Storing Culture: Reconfigurable Museum of Stored Artefacts by Keer Zhang

Contents Abstract

Acknowledgements

Introduction

I. Storage Warehousing Warehouse Layouts Warehouse Robots Hospital Robots

12 14 18 20 28

II. Museums History of Museums Singapore Museums Object Preservation Open Storage Display II. Precedents Port Warehouse Kimbell Art Museum Menil Collection LACMA Expansion Yale Centre for British Arts

30 32 38 40 44

IV. Design Proposal Museum Warehouse Visitor-Algorithm-Curator Visitor Curatorship Site Museum Planning District Site Analysis Programmatic Breakdown Ways of Storing Artefacts Floorplan Variations Types of Visitors Algorithms Steps for Reconfiguration Plans, Sections, Renders, Axos

66 68 70 74 80 82 84 90 92 96 106 116 118 124

Appendix

132

Blibiography

136

46 48 50 54 58 62

Abstract

This thesis is a proposal of how technology can be used to augment the museumâ&#x20AC;&#x2122;s goals as a 21st century cultural institution. The automated warehouse typology, which uses mobile robots to transport items in storage around the warehouse is studied and combined with the museum typology to form a new reconfigurable museum which allows visitors to have greater curatorship over what they see in the museum. In many museums across the world, a huge percentage of artworks are kept in storage facilities, as museums frequently do not have enough space to show more artworks. Mobile robots, which are growing in usage to assist with logistical transportation issues such as in warehouses and hospitals, can assist in moving museum artefacts usually kept in storage to display, thereby increasing museum visitorâ&#x20AC;&#x2122;s access to a larger collection of artefacts, and also giving visitors more control over what they want to see. The proposed museum warehouse building is located in the Museum Planning Area of Singapore, where there are currently several museums, each with their own specialized collections, which can all also tap upon the museum warehouse as an artefact storage facility.

The larger goal of the project is also to discover how a building can be designed to be more flexible and adaptable in nature, using the museum as a typology of building for starting investigations into changing needs and challenges.

Acknowledgements

This thesis would not be possible without the patient and encouraging mentorship by Felix. Thank you for being very generous with consultation timings, always providing very valuable comments to guide me through this whole entire thesis process, and inspiring me to be motivated about my thesis. To Yen Lin, Jezamine and Samantha, who have helped listen to what my thesis is, and being very encouraging about it. Thank you friends for being motivated about what you are doing and encouraging me to do so as well.

Thank you to my family for the support and tolerance and being a great source of comfort through all these years.

Introduction In many museums across the world, a huge percentage of artworks belonging to the museum is kept out of sight of visitors, away in temperature-controlled, darkened, organised storage facilities. The percentage of artworks on display in several major art institutions across the world are revealing, for the Tate, Louvre, Guggenheim, and Berlinesche Galerie respectively, the numbers are 20%, 8%, 3% and 2%. Museums frequently do not have enough space to show more artworks while its collection continues to grow through purchases and donations. Over the years, the collection will continue to grow as more culture and memory is created, but many of these artifacts rarely get the chance to be viewed by visitors. The museum also suffers from having too many artifacts, some of which have grown out of fashion with passing time, and left to sit inside storage. Museums have developed different ways of display more of their collection, such as the double hang system used by the London National Gallery. Galleries have also started digitising their permanent collections, or using a stovrage display type of display where visitors can see archived works behind a glass cabinet. Many museums are also increasing their space for display of works by adding museum extensions.

Frequently, the collections kept in storage are parts of â&#x20AC;&#x2DC;study collectionsâ&#x20AC;&#x2122; that are of less interest to the general public, but can be of value to researchers, or to the general public interested in learning about their heritage and culture by gaining access to an archive of their history. Many times, the collections kept hidden in storage are works by recognized masters, such as Claude Monet, a recognised founder of Impressionism, who has 40% of his work kept undisplayed across 20 museums in total.

(right) Fig. 1 The amount of art on display and in storage in various art museums across the world

(right) Fig. 2 The amount of art by various notable artists on display and in storage

Tate TateTate On Display

Louvre Guggnheim Louvre Louvre Guggenheim Guggenheim

Berlinische Berlinische Berlinische Galerie Galerie Galerie

On Display On Display

In Storage

In Storage In Storage

Claude Paul Mary Georgia Claude Pablo Pablo Paul Mary Georgia Monet Cassatt O’Keeffe Monet Picasso Picasso Cezanne Cezanne Cassa� O’Keeﬀe OnDisplay Display On

Storage InInStorage

Similar problems of storage and logistics are existing in the warehouse typology, and the introduction of mobile robots to the warehouse has bettered workflow, productivity, and worker welfare. What can the museum learn from the warehouse to address its storage issues? What can the mixed museum warehouse typology be like?

(right)

Fig. 3 An Amazon warehouse in Leipzig

The thesis booklet will be split into four parts: Part 1 documenting research into storage issues and strategies used to deal with them, learning from areas such as warehouses and the technologies they employ. Part 2 documents research into the museum typology, its historical evolutions, cultural perceptions in Singapore and other related display issues. Part 3 documents a list of precedents which were chosen and studied for their uses as warehouses or museums, and Part 4 documents the design proposal of a museum warehouse typology.

(right)

Fig. 4 Open Storage gallery at the Victoria & Albert Museum

Storage [stawr-ij, stohr-] noun 1. the act of storing; state or fact of being stored 2. capacity or space for storing 3. a place, as a room or building, for storing

(right)

Fig. 5 Warehouse Layout of an amazon fulfilment centre employing mobile robots

Warehousing The warehouse typology is typically rectangular, featuring an open plan, a column grid, large heights, and large spanning roofs. In land-scarce countries such as Singapore, there are higher demands for land utilisations rates, hence making multi-storey warehouses common, with accessibility to upper floors usually provided by ramps or cargo lifts. (CBRE, 2016) Warehouses play an important part in the overall supply chain. They are places where the transported product is temporarily placed and stored. They are usually large buildings located in industrial areas. In a supply chain, warehouses not only store objects, but they also are involved in other activities such as : Receiving, Identifying, Holding and Assembling.

The prominence of storage facilities is not only limited to the supply chain. Self-storage facilities, where businesses or individuals rent a storage space such as a room, locker, container, etc. for a shortterm basis are a common phenomenon, brought about by modern consumer societal values.

Self Storage Warehouse

Fig. 6

Location of Self-Storage and Warehouses in Singapore 5

9 8

Free Trade Zones

6 2 3 1

Fig. 7

1 2 3 4 5 6 7 8 9

Brani Terminal Keppel Distripark Tanjong Pagar Terminal and Jurong Port Sembawang Wharves Pasir Panjang Wharves Changi Airport Group Changi Airport Cargo Terminal Singapore FreePort

Location of FTZs in Singapore1

1 Free Trade Zones are specially designated areas where normal trade barrieres such as tariffs and quotas are not applicable, and where bureaucratic requirements are treated more leniently so as to attract new businesses and foreign investments. Cargo can be imported, sold or exported without customs, excise duties or goods and services tax (GST). 15

Fig. 8 Flow of items inside a typical self storage

Dispatching

Receiving

Fig. 9 Flow of items from receiving, to storage, to order picking and assembly, to shipping out inside a typical warehouse

Warehouse Layouts With the prevalent use of the internet and a shift towards a service-driven economy, e-commerce is growing rapidly, and placing new demands on the traditional supply chain infrastructure. In the e-commerce supply chain model, consumers order products online, and expect to receive their orders as soon as possible, requiring deliveries to be made not weekly or bi-weekly in the case of traditional retail stores, but generally within 24-48 hours. This demands companies to streamline their picking, packing, and shipping process, and for it to cater to smaller volumes, as opposed to a focus on the whole supply chain of ‘receiving, put away/storage, picking, transport through the distribution center, sortation, value-added services, packing, shipping’ (Graves, n.d.) By improving the efficiency of warehouses, companies can allow customers to receive their orders more quickly. Figures 6 – 11 (right) are warehouse layouts by Kevin Gue designed to make warehouses more efficient. In a traditional warehouse, storage racks are arranged in parallel, creating parallel picking aisles, with cross aisles which allow workers to travel between them arranged perpendicular to them. The following designs relax the rule of perpendicular picking aisles and cross aisles, which result in more efficient warehouse layouts. For instance, the Flying V design maintain parallel picking aisles, but injects a V-shaped cross aisle, such that pick travelling begins and ends at the bottom of the V. This reduces the expected travel distance for fetching an item in storage by 10%. In the Fishbone design, the rule of parallel picking aisles is also relaxed. In the Chevron design, pick aisles remain parallel to each other, but are placed at 45° and 135° in the warehouse, with a vertical cross aisle cutting in through the center of the warehouse. In the leaf design, there are two cross aisles, similar to the Fishbone design. The difference is that picking aisles are not necessarily horizontal or vertical, and that cross aisles are steeper than the Fishbone design. (Gue, n.d.)

(right) Fig. 10- 15 Warehouse layout designs by Kevin Gue

Fig. 10

Conventional Warehouse

Fig. 11

Flying V

Fig. 12

Fishbone

Fig. 13

Chevron

Fig. 14

Leaf

Fig. 15

Butterfly

Warehouse Robots

Operations in a packing warehouse are not always very efficient, when a large amount of time and labour are allocated to picking items from storage shelves and packing them for shipping. Around 60% to 70% of a worker’s day is spent travelling to and from storage shelves, picking required items for packing and shipping. The introduction of mobile robots to warehouses helped to address the inefficiency, by having robots instead of humans fetching items from shelves. The implementation of the solution was made possible by the appearance of more examples of mobile robotics, such as the Roomba mobile robotic vacuum cleaner in 2002. (Mountz, 2012) Kiva System’s robots provided an innovative method to automated order fulfillment utilizing mobile robots carrying shelves for pick, pack and ship operations. The fleet of mobile robots enable items in a warehouse that are meant to be shipped to buyers to be brought to the human packer on the mobile robot instead of the traditional method where the human packer would have to walk around the warehouse to find the good to be picked, packed and shipped. The system utilizes ‘a fleet of mobile robotic drive units, moveable shelves, work stations and sophisticated control software for pick, pack, and ship operations.’ (Robotics Tomorrow, 2011)

How It Works

Material Handling Control Software

In an warehouse employing mobile robotic pickers, human packers are positioned around the periphery of the building while mobile robots carrying mobile shelves, pods, carry items towards them. The pods are arranged in a grid pattern inside the building, and are stocked with various items of variable dimensions on a standardised shelving pod. When an order is required to be packed, the mobile robot will bring the pod containing the item to the human packer, where the item will be hand picked from the pod and placed into the order basket they are currently processing. It starts by sending a robot on a fetching mission to a specific pod holding the specified target inventory item. The robot will tunnel underneath other storage pods as much as possible to as to leave the highway clear for inventory traffic. On reaching the specified pod, the robot will perform a spinning motion to lift the pod off the ground and carry it onto the highway and join a queue to have the target inventory item it is carrying to be picked by the human picker. A laser light beam will point towards the object on the pod which is meant to be packed, helping to ensure a high level of accuracy throughout the system. When the mobile robot has completed its task, it will move on for the next robot carrying the next order to take its place, and carry its current pod back to the storage area. Each human picker usually has around 5-10 mobile robots assisting in bringing pods to and fro, so that he/she can continuously pack items into the current order basket. After the job is completed, the robot carry the pod back into storage and either move on to the next job, or move to a charging station. (Wulfraat, 2017) The Material Handling Control Software manages the movement of the mobile robots and flow of items and consists of a complex set of algorithms meant to maximise productivity levels.

(right) Fig. 16 A robot carrying a storage pod

(right) Fig. 17 Pick worker choosing items from the pod

(right) Fig. 18 An amazon warehouse using mobile roobts

Maximum Towing Capacity: 453.6 kg / 544.3 kg (Heavy-duty)

(left) Fig. 19 Details and specifications of a Kiva Systems

Weight: 113.4kg Battery Run Time: 5 minute battery recharge every couple of hours Travel Time: 1.3 m/s Dimensions: 0.6m x 0.76m x 0.3m Battery Technology: Rechargeable lead-acid batteries Navigation and sensing: 2D bar codes placed every 1m x 1.5m along a street grid. Upward and Downward cameras and sensors Pod Sizes: 1m x 1m x 1.8 - 2.4m / 1.2m x 1.2m x 1.8 - 2.4m (Large) Packing Work Station: Typical 1.8m x 1.8m

(right) Fig. 20 Stages of activity of a Kiva robot

Kiva Robot Fetching

Back to Storage

Lifting Specific Inventory Pod

Kiva Robot Charging

Picking Station

The software decides the storage position of each pod inside the floor plan so that pods which need to be accessed more frequently will be placed closer to the human packers to minimise travel time. It runs on a centralised computer which relays instructions to individual mobile robots via a wireless network. Each mobile robot continuously broadcasts its location via wireless network by reading 2D floor mounted barcodes through a lower facing camera, and is also equipped with sensors that can detect any obstacles in front of them. (Wulfraat, 2017)

(right) Fig. 21 Plan view of a warehouse work area with mobile robots. Storage pods and floor mounted stickers are arranged in a grid layout, with pick workers located at the left side.

(right) Fig. 22 The wireless network and camera help the robots continuously relay infomation about their location to a central computer

STORAGE

PICKING

HIGHWAY

PICKING STORAGE

STORAGE

PICKING

HIGHWAY

PICKING

HIGHWAY

PICKING

STORAGE

HIGHWAY

STORAGE

PICKING

Central Computer

Wireless Network

Camera

Floor Mounted Sticker

Fetching Storing Picking Area Storage Pod Mobile Robot

Fig. 23 The movement of robots on their fetching and storing missions

least frequently used shelves

most frequently used shelves

Fig. 24 The system places storage pods which are more frequently used closer to picking stations, minimising travel time

Hospital Robots Other than warehouses, mobile robots are also used in hospitals for the transportation of items from location to location, improving the workflow efficiencies in the hospital as well. Nurses spend a lot of time delivering medical supplies around the hospital, and recently, there is a growing usage of mobile robots in hospitals, with intentions of increasing the productivity of the hospital staff. This new technology helps to improve the workflow of these healthcare service providers, improving the quality of healthcare service provided.

These mobile robots can help in tasks such as ‘transporting unscheduled meal trays, lab, pharmacy supplies or patient records’, or also act as an alternative method for physicians to interact with patients. An existing example, the TUG Mobile Robot serves to ‘haul and transport goods, materials and clinical supplies within the hospitals and the laboratories’. It functions by carring various loads, and sent to destinations through a user entered command in its touch screen. The robot works by storing a map of the hospital inside its memory and using laser scanning, infrared and ultrasonic sensors to detect obstacles in its path as well as to model the environment it is in so as to maintain an accurate position. It also has a wireless network so as to communicate with the elevators, doors, and fire alarms which may need to be opened. After completing a delivery, the machine will return to its dock for charging. These robots use various technologies such as electronic maps, magnets, painted lines, and also can calculate effective routes within the hospital, avoid heavy traffic foot areas, and work without causing inconvenience to the healthcare service workers.

Maximum Towing Capacity: 30 kg Weight: 95kg Dimensions: 0.7m x 0.56m x 1.3m Docking Station Width: 0.4m x 0.4m Navigation and sensing: Laser and sonar sensors

Fig. 25

Swisslog RoboCourier Maximum Towing Capacity: 54.3 kg Battery Run Time: 10 hours with intermittent charging Travel Time: 0.762 m/s Dimensions: 5.7m x 1.2m x 1.2m Docking Station Width: 0.6m +0.3m clearance Battery Technology: Valve-Regulated Lead-Acid (VRLA) Navigation and sensing: Overlapping laser, sonar and infrared sensors Navigation and sensing: Overlapping laser, sonar and infrared sensors

Museums [myoo-zee-uh m] noun. 1. a building or place where works of art, scientific specimens, or other objects of permanent value are kept and displayed.

(right) Fig. 26 Jean-NicolasLouis Durandâ&#x20AC;&#x2122;s design for an ideal museum

History of Museums

The origins of the museum can be said to be found in the form of the Italian ‘theatre’, and the German Wunderkammer. The Italian ‘theatre’ had two aims, to serve as a ‘theatre of memory’, or a ‘theatre of nature’, serving as a collection of knowledge in the former or a collection of organic and inorganic specimens in the latter. The scholar Ulisse Aldrovandi began a collection of botanical and zoological artefacts arranged in a systematic manner in the mid-16th century, prompted by the sequence of events taking place in the scientific revolution. The German Wunderkammer, or cabinet of curiosity, served more as collection of artefacts aiming to surprise and amaze viewers, with their objects arranged without any particular system. (Marotta, 2012) These museums often restricted their viewers only to ‘respectable’ members of the public.

PalaceMuseums

Durand’s Ideal Museum

‘White Cube’

20th Century Museum Building Boom

In 1769, the Museum Fridericianum, designed to house the art collection and library of the count of Hesse-Kassel was opened. It is the first independent purpose-built museum, allowing for museums to be made available to more members of the public. Previously, collections tended to be housed inside palaces, where visiting was not made available to all. ‘Visiting felt like a privilege rather than a civic right’. (Macdonald, 2006) The Musee Francais, situated inside the Louvre, is an example of a former palace-museum which transited into a public museum, on the first anniversary of the abolition of the monarchy. It signalled a transition for the symbol of the privileged into symbols of national pride, transforming the private, privilege agendas of the museum. By the 1800s, Jean-Nicolas-Louis Durand delivers a series of lectures about an ideal museum design featuring ‘four wings arranged in a square which a Greek cross and central rotunda were inscribed. Each of the wings had a separate entrance accentuated by a long portico with forty-six columns.’ (Macdonald, 2006) In 1976, the critic Brian O’Doherty labelled the museum architecture of the mid 20th century as the ‘white cube’, a term describing the existing state of museum displays, and which has stuck around. He describes the museum spaces as ‘timeless, limbolike gallery constructed along laws as rigorous as those for building a medieval church.’ The art displayed in such ‘white cubes’ were isolated from any context, hung on flat white walls, and illuminated by artificial lights. It made a suitable display approach for Modern art, much less so for other art movements. The idea of a museum space as a sacred space became antiquated subject to modern revisions. (Newhouse, 1998) The Museum of Modern Art is one such museum which is considered to have institutionalized such an approach to museum display. The late 20th century sees a number of factors such as increasing museum attendance rates, limited display spaces in museums, overwhelmed elevators and gift shops leading to a museum building boom. (Eskin, 2001) In the United States alone, close to $5

Ferrante Imperatoâ&#x20AC;&#x2122;s Dellâ&#x20AC;&#x2122;Historia Naturale (Naples 1599) Earliest depiction of a natural history cabinet

The Paris Salon of 1787, by Pierre Antonio Martini

Louvre museum grand gallery old illustration 1844

billion is spent on museum expansions between 2007 and 2014. (Luke, 2016) Many expansions are aimed at increasing the available display spaces of the museum, but some are also aimed at adding other programmes such as classrooms and learning spaces into museums. Museums are also frequently successful examples for the rejuvenation of a city area. The success of the Guggenheim Bilbao at transforming the city of Bilbao has led to the term the ‘Bilbao effect’, and inspired other cities in aspiring for a world class cultural institution for their own city, designed by a famous architect. Since the Guggenheim Bilbao’s opening in 1997, the deteriorating Spanish industrial town has transformed into a top destination for cultural tourists.

Interior of Alte Pinakokthek

‘White Cube’ display space at Moderna Museet Malmö

Culturally Inﬂuen�al Events

Specialty Museums

History, Culture, Art Museums

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The French government opened the museum a�er the French Revolu�on, establishing a permanent public museum a�er its long history housing private royal collec�ons.

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The concept of a curiosity cabinets were collec�ons of rare, valuable, historically important or unusual objects.

Designed by Simon Louis du Ry, is the ﬁrst building designed as a public museum to house the art collec�ons and library of the Landgrave of Hesse-Kassel.

The museum, ordered by King Ludwig I of Bavaria, demonstrates a museum where collec�on and building are conceived together as a monument, to house collec�ons of a royal family.

The museum display spaces were designed to be ‘neutral’, to focus a�en�on on artworks on display, encouraging the ‘white cube’ modernist paradigm of display.

Frank Lloyd Wright’s design with a spiral ramp provides a unique experience for the viewing of contemporary artwork.

The centre, designed by Richard Rogers and Renzo piano, was designed with ideas of ﬂexibility and inspired by Cedric Price’s Fun Palace.

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Victoria & Albert Museum

Originally built to house Elias Ashmole’s collec�ons, the museum is the world’s ﬁrst purpose built museum.

Following the success of the Great Exhibi�on of 1851, the Victoria and Albert Museum ﬁrst opened in 1852, and shi�ed into its current site in 1857. Its collec�on contains metalwork, furniture, tex�les, and other deocra�ve art forms, as well as ﬁne arts.

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The museum underwent a major expansion as there was insuﬃcient space to display over 600,000 ar�facts the museum housed.

New galleries for Islamic art, consis�ng of interior spaces covered by a golden, twis�ng roof were created.

The extension to the Kimbell Art Museum, designed by Renzo Piano is a separate building across the street from the original building.

Plans for expansions to Tate Modern began in 2004, and were completed with the opening of the Switch House by Herzog & de Meuron.

Na�onal Palace Museum Expansion

Louvre Expansion 2012

Kimbell Art Museum Extension 2013

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1997

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Charles Gwathmey’s design of a tall thin slab containing exhibi�on space for the Guggenheim museum’s permanent collec�on, administra�ve space, and rooms for storage and conserva�on of pain�ngs.

Designed by Frank Gehry, and hailed as the most important building of the 20th century, the building led to a successful example of how the architecture of a cultural hub can transform a city, leading to a trend known as the ‘Bilbao Eﬀect’.

Abu Dhabi announced its agreement with the Solomon R. Guggenheim Founca�on for a museum designed by Frank Gehry to be part of its tourist and cultural development plans.

MoMA announces plans to expand and renovate the building, with plans to demolish the exis�ng American Folk Art Museum.

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1907 Die Neue Sammlung The museum in Germany, houses a collec�on of 100,000 objects from the ﬁelds of industrial design, modern applied arts and graphic design.

1900

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BMW Museum

Museum of Moving Image

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The BMW Museum is an automobile musuem about the BMW history in Munich Germany.

The museum’s history began as a former Astoria Studios. It is the ﬁrst museum in the United States devoted to art, history and technology of ﬁlm, television and video.

The V&A museum started a major renova�on program, with inten�ons to redesign exis�ng layouts , add new galleries, and a central garden.

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Influenced By Expansion Branching

Singapore Museums

Developing Singaporeâ&#x20AC;&#x2122;s museum landscape

Heritage in the face of globalisation

Since gaining its independence in 1965, Singapore has undergone rapid transformation, changing from a colonial fishing village into the globally recognized metropolis it is today. Through all the changes and transformations it has undergone, reminders of heritage and culture serve as a connecting thread bridging Singaporeâ&#x20AC;&#x2122;s past with its present, and keep her citizens united through a shared, documented history. The increasing wealth of Singaporeans have also increased awareness amongst citizens for heritage and culture, and increased the attendance rates at arts and cultural events. Amidst Singaporeâ&#x20AC;&#x2122;s strong economic growth in the late 1980s period, there came a growing awareness of the need for more heritage and culture infrastructure in Singapore. The National Heritage Board (NHB) statutory board was established on 1 August 1993 with intentions to manage museum and heritage developments in Singapore for purposes of education, nation-building and cultural understanding. With its establishment, several plans were put into motion into developing the museum landscape of Singapore. In the age of globalisation, ideas, cultures and identities are becoming increasingly diluted as ideas spread rapidly disregarding geographical boundaries. As the world is becoming more integrated, unique cultures are threatened and forgotten. Heritage serves as a testament to the collective history of a culture, defining the identity and evolution of a society. There will be increasing interest and desire to preserve the local heritage for future generations, as society increasingly grows more affluent, gains more socio-political maturing, and faces an aging population that is more educated than before. The balance between heritage preservation, development, modernity and efficiency is something that Singapore has managed to work well with and continue to do so in the face of future challenges. (National Heritage Board, 2008)

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Map of museums in Singapore

Visitorship to National Museums and Heritage Institutions

Object Preservation

Museums have the responsibility to preserve the objects which they collect as well as possible so that they can be continued to be enjoyed and studied in the future. In Singapore, the Heritage Conservation Centre (HCC) is an institution which contains laboratories for the â&#x20AC;&#x2DC;treatment of object, painting and textile artefacts and a laboratory designed to cater for scientific analysis, material testing and research.â&#x20AC;&#x2122;

Light

Temperature

Humidity

The following factors are agents of decay which have to be controlled in order to prolong the life of collected artefacts. Lighting levels in a museum affect visibility levels and spatial experience, helping to shape architectural space, visually enhancing displays, and aiding in the viewing of artworks. Daylighting may however, also cause damages to objects, with varying degrees depending on the light sensitivity of materials and past levels of exposure to light. The exhibition set up should be designed to reduce UV light as much as possible, which can be achieved through the usage of cases and filters. The intensity of light should be low as possible, but sufficient for viewing, kept to recommended range of 50 lux to 100 lux. The ambient lighting around the displays are often lowered so as to aid visual adjustment to the low illumination level. The degree of damage incurred determines the duration which the exhibit can be displayed. Different artefacts have different levels of light sensitivity which have different amount of lux hours exposure per year that are acceptable, different resting times between display cycles. The exhibit case can be designed so as to minimize light exposure, ideally such that the display case can be darkened when the object is not on view. Incandescent lights, which emit little to no UV radiation are the most suitable kind of lighting for museum displays, whilst other lighting options such as fluorescent lights and tungsten halogen lamps can be treated using plastic sleeves, or UV filters and dimmers so as to be more acceptable to be used as museum lighting. For temperature, a higher temperature would aid in faster chemical reaction, faster desiccation, cracking, and leading to faster degradation of organic objects. A lower temperature may be useful for some objects which favour colder temperatures, but if the temperature is too low, it may cause embrittlement, hazing and cracks. A general recommended range is 18-22 degree Celsius, but not any lower as to ensure the comfort levels of museum works and visitors. For areas where there is little human traffic, temperatures may be kept lower. It is important to ensure, however, that items are allowed to acclimatise gradually when they are shifted from storage to display areas and vice versa. Changes in temperature also affect the relative humidity of the air, which affects the objects. Most objects prefer moderate and stable relative humidity levels, so that they are not damaged by wide shifts in humidity levels. The maximum level for relative humidity is 70% RH, which is the point where mould and fungal growth starts, and should therefore not

exceed this level. The minimum level for relative humidity is 40% RH, which is the point where materials may become dry and brittle, and should therefore not drop lower than this point. Different objects, however, have different preferences for air humidity. Organic materials, such as cotton, linen, fur, bone, etc., which are hygroscopic need to reach an equilibrium level of moisture with their environment. If it is too dry, it will give off moisture and crack, or if it is too damp it will absorb moisture and warp, lose strength and have fungal growth. Inorganic materials, such as glass, ceramics, metals, and minerals face different conditions under various humidity levels. If the environment is too dry, materials with a high salt content may experience efflorescence in which the salt in the material crystallise on the material surface. If the environment is too damp, metals will corrode, dyes will fade, and geological material may experience pyrite decay. With environments which change frequently in humidity level, hygroscopic materials undergo frequent swelling and shrinking which may cause damage to the material. Controlling relative humidity levels can be done at many different levels, such as at a building scale, room scale, or micro scale. Controlling relative humidity levels at the building or room scale may be quite expensive, and if not done properly may even affect the structure of the building.

Pests

Pests can cause damages to organic materials by eating the material, especially for pests in the larval stages which have a large eating capacity, and are not very easy to detect. Pests may also cause staining, and leave harmful residues and debris on the materials, and therefore preventive measures should be taken to keep away pests. Objects and their environments should be kept clean, inspected regularly, and new objects which a museum obtain should be inspected and quarantined to make sure that they are not infested by pests which may spread to other objects. If an object is infested, it should be isolated by being sealed in a polyethylene bag.

Pollution

Museum objects require an environment free of dust and pollutants, and sources of pollution may be outdoor air, frequently polluted in industrial areas, and also indoor air, which may be polluted due to the building materials, furnishings, and visitors. The formation of sulphuric acid due to the burning of fuels, or photochemical smog due to car exhaust can be harmful for objects depending on if they are acidic or if they have an oxidising effect. Acidic substances are corrosive, affecting a large variety of objects, such as cause hydrolysis in cellulose materials in which the material undergoes decomposition by moisture and is damaged. Oxidising substances causes yellowing and the formation of acids in organic materials, through a process affecting the molecular structure of materials, damaging almost all organic materials, and also other materials such as dyes, rubber, textiles, etc. Particulate matter from the burning of fuel may damage objects if they are huge enough to cause abrasion of material surfaces, or if they carry traces of metals which may speed up deterioration of organic materials, or if they may be acidic in nature and thus affect all acid-sensitive materials. The damaging effects of pollutive substances can be prevented through a good mechanical ventilation system equipped with filtration systems and a building which is properly sealed.

In Summary: Light

(preferred range)

≈ 0 lux

(moonless night)

50 lux

100 lux

100 000 lux

Incandescent lights

(sunlight)

(preferred)

Temperature

Higher Temperatures: Faster rate of Chemical reac�on, Desicca�on, Cracking, Degrada�on of organic objects.

(preferred range)

18 °C

22 °C

28 °C

(mean outdoor temperature)

Lower Temperatures:

May cause Embri�lement, Hazing and Cracks.

%RH too low:

Organic materials crack. Inorganic materials experience eﬄorescence.

%RH too high:

Organic materials warp, have fungal growth. Inorganic materials corode, fade, experience pyrite decay.

Humidity

(preferred range)

40% RH min

70% RH max

100%

Pests

Eat organic material, cause staining, leave harmful residues

Requires clean environment, regular inspec�on, isola�on of infected objects

Pollu�on Outdoor sources:

Indoor sources:

Photochemical smog, Sulphuric acid

Building materials, furnishings, and visitors

Requires good mechanical ven�la�on system with ﬁltra�on system, and properly sealed building

Open Storage Display Also known as study galleries, or visible storage centers, some museums have generated a new kind of display space serving both purposes of storage and display. These spaces are filled with objects that would otherwise remain unseen if not displayed, and allow viewers to experience a more self-directed viewing of objects on display. The Resource Gallery in the NUS Museum also functions as an open storage gallery, displaying artifacts from the museum’s Chinese and Southeast Asian collection such as textiles, ceramics, sculptures, paintings and more. The gallery occupies a modest space at the top level of the NUS Museum, and provides an overview of the changes of post-colonial approaches to art and history. The objects are organized in terms of their material, area, contingencies of collecting and its strategies. The collection is housed in around 10 shelves of varying sizes, each shelf consisting of its own light source, glass walls, top and base, display podium, and cardboard space for some.

There are also many other museums across the world that employ an open storage display concept. The Museum of Anthropology at the University of British Columbia is often attributed as the originator of the concept of having visible storage in museums in 1976 when it shifted into its current building. The museum’s first curator, Aurdrey Hawthorn, developed the idea where there were two display methods catering to two different audiences as part of an overall exhibition strategy. The first display strategy, with more conventional display methods caters to public viewing, whereas the second strategy of displaying storage visibly caters to students and researchers. The concept of displaying storage visibly also demonstrates the museum’s response to a call for a more democratic museum, with increased access to collections, where different audiences may interact with the collections in different ways.

Fig. 65

Open storage display at NUS Museum

Fig. 66

Conventional gallery display at NUS Museum

Precedents

The following precedents cover a range of warehouses and museums and are looked at to examine how conditions of light, display, roof structure, etc. are addressed through their design.

Port Warehouse Location: Montevideo, Uruguay Architect: Eladio Dieste Year Completed: 1979 Size: 3 800m2

After the original warehouse was damaged by fire, Dieste was chosen to design the new warehouse. The design maintains the existing warehouse walls, and reinforces them with cladding of new bricks on the exterior and buttressing bricks added at end walls. A new roof spanning 50m, of 12 cm thick brick walls was designed. The roof consists of a series of ‘discontinuous double-curvature vaults’, with glazing used ‘between the high and low edges of the successive s-shaped vaults’. (Anderson, 2004)

(right) Fig. 67 Port Warehouse | 1:400 Long Section

(right) Fig. 68 Section of one wave

Fig. 69

Fig. 70

Kimbell Art Museum Location: Houstan, Texas, United States Architect: Louis Kahn Year Completed: 1972 Size: 11 150m2

Kay Kimbell and his wife Velma Fuller’s had amassed a large collection of art at their death, which they bequeathed to the foundation with the intentions of building a museum which itself was a work of art.

Materials

Light

The main materials used in the museum are concrete, travertine, white oak. Light enters the galleries through the plexiglass skylight slit of each barrel vault. Below the skylights hang ‘pierced-aluminium reflectors shaped like wings’ that help to diffuse the light and reflect the natural light onto the surfaces of the concrete vault. (Fracalossi, 2011)

(right top) Fig. 71 1:600 Upper Level Plan (right middle) Fig. 72 1:300 Section

(right bottom)

Fig. 73 Programme Allocation

Fig. 74

OFFICE

Programmatic Breakdown Gallery (Permanent and Special) Office Shops, Cafes Auditorium Toilet Lobby

2 130 340 670 280 80

m2 m2 m2 m2 m2

330 m2

Types of Artefacts in Collection The Kimbellâ&#x20AC;&#x2122;s permanent collection is small in size, comprising fewer than 350 works of art. Its holdings range from the third millennium B.C. to the mid-20th century.

The collection comprises Asian and non-Western as well as European art.

Gallery Office Shops, Cafes Auditorium Toilet

Menil Collection Location: Houstan, Texas, United States Architect: Renzo Piano Year Completed: 1987 Size: 9 300m2

The museum houses the private collection of John de Menil and Dominique de Menil, and houses a large collection of paintings, sculptures, prints, drawings, photographs, and rare books. The museum is lit by natural daylight, maintaining visitor’s connection to the outdoors. One-sixth of the collection remains on display, whilst the remainder remains in storage in a ‘Treasure House’.

Roof

Fig. 77

Ferro-cement louvres diffuse natural light into the museum. The outer surface consists of weatherproof glass, reflecting heat and ultraviolet light. The middle layer is an array of louvres suspended from white iron trusses.

(right top) Fig. 75 1:800 Upper Level Plan

Fig. 76 1:300 Section

Programmatic Breakdown Library Conservation Storage Gallery Office Shops, Cafes Toilet Lobby Staff Lobby Promenade Reading Pocket Gallery Plenum Mechanical Area

320 310 1 760 2 610 1 060 380 80

m2 m2 m2 m2 m2 m2 m2

210 40 360 50

m2 m2 m2 m2

2 100 m2 670 m2

Types of Artefacts in Collection Nearly doubling in size since 1997, the collection now stands at some 17,000 works and continues to grow. Spanning the prehistoric era to the present day, the Menilâ&#x20AC;&#x2122;s collection grew out of personal and intellectual passions rather than encyclopedic ambitions.

Arts of Africa Arts of the Americas and Pacific Northwest Arts of the Ancient World Arts of the Pacific Island Medieval and Byzantine Art Menil Drawing Institute Modern and Contemporary Art Surrealism Witnesses to a Surrealistic Vision

Fig. 78 Programme Allocation

Library Conservation Storage Gallery Office Shops, Cafes Toilet 57

LACMA Expansion Location: Los Angeles, California, United States Architect: Renzo Piano Year Completed: 2010 Size: 10 880m2

The addition of the Broad Contemporary Art Museum (BCAM) and the Resnick Pavilion to the Los Angeles County Museum of Art (LACMA) are part of the museumâ&#x20AC;&#x2122;s phased transformations. The Resnick Pavillion is a single storey open plan museum space, with its mechanical systems pushed to the exterior.

Material

The building is clad in Italian travertine, complementing the historic buildings in its area.

Circulation

The zig-zag shaped roof is designed to block southern light, and let in northern light.

The main entrance to the BCAM is on the third floor, accessible through an open-air escalator wrapping around the building or an interior elevator.

Fig. 81

Fig. 79 1:800 Upper Level Plan

Fig. 80 1:700 Section

Programmatic Breakdown Gallery Toilet Lobby

5 280 m2 90 m2 280 m2

Fig. 82 Programme Allocation

Gallery Toilet 61

Yale Center for British Art Location: New Haven, Connecticut, United States Architect: Louis Kahn Year Completed: 1974 Size: 10 720m2

The building houses an extensive collection of British Art which were the gifts of Paul Mellon, a graduate of the Yale College. The building was completed after Louis Kahnâ&#x20AC;&#x2122;s death and is situated across from his first major commission, the Yale University Art Gallery.

Material

Materials including travertine marble, white oak, and Belgian linen.

Skylights

Skylights provide illumination for the top-floor galleries; angled louvers and baffles in the truncated, pyramidal, concrete coffers block north light and screen ultraviolet rays, admitting larger quantities of light when the sun is low than when it is higher in the sky.

Fig. 83 1:400 Upper Level 4 Plan

Fig. 84 1:700 Section

Programmatic Breakdown Library Conservation Storage Gallery Office Shops, Cafes Toilet Lobby Staff Lobby Promenade Reading Pocket Gallery Plenum Mechanical Area

320 310 1 760 2 610 1 060 380 80

m2 m2 m2 m2 m2 m2 m2

210 40 360 50

m2 m2 m2 m2

2 100 m2 670 m2

Types of Artefacts in Collection

The Yale Center for British Art holds the largest and most comprehensive collection of British art outside the United Kingdom, presenting the development of British art and culture from the Elizabethan period to the present day.

Design Proposal

Imagine a museum where the visitor is the curator, where the visitor can be interested in anything he/she wishes to be interested in for the day, and have the museum show a collection of that.

Museum Warehouse

What can the museum learn from the warehouse to address its storage issues? What can the mixed museum warehouse typology be like? Proposed Museum Programs: Galleries Museum Storage Supporting Cafe Gift Store Ticketing Office Public Bathrooms Conservation Lab Offices Basement Carpark Services

2 527 m2 150 m2

139 103 10 58

m2 m2 m2 m2

333 m2 340 m2

3 313 m2 388 m2

Fig. 85 Proposed Museum Warehouse Typology

Typical Warehouse Layout

Typical Museum Layout

Museum Layout

Visitor-Algorithm-Curator Role of a Curator

Museum exhibits are typically organised by curators, who have the roles of ‘1) the interpretation, study, care, and development of the collection, and 2) the materials, concepts, exhibitions, and other programs central to the identity of their museum’. (AAM) Curators are responsible for choosing the artefacts which are on display to the visitor, and they make their decisions based on research of the artefact. Artefacts are be chosen to be displayed based on various parameter values deemed important to a particular exhibition, and the decision is usually made by the curator, with the assurance that his research and speciliasation culminates in a coherent exhibition.

Visitor as Curator

Some museums have begun to utilise new tools, allowing museum visitors to choose the museum content on display, a role typically undertaken by museum curators. Such a museum-visitor relationship provides a ‘counterweight to the often complex scientific thesaurus drawn up by curators’ (Web 2.0), allowing for visitors to navigate the array of artefacts a museum has accumulated through intuition, and be guided simply by serendipity (Sinclair and Cardew Hall, 2008). Discoveries that a visitor make of an artefact which they can relate to and appreciate will make the visit to the museum a more memorable and valuable experience. In 2013, the Museum of Fine Arts in Boston organised an exhibition titled ‘Boston Loves Impressionism’ where visitors were allowed to vote for their favourite works via Facebook, and have the top three favourite works amongst the crowd to be displayed at the entrance to the exhibition.

Visitor based categorisation

By allowing users to index digital documents as opposed to traditional systems of classification by experts (Peters, 2009), such as by allowing users to tag artefacts with their own key words, allows users to generate their own ways of understanding and relating to the artefacts in a museum. Visitors may even use such crowd-sourced categorisations to discover other museum artefacts of their interest, based on what other museum visitors have found interesting. Such a manner of finding more potential objects of interest is in a similar fashion to how Amazon and Spotify algorithms are able to recommend items or music to users based on its database of existing users

(right) Fig. 86 The three parties affecting the decision over museum displays in the proposed museum

Decision over Displayed Content

Curator

Algorithm

Visitor

Factors Affecting Decision:

Artefact Popularity

Individual Interests

Artist Style Time Period Medium Technique Theme Genre Chronological Geography

Infomation Received Via:

Experience Years of Study

Visitor Input Sensors

A web of relationships between the visitor, the curator and the algorithm is formed, with each affecting the other and how the museum operates. The visitor is able to give infomation to the algorithm on what artefacts to display based on individual requests for various artefacts, sensors placed within the museum to capture infomation about which artefacts capture more visitors, ratings and tags of individual artefacts which they input via the digital interface. In return, the algorithm is able to give them infomation on other artefacts which they may like. The curator is able to give infomation to the algorighm on certain artefacts they wish to display based on their curatorial objectives, or to regulate and edit the current artefact display decision made by the algorithm. The algorithm plays an important role in the reconfigurable museum, as it holds infomation about all the artefacts, and gives instructions to the mobile robots on how the artefacts are to be configured.

(right)

Fig. 87 Mapping the relationship between the three agents

Artefact Properties

Requests via web/app

Popularity via sensors

Visitor

Recommendations via web/app

Review Algorithm’s output

Category

Woodcarving

(left) Couplet from Jo Sin Ting, home of prominent businessman Wong Ah Fook

c. 1900 Singapore

L179 x W49 x T3.5

1992-00826002

Woodcarving

c. 1900 Singapore

L179 x W49 x T3.5

1992-00826001

Woodcarving

A textile painting by Eng Tow

1970s

Singapore

H257.4 x W86.5 2006-01456t cm

Textiles

A textile painting by Eng Tow

1970s

Singapore

H257.4 x W86.5 2006-01457 cm

Textiles

A textile painting by Eng Tow

1970s

Singapore

H257.4 x W86.5 2006-01458 cm

Textiles

Couplet from Jo Sin Ting, home of prominent businessman Wong Ah Fook

(right)

‘Nerah’ by Min Chen

Min Chen

2009

Singapore

H:245 x W:100 x D:103 cm

2009-02213

Sculpture

‘After A Day’ by Yeo Chee Kiong

Yeo Chee Kiong

2008

Singapore

H:32.5 x W:41.0 2009-02214 x D: 25.3 cm

Sculpture

‘Pedas Pedas’ maquette

Kumari Nahappan

2006

Singapore

H:33.5 x W:54 x D:54 cm

Sculpture

2008-06687

Fig. 88 A sample of the collection owned by the National Museum of Singapore, retrieved from its online catalogue at roots.sg/ learn/collections/

Fig. 89 Imagined Scenario of a visitor who may wish to learn more about a certain type of collections, and how the museum can shift its collections from storage into display to allow the visitor to look at the collection

Chinese Ceramics?

Singaporean Pioneer Artists? Contemporary Sculptures?

Japanese Oil Painters?

Fig. 90 Screen Capture of an excel file listing the properties of various museum artefacts

Quantified Infomation about Artefacts

Fig. 91 Screen Capture of The Philadelphia Museum of Art’s ‘Social Tagging’ feature

Visitor created infomation about Artefacts 77

[25, 39, 6, 20, 13, 21, 26, 5, 8, 12, 23, 41, 2, 24, 1, 31, 29, 38, 30, 9, 10, 40, 35, 19, 28, 33, 36, 3, 32, 34, 37, 27, 15, 16, 17, 18, ]

Fig. 92 Sorting some items from the roots.sg collection by their dates

Sorting artefacts by date (Quantified Infomation)

Fig. 93 Sorting some items from the roots. sg collection by imagined percived popularity with size indicating popularity

Sorting artefacts by visitor created infomation (Tags) 79

Site Site Option 1

Site Option 2

There are many museums located in close proximity within the museum planning area, all of which has its own specialisation of displays, and which all can tap upon the proposed museum warehouse building as a storage facility.

Site 1 is located in a busy area with an array of activities occuring beside it. Within its vicinity is a School of the Arts (SOTA), churches, a university building, and the National Museum building.

Site 2 is located on Fort Canning hill, next to a building housing the former Singapore Pinacotheque de Paris, which is now closed.

Site Option 3

Site 3 is located next to St. Andrewâ&#x20AC;&#x2122;s Cathedral, the National Gallery of Singapore, and the Padang, a large grass field where various activities are commonly held.

(right) Fig. 94 Site Map of Cultural District of Singapore | 1:4000 1 Singapore Art Museum 2 National Museum of Singapore 3 Peranakan Museum 4 Philatelic Museum 5 Civil Defence Heritage Gallery 6 National Gallery Singapore 7 Asian Civilisations Museum 8 Mint Museum of Toys 9 SAM at 8Q 10 The Substation 11 The Arts House

1 9

10 3

Museum Planning District

The final site option, Site 2, located at fort canning park, falls in between the National Museum of Singapore and the Peranakan Museum. It is located in the Museum Planning district of Singapore, falling in within walking distance of 11 other museums. The new proposed reconfigurable museum can therefore act as a new node along the existing museum trail, and also as a storage facility for the other museums in its vicinity.

Fig. 95 Connecting all the museums in the vincinity leads to a museum trail

1 9

10 3

sam at 8Q

Civil Defence Heritage Gallery

Fig. 96 Site Map 1:2000

Ro a

Str ee t

Or ch ard Ro a

Fort Canning Road

Ba sa h

co ol en

Pr in s

re et

Handy Road

Br as

n Be Cann ing Ris e

ord mf Sta ad Ro

d oa lR iva rc Pe an nin gL

an Str e

in k

eni

Canning Rise

Fo rt C

Arm

Cannin g Wa

Str ee t

Or ch ard Ro a

Fort Canning Road

co ol en

n Be Cann ing Ris e

Cannin g Wa

ord mf Sta ad Ro

d oa lR iva rc Pe

Canning Rise

Fo rt C

an nin gL

in k

Pedestrian Circulation

most frequently used

Arm

least frequently used

eni

an Str e

1:1000

Str ee t

Or ch ard Ro a

Fort Canning Road

co ol en

n Be Cann ing Ris e

Cannin g Wa

ord mf Sta ad Ro

d oa lR iva rc Pe

Canning Rise

Fo rt C

an nin gL

in k

most frequently used

Arm

least frequently used

eni

an Str e

1:1000

Underground

Vehicular Circulation 87

Pr Or es ch by ar te d R ria o n C ad hu rch

Fort Canning Road

Or ch ard Ro a

Ed uc a� o

Ec on om

ics

co ol en

Str ee t

Inf SM o U Sy ma� ste o ms n

n Be We s

Cann ing Ris e

Cannin g Wa

ley

Me tho dis t

Ch urc h

ord mf Sta ad Ro

l na �o Na m eu us M

d oa lR iva rc Pe

of re po ga Sin SMU School of Accountancy

Arts nning

Canning Rise

a Fort C

Fo rt C

an nin gL

in k

Centre

SMU Law

Registry of Marriages

Peranakan Museum

Arm

eni

Educational Instituition

an Str e

1:1000

The Substa�on

Civic and Community Instituition Commercial

Building Types

Sun Path 89

Programmatic Breakdown

The 2527 m2 allocated to the museum, also acts as a storage facility, with variable areas dedicated to display or storage, depending on the current floorplan configuration of the display shelves in the museum. There are also space in the museum allocated for storing other miscallaneous items such as furniture, and also a painting storage rack.

Other supporting programmes include public programmes such as the cafe, gift store, public bathrooms, and a ticketing office for ticketed events which may occur in the museum. An office is provided for museum workers needed for the daily administrative happenings of the museum, and a conservation lab is also provided for researchers who may wish to study the items currently situated inside the museum. The basement consists of spaces for the carpark and services, with a service area for large cargo lorry as well.

Galleries Museum Storage

2 527 m2 150 m2

Supporting Cafe Gift Store Ticketing Office Public Bathrooms Conservation Lab Offices

139 103 10 58

m2 m2 m2 m2

333 m2 340 m2

Basement Carpark Services

3 313 m2 388 m2

Ways of Storing Artefacts Aboriginal Artefacts Archaelogy Bone & Ivory Booklet Brass Bronze Ceramics Coins Copper Currency Notes Documents & Paper Folklife Collection Furnishings Furniture Garments & Accessories Gold Historical Painting Implements and Tools Jade Keris & Weaponry Lacquerware Maps Miscellaneous (discontinued) Modern Art Forms Musical Instruments Numismatic Other Metals Paintings Photographs and Negatives Postcards Prints Rare Books Sculpture Stamps Silver Textiles Theater Artefacts Woodcarving

Painting Rack Painďż˝ng Rack

Display Drawer

DisplayDisplay Shelf Shelf

Empty Space

Display Shelf LxBxH 0.98 x 0.98 x 1.5 m

Display Drawer LxBxH 0.14 x 0.96 x 1.77 m

Pain�ng Rack LxBxH 10 x 5 x 2 m

x6 drawers

Pain�ng Rack LxBxH 10 x 5 x 2 m

x6 drawers

There are many different types of artefacts currently owned by the various museum institutions of Singapore, of differing dimensions, materials, ways of being displayed and more. I separated the categories of artefacts into four main ways of display: Painting Rack, Display Drawer, Display Shelf, and Empty Space. The Painting Rack is used for the storage of paintings, up to 5m in length. The Display Drawer is used for storing artefacts such as booklets, documents, stamps and etc, which would require a flatter surface for arranging in a array. Other artefacts can be placed inside a display shelf, which can be partitioned differently depending on the artefact stored inside the shelf. For larger artefacts which may fall outside the dimensions of the display shelf, they may be displayed on an empty space.

Fig. 97 Exploded Axonometric of a display shelf

Light Box

Name: Inﬁnity Ar�st Name: Jessie Lim Date/Period: 2012 Region: Singapore Dimension: 19.5 x 30.5 x 19 cm Category: Sculpture

Name: Bowl Date/Period: Late 16-17th centuries Region: Zhangzhou, Fujian province, China Dimension: Dia:24 x H:11.2 cm Category: Ceramics

Shelf

Name: Gunpowder 1 Ar�st Name: Jessie Lim Date/Period: 2012 Region: Singapore Dimension: 32 x 11.5 x 24 cm Category: Sculpture

Name: Dish Date/Period: Late 16-17th centuries Region: Zhangzhou, Fujian province, China Dimension: Dia:36.2 x H:8.3cm Category: Ceramics

Podium

Glass Cover

Metal Frame

Floorplan Variations

The following pages show 20 floorplan options for how the museum can be reconfigured. Each option has various amounts of display shelves kept in storage, and on display. The display shelves which are located at the outer bounds and which are visible to visitors can show artefacts which are on display, and will light up to indicate that they are on display. The floorplans also take into consideration the turning radius needed by a painting of 5m travelling along the painting track.

Fig. 98 Overview of all 20 floorplan options

White Cube

On display: 0 units In Storage: 600 units Total: 600 units

2 Galleries

Galleries: 1

Galleries: 4

Galleries: 6

8 Galleries

On display: 210 units In Storage: 390 units Total: 600 units

Galleries: 4

On display: 189 units In Storage: 411 units Total: 600 units

Galleries: 6

8 Galleries Larger Space

Galleries: 8

11 Galleries

On display: 235 units In Storage: 365 units Total: 600 units

On display: 172 units In Storage: 428 units Total: 600 units

6 Galleries Larger Space

6 Galleries

On display: 205 units In Storage: 395 units Total: 600 units

Galleries: 2

4 Galleries Larger Space

4 Galleries

On display: 152 units In Storage: 448 units Total: 600 units

On display: 134 units In Storage: 466 units Total: 600 units

2 Galleries Larger Space

On display: 207 units In Storage: 393 units Total: 600 units

Galleries: 8

Irregular Orthoganal Galleries

Galleries: 11

On display: 200 units In Storage: 400 units Total: 600 units

Galleries: 6

On display: 113 units In Storage: 487 units Total: 600 units

Galleries: 2

5 Galleries

On display: 170 units In Storage: 430 units Total: 600 units

Galleries: 5

Galleries: 7

On display: 180 units In Storage: 420 units Total: 600 units

Galleries: 5

On display: 218 units In Storage: 382 units Total: 600 units

Galleries: 7

10 Galleries

Galleries: 9

Irregular Circular Galleries

On display: 205 units In Storage: 395 units Total: 600 units

Galleries: 3

7 Galleries Larger Space

9 Galleries

On display: 209 units In Storage: 388 units Total: 600 units

On display: 142 units In Storage: 458 units Total: 600 units

5 Galleries Larger Space

7 Galleries

On display: 204 units In Storage: 396 units Total: 600 units

3 Galleries

Galleries: 6

On display: 225 units In Storage: 375 units Total: 600 units

Galleries: 10

Irregular Orthogonal and Circular Galleries

On display: 186 units In Storage: 414 units Total: 390 units

Galleries: 6

White Cube

On display:0 units In Storage: 600 units Total: 600 units

Galleries: 1

3 Galleries

On display: 142 units In Storage: 458 units Total: 600 units

Galleries: 3

5 Galleries

On display: 170 units In Storage: 430 units Total: 600 units

Galleries: 5

2 Galleries

On display: 134 units In Storage: 466 units Total: 600 units

Galleries: 2

4 Galleries

On display: 152 units In Storage: 448 units Total: 600 units

Galleries: 4

5 Galleries Larger Space

On display: 177 units In Storage: 423 units Total: 600 units

Galleries: 5

2 Galleries Larger Space

On display: 113 units In Storage: 487 units Total: 600 units

Galleries: 2

4 Galleries Larger Space

On display: 164 units In Storage: 436 units Total: 600 units

Galleries: 4

6 Galleries

100

On display: 205 units In Storage: 395 units Total: 600 units

Galleries: 6

6 Galleries Larger Space

On display: 189 units In Storage: 411 units Total: 600 units

Galleries: 6

8 Galleries

On display: 210 units In Storage: 390 units Total: 600 units

Galleries: 8

10 Galleries

On display: 225 units In Storage: 375 units Total: 600 units

Galleries: 10

101

7 Galleries

On display: 204 units In Storage: 396 units Total: 600 units

Galleries: 7

7 Galleries Larger Space

On display: 218 units In Storage: 382 units Total: 600 units

Galleries: 7

8 Galleries Larger Space

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On display: 207 units In Storage: 393 units Total: 600 units

Galleries: 8

9 Galleries

On display: 209 units In Storage: 388 units Total: 600 units

Galleries: 9

11 Galleries

On display: 235 units In Storage: 365 units Total: 600 units

Galleries: 11

Irregular Orthogonal Galleries

On display: 200 units In Storage: 400 units Total: 600 units

Galleries: 6

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Irregular Circular Galleries

On display: 205 units In Storage: 395 units Total: 600 units

Galleries: 6

Irregular Orthogonal and Circular Galleries

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On display: 186 units In Storage: 414 units Total: 390 units

Galleries: 6

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Types of Visitors There may be many different types of visitors to the museum, ranging from people who may wish to conduct research on a specific type of art, to casual visitors who may enjoy viewing artwork of any type. The digital interface of the museum allows for visitors of any kind to request for the kind of artwork which they wish to see in the museum, and the museum will respond by configuring itself to display the artefacts which have been requested by the visitors. Visitors may be able to search for the kind of artefacts which they wish to view through tags, and creating an appointment with the museum for a day of visit. The museum responds with a list of artefacts which each visitor may be able to choose from which they wish to see, and submit the list to the museum.

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An additional feature of the digital interface is that visitors may also be able to discover other additional artefacts that they may be interested in, as the interface is able to search through the list of artefacts and suggest other similar artefacts which the visitor may enjoy.

Researching on Singaporean Pioneer Artists Seeking inspiration for a project on self portraits

Visits the museum for a contemplative experience Enjoys looking at works by Yayoi Kusama

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Visiting On View Calendar Collections Research School & Teachers Join & Support About Us

SINGAPORE RECONFIGURABLE MUSEUM

Hello, Natasha | My Tags | Request History | Scan QR | Logout

Visitor Tag List: food landscape work mirror work malaysian footbridge Cathay Chua Ek Kay baseball 4th dimension english Anthony Poon genesis willow tree cupids tepee miracle blood women in cheongsam local life two bananas large scale pearl claude

cute

late impressionism early century medicine geese blue/green ink early impressionism ennui sculpture southeast asian headless photographer post modernism painting weariness tree house Chua Mia Tee black (brown) glaze with incised cut-glaze decoration ç?? ç? happy mother and child influence of japanese prints great grandfather Han Sai Por glitter pop art surrealists oil painters nanyang style frame within a frame bali 20th century Ceramics show more

Submit a request:

Preferred Day of Visit:

Enter

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Possible Visitor Website Interface

Submit a request: Singaporean, Pioneer, Nanyang, Style, Chen Wen Hsi

Preferred Day of Visit: 29

August

2017

+3 -

2017

+1 -

2017

+2 -

Submit a request: self portrait

Preferred Day of Visit: 29

August

Submit a request: nature, simplicity, calm

Preferred Day of Visit: 29

August

Submit a request: Yayoi Kusama, Japanese, polka dot

Preferred Day of Visit: 29

August

2017

+3 -

Possible Visitors 109

Results:

Description: (Untitled) Artist: Cheong Soo Pieng Date/Period: 1964 Region: Singapore Dimensions: 38.9 x 57.8 Category: Paintings Material: Watercolour Accession No: 2009-03303 Visitor Tags: abstract, brown, nanyang style

Description: Black Egrets Artist: Chen Wen Hsi Date/Period: Undated Region: Singapore Dimensions: 86.1 x 68.4 Category: Paintings Material: Ink and Colour on Paper Accession No: 2001-02472 Visitor Tags: birds, nanyang style

I want to see this

Description: Untitled 7 Artist: Cheong Soo Pieng Date/Period: 1982 Region: Singapore Dimensions: H:140 x W:122 x D:6 cm Category: Paintings Material: Oil on canvas Accession No: 2010-03399 Visitor Tags: nanyang style, women, textile, work I want to see this

Description: Portrait Of Eugene Chen (sketch) Artist: Georgette Chen Date/Period: 1944 Region: Singapore Dimensions: 34.9 x 30.9 cm Category: Paintings Material: Ink on paper Accession No: 1994-04118 Visitor Tags: nanyang artist, husband I want to see this

Description: Frogs and Butterflies Artist: Chen Wen Hsi Date/Period: Undated Region: Singapore Dimensions: 32 x 34 Category: Paintings Material: Chinese ink and colour on paper Accession No:1993-01379 Visitor Tags: animals, nanyang artist I want to see this

Description: Catalogue for an exhibition of paintings by Chen Wen Hsi Artist: Date/Period: 1956 Region: Singapore Dimensions: 25 x 19.2 x 0.1 cm Category: Documents & Paper Material: Chinese ink and colour on paper Accession No: 2007-55695 Visitor Tags: animals, nanyang artist I want to see this

Results:

Description: The Spirit of Nature Artist: Han Sai Por Date/Period: 1988 Region: Singapore Dimensions: Category: Modern Art Forms Material: Granite Accession No: ASB-0076 Visitor Tags: smooth, egg shaped, curvy

I want to see this

Description: Sun Moon Lake Artist: Tan Swie Hian Date/Period: 1982 Region: Singapore Dimensions: H228 x W108.5 cm Category: Paintings Material: Chinese ink and colour on paper Accession No: GI-0069 Visitor Tags: blue, calm, nature

I want to see this

Description: Bird Series - Migratory Birds (Chinese Egrets) â&#x20AC;&#x153;World Wide Fund for Nature (WWF) stamp issueâ&#x20AC;? Artist: Eng Siak Loy Date/Period: 10/11/1993 Region: Singapore Dimensions: Category: Presentation Pack Material: Paper Accession No: SPM1993-08-01 Visitor Tags: green I want to see this

I want to see this

Description: Figure of Seated Buddha Description: Infinity Artist: Artist: Jessie Lim Date/Period: 15th-16th centuries, TL tested to 425 years oldDate/Period: 2012 (1584) +/- 50 years Region: Singapore Region: North-central Thailand Dimensions: 19.5 x 30.5 x 19 cm Dimensions: H:77 x W:52 x D:27 cm Category: Sculpture Category: Bronze Material: Stoneware infused with Bali sand, slab-built Material: metals Accession No: 2014-00418 Accession No: 2011-01952 Visitor Tags: white Visitor Tags: religious, calm I want to see this

Digital Interface Search Results 110

Description: Flow Through The Land I Artist: Han Sai Por Date/Period: 2013 Region: Singapore Dimensions: 103 x 203 x 11 cm Category: Paintings Material: Acrylic paint, powder pigment, coloured shaped abacca paper, ink, canvas Accession No: 2015-00384 Visitor Tags: minimalistic, simple, black

I want to see this

Results:

Description: Auto Retrato Artist: Roberto Feleo Date/Period: 2008 Region: Philippines Dimensions: H57.5 x W36 x D36 cm Category: Modern Art Forms Material: Mixed media: acrylic on sawdust on wood carving, vitrine Accession No: 2009-03572 Visitor Tags: cute, captured, self portrait I want to see this

Description: Self-Portrait Artist: Hyung Koo Kang Date/Period: Region: Korea Dimensions: 259 x 194 cm Category: Paintings Material: Oil on canvas Accession No: 2014-01307 Visitor Tags: man, beard, self portrait I want to see this

Description: Portrait of an Indian lady Artist: Date/Period: c. 1903 Region: Singapore Dimensions: 14 x 9 cm Category: Postcards Material: Accession No: 1996-02697 Visitor Tags: pose

Description: Figure of Parsi merchant Artist: Date/Period: 19th century Region: China Dimensions: H:40 x W:13.5 x D:13.2 cm Category: Woodcarving Material: Accession No: 2011-01505 Visitor Tags: interesting character

I want to see this

Description: Framed portrait of Mr. Kee Kian Long Artist: Hyung Koo Kang Date/Period: 1920s Region: Singapore Dimensions: H:29.9 x W:24.7 x D:1.5 cm Category: Photographs and Negatives Accession No: 2011-03015 Visitor Tags: man, chinese, flowers, portrait

I want to see this

Description: Self Portrait Artist: Chuah Thean Teng Date/Period: Undated Region: Malaysia Dimensions: Image size: 31 x 21 cm Category: Paintings Material: Batik Accession No: P-0001 Visitor Tags: male, gaze I want to see this

Results:

Description: Polka dot cap sleeved cheongsam Artist: Date/Period: early 1950s Region: Singapore Dimensions: 117 x 59.5 cm Category: Garments & Accessories Material: Wool Accession No: 2009-03682 Visitor Tags: fashion, traditional I want to see this

I want to see this

Description: Bangles Artist: Date/Period: 300 BCE-200 CE Region: Northeast Thailand Dimensions: 001: Dia:10.2 x H:7.8, Object size: 002: Dia:11.2 x H:7.4 Category: Bronze Material: Bronze Accession No: 1998-01364 Visitor Tags: blue, blob, circle I want to see this

Description: Tile Artist: Date/Period: 20th century Region: Japan Dimensions: H: 15.0 x W: 15.0 x D: 1.0 cm Category: Ceramics Material: Accession No: 1999-01610 Visitor Tags: Peacock, Greens

Description: Triptych-W Artist: Om Mee Ai Date/Period: 2010 Region: Singapore Dimensions: 100 x 180 cm 3 pieces Category: Ceramics Material: Oil on canvas Accession No: 2011-01632 Visitor Tags: Pattern, Prints I want to see this

Description: Dish with â&#x20AC;&#x2DC;fanâ&#x20AC;&#x2122; pattern Artist: Date/Period: c. 1768-1775 Region: Worcester, England Dimensions: H:3.1 x Dia:19.7 cm Category: Ceramics Material: Porcelain Accession No: 2007-55825

Description: A Japanese lady Artist: Date/Period: 19th century Region: Singapore Dimensions: H:9.0 x W:14.0 cm Category: Postcards Material: Accession No: 2011-02830

Visitor Tags: dots

Visitor Tags: daydreaming

I want to see this

Digital Interface Search Results 111

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The museum tells the visitor where each artefact they have requested is located

Japanese Artists

Nanyang Style Artists

Self Portraits

The various galleries created by the musem in response to the visitorâ&#x20AC;&#x2122;s list of requests 113

114

While viewing the artefacts, visitors can access an artefact via the digital interface for more infomation on it

Visiting On View Calendar Collections Research School & Teachers Join & Support About Us

SINGAPORE RECONFIGURABLE MUSEUM

Hello, Natasha | My Tags | Request History | Scan QR | Logout

Visitor Tag List: landscape work

singaporean

Description:

(Untitled)

Artist:

Cheong Soo Pieng

Date/Period:

1964

Region:

Singapore

Dimensions:

38.9 x 57.8

Category:

Paintings

Material:

Watercolour

ships

brown

Submit a tag:

Enter Like

Visitors are able to submit tags, and rate the artwork, helping other visitors to find the artefact as well 115

Algorithms

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Recommendation Algorithms

Recommendation algorithms are very common in our daily lives, be it being used to recommend movies, music, clothes, or even romantic partners to a user. For Amazon Inc, recommendation algorithms help different users find items which are relevant to them, such that the online store is catered to each customer and appears differently for each customer. This kind of recommendation algorithms are well used on e-commerce web sites and can base their recommendations on many factors, for example items which the customer purchases, rates, views, or even more personal information such as demographic data, subject interests, and favourite artists. The success of recommendation algorithms can be judged by Amazon’s increase in sales: a reported ‘29% sales increase to $12.83 billion during its second fiscal quarter, up from $9.9 billion during the same time last year’. (Mangalindan, 2012) Another example of the success of recommendation algorithms is Spotify, a digital music service, which publishes a weekly recommendation of music for its users called Discover Weekly. Spotify bases its recommendations on the 2 billion playlists created by its users, which help to group and select songs from those it has in its collection, and also a single user’s ‘taste profile’, which identifies the kind of songs a user might enjoy. Spotify also uses deep learning, an area of research into Machine Learning, to recognize patterns within large amounts of data and improve its Discover Weekly feature. (Pasick, 2015)

Visiting On View Calendar Collections Research School & Teachers Join & Support About Us

SINGAPORE RECONFIGURABLE MUSEUM

Hello, Natasha | My Tags | Request History | Scan QR | Logout

Visitor Tag List: landscape work

singaporean

Description:

(Untitled)

Artist:

Cheong Soo Pieng

Date/Period:

1964

Region:

Singapore

Dimensions:

38.9 x 57.8

Category:

Paintings

Material:

Watercolour

ships

brown

Submit a tag:

Enter Like You May Also Like:

Sun Moon Lake

Untitled (Abstract - Vietnam)

(Untitled) Imaginary Landscape

117

Steps for Reconfiguration

The museum would be reconfigured every night, based on input by either the visitors, the curator, or the algorithm. The frequency of reconfiguration based on either of these three agents vary in frequency. For instance, visitor requested reconfigurations may occur more frequently as visitors will submit requests for artefacts they wish to see frequently whereas curator requested reconfigurations may occur only on the basis for a show, which typically lasts for several months.

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Every night, the museum will be able to reconfigure itself automatically based on instructions from the algorithm, such that the museum is new the next day.

Paintings are retracted along a track into a storage area

The display shelves being utilised are powered off 119

Museum workers being to clear the museum pathways

120

Mobile robots are used to reconfigure the display shelves

The shelves being used for display are powered on

Paintings that need to be displayed are retrieved along the track and put on display

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122

Simple calcuations for reconfiguration, based on the dimensions of the museum ( 38 x 74m), the speed of the robot (1.3 m/s), and speculated closing hours of the museum (13hrs) show that the museum can achieve its goals using two mobile robots.

Amount of Change

Days

Visitor Curator Algorithm

Total Display Shelf Units: 600 units Shelf Units on display: 113-235 units

38m

Max. distance travelled by robot: 74 + 38 = 112m

74m

Museum closing hours : 9pm - 10am Museum closed hours: 13 hrs

Max speed of robot: 1.3 m/s Average speed of robot: 0.5 m/s Time taken to travel max. distance = 112 / 1.3 = 224s = 3 min 44 s Max. time to rearrange = 235 * 224s = 52 640s = 14 hrs 38 mins Therefore museum needs 2 robots to allow for daily reconfigurations.

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A’

B’

LEVEL 1 PLAN 0 1

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LEVEL 1 PLAN | 1:200

30 m A

A’

B’

BASEMENT 5 1 5PLAN

0 1

LEVEL 1 PLAN | 1:200

30 m A

125

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SECTION A Aâ&#x20AC;&#x2122;

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SECTION 0 1 5B B’

128

SECTION B B’ | 1:200

30 m

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EXPLODED AXONOMETRIC

MEDIA WALL DISPLAYING INFOMATION ABOUT CURRENT EXHIBITIONS

INTERIOR VIEW OF MUSEUM

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Appendix

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Fondazione Vedova

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Location: Venice, Italy Architect: Renzo Piano Year Completed: 2009 Size: 485m2

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Blibiography

Anderson, S. (2004). Eladio Dieste Innovation in Structural Art. Princeton Architectural Press. Bellinelli, L. (1999). Louis I. Kahn, the construction of the Kimbell Art Museum. Bradley, K. (2015, January 23). Why museums hide masterpieces away. Retrieved from BBC: http://www. bbc.com/culture/story/20150123-7-masterpieces-you-cant-see Calderon, C. A., Buck , S., & Elara, M. R. (n.d.). Retrieved from http://www.sciencedirect.com/science/ article/pii/S2352864815000085 CBRE. (2016). Multi-Storey Warehouses 2016. Retrieved from CBRE: https://www.cbre.com/researchand-reports/apac-multi-storey-warehouses-2016 Conservation Center for Art & Historic Artifacts. (2017). Light Exposure of Artifacts on Exhibition. Retrieved from Resources: http://www.ccaha.org/uploads/media_items/light-exposure-of-artifacts-onexhibition.original.pdf ECPK. (n.d.). Menil Collection Museum. Retrieved from Engineering TImelines: http://www.engineeringtimelines.com/scripts/engineeringItem.asp?id=1286 Eskin, B. (2001, January 10). The Incredible Growing Art Museum. Retrieved from Art News: http://www. artnews.com/2001/10/01/the-incredible-growing-art-museum/ FORA.tv. (2011, May 11). A Day in the Life of a Kiva Robot. Retrieved from YouTube: https://www. youtube.com/watch?v=6KRjuuEVEZs Fracalossi, I. (2011, March 31). AD Classics: AD Classics: Kimbell Art Museum / Louis Kahn. Retrieved from ArchDaily: http://www.archdaily.com/123761/ad-classics-kimbell-art-museum-louis-kahn Free Zones in Singapore. (2017, March 10). Retrieved from Open Company Singapore: http://www. opencompanysingapore.com/free-zones-in-singapore Graves, J. B. (n.d.). Maximizing Productivity in E-commerce Warehousing and Distribution Operations. Retrieved from Inbound Logistics: http://www.inboundlogistics.com/cms/article/maximizingproductivity-in-e-commerce-warehousing-and-distribution-operations/ Groskopf, C. (2016, January 16). Museums are keeping a ton of the worldâ&#x20AC;&#x2122;s most famous art locked away in storage. Retrieved from Quartz: https://qz.com/583354/why-is-so-much-of-the-worlds-great-art-instorage/ Gue, K. (n.d.). Aisle Design. Retrieved from blog, research, other stuff: https://kevingue.wordpress.com/ research/aisle-design-for-warehouses/ Guizzo, E. (2008, July 2). Three Engineers, Hundreds of Robots, One Warehouse. Retrieved from IEEE Spectrun: http://spectrum.ieee.org/robotics/robotics-software/three-engineers-hundreds-of-robotsone-warehouse Logistics and Supply Chain Management. (n.d.). Retrieved from Economic Development Board Singapore: https://www.edb.gov.sg/content/edb/en/industries/industries/logistics-and-supply-chainmanagement.html Luke, B. (2016, December 5). The year in museums: the building boom and the expanding canon. Retrieved from The Art Newspaper: http://theartnewspaper.com/reports/the-year-in-museums-thebuilding-boom-and-the-expanding-canon/

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Macdonald, S. (2006). A Companion to Museum Studies. Wiley-Blackwell.

Mangalindan, J. (2012, July 30). Amazon’s recommendation secret. Retrieved from Fortune: http:// fortune.com/2012/07/30/amazons-recommendation-secret/ Marotta, A. (2012, December 19). Typology: Museums. Retrieved from Typology: Museums: https://www.architectural-review.com/rethink/typology/typology-focus-museums/8640202. article?blocktitle=Typology&contentID=15984 Modern Healthcare. (2013, May 29). More hospitals are using robots, but jury’s still out on success. Retrieved from Crain’s Detroit Business: http://www.crainsdetroit.com/article/20130529/ NEWS/130529884/more-hospitals-are-using-robots-but-jurys-still-out-on-success Mountz, M. (2012, December). Kiva the Disrupter. Retrieved from Havard Business Review: https://hbr. org/2012/12/kiva-the-disrupter National Heritage Board. (2008). Renaissance City Plan III Heritage Development Plan. Singapore: National Heritage Board. Retrieved from https://www.mccy.gov.sg/~/media/MCCY-corp/Topics/Arts/ Files/RCPIIIHeritageDevtPlan_Bk3.ashx National Heritage Board. (n.d.). About Collections Care. Retrieved from Heritage Conservation Centre: https://www.nhb.gov.sg/institutions/heritage-conservation-centre/collections-care/about-collectionscare Newhouse, V. (1998). Towards a New Museum. The Monacelli Press. Pasick, A. (2015, December 21). The magic that makes Spotify’s Discover Weekly playlists so damn good. Retrieved from Quartz: https://qz.com/571007/the-magic-that-makes-spotifys-discover-weekly-playlistsso-damn-good/ Robotics Tomorrow. (2011, June 12). How Kiva Systems and Warehouse Management Systems Interact. Retrieved from Robotics Tomorrow: http://www.roboticstomorrow.com/article/2011/12/how-kivasystems-and-warehouse-management-systems-interact/23/ Wulfraat, M. (2017). Is KIva System a Good Fit for Your Distribution Center? An Unbiased Distribution Consultant Evaluation. Retrieved from MWPVL International: http://www.mwpvl.com/html/kiva_ systems.html

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