Building design design manual manual museum

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Art and Architecture Archive This link opens in a new window This link opens in a new window. Includes an array of titles, such as Architectural Review , British Journal of Photography, Graphis, Print, and many others, with searchable text and article level indexing. In the face of the absence of exits, signs of fatigue are inevitable — not only among the public. The educational value also remains modest — as long as only one work is lined up next to another, the museum undersells itself.

Clout only emerges from the sum of the information. Key to this are the spatial relations which the museum sets up among its exhibits.

All exhibits are ideally positioned around the core message. Irrespective of whichever system is brought into play, there always follows a main room that branches out into others. At the time, no circulatory system in its pure form is realised more often than this system of cul-de-sacs. The design leeway afforded to museum designers by this organisational concept demonstrates spatial hierarchies which reflect one-to-one the class-based society of the nineteenth century.

The fact that these are ultimately dead-ends only becomes apparent at a later point in time. However, the majority of museums build on hybrid forms for example, Klenze with the Pinakothek in Munich parallel to Schinkel in Berlin. Generations of architectural historians have since superimposed their floor plans without being able to bring them into alignment. The conclusion is clear: there is still a long way to go before the ideal mix is found. Henceforth, no design for a museum is able to escape this quest.

The art of planning consists in that which unites all museums — even from the very outset: the appearance. The structures thoroughly embellish themselves with the tried and tested — both inside and out.

Once the museum is roughly outlined as a construct of ideas, the project has to meet a series of practical challenges. Topping the list is the urban planning. Possible starting points are outlined above, whereby the building form is deliberately adhered to in general.

While other architectural tasks are mainly characterised by the milieu, museums have tried to conquer their context. Regardless of whether the museum is allowed to sprawl across greenfield development or has to make do with one room in a historically listed inner-city townhouse, the first obligation is to catch the attention of the observer. An appropriate tool may be to form a contrast with the neighbourhood. However, the primary objective is to communicate the intrinsic values externally.

Particular sensitivity in the case of territorial museums may be required since the place itself is a central exhibit! Any attempt. Apart from this, museums are suitable for almost any construction site. Any full-blown museum needs access roads in order to deliver people and material. In particular, these have to be suitable for heavy-duty vehicles if exhibits come from far and wide or when the repository and workshops are outsourced. The organisation of public access in turn means that the location of the museum must be reconciled with its visitor profile.

Tourists are almost always the most important group. They only travel to remote museums using their own vehicles: car parks must be available here which not infrequently are larger than the exhibition area itself. Museums on publicly developed terrain, which are reasonably popular, require bus stops — at least within walking distance. Exhibition Area. The design addresses the core of the building once the formalities are cleared. The space allocation plan, which is inherent in every tender procedure, serves as the basis for the planning work.

The bulk of the demands placed on museums provides a less sophisticated reading than those of other architectural tasks. The exhibition space, in particular, serves as a firm point of reference. Room for manoeuvre is almost always created in every other aspect. Since the portion of remaining spaces has increased nearly twenty-fold in the past years, stinginess here is uncalled for!

In order to translate the space allocation plan into the structure of the building, the long lists must be roughly divided up. With regard to the construction of museums, the distinction between public and internal, or between non-public has become established. In a classic scenario, the two categories stand for themselves and can be. However, in the meantime, the boundaries are in flux: workshops, libraries and repositories — which previously outsiders had nothing whatsoever to do with — are increasingly opening up to visitors.

Occasionally, in some places they are even a component of the exhibition. Therefore, the first task of the architect is to evaluate the interior components with museologists according to public relevance. The diagrams above illustrate possible alternative combinations.

In addition to the clear division within the building, the option of the mixed-use space allocation plan also presents itself. As a matter of fact, interior components are the initial candidates for complete outsourcing.

This is especially recommended if the museum is already very large and its demand for space is designed for growth, the construction site proves to be too narrow or preservation concerns restrict the adaptation of the existing building. Design Parameters for Museum Buildings. Solomon R.

Guggenheim Museum, New York Externally, the ground floor serves as the access area and internally as the distribution level. The base is surmounted by the museum which is separated by its various functions. Each area is accessed separately. In the part devoted to the exhibition, lifts first lead to the uppermost floor.

A spiral ramp marks the way back; located along it are display cabinets which are arranged like the segments of an orange. It is impossible to leave the exhibition without — at least indirectly — strolling past each individual exhibit.

Centre Pompidou, Paris The partially excavated souterrain serves on the inside and on the outside as an assembly point for art enthusiasts. Every vertical access is located in the building envelope. The primary route leads across an escalator in the opposite direction. All floors have an open floor plan with variable walls. The stairwells are one-way and only lead out from the exhibition areas.

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