An exhibition space is needed for the collection and display of

vaious items in an organised way. The items can be both

two-dimensional and three-dimensonal; for instance, paint- Case Study and
Comparative Analysis
ings, prints, drawings, photography, sculptures or any other
form of visual art.

Designing an exhibition space requires the knowledge of the

context, the social and cultural aspects of the place, amount of

of Exhibition Space
people expected to come, the type of exhibits and other func-
tional aspects. These lead to the size and layout of the galler-
ies as well as the environmental quality of the spaces.

Ensuring the visitors’ comfort is always of the prime impor-

tance. The comfort of the visitors depends on the organisation
of the items, circulation pattern in the galleries and the light-
ing facilities.
Apart from the performing arts, the display of visual artre-
quires movement. The galleries and other spaces should be
designed in a way so that the viewers experience the organisa-
tion of observing the exhibits and consider a sequence of ob-
jects.

Orient the visitors

The entry and lobby areas should direct the visitors to the gal-
leries where they can select a starting point and move to it as
directly as possible.
A viewer tends to turn to the right upon entering a gallery. The
circulation pattern should be designed with this in mind.
Viewers should be able to move through the exhibit without
being forced to walk past objects they have already seen.
There must be adequate spaces for visitors to move at differ-
ent speeds. Some may move continuously and some may stop
to examine particular objects in greater detail.
The ability to survey the gallery area in one sweep will help
viewers understand what is on display and decide what they
want to see.
Group; 06
1201024, 1201028, 1201032
Providing a pleasant environment
A crowded, warm or noisy environment is never appreciated.
Sufficiently roomy corridors, aisles and other traditional areas such as courtyards and skylights should be pro-
vided.
There should be places to sit down and rest for the visitors. Places should be illuminated by daylight. Seats at
appropriate distances from large, important works give the visitors a chance to pause and examine the work
without standing for long periods of time.
Controlling noise and vibration in the exhibit space is very important. Proper ventilation should also be
ensured. A low level of ambient lighting in the gallery area can be contrasted with dramatic highlighting. Vari-
ations in ceiling heights help remove the visitors’ fatigue.
 Plan

11%
22%

Local Case Study

Bengal Gallery
26%

63% Design consultancy: Archeground

Site : Dhanmoni, Dhaka

of Fine Arts
Site area: 981.28 sqm
4%
Building footprint: 500 sqm
Total exhibition area: 173.33 sqm
Total service area: 32 sqm
Total Circulation Exibition Service Total circulation area: 90.47 sqm
 ARCHITECT: Frank Lloyd WrightLO-
CATION: New York, United States
YEARS OF CONSTRUCTION:
1956-1959

FEATURES: "One great space on a

continuous floor" Section
Galleries form a spiral. LIGHTING: Large citrus fruit shaped skylight at the zenith. The spiral galleries are
Instead of established system of lit naturally to some extent by the skylight. The walls being sloped help light pene-
Plan floors, there is a spiral ramp rising to trate the galleries at each level.
the upper levels and descending
around an open patio.
Artworks areexposed along the
spiral ramp. Visitors see the work
walking up the illuminated spiral
ramp.
The spiral shape is marked by the
mergeing of triangles, ovals, arcs,
circles and squares with the concept
of organic architecture.
A huge atrium is there at the centre.
This allows interaction of people at
different levels.

CRITICISM: The building was

unpopular in some criticisms by
artists who felt that the ramp and
International Case Study the sloping walls were not suitable

THE SOLOMON
for a painting exhibition.
According to them, the building
overshadows the works exhibited
and it is difficult to hang the paint-

R GUGGENHEIM
ings properly in the walls.

AESTHETICS: The building itself

became an artwork.

MUSEUM
The building looks like a white
ribbon rolled into a cylindrical
shape, slightly wider at the top than
the bottom.
Plan
 Lighting and Ventilation
Bengal gallery has only indoor exibition
space. This galleries are cenrally air condi-
tioned and uses mechanical ventilation
system. Thus artificial lighting has used
here extesively.
Studio spot light and diffused bounce
lights are mostly used throughout the
gallery.
Natural Lighting is present in the cafeteria
area. Glass wall of wood frame ensures
magnificent lighing during daytime.

e
-

Visual connection
Plan Bounce light Spot light

Since its establishment in 2000, the Bengal

Gallery of Fine Arts has helped the fine arts
movement of Bangladesh by creating an art
market and promoting art awareness. Its suc-
cess in awakening interest in among the
middle and upper income groups is visible in
the artwork.
 The essence of the design
approach was simplicity
where the architecture
respectfully allows the
collection to shine. It is in
the quietness and
restraint of the final
design that the architects
believe the project suc-
ceeds in demonstrating a
maturity and respectful-
ness for its ultimate pur-
pose.

The program is distinct in

the marriage of a large
private art gallery with a
busy real estate market-
ing office. The two pro-
grams generally act quite
independently. The gal-
lery will house the owner’s Architect: Walter
extensive collection of Francl Architects with Plan
contemporary works. mgb
Though a private collec- Location: Vancouver,
tion and gallery, the British Columbia,
owner intends to occa- Canada
sionally use the space for

International
Case Study

Rennie Art Gallery

and Offices Plan
Standard
Conventions
In an exhibition space there should be- Circulation space-
1. Lobby - in the gallery, there must be enough space that allows both the
2. Storage moving crowd and standing viewers have individual space without
3. Gallery any obstacle in flow.
4. Service area (washrooms) -all the spaces should be easily accessible from the lobby.
5. Office
Guidelines for lighting-
Major circulation route Important factors are - there should be no direct lights on the exhibited objects
Lighting - there should be no permanently built in lights, no ceiling lights
circulation space - for very sensitive display objects 50-80lx
temperature for sensitive display objects 100-150lx
humidity for less sensitive display objects 150-300lx
-there should be facilities to darken all the rooms
non-displaying areas like- entrances, libraries, offices, washrooms etc,
a greater amount of daylight is desirable

Temperature-
- the ideal temperature in the store and the display areas are 15-18
degree Celsius in the winter and 20-22 degree celcius in the summer.
-anyhow 26 degree c should not be exceeded in summer.
- relatively chemically unstable exhibits like- photographs, films etc
should be stored dry under the temperature 16 degree.

Humidity-
- the optimal humidity values for
wood 55-60%
canvas 50-55%
papers 45-50%
metals 40% (max)
- its important to avoid short term variations in relative humidity. The
variation within 1hour should not exceed 2.5% or not more than 5% in
one day.
- seasonal variation should not be not more than +5% in summer or
-5% in winter.
Standard
Conventions

CRITICAL DIMENSIONS FOR A VISUAL

ART FACILITY

Ceiling height: Minimum 8’, Maximum

16’-20’
Cone of vision: 40 degree
Minimum distance of light fixture from
wall: 3’
 Analytical Comparison
Spatial Organization Lighting condition