CIRCULATION AND EXPERIENCE IN EXHIBITION SPACES

i
 University of Nairobi
College of Architecture and Engineering
School of Built Environment
Department of Architecture and Building Science

CIRCULATION AND EXPERIENCE IN EXHIBITION SPACES

Research Thesis by:

Kiptum Kim Victor
B02/0767/2010

Tutor: Arch. Mahinda

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 Declaration

This thesis is my original work and to the best of my knowledge has not been presented for a degree in any other institution

Author: Kiptum Kim Victor

................................................................................................................................ Date .......................

This thesis is submitted in partial fulfillment of the examination requirement for the award of the degree of Bachelor of Architecture, De-
partment of Architecture and Building Science, University of Nairobi.

Tutor: Arch. Mahinda

.................................................................................................................................. Date .......................

Year Master: Prof. Anyamba

................................................................................................................................... Date .......................

Chairman, Department of Architecture and Building Science

Arch. Musau Kimeu

.................................................................................................................................. Date .......................

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 Acknowledgments

I want to thank my Lord and God Jesus Christ for life, breath, health and wealth to live to this day and write these words. I thank God not for the far that
I’ve come but that I have been able to know you the only true God and Jesus Christ whom you have sent.

Big thanks to my Family; Soja, Mum, Felix, Gladys, Faith, Korir, Millan & Pillie for the continued support in words of encouragement, generosity with time
and resources to complete my studies.

Many thanks to my tutor Arch Mahinda for the helpful feedback and diligent guidance, thank you sir. I also want to thank the rest of the lecturers for
good criticism and helpful feedback, may God bless you all. I thank the University of Nairobi for giving me this gracious opportunity, teaching me and
equipping me for the practice ahead.

Sincere thanks to the Government of Kenya for paying my tuition and giving me a window of opportunity to charter a future for myself.

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 Dedication

To Him who is able to do exceedingly abundantly above all that I could ask or imagine,
according to the power that works in us, to Him be glory in the church by Christ Jesus
to all generations forever and ever. Amen. [Ephesians 3:20]

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 Table of Contents

CHAPTER 01: CHAPTER 04:

INTRODUCTION......................................................................................................xi CASE STUDIES..52

1.1 Introduction..1 4.1 Nairobi National Museum ...............................................................................54

1.2 Background Information..................................................................................3
1.3 Problem Statement...........................................................................................6
1.4 Research Objectives.........................................................................................7
1.5 Research Questions...........................................................................................7
1.6 Justification of Research..................................................................................8
1.7 Significance of Study..8
1.7 Scope and Limitations of Study......................................................................9
1.8 Research Methods............................................................................................10
1.9 Structure of Study............................................................................................10
4.1 Nairobi International Trade Fair.....................................................................59
4.3 Shifteye Gallery.................................................................................................63
4.4 Circle Art Gallery..............................................................................................66
4.5 One-Off Contemporary Art Gallery.............................................................69
4.6 Village Market Exhibition Hall........................................................................72
4.6.4 Form of the Exhibition Space.......................................................................72
4.7 Solomon R. Guggenheim Museum, New York...............................................75
4.8 Jewish Museum Extension by Daniel Libeskind, Berlin.................................79
4.9 Summary..............................................................................................................82

CHAPTER 02: CHAPTER 05:

LITERATURE REVIEW..............................................................................................11 CONCLUSIONS & RECOMMENDATIONS ..........................................................83

2.1 Concept of Movement...................................................................................12 5.1 Introduction.........................................................................................................84

2.2 Kinesthetic Qualities.......................................................................................14 5.2 Conclusions..........................................................................................................84
2.3 Exhibits.............................................................................................................24 5.2 Recommendations..............................................................................................86
2.4 Types of Exhibition Spaces...........................................................................28
2.5 Summary...........................................................................................................43
REFERENCES:..............................................................................................................89
CHAPTER 03: APPENDICES:.............................................................................................................90
RESEARCH METHODOLOGY...............................................................................44

3.1 Introduction......................................................................................................45
3.2 Purpose of Research......................................................................................45
3.3 Research Strategy..........................................................................................45
3.4 Measuring Experience...................................................................................47
3.4 Research Variables........................................................................................47
3.5 Time Horizon...................................................................................................48
3.6 Sampling Method...........................................................................................48
3.7 Data Collection Methods..............................................................................49
3.8 Data Analysis Methods.................................................................................51
3.9 Data Presentation Methods..........................................................................51

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 List of Figures
List of Figures Figure 2.31 Chapel Notre Du Haut 22
Figure 2.30 Michael Joseph Center Exhibition Hall, Safaricom House Nairobi 22
Figure 1.7 Vitruvian man ix Figure 2.33 Roof Lighting 23
Figure 1.8 Kinesthesia 1 Figure 2.32 Roof Lighting 23
Figure 1.9 Dynamic Figure Drawing 2 Figure 2.36 Artificial Lighting at Circle Art Gallery 23
Figure 1.10 Dubai Rotating Tower 3 Figure 2.35 Natural & Artificial Lighting at NNM Art Gallery 23
Figure 1.11 Vatican Museums Spiral Staircase 3 Figure 2.34 Artificial Lighting at Circle Art Gallery 23
Figure 1.12 Pablo Picasso, Maquette for Guitar, cubist Sculpture 4 Figure 2.37 Siwalik Fossils at Museum Kolkota 24
Figure 1.13 Balthasar Neumann, Pilgrimage Church, Vierzehnheiligen, 4 Figure 2.38 Model of a blue whale, Hall of Ocean Life at the American Museum of natural history 24
Figure 1.15 The temple of Erechtheum on the Athens Acropolis in 1910. 5 Figure 2.39 Exhibits at Guggenheim Museum, New York 24
Figure 1.14 Marcus Aurelius Column, Rome. 5 Figure 2.41 Golden Section 25
Figure 1.16 House of Culture Movement, Denmark by MVRDV Architects 6 Figure 2.42 Golden Section 25
Figure 1.17 Atrium at the Guggenheim Museum, New York 6 Figure 2.43 Monument at Uhuru Gardens 25
Figure 1.18 Vidyalankar Institute of Technology, Mumbai, India 7 Figure 2.44 Monument at Uhuru Gardens 25
Figure 1.19 Vidyalankar Institute, Mumbai India 7 Figure 2.40 Pentagon vs Pentagram 25
Figure 1.20 Andalucias Museum of Memory, Granada, Spain 8 Figure 2.49 KPA Exhibition Stand 26
Figure 1.21 Vidyalankar Institute Hall 8 Figure 2.45 Exhibits at the NITF KPA stand 26
Figure 1.22 Exhibition Spaces in Nairobi 9 Figure 2.46 --1 Xylophone exhibit at the NNM 26
Figure 1.23 Art Fair at Sarit Center 10 Figure 2.47 --2 Rotating Exhibit at the NNM 26
Figure 1.24 Art Fair at Sarit Center 10 Figure 2.48 --3 Exhibits at the Jewish Museum 26
Figure 2.1 Dance Flip xi Figure 2.51 Figure KPA Exhibition Stand 27
Figure 2.2 Skating 12 Figure 2.50 KPA Exhibition Stand 27
Figure 2.3 Dancing 12 Figure 2.52 Shifteye Art Gallery, Nairobi 28
Figure 2.4 Biking 12 Figure 2.55 Exhibition Space at the Nairobi International Trade Fair (NITF) 28
Figure 2.5 Running 12 Figure 2.53 Milan World Expo 2015 28
Figure 2.6 Captured Motion 13 Figure 2.54 Milan World Expo 2015 28
Figure 2.7 Vase Vs. Faces 13 Figure 2.56 Singapore Expo 29
Figure 2.8 Various Shapes 14 Figure 2.57 Origin of man exhibition at the Nairobi National Museum 29
Figure 2.9 Bust of Queen Nefertiti 14 Figure 2.58 Arena at the NITF 30
Figure 2.10 KICC, Nairobi 14 Figure 2.59 KICC Conference 30
Figure 2.11 Shape Illustration of KICC 14 Figure 2.61 China - Kenya Expo, Lenana Hall, KICC 31
Figure 2.12 Chester House, Nairobi 15 Figure 2.60 Nairobi Art Fair 2015, Sarit Centre 31
Figure 2.13 Great Court , University of Nairobi 15 Figure 2.62 Approach Corridor Michael Joseph Exhibition Hall, Safaricom House, Nairobi 32
Figure 2.14 Birds Chirping 16 Figure 2.63 Circulation Elements 33
Figure 2.15 Music Rhythm 16 Figure 2.64 Jon Wax Co Administration Building, Racine Wisconsin,1939 by F.L Wright 34
Figure 2.16 (Left) Baker House, MIT, Alvar Aalto 17 Figure 2.65 National Gallery of Art, Washington D.C.,1978 I.M. Pei and Partners 34
Figure 2.17 (Top Right) Baker House, MIT, Alvar Aalto 17 Figure 2.66 Path Configurations 34
Figure 2.18 (Right) Baker House, MIT, Alvar Aalto 17 Figure 2.68 Nairobi National Museum Ground Floor Plan 36
Figure 2.19 Finish Pavilion 18 Figure 2.69 Nairobi National Museum Circles of Life Gallery 36
Figure 2.20 Finish Pavilion 18 Figure 2.67 Nairobi National Museum Ground Floor Plan 36
Figure 2.21 Finish Pavilion 18 Figure 2.71 Kuona Trust Arts Centre Exhibition Hall 37
Figure 2.22 Maasai Woman;s necklace 19 Figure 2.72 Kuona Trust Arts Centre Exhibition Hall 37
Figure 2.23 Zebra Patterns 19 Figure 2.70 Kuona Trust Arts Centre Exhibition Hall 37
Figure 2.24 Zhangye Danxia Landform, Gansu Province, China 19 Figure 2.73 National Portrait Gallery Canberra Australia 38
Figure 2.25 Chefchaouen 20 Figure 2.75 National Portrait Gallery Canberra Australia 38
Figure 2.27 Colombia 20 Figure 2.74 National Portrait Gallery Canberra Australia 38
Figure 2.28 Argentina la boca buenos aires 20 Figure 2.77 National Museum for Marine Corps, Virginia USA 39
Figure 2.26 Italy 20 Figure 2.78 National Museum for Marine Corps, Virginia USA 39
Figure 2.29 Balls 21 Figure 2.76 National Museum for Marine Corps, Virginia USA 39

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 List of Figures
Figure 2.79 Interior Perspective, Carlifornia Art Museum 40 Figure 4.30 Artificial Lighting 56
Figure 2.80 Interior Perspective, Carlifornia Art Museum 40 Figure 4.31 Section Through Exhibit 57
Figure 2.82 Solomon R. Guggenheim Museum, Section, New York. By F.L Wright 41 Figure 4.32 Exhibition 57
Figure 2.81 Solomon R. Guggenheim Museum 41 Figure 4.33 Exhibit 57
Figure 2.83 Solomon R. Guggenheim Museum, Section, New York. By F.L Wright 41 Figure 4.34 Exhibit 57
Figure 2.85 KICC Expo 42 Figure 4.36 Exhibit 57
Figure 2.86 Nairobi International Trade Fir (NITF) 42 Figure 4.35 Exhibit 57
Figure 2.84 KICC Expo Plan 42 Figure 4.37 Exterior Exhibits 57
Figure 2.87 Hermstage Amterdam 43 Figure 4.38 Interactive Exhibit 57
Figure 2.88 Hermstage Amterdam 43 Figure 4.39 NITF Arena 58
Figure 3.1 Sequential Drawing xliv Figure 4.40 NITF Arena 59
Figure 3.2 Michael Joseph Exhibition Hall, Safaricom House Westlands Nairobi 45 Figure 4.41 Honey Casre Exhibition Hall 59
Figure 3.3 Michael Joseph Exhibition Hall, Safaricom House Westlands Nairobi 45 Figure 4.42 Kenya Seed Exhibition Hall 59
Figure 3.4 Michael Joseph Exhibition Hall, Safaricom House Westlands Nairobi 47 Figure 4.43 Circulation Paths 59
Figure 3.5 Michael Joseph Exhibition Hall, Safaricom House Westlands Nairobi 47 Figure 4.44 Outdoor 59
Figure 3.6 Shifteye Gallery Under Construction 48 Figure 4.45 Commercial zone 59
Figure 3.7 Shifteye Gallery 48 Figure 4.46 NITF Master Plan 59
Figure 3.8 Triangulation Diagram 49 Figure 4.47 NITF Master plan 59
Figure 3.9 Exhibition hall at the Jewish Museum in Berlin 51 Figure 4.50 Sitting Area 60
Figure 3.10 Sketch of Circulation Path 51 Figure 4.51 Structure 60
Figure 4.1 Jeweish Museum 52 Figure 4.48 Nairobi County Exhibition Hall Floor plan 60
Figure 4.2 Nairobi National Museum 53 Figure 4.52 Floor Plan 60
Figure 4.3 NNM Aerial View 54 Figure 4.53 --1 60
Figure 4.5 Statue at the Museum Entrance 54 Figure 4.54 --2 60
Figure 4.4 Approach into Nairobi National Museum 54 Figure 4.55 --3 60
Figure 4.6 Ground Floor Plan 54 Figure 4.56 --4 60
Figure 4.7 --6 54 Figure 4.57 --5 60
Figure 4.8 --4 54 Figure 4.58 --6 60
Figure 4.9 --3 54 Figure 4.59 --7 60
Figure 4.10 --1 54 Figure 4.49 Nairobi County Exhibition Hall Section X-X 60
Figure 4.11 --2 54 Figure 4.60 Exhibit Stand 61
Figure 4.12 --5 54 Figure 4.61 Exhibit Stands 61
Figure 4.13 Circulation 55 Figure 4.62 Exhibit Stand 61
Figure 4.16 Staircase 55 Figure 4.63 Shifteye Gallery 62
Figure 4.15 Section X-X 55 Figure 4.64 Location Map for Shifteye Gallery 63
Figure 4.14 Staircase 55 Figure 4.66 Exhibition Space in use 63
Figure 4.17 First Floor Plan 55 Figure 4.73 Section AA 63
Figure 4.18 --5 55 Figure 4.67 --1 63
Figure 4.19 --4 55 Figure 4.68 --2 63
Figure 4.20 --4(2) 55 Figure 4.69 --3 63
Figure 4.21 --5 55 Figure 4.70 --4 63
Figure 4.22 --3 55 Figure 4.71 --5 63
Figure 4.23 --2 55 Figure 4.72 --6 63
Figure 4.24 --1 55 Figure 4.65 Floor Plan 63
Figure 4.25 Art Exhibition 56 Figure 4.74 --1 64
Figure 4.26 Art Exhibition 56 Figure 4.75 --2 64
Figure 4.27 Exhibit 56 Figure 4.76 --3 64
Figure 4.29 Sky lighting 56 Figure 4.77 --4 64
Figure 4.28 Circulation Path 56 Figure 4.78 --5 64
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Figure 4.79 --6 64
Figure 4.80 Circle Art Gallery 65
Figure 4.81 Location Map 66
Figure 4.82 Exhibition space in use 66
Figure 4.83 Floor Plan 66
Figure 4.84 --1 66
Figure 4.85 --2 66
Figure 4.86 --3 66
Figure 4.87 --4 66
Figure 4.88 Exhibition Hall 67
Figure 4.89 Exhibition Hall 67
Figure 4.90 Exhibition Hall 67
Figure 4.91 Location Map 69
Figure 4.101 Section BB 69
Figure 4.93 --1 69
Figure 4.94 --2 69
Figure 4.95 --3 69
Figure 4.96 --4 69
Figure 4.97 --5 69
Figure 4.98 --6 69
Figure 4.99 --7 69
Figure 4.100 --7 69
Figure 4.92 Floor Plan 69
Figure 4.102 Exhibits 70
Figure 4.103 Exhibits 70
Figure 4.104 Exhibits 70
Figure 4.105 Village Market Exhibition Hall 71
Figure 4.107 Location Map 72
Figure 4.106 Exhibition Hall 72
Figure 4.108 Floor Plan 72
Figure 4.114 Section CC 72
Figure 4.109 --1 72
Figure 4.110 --2 72
Figure 4.111 --3 72
Figure 4.112 --4 72
Figure 4.113 --5 72
Figure 4.115 Paintings 73
Figure 4.116 Reception Desk 73
Figure 4.117 Solomon R. Guggenheim Museum New York 74
Figure 4.120 Location Map 75
Figure 4.119 Sectional 3D 75
Figure 4.121 Levels 75
Figure 4.118 Elevation 75
Figure 4.122 Floor Plan 75
Figure 4.124 Section EE 75
Figure 4.123 Section DD 75
Figure 4.126 --1 Atrium 76
Figure 4.127 -2 Atrium 76
Figure 4.128 --3 Exhibition Stpaces 76
 List of Figures
Figure 4.129 --4 Stripes 76 Figure 5.4 Mercedes-Benz Museum 85
Figure 4.130 --5 Atrium 76 Figure 5.5 Mercedes-benz Museum 85
Figure 4.131 --6 Top Floor 76 Figure 5.7 Mercedes-Benz Museum 85
Figure 4.132 --7 Skylight 76 Figure 5.6 Floor Plan 85
Figure 4.125 First Floor Plan 76 Figure 5.9 Herning Museum of Contemporary Art, Denmark 86
Figure 4.134 Exhibits 77 Figure 5.10 Floor Plan 86
Figure 4.135 Exhibits 77
Figure 5.8 Exhibition Hall 86
Figure 4.133 Exhibition Space 77
Figure 4.136 Exhibition Space 77 Figure 5.11 Exhibition Hall 86
Figure 4.137 Jewish Museum, Berlin 78 Figure 5.12 National Museum of XXI Arts, Rome, Italy, by Zaha Hadid 87
Figure 4.138 Location Plan 79 Figure 5.13 National Museum of XXI Arts, Rome, Italy 87
Figure 4.139 Jewish Museum 79 Figure 5.14 National Museum of XXI Arts, Rome, Italy 87
Figure 4.140 Jewish Museum 79 Figure 5.15 National Museum of XXI Arts, Rome, Italy 87
Figure 4.141 --1 Ground Level 79 Figure 5.16 Letterkundig Museum 88
Figure 4.142 --2 Basement Level 79 Figure 5.17 Interactive Exhibits 88
Figure 4.143 --3 First Floor Level 79
Figure 4.144 --4 79
Figure 4.145 --5 79
Figure 4.146 --6 79
Figure 4.147 --7 79 List of Tables
Figure 4.149 Circuit of Movement 80
Figure 4.148 Spatial Layout 80 Table 1 Tactility of surfaces 21
Figure 4.150 Circulation Axes 80 Table 2 Exhibition Circulation 32
Figure 4.156 Entrance 80
Figure 4.158 Axis of Exile 80 Table 3 Research Methods 46
Figure 4.160 First Floor 80 Table 4 Variables Table 50
Figure 4.162 Second Floor 80
Figure 4.164 the 3 Axes 80 Table 5 Robustness 59
Figure 4.157 Underground Stairs 80
Figure 4.159 Axis of Contuinity 80
Figure 4.161 Stairs to Ground Floor 80
Figure 4.163 Stairs to First Floor 80
Figure 4.165 Axis to Holocaust tower 80
Figure 4.167 Conceptual Sketch 80
Figure 4.151 --6 80
Figure 4.152 --7 80
List of Abbreviations
Figure 4.153 --8 80 NITF - Nairobi International Trade Fair
Figure 4.154 --9 80
Figure 4.155 --10 80 NNM - Nairobi National Museum
Figure 4.166 Interior Voids 80 KICC - Kenyatta International Conference Center
Figure 4.168 Structure 81
Figure 4.170 Exhibition Hall 81 MIT - Massachusetts Institute of Technology
Figure 4.173 Exhibition Hall 81 FLW - Frank Lloyd Wright
Figure 4.169 Exhibit 81
Figure 4.171 Exhibition Hall 81 CLC - Convention Liaison Council
Figure 4.172 Garden of Exile 81
Figure 5.1 Solomon R. Guggenheim Museum 83
Figure 5.2 National Museum of China 84
Figure 5.3 Nairobi Art Fair 84

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 CHAPTER 1:
INTRODUCTION
1.1 Introduction
1.2 Background Information
1.3 Problem Statement
1.4 Research Objectives
1.5 Research Questions
1.6 Research Justification
1.7 Significance of Study
1.8 Scope and Limitations of Research
1.9 Structure of Study

Figure 1.1 Vitruvian man

Source : www.leonardodavinci.stanford.edu
 1.1 Introduction
Kinesthesia can be simply defined as the feeling of movement. The word
Kinesthetics is made up of: Kinetics + Aesthesis. Kinetics meaning movement,
and aesthetics meaning sensation. Kinesthetics is the sensation of movement
within a space. This position-movement sensation was originally described in
1557 by Julius Caesar Scaliger as a “sense of locomotion” 1. It is this same
sensation that one feels when; dancing, jogging, skating, riding a horse,
playing football, walking, sliding, traveling on a train, driving a car etc.

All these activities involve a continual experience of movement through space

combined with a certain order, speed, rhythm or acceleration. Kinesthesia
is not merely proprioception - which is the biological term for mental stimuli
regarding position, motion, and equilibrium of the human body 2 - but also
the feeling or sensation of it. To architects human bodily movements can be
looked at both ergonomically and experientially; ergonomically, there is
Figure the need for empirical control of bodily movements within space to ensure
Source:
repetitive predictability. Experientially, architects explore the sensational
feeling of movement as the human body interacts with architectural elements
within a space, the approaches, the turns, the elevations etc.

Anthropometric studies have well covered the human scale, physical

dimensions, limits and capabilities which are predictable and objectively
measurable. Buildings that are customized to this scale have steps, doorways,
railings, work surfaces, seating, shelves, fixtures and walking distances that
fit well to the average person. However, since humans also interact with their
environments based on their sensory capabilities of sight, touch, smell, taste
and hearing, the human scale of architecture can then be extended to include
buildings with tactile properties, sight lines, acoustic installations, lighting

Figure 1.2 Kinesthesia

Source: Giual @ Deviantart.com 1 T. Hagood and M. Brennan In Time Together: Viewing and Reviewing Contemporary Dance Practice, University of Wisconsin, 2011, p. 2.

2 New world encyclopedia, www.newworldencyclopedia.org

1
 techniques and spatial grammar that fit well with our bodily senses. The
purpose of architecture is primarily shelter, to accommodate human life and
all the activities therein. Buildings therefore not only reflect the lifestyle of a
people but also their morphology. Their shape and size, patterns of movement
and their sensory perceptions.
Hazem Ziada suggest that “Our (part-bodily) gestures, (full-bodily) postures
and movements, and even our sense of weight, do translate into inscriptions of
physical spatial morphology, albeit indirectly...” 3
The term circulation in building terminology refers to the movement of
people in and around a space. Movement is a common form of architectural
experience and is manifested in several mechanism namely: approaching,
turning, rising, entering, exiting, jumping, Human bodily movements are
experienced in architecture at several circulation points and may appear as
either:-
• Elevation - Sense of gravity when scaling heights
• Acceleration - Horizontal movement, walking, running, driving, cycling,
Figure
Source: Moving on wheelchairs, trolleys etc.
In a building entrance approaches, lobbies, corridors, elevators, escalators,
ramps, stairways, and exit doors are strategic points to observe kinesthetics
as occupants engage with the building in movement.

Figure 1.3 Dynamic Figure Drawing 3 H.Ziada, Kinesthetic Foundations of Spatial Concepts and Configurations, Proceedings, 6th International
Source: Burne Hogarth Space Syntax Symposium, Istanbul, 2007, p.053-2

2

Figure 1.4 Dubai Rotating Tower
Source: arcrealestate.ir
Figure 1.5 Vatican Museums Spiral Staircase
Source: Bernard Jaubert@fineartamerica.org
1.2 Background Information
The term experience means involvement in, awareness of, contact with, or
exposure to a certain phenomena, object or place. It is therefore deeply
subjective, dependent on the observer’s socio-cultural background.
Theoretically, movement can be conceptualized as the gaining of space
through time. This study takes an exploratory viewpoint seeking to understand
the movement of human bodies in architectural spaces and how such
information can be used in architectural design. This involves investigating
both the ergonomics of how the human body moves as well as the sensational
perception of moving through spaces.
It is important to put out a disclaimer that this study doesn’t indulge in
Utopian ideologies of dynamism, responsiveness or kinetics in architecture such
as conceived by David Fisher on his conceptual design of a rotating tower
in Dubai. This study seeks to genuinely understand human bodily movements
and the impact it has on design of spaces that heavily rely on circulation
to achieve its basic functionality such as, a transit concourse, museum, or an
exhibition space, as shown in the spiral staircase in the Vatican museums in
image 1.5.
Movement is not new to architectural understanding, historically, architects
conceptualized space and time differently as exemplified below:
• Classical Order - Perspective in a space, objects always static in space.
• Cubists - Spatial misrepresentation of objects, parts of an object are
displaced to different positions in space but no movement is illustrated.
• Futurists - Movement in space, objects are moving in space and the dynamic
path of movement is clearly illustrated.
The futurist movement was based on a hypothesis of “the beauty of speed”
3

Figure 1.6 Pablo Picasso,
Maquette for Guitar, cubist
Sculpture
Source: Jennifer L. @
Studyblue.com
Figure 1.7 Balthasar Neumann,
Pilgrimage Church, Vierzehn-
heiligen,
Source: Michael Brawne: Archi-
tectural Thought P.10
and considered buildings as “machines”. Conversely, this study seeks to
understand the natural movements of human beings and the implications these
movements have on the design of a building. For, although we now spend over
ninety percent of our lives inside buildings, very little consideration is given
to how the built environment shapes our thoughts, emotions and psychological
well-being.
For years architecture, sculpture, painting and film have been classified
as fine arts, that is to say the arts that appeal to the eye, just as music
appeals to the ear. These is art that excel by being ‘beautiful’ 4. Indeed it is
also true that every lei man judges a building by its external beauty, but
when an architect judges a building he not only observes its appearance but
several other factors interest him. He studies spatial arrangement, structure,
environmental control, safety and maintains that if it is to be a good building,
these must harmonize with each other. Unlike the painter and the sculptor the
architect is a functional artist. He creates works of art that are objects and
spaces of daily use by human beings attempting to achieve a certain goal.
It solves practical problems, that is why even a cubist sculpture however
geometric it may be cannot be architecture because it lacks utility.
The architect is a sort of theatrical producer, the man who plans the setting
for our lives 5, but this producer’s job is difficult for several reasons. First of
all, the actors are quite ordinary people. He must be ware of their natural
way of acting; otherwise the whole thing will be a fiasco. That which may
be quite right and natural in one cultural environment can easily be wrong
in another; what is fitting and proper in one generation becomes ridiculous
in the next when people have acquired new tastes and habits. Architecture
is produced by ordinary people, for ordinary people; therefore it should
be easily comprehensible to all. It is based on a number of human instincts,
4 S.J.P. Holl, Questions of Perception: phenomenology of architecture, Carlifornia, USA, William Stout, 2006.
5 K.F. Rowland, Look and See 1: Pattern and Shape, London, UK. Ginn and Company Ltd., 1968.
4

Figure 1.8 Marcus Aurelius Column,
Rome.
Source: Jukka Jokilehto
A History of Architectural
Conservation P.37
Figure 1.9 The temple of Erechtheum on the Athens Acropolis in 1910.
Source: Jukka Jokilehto A History of Architectural Conservation P.95
on discoveries and experiences common to all. Above all, on our relation
to inanimate things. 6 Architecture lacks emotional sensitivity. No other art
employs a colder and a very evasive indirect form, but at the same time no
other art is so intimately connected with man’s daily life. 7
Architectural styles and languages of the past have always been understood
to be evolving with the contemporary arts and crafts of the time. This is
evidenced throughout history, be it Michael Angelo’s sculptures in the classical
orders or Picasso’s paintings in the cubist movement. There is also a clear
progression of art forms related to the human morphology starting from the
Egyptian rock paintings to sculptures to portrait paintings to photography
and finally to film and motion graphics in the 21st century. Whilst it is rare
that the modern architect would understand visual perception better that the
great Greek mathematicians, new technology in motion graphics and virtual
visualization allows the architect to not only sell the quantitative spatial
illustration of the designed spaces but also to convey the kinesthetic quality
and haptic feel of the design accurately.
6 G. Sigfried, Space, Time and Architecture: Growth of a new tradition. Cambridge, USA, Havard University Press, 1967.
7 S.E Rasmussen, Experiencing Architecture, Massachusetts, USA, M.I.T Press, 1964.
5

Figure 1.10 House of Culture Movement, Denmark by MVRDV Architects
Source: Dezeen.com
Figure 1.11 Atrium at the Guggenheim Museum, New York
Source: Robert A. Baron studiolo.org
1.3 Problem Statement
In his book, The Eyes of the Skin, Juani Pallasmaa counters the hegemony that
visual aesthetics hold over the practice of architecture. The hegemonic eye,
he claims, suppresses all other senses. Pallasmaa writes, “Instead of an exis-
tentially grounded plastic and spatial experience, architecture has adopted
the psychological strategy of advertising and instant persuasion; buildings
have turned into image products detached from existential depth and sinceri-
ty.” 8 Perhaps Pallasmaa is right that man y architects are designing buildings
to look good, but not feel good. But what guidance is there for producing
high quality tactile/ haptic designs? We have been observing that the hu-
man body, which is our most fundamental three dimensional possession9, has
not itself been a central concern in the understanding of architectural form;
that architecture; to the extent that it is considered art, is characterized in its
design stages as an abstract visual art and not as a human-body centered
art. Henceforth, th is study seeks to illuminate the human body as the most es-
sential and memorable sense of three-dimensionality and that this sense may
constitute a basis for understanding spatial feeling in our experience of build-
ings. Movement. This is the experiential problem architects must solve. With a
continual exponential increase in population, spaces become more congested
with time and movement becomes essential to maintaining an orderly occur-
rence of activities. One often wonders why the inhabitants of big cities always
seem to be in a hurry. Perhaps it may be that space is quickly depleting and
we are all running around looking for more and more of it.
With this understanding architectural design of spaces should not only consid-
er static habitation but rather the architect should view himself as a choreog-
rapher ordering different activities over a period of time.
Here, the architect is presented with two main challenges. Firstly, dealing with
the ergonomics of mass movement of people within limited spaces. Secondly,
installing kinesthetic quality for every individual in the design of spaces. The
problem here is a limited knowledge and understanding of “movement” as a
8 J. Pallasmaa, Eyes of the skin. Cornwall, Great Britain. John Wiley & Sons, Inc., 2005.
6
 factor of design, this study seeks to debunk kinesthetics and its applicability
to the design of exhibition centers.
In any exhibition the visitor is constantly looking for a ‘wow’ effect. The wow
might be found in the order of activities and performances, the design of the
space itself or the nature of the exhibits on display. As such a visitor walks
through an exhibition, visiting a series of spaces containing objects on dis-
play and stages for performances he acquires a unified experience of the
total exhibition. Such an experience is what is used to compare with previous
and subsequent exhibitions. It is what builds moments and memories for fu-
ture references. Where as it may be impossible to measure the experience a
visitor receives vis a vis the many separate individualized sociocultural preju-
dices and biases. It is however possible to shed more light on the attributes of
spaces and exhibits at draw an experiential reaction that add to the intended
story line of the exhibition. The first and most significant of these attributes is
the circulation patterns of the exhibition space.
Figure 1.12 Vidyalankar Institute of Technology, Mumbai, India
Source: Archdaily.net
1.4 Research Objectives
• Examine the influence of human bodily movements in the design of exhibition
spaces.
• Measure the quality of kinesthetics in exhibition spaces.
• Develop working prototypes to help the architect design for sensational
experiences as visitors walk through an exhibition.
1.5 Research Questions
• What is the importance of human bodily movements in the design of
exhibition spaces?
• What determines good kinesthetics in an exhibition?
• How can architects use kinesthetics to create memorable sensational
movement in exhibition spaces?

Figure 1.13 Vidyalankar Institute, Mumbai India

Source:Archdaily.net
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Figure 1.14 Andalucias Museum of Memory, Granada, Spain
Source: Roland Vasquez
Figure 1.15 Vidyalankar Institute Hall
Source: shiksharambh.com
1.6 Justification of Research
This study is prompted by a knowledge gap in kinesthetics. There is a generally poor
appreciation of movement of people as a factor of design and this is evident in the
congested circulation spaces of our city buildings. A deep study into how humans move
in spaces and how humans perceive spaces while moving will shed more light and build
the body of knowledge to help architects understand the variables at play. This study
is also key in revealing techniques that can be used by architects to install pleasurable
kinesthetic effects in a space. It is 50 years after independence in Kenya. 50 years is
the design life span of most buildings yet many of our African cities, like Nairobi are
still grappling with issues of architectural identity. Older buildings where either de-
signed by the colonial government or designed with concepts informed by extremely
European schools of thought whereas newer buildings tend to copy universal modernist
approaches in an attempt to be vogue or trendy. Not to mention the local economic
and cultural changes, beneath all these confusion is a poor appreciation of the rela-
tionship between architectural language and a people’s lifestyle. There is need to build
the architectural conversation beyond number of floors, external glazing and building
costs. There is a need to deepen the language of architectural appreciation, such that
the palette of our design vocabulary will be enriched with not only empirical values
of function and sustainability but also enriched with elements of meaning, purpose and
satisfaction for the architect, building owners, the building users and the city at large.
1.7 Significance of Study
”...One must know and understand the alphabet before words can be formed
and vocabulary develop...” 9 This study will help current and future architects
develop a language of design that goes deeper than merely occularccentric
beauty by investigating intrinsic worth in a building’s design. It is not enough
to see beauty in architecture, one must experience it, feel the design
principles embedded in every facet of the building and at all scales. This
study will also pioneer the conversation about human bodily movements as a
factor to consider when designing exhibition spaces.
9 Ching, F.D.K Architecture: Form ,Space and Order - 3rd Edition, John Wiley & Sons, inc, New Jersey, USA, 2007.
8
 1.7 Scope and Limitations of Study
1.7.1 Scope
This study is established within a time limit due to its academic nature. This is a
cross-sectional research conducted within 12 weeks. The research being part of an aca-
demic exercise scheduled to be completed within 3 months hence the research methods
are schemed to work within such time frames. The study is focused around movements of
visitors in exhibition spaces. The study will only consider human bodily movements in re-
lation to the built environment and may exclude bodily movements that are not related
to the building such as swimming, skiing, dancing etc. Geographically this study will take
sample spaces of spaces in Nairobi as the research base. The choice of Nairobi city is
due to the concentration of numerous accessible exhibition spaces in the area, enabling
comparative analysis of the phenomena.
1.7.2 Limitations
First, it is important to note that this work views exhibition spaces only on the basis of
architectural design. This work may not delve into social and economic arguments for
Figure or against the set hypotheses. It is also important to understand that the setting of the
Source: study is not well developed in the architecture of exhibition spaces and may lack prop-
er examples to illustrate the phenomena of study. This may lead to a reliance on distant
spaces alienated from the area of study for comparative analysis. The study will be
inclined towards permanent exhibition spaces as many temporal exhibitions have little
Figure 1.16 Exhibition Spaces in Nairobi
Source: Author architectural engagement. It is the desire of the researcher to focus on exhibition spaces
that are used on a daily basis.

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Figure 1.17 Art Fair at Sarit Center
Source: creativesgarage.com
Figure 1.18 Art Fair at Sarit Center
Source: craetivesgarage.com
1.8 Research Methods
This research will be conducted using several methods:
• Review of relevant published and unpublished literature: books, journals,
thesis, academic papers and periodicals.
• Case studies of relevant case studies where kinesthetics has been ideally
applied to exhibition spaces This is further expounded in chapter three.
• Observations: Photography, Videography, sketching, measuring etc.
• Interviews
1.9 Structure of Study
Chapter 01 Introduction
Here the topic is introduces, the problem is stated and the reasons for
carrying out the research is given.
Chapter 02 Literature Review
Here the arguments developed in the introductory chapter are expanded
using published books, journals, dissertations and any other source of written
information. The topic is broken down to specific variables that are studied in
their different properties.
Chapter 03 Research Methodology
After introducing and explaining the study the task remaining is then
fashioning an effective tool to meet the research objectives. This involves
choosing an appropriate research method and fine tuning it for the projected
fieldwork.
Chapter 04 Desk Studies and Case Studies
Desk Studies is the study of exhibition spaces that are away from the reach
of the researcher, while case studies involves local visits to sampled exhibition
spaces.
Chapter 05 Conclusion and Recommendations
This is the wrapping up of the study to a helpful and conclusive end.
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