HISTORY

Before the turn of the 20th century, artistic performances were primarily held in plazas
and other public places around the country. In Manila, the Manila Grand Opera House,
constructed in the mid-19th Century, served as the primary venue for many stage
plays, operas and zarzuelas and other events of national significance. Conditions
improve with the construction of the Metropolitan Theater in 1931 and smaller but
adequately equipped auditoriums in institutions like Meralco, Philam Life, Insular
Life, Ateneo de Manila University and Far Eastern University. In 1961, the Philippine-
American Cultural Foundation started to raise funds for a new theater. The structure,
designed by Leandro Locsin, was to be built on a 10-hectare (25-acre) lot in Quezon
City. In the meantime in 1965, Imelda Marcos at a proclamation rally in Cebu for
her husband's bid for the Presidency, expressed her desire to build a national theater.
Marcos would win his election bid and work on the theater started with the issuance of
Presidential Proclamation No. 20 on March 12, 1966. Imelda, now the First Lady,
persuaded the Philippine-American Cultural Foundation to relocate and expand plans
for the still-born theater to a new reclaimed location along Roxas Boulevard in Manila.
To formalize the project, President Marcos issued Executive Order No. 30, establishing
the Cultural Center of the Philippines and appointing its board of directors. The board
would elect Imelda as chairperson, giving her the legal mandate to negotiate and
manage funds for the center.
Early into the 1970s, the center was in the red mainly due to the costs of constructing
the Theater of Performing Arts. In 1972, the board of the CCP asked Members of
Congress to pass House Bill 4454, which would convert the center to become a non-
municipal public corporation and allow it to use the principal of the CCP Trust Fund to
pay off some of its debt. The bill would also continually support the center through a
government subsidy amounting to the equivalent of 5% of the collected Amusement
Tax annually. The proposed piece of legislation was met with strong opposition and was
never passed. However, with the declaration of Martial Law on September 23, 1972,
Congress was effectively dissolved; and President Marcos signed Proclamation No. 15,
essentially a modified version of the proposed bill. The proclamation also expanded the
center's role, from that of being a performance venue to an agency promoting and
developing arts and culture throughout the country.
During this period of the Marcos Presidency, the CCP Complex played host to major
local and international events under the guise of the Bagong Lipunan (New Society),
which would mark the start of a series of major construction projects in the area. When
Filipino Margie Moran won the 1973 Miss Universe Pageant, the Philippine Government
agreed to stage the succeeding year's contest, and plans for an amphitheater
commenced. Weeks of planning and discussions resulted in the commissioning of the
Folk Arts Theater (Now the Tanghalang Francisco Balagtas), an open-air but roofed
structure that could seat up to 10,000 people. Construction of the new theater, which
was also designed by Leandro Locsin, was completed in a record 77 days and was
inaugurated in July 1972 with the grand parade, "Kasaysayan ng Lahi" ("History of the
Race").
So, the first ever community center was the Cultural Center of the
Philippines, (Filipino: Sentrong Pangkultura ng Pilipinas, or CCP) is a government-owned
and controlled corporation established to preserve, develop and
promote arts and culture in the Philippines. The CCP was established through Executive
Order No. 30 s. 1966 by President Ferdinand Marcos. Although an independent
corporation of the Philippine government, it receives an annual subsidy and is placed
under the National Commission for Culture and the Arts for purposes of policy
coordination.[1][3] The CCP is headed by an 11-member Board of Trustees, currently
headed by Chairperson Margarita Moran-Floirendo. Its current president is Arsenio
Lizaso.
The CCP provides performance and exhibition venues for various local and international
productions at the 62-hectare (150-acre) Cultural Center of the Philippines
Complex located in the cities of Pasay and Manila. Its artistic programs include the
production of performances, festivals, exhibitions, cultural research, outreach,
preservation, and publication of materials on Philippine art and culture. It holds its
headquarters at the Tanghalang Pambansa (English: National Theater), a structure
designed by National Artist for Architecture, Leandro V. Locsin. Locsin would later
design many of the other buildings in the CCP Complex.

What is a cultural center?

What exactly is a cultural center other than a big building with a palette of artistic
activities? Well, cultural centers are venues in public use that create a platform for
people to both practice and take part in cultural activities. They may for instance
provide commercial concerts, theatre productions, standup comedy, musicals, or even
be the home of the city’s symphony orchestra. we can refer to cultural centers as
houses in versatile use for cultural activities. The concept also includes cultural
institutions and cultural halls, although venues used for a single purpose (e.g. theatres)
are not taken into account. The cultural center may also have differing names in
different countries, such as the performing arts centers in North America. Any big venue
arguably could function as a cultural center, and that most likely was the case earlier.
Generally, cultural centers do not have any artistic personnel of their own and mostly
focus on productions (Silvanto, et al., 2008). Public cultural centers commonly describe
their primary mission as to producing (by prioritizing and coordinating) exclusive
cultural offerings to the community (Ruusuvirta, et al., 2012). Cultural centers are often
seen as a tool for the municipality’s cultural planning and development efforts (Lambert
& Williams, 2017). A vast majority of cultural centers are located in urban areas (Bogen,
2018; Kangas & Ruokolainen, 2012). The buildings of the centers vary a lot, and can
cover both renovated former industrial, religious,
. They are not even limited to buildings, as some centers are boats or barges.
According to a survey by the Finnish Cultural Foundation (2013), the Finnish think it is
important to have opportunities to exercise and take part in local cultural activities,
with an emphasis on venues, such as cultural centers. According to Kangas and
Ruokolainen (2012), the majority of municipalities think that the cultural sector
develops the community’s image and cultural heritage, economic development,
citizens’ wellbeing and children’s cultural skills. On the Nordic level, researchers in
Sweden and Noway indicate that cultural centers have the same impact on society
(Ambrecht, 2012; Storstad, 2010). In North America, cultural centers, called performing
arts centers, are seen as a part of the ‘creative and cultural industries, significantly
influencing the cultural and economic vitality of communities’ (Lambert & Williams,
2017, p. 1).
Cultural centers enrich our society by promoting the arts, history, religion, and heritage
of diverse cultures. Communities, municipalities and universities invest in this
enrichment by building performing arts centers, museums, worship centers, heritage
centers and libraries. Our goal with any cultural center is to work with the client to find
aesthetic, functional solutions that lead to an unforgettable experience for visitors of
the center.
Cultural centers can be structurally challenging, requiring the need for large open spans
and unique loading conditions. One example is the minimal use of columns in order to
provide unobstructed views of a stage or pulpit, which creates large concentrated loads
on the foundation. When designing performing art centers with a Proscenium stage,
rigging systems used to lift and position lighting, audio, video, scenery, special effects
and related items must be considered in the overall design and can create significant
challenges in connection design.
In the last few decades communities have begun to solicit the help of architects and
engineers to restore the historical styles of their existing cultural centers while taking
the opportunity to implement current trends as well as safety and accessibility codes.
Structures utilizes our knowledge of historic materials and construction practices as well
as methods from our extensive adaptive reuse portfolio to provide solutions for
implementing these modifications while preserving the architectural intent.

3 Benefits of Having a Cultural Center

Volunteer Opportunities
Cultural centers often hold classes and cultural events, which bring numerous volunteer
opportunities. Volunteering opportunities can bring people closer, make them feel
good, and for younger kids, they can look great on applications. This can also be a great
way to help a center out if you can’t donate money or goods. On average, households
gave about $2,974 to charity in 2014, according to The Center on Philanthropy at
Indiana University. In addition, total giving rose in 2014, for the fifth year in a row
according to Giving USA. In some cases, though, your time is an even better donation!
Learning
Asian Americans account for about 5.8% of the entire American population, Pew
Research Center reports. With 18 million people with Asian cultural heritage, it should
follow that many people would want to learn about Asian customs and Asian traditions.
That is the primary purpose of a cultural center: to teach the community about a
culture through the use of events, festivals, and workshops. The entire community is
better for it.
Sense of Community
These centers are a great way to understand others within your community. Knowledge
is absolutely power, and it will bring community members together in a fun and
constructive environment, which not many other things can do. These centers provide a
unique experience, and a way to step outside of your comfort zone!

Activities of cultural centres

The activity of cultural centres is one of the ways to assure the decentralization of
culture, supported by the EU and Lithuanian cultural development policy programmes.
The protection of the national culture must be of the special concern for cultural
centres, and it is clearly defined in the law on Cultural centres of Lithuania, determining
the following functions of the activity of cultural centres:
1) to provide conditions for the distribution of ethnic culture,
2) to promote the old cultural traditions, customs,
3) to assure the accessibility of ethnic culture,
4) to organize events promoting ethnic culture, amateur art,
4) to organize entertainment, educational and other events,
5) to create the forms of contemporary modern art forms and give sense to them,
6) to organize the activity of amateur art collectives, studies, and groups;
7) to take care of the employment of children and youth, their artistic education
8) to provide conditions for the spread of the professional art
From the point of view of the activities of cultural centres, a more important role is
ascribed to the ethnic and elite culture than that of the massive culture.
Another field of the activity of cultural centres is propagation and promotion of modern
culture. Events of modern culture attract big masses of countryside and urban people,
and namely it is the reason why open-air pop concerts are popular.
Smaller towns and villages are most often organized by their cultural centres. The main
problem of massive events in towns and villages is the is the popular culture has a
bigger influence upon young people than on the elderly ones.
The national culture must be created, only then it is alive. It is important that it is
consumed by people themselves, so the protection of the state does not suffice. The
state position with regards to it is also important. Only states that are very old in the
historic sense and have old cultures may not take care of the strengthening of their
culture, as it is done by people themselves.
Types
Types of Spectat The ratio of number of
cultural and Construction site or the audience to the
entertainment capacity capacity cultural
centers (seats) center

1. Rural Cultural In the rural 150-400 1:02-1:0,25

Center production area,
in the residential
area
2. Rural Culture In the center of the 300-700 1:03-1:04
House residential
area
The administrative
3. District House of center of the 500-800 1:0,7-1:0,8
Culture district, in the
residential
area
4. Buildings of the It unites the district
City Cultural and center of 300-700 1:0,6- 1:0,7
entertainment the city
Centers

5. City House of The public center 500-1000 1:0,9- 1:1

Culture of the city

Currently, the most notable types of cultural and entertainment centers are mainly
divided into two parts, one - the public entertainment part and the second part is
intended for conducting clubs. In addition, there are special types of cultural and
educational centers, such as youth centers, children's, chess, aero club, cultural and
educational centers for writers.
THE MAIN FINDINGS AND RESULTS
Cultural and entertainment centers are usually designed on the basis of a special
assignment, the capacity of the entertainment part, the cultural and educational center
is based on the norms of the CRN (Construction Regulation Norms). Depending on the
rural conditions, other types of rooms can be included in the cultural and
entertainment center.
All types of cultural and entertainment centers are divided into three main groups
depending on their function: spectator rooms; cultural and educational center rooms;
service and administrative rooms.
The rooms of the building of the cultural and educational center are divided into 3
groups:
A - Spectator section rooms;
B - Rooms of the cultural and entertainment center;
C - Auxiliary and administrative rooms.
A. The spectator section is designed to conduct a variety of public, spiritual,
educational activities and recreation in the building of the cultural and entertainment
center. It consists of three groups - spectator group, demonstration group and
complexes:
- A complex of spectators with a viewing hall, foyer and dining room with a lobby,
storage of equipment, a service room;
- The complex of the demonstration group - includes a house area, a service room,
a cinema room;
- The stage was selected on the basis of the CRN (Construction Regulation Norms),
depending on the type of cultural and entertainment center.
In Type 1 and Type 2 cultural and educational centers, the lobby is both for the
cultural and entertainment center part and for the spectator part.
B. The rooms of the cultural and entertainment center are divided into three
groups:
- Club and lecture room;
- Lounges;
- Rooms serving as library.
- Rooms in the group of lectures and clubs - hall and auditorium, 2-3 rooms for
clubs, etc.
- The lounge consisting of a dance hall, a room for playing table tennis, a billiard
table, a dining room - a buffet.
- The library for rural and urban residents consists of a reading room, a book storage
room and a staff room.
C. Employees’ and administrative and utility rooms: - lobby, wardrobe, toilets,
administration rooms, methodical and warehouse utility rooms.
Rural cultural and educational centers have the same possibility to integrate with
other institutions as they do with other buildings.
For example: - cinema, gym, museum or exhibition halls, etc. with the mahalla guzar
(neighborhood complex) of the cultural and educational center. In this case, the work
program of the institution will be rich and colorful in all respects. However, it
should be borne in mind that the institutions should be well connected to each other,
and each should be able to serve both together and separately.
In recent years, in the field of construction of cultural and entertainment centers,
there is a desire for activities that are unique to the activities of the cultural and
educational center (amateur art, association of common interests, spending time with
entertainment).
Due to the lack of spectator sports facilities, libraries and other recreational
facilities in the vicinity, the universal functions of clubs have been preserved in many
rural areas.
There is a need to create special club buildings in the city, specializing in creative
activities (folk art houses, amateur clubs), communication on interests (collectors in
various fields, car enthusiasts, retirees' clubs, youth homes, etc.) and similar activities.
One of the most notable types of cultural and entertainment centers today are the
cultural and educational center, which consists of two parts, one - the public
entertainment (spectator) part and the other - the club section.
It would be expedient to build a network of cultural and entertainment institutions
to the extent that they cover the production areas and the population of the district.
Since the building of the cultural and educational center is a compositional element as
a community center of the village, it should be an integrated cultural center, combined
with separate or joint buildings on the land allotted for its function.
The site of the cultural and entertainment center will be constructed in the public
center of the city or in the green zone of the residential area with a total area of not
more than 0.5 m at least 12m away from the streets located on the red line. The
following will be located on the site: Cultural and entertainment center complex; car
accommodation for guests with 20 - 25 s / c
(20 - 25 seats / car); A ring road with a width of not less than 3.0 m around the
cultural center; water capacity (basin) for fire safety with d = 6m, depth h = 2.4m -
fountain; a recreation area with chairs - an indoor courtyard, which will be built in
addition to the atrium-type Cultural and Educational Center complex; a farm yard with
a production workshop and a garage with 4 j / m (including two buses); the remaining
area is entered by green zones and added to the water flow path. In front of the
building, it is necessary to create a ceremonial public area with fountains, flower beds,
waiting areas and rest areas with long benches. It is also required to provide
temporary accommodation for cars and buses for 5 - 10 s / c (in the transverse profile
of the road zone strip belonging to the side of the city streets).
Rooms for recreation and entertainment in the building of the Cultural and
Educational Center, rooms for clubs and studios, rooms for information purposes are
accepted per student on the calculation area, including:
- Table for 1 person - 3 m2, with a computer - 4-6 m2;
- 1 person, in the class of sculptor, music and choreography, aerobics - 5-6 m2, for
some types of classes - 7-8 m2;
- Studios 9-12 m2 for classes, 12-15 m2 for classes with a teacher, at least 18 m2
for classes on two pianos.
- Guest and circle rooms for 10-15 people must be at least 30 m2, orchestra, dance,
choreography classrooms 50-60 m2 and more.
The height of choreography, aerobics, shaping, dance halls must be at least 4.2 m,
the height of acrobatics and circus training halls - 6-8 m. The halls should have dressing
rooms with rest rooms.
Painting, ganch carving, sculpture, ceramics rooms must be equipped with
appropriate technology. Administration and service rooms are provided at the rate of
6 m2 for per employee. The auditoriums of the building of the cultural and educational
center shall be designed taking into account paragraph/section 3.109. Hall, stage or
stage dimensions must be provided in the project assignment. Pop halls with 100 seats
must have an area of at least 27 m2, in halls with 150-200 seats must have an area of
at least 36 m2. There will be a presidium and artists' rooms (from 15 m2) in front of
the pop halls. In the foyer and dance halls, in small auditoriums, the pop hall area
should be at least 12 m2 (4x3 m). Audience rooms of cultural and educational centers,
concert and theater halls should be designed taking into account the requirements of
spectator institution’s needs and requirements.
Spaces
Art & Art History
Theater and Dance
Music
Museum of Art Space Distribution
General Art & Art History
Interdisciplinary Theater and Dance
auditoriums Music
Museum of Art
General
Interdisciplinary
Scenario
Museum (No Storage)
Center for the Arts Program

There are Twelve Steps to Prepare for a Cultural Facility Project

Step 1: Understand the Complex Challenge
Many communities have big dreams when it comes to building arts and cultural
facilities. As one of the most complex challenges an institution can undertake, such
projects can be daunting to the board, management, and community leaders because
of the complex nature and infrequency of such projects. Cultural facility projects can
involve an intimidating range of tasks depending on their type, scope, and scale,
including artistic program planning, business and operating models, governance
structures, site selection, land acquisition, architectural design, board development,
staff changes, government regulations, high-level financial responsibilities, and
unprecedented capital campaign fundraising efforts. Some projects require a decade
or more to go from initial concept to groundbreaking to grand opening—a marathon,
not a sprint.
Step 2: Clarify Mission and Vision
To build the case for support, organizations must articulate why a cultural facility
project is key to achieving its mission and vision and fulfills a vital community need. A
new or adaptive reuse building project should grow out of an organization’s or
government agency’s basic purpose or fit within a community’s urban or cultural
master plan. It should be urgently needed to fulfill the mission, meet the market
demand for the arts and culture field, and enhance community impact. The idea for a
facility project may start with a single individual. However, without consensus among
everyone (the board, artistic leadership, community stakeholders, town or city
councils, and management) that the project is mission-critical rather than elective, the
idea will not be prioritized, advanced, and ultimately brought to fruition. A one-day
leadership summit can be a helpful tool to build consensus on vision and establish next
steps in the planning process.
Step 3: Integrate Facility Planning into the Organizational Strategy
Cultural facility projects can transform an organization and community in both planned
and unforeseen ways for years to come. However, managing a major building project
while simultaneously running a thriving organization can be an underestimated
challenge. It may be unrealistic to ask current staff and management to take on a major
facility project in addition to regular responsibilities. Appropriate human and financial
resources must be allocated to move the project from inception to completion.
Creating a strategic plan that addresses short- and long-term needs for both the
organization and the project is a key first step in preparing for a major undertaking.
Objective advice, assessment, and strategic planning from an expert in cultural facilities
planning or an outside source can be instrumental and cost effective at this stage,
including baseline cultural facilities summit to test ideas, concepts, and strategic
direction.
Step 4: Engage the Right Team
After establishing the initial goal of the facility, its overall feasibility from a financial
and market-driven perspective
needs to be tested. Extensive objective data must be gathered and specific
space/program utilization plans must
be created. An outside specialist can play a vital advisory role in leading the group of
experts that the project
requires, such as architects, theater planning consultants, museum planners,
acousticians, fundraising counsel,
project cost consultants, real estate developers and brokers, operational/capital cost
analysts, or site planning,
zoning, traffic, engineering, and landscaping firms. A cultural facilities and program
planning specialist can provide
an objective and comprehensive analysis as to whether the project should proceed and
how to best achieve the
desired results through effective timing and stakeholder engagement strategies. Using
such a structured, team-
oriented approach in the early planning stages will effectively launch the project while
strengthening its credibility
with major prospective donors, government agencies, and community leaders.
Step 5: Mobilize Fundraising and Financing
Cultural facility projects are rarely accomplished without a major fundraising effort,
such as a capital campaign
with a goal far higher than the current annual operating budget. Inviting major donors
to join a special task force
early in the planning stages can formalize their involvement, answer questions, address
concerns, and encourage
early consensus. In the case of newly formed organizations or groups whose primary
focus is the cultural facility
project, it is critical to develop relationships that also attract financial and community
support. Including prospective
donors and community leaders at this early stage helps them understand and support
initial project investments
that are required beyond post-opening annual operations. It will also pay dividends
when the time comes for the
campaign planning study and eventual facility capital campaign. Their investment will
create broader community
ambassadorship and advocacy by all involved in the facility, program, and fundraising
planning process.
Step 6: Conduct a Needs Assessment
An objective inventory of program utilization and space needs is fundamental to
cultural facility planning. It is
essential to accurately project the number of productions, performances, rehearsals,
exhibitions, classes, rentals,
meetings, and other events that a facility needs to accommodate in future years. A pro
forma annual schedule takes
that one step further. Itemize the number of square feet each of the proposed uses
needs, as well as other
requirements like special equipment, HVAC, parking, guest services, concessions, and
administrative and storage
space. Outside organizations that plan to use the facility will need to be interviewed
(preferably by an objective
source) to determine their needs and aspirations. Those discussions may result in a list
of overlapping or conflicting
space needs, demands, and desires that must be addressed early in the planning
process. A facilities specialist
can conduct this assessment and advise on how a new space can balance and
accommodate multiple uses that
best serve community needs. In the end, not all the space, equipment, and calendar
requests will make the final
cut, as no cultural facility can meet every need.
Step 7: Analyze the Market and Engage the Community
Objective analysis of the audience market area, census data, population trends,
economic forecasts, tourist figures,
seasonal residents, and a host of other demographic factors can provide quantifiable
data to demonstrate the need
for new, renovated, or larger arts and culture spaces. An analysis of like-sized
communities and their cultural spaces
can be an effective way to save time and money in the long term. It may also signal the
need to scale back plans
or redefine the goal. How can potential audience attendance be projected accurately?
Involving the community in
focus groups, surveys, and town hall meetings can provide valuable insights on topics
such programming, ticket
pricing, and willingness to support new building plans. A survey provides an
opportunity to share organizational
vision, communicate potential impact, demystify the planning process, and spark
excitement.
Step 8: Benchmark the Competitive Environment
Once the organization, municipality, or community has confirmed its facility needs, it
is equally important to
understand how the new, expanded, or renovated venue will be viewed from an
external stakeholder perspective.
Are there other facilities with competing visions and program offerings? An in-depth
inventory of similar or
neighboring facilities and spaces can ratify the need for a new facility project and avoid
creating duplicate spaces.
Such a gap analysis can also inform adjustments to the original vision for the proposed
facility. It is also important
to consider the business and governance models of similar facilities in comparably
sized communities.
Step 9: Commission a Preliminary Facility Concept
Using all this information, the project planning committee and a design team, typically
led by specialists in cultural
facilities and program planning, are now ready to prepare a preliminary facility
concept. At this time, a basic building
program itemizing the net square footage of each space within the venue should be
created. The architect then
translates this space list into a bubble diagram that shows the relative sizes of the basic
building functions, a simple
space adjacency diagram, or even some hand-drawn sketches. With the organization’s
guidance, the design team
can offer suggestions on levels of construction quality, interior finishes, performance
equipment, location, and other
factors affecting building cost.
During initial discussions, organizations may be tempted to ask an architect to prepare
a rendering for fundraising
purposes. Creating such an artistic drawing may be premature and even unwise. An
artist’s rendering can be hard
to read and, because most building projects go through an iterative planning process,
the initial concept may look
nothing like the final design. Some donors may object to the particular design approach
in the rendering. A design
that seems fixed too soon may spoil an otherwise successful campaign planning study
interview that should be
entirely focused on programming and community impact rather than architecture.
Step 10: Anticipate Capital and Operating Cost Estimates
The special requirement analysis, construction quality statements, and basic diagrams
of the pre-design facility
concept allow the project cost consultant to make a preliminary order-of-magnitude
construction cost estimate. New
facilities can have a major impact on an organization’s ongoing financial operations—
affecting artistic programming,
ticket sales and admissions, staffing, insurance, and utility costs. Precise, long-range
forecasts of the organization’s
financial operations are essential. These should encompass the planning, design,
construction, and fundraising
phases as well as opening year and several years of stable post-opening operations.
Detailed financial operating
estimates prepare the organization for the new venue’s impact on future annual
budgets. Many organizations see
major donors increase annual giving levels as a result of excitement about a new venue.
Step 11: Commission an Integrated Campaign Planning Study
Capital and operating cost estimates, endowment needs, program and facility plans,
ancillary space requirements,
and intended staffing structures are just a few crucial factors to develop a draft case
statement that fundraising
counsel can use in campaign planning study interviews. Such a study will test the case
statement, determine a
community’s capacity and willingness to support the project, and identify the
components necessary for campaign
success. Candid feedback from prospective donors on their interest in and willingness
to support the project is
essential. Engaging independent outside counsel to conduct confidential interviews
can be helpful in maintaining
strong relationships with donors. Share the organization’s vision and demonstrate that
the individual, family,
corporation, or foundation is valued enough to participate in the interviews. The
objective discussions and
recommendations will provide an opportunity to develop action plans that ready the
organization to launch the
project or to re-think its relevancy as currently envisioned.
Step 12: Create a Community Treasure
A major cultural facility project may happen only once in a generation—lasting for
decades and becoming beloved
landmarks, visitor attractions, philanthropic statements, centers of civic pride, and
community symbols. To turn a
big idea into a vibrant reality, it is imperative to be thorough in the initial planning
stages. Following a pre-determined
 planning process, gathering data and feedback from the community, and creating an
integrated program, facilities,
fundraising, and financing plan will ensure great ideas become unique treasures.
Undertaking an arts and cultural
building project can be daunting. Nevertheless, hundreds of communities have
successfully accomplished them
over the years. Above all, every project requires passion and a vision that drives arts
and culture leaders to create
long-lasting benefits to the community and a wonderful new addition to the local
landscape.

INTEGRATING LANDSCAPE WITH CULTURAL CENTER DESIGN

The five steps of the design process include: 1) conducting a site inventory and analysis,
2) determining your needs,
3) creating functional diagrams,
4) developing conceptual design plans,
and
5) drawing a final design plan.
The first three steps establish the aesthetic, functional, and horticultural requirements
for the design. The last two steps then apply those requirements to the creation of the
final landscape plan.
The process begins with a site inventory and analysis of soil, drainage, climate
conditions, and existing vegetation. This is a critical step for both plant selection and
placement and locating family activities and functions. It's important because the same
climate conditions that affect the plants—temperature, humidity, rain, wind, and
sunlight—also affect you, the user. The next step is to make a list of your needs and
desires—this helps you determine how your yard and landscape will be used. The site
and user analyses will also help you establish a theme for the form and style of your
design. The functional diagram is then used to locate the activity spaces on the site and
from this diagram a conceptual plan is developed. The last step is a final design that
includes all the hardscape and planting details that are necessary for installation.
Throughout the design process there are ten important things to consider:
1. Understand your site for plant selection and activity location
2. Remember the user by considering what you want and need
3. Use a form and/or style theme to help determine shapes and organize spaces
4. Create and link spaces by designating activity areas and linking with elements
 5. Consider the function of plants for both the environment and the user
6. Structure the plantings by using massing and layering techniques
7. Highlight important points such as transition areas and focal points
8. Pay attention to detail in the materials, the colors, and the surface textures
9. Take time into account for the growth and maintenance of plants
10. Protect your resources by using sustainable design practices

Gedeo Cultural Landscape

Gedeo is located in the southern part of Ethiopia. Gedeo occupies the Eastern margin of
the Southern main Ethiopian Rift between the Abaya Lake (1200 meters asl.) in the
West, and the mountains that reach 3200 meters asl. located to the East. The terrain
ascends to the East with slopes between 30-40%. Gedeo as a whole extends for 150 km
distance from North to South and 40 km from East to West. This hilly terrain with an
area of 1347 km² hosts over 1.5 million people. This makes it the most densely
populated zone in the Southern Nations, Nationalities and Peoples' Region, Ethiopia. It
is bordered by the Sidama zone in the north, and by the Oromia region in the south, east
and west. The exact location of the Gedeo zone lies between 5 50 26 to 6 12 48 N
Latitude and 38 12 48 to 38 13 02 E Longitude. Gedeo is very well known for its
Indigenous Knowledge based self-sustaining land use system. The Gedeo cultural
landscape has multiple facets. The Agroforestry system developed and adopted locally
to sustain lively hood and the megalithic monuments, Rock art sites and traditionally
protected ritual forests which abound the land scape are its main components.
The Gedeo have developed an agro-forestry system which is regarded as a sustainable
land use system in the country hosting a large number of population density of over
1300 people per km² and harboring a rich bio-diversity. The agroforestry system is the
most prominent defining feature of the cultural landscape. The components of the
agroforestry are mainly coffee, enset, indigenous trees, root crops, shrubs, etc. in
which, every plant occupy distinct layers of the vertical space of the plant community
(Legesse, 2014; Teferi, 2007; Kippe 2002). The Gedeo agro-forestry system has evolved
for a long time without remarkable degradation and loss of biodiversity because it is
based on indigenous knowledge of environmental management and land use system.
The Gedeo indigenous knowledge may also contribute for our understanding of
cultural response and adaptability to climate change.
Which is the point to interact the design with all the people landscape culture or with
their way of developing landscape.
 OTHER THINGS TO CONSIDER WHILE DESIGNING CULTURAL CENTER
1. Resonating with the people | Cultural Centers
The impression of the structure should attract a young demographic that will use the
center to its fullest. The keen insight into the current trends is pivotal in defining spaces
and influencing people in the right way.

2. Historical references
A cultural center plays a vital role in retaining values and beliefs for the community.
The integration of architectural features, forms, materials, and artwork help imbibe
the past as an active part of the future. Moreover, a fundamental feeling of oneness is
established, creating a brotherhood that caters to the community.

3. Multidisciplinary Spaces
Recognizing spaces and their utility before construction is important. Though a
community’s likes and dislikes can be studied, designing an individual space for every
whim and fancy of the people is not always possible.

Multidisciplinary spaces are conceptually open-ended as they look to cater to multiple

functions. Whether the space is a closed room or an open plaza, they have a massive
footprint with minimal obstructions.

4. Finding the function | Cultural Centers

Identifying the cultural center’s use is the first step in defining it. The function is more
often than not derived from the passions or needs of the community.

5. Integrating Nature
Nature is a timeless part of any culture and demands the respect and attention of
architects that choose to build on it. Aside from determining the energy efficiency of a
building, the integration of nature into a structure connects people to the land.
6. Contributing to the Future
Sculpting the community for the years to come is another intricate part of any cultural
center. A vision for the society in the coming years is just as important as retaining the
values of old.
7. Material and Form
The built form surrounding people for every second of every day influences them and,
in turn, the community. As a direct result of this influence, culture is established. Hence,
retaining the structural context is vital to the success of any cultural center looking to
harness the community’s spirit.
8. A Reason
Designing a public cultural center usually has deep-seated reasoning behind it. Cultural
centers and their concepts are always at the forefront of designs. However, the funding
and reasoning behind the timely construction always revolve around a particular
motive.
9. Religion | Cultural Centers
Nothing brings a community together like religion. Identifying the people and their
faiths while devising a project is another way of translating culture into design.
10. Intuitive Design
Making products easy to use. With an intuitively designed product, customers will
understand how to use it without much effort.
 1. CULTURE OF GEDEO
2.1 BACKGROUND HISTORY OF GEDEO

• Gedeo is a zone in the SNNPR of Ethiopia. Gedeo is an

exclave of the SNNPR consisting of a narrow strip of land
along the eastern escarpment of the Ethiopian high lands.
The culture of the Gedeo is distinguished by two features.
The first is the baalle, a tradition of ranks and age classes
similar to the Gadaa system of the Oromo people.
Beckingham and Huntingford describe the system as seven
grades that span a 10-year period of birth, creating a 70-
year
cycle. The oral traditions showing that the Gedeo acquired the practice from the Guji Oromo, with
whom they have had, historically, a close relationship. The origin of the Gedeo is not well known.
one story in which the Gedeo trace their origin to the aboriginal tribe called Murgga-Gosallo,
perhaps the earliest people to have lived in the area. AnotherGedeo tradition traces their origins
to one Daraso, who was the older brother of Gujo the ancestor of the Guji Oromo, and Boro
ancestor of the Borana Oromo, two pastoral groupswho live to the east of the Gedeo.

Gedeo is a Highland East Cushitic language of the Afro-Asiatic family spoken in south central
Ethiopia. Alternate names for the language include Derasa, Deresa, Darassa,Geddeo, Derasanya,
Darasa. It is spoken by the Gedeo people, who live in the highland area, southwest of Dila and east
of Lake Abaya
 2.2 HERITAGES OF DILLA

STELAE

• Stelae is an upright stone slab or column typically bearing a

commemorative inscription or relief design, often serving as a
gravestone.
• The Phallic stelae which are typically cylindrical in shape,
and rounded at the top, with incisions the stelae appear to have
marked graves.
• The other is anthropomorphic stelae’s these stelae's are
generally flattened and are marked with symbolic human
features,they have a cylindrical shape.

A. THE TUTU-FELA

• Both phallic and anthropomorphic stelae are erected on a

large cairn oriented in an area of 800 m square (40
m
long by 20 m wide),
• The site is situated on top of small hill crest.
• All stelae in Tuto-fela are still in erect position except 5
of them that are lying on the ground.
• Only 54 of the stelae are complete, whereas the rest
arebroken.

CHARACTERS

• The size of the stelae in Tuto-fela varies between 0.70

mto 2.50 meters in height
• Material wise they are shaped by pounding using stones
• They used anthropomorphic elaborated and decorated
• They try to express human characters on the steals

SOCIAL VALUES
• They are used for burial
grounds for the leader of the
community or mostly it is burial
ground for males.
• It is also used for
accommodating materials
associated with the leader’s
wealth and property the
leaders are buried with their
wealth.
• Currently, the site is protected by the Regional Culture and Tourism Bureau.

B. CHELBA-TUTITI

• It is located 20 km far from wenago

• The stelae at Chelba tutiti are distributed in over
16,800-meter square area and number 1530 monuments.
• The majority of the stelae are found lying on the
ground;181 are found in tilted position, out of which 114
are broken whereas 67 are intact.

CHARACTERS

• The short massive stelae rarely measure more than

4- meter-high, with an average height of 3.20m, and
an average diameter of 65 cm.
• There is no much decoration on Tutiti stelae
except on very few of them little decoration.
• They used curved characters like cylindrical
shaped stelae's curved and circle decorations.

SOCIAL VALUES

• Social values it used to be burial ground for the male group of the society.
• Currently, the site is protected by the Regional Culture and Tourism Bureau. It is
fencedand has a permanent guard.

C. SEDE-MERCATO

• Formerly known as Sodota, the Sede-mercato is

found in Yerga-Chefe Woreda.
• The site maintains great integrity At Sede-mercato,
the stelae are erected on tumulus and the majority of
them are found still standing.
• The site was hidden from outside people by bushes
and was considered sacred by the local community.
 CHARACTERS
• The megalithic stelae of Sede-mercato are various
insizes with cylindrical, flat and quadrangular shape.
• These stelae were worked and shaped using
hammerstones and metal tools.
• Unlike at Tutu Fela where most of the stelae
areanthropomorphic and decorated with lattice pattern.
• The stelae are proportioned with human scale
liketutu fella they expressed human body or
anthropomorphic.

SOCIAL VALUES
• They use the site for as it were covered by bushes on the site different religious activities.
• The proportioning methods in different shapes like cylindrical shapes in
rectangularshapes and in quadrangular shapes.

D. SAKARO-SODO

• Sakoro-sodo site is located in Gedeb Woreda

(district) in Halo Hartume peasant association.
• Sakaro-sodo megalithic site contains an alignment of
43 phallic stelae which are oriented regularly from those
only 8 are intact and in standing position.
• Whereas 15 broken bases which show one third
orless of the original size are found on the ground.

CHARACTERS
• The size of the steles varies between 2.17 meters and
3.52 meters. The greatest circumference is 2.75metres.
• The most common decorated stelae include
verticallyengraved snake, circular concentric rings.
• Material wise it use different hammering stone
tocarve the stelae.
SOCIAL VALUES
• It is archeological site or burial ground for the elder peoples on the site in which it
haveconnection with the community.
• The steals express natural characters on their faces by different kinds of decorations
thefirst one is using of snake as decoration.

E. SACRED FORESTS
• Sacred forests insure biodiversity conservation due
tospiritual and cultural significance to local communities.
• They are often burial sites and are relatively
undisturbed with often large and very old trees.
• It is prohibited to cut trees from sacred forests
orsacred sites without the permission of Songo leaders.

• Songo is a traditional institution and sacred place where cultural, environmental, social,
and political issues are dealt with.
• Due to a fear of calamities and ancestral curses indigenous trees are never cut or injured.
• Gedeo sacred forests are divided into three broad categories, namely graveyard,
spiritualand cultural sacred forests.
• Traditionally, the Gedeo never cut trees, kill animals and transgress into such sacred
areasbelieving that ancestral spirits would be angered and invoke inflictions.

VALUES

• It could be burial site it could be also be used as the forest is spiritually related
withcommunity.
• Environmental value it preserves the nature of the site including the waters and
differenttrees and wild life's which located in the forests.
• It has architectural value as the sites have high aesthetical values it provides good and
nicenatural environment which is interacted with the human.

2.3 CULTURAL CLOTHES

Gedeo cultural clothes are four colors blue, yellow, red, black
 Weaving Hand Loom Weaving
Fabrics are woven on looms using distinct sets of yarns or
threads that are interlaced at right angles. In most of the
industrialized world, weaving artisans are dying out, due to
the increased use of the power loom

Spinning
Women spin the
cotton into thread that's loaded onto spools and then
strung onto the loom's warp (lengthwise thread)
and weft (the thread that weaves in and out of the
warp thread). The sound of handloom weaving is
unmistakable.

Weaving Process

Weavers commonly use two different types of looms. The

first is the meweroria, where the weaver throws thebobbin
side to side. The other type is the ground loom. With the
ground loom, a hole is dug on the ground and the weaver
moves the shuttle with his feet alternately upand down to
interweave the threads.

2.4 CULTURAL FOODS

Enset provides year-round food, fiber, animal feed and medicine. The main food types obtainedfrom
enset are kocho, bulla and amicho.
• Kocho is the fermented starch that is obtained from decorticated (scraped) leaf
 sheathsand grated corms.
• Bulla, a starchy liquid, is obtained during scraping of leaf sheaths and grating of corms.
The thick liquid is allowed to dry and this produces a white powder rich in starch.
• Amicho or boiled corm pieces, is consumed in a similar manner to other root and
tubercrops however, enset is staple and co staple food for 20 million Ethiopian
people
Kunchisa Waramo Ota Burato

2.5 DERARO HOLYDAY CELEBRATION

• Deraro is gedio people’s new year that celebrated by gathering together and
acknowledgingGod for the blessing them by crops. Deraro means flower. It is thanks giving
time.
• Deraro is a Gedeo people celebrate right after the harvesting period. The people will grant
thanks to God as he keeps them safe from disease or any sort of bad things, as to him.
• A two-day language and cultural symposium, along with sporting events, will be held as
part of the program to inter-lace the culture and language of the zone and create unity
among the people, he said.
• It further indicated that giving recognition for Abba Gadas, religious leaders, youths and
public figures for their contribution to maintaining peace, harmonious relation among
people and environmental protection would also take the priority.
• There is this celebration called Huluqa that represents a transition to a bright future. During
the festival, Abba Gadas and religious leaders will lead the way followed by the people to
represent leaving behind previous year’s bad happenings.
• Celebrated by dancing singing and eating foods that gathered from different places. Also,
there is lecture about bad and good habits of the society
• The Deraro festival which has been celebrated for more than 540 years
 2.6 DEMOGRAPHIC AND SOCIAL STRUCTURE OF DILLA

Social structure
Dilla town is mainly based on age, sex and occupation. Accordingly, children, youth and women are
usually expected to be loyal to the men adults. The elderly as the fathers of the society has greater
respect from the society. Based on the 2007 census conducted by the case,this tow has a total
population of 59,150, of whom 31,068 are men and 28,082 are women.
The majority of the inhabitants were practiced Ethiopian orthodox Christianity, with 41.65%of the
population reporting that belief ,39.2% were protestant, 15.9% were Muslim, and 2.68% were
catholic.

Sex 1994 2007 Current

Male 17,346 31,068 53,600

Female 16,388 28,082 48,500

Total 37,734 59,150 112,900

population

Age characteristics

Age of the respondents shows concentration of an active age group population in the site under
consideration. To continue with population with Age category between 15 to 49 accounts for 76%
from the total on the other hand 22.5% are less than 17 years of age and the rest belong to those
people with age category between 50 to 64 years of old.

Socio economic
The economic activities of dilla town is dominated by persistent production like coffee and fruits in
the back yards of the residential house, commercial activities highly concentrated along the highway
and major stream roads. There are three market places one is at the center of the town where so
many shops, hotels and restaurants are found/ the other two are open market at the east and west
periphery of the town.

Vegetation cover
Dilla town is almost covered by 80% covered by green and the rest part are open spaces. The soil type
is good for ventilation fertility and good for building construction it does not have shrinking properties
the site surrounded by many endemic trees.
 ENEFITS OF CULTURAL CENTER IN DILLA

Economically
• To show all culture of Gedeo and SNNP with different version.
• To create social interaction between the people.
• To maintain beautiful town in urban scale
• To maintain full serviceable art and cultural center in SNNP
• To increase the number of tourists.
• To solve problem related to unemployment.

Socially

• To know the background of the town because it’s the base for the future
• To inherit the culture from the elders to this generation
• To make this generation know about their culture because this is the main reason why
conflicts are increasing in all surrounding
• There are many economical values that happen by following the existence of this
cultural center: - Economic activities like hotel, pension, coffee house, shops, Bajaj
drivers etc
• Give job opportunities for the people who know the culture well and interested in
studying the culture
• To show intangible things using audio visual system
• To create recreational area for the youth, children’s, elders and for all people in all age
level
 3.1 GENERALCONSIDERATION FOR CULTURAL CENTER

3.1.1 ACCESSIBILITY

• Safely and easily accessible – by foot, bicycle, car, taxi, and public transport
• It should be well lit and ventilated with as much use of natural light and ventilation as
possible. Entrance should be well-lit and ventilated
• The doorway leading to the entrance should also have a ramp facilitating easy access for
disabled
• Location should be considered including opportunities for external signs and posters, and
other visual displays
• The harmful effects of solar glare and heat gain can be dealt with by architectural detailing
of window shape and depth of reveals, as well as by installing external and internal blinds
and curtains. Treatment to the glass such as coatings may also reduce the effects of
overheating and glare.

3.1.2 SITE LAY OUT

• The cultural center should look for opportunities to establish vehicular and pedestrian
connections with adjacent properties to encourage convenience, amenities, and positive
synergies for the users.
• Building placement should be oriented to shield utilitarian components (parking, loading,
trash areas, and utility boxes) from the most prominent view sheds.
• Enliven streetscapes and pathways with adequate shade trees and Plantings.
• Create public gathering places of varying scales.
• Reduce impacts on the land and environment
• Make the site (cultural center) inviting and transparent with a strong sense of arrival.
• Orient buildings to maximize passive solar opportunities and allow active solar
technologyinstallation.
• There must be a strong visual connection between indoor and outdoor spaces Architectural

3.1.3 BUILDING LAYOUT

The physical shapes of our surroundings also have psychological effects which can favorably
influence the environment. Large rooms, such as exhibition halls, cafeteria, or auditorium require
higher ceilings, for a sense of airy freedom, than do small offices and conference rooms; corridors
should be offset, widened occasionally, and given a view in order to avoid the feeling of
interminable constricting length; an atmosphere of spaciousness, or lack of confinement, can be
created by making some interior partitions.
 This is particularly important when the plan design involves large areas of interior spaces,made
possible by a climate-conditioned system. Orientation The building’s layout and orientation must
allow the air to flow through the buildings and the reflected sunlight to penetrate into the
buildings without letting the heat and rain water to come into the building.

3.2 PRINCIPLES AND CHARACTERISTICS OF CULTURAL CENTER

The cultural center it includes different type of spaces:

• Administrative spaces
• Auditorium
• Museum
• Educational & public spaces Libraries
• Studio rooms
• Commercial spaces
• Outdoor spaces
An architect can control human behavior with his design by understanding the way that a
building's design can influence a person's behavior.

• Using attractive landscape

• Make it easily accessible
• Increase open spaces
• Increase aesthetic of buildings

3.3 MAJOR DESIGN CONSIDERATIONS

LAND USE PLANNING ISSUES TO BE CONSIDERED

• The required critical mass of cultural and entertainment facilities supported by mixed
commercial, hotel and residential uses;
• Opportunities for increased pedestrians and direct pedestrian connections to public
transport facilities;
• Comprehensive planning for landmark buildings and streetscapes providing opportunities for
informal street and open-air performance;
• Planning for complementary private and public development including themed dining and
retailing, cinemas, museums and galleries, public art integrated into commercial and
residential development, regional parks and local open space, arts village and arts market
areas;
• Planning for new small scale cultural and entertainment facilities supported by mixed
commercial and residential uses;
• Identification and prioritization of 'surplus' publicly owned building stock held by government
departments for reuse for cultural purposes

BUILDING SETBACKS
• The setback from the main boulevard must be no less than 10 meters, in order to
createa small square.
• The distance between buildings and the side street shall be no less than 2 meters;
there shall be no building concession directly to squares, greens, streets or public
spaces, without the 2 meters’ setback.
• The setback from the neighboring lot shall be no less than 3 meters.
• The distance between buildings shall comply with fire control requirements

ACCESS AND ENTRANCE

• Separate access is required for visitors, staff, goods and service vehicles and emergency
requirements. It is usually desirable to provide alternative entry for public which is
independent from that used by conference visitors. This not only facilitates management
and security, but also enables two or congress events or exhibitions to be run
independentlyin parallel.
• Easily identifiable entrance and exit, and clear external signage
• Level ground floor with loading docks of sufficient size for all services including client
vehicles.
• Separate entry for venue staff.
• Storage space (for several days) for pre-congress consignments including exhibitors’
displays materials.

ACCESS FOR THE DISABLED

• Specific provisions include allocation of parking spaces, identification of routes, provision of

ramps, toilets and facilities designed for wheelchair and other disabled users in each main
area.

PARKING
• Coach parking bays off street.
• Sufficient undercover parking for attendees.
• All parking, including venue staff parking, should be secure.
• Direct access to venue lobby.
• Clear directions for exiting car park.
 • Parking requirements for cars and other vehicles will depend on some extent on the
proximity and conditions for use of alternative facilities, such as municipal car parks, as
well as on the availability of public transport.

SERVICE VEHICLES
• Plenty of space for parking while unloading/loading goods and equipment with a dedicated
car park for vehicles delivering goods or equipment.
• Parking for trucks with sufficient height and turning space where staging, audio visual or
other equipment needs to be packed in or out within short period of time.

HORIZONTAL AND VERTICAL ARRANGEMENTS

• The single floor organization provides easy access among the rooms and between the
conference areas and other functional elements. This plan imposes few structural or
mechanical constraints, permits total freedom in the planning of the rooms, and allows
foraccess from the refreshment break areas to outdoor terraces and patios.
• Vertical stacking of auditoria and/or main halls is more economical in the use of land, and
enables space below tiered floors to be more efficiently used. Unit costs of construction
arehigher and vertical transportation of people and goods may present difficulties.

CIRCULATION

Circulation and spatial management are import for efficiency, connectivity and defines how weuse and
move within the landscape. Design with flow and circulation creates a more balancedand versatile
landscape. Create a sense of discovery with movement through a space. Have destinations and reward
the viewer with surprise, discovery and a new perspective to heightenthe experience. Creating spaces
with specific functions and purpose will result in a greater a more balanced use of the space.

• Linear arrangement of spaces with beginning, middle and end.

• A loop where the essentially linear storyline leads naturally back to the beginning.
• An arrangement of core and satellites where each theme or detailed treatment of a
subjectleads back to a central introductory or orientation areas.
• A more complex scheme combining linear, loop and core-satellite arrangement of spaces.
LANDSCAPE
The landscape is the green part of the city that weaves throughout - in the form of urban parks,street
trees, plants, flowers, and water in many forms. The landscape helps define the characterand beauty
of a city and creates soft, contrasting spaces and elements
The creative articulation of space is the most prominent aspect of urban design. The followingartistic
principles are an integral part of creating form and spatial definition
 HE ELEMENTS OF LANDSCAPE DESIGN
It can be visualized through the use of varied type of plants such as ornamental plants, herbs /kitchen
garden, shaded plants and palm in most of their lawn and front yard area. In the other hand, hardscape
also plays a role in the landscape setting as attractive components that balance the natural
environment. Among the hard landscape elements that commonly used in the landscape in a housing
area including gazebo as a place to meet, pergola, concrete pots, waterfeatures, fountains, swings and
benches.

Furthermore, the use of these elements will increase the benefit and value to the house property.The
element that used in landscape design normally is different based on culture and the life of society
the elements of landscape design that have in housing also influenced by demographic factors of the
user.

LANDSCAPE COMPONENTS

• Circulation system
• Furnishing
• Parking
• Plant material
• Lighting

THERMAL COMFORT
The thermal comfort is usually attributed to two main parameters:

• The thermal comfort feeling due to the balance between accumulated and lost
caloriesin the body; and

• The control of the climatic conditions including sun position and radiation,
temperature,humidity and winds.
Climate control measures are classified in two categories:

• Natural or passive measures including building orientation, position and dimensions

ofthe openings, quality of materials, thermal insulation, planting next to the
buildings…

• Artificial or active measures including mechanical or electrical means such as

heating,ventilation or air conditioning.
In order to control the climate effects simple measures should be taken by designers at the beginning
of the design process. These are:

• Orientation of buildings
• Orientation of the building from other building
• Shape and design of the building
• Landscaping
• Appropriate building elements
• Adequate building materials, including façade materials with possible reflection of
thesunlight, insulation materials to increase the walls and roof thermal inertia.

LIGHT
Good lighting design involves locating illumination sources so that work areas receive adequate light
free of glare and excessive contrast or shadow. Both natural and artificial light must be controllable to
eliminate glaring shafts of sunlight or to darken the room for projectingpictures. It is desirable to use
some incandescent lighting, strategically placed, to create pointsof variety.

Natural light should be the prime means of lighting during daylight hours, wherever possible.
However, supplementary electric lighting will be needed when day lighting recommendationscannot
be achieved throughout a space.

Exterior lighting may be needed for roadways/pathways, floodlighting of the building at night and
floodlighting of outdoor sports areas.

FUNCTIONALITY
When designing a cultural center, a certain balance should be established between quality of function
and cost efficiency. This balance may be obtained by various means such as

• Optimal number of spaces: the number of spaces is primarily determined by the rate
ofoccupancy.
• Grouping of spaces: spaces should be grouped in blocks according to function and
interrelation. This would ensure an easy identification of activities and their
corresponding spaces, an easy communication between different spaces,

• Integration of needs: the location of spaces within the school should follow
fundamentalimperatives such as sanitation and hygiene rules, functional comfort and
security regulations.
 CHAPTER FOUR
4. DESIGN CONSIDERATION AND GUIDELINES

The art and culture center it includes different type of spaces

INDOOR SPACES OUTDOOR SPACE

1.Administrative space 1.Parking area

Car parking, Bus drops off, Cycle parking
, Disabled parking

2.Auditorium 2.Amphitheatre

3.Museum 3.Security & service

4.Educational & public spaces 4.Coffee area

5.Studio rooms
6.Libraries
7.Workshop area
Weaving. Tailist. Metal work. Wood work,
Poetry

8.Commercial spaces
Book stores, cafeteria Restaurant,
Shops for cultural wearing
.

.
4.1 INTERNAL SPACES
ADMINISTRATIVE SPACES

Head office the administrative office area provides a space for the cultural center head. Thisoffice is the
most powered & controller.
• Locate at a place which allow a visual connection to main entrance, visitors, some parking area
• Personal secretary
• Separated by partition or furniture
• Table, chair, locker is common furniture
• located at the entrance of the office
• Reception
• located around the entrance
• mostly series of chairs are placed
• it may or not visual contact with head
• Rest room
• sink, wash basin,
• Store
• located near to the head of the of the office
• locker, chair & table are provided

4.1.1 MUSEUM AND ART GALLERY

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’.

The word museum has classical origin and it has been taken from the Greek word mouseion, means
“seat of the Muses”—the nine Geek Gods and designated a philosophical institution ora place of
contemplation. Use of the Latin derivation of ‘mouseion’ is museum and it had been restricted in
Roman times mainly to places of philosophical discussion. Both museums and cultural centers are
non-profitable, permanent cultural institutions which are opened to the public and in the service of
society and its development.
 SCOPE OF MUSEUM

A museum must have a Scope of Collection Statement. It guides a museum in the acquisition and
management of those objects that contribute directly to the museums’ mission, as well as those
additional collections that the museum service is legally mandated to preserve. It is the
 critical basis for managing museum collections. Scope is referenced in museums’ management
planning, resource planning, long-range interpretive plan, and other planning documents that may
affect the collection of museum objects or their use.

Functions of Museum
Museum is the public service organization and deals mainly with objects its exhibition and visitors. It
has some responsibilities towards the objects and society and thus, performs manifold activities on
regular basis. Image and popularity of a museum depends upon its public friendly approaches,
entertainment, amusement facilities in addition to its contribution towardsresearch and education.
Here are the lists below about the various functions of a museum, which may vary from one museum
to other according to the nature of collection.

DESIGN CONSIDERATION

Circulation; of the space indicates the layout and direction of flow for visitors. Circulation should feel
natural and logical; the patron may feel herded and become resentful.
• Density, clarity, and emphasis are other aspects to consider when planning a new space.
Galleries and individual objects should be placed so that everything appears to have equal value
and importance.
• Lighting, Natural light is ideal, but it must be filtered, and not too intense
• Backgrounds; can refer to: props, panels, or a simple painted wall can serve as a background
to an object or display. These must be subdued enough that they do not detract from the
objecton display, but they should be complimentary.
• Position, arrangement, and display of an object is important to consider. Height of the display
case, order in which objects are placed or hung, and the grouping of certain objects are all major
factors in how patrons interpret objects

Layout diagram for a small museum

Display area arrangements
 inclination of 30°.
Angles less than 30° can result in reflections at the upper
edge of the picture

Light: - Lighting is vital for spatial impression and enjoyment of art. Different light colors andbeam
spreads, different designs of natural lighting and arrangements of luminaires
Light spaces – designed to meet the relevant needs of the exhibition. Avoiding cast shadows
Directional light produces form shadows. The hard contours and Obscure origin of such shadows is
disturbing. Cast shadows are avoided by ensuring an appropriate mix of diffuse anddirectional light.
Lighting Design Considerations
Calculation of the optimal positioning of a luminaire for pictures
on a wall room height, Observation zone, size of picture and
optimal viewing angle.
The upper edge of the picture determines the spotlight
Opening angle (B: 30°, C: 60°) with a constant angle of
Day lighting
The other main element of museum design is the vision of a person from the displayed object.There
must be enough space to view the portrayed object. As the size increase so as the spacein between.
Most of the time top window is designed for museum to avoid shadow cast on the portrayed object,
sometimes there may need direct day lighting. Beyond day lighting artificial light is mandatory due
the variable nature of sun lighting.

Object Display
Open Display recommended distance to place objectsout
of “casual arm’s length taken from the edge of any
proposed form of barrier Distance max; 700 mm
Distance min; 600 mm
All objects on open display must be secure from theftand
damage

Display and Circulation Spaces for wheelchair access

 The minimum width of space for one Wheelchair user is 760mm; space for two
Wheelchair users together is a minimum of 1675mm.
 exit routes should be 1500mm wide, but may be reduced to 1200mm wide where
unavoidable
 The circulation route around displays can be reduced to 900mm wide. Entrances and
doors: level access should be maintained at all entrances and exits, with a circulation
space of 1500mm2 at each door.
 4.1.2 ART GALLERY

Art gallery is a building or space for the display of art,

usually from the museum’s own collection. It might be
in public or private ownership and may beaccessible to
all have restrictions in place. Althoughprimarily
concerned with visual art, art galleries areoften used as
a venue for other cultural exchanges and artistic
activities, such as performance arts, music concerts, or
poetry readings.

Paintings are the most commonly displayed art objects; however, sculptures, decorative arts,
furniture, textiles, costumes, drawings, pastels, watercolors, collages, prints, artist's books,
photographs.

There are many features of galleries that must be considered when organizing and planning anew
space. Some of those aspects are

• Circulation
• Density
• Lighting
• Backgrounds
• Arrangement and labels.

EXHIBITION SPACES
The main concern of galleries is collecting, documenting, preserving, researching, interpreting and
exhibiting some form of material evidence. Normal human angle of vision starts 27 degrees up from
the 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. It is necessary to
allow 3-5m2 hanging surface per picture, 610m2
ground surface per sculpture of a model, and 1m2 cabinet spaces per 400 coins. A favorableviewing
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 for pictures and a viewing range of 3.003.65 m for modals.

Figure: Flow diagram of collection item movements in the operation of collection services:
exhibitions, conservation and collections management

Acoustics and zoning

Functional zones should be provided with surface or sub-surface materials that dampen impactsounds
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.

4.1.3 AUDITORIUM

The Auditorium space types are areas

for large meetings, presentations, and
performances. The part of a public
building where an audience sits, as
distinct from the stage, the area on
which the performance or other
object of the audience's attention is
presented.

Size of auditorium: - An area of at least

0.5m2 per spectator is to be used for sitting spectators. This number is derived from a seatwidth x row
spacing of at least 0.45m2per seat, plus an additional minimum of 0.5m x 0.9m.
I.e. approximately 0.05m2 per seat
 FORM OF AUDITORIUM
“Form” is the result of planned relationships between spectators and performers dictated by the
anticipated function or use.
The “end stage”
Pros: Well suited to lecture film or slide presentations. Cons:
Not very conducive to close relationship between performer
and spectator.

• Wide fan arrangement

A wide fan arrangement with maximum limits of 130 degrees
from a central focus or focal point will bring the distant
spectators closer to the performer.
Pros: Brings distant spectators closer to the performer. Cons:
Limits space usage to primarily speech relatedactivities.

• The 3/4 Arena

Characterized by a 180 degree to 270-degree angle of
inclusion and can improve aural and visual contact between
spectators and performers.
Pros: Improves the hearing and visual contact between
spectator and performer.
Cons: Film presentation is almost out of the question

• Arena Stage
This offers seating in a full 360-degree containment
Pros: Offers 360- degree visuals, so you can bring
more spectators closer to the performers.
Cons: This limits the arena physically; it allows very
little (or no) expansion.
Seating capacity
The maximum capacity of an auditorium depends on the format selected and on aural and visual
limitations set by the type of production. other factor includes level, sightlines, acoustics, circulation
and seating density, as well as the size and the shape of plant form/ stage.
 Auditorium seating dimensions

The range of human body dimensions is wide; while in most auditorium a single size of seat isprovided.

Seating Arrangement

Two basic types of arrangement: - •

Multiple-aisle

• Continental

Multiple-aisle: Basically, a multiple-aisle arrangement will have a

maximum of 14-16 chairs per row with access to an aisle-way at
both ends

Continental: - In a continental arrangement, all seats are located in a central section. The maximum
quantity of chairs per row can greatly exceed the limits established in a multipleaislearrangement
 Seating geometry
Seating is usually laid out in straight or curved rows focused towards the platform or stage. Further
forms are the angled row, straight row with curved change of direction and straight rows within
emphasized blocks of seats.

Wheelchair location
Regulations require a minimum of wheelchair users, 1/100th of the audience capacity,whichever if
the greater.
Their Location as discrete areas can be at the rear, front, side or within the Seating.Wheelchair
dimensions
Length of row: - A maximum of 16 seats per aisle.

Volume of room
This is obtained on the basis of acoustic requirement reverberation) as follows:
• Play house approx. 4-5m2/spectator
• Opera approx. 6-8m2/spectate or of air volume.

Elevation of seating
Sloped floors; - sloped floors, with level terraces for each row of seating, help provide theproper
sightlines from the audience to the stage.
Elevation of seating (gradient) in auditorium is obtained from the line of vision. Since the
spectators sit in ‘gaps’, only every second row requires full sight elevation (12cm). Special
 mathematical literature addresses the subject of sight problems in theatres in which the randomness
of the distribution of different size of spectators is also taken in to account. The row of spectators
should be formed in circular segment with respect to the stage, not just for better alignment but also
to achieve better mutual perception (feeling of integration).

Stage form
There are three stage forms: full stage, small stage and set area.
• Full stage: - more than 100m2 of stage area. Stage ceiling more than 1m above top of
proscenium arch. An essential feature of a full stage is an iron safety curtain which separates
the stage from the auditorium in the event of an emergency.
• Small stage: - area no more than 100m2. No stage extension (secondary stage), stage extension
 (Secondary stages), stage ceiling not more than 1m above top of proscenium. Small stages do not require
an iron safety curtain.

• Set areas: - raised acting areas in rooms without ceiling projection. The peculiarity with set areas
is in the regulations with respect to curtains and scenery. They affect the operation, not the
planning, of set areas.
 Experimental auditoria fall within the set area definitions.


4.1.4 LIBRARY

A library is a collection of sources of information and made accessible to a defined community for
reference or borrowing. every community member can access the collection including small children,
students, professionals, and the elderly Libraries are of three basic
types:
• Lending libraries with minimal or no reader areas.
• Reference libraries with large reader areas and few or no lending facilities
• Libraries with reference/study areas plus lending facilities
 Space requirements
• Books
• Collection space (including public electronic workstation space)
• User seating space (readers)
• Staff work space
• Meeting space

Book storage
There are two forms of library in relation to book and other material storage

A. Closed access, where the general users have to ask for the material they need.
B. Open access, where some or most of the material is on open shelves on which the users
maybrowse
Even in this type of library, however, some closed storage will be required for valuable stockand for
obsolescent material.

Standard space requirement overall

Library/media center 0.35-0.55 m2/pupil. Broken down into:
• Book issues and returns, 5m2 per workplace, and catalogue space of 20-40 m2
• Information: librarian, media advisor, media technician, etc. 10-20m2 per person Compact
book storage in 1000 volume stacks at 20-30 volumes/meter run of shelving. Free access book
case approx. 4 m2 including circulation space, reading places and catalogues.
Furniture standards for library

4.2. COMMERCIAL
4.2.1 Bookshops

Each customer in a bookshop requires privacy, direct access to the books displayed, and sufficient light
for comfortable vision while reading. Book buying customers like to browse, and nothing is less
attractive to them than crowded circulation.
 4.2.2 Gift shops

The problem in designing gift shops is complicated by the variety and number of objects which
must be displayed. Merchandise is seldom bought without seeing and handling either the actual
object or a sample. Cleaning and arranging such a varied, fragile stock is a seriousmaintenance
problem.

4.2.3 Jewelry shops

Jewelry stores range from the small shop which sells fine, expensive, and exclusive items to the
commercial credit store which displays and sells in volume, and then to the costume jewelry shop.
Jewelry, at all prices, is an impulse item and so needs good visual appeal. The better jewelry store is a
small store with a small front and may be the open or see-through type. Displays are on an individual
basis, uncluttered, very well illuminated, for close examination. This store is never self-service; it
requires individual leisurely attention to the customer

Shop standards
Shelf units in shop from which customers pick their own good should be no higher than 1.8m& no
lower than 0.3m above floor level. The wall, floor, counter tops & work surface in fish mongers,
game & poultry shop & bathers must be washable. Suitable materials therefore
include marble ceramic tiles, glass & plastics. MEN’S WEAR & WOMEN’S WEARMen’s wear

In men’s wear Counters and clerks' aisles are seldom, if ever, included in clothing sales
space, but are ordinarily required in combination with wall cases for haberdashery and
accessories.

Women’s wear

In shop for women’s clothing & haberdashery, the turnover of stock must be rapid.as stylesquickly
become obsolete. Most articles, other than accessories which are easily damaged or lost, are
currently at least partly sold on a self-service basis.

4.2.4 CAFE AND RESTAURANT

Café Are the places for relax and recreation, so the most important is their design and
atmosphere of comfort, harmony and uniqueness.
It is well to block out space allowances according to functions that the facility is to perform.Calculate
area requirements in terms of
• Volume and type of service,
• Amount and size of equipment to be used,
• Number of workers required, • Space for needed supplies, and
• Suitable traffic area.
• To be able to eat comfortably, one person requires a table area of around 60cm wide by 40cm
deep. Although an additional 20cm of space in the center for dishes and tureens is sometimes
desirable, an overall width of 80-85cm is suitable for a dining table.

Kitchen for cafeteria

Kitchens should face north-east or North West and be adjacent to vegetable/ herb garden and cellar.
This Kitchen Should Help Us to Prepare or Provides Do Good Meals for officers or customers.it is
Largely Social in Character. It Should Be Adaptable.

Space in restaurant
Dining area:

• A room in w/h meals are served & eaten.

• Space for dining area is usually based on the nº of sq. ft /person seated × nº of person seated
atone time.

Space requirement

• For child 0.7m²

• For adult 1.1m²
• Small tables such as 1.5m²-1.9m²are economical for seating.
• Tables w/h are longer 1.2m are difficult for waiters to serve.
• A lunch counter will have a minimum width of 0.4m & a maximum width of 0.6m-0.7m /seat.
• U shaped counter makes a maximum use of space & reduce travel.
• For linear counters we will need a depth of 2.5m-3.3m this will provide 0.9m-1.2m public aisle.
• A minimum passage area is 0.4m. between chairs & including chair area table should
bespaced • 1.2m-1.5m apart.
 Kitchen

• A space within dwelling or establishment where food is prepared & cooked.

• Should be well located internally with respect to the store, dining room& utility room. •
Kitchen & preparation area will equal about 50℅ of the dinning spaces.

Refrigerated & low temperature store

We can get the area of store by the quantity stored at one time. Store also varies by type ofitems
stored. From the store area: -
• 20 to 35 % for meat.
• 30 to 35 % for vegetables.
• 20 to 25 % for dairy produces.
• 10 to 25 % for frozen food.
• 5 to 10 % for carryover food

Dish washing area

• The dimension may be 0.7-0.9m for single tank machine 1.5-1.8m for sink or 2.1to over 9.1m.
• The free work aisle b/n the sink & other equipment should be 1.2m wide.

Employee facilities

• Include locker & lounge area, toilet, shower, hand basins, dining room
• Entrance should be located clearly.

Locker & lounge area

• Is space here employees’ properties will be put or placed? There are individual lockers
orcommon cupboard.
• The depth from front to back should be minimum of 0.5m.
 Toilet & shower
• Should be separated from food area by hall way or double entrance. Provide 1 wash bowl
for8-10 workers.
• one toilet stool for 12-15 women
• one urinal & toilet every 15 men

STANDARDS RELATED TO DISABLES ACCESSIBILITY

The principal disabilities of concern to the architect are those that mean the person has to use a
wheelchair for most or all of the time. That person is handicapped by this in two significant ways: first,
the eyes and arms are permanently at sitting rather than standing level, and second,the wheelchair
itself takes up to five times the space needed by an ambulant person.

4.3 OUT DOOR SPACES

4.3.1 DESIGN CONSIDERATIONS

• The parking layout should provide continuous flow of traffic through the lot.
• The design should allow safe movement of pedestrians from parking to buildings.
• The design should allow for appropriate landscaping of the parking areas without
conflictingwith site lighting.

HANDICAPPED ACCESSIBLE PARKING SPACES

Handicapped accessible parking spaces must be located on the shortest accessible route of travel to
an accessible facility entrance. An accessible route must always be provided from the accessible
parking to the accessible entrance. An accessible route never has curbs or stairs, must be at least three
(3) feet wide, and has a firm, stable, slip-resistant surface. The slope along the accessible route should
not be greater than 1:12 in the direction of travel.

CAR PARKING LOT SPACE CAN ARRANGED IN FOLLOWING WAYS

A. 0o parallel to road entry and exit to parking by difficult suitable for narrow roads.
B. 30o angle to access road easy entry to parking bay and exit. Uses a large area.
C. 45o angle to access road. Good entry to parking bay and exit. Relatively small
area/parkingspace.
D. 60o angle to access road. Relatively Good entry and exit to parking bay. Small
area/parkingspace. Arrangement often used.
E. Right angle to road (parking spaces 2.50m wide). Sharp turn needed for entry and exit. Is ideal
for compact parking layouts used frequently

BUS DROP OFF / PICK UP

• Separate auto and bus drop-off locations
• For safe and efficient movement, separate each
different type of circulation
• Where possible, plan a one-way loop near the
building entrance as it is safer Provide
separate
bus zones with a large waiting area to handle.
• Locate the bus loading areas near the
appropriateentrance.
• Locate bus loading/unloading areas away from
general parking and the associated traffic flow.

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 to
something immoveable
 DISIABLE SPACE
• Handicapped accessible parking spaces must be located on the shortest accessible route of
travel to an accessible facility entrance.
• An accessible route must always be provided from the accessible parking to the accessible
entrance.
• An accessible route never has curbs or stairs, must be at least three (3) feet wide, and has a
firm, stable, slip resistant surface. The slope along the accessible route should not be greater
than 1:12 in the direction of travel.

• SECURE / SAFE
Exterior security protection: surface parking is located such that unsecured parking areas arevisible
from adjacent buildings and safely illuminated.
Lighting: lighting is used to provide security and access within the parking area at night. Thelighting
design should prevent off-site lighting and night sky pollution.
• SUSTAINABLE
Site improvements: typical site improvements directly related to the surface parking include
ground cover and planting, storm water handling systems, vehicle parking surfaces and
roadways, sidewalks directly abutting parking areas, signage, and buffer zones between parking and
public areas

4.3.2 AMPHITHEATER

• An amphitheater is an open-air venue used for

entertainment, performances, and sports.
• In modern usage, an amphitheater is a circular,
semicircular or curved, acoustically vibrant
performance space, located outdoors.
• An amphitheater is a large open area surrounded
by rows of seats sloping upwards.

FORM CONFIGURATION OF AMPHITHEATER

• Were oval or circular in plan, with seating tiers that surrounded the central performance area,
like a modern open-air stadium.
• An "amphitheater" may consist of theatre-style stages with spectator seating on only one
side,theatres in the round, and stadia.
• A natural amphitheater is a performance space located in a spot where a steep mountain or
a particular rock formation naturally amplifies or echoes sound, making it ideal for musical
andtheatrical performances.
DESIGN DETAILS
• Selection of site is critical point. Topographical,
meteorologicaland acoustical properties should be taken in to
consideration.
• Slope of seating should not be than 12degree for better audibility and visibility
• Noise level should not exceed 40 decibels.

SECURITY AND SERVICES

SECURITY
Many security problems can be avoided by keeping the number of access points to the site
and to the building to a minimum. The ideal is one public entrance monitored by
information staffand/or attendants, and one staff entrance controlled by the security staff
responsible for key control and the checking of deliveries and outside contractors.

SERVICES
For general guidance see appropriate chapters in this book. 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. 8.05 Risk management is also greatly
enhanced if a separate heating/air conditioning system or independent control system is
provided in collection areas.