Spaces Inside a Bahay na Bato
Kaida, caida, antesala
 A transition space right after the stair,
leading to the sala (living) or to
komkomor (dining).
Kuwarto, cuarto, bedroom
 A room usually adjacent to the sala
with kama, tokador (dresser),
aparador (cabinet) and mesa (table).
Sala, sala, living room
 The center room in a Filipino house
often facing the street or plaza and is
used as the family's leisure and social
activities’ room.
Bodega, bodega, storeroom
 An enclosed room or space whey
things are stored.
Kusina, cocina, kitchen
 A room where food is prepared and
cooked.
Komedor, comedor, dining
 The space adjacent to the kusina
where meals are served.
Asotea, azotea, flat roof
 The flat roof of the alhibe usually at
the back of the kusina and is used as
an elevated outdoor terrace or
service area.
Dispensa, dispensa, pantry
 A service room adjacent to a kusina
and komedor for storing food supplies
and other provisions.
Banyo, baño, bathroom
 A room intended for washing or
bathing.
Alhibe, aljibe/algibe, cistern
 An enclosed masonry structure for
storing water for household and other
uses.
Saguan, zaguan, entrance hall
 The space, after the entrance, that
serves as transition space between
the entrance and the grand stairs to
the upper floor that is used as storage
for carriages, processional floats and
where other implements are kept.
Kubeta, cubeta, toilet
 A room with latrina (latrine), a
receptacle for human waste where
ash from the kusina is poured to
eliminate odor.
Tindahan, tienda, store
 The space at the ground level that is
adjacent to the streets and utilized for
commercial purposes such as keeping
goods for retail sale.
Aksesorya, accesoria, accessory
 An extension or annex to a house.
Mirador, mirador, mirador
 A viewing space in a tower like
structure built above the main house
or at an azotea and surrounded by
windows or decorative latticework.
Restaurant
1. Area of Kitchen to be 300sqft or 40% of
total whichever is bigger.
2. Wall, Floor and Ceiling to be washable ,
nonabsorbent, fire proof , light, colored,
smooth nontoxic, no cracks. Floor properly
sloped for drainage junction concave for
cleaning.
3. Adequate ventilation & Lighting
4. Provide a store for dry/chilled and frozen
items
5. Washing facilities double sink with
hot/cold water.
6. Deep sink for washing large pots.
7. Separate single sink for washing
vegetables, together with a preparation
table for preparing vegetables
8. Single Sink and preparation table for meat.
9. Stainless Steel Hand wash basin in
preparation area with hot/cold water.
10. Stainless Steel Preparation Table
11. Bain Marie for maintaining temperature of
cooked/hot food.
12. Cabinet for storage of outdoor clothing
13. Drainage pipe work fixed at least 2" from
wall.
14. Stainless Steel shelves for dry food items
15. Stainless Steel racks in washing area for
drying utensils etc. after washing
16. Provision of cooking area with ventilation
hood and chimney. Chimney should be
above 2M from the nearest building.
17. No grease traps in the kitchen.
18. If a tandoor is in the kitchen then the Min.
Area should be 380sqft.
Chair & Table Spacing Tips & Suggestions
14 sq. ft per person for spacious dining
(allows for table, chair, and aisle)
12 sq. ft per person for caferteria or
restaurant style seating
10 sq. ft per person for banquet, institutional,
or close seating
Allow 18 inches for person seated from edge
of table to back of chair
Diagonal seating saves floor space
Duece tables and wall spacing saves the most
space
Min. 42 " between squared tables for chairs
back to back leaves 6 " to push out.
Min. 60 " between squared tables for chairs
back to back leaves 26 " service out
Min. 54" between round tables service space.
Main traffic aisles need to be larger
24 " between corners of diagonal tables for
customer access - no aisle
30 " between corners of diagonal tables for
customer access - narrow aisle
Where space is limited, booths require only 8
sq. ft. per person including aisle allowance
Museum Physical Facilities
The facilities a museum requires correspond
basically to the various steps in the processing
of specimens or collection items. The ideal
certainly is to have adequate space in the
museum premises to carry out all the
functions. Where the ideal does not exist,
provisions should be made for vital functions
to be carried out.
1. Fumigation/ Cleaning
A collection item that has just come in and is
newly registered ordinarily undergoes
treatment. The final phase of treatment is
cleaning of the item or object just before it is
placed with the rest of the collection. The
reason is that it might be infected with
fungus, wood borers, etc., which may
contaminate other items in the collection.
Fumigation is imperative. In the absence of
fumigation chambers, other means can be
resorted to, as illustrated on page 30,
depending on the type and size of objects.
(discussed more fully under the Conservation
Section)
2. Storage
Most small museums do not have provisions
for storage. Storage space is imperative not
only as the usual little closets and rooms
reserved for office equipage and facilities but
also and more so for collection items. A
museum continually collects even though
exhibition space is usually limited. Rotation of
exhibitions require space for keeping items
not on display.
The storage area should be near enough to
the curator and the exhibition area that it
services. The following are among guidelines
to be strictly observed:
– No one should hold office in the storage.
– No food or drink should be taken inside the
storage area.
– Only fumigated/cleaned specimens should
enter the storage.
– Everything that goes in and out of the
storage should be recorded.
– Items should be stored systematically easy
retrieval.
– No smoking inside the storage room.
– Only authorized personnel should be
allowed inside the storage room.
Storage System
Collection items should be classified while in
storage. The items may be grouped according
to type of items, e.g. baskets, clothing,
agricultural tools; or by ethnicity, e.g. Tagalog,
Ilocano, etc.; or by material e.g. wood, metal,
etc. For conservation purposes, storing by
material is recommendable since it is easier to
treat, for instance, textiles as a group instead
of individual pieces scattered all over the
collection.
The key, of course, for retrieval is through a
cross-indexed file combined with a
systematized storage. An item when taken
out should be returned to the same place.
If available, acid-free paper should be used to
line shelvings. The shelving section should be
identified so that each item has its own
particular slot.
If the object is removed, a piece of paper
noting the removal of the object, the date,
where the object was taken, the purpose and
by whom, should be put in its place. This is
apart from the logbook, which records the
entry and exit of items. The following are
some do’s:
– Stack materials with no objects touching
them or placed on top of another. Allow air
circulation
between objects.
– Do not roll or fold materials. Textiles can be
rolled around a tube.
– Keep area free of dust.
– Use gloves in handling specimens. There is
acid on your hands.
– Use both hands in holding specimens.
Handle items as gently as possible as if all
these are very
fragile. Restored objects are specially fragile.
Check on which is the safest place to hold.
– Allow only trained personnel to handle
items.
– Use only soft illumination in the storeroom.
– Allow adequate ventilation to maintain an
even temperature in the room.
– Fumigate the room periodically.
– Provide fire-fighting and firescape facilities.
Conservation
All materials change through time.
Conservation merely retards the rate of
changes to perpetuate the condition of an
object. In general, rapid and frequent changes
in the physical environment of an object will
lead to its earlier deterioration. A relatively
stable environment without the extremes is
therefore ideal for conservation of museum
objects. the Philippines is fortunate in being in
the tropics where the fluctuation of climate is
not to the extremes. The difference in annual
temperature is not that pronounced. In fact,
the difference in temperature between day
and night is greater. The problem is more with
respect humidity for our environment has
plenty of this. Countries in temperate regions
have greater museological problems due to
the fluctuation of environmental conditions to
the extremes.
Attacks of insect and fungi, are constant
threats. The most common insects that are
the bane of museologists are wood borers,
silverfish, cockroach, termites, moths, and
bookworms. The museum should be
fumigated periodically. Non-residual
fumigants are preferable.
To avoid the growth of fungi, extreme
temperature changes and dampness should
be avoided. Thymol crystals can be used to
inhibit the growth of moulds. This must be
used with care. It should not be used near oil
paintings, painted woodwork, etc. because it
can soften many paints and lacquers.
Pollutants
Even clean air contributes to the decay of
specimens due to its oxygen content.
Atmospheric pollution aggravates the
situation for museums particularly with
respect to carbon monoxide, sulphur dioxide,
hydrogen sulfide, and the soot from
insufficiently burned fuel from motor vehicles.
Dust is dangerous for this provides the nuclei
for water condensation and the start of
chemical and physical reactions. Nearness to
sea poses dangers of the corrosive effects of
salt. The only effective control of air pollution
is air conditioning. Where this is not possible
free air ventilation with filtration may be
used.
Temperature
If the temperature range can be managed
then this should be kept within the range of
20ºC ± 2ºC as most collection items will not
deteriorate as quickly at these temperatures.
A simple room thermometer will do to
measure the temperature. In the absence of
air conditioners, electric fans or other forms
of ventilation will suffice.
Humidity
A relative humidity of 50-55% is
recommended. If the relative humidity goes
above 65% and the temperature is also high,
moulds will develop and destroy many objects
such as textiles, pigments and paper.
Hygrometers are used to measure relative
humidity. In the absence of these, one can
more or less feel increased humidity by a
feeling of heat, oppressiveness and stickiness
of the skin.
To control infra-red rays the amount of light
falling upon an object should be limited.
Spotlights give off excessive heat.
The amount of light that falls upon an object
should receive serious consideration.
Maximum luminance is measured in lux units.
A 100 watt tungsten incandescent bulb has an
illumination of 14 lux at a distance of 1.5
meters, at 30 degrees angle. Using this as
comparison, the following are the maximum
illuminance recommended for museum
objects:
50 lux: Textiles, clothing, watercolors,
tapestries, prints, drawings, manuscripts, wall
paper, dyed leather, natural history
collections like botanical and zoological
specimens.
150 lux: Oil and tempera paintings, undyed
leather, horn, bone, ivory, and Oriental
lacquer work

Electric fans which can circulate air 300 lux: Stone, metal, glass, ceramics, jewelry,
continually during hot and humid weather can enamel, wood
help arrest the development of such fungi
since these prefer dark, damp and warm Objects should be exposed to lighting only for
places to be able to grow. Dessicants in small minimum periods.
dishes inside display cases can help. Charcoal
and silica gel substitute in small storages to
keep stable temperatures and relative
humidity.

Light

Light has a deleterious effect on certain

materials like pigments, inks, dyes, paper,
textile and the like. It should therefore be
controlled. Natural light has both ultra-violet
and infra-red rays. Ultra violet rays can cause
chemical changes on some objects while infra-
red light or heat can effect physical changes.

Ultra-violet filtering plexiglass can be used in

frames and cases instead of glass. Fluorescent
lights can also be covered by these filters.
There are lighting facilities like Philips TL-37
which have ultra-violet filtering components.