SPATIAL LAYOUT OF

ARCHITECTURAL
DESIGN GALLERY
REPRESENTED BY: MARTINEZ, JEWEL MAY
TAURO, DESIELOU
REPATO, REIDEL ANNE
 VII. RELATED LITERATURE
“This thesis aims to answer the question of whether the spatial arrangement of an art gallery has an effect on the visitor experience. The main hypothesis states
that the influence of artwork’s spatial location is often larger than that of the artwork’s content and that it can be used to partially predict the cognitive impact of
an exhibition. This is a particularly fascinating problem considering that very often thematically-grouped, and visually similar modern artworks are displayed in
aesthetically-neutral, ‘white-cube’ galleries. This thesis will aim to explain whether such a situation enhances the potential impact of the spatial arrangement,
shifting the decision about the outcome of the visitor-artwork interaction from the artist creating the work, to the curator responsible for its arrangement. It is
important to once again emphasise that the Case Study did not provide the opportunity to randomise the picture sequences.”(The Influence of an Art Gallery's
Spatial Layout on Human Attention to and Memory of Art Exhibits, J. Krukar,2015)

“It is difficult to establish what constitutes a good museum/gallery exhibition. Yet, it has been widely acknowledged that what visitors attend to and what they
―get out of it‖ [3] (p. 46) should be a priority. To facilitate this, the curator’s main task lies in presenting the exhibited material within the space available. By
doing so, the curator must inevitably influence the perceived importance and possible interpretations of the object, which often go beyond the original intentions
of the artist. Being aware of the space’s characteristics is therefore crucial when designing an exhibition with its visitors in mind. The focus of this paper is mainly
on the local properties of artworks’ locations which determine their spatial and, as a consequence, curatorial relationships with each other. These spatial properties
have been shown to differ significantly across museums. These spatial practices can also distinguish between those museums imposing some pre-defined meaning
upon the visitor’s interpretation, and those which allow for more unrestricted explorations. .”(Walk, Look, Remember: The Influence of the Gallery’s Spatial
Layout on Human Memory for an Art Exhibition, J. Krukar, 8 July 2014)

The use of in-between spaces at the gallery provided the CLINK Project team with a variety of spaces they could use in different ways. However, these spaces
were not highly visible, which meant that some visitors did not notice them. As a result, I suggest that in such circumstances it is particularly important to
consider how to attract visitors to the spaces. The team members identified that in this respect I played an unanticipated role as facilitator, as well as evaluator,
by drawing visitors’ attention to the spaces and opportunities for interaction that the visitors had not noticed. The team members also played a role in engaging
with visitors – not simply the designed opportunities for public interaction, but also to overcome the barrier to public interaction due to the low profile of the
spaces.”(The Use of Gallery Spaces: A Case Study of CLINKProject3: Collaborism, L. Brook, 2015)
 RELATED LITERATURE
“In An Introduction to Architecture for Comprehensive Engineering Schools in Paris a monograph of Jean-
Louis Dylan, he put forward the feature of museum architecture design, i.e., practical applicability. The
audiences of museum architecture refer to the group that it serves. For audiences, the most intimate
functional space in a museum architecture consists of three aspects, i.e., exhibition space (Henderson, 2001),
traffic space and rest space (Henderson, 2001). Consequently, this paper focuses on investigating and
analyzing these three spaces, so as to understand their characteristics and mutual relationship profoundly. By
virtue of analyses of the data from the field investigation, the design methodology and philosophy is
revealed, and can be provided as an essential reference for the design of museum architecture afterwards.
Exhibition space acts as both the basic space in architecture, for instance, museums and the carrier of the
exhibition. In general, plane layout of a exhibition room is divided into the following types, i.e., tandem
type, radial type and hall type (Zhang and Zhou, 1998). .”(A brief analysis of spatial constitution and
functional organization of museum architecture: A case study on museums in Hefei, Z. LiQiong, W.
HaoHe)
 RELATED LITERATURE
“So how can environments that “encourage learners to use both their hands and their minds to experiment with the world” be created, given the fact
that different visitors represent very different approaches in their individual learning, and have different preferences and motivations? Various learning
styles have to be taken into account. Among the most popular theories of learning styles is the one developed by David Kolb. Kolb distinguishes
between Dreamers, Deliberators, Deciders and Doers. Put into the context of developing inspiring learning facilities and learning spaces for the
different learning groups, Dreamers should find encouragement to use their imagination, with ‘unidentified objects’. Deliberators should be
intellectually challenged, for instance by assembling objects in the correct order. Based on the results which delivered an astonishing number of in-
depth descriptions of learning facilities and spaces, we decided that there had to be a next step: a virtual picture gallery presenting such impressive
examples, with two aims: on the one hand giving an inspiration to museum staff members, on the other hand showing to the public the variety of
innovative learning opportunities in today’s European museums. .”(The Learning Museum project, M. Sani, 2013)

“The main function of the art gallery is to inform the public of new knowledge, not only by providing valuable material and cultural experiences on
the certain places or certain times, but also by paying attention to the space for public assembly. Art gallery, generally as a clear organizational
structure, is composed of the exhibition hall devoted to display various art forms such as painting, sculpture, installation, furniture and multimedia,
etc, the art education area, the management space or office department and artwork store. On social functionally, art gallery talks about stories of
history, environment and humanities in a narrative way. Artwork, to a certain extent, is a microcosm of human life, the layout of art gallery often
changes according to continuously changing exhibition themes, the space configuration will also change, different spatial configuration forms a
specific person assembled mode and different interactive mode. Some studies posit concrete discussion about conceptual shifts during design with
particular emphasis on the designer’s understanding of what kind of configuration the particular design is(Peponis, Bafna et al. 2015). Integration is a
quantitative indicator that can describe the overall spatial structure, small radius value reflects the relationship between the spatial structures of local
scale (such as walking movement), the large radius value reflects the overall spatial structures (such as car movement). “(The Study of
Configuration Analysis in Art Gallery based on Space Syntax ——Comparison of Washington national gallery and the Shanghai art gallery,
F. Qi, Y. Chen, 2015)