ARCHITECTURAL

PRE-THESIS PROJECT
LITERATURE STUDY

FASHION MUSEUM

V. GOWTHAMI, Y14AP0177, B.ARCH VII SEM,

A.N.U.C.A.P

FASHION MUSEUM
LITERATURE STUDY
 LITERATURE STUDY
INTRODUCTION
FASHION:
• The world of fashion can be considered a reflection of the rapid and continuous
evolution of contemporary reality, of its economic, cultural and social changes.
• In architectural terms- a spatial modulation of continuous movement in time and
space.
• With respect to innovations and inventions using flexible and economic means. It
demands creativity and flair of art together with the technical knowledge base.

MUSEUM:
• ‘ A Museum is an institution which collects, documents, preserves, exhibits and
interprets material evidence and associated information for the public benefit
(Museum Association (UK), 1984
• The design of museums, art galleries and the temporary exhibition spaces

Associated with similar organizations involves be devoted to the different functions.

The client’s intensions in the housing of a wide range of functions broadly indicated
• Collections in national museums are very large and varied in material and

international importance.
• The National Maritime Museum in Greenwich, for example houses models, paintings,
silver, weapons, and scientific instruments, among many other types of material.

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AREA DATA:
• There is no convenient formula for determining the areas to be devoted to the
different functions. The client’s intensions in respect of public access to collections,
information and staff

GENERAL PLANNING:
• The relationships between functions are common to all museums and art galleries.
The collection in item movements in the operation of collection services, but note
that not every operation necessarily requires a separate space, and some services may
be provided by outside agencies. As far as possible, collection movement and
public circulation should be kept separate.

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• shows one approach to zoning and expansion based on this principle.
• shows a possible layout for a small museum in which interpretive exhibitions and
educational programmes are central to its operation.

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EXHIBITION AND COLLECTION STORAGE SPACES :

• The layout of public areas in a museum, may be based on a simple concept of free
circulation around a single open-plan exhibition space or on more complex concepts
related to generic interpretive structures.
• It is important to consider the nature of the narratives appropriate to the museum’s
objects of interest. The storyline of an exhibition may be translated into:
• A linear arrangement of spaces with beginning, middle and end A loop where the
essentially linear storyline leads naturally back to the beginning an arrangement of
core and satellites where each theme or detailed treatment.

• A more complex scheme combining linear, loop and core– satellite arrangement of
spaces which is specifically structured to account for more or less stable relationships
between collections and interpretive themes
• To illustrate the manner in which a good small museum may be planned on the basis
of the organizational diagram, three basic plans are presented as examples, ranging
from the smallest possible at 1960 sq.ft, up to 3823 sq.ft, and therefore representing
three different capital expenditures and operating costs.

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• All plans incorporate provisions for future expansion and construction in several
stages as a basic principle. It should be further noted that the museum plans shown are
based upon collections comprising smaller types of specimens and Arti-facts.
• allowance for further expansion of the display, collection, and educational functions
in the future. The number of perimeter cases shown would be ample for the story
theme and changing exhibits while the centre of the room may have larger items,
photographic panels or special feature displays. The display room is 33 percent of
gross
• Large equipment, vehicles, and farm machinery would require considerably more
space although the basic functions outlined earlier would still apply. The following is
a summary of some main features.

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• If a man, is about 5 ft 91/4 in tall, and his eye level is 5 ft 43/4 in; the average woman
is about 5 ft 31/4 in tall, and her eye level is 4 ft 11 3/4 in. Thus, the man adult eye-
level height is about 5 ft 21/4 in. With little eye movement, people usually see and
recognize with ease things that are within an approximately elliptical cone of vision,
with the apex of the cone at the eye-level height.

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• In any arrangement of exhibition spaces consider the problem of orientation, at the

entrance to the museum and at key decision points in the museum information and
visible clues should be provided to enable the visitor to grasp the organization of the
collections, the interpretive scheme, and the public services offered by the museum.

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• Fluenced by the space in which it is intended to utilize and divide the space to be
devoted to the displays.
• This are closely connected with the question of lighting
• The modern tendency is to create large unbroken spaces. Which can then be divided
up by movable partitions or lightweight structures, to be grouped or displaced as
required
• The traditional system is the contrary one of dividing the space, by means of
permanent walls, into rooms of various sizes ,which maybe either communicating or
independent

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INTERPRETATION, COMMUNICATION AND DISPLAY

• At an early stage the communications strategy of the museum should be determined.
The relative importance and coordination of exhibition, education, publication, live
interpretation and other forms of direct communication with the public are the
essential factors that will determine the interface between staff and public. It is not
sufficient to consider only the relationship
• The aim of orientation is not only easy understanding of the building layout but more
crucially to facilitate access to collections, information and museum services.
• between visitor and displayed collections, a wide variety of media are now used in
museum exhibitions to facilitate communication with the visiting public – graphic
display, audio-visual, theatre, video, computer graphics, animatronics, tableau and
reconstruction, and working environments.

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• Method of layout in open-access storage areas

• 1 Entrance from main exhibit areas

• 2 Orientation point

• 3 Ranks of cases glazed on all sides

• 4 Full-height wall cases
• 5 Fire exit
• 6 Controlled access to staff areas and secure storage

ENVIRONMENT AND CONSERVATION:

• Relative humidity and temperature Special consideration must be given to proper
control of relative humidity, temperature and air pollution in all collection areas of a
museum or art gallery. This includes: exhibition areas; collection storage; and
conservation, display and photographic work areas.

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ANCILLARY ACCOMMODATION:
• For guidance on space requirements and design criteria for offices, catering facilities,
sanitary installations and cloakrooms, circulation spaces, loading bays, retail areas,
auditoria, educational facilities, laboratories, and libraries reference should be made to
other chapters in this book.

AIR POLLUTION:
• Information about local air quality should be sought and used to decide on the
appropriate approach to control. If air filtration is necessary it should not be of the
electrostatic type, as malfunction can result in the generation of highly damaging
ozone levels.

LIGHT AND LIGHTENING:

• Museum lightning is a complex subject it is important particularly in art museums, to
determine a clear policy on the approach to natural and artificial lighting.

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 • Direct sunlight should not fall on any collection item and UV radiation must be
effectively eliminated from all light reaching a collection item: at the higher energy
end of the spectrum light is very effective in initiating chemical change in vulnerable
materials.

• The maximum light dosage recommended for different categories of collection item
is summarised in Table II. These dosages are normally achieved by limiting the level
of illumination on collection items during visiting hours to 50 lux per annum on the
most sensitive material such as paper, textile, watercolour and 200 lux on other
sensitive materials such as wood, leather, oil paint.

SERVICES:
• For general guidance see appropriate chapters in this book. In addition, special
consideration should be given to minimising the risk to the collections when locating
service installations and routing service ducts. For example, water and waste pipes
should not be routed near collection storage and exhibition areas.
• Risk management is also greatly enhanced if a separate heating/air conditioning
system or independent control system is provided in collection areas.

ACOUSTIC AND ZONING:

• The transport of sound through structure should be controlled. Functional zones
should be provided with surface or sub-surface materials that dampen impact sounds
and isolating cavities to interrupt the structural transmission of sound. Noise levels
should be controlled within zones by appropriate choices of material finishes on
floors, walls and ceilings, and the shaping of interior spaces to prevent flutter and
unwanted amplifying effects.

SECURITY AND SERVICES

• Security many security problems can be avoided by keeping the number of access
points to the site and to the building to a minimum. The ideal is one public entrance
monitored by information staff and/or attendants, and one staff entrance controlled by
the security staff responsible for key control and the checking of deliveries and
outside contractors.
• Secure areas the health and safety of the public and the staff and collection security
are the prime considerations in determining the zoning of the museum into secure
areas. During open hours it may be sufficient to separate public and staff areas. When
the museum is closed to the public it is normal to secure more specific zones, for
example: entrance orientation ,shop café clock room toilets etc

• Exhibition and maintenance workshops.

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FIRE RESISTANCE
• The need for and degree of fire resistance within a structure may be dictated by
Building Regulations, insurance or damage limitation requirements.
• The prevention of untimely collapse
• Allows evacuation, containment of a fire and therefore protection of adjacent areas,
and access for firefighters.
• This is essential in high-rise buildings.
• Factors relating to the need for fire resistance are building height and size, occupancy
and anticipated fire severity; although it should be noted that the current
recommendations under the Building Regulations
• Do not consider capacity, i.e volume, relevant, Table II.
• While a specific period of fire resistance may be specified and an element constructed
accordingly, it should not be assumed that the period will be attained
• It may be longer or shorter due to, among other factors, interaction with other
elements or non-maintenance, or more severe fire conditions than those anticipated in
the test.

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