Literature review

ARCH31o2

Contents
Introduction

Background

Museum Typologies

Art Museum

Rooms in Art Museum/Galleries

 Public Car Park

Loading
Café loading

 Outdoor Orientation area

 Public Entrance
 Security Check Point
 Ticket Desk
 Information area
 Lobby
 Exhibition rooms
 Lecture/Activity room
 Offices and Service rooms
 Reception
 Server/Tech room
 Staff lounge
 Storage
 Work room
 Directors office
 Curatorial office
 Open work station
 Library
 Volunteer’s room
 Workshop
 Collection storage
 Storage
 Common bath
 Staff wash rooms
 Staff changing room
Contextual design considerations and technical analysis

 Light and ventilation

Recommended lighting levels
Use of daylight
Lighting techniques
Types of artificial light
Color appearance

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Problems caused by light

Problems for visitors
Glare
Photo degradation
Control of light damage
Lighting for museums and art galleries

 Ventilation
 Orientation
 Circulation
 Security
 Case design

Case studies

 Local case study

Red Terror Martyrs Memorial Museum

 International case study

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Introduction

This review is dedicated about a museum design literature review and case studies. In this review the
necessary design data and ergonomical studies are stated briefly. From the historical background of the
concept museum up to contextual design considerations and technical analysis are stated. And finally
there are two case studies concerning to art museums built with timber.

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Background
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 BCE, and contained
artifacts from earlier Mesopotamian civilizations. Notably, a clay drum label—written in three languages
—was found at the site, referencing the history and discovery of a museum item. Public access to these
museums was often possible for the "respectable", especially to private art collections, but at the whim of
the owner and his staff. One way that elite men during this time period gained a higher social status in the
world of elites was by becoming a collector of these curious objects and displaying them. Many of the
items in these collections were new discoveries

By putting their collections in a museum and on display, they not only got to show their fantastic finds
but they also used the museum as a way to sort and "manage the empirical explosion of materials that
wider dissemination of ancient texts, increased travel, voyages of discovery, and more systematic forms
of communication and exchange had produced.

One of these naturalists and collectors was Ulisse Aldrovandi, whose collection policy of gathering as
many objects and facts about them was "encyclopedic" in nature, reminiscent of that of Pliny, the Roman
philosopher and naturalist.

Museum typologies
To classify museums, or anything else, one must first choose one or more criteria for your typology.
Some possibilities could be: thematic scope (i.e. art, history, natural history, ethnic focus, etc.), the class
of institution responsible for creating and/or operating the museum (government, association, private,
etc.), the nature of the intended users (age, physical capacities or limitations, etc.), spatial and material
considerations (open-air, enclosed, etc.), or any others that would be relevant to your study. It would
depend on what you are interested in emphasizing.
But museums can also be typed based on size, from large institutions covering many of the categories
below, to very small institutions focusing on a specific subjects, such as a specific location, a notable
person, or a given period of time. Museums can also be categorized into major groups by the type of
collections they display, to include: fine arts, applied arts, craft, archaeology, anthropology and
ethnology, biography, history, cultural history, science, technology, children's museums, natural history,
botanical and zoological gardens. Within these categories, many museums specialize further, e.g.
museums of modern art, folk art, local history, military history, aviation history, philately, agriculture, or
geology. Another type of museum is an encyclopedic museum. Commonly referred to as a universal
museum, encyclopedic museums have collections representative of the world and typically include art,
science, history, and cultural history. The size of a museum's collection typically determines the
museum's size, whereas its collection reflects the type of museum it is. Many museums normally display

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a "permanent collection" of important selected objects in its area of specialization, and may periodically
display "special collections" on a temporary basis.

It may sometimes be useful to distinguish between diachronic and synchronic museums. According to
University of Florida's Professor Eric Kilgerman, "While a museum in which a particular narrative
unfolds within its halls is diachronic, those museums that limit their space to a single experience are
called synchronic."
From the above typing’s as the semester concern:
Art museums
An art museum, also known as an art gallery, is a space for the exhibition of art, usually in the form of art
objects from the visual arts, primarily paintings, illustrations, and sculptures. Collections of drawings and
old master prints are often not displayed on the walls, but kept in a print room. There may be collections
of applied art, including ceramics, metalwork, furniture, artist's books, and other types of objects. Video
art is often screened.
The specialized art museum is considered a fairly modern invention, the first being the Hermitage in Saint
Petersburg which was established in 1764.
This showed the beginnings of removing art collections from the private domain of aristocracy and the
wealthy into the public sphere, where they were seen as sites for educating the masses in taste and cultural
refinement.
Rooms in Art museum/Galleries
The possible programs for the design of art museums/galleries are:
 Public car park
 Outdoor orientation area
 Public entrance
 Security check point
 Ticket desk
 Information area
 Lobby
 Indoor orientation area
 Exhibition areas
 Lecture/activity room
 Offices
 Workrooms
 Studio
 Workshop
 Collection storage
 Security office
 Security control room
 Store

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 Staff entrance
 Common bath
 Staff changing room

Public car park

Part of the surrounding grounds may also provide space for a car park. But the design of the park must be
taken seriously as it affect the general appearance of the museum. Most of the time a frontier car park is
not recommended as it distracts the exterior appearance of the building, and as it distracts a passive
person admiring the building.
Standard dimensions
The parking space is determined by the ratio to the visitors to accompany per day. This number depends
on the size of the town, the facility to the museum, the surrounding institutes educational, theatres,
recreational, and airports.
Exterior or interior parking for 25 staff spaces, 25 visitor spaces, 2 handicap spaces.
Planning consideration and principles
 The parking lot should have a direct access from the road and the building
 It should not be in a way that disturbs to the amenity and appearance of the museum
 When design at the front of the museum it should be incorporated with the landscape
 It is better to keep the parking facility under the building
 A separate parking facility need to be provided for staffs
Loading
Loading Dock
Loading Bay: Level drive in front of the overhead door for length of a 20m long truck. Garbage and
recycling container area needs to be provided. Provide separate area for Cafe garbage and loading if
possible.
Loading Dock: exterior weather shelter over 1.2m high loading dock area with 5m height clearance.

Café loading
Exterior loading bay large enough to accommodate a cube van, recycling, and cafe garbage. To be
separate from Museum Loading due to problems with pests etc.

Outdoor orientation area

Orientation areas are very essential for the design of a museum and in case of art museums/galleries it is
very essential as it is used for auctions, public press conferences. And for large number of visitors in case
of students.
Public entrance

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Entrance However many outside doors may be found necessary for the various museum services (but
these should be as few as possible, to facilitate supervision and security measures), there must be only one
public entrance, placed quite separately from the others. This should lead into a vestibule where certain
essential services will be located-sale of tickets, information service, and sale of catalogs and postcards.
Another possible method is that of the photoelectric cell, but the objection to this is that when visitors are
crowding through the turnstile the record may not be accurate. In museums where admission is free,
attendance can be computed for statistical purposes more simply by the custodian with a manual counter-
which will avoid adding an unnecessary complication to the fittings of the entrance hall.

In a little museum it would be particularly unsuitable to design the entrance hall on a massive or pompous
scale, as was customary in the past, making it unnecessarily lofty, and to decorate it in would-be
monumental style, like the atrium of a classical temple, with arches and pillars. Modern architects tend
increasingly to reduce overhead space and give the greatest possible width and depth, producing a
balanced effect of greater intimacy and attraction. It must therefore be fairly spacious, and provided with
the strict minimum of sturdily built furniture (one or two tables for the sale of tickets, catalogs, etc., a
cloakroom, a few benches or chairs, a notice board, a general plan of the museum to guide visitors, a
clock, and perhaps a public telephone booth and a letterbox). Standard dimensions
Planning considerations and principles
 In museums where arriving and departing visitors are to be mechanically counted, an automatic
turnstile should be installed, serving both doors but placed at a sufficient distance from the main
entrance and the ticket office.
 It is important for the entrance hall to seem attractive even to the casual passerby-who is always a
potential visitor to the museum.
 It should provide an easy introduction to the building, a point from which the individual visitor
can find his way without difficulty and where large parties can be greeted and assembled.
 It is not advisable to have only one door from here into the exhibition rooms; there should be two,
an entrance and an exit, far enough apart to
prevent delay should there be a crowd but placed in such a way that both can be easily watched at
the same time.
Security check point
Many security problems can be avoided by keeping the number of access points to the site and to the
building to a minimum. The ideal is one public entrance monitored by information staff and/or attendants,
and one staff entrance controlled by the security staff responsible for key control and the checking of
deliveries and outside contractors.
Security staffing is also considerably more effective and economic if all exhibition and open storage areas
are on one level.
But for a better administering installing a turnstile will be very helpful. It will also serve as a check point,
Again it is also a draw back in small museums as it utilizes too much space and in a large number of
crowd they are forced to form a long row line to pass through.
Ticket desk
The ticket desk should be located next to the security check point. It can either be arranged as before the
turnstile where visitors buy tickets or other cards/coins/ to slip on the machine to let them pass or after the

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turnstile where they are only counted by the machine and buy a ticket from the ticket officer.
Standard dimensions and space requirements
 The ticket desk should be right next to the main entrance, in most cases at the grand porch before
the entry gate
 In smaller museums the ticket office should not be in pods where the officer is fully separated
from the visitor only contacted through a small window, rather on a free desk where they can
administer and also move around if necessary.
 It can be combined with information desk in case of small museums.

Information area
It is the basic program of a museum. The organization and order of the museums artifacts are known
through the information desk. This sometimes could only be a map showing the layout of the exhibition
rooms, galleries and different other programs. But in most cases information desks are with one official to
brief the visitors and flyers are prepared that holds the layout of the gallery.
Standard dimensions and space requirement
 Should be intimate and welcoming
Lobby
The lobby is the main introduction part of the art museum, mostly what is the museum for is answered at
the lobby. And can also serve as orientation space in case the orientation room is not sufficient for the
visitors. But sometimes it is used as both a lobby and orientation area for small museums.
Standard dimensions and space requirement
 It should be as center as possible for the visitor to see what is beyond
 Easily accessible from the public areas

Exhibition rooms
A museum in which all the rooms are the same size becomes very monotonous. By varying their
dimensions and the relation between height and width-and also by using different colors for the walls and
different kinds of flooring-we provide a spontaneous and unconscious stimulus to attention.
Monotony also results when a number of rooms follow one another in a straight line. Even where this
cannot be entirely avoided, the rooms should be so constructed that the doors are not opposite one
another, providing a "telescopic" view through the building. An uninterrupted prospect of the long route
ahead is usually found to have a depressing effect on visitors.
There are, however, undoubted advantages in being able to see into several rooms at the same time; it is a
help, for instance, in directing visitors, and for security purposes. On the other hand, by varying the
positions of the doors we are also able to place the visitor, from the moment of his entrance, at the point
chosen by the organizer of the display as the best for conveying an immediate and striking impression of
its general contents, or for giving a view of the most important piece in that particular room. In principle,

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the door should be placed in such a way that a visitor coming through it will see the full length of the
opposite wall. It is therefore not advisable for it to face a window, since the visitor will then be dazzled
just as he comes in.
With regard to the shape and size of the rooms, dimensions should be varied so as to stimulate the
attention of the public and should also be adapted to the size of the exhibits.
The form and size of the rooms will also depend to some extent on the lighting system chosen. Overhead
lighting allows greater diversity of shape (rectangular, polygonal, circular, etc.) because the lighting can
always be arranged on a scale to suit the room. Oblong rooms, divided by partitions to a certain height,
but with one ceiling and skylight, should however be avoided; this system has proved unsatisfactory both
from the aesthetic and from the functional points of view.
Different ways of dividing exhibition spaces

The practice of rounding off the corners of rectangular rooms is also going out of fashion, as it has been
found that the advantage of unbroken walls and the impression of better use of light in a more compact
space are offset by the resultant monotony, and that the general effect is not pleasing to the eye.
Lateral lighting requires shallow rooms, their walls set at an oblique angle to the source of light. But the
larger the windows, the more difficult it becomes to prevent light from being reflected in the works
placed against the opposite wall. It is undeniably difficult to give a pleasing appearance to these

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asymmetrical rooms.
Theoretically, the door between two laterally lit rooms should be placed near the wall next to the
windows, because otherwise the two walls meet in a dark corner where nothing can be exhibited. But if
the daylight is admitted not through a vertical or comparatively narrow window, but through a "ribbon" of
glass running the whole length of the wall, the problem is not the same. In this case the two end walls,
meeting the outside wall from the normal direction, or at a slight angle, will be well lit throughout their
length; the doorways can therefore be placed at the furthest extremities, thus adding to the effective depth
of the room.
One important fact should be remembered when the shape of the rooms is being decided. A square room,
when it exceeds a certain size (about 23 sq. ft.), has no advantage over an oblong one, either from the
point of view of cost (roof span) or from that of the use of space in the satisfactory display of the exhibits,
especially if they are paintings.
It is sometimes found advisable to place a work of art of outstanding interest and exceptional value in a
room by itself, to attract and concentrate the greatest possible attention. Such a room need be only large
enough to accommodate a single work; but there must always be enough space for the public to circulate
freely. Galleries intended for permanent exhibitions may, on the contrary, be of considerable size, though
it is never advisable for them to be more than about 22 ft. wide, 12 to 18 ft. high, and 65 to 80 ft. long.

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Possible gallery arrangement.

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Lecture/activity room
Multi-purpose room to host a variety of activities including:
 Education Programs
 Lectures and audio visual presentations
 Meetings
 Rentals for special occasions
Adjacent rooms lobby, sculpture court, orientation, kitchen, washrooms
Standard dimensions and space requirements
 Capacity for about 50 lecture seats.
 To be openable to combine with Orientation to provide capacity for 100 seat banquet.
 Open onto Sculpture Court for outdoor programming.
 Well lit with natural light, access to fresh air.

Offices and Service rooms

Before considering the planning of the museum it is essential to determine the size of service rooms like
offices, staff rooms, changing rooms, security rooms, stores.
The Administration areas should all be grouped together and can be remote (i.e. on separate floor) from
both exhibition and collection areas, provided there is direct stair and elevator access between. Ceiling
height of all Admin areas to be a minimum of 2.5m. All workstations and offices have access to natural
light and fresh air.
Reception
Gatekeeper function for whole administration area. Space to accommodate 2 staff workstations.

Server/Tech Room

Secure room for Server with good ventilation, located in the Administration area. Adjacent to
Administration Workroom, Offices.
Staff Lounge
Space for relaxation, informal meetings, and lunchroom. To include a kitchenette with fridge, sink
dishwasher and microwave.
Storage
The storage area will be a general storage area for files and office supplies. Adjacent rooms Workroom,
Admin Reception.
Work Room
This space will include the document center, fax, printers and packaging area required to promote.
Adjacent rooms Offices, Admin Workstations, and Server room. Adjacent rooms 30 mailboxes, document
center, and storage for paper + office supplies.
Director's Office

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Executive office with space for desk and small conference area for up to 4 people.
Curatorial Offices

Individual offices of 9.3m2 - 100f2 for each of the curators to accommodate desk, shelving, and guest
chair.

Open Workstations
Open workstations for 5 support staff including: Collections Manager, Exhibit Designer, Communications/
Marketing, Administrative Assistant, and General.
Library
Library for Museum research materials, catalogues, etc. 2 x 20' walls of full height shelving.

Volunteer's Room:
This space will provide a "home" for Museum volunteers, storage for their materials and an informal
meeting area. Includes 1 wall of full height storage + a kitchenette. Adjacent rooms Administration
Reception.
Workshop
Maintenance workshop for exhibition equipment and preparation of some exhibit background material.
Adjacent rooms Shipping and Receiving, Holding, Curatorial Workroom, Administration.
For a better performance the ceiling height should be 3.6m to store long artifacts and sculptures.
Standard dimension and space requirement
 A good environmental Control
 Doors: 1800 X 2750mm (6’ x 9’) double door
 A good security clearance
 Sound insulation: min STC 45
 Lighting: Daylight + General indirect
 Millwork: Built in workbench and wall counter, storage cabinets, some locking, for tools and
materials.
 Furniture: 4’ x 8’ work table with 3 adjustable chairs
 Equipment: CCTV for monitoring Fume extraction system

Collection storage
Collections Storage will be Class A standard, for long term, secure, low stress storage for artefacts
ranging from 2-D and 3-D art works, architectural models, architectural drawings, and photographs.

Storage systems to be determined based on an inventory of prospective collection items. No natural day
lighting permitted. May be located in the Basement. Adjacent rooms direct access to Curatorial
Workroom, Collections Research, and Freight Elevator, with easy access to Exhibition Galleries.
For a better performance the ceiling height should be 3.6m to store long artifacts and sculptures.
Space considerations and requirements
 A good environmental conditions
 Good security clearance
 Lighting: fluorescent lights - low UV reading, task lighting at work table, motion detector/timer

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control of fluorescent lights. Fixture layout coordinated with storage layout.
 Furniture/Equipment: - Storage system
- Small workstation with computer
 Fire Rating: - 2 hour fire rated walls/ceiling/floor, smoke detection/wet pipe sprinkler systems
(NOTE: no liquid containing pipes allowed in this space except sprinkler pipes)
 Power duplex receptacles only at examination table for computer - to lessen fire hazard
 Telephone/intercom
 Includes 50% expansion capacity.

Store
Storage for plinths, walls and other display related items. Adjacent spaces exhibition gallery.
Common bath
To serve the public areas described in this program the following public washroom facilities must be
provided by code: Women's WC Men's WC Handicap Unit Room. Adjacent rooms Entry Lobby, Café.
Staff wash rooms
Staff washrooms to be provided adjacent to collections and Administration areas. Staff shower to be
adjacent to Staff Lounge. All staff facilities to be handicap accessible. Adjacent rooms Collections and
Administration areas
Stuff changing room
Room dedicated to cleaning and maintenance of the Museum facility. Adjacent rooms Elevator, Cafe, and
Exhibition
Special Requirements:
 Sink,
 storage for cleaning supplies and equipment,
 light bulbs,
 toilet paper etc.

Contextual design considerations and technical analysis

Light and Ventilation

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.
The light level needs to be sufficient to provide a balance between the lighting of the object on display
and the whole visual field. Exhibits should be brightest to ensure optimum visibility of the display.
Fundamental questions are:
 Whether lighting should be natural or artificial or what balance.
 Whether daylight is to be for display or only gallery space

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 Whether sunlight is to be excluded from the gallery and, if so, what sun-screening system is
required.
At least three independent lighting systems will be required:
1. working lights for use during installation, cleaning, maintenance, dismantling, and security
patrols outside opening hours
2. emergency lighting for visitor safety
3. display lighting

Factors to be considered in designing the display lighting scheme are:

 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.
 Physiological: illumination, contrast, reflectance, efficiency, uniformity, glare, color,
photodegredation. 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)
 office: 300 ambient, 500 task
 demonstration theatre: seating area 300,
demonstration area 600
 exhibition hall: 500/300/100
 workshop: 200/500/750
 Circulation areas 200, shop 600, toilets 150.
Use of daylight
In the cool, northern European climate, day lighting 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, defining form and texture
Lighting techniques
Lighting for Museums and Art Galleries (Museums in the Spotlight) includes a section suggesting
lighting techniques for specific classes of exhibit:

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 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.
Different ways of admitting natural light

Combination of daylight with artificial light

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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 day lighting 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.
Color appearance
This relates to ‘coolness’ or ‘warmth’ of light which affects
the mood of the spaces.
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.

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.

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Glare causes discomfort or disability, and can be direct or reflected. It can be avoided 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.

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Damage caused by light (Photo degradation)

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 maybe 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.
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.
The degree of damage is affected by the spectral distribution of the light, as well as the illuminance
level and the exposure time. 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.
Levels for conservation activities need to be much higher, with levels of up to 1000 lux being acceptable
when exposure is limited to short periods.
Lighting for Museums and Art Galleries (Museums in the Spotlight)
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).

Ventilation
Is required primarily for people’s health and comfort, but also where condensation and humidity pose the
greatest risks.
The exhibits are sensitive to humidity, not temperature change. The main space has to be kept at 50% RH,
while the temperature is free-running. As people are moving around the site, it is acceptable to have
summer temperatures 2°C below the outdoors level and in winter 2-3°C above. The design maximum is
28°C externally.
Ventilation needs to be variable to deal with a wide-ranging occupant load - a maximum of 1200 at one
time at peak periods, down to 150 a day. Natural ventilation is provided by clerestory windows and
low-level ‘hit and miss’ dampers depending on the space temperature and C 0 2 concentration, together
with displacement ventilation.

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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. The impact of gaseous pollution
depends on location and the type of exhibit. Atmospheric pollutants such as sulphur dioxide and hydrogen
sulphide are the commonest substances causing surface damage to objects. For particularly fragile
exhibits a filtration system for removing both particulate and gaseous pollutants can be specified and be
as high as 95% efficient. Where gaseous pollutants are present, activated charcoal filters fitted to the air-
handling units should be considered as minimum provision. 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.

Orientation
Where a direct access to views and daylight is there. Care must be taken not to project a direct solar
emitted light onto artifacts as the UV causes some damage. The orientation has a direct effect on the form
of the building. Mostly it is oriented towards north for a better light intake.

Circulation

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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.
Fire risk 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, ‘pre-action’ systems
should be used in preference to dry-pipe sprinklers. 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.
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.
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.
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.
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.

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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.
Access of different display cases

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Elements of a museum

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Local case study

Red terror martyrs memorial museum 2010
Addis Ababa, Ethiopia.
Client
Victims of the red terror families
Architect Fasil Giorgis
Why it is selected as a case study
The project is based for the victim’s family
memorial of their loved ones. The museum
houses different pictures of the time and
different artifact documentation. And has a
contemporary feeling.

Background
In Ethiopia was unveiled in Addis Ababa the “red terror” martyrs memorial museum, an unprecedented
initiative in Ethiopia to honor the victims of Derg repressive Regime.
They first quested that simple stele be erected at the center of Meskel Square, yet Fasil convinced them
that a memorial in the form of a museum would be meaningful.

Concept derivation
The stone cladded lower volume gradually rises towards the main museum space depicting the natural
innocent growth of a generation. This ascending line is then broken by the massive dark grey volume that
collides with it. The angle is also shifted in order to show the change of ideological direction. The
massive dark grey volume then gradually descends in the opposite direction to symbolize the decline of a
society. The museum building tries to symbolize these ideas in very simple and easy to read, architectural
expression.

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Internal exhibition architectural advancements

Material and construction

The thick wall which is cladded with natural stone and openings which avoid direct sun light from the
west and south west resulted in a comfortable interior environment. Leakage I avoided due to the slanted
roof which allows rain water to runoff from the roof easily. Except the glazing all the other construction

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materials are produced locally. One of the main design concepts was to use local building materials which
are durable and maintenance free.

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International case study

Basic information
Date under construction
Architect TADAO ANDO
Location ABU DHABI

Background
"Within the ship-like interior of the volume, ramps
and floating decks guide the visitors fluidly through
the exhibition space, echoing the theme of the
museum and creating a dynamic gallery experience.
Dhows float over the voids of the interior space and help create an intense visual experience by relating
objects to one another and to the museum architecture as a whole. Below ground, there is a second space -
the reception hall with an enormous aquarium. A traditional dhow floats over the aquarium and is seen
from different perspectives."
Just off the coast of Abu Dhabi City located on nearby Saadiyat Island the new Cultural District will be
home to a group of museums and pavilions with Tadao Ando's Maritime Museum being the first in a row
of four mayor projects aligned on Saadiyat's shoreline. Between the rapidly progressing new Saadiyat
Bridge and Zaha Hadid's Performing Arts Centre the main building will stand out as a calm and simple
structure with exposed concrete finish - a rather rare scene in the UAE.

Concept
The concept is enthused by the natural surroundings of Abu Dhabi's landscape and maritime traditions.
The project to the shape of ship interior floating decks that will guide visitors through the exhibition
space.

Context
The rest of trees arranged on a dry square represents land, while a large pond evokes the sea. The "oasis"
of trees provides a transition between the city and the museum, which visually links the two spaces, while
a covered lateral circulation links them functionally.

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Architectural analysis zoning

The designer placed the services on the edges of the project. Even
though the building is formally very impressive, there was a
problem when dealing with internal spaces. This sculptural form
leads to some functional problems leading to a large percentage of
the area of the building is simply impractical.

Zoning
Many spaces are not functional or left as multiple height areas. The
architect focused on creating a stenographic architecture.

Circulation
The circulation is changeable due to the change of the escalators places as there are a lot of double height
areas

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Structure analysis
This image shows the construction that was used and it is a simple concrete that doesn't have any
additional materials.

Mass study
The mass of this project has a shape of ship's wings that is illustrated on the elevation of the building.

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Physiological comfort
The museum didn't achieve a complete comfort for the visitor because of the Acoustic wise, as whatever
conversations you have will simply cause some disturbance across the two there stories , also the noise
from the auditorium was dust but too as it echoed up to the expiation hall up stairs

Convenient
It is not convenient as a museum, visually, the museum was
kind of interesting and beautiful in its design and structure
but functionally, it doesn't seem to work well as a museum,
the building seemed to take the attention away from the
works.

Image symbolism
The practice of representing things by symbol or of investing
things with a symbolic meaning or character. A beginning as
a desert oasis.

Conclusion
•Usage of sustainability and energy efficient technology to make the building environmentally friendly
•Integrating function with application techniques
•The extension respected the earlier trademarks of the older building in terms of pan of floors and the use
of natural lighting within the mass
•An interesting choice of form yet it is integrated within the other building

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