Museum Design Guiding Literature Review by Gelila Tw

M GRAND

USEUM BY: GELILA TEFESETEWOLD

LITERATURE REVIEW & CASE STUDIES

BAHIR DAR UNIVERSITY (BDU) INSTITUTE OF LAND ADMINISTRATION (ILA) DEPARTMENT OF ARCHITECTURE INTEGRATED DESIGN III YEAR :5 SEMESTER : II

PROJECT TYPE : DOCUMENT AND ANALYZING TITLE : GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES INS: GEDION YIBELO, ELEZALEMOLE G. BY: GELILA TEFESETEWOLD ID: 0800804 ON : OCT 2020

PREFACE This document is organized in a form of collection of standard books. While designing a grand museum the requirements and guidelines are orderly prepared to facilitate the time and energy consumption during the design phase. Design is never completed, there is always something more to refine. But it can be closer to end phase. The books referred in this document are specified at the end, for details one can explore the books. The great challenge to grand museum architecture lies in providing for the often conflicting uses of the building. On one hand, the important objects in the collection must be preserved, and preservation often requires very specific environments.

Copyright ÂŠ 2020 by Gelila Tefesetewold GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES Bahir Dar, Ethiopia E-mail: twgelila@gmail .com Printed in Ethiopia First published 2020

On the other hand, museums make parts of their collection available to the public, so the environment must be comfortable for people, enabling their movement through the space and providing for their safety. In addition, museums are often publicly owned structures, and museum architecture is designed to make a statement about the community. Today, museum architecture also has to accommodate environmental concerns as well.

1.8.2.5 Laboratories...........................................................................38

1.2 Purpose of Museums ...............................................................1

1.8.2.6 Retails...................................................................................39

1.3 Historical Background ................................................................1

1.8.2.7 Landscape Design..............................................................44

1.4 Museum Through Time................................................................2 1.5 Museum Types ............................................................................3 1.6 Museum Design Guidelines............................................................4

1.6.1Area Data........................................................................4

1.6.2 General Planning............................................................5

1.6.3 Exhibition and collection storage places........................6

1.6.4 Interpretation, Communication and Display..................7

1.6.5 Visual Standards...........................................................11

1.7

General

design

guidelines..................................................

1.7.1 Accessibility ................................................................13

1.7.2 Message of the building.......................................................14

1.7.3 Extending the museum wings....................................15

1.7.4 Access and Circulation..............................................15

1.7.5 Central Atrium...........................................................16

1.7.6 Circulation and Planing ............................................16

1.7.7 Universal Design Guidelines....................................17

1.7.8 Visitor Center ...........................................................19

1.8 Ancillary Accommodation ..........................................................

Literature Review

1.1 What is Museum?.......................................................................1

1.9

Environment

and

Conservation..........................................51

1.10 Lighting in Museum......................\\........................................55 1.11 Security .................................................................................63

02 Case Study

Literature Review

CONTENTS

1.12

Fire

Risk

............................................................................63

1.13

Theft

1.14

Warders

1.15

Barriers...................................................................................63

1.16

Vandalism

1.17

Services

1.18

Acoustics

....................................................................................63 ..............................................................................63

..........................................................................63 .............................................................................63 and

Zoning

.................................................63

2. Case Study.......................................................................................

2.1. British Museum .........................................................66

2.2.

2.3. Red Terror Martyrâ&#x20AC;&#x2122;s Memorial Museum .............104

2.4. Zoma Museum........................................................110

2.5

Yves saint Museum.................................................126

2.6

New

Muse

Museum

Acropolis

......................................................82

Museum......................................134

1.8.1 Design issues and criteria........................................21

3.Architectural Programming............................................................141

1.8.2 Typical Design Accommodation..............................21

4.References........................................................................................

1.8.2.1 Office .....................................................................22

1.8.2.2 Auditorium Hall........................................................24

01 1 Literature Review

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1. LITERATURE REVIEW 1.1 MUSEUMS

INTRODUCTION

WHAT IS MUSEUM? ………………………………. “A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment. A museum is an institution that cares for a collection of artifacts and other objects of artistic, cultural, historical, or scientific importance. Many public museums make these items available for public viewing through exhibits that may be permanent or temporary. Museums have varying aims, ranging from serving researchers and specialists to serving the general public. The goal of serving researchers is increasingly shifting to serving the general public.

1.2 PURPOSE OF MUSEUMS

BY: GELILA TEFESETEWOLD.

The purpose of modern museums is to collect, preserve, interpret, and display objects of artistic, cultural, or scientific significance for the education of the public. From a visitor or community perspective, the purpose can also depend on one’s point of view. A trip to a local history museum or large city art museum can be an entertaining and enlightening way to spend the day. To city leaders, a healthy museum community can be seen as a gauge of the economic health of a city, and a way to increase the sophistication of its inhabitants. To a museum professional, a museum might be seen as a way to educate the public about the museum’s mission, such as civil rights or environmentalism. Museums are, above all, storehouses of knowledge.

1.3 HISTORICAL BACKGROUND ORIGINS OF THE MUSEUM Although records of collections of precious objects go back to Greek and Roman times, art collecting in the modern sense began with the Italian Renaissance, when enthusiasm for the products of classical antiquity and a sense of history first developed. The term ‘museum’, first used during the Renaissance, was a different experience from what we now know. In a ‘cabinet of curiosities’ natural and art objects were jumbled together on the walls and ceilings, cupboards and drawers of one or two rooms. Their purpose was to surprise and delight; viewers had to find what attracted them and then make their own connections. .

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.4 MUSEUM THROUGH TIME 1.4.1_ 6TH CENTURY Early museums began as the private collections of wealthy individuals, families or institutions of art and rare or curious natural objects and artifacts. These were often displayed in so-called wonder rooms or cabinets of curiosities. One of the oldest museums known is Ennigaldi-Nanna’s museum, built by Princess Ennigaldi at the end of the Neo-Babylonian Empire. The site dates from c. 530 BC, and contained artifacts from earlier Mesopotamian civilizations. Ennigaldi-Nanna’s museum is thought by some historians to be the first museum, although this is speculative, Location within Iraq.

BY: GELILA TEFESETEWOLD.

1.4.3_19TH CENTURY The dramatic rise of the museum in 19th-century Europe was closely allied to industrialization, a concern to gather up and preserve artefacts from the past which provided a sense of continuity. At the same time, the new collections served to illustrate and reinforce the ideology of linear progress which underpinned and sustained the whole industrial revolution. Collections of pieces of material culture provided public evidence of the progress of human rationale and man’s control over the environment. Industrial philanthropists provided money to build museums and also aimed to display the products of national skill for the edification of the public. The 19th-century museum was designed as a piece of ceremonial architecture in which the idea of the sacred was translated into secular or national or civic terms.

Ennigaldi-Nanna’s museum

1.4.2 _18TH CENTURY Medival history

In 1753 Parliament established the British Museum to house the private collection of the monarch, perhaps the first art museum supported by public revenues. The opening of the Louvre in 1793 was a thoroughly republican event; the revolutionaries commonly referred to the Louvre as an institution dedicated to the glory of the nation. Public participation became an important aspect of museum policies; a

Louvre museum in 1800’s

socio-political organism. 2

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.4.4_21st CENTURY

THE MUSEUM TODAY general, current policies

1.5 MUSEUM TYPES

The museum reflects how a society sees itself as well as being a symbol of commercial and cultural achievement for the outside world. For many, the new cathedrals are the shopping malls and the museums, the latter combining family entertainment with self-improvement. The contemporary museum is a place with a multiplicity of functions, which has to combine traditional roles of interpreting and conserving a wide range of artifacts with requirements for large scale retail areas, complex new technologies and the circulation needs of the public. In competing with other forms of entertainment, museums are looking to the architecture and techniques of theme parks, themselves an outgrowth of the 19th-century international exhibitions.

There are many types of museums, including 1.

Art museums

Natural history museums

Science museums

Military & War museum

Childrenâ&#x20AC;&#x2122;s museums

Technology museum

Ethnology museum

Archeology museum

Fine art museum

10. Geology museum

The Pompidou Centre in Paris (1977) by Piano & Rogers, an important trend-setter, turned its back on the conventional role of the museum as a sanctuary for serene contemplation and supplied a civic institution providing education and entertainment. Galleries and museums now have to be equipped for people wishing to relax, shop or have a meal. They have to be able to accommodate seminars and postgraduate courses. At the same time, they are monuments that identify and differentiate cities. Galleries act as art markets, promote certain artists and anticipate fashions by organizing temporary exhibitions. Art has also become theatre, with its expansion to a variety of media that includes installation, video and performance. 3

11. Agricultural museums 12. Architecture museums 13. Archaeology museums 14. Biographical museums 15. Automobile museums 16. Heritage museums 17. Design museums 18. Encyclopedic museums 19. Historic house museums 20. Living history museums 21. Maritime museums

BY: GELILA TEFESETEWOLD.

22. Medical museums 23. Memorial museums 24. Mobile museums 25.Open-air museums 26. Pop-up museums 27.Specialized museums 28.Virtual museums 29.Zoological parks and botanic gardens

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.6 MUSEUM DESIGN GUIDELINES

1.6.1 AREA DATA

A museum is an institution which collects, documents, preserves, exhibits and interprets material evidence and associated information for the public benefit.

There is no convenient formula for determining the areas to be devoted to the different functions. The clientâ&#x20AC;&#x2122;s intentions in respect of public access to collections, information and staff, and of commitment to research and conservation will provide an initial guide. 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 programs.

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. 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 museumâ&#x20AC;&#x2122;s 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.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.6.2. GENERAL PLANNING The relationships between functions are common to all museums and art galleries. The flow diagram 31.2 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. 31.3 shows one approach to zoning and expansion based on this principle. 31.4 shows a possible layout for a small museum in which interpretive exhibitions and educational programs 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 Centreâ&#x20AC;&#x2122;s archaeological site and the National Railway Museumâ&#x20AC;&#x2122;s turntables 5

BY: GELILA TEFESETEWOLD.

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.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.6.3. EXHIBITION AND COLLECTION STORAGE SPACES 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: • • • • •

A linear arrangement of spaces with beginning, middle and end, 31.7b A loop where the essentially linear storyline leads naturally back to the beginning, 31.7c An arrangement of core and satellites where each theme or detailed treatment of a subject leads back to a central introductory or orientation-al area, 31.7a A more complex scheme combining linear, loop and core– satellite arrangement of spaces which is specifically structured to account for more or less stable relationships between collections and interpretive themes, 31.7d or A labyrinthine arrangement where the relationships between areas can be varied from exhibition to exhibition by managing the public circulation, 31.7e

•

Genetic plans for exhibit and open-access storage areas:

•

A. Open Plan

•

B. Core + Satellites

•

C. Linear Procession

•

D. Loop

•

E. Complex

•

F. Labyrinth

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

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. 31.8 shows a typical layout for a storage area fitted out with ranks of secure display cases. 31.9 shows a secure storage area with open-floor storage for larger collection items.

1.Entrance from main exhibit areas 2.Orientation point 3.Ranks of cases glazed on all sides 4.Full-height wall cases 5.Fire exit 6.Controlled access to staff areas and secure storage

BY: GELILA TEFESETEWOLD.

1.6.4 INTERPRETATION, COMMUNICATION AND DISPLAY

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 museum exhibitions to facilitate communication with the visiting public â&#x20AC;&#x201C; 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.

1. 2. 3. 4.

Controlled entrance lobby Inspection area Clear aisles Grid marked on floor, eg 1.5 m squares lettered in one dxn, numbered in the other 5. Fire exit

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

Each of exhibit types in the figure below, may have any combination

Exhibits may be of four basic types:

of the following elements:

a,b,c Hanging or wall mounted;

a. Item or items from the collection:

d,e Free-standing and open exhibits;

b. Fixing mount, support or plinth;

f,g,h Contained exhibits and display cases

c. Preservation: protection of vulnerable or removeable parts, lock, alarm, barrier,

BY: GELILA TEFESETEWOLD.

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

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.6.4.1 CASE DESIGN Display cases can be a very important part of museum furnishings. Visual and practical matters have to be considered (e.g. backgrounds, which are important in the context of the individual case and the total design of the exhibition, and have to be selected with reference to the compatibility of materials, both of the objects and with their surroundings within the case). Cases also have to be designed for various aspects of maintenance access, including the objects housed within, the services (such as lighting, humidification equipment etc.) and the case itself. A screen system’ Where insufficient wall area is available for display/hanging, screen systems are important. At the Gas Hall, Birmingham, a grid of stainless steel sockets are spread throughout the hall for fixing an innovative demountable screen system to increase hanging space. The main screen module of blockboard with hardwood lippings and aluminium edge fixings is 3.25m high and 1.86m wide. A stainless-steel barrier can be fitted to maintain a protective distance between visitors and the display. The barriers can be linked in ‘runs’ to create walls of modules. Screens weigh up to 200kg, so a handling system has been devised for operation by two trained staff, allowing repositioning of the screens and their movement to the gantry-hung storage room.

BY: GELILA TEFESETEWOLD.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.6.4.2 INFORMATION TECHNOLOGY Virtual Reality, The electronic revolution is having an impact on museums and the type of visitor is changing, becoming more diversified and more demanding. For the new generation viewing is not enough; interaction is expected. Virtual reality provides a strong context for art and a greater possibility for viewer interaction than any other means yet devised. Now technology can extend an institution far beyond its physical confines, taking information and original computer art into homes worldwide. This means that the programme of the museum becomes more important than its shell or individual spaces. The museum can incorporate micro-galleries offering computerized images of art along with extensive information about it, including objects in other institutions. Video, computers, CD-ROMs and telecommunications have to be integral, supplementing our way of seeing art. The use of CD-ROM stations throughout the National Museum of Photography, Film and TV (1984) by Austin-Smith: Lord enhances access to the collections by providing an information interface between the visitor and the exhibit. This protects the collection from over-exposure, a lot of it being light sensitive, delicate and easy to damage. The proposed UCL museum embodies the museum as art object. Switches in the floor will respond to pressure of userâ&#x20AC;&#x2122;s feet to activate panels of liquid crystal glass, changing them from cloudy to clear. The facade will change constantly in response to number and position of visitors in the building. Visitors wanting to see actual paintings or drawings can summon them from a virtual-reality set-up. The appropriate paternoster will then deliver the object to the correct floor for the viewer to examine it. Particularly important for a gallery showing cutting-edge exhibits, such as the Whitechapel Art. Gallery by John Miller and Partners (1998), is the provision of servicing for audio-visual facilities anywhere in the gallery. This is essential for the increasing use of video as an art medium. 10

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.6.5 Visual Standards The normal human angle of vision Starts 27Â° up from eye level. For a standing viewer, this means that well-lit pictures should be hung 10m away with the top not more than 4.90m above eye level and the bottom about 70cm below. The best hanging position for smaller pictures is with the point of emphasis (the level of the horizon in the picture) at eye level. It is necessary to allow 3-5m2 hanging surface per picture, 6-10m2 ground surface per sculpture, and 1 m2 cabinet space per 400 coins.

BY: GELILA TEFESETEWOLD.

According to experiments carried out in Boston, a favorable viewing space is between 300 and 600 up, measured from a point in the middle of the floor. This means a sill height of 2.13 m for pictures and a viewing range of 3.00-3.65m for sculpture. In art galleries there is generally no continuous circular route, just separate wings. Both museums and art galleries need side rooms for packing, dispatch, administration, a slide section, conservation workshops and lecture theaters. Disused castles, palaces and monasteries are usually suitable for housing museums. They are particularly suitable for historical objects, for which they provide a more appropriate setting than some modern museums. Nowadays, many museum buildings are also used as culture centers, and this possibility must be included in the planning stage. Spaces must be available for permanent and temporary exhibitions, libraries, media rooms and lecture theaters. There should also be places for relaxation and refreshments, as well as space for transport, storage, conservation, workshops and administration. Technological innovations are having a big effect not only on museum function, but also on the design of exhibits. Two examples are the computerization of collection records and design documentation, and lamp miniaturization and fiber optics and their effect on lighting design. 11

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Museum Examples

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.7 GENERAL DESIGN GUIDLINES 1.7.1 ACCESSIBILITY Relationship with surrounding area A museum or gallery can serve an important function in the context of its location. The museum can be the focus of urban regeneration in a depressed area, either as a new building or by making use of an existing redundant building. The construction of the Walsall Art Gallery (1999) by Caruso St John is regarded as an essential element in the regeneration of the town as a whole. The gallery provides a tall landmark, visible across the town. It has a heavy emphasis on educational areas for children and adults, with social areas and existing public civic space around the building. The proposed Manchester Imperial War Museum by Daniel Libeskind is also planned to have a regenerative role: in common with the Bilbao Guggenheim, it is on a waterside site in a depressed industrial port. In such cases, the building’s value is not simply as a container for artefacts but as a representation or aspirational symbol of its host city’s changing identity. The museum can also have an important role by becoming an integral and approachable part of its neighborhood. The Tate Modern (2000) by Herzog & de Meuron is described as ‘not at all precious’. It‘gives the sense that the building...would be one that young and old people would want to use, . . and that groups from the neighborhood would not be intimidated by.’ At the Great Court, British Museum (2000) by Foster and Parmer’s, re-planning, which involved the demolition of accretions in the great court and the creation of a lightweight umbrella of fitted glass, has created a huge new public space. Placed on a proposed ‘cultural route’ for London, it has been designed as a thoroughfare.

BY: GELILA TEFESETEWOLD.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.7.2 THE MESSAGE OF THE BUILDING Symbolism, determinism, character of the building

The contemporary museum is an art object in itself. The Bilbao Guggenheim (see 3) illustrates the contentious container versus content conflict. Architects have previously attempted to include different kinds of space to accommodate various art forms; only here are such disparate spaces brought together into a synthetic whole. Six rectilinear classical rooms are positioned so as to facilitate comparisons with work in the adjoining sculptural spaces, and thereby linkages can be made. In each of five other rectilinear larger spaces there are variations in shape, ceiling treatment and light.

The emotional message is strongly represented in the Jewish Museum, Berlin (1998) by Daniel Libeskind. The brief was to convey the historical and cultural background of the city and to house an extensive collection of Jewish cultural objects. This powerful building uses dramatic architectural forms to address the relationship between Berlin and its Jews.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.7.3 EXTENDING THE MUSEUM WINGS Space in finite buildings on prime sites has to be used effectively, so non-public facilities such as offices, reserve storage and conservation workshops can be remote ancillary buildings. Extra display space can be created in various ways: e.g. mezzanine floors have been inserted at the London Transport Museum (1994) by Dry Butlin Bicknell, and in Vienna a new basement has been excavated at the Museum of Applied Art (1993) by Sepp Mueller Architect. Adding wings can transform existing buildings into mazes. Wings that read as separate structures are more successful.

1.7.4 ACCESS AND CIRCULATION planning, public space and orientation

BY: GELILA TEFESETEWOLD.

Access is, in its widest sense, a major preoccupation with museums. Most importantly it is about routes and progression, but also covers many other aspects. The Entrance This can be accessible and democratic or ceremonial and imposing. An entrance at ground level is welcoming, particularly if combined with an open, diaphanous (rather than a closed, bastion-like) appearance to the public; on the other hand, the ascent of a monumental staircase makes entering the building a ceremony. Berlinâ&#x20AC;&#x2122;s New National Gallery (1968) by Mies van der Rohe, where visitors leave the street and climb a staircase before arriving at an enormous empty concrete plinth which looks over the entire area, is contrasted by Stirlingâ&#x20AC;&#x2122;s Staatsgalerie which has no central, well-defined entrance, but a ramp which allows the visitor to enter, circle, or ascend the museum to the top.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.7.5 A CENTRAL ATRIUM

1.7.6 CIRCULATION AND PLANNING

Design issues and criteria

Interconnecting all the rooms with a central atrium enables visitors to orient themselves and choose the rooms they wish to visit. A glazed roof over the central court cleared of its accretion of buildings at the National Maritime Museum Neptune Court, Greenwich by Rick Mather Architects & BDP has sorted out circulation problems while substantially increasing exhibition space.

Frank Lloyd Wright’s innovative New York Solomon R. Guggenheim Museum (1959) gave circulation a high priority, at the price of inherent inflexibility. Visitors ascend by elevator and walk down the spiral ramp encircling the central atrium, but have restricted space to look at the works.

Sources of design for the Getty Center, Los Angeles (1998) by Richard Meier & Partners include the ‘Dulwich unit’, a cubic naturally top-lit gallery coupled into a nine-bay or four-bay square plan. These squares then form the basis of the museum clusters organized around a major patio and are interspersed with atria and external terraces First image: Legibility and orientation have been achieved by new bridges and internal streets to allow direct access to the galleries. Similarly, a glazed roof high above the courtyard of the Wallace Collection (2000), also by Rick Mather Architects, provides a new focus and helps to orientate visitors. Second image: The 5Om tall atrium at the Bilbao Guggenheim forms the key circulation and orientation space of the museum.

The galleries follow the successful layout of the top floor of the Uffizi in Florence where the main circulation route embraces a courtyard, providing a point of external orientation while linking a series of independent galleries. The sequence of viewing can be determined by the visitor, who can bypass specific areas without the loss of the general sense of position. 16

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.7.7 UNIVERSAL DESIGN GUIDLINES Access for people with disabilities The building should accommodate the needs of people with any kind of disability. Entrance: Ideally the building should be accessible to all through the main entrance. Where there are conservation constraints with an historic building, changing the main point of entry for everyone can avoid the need for harmful alterations. Otherwise a separate route for wheelchair users and others may be necessary. Circulation: If possible, all visitors, with or without disabilities. should use the same routes throughout. Where space permits, the preferred method of changing levels is a ramp. Otherwise provide a lift device, independently operable: stairlift or, better still, a platform stairlift for wheelchair users – vertical hydraulic-type platform lift- stair climbers for wheelchair users (this is a last resort as it does not allow independent access. WCs for disabled users at all levels. Staff needs: Access is required for staff with disabilities to all offices and stores, with accessible toilet facilities on the office level. This would open up these areas to disabled students, researchers and colleagues from elsewhere wishing to study items in store

1.7.7.1 Communication Signage Even when the design of the building itself is the main influence on circulation patterns, signage plays an important part in the visitor’s effective use of a museum or gallery. Effective signage does not necessarily rely on words: for foreign visitors and children color-coding and pictograms can work well. The building itself can fulfil the function of a sign. For instance, the Victoria and Albert ‘Boilerhouse’ extension is proposed as a ‘museum without walls’, which will act as a visual, physical and virtual. 17

BY: GELILA TEFESETEWOLD.

The interlocking spiral tangentially links space after space, inviting visitors to turn corners to the next glimpsed event. IT increasingly plays its part in informing visitors about the contents of the building; the Tate Modern is an unprecedented public museum space with a new kind of civic programme- screening, performances and events. The galleries ‘announce their contents’ through the internal facade, like a series of big screens.

1.7.7.2 DESIGN FOR CURATORIAL NEEDS AND CONSERVATl0N WORK research, store An important part of the function of a major museum or gallery is the work of its professional team, who require highly specialised accommodation. This can be in affordable space away from the central site, where storage can be provided in conditions that are right. The V & A’s research and conservation centre provides accommodation to handle the museum’s collection of nearly 1.5 million objects and one million books. Stateof-the-art workshops have been inserted into the existing building, providing: •Paper conservation department (needing the supply of 14 different types of water), which has raised access floors to take IT networks •Records office •Curatorial office for the department of dress and textiles •Cellular offices for senior curators •Staff common room •Textile and carpet conservation, including space for washing and drying large carpets and tapestries

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

The photography department has a lead-lined X-ray facility for exploring the condition of artefacts. It also has double-height space for the photography of larger objects (door heights along the ground-floor routes open to a maximum height of 4.5m to allow these objects to be circulated). DETAILED DESIGN display techniques, fittings, materials

BY: GELILA TEFESETEWOLD.

Basic floor loading for museums and galleries is 4kN/m2. Additional allowances may be required for particularly heavy exhibits, display partitioning, or loads from artefacts suspended from the underside of upper floors. For a display of large objects loading capacity of up to 10-15 kN/m2 may be necessary. The use of compact storage units, which can increase storage capacity by 75%, requires a minimum loading capacity of 7.5kN/m2. (See above.)

A museum or gallery display is composed of permanent and temporary exhibits in varying proportions. Temporary exhibitions can amplify and extend permanent exhibitions, and provide an opportunity to display material normally kept in storage. Certain basic guidelines apply to the wide field of designing for exhibits: Walls: Uninterrupted surfaces are needed for displaying artefacts. Fabric-covered or plasterboard-clad hardboard are easily repaired and can be fixed directly to walls. These porous materials help to control relative humidity by absorbing and releasing moisture. Floors, poor finishes: Quiet, comfortable, attractive, hard-wearing, light-reflective and capable of taking heavy loads. Usually wood, stone or carpet are most suitable.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.7.8 VISITOR CENTRE A development of the site-related museum is the visitor center, the major vehicle of the heritage business’s demand for experiences. The visitor center is also a reflection of an age which is so culturally insecure that continual interpretation-of our heritage and contemporary culture- is now required. The role of the visitor center as interpreter of a particular subject or theme is generally closely related to its location, and thus its relationship with the site is all-important.

1.7.8.1 VISITOR CHARACTERISTICS

An essential part of museum administration is to regularly and systematically monitor the characteristics of people who come to see what it has to offer. Without this information, it is aiming blind in meeting the needs of its visitors. Museums, like most other organizations that provide goods and services for the public are anxious to know who is buying what they have to sell and whether their customer S like what they are being offered.

BY: GELILA TEFESETEWOLD.

Monitoring visitors not Only helps obtain information about the people who do come, but also about those who do not. Serious attempts to attract non-visitors may demand quite different skills and techniques in museum layout and exhibit design from those that are apparently meeting the needs of the existing visitors. From a study of various surveys a few general conclusions can be drawn concerning the characteristics of the museum visitors. They are as follows: •Most visitors are first time visitors and generally unfamiliar with museum surroundings. •Attendance is usually self-motivated and surprisingly non-repetitive; for most people the first visit will also be the only visit. •The audience to which the museum layout and exhibits must convey its message is a non—captive, heterogeneous, freely moving, hurried, or uninterested and, at best, voluntary seekers of information, Often physically tired collection of people. Most visitors are accompanied by one other person or are alone. However, some visitors are: part of an organized group of family, fr lends, guided tour or school group. It is not only important to know who is coming to museums, but also, to understand how visitors behave in existing museum environments. having this insight, will enable architects and designers to provide more efficient and affective future museum environments;

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.7.8.2 VISITOR BEHAVIOR LITERATURE A critical look into visitor behavior studies shows that researchers have been able to identity if y some critical performance and learning criteria for measuring the impact of museum spaces on museum visitors, as well as some key issues of significance for architects and designers. The most relevant visitor behavior issues include: •ORIENTATION: orienting devices and techniques, both at entrance points and throughout the museum is absolutely essential if the museum is to ensure visitors comprehend and appreciate its goals and purposes as well as making them feel both physically and psychologically comfortable. •MUSEUM FATIGUE: visitors will encounter a succession of experiences during the course of their visit which may bring on physical and mental fatigue. Museum fatigue is known to result from such factors as object satiation, disorientation, lack of contrast, as well as physical discomfort (i. e, noise, excessive heat, exhaustion). •ROUTE SELECTION: it has been observed and documented that there are a number of factors which influence the route followed by the visitor (i.e. location of entrance and exit, length of route). Designing with this i n mind, can de— crease the chances of spaces and exhibits to go unnoticed. •TRAFFIC FLOW; traffic flow is another aspect of circulation which must be considered, in order to ensure that the visitors can proceed with ease and at their own rate through the museum. The density of visitors in a given space can alter the effectiveness of communication with the public. •OBJECT AND GALLERY STATION; a major factor in museum fatigue is Object satiation (similarity of paintings or furniture as regards style, period, subject matter). The resulting decrease in, interest can he control Led to some extent by arranging exhibits to provide the greatest possible diversity.

•RANGE OF MOVEMENT; the kind of behavior that takes place in museums is exploratory locomotion; that is, simply walking around and examining unfamiliar objects in a relatively unfamiliar place. Comparisons of visitor movement data shows that a number of variables (i.e., color, entrances and exits, walls), can influence the amount of area (square feet) covered. •ATTENTION DISTRACTORS AND ATTRACTORS; the settings or surroundings of the exhibit are as important as the ex— hi bit itself. Everything possible should be done to avoid conflict between the exhibit and its surrounding and enhance the ways in which museums can better communicate with their heteroge20

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1.8 ANCILLARY ACCOMMODATION 1.8.1 Design issues and criteria Space requirements are governed by the size of the collection, the method of display, the size of the artefacts and the projected rate of growth of the collection. Generally, larger artefacts require significantly more display space if their full impact is to be communicated. High-capacity floor loading is an important consideration for locations of heavy items in exhibition and storage areas, and has to be provided for anticipated numbers and likely distribution of visitors.

1.8.2 Typical schedule of accommodation This includes exhibition rooms, auditorium, multiple-use event spaces, library, shop, workshops, conservation areas, offices, cafeteria etc. Shop: should be accessible without having to enter the museum and gallery. At the same time, it should not be too dominant; shoppers have to be reminded where the shop is. Resource center: in main gallery space or store area, where researchers can handle and examine objects under controlled environmental conditions and approved supervision. High-quality lecture spaces and seminar rooms: extra income as conference suites, and many more •Offices, •Catering Facilities, •Sanitary Installations and Cloakrooms, •Circulation Spaces, •Loading Bays, •Retail Areas, Auditoria, •Educational Facilities, •Laboratories, and Libraries

BY: GELILA TEFESETEWOLD.

Special temporary exhibitions: These are important in attracting visitors to museums, which therefore need to provide good facilities for such events. Particular needs are for workshop access with clear wide access to the gallery, and also provision for deliveries, from the street, of construction materials and loaned objects in large crates. Storage: Compact mobile shelving reduces storage space. Storage space required should be calculated on the basis of the volume of all objects in the collection with allowances for planned annual growth and unplanned donations (15%extra space).

Major programs

Supplementary Program

1 Exhibition Gallery 2 Lecture Hall/Theater Hall 3 Library 4 Sculpture Hall 5 Administrative 6 Meeting Room 7 Art Gallery 8 Multi-Purpose Event Halls 9 Laboratory & Workshops 10 Class Room 11 Shopping 12 Rest Rooms 13 Video Display Rooms 14 Foyers 15 Parking

1 Pool/Usable or Visual/ 2 Café with Garden Terrace 3 Freeman Library 4 Restaurant Overlooking Sculpture Garden 5 Outdoor Meeting/Waiting /Reading/ Dating Seats 6 Balconies with Terrace View

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.8.2.1 OFFICES The way in which office work is organized and roles are defined (office structure, customer management, office technology) affects the requirements for office space.

The space allocated to a person to execute a task is referred to as a workstation. This can be a private office with full-height partitions and a door, an open-plan ‘cubicle’ configured from systems furniture or low-height partitions, or an individual desk in an undivided space

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

A large office building will consist of several different types of space (1) Office areas will have separate offices for one to three people with workstations for trainees, group offices for up to 20 people, also with workstations for trainees, and open-plan offices for up to 200 people on a single level. Some offices may combine individual workstations with areas used by groups. In an open-plan office, all spaces are multipurpose for individual or team work, except for a separate secretarial department.

(9) Circulation spaces include corridors, stair-ways, lifts, and internal and external emergency exits.

(10) Central services are responsible for technical equipment, air conditioning. ventilation, heating, electric power, the water supply, data processing, the computer Centre, telecommunications, and cleaning and maintenance.

(2) Records areas are for the storage of files, drawings, microfilm and electronic media, filing and recording equipment, document reproduction, play-back and shredding. (3) Central clerical services areas contain dictating, duplicating, printing and photocopying equipment, and personal computers. (4) The post room handles all incoming and outgoing post. (5) Corporate display areas board rooms with contain movable walls, exhibition areas, conference rooms and meeting rooms. (6) Social facilities should include cloakrooms, a kitchen for each floor or area, toilets, a rest area for employees, refreshment rooms, sports facilities and a dining room with a kitchen. (7) Additional spaces and extensions may be needed for training on audio-visual equipment. (8) It may also be necessary to have an entrance drive, parking spaces (possibly underground) and delivery bays.

BY: GELILA TEFESETEWOLD.

NOTE Some important aspects of design relevant to offices •Sanitary accommodation •Car parking in •Lifts and escalators •External works •Counters and cash offices

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.8.2.2 AUDITORIUM HALLS

1.8.2.2.2 SEATING

KEY POINTS: • Most auditorium are designed to fulfill a number of purposes • The object is to ensure a near 100% of usage • Every member of the audience should be able to see and hear the whole performance

Design of the auditorium seat The aim is to provide an appropriate standard of comfort. The range of human body dimensions is wide; while in most auditoria a single size of seat is provided, 20.2 and Table I. Tolerance levels vary: young people can tolerate simple seating found less comfortable by older people. Those attending concerts of classical music seem to expect more comfort than those watching drama.

1.8.2.2.1 INTRODUCTION The three-dimensional volume of an auditorium is conditioned by the need for all members of the audience to be able to see the whole of the platform or stage; and to hear the actor, singer, musician or speaker,. Seating density, floor rake and seating layout are partly determined by this, partly to give the audience an appropriate level of comfort and essentially to ensure a means of escape in an emergency, such as a fire, within the time required by safety considerations and by legislation.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Writing surface Conference use may require a writing surface for note-taking. The writing surface may be: A tablet fixed to each seat, 20.10 A removable tablet A tablet pivoted to slide away vertically, 20.11 A writing shelf on the back of the row in front, which can be fixed in posi -tion, hinged or retractable, 20.12 A fixed table with loose seat, or A fixed table with fixed pivoting or sliding seat, 20.13.

1.8.2.2.3 Other factors Acoustics: upholstery to satisfy the acoustic requirements, usually the level of absorbency when unoccupied, especially the case with music,

Ventilation and heating: for air supply or extract under a seat, allow space in floor or riser to receive grille.

Upholstery: thickness of padding should provide comfort and avoid fatigue, but

not encourage excessive relaxation; material of padding and finish must satisfy fire regulations.

Table seating has the advantage that delegates can pass behind the row of seats, and assistants can sit behind the delegates. In a theatre or concert hall where there is occasional conference use every other row of seats can be used with temporary tables

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

For drama it is essential to discern facial expression, and the maximum distance should be 20 m measured from the setting line of a proscenium stage or geometric centre of an open stage. For opera and musicals discerning facial expressions is less critical and the distance can be 30 m. For dance the audience needs to appreciate the whole body of dancers and facial expression: the distance should not exceed 20 m.

Wired services These may be required for conference use. They can be incorporated into the arm of the seat, or into the rear of the seat or table in front. Further details will be found in para. For music, drama and cinema there may be provision for earphones for people with hearing impairment, or this facility may be provided by an induction loop. Audience requirements As stated above, every member of the audience should be able to see and hear clearly whatever is happening on every part of the stage or platform. This is an ideal rarely (if ever) totally attainable in practice. The greater the encirclement of the audience of platform or stage, more people can be accommodated within the aural and visual limitations up to 180Â° encirclement. With a full encirclement, the distance from platform or stage is restricted to six rows

For chamber concerts acoustic conditions also predominate but visual definition assists achieving an intimate setting. For conference speaker and lecturer there are two scales: discerning facial expression, restricted by 20 m; larger scale where facial expression is not regarded as critical. For slide, video, television and overhead projection visual limitations are determined by their respective technologies

Visual limitations Visual limitations determine the maximum distance from platform or stage at which the audience is able to appreciate the performance and for the performers or speaker to command an audience. This distance varies according to function type and the scale of the performance: . 26

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

Aural limitations This refers to the distances across which speech, singing and musician be clearly heard without the need for amplification, and beyond which they cannot. For drama, opera and classical music amplification is deprecated; but it is acceptable for variety and pantomime and essential for rock music.

BY: GELILA TEFESETEWOLD.

For amplified sound the auditorium requires a dead acoustic with no reflected sound from the platform or stage and limited or no reverberation; loudspeakers are positioned to provide full and even coverage of the audience. The volume and quality of the unamplified sound is dependent on the volume, shape, size and internal finishes of the auditorium, and on its resultant reverberation time. It is therefore not possible to lay down limits as for visual appreciation. Even experts in acoustics find that their predictions are not always borne out in practice, although they should be consulted and their advice followed wherever possible. It has been found feasible to improve the acoustic of existing auditoria.

For more details on Auditorium Designs, one can refer Metric Handbook Planning and Design Data (from page 326) 27

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Cross-gangways With cross-gangways the line of the auditorium rake must continue so that the audience can see the performance area above the gangway as below. With stepped rows there requires a handrail to the upper side of the gangway and, if a steep rake, a handrail to the lower side. See 20.23.

Means of escape The aim is for all in the auditorium to be able to escape to a place of safety within a set period of time. The escape route is from the seat, along the clearway and gangway, and through exit doors immediately, or through an enclosed corridor, to the place of safety. Travel distance The maximum travel distance from seat to exit within the auditorium is determined by the need to evacuate from each level of the auditorium within 2Â˝ minutes. For traditional seating the maximum travel distance is 18 m measured from the gangway, for continental seating 15 m from any seat. Exits From each level of the auditorium two separate exits must be provided for the first 500 seats with an additional exit for each further 250 seats. Table II gives the minimum total of exit widths required by legislation. Each exit from the auditorium must lead directly to a place of safety.

Exit routes The route must be a consistent width the same as the exit. There must be no bottlenecks and all doors within the route must open in the direction of escape. Routes within the building should have fire-resistant enclosures. There are special requirements for all doors opening onto fire escape routes. Stairs Staircase flights should have at least two risers and not more than All treads should be 275 mm and risers 180 mm. Ramps Wheelchair users should be provided with flat or ramped escape routes which may be separate from other routes. Ramps should not be longer than 4.5 m or steeper than 8.5%.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

Circulation

While gangway lengths and widths are calculated as part of the fire escape route, they also provide the circulation through the auditorium, with possible additional gangways from the audience entry points to individual rows and seats. For amplified sound the auditorium requires a dead acoustic with no reflected sound from the platform or stage and limited or no reverberation; loudspeakers are positioned to provide full and even coverage of the audience.

Entry points

The audience can enter the auditorium from the foyer at the rear, at the sides of the seating or from vomitories within the seating banks, 20.29; and the entry points need to connect directly with the gangways. There should be a threshold space at the entry points for ticket check, programme sales and for members of the audience to orientate themselves. Sometimes, particularly in theatre-in-the-round, performers make their entrances from within the audience area.

Handrails

Balcony handrails, 20.3 1, are specified by legislation covering height, width and structure: they must also not interfere with sightlines. The minimum balcony handrail height (BH) is set by legislation at 790 mm in front of fixed seating and 1100 mm at the ends of gangways. Balcony fronts are used to support performance lighting and need socket outlets connected to stage lighting control s

BY: GELILA TEFESETEWOLD.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Ceiling zone

Functional requirements cover: •Acoustics: profiled reflector panels and possible adjustable diffusers. For non-amplified music, reflectors also over concert platform •Lighting: bridges for access and support for auditorium lighting, working lights and emergency lighting as well as performance lighting •Ventilation: air ducts and plenum, diffusers, noise attenuation and monitoring equipment, supporting hangers and means of access for servicing •Production requirements: for operas, dance musicals and drama, a grid and pulley suspension for suspending scenery over fore-stage, including access by technicians •Fire control: detection system in voids and fire dampers in ducts and • Structure: support for roof, ducts, lighting bridges, etc

Theatre

Range Theatre covers productions of drama, opera, ballet, musicals, variety and pantomime, 20.39. Relationship diagrams for buildings for opera, musicals, dance and drama. If for drama only, the orchestra pit and musicians spaces may not be required.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

1.8.2.3 EATING & DRINKING

1.8.3.2 Location

Spaces for eating and drinking have to be looked at from two points of view, that of the customer and that of the proprietor. The customer will choose a particular establishment, not only because it sells food or drink but because it also sells: -somewhere to entertain a guest in peace: as in good restaurants entertainment: as in nightspots, or dinner-dancing venues – fast service: as in cafés and fast-food outlets.

Location will determine success or failure of a facility. Food service establishments should be located where people need to obtain food, such as: •Motorway service areas •Hotels •City centers •Tourist attractions •Main railway stations •Airports •Department stores

The proprietor is running a labor-intensive business for profit in a competitive environment. Efficiency of every part of the operation must be maximized. Skillful planning can have a big effect on labor requirements, and consequently on the cost of operating.

1.8.3.1Types of facility

A balance has to be found between: •The availability of customers •Cost of the location •Accessibility: customer parking and goods access

Eating and drinking establishments fall into a number of broad categories:

1.8.3.3 BASIC PLANNING

Restaurants: commercial self-service and waiter service operations, possibly licensed for alcohol. Includes cafés and snack bars. Canteens: semi- or non-commercial operations in educational, industrial, or government establishments Take-aways: fast-food outlets with or without customer seating space Transport catering: kitchens providing per-packed meals in bulk, e.g. for airlines Public houses: alcohol sales with or without food service

BY: GELILA TEFESETEWOLD.

Food supply and consumption can be thought of as three overlapping industrial processing circles: for cooking, dishes, and customers. Each circle rotates separately: the product (food) is transferred from circle to circle.

1.The cooking circle.

This consists of: Goods inwards: food supplies •Storage •Processing –preparation –cooking –serving: food transferred to circle –equipment cleaned and prepared for re-use • Goods outwards: disposal of waste

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

2.The servery circle.

Crockery and cutlery, whether recyclable or disposable, has to be processed: Goods inwards; supplies purchased Storage Processing – Servery: food added to dishes – Moved to table; food moves to circle 3. – Returned from table – Dish-washing – Storage for re-use

3. The customer circle.

The customer is also processed: •Customers inwards: parking, reception, cloakroom. •Storage: bar, waiting area •Processing – Food transferred from circle –Drinks provided –Billing and payment • Customers outwards, coats returned. The space provided for the customer varies from very little in fast food shops to considerable in the highest-class restaurants. The bill will vary too. Food is not the only thing being sold. Part of the charge will go towards space or entertainment.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

PUBLIC AREAS Seating areas and table arrangements

There are significant differences in seating arrangements depending on: •Types of customer: price level, expectations •Type of establishment: self-service, waited service, seating •Grouping: table sharing, flexibility of arrangement •Room characteristics: shape, obstructions, windows. Furniture falls into four categories: •Fitted counters or bars •Fixed tables, usually pedestal or cantilevered •Movable tables, with legs or pedestals •Stackable tables •Counter In self-service restaurants tables will need to be in orderly lines with wide aisles to allow easy circulation access with trolleys for collecting returns. In waited restaurants a more flexible layout is desirable, but circulation flows of staff and customers must not conflict. Typical table arrangements where banquettes are used in Service tables, trolley parks and cash desks must also be accommodated

Snack bars

Where meals are eaten at a counter, dimensional requirements are shown in 18.14.. Large short-order facilities can be planned as 18.15.

BY: GELILA TEFESETEWOLD.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

CAFETERIAS

Cafeterias are self-service establishments, commonly run on a non-commercial basis as a service to staff and others such as students. They are characterized by: • Scale of operation: usually fairly large, giving certain economies of scale • Concentration of demand: a short service period demands a high rate of service. Above 600 meals a day, free-flow and multi-counter service is practical. • Menus: balanced to meet nutritional standards. Degree of choice will determine counter layout and/or length. • Operation: also used in high-demand commercial services (Airports, stores, service stations) • Space: counters add 0.2–0.3m2 to area per seat in the dining room.

Self-service restaurant in Paris Architect: Punier 1 Trays 2 Cold buffets 3 Beverages 4 Hot meals 5 Cheese and desserts 6 Cashier 7 Refrigerator

TAKE-AWAYS

8 Beverages cupboard

Fast food is the fastest growing sector accounting for about one third of the market for meals outside the home. These outlets usually concentrate on popular products such as pizza, hamburgers, chicken or baked potatoes.

10 Hot cupboards

9 Ice 11 Street sales counters

If high street locations are used trading may have to be over a 15-hour day, seven days a week. Investment costs are high: sophisticated equipment is required so that untrained staff can use it, and wear and tear is heavy. Most operators aim for a door time, entering to leaving, of 3.5 minutes. The maximum queueing time is 2.5 minutes, allowing for 1 minute from placing the order to service Many medium-price restaurants will supply meals to take away in addition to inhouse facilities. However, there are large numbers of dedicated take-aways (called carry-outs in Scotland) occupying standard shop units, most of which is taken up by storage and preparation areas. A small public area will contain a counter and little else; although some will provide a few seats, either for people waiting or even for a very few to eat.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.8.2.4 LIBRARIES AND INFORMATION CENTERS

Associated activities

Staff services to user

KEY POINT • Libraries are increasingly becoming places from which to obtain information rather than only books. • Information accessible in future libraries will be less from conventional books are more from other forms of media. • Libraries in future may not be visited in person, but accessed remotely.

•Meeting rooms •Lecture rooms •Typing room •Exhibition area •Reader facilities •Catalogue reference •Document copying •CD-ROM viewing/listening •Accessing remote databases •Microform viewing •Video cassette viewing/listening •Audio reproduction •Poster display •Refreshments

•Number of staff on duty at the following points •Security points •Book issue and return •Reader enquiries •External activity for which the library is the headquarters •Branch library supply and services •School library supply and services •Welfare libraries (handicapped readers, prisons, etc.) •Privileged readers (school teachers to select books from a display range) •Mobile libraries (garaging, servicing)

Storage of readers’ belongings

Technical services Number and types of staff •Offices •Binding •Administrative •Poster drawing •Executive •Staff rooms •Network manager •Lounge •Areas for •Tea room, kitchen •Accessioning •Lavatories •Cataloguing •Storage •Processing •Strong room •Receipt and dispatch •Stationery •Post and packing •Furniture •Printing •Cleaning materials

DESIGN CHECKLIST The following checklist covers the kinds of information that may be needed to draw up a design brief. It is relevant mainly (but not only) to public libraries. •User services Opening hours Peak-use times •Hours Days of the week Times of the year (particularly for educational libraries) •Numbers of readers(preferably separate figures for each part) •Bibliographical •General reference •Adult lending •Children’s lending •Periodicals, newspapers •Music •Special reference (e.g. commercial, technical) •Local history •Arts and other departments

•Coats •Bags •Umbrellas •Lavatories •Telephones •Bookshop •Vending machines

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

BOOKSHELF CAPACITY

The capacity of standard 900 mm bookshelves to hold books periodicals and reports is indicated. These shelves are assumed to be only three-quarters full to allow for expansion and book movement. The average space requirements of each type of book are given in Table IV.

Open-access systems Where the public are given access to the shelves the dimensions must take account of the length of stack. If long, two people must be able to pass in comfort, 32.9. Someone in a wheelchair must also be able to pass a standing person. However, if the distance between cross-aisles is no more than about 8 m it may be acceptable to make the aisle width no more than will comfortably pass a wheelchair, say 900 mm. Recommended minimum dimensions are given in 32.10. Libraries often have their shelves arranged to form alcoves with books shelved on three sides. 32.12 is for use where the alcoves also accommodate reading tables.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

SHELF HEIGHTS The easiest shelves to access are those at the user’s eye height. 32.13 gives height criteria for adults. For libraries, such as in schools, used mainly by teenagers 32.14 should be followed, and 32.15 for small children. People in wheelchairs will need assistance from staff in normal libraries to reach the higher and possibly the lower shelves. In libraries designed to cater particularly for wheelchair users, only shelves between 400 and 1200 mm above the floor should be used.

READERS’ FACILITIES Tables Most readers are expected to use communal tables, 32.16. The design parameters for these are given in 32.17. In reference libraries tables are commonly arranged in rows in areas separate from the bulk of the books. 32.18 to 32.20 show reading tables for up to eight people at a table. Double-sided tables are not popular unless there is a low screen down the middle to ensure a measure of privacy. The size of table must reflect the material likely to be consulted – obviously maps and newspapers require more space..

BY: GELILA TEFESETEWOLD.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.8.2.5 LABORATORIES KEY POINT: The principal concern in the design of a laboratory relates to the building services needed. Type of laboratory – changing requirements All laboratories must be designed to cope with growth and change irrespective of the scale of the work, or the scientific discipline involved. The three major types of laboratory are: • Research • Teaching • Analytical FURNITURE AND EQUIPMENT DIMENSIONS Worktop height Most laboratory work takes place in a vertical zone above the worktop. The lowest convenient worktop height should be specified as this increases the volume with easy reach, 30.1a. In addition to catering for prolonged periods of written work in the laboratory, a seated worktop height, 30.1b, can also be specified for small-scale work involving fine manipulations, e.g. fine electronics assembly or work at the microscope. In some cases a further lowering of the supporting surface can usefully increase the vertical zone within easy reach. An extreme example of this is the low chemistry bench for tall glassware rigs, 30.1c.

Worktop depth If the worktop is too deep the back of it will be used for dead storage, making access to services controls difficult. The depth should be based on maximum convenient reach. A 600 mm depth will meet most requirements but there may be cases where 700 or 750 mm will be needed for large bench-mounted instruments. Height of services controls Services controls should be as near to shoulder height as is possible. This is the shortest distance in terms of reach and controls are less likely to be concealed by apparatus. Sinks For comfortable working the rim of wash-up sinks should be slightly higher than the general worktop, 30.3a. The same applies to any associated draining top. As an alternative, a shallow tray with rim at worktop height can be specified and a deep bowl used with it when a greater depth of water is required for soaking, washing or cooling larger apparatus, 30.3b. Smaller sinks, drip cups or continuous troughs used for the disposal of liquids are not critical and can be set at worktop height. As an alternative to the small sink a shallow tray can be placed on the worktop to drain.

Worktop heights for school science must be considered in relation to other non-science subjects. The heights given in 30.2 are for general use and thus allow for an interchange of use in practical work areas. The relationship of seat height to worktop height is critical and these should be related as shown in 30.2. 3.02

For more details on Laboratory Designs, one can refer Metric Handbook Planning and Design Data (from page 475)

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1.8.2.6 RETAILS KEY POlNTS: •Major changes have taken place in recent years •More change can be expected Shopping activities Shopping activities vary with different needs and may be described as essential, convenience, comparison, purposive (specific), leisure or remote (mail order, teleshopping) Selling methods Personal service: individual service, usually over counters or desks by staff in attendance. (Examples: high-value goods, technical equipment, specialist boutiques and salons, delicatessen Shops, financial and travel agency services.) Self-selection: by customers who handle, compare and select goods prior to taking them to cash points for payment and wrapping. (Examples: department stores, variety stores.) Self-service: of prepackaged groceries and durables collected in baskets or trolleys and taken to checkout points for cashing and packing. (Examples: supermarkets, superstores, discount stores.) Assisted service: self-selection by customers combined with dispatch of similar goods from stockroom to collection point or home delivery. (Examples: hypermarket, warehouse stores, furniture stores.)

BY: GELILA TEFESETEWOLD.

OPEN MARKETS Markets may be set up in streets, squares and open spaces, 13.3. Stands comprise erected stalls and fitted-out vans and trailers set out in line along kerbs or back to back between aisles. Key considerations are: •Vehicle parking and loading (near stalls) •Traffic control •Garbage storage and collection •Washing facilities •Protection of exposed food.

Planning

Halls are usually designed to give a large-span open space having natural roof lighting, good ventilation and service connections. One-floor trading is preferred. Any upper floor is usually limited to a perimeter balcony served by escalators, stairs, goods and disabled lifts. Perimeter stalls and other grouped layouts have service corridors. Fish, meat and food stalls are sited in zoned areas with more sophisticated ventilation, drainage and services. Key considerations: Access and linkage to car parks, shopping areas, goods delivery and parking bays. Mix of traders. Risk of fire (incombustible materials, fire-resistant construction smoke evacuation) and means of escape.

MARKETS A market is a public area, open or covered, provided with stalls, where traders may sell their wares on recognized market days subject to payment of a statutory charges.

For more details on Retail Designs, one can refer Metric Handbook Planning and Design Data (from page209)

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

SHOPS AND STORES Locations Main locations for retail development are: High street: inner cities and towns, including backland development of shopping centers, shopping malls and street frontages Urban fringes: industrial wasteland, redevelopment areas (superstores, retail parks, discount stores) Out-of-town: near motorway/main road junctions, easy access to large population catchment (retail complexes, regional centers, discount warehouses) Neighborhood: association with estate development, filling stations (convenience shops), nurseries (garden centers), tourist attractions (souvenir shops, cáfes) Out-of-town: retail developments generally allow much lower rents, easier access and parking, economical purpose-built ‘shed’ designs with flexible large-span spaces. Retail parks and complexes also generate mutual benefit from association of stores and services.

Range of shops and stores Retail outlets can be broadly divided into small shops (less than 280 m2 sales area) and large space users. The latter include supermarkets and stores which may specialize in food or non-food lines or sell a wide variety of products (composite shops, variety shops, departmental stores). Distinctions between stores tend to become blurred with:

BY: GELILA TEFESETEWOLD.

•Retail polarization: trends towards both larger (one-stop shopping) and smaller retailers (specialty and convenience shops, financial, etc. Services, franchised units, workshop-craft outlets) •Competition: innovation, market penetration and development of new merchandise and selling methods, creaming of popular lines •Acquisition: merger of competing outlets, focusing of business and market positioning of company products, rationalization of lines of goods and resources. •Image and service improvement: extension of added value and high-profit value lines. Improved customer services and design environment Shop fittings Shop fittings may be individual bespoke designs, fabricated or modular units. While the range and style vary widely, fittings must satisfy functional needs (including ergonomics) and be compatible with the design, versatile, durable, stable and safe in use. Display units can be broadly divided into wall-anchored fittings and free-standing units, the latter being designed for perimeter or central locations. Examples •Wall systems (slotted panels, frames, suspensions) •Fitted furniture (cupboards, wardrobes, trays) •Free-standing racks and garment rails •Gondolas and island display •Cases (counters, showcases, wall cases) •Cabinets (front or top access) •Shelving systems (modular, adjustable) •Forms, mannequins, displays (counter or free-standing) •Bins, tables, risers •Counters (cash and wrap, checkout, service) 40

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BY: GELILA TEFESETEWOLD.

Energy management Markets may be set Energy management Most multiple and large stores use energy management systems. with remote station monitoring. Waste heat is recovered from refrigeration for hot water supplies and cool air recycled from refrigerated display areas. Refrigerants are changing to hcfcâ&#x20AC;&#x2122;s (non-ozone reactive) with leakage-detection systems. SMALL SHOPS These are shops having a sales area less than 280 m2 and not more than three stores, one of which may be a basement. Shops employing fewer than 20 people or 10 above the ground floor do not normally require a fire certificate. up in streets, squares and open spaces, 13.3. Stands comprise nt construction smoke evacuation) and means of escape. 41

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BY: GELILA TEFESETEWOLD.

Location Convenience shops need to be near populated areas or stopping places (filling stations, airports, railway stations). Specialty shops are best grouped with other shops and large space users to increase market exposure or in specialty areas associated with tourist attractions, etc. Financial, etc. services: shop units usually combined with offices and ancillary rooms above Planning Typical small shop plans are given in 13.9 to 13.12

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Design

BY: GELILA TEFESETEWOLD.

The design of the shop frontage, graphics and window display is a major consideration. Multiple and franchised outlets usually reflect a uniform brand image. In environmentally sensitive areas, the scale and character of existing facades may need to be retained.

Planning A frontage to more than one street or mall is preferred for extended window displays, customer entrances and emergency exits. •Separate staff entrances and goods delivery and dispatch areas (with customer collection bay) are essential. •Internal areas must be planned for maximum clear space to allow for changes in seasonal sales and tenancy arrangements. •Exceptions are food areas (food halls, food-preparation kitchens) which require permanently fitted equipment and special services. Fire requirements Compartmentation: most regulations permit up to 2000m2 and 7000 m3 or twice this size (4000 m2) with automatic sprinkler system. Smoke evacuation: reservoir space with exhaust ventilation and controlled airflows. Construction: fire-resisting structures and limitations on surface flame spread of lining materials. Isolation: sprinklers, water curtains and physical separation of escalators, lift shafts and voids. Means of escape: travel distances to protected staircases and adequate exits to street. . 43

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1.8.2.7 LANDSCAPE DESIGN KEY POINT: The design of space between buildings is as important as that of the buildings themselves

ANTHROPOMETRICS Anthropometrics is the science concerned with the measurement of humankind. Inevitably it is bound up with statistics, as people vary considerably in most dimensions.

To consider Walkways Steps Ramps Landings Handrails Seating Street furniture Barriers Gates and doors Childrenâ&#x20AC;&#x2122;s play equipment INTRODUCTION The design of external spaces outside and between buildings, whether urban or rural, public or private, covers a wide variety of elements and requires considerable knowledge of the location, materials and construction. Basic human dimensions A family group of six people on a lawn or terrace occupy a rough circle 4 m diameter; for ten people (the largest convenient simple group) the dimension becomes 6 m, which is the minimum useful size.

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WALKWAYS

BY: GELILA TEFESETEWOLD.

Full physical ability is a temporary condition. Most people become less than fully mobile at some time, perhaps carrying shopping or parcels; pregnancy; a sprained ankle; a dizzy spell; a broken high heeled shoe; or just the normal course of ageing. Circulation routes should be planned bearing this in mind, integrating a design that is both functional and aesthetically pleasing, rather than adding on facilities for â&#x20AC;&#x2DC;the disabledâ&#x20AC;&#x2122;. Routes should include loops rather than dead ends, incorporating places to stop and rest. There should be coordination between parking, paved and rest areas, building entries, etc. with adequate seating, lighting and signage.

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BY: GELILA TEFESETEWOLD.

SLOPES

STEPS

6.8 and 6.9 provide longitudinal and cross-slope criteria for footpaths under various circumstances. Longitudinal slope criteria or gradients are based on user abilities and design objectives. Cross-slope criteria are based on the need for positive drainage (depending on paving material). Porous paving, for instance, does not require as much of a cross-slope for drainage as does a nonporous paving material.

Steps provide great opportunities for creating character and drama; good examples abound. They can be divided into three main types: •Those steps which are sculptural as they have been literally carved out of the ground: earth or rock •Those which are part of an element or structure; a retaining wall or a building – usually a plinth, eg the steps of St Paul’s, London •The cantilevered kind, sometimes no more than a ladder between levels.

SURFACING The location of the footpath and its intensity of use will determine the surfacing material and its thickness. Some paths are also used for service vehicles and should be designed accordingly, particularly the edge details. Several factors influence the durability of paving materials; even high-quality materials can wear out or disintegrate if subjected to extremes of heavy traffic or inadequate maintenance. Surfacing irregularities should be minimized. Some footpaths or walkways are required to have high traction ratings for safety use. Highly textured surfacing usually requires steeper slopes for drainage The edges of a footpath play an extremely important part in both its appearance and function. Flexible materials such as macadam or sprayed chippings particularly need the support of an edging; so, do unit paving blocks and bricks.

Tactile warning strips

These are used to give advance notice to people with impaired sight of abrupt grade changes, vehicular areas, dangerous exits, pools or water fountains, and the like 6.10. They are recommended at the top and bottom of steps and in front of doors that lead to hazardous areas. However, such warnings should not be used at emergency exits, as they can inhibit their proper use.

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BY: GELILA TEFESETEWOLD.

SEATING Benches and other forms of outer door seating

These are important. Reasons to sit vary widely, and many people find it essential to find a readily available place to rest. The placing should be carefully considered Avoid situations attractive to vagrants and alcoholics. Benches should be designed for comfort. 6.24 illustrates preferred height and the seating angle for outdoor benches. Consider the needs of elderly and disabled people. Some, for provide heel space example, require armrests when getting into or out of a seated for ease of getting up position

DRAINAGE Unless checked, rainwater will run rapidly down a ramp: landings are used to break the flow. Gullies should be placed where they will not cause problems to people or wheels. Linear drains are helpful at the bottom of a ramp. .

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DESIGN FOR THE VEHICLE

KEY POINTS: •Commercial vehicles are getting larger and heavier •More separate provision for bicycles is being made •More consideration is being given to the needs of pedestrians •Better facilities for disabled people including wheelchair users and people with visual impairment are becoming essential

BY: GELILA TEFESETEWOLD.

DIMENSIONS UNIT CONSTRUCTION In the field of the larger commercial vehicles, unit construction is now almost universally employed. In this system a given chassis can be fitted with a variety of body shells for specific purposes and loads, mainly of standard dimensions. The body can be changed at will, permitting one body to be loaded while the chassis is on the road with another body delivering goods elsewhere. Turning circles The distance required for the driver to turn the steering wheel from straight ahead to full lock depends on the speed, which for the purposes of 4.3 is between 8 and 16 km/h. The radius of turn differs between a right-hand and a left-hand turn.

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BY: GELILA TEFESETEWOLD.

DESIGNED CONTROLS

BIKEWAYS AND CYCLE PARKING

Conventionally roads were designed so that cars could be parked on both sides, and two cars could still pass. This encouraged use by vehicles trying to avoid congestion on main roads, with excessive speed and consequent nuisance and danger to the inhabitants. 4.5 shows the characteristics of the various carriageway widths.

Gradients Cyclists will avoid steep gradients. Studies show that if gradients exceed 5 per cent there will be a sharp drop in the length of uphill grade that cyclists will tolerate. 4.19 illustrates commonly accepted maximum uphill grades based on length of grade; downhill gradients of 6.5 per cent are acceptable. 6.03 Width Factors to consider when determining widths for bikeways must include: • The dimensions of the cyclist and the bicycle • Maneuvering space required for balancing • Additional clearance required to avoid obstacles

Turning circles The distance required for the driver to turn the steering wheel from straight ahead to full lock depends on the speed, which for the purposes of 4.3 is between 8 and 16 km/h. The radius of turn differs between a right-hand and a left-hand turn.

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BY: GELILA TEFESETEWOLD.

SURFACING

A separate bike-way should have a smooth non-stick surface and have a thickness capable of supporting maintenance vehicles. Asphalt, concrete, gravel and stabilized earth are materials commonly used. DRAINAGE Surfaces should have a crossfall of at least 2 per cent to provide positive drainage. Drainage grilles should have their slots diagonal to the route of the cyclist and be designed and located to minimize

CYCLE PARKING This should be located as close to destinations as possible without interfering with pedestrian traffic; and where visual supervision, lighting and shelter from inclement weather can be achieved. It is essential to provide facilities for securely locking the bicycle frame and the front wheel wheel to something immoveable. The favourite is the Sheffield stand 4.24 or in certain situations, wall bars 4.25. 50

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BY: GELILA TEFESETEWOLD.

ENVIRONMENT AND CONSERVATION

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1.9 ENVIRONMENT AND CONSERVATION

1.9.2 Relative humidity and temperature

The design of servicing (i.e. climate, security, storage, handling and conservation) is as important as that of the galleries themselves.

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 prevent sudden changes in relative humidity during periods of repair or maintenance. Table below gives the ranges of museum interior temperature and relative humidity recommended in various climatic zones.

1.9.1 Basic environmental requirements The overriding objective is to achieve and maintain suitable stable indoor relative humidity and temperature conditions with minimum mechanical intervention. The balance of various aspects of the buildingâ&#x20AC;&#x2122;s environmental performance is important: for example, in achieving a compromise on temperature to match the needs of objects with those of people. Also, the conservator needs to ensure the artefacts deteriorate as slowly as possible, while the exhibition designer needs to display the objects with maximum effect and for visitor satisfaction.

Recommended temperatures and relative humidities in various climatic zones.

Museum conservation uses chemistry and physics to understand and treat the deterioration of the constituent materials of objects. Since deterioration is often caused by the interaction of materials with their environment, conservation has developed to include an understanding of the built environment and its effect on collections. 52

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1.9.3 Air conditioning; temperature and humidity control

1.9.4 Air quality and ventilation Air quality

There is no absolute agreed level of heating and humidity control. The control bands of a particular collection depend on the state of preservation and previous conditions the objects have been kept in.

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.

Temperature is the least critical environmental factor but important as a means of controlling humidity levels. Low temperatures help reduce chemical and biological decay, but a desirable temperature is often governed by human comfort requirements, which should not exceed 19°C. Relative humidity (RH) is a more important factor in conservation than temperature, as high humidity poses the greatest potential risk. Dry conditions inhibit corrosion, chemical and biological attack, but organic material such as wood and textiles shrink and may become brittle. In damp conditions, corrosion occurs in some unstable materials, and most organic materials are at risk attack from moulds, insects and fungi. Some moulds can propagate at RHs as low as 60%, but the real danger starts at 75% RH. A generally acceptable level of control for sensitive or delicate objects is 5525% RH. Short-term fluctuations in moisture levels are particularly damaging to artefacts, and this can happen with an influx of large numbers of visitors. Such variations are considered to be as damaging as excessive, long-term dryness or moisture. Most artefacts can be safely exhibited and stored in environments with a RH range of 45-60%, provided that the buffering effect of the building’s thermal mass and porous finishes can be used to control short-term fluctuations.

Air quality and ventilation Air quality is not just about external pollution but also the reduction of internally generated pollutants, both gaseous and particulates. All fitting-out materials should be checked to conform to conservation quality standards. Plywood, composite boards, paints and carpet tiles generate pollutants. Composite boards are not suitable for housing museum objects. Samples of materials can be sent to the British Museum Testing Service for assessment of conservation acceptability. Typical air-quality requirements for a fine-art gallery are maximum levels for Sulphur dioxide and nitrous oxide pollution of 10pg/m3 and ozone pollution of 2pg/m3. Ventilation is required primarily for people’s health and comfort, but also where condensation and humidity pose the greatest risks. For example, at the American Air museum, Duxford (1998) by Foster and Partners, the basic function of the building is to protect the aircraft from further environmental damage.

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1.9.5 Passive design; ’buffer’ characteristics of building

MGC standard rules for low-energy design:

Passive design measures and simplified environmental control systems should always be investigated first. The running costs of maintaining a uniform environmental control throughout the building can be reduced by introducing a sustainable methodology at early stage of design.

Less intensively used and visited collections can exploit the natural stability of building fabric and contents to ‘buffer’ rapid temperature and humidity changes. This can be achieved by exploiting the ‘thermal flywheel’ and ‘sponge’ characteristics of a building. A high thermal mass of structure allied with porous finishes can be used to create an inherently stable environment. This can be enhanced by the use of external insulation, small windows or shaded shuttered ventilation openings where heat losses and gains can be dealt with at the window and not in the room. Furniture can also contribute to moisture buffering properties. Minimization of energy use; sustainable methodology Certain rules of thumb are applicable to new or refurbishment work regarding management priorities for environmental control and energy efficiency practice: •Be simple; specify low-energy features •Find out where energy is used •Identify where it can be saved.

BY: GELILA TEFESETEWOLD.

•Avoid the ‘uniform environment’ approach to design. •Use a zone strategy whereby ‘sensitive’ areas are grouped together. •Set widest possible environmental control parameters. •Use passive design features to create slow environmental change rates. •Use low-energy features such as high-frequency lighting and condensing boilers. •Adopt appropriate operation and control features.

Environmental management objectives: w•Avoid environmental change which causes stress to objects. •Achieve balance between needs of objects and those of visitors: fresh air, ’comfortable temperatures for visitors; lighting sufficient to see collection but not enough to damage it. •Well-designed showcases create environmental zoning, providing protection against high numbers of visitors and consequent fluctuations of temperature and humidity. •Ensure that the energy saving does not override conservation; the collection needs stable conditions at all times

Building services could then be lower powered designs used either as ‘trickle chargers’ to achieve desired average conditions or as ‘trimmers’ to stop conditions drifting too far off course. Sensitive exhibits could be kept within buffered display cases or areas. Low control is acceptable in low-occupancy areas (e.g. store rooms and reserves). More input is needed in areas of high heat gains from lighting and/or large numbers of people introducing more moisture.

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LIGHTING IN MUSEUMS

BY: GELILA TEFESETEWOLD.

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BY: GELILA TEFESETEWOLD.

1.10 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 summarized in Table below.

Recommended maximum light dosages 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, water color 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.

1.10.1 The need for lighting Usually display lighting should aim to present the exhibits accurately in terms of the whole object and its details, while making the display attractive. This generally requires a combination of ambient and accent lighting. Lamps achieving good color rendering must be used. Fundamental questions are: •Whether lighting should be natural or artificial or what balance. •Whether daylight is to be for display or only gallery space •Whether sunlight is to be excluded from the gallery and, if so, what sun-screening system is required. 1.At least three independent lighting systems will be required: working lights for use during installation, cleaning, maintenance, dismantling, an security patrols outside opening hours 2.emergency lighting for visitor safety 1 wall-washing 3.display lighting 2 down-lighting 3 up-lighting 4 diffused 5 directional spot (accent) 6 lighting of pale objects 7 increased illumination for dark objects

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PSYCHOLOGICAL: how exhibits are seen, perception of building, mood in

public galleries, lighting of routes. The even, steady flow of artificial light allows viewing the contents of the museums as static objects; the moving, changing quality of natural light produces a more complex environment, where conditions change and affect the viewing of the contents.

PSYCHOLOGICAL: illumination, contrast, reflectance, efficiency, uniformity, glare, color, photo degradation. Too much contrast can lead to problems with vision. Many picture galleries work with a contrast ratio of 2:l whereas in museum displays the contrast ratios are much higher. Recommended lighting levels (lux)

BY: GELILA TEFESETEWOLD.

Note on fluorescent fittings: modern fluorescent lighting is nearly indistinguishable from natural daylight in color rendering; walls can be washed with even light rather than cause distracting pools of light; the fittings can be concealed easily.

1.10.2 USE OF DAYLIGHT

In the cool, northern European climate, daylighting is the best passive solar option available, possibly with a daylight illuminance control system. Some advantages of windows and roof lights are: •reduced energy consumption •view of exterior and some sparkle enlivens space •variable light pattern •strong contrast through sunlight can add interest

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, water color and 200 lux on other sensitive materials such as wood, leather, oil paint The roof lanterns of the Dulwich Picture Gallery (John Soane, 1812), the first public gallery in Britain, have been repeated and developed ever since. The key visual element of the conversion of Giles Gilbert Scott’s power station into the Tate Modern is the ‘light beam’, which runs the length of the building as an additional floor, containing cafe, restaurant and member’s rood bar. This is two floors within a glass rooftop structure running the building’s entire 155m length. It allows light to penetrate into the galleries below and gives views out. The refurbishment of the first-floor galleries of the National Portrait Gallery by CZWG opened them up to natural light with half-open shutters to the windows. Paintings on the opposite wall are cantilevered at an angle from the wall to avoid glare, and also provide visitors with a greater sense of immediacy as they enter. 57

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1.10.3 LIGHTING TECHNIQUES

The CIBSE Lighting Guide: Lighting for Museums and Art Galleries (Museums in the Spotlight) includes a section suggesting lighting techniques for specific classes of exhibit:

BY: GELILA TEFESETEWOLD.

Color appearance This relates to ‘coolness’ or ‘warmth’ of light which affects the mood of the spaces (see table below).

•Lighting of galleries for temporary exhibitions and outdoor sculpture displays. •Historic buildings: lighting of the building itself or use as a museum or gallery. •Display of exhibits in some form of visual context: the ‘experience’ type of display, where objects are displayed in a representation of the real environment. •Light pattern, color and animation may be used in a manner similar to theatre lighting techniques. This can be automatically linked to an audio-visual presentation defining form and texture.

1.10.4 Types of artificial light

Types of light source include the following: •Tungsten, low-voltage, tungsten-halogen spotlights, fluorescent. •Fluorescent strip lighting can be nearly indistinguishable from natural daylighting in color rendering. Fittings can be concealed easily and wash walls with even light rather than causing pools of light. •Velarium (ceiling diffusers; daylight or artificial light). •Flexibility can be achieved with various combinations; close grid or continuous track, combination, tungsten, light spill from display cases, baffled sources. •Lamp miniaturization through the use of fiber optics has opened up new opportunities, giving sparkle and reducing heat build-up At the Henry Moore Institute, Sculpture Gallery and Study Centre, Leeds (1993) by Edward Jones and Jeremy Dixon Architects, by lowering the ceiling height a series of plug-in points enables space to be lit by one or many lamps. Small dichromatic tungsten-halogen lamps with a cool ultraviolet filter were used, with the option of changing wattage from 20 to 50. In the larger gallery 5” lights were used; the effect is like dappled sunlight. An electrotonic control system linked to a photocell alters artificial light as daylight fluctuates. The quality of lighting gives the character.

The color rendering properties of different lamps varies greatly and the color of lighting can also be affected by the reflection from a strongly colored surface. Tinted glass also changes color rendering properties. Color rendering of the exhibits must be the starting point of the lighting scheme. White light consisting of whole of the visible spectrum is needed for proper color rendering of works of art. Tungsten filaments of incandescent lamps are biased towards the red end of the spectrum while fluorescent lamps are generally biased towards the green, blue and yellow. The designer should aim to keep an element of blue in the lighting as yellow makes things look dimmer.

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BY: GELILA TEFESETEWOLD.

1.External lighting: through glass tap, but heat may build up unless â&#x20AC;&#x2DC;coolâ&#x20AC;&#x2122; light source is used; objects can cast shadows when lit by slanting light and possible problems of glare 2.Integral lighting: light box separated from case interior by diffusing glass or louvres (with clear glass panel excluding dust); fluorescent for even, well-distributed light, or tungsten, for highlighting, can be accommodated lighting from below as well as from upper light box to reduce effect of shadows and to light undersides of 3.Objects: light source must be masked, usually by louvres 4.Backlighting: fluorescent lubes behind diffusing material, usually opal 5.Perspex; tubes must be evenly spaced, at some distance from diffuser; ideally fitted with dimmers to control brightness strip lights (fluorescent or tungsten) attached to shelf ends inside the case, illuminating both above and below a shelf; can only be used for objects with no conservation risks 6.Fluorescent Lighting: behind case fascia panel (without diffusing panel separating light from case interior); angles of vision must be calculated to avoid glare from light source 7.Vertical lighting (plan view): slim fluorescent tubes set in case corners, Forming Light Columns; suitable for wall cases with solid sides 8.Fluorescent column (plan view): set behind case uprights; a possible solution for lighting in old wall cases 9.Side lighting (plan view): louvres essential to mask fluorescent tubes; accurate calculation of light spread is needed to ensure even illumination on case back panel 10.Internal case lighting: slim lightbox for miniature fluorescent or incandescent lamps; brightness at eye level should be carefully controlled; wiring to the lightbox, 59

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CONTRAST: keep general levels below 300 lux where there are mixed light-sensitive exhibits because of the problems of adaptation as visitors move around. Reflectance: ambient spaces can be illuminated up to 300 lux, but higher levels can introduce glare and reflections. Glass frames and cabinets can act as total or partial mirrors obscuring the object within. To avoid reflected glare any bright source must be excluded from the area seen by reflection in the exhibit -this area is often described as the â&#x20AC;&#x2DC;offending zoneâ&#x20AC;&#x2122;. (See below)

BY: GELILA TEFESETEWOLD.

1.10.5 DAMAGE CAUSED BY LIGHT (PHOTODEGRADATION) Damage caused by light (Photodegradation) All spectral white light can damage artefacts, particularly daylight. Chemical changes can occur such that colors fade, papers discolor, and certain materials become more brittle. For example, pigment can fade in a watercolor or fibers be destroyed in a tapestry. The harmful, ultra-violet component of light may be filtered to some degree, although this has some effect on color. An assessment must always be made of the likely photochemical action of light on any object with reference to other factors such as RH and high temperatures. THE HARMFUL EFFECTS OF LIGHT Light is a common cause of damage to library and archival collections. Paper, bindings and media (inks, photographic emulsions, dyes and pigments) are especially sensitive to light. Traditional lamps, even with protective filters, can damage exhibits in museums very quickly. LED technology however, does not create IR and UV light and is therefore ideal for sensitive environments such as galleries and museums.

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1.10.6 PROBLEMS CAUSED BY LIGHT PROBLEMS FOR VISITORS

The geometry governing the eye lines of visitors and the light cast by luminaires, shadows, light levels and reflections have to be carefully designed (see below). Glare causes discomfort or disability, and can be direct or reflected. It can be avoid ed in the design of the building envelope by orientation of windows, roof lights, provision of shading devices, diffusers, overhangs etc. Glare from reflecting surfaces (e.g. the surface of exhibits or the glass of a display case) can also be a problem. To avoid direct glare all light sources must be screened from normal directions of view. Where there is free circulation of visitors around objects consider the comfort of lighting from all angles; where there is a controlled viewing angle, the design of lighting to avoid spillage and resultant glare is easier.

BY: GELILA TEFESETEWOLD.

Control of light damage in many cases the very fact that an object is on display means that damage will occur. The object of the lighting design is to minimize this problem without seriously affecting the ability of the gallery visitor to see clearly. Light exposure should be minimized outside gallery opening hours. Ultra-violet filters or secondary glazing is needed on all light sources shining directly onto objects to eliminate radiation damage. UV filter films or interlayers to laminated glass should be used on all external windows. In the case of spectral distribution, galleries are recommended to reduce W radiation to no more than 75 microwatts per lumen, but even this level may be too high a maximum exposure value to avoid pigment damage: current filters can reduce levels to below 10 microwatts per lumen, and ultraviolet light must be filtered out completely to show priceless old masters.

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1.10.7 THE CIBSE LIGHTING GUIDE: LIGHTING FOR MUSEUMS

1.12 FIRE RISK

Includes a table giving recommended maximum illuminances and cumulative exposure values. This categorizes three main exhibit types: 1.Objects insensitive to light (e.g. metal, stone and glass) 2.Objects moderately sensitive to light (e.g. Oil paintings) 3.Objects highly sensitive to light (e.g. Textiles, documents and most natural history exhibits).

The risk is relatively low, but protection should be provided by fully addressable alarm systems. First-aid firefighting is best by sprinkler system and water still represents the best fire-fighting agent for most applications. However, there is a problem of secondary damage in conventional sprinkler systems; water can rapidly destroy paintings, textiles and decorative finishes. Where there is an unacceptable risk of accidental water release because of sprinkler head failure, ‘per-action’ systems should be used in preference to dry-pipe sprinklers.

AND ART GALLERIES (MUSEUMS IN THE SPOTLIGHT)

1.11 SECURITY Thefts are increasing during opening hours and methods of display and vigilance are important to reduce attempts to damage displays as well as steal exhibits. Methods of control include closed-circuit TV, warders, alarms, and fire detection systems. 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, café and toilets/ Cloakrooms 2.Temporary and permanent exhibitions – in larger museums sub-divided 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 Security staffing is also considerably more effective and economic if all exhibition and open storage areas are on one level. 63

Pulsing ‘water mist’ prevents fire from spreading and prevents a conflagration, cooling without wetting surfaces. This is a potential replacement for Halon and most powders, which reduce the combustion efficiency, but Halon is being phased out for environmental reasons. 1.13 THEFT AND DAMAGE These are major risks. A balance has to be achieved between the provision of direct fire escape routes and designing the layout to maximize security. Security systems should include barriers and display cases, intruder detection to external openings, deadlocks and non-removable hinges to external doors, infra-red movement detectors and color closed-circuit TV systems. 1.14 WARDERS The number of warders can dictate the method of display (e.g. whether objects can be on open display or in cases. The arrangement of cases, screens and solid divisions must be considered in relationship to the value and nature of the collection and the supervision of the warders. Blind areas and deep shadows should be avoided.

GRAND MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

1.15 BARRIERS In open displays where there is no conservation problem unobtrusive ‘psychological’ barriers can be employed to indicate a ‘no-go’ or ‘do not touch’ area (e.g. guard ropes or placing the objects on a plinth). Another deterrent is to display security devices prominently. 1.16 VANDALISM This always has to be taken into account. Shatterproof glass or Perspex should be considered for casing valuable objects or those of a politically sensitive nature. 1.17 SERVICES In addition, special consideration should be given to minimizing 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. Risk management is also greatly enhanced if a separate heating/air conditioning system or independent control system is provided in collection areas. 1.18 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 generalize 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 small-scale air gaps in doors, windows and partition walls 64

02 2 International Case Studies

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Case study 01

BRITISH MUSEUM

MUSEUM LITERATURE REVIEW & CASE STUDIES

CASE STUDY 01

BRITISH MUSEUM

•Year: 1852 •Architect- Sir Robert Smirke, in 1845 •Place- London, England. •Type: Natural History Museum •Material-Glass, concrete, steel •Context- Urban (water features and mountains) •Project Area: 807,000 sq ft (75,000 m2) •Temprature-11.6° in warm season 3.3° in cold season •Annual visit- 6.5 million people visit annually

Introduction

The British Museum’s Greek Revival main building and four adjoining wings were designed by architect Sir Robert Smirke in 1823 and completed in 1852. Although original designs called for a courtyard, the center of the museum was changed to be a reading room. Surrounding the Reading Room, is the Great Court, distinguishing itself from the rest of the museum with a huge glass ceiling. The Great Court was designed by Norman Foster and opened in 2000. 67

History

BY: GELILA TEFESETEWOLD.

Foundation: On June 1753, King George II gave his Royal Assent to the Act of Parliament which established the British Museum. The British Museum Act 1753 also added two other libraries to the Sloane collection, namely the Cottonian Library, assembled by Sir Robert Cotton, dating back to Elizabethan times, and the Harleian Library, the collection of the Earls of Oxford. They were joined in 1757 by the “Old Royal Library”, now the Royal manuscripts, assembled by various British monarchs. The British Museum was the first of a new kind of museum national, belonging to neither church nor king, freely open to the public and aiming to collect everything, and meant that the British Museum now became both National Museum and library.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Architectural Style The basic style is considered Palladian with an Ionic order of columns derived from the Ionic temple of Athena Polias in Asia Minor. The King’s Library is a grand example of Grecian detailed design as well. The entrance front also demonstrates Grecian architecture on a large scale, which gives passers-by a taste of the antiquities inside.

The most recent exhibit in the ever-increasing collection of British Museum buildings is the transformation of the courtyard into a public space. This exhibit can be classified as a “marriage of functionality and form”, or post-modern, as it has just been completed.

MUSEUM LITERATURE REVIEW & CASE STUDIES

Site Integration Entrances on different wings ables the building to be accessible as much as possible. The classic themed museum blend with the surroundings, architectural fashion was applied to the urban context. These styles had grand entrances that have stair at the front, which is not only a way of access but as a public space where people can sit, meet other people and enjoy the site without getting in to the building.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Form and Space

The new portico is a reinvention of Smirke’s original design. It stands further forward in the courtyard in order to accommodate two new lifts that provide access to all the Museum’s public levels. We also added an attic window in the central bay to afford spectacular views into the Great Court from the Central Saloon, which is located on the upper level immediately behind the south portico. Interestingly, the provenance for such an opening was to be found in one of Smirke’s original sketches.

MUSEUM LITERATURE REVIEW & CASE STUDIES

Pediment In keeping with the Museum’s classical design, an architectural feature known as a pediment was included above the columns. Sir Richard Westmacott was commissioned to produce the sculpture for the tympanum, the recessed triangular space forming the center of the pediment, and his design was to represent the ‘Progress of Civilization’. Beginning on the left, it shows the creation of man, represented as he emerges, in his ignorance, from a rock; he then meets the Angel of Religion and learns the basic skills of life, such as cultivating the land and taming animals.

BY: GELILA TEFESETEWOLD.

Man, then expands his knowledge and understanding, and the next eight figures represent his learning in the fields of architecture and sculpture, painting and science, geometry and drama, music and poetry when he finally emerges as an educated. The pediment was originally painted with a blue background.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

The Entrance Hall Approaching up the grand flight of steps, visitors move through Robert Smirkeâ&#x20AC;&#x2122;s great portico into the entrance hall. This space was completed as part of the final phase of Smirkeâ&#x20AC;&#x2122;s masterplan for the Museum in 1846. In 1878 the hall was expanded by the addition of a third bay, which necessitated the demolition of the south portico. The entrance hall has been restored to its original two-bay configuration with direct access into the Great Court via the rebuilt south portico. Beginning on the left, it shows the creation of man, represented as he emerges, in his ignorance, from a rock; he then meets the Angel of Religion and learns the basic skills of life, such as cultivating the land and taming animals. Man, then expands his knowledge and understanding, and the next eight figures represent his learning in the fields of architecture and sculpture, painting and science, geometry and drama, music and poetry when he finally emerges as an educated. The pediment was originally painted with a blue background.

2000 With its original decorative scheme restored the entrance hall forms a dazzling prelude to the Museum and the Great Court. 72

MUSEUM LITERATURE REVIEW & CASE STUDIES

South entrance and Museum forecourt It was the last wing of the Museum quadrangle to be built, and construction couldn’t begin until the first Museum building, Montagu House, which had been on the same site, had been demolished. The building was designed in the classical style, as was fashionable at the time, with the East and West Wings built for a more domestic purpose, to house some senior Museum staff. The entire front of the Museum’s South entrance measures 112.7m (370ft) and the columns are 13.7m (45ft) high. In the end, a simpler design was chosen. It had two walled grassed areas to the front and gas-operated, single globe lamps, which were later converted to electricity and, in the 1880s, a three-globe design. The gates, each weighing 5 tons and originally operated by means of a windlass, were fitted above an underground passage, giving access to the machinery workings for oiling and maintenance. The railings were set in granite bases and were initially painted a bronze color they’re now painted in ‘invisible green’ paint.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Place Making: The Great Court Beneath Its own glass sky, the Great Court has created new ways of accessing and enjoying the Museumâ&#x20AC;&#x2122;s collections and has pioneered patterns of social use hitherto unknown within this or any other museum. The Great Court is a new kind of civic space -a cultural plaza â&#x20AC;&#x201C; which people are invited to use and enjoy from early in the morning to late at night in a crowded city and a busy Museum it is an oasis. It followed that the Great Court offer an urban experience in microcosm. Unlike other museums, where the first thing you see is the gift shop, as you enter the Great Court from the south, the drum of The Reading Room sits before you in the courtyard like rotunda surrounded by the hustle and bustle of the Museum. Greats Court is more than a restoration, it mixes urban design and architecture and confronts the language of classism with computer generated computer design. Both structures to coexist by turning the negative into positive space. The Greats Court appear to take its character form its surroundings but it is anything but passive.

MUSEUM LITERATURE REVIEW & CASE STUDIES

The Reading Room The Reading Room stands at the heart of the Museum, in the center of the Great Court. Completed in 1857, it was hailed as one of the great sights of London and became a world- famous center of learning. Within the Reading Room the radial layout of tables has been retained and the furniture and fittings restored, The original fresh-air ventilation system — in which grilles in the legs of the tables are served from a ‘spider’ of air ducts below the floor has been reopened, while stale air extract and smoke venting is through the new service void formed around the rotunda.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Weston Hall

The Education Centre

The Weston Hall was designed by Sydney Smirke, who took over from his brother, Sir Robert Smirke, in 1845. The patterns and colors on the ceiling of the Weston Hall were borrowed from classical Greek buildings, which would have been brightly decorated.

To the south of the Reading Room, at a new level excavated 9 meters (29 feet) below the Great Court, is the Clore Education Centre. It contains two auditoria and five seminar rooms, all linked by a grand curving foyer.

The electric lamps in the entrance hall are replicas of the original lighting lamps in the Museum. The Museum was the first public building to be electrically lit.

The larger auditorium can seat an audience of 320, the smaller 1 50 people. These new facilities will meet the needs of the Museumâ&#x20AC;&#x2122;s expanding education programme and allow it to stage major conferences and seminars on an international scale.

MUSEUM LITERATURE REVIEW & CASE STUDIES

The Ford Centre for young visitors The Education Centre is reached via two staircases in the Great Court, which bring light and views to the lower areas. Halfway down these stairs is the entrance to the Ford Centre for Young Visitors. It is situated at the level of the original courtyard garden in the Victorian brick vaults beneath the main entrance. The vaults have been carefully restored and fitted-out with purpose-designed furniture. The Centre provides facilities for the 1 ,500 school children that visit the Museum daily.

The Sainsbury African Galleries The Sainsbury African Galleries are located below the Great Court to the north of the Reading Room. Five inter-linked rooms create over 900 square meters (9.700 square feet) of new gallery space. These rooms have been designed as simple, flexible enclosures to allow the display of the collection, Which Will be changed on a regular basis. The African galleries will be linked to new galleries for American, Asian and Pacific cultures thus offering the possibility of appreciating the British Museumâ&#x20AC;&#x2122;s fine ethnographic holdings in the context of the other great works in the collection.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Museum Gallery

MUSEUM LITERATURE REVIEW & CASE STUDIES

Visitors Experience The success of the Great Court is evident in visitorsâ&#x20AC;&#x2122; fascination with its various aspects and elements, and the familiarity and ease with which the public have claimed this space as their own.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Construction and Details With the Reading Room structure and Smirked facades stabilized, excavation works begun. This was a slow process, made difficult by the fact that the lowest levels of excavation were below the water-table and therefore needed to be drained continually. As the ground material was removed, the Portland stone facades gave way to Smirkeâ&#x20AC;&#x2122;s massive brick and concrete foundations. Standing at the foundation level, the sheer scale of these walls became apparent. The battered, austere Greek Revival masonry rose cliff-like some 23 meters (75 feet) out of the ground.

MUSEUM LITERATURE REVIEW & CASE STUDIES

Lesson Learned The British Museum is an antique architectural piece, it’s a witness to time and civilization. The character conveyed in the building is unlike the present-day museum architecture. Collaboration of 19th century Architect with 21st century Architects, takes the space to new dimensions, which is expanding the visitor’s experience as well as the economical aspect along with tourists. This museum has 5 million visitors each year, I believe it’s because of the great works different centuries work blended with one another.

BY: GELILA TEFESETEWOLD.

The Great Court is great for real, it’s the link through all the other spaces. It strengthens the experience to be unique in its own way. Urban Integration of the museum, since classical architecture was fashion at the time the surrounding buildings have the same character. The public services included in the museum, like, library, auditorium halls, restaurants, exhibition galleries, public plazas and so on, has brought the people closer to the particular site.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Case study 02

MUSE MUSEUM

MUSEUM LITERATURE REVIEW & CASE STUDIES

2. CASE STUDY

Muse Museum INTRODUCTION

•Year: 2013 •Architect- Renzo Piano Building Workshop •Place- Trento, Italy. •Type: Science Museum •Material-Glass, concrete, steel and timber •Context- Rural (water features and mountains) •Project Area: 11,710.0 sqm •Temprature-11.6° in warm season 3.3° in cold season

Aim of the Project

BY: GELILA TEFESETEWOLD.

The project is mainly aimed at reintegrating the existing urban landscape and exploiting the site’s relationship with the river environment by making better use of its natural resources. The project’s secondary goal is to urbanize these localities, which for social and cultural reasons have become marginalized with respect to the rest of the city, by including a range of different structures (such as residences, office buildings, shops, cultural venues, conference centers and recreational areas) and by concentrating their volumes within just one sector of the area in order to free up enough space for a large park.

Concept on Section The striking roofing system covers a sequence of spaces and volumes of different functions, heights and pitches, which work as a whole, of a semantic system. While creating a harmonious rhythm with the mountains beyond. under the pitched roof consists of two ‘cultural poles’ of the project, the public science museum and private administrative office- The light-filled, high ceiling lobby is aligned with the main district’s axis, allowing the visitor to overlook the park in front of Palazzo delle Albere.

Renzo Piano has articulated a sensibility in cooperating architecture and the environment through his works, predominantly accompanied with humanistic approach and technical sophistication. His architectural expression of an absence of gravity became the main consideration in selecting a building, which MUSE, Science Museum of Trento has captivated us the most.

MUSEUM LITERATURE REVIEW & CASE STUDIES

Concept on Layout The exhibition themes are reflected clearly in its form, but internally, the team aimed to manifest a balance between the needs for flexibility in setting up the space and the scientific content. through the response to surrounding mountain landscape. The flexible layout is accompanied with moveable fixtures to meet different exhibition requirements, typically found in a contemporary museum.

BY: GELILA TEFESETEWOLD.

Schematic Sketches The schematic sketches importance of water, lighting visitorâ&#x20AC;&#x2122;s experience being in intention is clearly conveyed have acknowledged the and greener in defining natural surroundings. His through the drawing and reflected on the harmonious combination of the spatial transparency, water body, dynamic roofline. tropical greenhouse and the views Overlooking the surrounding greenery.

The museum is positioned at the northern boundary of the new neighborhood, beyond housing, offices, a hotel and a new public park

MUSEUM LITERATURE REVIEW & CASE STUDIES

Form The building is made up of a sequence of spaces and volumes (solids and voids) resting (or seemingly floating) upon a large body of water, thus multiplying the effects and vibrations of light and shade. The entire structure is held together at the top by its large roof layers, which are in complete harmony with its forms, thus rendering them recognizable even from the outside. Starting from the east, the first structure houses functions which are not available to the public, such as administrative and research offices, scientific laboratories and ancillary spaces for on-site staff

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

The educational and laboratory services for the public are offered in a series of aboveground structures located alongside the exhibition areas, thus promoting interactive experiences for each individual subject matter

MUSEUM LITERATURE REVIEW & CASE STUDIES

Context The site is located on an 11-hectare brownfield industrial area adjacent to the Adige river. The site is bound on the north by the historic Palazzo delle Albere, on the south by Monte Baldo Road and on the east by the railway. Despite its proximity to the city centre, the area had been cut off from the surrounding urban context due to the presence of the factory, and then completely neglected with its subsequent closing down with the presence of the railway.

Scale and Proportion

BY: GELILA TEFESETEWOLD.

In fact, due to the height, the cadence and dimensional scale of the buildings themselves, which are comparable to those of the city’s historic centre and the existing industrial structures, the project favours a horizontal interpretation of the relationship between the new buildings and the open spaces foreseen by the design. The entire new district will feature a number of 4 to 5 storey buildings, with an inline or courtyard layout, along with the presence of two “special objects”, serving as aggregation points at all hours of the day, for both the complex’s residents and the rest of the city The construction volumes have even been calculated based upon an examination and careful analysis of the City of Trento’s historic centre, as well as the way in which the different activities will occupy the urban spaces themselves and the proportions between the width of the streets and the heights of the surrounding buildings.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

The Building System The project essentially includes two types of buildings: the in-line buildings along the axis of the railway will house the non-residential facilities. These buildings will be soundproofed using carefully designed cladding technologies on the east facade and, in and of themselves, will constitute a barrier against the noise from the railroad for the rest of the district extending into the park. The courtyard buildings, on the other hand, will be of various shapes.

They will offer views of the internal communal gardens from the streets, including functions of a mainly residential nature. The structures of greater public interest are characterized by an increased typological freedom. The Congress Center is a complex of 5 different halls each one of them with specific characteristics and contents.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

The Public Parks System

The Roofing System

The public park represents the third major theme of the project. The connection system, which is comprised of rows of trees that make up the project’s backbone on the east-west axis, serves as a unifying element for the project’s three main protagonists: the existing urban landscape, the new district and the riverside park in addition to the tall trees along the roads and pathways, the greenery will also be comprised of other trees of medium height, forming denser and shadier thickets, not to mention a number of monumental exemplars, some of which are already present on site.

The roofing system represents one of the most important and unifying features of the entire project. Despite the diversity of their various functions, heights and inclinations, these elements will work together to form a unique semantic system that covers all of the edifices, favoring the use of wood and steel structures. In this case, once again, the project’s two cultural “poles”, i.e. the science museum to the north and the area to the south, destined to accommodate a multi-purpose conference center (amongst other structures of collective interest), are characterized by maximum freedom of expression

The primary goal of the RPBW intervention is to re-establish this relationship by recreating the density and stratification of the nearby city centre. The plan will thus include mixed-use functions dedicated to housing, leisure, commerce, offices, cultural spaces and a wide park of 5 hectares overlooking the river. The entire building is built over a pool of water that emerges around some of the edges. A series of canals feed into the pool from the streets of the new masterplan, while the Adige river runs along the southern boundary of the site.

The entire plan is energy efficient. Particular attention is given to to the use of material and design. Photovoltaic panels and a trigeneration energy plant will supply the site with the necessary resources; the Museum and the Congress Center will achieve the highest rating, the LEED (Leadership in Energy and Environmental Design). “The idea of the roofs was important because we are in a deep valley, and the area is really visible from above “You just need to drive half an hour into the mountains and you can look down on the area as if it was an architectural model.”

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

The Science Museum The science museum is located in the northern portion, and is housed is what is known as the A-block, situated at the end of the main pedestrian route that connects the area’s higher-end activities with the functions of the greatest public interest. It is also located in close proximity to the new public park and Palazzo delle Albere, with which it will boast a respectful and productive relationship. The idea was based on establishing a perfect compromise between the need for flexibility and the desire for a precise and consistent response to the scientific content of the cultural project itself. In addition to the volumetric interpretation of the museum’s scientific contents, the architectural design has also been dictated by the museum’s relationship with its surrounding environment or rather the new district, including the park, the river and Palazzo, all these inputs have physically taken shape to the clearer definition of the specific architectural elements that make up the rest of the district itself, above all in terms of its tertiary, residential and commercial functions

The building’s shape and/or “rain forest” function also serves to define is interior space and functionality. In fact, the building represents a large tropical greenhouse which, during certain periods of the year, is even capable of establishing a functional relationship with the specific exhibition stands (even outdoors), in which water, lighting and greenery often play a key role in defining the visitor’s natural surroundings. The educational and laboratory services for the public are offered in a series of aboveground structures located alongside the exhibition areas, thus promoting interactive experiences for each individual subject matter.

MUSEUM LITERATURE REVIEW & CASE STUDIES

Museum Museography With the idea of integrating both traditional natural science museum and modern science center, the exhibition layout encourages interaction and exchange of knowledge between visitors to establish an atmosphere for socializing, Piano’s poetry of lightness and zero-gravity were brought into play. In this project, he defines these qualities by providing a well-lit exhibition space from both natural and artificial light, and by organizing internal element with suspended cables, in a way that it is visually lightweight. Besides than the floating panels and exhibits, the light-filled central atrium accentuates the suspended, taxidermized animals’ installation, which also reflects the vertical distribution of alpine biodiversity_ Clearly, Piano’s narrative thread conveys the nature development vertically while bringing visitor through a voyage of discovery, emphasizing the exhibition theme with the hierarchy of a mountain in terms of varied altitude and alpine ecosystems.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Sectional Perspective at Exhibition Space

Programs

The large central void, conceived to allow the visitors perceive the museum as a coherent whole. The atrium sizes. increased by each level, gradually reduced. This clever way of space design also makes space deeper and higher. Inside this full-height space, an imposing installation is housed, made of taxidermized animals, suspended in the void and arranged so to mirror the vertical distribution of alpine fauna. The transparent envelope is provided with openings, in the bottom and top, which facilitate the natural ventilation, as well as shading systems.

The new district therefore offers an atmosphere of meeting places, open spaces, workplaces and trade areas, where individuals can easily get around on foot and explore the large number of aggregation points within this widely varied environment. The entire new district will feature a number of 4 to 5 storey buildings, with an inline or courtyard layout, along with the presence of two “special objects”, serving as aggregation points at all hours of the day, for both the complex’s residents and the rest of the city. The two central sections accommodate exhibitions dedicated to natural history, from mountains to glaciers. These galleries centre around a full-height atrium where taxidermied animals and skeletons are suspended below a large glass ceiling

Entrance A huge glass-fronted lobby provides an entrance to the museum, leading visitors to the top of the building so that they make their way down through the exhibits. To its east, an adjoining block contains administration and research departments.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Green House

Materials

The smallest section of the building is positioned on the western side and functions as a greenhouse for cultivating tropical plants, which are irrigated using rainwater collected from the rooftops.

Comprising a mixture of steel and glass panels, the dynamic roofline juts up and down between three- and six-storey heights to create a rhythm with the mountains beyond, as well as to divide the building into four sections

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

SPACE & USE As a design philosophy of features that angled profiles that echo the shapes of the nearby Dolomites mountains- The trend of the roofing which simulate the steepness of the mountain slopes. The scientific themes of the mountain and the glacier are subsequently dealt with through a series of exhibition spaces, which gradually rise up from the basement level and nearly “breakthrough” the roof, thus creating an observation point immersed within the environment. from which a true “simulation” of the real experience can be enjoyedComprising a mixture of steel and glass panels, the dynamic roofline juts up and down between three and six stories heights to create a rhythm with the mountains beyond, as well as to divide the building into four sections. The two spaces chosen in the panel below are the main EXHIBITION SPACE and, ADMINISTRATIVE OFFICE.

MUSEUM LITERATURE REVIEW & CASE STUDIES

CIRCULATION & SPATIAL ORGANIZATION Renzo Piano undertakes a voyage approach in his design of MUSE, which maintained the continuity in terms of design narrative and visual experience through the spatial arrangement, From the exterior, it is visible that the striking pitched roof and mountain-like form pay tribute to the local feature, the mountain backdrop _ However. the narration of natural dimension does not end as the visitor enters but extend into the exhibition space through the vertical development in a voyage of biodiversity. The visitorâ&#x20AC;&#x2122;s journey starts from the lowest level with the earliest chapter Of Earth history. then develops through the Alpine evolution as they ascend. In a metaphorical manner, the exhibition mimicking the peak of alpine environment welcomes the visitors as they arrive at the highest exhibition levels. Horizontally, each level is organized in a looped circulation path. protruding the void as the pivot point. where the visual continuity between exhibition levels happened.

BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

ARCHITECTURE AS SCIENCE Construction Technique & Materiality The MUSE museum assimilates with many innovative sustainability schemes and building technology, starting with energy efficiency. To reduce pollution from transport preferably local sourced material has been used for construction. The structure primarily, consists of a mixture of steel frame and glass panels.

For the exhibition floor finishes and the structural beams, they utilized Italian produced renewable materials such as bamboo slats and lamellar timber, while the rest of the building will boast a providing of locally-origin materials. .

Wide pitched glass and Zinc roofs adjusted to the dynamic geometry of the building, making this one of the main architectural characteristics. This zinc roofing helps the building in self-healing, meaning that if it is scratched. the zinc roofing material can recover with time and also remarkably corrosion resistant. The facade of the building is made of concrete and cladding with Verdello stone, which is designed to absorb solar thermal energy.

MUSEUM LITERATURE REVIEW & CASE STUDIES

CONSTRUCTION SEQUENCE The MUSE museum assimilates with many innovative sustainability schemes and CONSTRUCTION SEQUENCE The complete building is stayed collectively at the head by its long roof layers. that remain in perfect balance with its shape. Thus, giving them recognizable even from the outside.

STRUCTURE

BY: GELILA TEFESETEWOLD.

LOAD PATHS • STRUCTURAL HIERARCHY ACTION REACTION • CONSTRUCTION SEQUENCES

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Environmental System Construction Technique & Materiality Environmental System Exploits various solutions from an extensively-used renewable resources and high-efficiency systems. In terms of energy system, it utilizes a central CCHP (combined cooling. heating and power) system, in conjunction with the district, A few aspects are taken into considerations to reduce energy consumption, for Instance the use of solar, geothermal energy, and the attentive design on thickness, insulation and shading systems, all are centralized and alternated.

Furthermore, the system will be bolstered by each building’s special energy-saving design, the layout and construction of which will guarantee the absolute highest standard in terms of insulation and heat loss.

On the other hand, the Trento city is characterized by the lack of water proximity since the 19th- century and the current museum location occasionally faces issues on unexpected flooding. Consequently, Piano includes a system of canal in the urban development and erects the “floating” museum among a large body of water. which also acts as free-water surface cistern to support museum’s water usage and the flood-control system. This concept gave rise to the idea of a single power station, located beyond the confines of the complex itself on the right shore of the River Adige, which will distribute and recover energy from each sector, thanks to a main underground pipeline running along a north-south axis. This network will have a single delivery point in the basement of each building sector. Additionally, the water system helps in giving back to the community by serving cultural functions and conducting scientific research. This system, comprised of a single centralized power station and various remote substations, will allow for the machinery and utilities to be concentrated locally, thus optimizing costs and ensuring a limited environmental impact.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

ENVIRONMENTAL AND SERVICE SYSTEM

SECTIONAL PERSPECTIVE

Sustainability

AT ADMINISTRATIVE OFFICE

The service system pursues environmental sustainability and highly efficient criteria and are based on widely used renewable resources and techniques. Additionally, the layout and construction contribute to energy-saving design, specifically through insulation and heat loss. . It’s a nice space to have work and coffee time.

The administrative office part showcased the sustainability criteria of the building design. The System was bolstered by each building’s special energy-saving design, the layout and construction of which will guarantee the absolute highest standards in terms of insulation

MUSEUM LITERATURE REVIEW & CASE STUDIES

EPILOGUE Philosophy & Method It is evident in this project that the architect not only materialized his 3 main principles: architecture as society, service and science, but also, he redefines science museum in a narrative approach. internally and externally. It is interpreted in such a way that the museum’s ‘cover’ mirrors the content. while blending into the surrounding mountain-scape, presenting as a whole from the exhibits to the Le Albere district, in the eyes of visitors. MUSE science museum, missioned to educate environmental sustainability from a scientific perspective, has lived up to its name, with the functional yet sophisticated construction and environmental systems.

BY: GELILA TEFESETEWOLD.

SKIN AND BONE The building measures have even been determined based upon an analysis and precise investigation of the City of Trento’s historic center, as well as the way in which the various projects will involve the urban spaces themselves and the relationships among the width of the streets and the lengths of the enclosing constructions. In fact. due to the length, the measure and dimensional scale of the structures themselves, which are equivalent to those of the City’s historic center and the actual industrial buildings, the design supports a horizontal analysis of the connection between the new buildings and the free areas predicted by the plan.

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GRAVITATIONAL LOAD PATH

LATERAL LOAD PATH AND DEFORMATION

Gravity loads are the vertical forces that behave on a structure. The pressure of the building. human occupation and snow are every kind of loads that require having a full load path to the ground.

Lateral loads (earthquake and wind loads) need to have a whole load path to convey them to the earth. Unlike gravity loads, which move in a downward direction. Lateral loads can move in a horizontal way or also make an enlightenment consequence. A shear wall is a collection of smaller structural components in one larger component that is managed to maintain lateral loads. 1. The lateral load is spread during the top of the wall. 2 That load travels within the shear wall and is producing at the foundation of the wall. 3. The link among the bottom of the wall and the foundation forces the load in the foundation and is ultimately transported to the earth.

1. A floor slab is planned to bear the forced gravity load. 2. This load goes from the floor slab to the beams that hold it. 3. Simultaneous moving the beam, the load goes to the end of a beam, which is attached to a beam. 4 This beam is holding the concentrated loads from the floor slab and beams and transfers the load to a joined column. 5. The load next moves forward the column to the foundation and is spread over the earth.

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Lesson Learned The approach to museum design is evolving through time. Now a days museums has become more and more transparent. What I loved about this museum is how users can be connected with the surrounding without leaving the building. The details to each design is fascinating, when technology appreciates architecture in the most suitable way it becomes more of the public. The architect, Renzo has three principle. “Architecture as society; architecture as service; architecture as science.” These principles guides the exploration in finding how he connects and materialize his design philosophies in a specific case study through technological approaches. Its brilliant, the science he used at a science museum, its like he is making the building one of the museum items people visit.

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02 2 Local Case Studies

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Case study 03

“RED TERROR” MARTYRS MEMORIAL MUSEUM

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CASE STUDY 03

“RED TERROR” MARTYRS MEMORIAL MUSEUM •Year-2010 •Architect- Fasil Giorgis •Place- Addis Ababa, Ethiopia. •Type: Memorial Museum •Material-Stone clad, Glass, concrete, steel •Context- Urban •Temprature-14° in warm season 9° in cold season Even if it is a memorial museum it has modern touch and incorporate public program that is available on the rest museum in Addis Ababa.

BACKGROUND OF THE MUSEUM

BY: GELILA TEFESETEWOLD.

In 2010 it was unveiled in Addis Ababa the red terror martyrs memorial museum, an unprecedented initiative in Ethiopia to honor the victims of Mengistu Hailemariam’s repressive Derg regime.

The client first requested that a simple stele be erected at the center of Meskel square, But the head architect fasil Georghis convinced them that a memorial in the form of a museum would be more meaningful.

CONCEPT OF THE THEME OF RED TERROR MUSEUM The stone cladded lower volume gradually rises towards the main museum space depicting the nature innocent growth of generation. This ascending line is the late broken by the massive dark Grey volume that collides with it. The angle is also shifted in order to show the change of the ideological direction The massive dark Grey volume then gradually descends in the opposite direction to symbolize the decline of the society. The museum building tries to symbolize these ideas in very simple and easy to read architectural expression.

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FUNCTION 01

BY: GELILA TEFESETEWOLD.

FUNCTION 02

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INTERIORS

USING HISTORY AS FABRIC

BY: GELILA TEFESETEWOLD.

Walls filled with photographs create the ease pattern visualization, which is double functional and creative idea to implement

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BY: GELILA TEFESETEWOLD.

CASE DESIGN

The museum has displays of torture instruments, skulls and bones, coffins, bloody clothes and photographs of victims. In free tours of the museum, guides describes the history leading up to the Red Terror (starting from Haile Selassieâ&#x20AC;&#x2122;s 80th birthday celebration), the actions taken toward citizens who opposed the Derg, how the prisoners were treated and how they secretly communicated among each other

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MATERIAL AND CONSTRUCTION The thick wall which is cladded with natural stone and opening which avoided direct sunlight from the west and south west resulted in a comfortable interior environment. Leakage is avoided due to the slanted roof which allows rain water to runoff from the roof easily. Except the glazing all the other construction materials are produced locally. One of the main design concepts was to use local building materials which are durable.

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BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Case study 04

ZOMA MUSEUM

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CASE STUDY 04

ZOMA MUSEUM •Year: 2019 •Project full name- ZOMA CONTEMPORARY ART CENTER (ZCAC) •Architect- Meskerem Assegues & Elias Sime, in 2002 •Place- Addis Ababa, Ethiopia. •Type: Environmental Museum •Material- Mud, Stone, Thatch •Context- Urban (water features and terrains) •Project Area: 20,000 m2 •Temprature-14° in warm season 9° in cold season

AIM OF THE PROJECT

BY: GELILA TEFESETEWOLD.

The Museum’s mission centers on bringing traditional construction techniques into the present by demonstrating their ability to withstand time and weathering while maintaining their grace and beauty. The museum’s aim is to showcase innovative and cutting-edge art and architecture in a vernacular museum where the old and the new merge. The aesthetic quality of the landscape is indistinguishable from its productive capacity, such as where the terraced garden spills down the hillside filled with vegetables and medicinal plants, and old farmers have been employed to help enhance the productive capacity of the land. ‘An edible garden’ is one of the key features of the educational project of the museum. By bridging the nature/culture dichotomy, it is also a generous and innovative contribution to the notion of what contemporary art and rediscovered heritage can produce as part of a transformative approach in support of environmental and social justice – beyond the Western canon and in a country and city bearing deep historical scars.

INTRODUCTION Zoma Museum is a dream inspired 25 years ago by the timeless grace of vernacular architecture of Ethiopia and other parts of the world. The Zoma Museum , blurs the lines between earthen architecture, sculpture and land art. The institution is the result of exhaustive labour by Meskerem Assegued, an anthropologist and art curator before in the late 1990s, and Elias Sime, an artist well known for relief sculpture, performance art and architecture.

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BY: GELILA TEFESETEWOLD.

CONCEPT

Both of the museum’s founders were interested in recovering a vernacular tradition of building with mud., low-maintenance buildings, which are highly durable and withstand weathering..

Sime and Assegued’s sketches convey their nature and intent

The surrounding landscape of the museum retains its spirit in wonderful waves of garden wall

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SITE A dirty, polluted two-acre plot, roughly diamond in shape and sloping down towards the Akaki stream, had become available as the generational shift in the neighbourhood made it less attractive for the previous inhabitants to continue farming in the area

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PROGRAMS

BY: GELILA TEFESETEWOLD.

when programs become expanding, the site becomes mire active/ this helps for the museum to grow in many ways, like architecture, agriculture, education, tourism, socail interactions and so on.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

ACCESSIBILITY

ENTRANCE

The main entrance door is made of bamboo which wide enough to pass vehicles freely. The gate is not grand which is suitable for human scale.

WALK WAY Cobble stone pavement is applied on the walk ways. The workmanship has quality unlike the rest of the city walkways. a careful attention given to the smallest things impact the bigger picture.

VERTICAL CIRCULATIONS Consideration for the elderly, disabled, and other issue victimized people have free and comfortable access to different levels of the site.

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PLANNING AND DESIGN Traditional building techniques have been applied throughout the space, including drystone walls, wattle and daub and cob. They come together to create a unique and futuristic landscape, complemented by a beautifully lush and organically cultivated vegetable garden. These building techniques have been chosen for their beauty, low environmental impact, durability and versatility, in addition to being particularly suited to local climatic conditions.

The garden landscaping, entirely planned by Meskerem Assegued and Elias Sime, preserved the hilly terrain’s natural slope and the windy cobblestone walkways crossing through it were designed to follow the natural trails that existed prior to purchasing the land.

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The vegetable gardens, set on terraces, are fenced with a variety of herbs. Irrigation channels separate the different sections’ retaining walls, exposing the water to the sun to help eliminate the pathogens. The most innovative aspect of Zoma Museum’s design and planning is represented by the modern esthetics that traditional construction techniques find in the different buildings around the compound.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

ENVIRONMENTAL DESIGN

BIOGAS

As the site is near the bottom of a valley, irrigation channels were conveying dirty water from the neighborhood, rendering the soil so polluted that it had to be completely regenerated

Zoma Museum includes a biogas facility where manure is collected through a system from the barn and processed for the production of biogas. The milk is produced in Zoma Museumâ&#x20AC;&#x2122;s barn, which is also connected to a biogas facility.

The top layer had to be removed, and new earth and manure as natural fertilizer sourced from the neighboring farms brought in to rehabilitate the wetlands. Sand purification systems and natural techniques like growing weeds and reeds were deployed to detoxify the polluted streams. This enabled the primary building material to be sourced on site. The use of soil, locally abundant and inexpensive, has offered an environmentally sound, alternative building solution for centuries.

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LANDSCAPE DESIGN

DESIGN ELEMENTS

Connection of others is not only symbolic but functional, as the way in which the building touches the ground is crucial to protect the wattle and daub walls from rising damp and ensure their longevity.

Sculpting the wall

The ‘village’ of buildings, can be seen as an exemplary application of Frank Lloyd Wright’s suggestion of treating the earth as the primary material of construction Simultaneously a work of architecture, sculpture and land art, the Zoma Museum suggests an interpretation of the four ideas of •Earth, •Land, •Ground and •Soil, Gently differentiating and highlighting the nuances which diversify each.

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BY: GELILA TEFESETEWOLD.

During the period when the mud was easy to mould, Sime sculpted the external walls using earth as a narrative tool rather than simply a construction material. The patterns on the walls are inspired by different events of Ethiopian culture and environment. One incorporates the numerical system of Ge’ez, one of the oldest written languages in the world, while several units depict the four stages of the mysterious life cycle of the butterfly. The meandering patterns covering the mud walls of the museum spill out into their surroundings, weaving and layering into terraces that include an ’edible garden’

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

ROOFING

PIPING

Corrugated iron shit with light green tint, in order to blend the structure with the site when seen from above.

Instead of using plastic pipe, application of chains is paving the way rain water goes through the drainage.

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OPENINGS

WALKWAYS

Recessed opening applied on the scluptal walls gives the form a depth.

Pathways between buildings are shelted by overhanging eaves

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BRIDGES

INTERIORS

At the heart of Zoma Museum is also the concept of cross-cultural collaboration: the garden includes more than 40 small bridges crossing over irrigation channels. These temporary bridges, constructed with scrap eucalyptus poles, will eventually be replaced by artistic architectural projects by international artists from around the world.

Interiors are also decorated using recycled materials. Floors are layered in wood recycled from shipping pallet and door handles have been created with the creative use of common objects like cutlery and hammers.

These bridges will be symbols of a long-lasting relationship between cultures of different nations and artists will be selected through one of Zoma Museumâ&#x20AC;&#x2122;s residency programs.

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GALLERY SPACE

CAFE

The patterns on the main gallery walls, for instance, resemble both the lines of a thumb print and a very windy road, inspired by the ups and downs the builders experienced in trying to pull off such an ambitious project.

the small cafe extends to the outside to integrate the users with nature and sunset. while staring at the muddy molds as the sun paints it with different colors, has a refreshing feeling.

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CONSTRUCTION MATERIALS

In settling on reinterpreting and innovating the traditional technique of wattle and daub, locally called chikka, this consists of a bamboo frame stitched with strings, upon which walls are crafted and infilled with mud and straw. Water is then added to ferment the mud and straw which is mixed every three days. The houses are covered by plastic tarpaulin to protect them from the rain until they turn a richer dark brown. After approximately a month, the mud becomes gluey and then like rock. Then the walls are coated with flour, lime and cactus juice to make them naturally waterproof Traditional building techniques have been applied throughout the space, including drystone walls, wattle and daub and cob. Three main Construction types has been used

Besides the use of natural recycled materials, such as the juniper wood bookshelves in the library and the wooden doors carved and decorated using a yarn stitching technique, many are instances where old traditional techniques are rediscovered and readapted. This is the case in the fireplace room, designed in a way to keep the smoke inside, as used to happen in traditional mud huts in order for the smoke to have an adhesive effect on the straw roof, thus preventing it from leaking during the rainy season.

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SUSTAINABILITY MEASURES The museumâ&#x20AC;&#x2122;s core structures have been built using sustainable construction materials such as mud, organic fibrous materials, gravel and stones. The compound is almost 90% cement-free, cement being used only for the construction of the wheelchair access ramp and as the basis of the wattle and daub buildings (due to the unwillingness of the local administration to issue a construction permit for these buildings foundations).

STRUCTURES By simply reinforcing the stem walls, and using them to support the new structures, the argument could be made that the project was one of restoration, rather than new construction.

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BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

LESSON LEARNED

This museum is more than just a museum. Itâ&#x20AC;&#x2122;s a sustainable center that benefits the people in the urban at high degree. Slopy site is mostly a challenge when doing a project, on this site it is seen more as an opportunity. Interaction with nature is reflected rather than confliction. One element with the other moves fluidly. The fact that both farming and dairy farm benefits each other, cattle eat thatches while their waste is used to fertilize the seed planted. I never imagined a wall can be molded this flawlessly until I saw this museum. The patterns arenâ&#x20AC;&#x2122;t applied just for aesthetics but also an art of life and nature, like the life cycle of butterfly, the human finger prints and so on.

The designers might not be exactly architects, but they are universal designers. I say this because their thought of the vernacular design is in details, from the site lay out to the plant pots. The contribution of the museum to the urban is it turned the dump site to the greenest areas in the city, not only that tourism and sustainable architecture has turned at this point. The construction technique used is the type which is inspired from Ethiopia and Chinese ancient architecture.

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02 2 Contextual Case Studies

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

Case study 05

YVES SAINT MUSEUM

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CASE STUDY 05

YVES SAINT MUSEUM •Year: 2017 •Architect- Studio KO •Place- Rue Yves St Laurent, Morocco. •Material- Brick, Concrete, glass •Context- Urban •Project Area: 4,000 m2 •Temprature-21° in warm season 6° in cold season

INTRODUCTION The building has been designed by the French architecture firm Studio KO, founded by architects Olivier Marty and Karl Fournier. Situated on Rue Yves Saint Laurent, adjacent to the famous Jardin Majorelle, the new building spans over 4,000 m2 and is more than just a museum.

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ABOUT THE PROJECT

BY: GELILA TEFESETEWOLD.

It features a 400 m2 permanent exhibition space, showcasing Yves Saint Laurent’s work within an original scenography designed by Christophe Martin; a 150 m2 temporary exhibition space, a 130-seat auditorium, a bookshop, a café-restaurant with a terrace and a research library housing 5,000 books.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

SITE INTEGRATION

Built of terracotta, concrete and an earthen colored terrazzo with Moroccan stone fragments, the building blends harmoniously with its surroundings. The terracotta bricks that embellish the facade are made from Moroccan earth and produced by a local supplier. The terrazzo used for the floor and facade is made using a combination of local stone and marble.

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FORM AND SPACE The central courtyard — a cube from which a pure circular void has been carved — is reminiscent of the courtyards around which many Moroccan homes are arranged, yet here it is focused on a stone tablet marked with the iconic YSL logo. Whilst this composition of materials is conceived as a sensitive and considered abstraction of a local context, its form is also influenced by sketches found in the couturier’s archives – smooth curves are contrasted with sharp angles, loose seams meeting with precise details. Studio KO has crafted a building that rises to meet the weight of expectation surrounding the legacy of Yves Saint Laurent, returning a wealth of creativity to the country that so inspired it.

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BY: GELILA TEFESETEWOLD.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

ACCOMMODATION The museum also includes •a hall for temporary exhibitions, •a research library with over 5,000 volumes, •a 140-seat auditorium, a bookshop, and •a terrace café. The resulting building is the first dedicated fashion museum in Africa a sculptural assemblage of elemental forms, each resembling a specific function yet united through gradients of material and color

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AUDITORIUM The auditoriumâ&#x20AC;&#x2122;s state-of-the-art acoustics were designed by the architects in collaboration with Theatre Projects Consultant. This allows for the programming of concerts, film screenings, and conferences in a separate and soundproof space. An oak-lined 130-seat auditorium will showcase a programme of films, fashion shows and documentaries. As well as live music, the auditorium will host symposiums about botany and berber culture, fashion and costume

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MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

MATERIALS

Sought to reflect this realm of inspiration in the design of the museum, using local materials and building techniques to sculpt and articulate the museum’s form. The building’s walls curve neatly into the surrounding ground, forming a terrazzo base aggregated from local stones and marble. Elemental volumes of locally fired terracotta brickwork define the profile of the building, which is capped with golden edging. The subtle imbrication of the brickwork is intended to evoke fine lace, with delicate patterns shifting across the building’s facade, whilst the interior becomes smooth and velvety in contrast. Meticulous detailing is a testament to the long history of skillful Berber craftsmen, whilst mirroring Yves Saint Laurent’s enduring commitment to detail and quality.

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LESSON LEARNED This project is an example of how to avoid the glazing facades that is applied all over Ethiopia for better design out put. The facades we currently use are far from environmental considerations. Vernacular building are the best architecture types, this is because they respond to the exact site. If we take the stone houses in Tigray zones, they adapt the site. They are thought as backward-ed when they are one step ahead of the urbanization expanding these days. This kind of architecture should be applied in order to keep the indoor air quality as well as the surrounding evironment.

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Case study 06

NEW ACROPOLIS MUSEUM

MUSEUM LITERATURE REVIEW & CASE STUDIES

CASE STUDY 06

NEW ACROPOLIS MUSEUM •Year: 2009 •Architect- Bernard Tschumi Architects •Place- Makryianni, Greece •Material- Concrete, glass •Context- Urban •Project Area: 21,000 m2 •Temperature 26° in warm season 8° in cold season

INTRODUCTION Site Located in the historic of Makryianni district, the Museum stands less than 1,000 feet southeast of the Parthenon. The top-floor Parthenon Gallery offers a 360-degree panoramic view of the Acropolis and modern Athens. The Museum is entered from the Dionysios Areopagitou pedestrian street, which links it to the Acropolis and other key archeological sites in Athens.

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PRINCIPAL DESIGN

BY: GELILA TEFESETEWOLD.

Designed with spare horizontal lines and utmost simplicity, the Museum is deliberately non-monumental, focusing the visitor’s attention on extraordinary works of art. With the greatest possible clarity, the design translates programmatic requirements into architecture.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

PROGRAM

CIRCULATION

With 8,000 square meters (90,000 square feet) of exhibition space and a full range of visitor amenities, the Acropolis Museum tells the story of life on the Athenian Acropolis and its surroundings by uniting collections formerly dispersed in multiple institutions, including the small Acropolis Museum built in the 19th century.

The collection is installed in chronological sequence, from pre-history through the late Roman period, but reaches its high point (literally and programmatically) with the Parthenon Frieze. The visitorâ&#x20AC;&#x2122;s route is therefore a clear, three-dimensional loop. It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.

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PLANNING The base hovers over the excavation on more than 100 slender concrete pillars. This level contains the lobby, temporary exhibition spaces, museum store, and support facilities.

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The middle (which is trapezoidal in plan) is a double-height space that soars to 10 meters (33 feet), accommodating the galleries from the Archaic to the late Roman period. A mezzanine features a bar and restaurant (with a public terrace looking out toward the Acropolis) and multimedia space.

MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

EMPHASIZING ENTRANCE

DISPLAY

To avoid the confusion of which is the main entrance, emphasizing is highly encouraged. The concrete slanted entrance shade serve this purpose, not only that but meeting spaces for people before they go in.

To integrate the artifacts as part of the design is a brilliant way of displaying the items. its good to question why always items should be in glass case where people cant touch or feel. Even if its not advisable to touch anything, at least make them feel like they did.

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The top is the rectangular, glass-enclosed, skylit Parthenon Gallery, over 7 meters high and with a floor space of over 2,050 square meters (22,100 square ft). It is shifted 23 degrees from the rest of the building to orient it directly toward the Acropolis. Here the buildingâ&#x20AC;&#x2122;s concrete core, which penetrates upward through all levels, becomes the surface on which the marble sculptures of the Parthenon Frieze are mounted. The core allows natural light to pass down to the Caryatids on the level below

Light: The collection consists primarily of works of sculpture, many of them architectural pieces that originally decorated the monuments of the Acropolis, so the building that exhibits them is a museum of ambient natural light. The use of various types of glass allows light to flood into the top-floor Parthenon Gallery, to filter through skylights into the archaic galleries, and to penetrate the core of the building, gently touching the archeological excavation below the building.

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MUSEUM LITERATURE REVIEW & CASE STUDIES

BY: GELILA TEFESETEWOLD.

LESSON LEARNED

Not every gallery needs a four wall. When the thick columns behave like a porous walls defining points of space, it makes you to value the figure ground relationship of the volume. Grand open space gives the space a feeling of mighty, like there is more room to discover whatâ&#x20AC;&#x2122;s left.

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03 3 Architectural Programming

GRAND MUSEUM PROGRAM ACCOMMODATION Guidelines

1. Exhibition should be presented in a way that makes enjoyable, stimulating and Relevant to the museumâ&#x20AC;&#x2122;s target audiences Exhibition should be memorable, aesthetically beautiful and enjoyable Exhibition should relate visitors Exhibits should be design to be accessible & easy to use so that visitors Understand how to use the Exhibits, feel directly engaged with the exhibit. 2. Information and objects should be presented in a way that provides visitors engaged experiences. The emotional impact of an exhibition should sharpen understanding. Exhibition should offer visitors choices. Exhibition should surprise and inspire visitors. A variety of experiences to match a range of abilities and skills should be provided as visitors want to succeed. Beyond being engaged, visitors should find themselves involved in immediate and long lasting way. Visitors should feel intellectually competent. The space should be used as an evolving repository of knowledge. 3.The exhibition program should include interactive installations, open air displays and education exhibition Communication strategies that are clear, appealing, relevant and engaging should be developed Text and other communication media should be accurate, honest and clear.

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REFERENCES

Literature Review •Metric Handbook Planning and Design Data, edited by David Adler, pdf •Architecture Data, edited by Bousmaha Baich, pdf •Architects’ Handbook, edited by Quentin Pickard, pdf •Public Space Design in Museums by David A. Robillard, pdf •Lighting for Museums and Galleries, by Feilo sylvania.pdf

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2020 ETHIOPIA

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