Professional Documents
Culture Documents
1.1.Introduction
Introduction 7.7.Typography
Typography 9.9.Object
ObjectDisplay
Display 11.Display
11. Displayand
andCirculation
CirculationSpaces
Spaces
7.1 Introduction 9.1 Object Display, Maintenance
and Security
2.2.Audiences
Audiences 7.2 Type Layout and Usage 12.
12.Colour
Colour
9.2 Open Display
2.1 Specific Audiences 7.3 Illustrations and Text
9.3 Object Placement 13.Lighting
Lighting
7.4 Braille Provision 13.
9.4 General visitors
3.3.Languages
Languages 7.5 Identity, Branding and 13.1 General
Partnerships 9.5 Children
13.2 Entrances and Main Routes
7.6 Signage and Orientation 9.6 Cased Objects
4.4.Generic
GenericLearning
LearningOutcomes
Outcomes 13.3 Display Lighting
7.7 Signage Heights 9.7 Display Materials
13.4 Labels
7.8 Use of Symbols 9.8 Wall and Ceiling Mounted
5.5.Interpretation
Interpretation 13.5 Maintenance
Objects
7.9 Materials
5.1 Interpretative Methods, 13.6 Reflective and Translucent
9.9 Handling Objects
Communication Methods, 7.10 E-labels Surfaces
Scripting 9.10 Mounts and Backgrounds
7.11 Position
9.11 Requirements for Loan Objects 14.Sound
Sound
14.
6.6.Graphics
Graphicsand
andText
Text
8.8.Interactives
Interactives
6.1 Writing 10.Furniture
10. Furniture 15.Health
Healthand
andSafety
Safety
8.1 Interactive Listening 15.
6.2 Text Development Process 10.1 General Furniture
8.2 Location of controls and
6.3 Exhibition Graphics and Labels Operating Mechanisms 10.2 Display Furniture 16.Statutory
StatutoryRequirements
Requirements
16.
6.4 Images for Exhibition Graphics 8.3 Measurements for Controls 10.3 General Guidelines for
and Labels and Operating Systems Display Furniture
17.Further
17. FurtherInformation
Information
6.5 Positioning of Graphics 10.4 Display Case Interiors
6.6 Viewing Bands: general 10.5 General Seating
6.7 Viewing Bands: pre-five 10.6 Seating Measurements
6.8 Templates
1. Introduction
This document sets out the display standards This document is relevant for all Glasgow
for Glasgow Museums, clarifying the Museums’ venues:
principles and methods by which we display
our collections. It refers to the requirements The Burrell Collection
of the Interpretation Plan, the Audience
Development Plan, and Project Management
Guidelines which are all available as Gallery of Modern Art (GoMA )
electronic links in this document.
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2. Audiences
Glasgow Museums has defined the following Refer to the Audience Development Plan
audiences because they have identifiable for each venue.
and discrete needs.
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3. Languages
People whose first language is not English From the 2001 census the largest community In terms of visitors to Glasgow data from
benefit from clear, non-idiomatic language populations in the city are: Visit Scotland (2009) indicated that the
in displays. This also benefits people with a top 6 non-English speaking tourists to visit
learning disability, and helps all our visitors Pakistani (Urdu) Glasgow are:
grasp messages, information and instructions Indian (Hindi, Bengali)
quickly and clearly. Chinese (Mandarin) German
French
All our interpretation, communication and As of March 2010 the key languages spoken Spanish
displays should meet CSG’s Equality Policy. by new asylum seekers* in Scotland are: Italian
The community languages other than Dutch
Mandarin (China)
English that are spoken in the City of Polish
Glasgow include: Farsi (Iran)
Arabic, Kurdish Sorani (Iraq) Correspondingly the download data from
Mandarin Tigrinya (Eritrea) Glasgow Museums indicates that the most
Polish Somali (Somalia) popular downloads for our translated
Arabic English (Zimbabwe) material are:
Farsi Arabic (Sudan) Polish
Urdu Pashto (Afghanistan) French
French (DRC) German
The languages above are the ones that are Urdu (Pakistan)
most commonly requested from the Glasgow Spanish
Translation Service. GTC provide translation * Source: Scottish Refugee Council
Italian
of materials for Glasgow City Council. GCC
no longer provides print material in other
languages.
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3. Languages
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Using the MLA Inspiring Learning for All interpretation plans must identify GLOs
All framework of five generic learning for the display. For further information
outcomes (GLOs) is a recognized method of on GLOs and the ILFA framework refer to
planning for and providing evidence of the ‘Audiences, Learning and Interpretation’.
impact of museums displays and activities.
2 Skills
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5. Interpretation
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6.1 Writing 6.2 Text Development Process 6.3 Exhibition Graphics and Labels
Know your audiences, and bear in mind The text development team is comprised of: When writing text for an exhibition, it
that visitors will have a wide range of should always be remembered that it is a
literacy levels. (one in five adults in • Story author and L&A Curator storyline that supports objects in a physical
Scotland is functionally illiterate meaning • Editor space or environment. The readers will
that he or she finds it difficult to read at mostly be standing and have the distraction
the level required to cope best with all • Research Manager of other exhibits and visitors around them.
aspects of daily life. • Venue Manager
The visitor will probably have a maximum
To cater for a wide range of literacy, use Final text and images should be issued to the visiting time of an hour to read, consider
Plain English and aim at a reading age of designer. and understand the exhibition as well as
12 or 13 for main messages, and up to 15 interpret and enjoy the objects shown. This is
for additional information. Further museum why suitable text lengths are crucial.
studies publications are available on this
topic. Such language need not be over- More detailed information can be provided
simple and patronising, but should allow for on hand-outs, exhibition publications or by
fast comprehension and be accessible to a computer or audio interactives for visitors
wide range of visitors. who wish to find out more about a topic or
particular object, and this requires Research
These are general guidelines, for further Manager approval.
information, see Glasgow Museums’ House
Style Document. See table on next page.
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6. Graphics and Text
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6. Graphics and Text
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6. Graphics and Text
surface, and the text should be closely Not everyone shared Henry’s passion for
objects. Never assume that because an
object is in the collection that it has been
steamboats. Navy chiefs and engineers such as
linked to the image. The image should be In 1811 star-gazers watched a
great comet blaze across the
night sky. Bell used the name
Comet offered a regular, reliable
service between Glasgow and
Greenock. The journey took
James Watt all had their doubts. Henry wasn’t
put off. He had a boat built, and bought a steam
clear and be printed as large as possible, or engine and boiler to power her.
suggesting she too had fiery twice as fast as a sailing boat or
power and awesome speed. horse-drawn coach.
Courtesy of Museum of London/Bridgeman Art Library Courtesy of Glasgow City Council
the important part of the image enlarged. in August 1812. She was an instant success –
Glaswegians rushed to have a shot. Within a few
are usually inventory standard, and are
years, Henry’s dream was turning true.
not of a high enough resolution to be
As a rough guide, allow a viewing used for graphics or in publications, so
distance of at least double the diagonal you may have to complete a Photography
measurement where possible, and the Requisition form requesting that new
same for large objects. images be taken.
Try to provide label information in an Henry Bell and his wife Margaret ran the Baths Inn in Comet wasn’t the only steamer on the Clyde for long. Other Comet sank during a winter storm in Loch Crinan in 1820
Bear in mind copyright costs for images.
Even if an object is in our collection it may
Helensburgh. Bell hoped the regular steamboat services would entrepreneurs quickly cashed in on Bell’s success. By 1814, while sailing to Glasgow from Oban. From 1813, Bell had been
handouts or Braille. The availability of Steamers quickly became the most popular way to travel on
the Clyde. Within a few years steamers were sailing on the
River Thames, the Irish Sea and the English Channel.
still be under the artist’s copyright, so we
these formats should be clearly signed at will have to pay to use it. Note also that
Courtesy of Glasgow University Library Special Collections
• Wall/screen-mounted graphics should • If label rails are used, don’t position the
wherever possible be positioned within the top of the label above the maximum
optimum viewing band [1100–1675mm] recommended height.
• Position Braille labels at a consistent
• People with low vision may need to be height and position, and on a horizontal
within 75mm of a label in order to read it. or near horizontal plane (at between 600
and 700mm from floor level at the left-
• Object labels should be located as near hand side) for the best reading angle. Viewing bands for adults (pink) and pre-fives (blue).
as possible to the object, so that both the
object and the label can be seen from the
same vantage point.
wheelchair users.
1100mm
1075mm
700mm
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6. Graphics and Text
Wall, screen and rail mounted interpretation Min height Max height
optimum viewing bands for main text FFL mm FFL mm
E-Introduction 1100 1675
NB Glare at child height falls between
1000mm and 1060mm
Graphic panels 1100 1675
Label rails 750 1225
Braille rails 750 900
Optimum centring level Height
FFL mm
Panels 1100
Labels (for pictures, etc) 1225
Wall, screen and rail mounted interpretation Min height Max height
optimum viewing bands for information FFL mm FFL mm
Screen based interpretation 700 1075
NB Glare at child height falls between
1000mm and 1060mm
Graphic panels 700 1075
Optimum centring level Height
FFL mm
Panels 1400
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7. Typography
7.1 Introduction
Outline
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7. Typography
Use simple, clear, and consistent • The graphic panel or label should have • Avoid overprinting (type on an image,
numbering systems. All interpretive good contrast with the background textured or patterned background).
text should have a high contrast (80%) colour or case lining. This can result in illegible areas and is
between text and background. The higher unreadable for people with partial vision
the contrast, the greater the legibility; this • Headings can appear in other colours and perceptual difficulties. Exceptions
is essential for people with impaired vision. and the title can be printed on different may be in very large graphics with large
backgrounds for different storylines, dropout or boldly contrasting type.
but a high contrast should always be
maintained (80%).
Type on image
80% contrast
• Arrange text in short chunks with
headings and subheadings.
7.3 Illustrations and Text 7.6 Signage and Orientation 7.8 Use of Symbols
Avoid running type over or around pictorial Signage should be simple, short and The use of recognized symbols representing
images. Overprinting is difficult to read and consistent in design and layout. As 7.3 facilities or levels of accessibility must
should be avoided, unless the image is used million adults in Britain today have literacy provide accurate, reliable and meaningful
as a decorative background. problems, recognized symbols should be information.
used wherever possible.
7.4. Braille Provision
There are four types of signage: Interactive area Lift
Where Braille is found in Glasgow Museums • Information Female toilets Accessible lift
we use Braille Grade I, which is suitable for
single words and short signs; and Braille • Direction Male toilets Café
Grade 2 for interpretive text. • Identification Accessible toilets Public telephone
• Safety
7.5 Identity, Branding and Partnerships
Symbols used at Kelvingrove.
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7. Typography
• Graphic and printing substrates, papers, • E-label content should conform to the • E-labels should be located out of the way
films, glues, etc. should have passed same standards for typography, colour, of barriers, protruding objects, stairs, or
conservation testing to ensure chemical lighting, images, audio and video doorways.
stability, colourfastness and to ensure provision, and so on.
consistency between ex-case and in-case • Avoid placing E-labels where they could
materials. • E-labels should conform to the same create a bottleneck.
standards for buttons and operation
• Refer to the Preventive Conservation: mechanisms as other forms of • Take care when positioning labels in
Display Systems, Cases and Barriers interpretation. proximity to display cases as image
Guidelines and Conservation staff for reflections and glare can inhibit the view
requirements and timescales. of objects. E-labels should always be
located next to the object.
• Use matt or silk papers and inks as glossy
E-label in use at Riverside Museum.
surfaces can create glare or reflection.
Avoid thin or semi-transparent papers
which allow show-through.
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8. Interactives
• All interactives will be designed so that 8.1 Interactive Listening and Speaking Activities 8.2 Location of Controls and Operating Mechanisms
they are accessible and usable by all
visitors. For activities that require listening as a Interactives should be designed so that:
• Activity surfaces or computer stations specific action, make sure that: • all the controls and operational
should be no higher than 800mmFFL and • equipment is accessible to people whether mechanisms (such as levers, buttons,
fully accessible for a parked wheelchair. they are small, use wheelchairs, or are peddles, steering wheels, tracker balls) are
• Work surfaces should be lit to a level of standing; within reach of people whether they are
200lux, minimum. • fixed listening devices are positioned small, use wheelchairs, or are standing;
• Interactives should not require staff or within the recommended height band for and
visitors to reset them; they should return the audience; • they are 725mm above fixed floor level.
to a default position automatically or • listening devices are height adjustable or
operate from the position they are left in. we may need to provide them at different
• Interactives should not be located where heights to accommodate different user
they or visitors operating them will cause groups; and
an obstruction, and sufficient space should • any adjustable elements are operable by
be provided at and around the interactive those with low mobility and grip, and
so that everyone can use it. return to a position accessible to all.
• Push buttons should be easy to operate, Wheelchair-accessible listening device at
visible and easy to comprehend. Buttons Riverside Museum.
and interactive features should be located
1050mm FFL, if wall-mounted.
• Operating instructions should be clear and
featured on the desktop or wall mounted
between 1200 and 1600mm FFL.
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8. Interactives
Interactive controls Min height Max height
FFL mm FFL mm
8.3 Measurements for controls and operating systems
Table mounted – Under 5s 1100 600
Table mounted – standing 5–14 520 825
For further information refer to
Table mounted – standing general 670 925
AV Guidelines Doc
Table mounted – sitting/wheelchair general 670 825
Wall mounted controls – Under 5s 460 800
Wall mounted controls – standing 5–14 520 1020
Wall/rail mounted controls – standing general 670 1050
Wall mounted controls – wheelchair general 670 1020
The recommended control mounting height for general use is 725mm FFL
Listening device – standing 5–14 1017
Listening device – standing general 1500
Listening device – wheelchair general 1017
Speaking device – under 5
Speaking device – standing 5–14 1015
Speaking device – standing general 1350
Speaking device – wheelchair general 1015
Viewing device – under 5 700 1075
Viewing device – standing 5–14 1010 1475
Viewing device – standing general 1365 1700
Viewing device – wheelchair general 1060 1275
Reach – standing under 5 430 580
Reach – standing 5–14 545 880
Reach – standing general 827 1048
Reach – sitting under 5 360 490
Reach – sitting 5–14 410 705
Back to index Reach – sitting general 624 835
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9. Object Display
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9. Object Display
General
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9. Object Display
• Don’t place objects in such a way that they These are the recommended measurements
could present a hazard to visitors. for developing displays for general visitors.
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9. Object Display
9.5 Children
Average eye Height Height sitting Tables and worktops Min height Max height
height standing from from FFL mm FFL mm
FFL mm FFL mm Table top – standing 460 530
Under 5s 700–1075 700–865 work surface under 5
5–12 1010–1475 865–950 Table top – standing 520 825
Average reach Standing Sitting work surface 5–12
Seats Min height Max height Arm/back Wall and screen mounted interpretation Min height Max height
FFL mm FFL mm support height optimum viewing bands for information FFL mm FFL mm
FFL mm Graphic panels 700 1075
Under 5s 250 325 350–500 Screen based interpretation – NB glare at 700 1075
proportional to
child height falls between 1000–1060mm
seat height
5–12 325 450 350–550 Optimum centring level Height
proportional to FFL mm
seat height Panels 1400
Labels 1225
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9. Object Display
• All the elements in a display should be • The designer will select suitable materials,
visually accessible to all visitors. All cased sizes, thicknesses, types, and locations of
displays should fall within the general fixings and sealants and guarantee that
optimum viewing band of 750–2000mm. they are used for the purpose intended
Ensure everything is visible from a by the manufacturer (refer to display case
wheelchair. Desk cases should be no specifications).
higher than 800mm FFL.
• All materials used for display purposes
• Position small objects or those with fine must be approved by the Conservation
detail in the front portion of a case, with Department, and must be tested by the
larger items behind. recognized bodies.
2000mm
• Provide a toe space of 224mm x 180mm • Materials and finishes used in construction
deep around cases and plinths to allow must meet current fire regulations.
wheelchair access.
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9. Object Display
9.8 Wall and Ceiling Mounted Objects 9.10 Mounts and Backgrounds 9.11 Display Requirements for Loan Items
from Other Institutions
Things to remember: • Display objects against a 70% contrasting
background wherever possible. • Paintings, drawings and similar objects
• Avoid double or cluster hanging 2D work must be secured to the walls by mirror
where possible, except where necessary for • Display objects against a plain background plates or security screws.
interpretative reasons. wherever possible.
• Unglazed paintings, fragile/sensitive
70% contrast 70% contrast
• Objects and pictures that are rich in detail material or works/objects on open display
are better hung ‘on the line’, meaning the must be protected by rope or other
midpoint of all the works, so that people barriers, which must be at least 1 metre
can look at them more closely. If items are from the exhibits.
double or cluster hung, those that are rich
in detail should be at the lower level. • Small portable objects must be exhibited
in locked display cases, which should be
fitted with anti-bandit laminated glazing
9.9 Handling Objects
meeting British Standard BS5544. If the
material consists of gold, silver, jewellery,
Tactile examination of objects is an
or items, which are especially valuable, the
important interpretation method; the
cases must be fitted with alarm devices.
experience is essential for visitors with 70% contrast 70% contrast
The cases must be secured.
visual impairments and helps many people
with learning difficulties. You should select
All loans have to be agreed on an individual
objects suitable for tactile examination
basis and the Collections Department
in consultation with the Conservation
should be consulted on the requirements
Department.
for each object, or group of objects, from
a specific lender. If the above requirements
Refer to Preventive Conservation: Display
cannot be met then the level of insurance
Systems, Cases and Barriers Guidelines
cover will be negotiated and agreed
between both parties.
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10. Furniture
10.1 General Furniture 10.3 General Guidelines for Display Furniture 10.5 General Seating
• All furniture should be safe, secure, and • Display furniture must meet Glasgow • Seating must be provided and should be
free from sharp projections. Museums’ security and conservation robust, hardwearing, comply with museum
requirements. requirements for cleaning and meet
• Furniture should not project unpredictably current legislation. A variety of seating
into circulation routes. • All sides of display cases and protective should be provided to accommodate
glazed screens should be formed where visitors’ differing requirements.
• Materials that contrast in colour and possible from continuous pieces of
texture with the surrounding floor and glass, i.e. there should not be any joints • Include firm seating. At least 50% of this
walls should be used where possible. interrupting the elevations. should have a firm back with arm supports
on either or both sides or a support rail.
• If there are joins or opening sashes, they This is essential for people who are elderly
10.2 Display Furniture should be detailed to make them as or have mobility impairments.
unobtrusive as possible.
Glasgow Museums’ venues have a range • Provide spaces next to fixed seating for
of display furniture types that varies in • Tables and workstations must have knee wheelchairs users and their companions.
design, quality, condition and age. A list space to accommodate wheelchair users. A minimum space of 760 x 1220mm is
of all display furniture currently in use at required at the end of fixed seating for
Glasgow Museums is available from the 10.4 Display case interiors this purpose.
Design Department.
• In display cases, colour should be used to • Seats designed specifically for children
Please refer to the Preventive Conservation: create clear visual access to the elements should follow the general standards for
Display Systems, Cases and Barriers of the display. seating. Other forms of seating could
Guidelines include floor mats or cushions.
• Background colours should contrast, but
not overwhelm or jar, with the items inside • Ensure that seats contrast with the
the display case and provide 70% tonal flooring and are not positioned in front of
contrast. text or control buttons for a lift or door.
• Where appropriate, material and finish • Some visitors will require a lightweight
specifications should indicate the level of seat, if available, and visitors must be
colourfastness. made aware of this provision.
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10. Furniture
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11. Display and Circulation Spaces
In general visitor areas, display spaces • if a space requires low lighting for
and rooms, colours for graphics panels conservation or atmospheric reasons,
and labels must maintain a high contrast think about using lighter colour ranges to
(80%) between text and background. compensate;
Other interpretation elements may require • remember that the colours and patterns
alternative approaches and should be of display floor surfaces must give accurate
addressed on an individual basis. information about the depth, height,
and condition of the floor surface. Avoid
When choosing colours: patterned carpets and floor tiles on
uneven surfaces and in low-lit areas; and
• make sure that walls, doorways, and
furniture are visually separated from the • avoid certain colour combinations,
floor colour. Remember that people with particularly those within the same tonal
low vision and visual perceptual difficulties range, such as red on green or vice versa
require at least 70% contrast in colour and blue/yellow. Remember that 8% of
and hue to negotiate a space. If the floor, the male population and 0.1% of the
walls, cases, plinths, and benches are all female population are red-green colour
the same hue all the component parts of blind and a smaller number of people are
the room/space will blend together; blue/yellow colour blind.
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13. Lighting
13.1 General
Light levels can vary depending on the These are the recommended minimum
type of exhibition, the material being light levels:
displayed and the desired ambience. The
balance between conservation and display Task Maintained Limiting Min Colour
requirements must be carefully considered. Illuminance Glare Rating Rendering
Objects can be grouped into three categories Ambient lighting 50–300 lux 28 80
of light sensitivity: Visitor circulation routes 100–300 lux 28 80
Insensitive to light displays 50 lux No UV light
1. Insensitive to light: metals, stone, ceramics, Sensitive to light displays 150 lux
glass and enamels.
Very sensitive to light displays No maximum
2. Sensitive to light: oil paintings, wood, Work surface (general) 300–400 lux
ivory, bone, some works on paper. Work surface (detailed work) 400–1000 lux
Text panels 100–300 lux 25 80
3. Textiles, art on paper, fur and feathers, Directional signage* 200–300 lux 19 80
dyed leather.
Ramps, stairs 150–300 lux 25 80
Objects, specimens Note 1 90T > 4000K
Reading Areas 500 lux 19 80
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13. Lighting
Lighting assists visitor circulation and Good lighting is extremely important for The following general lighting standards
provides visual access and task lighting. It’s visually impaired and older visitors so ensure do not preclude the need for testing or
important for interpretation, decoration, that adequate lighting is provided on the prototyping lighting solutions for specific
and to create pace and ambience, and the vertical planes of graphic displays. Use non- design needs. However, all lighting schemes
modelling may take different forms to meet reflective glass or film on all interactives, should refer to the following standards:
these different functions. Generally, avoid cases, displays and paintings wherever
extreme contrasts in lighting and aim for reasonable. • BS EN 12464-1:2002 Light and Lighting –
uniformity or gradual changes, including Lighting of Work Places
a transitional lighting zone between the When low light levels are called for, find • BS EN 12665:2002 Light and Lighting –
external and the generally low lighting levels the best compromise between conservation Basic terms and criteria for specifying
in most galleries. and disabled visitor requirements. Consider lighting requirements
temporary or timed illumination of objects,
e.g. by timed push button. • BS EN 15193:2007 Energy Performance
of Buildings – Energy Requirements for
Lighting
• CIBSE Code for Lighting.
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13. Lighting
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14. Sound
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15. Health & Safety
The following does not represent a complete • All staff, consultants and contractors
list of all Health and Safety issues. You should comply with the Health & Safety at
should also refer to Glasgow City Council’s Work Act 1974.
Health and Safety Policy 2008. • Consultants and contractors should
provide proof of any insurance cover
required prior to commencing work.
• Consultants and contractors should
provide proof of any test certificates,
staff qualifications, etc. required prior to
commencing work.
• Risk assessments should be provided for
all qualifying activities as required and
in sufficient time for assessment, prior to
commencement of the activity.
• Any portable electrical equipment
supplied as part of a display should be
supplied PAT tested.
• A timetable for the systematic and regular
maintenance, inspection and testing
should be provided in any operational
and maintenance documentation
(O & M manuals). Refer to The Institution
of Electrical Engineers Code of Practice for
In-service Inspection and Testing of
Electrical Equipment.
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16. Statutory Obligations
Designers must ensure that their designs • The Building Standards (Scotland) • IEE (Institute of Electrical Engineers)
comply with all statutory regulations Regulations Act 2003 Codes of Practice
governing their work. It is the designer’s • The Disability Discrimination Act (DDA) • The Institution of Electrical Engineers (IEE)
responsibility to ensure compliance of any October 2004: for free factsheets see “Code of Practice for In-service Inspection
structures and layouts and to obtain the www.disability.gov.uk to contact DDA and Testing of Electrical Equipment”
necessary warrants and certificates. The helpline tel 0345 622633 • Public Entertainment Licence 2005
following is an indication of requirements • Health & Safety at Work Act 1974 (Venue Manager applies for this Licence)
that affect exhibitions: www.glasgow.gov.uk/en/Business/Licences
• The Fire Precautions Act 1971
• Construction (Design & Management)
Regulations 1994
• The Civic Government (Scotland) Act, 1982
– Licensing
• British Standards: (Not strictly legislation,
but the standards adopted by many
statutory acts). In particular, consult:
o BS 8300:2009 Design of buildings and
their approaches to meet the needs of
disabled people.
o Code of practice BS 5873-4:1998
Educational Furniture. Specification for
strength and stability
o BS 7176:2007 Specification for resistance
to ignition of upholstered furniture
for non-domestic seating by testing
composites
o BS EN 356:2000 Glass in building.
Security glazing. Testing and
classification of resistance against
manual attack
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16. Statutory Obligations
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17. Further Information
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