PUBLIC SPACE DESIGN GUIDELINES It became apparent Galler ¢ How dften aces the When does fatigue see in? eHow do visitors path to follow? «bo visitors find maps, signs, OF cues given by the archi- fecture co be nest nelpeul with orientation? oo visitors find diversity ‘and contrast in gallery de- Sign and layout distracting? If future museums ave to be rec- ognized as inseitueions offering 2 public service and not as the igth and 17en century notion? houses, th sand he useum’ pro: Begin. to Understand the components of Spaces that visit 1 most Likely cone in touch with, For i Royal Academy LonUon 1789 i Moon wat team SS Fra centony Svoxe- LARGE MUSEUM. +4 Entrance hall +2 [Cireulation 3 ‘Galleries ‘4 Lounges '5 [Restaurant 6 ‘Check room 7 8 3 tenon “Curators office 0.0rtice H:Loading dock for supplies BB'Shipping ‘elevator $B-Temporary ‘storage 1 Photography 16. Conservation RECOMMENDED PROXIMITY AND CONNECTION OF AREAS IN A Museum News. 1980. JSiPermanent collection storage 17.Statt lobby 48:Packing carpenter shop 19:Recording examination 20. Mounting. framing, 21.Box storage 22.Receiving ‘unpacking 23. Loading dock. 24-Registrar’s office 25.0ffice 28. Entrance for exhibits 27. Service entrance public space ‘reas off limits for exhibits @ major check points passage closed to exhibits © zone of satetyTHREE STAGES OF ENVIRONWENT-BEHAVIOR STUDIES MUSEUM VISITORS 1 DESIGN GUIDES 2 TYPE. Entrance Halls Circulation Galleries Lounges PERCENTAGE OF VISITOR BEHAVIOR STUDIES CONDUCTED ON EACH SPACE miioz E S02, | | M20%, I 34 w Museum Public Spaces Entrance Hall Circulation / Galleries, Lounges ARCHITECT a this reason I undertook @ study. Flees, library, storage The purpose of chapter IIT ss to present a listing of the havioral sscuce of muse Lie spaces, as sdentitie aking the museum experience both Pleasant and interesting Chapter 11 is aivided into four © The type of museums most Tikely'to be affected, such The guaaity of research date Isr results, one study with es, of a study with 1¢ Major design recommendations,The four sections are as follows. ENTRANCE HALLS fe Locating she information booth aad Sookstore. CERCULATION ‘© Assisting with orientation. Doorways; the number and position. # fall Locations © Diversity and gallery design Lotuces, fe interior design. 3 Size, locations and frequency 35Entrance Halls Good managenent of visitors in a ‘of the stated Functions the entrance hall must be fairly spacious. nall to be attr. anda:@) 4, Restrooms ‘Smoking Area People movers o 5. Storage ENTRANCE HALL CASE STUDIES MOST COMMON ENTRY SPACES ENTRY SEQUENCE SPACE RELATIONSHIPS 2 cont check rm 7 Woting Aes ES A) 2. coostre ORRIN 6 Amentnn S ns SS ‘Transition a ‘ne Kenora ports Gat] |corcoran Galery ot at | |Natonl Gary of rt National Gallery of Art a fact institute of Chicago.| |Miwoukee Pubic Mu- | [Renwick Gallery. Wash. [Chicago Il, 1893. Scum micwi. igaa_| [D.C 1859 ery. Wash. D.C. 1857 Wash. D.C. 1874 [West Wash.0.c. 1o4i_| [East. Wash.0.C._ 1976 | 6a co y rz oo aa | I | { ) | abo ly YA 7 \ a 4 7 . wud sf > oe ane NOTE- Information from authors observations. AIA/AC intern project. 1981ENTRANCE HALL LIKELY TO BE AFFECTED TYPE OF MUSEUM MOST Art History Bookstore ? Info- booth ? Science QUALITY OF RESEACI : ill | Repeated studies with] similiar results, Qne, gtudy with good [Study with weak dorrelations lo ot enon" Peabody Museum of Nat- tural History. Yale Univ. 1876 “0 TD teatiet I Me Letiet postion of exhibit Frequency of stops WEAN TOTAL TIME, SPENT IN EACH HALL | Museum Hall No Leaflet Leatlet 1. Man 574 min, 1152 2. Mammals 3.68 ‘498 3. Mammals 3.60 474 4.Great Hall = 5.42 62 5S Invertebrates 2.96 462 TIMES EACH CASE WAS EXAMINED Museum Holl No Leatlet Leatlet |aeman 45% 62 2. Mammal 30 38 3 30 40 4:Great Hall 22 28 Siinvertebrates 12 18 38 ENTRANCE, HALLS = LOCATING THE uronnxtron Boots. BooKstone Ako Uiesstoe rssue: BOOKS AND HAPS FOUND IN INFORMA TION BOOTHS, BOOKSTORES AND CIP?- SHOPS HAVE THE CAPACSTY TO ASSIST NITH ORIENTATION, REDUCING FA- JUSTIFICATION: Robinson (1931), Porter (1938), Mason (1936) a Interested in assisting the cas ual of first-tize visitor who Wilr be: unfamiliar wih ene mo Seun's layout and content, have Shown that people who are’ pro- oided with Sone form of itiner~ ary, be it a hand-ovt, leaflet, Guidance pamphlet with maps and Pictures of feature exnipies, Books, stay longer in museums see more exhibits, see the exhibits, that interested then the most, and cover more area with less fa~ tigue. ‘The ais help reduce total confusion, fear of strange sur Foundings, and fatague and can {Sea of how to approach the mum Seun according to their inter= Cohen (1373) + According to Cohen (1973), vis= Store without itineraries will wander" through the suseun in 3 Felatively unprenedstated fash- ion, walking ontil they find a eshivit of interest co. them. This, can result in a fatiguing and frustrating process. Using a Port-miseum visit questionnaire Se the National Museum of History and Technology, Washington D-Cr Gohen found evidence showing Chat the undirectes visitor gets bored first and leaves the muscunlated ae Of special importance or significance, ‘This can be a visibly unigue. hiaved though the use of exceptional size, a “unique shape or a strate= gic Location. The strategic placenent of Spaces calle attention to then. Placezent can make then as being the important ele~ ents in a composition. Al- Though not conclusive, stud~ Ses indicate shat visitors bring with then a street hab- it of turning to the right iipon entsy into-a space, ‘Thus other things being equal, the Toeation Likely to have the heaviest traffic would be to the right of '* Spaces can be made visually Goninant (and thus important) af their shapes are clearly Aieterene from the shapes Of other elexents in the compo~ sitions @ 8 space which 1s significant- Dy Larger than the oth ements around it may nant an ] ele oo Oouwol Oomoo Lert | Richt RIGHT OF ENTRY BEST LOCATION FOR INFORMA- TION BOOTH, BOOKSTORE AND) GIFTSHOP. Frequent right hand turn ‘Space Relation (Tentey 2) Lobby 3. Bookstore 4. Information 5 Waiting area 8. Goat ‘check 7. Storage 8 Restrooms 9. Security 10: Exhibits bg ‘Art Museum Wichita Kan.1935 1. Lobby 2.lnfo-bookstore S.Coat check main access 4: Restrooms DRAWING _ATTE! TION BY SIZE Primary Shapes LO tert | right /\ DRAWING AT Museum of Science and Industry tention oY Chicas, tines 38 Sspe 1, Booksta E Inotwatin 3 Coe chock 4. eople mover Seem | oo oouo00 ;oob , OO tert T cur National Museum of Natural History. Wash,D.C, 1. Bookstore 2 Information 3. Coat Check 4, People Mover 1911 39MOST COMMON CIRCULATION PATTERNS KEY CIRCULATION DESIGN CONSIDERATIONS FOUND IN MUSEUM SURVEY Repeating erientation 1. Straight 6. Branch, Gallery- Lobby ion in path’ Ve widths; primary. and 7, Branch, Linear Easy traffic flow Lighting. different than| other spaces ‘Textures different than] other spaces Unobstructed sight lines CIRCULATION CASE STUDIES d EA ) 3 | \eatiteny \ I ie ‘Te National Portrait al|_| Corcoran Gal Nationa Gatry of at, | | National Gary of Arts tony Wash 06,887 | |WasksB.6. 18% Went" Wasn,b.c- ieai_| [East Wash, 01c. i078 eo} 7 BRS) |g Oh =] |S i it | Ty L Art Institute of Chicago. | | Milwaukee Public Mu- | | Renwick Gallery. Wash, | |Hirshhorn Museum. Wash. Chicago. 1893 ‘seu, Mil, Wi. 1949 D.C. 1859 Dc. 1974 NOTE: Information from authors observations, AIA/AC intern project. 1951 41CIRCULATION TYPE OF MUSEUM MOST LIKELY TO BE AFFECTED at | History Science QUALITY OF RESEACH lepeated studies with|| Senfiar recut Qne,giudy with good ‘Study with weak Correlations. acktracking Sa + Sega wee ERAT ee aS eaRAE a sea IRCULATION ~ Assisting WiTH IRIENTATION, Issue: DENT, ‘THUS, THEIR IMPACT ON IMS MUST BE CONSIDERED PANEOUSLY. OTHERWISE, THE RE SULTING CONFUSION FROw POORLY CUES. MAY ‘MOSEOM ND FATIGUE CONFUSION, VISITORS. NEE: STRONG MESORABLE. ORIENT ‘the importance of the © tion syaten in 2 suseun is t0 Most visitore are not part of 8 group tour, soa deliberate ef= Fort’ mist be nade to ensure that Casual visitors are warmly grect~ ed and assisted in finding their ay through the museur. Good ors Gntation and cireulatscn systems tation there is sone evisence that fatigue arising from the confusions of poor orientation can reduce ine spent. in the aseun and the number of exnibsee The studies of Cohen (1577), are the most recent in chis area ond Secistance from rape ond sagae Becane bore and left the museum ear lie Teitors with maps and Foote (stairways, cles Galators, foyers, lanaings,cor= Fidor junctions, entrance to gal lery spaces) In addition to maps and signe,(i973) fours it smportant te Link infornation about the loca tion of exnisits, other fackl tise and the visitors themselves £0 the architecture. An arcnitec- tural feature such asa mulei~ story interior court canbe in- Gorporated into the clreulation system and serve as 9 landmark and orientation paint. Such a ae fe Of orientation, there 1g, the wear and cea of decision making. Secause the Vis~ ines, possibly on Aitterene. levels and fron difter= ent directions, the void amidst becones a repeated experience, helping visitors feel at ease in the surroundings. The fielé mu- seun in chicago uses a large two Story central court to assist in orienting visitors az they con~ Sinvally return to the courtyard, entering or exiting from the sur Founding halls. Lakota (1975), the Royal Ontario taseur Design’ Team (1976) and Cohen (1973) all agree that ef- fective circulation and orienta Sion systens can provide for nem= ory’ Lapses through the use of re petitive cues, cohen reported an finest insatiable visitor denand for orientation information, Some visitors feel nore secure if they have redundancy in the informe~ Honal systen. DESIGN RECON:ENOATI Ss riety of focal points, vise tas, and changes of mood ia: ona larger scale anning policy) Provide an ORIENTATION CENTER where visitors can nap out in Eheir minds the overall con~ aun. Hath this, orsen= fation within the buliaing an and uaderstanding of ite spa~ San tayout will be clear. SEX. reaundat det sts are helpful TWO BASIC TYPES OF ORIENTATION ; 1c CONCEPTUAL ORIENTATION ‘what Is. there to see CO orietation centers Oi intormation desk O tours Ci Theme grouping of halls PHYSICAL ORIENTATION how do I get there"? Cone comprehensive system Ci Many directional cues O Landmarks Cl Maps and signs 43SE ATIALTLANDSARRR: * Hon Syston, a repitition of TANDMARKS (2.9. e811 open domes, atrivna, ‘nulti-story interior courts, ete-), that through contrast and diver= Sity ace ee directional cues. = 1Nave-to-room 2Corrider-to-room 3.Room-to-room Dre-orientates. a provides diversi ee maze attect. Field Museum. Chicago, I fatiguing Liss “ened ‘OBJECT LANDMARKS a Landmark guides visitors to exhibit room [RIGHT TO” LEFT CIRCULATION Tt has been observed and oe documented that Fost visi~ fee turn to the FIGHT when | Gane"naber: Seen at Secoral cisevlet sotkd ne dead Paina 1. Museum of Art Syracuse, NY. 1937 » Bin fation"pattorns most Tikely to ensure 9 right to left sequence - Loop 1 i Staight NS ° 12. Straiat S) 44 2.Fine Aris Center, ‘Boston, Mass,2 The inters: son or exossing of paths is always @ point Of Gecisson-macing for the visitor approaching $©. The CONTINUITY and SCALE of each path at an intersection can help Visitors distinguish be- teeen major routes Leading pajor gallery spaces end. Ondary paths leading to lesser spaces ¢ Te design of an efficient and integrated locational Syeten denands clarification Of the roles played by aif= Ferent devices in guiding the visitor through the mu PS should be used For obtaining an overall. Ss age of the area presented, SIGNS, should be used for specific directions # Locate maps, signe a Einctive architestus: marks at each major POINT (e.g. ,ataire, escalators, foyers, landings, t divisions in the mu CONTINUITY AND SCALE OF PATHS 1. Two choices| 2. Three paths i — 3.Four equal jm paths farge orienta: tion area le Dallas Museum of Natural His tory. Dallas, Texas 1936 a eee SIGNS-role, specitic directions 1.Sign band 3. ceiling mounted 5. W: 4. projecting WAPS-role, overall mage 1.Nemes of halls clear 2\Understandable symbols 2. Painted 6. Floor LOCATIONS FOR MAPS, SIGNS AND LANDMARKS 1, Stairs 6. Foyers, 2! Landings 7: Subject Division 3, Corridor Junction 4 Elevators + Museum of Art, Richmond. Va. 1936 8. Escalators 45= Galleries and pivotal function of mo The public judges the instieu~ ton by the character of exh its, andthe Deiléing very lai largely by the character of ex: hibition space. The fa influential ind character inclva of space ng. the the division hibits can be arranged in ac wie variety of 0b: ee tiie mak ame SEE Ba ae at iyMOST COMMON GALLERY GROUPINGS KEY GALLERY DESIGN CONSIDERATIONS FOUND IN MUSEUM SURVEY 1. Room-to- room A Diversity between galleries Sightlines to circula- tion paths 2. Corridor-to-room Maps and signs at gallery entry Interior designed to & 0 Oo ‘Outside views 4. Open Division of space by columns 5. Linear A | & tne ational porrait at] | Corcoran Galery ot Art | | National Galery of Art Waukee ah OM] (ask Sete werent esi | (ESET Naen BC ere [fol _ po / J be ‘2 be\_] é EY | = | ' | : | fet atte of crcago.| |atinavies eunic we | [Renwick Gatley. wasn. | |Msinorn Museum Wash | | (Sissi fos Som mie wit its _| [Beds Be ete | [NOTE Information from authors observations, AIA/AC intern project. 1981GALLERIES TYPE OF MUSEUM MOST LIKELY TO BE AFFECTED ar = History Science QUALITY OF RESEACH ated, siyaies with | Sanfiar’ results —_ | One, en atudy with good Study ith weak correlations seeoxnibits Siewed ipereased walking EP eae GIES MS aE ten ght RGM SR Rtgs Ar EERE TM GRE Be GALLERIES - Location, Issue: JUSTIFICATION: In designing @ circul ken and deciding on the location for galleries, severel known as pects of visitor behavior should be considered. Melton (1931) and Weiss and Boutourline (1962) found that visitors are attracted to gal~ leries that are convensentiy lo~ cated. Conversely, galleries that Were iceated anay fron a well> Sef ined path (e.g., paths which give the, sense of *strects"and Favenues"), were less Likely £0 pe visited. galleries loc: museum's entrance had a 1 5¢ visitor attendance. Robinson's (1931) and Melton’s Work in ths ares support. Porter's notions. They discovered that during the course of a visit visitors stayed longer in gal~ Jeries located on the first floor and nade progrescively shorter. Stops in galleries as thesr visit propressed| Nsehofe (1949 and Cohen (1973) observed that visitors view firat floor exhibition acess longest, aake sore. stops, ond! Cover tore located on the second or third Floors nave much less success. in attracting and holding visitor attention. Thus to increase viewing of themajor exhibits, the sain floor should have the principal oxhi- Dition space and the second Floor should be used for lesa important exhibits. sseun ex: longer considered entirely suit~ Fedeonea for this 2) vators. Zt ie a nae vation that a the visseing second give the place for study, Storage, curatorial work, lipraty Stacks and administrative offices In addition to the level on which Rajor exhibits are located, pres viously discussed findings’ inal- cate other locational factors: it must be resenbered that the positions of entrances and exits are inportant deterninants Of the Foutes of most visizors and that host visitors turn 20 the right on entering a symetrically de- Signed gallery and continue a= Found the space is = counter Clockwise direction. In_addieion, Sore than 50 per cant of the vis- Store pass only the abyects along the wall toward which they first turn before leaving the gallery. ‘This suggests that che most ine portant gallery snould be located fo the right of the museun's en= trance with succeeding halls 90" gitioned ina right to left o= The following stratezies are rec ommended in considering the 1o- Cation of museum galleries. # The characteristics of major gallery spaces that could Rave an effect on che over- Sil ballding schane inelude: “sgh ceilings, for larger = Adequate floor space to handle large crowds = Adequate end controlled (eng-) seating, restrooms, Grinking founeains, ete.) : fe Less inportant gallery's should be placed on upper floors. ‘iit attraction inored’ Fant to sett ‘walking habit RIEL LE PRES oa Nisin WAJOR GALLERY DESIGN CONSIDERATIONS Adequate floor space ‘Adequate & controled circulation Larger exhibit rooms Creature comforts 49LOCATIONS FOR MAJOR GALLERIES Detroit Institute of Art. 1927 r deh at chitin siikk Corcoran Gallery. Wash. 0.¢. <2 ‘Along well defined! paths ZI Fj 7 =| Convenient locations Boston Museum of Science. 1949 First in aright to left circuit ls Scaife Gallery. Pifisburgh. Penn. 50 @ Locate main gallery spaces fn areas of the suseum which Eeceive the highest degree Of visitor attention and re- Quire a minimin of walking and effort to get too, In most cases these would in- eludes SNext to the quseun's entry, 2 On'tne ground floor < Klong well defines major Circulation paths. = Echvensent Locations. < pitse in the sequence of Galleries or at the begin Bing of the major circu- Tation path inva right to left sequence.GALLERIES TYPE OF MUSEUM MOST LIKELY TO BE AFFECTED diversity art History Science QUALITY OF RESEACH Feppated. siydies withly Sianfigr’ Feu —_ One, gtudy with good tudy with weak correlations ptain. 10min. visi a stops * 45 stops ‘exhibit viewing att 52 fn stop skip ag exc ayeery au crise Sebati meee on, RRR ES rer RUN HEY Seen mer + Yestroe say conn rat ree PRBU REALS iti ALLERIES - Diversity tt GALLERY 16K Issue: ALROR FACTOR IN MUSEUM FATIGUE DESIGN WHICH, IN Ducks VISITOR INTEREST IN ExHIS- susTIFrcarro A number of studies Melton (1931), Pos Robinson (1936), and Nahenow’ (9971) have shown that both the Hine apent end the number of ex hibite viewed decrease as the visit progresses. According £0 these Fesearchers, to help vis~ Stors pace themselves requires the creation of diversity and contrast in exhibit and gallery iayout and design. the results of such efforts will be a reduc Cion in physical and mental fa~ tigue for the museum visitor. Learning experinents, conéucted by Porter’ (1938) and Nahenow (1971) have shown that the more nonotonous 2 stimulus becones the nore attention venders and that’ sny change. from the hibitual attract ang hola atten= je benefits of diverssey ther. illustrated by Porter (1938) at the Peabody Museum of Natural iiistory; in each of the halls preceding the Hail of In= Vertebrates, peaks of interest fur wherever there 1s variation in the mode of display. For exan- ple, at five lighted exhibit Easés, the frequency of stops Fanges from 21 to 32 viewers, Uniform size and arengement, the Frequency of stops ranged from 0 to 10 vidwore. Porter's observa tions Seen to agree with the theory that. the general decrease in interest exhibited by auseun visitors is due not to physical Factors of the visitor se much as te monotony of the method ofAisplay leading to mental fa~ tite. Sone of the most conclusive re~ Search, supporting the need to create exhibit and gallery ai. Yersity, has cone from sugges tions Of the visitors thenselves Cohen (1973] questioning the de= parting visitors, discovered thee many them leave feeling both frustrated and overstimy- lated. Few stopped to Look at exhibits locates toward the end Of those visit. Nelvon (1931) explained this lack of interest in’certain portions Of the me ation, which was 9 function of the hénogenity of the methods of display. According to Nelton one solution to this problem was to vary exhibit displays end’ gal Yery design. more to mental fatigue than Physical fatigue, a lack of Verssey ss 1ikeiy £0 result aseun that quickly tires the Visitor. Melton (1931) noted that any single approach to gal- lery design, no matter how eri~ tor ious, can be teasous if used consistently and without relief. Tt should be cautioned that ai- versity and contrast can be abused. The overall intogrity of Simuseum should not be jeopard= ized. by a cernivel atmosphere Visual chaos. Dramatic effects and contraste can be as boring 25 uniform blengness. DESIGH RECOMMENDATIONS sity within the gallery by Varying exnsbit case arene nents and style. nats oo wa <2. sop esas immediate Viewing decrease EAR eres \jerons say wne arerigg 20 we Se Os g«! 4 30" 30° 30) ene SanSPse—rws Shw-tooth prncinis [ PERIODIC, OUTSIDE VIEWS SSS SC~SY i —_ LE _1 2 2 G2 Des Moines Art Center. Towa 1948 x= outdoor pool —»=window 1. Entrance 2. Galleries [DiveRSsITY THROUGH LIGHTING ae Side-lighting Top-lighting a Altic or Clerestory lighting Lighting. alternatives "ae syn Seka aaa st thon TE + SEE EAE om Atifical_tightin methods a adjustable [7 | 7 spots +2 (+1. p.thea ine LQ Ls candescent Tloods fluorescent tubes 54 © Provide periodic outsie Fielally lit galleries. # Use Lighting to create con rasts ascng galleries (e.g, a gallery with a low level of ambient Lighting and dranatic highlighting 1s very aiffer~ ent from a gallery which 1s uniformly Lit to. an average Ievel) =fe create diversity by design= ue | (aa Flooring Textures Color Lighting Scale 1. Sculpture 2. Paintings 55GALLERIES doorway position number of doorways TYPE OF MUSEUM MOST LIKELY TO BE AFFECTED ae Art History j___t QUALITY OF RESEACH Science Repeated studies with] Sefareresuis’s “| One, ey atudy with good Stuay th weak aaa correlations: Taper zp exnibit, pot wes 2 exit ‘Sistraction Toht to tett ing habit suey soomare crrunuy oe eure, Ballarat ae we SEP ESOS hth GALLERIES, = Daoanavs: THe Nunsee AND PosiT ONING, 1S8uE. ENTRANCE AND EXIT 1 THE MAJORITY OF VISITORS. THEY WHAT 1S MORE LIKELY TO BE LOOKED IN GENERAL, UNDERSTANDING ‘ im VISITOR MIGHT NBER AND. PLACE- iF OF OOORWAYS, CAN I DISPLAY SPACE FOR BOTH VISITORS BND EXRIBIS. oF JusTreIcATroN: Doorways are one of many of a building's ar: oral elenents and their capacity to influence Coumunicat ion exceeds any of the Seher building elements sven as Yighting, windows, e Phyllis teGiniey has, @ door as # human event of si9~ hificance equal to che discovery Of fare (Gutman, 1972). Methodical Studies conducted hy Robinson (1933), Meleon (1933), and Porter (3938), af the Peabody Museum of Natural History and the Penasyl~ Vania Museum of Art, support this proposition. Tracksng studies thin have Tecordea ehe freguen- Ghes of stops, have shown that fhe number and positioning of Goorvays ere more importent. in Getermining the frequency of Stops and the order in which they are viewed than any character is= fits of the objects tnenselves. Reviewing floor plans of museums Ras chown that che nanber of Goorways used an galleries range from a few ae one to 26 many as four, Although research conducted Sive nor highly refined, there are sndications that suggest gal~ Teries containing ewe doorwaye WIL be more successful in pro= foting coverage than a space con taining one doorway or one con Melton (1993), after conducting casual observations of gallery space that was being ignored by visitors at the Peabody Museum of Natural History, surmized thatvisitors were using less area or tere not entering this gallery Space because it had no apparent exit. (a dead end space) - bewrence Coleman (1939) also alludes to this Behavior pattern in his book Museum Bulldings (1950). Coleman Feports that "a room with one opening for both entrance and ekit impose a circuit which vis~ itors sonetines perform only ner tally while standing at the door way." A space containing two Gooreays, an entrance and exit, have what Robinson and telton (1938) termed “exit attraction". ‘Their general findings on the at= traction power of the exit in- clude: e Visitors take the shortest roate between the entrance and exit. @ The First exit reached usu- ally terminates the route Qven if the visitor hasn't Seen the whole gallery: @ Visitors use less area in galleries with no exits. «Exits positioned before ‘na~ jor exnizits nave caused them to go unnoticed ‘Tracking studies conducted by Weiss and Soutourline. (1962) Showed that an important deter~ inant of paths is the location Of the entrances and exits. They poted that visitors were onwsll= ing to go into galleries were exits were not Peacily apparent. Purther reseazeh is needed in this area however. Galleries containing sore than two doorways say aigo be inef~ fective display areas. At the Pennsylvania Museun of Art in Philadelphia, Helton (1931) con ducted experiments to see if the hunber of doors used sna gallery Space would effect exhibit view: ing tine, They dig. every door~ way added to the space decreased Viewing Eine. On the average, visitors spent 73 seconds before the new door was opened, and 2) Seconds after the new door was pended. ree display area pr as gr en eee es Bee heas vtatiaes Pontens 2" ations RL" @a Bigg oho aoe fo oaer sabatneene SS arg eo ag tne outers Ea aaa Sw ERE REE car, ig tht SP 57[two DOORS NEEDED sion Recounexoarioxs # Tn general, 9 small one room gallery should have two open Aizoom with one opening fer doth entrance and exse in= poses a circuit which, the Visitor sometines performs only mentally wale standing at the doorway. © Gallery 1. Gallery 2,entered missed = ie pers) Deca ‘Art Museum. Cairo Egypt ~ Ems ia oH wy WwW io i WwW = io 4 A # Promote coverage in a one DOORWAY PLACEMENT AND room gallery by using a min= EFFECTS ON ROUTING Sra + = imi fonber of doorways and ekite where they will not Glow visitors cue of the gal ery too soon. an exst at the Eir’end of the room gives the Wallet the rights goo8 Chance of having attention Sn 'exie near at hand in the Fight well ray kake the room ‘ Sifose”ineefescive. bot an . : axle in the left wall granted a Sttractive exhibses, gives the room s fair chance of be ing three-quarters observed. + Jnla\soom fo) room arrange. coverage. poor 00d circulatio ent doorways should be bal movement corre: a anced to right and left of e : ' Centers with only oceasional Seial openings. A uninter= Toptea prospect of the long ee SS Ef-44 TSihave’e depressing cefect Sec GI) SS NSEES nisaie pare of ‘same ast Dut guter cenit | Gach wall for aseplayy the For'istory exhibits Scheme Soorways are best placed Well off center if not near # Locate exits along the left- hand wall, ehis region is Teast traveled 2y visitors. ‘ free circulation, but poor coverage a exit attraction assists coverage ge promotes coverage | Raised wall represents (ettectve spi regions rage nave ts room ‘decrease the “attraction power” of an exit disguise | fhe exit by reducing its Visability, position the exit very near ¢o the entry, and Position the exit beyond 58 Rajor exhibits. soridelia roomLounges ade cPMOST COMMON LOUNGE TYPES EE AY | Entry waiting areas fm ‘Seating along circulation i] 3. Seating in galleries 4. Lounge rooms KEY LOUNGE DESIGN CONSIDERATIONS FOUND IN MUSEUM SURVEY Exterior view! paths ‘Out of circulation | ‘Comfortat seating Group seating Highly visible The Rational Portrait Gat) Corcoran Gallery of Art lery. Wash. D.C. 1857 Wash. D.C. 1874 } National Gallery of Art. West. Wash.DC. 194i js | 2 L beh [National Gallery of Act. East. Wash. 0.C._ 1978 Act Institute of Chicago. Chicago. i 1899 NOTE Information {rom at Milwaukee Public Mu- seum. Mil, Wi, 1949 Tall || aa | Renwick Gallery, Wash. D.C. 1859) xrs_observations, AIA/RC intern project. 1981 _| [pc 1974 Hirshhorn Museum. Wash. | 61LOUNGES TYPE OF MUSEUM MOST LIKELY ‘TO BE AFFECTED Art History Science ‘QUALITY OF RESEACH iepeated stysies with| siniliarresu Qag,gtudy with good Study with weak Correlations Contrast lovject anc ery “saat 62 aah LOUNGES - Interior Desrcn, MUSEUM VISITORS BECOME PHYSICAL~ LY. AND MENTALLY FATIGUED DURING ‘THE COURSE OF THEIR VISIT. 70 LOUNGE. INTERIORS. MUST BE DESIGN: SUITABLE TO RELAXATION. JUSTIFICATION: Visitor behavior studies con ducted by Melton (1931), Robinson (1935), Porter. (1938), Bennett (1941) ‘and Cohen (1873) have shown that nose museum visitors cone increasingly tired and bored during the course of their visit. They skip more exhibits Spend less tine and cover less area asthe visit goes on. These Sane researchers, hevever feel there are ways in which @ museum Gan assist the casual visitor to Feduce fatigue by better pacing their visits One of the nose important Factors here 1s the presence of appropriate resting Places. Little research nas dealt spe~ Cifically with the role of Joungee and otner sneersor de~ sign features in reducing fa~ Eigues One study by cohen (1973) polled visitors leaving ene RStional Museum of History ana ‘Technology in washington, D.C The study concluded that given the size of the visstor popule- Elon and the frequency with hich Ze seeks the opportunsty fo sit down, st is evident the museum could be nore helpful in providing varied areas for re Texation) The study revealed that visisors would Like more places for relaxation and sug ected that lounges. showld. in Glade restroons, drinking foun ating, "onoking areas and plenty es can enable visitors to fave Lounges refreshed £0. seo nore exhibits.luck author of Hu~ Beun Architecture (7978) , stated that as the eye normally’ leaps from one object to the other, the fact of concentrating on Static forns and colors requires gn effort whsch nay be neasured By the contraction of the pu £6 compensate the cye must. be Given the opportunity Of moving according to a cartain rhythn. For example, from near vision, tant vision, which is felawing, From brigne colors to resteul neutrality, from light to dark from snail to large and vice Further research could increase the designer's knowledge of the effects of interior design on Visitor fatieve. (e-g-, spaces with outside 5) exterior courtyards ‘gardens, etc.) Provide, in'aesthetically pleasing settings, the anen- Sties visitors most often Eeguestes, including com sory fioors and tsing: Algo,’ a5 pare of the plants should be used. Re~ CHARACTERISTICS OF LOUNGE] INTERIOR gallery, lounge 1. Bigger than gallery 2. From light to dark 3. Bright colors to restful neutrality 4. Near vision to distant vision LOUNGE AMENITIES Ci seating I smoking area C restrooms ] Exterior views C Carpeted floors OO prinking fountain CO Plants: CO musicLOUNGES frequency location History TYPE OF MUSEUM MOST IKELY TO BE AFFECTED rt Science ‘QUALITY OF RESEACH Repeated. siydies with uml Simnfiar results = One gtudy with good ‘Studi correlal exhibit viewing pattern. stop. ship 64 Bellas lane os: ais gneactn Se ares eee sage neat #6 er © BRINE Maiti it Sao, ano Museum visitore be ne physically ea during the San be consigeres ngs perhaps the nose. ways, includ Taxotson, ch tine for rel getting thei The extent of the research con- Sueted on visitor lounges is very limited. fovever a large Sosy of data thst explores the habits of the tiring visitor oes that is iter’ rounges this work ond further studies of Favorable lounge character istses, eauipped. €0 1900's. The general these studies ist(1973) at the National Museum Of History and Technology, Wash- Gngeon, b.c-, found that over three-quarters of the visitors polled Used sone device to rest Sn during their visier [e-d.y Benches, seats, leaning against walls atd ledges or sitting in the cafeteria), half reported being tired upén leaving, and others complained about ot Be immediate Viewing’ decrease Sng able £0 find the relaxation ‘The types of visitor Lounges found in rest mussune today range from a single cushioned chair or bench to rooms filled With the amenities of hone (e.g. Grinking fountains, restrooms, @ Variety of confortsble seats, plants, recoréed susic, etc.). Bn exansnation of the placement Of these evo types of lounges. Shows that major lounges are be- ing’ located afcund the main 1o5- by erea uhile the single seats are scattered throughout the mun Both types of lounges are appro priate in museune, however stua~ {es of walking and viewing hab- SEs of visseors snaicate ene Greatest neod for rest areas is Tater in the museum visit, Melon (1931), Porter (1938), Nichofe. (1956); Reekie (1958) ‘and Borheg)i (1963) have shown chat as the visit progresses the Uistter views fever exhibits, Shortens viewing eine ae each Gxhibit, spends less tise in each Gallery and increases over-all Walking epee’. With the visitor becoming increagingly fatigued as the visit progresses, lounges Should offer a greater fevel of Gongort in the later part of the Studies of visitor walking pat Eerne by Aobsnson (1928), Melton (1531), and Yosnioka (1942) an Gieate’ chat visitors do prefer examining certain quadrants of the museum over others~ Locating Jounges sithin of near these areas would seen to be 2 means OF increasing there use. Areas found to be rost frequently used included the paths that were well-defined and appear as" Soereees and avenue", major exhibit areas, and major archi- tectural landmarks. Within gal- lery spaces visitors have been found £0 proceed in a right to seconery Cee a a Aesegy ait art AE a EGR Pa TEEN abe NE + Fagen cnet suugiuiey, ieTuer uo ron sen 20 ser aeons TRE GA RART tL ta eSmmon TOUNGES More amenities as visitor moves on Visible but out of circulation HS og 2) Hirshhorn Museum Wash.0C. : 8 4 oe in gallery Aunteruptions | 2 Alcove 3 Lounge room | Jezar | ‘enclosure good Locations Outside view Along major | | paths Lett side of Gallery Tumacacorl Museum. Arizona | 66 left sequence after entry and dom progress around the total Llery, ultimately resulting if the left hand wall being of in- Terior display value, Position ing of Seating on the lett aide of the gallery would utilize the area offering confort to the Viewers while noe infringing Spon any prime display space. The Following strateyies are rec~ ommended in consider ing the 20" Eation, size and frequency of miseus lounges. ¥ DESIGN RECONMENDATZONS: To combat museum fatigue, Gispurse a series of snail places for resting’ tncough amenities as the visit prom # Since the heaviest visitor traffic occurs slong Fight hand walle, seating areas. in exhibition areas should be Tocated along Left-hand walls, the region least af~ Eeethie for eleplay porposes table demand for orientation 2 carefully considered systen Sf rest areas can be inte= Grated with an information Systen. For exemple, rest Sfoas can be extensions of Glusters of galleries, acting both se nd trans essary her infor 2 To effectively combat museum ee should be will be g"the most Specific locseions can 1 eluse: stony or near a well aefsned path, near major ex- hibition arede, or near ma~ Jor sarehitectural «Lounges should be spaced at intervals throughout the ewnibit halle snere visitors SELL be able to sit down and Fest for'a tine before going on to other exhibits, eA space designated asalounge area showld be highly visible but present a mini~ fun of visitor movenent for Tnstance, they should not be placed in the middle of ex hibition halls or in busy Corridors, since both areas are not conducive to velax= ‘ation or meditation and will Gontinve £0 stimulate the Visitors senses. Rest areas providing natural surroundings are particular ly relaxing (e.g. outside views, courtyaras, ete.) 67