31 Museums, art galleries and temporary

exhibition spaces
CI/Sfb:75
Geoffrey Matthews UDC: 727.7
Uniclass: F754 & F755

Geoffrey Matthews is a museum consultant

KEY POINTS: common definitions of a museum. Museums, however, vary

• The expansion policy considerably in size, organization and purpose. It is important
• The circulation system therefore to consider the particular context and features that
• The storage system characterize a museum in the process of developing concepts.
• Environmental control
1.03 Collections in national museums are very large and varied in
Contents material and generally of international importance. The National
1 Introduction Maritime Museum in Greenwich, for example, houses collections
2 Area data of machinery, boats, costumes, medals, ship models, paintings,
3 General planning silver, weapons, and scientific instruments, among many other
4 Exhibition and collection storage spaces types of material. Such museums are staffed by a wide range of
5 Interpretation, communication and display highly qualified experts in collection management, research,
6 Ancillary accommodation conservation, public relations and marketing.
7 Environment and conservation In some local and private museums collections are small,
8 Security and services specific in material content and of specialist or local interest. Many
9 Bibliography and references such museums have only one qualified curator to oversee
management of the collections and public services, and many of
the specialist functions may be provided by outside bodies such as
1 INTRODUCTION the Area Museum Councils. 31.1 shows a typology of museums
1.01 ‘A museum is an institution which collects, documents, based on subject/museological approach, collection character-
preserves, exhibits and interprets material evidence and associated ization, and type of institution.
information for the public benefit’ (Museums Association (UK),
1984).
2 AREA DATA
1.02 The design of museums, art galleries and the temporary 2.01 There is no convenient formula for determining the areas to
exhibition spaces associated with similar organizations involves be devoted to the different functions. The client’s intentions in
the housing of a wide range of functions broadly indicated in the respect of public access to collections, information and staff, and

subject/approach museum/collection type of institution

characterisation
science

monolithic institution:
technology
international collections
state museum of
industrial archaelogy national museum
national culture
special national/
social history
international collections

museum ethnology national collections

provincial museum
anthropology regional collections
university museum
archaeology local interest
independent
trust museum
geology historic site
small museum
natural history special interest
private museum
fine art private collections
art gallery
decorative art

31.1 A museum typology based on: museological approach/interpretive discipline; collection characterization; and institution
characterization
31-1
31-2 Museums, art galleries and temporary exhibition spaces

of commitment to research and conservation will provide an initial public

entrance
guide.

2.02 Some museums may have only a small proportion of the lecture/
information
permanent collections on public exhibition at any one time, the activity
room lobby store
bulk remaining in storage and accessible for research and sales
conservation purposes only. Well-serviced temporary exhibition
space may be a priority in such cases. Other museums may have
smaller collections attractive enough to the visiting public to office security staff
orientation lobby entrance
warrant the development of sophisticated exhibitions with a workroom
designed life of several years. In such cases storage space may be
needed primarily for the expansion of the collections, and studio
considerable effort may be made to develop educational exhibit areas collection
programmes. workshop storage

31.4 A possible layout diagram for a small museum

3 GENERAL PLANNING
3 . 0 1 The relationships between functions are common to all
museums and art galleries. The flow diagram 31.2 shows
collection item movements in the operation of collection services, programmes are central to its operation. Where a museum is to be
but note that not every operation necessarily requires a separate developed around a large-scale permanent installation this should
space, and some services may be provided by outside agencies. As be integrated into the interpretive scheme at an early stage.
far as possible, collection movement and public circulation should Examples are Jorvik Viking Centre’s archaeological site and the
be kept separate. 3 1 . 3 shows one approach to zoning and National Railway Museum’s turntables.
expansion based on this principle. 31.4 shows a possible layout for
a small museum in which interpretive exhibitions and educational 3.02 Museums are long-term developments: concepts for layout
and massing should therefore be capable of expansion in all areas
and a degree of internal rearrangement, particularly in work and
ancillary areas. 31.5 shows possible massing concepts, and 31.6
loan out illustrates the three methods of expansion.
and
disposal acquisition
4 EXHIBITION AND COLLECTION STORAGE SPACES
4.01 The layout of public areas in a museum, 31.7, may be based
loading unloading
packing unpacking on a simple concept of free circulation around a single open-plan
exhibition space, 31.7a, or on more complex concepts related to
generic interpretive structures. It is important to consider the
inspection nature of the narratives appropriate to the museum’s objects of
interest. The storyline of an exhibition may be translated into:

closed labelling, • 31.7b

A linear arrangement of spaces with beginning, middle and end,

• back
storage marking
workshop conservation A loop where the essentially linear storyline leads naturally
open/access and
storage measuring to the beginning, 31.7c
• detailed treatmentof core
An arrangement and satellites where each theme or
of a subject leads back to a central
data
exhibition photography introductory or orientational area, 31.7a
collection

31.2 Flow diagram of collection item movements in the

• Asatellite
more complex scheme combining linear, loop and core–
arrangement of spaces which is specifically structured
operation of collection services: exhibitions, conservation and to account for more or less stable relationships between
collections management collections and interpretive themes, 31.7d or

expansion

closed open-access orientation commercial public

conservation exhibit area
storage storage exhibit activities areas

documentation library and design and education and public relations

acquisition
and security research production interpretation and administration

museum process layered public access staff areas and

controlled access entrance

31.3 A layout concept showing a clear relationship between museum functions and an approach to zoning and expansion
 Museums, art galleries and temporary exhibition spaces 31-3

library, restaurant,
theatre, associated
activities and office
space

a b

workshop, collection,
storage, security and
exhibit areas, public staff facilities
circulation and
commercial activities

c d
staff areas

public areas
31.5 Two basic massing concepts that allow public areas to be
organised on one level

e f

1 2 3 31.7 Genetic plans for exhibit and open-access storage areas:

a Open plan; b Core + satellites; c Linear procession; d Loop;
e Complex: f Labyrinth
a b c

31.6 Three modes of expansion: a Block addition; b Extension;

c New building
5

• areas
A labyrinthine arrangement where the relationships between
can be varied from exhibition to exhibition by managing 3
the public circulation, 31.7e .
1
4 . 0 2 In any arrangement of exhibition spaces consider the 2
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. The aim of orientation is not only easy
understanding of the building layout but more crucially to facilitate 6 4
access to collections, information and museum services.
Many museums carefully control access to all collection storage
spaces. However, it is increasingly worth considering the provision 31.8 Method of layout in open-access storage areas
of open-access storage areas particularly for collection study. The
1 Entrance from main exhibit areas
former requires that storage areas are made secure and that visitors
2 Orientation point
are closely supervised. Open access, on the other hand, requires
3 Ranks of cases glazed on all sides
that secure forms of storage equipment and furniture are arranged
4 Full-height wall cases
in very compact layouts. 31.8 shows a typical layout for a storage
5 Fire exit
area fitted out with ranks of secure display cases. 31.9 shows a
6 Controlled access to staff areas and secure storage
secure storage area with open-floor storage for larger collection
items.

between visitor and displayed collections, a wide variety of media

5.0 INTERPRETATION, COMMUNICATION AND
DISPLAY
5 . 0 1 At an early stage the communications strategy of the
museum should be determined. The relative importance and
coordination of exhibition, education, publication, live inter-
pretation 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
are now used in museum exhibitions to facilitate communication
with the visiting public – graphic display, audio-visual, theatre,
video, computer graphics, animatronics, tableau and reconstruc-
tion, and working environments. Once beyond the stage of
producing a general scheme it is important to consult an exhibition
designer and a museum consultant to explore the matrix of
interactions between people, information and collections that must
be accommodated.
31-4 Museums, art galleries and temporary exhibition spaces

2
1

31.9 Grid system for open-floor secure storage area

1 Controlled entrance lobby

2 Inspection area
3 Clear aisles
4 Grid marked on floor, eg 1.5 m squares lettered in one
direction, numbered in the other
5 Fire exit

31.11 Each of exhibit types in 31.10 may have any combination

a b
of the following elements: a Item or items from the collection:
b Fixing mount, support or plinth; c Preservation: protection of
vulnerable or removeable parts, lock, alarm, barrier, glazing,
thermo-hydrometer (contained exhibits may have buffering
material against changes in relative humidity); d Lighting;
e Interpretive material: label, graphic information, sound,
audio-visual, kinetic device, interactive device
c

A wide range of academic expertise may be brought to bear in

the interpretation of collections for exhibition purposes. Within the
framework that the initial consultations provide, informed deci-
sions may be made regarding the interpretive process and
techniques, and the choice of media and types of exhibit to be
employed. 31.10 shows a broad typology of exhibit and media
installations, and 31.11 indicates the physical elements associated
with exhibits. Reference should be made to the anthropometric
data in Chapter 2 in determining coordinating dimensions; for
example, the range of eye levels represented in the visiting
population.

d e
6 ANCILLARY ACCOMMODATION
6.01 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.

7 ENVIRONMENT AND CONSERVATION

7.01 Relative humidity and temperature

f g h
31.10 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
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.
 Museums, art galleries and temporary exhibition spaces 31-5

Key 90 80 70% 60% 50%

3.2
winter human comfort
zone 24
summer human comfort 3.0
zone
safety zone for 2.8
paintings
22
safety zone for
archives 2.6
safety zone for

vapour pressure (kPa)

general collections
20 2.4

2.2

18
2.0

16 1.8

14 1.6

12 1.4

10
1.2

90
1.0
80
70
0.8
60
50 0.6
relative humidity %

40
0.4
30
20 0.2
10
0
10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40
dry bulb temperature (°C)

31.12 Psychrometric chart (see Chapter 38) showing safety and comfort zones for museums, art galleries and archives

Passive, low-tech approaches may be considered where climate
and the inertia of the building allow. Full air conditioning may be
required to cope with climatic extremes, even in this case the
building envelope should provide a sufficient buffering effect to
prevent sudden changes in relative humidity during periods of
repair or maintenance. 31.12 shows suitable conditions in
Table I Recommended temparatures and relative humidities in various
climatic zones
museums, while Table I gives the ranges of museum interior
temperature and relative humidity recommended in various
climatic zones.
7.02 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.

Climate Temp (°C) RH (%) Notes 7.03 Light and lighting

Humid tropics 20–22 65 Acceptable for mixed collections.
However, RH too high for iron and
chloride-containing bronzes. Air
circulation very important
Temperate coastal 20–22 55 Widely recommended for paintings,
and other non-arid furniture, wooden sculpture in
regions Europe, satisfactory for mixed
collections. May cause condensation
and frosting difficulties in old
buildings, especially inland Europe
and northern North America
Temperate inland 20–22 45–50 A compromise for mixed collections
regions and where condensation may be a
problem. May be best level for
textiles and paper exposed to light
Arid regions 20–22 40–45 Acceptable for display of local
material. Ideal for metal-only
collections
Museum lighting is a complex subject. It is important, particularly
in art museums, to determine a clear policy on the approach to
natural and artificial lighting. 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.
The eye has a limited ability to adapt to changes in brightness,
and as the visitor moves through the museum sudden changes in
lighting levels and extreme contrasts of brightness in the field of
31-6 Museums, art galleries and temporary exhibition spaces

Table II Recommended maximum light dosages 8.03 Security staffing is also considerably more effective and
economic if all exhibition and open storage areas are on one
Type of collection Dosage Notes
(kilolux-h)
level.

Objects specially sensitive to light, e.g. 200 Usually only possible

textiles, costumes, watercolours, tapestries, to achieve with 8.04 Services
prints and drawings, manuscripts, artificial lighting
miniatures, paintings in distemper media,
For general guidance see appropriate chapters in this book. In
wallpapers, gouache, dyed leather. Most addition, special consideration should be given to minimising the
natural history items, including botanical risk to the collections when locating service installations and
specimens, fur and feathers
routing service ducts. For example, water and waste pipes should
Oil and tempera paintings, undyed leather, 650 If a daylight component
horn, bone and ivory, oriental lacquer is used great reduction
not be routed near collection storage and exhibition areas.
of UV is necessary 8.05 Risk management is also greatly enhanced if a separate
Objects insensitive to light, e.g. metal, 950 Higher dosage is heating/air conditioning system or independent control system is
stone, glass, ceramics, jewellery, enamel, possible but usually provided in collection areas.
and objects in which colour change is not unnecessary
of high importance

view should be avoided. However, a reasonable range of contrast 9 BIBLIOGRAPHY

should be maintained in conditions of low illumination to prevent
a dull effect and possible problems of visual accommodation.
7.04 Acoustics 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. To
generalise and simplify, the penetration of low-frequency sound is
lessened by structural mass, of middle frequencies by diffusing
and absorbing surfaces, and of high-frequency sound by the
elimination of small-scale air gaps in doors, windows and partition
walls.
8 SECURITY AND SERVICES
8.01 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.
8.02 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:
1 Entrance, orientation/information, shop, café and toilets/
cloakrooms
2 Temporary and permanent exhibitions – in larger museums sub-
divided into several secure exhibit areas
3 Educational facilities, lecture theatre, study collections
4 Offices: administration, curatorial, conservation, design, etc.
5 Conservation workshops, laboratories, photographic facilities
6 Collection storage, security staff areas, collection packing and
inspection areas
7 Exhibition and maintenance workshops.
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for State and Local History, Nashville, 1979
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don, 1987
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Experience, Belhaven Press, London, 1989
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1988