425679284-Museum-Design-Data-Collection-converted.docx

HISTORY OF MUSEUMS…1
DISPLAY AREA & SPACE REQUIREMENTS…2
BYLAWS & STANDARDS…5
LIGHTING…6
SERVICES…7
SUSTAINABLE DESIGN…8
I
USER BEHAVIOR………………………………….3
N
CIRCULATION SYSTEM…………………………..4
D
E
X

Museum
For Culture and Art
History Of Museums

1.1 ABOUT THE MUSEUM
1.2 TYPES OF MUSEUM
1.3 CULTURAL ASPECTS
1.4 MUSEUMS IN HYDERABAD
1.5 POLITICAL AND SOCIAL AMBIANCE
CONTENTS
•PURPOSE & HISTORICAL BACKGROUND…............................1.1.1
•INTRODUCTION…...................................................1.2.1
•EXAMPLES….......................................................1.2.2
•HISTORY OF DURGAM CHARUVU..................................1.3.1
•EVOLUTION OF MUSEUMS.......................................1.3.2
•EVOLUTION OF HYDERABAD’S ARCHITECTURE..................1.3.5
•SALAR JUNG MUSEUM...........................................1.4.1
•TELANGANA STATE MUSEUM…....................................1.4.2
•PROPOSED PROJECTS...........................................1.5.1

MUSEUMS :
A place which conserves artifacts and other objects
of scientific, artistic , cultural or historical
importance and makes them available for public
viewing through exhibits that may be permanent or
temporary.
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.
An art museum is a space for
exhibition of art objects, paintings,
illustrations
An general museum hold collections
in more than one subject and are
therefore sometimes known as
multidisciplinary or interdisciplinary
museums.
Ethnological museum focus on studying,
collecting, preserving and displaying
artifacts and objects concerning
ethnology
and sculpture.
History museum deals with
specialized aspects of history. May
include archaeological material. It
collects and exhibits material from an
ethnographic viewpoint. Emphasis is
placed on culture rather than
chronology in the
• GENERAL
• ART
• HISTORY
• BIOGRAPHICAL
• CHILDREN’S
• ETHNOLOGY
• NATURAL
HISTORY
AND SCIENCE
• SCIENCE AND
TECHNOLOGY
….Etc
and anthropology.
presentation of the
collections
Museums of science and
technology are concerned with
the development and application
of scientific ideas and
instrumentation
An biographical museum display items
relating to the life of a single person or
group of people and the items collected
by their subjects during their lifetime.

Museums of natural history
and natural science are
concerned with the natural
world; their collections may
contain specimens of birds,
mammals, insects, plants,
rocks, minerals, and fossils.
REF:
https://www.britannica.com/to
pic/types-of- museums-398830

TYPES OF MUSEUMS :
Tate gallery, London
Kanazawa Bunko Museum, japan Brooklyn Children’s Museum
• GENERAL
• ART
• HISTORY
• BIOGRAPHICAL
• CHILDREN’S
• ETHNOLOGY
• NATURAL HISTORY AND SCIENCE
National museum of history ,in
Chapultepec Castle, Mexico
City
• SCIENCE AND TECHNOLOGY ….Etc. Fryderyk Chopin Museum
Vietnam Museum of Ethnology,
Hanoi
Deutsches Museum in Munich

Natural History Museum in London

CULTURAL ASPECTS :
HISTORY OF DURGAM CHERUVU :
 Secret lake popularly known as DURGAM CHERUVU is spread
over an area of 63 acre and is surrounded by hills of the
Deccan Plateau.
 The rocks found near Durgam Cheruvu are extremely unique
and are 2500 million years old granite rocks, the only one in
all of Asia.
 The girdle of rocks surrounding the lake is the first
Heritage Precinct to have been notified under HUDA
Heritage regulations.
 Hyderabad is the only city that has legally protected
rock formations in the country
 It is said that the lake was used as the source of drinking
water for the Golconda Fort. Also called as the ‘Madhapur
Lake.
REF: https://vedasri.wordpress.com/2012/09/22/evolution-
of-hyderabads-architecture/
THE CURRENT SCENARIO :
The Hyderabad Metropolitan Water Supply and
Sewerage Board (HMWSSB) is to lay a sewerage
pipeline around the lake right next to the water
from Inorbit mall along the shore up to the old
bund of the lake for which 'protected' granite rock
slabs

are to be cut which is against the HMDA regulations

EVOLUTION OF MUSEUMS :
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
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.
• 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.
Louver Palace
British museum
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.
• 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,
lecture hall, showrooms and conference halls
• 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 London
science museum
The Winter palace

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.
CHOWMAHALLA PALACE
DURING NIZAM’S PERIOD
• 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
multinational offices.
• Concrete, brick and glass were the materials which were in common use.
GOLCONDA FORT
DURING QUTUB SHAH’S DYNASTY
PERIOD TYPE OF CONSTRUCTION
1. MAURYAN EMPIRE MOSTLY BUILT WITH BAMBOO STICKS, DRIED LEAVES, AND
MUD.
2. QUTUB SHAH’S DYNASTY
(ISLAMIC STYLE)
 DIFFERENT FROM ISLAMIC ARCHITECTURE SEEN IN
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
3. AURANGZEB’S REIGN
( NIZAM’S)
MOSTLY PATRONISED ISLAMIC ARCHITECTURE, CULTURE
AND THE INDO-PERSIAN STYLE WAS HUGELY EMPLOYED.
THEY WERE INSPIRED WITH THE BRITISH ARCHITECTURAL
STYLE (WOOD, BRICK STONE, LIME MORTAR WERE USED)

Salar Jung museum
: Introduction :
Location:
• The museum is one of the top three National Museums of India .
• It has a collection of sculptures, paintings, carvings,
textiles, manuscripts, ceramics, metallic artefacts, carpets,
clocks, and furniture from Japan , China , Burma , Nepal ,
India
, Persia, Egypt ,Europe , and North America .
• The museum's collection was sourced from the property of
the Salar Jung family. It is one of the largestmuseums in
the world.
The present museum building was constructed on the
southern bank of River Musi, which is in close
proximity to the important monuments of old city of
Hyderabad like the historic Charminar, Mecca Masjid
etc.
Brief history and evolution of the museum :
• 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 :
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
Archaeology & Museums.

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
Command and Control Centre Twin Towers
• Twin towers of 16 floors and 24 floors and helipads atop, with a skywalk
connecting them is a world class Command and Control Centre for the
state.
• The one lakh surveillance cameras to be installed in the city with public-
private participation and police headquarters of all the districts would be
synchronised with the CCC.
• Hoping that the twin towers would be icon building for the city, the
Chief Minister directed officials to construct it at the eight acres
allocated to Hyderabad police Commissionerate.
• It has an auditorium with seating capacity for 1,000 persons.
• The twin towers would have four lakh square feet of built up space.
Source:
h
ttp://www.thehindu.com/news/citie
police-command
centre/article7466052.ece
published on July 26th 2016

Hussain Sagar Lake with Skyscrapers
• The surroundings of Hussain Sagar are all set to be dotted with skyscrapers.
• The surroundings of Hussain Sagar might all likely to be glittering with towers
of 60-100 floors. These towers would house government offices, commercial
complexes and also entertainment zones.
• Rao said his government has grand plans to develop Hyderabad on par with
international standards, and skyscrapers and high-rise towers are a part of
it.
• “There are several advantages of skyscrapers. Using minimum land, various
facilities can be provided. They can house government offices, commercial
complexes and also entertainment zones,” Rao opined and said the Petronas
Towers in Kaulalampur in Malaysia and the ones on the shores of Mumbai are
best examples. Five star hotels and tourist rest houses can also come up in these
towers.
• Environmentalists also argue that there is more at stake here than just heritage.
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.
• The U shaped design comprises five new blocks with five floors each. The CMO
block will be built in the existing location, surrounded by two blocks on either
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.
na-new-secretariat-building-design-
plan- images/
Source:
https://www.telanganastateinfo.com/telan
Source: By Express News Service
Published: 13th November 2014
http://www.newindianexpress.com/states
/t elangana/KCR-Plans-Big-to-Garland-
Hussainsagar-Lake-with-
S
kyscrapers/2014/11/13/article252077
8.ece

DISPLAY AREA &
SPACE
REQUIREMENTS

CONTENTS
2.1
DISPLAY AREA
2.2
•PAINTINGS & PHOTOGRAPHS…...............................2.1.1
•SCULPTURES…............................................2.1.2
•JEWELLERY & CLOTHING…....................................2.1.3
•OBJECT DISPLAY FOR CHILDREN…........................2.1.3
PARKING STANDARDS.........................2.2.1
2.3 SPACE REQUIREMENTS.......................2.3.1

DISPLAY AREA
• A set of showcases, freely positioned in space, with or without special air-conditioning, may be used.
• The showcases should be arranged in such a way as not to be directly exposed to the sun.
• Similarly, when artificial lighting is used, steps must be taken to prevent heat being given off inside.
• Continuous mural showcases, large sections of the exhibition area insulated by means of glass panels going
right up to the ceiling and provided with separate air-conditioning, may be used.
• The showcases are usually built against the walls but may also be positioned in such a way as to
be approachable on all sides.
PAINTINGS & PHOTOGRAPHS
 Paintings, drawings and similar objects must be secured to the walls by mirror plates or security screws.
 Unglazed paintings, fragile/sensitive material or works/objects on open display must be protected by
rope or other barriers, which must be at least 1 metre from the exhibits.
 Height of ceiling in display area 4m is adequate.
REFERENCE:
https://www.britishcouncil.in/sites/default/files/guid
elines_for_museum_display.pdf
1500m

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
height of ceiling in display area for sculptures may be in excess of 13m.
JEWELLERY & CLOTHING
• All cased displays should fall within the general optimum viewing band of
750– 2000mm.
• Desk cases should be no higher than 800mm FFL.
• Provide a toe space of 230mm x 180mm deep around cases and plinths to allow
wheelchair access.
• Position small items or those with fine detail no higher than 1015mm from floor
level.
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.
• Most curios have glass on each side, or possibly
a mirror at the back, and glass shelves to show
the entire figurine.
OBJECT DISPLAY FOR CHILDREN
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.

•Parking stalls should be built to
accommodate larger cars.
•The larger cars have an over-all
length of 5.7m,over-all width of
2.5m.
•Ramp angle must
not exceed 7
•Limit of front
approach angle is
14.
BARRIER-FREE
•Surface parking for two car spaces shall be
provided near entrance for physically
handicapped persons wit max.travel distance
of 30m from building entrance.
•Guiding floor materials shall be provided
•Width of parking bay shall be min. of 3.6m.
VEHICULAR DIMENSIONS

DISPLAY AREA SPACE REQUIREMENTS
DISPLAY CATEGORY ARTICLES UNDER
DISPLAY
PERCENTAGE OF TOTAL DISPLAY
AREA
HISTORY OF TELANGANA
(FORMATION)
RELIGION
FESTIVALS
LANGUAGES
CUISINE
MANUSCRIPTS
PHOTOGRAPHS
8%
LITERATURE
MANUSCRIPT
S BOOKS
DOCUMENTS
10%
CLOTHING CLOTHES 5%
ARCHITECTURE
MODELS
PHOTOGRAPHS
15%
SCULPTURES SCULPTURES 15%
PAINTINGS PAINTINGS 15%
NUMISMATICS COINS 4%
JEWELLERY JEWELLERY 8%
WEAPONS WEAPONS 5%
PERFORMING ARTS
DANCE
MUSIC
SHADOW PUPPET SHOW
MUSICAL INSTRUMENTS
INTERACTIVE DIGITAL
MEDIA AV ROOM
15%
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
GATHERING
SPACE
- 0.5 -
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’.”
PURPOSE OF THE STUDY
• THE STUDY OF USER GROUP AND BEHAVIOR IS VERY IMPORTANT CRITERIA FOR BUILDING DESIGN,
WHICH IS OFTEN OVERLOOKED.
• THIS STUDY HELPS BETTER IN UNDERSTANDING HUMAN INTERESTS, AND RESULTS IN A
DESIGN MORE CUSTOMISED TO ITS USER AS IT WAS ORIGINALLY INTENDED.
• HERE, THE VARIOUS ASPECTS OF THE TOPIC ARE COVERED, RELATED TO MUSEUM AND
OTHER GALLERY SPACES.

3.1 DIFFERENT USER GROUPS
3.2 HUMAN COMFORT, SAFETY ANDACCESSIBILTY
3.3 OTHER USERS
3.4 STANDARD SIZES
3.5 CASESTUDIES
CONTENTS
•DEMOGRAPHICS…..................................................3.1.1
•VISITOR CHARACTERISTICS….....................................3.2.1
•MUSEUM DESIGN AND LAYOUT…....................................3.2.2
•MAINTENANCE STAFF…............................................3.3.1
•ADMINISTRATION….................................................3.3.2
•SECURITY...........................................................3.3.3
•MUSEUM CURATORS….............................................3.3.3
•RETAIL SECTION….....................................................3.3.3
•WHEEL CHAIR USERS..................................................3.4.1
•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
• Gender
• Purpose/ Interest
• Size
• Ability
• Life stage
• Visitors
• First timers
• Researchers
• Non- Visitors
DEMOGRAPHICS BY MUSEUM TYPE
• Art museums and historic museums primarily draw adult audiences. And children's museums and
science centers primarily draw family audiences.
• Also the aesthetical and technological aspects of museums attract different age groups.
• (note- age of 50 is considered as the draw line.)
• Visitors to museums and galleries tend to be from the higher socio-economic groups.
REF: (http://reachadvisors.typepad.com/museum_audience_insight/2010/04/whos-coming-to-your-museum-demographics-by-museum-type.html)
• The table below shows the
proportion, who have visited
museum in a year. (Mintel
2006).
• Ages from 35 to 45 have the
highest attendance and
followed by the age groups
above 55.
• Age groups above 65
don’t seem to visit much.
Based on their lifestyle,
percentage of people who
attend, etc. are:
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.
SIZE OF THE GROUP
Family visitors are more, with children.
School children visit in groups.
Group of 2-3 is common in the age groups 20-30.
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
Difficult human postures
Bent, crouching,
stretching up, climbing
up, looking up.
It is important to maintain a balance between
the building, visitors and the exhibits
CHARACTERISTICS OF MUSEUM VISITORS-
• Most visitors come as family, friends, guided tour, or school group
• Building components. [doors, colors, room sizes, and locations]
effect the use of gallery space.
• People observe other people’s behavior and pick up non-verbal
clues about what to do.
REF: Visitor characteristics
• http://dc.uwm.edu/caupr_mono/16/
• http://www.emuzeum.cz/admin/clanky/files/194-EXStandards.pdf
• http://www.aam-us.org/docs/default-source/accreditation/committee-on-education.pdf?sfvrsn=0

ORIENTATION-
Integrated approach maps and
signs Handouts for orientation aids
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.
Requirements for museum administration-
• Work areas
• Multipurpose room –where informal meetings are conducted
• Meeting areas
• IT rooms- devoted to the continuous operation of computer servers ,data center and is air conditioned
• Archives-place where all historical records are stored
• Supporting office
• Conference room
• Employee area
• Rest room
Max areas for meeting & conference
rooms in museum administration ARCHIVE ROOM
IT ROOM
TYPE .AREA(sqm)
Meeting room( up to
8 persons)
15
Conference room(12
persons)
25
Conference room (18
persons)
32

MUSEUM SECURITY
• Most museums require at least two types of
alarm
systems: burglar alarms and fire alarms.
 TYPES OF SECURITY SYSTEMS
1. Vibration sensors
2. Environmental sensors
3. Motion detection devices
4. Saturation motion device
5. Cctv cameras
6. Fire alarms, sprinklers, temperature controls
7. Eye hooks
8. Window alarms
9. Security guards
• Visitors tend to touch, lean forward as a result
of strong impulses.
• People observe other people’s behavior and
pick up non-verbal clues about what to do.
REF: Security
• http://www.securitycommittee.org/securitycommittee/Guidelines_
and_Standards_files/SuggestedPracticesRev06.pdf
• http://www.csoonline.com/article/2122573/physical-
security/museum-security--the-art-of-securing-pricelessness.html
CURATOR
• Curator is a manager or a keeper.
• A traditional curator’s concern involves tangible
objects- artwork, collectibles, historic items
etc..
CURATOR RESPONSIBILITIES
• He will conduct researches on objects and
guide public through exhibitions and
publications.
• In large museums, multiple curators assigned
to specific area- ancient art, prints and
drawings etc.
• As a teacher and facilitator through materials
and digital words.
• Physical care of collections by museum conservators.
• Documentation and administration matters by museum
registrar.
RETAIL SECTION OF MUSEUM
• This section is gaining popularity in recent
times.
• Museum spaces an be used for exhibition
or other events.
• Retailers can sell various collections to
the visitors, such as antique collection or
other products.
• The retailers focus on the reasons that
make the non visitors and focus on to

improve on those sections for
greater audience range.

STANDARD SIZES :
REF: Standard sizes
• https://www.si.edu/A
ccessibility/SGAED
• http://dc.uwm.edu/c
gi/viewcontent.cgi?a
rticle=1015&conte
xt=caupr_mono
• https://www.britisco
uncil.in/sites/default/
files/guidelines_for_
museum_display.pdf

CIRCULATION
SYSTEM IN A
MUSEUM

4.1 GENERAL CIRCULATION GUIDELINES
4.2 CIRCULATION WITHIN BUILDING
CONTENTS
•APPROACH..............................................4.1.1
•AT SITE LEVEL…...........................................4.1.2
•CONFIGURATION OF PATHS & WALWAYS…...............4.1.3
•ENTRANCE…............................................4.1.3
•ZONING…................................................4.2.1
•CONFIGURATION OF CIRCULATION…....................4.2.2
4.3 UNIVERSAL DESIGN CONSIDERATIONS (BARRIER FREE)
•GUIDELINES…...........................................4.3.1
•STANDARDS AS PER CPWD.............................4.3.7
4.4 SPATIAL ARRANGEMENT FOR COMFORTABLE CICUATION
•TYPES & EXAMPLES….......................................4.4.1

CIRCULATION
• The journey or the circulation path can be conceived as the perceptual thread that links the
various spaces of a building be it the exterior with the interior or various interior spaces within
the building in relation with time.
• The design of circulation throughout a built environment starts from the approach road that leads to
entry into the site.
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
• Oblique: An oblique approach
enhances the effect of
perspective on the façade and
form of the building. This kind of
approach can be redirected once
or more times to prolong the
sequence of approach.
• Spiral: A spiral approach prolongs the sequence of the
approach and also emphasises the three-dimensional form of
the building as movement progresses along the perimeter.
The entrance could be visible intermittently to clarify
position or can be hidden until the point of arrival.
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

GUIDELINES FOR CIRCULATION AT SITE LEVEL
Providing for access and circulation for pedestrians,
automobiles, and service vehicles is an important aspect of site
planning, which influences both the location of a building on its
site and the orientation of its entrances.
1. Provide for safe and convenient pedestrian access and
movement to building entrances from parking areas or
public transit stops with minimal crossing of roadways.
2. Determine the number of parking spaces required by the
zoning ordinance for the type of occupancy and total
number of units or floor area of the building.
3. Determine the number of accessible parking spaces as well
as curb cuts, ramps, and paths to accessible building
entrances required by local, state, or federal law.
4. Provide loading zones for buses and other
public transportation vehicles where
applicable.
5. Separate service and truck loading areas from pedestrian
and automobile traffic.
6. Furnish access for emergency vehicles such as fire trucks
and ambulances.
7. Establish the required width and location of curb cuts
and their proper distance from public street
intersections.
8. Ensure clear sight lines for vehicles entering public roadways.
9. Plan for control of access to parking areas where required.
10.Provide space for landscaping; screening of parking areas
may
be required.
11. Slope paved walkways and parking areas for drainage.

Illustration adapted from
the site plan for the
Carre
REF: Building Construction Illustrated By Francis DK
Ching
House, designed by Alvar
Aalto.

CONFIGURATION OF PATHWAYS & DRIVEWAYS
Pedestrians
Bicycles & Smaller Vehicles
Cars & Larger Vehicles
• 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 AND PLANNING OF SPACES IN A MUSEUM
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.
• Sufficient space left for future expansion.
BASIC PLAN
REF: Time Savers Standards (TSS)

CIRCULATION WITHIN A BUILDING
The circulation within a building is chiefly categorized into two
• Horizontal Circulation (Corridors, Lobbies, Foyers, etc.)
• Vertical Circulation (Stairs, Ramps, Elevators & Escalators)
FORM OF THE CIRCULATION SPACE
• Spaces for movement form an integral part of any
building organization and occupy a significant amount of
the volume of a building
• If considered just as functional linking devices, then
circulation paths would be endless, corridor-like
spaces
• The form and scale of a circulation space, however,
should accommodate the movement of people as they
walk, pause, rest, or take in a view along a path
PATH-SPACE RELATIONSHIPS
Paths may be related to the spaces they link in a number of
ways
 Pass by Spaces
• The integrity of each space is maintained
• The configuration of the path is flexible
• Mediating spaces can be used to link the path
with the spaces
 Terminate in a Space
• The location of the
space establishes the
path
• This path-space relationship is
used to approach and enter,
functionally or symbolically
important spaces
 Pass through Spaces
• The path may pass through a
space axially, obliquely or along
its edge
• In cutting through a space, the path
creates pattern of rest and
movement within it

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

UNIVERSAL DESIGN CONSIDERATIONS
SITE PLANNING
 Walkways and paths
• Incorporating clear and consistent paving.
• Incorporating wide pathway. (Min 1650mm for a wheelchair
and a
walker as per CPWD Guidelines)
• Ensuring minimal street clutter.
• Using blister surfacing for pedestrian crossing points.
• Using corduroy hazard warning surfacing.
 Typical Detail of Walkway
• Walkway should be constructed
with a non-slip material &
different from rest of the area.
• The walkway should not
cross vehicular traffic.
• The manhole, tree or any other
obstructions in the walkway
should be avoided.
• Guiding block at the starting of
walkway & finishing of the
walkway should be provided.
Blister
Surface/Tactile signal
at intersections
Covered Walkways for protection against the
elements as well as a defining feature of designated
pedestrian access
Resting areas for everybody as a part
of universal design at the required
distance
REF:Building for Everyone: A Universal Design
Approach, As part of National Disability Act (NDA),

 Parking
• The needs of pedestrians should be taken into account when
designing the layout of parking. This
includes both those who have parked and those accessing on
foot.
• Pedestrian access, segregated or shared surface, should be provided
along the routes within the car park, rather than
simply relying on the vehicular route.
• The provision of raised footways, through the car park and
crossing points across main vehicle routes will help to alleviate
conflict between pedestrians and vehicles.
• A tactile distinction should be made between pedestrian areas and
vehicular areas, in order that people with visual impairment can
distinguish between the two. Provision of raised areas, footway
areas and tactile paving at all dropped kerbs should achieve this.
• Signage/information stating that the space is reserved for the differently abled.
• A covered pathway leading from the parking to the accessible entrance without the risk of passing
though vehicular traffic.
• Guiding floor materials shall be provided or a device which guides visually impaired persons with audible
signals or other devices which serve the same purpose..
 Accessible Entrances
• Ensure entrances are clearly visible and prominent.
• Provide Ramps for universal accessibility.
• Provide adequate space inside and outside
entrance doors.
• Arrange outward-opening doors so that they are
recessed or guarded.
• Ensure threshold to entrances are very minute
with chamfered, pencil-rounded or ramped
profile.
• Provide canopy or door recess for weather
prote
ction
.
Guarding Doorways

Recessed Doorways
REF:Building for Everyone: A Universal Design Approach, As part of National Disability Act (NDA),
Ireland & Inclusive Mobility, Govt. Of United Kingdom

 Entrance doors
• Provide adequate clear space on both sides of doors
• Incorporate vision panels into all entrance and entrance lobby doors.
• Incorporate visually contrasting markings at two levels on all
glazed doors and screens
• Make sure entrance doors contrast visually with adjacent walls
or screens.
• Include a highly contrasting strip on all edges of frameless glass
doors.
 Entrance lobbies
• Provide an entrance lobby only where
absolutely necessary.
• Ensure external and internal doors are
accessible, understandable and useable.
• Ensure lobbies are clear of obstructions such
as displays or stored items.
• Make sure lighting eases the transition between external
and internal environment.
Matted surface flush
to the flooring to
avoid tripping and
hindrance of
movement
• Highlight glazed screens and doors effectively.
• Ensure mats are firm and flush with the adjacent
floor surface.
Automatic entrance doors
that lead into the lobby
and are accessible to all
 Internal lobbies
• Avoid creating internal
lobbies unless
absolutely necessary.
• Install floor surfaces
that are firm and level.
• Ensure junctions between
 Corridors
• Design as per the standard guidelines
• Recess wall-mounted items wherever possible.
• Ensure any projections into the clear width
are guarded.
• Consider using handrails for certain building types
and in all cases where corridors are over 20m
long.
different floor finishes
are
fixed with threshold • Provide seats at no more
than 20m intervals on

long corridors
Corridor in British Museum
plates. REF:Building for Everyone: A Universal Design Approach, As part of National Disability Act (NDA), Ireland

 Reception and waiting areas
• Ensure logical arrangement of circulation routes
and facilities
• Make sure reception desk is clearly visible with
direct route from entrance doors
• Provide induction loop system at reception desk.
• Install well-designed lighting to optimise
visual communication and lip reading.
• Choose floor finishes that are firm and slip-resistant.
• Provide comfortable seating and free space for
wheelchair users; parents with strollers; people with
visual difficulties; guide dog users; and those with
walking aids.
• Locate toilet facilities adjacent to reception area.
• Highlight the location of key facilities with well-designed,
clear signage.
• Ensure telephones or combined telephone, text and
email units are accessible and useable.
 Queuing areas and temporary barriers
• Fix queuing barriers firmly to the floor.
• Leave sufficient aisle width for wheelchair and crutch users.
• Ensure barriers incorporate rigid handrail and visually
contrast with surrounding surfaces.
• Make sure sockets for temporary barriers are flush with
floor surface and incorporate cap or cover.
• Limit the use of unfixed barriers.
• Provide seating at queuing areas.
• Turnstiles
 Provide an accessible gate wherever turnstiles are
located.
Fixed queue
barriers in
receptions
Braille Signage for
visually impaired people
Example of signage
for an induction
loop at a reception
desk.
Alternative view
of a reception
desk with two
levels
Turnstiles with
Wheelchair
Accessibility
 Ensure gates contrast visually with surroundings and are clearly signed.

REF:Building for Everyone: A Universal Design Approach, As part of National Disability Act (NDA), Ireland

 Vertical circulation
• Avoid changes of level within a storey for new buildings.
• Design and maintain stairs to provide safe access at all
times even if rarely used.
• Install passenger lifts in preference to other devices, as
they provide the most convenient means of vertical
circulation.
 Internal stairs
• Make sure each step edge is visually highlighted
• Incorporate clear width of steps to suit expected level of use
• Avoid single steps on an access route.
• Provide clear landings at top and bottom of steps, with the
length equivalent to the step width.
• Use tactile hazard warning surface at top and bottom of flight,
only if deemed appropriate following risk assessment.
• Provide handrails on both sides of the steps and continuous
around intermediate landings
• Provide an additional central handrail where the stairs are more
than 2000mm wide
 Internal ramps
• Ensure maximum gradient of a ramp is 1 in 20
• Make sure the gradient of a ramp slope is constant
Providing Vertical
Circulation such
as Ramps, Stairs,
Escalators, Lifts
etc.
Use of Tactile
materials at the
top and bottom of
the Stairs
and consistent throughout and between
consecutive ramp slopes.
• Incorporate top and bottom landings Provide
handrails on both sides of the ramp and continuous
around intermediate landings
• Provide a kerb upstand or guarding to the side
of ramp.
Contrasting colours
of handrails and
ramp floor finish
Flush carpet
finish for
ramps
REF:Building for Everyone: A Universal Design Approach, As part of National Disability Act (NDA), Ireland

 Lifts
• Provide passenger lifts in preference to platform lifts, wherever
possible.
• Locate passenger lift adjacent to an accessible flight of stairs.
• Ensure lifts are clearly signed from building entrance and other key
areas.
• Ensure that all lifts are accessible , where more than one lift is
provided.
• Design a lift door arrangement that is consistent and logical.
• Provide visual and tactile floor numbers at each landing.
• Position landing and lift car controls within reach of all users.
• Install control buttons that are easy to use
• Ensure the lift signalling system is both visual and audible.
• Provide an emergency communication system that is suitable for all
users.
• Provide half-height mirror to rear wall.
• Install handrails on all walls without doors.
 Escalators
• Ensure the direction of travel is clearly signed
• Make sure the footway at each end contrasts
Use of contrasting
surfaces in a lift with
a grab-rail at the
opposite side of the
entrance
Visual & Tactile floor
numbers
visually and install a change in floor finish.
• Ensure moving handrails extend 300mm
minimum beyond the start and end of
escalator.
• Ensure escalator steps are a minimum of
580mm wide and a maximum of 1100mm
wide. Provide maximum step height of
240mm, or 210mm if escalator used for
emergency escape when stationary.
• Incorporate contrasting band to full width of
each step edge.
• Install visually-contrasting handrails.
• Employ escalator speed not exceeding 0.75m per
second.
• Ensure emergency stop controls are visible and
accessible to all users.

 Travelators
• Install footway at each end that contrasts
visually and a change in floor finish.
• Moving handrails to extend 700mm
minimum beyond the start and end of
walkway
• Install visually-contrasting handrails.
• Ensure recommended walkway width
of 1500mm. Employ recommended
speed of 0.5m per second.
• Ensure emergency stop controls are clear,
visible, and
accessible to all users.
• Restrict inclined travellators to maximum
gradient of 1 in 20.
• Use fixed guarding at entry and exit
points and alongside adjacent access
routes. Ensure guarding contrasts
visually.

STANDARDS AS PER CPWD GUIDELINES
Mobility devices
 Wheel chairs
• Standard size of wheel chair has been taken as 1050mm x 750mm (as per ISI).
 Crutches
A minimum width of
950 mm is desirable.
Width
 Cane
The radial range of the white cane is
a band 900 mm wide
-Any obstacle above 750 mm
cannot be detected by the white
cane
. If there are projections above
this height then the projections
have
to be reflected at the floor level in
terms of level or textural differences.
Heights of people
• The average height of a
person seated upon a
wheelchair is generally
less than 1200 mm.
• The average height of a
standing person is
generally less than 2000
mm.
• If vertical clearance of an
area adjoining an accessible
route
• The minimum clear width of an accessible route shall be 900 mm,
except at doors.
• If a person in a wheelchair must make a turn around an obstruction, the
minimum clear width of the
accessible route shall be 1100
mm or 900 mm

.
REF: CPWD Standard Guidelines for the Aged & Disabled, Govt. of India
is reduced to less than 2000
mm, (nominal dimension), a
barrier or signage to warn
visually impaired persons
shall be provided.

d
e
 Doorways
• Minimum clear
opening of the
entrance door
shall be 900 mm.
and it shall not be
provide with a step
that obstructs the
passage of a wheel
chair user.
• Threshold shall not
b raised more than
12 mm.
 The optimum dimensions for accessibility for
all
 Toilets
• One special W.C. in a set of toilet shall
be provided for the use of handicapped
with essential provision of wash basin
near the entrance for the handicapped.
• The minimum size shall be 1500 x 1750 mm.
• Minimum clear opening of the door shall
be. 900 mm and the door shall swing out.
• Suitable arrangement of vertical/horizontal
handrails with 50 mm. clearance from wall
shall be made in the toilet.
• The W.C. seat shall be 500 mm. from
the floor.
 Washbasins
REF: CPWD Standard Guidelines for the Aged & Disabled, Govt. of India

 Changes in levels
• If an accessible route has changes in level greater than 12 mm, then a
curb ramp, ramp, elevator, or platform) shall be provided
• An accessible route does not include stairs, steps, or escalators
 Ramps
• Minimum clear width is 900mm.
 Head room
• Walks, halls, corridors, passageways, aisles, or other circulation
spaces shall have 2000 mm minimum clear head room
 Handrails  Stairs
 Width of kerb ramp
•The minimum width of
a curb ramp shall be
900 mm, exclusive of
flared sides.
 Slope and rise
• The least possible slope
shall be used for any
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
each ramp and each
ramp run, and at
every 10 mts of run
REF: CPWD Standard Guidelines for the Aged
& 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.
• Open risers are not

permitted on an accessible
stair.Risers should be 150mm.
• Provision of 900mm high handrail.
• -The landing shall be at least as
wide as the ramp run leading to it.
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
REF: Time Savers Standards (TSS)
Conventional Style
Modern Style

• 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”
 Open Plan Type Museum
• In 1929 Le Corbusier designed a model of
unlimited growth Museum (Musée à croissance
illimitée) for Mundaneum of Geneva
REF: Study of the Ann Arbor Hands-on Museum, Ipek Kaynar, University of Michigan,
USA
MUSEUM OF UNLIMITED GROWTH, GENEVA
• It was a square spiral, on one floor
supported by stilts, which would
eventually evolve and grow according
to the needs of the project.
• There are three versions of this type of
museum in the world by architect:
Kendra in Ahmedabbad (1957), the
Museum and Art Gallery in Chandigarh
Government (1965) and the National
Museum of Western Art in Tokyo
(1959).

 New National Gallery
• This work was a new way of thinking and understand a museum, away from the closed
building composed of building theme rooms.
• The building contains elements of walls that vary with different exhibits and limiting the
visual continuity.
• This building is from 1968, and it´s a jump from the traditional museum idea of a closed
building with exhibition rooms, into an open-plan flexible space.
NEW NATIONAL GALLERY, BERLIN
The Structural Detail
The Circulation through the museum
REF: Study of the Ann Arbor Hands-on Museum, Ipek Kaynar, University of Michigan, USA

5.1
5.2
5.3
CONTENTS
INTRODUCTION
•STANDARDS AND THEIR NEED...........................5.1.1
•TYPES AND CIRCULATION SPACES….......................5.1.2
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
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.
• This is necessary chiefly to safeguard the collections et
times when the building is closed to the public while the
curators or office staff are still at work end the library
and lecture hall in use.

TYPES OF DISPLAYS:
 If the cases are arranged with gently curving lines to take advantage
of this pattern of movement visitors will find the room more
attractive and can progress easily with the line of the case.
LECTURE HALLS ,SEMINAR ROOMS
• The room itself should be arranged so that the audience
can see well, hear well, and be comfortable. In part this
depends on temperature, humidity, background of light and
sound, and seating space.
• If lecture rooms are built in a fan shape instead of a
rectangular shape, the minimum angle between line of sight
and the blackboard should be at least 30 degrees and
preferably more than 45 degrees. These limitations of
viewing distance and angle impose restrictions on the
placement of seats for adequate viewing .
• The angle of elevation from
the eye to the upper part of
an object on the screen or
chalkboard should not exceed
30 degrees .

LIBRARY
• Libraries perform a range of function in society. Museum
libraries, obtain, collect various study on history ,architecture
etc…
Floor area for an
individual work
station
Minimum distance between tables
Floor space for book shelves in
area closed to public
Micro fiche reading workstation

SHELVING UNITS
• Most widely used type is metal shelving, individually adjustable, single sided (along walls) and double
sided (island). Unit height 2000 (loan area), 2300 (block stock areas) main routes in open space areas
1800 clear width and minor routes 1200.
Shelves for adults
Shelves for
children
Height of 5 shelf unit Book shelf for school children Height of 4 shelf unit
for small 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
• Fix
M
ed
ov
t
a
a
b
b
l
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t
,
ab
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e
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o
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a
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i
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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 .

Circulation
REASTAURANT SEATING
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.
LOCATION OF CONFERENCE ROOMS:
o Conference room should be centrally located to the users.
o An interior space which is not most desirable for
office purposes, is well suited for conference use.
o The location eliminates outside distraction and the
needs for window coverings during visual
presentations.

o Access in conference rooms should be through corridors
and through reception areas.

SIZES OF CONFERENCE ROOMS
• Conference rooms should be designed to accommodate average but not
maximum attendance. Extra chairs can be used to achieve additional seating.
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°.
STANDARD CAR CAR TURNING
CIRCLE
PARKING SPACE STANDARDS FOR
AUDITORIUM:
CAR TURNING CIRCLE
RADIUS FOR AN
ENTRANCE DRIVE >OR
EQUAL TO 5-6.50M
HAMMER HEAD
TURNING SPACE FOR
CARS
HAMMERHEAD TURNING SPACE
FOR VEHICLES UPTO 8M
( REFUSE COLLECTION
VEHICLES,FIRE TENDERS,TRUCKS
UPTO 6T)

ACCORDING TO GO No. 168
REQUIREMENT OF APPROACH ROAD FOR BUILDING SITES / PLOTS :
The minimum abutting existing road width required for various uses of building activities shall be as given below.

Stilt Floor meant for parking is excluded from the permissible height in the previous Table.
o Height of stilt floor shall not be less than 2.5m.
o In case of parking floors where mechanical system and lift are provided, height of such parking floor shall
not be less than 4.5m.
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.
RESTRICTIONS ON PROJECTIONS IN MANDATORY OPEN SPACES:
The following are the Restrictions on Projections in the mandatory open
spaces / setbacks / interior open spaces:
(a)Cornice, Chajjas / weather shades only of width not exceeding 60cm
shall be allowed in the mandatory setbacks.
(b) No balcony projections or corridor shall be permitted projecting within the mandatory open spaces /
setbacks in case of non-high rise buildings.
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
• Elevator lobbies shall be required on every floor and shall be enclosed
by smoke partition walls having a minimum fire resistance rating of 1-
hour.
FIRE PROTECTION SYSTEMS
AUTOMATIC SPRINKLER SYSTEM
The building shall be fully sprinkle red and supervised .A secondary water supply equal to the hydraulically
calculated sprinkler demand, including the hose stream requirement, shall be provided for high-rise buildings .
The secondary
water supply shall have a duration of not less than 30 minutes .
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.

6.1 ROLE OF LIGHTING
6.4 EFFECTS OF LIGHTING
CONTENT
•NATURAL AND ARTIFICIAL LIGHTING..............................6.1.1
•METODS OF LIGHTING…..........................................6.1.3
•OBJECTS CONSIDERED IN MUSEUM…...............................6.1.4
6.2 LIGHTING IN DISPLAYE
D
AREAS
•TYPES OF ARTIFICIAL LIGHTING......................................6.2.1
•AMOUNT OF LUX LEVELS............................................6.2.3
•ARRANGMENT OF ARTIFICIAL LIGHTING..............................6.2.4
6.3 LIGHT FOR VARIOUS SPACES
•FOYER,CORRIDOR,STAIRS, LIBRARY...............................6.3.1
•CAFETARIA ,MUSEUM SHOP AND WORK SHOP AREA.........6.3.2
•OUTDOOR EXHIBITS…................................................6.3.3.
•LIGHT AND PSYCOLOGY…...........................................6.4.1
•BASIC OBSERVATIONS IN HUMAN TOWARDS LIGHT….........6.4.3
•MATERIALS TO BE ADOPTED.........................................6.4.5
•EFFECTS OF LIGHTING IN MUSEUM…...............................6.4.6
•CONTROLLING LIGHT AND PRECAUTIONS…........................6.4.7

ROLE OF LIGHTING-
• In a museum ,light must perform dual function
• Must serve for the interpretation of the both object and the surrounding space.
• The light is capable of sending large number of messages
o To guide
o Inform
o Separate / bring
together
o Hide / Reveal
o Brighten / Sorrow.
o Enlarge / Reduce
WHY NATURAL LIGHT?
• Interior lighting has multiple functions to reveal the object to generate a pleasant
welcoming ambience.
• Natural light contains all the visible colours in equal amounts.
• It is diffused as a soft white colour which enhances and accentuates shape , texture and colour.
• Daylight contributes to our mood and can make visitors and employees feel comfortable and
at- ease.
• Being able to switch off electricity during the day and diffuse natural sunlight is both
financially and environmentally responsible for museums.

HOW TO USE NATURAL LIGHT
• The delicacy and rarity of museum artefacts means that there are
certain aspects to consider when integrating daylight intro museum :
• UV exposure should be limited
• Infrared should equally be avoided
• Day light should be concentrated and directed to specific areas, and
should , if possible incorporate artificial light
• Light is one of the greatest cause of deterioration in museum
collections, so the right type of light and right quantity of light is
paramount
• Daylight is essential to our vision and therefore should be considered as
a means of communication within museum.
• Diffusing daylight therefore has numerous positive impacts.
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

DIRECT LIGHTING
METHODS OF 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.
Types of artificial lighting
The most important lighting systems used in exhibition rooms are:
Luminous ceilings with opal glass enclosure (diffuse light) or sanitised
and textured glass (diffuse/ directional)
o Luminous ceilings are particularly suitable for painting galleries. The cove
lighting provides additional brightness.
o Tubular fluorescent lamps are generally used.
o Arranged according to the structural grid of the luminous ceiling.
o Luminous ceilings
imitating natural daylight
need to deliver a high
level of luminance: 500 to
1,000 cd/m2, ranging up
to 2,000 cd/m2 for very
high- ceilinged rooms.
o They are suitable for
interiors with ceiling
height 6 meters or higher.

Cove luminaires (diffuse) :
o These are the diffuse light of luminaires installed in the curving transition
between wall and ceiling.
o Used in modern museums.
oThe main direction of light with cove lighting is closer to the horizontal than
with a luminous ceiling and corresponds roughly to that of perimeter luminaires
mounted in continuous rows.
o The lights are shadow free.
o Fluorescent lamps – are the most widely used light source.
Indirect luminaires (diffuse) :
o Its impact is similar to that of luminous ceiling.
o The indirect light bounces off the ceiling and upper wall surfaces into the room.
o Used in rooms where no daylight enters.
o Produced by suspended luminaires radiating light upwards.
Wall washers (directional or diffuse/directional):
oThey are used either in individual luminaries or continuous rows.
o Wall washers distribute their light asymmetrically.
o This task is performed by reflectors with asymmetrical optics.
oFavoured light sources for wall washers include linear lamps: fluorescent lamps,
compact fluorescent lamps in elongated designs, linear high-voltage halogen
lamps.
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
exhibition, the material being displayed and the
desired ambience. The balance between
conservation and display requirements must be
carefully considered. Objects can be grouped
into three categories of light sensitivity:
o Insensitive to light: metals, stone, ceramics,
glass and enamels.
o Sensitive to light: oil paintings, wood, ivory, bone,
some works on paper
o Textiles, art on paper, fur and feathers, dyed
leather
 These are the recommended minimum light
levels
• Good lighting is extremely important for
visually impaired and older visitors so ensure
that adequate lighting is provided on the
vertical planes of graphic displays.
• Use non reflective glass or film on all
interactives, cases, displays and paintings
wherever reasonable. When low light levels are
called for, find the best compromise between
conservation and disabled visitor requirements.
• Consider temporary or timed illumination of objects,
e.g. by timed push button.
TAKING ACCOUNT OF LIGHTING
Where revolving exhibitions are staged in day lit
rooms, daylight incidence and the position of
showcases in relation to windows (see page 9) must
also be taken into account. To maximize the scope
for catering to exhibition requirements, it is
best to ensure that day lit
rooms can be fully
darkened.
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,

ARRANGEMENT OF ARTIFICIAL LIGHTING
• Preferred in
work rooms,
meeting rooms,
circulation ,etc
• Provides
uniform wall
illumination-
direct light rest
of the room
• Uniform wall
illumination
depends upon
separation b/w
lamp and
wall.
• Provides low
room light
or
illumination
of a single
wall.
• By regular
arrangement
of lamps on
celling
• Gives
impression of
bright room –
free of glare
– high ceiling
• Fluorescent
lamps are
generally
used
•Generally employed
to illuminate ceiling
or flooring.
• Decorative
wall
lightings.
• Generally used in sale
rooms, exhibitions ,
museums and galleries.

LIGHTING FOR VARIOUS SPACES
FOYER , CORRIDOR, STAIRCASE
Foyers space also serve a functional purpose as
they lead into the interior of the building.
• A harmonious lighting atmosphere sets
the scene for a friendly reception.
Corridors, staircases and lifts connect
the entrance area with the deeper
recesses of the building.
• Mini of 100 lux is required.
• Entry desk – 300 to 500 lux
• Ranges between 150 to 300 lux.
• Lifts : 50 – 50 lux
• Direct or direct/indirect luminaires with
compact fluorescent lamps are the most
widely used and wall luminaires for indirect
lighting.
• During the day, the immediate entrance
area needs to be particularly brightly lit.
• At night, illuminance inside the building should
decrease towards the exit.
• For high ceilings ,high-intensity spots with high-
pressure discharge lamps are re -commended.
LIBRARY
• The illuminance should be at least 150 lux
should be given for the stairs and ramp.
• Wall lights at the side of the stairs
casting direct light onto treads.
Library lighting has several functions: it helps to get our bearings, find the literature
we need , facilitates reading and creates a peaceful to subtly stimulating
atmosphere.
o Circulating areas - 100 lux,
o Shelving systems - 200 lux.
o Reading areas - 500 lux.
o Counter – 300 lux
• Wall washers with
asymmetrical beams
are particularly suitable
for this lighting task.

CAFETARIAS AND MUSEUM SHOPS
These are attractive places, especially at the end of a museum visit.
 Pendant luminaires for tables.
 Wall luminaires and downlights for
a moderately higher lighting
level.
 Downlight sand spots for accent lighting.
 Service areas in a cafeteria can keep a low profile.
 Where food and drink are displayed or on sale need to be more brightly lit
than the rest of the room. Stimulates 200 – 300 lux.
• A distinction needs to be made
between “viewing light” and
“display light” – for shelves,
walls or special offer
presentations on the sales
floor.
WORK PLACE LIGHTING
Which are not open to the public and where the lighting caters solely
for the visual tasks performed by the people who work there.
• These rooms are essentially offices, e.g.
administration areas, workshop and
storage facilities such as warehouses,
depots and archives.
• luminance in the task area must be no
lower than 300 lux.
• Illuminance in museum
workshops, including training
workshops, should be 500 lux.
• Storage lighting -.mini of 100
lux is required. 300 lux
vertical illuminance is used
for handling small and
delicate things.

•
•
•
For outer space recessed ground floods , lighting from below can be used.
To avoid glarelights need to be set at a greater distance than for highlighting details.
Directional signage :200-300lux
OPEN AIR MUSEUM
OUTDOOR
EXHIBITS FACADE LIGHTING
Open air museums are a showcase for historical buildings
and complexes.
COVERD CAR PARKING
• Floors : 5-20 lux
• Ramps and corners: 30
• Entrances and exits: 50-150
• Control booths: 150-300
• Outdoor car parks: 5-20
• Light can make any building an eye-catcher.
• Ensuring floodlights are not installed
too close to the building avoids
excessively deep shadows.
• Illumination is
also possible with
wall luminaires
integrated in the
facade and
recessed ground
floods positioned
directly in front
of it.
• Floods with a long-range impact should
be positioned high and mounted as
inconspicuously as possible.
• If daylight and artificial light are mixed,
their rays should be fully blended if not
the exhibits will be distorted.

MATERIALS TO BE ADOPTED
• All materials used for display purposes must be approved by the Conservation. Department, and must
be tested by the recognized bodies.
• Materials and finishes used in construction must meet current fire regulations.
• Display objects against a 70% contrasting background wherever possible.
• Display objects against a plain background wherever possible.
• Background colors should contrast, but not overwhelm or jar, with the items inside the display case
and provide 70% tonal contrast.
Objects can be grouped into three categories of light sensitivity:
• Insensitive to light: metals, stone, ceramics, glass and enamels.
• Sensitive to light: oil paintings, wood, ivory, bone, some works on paper.
• Textiles, art on paper, fur and feathers, dyed leather.
Reflective and Translucent Surfaces – Eliminating Glare
• Take care to eliminate unnecessary reflections and glare from light sources. Items to consider are
video monitors, computer screens, glazed objects, highly polished objects, display cases, and so on.
• When assessing potential reflections and glare, consider the aspect for both standing and seated
visitors. Where children are the target audience, take special care to eliminate glare at child height
(between 800mm and 1060mm).

LIGHT AND PSCYCOLOGY
Lighting is a key factor in helping the space meet the intent of its owner and the needs
of its users.
 Thinking of layers
 How light affects the
users of a space on both
psychological and
behavioral level
 The play of colour and
light
LAYERS IN LIGHTING PROCESS
• Visual task: : providing enough light to walk safely through a corridor
• General lighting or Ambient lighting: to set a mood or
impression and maybe the lighting that provides for safe circulation
within the space
• Visual interest: something that adds a touch of magic, or something
to tickle the user’s “joy button.”
How lighting shapes behavior and users response
• Visibility of vertical and horizontal junctions
aid
orientation
• People follow the brightest path
• Brightness can focus attention
• Facing wall luminance is a preference
• Lighting can affect body position
• uniform/non-uniform distribution of light
• bright/dim levels of illumination
• overhead/peripheral (or wall) lighting
Lighting could create a space that would
make users say it was:
• “pleasant” versus “unpleasant”
• “public” versus “private”
• “spacious” versus “confined”
• “relaxed” versus “tense”
• “visually clear” versus “hazy”

FEW GENERAL GUIDELINES WE MAY CHOOSE TO FOLLOW
• Public :Requires the opposite with a uniform distribution of light, and more ceiling lights
• Pleasant :Utilizing more wall
lighting as opposed to ceiling
lights, as well as breaking up
the lighting in the room.
• Spacious : Provide overall high
levels of illumination with
even distribution of light on
walls and uniform lighting on
all surfaces.
• Relaxed: Use non-uniform
distribution, wall lighting
and lower light levels,
typically.
• Visually Clear: Provide higher luminance on the
activity/task planes, with peripheral luminance

BASIC OBSERVATIONS IN HUMAN ACTIVITY TOWARDS LIGHT
 Lighting designers may choose to illuminate a certain space more than others to draw
people towards it.
 When given a choice people will move towards light, acting like moths.
 Designers can also use this concept to FOCUS attention on a particular object by increasing
the contrast between the illuminated surface and the surfaces surrounding it.
 An example of this in practice can be seen in many bars and nightclubs, where either the bar, or the
wall behind it is illuminated to create a contrast with its surroundings and pull people towards it.
THE WORLD OF COLOURS
• The visual, emotional, psychic and biological effects that color and light on humans
• Natural light is essential for normal healthy life .
• The rhythms of light and dark is essential.
• If regulated exposure to light is not achieved, and either exposure to light or dark is prolonged,
it may have strange effects on us.
Color can have temporary psychological and physiological effects on us
• Red- will raise blood pressure, pulse rate, respiration, perspiration and excite brain waves.
• Green - effects are more or less neutral
• Blue - lower blood pressure ,pulse rate and perspiration and brainwaves start to decline.
• Orange and yellow- similar to effects of red, but less pronounced.
• Purple and violet- similar to blue.

Bright
Dim
There is a very “public” approach to lighting,
Compare that to the small specialty shop where the
lighting subjective impression is more “private” and
there is an expectation that there will be lower light
levels, a sales person to assist, fewer customers, and
often higher product costs. The same expectations
are true for the lighting of fast food restaurants
compared to more expensive restaurants.
The museum mission aims at
1) Collect and
EXAMPLE
• When it comes to navigating through a space
we may struggle if there is not sufficient
lighting where vertical meets horizontal, an
Example for this could be a hallway in a
hospital, where if the light falling on the wall
and floor where the same
MUSEUM
That’s it, Pure and
Simple...
exhibit art and
historic artefacts
for public education
and enjoyment,
2) Protect
the collection
from damage,
and
3)Do this all as
efficiently as possible.
in value in hue, it would become a visual
problem, making it hard for us to navigate
easily.
• Reference : Delores (Dee) A. Ginthner,
Associate Professor University of Minnes
preserving and presenting
our art and heritage.

Effects of lighting in
museum
Effects of UV radiation
Chemical change due
to excess light
Fading caused by light
damage
 Exhibition always
increases the risk
of damage.
 The more visible
and more
accessible an
artefact, the
higher the risk
 For our purposes,
exhibition increases
the dangers of
light damage,
Oil paints and varnishes
 Drying oils, such as
linseed oil, are used as
the medium for oil
paints.
 When exposed to UV
radiation in daylight,
the long molecular
chain become unstable
and a variety of
reactions take place .
 As a result the drying
oils 'polymerise' to a
semi-
both photochemical damage (fading) and
photomechanical damage (structural
damage).
The amount of damage that light causes depend on :
1) The type of light,
2) The materials from which the objects are made
3) The time exposed to light.
A staircase inlaid with marquetry
at Claydon House, Buckinghamshire,
faded by sunlight and damaged by
heels (National Trust Photographic
Library / Rob Matheson)
solid state.
 They are also bleached
by light and tend to
increase in
transparency over
time.
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
 Wood contains cellulose, Cellulose
undergoes auto-oxidation in the
presence of UV radiation leading
to bleaching of the surface
Cellulose.
 results weakening the material.
 Nevertheless, deterioration is unlikely
to have a significant effect on the
structural integrity of joinery
because joinery is usually solid and
auto- oxidation only occurs at the
surface.
Textiles
 Textiles made from natural fibres
also
Pigments and
dyes
Controlling
 The materials and fittings which are
most vulnerable to deterioration
when exposed to visible as well as
UV radiation include naturally dyed
textiles, tapestries, and costumes,
dyed leather, paintings in
distemper media, gouache and
watercolours, prints and drawings,
and wallpapers .
 Damage occurs on two fronts; loss
of colour and pattern, and the
structural deterioration of the
fabric
contain a high proportion of
cellulose, which deteriorates in the
same manner as the cellulose of
wood.
 As textiles are far more fragile objects
than joinery and the fibres often
become brittle, leading to rapid
structural deterioration.
Categories of Objects Visible Light Sensitive collections
Including textiles, photographs, works on paper ,
watercolours on any medium, feathers, etc.
Maximum:50 lux
Less sensitive collections
Including oil paintings, wood, leather, acrylic paint
surfaces, polychrome, panels, furniture,
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
 UV should be completely eliminated.
 All of the techniques used to limit visible light
will also cut down on UV light.
 To block the remaining UV light
Install filtering material.
 Types of filters include:
• UV filtering film for windows or glass on
framed objects
• UV filtering plex iglass instead of glass
• Filter sleeves for fluorescent tubes
• UV filtered fluorescent tubes)
 Monitor UV radiation at least every five years
to be sure the filtering material is still
effective.
Controlling Infrared radiation
 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
circulation systems (for example, fans and
air conditioners) help control heat build
up.
 Control the heat produced by artificial
lighting fixtures by using filters and good air
circulation systems, as well as keeping lights
outside exhibit cases
Precautions
 A reliable roof that covers all organic
artifacts (and preferably most inorganic
artifacts).
 Reliable walls, windows, and doors that
block local weather, sunlight, local pests ,
amateur thieves, and vandals.
 Avoid areas of direct sunlight and intense
spot lamps at close distances on all
organic artifacts
 Minimize exposure to light, especially UV.
 Keep levels as low as possible.
 Use storage rooms that are windowless.
 Rotate the artifacts for ‘resting period’ in
the storage.
 To help limit the duration of exposure of
materials, timed light switches can be used
in storage rooms
BIBLIOGRAPHY:-
1. http://www.buildingconservation.com/articl
es/daylight/daylight.htm
2. NOUVIR RESEARCH
3. http://www.amnh.org/
4. The Museum Environment_Transforming
the Solution into a Problem_Steven
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
7.2
7.3
7.4
7.5
7.6
7.7
BUILDING MANAGEMENT SYSTEM……7.1.1
PLUMBING AND WATER SUPPLY………7.2.1
ELECTRICAL SERVICES…...............7.3.1
AIR CONDITIONING SYSTEMS…......7.4.1
STORAGE….............................7.5.1
PRESERVATION..........................7.6.1
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
 Fire detection and protection
 Heating and ventilation
and air conditioning
(HVAC)
 Lightning protection natural
lighting and artificial lighting,
 Building surfaces
 Security and alarm systems
 Water, drainage and plumbing
ZONE C-non public collection
areas- collection storage rooms,
packing- unpacking spaces, crate
storage rooms, conservation labs,
elevators used for transporting
collections
ZONE A-public non collection
areas- foyer, lobby, shop, cafe,
public washrooms etc
ZONE B-public
collection areas-
permanent and
temporary collection
display, open for public
(REF:-Manual of Museum
Planning: Sustainable Space,
Facilities, and Operations)
ZONE D-nonpublic non collection areas- offices,
non collection storage areas, workrooms, security
stations, staff washrooms etc.

STORAGE AREAS
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
Fire control room-4mX3m near entrance
lobby Telephonic room-4mX3m
SERVICE LIFT

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
Buildings (Art, Galleries, Libraries and
Museums)
All vertical soil, waste,
ventilating and anti- siphonage
pipes shall be covered on top
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
RAIN WATER DRAINAGE
• The roofs of a building shall be so constructed or framed as to permit effectual drainage of the rain-
water there from by means of a sufficient number of rain-water pipes of adequate size so arranged,
jointed and fixed as to ensure that the rain water is carried away from the building without causing
dampness in any part of the walls or foundations of the building or those of an adjacent building.
• Roof area (in square meters (horizontal plane)) X total annual rainfall (in
mm) X efficiency factor / runoff coefficient = annual water supply in
liters
• Gutter is provided along the edge of the roof. It is fixed with a gentle slope towards downpipe. which
is meant for free flow of water to the storage tank . This may be made up of G.I. sheet, wood.
bamboo or any other locally available material. The downpipe used should be at least 100mrn
diameter and be provided with a 20 mesh wire screen at the inlet to prevent dry leaves and other
debris from entering it.

ELECTRICAL SERVICES
• The design and planning of an electrical wiring installation involve consideration of all prevailing
conditions, and is usually influenced by the type and requirement of the consumer. the clear height
required for sub station equipments shall be a minimum of 3.6m.
Area for sub station
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

ks,is sp 7
(cpwd
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%
 NATURAL HISTORY MATERIALS BIOLOGICAL
• SPECIMENS.....................................................................................40%-60%
• BONE AND TEETH............................................................................45%-60%
• PALEONTOLOGICAL SPECIMENS ........................................................ 45%-55%
• PYRITE
SPECIMENS.....................................................................................<30%
• PAINTINGS......................................................................................40%-65%
• PAPER .......................................................................................... 45% - 55%
• PHOTOGRAPHS/FILM/NEGATIVES........................................................ 30%-40%
• OTHER ORGANICS (WOOD, LEATHER, TEXTILES, IVORY)..........................45%-60%
• METALS..........................................................................................40%-60%

AIR CONDITIONING
The objective of installing ventilation and air conditioning facilities in buildings are to provide comfort to
work efficiently.
The aim of ventilation and air conditioning it to control and optimize the following factors in the building:
• Air purity and filtration
• Air movement
• Relative humidity
• Noise and vibration
• Energy efficiency
• Fire safety
• 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.

8.1 INTRODUCTION
8.2 SUSTAINABILITY IN DESIGN
8.3 ENERGY EFFICIENCY
8.4
CONTENTS
•SUSTAINABILITY…......................................8.1.1
•PRINCIPLES OF SUSTAINABILITY…......................8.1.2
•SUSTAINABLE SITE PLANNING..........................8.2.1
•FLORA AND FAUNA.......................................8.2.2
•SOLAR ENERGY…......................................8.2.2
•ENERGY CONSERVATION…..........................8.3.1
•WATER CONSERVATION…...........................8.3.3
•HEAT ISLAND EFFECT….................................8.3.4
•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“.
AIMS OF SUSTAINABLE DESIGN:
• Reduce the amount of energy
consumed (during construction
and use)
• Enhance material recyclability
and component reuse
• maximize sustainable use
of renewable materials
• Extend product durability where
appropriate
• Building interior spaces
should be responsive to
outdoor environment.

PRINCIPLES OF SUSTAINABILITY
• 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:
Site Selection is
environmentally responsible.
• Limit development within / on –
o 100 yards flood plain
o Prime farmlands
o 100’ of wetlands
o 50’ high quality of
water bodies
o Habitat of endangered
or threatened species
• Select previously developed sites
– grey fields & brown fields
• Select sites that encourage
• Use of public transport.
• Building Orientation is
optimised.
• Energy saving of 25% +
• 8 degree can make significant
difference
• Elongate on EW axis
• Maximise NS exposure for
day lighting
• Minimise EW facing windows
• Orient most populated areas to
N & S
Impervious Surfaces
are minimised.
• Limit ground water recharge
• Increase pollutant load
• Increase runoff
• Create heat inland effect
• Minimise parking areas –
o Zoning code min or less
o Incorporate compact car
spaces when possible
o Reduce lane size
• Planting in & around parking
areas
• Green roofs.
• Pervious paving options:
o Pervious pavement
o Pervious concrete
o Permeable pavers
o Grass pave system
Site Disturbance is
minimised. Grading & Slope:
oParking – 2%
oDrives – 2 – 8%
oVegetated slope – 3:1 or
less
oPervious pavements –0-5%
Storm water quantity & quality
is considered.
• Best management practices –
Rain gardens / bio retention
o Landscape islands
o 4-10’ + between parking rows
o 8-10’ for double loaded
• Landscaping is water efficient
& active.
• Limit potable water use
o Use native species
o Place landscape areas to
receive runoff
o Use captured rainwater
o Shade large hardscapes
o Shade buildings in summer;
allow sunlight in during winter
• Place to filter & clean stormwater
o Raingarden in parking areas
o Bioretention rather than
retention ponds

Nature (Flora and Fauna)
• 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.
The main aim of a sustainable design or environment
is to protect the existing ecosystems and the
potential for developing new natural environments.
The links between a development site and other
natural environments should also be considered.
Solar energy
• Originally developed for energy requirement –
Solar Power – has expanded in recent years
for our domestic and industrial needs.
• Solar power is produced by collecting sunlight
and converting it into electricity.
• 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.
• Save up to 30% energy consumption in the
residential buildings and 40% in commercial
buildings by integrating energy efficient design
• Energy efficient design using climate responsive
techniques in buildings can achieve thermal and
visual comfort levels at low energy costs (EPI
@25kWh/m2-yr for non-air-conditioned and
140kWh/m2-yr for air-conditioned buildings)
• Eco-friendly transportation on-site using electric
vehicles results in 10 times cheaper running
costs and 40% lower O&M costs in a span of 3
years as compared to petrol vehicles
• Institutional buildings adhering to ECBC
provisions related to the Hyderabad climate,
can save up to 50% of their annual energy
requirement

Various Methods To Achieve An
Energy Efficient Building
For Hot and dry climate: (Hyderabad)
• Orientation: Longer walls of building
should face North & South so that
the building gets minimum solar
exposure.
• Pressure balance for improved
air circulation.
• Daylighting
• Improved insulation
• Efficient HVAC systems
• Energy efficient lighting
• Proper roof coating systems ,etc.
ENERGY EFFICIENCY
Passive Cooling
Passive cooling is the least expensive
means of cooling
a home in both financial and
environmental terms.
Some level of passive – cooling is
required for every climate at some
time of the year.
As cooling requirements are dictated by climate,
distinctly different approaches to passive cooling are
required for:
• Hot humid climates: where no heating is required.
• Temperate and warm climates: where both heating
and cooling are required.
• Cool and cold climates: where heating needs are more
important.
Use of passive cooling techniques in buildings for Hyderabad’s
climate, like evaporative cooling, passive downdraft cooling,
thermal storage, night cooling, courtyard planning, earth air
tunnel systems help in achieving thermal comfort

WATER CONSERVATION
Rainwater harvesting:
• Rainwater harvesting can save upto
30% water demand for a 4 member
household residing in a building with
a roof area of 100 sqm in Hyderabad
• Rainwater harvesting is the accumulating
and storing of rainwater for reuse
before it reaches the aquifer.
• It has been used to provide drinking
water, water for livestock, water for
irrigation, as well as other typical
uses.
• It can supplement the subsoil water
level and increase urban greenery.
• Water collected from the ground,
sometimes from areas which are
especially prepared for this purpose, is
called storm water harvesting
Waste Management
• Segregation of wastewater (grey & black) at source can
save upto 45% of water demand in individual residential
buildings
• Wastewater recycling and reuse can save upto 60% of
water demand in apartment complexes, residential
layouts, townships, institutional buildings and other large
neighbourhoods
• Use of efficient fittings and pressure restrictors can save
>30% of water consumption
• Water conserving practices can reduce the landscape
water requirement by upto 60% in your premises
• Adherence to site contours and integrated approach
to SUDS in neighbourhoods can reduce on-site storm
water runoff by 40%

d vegetation cover lowers surface and air
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.
Strategies and Technologies
• Trees and Vegetation - Increasing tree an by
providing shade and cooling through evapotranspiration. Trees and vegetation can also reduce
storm water runoff and protect against erosion.
• Green Roofs - Growing a vegetative layer (plants, shrubs, grasses, and/or trees) on a rooftop
reduces temperatures of the roof surface and the surrounding air and improves storm water
management. Also called “rooftop gardens” or “eco-roofs,” green roofs achieve these benefits by
providing shade and removing heat from the air through evapotranspiration.
• Cool Roofs - Installing a cool roof – one made of materials or coatings that significantly reflect
sunlight and heat away from a building – reduces roof temperatures, increases the comfort of
occupants, and lowers energy demand.
• Cool Pavements - Using paving materials on sidewalks, parking lots, and streets that remain
cooler than conventional pavements (by reflecting more solar energy and enhancing water
evaporation) not only cools the pavement surface and surrounding air, but can also reduce storm
water runoff and improve night time visibility.
• Smart Growth - These practices cover a range of development and conservation strategies that
help protect the natural environment and at the same time make our communities more
attractive, economically stronger, and more livable.

QUALITY OF BUILT ENVIRONMENT
• Segregation of waste at source and treating organic waste on-site can reduce its collection upto 30%
• Effective recycling and reuse of construction waste for building activities on-site can reduce burden on
landfill by upto 40%
• Preserving existing vegetation on-site wherever possible helps in reducing heat island effect and cost
savings through reduced maintenance
• Use of fly ash in building components can reduce the usage of cement by upto 25% for various
construction activities
• Conserving the ecological and geological formations on-site and integration by sensitive design wherever
possible can help in retaining natural heritage of Hyderabad
• Use of low energy/recycled and locally available materials help in reducing stress on fossil fuels,
non- renewable natural resources, transportation and other related costs
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

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