BACKGROUND INFORMATION

ART GALLERIES
OVERVIEW
An art gallery is a room or a building in which visual art is displayed. In Western cultures
from the mid-15th Century, a gallery was any long, narrow covered passage along a wall, first
used in the sense of a place for art in the 1590s.[1] The Long gallery in Elizabethan and Jac-
obean houses served many purposes including the display of art. Historically, art is displayed
as evidence of status and wealth, and for religious art as objects of ritual or the depiction of
narratives. The first galleries were in the palaces of the aristocracy, or in churches. As art
collections grew, buildings became dedicated to art, becoming the first art museums. Among
the modern reasons art may be displayed are aesthetic enjoyment, education, historic pres-
ervation, or for marketing purposes. The term is used to refer to establishments with dis-
tinct social and economic functions, both public and private. Institutions that preserve a per-
manent collection may be called either “gallery of art” or “museum of art”. If the latter, the
rooms where art is displayed within the museum building are called galleries. Art galleries
that do not maintain a collection are either commercial enterprises for the sale of artworks,
or similar spaces operated by art cooperatives or non-profit organizations. As part of the art
world, art galleries play an important role in maintaining the network of connections between
artists, collectors, and art experts that define fine art

TYPES OF ART GALLERIES

Galleries may deal in the primary market of new works by living artists, or the secondary markets for works from prior periods owned by collec-
tors, estates, or museums. The periods represented include Old Masters, Modern (1900-1950), and contemporary (1950–present). Modern and
contemporary may be combined in the category of Post-war art; while contemporary may be limited to the 21st century or “emerging artists”

CONTEMPORARY ART GALLERY SECONDARY MARKET OUTSIDE THE ART WORLD

A All art sales after the first are part of the secondary
contemporary art gal- market, in which the artist and the original dealer are A Some busi-
lery is normally a commercial art not involved. Many of these sales occur privately be- nesses operate as
gallery operated by an art dealer which tween collectors, or works are sold at auctions. How- vanity galleries, charging
specializes in displaying for sale contemporary ever some galleries participate in the secondary mar- artists a fee to exhibit their
art, usually new works of art by living artists. ket depending upon the market conditions. As with any work. Lacking a selection process to
This approach has been called the “Cast- market, the major conditi- assure the quality of the artworks,
elli Method” after Leo Castelli, who- ons are supply and dema- and having little incentive to pro-
se success was attributed to his nd. Because art is a uniq- mote sales, vanity galleries
active involvement in discove- ue commodity, the artist are avoided as unprofession-
ring and promoting emergi- has a monopoly on prod- al. Some non-profit organiza-
ng artists beginning in uction, which ceases wh- tions or local governments
the late 1950s with en the artist either dies host art galleries for cult-
Jasper Johns and or stops working. ural enrichment and to
Robert Rausch- support local
enberg. artists.
NAME: CHITA C CHIBESAKUNDA
SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
THE ARTYM GALLERY MONTSERRAT GALLERY
AGORA GALLERY NYC
 BACKGROUND INFORMATION
SPACE
Art galleries need to have enough space to hold several collections
of art for show as well as in storage when neccesary.
open spaces also called blank galleries where the work of art will
be displayed for the visitors need to be well planned.
You should fulfil the spacing requirements considering the volume
of the work which will be displayed in your art gallery. Do not
overburden your gallery by cluttering the work without giving a
reasonable space to different paintings or drawings
In addition to art collections, you need to be able to host recep-
tions. That means a space large enough that allows people to so-
cialize and move around.
Interior décor of the art gallery should be kept at a minimum to
ensure there is no clutter and that the decor does not obstruct or
distruct visitors
ART GALLERIES
REQUIREMENTS
LIGHT CIRCULATION
The circulation route must be clearly defined, well lighted, and easy to follow tp
avoid a build up of people.
Provide sufficient lighting on circulation routes.
Provide nonverbal way finding assistance along the circulation route.
Visually define the walls, floors, and pedestals.
Design areas so that floor surfaces at and around accessible seating areas are
level, stable, firm, and slip-resistant.
Provide an accessible floor plan to aid visitors in way finding.
Provide more than one exit from an exhibition.
Lighting is an important element that plays a vital role in making the design of
an art gallery appealing. Make sure you have adjusted lights in decent colours
and in such angles that illuminate the displayed work of art in a reasonable
way.
Lighting in art gallaries can be either natural, Atrificial or a combination of
both.
NAME: CHITA C CHIBESAKUNDA
SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
 BACKGROUND INFORMATION
THEATRE HALL

A theater, theatre or playhouse, is a structure where theatrical works,

performing arts and musical concerts are presented. The theater building
serves to define the performance and audience spaces. The facility usu-
ally is organized to provide support areas for performers, the technical
crew and the audience members, as well as the stage where the perfor-
mance takes place.
There are as many types of theaters as there are types of performance.
Theaters may be built specifically for a certain types of productions, they
may serve for more general performance needs or they may be adapt-
ed or converted for use as a theater. They may range from open-air am-
phitheaters to ornate, cathedral-like structures to simple, undecorated
rooms or black box theaters. A theatre used for opera performances is
called an opera house.

ELEMENTS OF A THEATER BUILDING

STAGE
The acting or performance space is the stage. In some theaters, such
as proscenium theaters, arena theaters and amphitheaters, this area is
permanent part of the structure. In some theaters the stage area can be
changed and adapted specifically to a production, often called a black
box theater, due to the common practice of the walls being painted black
and hung with black drapes.
BACKSTAGE AND OFFSTAGE
SEATING AND AUDIENCE
All theaters provide a space for an audience. In a fixed seating theatre the audience is often separated from
the performers by the proscenium arch. In proscenium theaters and amphitheaters, the proscenium arch, like
the stage, is a permanent feature of the structure. This area is known as the auditorium or the house.
The seating areas can include some or all of the following: 1. Stalls or arena (the lower flat area, usually be-
low or at the same level as the stage.) 2. Balconies or galleries (one or more raised seating platforms to-
wards the rear of the auditorium.) 3. Boxes (typically placed immediately to the front, side and above the
level of the stage.) 4. House seats: these are “the best seats in the house”, giving the best view of the
stage. Though each theater’s layout is different, these are usually in the center of the stalls.

Usually in a building used specifically for performance there are offstage

spaces used by the performers and crew. This is where props, sets and
scenery are stored, and the performers standby before their entrance.
These offstage spaces are called wings on either side of a proscenium
stage. A prompter’s box may be found backstage. In an amphitheater, an NAME: CHITA C CHIBESAKUNDA
area behind the stage may be designated for such uses while a blackbox SIN: 17119976
theater may have spaces outside of the actual theater designated for YEAR: 4
such uses. LECTURER: DR CHIFUNDA
 BREIF AND LOCATION MAP
The Copperbelt Art Society plans to devel-
op the exhibition of visual and performance
arts
within the Copperbelt and the country as a
whole. To achieve this there is a plan to de-
sign and
construct an art gallery in Kitwe.

You are requested to design the facility

which should encompass the following:
- An art exhibition hall of about 1600m2
able to take in about 100 patrons at a time.
- An amphitheatre able to accommodate up
to 600 spectators
- 4 auxiliary committee rooms with up to 30
people each
Offices for support staff
- A hall for theatre for performance arts to
accommodate up to 400 spectators ZAMBIA
- Appropriate ancillary facilitie

COPPERBELT
The site id located along kuomboka drive
opposite kitwe central hospital and next to
eventh day adventist church.

KITWE

NAME: CHITA C CHIBESAKUNDA

SITE SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
 CASE STUDIES
Jan Shrem and Maria Manetti Shrem Muse-
um of Art

DAVIS, UNITED STATES

Architects: SO-IL
Area : 29000 m²
Year : 2016
Photographs :Iwan Baan
Structural Engineer : Rutherford & Chekene
Contractor : Whiting-Turner
Mechanical Engineer : WSP
Lead Architects Realization : Florian Iden-
burg, Ilias Papageorgiou, Jing Liu, Dan-
ny Duong, Kevin Lamyuktseung, Alvaro
Gomez-Selles Ferndandez
Canopy Engineer : Front Inc
City : Davis
Country : United States

Text description provided by the architects.

-The design amplifies the museum’s variety of arts
The Jan Shrem and Maria Manetti Shrem programming and reflects the legacy of avant-gar-
Museum of Art at the University of Califor- de art- making at the university, where talents like
nia at Davis is the first contemporary arts Wayne Thiebaud, Robert Arneson, and William T.
museum for the university and for the city of Wiley were nurtured.
Davis. Paying close attention to the muse- -With formal classrooms and art studios that
um’s many contexts, we designed an inno- open into the lobby, the museum is a living exper-
vative organization of its architectural spac- iment for teaching, making, and interacting with
es, intermingling public areas with gallery art.
and event space, both indoor and outdoor. -Smooth zones of the corrugated façade allow for
The result offers a model for the future mu- outdoor screenings and a glass-walled courtyard
seum that is neither isolated nor exclusive, also functions as an outdoor sculpture gallery.
but open and permeable. Rather than a stat-
ic shrine, it is a constantly evolving public NAME: CHITA C CHIBESAKUNDA
event that welcomes diverse audiences. SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
CASE STUDIES
Ottawa Art Gallery

Architects: Barry Padolsky Associates

Inc. Architects, KPMB Architects
Area : 17435 m²
Year : 2017
Photographs :Adrien Williams
Manufacturers : Amico, Shouldice, Ur-
bano, VMZINC
Structural Engineer : Cleland Jardine En-
gineering Ltd
Mechanical Engineer : Goodkey Weed-
mark & Associates Ltd.
Landscape Consultants : Lashley + Asso-
ciates
Civil Consultant : Delcan
Theatre Consultants : MCLD Inc.
Code Consultant : Morrison Hershfield
City : Ottawa
Country : Canada

-The goal was to provide cultural and social in-

frastructure with the smallest possible ecological
footprint in its overall lifecycle.

-The sustainability objectives are holistic: contri-

bution to the artistic, cultural, social, and environ-
mental well-being of citizens and the city.

-Materials and systems emphasize durability and

ecological impact.

-The project demonstrates sustainable urban den-

sification on-site and supports the idea of pub-
lic-private partnerships to finance public infra-
structure.

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
CASE STUDIES
Museum of Ethnography Budapest
Architects: NAPUR Architect
Area : 34000 m²
Year : 2022
Photographs :Gyorgy Palko
Lead Architect : Marcel Ferencz DLA
Structural Designers : EXON 2000 Ltd.
Interior Design : Czakó Építész Kft.
Acoustics : Animative Kft.
Landscape : Garten Studio Kft.
BREEAM : Denkstatt Hungary Kft.
Client : Városliget Zrt.
Power : Spányi Partners Zrt.
BIM : Spányi Partners Zrt.
Fire Protection : Prelko Kft.
Accessibility : NT Control
Kitchen Technology : Teco-Gastro Bt.
Automation : IQ Kft.
City : Budapest
Country : Hungary

-The spectacular trademark of the building is the

glass curtain wall surrounding the landscaped roof
garden, reminiscent of two intertwined hillsides,

-with a unique characteristic, consisting of nearly half

a million pixels, a raster made by metal grid based
on ethnographic motifs selected from the museum’s
Hungarian and international collections.
The pixels were inserted into a laser-cut aluminum
grid by a special robot, more than 2,000 of which are
attached to the building. The small cubes were made
up of 20 Hungarian and 20 international contempo-
rary reinterpretations of ethnographic motifs.

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
STRENGTHS
SITE SURVEY
TWO EXISTING
KUOMBOKA DRIVE
AVAILABLE ACCESS
ROOTS (FRONT AND
SITE ENTRANCE NOISE SOURCE
BACK)
WEAKNESSES
PROXIMITY TO CBD
MEANS GREATER FAIRLY SLOPPY
FLOW OF PEOPLE
(EASY ACCESS. SOIL IS FERTILE AND
VEGETATIVE WHICH
EXISTING SERVICE IS BAD FOR CON-
LINES FROM NEARBY NOISE SOURCE STRUCTION.
SITES
SITE IS IN A WATER
SDA CHURCH SOUTH EAST TRADE WINDS LOCKED AREA AS
THERE IS A STREAM
NOISE SOURCE NEARBY AND IS
PRONE TO FLOOD-
ING.

RUBBLE

SITE IS FILLED WITH A VARRIETY OF PLANT LIFE SCAT-

TERED ALL ACROSS

SUN SET
SOUTH EAST TRADE WINDS
NOISE SOURCE

AD
SUN RISE
O
KR
PLEX BAC
M
CO
SI NG
U
HO

NOISE SOURCE
LEX NAME: CHITA C CHIBESAKUNDA
P
C OM SIN: 17119976
G
U SIN YEAR: 4
HO
LECTURER: DR CHIFUNDA
ORPORTUNITIES SITE ANALYSIS
P PEDESTRIAN
OLD CRUSHED CON- KUOMBOKA DRIVE MOVEMENT
CRETE ON SITE CA BE
USED AS RECYCLED SITE ENTRANCE NOISE SOURCE
(ECO) CONCRETE
THREATS
TREE STUMPS AND
SLOPE COULD CON-
FALLEN TREES CAN
TRIBUTE TO HIGH
BE INCORPORATED
COSTS OF CON-
IN THE LANDSCAPE.
STRUCTION

NOISE SOURCE UNEVEN TOPOGRA-

PHY WILL REQUIRE
PMAIN ROAD STRATIGIC PLAN-
SDA CHURCH
ENTRANCE NING.
SOUTH EAST TRADE WINDS

WATER LOGGED NA-

NOISE SOURCE
TURE OF SITE WILL
REQUIRE USED OF
PROPOSED BUILDING
P

DEEPER FOUNDA-
LOCATION TIONS WHICH WILL
CARP

MOVEMENT COST MORE.

PPROPOSED CAR
PARK

SUN SET
SOUTH EAST TRADE WINDS
NOISE SOURCE

AD
SUN RISE
O
KR
PLEX BACK ROADBAC
M
P

CO ENTRANCE
SI NG
U
HO

NOISE SOURCE
LEX NAME: CHITA C CHIBESAKUNDA
P
PEDESTRIAN C OM SIN: 17119976
G
SIN YEAR: 4
P

MOVEMENT U
HO
LECTURER: DR CHIFUNDA
 SITE PROFILES

B
A EAST
A WEST

A-A SECTION

SOUTH
NORTH

B-B SECTION

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
INTERACTION MATRIX AND
ACCOMODATION SHEDULE

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA

EXHIBITION SPACES:
Ceiling and roofs Rooms with lateral lighting may have ordinary ceiling (flats
, vaulted , smooth or with moulding) all that is required being a suitable re-
fraction of diffused colorless light. Light falling directly from above through
skylights/ windows which form a permanent feature of the room. Different
methods of admitting natural light.
COVERED EXHIBITION SPACE DESIGN PARAMETERS
Covered Exhibition Spaces are buildings or enclosed structures containing
exhibition areas or other spaces, including all overhanging upper floors or
balconies. Participants may decide to build more than one level within the
Covered part of the Exhibition Space, based on their individual needs. Height
of Buildings The height of the Covered part of Exhibition Space (or Building
Height) must be less than 12 metres. The height limit for any additional ar-
chitectural elements (such as skylights, roof elements, vertical connections to
the roof, sunscreens, signals, etc.) is 17 metres.
OPEN-AIR EXHIBITION SPACE DESIGN PARAMETERS
The landscape design shall be developed in keeping with the Theme and with
the Participant’s approach to it. Open spaces A minimum of 30% of each lot
must be dedicated to open areas and greenery. Excluding lot setbacks the
Open-air Exhibition Space represents around 50% of each lot, where it is pos-
sible to build: structures used for plants ensuring soil permeability (e.g. trel-
lises, pergolas, garden structures, planters). landscaping structure (e.g. struc-
tures used to retain soil or other materials, pools, exhibition structures, art
works).
WINDOWS AND DOORS
Windows and doors should be of suitable size for lighting the rooms. Strong
and able to be securely closed. Non conductive of heat and dust from outside.
There should be no doors inside the exhibition except where a part of the
building requires to permanently cut-off for functional reasons. Floor plans
for the location of doors in relation to the use of space .
FLOORS
Generally floors should be darker then the walls with a reflecting capacity less
than 30% . Flooring should be durable and maintenance should be low. Exhi-
bition design is divided into two stages: concept design and blueprint design.
The basic concepts and outlines of the design are provided in the stage of
concept design, while details of the design and instructions for implementa-
tion are provided in the stage of blueprint design. The concept design shall be
approved before the blueprint design may begin. The exhibition design shall
include the following details and drawings: a. Name; b. Theme of exhibition;
c. Description of exhibits; d. Internal structure, decoration and exhibition in-
door and outdoor design.
DESIGN REQUIREMENTS/
GUIDELINES
CIRCULATION ROUTE
The circulation route must be well lighted , clearly defined , and
easy to follow. Create an accessible route with the following char-
acteristics: To be accessible to people using wheelchairs and other
mobility-oriented assistive devices, the circulation route must be
at least 915 mm (0.91 m) wide for one- way traffic . For two-way
routes, the minimum width is 1525 mm (1.5 m) .It is recommend-
ed that even one-way traffic routes be a minimum of 1525 mm (1.5
m) to allow wheelchair users to stop to look at cases without block-
ing the route.
All entrances, gates, and doors must meet accessibility require-
ments (e.g. width, hardware, opening force, thresholds). A wheel-
chair user’s clear floor space is approximately 760 mm (0.7 m) by
1220 mm (1.21 m) (see Fig. 21). At least this amount of floor space
is necessary on all viewing sides of exhibit cases and vitrines. If a
person in a wheelchair must make a turn around an obstruction,
the minimum clear width of the accessible route shall be as shown
in Fig. 24. Where the circulation route makes a U-turn around an
object that is less than1220 mm (1.21 m) wide, the pathway width
increases to at least 1065 mm (1.0 m) on the approach and 1220
mm (1.21 m) in the turn.
Objects on the floor that rise less than 305 mm (0.3 m), are trip-
ping hazards. The problem worsens if the object’s color does not
contrast with the floor or if the lighting is poor. The circulation
route surface must be stable, firm, and slip-resistant. The slope of
the circulation route must be no more than 5%. If the slope ex-
ceeds 5%, then it becomes a ramp and must meet requirements for
a ramp. Any cross slope (a slope that is perpendicular to the path
of travel) of the circulation route must be no more than 2% When
circulation route levels change, the vertical difference must be less
than 6.5 mm (0.006 m). When there is a change in level of between
6.5 mm (0.006 m) and 13 mm (0.012 m), the edge must be bevelled
with a slope of 1:2. Any change greater than 13 mm (0.012 m) must
be ramped.
EXHIBITION ITEMS
Items in exhibitions must be visually accessible to people. A male
adult who uses a wheelchair has an average eye level of between
1090mm (1.09 m) and 1295mm (1.29 m) above the finished floor.
Objects placed above 1015mm (1.0 m) will be seen only from be-
low by most seated and short viewers
COLOUR
Gallery colors (floors , walls , furniture) must create an environ-
ment that is clearly articulated , comfortable and safe. - Choose
colours so that floors are visually separated from the walls and fur-
niture. - Select light gallery colours if object conservation requires
low lighting. - Design well-lighted spaces with limited imagery and
few objects in several places within an exhibition. The colors and
patterns of exhibition floor surfaces must give accurate informa-
tion about the depth , height , and condition of the floor surface.
- Avoid patterned carpets and floor tiles on uneven surfaces and
in low- lit areas. a) Colours within cases must provide clear visual
access to objects inside. b) Colours for labels must have a high con-
trast between text and background.
EMERGENCY EXITS
There must be fully accessible emergency exit from the exhibition
spaces. Provide as many accessible emergency exists from an exhi-
bition.
Exists from the exhibition to either lead back to the accessible entry
route or to lead directly to another accessible exit route.
Notification about locations of accessible exit from the gallery must
be available at key points in the gallery.
Both visual and audible fire alarm systems must be provided. If the
direction of escape cannot be clearly seen from any point, tactile
arrows should be provided on cases, partitions and hand rails, in-
dicating the direction of escape. They should be 5mm thick and at
least 25mm (0.025 m)high, set on top of hand rails and at the same
height throughout.
NAME: CHITA C CHIBESAKUNDA
SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
 CONCEPT DEFINITION
DESIGN SKETCHES
CONCEPT DEFINITION CONCEPT EVOLUTION AND DESIGN SKETCHES

Baskets have played an integral part in

modern community life but in recent
years, basket making has evolved to
a highly expressive contemporary art
form.

African basketry is a dynamic craft, al-

tered by social changes and shaped by
both environmental and economic fac-
tors. Traditionally, shapes and weaves
were determined largely by the uses for
what the baskets were intended.
Historically, baskets have been used for
agricultural practices such as winnow-
ing and sifting and the collecting and
carrying of crops as well as portage of
produce to markets.

THE CONCEPT OF THE ART GALLERY IS DER-

RIVED FROM THE HUMBLE BASKETS WHICH
FOR YEARS HAS SERVED MANY DIFFERENT CUL-
TURES.

OVER THE YEARS THE BASKET HAS SHOWN ITS

VERSITILITY IN THAT ITS BEEN FOR MANY DIF-
FERENT PURPOSES LIKE STORAGE OF GOODS,
TRANSPORTATION OF ITEMS AS WELL AS
CATCHING FISH.

IT IS FROM THIS VERSATILE USE OF THE BASKET

THAT I HAVE DRAW MY DESING INSPIRATION
TOP FLOOR LATICE PATERN REPRE-
FOR THIS ART GALLERY. SENTS THE WOVEN BASKET. GROUND
It is from this versatile use of baskets that i have draw FLOOR GLASS WALLS FOR A MORE
my desing inspiration for this art gallery. OPEN FEEL.
NAME: CHITA C CHIBESAKUNDA
SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
 CONCEPT DEFINITION
DESIGN SKETCHES

BUILDING SPLIT INTO THREE SECTIONS

WITH THE CENTER ACTING AS A BUFFER
ZONE

SITE ZOONING LAYOUT

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
CONCEPT DEFINITION
DESIGN SKETCHES

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA
BUBBLE DIAGRAMS

NAME: CHITA C CHIBESAKUNDA

SIN: 17119976
YEAR: 4
LECTURER: DR CHIFUNDA