CHAPTER 1

INTRODUCTION

Museums have an extremely positive effect on society, in addition to art & culture

benefits. Museums preserve the legacy of humanity, both the good and the bad, and serve to

enrich the lives of countless visitors, making the world a more enlightened place for present

and future generations. This is used as a social learning space for knowledge-producing

processes. It is a democratic educational institution that contributes to the culture being an

active resource in society. This implies that museums are social learning spaces for

knowledge-producing processes that can create social change and sustainable growth.

The idea of the museum has become different with time. It is now more interactive

and more open. The museum has to be welcoming and needs to communicate to the widest

possible audience. It should have all embrace image. It should not house the only house of

sculpture, but also should house people. Their emotions and feelings.

Today's museum represents how a society sees itself. It is a symbol of the commercial

and cultural achievement of a country. It is a place for visitor's attractions, which might help

in global tourism. Nowadays is a place of multi-function, which has to combine traditional

roles of interpreting and conserving a wide range of artifacts, large scale retail area, and new

technology. It acts like an art market where artist are being promoted. Exhibits are not

displayed in static form. A huge number of people will be welcomed by temporary galleries

in the museum. Large scale installation projects, video, and performance make the museum

livelier participatory and interactive.

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1.1 RATIONALE OF THE STUDY

The Butuan City Museum for history and arts became another network for the students

to learn more. This will also serve as the first basis of this study. It is well-known to be a

learning space of students in Butuan and even in the whole Caraga Region. It acts as visiting

areas for recreational activities that will help them to look back at our traditions and culture.

This adds up how significant it is to have museums around the area and is also becoming the

center of attraction towards tourists.

The current museum has been uncommonly visited by the community because of its lack of

facilities and the exhibits artworks were few. By this, the proposed art museum will meet all

event needs. It is a smart building, adaptable to the most advanced technology and has been

designed to provide excellent conferencing and exhibition facilities and services. It is a

consolidated space, where people come together to interact, to learn and to exchange new

ideas. Therefore, the facilities provided at the exhibition center should suitable for the user

requirement. the proposed Art museum will encourage the artist and exhibitors, as well as the

clients, to visit and display their artworks in the gallery, not just to embrace the artworks

being exhibits, but because of the circulation was dictated by the displays thus the path was

created not by the designers wants. But based on the users' comfort and ability, that adopts

the character of being malleable that is capable of adapting different society demands, and

above all, the aesthetics of the building that will attract the community to visit the proposed

building.

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1.2 STATEMENT OF THE PROBLEM

1.2.1. How does the study cater a hundreds of tourists/visitors in a congested area in Capitol

Road?

1.2.2 What are the following factors in designing a museum that does not suppresses the

existing environment?

1.2.3 How to design a new structure that does not disturb the existing condition in the area

and provide an enhancement without depriving the existing building ?

1.2.4 How will the study considers the condition of the area that will maintain a balanced

equilibrium between the exhibit and the atmosphere, To preserve a work of art in its original

state?

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Objectives

1. To promulgate an educational institution that can accommodate tourists with convenience

by considering the vital spaces within the area.

2. To promote the educational institution to the public that will help socio-economic

development in Butuan City.

3. To design a complex structure that does not disturb the existing condition in the area and

provide an enhancement without depriving the vegetation per se.

4. To attain the smooth flow of traffic and the development itself will not cause a chaotic

response to the community.

5. To maximize its importance in the city with a vision of developing different technologies

that upgrade the urbanization of Butuan city by promoting an educational edifice that has no

primary goal but only to pursuit knowledge in the society.

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1.3 SIGNIFICANCE OF THE STUDY

Building an art museum that will ensure understanding and appreciation for various

groups and cultures and promote a better understanding of our collective heritage. It will

stand as a learning center not just in Caraga but to the Philippines as well. It will serve as a

place where artists and collectors both can approach. It's a place that creates a real social

network for people who are interested in arts.

The study of this proposal would be relevant in the participation of the urbanization of

Butuan City and even the whole Agusan Del Norte, to give a structure that is accessible to all

ages. The proposal would be beneficial to the masses for its distinctive function to the area

and thus, attracts tourism. People are free to visit the various exhibits from aspiring artist and

exhibitors around the country. This will also give the chance to experience the vague line of

education and entertainment. Exposure of most talented kids and youth are essential in

grabbing them away from different vices and illegal acts to do more of these productive

activities that will eventually earn them money. This study does not only imply the

urbanization in Butuan City but also to the people who will be needing it the most; the

welfare of youth's future, increasing the possibility of employment, decreasing down the

percentage of illiteracy, and erudition attraction for people who do so.

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1.4 SCOPE OF LIMITATION

This study will mainly focus on the effectiveness of accessibility, place-making, and

efficient use of space. As well as the security and safety of the new Butuan City Art Museum.

This museum reflects the challenges caused by the modern-day urbanization processes that

will develop and achieve this proposal project, it would include related activities and facilities

that could passively bring a new horizon of the proposed art museum experience. It will also

study the architectural solutions that will give improvements that apply to the said study.

However, areas provided will be limited to the study of orientation, usability,

functionality, and security for future clients and visitors for the museum and will not go

beyond the limitation of the study outside the covered location for the proposed Art Museum.

On the other hand, the researcher limits its scope to the field which involves non-architectural

study such as, structural design, and another engineering scope of works.

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1.5 Theoretical and Conceptual Framework

The museum will work within the community in Butuan City and likely to create a

symbolic landmark in the area. However, the design itself also demonstrates how a well-

designed structure can partially aid a cleaner circulation by providing adequate spaces for

parking and transient spaces.

As per Butuan City’s existing condition, the following are the possible solution to such

problems.

Tools in cleaner Transient Parking

circulation

Adequate Parking
Spaces

The following are the studies and laws incorporating in the overall proposal as

amendments to design standards for museum.

Implementing Rules
RA 8492 - National
and Regulations RA
Museum Act of
10066
1998

PD 1096 National
RA 9514 - Fire Code BP 220 -
Building Code of
of the Philippines Accessibility Law
the Philippines

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The design approaches that will be included in the whole concept are:

 Fluid Architecture- "Architectural fluid dynamics concerns the flow in and around

buildings. This flow is responsible for the ventilation of buildings and the quality of

the indoor air. Geophysical fluid dynamics, on the other hand, is a study of flows for

which boundaries usually only play a minor role."

One of the possible inclusion of this theory of air flow.

 Tropical Design- the study of climate orientation where the design of the building is

based on the weather condition in the area. Addition of architectural characters that

pertains to adhering to the thermal situation inside the building.

Basic Design Natural

Principles Ventilation

External features of the

building envelope. Air velocity in interior walls
should be reduced to avoid
obstruction to air flow.

Sunshades and Sun

protection devices on
openings

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 The guidelines presented above are one of the basics design principles of what tropical design

is. Since Museums are expected to accommodate a higher density of tourists and visitors, this

theory for designing is very essential in providing thermal comfort to the structure.

Museum Design
Guidelines

Identifying Building
Laws

Site Topography Road Access Transient Parking Docking Area

Condition Intersection

Parks and Benches Walkways Parking Areas

1.6 Review Of Related Literature

Museums have factors of considerations as to design its functionality and space

acquired. This corresponds to the different spatial variables that a museum have. The late 20th

century of a museum for history and artefacts the Sainsbury Wing designed by R. Venturi

with collections of the natural history of early renaissance between 1260-1520, this was

opened in 1991 in London, United Kingdom. These collections focused only in a specific

collections which were about the renaissance era. The other museum that exhibits arts and

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 crafts from Veronese in between the 13th to 18th century which collected different sculptures

and paintings in Verona, Italy by an architect C. Scarpa which was opened on 1964, the

Castelvecchio.

Since, museums co-interrelate to each other, the display strategies, however are not

similar focal focus. Examples of these are the Louisiana in Humlebaek, Denmark designed by

architect J.Bo&V.Wohlertand was opened in 1958. This was originally a private collection of

modern and contemporary art (after 1945). The other one is the Kröllermüllerin Otterlo, The

Nederlandsby H.van de Velde and opened on 1938 an originally private collection too of

modern art (mainly of the 2nd half of the 19th c. – beginning of the 20th century. These only

means that the mentioned museums to the previous museums of arts and history are not only

limited for a single field of display but also cater and wide range of exhibits that capture the

interests of the people in it.

A museum is a permanent institution in the service of society and its development,

open to the public, which acquires, conserves, researchers, communicates and exhibits the

tangible and intangible heritage of humanity and its environment for the purposes of

education, study and enjoyment.

Types of Museums

 Aquariums  Local & State History Museums

 Anthropology Museums
 Art Museums
 Art Centers
 Botanic Gardens
 Children’s Museums
 Historic Houses
 Historic Sites
 History Museums
 Military Museums
 Nature Centers
 Natural History Museums
 Science/Technology Centers
 Sculpture Gardens
 Transportation Museums
 Visitor Centers
 Zoos

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What ia Museum AR and Museum VR?

1. Museum Virtual Reality (VR) is an immersive experience, requiring a headset.

2. Museum Augmented Reality (AR) adds an effect to an experience not requiring a headset.

3. While Virtual Reality (VR) is more immersive although it requires more hardware

(headset), Augmented Reality (AR) provides more freedom for the user (using a tablet,

smartphone or computer station). AR is revolutionizing the interaction between the user

(museum visitor) and content.

According to Architect/EnP. RS Gabitan from U.P, the following are the design guidelines

for designing a museum:

 A Careful study of circulation system / flow of viewers

- the spaces here are widely open as it requires people to visit without blocking

their views with partitions

 Provide vault for priceless collections

- this is very important in segregating a space intended for storage. This is not

the usual storage for utilities but it is a storage of important collections that might

require maximum protection against dust and deterioration. The collections may vary

from a very expensive value to a very sensitive physical quality. The provision of

vaults in the museum is the highest consideration to include to.

 Adequate curatorial spaces

 Flexible service entrance for large exhibit materials.

- museums may vary in different types of exhibit, some are large instrument or

device, and some requires a huge space to place in. This is one also to incorporate in a

Centrum, wide open space so the huge materials and objects for exhibit can freely

move around the area

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  Safety and security

- museums can be a home of most expensive and valued items, thus, the security must

be also maximized.

Museums as the center of learning

According to Illeris 2002,”The concept of learning plays an important role in the

construction of audience positions in contemporary museum and gallery education and in

museology”. As pointed out in several studies, learning is not a simple output of teaching in

the sense that learners learn what teachers teach. Learning processes involve cognitive,

emotional and social dimensions as well as different levels of engagement and reflection .

The constructivist point of view on learning, which has in different ways been developed

through studies like these, is that learners construct their knowledge in a quite independent

and personalized fashion, connected to individual learning styles as well as to a broad range

of socially and culturally embedded factors. An important consequence is that educational

settings should aim at stimulating learning processes by providing learners with access to

many different paths to knowledge.

Museums and Art galleries as partners for public health interventions

As indicated by Paul Camic & Helen Chatterjee (January 2013), “The majority of

public health programmes are based in schools, places of employment and in community

settings. Likewise, nearly all health-care interventions occur in clinics and hospitals. An

underdeveloped area for public health-related planning that carries international implications

is the cultural heritage sector, and specifically museums and art galleries”. This paper

presents a rationale for the use of museums and art galleries as sites for public health

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interventions and health promotion programmes through discussing the social role of these

organisations in the health and well-being of the communities they serve. Recent research

from several countries is reviewed and integrated into a proposed framework for future

collaboration between cultural heritage, health-care and university sectors to further advance

research, policy development and evidence-based practice.

Visual quality and relationship

Human visual system involves the eye and brain working together to interpret the visual

environment (art gallery). The optical elements of the eye form an image of the environment

on the retina by absorption of the light (spectrum). To form an image of the target on the

retina, light has to be transmitted through the eye without excessive absorption and scattering,

and the image of the target has to be focused on the retina. According to Lang (2012), visual

quality is one aspect to assure that there is enough light for users to see and perform their

daily tasks without eye strain. Lighting has a significant effect on how human perceive the

world, and maintaining visual quality is a crucial factor in aiding human perception. The

human visual system is an image processing system. It involves the eye and brain working

together to interpret the visual environment. The eye will form an image of the target on the

retina from the optical components (the cornea, crystalline lens, and pupil). For this to occur,

light has to be transmitted through the eye without excessive absorption and scattering, and

the image of the target has to be focused on the retina (Mark, 2000). Human visual system

has to be functional well by adapting to the prevailing light condition. The human visual

system able to process information over an enormous of luminance's, but not all at once. To

cope with the light exposition from night to the sunlit, the human visual system changes its

sensitivity through a process called adaptation. When the visual system is not completely

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adapted to prevailing retinal illumination, its capabilities are limited (Cooper, 1995). Human

visual quality can be achieved in 2 conditions through visual performance and visual

comfort.s

Visual performance and visual comfort

Review from the IESNA Lighting Handbook (2000) stated, visual performances are concerns

with the limits and visible of the visual system's capabilities. The quality of visual

performance depends significantly on the characteristic of the lighting speed and accuracy,

and the visual system of the observer. Among the variables visual performances characters

are:

(i) Light distribution

Light distribution important on the effects target luminance contrast and color contrast. Light

distribution around the target can be controlled by the characteristic of luminance (type of

luminance housing/casing), the light spectrum, and the light distribution technique (direct

lighting, indirect light and direct-indirect light).

(ii)Visual size and location of the target

For a target to be seen, it has to be larger than a minimum size. The relevant size of a target is

an

angular measure and depends on the physical dimensions of the object itself; the angle of

inclination of the target from normal to the line of sight; and the distance from the viewer.

Size can be measured in a plane of two dimensions as a visual angle or a volume in three

dimensions as a solid angle, as shown below:

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 Fig. 1. Dimension and distance of viewer determine the size of target
Source: The IESNA Lighting Handbook

(iii)Luminance and luminance contrast

For a target is above the minimum size, it will be visible only if it differs from its immediate

background in luminance or color. If it differs in luminance from the immediate background,

the target has a luminance contrast. Luminance contrast may result a target are darker than

background or brighter than target. When a target and its background are both diffuse

reflectors (example a matte material), the illuminance contrast is not affecting by changing

the illuminance, so the luminance contrast can be calculated from the reflectance.

(iv)Color difference

Visual targets that are larger than the minimum size but have the same luminance as the

immediate background is zero luminance contrast. It can still be discerned by differences in

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color. Color difference can be highlighted between the colors of the object (artwork) and the

immediate background (wall and partition). Additionally, such as cognitive factor as

perception and expectation affect the measurement of the detect ability and recognition of the

target. Despite visual performance, visual comfort is a key factor in human visual quality.

Visual comfort can prevent symptoms and cause of visual discomfort - red, sore, itchy, and

watering eyes; headaches and migraine attacks. There are many different of lighting that can

cause visual discomfort. Insufficient light is an obvious problem of visual discomfort such as

- glare, shadows, and veiling reflections. According to Rutter (1997), most commonly

reported display-design problem is glare and contrast as most of these complaints came from

the age of 40 and above crowds.

(v)Glare

Glare happens in 2 situation. First is too much of light and large range of luminance in a

visual environment. Others factor influence the glare occurs is reflective material surface and

the angle of light.

(vi)Shadow

Shadows occurred when light intercept by an opaque object. The effect of these shadows can

be

overcome either by increasing the proportion of inter-reflected light by using high-reflectance

surfaces or

by providing local lighting in the shadowed area. If the object is small and close to the area of

interest, the shadow can be cast over a meaningful area, which in turn can cause perceptual

confusion, particularly if

the shadow moves.

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(vii) Veiling reflections

Veiling reflections are luminous reflections from specular or semi-matte surfaces that

physically

change the contrast of the visual task and consequently change the stimulus presented to the

visual system. The two factors that determine the nature and magnitude of veiling reflections

are the viewed speculative of the material and the geometry between the observer, the target,

and any sources of high luminance.

Gallery and museum exhibition lighting

In the gallery and museum design, lighting are use to interpret displays and to shape viewers

perceptions of their experience. Lighting can be adjusted to emphasize changes in mood,

highlight elements or banish to a shadow when necessary (Wagiman, 2011). Light focused

towards display known as an accent light while background light is ambient light. Accent

light is brighter than ambient light creating light stability of light in space. The relative

contrast between exhibit and the background gives the exhibitions its drama and focuses the

visitors’ attention on display. (Hughes 2010) according to Rea(2000) lighting divided into 3

categories, direct lighting, indirect light and direct-indirect light. Example of direct lighting is

spotlights and wall wash light while indirect light is a turn reflects light downwards designed

light. Direct-indirect light is a combination of both categories.

Basic guideline of lighting position

Lighting position is relates with the display type, display setting, ceiling height and amount of

displays. In normal practice, art gallery exhibition installed with ceiling mounted light either

direct or indirect light. For vertical display, ceiling mounted light is installs in 30º angle

position with specific formulate distance of ceiling height - the human eye level + 577mm.

This calculation creates a minimum distant parameter for the viewer for good visual

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experience. However, for freestanding display it is easier where the ceiling mounted installed

at the center of the display position.

Fig. 2. (a) Lighting guideline for vertical display (b) Lighting guideline for freestanding display
Source: The IESNA Lighting Handbook

The Senses: Design Beyond Vision

According to Cooper Hewitt (October 2018)“Across all industries and disciplines,

designers are avidly seeking ways to stimulate our sensory responses to solve problems of

access and enrich our interactions with the world,” Sensory design recognizes that we

understand and navigate the world with all five of our senses. Organized into nine thematic

sections, The Senses demonstrates that by opening up to multiple sensory dimensions,

designers reach a greater diversity of users. Maps that can be touched as well as seen

facilitate mobility and knowledge for sighted, low-vision, and blind users. Audio devices

translate sound into vibrations that can be felt on the skin. Tableware and kitchen tools use

color and form to guide people living with dementia or vision loss. These innovations are

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beneficial to all users as sensory design enhances awareness of the body and creates new

emotional terrain through its stimulation of our visceral responses.

Designed to be an accessible experience welcoming to visitors of all abilities, The

Senses’ exhibition features labels with key elements in braille and a custom smartphone app

that will connect visitors to exhibition content via text or audio. Additional accessibility

features include T-coil–complaint audio devices and audio descriptions explaining the visual

content of videos. The museum will also offer dynamic descriptive exhibition tours of The

Senses with trained museum educators, as well as programming for visitors with sensory

differences.

DEFINITION OF TERMS

Museo - a Filipino term for Museum.

Gallery - a corridor/hall that is patterned for walk showing different exhibits along with it.

Vaults - a room storage for collection with a specific temperature to conserve the items of

instrument from damage. It also acts as a security and safety of the said collections.

Booths - a room/space where the displays of handicrafts. It is also for manufacturing and

making of these with exposure to the public.

Multi-purpose Hall – ideal for small group gatherings, meetings, workshops and cultured
events with technology for presentation.

Souvenir Shop – sells different items promoting the culture and history aspects of the City.

Reception Area – an area to provide guidance and rules in gathering and living the museum.

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Virtual Exhibition Hall with Booths – a virtual strands or booths which exhibits

information related to navigation layout of the different online booths within the exhibition

hall.

Administration office – a place where business is transacted or a service is supplied.

Finance, public relation and program are the divisions with specialized function taking under

this management.

Information Center – a guest relation and informal table for visitors in need of assistance.

Conference Room – a conference, meeting and assembly space for any presidential

confrontation with institutional department heads in relation to the development of the

facility and its objective.

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