Museum Design Data Collection
Museum Design Data Collection
Museum Design Data Collection
DATA COLLECTION
HISTORY OF MUSEUMS…1
I
USER BEHAVIOR………………………………….3
N
CIRCULATION SYSTEM…………………………..4
D
BYLAWS & STANDARDS…5
E
X
LIGHTING…6
SERVICES…7
SUSTAINABLE DESIGN…8
Museum
For Culture and Art
History Of Museums
CONTENTS
REF: http://www.academia.com/
PURPOSE :
The purpose of museums is to collect, preserve,
interpret and display items for the education of
the public on one’s history.
HISTORICAL BACKGROUND :
• Museums began as a private collection of
wealthy individuals, families or institutions of
art and rare of curious natural objects and
artifacts.
• In the ancient time period, these private
collections gained a higher social status in
the world.
TYPES OF MUSEUMS : An children’s museum
provides interactive exhibits
and programs to stimulate
informal learning experience
for children.
The architectural design of the museums is the ability to create a special and an
inspiring envelop which provides its visitors with different experiences,
according to its cultural message.
MUSEUMS OF ANCIENT TIME (B.C)
• Under the Egyptian dynasty Pharaoh Akhenaton had built a library to preserve antiques
and precious collections.
MUSEUMS OF THE MEDIEVAL (5TH -15TH CENTURY)
• With the spread of Christianity in Europe, the art collections were mainly preserved in
Princess’s palace or in the churches and were used economically by funding arms during the
war and for trading purposes.
MUSEUMS OF RENAISSANCE (15TH - 17TH CENTURY)
• The Passion of collecting antiques has increased and spread all over the European countries.
• Started by king Matthias I in Hungary followed by Frances II in France, Charles V in
Spain, Charles I in England.
MUSEUMS OF THE LATE 17TH CENTURY
• At the end of 17th century the nobles and royals started keeping their collections in
"Cabinet of Antiques" which contained paintings, antiques and some pieces of natural
history.
• All these Palaces where later converted into museums officially. ex: Louver Palace was
turned into Louver museum by Louis xiv to present is royal collection.
MUSEUMS OF 18th CENTURY
• The public interest for art and culture became
higher after the industrial revolution. Museums
were for aristocratic class but were opened for
few days for public.
• New museums such as British Museum in London
and Louvre museum in Paris had been built.
• In the 18th century museum building
architecture was as follows:
• The museum was with the cross shape plan,
with a dome in the center surrounded by
Louver Palace
exhibition halls covered by vaults.
• They used solid elevations in case of using
top lighting. The main elevation was full of
column, natural forms, with big entrance.
British museum
• The light source was always from the natural light
by top lighting, so they used the clear story lights,
and large numbers and areas of windows in the
elevations to get the maximum advantage of the
natural light.
MUSEUMS OF 19TH CENTURY
• After French Revolution, French Campaign on
Egypt and Damadcus was returned with Egyptian
artefacts which lead to the new museums and
more palaces turned into museums.
Metropolitan museum
MUSEUMS OF 2OTH CENTURY
• After the Three Russian revolutions, new
museums had been established to glorify
these.
• Adopting a different ideology of the new
architectural pioneers which had effected
the design concept of museums to be
different from the past. The Winter palace
• New scientific and Technological progress
resulted in new types of museums: science
and technology, anthropology and ethnology,
archaeology, arts and natural history.
MUSEUMS OF 21ST CENTURY
• New functional spaces have been added:
• Preservation and restoration rooms: labs and
workshops
• Educational and cultural spaces: library, The London
lecture hall, showrooms and conference halls science museum
• Entertainment spaces: restaurants, cafeterias,
and stores for gifts and souvenirs.
• The shift to the digital design technology
offered the architects new solutions for
their problems. the new technology
provided new ways of presenting artefacts,
lighting techniques and virtual visits for the
museums.
The Denver museum
EVOLUTION OF HYDERABAD’S ARCHITECTURE:
• Architecture is quite literally the face of a civilization; it largely depends on cultural, technological and
economic imprints.
• Different rulers build differently, at times merging completely diverse techniques to create a new style
and different time frames bring about whole different meanings to buildings of their eras.
1. MAURYAN EMPIRE MOSTLY BUILT WITH BAMBOO STICKS, DRIED LEAVES, AND
MUD.
2. QUTUB SHAH’S DYNASTY DIFFERENT FROM ISLAMIC ARCHITECTURE SEEN IN
(ISLAMIC STYLE) NORTHERN INDIA.
ARCHITECTURAL STYLES WERE LARGELY MOULDED ON THE
WESTERN LINES WITH MUGHAL IDEALS.
IT GAVE RISE TO A COMPLETELY NEW STYLE IN
FORM, CALLED INDO-SARCENIC OR INDO-PERSIAN.
EX: GOLCONDA FORT, CHARMINAR, QUTUB SHAHI TOMBS
CHOWMAHALLA PALACE
3. AURANGZEB’S REIGN MOSTLY PATRONISED ISLAMIC ARCHITECTURE, CULTURE DURING NIZAM’S PERIOD
( NIZAM’S) AND THE INDO-PERSIAN STYLE WAS HUGELY EMPLOYED.
THEY WERE INSPIRED WITH THE BRITISH ARCHITECTURAL
STYLE (WOOD, BRICK STONE, LIME MORTAR WERE USED)
• When the Nizam signed into the Indian Union and Hyderabad was to be made a
state capital, the need for an infrastructure was sufficed through new public
buildings.
• Concrete, was then new and an increasingly important building material. Most of the
buildings made of concrete slabs and frames were skinned with brick and painted or
clad with stone.
• After a couple of decades of steadily brewing architecture scene globalisation
came knocking. The potentials are manifested as tech parks, estates and huge GOLCONDA FORT
multinational offices.
• Concrete, brick and glass were the materials which were in common use. DURING QUTUB SHAH’S DYNASTY
Salar Jung museum
: Introduction :
• The major portion of this collection was acquired by Nizam Mir Yousuf Ali Khan popularly known as Salar Jung III.
• The zeal for acquiring art objects continued as a family tradition for three generations of Salar Jungs.
• In 1914, Salar Jung III, after having relinquished the post of Prime Minister to H.E.H., the Nizam VII, Nawab
Mir Osman Ali Khan, devoted rest of his entire life in collecting and enriching the treasures of art and
literature till he lived.
• The precious and rare art objects collected by him for a period of over forty years, find place in the portals
of the Salar Jung Museum, as rare to very rare pieces of art
• With a view to perpetuate the name of Salar Jung as a world renowned art connoisseur, the Salar Jung
Museum was brought in to existence and was opened to the public by Pandit Jawaharlal Nehru, the then
Prime Minister of India on 16th December, 1951
• The collections of the Museum and the library were transferred from Dewan Deodi to the new building in the
year 1968, and two more buildings were added in the year 2000
Telangana State Archaeology Museum :
Introduction :
• Also called Hyderabad Museum.
• one of the richest repositories of antiquities and art
objects in the country and is the oldest museum in
Hyderabad state .
• The present Museum building reflects the Indo-Islamic
architecture with subtle domes, high arches, stylistic
windows and projected eves.
• By nature, the museum has remained mainly research-
oriented, bringing out several publications about its
varied collection
COLLECTION :
• This museum's main attraction is its Egyptian mummy, which was
location : Archaeology & Museums.
located in public garden, Hyderabad,
India.
History :
• In 1930, VII Mir Osman Ail Khan, wanted
to preserve the Hyderabad's state's
heritage, had named the museum as
Hyderabad Museum.
• The Museum was formally inaugurated in
the year 1931
• It was named as Andhra Pradesh State
Archaeology Museum in 1960.
• The Hyderabad Museum was
subsequently renamed, as the State
Museum under the Department of
brought to Hyderabad by the son-in-law of
VI Nizam Mahbub Ali
Khan, and donated to the last Nizam Mir
Osman Ali Khan.
• A huge gallery on Buddha dating
back to last century. The museum
has a wide variety of
archaeological artifacts from the
Nizam,Kakatiya dynasty.
• From 1950 on, the museum
started collecting works of
contemporary artists and, in
1968, its name was changed to
the AP State Museum and
administered by the state
government of Telangana.
• There are many galleries devoted
to stone sculptures, bronze works,
manuscripts, modern paintings,
and textiles, among others.
• The collection is spread across
two floors of the heritage
building, two floors of semi
circular galleries, in a separate
contemporary art pavilion
building and in an annex
building located behind.
POLITICAL AND SOCIAL AMBIENCE
• In last 15 years, Hyderabad emerged as IT and Pharma hub of India
• After the formation of the Telangana state, the government claims to safeguard its rich culture along
with a larger Vision to make Hyderabad as a Global Smart City meeting the long term needs of the city.
Proposed projects:
• Ccc twin towers
• High rise buildings all around Hussain sagar
• Secretariat
• Multi level flyovers
NEW SECRETERIAT
• The Telangana new Secretariat Building design submitted by noted
architect Hafeez Contractor has apparently been approved by the Chief
Minister K ChandraShekar Rao.
• The government of Telangana is keeping open its options of going for a new
Secretariat buildings complex even after its initial plans to have the complex on
the premises of Chest Hospital at Erragadda first and, then, on the defence
land at Bison Polo Grounds in Cantonment area in Secunderabad later hit the
roadblock for various reasons.
Source:
• The U shaped design comprises five new blocks with five floors each. The CMO https://www.telanganastateinfo.com/telan
na-new-secretariat-building-design-
block will be built in the existing location, surrounded by two blocks on either plan- images/
side. The century-old G-Block in the Secretariat, which has survived several
demolition attempts earlier due to resistance from heritage lovers, is set to be
razed soon to pave the way for construction of the new Telangana Secretariat.
DISPLAY AREA &
SPACE
REQUIREMENTS
CONTENTS
2.1
DISPLAY AREA
2.2
PARKING STANDARDS.........................2.2.1
1500m
REFERENCE:
https://www.britishcouncil.in/sites/default/files/guid
elines_for_museum_display.pdf
SCULPTURES
• Recommended distance to place objects out of ‘casual arm’s length’ taken from the edge of the object to
the edge of any proposed form of barrier- 600mm minimum.
600mm
REFERENCE: https://www.britishcouncil.in/sites/default/files/guidelines_for_museum_display.pdf
Manual of Museum Exhibitions edited by Barry Lord, Maria Piacente
• A curio (or curio cabinet) is used to display
collections of artefacts, clothing. OBJECT DISPLAY FOR CHILDREN
• Most curios have glass on each side, or possibly
a mirror at the back, and glass shelves to show
the entire figurine.
2100m
Arrangement of objects in display area
PARKING
• Entries
• Services and security
• Approach to parking
• Walkway from parking
• Entrance to lobby
Many security problems can be avoided by keeping the number of access points to the site and to the
building to a minimum.
Such as
• service entry
• staff entry
• loading and docking
• main entry
• entry to the parking
• Minimum of 2-line way
• Turning radius of 5m-12m
• Clearance height of minimum -4m
• when a vehicle travels round a curve the
road width it occupies is greater than
the track width on.
STANDARDS
•Parking stalls should be built to BARRIER-FREE
accommodate larger cars.
•Surface parking for two car spaces shall be
•The larger cars have an over-all
provided near entrance for physically
length of 5.7m,over-all width of
handicapped persons wit max.travel distance
2.5m.
of 30m from building entrance.
•Ramp angle must
•Guiding floor materials shall be provided
not exceed 7
•Width of parking bay shall be min. of 3.6m.
•Limit of front
approach angle is
14.
VEHICULAR DIMENSIONS
DISPLAY AREA SPACE REQUIREMENTS
PERCENTAGE OF TOTAL DISPLAY
DISPLAY CATEGORY ARTICLES UNDER
AREA
DISPLAY
HISTORY OF TELANGANA
(FORMATION)
RELIGION MANUSCRIPTS
8%
FESTIVALS PHOTOGRAPHS
LANGUAGES
CUISINE
MANUSCRIPT
LITERATURE S BOOKS 10%
DOCUMENTS
CLOTHING CLOTHES 5%
MODELS
ARCHITECTURE 15%
PHOTOGRAPHS
SCULPTURES SCULPTURES 15%
PAINTINGS PAINTINGS 15%
NUMISMATICS COINS 4%
JEWELLERY JEWELLERY 8%
WEAPONS WEAPONS 5%
PERFORMING ARTS MUSICAL INSTRUMENTS
DANCE INTERACTIVE DIGITAL
15%
MUSIC MEDIA AV ROOM
SHADOW PUPPET SHOW
TOTAL DISPLAY AREA / PERSON - 2.8 TO 4.6 m2 (CONSIDERING THE PEAK HOUR FLOW AS 500)
(SOURCE: The Engaging Museum: Developing Museums for Visitor Involvement-By Graham Black)
SPACE PEOPLE AREA/PERSON (SQM) REMARKS
SECURITY (24X7) 4 4 -
TICKET COUNTER 2 2 -
HELP DESK 2 3 -
CAFETERIA 50 2 -
STORAGE - - 200 SQM (MIN)
OPEN AIR THEATRE 300 1.5 -
RESEARCH CUBICLES - 5.0 – 10.0 -
AV ROOM 250 2 -
LIBRARY 10 2 -
WORKSHOP AREA 50 2 -
INFORMAL PUBLIC - 0.5 -
GATHERING
SPACE
DISPLAY AREA IN THE PREVIOUS TABLE
LOADING/UNLOADING - - 50 SQM (MIN)
5m height clearance
DIRECTOR’S OFFICE 1 14 -
CONFERENCE ROOM - 2.5 -
CURATORIAL OFFICES 4 9.3 -
OPEN WORK STATION 5 6.0 -
USER GROUP
AND
BEHAVIORAL
STUDY
It is in Vitruvius’ words “Architecture is the art that combines utilitas,
firmitas, venustas, technology and beauty. Not only the objects of
architecture are important but also their ‘audience’.”
3.5 CASESTUDIES
• VARIOUS FACTORS CONSIDERED
• DESKTOP STUDIES
• GANDHI SMARAK SANGRAHALAYA
• LIVE CASESTUDY
• SALARJUNG MUSEUM
DIFFERENT USER GROUPS
The different user groups expected and considered while designing a museum are:
• Age • Visitors
• Gender • First timers
• Purpose/ Interest • Researchers
• Size • Non- Visitors
• Ability
• Life stage
REF: (http://webarchive.nationalarchives.gov.uk/20120215211132/research.mla.gov.uk/evidence/documents/audience%20knowledge%20digest.pdf )
AGE
Ages 16+ are considered for a general museum.
Classified into teenagers, adults, elderly.
Various types of museums attract different age groups.
This factor also decides the accessibility to rest areas, toilets and other circulation.
GENDER
Females tend to visit museums and art galleries more than male in the
age group 30-50.
Male cover more area (footpace) than female while walking.
PURPOSE
Hierarchy of motivations-
Spiritual 3%, emotional 11%, intellectual 38%, recreational 48%.
For art galleries social motivational is lesser and the spiritual motivational reasons increase.
Only 20% of the total visitors of a day may be re visiting , all others are generally first
timers.
ABILITY
Different age groups have different walking speeds and capacities.
Usage of the rest areas depends on various factors- age, waiting or satiation.
Also disability locomotion should be
considered. WALKING SPEEDS
Average constant speed generally assumed in museums is 3km/h with hovering speed 1km/h .
REF: http://ceur-ws.org/Vol-756/paper07.pdf
HUMAN COMFORT, SAFETY, AND ACCESSIBILITY
Make the transition from being a warehouse of cultural relics to being a genuine public service and
educational facility.
Some specific ways are-
• The physical space (layout, lighting, flooring) - for all human sizes.
• The content – for all cultures.
• The environment – adaptive for all ages.
Results of behavior
mapping By Benjamin
Gilman
MUSEUM FATIGUE-
Gallery satiation, body
postures, rest areas
ROUTE SELECTION-
Exit attraction, walking habit (r to l),
TRAFFIC FLOW-
Traffic coordinator for school groups,
Controlled flow without disruption
GALLERY SATIATION-
Lack of diversity and contrast
RANGE OF MOVEMENT-
Dark walls, cover more area with
an exit, diversity display
ATTENTION, DISTRACTIONS-
Exits, windows, lengthy walks
OTHER USERS
The different users of a museum are the visitors, janitors, curators, educators, administrators, security
providers.
MAINTENANCE STAFF-
Operation of museum involves 3 functions :
• Managing daily operations
• Maintenance and repair
• Security
JANITORIAL ROOM
• Housekeeping supplies & equipment such as mops ,brooms ,tools ,lawn mower ,snow
blower , including sinks for wet mop activities.
• The janitors’ closet and sink location not cause any disruption to visitors.
• Mobile shelving techniques.
MAINTENANCE AND REPAIR
• Clear lines of demarcation must be drawn between building maintenance and collection care
responsibilities, especially if there are open displays or large artefacts or specimens that are
easily accessible to cleaners.
• Building exterior and interior maintenance be done daily, weakly, monthly and yearly.
• Maintaining strict temperature and humidity control to protect artwork and antiquities is an
additional challenge.
SIZEOF STORAGE
• Equipment storage : 24 sq.M
• Maintenance block : 55 sq.M
MUSEUM ADMINISTRATION
• Museum administrators make choices, developing and executing plans so that museum collection can
be preserved and museum visitors can have compelling experience with the artifacts and specimens
from the collections.
TYPE .AREA(sqm)
Meeting room( up to
15
8 persons)
Conference room(12
25
persons)
Conference room (18
32
persons) IT ROOM
MUSEUM SECURITY CURATOR
• Most museums require at least two types of
alarm • Curator is a manager or a keeper.
systems: burglar alarms and fire alarms. • A traditional curator’s concern involves tangible
objects- artwork, collectibles, historic items
TYPES OF SECURITY SYSTEMS etc..
1. Vibration sensors
2. Environmental sensors CURATOR RESPONSIBILITIES
3. Motion detection devices • He will conduct researches on objects and
4. Saturation motion device guide public through exhibitions and
5. Cctv cameras publications.
6. Fire alarms, sprinklers, temperature controls • In large museums, multiple curators assigned
7. Eye hooks to specific area- ancient art, prints and
8. Window alarms drawings etc.
9. Security guards • As a teacher and facilitator through materials
• Visitors tend to touch, lean forward as a result and digital words.
of strong impulses.
• People observe other people’s behavior and • Physical care of collections by museum conservators.
pick up non-verbal clues about what to do. • Documentation and administration matters by museum
registrar.
TYPES OF APPROACH
• Frontal: A frontal approach leads straight to the building along an
axial path where the visual goal at the end of the approach is clear
Pedestrians
• The form and scale of entrances and paths must also convey the functional and symbolic
distinction between public promenades, private halls, and service corridors
• If the paths at a crossing are equal, sufficient space must be provided to allow people to pause
and orient themselves
ENTRANCE OF A BUILDING
• Entering a space marks a transition in the vertical plane and hence should be
made significant. Even though there is a difference in the spaces, greater visual
and spatial continuity is desired.
• The Entrance can be emphasised by a change in the level or by a gateway etc.
No matter what the form of the space is or the form of the enclosure, an
entrance is best signified by establishing a plane perpendicular to the plane of
approach.
ZONING
BASIC PLAN
• This plan shows minimum sizes of spaces required for
an effective minimum museum.
• The display area is only about 40 percent of the
building. BASIC PLAN
• Sufficient space left for future expansion.
PATH-SPACE RELATIONSHIPS
Paths may be related to the spaces they link in a number of
ways
Pass by Spaces Pass through Spaces
• The integrity of each space is maintained • The path may pass through a
• The configuration of the path is flexible space axially, obliquely or along
its edge
• Mediating spaces can be used to link the path
with the spaces • In cutting through a space, the path
creates pattern of rest and
movement within it
REF: Architecture, Form, Space & Order By Francis DK Ching
http://www.slideshare.net/kumarsadananda/circulation-11087408?qid=abb872c1-11a8-4be1-8afe-5549ea70b3c0&v=&b=&from_search=1
CONFIGURATION OF CIRCULATION FOR VARIOUS SPATIAL ARRANGEMENT
LINEAR
• All paths are linear
• A Straight path, can be the primary organizing element
for a series of spaces
• Also it can be curvilinear or segmental, intersect
other paths, have branches or form a loop
RADIAL
• A Radial configuration has linear paths extending from
or terminating at a central, common point
SPIRAL
• A Spiral configuration is a single, continuous path
that originates from a central point, revolves
around it and becomes increasingly distant from it
GRID
• A Grid configuration consists of two sets of parallel
paths that intersect at regular intervals and create
square or rectangular fields of space
NETWORK
• A Network configuration consists of paths that
connect established points in space
COMPOSITE
• In reality, a building usually employs a combination of
the different paths
• Important points in any pattern are centres of
activity, entrances to rooms and halls and places for
vertical circulation provided by stairways/ramps and
elevators
REF: Architecture, Form, Space & Order By Francis DK Ching
http://www.slideshare.net/kumarsadananda/circulation-11087408?qid=abb872c1-11a8-4be1-8afe-5549ea70b3c0&v=&b=&from_search=1
UNIVERSAL DESIGN CONSIDERATIONS
Typical Detail of Walkway
• Walkway should be constructed
SITE PLANNING with a non-slip material &
Walkways and paths different from rest of the area.
• Incorporating clear and consistent paving. • The walkway should not
• Incorporating wide pathway. (Min 1650mm for a wheelchair cross vehicular traffic.
and a • The manhole, tree or any other
walker as per CPWD Guidelines) obstructions in the walkway
• Ensuring minimal street clutter. should be avoided.
• Using blister surfacing for pedestrian crossing points. • Guiding block at the starting of
• Using corduroy hazard warning surfacing. walkway & finishing of the
walkway should be provided.
Blister
Surface/Tactile signal
at intersections
Crutches Cane
A minimum width of The radial range of the white cane is Heights of people
950 mm is desirable. a band 900 mm wide • The average height of a
-Any obstacle above 750 mm person seated upon a
cannot be detected by the white wheelchair is generally
cane less than 1200 mm.
. If there are projections above • The average height of a
this height then the projections standing person is
have generally less than 2000
to be reflected at the floor level in mm.
Width
terms of level or textural differences. • If vertical clearance of an
area adjoining an accessible
route
• The minimum clear width of an accessible route shall be 900 mm, minimum clear width of the
except at doors. accessible route shall be 1100
• If a person in a wheelchair must make a turn around an obstruction, the mm or 900 mm
. is reduced to less than 2000
REF: CPWD Standard Guidelines for the Aged & Disabled, Govt. of India
mm, (nominal dimension), a
barrier or signage to warn
visually impaired persons
shall be provided.
Doorways
• Minimum clear Toilets
opening of the • One special W.C. in a set of toilet shall
entrance door be provided for the use of handicapped
with essential provision of wash basin
shall be 900 mm. near the entrance for the handicapped.
and it shall not be d
• The minimum size shall be 1500 x 1750 mm.
provide with a step
that obstructs the • Minimum clear opening of the door shall
be. 900 mm and the door shall swing out.
passage of a wheel
chair user. • Suitable arrangement of vertical/horizontal
handrails with 50 mm. clearance from wall
• Threshold shall not e shall be made in the toilet.
b raised more than
12 mm. • The W.C. seat shall be 500 mm. from
the floor.
The optimum dimensions for accessibility for
all
Washbasins
REF: CPWD Standard Guidelines for the Aged & Disabled, Govt. of India
Changes in levels Width of kerb ramp
• If an accessible route has changes in level greater than 12 mm, then a • The minimum width of
curb ramp, ramp, elevator, or platform) shall be provided a curb ramp shall be
• An accessible route does not include stairs, steps, or escalators 900 mm, exclusive of
Ramps flared sides.
• Minimum clear width is 900mm. Slope and rise
Head room • The least possible slope
• Walks, halls, corridors, passageways, aisles, or other circulation shall be used for any
spaces shall have 2000 mm minimum clear head room ramp. The maximum
slope of a ramp in a new
construction shall be
1:12. The maximum rise
for any run shall be 760
mm
Landings
• Ramps shall have
level landings at
bottom and top of
Handrails Stairs each ramp and each
ramp run, and at
every 10 mts of run
& Disabled, Govt. of India • On any given flight of
stairs, all steps shall
have uniform riser
heights and uniform
tread widths.
• Stair treads shall be no
less than 280 mm wide,
measured from riser to
riser.
REF: CPWD Standard Guidelines for the Aged • Open risers are not
permitted on an accessible • -The landing shall be at least as
stair.Risers should be 150mm. wide as the ramp run leading to it.
• Provision of 900mm high handrail. The landing length shall be a
minimum of 1500 mm clear
• -If ramps change direction at
landings, the minimum landing size
shall be 1500 mm x 1500 mm.
SPATIAL ARRANGEMENT FOR COMFORTABLE CIRCULATION
• An exhibition layout may show the intentions of a curator in presenting narratives in a particular
viewing sequence, which implies a path visitors are expected to follow.
• The manner in which museum architecture and the layout of the exhibitions constrain visitor
circulation may determine visitors' patterns of interaction with display objects.
• Therefore, the way in which circulation constraints are structured is the central question of museum design.
• The manner in which museum architecture and the layout of the exhibitions constrain visitor
circulation may determine visitors' patterns of interaction with display objects.
Various
spatial
arrangements
possible in a
museum
Conventional Style
Modern Style
REF: Time Savers Standards (TSS)
• Museums of the modern movement reflected the ‘modern' ideals, such as “form follows function",
and “transparency" in materials and functional boundaries.
• These ideals have re-introduced museum design by suggesting that an interior can be
• Open Plan Museum: Merely defined with circulation space (form follows
function) Example: Le Corbusier’s “Museum of Unlimited Growth”
• Flexible Plan Museum: Divided by only a few partitions in a rectangular volume
(transparency) Example: Mies Van der Rohe’s “New National Gallery”
5.2 STANDARDS
• RECEPTION...............................................5.2.1
• EXHIBITION HALLS AND GALLERIES..........................5.2.2
• TYPES OF DISPLAY..........................................5.2.3
• LECTURE HALLS AND SEMINAR ROOMS..................5.2.3
• LIBRARY...................................................5.2.4
• SHELVING UNITS............................................5.2.5
• CAEE AND RESTAURENTS..................................5.2.6
• VISITORS CONTROL.....................................5.2.8
• PARKING..................................................5.2.10
5.3
BYE LAWS
• APPROACH FOR BUILDING SITES.........................5.3.1
• PERMISSIBLE SET BACKS................................5.3.2
• OTHER CONDITIONS AND RESTRICTIONS................5.3.3
• PARKING REQUIREMENTS..................................5.3.4
• FIRE SAFETY CONCERNS…..............................5.3.6
• FIRE SAFETY REQUIREMENTS…............................5.3.7
WHAT ARE STANDARDS ? WHY ARE THEY IMPORTANT AND WHY DO WE
FOLLOW THEM ?
Standards are documenting agreements containing technical specifications to be used consistently as rules ,
guidelines ,characteristics to ensure that materials , products , processes and services are fit for their
purpose .
Building standards address many of a society’s most important concerns, including public health and safety,
and environmental protection.
Because they are developed by a democratic and deliberative process that applies
improvements incrementally, the building codes also address cost efficiency and investment
value.
In large part, building codes establish a building’s quality, safety and energy performance for years to
come, because initial design and construction decisions determine operational and maintenance costs for
the life of the building.
Building equipment and other components may be replaceable and upgradeable, but many aspects
of building performance are "designed in" at the beginning, and are too expensive and difficult to
change.
Foundations and other parts of the building envelope are typically in place for 50 years or more.
Building codes and design and construction decisions affect us every day.
Some requirements such as fire safety codes and structural and seismic standards affect us in
obvious ways.
Others, such as lighting quality, acoustics and the air we breathe also have major effects on our health
and productivity.
TYPES OF STANDARDS :
CURRENT STANDARD
BASIC STANDARD
CURRENT STANDARD : THIS STANDARD IS USED OVER A SHORTPERIOD OF TIME AND IS RELATED TO
CURRENT CONDITIONS .
BASIC STANDARD : THIS STANDARD IS USED OVER A LONG PERIOD OF TIME , FROM WHICH A
CURRENT STANDARD CAN BE DEVELOPED .
STANDARDS AND CIRCULATION SPACES :
MAIN ENTRY AND EXIT
PARKING
RECEPTION , LOBBY SPACE
STAIRCASE , LIFTS
AND CORRIDORS
WASHROOMS
STORAGE ROOM
EXHIBITION AREA
DISPLAY AREA
LIBRARY
LECTURE HALLS
AND SEMINAR
ROOMS
CONFERENCE ROOMS
CAFE AND RESTAURENTS
KITCHEN AND PANTRY
FIRE EXIT
ADMINISTRATION BLOCK:
• RECEPTION:
Closed plan offices have full
height walls or partitions dividing
the space into offices with doors
are typically located along the
window wall. The advantages
include a controlled
environment, security, visual
privacy, physical separation,
external views add traditional
and systems furniture
applications.
DETAILS OF
RECEPTION AREA
AND WAITING AREA
EXHIBITION HALLS AND GALLERIES:
• It should be remembered that the usual custom is to set aside for
these purposes and area which may be as much as 50 percent of the
total space available.
• In small museums this proportion may be reduced. But the fact remains
that two conflicting needs have to be reconciled: on the one hand there
must be easy communication between the public rooms and the
museum services, since this makes for smooth relations between
visitors and staff; on the other hand it must be possible to separate
these two sections, so that they can function independently at any
time.
Shelves for
children
CAFES AND RESTAURANTS:
• Seating areas and table arrangements .There are significant
differences in seating arrangements depending on:
• Types of customer: price level, expectations
• Type of establishment: self-service, waited service, counter seating
• Grouping: table sharing, flexibility of arrangement
• Room characteristics: shape, obstructions, windows. Furniture falls
into four categories:
• Fitted counters or bars
M ov a b l t ab l e s , w
• Fixi th
ed let ag bs les
o ,r pu se udaell sy t a ls
p ed e s ta l o r c a nt i le v ered
Stackable tables
o Cafeterias are self-service establishments, commonly run
on a non-commercial basis as a service to staff and others
such as students.
o They are characterised by:
Scale of operation: usually fairly large, giving certain economies of
scale .
REASTAURANT SEATING
Circulation
Toilet
VISITORS CONTROL:
• Visitors receive the first impression of an organization from the décor and layout of the reception area. It
should be attractive,nest,business like and above all ,adequate to accommodate normal visitor traffic.
• An allowance of 0.9sq.m pr each visitor to be served may be used for space allocation.
• Individual seats are preferred over sofas
• Corner seating arrangements must always consider leg clearance.
• Circulation between low tables and the edges of chairs must be adequate to allow for the legs of persons
seated in the chairs.
• Convenient location for side tables. So that magazines,artwork,portable lighting can be placed on them ,
which areCOimNpoFrEtRanEtN.CE REQUIREMENTS:
• Conference spaces are private offices or the
conference rooms.
• In large offices it is desirable to provide a
conference room adjoining the office of a top
official and early conference rooms for official with
more limited requirements.
• Separate conference rooms permit maximum utilization
through scheduling at an appropriate level of
management.
CIRCULATION SPACES
• Widen corridors beyond the typical 8-9 feet currently in use .
• Corridors should be able to easily handle two way traffic.
• Break up corridor lengths . This will reduce travel time and also discourage kids from running through the halls.
Core space
PARKING
• The type, size and shape of a turning place in a road depends on the road use in that
particular area. Parking stalls should be built to accommodate larger cars. The larger cars
have on over-all length of 5.7m over -all width of 2.5m. The ramp angle must not exceed 7°.
The limit of the front approach angle is 14°.
HAMMER HEAD
TURNING SPACE FOR
STANDARD CAR CAR TURNING CAR TURNING CIRCLE CARS
CIRCLE RADIUS FOR AN
ENTRANCE DRIVE >OR
EQUAL TO 5-6.50M
PARKING SPACE STANDARDS FOR
AUDITORIUM:
OTHER CONDITIONS:
• The setbacks are to be left after leaving the affected area of the plot / site, if any, for road widening.
• Where a site abuts more than one road, then the front setback should be insisted towards the bigger
road width and for the remaining side or sides, the setback as at Column-10 shall be insisted.
• A strip of at least 1m greenery / lawn along the frontage of the site within the front setback shall be
developed and maintained with greenery.
These, if provided for, shall be set back as per the minimum mandatory open spaces and the setbacks shall
be clear from the edge of the balcony or corridor. However, a Portico or Canopy without access to the top
may be considered in the front open space.
PARKING REQUIRMENTS
In all buildings provision shall be made for parking spaces as per the following requirements.
The parking spaces may be provided in:
• Basements or cellars (one or more) / multi-level (allowed for plots 750sq.m and above only) or
• The Open space over and above the setbacks i.e. after leaving the setbacks to be left around the
building with adequate vehicular access, aisle, drives, ramps required for manoeuvring of vehicles, or
Cellar floor shall be used only for parking and not for any habitation purpose. There shall be ventilation to
cellars with not less than 2.5% of each cellar floor area .
In the Stilt floor a watchman room and 2 toilets (W.C), with maximum built up area of 25sq.m may be
allowed.
Such space shall not be disposed and shall be part of common facility of the complex.
For the sites above 750sq.m area it is permitted subject to fulfilment of parking requirement.
For parking spaces in basements and upper floors, at least two ramps of minimum 3.6m width or one ramp
of minimum 5.4m width and adequate slope 1 in 8 shall be provided. Such ramps shall not be allowed in
mandatory setbacks including building line, however they may be permitted in the side and rear setbacks
after leaving minimum 7m of setback for movement of fire-fighting vehicles. Access to these may also be
accomplished through provisions of mechanical lifts.
The minimum width of the drive way shall be 4.5m.
In case where the permissible set back is less than 4.6m the pillars position in stilt floor shall be so
designed that there shall be clear space of 3.6m (excluding Greenery) is available for movement of
vehicles.
Cellar shall be with a setback of at least 1.5m in the sites of extent of up to 1000sq.m, 2m in the sites of
extent of more than 1000sq.m and up to 2000sq.m, and 3m in the sites of extent of more than 2000sq.m
from the property line. In case of more than one cellar, 0.5m additional setback for every additional
cellar floor shall be insisted.
Up to 10% of cellar may be utilised for utilities and non-habitation purpose like A/C Plant room,
Generator room, Sewerage Treatment Plant (STP), Electrical installations, Laundry, etc.
Visitors’ parking shall be provided with minimum 10% of the parking area and may be accommodated in
the mandatory setbacks other than front setback where ever such setbacks are more than 6m
(excluding green strip).How ever this is not permissible in case of transfer of setback. The Visitors’
Parking facility shall be open to all visitors which shall be properly demarcated on ground .
MUSEUM FIRE SAFETY CONCERNS:
Here it is the content of the buildings which generally needs to be protected at all costs as many objects on
show in museums are irreplaceable and consequently a monetary value cannot easily be placed on their loss:
they are priceless. From a fire insurance point of view displaying priceless arti facts to the public demands the
highest levels of security and fire protection. In other words we need to be prepared to make more
compromises regarding the introduction of both passive and active measures to provide maximum fire
protection. The less sensitive the building is to the introduction of physical protective measures, the more
effective the protection can be made. Storing and exhibiting priceless objects in a priceless building is an
extremely high-risk strategy.
Modern buildings are designed to provide maximum protection and enable all occupants to exit the building
quickly and safely. However adapting a historical building is a much more difficult undertaking and a great many
museums are still housed in historical buildings. It is estimated that less than 20% of museums are modern
purpose-built structures, where the appropriate fire-protection building codes have been observed. Such
buildings will be capable of providing first class protection including: · Fire compartmentalization · State-of-the-
art fire detection and alarming equipment · Smoke control · Multiple exit routes · Tailored extinguishing systems
.
FIRE-RESISTIVE REQUIREMENTS
EXTERIOR WALLS, COLUMNS AND BEAMS :
• Load bearing exterior walls shall be 3 hour fire resistance provided the building is protected with automatic
sprinkler system.
• Columns and beams shall be 3 hour fire resistance provided the building is protected with automatic
sprinkler system.
• Non-load bearing exterior walls shall be 2 hour fire resistance provided the building is protected with
automatic sprinkler system .
INTERIOR WALLS
Exits are constructed as smoke proof enclosures;
Sprinkler control valves with supervisory initiating devices, and water flow initiating devices are provided on
each floor .
Non-load bearing interior walls shall be permitted to have no fire resistance rating based solely on the specified
construction type herein, provided the building is protected with an approved automatic sprinkler system.
PROTECTION OF OPENINGS
• Opening protection, where required, shall be fire resistance.
ELEVATOR LOBBIES
PORTABLE EXTINGUISHERS
• Portable extinguishers shall be provided at each compartment / floor of the
building HOSE REELS
• 8.3 HOSE REELS One First Aid hose reel shall be provided for every 1000 sq.m. Floor area, located in
the vicinity of an exit staircase.
FIRE PUMPS
• Fire pumps and jockey pumps shall be designed and installed per NFPA 20 based on the
hydraulic demands of the fire protection systems provided.
WATER SUPPLY TANKS
• Terrace tank with a minimum capacity of 100,000 Liters shall be installed to provide an adequate
water supply for fire protection systems.
• An underground water tank with a minimum capacity of 4.00 lakhs Liters shall be provided for
firefighting purposes.
LIGHTING
CONTENT
6.1 ROLE OF LIGHTING
• NATURAL AND ARTIFICIAL LIGHTING..............................6.1.1
• METODS OF LIGHTING…..........................................6.1.3
• OBJECTS CONSIDERED IN MUSEUM…...............................6.1.4
ARTIFICIAL LIGHTING
• Artificial light sources include incandescent, fluorescent, HID, fibre
optics, cold cathode and LEDs.
• In museums, incandescent, fibre optic and HID are the most common
light sources.
• The location and purpose of the light, along with the type of light source, become crucial in providing
• the correct amount of light and the lamp properties for interior applications in the museum.
• The intensity of light can be easily controlled.
OBJECTS CONSIDERED IN MUSEUM
Sculpture
o Wood
o Stone
o Ivory
o Glass
o Marble
Painting
o Oil
o Water Colors
Textiles
Brass Plates
Weapons
Machines
Manuscripts
Porcelain Dishes
Jewelry
Furniture
METHODS OF LIGHTING
DIRECT LIGHTING
• Widely used lighting system , in this system more than 90%
of the total light fulx is amde to fall directly on the working plane
with the help of deep reflectors.
• Its is mainly used in general outdoor and industrial lighting.
• Through out the most efficient but causes a hard shadow and glare appear during lighting.
SEMI DIRECT LIGHTING
• In This lighting scheme 60 to 90% of the total light flux is made to fall downward directly with the help
of semi direct reflectors.
• Reaming light is used to illuminate the ceiling and walls. such a lighting scheme is best suited to room
with high ceiling where a high level of uniformly distributed illumination is desirable.
• The Glare in such units is avoiding by employing diffusing globe
which not only improve thew brightness toward the eye level but
also improve the efficiency of the system with reference to
working plane. SEMI INDIRECT LIGHTING
• In this lighting scheme 60 to 90% of total flux is thrown upwards to the
ceiling for diffuse reflection and the rest reaches the working plane .
• Direct excepts for some absorption by the bowl .This lighting scheme
is with soft shadows and glare free.
• It is mainly used for indoor light decoration purpose.
INDIRECT LIGHTING
• In this lighting scheme more than 90% of total light flux is thrown
upwards to the ceiling for diffusion reflection by using inverted or browl
reflectors.
• in such a system the ceiling acts as the light source, and the glare is
reduced minimum.
ARTIFICIAL LIGHTING IN DISPLAY AREAS
Artificial lighting by definition is any light that does not come from sunlight.
It
is man made lighting, including fluorescent, tungsten, mercury vapour,
sodium vapour, halogen, compact fluorescent, etc. In addition, all artificial
light can be turned on and off with a switch.
Spot lamps :
o The directional light of spot lamps raises the brightness for exhibits –
here with an appropriate beam angle for paintings.
o Elements on the luminaire for mounting accessories – such as filters or
anti- glare flaps – are useful.
Light levels can vary depending on the type of • Use non reflective glass or film on all
exhibition, the material being displayed and the interactives, cases, displays and paintings
desired ambience. The balance between wherever reasonable. When low light levels are
conservation and display requirements must be called for, find the best compromise between
carefully considered. Objects can be grouped conservation and disabled visitor requirements.
into three categories of light sensitivity: • Consider temporary or timed illumination of objects,
o Insensitive to light: metals, stone, ceramics, by timed push
glass and enamels. button.
o Sensitive to light: oil paintings, wood, ivory, bone,
some works on paper TAKING ACCOUNT OF LIGHTING
o Textiles, art on paper, fur and feathers, dyed Where revolving exhibitions are staged in day lit
leather rooms, daylight incidence and the position of
These are the recommended minimum light showcases in relation to windows (see page 9) must
levels also be taken into account. To maximize the scope
for catering to exhibition requirements, it is
• Good lighting is extremely important for
best to ensure that day lit
visually impaired and older visitors so ensure
rooms can be fully
that adequate lighting is provided on the darkened.
vertical planes of graphic displays.
SKYLIGHTS
• Skylights are classic daylighting elements
for picture galleries.
• They provide uniform, diffuse lighting. Because
the light is admitted over a large area, the
shadows produced are soft.
• The incident daylight that passes through a
skylight reaches nearly every part of the room,
including freestanding display cabinets,
sculptures and partitions.
ARRANGEMENT OF ARTIFICIAL LIGHTING
• Public :Requires the opposite with a uniform distribution of light, and more ceiling lights
ollect and
MUSEUM exhibit art and
historic artefacts
for public education
and enjoyment,
EXAMPLE 2) Protect
• When it comes to navigating through a space the collection
we may struggle if there is not sufficient from damage,
lighting where vertical meets horizontal, an and
Example for this could be a hallway in a 3)Do this all as
hospital, where if the light falling on the wall That’s it, Pure and efficiently as possible.
and floor where the same Simple...
in value in hue, it would become a visual • Reference : Delores (Dee) A. Ginthner, Associate
problem, making it hard for us to navigate Professor University of Minnes
easily.
preserving and
presenting our art and
heritage.
Effects of lighting in Effects of UV radiation
museum
Oil paints and varnishes
Chemical change due Exhibition always Drying oils, such as
to excess light increases the risk linseed oil, are used as
of damage. the medium for oil
The more visible paints.
and more When exposed to UV
accessible an radiation in daylight,
artefact, the the long molecular
higher the risk chain become unstable
For our purposes, and a variety of
Fading caused by light exhibition increases reactions take place .
damage
the dangers of As a result the drying
light damage, oils 'polymerise' to a
semi-
both photochemical damage (fading) and solid state.
photomechanical damage (structural They are also bleached
damage). by light and tend to
A staircase inlaid with marquetry increase in
at Claydon House, Buckinghamshire, transparency over
faded by sunlight and damaged by
The amount of damage that light causes depend on : heels (National Trust Photographic time.
1) The type of light, Library / Rob Matheson)
2) The materials from which the objects are made
3) The time exposed to light.
4) Exposure to light in all forms causes a chemical reaction to happen within the molecular level
of an artefact.
5) Decreasing the intensity of light will decrease the rate of photochemical damage but will not
completely prevent damage.
6) The best preservation practice would be to house all artefacts in complete darkness but
some amount of light is needed to see an object.
Wood Pigments and
Wood contains cellulose, Cellulose dyes The materials and fittings which are
undergoes auto-oxidation in the most vulnerable to deterioration
presence of UV radiation leading when exposed to visible as well as
to bleaching of the surface UV radiation include naturally dyed
Cellulose. textiles, tapestries, and costumes,
results weakening the material. dyed leather, paintings in
Nevertheless, deterioration is unlikely distemper media, gouache and
to have a significant effect on the watercolours, prints and drawings,
structural integrity of joinery and wallpapers .
because joinery is usually solid and Damage occurs on two fronts; loss
auto- oxidation only occurs at the of colour and pattern, and the
surface. structural deterioration of the
fabric
Textiles
Textiles made from natural fibres
Controlling
also
contain a high proportion of Categories of Objects Visible Light Sensitive collections
cellulose, which deteriorates in the Including textiles, photographs, works on paper ,
same manner as the cellulose of watercolours on any medium, feathers, etc.
wood. Maximum:50 lux
As textiles are far more fragile objects Less sensitive collections
than joinery and the fibres often Including oil paintings, wood, leather, acrylic paint
become brittle, leading to rapid surfaces, polychrome, panels, furniture,
structural deterioration. Maximum:150 lux
Least sensitive collections
Including most metal, ceramics, stones and glass
Maximum:300 lux
Curtains at Blickling Hall, Norfolk made brittle by sunlight and
damaged by touch (National Trust Photographic Library / Rob
Matheson)
Controlling- Ultraviolet light Precautions
UV should be completely eliminated. A reliable roof that covers all organic
All of the techniques used to limit visible light artifacts (and preferably most inorganic
will also cut down on UV light. artifacts).
To block the remaining UV light Reliable walls, windows, and doors that
Install filtering material. block local weather, sunlight, local pests ,
Types of filters include: amateur thieves, and vandals.
• UV filtering film for windows or glass on Avoid areas of direct sunlight and intense
framed objects spot lamps at close distances on all
• UV filtering plex iglass instead of glass organic artifacts
• Filter sleeves for fluorescent tubes Minimize exposure to light, especially UV.
• UV filtered fluorescent tubes) Keep levels as low as possible.
Monitor UV radiation at least every five years Use storage rooms that are windowless.
to be sure the filtering material is still Rotate the artifacts for ‘resting period’ in
effective. the storage.
To help limit the duration of exposure of
materials, timed light switches can be used
Controlling Infrared radiation in storage rooms
IR(heat) generated by natural or artificial
lighting should also be controlled to prevent
rapid changes in relative humidity.
Window coverings and filters and good air BIBLIOGRAPHY:-
circulation systems (for example, fans and 1. http://www.buildingconservation.com/articl
air conditioners) help control heat build es/daylight/daylight.htm
up. 2. NOUVIR RESEARCH
Control the heat produced by artificial 3. http://www.amnh.org/
lighting fixtures by using filters and good air 4. The Museum Environment_Transforming
circulation systems, as well as keeping lights the Solution into a Problem_Steven
outside exhibit cases Weintraub
SERVICES
MUSEUM DESIGN
ABSTRACT
The services and maintenance of any building is essential, and more so for a museum. A museum
houses different kinds of artefacts and objects, from different parts of the world and periods in
history. Preservation of these artefacts should be the highest priority. Hence the services and
maintenance related features will be covered in the following slides
CONTENTS
7.1
BUILDING MANAGEMENT SYSTEM……7.1.1
7.2
PLUMBING AND WATER SUPPLY………7.2.1
7.3
ELECTRICAL SERVICES…...............7.3.1
7.4
AIR CONDITIONING SYSTEMS…......7.4.1
7.5
STORAGE….............................7.5.1
7.6
PRESERVATION..........................7.6.1
7.7
CLEANING AND MAINTANANCE…......7.7.1
BUILDING MANAGEMENT/AUTOMATION SYSTEM
• A building management/automation system may be considered to be provided for controlling and monitoring
of all parameters of HVAC, electrical, plumbing, fire fighting, low voltage system such as telephone, TV, etc
• In a museum planning, building services engineering comprises mechanical engineering, electrical engineering and
plumbing engineering (MEP) that can be further divided into
Communication lines,
Telephones and it networks
Escalators and lifts ZONE A-public non collection
Fire detection and protection areas- foyer, lobby, shop, cafe,
Heating and ventilation public washrooms etc
and air conditioning
(HVAC)
Lightning protection natural
lighting and artificial lighting,
Building surfaces
Security and alarm systems ZONE B-public
Water, drainage and plumbing collection areas-
permanent and
temporary collection
display, open for public
SHAFT DETAILS:
electrical rising main shaft:2.2mX0.8m
wet riser shaft:1.2mX0.8m
telephone
shaft:0.6mX0.3m fire
alarm shaft:0.6mX0.6m SERVICE LIFT
Fire control room-4mX3m near entrance
lobby Telephonic room-4mX3m
PLUMBING AND WATER SUPPLY
In a building, provision is required to be made for storage of water for the following reasons:
• To provide against interruptions of the supply caused by repairs to mains, etc.
• To reduce the maximum rate of demand on the mains
• To tide over periods of intermittent supply
• To maintain a storage for the fire fighting requirement of the building
• The water may be stored either in overhead tanks (OHT) and/or underground tanks (UGT).
Materials Used –
• Reservoirs and tanks for the reception and storage of water shall be constructed of reinforced
concrete brick masonry, ferro cement precast, mild steel, stainless steel or plastic.
• Every storage tank shall be easily accessible and placed in such a position as to enable thorough
inspection and cleaning to be carried out. If the storage capacity required is more than 5 000 l, it is
advantageous to arrange it in a series of tanks so interconnected that each tank can be isolated for
cleaning and inspection without interfering with the supply of water. In large storage tanks, the outlet
shall be at the end opposite the inlet to avoid stagnation of the water.
• The outlet pipe shall be fixed 50 mm to 75 mm above the bottom of the tank and fitted with a
strainer, preferably of brass.
• Preferable to have underground pump house beside underground water reservoir to ensure
flooded suction.
• Provide 1.5m wide ramp with suitable slope for easy access
• Roof slab may be 500m above G.L with ventilators, provided with water proofing
• The fire pump house size shall be 5.5mX8mX3.5m where engine driven fire pump, electric motor driven
fire pump and pressurization pump are installed.
• One wet riser is required for every 1000 sqm of covered area
(tables is12701-1996, cpwd campanion volume for general specifications of electrical works)
Sanitation Requirements for Assembly
Occupancy All vertical soil, waste,
ventilating and anti- siphonage
Buildings (Art, Galleries, Libraries and pipes shall be covered on top
Museums) with a copper or heavily
galvanised iron wire dome or
cast iron terminal guards. All
cast iron pipes, which are to be
painted periodically, shall be fixed
to give a minimum clearance of
50 mm clear from the finished
surface of the wall by means of a
suitable clamps.
Drainage pipes shall be carried
to a height above the buildings
as specified for ventilating pipe
of 3 m.
Soil pipes A soil pipe,
conveying to
a drain, any solid or liquid
filth, shall be circular and
shall have a Minimum
diameter of 100 mm.
The ventilating pipe shall
always be taken to a point
1500 mm above the level of
the eaves or flat roof or terrace
parapet whichever is higher or
the top of any window within a
horizontal distance
SPACING OF MANHOLES
The spacing of manholes for a given pipe size should be as
follows: Pipe Diameter Spacing of Manhole (mm)
Upto300 45
301 to 500 75
501 to 900 90
Beyond 900 Spacing shall depend upon local
condition and shall be gotten approved by the Authority
Area for
generator • In order to prevent storm water entering the
transformer and switch rooms through the soak pits,
the floor level of the substation shall be at least 15 cm
above the highest flood water level that may be
anticipated in the locality.
• Also, facility shall be provided for automatic removal of
water. enclose any part of the substation, which is open
to the air and contains live equipment which is not
encased, with a fence or wall not less than 2.4 m in
height to prevent danger or unauthorized access metal
doors to be used
(cpwd ks,is sp 7
campanion
volume for
general
specificatio
ns of
electrical
wor
TEMPERATURE REGULATION
Temperature affects museum collections in a variety of ways.
• At higher temperatures, chemical reactions increase. For example, high temperature leads to the
increased deterioration of cellulose nitrate NPS Museum Handbook, Part I (1999) 4:9film. If this
deterioration is not detected, it can lead to a fire. As a rule of thumb, most chemical reactions double
in rate with each increase of 10°C (18°F).
• Biological activity also increases at warmer temperatures. Insects will eat more and breed faster, and mold
will grow faster within certain temperature ranges.
• At high temperatures materials can soften. Wax may sag or collect dust more easily on soft surfaces,
adhesives can fail, lacquers and magnetic tape may become sticky. In exhibit, storage and research
spaces, where comfort of people is a factor, the recommended temperature level is 18-20° C (64-68° F).
• Temperature should not exceed 24° C (75° F). Try to keep temperatures as level as possible. In areas
where comfort of people is not a concern, temperature can be kept at much lower levels—but above
freezing. Avoid abrupt changes in temperature. It is often quick variations that cause more problems
than the specific level.
• Fluctuating temperatures can cause materials to expand and contract rapidly, setting up destructive
stresses in the object. If objects are stored outside, repeated freezing and thawing can cause
damage. Temperature is also a primary factor in determining relative humidity levels. When
temperature varies, RH will vary. This is discussed in more detail in the next section.
• Relative humidity is a relationship between the volume of air and the amount of water vapor it
holds at a given temperature. Relative humidity is important because water plays a role in various
chemical and physical forms of deterioration.
• There are many sources for excess water in a museum: exterior humidity levels, rain, nearby bodies of
water, wet ground, broken gutters, leaking pipes, moisture in walls, human respiration and
perspiration, wet mopping, flooding, and cycles of condensation and evaporation. Relative Humidity
Optimum Ranges for Various Materials Housed in a Park’s Museum Collection
ARCHEOLOGICAL MATERIALS
• NEGLIGIBLE CLIMATE-SENSITIVE MATERIALS ..........................................30%–65%
• CLIMATE SENSITIVE MATERIALS ...........................................................30%-55%
• SIGNIFICANTLY CLIMATE SENSITIVE MATERIALS ......................................30%-40%
• METALS.............................................................................................<35%
• Equipment Room for Central Air Conditioning Plant :-In the case of large installations (500 TR and
above), it is advisable to have a separate isolated equipment room where possible. The clear
headroom below soffit of beam should be minimum 4.5 m for centrifugal plants, and minimum 3.6 m
for reciprocating and screw type plants.
• Cooling Tower :-Cooling towers are used to dissipate heat from water cooled refrigeration, air
conditioning and industrial process systems. Cooling is achieved by evaporating a small proportion
of recirculating water into outdoor air stream. Cooling towers are installed at a place where free
flow of atmospheric air is available.
• The recommended floor area requirement for various types of cooling tower is as given below:
a. Natural draft cooling tower- 0.15 to 0.20 m2/t of refrigeration .
b. Induced draft cooling tower- 0.10 to 0.13 m2/t of refrigeration
c. Fibre-reinforced plastic 0.07 to 0.08 m2/t of refrigeration
STORAGE
• Museum storage space must provide adequate space to
accommodate growth of the collection over the next ten
years.
• Incorporate aisles at least 15m wide between rows of
equipment; this width allows safe handling and movement of
drawers, cabinet doors, and larger objects.
• Ceiling height is sufficient to accommodate raised and stacked
cabinets without interfering with lighting and protection
systems
• Different types of structures have different construction
requirements. Therefore, installation of equipment such as fire and
security systems, and storage furniture needs will also vary.
• Locate the storage space outside the 100-year floodplain.
• Use space that is constructed of fire-resistant or fireproof
materials. Cover interior wood framed walls and ceilings with
gypsum wallboard or other material to achieve a minimum one-
hour fire.
• Install an adequate vapor barrier in walls, ceilings, and floors
in a purpose built museum structure.
• Make sure the level of the top of the concrete slab is at least
6" above the grade level of the soil.
• Lighting is required in storage spaces.
• Eliminate ambient light sources that can damage objects that can
damage collections.
• Use LED or UV-filtered fluorescent lighting. Remove or
replace incandescent lighting to reduce energy costs over
time.
• Provide indirect (diffuse) lighting by aiming fixtures at
walls or ceilings.
PRESERVATION
• The role of preventive care, also known as preventive conservation, is to avoid, block, or minimise the
agents of deterioration. By using preventive care techniques, the imperceptible deterioration that occurs on
a daily basis (cumulative over time) and the occasional catastrophic damage can be limited. The agents of
deterioration are as follows:
• Fire:- Fire resistance is essential for the protection of the artefacts. The materials that are used for
construction must have good heat resistance.
• Water:- Water that causes efflorescence in porous materials, stains, swells organic materials, corrodes metals,
delaminates and/or buckles layered components, and loosens joined components. Water and damp proofing is
also important
• Pests:- Pests, such as insects that consume, perforate, cut, graze, tunnel and/or excrete and destroy, weaken,
disfigure, or etch organic materials. Pests include vermin such as birds and other animals that gnaw organic
materials and displace small objects, foul objects with feces and urine, and mold and microbes that weaken or
stain objects. Architectural considerations must be made to resist pests, insects, and birds
• Contaminants:- Contaminants that disintegrate, discolor, or corrode all types of objects, especially reactive
and porous materials. This includes gases (such as pollution, ozone, formaldehyde, nitric acid, sulfur dioxide),
liquids (such as plasticizers, grease), and solids (such as dust, soot, salt).
• Light Levels:- Light levels including both ultraviolet radiation and visible light. Ultraviolet radiation
disintegrates, fades, darkens, and/or yellows the outer layer of organic materials and some coloured
inorganic materials. Visible light fades or darkens the outer layer of paints and wood. Incorrect temperature
that can be too high causing gradual disintegration, discolouration or embrittlement of organic materials; too low
causing embrittlement, which results in fractures of paints and other polymers; or fluctuating causing fractures
and delimitation in brittle, solid materials.
• Incorrect Temperature :- Fluctuations in temperature also cause fluctuations in relative humidity. Incorrect relative
humidity that can be damp, causing mold and corrosion, or above or below a critical value, hydrating or
dehydrating some minerals and corroding metals that contain salts or cause embrittlement of other materials.
• Incorrect Relative Humidity:- Organic materials will gradually disintegrate, become brittle or discolour,
especially materials that are chemically unstable at any RH level. Fluctuating RH will shrink and swell
unconstrained organic materials, crush or fracture constrained organic materials, cause layered organic
materials to delaminate and/or buckle, and loosen joints in organic components. NPS Museum Handbook,Part
I (2012) Preservation: Getting Started
CLEANING AND MAINTENANCE
Cleaning and maintenance of museums is really important for the preservation of Artefacts.
• Dust is the one of the most common forms of pollution. There are several problems that can
be encountered by dust, since it can build up quickly.
• It absorbs moisture so can create a humid environment in a small, confined area. Can be gritty
and therefore abrasive when rubbed from an object. It attracts and harbours pests. Can absorb,
carry pollutants and cause staining. It can collect in pockets and cause physical damage to objects
through distorting their shape and causing cracks
• Pest control is also very important for the preservation.
• Provisions need to be made for vacuum cleaners, in terms of electrical points as well as storage.
• Creating an environment which can resist entry of dust is important, especially in areas used to
store historic, delicate artefacts.
• Regulated are movement into the sensitive areas of the museum would help avoid dust getting into the
space.
• Air Conditioning Ducts need to be well maintained. Air purifiers help in maintaining indoor air
quality and also regulate dust.
• Carpets to be avoided, as they usually hold onto a lot of dust. Wet or damp mopping of floors helps
get rid of dust, hence proper drainage of water in all spaces must be addressed.
SUSTAINABILITY
MUSEUM DESIGN
CONTENTS
8.1 INTRODUCTION
• SUSTAINABILITY…......................................8.1.1
• PRINCIPLES OF SUSTAINABILITY…......................8.1.2
8.4
• QUALITY OF BUILT ENVIRONMENT…................8.4.1
• DESIGN CONSIDERATIONS…........................8.4.1
• REFERENCES….......................................8.4.2
INTRODUCTION
• Sustainable architecture is architecture that seeks to minimize the negative environmental impact of
buildings by efficiency and moderation in the use of materials, energy, and development space and the
ecosystem at large. This process covers environmental sources, starting from the design,
implementation, construction, materials, maintenance, renovation, until the deconstruction of the
building.
• Sustainable buildings should metaphorically ‘tread lightly on the Earth’ by minimising the environmental
impacts associated with their construction, their life in use and at the end of their life.
• Culture forms and holds humanity’s deepest values, attitudes, and actions. Sustainability asks people to
adapt at a cultural level, changing their beliefs and behaviour.
• Museums have a unique role to establish and promote a culture of sustainability. "In their role as places
of authority and keepers of culture, museums have unequalled power and responsibility to model and to
teach the methods of preserving ourselves, our planet and our cultural resources“.
• Observe and interact: By taking time to engage with nature we can design solutions that suit
our particular situation.
• Catch and store energy: By developing systems that collect resources at peak abundance, we
can use them in times of need.
• Obtain a yield: Ensure that you are getting truly useful rewards as part of the work that you
are doing.
• Apply self-regulation and accept feedback: We need to discourage inappropriate activity to
ensure that systems can continue to function well.
• Use and value renewable resources and services: Make the best use of nature's abundance to
reduce our consumptive behavior and dependence on non-renewable resources.
• Produce no waste: By valuing and making use of all the resources that are available to us,
nothing goes to waste.
• Use and value diversity: Diversity reduces vulnerability to a variety of threats and takes
advantage of the unique nature of the environment in which it resides.
• Use edges and value the marginal: The interface between things is where the most
interesting events take place. These are often the most valuable, diverse and productive
elements in the system.
• Creatively use and respond to change: We can have a positive impact on inevitable change by
carefully observing, and then intervening at the right time.
• Design from patterns to details: By stepping back, we can observe patterns in nature and
society. These can form the backbone of our designs, with the details filled in as we go.
• Integrate rather than segregate: By putting the right things in the right place, relationships
develop between those things and they work together to support each other.
• Use small and slow solutions: Small and slow systems are easier to maintain than big ones,
making better use of local resources and producing more sustainable outcomes.
SUSTAINABLE SITE PLANNING: Impervious Surfaces
are minimised. Storm water quantity & quality
Site Selection is is considered.
environmentally responsible. • Limit ground water recharge • Best management practices –
• Limit development within / on – • Increase pollutant load Rain gardens / bio retention
o 100 yards flood plain • Increase runoff o Landscape islands
o Prime farmlands • Create heat inland effect o 4-10’ + between parking rows
o 100’ of wetlands • Minimise parking areas – o 8-10’ for double loaded
o 50’ high quality of o Zoning code min or less
water bodies
o Incorporate compact car
o Habitat of endangered spaces when possible
or threatened species
o Reduce lane size
• Select previously developed sites
• Planting in & around parking
– grey fields & brown fields
areas • Landscaping is water efficient
• Select sites that encourage & active.
• Green roofs.
• Use of public transport. • Limit potable water use
• Pervious paving options:
o Pervious pavement o Use native species
• Building Orientation is o Place landscape areas to
optimised. o Pervious concrete
receive runoff
• Energy saving of 25% + o Permeable pavers
o Use captured rainwater
• 8 degree can make significant o Grass pave system
o Shade large hardscapes
difference
o Shade buildings in summer;
• Elongate on EW axis allow sunlight in during winter
• Maximise NS exposure for • Place to filter & clean stormwater
day lighting
o Raingarden in parking areas
• Minimise EW facing windows
o Bioretention rather than
• Orient most populated areas to Site Disturbance is retention ponds
N&S
minimised. Grading & Slope:
oParking – 2%
oDrives – 2 – 8%
oVegetated slope – 3:1 or
less
oPervious pavements –0-5%
Nature (Flora and Fauna)
Solar energy
• As the pressure on land grows globally, it is
important to recognise the value of natural
environments. Nature contributes towards
satisfying basic human needs and improving human
quality of life in many ways.
• It plays a part in purifying our water and air, and
helps moderate global and local climate by
providing cooling, shading and shelter from winds.
• Natural environments affect people at a
psychological and physical level.
• Protecting the ecosystems and the biodiversity
they support is as important as protecting truly
natural landscapes unaffected by humans. The loss
of an ecosystem would mean the extinction of
specific plant and animal species and a reduction
in the biodiversity.
• Originally developed for energy requirement –
The main aim of a sustainable design or environment Solar Power – has expanded in recent years
is to protect the existing ecosystems and the for our domestic and industrial needs.
potential for developing new natural environments. • Solar power is produced by collecting sunlight
The links between a development site and other and converting it into electricity.
natural environments should also be considered. • This is done by using solar panels, which are
large flat panels made up of many individual
solar cells.
• It is most often used in remote locations,
although it is becoming more popular in urban
areas as well.
ENERGY EFFICIENCY
• Efficient energy use, sometimes simply called energy efficiency, is the goal to reduce the amount of
energy required to provide products and services.
• For example, insulating a home allows a building to use less heating and cooling energy to achieve and
maintain a comfortable temperature.
• Reducing energy use is also seen as a solution to the problem of reducing greenhouse gas emissions.
• Energy efficiency and renewable energy are said to be the twin pillars of sustainable energy policy and
are high priorities in the sustainable energy hierarchy.
Rainwater harvesting:
Waste Management
• Rainwater harvesting can save upto
30% water demand for a 4 member • Segregation of wastewater (grey & black) at source can
household residing in a building with save upto 45% of water demand in individual residential
a roof area of 100 sqm in Hyderabad buildings
• Rainwater harvesting is the accumulating • Wastewater recycling and reuse can save upto 60% of
and storing of rainwater for reuse water demand in apartment complexes, residential
before it reaches the aquifer.
layouts, townships, institutional buildings and other large
• It has been used to provide drinking
water, water for livestock, water for neighbourhoods
irrigation, as well as other typical • Use of efficient fittings and pressure restrictors can save
uses. >30% of water consumption
• It can supplement the subsoil water • Water conserving practices can reduce the landscape
level and increase urban greenery. water requirement by upto 60% in your premises
• Water collected from the ground, • Adherence to site contours and integrated approach
sometimes from areas which are
especially prepared for this purpose, is to SUDS in neighbourhoods can reduce on-site storm
called storm water harvesting water runoff by 40%
HEAT ISLAND EFFECT:
An urban heat island (UHI) is a city or
metropolitan area that is significantly warmer
than its surrounding rural areas due to
human activities.
DESIGN
CONSIDERATIONS
FOR
SUSTAINABILITY
REFERENCES
• http://static1.1.sqspcdn.com/static/f/364430/5461758/1264099091933/Daylighting+Museums+Guide.pdf?toke
n=GRH2MYPN8lDxScUlYs7NE3XmeUk%3D
• http://www.iar.unicamp.br/lab/luz/ld/Arquitetural/Museus/manuais/Museum%20And%20Gallery%20Lighting.pdf
• http://www.hmda.gov.in/ebgh/benefits.html
• http://www.hmda.gov.in/ebgh/benefits.html#one
• http://www.teriin.org/ResUpdate/reep/ch_1.pdf