• Based on the tourist influx with respect to yearly statics and user vs time. • Based on the tourist influx with respect to yearly statics and user vs time. that cares for a collection of artifacts and other objects of artistic, cultural, historical, or scientific importance. -Many public museums make these items available for public viewing through exhibits that may be permanent or temporary.

1. Programming-a tool at the service of the curator, the commissioning authority and the architect 91
with equipment necessary for the maintenance of the building. The,reserves are
devoted chiefly to the storing of exhibits.
Both stores and reserves should be located between the areas of the activities
they serve and the delivery areas. They may be underground and require no natu-
ral light. They should be completely isolated, have access that can be strictly
checked (one entrance, without direct connection with outside), and be especially
well protected against fire and theft. The reserves also have study areas in which
specialistsmay study individual objects. Storage and reserve areas may be broken
down functionally as follows: stores proper, transit, packing and unpacking, and
reception and distribution.
Handling areas should be included under this heading (storage of trolleys, etc.).
Work-shojs. This term covers all areas in which production functions are carried
out, i.e. building maintenance workshop, museology workshop, workshop for
maintenance and restoration of exhibits, photographic laboratories, photographic
studio, equipment simulationworkshop, duplication and photocopying workshop,
and vehicle maintenance workshop.
These units as a whole may be grouped together or divided into two parts,
according to size : workshops relating to the exhibits and workshops relating to
the building or administration.
Workshops may open directly on to the outside, but it is preferable to have
an intermediate buffer area which can be subject to supervision (usually loading
and unloading bays).
Most may be situated in the basement, in artificial light, though natural light-
ing (or at least approximating to daylight) is preferable where staff are present
all the time. Current health and safety regulations must be observed, and the loca-
tion of these areas should take into account the operational practices and avoid
the need for trans-shipment in the transport of objets. For security reasons, it
should be possible to isolate some workshops from one another and from the
rest of the museum’s activities.
Restoration workshops may present special problems, according to the nature
of the contents of the museum.
Parking. This concerns both public and services. It includes parking for coaches
and private vehicles, and also service and delivery vehicles. Service set-down
points (for delivery of goods and exhibits) and points for service vehicles must
respect special security regulations. The areas for goods delivery and the unload-
ing of exhibits should as far as possible be separated.
Unloading areas should be directly connected to storage and reserve areas, to
ease supervision for security, and it should, if necessary, be possible to close them
off. The car park for private cars should be placed so as to minimize security
problems and involve as short a walk as possible to the reception areas.
This attempt to define the organization of museum space is intended only to
bring out some basic principles. The authors believe it may act as an aid in draw-
ing up a museum programme, and it is for that reason that it is presented here.
[Translatedf i o m French]

2. Programming
Manfred Kehmbruck
As H have already discussed p r o g a m i n g in Mzisezrm,' I shall concentrate here
on the problems which it raises in the relationship between the commissioning
authority (client) and the master builder (architect).
Programming is an integral part of every planning process and has existed,
in some form or another, at all times. The constructivetension that exists between
client and architect has always been fraught with problems in the case of larger
buildings. The formula 'client-architect' has always been the concise representa-
tion in personal terms of the interaction between numerous forces coming into
play in the environment.
In the past, because of the generally authoritarian character of social structures,
the countless political, social and cultural components finally came to be concen-
trated in the fields of responsibility of a few persons and were represented in
the planning process by odytwo individuals.These were qualified by their strong
character and integrated personality to weld the many influences and trends exist-
ing in their environment into a more or less homogeneous intellectual structure
and world order, according to whose laws they prepared, harmonized or rejected
their various designs.
Since the client and the architect, having personally chosen each other,
conducted their dialogue through direct contacts, programming was likewise
characterized by creative give-and-take human relations.
Although many examples can be given to show that the discussions did not
always proceed quite smoothly and that troublesome disputes frequently arose,
the shared conception of the world order nevertheless made it possible to recon-
cile opposites and preserve intellectual and artistic unity.
The most striking buildings constructed in the past were the result of this re-
fraction of an idea in the prism of a few personalities. Programming was possibly
rather one-sided according to modern thinking but, perhaps precisely for this rea-
son, it was 'all of a piece'.
In our time, this planning process, which grew out of the imagination and en-
thusiam of a few individuals, has become enmeshed in the machinery of a complex
organization because of the scope of the projects and the complexity of modern
technology, and its efficacy is consequently being questioned. No client can take
his own decisions independently, nor can any architect be regarded as universal.
Today, it is undeniable that no single individual can claim to represent the
client: a Derson has become an anonvmous conceot. Who decides on the con-
L
'.See Manfred Lehmbruck, M"errnt~ tracts? WO
allocates the resources2 h o is authorized to act as a negotiator 2
WO
takes the responsibility? In a complex organization, limited functions are
XXVI, Nos. 3/4, p. 129-267, Paris, Unesco.
Rrprinted in 1979.