Case Study and Comparative Analysis of Exhibition Space Group; 06 1201024, 1201028, 1201032 An exhibition space is needed for the collection and display of vaious items in an organised way. The items can be both two-dimensional and three-dimensonal; for instance, paint- ings, prints, drawings, photography, sculptures or any other form of visual art. Designing an exhibition space requires the knowledge of the context, the social and cultural aspects of the place, amount of people expected to come, the type of exhibits and other func- tional aspects. These lead to the size and layout of the galler- ies as well as the environmental quality of the spaces. Ensuring the visitors’ comfort is always of the prime impor- tance. The comfort of the visitors depends on the organisation of the items, circulation pattern in the galleries and the light- ing facilities. Apart from the performing arts, the display of visual artre- quires movement. The galleries and other spaces should be designed in a way so that the viewers experience the organisa- tion of observing the exhibits and consider a sequence of ob- jects. Orient the visitors The entry and lobby areas should direct the visitors to the gal- leries where they can select a starting point and move to it as directly as possible. A viewer tends to turn to the right upon entering a gallery. The circulation pattern should be designed with this in mind. Viewers should be able to move through the exhibit without being forced to walk past objects they have already seen. There must be adequate spaces for visitors to move at differ- ent speeds. Some may move continuously and some may stop to examine particular objects in greater detail. The ability to survey the gallery area in one sweep will help viewers understand what is on display and decide what they want to see. Providing a pleasant environment A crowded, warm or noisy environment is never appreciated. Sufficiently roomy corridors, aisles and other traditional areas such as courtyards and skylights should be pro- vided. There should be places to sit down and rest for the visitors. Places should be illuminated by daylight. Seats at appropriate distances from large, important works give the visitors a chance to pause and examine the work without standing for long periods of time. Controlling noise and vibration in the exhibit space is very important. Proper ventilation should also be ensured. A low level of ambient lighting in the gallery area can be contrasted with dramatic highlighting. Vari- ations in ceiling heights help remove the visitors’ fatigue.
Transcript
Case Study andComparative Analysis
of Exhibition Space
Group; 061201024, 1201028, 1201032
An exhibition space is needed for the collection and display of vaious items in an organised way. The items can be both two-dimensional and three-dimensonal; for instance, paint-ings, prints, drawings, photography, sculptures or any other form of visual art.
Designing an exhibition space requires the knowledge of the context, the social and cultural aspects of the place, amount of people expected to come, the type of exhibits and other func-tional aspects. These lead to the size and layout of the galler-ies as well as the environmental quality of the spaces.
Ensuring the visitors’ comfort is always of the prime impor-tance. The comfort of the visitors depends on the organisation of the items, circulation pattern in the galleries and the light-ing facilities. Apart from the performing arts, the display of visual artre-quires movement. The galleries and other spaces should be designed in a way so that the viewers experience the organisa-tion of observing the exhibits and consider a sequence of ob-jects.
Orient the visitors
The entry and lobby areas should direct the visitors to the gal-leries where they can select a starting point and move to it as directly as possible.
A viewer tends to turn to the right upon entering a gallery. The circulation pattern should be designed with this in mind.
Viewers should be able to move through the exhibit without being forced to walk past objects they have already seen.
There must be adequate spaces for visitors to move at differ-ent speeds. Some may move continuously and some may stop to examine particular objects in greater detail.
The ability to survey the gallery area in one sweep will help viewers understand what is on display and decide what they want to see.
Providing a pleasant environment
A crowded, warm or noisy environment is never appreciated.Sufficiently roomy corridors, aisles and other traditional areas such as courtyards and skylights should be pro-vided.There should be places to sit down and rest for the visitors. Places should be illuminated by daylight. Seats at appropriate distances from large, important works give the visitors a chance to pause and examine the work without standing for long periods of time.Controlling noise and vibration in the exhibit space is very important. Proper ventilation should also be ensured. A low level of ambient lighting in the gallery area can be contrasted with dramatic highlighting. Vari-ations in ceiling heights help remove the visitors’ fatigue.
ARCHITECT: Frank Lloyd WrightLO-CATION: New York, United StatesYEARS OF CONSTRUCTION: 1956-1959
FEATURES: "One great space on a continuous floor"Galleries form a spiral.Instead of established system of floors, there is a spiral ramp rising to the upper levels and descending around an open patio.Artworks areexposed along the spiral ramp. Visitors see the work walking up the illuminated spiral ramp.The spiral shape is marked by the mergeing of triangles, ovals, arcs, circles and squares with the concept of organic architecture.A huge atrium is there at the centre. This allows interaction of people at different levels.
CRITICISM: The building was unpopular in some criticisms by artists who felt that the ramp and the sloping walls were not suitable for a painting exhibition.According to them, the building overshadows the works exhibited and it is difficult to hang the paint-ings properly in the walls.
AESTHETICS: The building itself became an artwork.The building looks like a white ribbon rolled into a cylindrical shape, slightly wider at the top than the bottom.
Section
Plan
Plan
LIGHTING: Large citrus fruit shaped skylight at the zenith. The spiral galleries are lit naturally to some extent by the skylight. The walls being sloped help light pene-trate the galleries at each level.
Lighting and VentilationBengal gallery has only indoor exibition space. This galleries are cenrally air condi-tioned and uses mechanical ventilation system. Thus artificial lighting has used here extesively.Studio spot light and diffused bounce lights are mostly used throughout the gallery.Natural Lighting is present in the cafeteria area. Glass wall of wood frame ensures magnificent lighing during daytime.
Bounce light Spot lightPlan
LIGHTING: Large citrus fruit shaped skylight at the zenith. The spiral galleries are lit naturally to some extent by the skylight. The walls being sloped help light pene-trate the galleries at each level.
Visual connection
Since its establishment in 2000, the Bengal Gallery of Fine Arts has helped the fine arts movement of Bangladesh by creating an art market and promoting art awareness. Its suc-cess in awakening interest in among the middle and upper income groups is visible in the artwork.
ARCHITECT: Frank Lloyd WrightLO-CATION: New York, United StatesYEARS OF CONSTRUCTION: 1956-1959
FEATURES: "One great space on a continuous floor"Galleries form a spiral.Instead of established system of floors, there is a spiral ramp rising to the upper levels and descending around an open patio.Artworks areexposed along the spiral ramp. Visitors see the work walking up the illuminated spiral ramp.The spiral shape is marked by the mergeing of triangles, ovals, arcs, circles and squares with the concept of organic architecture.A huge atrium is there at the centre. This allows interaction of people at different levels.
CRITICISM: The building was unpopular in some criticisms by artists who felt that the ramp and the sloping walls were not suitable for a painting exhibition.According to them, the building overshadows the works exhibited and it is difficult to hang the paint-ings properly in the walls.
AESTHETICS: The building itself became an artwork.The building looks like a white ribbon rolled into a cylindrical shape, slightly wider at the top than the bottom.
Plan
Plan
Plan
Rennie Art Galleryand Offices
Architect: Walter Francl Architects with mgbLocation: Vancouver, British Columbia, Canada
InternationalCase Study
The essence of the design approach was simplicity where the architecture respectfully allows the collection to shine. It is in the quietness and restraint of the final design that the architects believe the project suc-ceeds in demonstrating a maturity and respectful-ness for its ultimate pur-pose.
The program is distinct in the marriage of a large private art gallery with a busy real estate market-ing office. The two pro-grams generally act quite independently. The gal-lery will house the owner’s extensive collection of contemporary works. Though a private collec-tion and gallery, the owner intends to occa-sionally use the space for
Standard Conventions Circulation space-
- in the gallery, there must be enough space that allows both the moving crowd and standing viewers have individual space without any obstacle in flow. -all the spaces should be easily accessible from the lobby.
Guidelines for lighting-- there should be no direct lights on the exhibited objects- there should be no permanently built in lights, no ceiling lights- for very sensitive display objects 50-80lx for sensitive display objects 100-150lx for less sensitive display objects 150-300lx-there should be facilities to darken all the roomsnon-displaying areas like- entrances, libraries, offices, washrooms etc, a greater amount of daylight is desirable
Temperature-- the ideal temperature in the store and the display areas are 15-18 degree Celsius in the winter and 20-22 degree celcius in the summer.-anyhow 26 degree c should not be exceeded in summer. - relatively chemically unstable exhibits like- photographs, films etc should be stored dry under the temperature 16 degree.
Humidity-- the optimal humidity values for wood 55-60% canvas 50-55% papers 45-50% metals 40% (max)- its important to avoid short term variations in relative humidity. The variation within 1hour should not exceed 2.5% or not more than 5% in one day.- seasonal variation should not be not more than +5% in summer or -5% in winter.
In an exhibition space there should be-1. Lobby
2. Storage3. Gallery
4. Service area (washrooms) 5. Office
Important factors areLighting
circulation spacetemperature
humidity
Major circulation route
Standard Conventions
CRITICAL DIMENSIONS FOR A VISUAL ART FACILITY
Ceiling height: Minimum 8’, Maximum 16’-20’Cone of vision: 40 degreeMinimum distance of light fixture from wall: 3’
