Programming-a tool at the service of the curator, the commissioning authority and the architect 71

Every moment in the process itself corresponds to a stage in the programming

studies. These stages are accordingly designated as follows :
Pre-programme. This represents a synthesis of the various preliminary studies and
makes it possible to draw up the main lines of the operation and, as regards
architecture, a rough plan of intent.
Basic programme. From this is derived the general organizational plan, as well
as the outline preliminary architectural project.
Final programme. This provides a detailed version of the architect’s preliminary
project and finally the project itself.
The programme document is thus the record of a synthesis, presenting the results
and consequences of analyses carried out at various levels. It is drawn up by,
or under the supervision of, the programmer, and is a faithful translation of the
requirements of the curator, who ratifies it in consultation with the commissioning
authority. It is then handed over to the architect, who elaborates his project on
the basis of the information and directives it contains.
It should be stressed that no matter what the size or importance of the museum
to be built or altered, use of the programming method is indispensable, though
of course in the case of small museums the programme also will be limited in
size. In fact, as much care must be taken not to exaggerate the size of the pro-
gramme as not to underestimate the importance of the method.

Methodolog y

There are various different methods of programming, and they are practised with
varying degrees of success according to the capabilities of those who invent or
apply them.
The method described in this article, which has the advantage of having been
used for several large museum projects, is based on five fundamental principles:
Instituting a relationship of close collaboration between the curator and the pro-
grammer from beginning to end of the operation, so as to ensure that both
sides are perfectly clear about the aims and functions to be fulfilled, and kept
regularly informed about every decision and its consequences.
Regarding architecture, administration and equipment as an indivisible whole
which must be approached globally and simultaneously.
Tackling all problems in a logical and at the same time imaginative manner so
as to bring out and then resolve the inherent contradictions.
Assessing, by feedback analysis, the consequences of alternative solutions, and
constantly checking their compatibility with the aims of the operation.
Evaluating precisely the reciprocal effects of specific decisions, providing against
possible imbalances, and taking into account administrative problems, in par-
ticular in regard to costs.
It is a method based on a ‘scientific’ conception of architecture. This means that
problems relating to the buildings themselves cannot be treated in isolation, with-
out regard to what they contain. This implies a continual use of functional analy-
sis. By this method an instrument is forged which makes possible: (a) systematic
analysis of the functions to be fulfilled and already existing facilities; (b) the
recording of constraints and requirements; and (c) syntheses in terms of the archi-
tectural and technical programme, administration and equipment.
The method is also based on the theory of sets and on systems analysis. Its
object is to translate the wishes of the curator into quantitative and qualitative
terms, and to analyse the different uses to which building and equipment will
be put. This enables the commissioning authority to make any necessary modifica-
tions in good time and in full knowledge of the facts.
The method, which also makes possible continuous correlation to ensure that
\
the architectural project is in line with the needs expressed, gives rise to an opera-
tional process of three main phases : feasibility, research and development.
78 Claude Pecquet and Patrick O’Byrne

Feasibility phme

On the basis of the general aims of the operation, and taking into account the
general nature of the site (baseline data) and the administrative, financial and
technical constraints and requirements, this phase determines the ‘dimensions’
or scale of the operation and the necessary conditions for its execution. It thus
shows the scope and extent of the objec‘tives, on the basis of the commissioning
authority’s general policy requirements (costs and dates), what sequence of action
and further planning will be necessary, and what personnel will be needed for
the studies.

esearch phase

The object of this phase is to facilitate the working out of a basic programme
which wid1 act as a reference document for the architect in establishing the outline
preliminary project. According to the kind of operation involved, this phase may
be broken down into set eral subphases : collection of material, analysis, synthesis,
orientation.

Developwent phase

This phase covers the establishment of an outline preliminary project and then the
working out of the final programme, on which is based the detailed preliminary
project. It is by analysing the preliminary projects and comparing them with the pro-
4
grammes that correlation between programme and project is ensured (Fig. 4 ) .

The creation, extension or modernization of a museum involves many different

kinds of action. These are directed and controlled by the commissioning auth-
ority, and carried out by four main participants: the curator, the programmer,
the architect and the building contractor. Each has a special role to play, involv-
ing responsibilities.
The commissioning authority is responsible for carrying the operation through
from the original decision to undertake it (general policy) until the completion
of the work (handing over of premises). He is thus responsible for both defining
and providing the resources needed for achieving the objectives of the operation,
and for carrying it out.
The curator, the chief beneficiary of the opesation and future user of the prem-
ises, is responsible for defining the objectives of the museum and passing them
on to the programmer. We follows the operation throughout, checking at each
stage that the objectives laid down are being adhered to. H e also represents the
user of the museum, i.e. the public.
The programmer, who is the operational link between the user and the plan-
ning agency, has to work out the functions stemming from the objectives and
then to define the needs corresponding to the proper carrying out of these func-
tions. In doing this, he takes into account the baseline data, the constraints and
the requirements. H e conducts the programming studies and draws up the pro-
n behalf of the commissioning authority, he carries out correlations
to ensure that the project is in line with the programme.
The architect, who is responsible for the architectural and technical execution
of the work, draws up an architectural and technical project corresponding to
the needs expressed in the programme, both as regards the architecture itself and
as regards equipment and administration.
The building contractor is responsible for carrying out the work under the dual
supervision of the architect and the commissioning authority (Fig. J ) .