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Index

 Introduction to Museums
 Light Museum
 Objectives

Exhibition
 Entrance
 Circulation
 Types of Circulation
 Example
 Display
 Types of Display
 Example
 Anthropometry of Spaces
 Exhibition Space
• Light Art Photography
• Space/Surface Art
• Model/Sculpture Art
• Outdoor/Indoor Installations

Support Areas
 Staff Area (Offices), Conference
 Multipurpose Halls
 Research and Information
 Auditorium
 Cafeteria

Services
 Lifts
 Staircases
 Toilet
 Parking

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Museum
mjuːˈzɪəm/
Noun
A building in which objects of historical, scientific, artistic, or cultural
interest are stored and exhibited.
"The Museum of Modern Art"

I N T R O D U C T I O N T O M U S E U M S

A museum (/mjuːˈziːəm/ mew-ZEE-əm; plural musea or museums) is an

institution that cares for(conserves) a collection of artifacts and other
objects of artistic, cultural, historical, or scientific importance. Many public
museums make these items available for public viewing
through exhibits that may be permanent or temporary. The largest
museums are located in major cities throughout the world, while
thousands of local museums exist in smaller cities, towns and rural areas.
Museums have varying aims, ranging from serving researchers and
specialists to serving the general public. The goal of serving researchers is
increasingly shifting to serving the general public.
There are many types of museums, including art museums, natural history
museums, science museums, war museums, and children's museums.

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Amongst the world's largest and most visited museums are
the Louvre in Paris, the National Museum of China in Beijing,
the Smithsonian Institution in Washington, D.C., the British
Museum in London, the National Gallery in London, and Metropolitan
Museum of Art in New York City.
en.wikipedia.org

T Y P E S O F M U S E U M S

It varies, from large substitutions, covering of the categories below, to

very small institutions focusing on a specific subject, location, or a notable
person. Categories include: fine arts, applied arts, craft, zoology,
anthropology and technology, biography, history, cultural history, science,
technology, children's museums, natural history and zoological gardens.
Within these categories many museums specialize further, e.g. museums
of modern art, folk art, local history, military history, aviation history,
philately, agriculture or geology. Another type of is an encyclopedic
museum. Commonly referred to as a universal museum, encyclopedic
museums have collections representative of the world and typically
include an, science, history, and cultural history.

L I G H T M U S E U M

A new branch of museum, which focuses on presentation of light through

models, installations, photography etc.
The spaces are free flowing and barrier less for artists to unleash their
creativity and create enthralling light art using various technique and
forms.

O B J E C T I V E S

To understand properties of light and create spaces to house light art.

To understand various aspects of museum functioning
To create an enthralling structure using light

Z O N I N G O F A M U S E U M

 Public Collection Areas: Zone with environmental controls and

security Designed for the preservation of collections

 Non Public Area Zone which is meant for the staff alone with
environment controls and security.

 Public Area Zone in which the finish and durability and environment
created for human comforts

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  Non Public collection Areas: Zone in which the finish and durability
and Environment created for the staffs alone.

D E S I G N G U I D E L I N E S

 The building's ambience to be maintained inside as well outside

landscaping
 The building to be developed in a way that it complements the
experience within the museum.
 Aesthetic choices support and reflect the then and tone of the
exhibition.
 Orientation, spatial organization, and traffic flow are appropriate to
the goals of the exhibition.
 The physical space (such as layout, lighting, flooring) to be created
in such a way that audience members of physical sizes and abilities
are able to navigate and interact with the exhibition.
 If required audio-visual footage, voice recordings, ambiance music
etc. Also to be used for creating a complete experience.

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 SPACE REQUIREMENTS

EXHIBITION

MODEL/SCULPTURE
LIGHT ART PHOTOGRAPHY
ART

SPACE/SURFACE ART OUTDOOR/INDOOR

PHOTORAPHY INSTALLATIONS

SUPPORT AREAS

STAFF AREA MULTIPURPOSE HALLS

CONFERENCE RESEARCH AND INFORMATONS

CAFETARIA AUDITORIUM

SERVICES

LIFTS TOILETS

STAIRCASE PARKING

ENTRANCE

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C I RC U L AT I O N

 Wide corridors beyond the typical 8-9 feet to easily handle two-way
traffic.
 Break up corridor to reduce
travel time and also
discourage kids from
running through the halls.
 Corridors should be of
consistent width. Corridors
that expand should be
avoided as they make turtle
necks
 There should be rounding or
angling corners so there is a
sight line to the intersecting
corridor.
 Blind corners can be a
hazard. People who walk at
a fast pace or turn corners
quickly do not see the traffic
in the interesting hallway, this can lead to congestion, bumping,
collisions, and altercations. Apart from main public and service
entries a special side entrance is needed for temporary exhibits so
that a regular visitor need not necessarily go through.
 A separate lobby is needed for large groups generated by the
temporary exhibits, auditorium. Auditorium is desired to be
accessible even when rest of museum is closed.
 Public activity areas catering to large school groups, student or a
research scholar should be directly accessible from main entrance.
 A service connection between galleries, workshop and stores is
essential.
 The circulations of public, staff and service area have to be distinct
from on another.
 Visitors should be able to approach a particular gallery of his/her
choice as directly as possible.

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C I R C U L AT I O N O F E L D E R LY A N D
H A N D I C A P P E D

Their needs are to be met through following guidelines:

 Usage of minimum stairs and installation of lifts.
 Ramps and doorways to accommodate wheelchairs.
 Frequent and easily accessible resting areas.

L I G H I T I N G

In museum for better control of light a combination of natural and

artificial light is provided. Artificial light is generally in the form of
overhead ambient lighting and spotlights. The advantages of overhead
lighting are:
 Independent of orientation
 Little reflection and glare
 Maximization of wall space
 More security than window

Presentation of concentrated light to displays should be at an angle of 60 O

incident to horizontal. Centered at an adult sight line height of 5’6” from
the floor. This angle provides a good balance between frame shadows,
specular reflections from protection glass, and maintaining a height
practical width of viewing zones. These of course will change with the
height of hanging displays.

PHOTOTROPIC EFFECT- The eye with adjusts itself to the average

luminance of the visual field (adaptation with large contrasts it may lead
to loss of seeing the less luminous area and discomfort caused by the
bright area). The entrance hall has to be a space where a visitor gets
adapted for the lower light levels in the galleries. Any large contrast in
light should be avoided inside galleries as not to cause loss of adaptation.

LIGHTING- Where graphic written text is used a plenty, totally artificial

light is preferable for better control of light (lack of unwanted reflection
cause better resolution of this written text). For dramatic display, accent is
kept on exhibits through artificial light.
NATURAL LIGHTING

The changing nature of light is one of the most important assets of

natural light. A number of aspects are to be kept in mind for natural
lighting:
Lighting for pictures should not come from an angle less than 45degrees,
but the source should - be screened against glare. Normal windows tend
to leave adjoining walls and any.

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M E T H O D S O F N AT U R A L L I G H T I N G

1. Overhead Lighting
Overhead lighting provides the following advantage:
 Even illumination on walls.
 Less obstructed by lateral obstructions as trees, buildings.
 It is possible to regulate the amount of light.
 Good visibility with minimum of distortion.
 Wall space remains free for exhibits.
 Fewer openings required in the walls thus less security problems.
 The disadvantages are:
 Lots of maintenance is required.
 More lights fall on the floor.
 The monotony of the light causes a claustrophobic effect over a
large distance.

2. Lantern lighting
Lantern lighting can be provided either in the form of slit windows or
windows at normal level. This system also has
its Advantages and disadvantages.

Advantages:
 This system sheds full and agreeable light on the exhibits
 Brings out plastic and luminous quality of exhibit.
 simplicity and economy in style
 Disadvantages:
 Wall rendered useless and so is the opposite wall because of reflection
 There is interplay of reflections that may be irritating.

S C A L E / S PA C E

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 Interactive and active exhibits require intimate spaces for displays
so that the visitor can operate exhibits without any self-consciousness and
at his own pace.
Visitor type (based on age, levels of awareness)
The children space
 Informal atmosphere of fun, excitement and play characterized by
bright colors, noise and activity.
 Interactive exhibits employed with circulation to allow open, direct
access to them.
 Circulation of unwanted adult visitors to be segregated from the
children space. Usually placed closed to entrance so as not to force
children to go through other exhibits.
 Children’s space to contain a sub division of space allotted to small
kids between 3-5 years of age. The circulation should discourage
older children from disturbing this space. Here the children can
experiment and play with various scientific objects.

T E M P O R A RY E X H I B I T I O N A R E A

A modern museum increases its dynamism by building regular

exhibits conceived inside the museum or received from other museum in
exchange program.

A C T I V I T Y A R E A S

To enhance the role of the museum is to play, apart from galleries

there is an increasing trend to maximize number of activities in the
museum, programming for visitors, temporary exhibits, lecture rooms,
auditoriums, children’s activity areas, hobby, vocational training centres,
observatory, mobile exhibit van, library all form part of the museum
activities.

W O R K S H O P A N D S T O R E S

The exhibit development area contains following sections

working in close conjunction:
 Curator’s office for conceptualizing of ideas.
 Art of painting section for execution of idea with help from metal,
carpentry, photography and electronic sections.
 Stores-reserve exhibits, materials e.g. tools, chemicals etc. used
in exhibit development and maintenance.
 Maintenance of existing exhibits is also done in workshops.
 Security of workshop and especially stores against moistures,
theft and fire is essential.
 Planning of workshops must consider for assembly and
development of large scale exhibits also.

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  Owning to the increased public accessibility of museum,
workshops and stores can now be on view to the public. For
example, San Francisco – U.S.A.

S L A B S A N D R O O F S F LO O R

 Large column space required.

 Integration of services- reconditioning duets,
lighting fixtures and fans required.

F I N I S H E S

Walls- the color of the walls should be natural

(usually light colored) so as to emphasize the
exhibits.
 For every large wall surfaces dead white
should be avoided. A museum must use
colors that absorb light far god visibility.
 Monotony of large wall surface may be
broken through slightly petted or stucco –
stippled finish.

Floor - choice of floor finish should be according

to following criteria:
 Its resistances of wears and tears to which it is exposed. Places of
concentration of visitors require more durable finish than say the
administrative area.
 Ease of maintenance.
 Reduction of noise, soft flooring for reading rooms of library,
auditorium, and conference room.
Based on environmental needs, security, levels of finish, the organization.

T Y P E S O F M U S E U M C I R C U L AT I O N

Following are the examples of museum circulations,

1. Divisible halls – these can be divided as per exhibition needs

2. Central concourse – these have parallel halls and central corridor
3. Radial linked halls – in this one main entrance is provided and
number of branching extensions for exhibition.
4. Free choice – in this type, the exhibits are placed asymmetrically
5. No free choice – the exhibits in this layout are placed along the path
defined
6. Controlled

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 7. Uncontrolled

E X A M P L E
Circulation in Guggenheim, New York by Frank Lloyd wright

Plan

Section

D I S P L AY
types of display are –

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 I. Wall mounted
II. Free standing
III. Display cases

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E x a m p l e
The Kharayeb Archaeological Museum
Designed by Shiogumo in the agricultural lands of the coastal
village Kharayeb, in the south of Lebanon.

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A N T H R O P O M E T R I C S S T U D I E S

CONE OF VISION
The cone of vision is the visual region
displayed by a drawing that related to a
person’s normal vision without peripheral
vision. In a nutshell, the cone of vision is the
area of sight – or the angle of sight. for
example, if a person wants to see the entire
theatre stage, usually a cone of vision is 60
degrees is required, so as a person would
need to sit far enough back to
achieve this cone of vision.

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C O N E O F V I S I O N F O R M U S E U M S F O R
D I F F E R E N T A G E G R O U P S A N D D I S A B L E D

P E O P L E

O F F I C E
A n t h ro p o m e t r y f o r
O ffi c e S p a c e

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Fu rn i t u re S i z e s

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Furniture Layouts

Types of Office Layouts

1. Closed office plan

2. Corridor office plan
3. Open office plan

S TA N D A R D F O R D I S A B L E D

 Non-Ambulatory: Impairments that, regardless of cause or

manifestation, for all practical purposes, confine individuals to wheel
& chairs..
 Semi-Ambulatory: Impairments that cause individuals to walk with
difficulty or insecurity. Individual using braces or crutches,
amputees, arthritics, spastics &those with pulmonary & cardiac ills
may be semi-ambulatory
 Sight: Total blindness or impairments affecting sight to the extent
that the individual
functioning in public areas is
insecure or exposed to
danger

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  Hearing: Deafness or hearing handicaps that might make an
individual insecure in public areas because he is unable to
communicate or hear warning signals
APPROACH TO PLINTH LEVEL

Approach to plinth level : Every building should have at least one entrance
accessible to the handicapped and shall be indicated by proper signage.
This entrance shall be approached through a ramp together with the
stepped entry.
Ramped Approach : Ramp shall be finished with non slip material to enter
the building.
Minimum width or ramp shall be 1800 mm. with maximum gradient 1:12,
length of rarnp shall not exceed 9.0 M having double handrail at a might

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of 800 and 900 mm on both sides
xtending 300 mm. beyond top and

bottom of the ramp.

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L I F T S
Wherever lift is required as
per bye-laws, provision of
at least one lift shall be
made for the wheel chair
user with the following
cage dimensions of lift
recommended for
passenger lift of 13
persons capacity by
Bureau of Indian
Standards.

Clear internal depth :

llOOmm. Clear internal
width : 2000 mm. Entrance
door width : 900 mm.

 Hand rail not less

than 600 mm.
long at 800-1000
mm. above floor
level shall be fixed
adjacent to the
control panel.
 The lift lobby shall
be of an inside
measurement of
1800 x 1800 mm.
or more.
 The time of an
automatically
closing door
should or
minimum 5
seconds and the
closing speed
should not exceed
0.25 M/ Sec.
 The interior of the
cage shall be
provided with a
device that
audibly indicates
the floor the cage
has reached and
indicates that the door of the cage for entrance/exit is either open or
closed.

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T O I L E T S

One special W.C. in a set of toilet shall

be provided for the use of
handicapped with essential provision
of wash basin near the entrance for
the handicapped.
* The minimum size shall be 1500 x
1750 mm.
* Minimum clear opening of the door
shall be 900 mm. and the door shall
swing out.
* Suitable arrangement of
vertical/horizontal handrails with 50
mm. clearance from wall shall be
made in the toilet.
* The W.C. seat shall be 500 mm. from
the floor

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TOILETS
Sanitation Requirements for Assembly Occupancy Buildings (Art, Galleries,
Libraries and Museums)
Sl. Sanitar For Public For Staff
No y Unit Male Female Male Female
.
1 Water One for One per 100 One for 1- One for 1-12
Closet 200 persons upto 15 persons. persons.
(W.C.) persons 200 persons.
upto 400 For over 200 Two for 16- Two for 13-25
persons. persons, add 35 persons persons
For over at the rate of
200 1 per 150
persons, persons or
add at the part thereof
rate of 1
per 250
persons or
part
thereof
2 Ablutio One in One in each One in each One in each
n Taps each W.C. W.C. W.C W.C
3 Urinals One for 50 -- Nil upto --
persons or 6 persons
part One for 7-
thereof 20 persons
Two for 21-
45 persons
4 Wash One for One for every One for 1- One for 1-12
Basins every 200 200 persons 15 persons persons
persons or or part Two for 16- Two for 13-25
part thereof . For 35 persons
thereof. over 200
For over persons, add
400 at the rate of
persons, 1 per 150
add at the persons or
rate of 1 part thereof
per 250
persons or
part
thereof.
5 Cleaner One per floor, minimum
’s Sink
6 Drinkin One per 100 persons or part thereof
g Water
Fountai
n

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Note: It may be assumed that two thirds of the number are males and one
third females.

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R E S TAU R A N T S :
While designing a restaurant there are
several critical dimensions that the
designer must consider ;
• Aisle circulation must be
adequate in width,
• Clearances to consider inclusion
of chair depth from edge of table
and clearances between chairs
• While laying out chair and table
arrangements, a designer must
anticipate the potential conflict
between a patron leaving a seat
and a tray-carrying waiter.
• Cafeteria in a commercial area
should be 16- 18 sq.ft./per seat.

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KITCHEN FLOW DIAGRAM

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S a n i t a t i o n R e q u i r e m e n t s f o r
R e s t a u r a n t

Sl. Sanitar For Public For Staff

No. y Unit Male Female Male Female
1. Water One per 50 One per 50 1 for 15 1 per 1-12
Closet seats upto seats upto persons. persons.
(W.C.) 200 seats. 200 seats. 2 for 16-35 2 for 13-25
For over For over persons. persons.
200 seats, 200 seats, 3 for 36-65 3 for 26-40
add at the add at the persons. persons.
rate of 1 rate of 1 4 for 66- 4 for 41-57
per 100 per 100 100 persons.
seats or seats or persons. 5 for 58-77
part part persons.
thereof thereof 6for 78-100.
persons.
2. Ablutio One in One in One in One in each W.C.
n Taps each W.C. each W.C. each W.C.
3. Urinals One for 50 -- Nil upto 6 --
persons or persons.
part 1 for 7-20
thereof persons.
2 for 21-45
persons.
3 for 46-70
persons.
4 for 71-
100
persons.
4. Wash One for every water closet
Basins
5. Kitche One per each Kitchen
n Sinks
& Dish
Washe
r
6. Servic One in the restaurant
e Sink
Note: - i) It may be assumed that two thirds of the numbers are males
and one-third females.
ii) One water tap with draining arrangements shall be provided for
every 50 persons or part
thereof in the vicinity of water closets and urinal.

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S H O P S

AU D I T O R I U M

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 • Entrance Foyer
• Box Office
• Auditorium
• Balcony
• Orchestral Pit
• Stage
• Service Dock
• Backstage
• Changing Rooms
• Rehearsal Rooms
• Projection Booth
• Cloak Room:-A public clock room

helps people in keeping their stuff outside.

CLOAK ROOM LAYOUT

S E AT I N G
Overall seat depth = 600mm– 720mm
Armrest width = 50mm
Seat height = 430mm –450mm
Clearway should be minimum 450mm

R O W T O R O W S PA C I N G
Spacing is controlled by the clearway between the leading edge of the
seat and the rear of the back of the seat in front, clearway for people to
pass along the row is 450mm & this
dimension increases with the number of seats
in a row.

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G A N G WAY & A I S L E S
 As Gangways are essential escape routes, their widths are
determined by the number of seats served.
 Minimum width of a gangway should be 1100mm
 Vertical gangways/ aisles shall be 750mm min for 60 seats and 900-
1100mm for more than 60 seats.

S I G H T L I N E S
For every member of the audience to have an uninterrupted view of the
platform or stage over the heads in front and clear of overhangs the
section. and plan of the auditorium need to conform to certain limitations
set by vertical and horizontal sightlines

• P: Lowest & nearest point of sight on the stage.

• HD: Horizontal distance between the eyes of the seated members &
can vary from 760 mm to 1150 mm and more.
• EH: Average eye height at 1120 mm above the theoretical floor
level.
• E: Distance from the centre of the eye to the top of the head,
(100MM – 125MM).
C O N E O F V I S I O N

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S E AT I N G
G E O M E T RY

Seating is generally laid out in

straight or curved rows
focued towards
performance, curved rows
are lghtly more efficient

B A L C O N Y
 The standing spectator’s eye
level behind the rear row of
seats is assumed to be 5’6”
above floor level from last
row.

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  Maximum tolerable downward sight line angle from balcony is 30
degrees.
 The front of the balcony is preferably within 50’ of the stage.

S TA G E

 level of stage – 900mm above

 the base of lowest row of seats
 Proscenium opening – 21m
 Depth of stage- 12m
 Stage height – Height of 600mm to 1100mm
 proscenium wall- 5m to 6m

The stage area should be well connected with the backstage and there
should be some transition space between the stage and backstage area
for artists.
Backside area of stage should
not be visible to the audience.
This can be achieved by use of
partion walls or curtains.

C I R C U L AT I O N

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The aim is for everyone in the auditorium to be able to egress at a place
of safety within a set of period of
time.
The escape route is from
seat, along the clearway
and gangway and through
exit doors immediately to a
place of safety.

E X I T D O O R
For every 150 people , 1
exit door shall be provided.
EXIT ROUTES
The exit doors from the
auditorium, any doors
within the route and the
final exitshould
The ramp doorsnotmust open
be steeper than 8%
in direction of egress.
NO’ OF MIN EXIT
PEOPLE WIDTH (M)
D E P T H O F H O U S E UPTO 200 2.2
 Optimum depth equals 4 times the 201-300 2.4
screen width
301-400 2.8
 Maximum depth equals 6 times the
401-500 3.2
screen width
501-750 4.8
 For shows involving live human
actors, 75’ is generally accepted on 751-1000 6.4
grounds of visibility as maximum 1001-2000 14.4
house depth.

P R O J E C T I O N R O O M
A projection room may or may not be needed. Its advantage is that the
user can operate without disturbing the audiences.
A projection room is generally at the rear side of the auditorium.

PA R K I N G

Parking areas take on many

configurations. Parking spaces
may be parallel, perpendicular,
or angled (30, 45,

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or60degree) to the driving lane, or
aisle. A common factor among these
various parking layouts is the size of
the parking space. The minimum
standard automobile parking space
should be 6m long and 2.75 m wide.
Aisle width vary based on the angle
chosen and if they are one or two
way. Two-way aisles should be a
minimum of 7m wide.

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TYPE OF VEHICLE TURNING CIRCLE RADIUS (M)
• Motorcycle 1.00
• Car
• Standard 5.75
• Small 5.00
• large 6.00
• Bus
• Standard 10.25
• Refuge collection van 7.80
• Fire engine 9.25

PA R A L L E L PA R K I N G

For the designer, the parallel parking

configuration can be used where
suitable off-street parking cannot be
accommodated or is not practical. For
the driver, parallel parking requires
experience, confidence, and patience.
Parking spaces should be a minimum

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of 7.5 m long and at least 2.75 m wide. On-street parallel parking spaces
should be 3.35 m wide.
Advantages
Works well in extremely narrow, linear spaces
Requires minimum pavement area
Disadvantages
Difficult manoeuvring for most drivers
Less than ideal visibility of adjacent traffic
Inefficient use of on-street space.

P E R P E N D I C U L A R PA R K I N G

Especially effective in low turnover rate or long term parking areas, the
perpendicular, or 90 degree parking configuration is the most efficient and
economical since it accommodates the most vehicles per linear meter.
ADVANTAGES
Works well with either one-or two-way aisles
Handles the most vehicles per square meter of pavement
Handles most vehicles per linear meter
DISADVANTAGES
Requires widest area

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LOA D I N G A N D U N LOA D I N G B AY

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LOA D I N G A N D U N LOA D I N G B AY

T R A N S P O RTAT I O N

L I F T S
The upward and downward movement of
the people- and goods in newly
erected buildings is principally
achieved by lifts. The larger
multistoried buildings it is usual to
locate the lifts at a central
pedestrian circulation point. Goods
lifts should be kept separate from
passenger lifts; though their use
for carrying passenger at peak
periods should en into account at
the planning stage.
1. Loads :
The following maximum loads are
stipulated for passenger lifts :
• for use by passengers with
hand baggage only
• for use by passengers with
prams and wheelchairs
• can also accommodate
stretchers, coffins, furniture’s
and wheelchairs.
2. Lobby :
Lobbies in front of shaft entrance
must be designed and
arranged so that :
• The users entering or exiting
the lifts, even those carrying
hand baggage's, do not get in
each other’s way

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 • The largest loads to be carried by the lift in question can be
maneuvered in and out without risk of injuring people or damaging
the building and the lift itself.
For a lobby in front of a single lift :
• The available minimum depth between the wall of the lift shaft door
and the opposite wall, measured in the direction of the lift, car, must
be at least the same as the depth of the lift car itself.
• The minimum area available should be at least the same as the
product of the depth of the lift car depth and the width of the shaft.
• For a lobby in the front of the lifts with adjacent doors the available
minimum depth between the shaft door wall and the opposite wall,
measured in the direction of the lift car depth, should be atleast the
same as the depth of the deepest lift car.
•

3. Hydraulic
Lifts :
 These meet the demand for transporting heavy loads economically
up and down shorter lift heights and are best used for up to 12m lift
height.
 The lift motor room can be located remotely from the shaft itself.
 Standard direct-acting piston lifts can be used to lift payloads of as
much as 20 t up to a maximum height of 17m while standard-acting
piston lift can lift 7 t up to 34 m.
 The operating speed of lift is 0.2-0.8m/s.
 A roof mounted lift room is not required.
 Several variations in hydraulics can be found, the most common
used is centrally mounted ram.
 The ram retraction control tolerance, regardless of load, has to be
kept within +3mm to -3mm, so that a completely level entry into
the lift car is obtained. Height clearance of the lift doors should be
50-100mm. greater than other doors.
 Double swing doors or hinged sliding doors can be fitted- either
hand operated or fully automatic, with a central or side opening.

R A M P S

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Ramps may be straight, curved or a
combination. No single ramp
system is best for all
applications. The choice should
be based on the site shape and
dimensions and parking
demand Turning Radius of a
Car Characteristics. Ramps
may be one-way or two-way. In
some instances, site
topography allows direct
access to several parking
levels from the street system.
This is a desirable
arrangement since it leaves no
space for parking and provides
more flexibility for traffic
distribution the street system
and the parking facility.

1) The ramp break over angle:

The ramps break over angle is the

measure of the ability of a car to
break over a steep ramp. The
society of automotive engine
calls for a minimum of 10
degrees as a design standard.

2) Angle of Approach:

The angle of approach of domestic

cars is below 15 degrees and
the normal standard
developed in 1960 calls for a
minimum value of degrees.

3) Angle of Departure:

A reasonable minimum value is

necessary to reduce the
incidence of tail pipe and rear
bumper dragging. The
standard calls for a minimum
of 10 degrees.

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F I R E F I G H T I N G

The application of fire

protection principles
reduces the possibility of
life and financial
investments. Various
types of fire can
conveniently be
categorized in to four
classes:

• Class A-fires –involve

material usually of
organic nature, such as
wood, cloth, and paper.
• Class B fires - Involve
liquids or liquefiable
solids, such as oil, petrol,
grease, paint varnish and
flat.
• Class C fires –involve flammable gases.
• Class D fires - involves flammable metals, such as zinc aluminum,
titanium, uranium, and plutonium.

The type of construction classification for building is a function of

the use of combustible or non-combustible elements and
their degree of fire resistance.

• Inherently fire-resistant construction or directly applied protection

provides the greatest flexibility for interior design.
• Fire protection consideration involve construction materials or
assemblies that are able to withstand fire for a specified time to
permit occupants to evacuate, to protect firefighting personnel in
the building and to minimize property damage. This involves
structural and non-structural elements and the interior of the
building.
• Fire protection of the building structure can be attained by several
methods. The structure may inherently have the required fire
resistance rating as in the case of concrete or masonry wall, floors,
columns or beams.
• The protection can be provided by directly applied fire-resistance
materials, such as sprayed on fireproofing or cast in- place
materials. Protective membranes such as gypsum board or
suspended acoustic ceilings can also provide the protection. Interior
finishes is a principal element in determining the fire hazard
buildings.

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 • Building codes limit the flame spread and smoke developed rating
that an interior finish material may have when selecting finish
materials, the planning and design team must therefore be aware of
the code requirements.

D E T E C T I O N

The first step in combating a fire is to realize that it exits. Smoke

detectors, heat detectors and automatic sprinkler system increase
the probability that a fire will be detected in its early stages before
major harm has been done to life and property because they work
automatically. In addition, manual alarms should be provide in case
a fire is detected by office occupants and as a backup to the
automatic devices. The open landscape offers a distinct advantage
in that all occupants can activate fire safety features.

S M O K E D E T E C T O R S

• Type of smoke detectors include ionization and photoelectric.

• Difference in response time is negligible. Smoke detectors generally
are not mandated within the occupied space of an office building.
• However, they may be required within the air handling system as a
part of the smoke control requirements.
• The spacing and coverage of the detectors may vary for different
manufacturers.

H E AT D E T E C T O R S

Heat detectors are also located at the ceiling level and are generally
visible so that they are exposed to heat generated from fire.

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AU T O M AT I C S P R I N K L E R S

• These devices are generally concealed along with the sprinkler

piping.
• The location and layout of the sprinkler heads are affected by the
performance, characteristics of the specific sprinkler head being
used, the hazard of the occupancy being protected, and the layout
of the office space.

M A N UA L A L A R M S

Manual alarm units are generally mounted on wall located near stair
entries and exit.

S M O K E C O N T R O L

• Smoke control is important in assuring the effectiveness of the exit

scheme.
• • The objective of smoke control is to limit the spread of smoke until
occupants can reach a place of safety and until the fire department
can respond to the fire.
• • Method that can be used to accomplish this includes building
pressurization, mechanical exhaust, natural ventilation and stair
pressurization.

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 • • Most smoke control
systems are combination of
these techniques.

F I R E E X I T S / E S C A P E S

A good exit system is essential for protecting the lives of occupants and
permitting fire-fighters access to the building. Code requires adequate exit
scheme based on calculated travel distance to specific exits (generally
staircase within 100m distance). Giving planners greater flexibility the
system approach bases exit design on the ability to move occupants from
the fire area to an area of internal or external safety within a reasonable
period of time. An effective exit system is characterized by clear travel
path, separation of exits, and adequate exit capacity.

E M E R G E N C Y P O W E R

• To ensure the operation of fire safety features, emergency power

should be provided for detection and alarm circuits, HVAC system,
exit lighting, exit image, communication systems, elevators and fire
suppression systems.
• Generally this is provided by a permanently installed on site power
generation system which must operate within ten seconds of
primary power failure for certain
systems.
• The emergency lighting system can
be operated off some of electric
batteries, but must provide power
for at least one and one half or two
hours depending on the applicable
code.

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INTRODUCTION TO PROPERTIES OF LIGHT

OBJECTIVES
The objectives of this study is to understand basic
concepts, properties of light and its behavior.
This study would further help in designing the
light museum
Using permutation and combination of such
concepts.

• Effects of Materials on Light

• Reflection
• Refraction
• Dispersion
• Total Internal Reflection
• Interference
• Diffraction
• Scattering of Light
• Polarization

Effects of Materials on Light Materials

can be classified
Based on how it responds to light
incident on them:

1. Opaque materials – absorb light; do not

let light to
pass through
2. Transparent materials – allow light to
easily pass through them
3. Translucent materials – allow light to
pass through
but distorts the light during the passage

Reflection Light follows the Law of

Reflection:
“The angle of incidence is equal to the
angle of reflection.” Light can bounce off
materials in two ways:

1. Diffuse reflection – reflected rays go in

different directions; happens in rough
textured or uneven surfaces
2. Regular/Specular reflection – reflected
rays go in one directions; happens in
smooth and shiny surfaces; image can be
seen

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Refraction Light bends/refracts when it changes speed.
This usually happens when the light travels from one medium to the next.
Simple rule of thumb in refraction:
• If light slows down, it will refract towards the normal line.
• If light speeds up, it will refract away from the normal line.

Refraction Light travels faster in air, slow in water and slower still in glass.
The slower light is in a medium, the more it refracts/bends in it.
The measure of how much light refracts in a medium is called index of
refraction.

Light can bounce off materials in two ways:

1. Diffuse reflection – reflected rays go in different directions; happens in
rough textured or uneven surfaces
2. Regular/Specular reflection – reflected rays go in one directions;
happens in smooth and shiny surfaces

Dispersion The process in which light is separated into its colors due to
the differences in degrees of refraction.

Total Internal Reflection

When light is reflected completely at the boundary between two medium

When two light waves superpose with each other in such away that the
crest of one wave falls on the crest of the second wave, and trough of one
wave falls on the trough of the second wave, then the resultant wave has
larger amplitude and it is called constructiveinterference

Diffraction refers to various phenomena that occur when a wave

encounters an obstacle or a slit. It is defined as the bending
of light around the corners of an obstacle or
aperture into the region of geometrical shadow
of the obstacle

Scattering is a general physical process where

some forms of radiation, such as light, sound,
or moving particles, are forced to deviate from a
straight trajectory by one or more paths due to
localized non-uniformities in the medium through which they pass

Polarized light waves are light waves in

which the vibrations occur in a single plane.
The process of transforming
unpolarized light into polarized light is
known as polarization. There are a variety of
methods of polarizing light.

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 I N T R O D U C T I O N T O L I G H T I N
A R C H I T E C T U R E

Light is a necessity for sight and, in architecture,

a utility. But light is also a powerful vehicle of
expression.
Light moves, changes character, and comes and
goes with its source, light has the power to give
the inert mass of architecture a living quality of
nature.

Designers and architect’s channels light through

openings to spaces and holds it on the surfaces of
his masses by changes of plane, making it enliven the forms by contrast
with shadow.

Patterns of light and dark affect both our

perceptions of the world and our emotional
and physiological responses, and thus they
are essential in gathering information about
the physical world.

Good-quality lighting can support visual

performance and interpersonal communication
and improve our feelings of well-being. Poor-
quality lighting can be uncomfortable and
confusing and can inhibit visual performance.

The overall purpose of lighting is to serve the needs of people.

The role of the lighting designer is to match and
rank the needs of the people using the space with
the economic and environmental considerations
and the architectural objectives, and then to
translate the results into a workable design and
functional installation

D E S I G N I N G W I T H L I G H T

Light plays a central role in the design of a visual environment.

• The architecture, people and objects are all made visible by the lighting.
• Light influences our well-being, the aesthetic effect and the mood of a
room or area.
• It is light that first enables “what you see”.
Our perception of architecture will be influenced by light:
– Light defines zones and boundaries,
– Light expands and accentuates rooms,
– Light creates links and delineates one area from another.

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T H E O RY O F A RT I F I C I A L L I G H T I N G

THE LIGHT

To project lighting is necessary to understand what is light and its

technical components. This theoretical lighting is the foundation that
supports every lighting project.
There are two basic properties of light that are present in any lighting
project:
Color Temperature and Chromatic Rendering Index (CRI). These two
properties of light, create quality and mood, and can completely change
the way we see an object. With the color temperature we can change the
color saturation, and it creates an impact on the space environment that
may cause feelings of greater or lesser proximity, or more or less
pleasantness in space, due to the changing color of light from warm to
cold. This property of light can be seen in sunlight. During the day, the
light has different color temperatures, which changes the color saturation
of the landscape, and may appear more vivid or more vanished depending
on the daytime.

The same effect can be generated by artificial lighting, which, depending

on the color temperature can obtain different scenarios in the same
space.

The different processes of modelling an object with light can create

different kinds of contrast with light and shadow in order to accentuate
the details of an object or homogenize the texture with diffuse light.

Light Art Museum 47

A similar effect can be achieved by putting the spotlight in different
places. The more grazing the light is to an object, the greater will be
accented the reliefs; on the contrary, the more frontwards the light is
placed, the more homogeneous will the texture be.
U N D E R S TA N D I N G L I G H T A N G E SS E N C E

Light Patterns in Architecture - for form Light

Patterns in Architecture -for function

Impression of Spaciousness –
the room appears larger or smaller

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Impression of Pleasantness –
the room appears friendly of sociable

Forming Functional Zones

Large areas that on the whole are evenly
illuminated can appear rather monotone if
they are not divided up.

Defining Spatial Borders – Horizontal

Floor illumination emphasizes objects and
pedestrian surfaces.

Defining Spatial Borders - Horizontal

Indirect lighting of a ceiling creates diffuse
light in the room with the lighting effect
being influenced by the reflectance and
color of its surface.

Defining Spatial Borders – Vertical

Vertical spatial borders are emphasized by
illuminating wall surfaces.
• Uniform light distribution emphasizes the
wall as a whole.
• Bright walls create a high level of diffuse
light in the room.
• Vertical illumination is used to shape the
visual environment.
• Room surfaces can be differentiated using
different levels of illuminance to indicate
their importance.
• Uniform illumination of the surfaces
emphasizes them as an architectural
feature.

Emphasizing Architectural Features

The illumination of architectural details
draws attention away from the room as a
whole towards individual components.
• Columns appear as silhouettes in front of
an illuminated wall.
Rooms can be given a visual structure by
illuminating the architectural features.
• Narrow-beam down lights emphasizing
the form of the columns.

L I V E C A S E S T U D I E S

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JAWAHAR KALA KENDRA, JAIPUR
BY CHARLES CORREA
Jawahar Kala Kendra (JKK) is a multi-arts center located
in Jaipur in India. It was built by Rajasthan government with the purpose
of preserving Rajasthani arts and crafts. The center has been made in
eight blocks housing museums, one Amphitheatre and the other closed
auditorium, library, arts display rooms, cafeteria, small hostel and art-
studio. It also houses two permanent art galleries and three other
galleries. and host its own theatre festival each year.

ALBERT HALL
MUSEUM, JAIPUR
The Albert Hall Museum is a museum in Jaipur in Rajasthan, India. It is the oldest museum of
the state and functions as the State museum of Rajasthan. The building was designed by
Sir Samuel Swinton Jacob, assisted by Mir Tujumool Hoosein, and was
opened as public museum in 1887. It is also called the Government
Central Museum. The museum has a rich collection of artifacts including
paintings, carpets, ivory, stone, metal sculptures, and works in crystal. It
is named after King Edward VII (Albert Edward), during whose visit to
the city as the Prince of Wales, its foundation stone was laid on 6
February 1876.

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Light Art Museum 51