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MOVEMENT
OFFICE-WORKROOM
3 . DISPLAY PREPARATION FUNCTION THE
PREPARATION OF EXHIBITS.
LAYOUTS
4 . EDUCATIONAL AND PUBLIC FUNCTIONS
THIS TERM HAS BEEN EXPANDED TO INCLUDE ALL A . LECTURE ROOM, THE FLOW DIAGRAM 31.2 SHOWS
PUBLIC FUNCTIONS . CHAIR STORAGE CLOSET, COLLECTION ITEM MOVEMENTS IN THE
KITCHENETTE OPERATION OF COLLECTION SERVICES,
A . LECTURES, SCHOOL TOURS, SOCIETY B. LOBBY BUT NOTE THAT NOT EVERY OPERATION
MEETINGS, FILMS, AND SOCIAL FUNCTIONS SALES AND INFORMATION NECESSARILY REQUIRES A SEPARATE
B . RECEPTION, INFORMATION, SALES, COUNTER SPACE, AND SOME SERVICES MAY BE
SUPERVISION OF DISPLAY GALLERY . PROVIDED BY OUTSIDE AGENCIES. AS FAR
AS POSSIBLE, COLLECTION MOVEMENT
C . PUBLIC REQUIREMENTS AND PUBLIC CIRCULATION SHOULD BE
KEPT SEPARATE.
S . OTHER SERVICES C. CLOAK ROOM, WASHROOMS
A . MECHANICAL . A . HEATING-VENTILATION PLANT
B . JANITORIAL . B . JANITOR'S CLOSET
SPACE ORGANISATION PLANNING STORAGE SPACE OPTIONS
GENETIC PLANS FOR EXHIBIT AND OPEN-ACCESS
STORAGE AREAS:
A OPEN PLAN;
B CORE + SATELLITES;
C LINEAR PROCESSION;
D LOOP;
E COMPLEX:
F LABYRINTH
• SIMPLE CONCEPT OF FREE CIRCULATION AROUND A SINGLE
OPEN-PLAN EXHIBITION SPACE, 31.7A, A B C
• A LINEAR ARRANGEMENT OF SPACES WITH BEGINNING,
MIDDLE AND END, B
• A LOOP WHERE THE ESSENTIALLY LINEAR STORYLINE LEADS
NATURALLY BACK TO THE BEGINNING, 31.7C
• AN ARRANGEMENT OF CORE AND SATELLITES WHERE EACH
THEME OR DETAILED TREATMENT OF A SUBJECT LEADS BACK
TO A CENTRAL INTRODUCTORY OR ORIENTATIONAL AREA,
31.7A
• A MORE COMPLEX SCHEME COMBINING LINEAR, LOOP AND
CORE–SATELLITE ARRANGEMENT OF SPACES WHICH IS
SPECIFICALLY STRUCTURED TO ACCOUNT FOR MORE OR LESS D E
STABLE RELATIONSHIPS BETWEEN COLLECTIONS AND
INTERPRETIVE THEMES, 31.7D OR
• A LABYRINTHINE ARRANGEMENT WHERE THE
KEY AREAS FOR EXHIBIT AND STORAGE AREA.
RELATIONSHIPS BETWEEN AREAS CAN BE VARIED FROM
EXHIBITION TO EXHIBITION BY MANAGING THE PUBLIC
CIRCULATION,
F G H
EXHIBITS MAY BE OF FOUR BASIC TYPES: A,B,C HANGING OR
WALL MOUNTED; D,E FREE-STANDING AND OPEN EXHIBITS;
F,G,H CONTAINED EXHIBITS AND DISPLAY CASES
ANGLE OF VISIONS. LIGHTING THROW.
GALLERY DESIGN*
THE AVERAGE AMERICAN MUSEUM VISITOR (FIG . 4),
IF A MAN, IS ABOUT 5’9” TALL, AND HIS EYE
LEVEL IS 5’4” ; THE AVERAGE WOMAN IS ABOUT 5 FT 3 1/4 IN TALL, AND HER EYE LEVEL IS
4’11” . THUS, THE MEAN ADULT EYE-LEVEL HEIGHT IS ABOUT 5’2”. WITH LITTLE EYE
MOVEMENT, PEOPLE USUALLY SEE AND RECOGNIZE WITH EASE THINGS THAT ARE WITHIN
SECTION AND LIGHT SOURCE
AN APPROXIMATELY ELLIPTICAL CONE OF VISION, WITH THE APEX OF THE CONE AT THE EYE-
NATIONAL MUSEUM OF WESTERN ART. MUSEO CIVIC, TURIN
LEVEL HEIGHT.
TYPES OF THROW IN ARTIFICIAL
LIGHTING CONDITIONS .
RECESSED WALLWASHERS WITH ASYMMETRICAL SPOTS FOR POWER TRACK (LEFT) AND SWIVEL-
LUMINOUS CEILING
BEAM SPREAD, THE ONE ON THE RIGHT WITH A MOUNTED RECESSED DOWNLIGHT WITH
SPECULAR “KICK REFLECTOR” FOR ALSO SPOTLIGHTING CHARACTERISTICS (RIGHT);
DIRECTING LIGHT ONTO THE EDGE OF THE POWER TRACK IS ALSO SUITABLE FOR RECESSED
CEILING CEILING MOUNTING.
FIBRE-OPTIC LIGHTING SYSTEM FOR DISPLAY RECESSED FLOOR FLOODS (LEFT) FOR MINIATURE LED LUMINAIRE, INSTALLED HERE IN
CABINETS: THE LIGHT GUIDES ARE INSIDE ILLUMINATION AND ACCENTUATING LIGHT, AND THE CEILING OF A DISPLAY CABINET FOR
CURVED TUBES. AN OPTICAL CONNECTOR AT ORIENTATION LUMINAIRES FOR RECESSED WALL SHOWCASE LIGHTING
THE END OF THE FIBRE/TUBE DISTRIBUTES THE MOUNTING (RIGHT)
LIGHT.
LUMINOUS INTENSITY IS THE AMOUNT OF
LUMINOUS FLUX A REFLECTOR LAMP OR
LUMINAIRE RADIATES. IT IS MEASURED IN
CANDELAS (CD). PLOTTING THE LUMINOUS
INTENSITY VALUES AT THE DIFFERENT EMISSION
ANGLES ON A GRAPH PRODUCES AN INTENSITY
DISTRIBUTION CURVE (IDC).
REFLECTANCE :INDICATES THE PERCENTAGE OF
LUMINOUS FLUX REFLECTED BY A SURFACE. THE
REFLECTANCE OF LIGHT-COLORED SURFACES IS
HIGH, THAT OF DARK SURFACES LOW. THIS
MEANS THAT THE DARKER THE ROOM
COMBINATION OF BOTH LUMINOUS CEILING DIRECTIONAL LIGHTING (LEFT) ACCENTUATES FURNISHINGS, THE MORE LIGHT IS NEEDED TO
AND DIRECT SPOTLIGHTING EXHIBITS, PLANAR LIGHTING (RIGHT) MAKES FOR CREATE THE SAME BRIGHTNESS.
UNIFORM ILLUMINATION.
VISUAL TASK :ARE DEFINED BY LIGHT/DARK AND
COLOR CONTRASTS AS WELL AS BY THE SIZE OF
DETAILS. THE MORE DIFFICULT THE VISUAL TASK,
THE HIGHER THE LIGHTING LEVEL NEEDS TO BE
TO PERMIT THE VISUAL PERFORMANCE
REQUIRED.
VISUAL PERFORMANCE VISUAL PERFORMANCE
IS DETERMINED BY THE VISUAL ACUITY OF THE
EYE AND ITS SENSITIVITY TO DIFFERENCES IN
BRIGHTNESS AND DARKNESS AS WELL AS BY
SPEED OF PERCEPTION.