This document provides information on the space requirements and design considerations for art galleries and museums. It discusses the history and functions of art galleries and museums. It also outlines the minimum space requirements for key areas like galleries, auditoriums, libraries, lecture halls, workshops, cafeterias, and parking. It discusses circulation patterns for galleries and considers approaches like linear, grid, spiral and star patterns.

1. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
LITERATURE REVIEW
ART GALLERY AND MUSEUM COMPLEX
INTRODUCTION
AN ART GALLERY IS A ROOM OR A BUILDING IN WHICH VISUAL ART IS DISPLAYED THEREFORE A
BUILDING OR PLACE WHERE WORKS OF ART, SCIENCE, OR OTHER OBJECTS OF PERMANENT
VALUE ARE KEPT AND DISPLAYED . TO SHOW WORK OF ART AND OBJECTS OF CULTURAL AND
SCIENTIFIC INTEREST
DIVIDING THE COLLECTION
HISTORY
HISTORICALLY, ART IS DISPLAYED AS EVIDENCE OF STATUS AND
WEALTH, AND FOR RELIGIOUS AS OBJECTS OF RITUAL OR THE
DEPICTION OF NARRATIVES. THE FIRST GALLERIES WERE IN THE
PALACES OF THE ARISTOCRACY, OR IN CHURCHES
•IN 17TH OR 18TH CENTURY, EUROPE
•IN 1683 ASHMOLEAN MUSEUM IS CONSIDERED TO BE FIRST MUSEUM
OPEN FOR PUBLIC
TYPES OF MUSEUM
 ARCHAEOLOGY MUSEUMS.
 ART MUSEUMS.
 ENCYCLOPEDIC MUSEUMS.
 HISTORIC HOUSE MUSEUMS
 HISTORY MUSEUMS
 LIVING HISTORY MUSEUMS
 MARITIME MUSEUMS.
 MILITARYAND WAR MUSEUMS.
 MOBILE MUSEUMS
 NATURAL HISTORY MUSEUMS
 OPEN AIR MUSEUM
TYPES OF ART GALLERY
 COMMERCIAL ART GALLERY
 ARTIST-RUN INITIATIVE
 VANITY GALLERY
 NON-PROFIT GALLERY
MUSEUM
TO
COLLECT
TO
CONSERVE
TO STUDY
TO
INTERPRET
TO EXHIBIT
OBECTS FOR
DISPLAY
OBJECTS FOR
STUDY
ART
ART IS THE CONSCIOUS CREATION OF SOMETHING
BEAUTIFUL OR MEANINGFUL USING SKILL AND
IMAGINATION. THE TERM ART ENCOMPASSES DIVERSE MEDIA
SUCH AS PAINTING, SCULPTURE, PRINTMAKING, DRAWING,
DECORATIVE ARTS, PHOTOGRAPHY, AND INSTALLATION.
16 MUSEUM + 14 ART GALLERY
ART GALLERY AND MUSEUM IN PROVIENCE NO. 1
i. MUSEUM OF NEPALI ART , THAMEL KTM
ii. NATIONALART MUSEUM
iii. PATAN MUSEUM
iv. SIDDHARTHAART GALLERY
 SWAYAM ART GALLERY, DHARAN
 FINE ART GALLERY, DHARAN
 BIRTAMODE ART GALLERY, BIRTAMODE
 ART HERITMAGE OF HIMALAYA, NAMCE
 PROVIENCEL ART MUSEUM, DHANKUTA
 SHERPA CULTURE PHOTO GALLERY
MANY ART GALLERY AND MUSEUM OF EASTERN
REGION ARE TEMPORARILY CLOSED DUE TO
DIGITALIZATION SYSTEM
NOT ADOPTED YET
LOSE DURING COVID CRISIS
LACK OF DIVERSIFICATION
LACK OF PROPER
INFRASTRUCTURE
AT PRESENT THERE MORE THAN 50 MUSEUM
IN NEPAL ACCORDING TO DEPARTMENT OF
ARCHAEOLOGY
PROBLEMS IN ART GALLERY AND
MUSEUM
FUNCTIONS OF MUSEUM AND ART GALLERY
 BRIEF HISTORY ON ART
THE OLDEST ART IN THE WORLD IS ABOUT 40000 THOUSAND YEARS OLD. IT WAS PAINTED ON CAVE
WALL OR SCULPTED FROM ROCKS AND CONSISTED MAINLY OF PEOPLE KILLING ANIMALS OR EACH
OTHER. THE OLDEST DOCUMENTED FORMS OF ART ARE VISUAL ARTS, WHICH INCLUDE IMAGES OR
OBJECTS IN FIELDS LIKE PAINTING, SCULPTURE, PRINTMAKING,
PHOTOGRAPHY, AND OTHER VISUAL MEDIA
• INSTALLATION ART • VISUAL ART • DIGITALART
SOME PROBLEMS
ART IN NEPAL
THE ART AND CULTURE OF NEPAL HAVE BEEN STRONGLY INFLUENCED BY THE RELEGIOUS BELEIFS OF
THE COUNTRY.
• THANGKA PAINTINGS
 PAINTING
• MANUSCRIPT ILLUSTRATIONS FOUND ON PALM LEAVES
 SCULPTURES
• WOODEN CRAFT
 POTTERY
VISITOR IN ART
GALLERY AND
MUSEUM • EXPERIENCE SEEKER
• EXPLORERS
• FACILITATORS
• HOBBYISTS AND
PROFESSIONALS
TYPES
ART AS
EXPRESSION OF
EMOTIONAL
CONTENT
ART AS FORM
ART AS
REPRESENTATION
OR MIMESIS
OBJECTIVE OF ART GALLERY AND MUSEUM
 GIVES PLATFORM TO DISPLAY TALENT OF THE ARTIST
 ENCOURAGE EMERGING ARTIST
 PROMOTES TOURISM AND UPLIFT THE ECONOMY OF REGION
 HELPS TO MAINTIAN THE IMPORTANCE OF ART AND CULTURE
 GIVES PLATFORM FOR DIFFERENT EXHIBITIONS
 TO PRESERVE CULTURAL ARTIFACTS
 TO OVERCOME THE DRAWBACKS OF EXISTING GALLERY AND MUSEUM 1

2. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
PROGRAMS
EXHIBIT AREAS
ORIENTATION
LECTURE/
ACTIVITY
ROOM
LOBBY
INFORMATION
SALES
STORE
OFFICE
WORKROOM
SECURITY
LOBBY
STUDIO
WORKSHOP
COLLECTION
STORAGE
PUBLIC
ENTRANCE
STAFF
ENTRANCE
MEETING ROOM
MINIMUM 30 SQ.M AND IT
SHOULD BE LOCATED ON PEACE
FULL ZONE
STORE
DEPENDS UPON THE
USAGES STANDARD SIZE
SHOLD BE = 7.4 SQ.M
TYPES OF EXHIITION
•PERMANENT (FOR MIN OF 10
YRS )
•TEMPORARY OR SPECIAL (DAY,,
WEEK ,MONTH )
•MOBILE (TO ATTRACT
AUDIENCE )
EXHIBITION SPACES
HEIGHT OF BUILDINGS
•LESS THAN 12 M
•LIMIT FOR ANY ARCHITECTURAL
ELEMENTS IS 17 M
ENTRANCE AND DOORS
•SINGLE DOORS MIN OF 800MM
WIDE,,PREFERABLE 1200MM
•DOUBLE DOORS MIN OF 1600 MM WIDE
SPACE AND REQUIREMENTS
•ROOM SIZE DEOENDS ON SHOWCASE
SIZE
•FOR SCULPTURE OR MODELS –6-10 SQ M /
GROUND SURFACE
•LATERAL LIGHTING GIVES RISE TO
SWALLOW ROOMS
•MONOTOMY RESULTS IF NO OF ROOMS
FOLLOW ONE ANOTHER
DIVISION OF EXHIBITION SPACES
AVERAGE VIEWING SIGHTLINES
SECURITY
MONITORING ROOM
COMPUTER- 2 SQ.M
STAFF OFFICE
7.9 SQ.M PER PERSON(INDIVIDUAL 10
SQ.M MINIMUM)
CURATOR OFFICE
18-30 SQ.M DEPENDING
EITHER THE CONDITION IT IS
USEDG
SERVER ROOM
COMPUTER- 2SQ.M
PHOTOCOPY-2SQ.M
RESTAURANT
•ENTRY
•DINING SPACE- ADDITIONAL
TABLES AND CHAIIRS SHOULD BE
AVAILABLE FOR FLXIBLE TABLE
GROUPING
•WAITERS STATION
•MUST BE IN PRIME LOCATION
•MIN WIDTH OF SERVICE AISLE
0.9-1.35 m
• WAITER STATION : 1 PER 20- 30
SETS
•METAL WORKSHOP
•WOOD WORSHOP
•TERRACOTTA WORSHOP
ACTIVITY AREA PER
PLACE IN SQ.M
ART WORKING 4.7
METAL WORKING 5.3
ELECTRONICS 3.3
SPINNING & WEAVING 7.2
WORKSHOP
•NATURAL DAYLIGHTT,HIGH LEVEL
WINDOWS (25-30%) OF FLOOR AREA
•ROOF LIGHTING PREFFERED, DAYLIGHT
CONTROL
•BUFFER ADDING WALLS/ VEGETATION
•SHOULD BE THERMALLY ,MENTALLY,
PHYSICALLY COMFORTABLE
LIBRARY
 READING AND STUDY AREA REQUIRES SUFFICIENT
NATURAL LIGHTHING
 SPECIALATTENTION FOR DISABLED/ HANDICAPPED
USERS AS WELL
 PROVISION OF EMERGENCY EXISTS.
CIRCULATION ROUTE >1.2 M
CLEAR SPACE BETWEEN
SHELVES
MIN 1.3-1.4 M
AREA REQUIRED 2.5 SQ.M PER READERS
ROOM HEIGHT >=3 M
USABLE FLOOR AREA 300 SQ.M/10000 BOOKS
SPACE ANALYSIS FOR
BOOKS
15 BOOKS /SQ.FT
FOR READER 2.5-3 SQ.M/READER
FOR STAFF 1 STAFF /250 READERS
100 SQ. FT / STAFF
FOR MECHANICAL
OPERATION
20% OF TOTAL FLOOR
AREA
LECTURE ROOM
 LARGE ROOM USED FOR INSTRUCTION
 FOR MORE THAN 200 STUDENT
SHOULD BE DESIGNED FAN SHAPE IN
THE RATIO 1:1 TO 1:1.3
CAPACITY VOLUME(M
^3)
SIZE
CATEGORY
30 138 SMALL
30 156 SMALL
50 260 SMALL
30 148 SMALL
40 218 SAMLL
80 242 MEDIUM
140 250 MEDIUM
110 267 MEDIUM
62 356 LARGE
240 753 LARGE
2

3. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
GALLERY
 HEIGHT: NOT LESS THAN 3M i.e., 3.6-5.4M
 LENGTH: 18.2-24.4M
 WIDTH: 5-10M
 PICTURE/PAINTING/2D DISPLAY: 3-5 M^2
HANGING SURFACE TO EACH WITH ARTIFICIAL
LIGHTING IN DARKER SPACE
 SCULPTURE/3D DISPLAY: 6-10M^2 AREAS WITH
NATURAL LIGHTING
AUDITORIUM
PROJECTION ROOM-ROOM IN WHICH THE FILM
PROJECTORS ARE OPERATED.
GREEN ROOM- ROOM IN A THEATRE
 SLOPING FLOOR SHOULD BE AVOIDED, IF POSSIBLE SO IT
CAN BE USED FOR CONFERENCE AND TEMPORARY
EXHIBITS.
 VERY LARGE=1500 OR MORE SEATS
 LARGE =900-1500 SEATS
 MEDIUM= 500-900 SEATS
 SMALL-<500 SEATS
WATER FOUNTAIN
JANITOR ROOM
ROOM OF CARETAKER
HOUSE KEEPING
 RESPONSIBLE FOR CLEANLINES,
MAINTAINANCE, AESTHETIC
UPKEEP OF ROOM, PUBLIC AREAS,
BACK AREAS
OPEN SPACES
PARKING
STAFF PARKING VISITOR PARKING
 USUALLY OUTLINED BY 12-20MM WIDE YELLOW OR WHITE PAINTED LINES.
 FOR CARS SHOULD HAVE OVERALL LENGTH OF 5M AND A WIDTH OF 2.30M
 PARKING FOR DISABLED SHOULD BE MORE THAN 3.50M WIDE.
 OUTER TURNING CIRCLE RADIUS=12M OR >=10M
TYPES OF PARKING
1. PARALLEL PARKING
2. PERPENDICULAR PARKING
3. ANGULAR PARKING
CONFERENCE HALL
 CONDUCTS CONFERENCES, LECTURES,
SEMINARS, FILMS AND DOCUMENTARY
SHOWS ON ANY RELATED TOPICS.
TABLE SIZE SEATING
CAPACITY
ROOM SIZE
98” * 48” 6-8 16’ * 12’
120” * 48” 8-10 18’ * 12’
144” * 48” 10-12 20’ * 12’
150” * 48” 10-12 21’ * 12’
 PLACE OR EVENT IS OUTSIDE RATHER THAN IN A BUILDING
 200 SEATS- 270 SQ.M
 150 SEATS-190 SQ.M
 75 SEATS-125 SQ.M
 SEMI CIRCULAR OR FAN SHAPED LAYOUT FOCUSED ON THE
STAGE
 UPTO 100 SPECTATORS-8” TO 16” HIGH
 100 TO 300 SPECTATORS- 16” TO 24” HIGH
 300 TO 500 SPECTATORS- 24” TO 32” HIGH
 SEATS> 20 INCHES IN HEIGHT / 1’3” HIGH
> 22 INCHES IN WIDTH / 2’4” DEEP
< 2 FEET IN DEPTH / 1’32/2” WIDE
OPEN AIR THEATRE
 NO OPEN STAIRWAYS, CORRIDORS, OR BALCONIES
 MIN FLOOR HEIGHT 9 FT
 DESIGN INTERACTING WITH COMMUNITY SPACES
 SINGLE POINT OF ENTRY INTO BUILDING
DORMITORY LABORATORY MODULE
 USUALLY 3.15 M WIDE AND 6-10 M IN DEPTH
 IN 3.15 M DIMENSION BASED ON ROWS OF
 CASEWORK AND EQUIPMENT
 WALLS BETWEEN LABS MUST BE 15 CM
 IF LAB MODULE IS THICK ,MUCH CIRCULATION AREA
GREEN SPACE
 PUBLIC GOODS THAT CAN BE ACCESSED FREELY
BY ALL CITIZENS
 PARKS, PLAYGROUYNDS, PUBLIC SEATING
AREAS, PUBLIC PLAZA, VACANT LOTS.
 PROVIDES SENSE OF BALANCE
ARCHITECTURALLY AND PSYCHOLOGICALLY.
 PSYCHOLOGICAL RELAXATION AND STRESS
ALLEVIATION
 REDUCED EXPOSERS TO AIR POLLUTANTS,
NOISE AND EXCESS HEAT.
3

4. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
CIRCULATION
“OUR BODIES AND MOVEMENT ARE IN COSTANT DIALOGUE WITH OUR BUILDING”
ENTRANCE
CONFIGURATION OF
PATH
PATH/SPACE
RELATIONSHIP
FORM OF THE
CIRCULATION SPACE
APPROACH
GENERAL CONSIDERATION:
 ENTRY AND LOBBY SHOULD DIRECT THE VISITORS
 TO THE GALLERIES SO AS TO AVOID CONFUSION .
 SHOULD BE IN CONTINUOS PATTERN.
 NO REPITION OF MOVEMENT IN SAME PATH.
 DEAD END MUST BE AVOIDED WITH EXHIBITS IN ONE SIDE. (SO
NO USE OF SAME ROUTE AND PREVENT CROWD.
MASSIVE CIRCULATION
PATTERN
MUSEUM ARE BASED ON PRINCIPLE OF SPREADING OUT TO
ACCOMMODATE MORE TRAFFIC AND ENCOURAGE FORWARD
MOTION AND PROVIDE BALANCED TIME LAG FOR
EXPERIENCING GALLERY SPACES.
ITNERARY AND STAR SHAPED
CONFIGURATION OF PATH ADOPTED
FROM CHING
LINEAR GRID SPIRAL
NETWORK RADIAL
OPEN PLAN CORE AND SATELITE LOOP PROCESSION
LABYRINTH COMPLEX
STAR/FAN PATTERN
LOOP
TEDIOUS FLOW
DECENTRALIZED CIRUIT
COMB-PATTERN BLOCK PATTERN RECTILINEAR CIRCUIT
CHAIN LAYOUT CIRCUIT NEST OF SMALL CUBICLES
CIRCUIT
RELAXATION AREA IN CIRCUIT CIRCULATION ON VARIOUS
RYTHMS
CIRCULATION PATTERNS
THE WIDTH AND HEIGHT OF A CIRCULATION SHOULD BE PROPORTIONATE WITH THE
TYPE AND AMOUNT OF MOVEMENT IT MUST HANDLE. A DISTINCTION IN SCALE
SHOULD BE ESTABLISHED BETWEEN A PUBLIC PROMENADE ,A MORE PRIVATE HALL,
AND ASERVICE CORRIDOR.
PATH AND SPACE RELATIONSHIP
 PATH PASSES BY EACH SPACE ENSURING INTEGRITY
OF EACH SPACE
 IN MUSEUM, THIS IS EXAMPLIFIED BY THE TYPICAL
ENFILADE ARRANGEMENT WHERE LONG CORRIDOR
OPEN TO GALLERIES
 THE PATH TERMINATES IN A SPACE,OFTEN AS AWAY
OF EMPHASIZING THE IMPORTANCE OF FINAL
DESTINATION.
RECEPTION RESTORATION
FLING
STORE
RESEARCH
LECTURE THEATER
GALLARY
CURATOR
CHECK IN ENTRANCE
 A CENTRAL ATRIUM CONNECTING ALL ROOMS ENABLES THE VISITOR TO ORIENT
THEMSELVES.
 A SYMMETRICAL DESIGN OR A CLEAR AXIS LEADING TO THE PRIME AREA MAY
CREATE AN ORDER OF ORIENTATION
 THE ENTRY POSITION CAN ALSO GUIDE THE VISITOR’S ROUTE.
 •IN VERTICALLY TRAVERSED SPACES, THE VISITOR SHOULD HAVE AN IDEA OF THE
PLACE THEY AREMOVING TO
A. THE VISITOR IS DRAWN INTO THE CENTRE OF THE ROOM;
B. THE VISITOR IS DRAWN TO THE RIGHT INTO THE CENTRE OF THE ROOM
VISITORS ORIENTATION
ORIENTATION PATTERN
4

5. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
DISPLAY ARRANGEMENTS
 DISPLAY ARRANGEMENT SHOULD BE IN A WAY WHICH ALLOWS
PUBLIC TO VIEW EFFORTLESSLY.
 DISPLAY ARRANGEMENT DEPENDS ON :
- CHARACTER OF OBJECT TO BE DISPLAYED
-LAYOUT OF GALLERY
 OBJECTS THAT ATTRACT LARGE NUMBER OF VISITORS SHOULD BE
PLACED WITH AN AMPLE CIRCULATION SPACE AROUND IT,
WHEREAS, LESS POPULAR OBJECTS CAN BE PLACED IN SMALL
CLUSTERS WITH A LIMITED GROUP VIEWING SPACE
TYPES OF DISPLAY ARRANGEMENTS
 ISOLATED VIEWING
 LESS SPACE IS REQUIRED FOR ISOLATE
VIEWING
 AN INDIVIDUAL IS EVOLVED FOR
VIEWING THE OBJECT WHICH CAN BE
A FREE-STANDING STATUE OR WALL
DISPLAY OR FREE HANGING DISPLAY.
 GROUP VIEWING
 VIEWING OF OBJECT IS DONE IN A
GROUP
 REQUIRES LARGE SPACE AS A
CIRCULATION SPACE IS
PROVIDED AROUND THE OBJECT.
FAPPROPRIATE VIEW DISTANCES
ELEMENTS TO BE FOCUSED ON DISPLAY ARRANGEMENTS
VALUE COLOUR TEXTURE
BALANCE SHAPE
LINE
DISPLAY ARRANGEMENTS
FIG: SITTING AND LEANING BEHAVIOUR
BEHAVIOUR OF PEOPLE
 TOUCHING – IF OBJECTS DISPLAYED ARE WITHIN
REACH PEOPLE TEND TO TOUCH A BARRIERS COULD BE
ERRECTED FOR TANGIBLITY.
 ENTRY RESPONSE - PEOPLE WILL USUALLY CHOSE
LARGER OPENING IN MUSEUM IF PROVIDED WITH
CHOICE.
 VEIWING HEIGHT – PEOPLE WILL SPEND MUCH TIME IF
DESCRIPTION ARE EASILY READABLE.
 EXHIBITS CLOSET TO EXIT ARE LESS VIEWED.
 PREFERENCE FOR VISIBLE EXITS.
 SHORT ROUTE PREFERED
 TURINING TO RIGHT
 USE DIAGONALS AND CURVES.
 SEE THROUGH PANELS,WINDOWS AND EXHIBIT CASES.
FLUSH ARRANGEMENT
VIEWING HEIGHT AND
CENTRE OF MASS
VIEWING HEIGHT AND
COMFORTABLE VISUAL
SPACE
FIELD OF VISION: HEIGHT,SIZE
AND DISTANCE
VIEWING PARAMETER
 THE MEAN ADULT EYE LEVEL HEIGHT IS ABOUT 5’ 21/4”.
 CHILDREN AVERAGE HEIGHT IS 3’10” AND EYE LEVEL IS AT 3’5”.
 THE NORMAL HUMAN ANGLE OF VISION OF HUMAN STARTS 27° FROM
EYE LEVEL.
 THE OPTIMAL HANGING POSITION FOR SMALLER PICTURES IS AT EYE
LEVEL.
 PER PICTURE, A HANGING SURFACE OF 3-5M2 IS REQUIRED. 6-10 M2 OF
GROUND AREA PER SCULPTURE.
 THE ADULT VISITOR OBSERVES AN AREA ONLY A LITTLE OVER 1” ABOVE
HIS OWN EYE LEVEL TO 3” BELOW IT AT AN AVERAGE VIEWING
DISTANCE OF 24-48 INCHES.
DIFFICUULT VIEW 3’ BELOW
AND 1’ABOVE EYE LEVEL
SPACE ARRANGEMENT VIEWING DISTANCE INCREASE
WITH SIZE
DISPLAY
VISUAL LINK BETWEEN
DIFFERENT FLOORS
5

6. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
LIGHTING
TYPES OF LIGHTING
DAYLIGHT
MUSEUM DESIGNS INCORPORATE DAYLIGHT BECAUSE HUMANS RELATE TO NATURE.
"NATURAL LIGHT CAN BE USED TO GREAT EFFECT TO DRAMATIZE AND ENLIVEN THE DESIGN OF ANY BUILDING . LIGHT
DEFINES A SPACE WITHIN A BUILDING’SDESIGN.
 LIGHTING DETERMINES THE QUALITY OF MUSEUM’S SETTING AND
EXPRESSES THE SPACES.
 LIGHT SIGNIFICANTLY MPACTS VISITORS PERCPTION AND
EMOTIONS.
 NATURAL LIGHTING
NATURAL LIGHT CAN BE INTRODUCED INTO A MUSEUM BY TWO METHODS
1. SIDE LIGHTING
2. TOP LIGHTING
RIBBON WINDOWS CORNER AND
END LIGHTING
CLEASTORY
INVERTED LIGHTING
TOP LIGHTING TECHNIQUES
BUILDING FORM
BUILDING
ORIENTATION
BUILDING SITE
WORKS ON PAPER 50 LUX WORKS ON PAPER WITH COLORED MEDIA, ANY MEDIA ON A
DEGRADED SUPPORT, COLOR PHOTO PRINTS AND TRANSPARENCIES
100 LUX WORKS ON PAPER WITH BLACK AND WHITE MEDIA ONLY, BLACK
AND WHITE PHOTOGRAPHS
PAINTINGS 50 LUX THINLY COVERED PAINTINGS ON UNPRIMED, CANVAS, PAINTINGS IN
DISTEMPER MEDIA OR
, MINIATURES
150-200 LUX OIL AND TEMPERA PAINTINGS
OBJECTS 50 LUX OBJECTS WITH PAINTED, DYED OR POLYCHROMED SURFACES,
UPHOLSTERED FURNITURE, UNSTABLE GLASS
200 LUX OBJECTS MADE OF MATERIAL SUCH AS LEATHER AND WOOD
1000-2000 LUX OBJECTS MADE OF INORGANIC MATERIAL WITH
UNPAINTED SURFACES SUCH AS STONE, CERAMIC
AND METAL
ARTIFICIAL LIGHTING
ARTIFICIAL LIGHTING IS PREFERRED TO ILLUMINATE AND HIGHLIGHT GALLERY
OBJECTS AS IT CAN BE EASILY CONTROLLED AND IS LESS HARMFUL TO
EXHIBITS.
SKYLIGHT PLACEMENT AS FUNCTION OF
BUILDING HRIGHT
SLOPED SKY LIGHT FOR
SEASONAL LIGHT
CELESTORY SPACING AS PER
FUNCTION OF BUILDING HEIGHT
TOP LIGHTING STRATEGIES
TYPES OF ARTIFICIAL LIGHTING
 FLUORESCENT LIGHT
 SPOT LIGHT
 FALSE SKYLIGHT
 LOUVERED LIGHTS
 TROUGH LIGHTS
 COVE LIGHTDS
TYPES OF OBJECT MAXIMUM
ILLUMINANCE
(LUX)
SENSITIVE OBEJECT
(WATER COLOUR
PAINTING
50
MEDIUM SENSITIVE
OBJECTS (OIL
PAINTINGS)
200
TNSENSITIVE OBJECTS
(STONE SCULPTURE)
<200
LOCATION OF LIGHTS
 LIGHTS SHOULD NOT BE POSITIONED AT ANGLES GREATER THAN 45 DEGREES.
 LIGHT FROM FIXTURES ANGLED BETWEEN 45 AND 90 DEGREES WILL SHINE INTO THE
EYES
FOR 2D OBJECTS FOR 3D OBJECTS
DISPLAY LIGHTING TECHNIQUES
6

7. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
WORKSHOPS
RECEIVING
COLLECTIOR
STORAGE
EXHIBITION
FOOD
SERVICE
GENERAL
STORAGE
LOBBY,
RESTROOM,
INFORMATION,
STORAGE,
LECTURE
HALL,
THERATRE
ADMIN
OFFICE
PUBLIC
NON-
PUBLIC
PUBLIC
ENTRANCE
GENERAL
LOADING
GENERAL
LOADING
 SITE SELECTION:
 THE FIRST STEP TOWARDS SITE SELECTION BEGINS WITH THE SEARCH FOR
APPROPRIATE SPACE WITHIN A RANGE OF 10000-20000 M² OF AREA.
 OTHER NATURAL ELEMENTS ARE ALSO NECESSARY AS AN ATTRACTION IN A MUSEUM
LIKE WATER SOURCE, FOREST TO CONNECT THE VISITER AND ARTIST TO THE NATURE.
 THE PHYSICAL CHARACTERISTICS, VISUAL QUALITY, AND THE PRESENCE OF HISTORIC
OR CULTURAL RESOURCES WERE EVALUATED AS PART OF EACH SITE ANALYSIS.
 THE EVALUATION OF TRANSPORTATION AT CANDIDATE SITES ADDRESSED ACCESS
REQUIREMENTS AND CONSTRAINTS; THE GENERAL MAGNITUDE OF DEVELOPMENT
THAT MIGHT BE ACCOMMODATED, GIVEN RESOURCES AT THE SITE; AND POTENTIAL
TRANSPORTATION IMPROVEMENTS.
 SITE ZONING
 PUBLIC COLLECTION AREAS
 ENVIRONMENTAL CONTROLS AND SECURITY FOR PRESERVATION
 OF COLLECTIONS
 NON PUBLIC AREAS
 FOR STAFF ALONE WITH ENVIRONMENTAL CONTROL
 PUBLIC NON-COLLECTION AREAS
 FINISH AND DURABILITY AND ENVIRONMENT CREATED FOR
 HUMAN COMFORT
 NON PUBLIC COLLECTION AREAS
 FINISH AND DURABILITY AND ENVIRONMENT FOR STAFFS ALONE
 BYE-LAWS:
 GALLERY: 40-50% OF TOTAL BUILT-UPAREA
 EDUCATIONALAND PROMOTIONAL ACTIVITIES: 4-8% OF TOTAL BUIL T-UPAREA
 SPACE FOR STORAGE AND COLLOCATION:10-15% OF TOTAL BUILT-UPAREA
 SPACE FOR RESEARCH AND STUDY:3-8% OF TOTAL BUILT-UPAREA
 SPACE FOR ADMINISTRATION/ MANAGEMENT:7-8% OF TOTAL BUILT-UPAREA
 SPACE FOR CIRCULATION: 20-30% OF TOTAL AREA.
 RATIO OF GALLERY TO NON-GALLERY SAPACE<45%.
 RATIO OF PERMANENT DISPLAY GALLERY TO NON-GALLERY SPACE<40%
 PROVISION OF FUTURE EXPANSION:20-25% OF TOTAL SITE AREA
 DESIGN ISSUES AND CONSIDERATION:
 PAINTS AND GUIDE RAILS USED FOR DEMARCATION OF PARKING SPACES.
 SIGNS AND BARRIERS CAN BE PROVIDED FOR PROPER PARKING AND TO AVOIDE
CLASHES
 STOP RAILS OR BUFFERS CAN BE PROVIDED.
 CAR PARKING SPACES FOR DISABLED SHOULD BE MORE THAN 3.50 M WIDE.
 TURNING CIRCLE FOR LARGEST VEHICLE IS AN OUTER TURNING CIRCLE RADIUS
OF 12 M
 SEPARATE ENTRANCES AND EXITS MUST BE PROVIDED FOR LARGE PARKING .
 CRITERIA FOR QUALITY OF MULTI-STORY CAR-PARKS ARE SAFETY, CLEARLY
VISIBILITY, AND PARKING SPACE MARKING TO ENABLE DRIVERS TO REMEMBER
LOCATION OF THEIR VEHICLES.
 OTHER FACTORS TO BE CONSIDERED ARE NATURAL LIGHTING,
VENTILATION,CLEAR VIEW TO OUTSIDE ETC.
 RAMP GRADIENT SHOULD BE 1:10
MECH
RM
LOBBY
SALES
COUNTE
R
OFFICE
WORKR
OOM
WORKSHO
P
EXPANSI
ON
LECTUR
E
RM
CHAIR
STORAG
E
KITCHEN
CLOAK
ROOM
PARKING
RSESERVE
COLLECTI
ON
DISPLAY
ROOM
EXPANSIO
N
EXPANSIO
N
PUBLIC
ENTRANCE
WALL OR PARTITION REQUIRED TO
SEPARATE STFF FROM PUBLIC AREAS
SUPERVISION
STAFF AREAS PUBLIC AREAS
SERVICE
ENTRANCE
MATRIX DIAGRAM
7
SPACE ORGANIZATION PATTERN
TRANSITIONAL SPACE
BUFFER

8. TIBHUWAN UNIVERSITY
INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS,DHARAN,SUNSARI
RITIK CHAUDHARY -031 RUBY RAJBANSHI - 035
RAKSHYA DHAKAL -029 RAUNAK LAL -034
RAM CHANDRA GYAWALI -047 PURNA KUMAR MAGAR -025
MATERIALS
SHOULD BE LOCALLY AVAILABLE, REFLECT
THE REGION’S CHARATER AND GIVE
SUSTAINABLE DEVELOPMENT.
MUSEUM ACOUSTICS
ACOUSTICAL
PROBLEMS
PROPOSALS
RT AND RASTI ADD SOME ABSORPTIVE
MATERIALS
HVAC NOISE IMPROVE DUCT ISOLAION
EXTERIOR NOISE INCLUDE DOUBLE
WINDOWS
STEP NOISE INCLUDE UNDERLAYS/
CARPETS
CONSTRUCTION OF WALLS FOR NOISE
CONTROL IN MUSEUM
INCREASED MASS
WIDE SPACING AND STAGGERED STUDS
DIFFERENTLY ABLE
FIRE SAFETY
• DESIGN TO ACCOMMODATE WHEELCHAIRS
AND ALLOW SUFFICIENT SPACE FOR MOVING
AROUND IN SAFEY
• RAMPS SHOULD BE STRAIGHT, WITH MAXIMUM
INCLINE OF 5-7%, NO LONGER THAN 6M
• CORRIDORS SHOULD BE 2M WIDE
• CLEAR SPANNING OF DOORS 0.95M
FIRE EXTINGUISHER ARE:
• WATER
• FOAM
• CARBONDIOXIDE
• DRY POWDER
• CLEAN AGENTS
• INERT GASSES
• SPRINKLER SYSTEM AND HYDRANT MODULES
• FIRE DETECTION SYSTEM
• ALARMING INFRASTRUCTURE
• EVACUATION PLAN WITH MULTIPLE ESCAPE
ROUTES (EMERGENCY LIGHTING, SINGAGE)
• FIRE COMPARTMENTALIATION
• EXTINGUISHING INFRASTRUCTURE
PREVENTIVE MEASURES
LIFT/ ELEVATOR
ELEVATORS ARE LOCATED IN THE LOBBIES NEXT TO STAIRWAYS TO
CREATE CORE SERVICE OR CIRCULATION AREA.
• COMMON ELEVATOR FOR PUBLIC BUILDINGS ARE 1.83M*1.53M
• DOORS ARE TYPICALLY 1.22M
• CONSTRUCTION MATERIALS: STEEL FRAME, ALUMINIUM, PLASTIC, WOOD,
GLASS
SANITATION
PUBLIC HEALTH CONDITIONS RELATED TO CLEAN DRINKING WATER AND
ADEQUATE TREATMENT AND DISPOSAL OF HUMAN EXCRETAAND
SEWAGE.
WATER SUPPLY
 ADEQUATE AMOUNT OF WATER SUPPLY FOR
MAXIMUM NUMBER OF FOR WATER CLOSET
,CLEANING ,DRINKING, BY CALCULATING
TOTAL VISITOR AND STAFF OF MUSEUM.
 WATER TANK SHOULD BE INSTALLED
ACCORDING TO THE STAFF AND VISITOR.
OTHER SANITATION FACILITIES
 PROPER FILTRATION SHOULD BE PROVIDED
 SEPTIC TANK SHOULD BE PROVIDE.
 DRAINAGE AND SEWAGE LINE SHOULD BE
PROVIDED
 LINKAGE SHOULD BE AVOIDED
ESCALATOR
• MINIMUM WIDTH OF 0.812M
• INCLINATION OF 30DEGREES
PROVIDES SAFETY AND
COMFORTNESS
A 1250MM
B 1400MM
C 800MM
COLOURS
AIR SPACE
LABELLING
MARKING AND
MEASURING
LOADING
PACKING
UNLOADING
UNPACKING
INSPECTION
WORKSHOP CONSERVATION
CLOSED
STORAGE/OPEN
/ ACCESS
STORAGE
EXHIBITION PHOTOGRAPHY Data collection
LOAD OUT
AND
DISPOSAL
ACQUISITION
LOADING
AND
UNLOADING
SERVICES
BRICK TILES GLASS METAL
WOOD CONCRETE
STAIRS
• USED AS VERTICAL
CIRCULATION. MINIMUM WIDTH
1.5M
8