AN ART MUSEUM OR ART GALLERY IS A BUILDING OR SPACE FOR THE DISPLAY OF ART, USUALLY FROM THE ART (N.

)
MUSEUM'S OWN COLLECTION MIGHT BE IN PUBLIC OR PRIVATE OWNERSHIP AND MAY BE ACCESSIBLE TO ALL OR
HAVE RESTRICTIONS IN PLACE, CONCERNED WITH VISUAL ART, ART MUSEUMS ARE OFTEN USED AS A VENUE FOR
OTHER CULTURAL EXCHANGES AND ARTISTIC ACTIVITIES, SUCH AS LECTURES, PERFORMANCE ARTS, MUSIC
CONCERTS, OR POETRY READINGS.
OBJECTIVES
• TO PROVIDE AN ADEQUATE SPACE FOR EXHIBITIONS OF VARIOUS KINDS OF
VISUAL ART, SEMINAR FOR INTERACTION, SPACE FOR EDUCATING FUTURE
GENERATIONS,
• TO STORE ALL THE COLLECTED ITEMS AND ARTIFACTS IN PROPER AN IDEAL
CONTROLLED ENVIRONMENT, (LIGHTING, ACOUSTICS)
• TO ADD THE IDENTITY OF SPACE WITH THE HELP OF ARCHITECTURE,
• TO PROVIDE AN ENVIRONMENT FOR PERFORMING LOCAL ARTS,
GATHERING, SEATING, INTERACTION FORUM
• TO PROMOTE NEPALESE ART, LOCAL ART AND CRAFT WITHIN A BUILDING
INSIDE AND OUTSIDE,
• TO CREATE A NEW ATTRACTION FOR TOURIST (INTERNAL/EXTERNAL)
• EARLY 13C., "SKILL AS A RESULT OF LEARNING OR PRACTICE," FROM OLD FRENCH ART (10C.)
• THE TERM “ART” IS RELATED TO THE LATIN WORD “ARS” MEANING, ART, SKILL, OR CRAFT.
• COLLECTIONS OF PRECIOUS OBJECTS GO BACK TO GREEK AND ROMAN TIMES,
• ART COLLECTING IN THE MODERN SENSE BEGAN WITH THE RENAISSANCE
GALLERY (N.)
• "A LONG PORTICO" (14C)
• MID-15C., "COVERED WALK OR PASSAGEWAY, NARROW AND PARTLY OPEN
PASSAGEWAY ALONG A WALL," FROM OLD FRENCH GALERIE. THE LONG
GALLERY IN ELIZABETHAN AND JACOBEAN HOUSES SERVED MANY
PURPOSES INCLUDING THE DISPLAY OF ART
• THE FIRST GALLERIES WERE IN THE PALACES OF THE ARISTOCRACY, OR IN
CHURCHES
MUSEUM (N.)
• THE TERM 'MUSEUM, FIRST USED DURING THE ITALIAN RENAISSANCE (15C-16C)
• AS ART COLLECTIONS GREW, BUILDINGS BECAME DEDICATED TO ART,

17TH TO 18TH CENTURY

MUSEUMS

16TH CENTURY
COMMERCIAL

6TH CENTURY
PRIVATE FOR ALL TO

19TH CENTURY

21ST CENTURY
COLLECT, CULTURAL
FUNCTIONS OF MUSEUM COLLECTIONS
IN
ITALIAN MUSEUMS
STORE, ACHIEVEMENT
OF WEALTHY RENAISSAN FOR A
INDIVIDUALS, CE LIMITED CONSERVE EDUCATIONAL
FAMILIES AUDIENCE RESEARCH &
PRESENT

MUSEUM AND ART GALLERY IN NEPAL

THERE ARE MORE THAN 50 MUSEUMS RELATED TO DIFFERENT CULTURE, The Louvre museum in 1853 LOUVRE MUSEUM ,PRESENT
ARTS THE MUSEUM ARE RELATED TO NEPALESE TRADITIONAL ART AND
CULTURE AND SEEMS THERE IS A LACK OF PROPER OR WELL MANAGED ENNIGALDI-NANNA'S MUSEUM old ashmolean
SPECIFIC MUSEUM THAT REFLECTS EASTERN ART IN BUILD FORM WHICH •NEPALI ARTS HAS EVOLVED IMMENSELY OVER THE ERAS.
ITSELF EXHIBITS AS A SCULPTURE. •LICHCHHAVI PERIOD(4C) WHICH IS CONSIDERED TO BE “THE GOLDEN AGE OF NEPALI ART”.
• MUSEUM OF NEPAL ART(MONA): SATH GHUMTI MARG,KTM 980-2020484 •INFLUENCED BY RELIGION, CULTURES, POLITICS, SOCIAL CONDITIONS, NATURAL DISASTERS
• NATIONAL MUSEUM OF NEPAL (CHAUNI): TAHACHAL,KTM, 01-4271478
• PATAN MUSEUM: LALITPUR, 01-5521492
• THE TARAGOUN MUSEUM : BOUDHA,KTM, +977-01-6201035
• NARAYANHITI PALACE: KTM, 01-4227844
• INTERNATIONAL MOUNTAIN MUSEUM: POKHARA ,061-460742
• THARU CULTURAL MUSEUM AND RESEARCH CENTER: SAURAHA,CHITWAN
, 985-5066365
• LUMBINI MUSEUM: TILAURAKOT,KAPILVASTU ,076-590066 ● PAINTINGS: IN THE PAST, PAINTINGS WERE MAINLY DONE IN MANUSCRIPTS, WALLS, WOOD, COPPER OR OTHER
NATIONAL MUSEUM OF NEPAL METAL PLATES, OR CLOTH. LOCAL MATERIALS SUCH AS MINERALS, PLANTS, SOIL ETC. WERE USED FOR EXTRACTING
COLORS. THANGKA PAINTINGS, MITHILA PAINTINGS, PAUWA PAINTINGS, ARE SOME EXAMPLES OF NEPALI
● ARCHITECTURE THE INTRICATE LININGS OF THE WOODEN WINDOWS AND DOORS OF A TEMPLE, THE COMPLEX
GEOMETRY OF A STUPA, THE PRAYER WHEELS, ARE EXAMPLES OF ARCHITECTURE.
● SCULPTURE: ARTISTS MAINLY MADE USE OF BRONZE, GRANITE, SANDSTONE, LIMESTONE, FOR SCULPTING FIGURES
OF GODS, LEADERS, AND RULERS. THE STATUES OF GODS, VARIOUS RULERS CAN STILL BE SEEN IN HISTORICAL AREAS.
● POTTERY: TRADITIONALLY A LOT OF UTENSILS AND HOUSEHOLD MATERIALS USED BY NEPALESE WERE MADE OUT
INTERNATIONAL MOUNTAIN MUSEUM OF MOLDED CLAY SUCH AS PYALA, GAMALA, GYAMPO, GAGRI, DIYO, LAMPS, FLOWER VASES AND SO ON.
NARAYANHITI MUSEUM MOUNTAIN SHERPA GEAR SEWARO CREATIVE ARTS
TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING
NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR048 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
01
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
 THE ARTS ARCHAEOLOGY MUSEUM
• ARE IN THE OPEN AIR, EG. THE ANCIENT AGORA OF ATHENS AND THE ROMAN FORUM.
• OTHERS DISPLAY ARTIFACTS INSIDE BUILDINGS, SUCH AS NATIONAL MUSEUM OF
BEIRUT AND CAIRO'S MUSEUM OF EGYPTIAN ANTIQUITIES.
The Temple of Hephaestus
POP ART ART MUSEUM
PERFORMING MEDIA VISUAL LITERARY • A BUILDING OR SPACE FOR THE DISPLAY OF ART, USUALLY FROM THE MUSEUM'S
• EMERGED IN THE UNITED KINGDOM AND
THE UNITED STATES DURING THE MID- TO OWN COLLECTION
LATE-1950S. • MIGHT BE IN PUBLIC OR PRIVATE OWNERSHIP AND MAY BE ACCESSIBLE TO ALL OR
THEATER INSTALLATION ART PAINTING FICTION HAVE RESTRICTIONS IN PLACE.
• IMAGERY FROM POPULAR AND MASS
CULTURE, SUCH AS ADVERTISING, COMIC ENCYCLOPEDIC MUSEUMS
DANCE
` FILM SCULPTURE POETRY "WHEN 3% OF THE WORLD'S POPULATION, OR NEARLY 200 MILLION PEOPLE, LIVING
BOOKS AND MUNDANE MASS-PRODUCED
OBJECTS. OUTSIDE THE COUNTRY OF THEIR BIRTH, ENCYCLOPEDIC MUSEUMS PLAY AN ESPECIALLY
Tibes Indigenous Ceremonial Center
MUSIC DIGITAL ART CRAFTS IMPORTANT ROLE IN THE BUILDING OF CIVIL SOCIETY. THEY ENCOURAGE CURIOSITY ABOUT
THE WORLD. NATURAL HISTORY
OPERA A DOMAIN OF INQUIRY INVOLVING ORGANISMS, ANIMAL, FUNGI,
FIGURE: JOHN'S DINER WITH JOHN'S AND PLANTS,
PHOTOREALISM
• AIMED TO CREATE HYPER REALISTIC DRAWINGS AND PAINTING THE NATURAL HISTORY MUSEUM OF NEPAL

CONCEPTUALISM • NEAR THE WORLD HERITAGE SITE OF SWAYAMBHU NATH. THE BRITISH MUSEUM,
• EMERGED AS A FORMAL MOVEMENT IN THE 1960S AND REMAINS A MAJOR • THE ESTABLISHED IN 1975.

TABLES OF NATURAL HISTORY, FROM EPHRAIM

CONTEMPORARY ART MOVEMENT TODAY.
A LIVING MUSEUM • 50,000 SPECIMENS OF NEPAL’S FLORA AND FAUNA.
• ART IN WHICH THE CONCEPT(S) OR IDEA(S) INVOLVED IN THE WORK TAKE
• ALSO KNOWN AS A LIVING HISTORY MUSEUM,
PRECEDENCE OVER TRADITIONAL AESTHETIC, TECHNICAL, AND MATERIAL
• RECREATES HISTORICAL SETTINGS TO SIMULATE A PAST TIME PERIOD, PROVIDING
CONCERNS. SOL LEWITT

CHAMBERS'S 1728 CYCLOPAEDIA.

VISITORS WITH AN EXPERIENTIAL INTERPRETATION OF HISTORY
DIGITAL ART RED SQUARE, WHITE LETTERS (1962)
• RECREATES TO THE FULLEST EXTENT CONDITIONS OF A CULTURE, NATURAL
• DIGITAL ART IS AN ARTISTIC WORK OR PRACTICE THAT
ENVIRONMENT OR HISTORICAL PERIOD, IN AN EXAMPLE OF LIVING HISTORY.
USES DIGITAL TECHNOLOGY AS PART OFTEN CREATIVE
OR PRESENTATION PROCESS. A MARITIME MUSEUM
• SINCE THE 1970S, VARIOUS NAMES HAVE BEEN USED SOL LEWITT • SOMETIMES NAUTICAL MUSEUM
TO DESCRIBE THE PROCESS, INCLUDING COMPUTER
RED SQUARE, WHITE LETTERS (1962) • SPECIALIZING IN THE DISPLAY OF OBJECTS RELATING
ART AND MULTIMEDIA ART. TO SHIPS AND TRAVEL ON LARGE BODIES OF WATER.
ROBERT MORRIS, UNTITLED (MIRRORED CUBES) • A SUBCATEGORY OF MARITIME MUSEUMS
MINIMALISM (1965/71). IMAGE COURTESY OF THE TATE.
ARE NAVAL MUSEUMS, WHICH FOCUS RESTORED FILIPINO HERITAGE HOUSES
• CREATED IN THE UNITED STATES IN THE 1960’S, ON NAVIES AND THE MILITARY USE OF THE SEA.
• AN EXTREME TYPE OF ABSTRACT ART THAT USUALLY IS DEPICTED THROUGH .
SINDHULIGADHI WAR MUSEUM
A POP-UP MUSEUM
SIMPLISTIC SHAPES AND HARD EDGES, ALL WHILE EXPOSING THE ESSENCE OF THE
LIKE THE MUSEUM OF ICE CREAM, BUT IT COULD ALSO BE A
FORMS AND MATERIALS USED FOREST OF NUMBERS BY EMMANUELLE
MOUREAUX TRAVELLING DISPLAY HIGHLIGHTING A BIGGER EXHIBITION AT A
INSTALLATION ART PERMANENT MUSEUM
• CHARACTERIZED BY IMMERSIVE, LARGER-THAN-LIFE WORKS OF ART. LOCATED IN: TRIBHUVAN
A SCIENCE MUSEUM USS WISCONSIN IS ONE OF
• USUALLY, CREATES PIECES FOR SPECIFIC LOCATIONS, ENABLING THEM TO EXPERTLY UNIVERSITY FOUR IOWA CLASS BATTLESHIPS
DEVOTED PRIMARILY TO SCIENCE. ADDRESS: KIRTIPUR RD, OPENED TO THE PUBLIC AS A
TRANSFORM ANY SPACE INTO A CUSTOMIZED, INTERACTIVE ENVIRONMENT KIRTIPUR 44618
RELATED TO NATURAL HOURS: CLOSED ⋅ OPENS
MUSEUM (BERTHED
AT NAUTICUS IN NORFOLK, VA)
VISUAL ART HISTORY, PALEONTOLOGY, GEOLOGY, INDUSTRY 10AM
• ART FORMS SUCH AS PAINTING, DRAWING, PRINTMAKING, SCULPTURE, AND INDUSTRIAL MACHINERY, ETCEXCITEMENT PHONE: 01-4332571
CERAMICS, PHOTOGRAPHY, VIDEO, FILMMAKING, DESIGN, CRAFTS AND RICHARD HARLOW OF BLIND EYE WORKS OF DISCOVERY.
ARCHITECTURE. ARTISTIC DISCIPLINES SUCH AS PERFORMING ARTS, SITE SELECTION
STUDY
CONCEPTUAL ART, AND TEXTILE ARTS ALSO INVOLVES IT. POSSIBLE SITES
▪ LESS FATIGUE FROM THE NOISE OF TRAFFIC
▪ ATMOSPHERE WITH LESS DUST, GASES
SPACES ​: ▪ ACCESSIBLE FROM ALL PART OF TOWN BY PUBLIC TRANSPORT ADDRESS: SUNSARI, NEPAL SITAGUNJ
• PRIMARY SPACES: DISPLAY AREA, GALLERY SPACE, WORKSHOP, LABORATORY GATHER DATA FOR EVALUATE POSSIBLE SITES ▪ IF POSSIBLE WITH IN WALKING AREA HOURS: OPEN ⋅ CLOSES 5PM
• SECONDARY SPACES: ADMIN ROOM, STORE ROOM, WC SITE ANALYSIS CHOOSE BEST SITE ACC. TO SET CRITERIA
▪ EASY REACH OF COLLEGE AND UNIVERSITY PHONE: 981-3039470

TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING

NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR048 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
02
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
ZONING AND PLANNING CONSIDERATION LIGHTING FOR DISPLAY
PUBLIC COLLECTION AREA ▪ CARE FOR FURNITURE LIGHTING IS ONE OF THE MOST SIGNIFICANT FACTORS IN DETERMINING THE
SECURITY DESIGN FOR PRESERVATION ▪ SEATS AT APPROPRIATE DISTANCE QUALITY OF A MUSEUM'S SETTING. IT'S ALSO A FUNDAMENTAL COMPONENT
▪ LIGHTING AND COLOUR OF THE OF A SPACE'S EXPRESSION. LIGHT HAS A SIGNIFICANT IMPACT ON VISITORS'
NON-PUBLIC ATREA GALLARY PERCEPTIONS OF SPACE AND EMOTIONAL RESPONSES.
MEANT FOR STAFF ONLY ▪ AIR CONDITIONING

PUBLIC NON- COLLECTION AREA

CREATED FOR HUMAN COMFORT

NON-PUBLIC COLLECTION AREAS

CREATED FOR STAFF ALONE
DISPLAY
DISPLAY REFERS TO SHOW OR ATTRACT ATTENTION. DISPLAYING SPACES ARE A
SOURCE OF COMMUNICATION. CRAFT MADE AND DISPLAYED ARE MADE USE OF DIRECT LIGHT TO
USE OF AMBIENT DIFFUSED
COMMUTABLE THROUGH THESE DISPLAYS SPACES. EXHIBIT AND DISPLAY AREA ARE ADD SHADOW TO EXPRESS
LIGHT IN COMBINATION
IMPORTANT IN ART AND CRAFT CENTERS. DISPLAY SPACES CAN BE IN THE FORM OF DEPTH, DIFFUSE LIGHT
WITH NARROW BEAM
A MUSEUM, GALLERY, SHOWROOM, SHOPS AND SO ON. HELPS TO ADD DETAILS
LIGHT IS TO AVOID GLARE
MODULAR DISPLAY CASE​

POSSIBLE DISPLAY TECHNIQUES VISUAL LIMITATION FOR DISPLAY

USERS

TABLETOP DISPLAY​ DRAWER CABINET​ FREESTANDING DISPLAY​ WALL DISPLAY CABINET​

TWO DIMENSIONAL LIGHTING
CIRCULATION PATTERN
• SHOULD BE WELL PLANNED CIRCULATION
PATTERN
• ENTRY SHOULD GUIDE THE VISITOR TO GALLERY VIEWING DISTANCE INCREASES WITH
AREA INCREASE IN HEIGHT
• CIRCULATION PATTERN SHOULD BE CONTINIOUS MATERIALS
AND UNINTERUPTED
• DEAD END SHOULD BE AVOIDED
• CIRCULATION PATTERN SHOULD BE FROM RIGHT
• ENOUGH SOPACE FOR EACH VISITOR

GALLERY/EXHIBITION ROOM
FORMAL SPACE FOR DISPLAYING VARIOUS ART, CRAFT AND ARTIFACTS. THIS SPACE CAN BE PERMANENT, SEMI-
PERMANENT OR SPECIAL EXHIBITS THAT ARE HELD FROM TIME TO TIME. CARE SHOULD BE TAKEN WHILE FIXING
DEVICES AND FURNITURE IN WALLS, FLOORS AND CELING SO THAT MAXIMUM SPACE IS LEFT VACANT.
• GALLERY HEIGHT: NOT LESS THAN 3M I.E. 3.6- 5.4 M
• GALLERY LENGTH: 18.2- 24.4 M
• GALLERY WIDTH: 5- 10 M

PICTURE/ PAINTING/ 2D DISPLAY:[ 3- 5] M2 HANGING SURFACE TO EACH WITH ARTIFICIAL

POSSIBLE GALLERY ARRANGEMENT LIGHTING IN DARKER SPACE
SPACE LAYOUT FOR GALLERY
SCULPTURE/ 3D DISPLAY: [6- 10] M2 AREAS WITH NATURAL LIGHTING
TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING
NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR048 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
03
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
 LIMITATIONS FOR DISPLAY WORKSHOP
▪ SPACE WITH SAME SHAPES ARE MONOTONUS IDEAL WORKING CONDITION - LARGE VENTILATED ROOMS, WITH HIGH CEILING AND TRANSITIONAL AREAS SUCH AS
▪ PERMANENT GALLARIES ARE NOT GREATER THAN 22 FEETWIDE, 12 FEET HIGH, [65-80] FEET LONG COURTYARD, OR OPEN TO SKY SPACES SHOULD BE WELL APPRECIATED IN THE STUDIOS AND WORK AREAS. THE LINK
▪ TELESCOPIC VIEW IS DEPRESSING BETWEEN INDOOR AND OUTDOOR SPACE SHOULD BE MAINTAINED AS FAR AS POSSIBLE.
▪ DOOR SHOULD BE PLACED TO DAZZLE VISITORS [POSSIBLE TO SEE FULL LENGTH OF DISPLAYED WALL ACTIVITY AREA[M2]

ART WORKING 4.7

METAL WORKING 5.3
ELECTRICITY ELECTRONICS 3.3
SPINNING AND WEAVING 7.2

ROOF LIGHTING IS ALSO PREFERRED. MUST HAVE GOOD AMOUNT OF NATURAL

DAYLIGHT, HIGHGH LEVEL WINDOW AT LEAT 25-
30r% OF FLOOR.

LIBRARY
PLACE OF LITERARY, ARTISTIC OR REFERENCE MATERIAL, KEPT FOR READING BUT NOT FOR SALE .
INTERACTION OF WORK AND RECREATIONAL SPACE ARTIFICIAL LIGHTS ARE USED TO FOCUS THE DETAILS SPACIOUS WORKSHOP/STUDIO
• COLLECTION OF PHOTOGRAPHIC AND PRINT COLLECTION ALONG WITH THE ACESS OF INTERNET.
.
CONSIDERATION COVERED EXHIBITION SPACE
• CONSIST OF 3-8 % OF THE TOTAL BUILT AREA OF THE ART GALLERY. BUILDING OR ENCLOSED STRUCTURES CONTAINING
• MUST BE SUFFICIENT AIR CIRCULATION AND NATURAL LIGHT. EXHIBITION AREAS OR OTHER SPACES INCLUDING ALL
• SHOULD BE ACCESSIBLE TO ESPECIALLY ABLED. OVERHANGING UPPER FLOOR AND BALCONIES.
• SHOULD HAVE SILENT, SEPARATE STACKING AND READING AREAS OR BUFFERS CAN BE CREATED BY ADDITIONS OF WALLS OR VEGETATIONS
STUDY AREAS. OPEN SPACE
SPACE RELATION 30%-50% OPEN AREA & GREENARY FOR OPEN AIR EXHIBIT.
TEMPORARY EXHIBITION SPACE
▪ SPACE FOR BOOKS: 15 BOOKS IN 0.09 SQ.M • STRUCTURE USED FOR ENSURING SOIL PERMEABILITY( E.G
IT IS THE LARGEST SINGLE SPACE EVENT SPACE IN
▪ SPACE FOR STAFFS: 9.4 SQ.M.FT PER STAFF MEMBER TRELLISES, PERGOLAS, GARDEN STRUCTURES, PLANTERS).
MUSEUM. A MODULAR EXHIBITION SYSTEM ENABLES IT
▪ SPACE FOR GROUP MEETINGS: 0.9 SQ.M PER PERSON • LANDSCAPING STRUCTURES( E.G, STRUCTURE USED TO
TO BE CONFIGURED IN MULTIPLE WAYS. THAT CAN BE
▪ SPACE FOR READERS: 2.8 SQ.M PER ADULT AND MIN. 1.9 SQ.M PER RETAIN SOIL OR OTHER MATERIALS, POOLS, EXHIBITION
INSTALLED AND REMOVED AS PER REQUIREMENT.
CHILD STRUCTURES, ART WORKS).
LABORATORY
o THE PLACE WHERE THE ART MEET SCIENCE.
o IT IS A PLACE FOR THE RESEARCH, ANALYSIS AND ALSO FOR THE TEACHING PURPOSES.
o A PLACE FOR THE EXAMINATION OF THE OLD ARTS, INVESTIGATION OF THE OLD ARTIFACTS.
CONSIDERATIONS
qALL WALLS BETWEEN THE LABS SHOULD BE 0.15M THICK WHETHER THEY ARE BUILT
INITIAL CONSTRUCTION OR ADDED LATER.
qLABROTARY MODULE; 3.5 M WIDE AND 6-10 M DEPTH. SCLUPTURE GARDEN
STANDARD
: AREA FOR MUSEUM ARCHITECTURE ▪ PART OF VISUAL ARTS THAT
• RATIO OF GALLERY TO OPERATES IN THE THREE
SPACE TOTAL BUILD-UP AREA
AUDIO VISUAL ROOM NON- GALLERY SPACE ≤ DIMENSION.
❖PLACE WHERE PEOPLE OF ALL AGES EXPERIENCE LEARNING 45%
1. GALLERY 40-50 % ▪ OUTDOOR PARK WHICH
IN EFFECTIVE WAYS. • RATIO OF PERMANENT 2. EDUCATIONAL 4-8% INCLUDE THE
❖GIVES DEEPER IMPACT AND INVOLVE GREATER ATTENTION DISPLAY GALLERY TO NON- & PROMOTION PRESENTATION OF
IN THE ACT OF LEARNING AND HELP TO RETAIN THE GALLERY SPACE ≤ 40% 3. STORAGE AND 10-15 % SCLUPTURE.
CONCEPT. • PROVISION OF FUTURE COLLECTION ▪ PERMANENTLY SITED
❖ROOMS FOR PEOPLE 4. RESEARCH 3-8% WORKS IN DURABLE
EXPANSION: 20- 25 % OF
• SMALL: 3-5 OCCUPANTS AND STUDY MATERIALS IN
TOTAL SITE AREA
• MEDIUM: 5-10 OCCUPANTS 5.. CIRCULATION 20-30% LANDSCAPE SURROUNDING
• LARGE: 50-100 OCCUPANTS .
TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING
NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR047 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
04
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
AUDITORIUM
A ROOM BUILT TO ENABLE AN
RETAIL/SHOPS/STORE
AUDIENCE TO HEAR AND WATCH PERFORMANCES
SPACE WITH THE PURPOSE OF SHOPPING
AT VENUE.
ACTIVITY ,PLATFORM FOR ARTIST TO
DESIGN CONSIDERATION
SUSTAIN BY SELLING AND EARNING THEIR
• SITE: QUIET( SPEECH DOESNOT SUFFER),
BASICS.
SPACIOUS.
RANGE OF SHOPS: LESS THAN 280M2 AREA
• PROPER AIR CONDITIONING
• SLOPING AREA TO BE AVOIDED SO IT CAN BE
USED FOR CONFERENCE AND TEMPORARY
EXHIBITS.

SPACE CONSIDERATION
▪ FLOOR AREA INCLUDING STAGE : 0.6 TO 0.9
SQ.M PER PERSON
▪ LECTURE HALL: 3-4.5 SQ.M PER PERSON.
▪ EXIT ESCPAE ROUTES : 1 M WIDE PER 150
PEOPLE.
▪ FOR 200 SEAT: 270 SQ.M GENERAL STORE LAYOUT
▪ FOR 250 SEAT: 190 SQ.M
▪ FOR 75 SEAT : 125 SQ.M LEARNING SPACES
SPACES FOR THE AUDIENCES FOR MORE
INFORMATION AND MORE INTERACTIVE
ENGAGEMENT IN ART.
• INTERPERSED AMONG THE GALLERY
SPACES OR MAY BE OUTSIDE
• TO PROVIDE GROUP OR INDIVIDUALS A
SPACE FOR DISCUSSION. DESIGNING VISUAL ARTS SPACES FOR GROUP DISCUSSION. OUTDOOR SPACES FOR DISCUSSION

SEATING ARRANGEMENT IN AUDITORIUM

SPACE REQUIRED
ADMINISTRATION PER PERSON 8 M^2- 13M^2
RECEPTION PRESIDENT’S OFFICE 23.22-37.16 M^2
VICE- PRESIDENT’S 13.93-23.22 M^21
q ENQUIRY: LOCATED AT THE
ENTRANCE HALL TO PROVIDE EXECUTIVE'S OFFICE 9.29-13.93 M^2
GUIDANCE TO THE PUBLIC SUPERVISIOR 7.43-10.2 M^2
q SALES COUNTER: LOCATED IN THE SECRETARY 5-10.2 M^2
PROXIMITY FOR THE PURPOSE OF MAIL ROOM 2.4-2.7 M WIDE
SELLING MUSEUM
PUBLICATIONS, GUIDEBOOKS, RECEPTION AREA 11.61-18.58 M^2
POST-CARDS, ETC STAFF ROOM 1.8 M^2 PER PERSON
q FLOOR TO FLOOR HT: 3.3-4.2 M AREA PER FLOOR 450-540 M^2 STORAGE ROOM
q FINISHED CEILING HEIGHT: 2.4-2.5M
q CORRIDORS: 20-25% OF THE TOTAL • SIZE: 5*5M^2
USABLE AREAS • MATERIALS IN GOOD CONDITION
q LIGHTING: • LOCATION: CORE OF THE BUILDING
• CORRIDOR: 200 LUX • LARGE SIZED HALLWAYS
• GENERAL OFFICE: 400-600 LUX • OVERSIZED DOORS
• SECURITY
• LIGHT: 5-7 CANDLES
TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING
NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR048 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
05
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
 RESTAURANT CONFERENCE HALL
• SPACE REQUIRE PER PERSON: 0.6*0.4 M^2 SIZE: 6.1*3.6 M^2
• MIN. WIDTH OF ESCAPE ROUTE: 1M PER
50 PEOPLE DORMITORY
DINING FLOOR WALKWAY WIDTH
AREA (M^2) (M) (>=) • SIZE OF A ROOM: 3.6*5.7
100 1.10 M^2 PER 2 PERSONS
• SIZE OF KITCHEN:
250 1.30 4*5M^2
500 1.65 • DINING: 5*8 M^2 PER
1000 1.80 10-12 PERSONS
OVER 1000 2.10 • NO. OF TOILET AND
BATHROOM: 1 PER 5
PERSONS
FLOOR AREA (M^20) CEILING HEIGHT (M) • BATHROOM SIZE:
2.4*1.2M^2
<=50 2.50
>50 2.75 OPEN AIR THEATRE
>100 3.0
• SEATING:SLOPE > 12°
• ANGLE OF VIEW: > 20°
• NOISE LEVEL: <40DB MECHANICAL / ELECTRICAL ROOM
• TREAD: 0.9M
• RISER: 0.15M • SIZE: 10*8M^2 PER ROOM
• WEATHER TIGHT
CONSTRUCTION
WC WITH
• DOOR WIDTH: 1.01-1.06M
ANTHROP-
• SLOPE FLOOR TO DRAINS
OMETRY
• FIRE SPRINKLER ZONE
• EMERGENCY LIGHTING: 5 FOOT
CANDLES
• MANUAL SWITCH CONTROL: 50
FOOT CANDLES
• AIR HANDLING SPACE: 1% OF
TOTAL AREA
• ELECTRICAL ROOM: 8% OF THE
TOTAL AREA

SANITARY TOILET AREA : 0.9*1.5M​^2 FOR NORMAL : 1.5*1.5 M^2 FOR DISABLE
FIXTURES PUBLIC STAFF
MALE FEMALE MALE FEMALE
WATER CLOSETS 1 PER 200-400 1 PER 100-200 1 FOR 15 1 FOR 12
ABLUTION TAP 1 IN EACH 1 IN EACH 1 IN EACH 1 IN EACH
WATER CLOSET WATER CLOSET WATER CLOSET WATER CLOSET
URINALS 1 PER 50 NIL UPTO 6; 1
PER 7-20
WASH BASINS 1 PER 200-400 1 PER 100-200 1 FOR 15 1 FOR 12
DRINKING WATER FOUNTAIN 1 PER 100 PERSONS
CLEANER'S SINK 1 PER FLOOR (MIN)

TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING

NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR047 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
06
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
 PARKING FIRE SAFETY ACOUSTICS
• PARALLEL PARKING: SUITABLE TO NARROW • THE SITE FOR MUSEUM SHOULD HAVE • FUNCTIONAL ZONES SHOULD BE PROVIDED
STREETS ADEQUATE WATER SUPPLY FOR FIRE FIGHTING. WITH SURFACE OR SUB SURFACE MATERIALS THAT
• THE INSTALLATION OF AIR CONDITIONING DAMPEN THE SOUND IMPACT AND ISOLATING
• 30° PARKING: EASY ENTRY AND EXIT; USED WHERE
SYSTEM AND COVERAGE OF INSULATION SHALL CAVITY TO INTERRUPT THE TRANSMISSION.
LARGE PARKING SPACES ARE PROVIDED
BE NON-COMBUSTIBLE. • NOISE LEVEL CONTROLLED BY APPROPRIATE
• 45° PARKING: NORMAL TYPE OF LAYOUT AND
• VALUABLE EXHIBITS MAY BE COATED WITH FINISHES ON FLOOR,WALL,CEILING.
SMALL SPACE USED
COLOURLESS FIRE RETARDANT. • SHAPING OF INTERIOR PREVENT UNWANTED
• 60° PARKING: LESS AREA • IN MAXIMUM AREAS ,ONLY IONISATION TYPE AMPLIFYING SOUND.
• 90° PARKING:SHARP TURN NEEDED; COMPACT SMOKE DETECTOR BE USED. • LOW FREQUENCY SOUND LESSENED BY
PLANNING • USE OF AUTOMATIC SPRINKLER IS WITH 10 STRUCTURAL MASS,MIDDLE FREQUENCY BY
• RAMP GRADIENT:1:10
MM SPRINKLER OUTLET. ABSORBING SURFACE AND HIGH FREQUENCY BY
• CAR PARKING SPACE FOR DISABLED: MORE THAN 3.50M
GAP ELIMINATION BETWEEN
• TURNING CIRCLE FOR LARGEST VEHICLE: RADIUS OF 12M
DOOR,WINDOWS,PARTITION WALLS.
TYPES OF LENGTH WIDTH (M) TURNING
VEHICLES (M) RADIUS (M)
MOTORCYCLE 2.2 0.7 1 COLOR
•ARTICULATED,CO
STANDARD CAR 4.7 1.75 5.75
MFORTABLE AND
SMALL CAR 3.6 1.6 5 SAFE ENVIRONME
LARGE CAR 5 1.9 6 NT MUST BE
STANDARD BUS 11 2.5 10.25 REPRESENTED
BY COLORS.
WAREHOUSE( LOADING & UNLOADING)
• SIZE:115M^2
• TYPE OF PALLET: 1.2*1 M^2 LIGHTING • TOP LIGHTING- DAYLIGHT IS ACCESSED
PARKING SECURITY THROUGH ROOF APERTURE
• NO.OF PALLETS: 1000
THEFTS ARE MORE
• MATERIAL HANDLING 1.NATURAL LIGHTING
DURING OPENING HOURS • • SIDE LIGHTING- METHOD OF ARTIFICIAL
EQUIPMENT TO BE USED: REACH WAREHOUSE
TRUCK WITH A LIFT HEIGHT OF METHODS OF CONTROL; WINDOWS PROVIDE THE SIDE LIGHTING SCHEME
10M • CLOSED-CIRCUIT TV LIGHTING. • FLOURESCENT LIGHT
GALLERY
• AISLE SPACE: 2.7M • WARDERS • SPOTLIGHT
• ALARMS 2.ARTIFICIAL LIGHTING • FALSE LIGHT
• NO.OF LEVELS-7 (STORAGE)
• DIRECT LIGHTING- FOR • LOUVERED LIGHT
• SHORT SIDE HANDLING
ILLUMINATING THE OBJECT. • LOUVERED CEILING
• REVERSIBLE CIRCULATION
• INDIRECT LIGHTING- FOR • TROUGH LIGHT
BRTWEEN PARKING, BACKLIGHTING FLUORESCENT LUBES
ILLUMINATING THE ROOM. • COVE LIGHT BEFIND DIFFUSING MATERIAL
WAREHOUSE AND DISPLAY
AREA

VENTILATION
• INTERNAL COURTYARD TO GET LIGHT FOR A HABITABLE ROOM: 3M X 3M
• BUILDINGS (> 5 STORIES): SIZE OF COURTYARD- INCREASE BY 0.5M FOR EVERY ADDITIONAL FLOOR
FLOURESCENT VERTICAL LIGHTING-
LIGHTING BEHIND FLOURESCENT TUBES
CASE FASCIA PANEL IN CASE CORNERS

EXTERNAL LIGHTING INTEGRAL LIGHTING-

THROUGH GLASS TAP
TOP LIGHTING
TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING
NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR047 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
07
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR
 CIRCULATION ENTRANCE AND ACCESS LIFTS ACCESSIBILITY FOR DISABLED
• ENTRANCE IS A TRANSITIONAL SPACE • INDICATES APPLIANCE DESIGNED TO
• TO MAKE ALL OR PART OF THE PUBLIC BUILDINGS
CRUCIAL FOR MENTALLY PREPARING VISITORS TRANSPORT PERSONS OR MATERIAL IN A
STAFF ENTRANCE AND FACILITIES USED BY THE PUBLIC ACCESSIBLE TO
FOR UPCOMING SPACE. VERTICAL DIRECTION
AND FUNCTIONAL FOR THE PHYSICALLY CHALLENGED
RECEPTION
RECEPTION RESTORATION
RESTORATION • MADE FOR BUILDINGS 16M IN HEIGHT.
PEOPLE OF THE SOCIETY
• AT LEAST ONE FIRE LIFT IN CASE
• SIZE OF WHEEL CHAIR 0.6-0.7M X 0.9-1.1M
FILING STORESTORE OF EMERGENCY
• DOOR CLEARANCE: 0.9M
• LOADING CAPACITY OF FIRMAN LIFT: >500KG [8
RESEARCH
RESEARCH CURATOR
CURATOR • SPACE FOR 180° ROTATION OF A WHEEL CHAIR: 1.8M
PERSONS]
DIA
LECTURE • FLOOR AREA OF LIFT CAR OF THE FIRE LIFT :
THEATRE
GALLERY
GALLERY • MIN GRADIENT OF RAMP= 1:8 OR 1:12
SERIES OF ATTRACTIVE DIFFERENT LEVELS OF ENTRY >1.44SQ.M
• WIDTH OF RAMP: MIN 1 M
VISTAS AT ENTRY • ONE LIFT FOR DISABLE
CHECK
CHECKININENTRANCE
ENTRANCE • SANITARY: AT LEAST 1 COMMODE
• ACCESS IS GENERAL DISTRUBUTION ALONG ➢ DISABLED ACCESSIBILITY
THE MAIN DIRE CTION OF TRAFFIC FLOW REQUIREMENTS
CIRCULATION DIAGRAM
• LIFT CAR : 1.2M X 1.4MWITH CLEAR OPENING OF 0.8 M​
•ACCESSIBLE FROM THE PARKING AND MAIN APPROACH OF THE BUILDING
• EMIT AUDIBLE SOUND TO EASE THE TRAVEL OF VISUALLY IMPAIRED PEOPLE.
•HEIGHT OF THE CONTROLS FROM THE LIFT FLOOR LEVEL: 1.2M
CIRCULATION PATTERN
STAIRS •HEIGHT OF HANDRAIL
CENTRALIZED ACCESS DECENTRALIZED ACCESS FROM CENTER OF THE
•WIDTH OF STAIR: 1.5 TREAD: 0.9 M SUSTAINABLE DESIGN
CONSIDERATION •TREAD: 0.279M
• ENTRY AND LOBBY SHOULD DIRECT VISITORS. •MAX. NO OF RISER PER •NATURAL AND RENEWABLE ENERGY LIKE WOOD FOR HEATING,
•RISER: 0.175M FLIGHT: 15 AND WIND AND SUN FOR ELECTRICITY GENERATION
• DEAD ENDS IN GALLERY SHOULD BE AVOIDED •USING 100% OF THE TIMBER FROM SUSTAINABLE SOURCES
CORE AND SATELITE
WITH EXHIBIT ON ONE SIDE ALLOWING PEOPLE TO MUSEUM DESIGN GUIDELINES •DIVERTING 100% OF NON-HAZARDOUS WASTE FROM LANDFILL
OPEN PLAN
PASS BY SAME SPACE AGAIN AND AVOID CROWD. • CAN VARY CONSIDERABLY IN SIZE, •USING A GREY WATER HARVESTING SYSTEM
• MOVEMENT SHOULD BE SUCH THAT IT IS NOT ORGANIZATION AND PURPOSE. •SOLAR SHADING USING LOUVRES AND PLANTS TO REDUCE
FORCED. • SHOULD BE EASILY ACCESSIBLE (LOCATION SUMMER OVERHEATING
• MOVEMENT SPACE SHOULD BE ENOUGH. AND TRAVEL PERSPECTIVE, BUT ALSO •HEALTHY BUILDINGS WHICH ARE FREE FROM TOXIC EMISSIONS
LINEAR PROCESSION
IN TERMS OF ACCESSING AND TRAVELING •SUPERINSULATION WHICH KEEPS THE BUILDING WAR
THROUGH THE BUILDING).
LOOP • WELCOMING VISITORS WITHIN THE FIRST EARTHQUAKE RESISTANCE
FEW FEET OF A MUSEUM SHOULD BE ONE GENERAL REQUIREMENT FOR EARTHQUAKE RESISTANT
TEDIOUS FLOW RELAXATION AREA IN
OF ITS BIGGEST PRIORITIES. CONSTRUCTION:-
CIRCUIT
•PROPER SITE PLANNING
BUILDING BYE-LAWS • APPROPRIATE PLANNING
•MAX.GROUND COVERAGE: 50%
• GOOD FOUNDATION RESTING ON FIRM BASE
COMPLEX •MAX.F.A.R: 2.5
LABYRINTH • CREATING A BOX EFFECT
•SET BACK: 3 METER ROAD AND ROW: 2M
• BETTER BONDING BETWEEN MASAONRY UNIT
NEST OF SMALL •MAXIMUM HEIGHT: 16M AND 1M FOR PARAPET
CHAIN CIRCUIT • CONTROLLED SIZE AND LOCATION OF OPENING
CUBICAL CIRCUIT •MAX. FLOOR HEIGHT: 12’ FOR GF AND 10’ FOR
• LIGHT CONSTRUCTION
OTHER
•MAX. FLOOR LEVEL: 5
RECOMMENDED FORM
STAR AND FAN •PARKING: 20% OF BUILT AREA
COMB PATTERN •PLINTH: 0.6M ABOVE ROOD LEVEL REFERENCES
• TIME SAVER STANDARDS
• NEUFERT
SPIRAL CIRCUIT •COMPOUND WALL: 4’+3’ • SLIDESHARE
CIRCULATION ON RHYTHM • ISSUE.COM
WHAT WE LEARNT? •
•
NBC206
THESIS ON MUSEUM( KEDAR CHHETRI)
• ARCHI.MONARCH.COM
• MUSEUM AND ART GALLERY • MODECE.COM
•
• REQUIRED SPACE PER PERSON (THROUGH •
OREGON.EDU

ANTHROPOMETRY) ACCORDING TO PLACE • BYELAWS •

ELPROCUS.COM
UJOYDISPLAY.COM
BLOCK PATTERN RECTILINEAR PATTERN STAR SHAPED • STANDARD DATAS FOR DIFFERENT PROGRAM INCLUDING • INTERCONNECTED SPACE •
•
WORKSPACE.AE
PINTEREST
ITINERARY
INTERIOR ITEMS • SUSTAINABILITY IN MUSEUM DESIGN • VIJAYSANGAMWORLD.WORDPRESS.COM
• MUSEUM OF THE ALBEMARLE
TRIBHUWAN UNIVERSITY, INSTITUTE OF ENGINEERING
NAME: SAMIR CHAUDHARY, SANDESH BHANDARI, SEEMA GAUTAM, SRIJANA MAHATO, SAURAV KOIRALA
PURWANCHAL CAMPUS TITLE: LITERATURE REVIEW ON ART GALLERY AND MUSEUM COMPLEX
ROLL NO. : PUR076BAR036, PUR076BAR037, PUR076BAR038, PUR076BAR040, PUR076BAR048 SHEET NO:
DEPARTMENT OF ARCHITECTURE SUBJECT: DESIGN STUDIO V
08
DHARAN, SUNSARI CHECKED BY: AR. DIPENDRA SUBBA SIR, AR. SUMAN LIMBHU SIR