When the museum is closed to the public it is normal to secure more specific zones, for example: 1 Entrance, orientation/information, shop, cafe´ and toilets/cloakrooms 2 Temporary and permanent exhibitions – in larger museums subdivided into several secure exhibit areas 3 Educational facilities, lecture theatre, study collections 4 Offices: administration, curatorial, conservation, design, etc. 5 Conservation workshops, laboratories, photographic facilities 6 Collection storage, security staff areas, collection packing and inspection areas 7 Exhibition and maintenance workshops. 8.03 Security staffing is also considerably more effective and economic if all exhibition and open storage areas are on one level.
8.04 Services For general guidance see appropriate chapters in this book. In addition, special consideration should be given to minimising the risk to the collections when locating service installations and routing service ducts. For example, water and waste pipes should not be routed near collection storage and exhibition areas.
8.05 Risk management is also greatly enhanced if a separate heating/air conditioning system or independent control system is provided in collection areas.
9 BIBLIOGRAPHY Edward P. Alexander, Museums in Motion, American Association for State and Local History, Nashville, 1979 Timothy Ambrose, New Museums: A Start-up Guide, HMSO, London, 1987 Timothy Ambrose and Sue Runyard (eds), Forward Planning: A handbook of business, corporate and development planning for museums and galleries, Routledge, London, 1991 Michael Belcher, Exhibitions in Museums, Leicester University Press, 1991 Patrick Boylan (ed.), Museums 2000: Politics, People, Professionals and Profit, Museums Association/Routledge, London, 1992 Douglas Davis, The Museum Transformed, Abbeville Press, New York 1990 Margaret Hall, On Display, Lund Humphries, London, 1987 Kenneth Hudson, Museums of Influence, Cambridge University Press, Cambridge, 1987 Lighting, A Conference on lighting in Museums, Galleries and Historic Houses (Bristol University, 9–10 April 1987) Museums Association/United Kingdon Institute for Conservation/Group of Designers and Interpreters in Museums, 1987 Gail Dexter Lord and Barry Lord (eds), The Manual of Museum Planning, HMSO, London, 1991 Robert Lumley (ed.), The Museum Time-Machine, Routledge, London, 1988 Geoff Matthews, Museums and Art Galleries: A Design and Development Guide, Butterworth Architecture, Oxford, 1991 R. S. Miles et al., The Design of Educational Exhibits, Unwin Hyman, London, 1982 Susan M. Pearce, Museums, Objects and Collections: A Cultural Study, Leicester University Press, 1992 David R. Prince, and Bernadette Higgins-Mcloughlin, Museums UK: The Findings of the Museums Data-Base Project, Museums Association, 1987 Royal Ontario Museum, Communicating with the Museum Visitor: Guidelines for Planning, ROM, 1976 Nathan Stolow, Conservation and Exhibitions, Butterworth, London, 1987 John M. A. Thompson (ed.), Manual of Curatorship, 2nd edn, Butterworth/Museums Association, London, 1992 Gary Thomson, The Museum Environment, 2nd ed., Butterworth, London, 1986 David Uzzell (ed.), Heritage Interpretation (Vol. 2.): The Visitor Experience, Belhaven Press, London, 1989 Giles Velarde, Designing Exhibitions, Design Council, London, 1988