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Title
Author(s)
Car museum
Wong, Kin-hay, Felix
Citation
Issue Date
URL
Rights
1995
http://hdl.handle.net/10722/27828
unrestricted
Department of0
Car Museum
-t?
CD
WONG Kin Hay, Felix
Thesis Report
1994/95
1 5 MAR 1995
Table of Contents
Acknowledgements
Preface
1.0
Introduction
2.0
Program Approach
3.0
Site Information
4.0
Concept
5.0
Design Guidelines
10
5.5
5.5
5.5
5.5
5.5
11
12
13
20
22
Site Development Guidelines

Architectural Image
Main Building Component Design Guidelines
Museum Support Area Design Guidelines
Circulation Guidelines
6.0
Overall Area Requirements
25
7.0
Case Study
28
Bibliography
32
This study was initiated in summer of 1994 as partial fulfilment of a Masters Thesis in the
Department of Architecture at the University of Hong Kong.
The analysis and gathering of information was conducted by the following methods:
* Review of publications of existing North American, Japanese and European
Car Museums.
* Interviews and discussions with curators, developers, architects, and other selected individuals.
* Interpretations and assumptions based on existing literature, and personal experience.
The intent of the research is to assess both the qualitative and quantitative requirements of a Car
Museum.
This report serves as a reference document with three major purposes. The first is to present the
material in a format which is useful to the designer at different levels of the design process. The
second is to provide the developer or client with a document which can be used in the review
and evaluation of alternate design proposals. The third is to provide a vehicle through which
one may interpret, explore, challenge and test the validity of the design solutions.
1.0
1.1
Introduction
Definitions and Deficiencies
The Need for a Car Museum The motor industry, almost a century old, has transformed the
world. It has taken the world some time, however, to realize the importance of the history of the
device which wrought this transformation. These old Classics have slowly been rediscovered
by fanatics, rebuilt by patient and competent mechanics, and fostered by the early private collectors, many of whom have now made their collections available to the public. Science museums in most countries have guarded the cars which were noticeably landmarks in the development of engineering, while many of the manufacturers, aware and proud of the merits of the
early veteran cars, have made collections of their own marques. Today, there are car museums
all over the world, except in Hong Kong.
Hong Kong's affluent society has encouraged a great number of car collectors. These car collectors are now facing with a problem of finding a suitable place to store and display their vehicles.
There are no facilities in Hong Kong dedicated for the storage of fine automobiles, most of
these cars are stored away in very poor condition car parks, such as ones without cover, bad
security, and very humid.
Recently a group of car fans from the Hong Kong Classic Car Club and the Automobile Association have joined together as a group to persuade the Hong Kong Government to grant them a
site at the Hong Kong Park to erect a Car Museum to provide these car collectors with a place to
store and display their vehicles to the public. The idea is to provide storage solution to these fine
automobiles and at the same time provide the public with a chance to see it.
It is required by the Government to submit a program of the Museum by the developer before
the land is granted.
1.2
Goals & Objectives

1. To design a car museum that attract visitors not
only to view the automobiles but also to meet
friends and relax.
2. To provide a facility which will encourage interpretive, educational and research opportunities
through temporary and permanent exhibitions. This
will be a facility for the study, research, conservation, restoration, preservation, and enjoyment of
automobiles and automotive transportation.
3. As a centre for social and cultural events. A significant museum with a strong tourist attraction.
4. To become a major component in a growing complex of fine museums situated in Hong Kong
5. Achieve the above in a facility which attains world
class status, and one which reflects this (and the
nature of the museum) in its architecture.
6. To stimulate interest in the historical significance
of the automobile.
7. To explore the development of the details of the
interior spaces appropriate to the various functional
development of the architectural expression. The
details should be compatible with the character of
the building.
2*0 Program Oragnization

The Program is organized to facilitate its use as a reference document. Each section contains
information on a particular topic and is structured to enable the designer easy access to various
items of information.
The Facility Program contains the following sections:
Site Information
This section provides a historical and present context summary of the site, its location, description and importance.
Concept
Overall Design Guidelines
This section focuses on those guidelines which relates to the building and its Design Blocks,
including:
Architectural Image
Supporting Area Design Guidelines
Qualitative characteristics of the facility is also formed within this section, but should only be
used as a framework for the design process. It is however, the designer's interpretation of these
guidelines from which an architectural vocabulary may evolve.
Overall Area Requirements
The purpose of this section is to document quantitative data at the appropriate level of detail as
it relates to the overall design.
Case Study
3.0
Site Information
Owner of Land / Existing Property

The site is currently Central Fire Station owned by the government.
Zoning Conditions
According to the Outline Zoning Plan, the site is zoned as G/I/C (Government/Institution/Community).
Lease Restrictions
Since the site is owned by the government, present lease condition is not applicable. New conditions will be granted in accordance with the requirement of the Museum.
Height, and Shadow Restrictions
There is no height, and shadow restriction.
Plot Ratio / Site Coverage / Class of Site

G.F.A. required for the Museum would not exceed permitted plot ratio and site coverage of
class A site listed in schedule 1 of the Building Planning Regulation.
Access - Pedestrian and Vehicular

The park's main entrance is from Supreme Court Road. A good volume of the pedestrian traffic
will enter via a glass tunnel encasing a number of the pedestrian traffic will enter via a glass
tunnel encasing an escalator connected to Pacific Place and the Admiralty mass transit railway
station.
Another major entrance is along Cotton Tree Drive, where footbridges near the Hilton Hong
Kong Hotel will link to the park to the west.
Secondary entrance points are on Kennedy Road, further along Cotton Tree Drive and adjacent
to the Peak Tram terminus.
Vehicular traffic has been limited to include only service and emergency transport, with access
possible only from both the Cotton Tree Drive and Supreme Court Road entrances.
Main Services Available

The area has adequate piped water supply as well as drainage and sewerage system. It also
has electricity, gas and telephone service.
4.0
Concept
What is the Car?
Is it an extension of our body?

Is it something that can provide us shelter?
Is it something that can gives us freedom?
All of the above answer is correct. However, I would think to many of us, the car has become
too much a part of our unconscious. We take car for granted until we have a motor failure. The
invention of car has altered life, it has changed our cities, the landscape and the way we see it,
the environment, architecture, our lifestyles.
I have often think the car as an extension of a building. The car provides shelter just like a
building do, they both have glazing, air conditioning, lights, an exterior envelope, storage space,
floorings, furnishings, etc.. The most important distinction between both, is that the car offers
instant mobility, and this leads to the concept of this museum design.
Conventional Car Museums display their vehicles parked. Cars should be looked at while they
are in motion. Every turn it makes, everytime the driver revs the engine, shows its performance.
Therefore, in order to successfully display a vehicle, it must be in motion, and this is the concept. This museum will feature a track, that runs in and out of the building at various levels,
with spectators standing on various levels of platforms viewing the cars.
5.0
Design Guidelines
Introduction Design guidelines are intended to provide direction regarding issues affecting
overall spatial and operational relationships within the development. One of the purposes of the
design guidelines is to consolidate the reference for these types of guidelines in one section of
the document.
The guidelines are not intended to prescribe a particular solution, but rather to identify key
issues and to describe design objectives for each. In responding to the guidelines, it is expected
that the designer will address a broad range of architectural concerns. The guidelines allow the
careful recognition and examination of the advantages and disadvantages associated with various alternatives which may ultimately determine the final design outcome.
The following design guidelines outline the main points of consideration for the development
of a design solution that will satisfy all of the foreseeable needs of the Car Museum:
5.1
5.2
5.3
5.4
5.5

Architectural Image
10
5* 1 Site Development Guidelines

Pedestrian Access
Pedestrian access is required from two directions, from Cotton Tree Drive and from Supreme
Court Road. Majority of the pedestrian traffic will originate from vehicular traffic into the site
(from either car or public transportation). Clear separation of the pedestrian paths from the
vehicular circulation is desired. The intent is to provide a pedestrian environment that is high in
quality and invites users to experience both the buildings and the open spaces between the
buildings, rather than look for underground or above ground connections. A pedestrian rather
than automobile scale should be encouraged at pathways and throughout the vehicular courts.
This can be achieved architecturally by breaking large frontages into a smaller rhythm of bay.
This rhythm should be integrated into sidewalk paving, landscaping and tree planting patterns.
Pedestrian elements should include outdoor spaces surrounding the building or facility such as
parkettes, plazas, gardens, squares, patios, picnic courts, etc., and should be developed in such
a way as to enhance both the scheme and the overall site context.
Vehicular Access
Vehicular access to parking and service lanes must be directed from Cotton Tree Drive. Service
lanes must accommodate semi-trailers and highway vans in addition to smaller truck and delivery vans. Service lanes must provide turn around areas for semi-trailer vehicles. All service
lanes should be designed to ensure no conflict with museum pedestrian and vehicle routes.
Passenger drop-off Area
Passenger drop-off areas should be located adjacent to all main entrances and easily identifiable
as such. Provisions should also be made to accommodate passengers utilizing public transportation, or chartered bus tours.
Parking Entrances
The number of parking entrances/exits is at the discretion of the designer. It is important however, to provide space for courier vehicles, vehicles transporting physically disabled or elderly
persons, etc. which should be near a main entrance. Separate parking and pick-up strips should
be made for public transportation vehicles. A number of distinguishable parking entrances should
be used to address the three (3) different circulations.
Parking
The key objective is to provide optimum but not excessive amounts of parking, but the minimum parking requirements as set forth in the appropriate code requirements must be met. Short
term parking for maintenance vehicles, delivery vehicles, etc. should be located adjacent to the
service entry or loading dock area.
11
5.2
Architectural Image
The image of the Car Museum should celebrate the nature of its function: physical and social
relationship. The expression of the image of the museum is intended to relate to the immediate
environment and the urban area as a whole. Within this context, the building should draw attention to itself and its immediate surroundings.
Because of the museum's's important location, many passers-by travelling along the traffic routes
nearby the museum may be potential visitors. The first step towards their entrance would be the
presentation of a well arranged building or a group of buildings to have a identifiable image
based on its concepts and objectives.
The museum should be a pleasant, attractive place to go. It should be capable of expressing
itself through structure, materials and building form. The interior of the museum should be
refreshing and comfortably maintained in order to efficiently care for the exhibits and the visitors.
Finally, the design should allow visitors the opportunity to enjoy the surrounding landscape and
the park activities which occur year round.
5,3 Main Building Component Design Guidelines

Introduction The following principles are intended to apply with respect to the planning and
development of the Car Museum and for future reference in the planning and development of
Exhibition Place.
Components The following is a list of the main building component spaces which will constitute the museum facility.
The museum will include:
Museum Exhibit Area

Special Events Area
Automotive Restoration Shop
Automotive Art Gallery
Theatre
Gift Shop
Public Automotive Reference Library
Restaurant / Cafe
Vehicle Sales Area
Museum Exhibit Area Housing exhibits to display the automobile collection. The museum
exhibit area is the focus of the museum complex. It must ensure a strong and positive identity to
help promote the world class image, as well as providing a present environment for interpretation, education and enjoyment. This is the area which all visitor will spend the majority of their
time while at the museum. Therefore, it is important that the aesthetic and functional aspects of
the space present a professional and high quality image. Circulation routes should be clearly
understood, and the designer should exercise imagination, creativity, and sensitivity in producing exhibit spaces which leave a lasting and pleasing impression on the viewer.
The exhibit spaces require the greatest flexibility in the aspect of spatial arrangements. Many of
the exhibits will be temporary or changing in nature and the space should acknowledge this. In
some, semipermanent walls will be used to arrange displays and various backdrops or scenery.
When not in use for some function, Lighting Systems throughout the galleries and exhibit areas
including the temporary display areas must be flexible to accommodate the different lighting
effects desired. Lighting is of major importance in the display of the museum artifacts and
vehicles as it is used to create emphasis, reveal shape or texture, show color, etc.. Lighting
flexibility is essential in achieving dramatic and visually pleasing displays. This area will be
used as an exhibit area and will be an extension of the permanent galleries.
1. To design an inviting entrance with controlled access point into the exhibition area.
2. Separate entrances are required for staff and museum personnel..
3. Public circulation from controlled entry point to
the exhibit spaces must be physically connected
with the theatre main entry; and also with special
events area main entry.
4. To provide vechicular access to storage/support areas and restoration shop.
13
5. Access to washroom facilities.

6. Visual connections into exhibit space from various other museum spaces should be considered.
7. A temporary vehicle exhibition area for privately
owned vehicle collection is required to allow the
public the opportunity for personal involvement
and satisfaction.
17
Vehicle Storage
1.6
Museum Storage
1
Maintenance and Workshop Area

1
{%)
Service Route
1.2
Man Exhibition Area
1.4
Special Events Area
Special Events Area Included within the museum exhibit area to accommodate special events,
with flexibility to allow use as temporary exhibit display area. The Special Events area is an
opportunity to design a distinctive space with an atmosphere and environment which would be
attractive to individuals or organizations looking for a unique location to host their particular
function. Since the space will be available to a variety of users, this provides a great opportunity
to promote the museum.
1. Space should accommodate 300 people.

2. Should have visual link to museum exhibit space,
and promote museum.
3. Entrance to area should be in close proximity to
museum main entrance hall, after museum admission control point.
4. Access to washroom and coat room facilities.
5. Access to kitchen / bar facilities.
6. Circulation versatility required to accommodate
temporary exhibits.

Facility for automotive restoration work of exhibit and
revenue vehicles. Accommodating the craftsman's requirements is the most important design
constraints. The desire to have the work visually accessible to the museum's visitor should be a
secondary constraint and should not compromise or hinder the craftsman's work. The visual
access should, however, been considered in the aesthetic qualities of the work shop space.
1.
2.
Conservation and preservation goals can only be

achieved by having a fully equipped restoration
shop.
A capacity of 8 vehicles.
14
3.
4.
5.
6.
7.
Service connection to building support vehicle

loading area and to the museum exhibit area.
Visual link to provide visitors the opportunity to
observe the restoration process.
Separate staff entrance.
Natural daylight desired for restoration work general lighting.
Noise isolation from sensitive areas.
Servke Route
2.2
Staff Washroom & Shower

A gallery displaying a collection of automotive related art. The
Gallery will operate daily during museum hours but will be independent of museum admission.
It will be designated as a special gallery and will charge an admission to the museum exhibit
area. The Gallery will offer artwork for sale to art enthusiasts and may on occasion have art
auctions.
The Art Gallery will require special attention as does any gallery which intends to display
paintings, sketches and other vulnerable works of art. The space must receive a considerable
amount of attention in regards to functional aspects such as security and conservation of the art
pieces exhibited, especially paintings and drawings which are easily damaged by improper
lighting and security design. The function of an Art Gallery is also to display the works of art in
a pleasing and aesthetically complimentary space. The success of the space lies in achieving the
proper aesthetic result which enhances, rather than distracts from, the art it is to display. The
gallery should reflect the overall facility goal of prestige, quality and professionalism.
The art gallery has many of the same flexibility requirements as the main museum exhibit
spaces, only on a smaller scale. The galleries here will consist of both permanent and movable
partitions to alter spatial requirements to accommodate different exhibits.
Lighting again is of utmost importance and a high degree of flexibility is required.
1.
2.
3.
4.
The Gallery should be seen as a special point of

interest, a separate attraction but very much a part
of the complex.
Separate main entrance is required off of main entrance hall prior to museum exhibit admission.
Requires it's own lobby area with curator and administrative offices, and private viewing room for
buyers.
Requires storage and service/preparation area with
access to service route and linked to building sup
15
5.
6.
port delivery/loading area.

Gallery should have no direct daylight.
Noise isolation is required.
PreperatioB Area & Workshop
3.4
Carator Office
3.3
Meeting Room
Theatre With seating for up to 300, for orientation /education purposes. Theatre will also be
available for rental by various organizations. During museum hours the theatre will be an integral part of the orientation process. Museum docents (volunteer staff) will narrate and lead the
visitors through the orientation program. Short movies will be offered at selected times.
The Theatre is one of the visitor's initial impressions of the Museum's interpretive program
and facility. As an orientation space the Theatre should be inviting and comfortable. It carries
the responsibility to firstly prepare, and then entice the visitor to move through the museum. It
must fulfil it's requirement as a space to observe audiovisual presentations, and to listen to
spoken narration from museum guides.
As a theatre, it must reflect and merit this position, and should display considerable presence
and world class status which would be in keeping with the Museum's objective for aesthetics
and functional design. The quality of acoustics within the facility is therefore very important.
Lighting also must accommodate the different uses, and the theatre should be equipped with the
latest stage lighting equipment. Acoustically the theatre may opt for flexibility in design to
achieve a range in reverberation time, thereby accommodating the different uses more efficiently.
1. Provide a quality theatre with the versatility and

ability to provide as much as possible to each of
the functional demands put on it.
2. Acoustic study necessary.
3. Main entry must accommodate museum hours and
after hour performances. Access during museum
hours should be in the public circulation path subsequent to, and in close proximity to the museum
exhibit admission point.
4. Design must accommodate theatre amenities.
5. Access to washroom facilities, coat room.
6. Secondary staff access required.
7. The theatre has the responsibility to create an impact, and to prepare and incite the museum visitor
as they begin their tour of the museum.
16
Service Route
4.2
Auditorium
4.3
Public Washroom
Gift Shop Museum collectables for sale to visitors. The Gift Shop will operate only during
museum hours. The Gift Shop should be a pleasant environment in which to look through merchandise. It should not appear as extra space renovated to accommodate the function of a gift
shop, but should rather present itself as a legitimate and quality store facility. The museum's
goals of professionalism and quality should not be lessened by the appearance and display of
the souvenir items.
The gift shop requires minimal flexibility allowing different display and floor layouts. Some
lighting flexibility required to adequately display the merchandise.
1. Provide a quality store for the museum visitor.

2. Main entrance should be in close proximity to the
museum main entrance hall, accessible prior to museum admission.
3. Storage space required with link to service route
and to building support delivery area.
5.2
Service Route
Merchandise Display Area
53
Change Room

Containing extensive amount of automotive literature available for research and education. The library will be available to the public during
museum hours. There is no admission fee requirement to use the facility.
The space should provide an environment conducive to reading, research and study. In a library
this usually, means a quiet area free from distractions such as noise and activity. It will function
as any normal library. The emphasis here is on the users comfort; visually, acoustically, and
physically. Ease in information accessibility and handling (both for user and staff) is the functional objective.
17
1. Provide a modern computerized library facility.

2. Main entrance to library should be near to the mu
seum main entrance hall.
3. Entrance to library is to be available without having to pass through museum admission control
point.
4. Library is to include an audiovisual area which
should include at least two viewing rooms.
5. Library is to include archives section.
6. Storage and preparation area required with access
to service route and linked to building support delivery area.
7. Natural non-direct daylight desired for general day
lighting.
6.4
Librarian Office !
6.6
Archives Section
| Storage * Preparation Area
6.3
Library Main Stacks
J_I
]f
1 6-7
I Audio-Visual Room
6.2
Circulation Desk I
6.1
Lobby!
Restaurant / Cafe The type of restaurant and/or cafe facility decided on will dictate the desired spatial quality. Regardless of approach, any food facility on site should present an automotive theme or allusion; the space should promote the museum.
1. Should be perceived as a part of the museum com

plex, and should strive toward attracting tourists,
museum visitors and local residents.
2. Restaurant will remain open after museum hours
and should attract people from the nearby area.
3. Size in terms of seating capacity is left to the discretion of the designer.
4. Connection to special events area for kitchen serv
ice should be considered.
5. Seating areas should be pleasant with natural day
light and should take advantage of views offered
by the surrounding area.
Service Route
7.4
Public Washroom
Main Entry
18
Vehicle Sales Space should present vehicles to greatest advantage, while allowing the customer the best conditions to view the vehicles (to determine the degree or quality of the restoration). The sales area should also be very professional in it's presence. Show room area for
revenue vehicle sales and auction facility. Vehicle Sales Showroom must accept different vehicle arrangements. Lighting flexibility required to display vehicles properly.
1. Provide a showroom and sales area for revenue

vehicle sales.
2. Access should be independent of museum admission.
3. Sales area entry should be near museum main entrance hall.
4. Service access required with link to building support delivery/loading area.
5. Showroom should have space to accommodate a
minimum of 15 vehicles.
6. For auction purposes, service link to special events
area would be desired. Sales area used as auction
block with special events area for pre sale view
ing should be considered.
7. Natural daylight in showroom area is desired.
Service Route
8.1
Vehicle Sales Area
8.2
Sales Office
JT
Main Entry
19
5.4 Support Area Design Guidelines

Introduction
The support areas discussed are:
Administrative offices
Museum exhibit
Storage Space
Administrative offices In the interest of staff morale and productivity, offices should be designed with adequate light, air, and space.
1. Administration offices must be perceived as approachable, and should be located between the
workshop areas and the galleries to have easy access to both.
2. Office personnel should be aware of the museum
at all times, therefore visual links to exhibit or
lobby spaces should be considered in order to
achieve this goal.
3. To increased flexibility, an open space office arrangement should be adopted.
4. Service access required.
5. Separate entry required for executive office posi
tions should be considered.
6. Staff and board-rooms required with kitchenette
facilities.
7. Natural daylight in office spaces desired.
8. A conference room to accommodate 20-30 people
for staff, board, and volunteer meetings.
9. An office supply room for stocking everything
from pencils to cartons of paper and publications.
There should be space for a copier and package
wrapping.
10. Storage area for audiovisual equipment and, if possible, a designated location for film and video presentations.
11. A guard's office where the central alarm system
controls are located.
12. A maintenance and janitorial room.
20
9.5
Fax Room
9.4
Photo-Copying Room
9.10
Staff Washroom
9.11
Staff Lounge
Entry
Museum Storage
Storage spaces should allow for subdivisions as required.
1. Museum exhibit storage space must accommodate

a minimum of 12 vehicles, with each vehicle being accessible with minimal vehicle movement.
Additional space required to accommodate museum supplies and materials.
2. Physical link required through service route to
building support (loading and delivery) and also
to restoration shop and museum exhibit area.
3. Each major area of the museum needs its own storage area. Ideally, the vault should have two rooms:
a larger one for objects remaining in storage a long
time and a smaller, short-term holding room. Access to the short-term area should not require entry into the long-term storage room. The storage
area may also be divided according to special climate needs and object size.
The Workshop
Every facility, no matter how small, needs an area for carpentry work.
1. At least three people must be able to work together

in the space, with room left over for storage.
2. The shop should be isolated from storage areas but
must have direct access to the loading dock.
3. A sink and drains are standard equipment in the
"dirty" area. The "clean" areas, where finishings
are done, should have limited access to insure careful handling of the exhibits awaiting preparation
for display.
4. Good lighting and proper storage and ventilation
for solvents are essential.
21
Introduction For the museum program purposes, the circulation system of the museum can
be treated as 4 distinct physical components:
1.
2.
3.
4.
Public Circulation
Limited Access Circulation
Service Circulation
Vehicle Access
The physical requirements of each is described in the Design Block Information section of the
program.
The following guidelines deal with the requirements for the movement of people, exhibits and
supplies within the building.
Public Circulation
The public should be able to move freely throughout the public circulation system once passed
through the control point, to access to the various components, such as the exhibition area,
special events area, restaurants and the theatre. This circulation system will be subjected to the
highest volumes of traffic and therefore the circulation route should be easy to understand with
orientation cues to guide visitors throughout the facility. Proper routing and direction are important to exhibitions that are chronologically arranged or are intended to be viewed in a spe
22
cific order for other reasons. However, options should be provided to enable visitors to move
throughout the facility in a variety of patterns. The entire public circulation route system will be
barrier free and address all issues of handicapped access and views. Areas open to public will
decrease after normal operating hours and the circulation system must accommodate this change
in the access pattern.
Extended hour access should also be provided for the following areas:
Museum exhibit area
Special events area
Restaurant / Cafe
Theatre
The purchase of museum admission ticket is necessary for the following areas:
Museum exhibit area
Special events area
Theatre
Limited Access Circulation

The limited access circulation system will be defined as for use by administration staff, and
tenant personnel. It will be secondary in traffic volume. This section will be discussed in relation to two headings:
Museum
Tenant Use
Museum The exhibitors or facility staff may use the public circulation system to access the
facilities served by the system. The exhibitors or facility staff will also use the limited access
circulation system which connects the Exhibition areas to the support and service functions
without disrupting the public circulation routes. Of course certain service components will require distinct circulation routes which should not conflict with easy circulation to the exhibitors
or facility staff. The exhibitors or facility staff entries will be distant from service bays and
garbage areas since the aesthetic sensibilities of the staff and exhibitor areas are as important as
those of the visitors.
Note: Restoration shop is designated as restricted access, for shop personnel only.
Tenant use The restricted tenant circulation should isolate the tenant from the museums
public circulation routes and controlled access (through keyed door access points) into the limited circulation routes of the museum complex. Such access should allow the tenant access to
the building support and service areas.
Servke Circulation
Service access and circulation to the various amenities within the building should be separate
from general patron circulation. View of delivery areas* storage areas and movement of supplies and equipment to, throughout and from the facility should be obscured. If elevators are
required within the building, a freight elevator should be provided.
23
Exhibition Area The largest volume of objects moving is associated with the shipping of
exhibits and exhibitors belongings (incoming and outgoing). The museum exhibit, special events,
automotive restoration shop and vehicle sales areas all require service / delivery access which
accommodates vehicle movement. This movement will occur between the Exhibition Area,
Transition Area and Maintenance Areas. These activities should not compromise the security,
safetiness and viability of the loading / unloading area for exhibitors.
Restaurant / Cafe Accommodating food services will involve the delivery of supplies and
the pick-up of refuse which should not conflict with the exhibitor loading / unloading areas.
Theatre will involve delivery of stage props and construction materials. All service corridors
should be of adequate width.
Automotive art gallery should be able to display large pieces of artwork, service /delivery
areas should accommodate at least 121 by 12' pieces.
Administration Area such as, library, office, and food service areas require normal considerations.
Vehicular Access
Since a majority of the facility users can be expected to arrive by public or private vehicles,
accessibility to and from the site is critical. If it is too difficult to reach the facility, users may be
discouraged from attending various events.
Vehicular Circulation System
Due to the site's ideal location, vehicular access to the vicinity is very good. Entry to the site can
take place from Cotton Tree Drive. There are three (3) different vehicular circulation routes;
Exhibitors, Spectators and Service/Staff. Great attention should be taken in the planning of the
vehicular access to allow for smooth vehicular circulation to, from and throughout the development.
24
6.0 Overall Area 'Requirements.
DB 1 : Museum Exhibit Area

1.1
1.2
1.3
1.4
1.5
1.6
1.7
Lobby
Main Exhibition Area
Public Washroom
Special Events Area
Museum Storage
Vehicle Storage
Total
50 sq.m.
5,000 sq.m.
20 sq.m.
1,250 sq.m.
300 sq.m.
300 sq.m.
1,250 sq.m.
8,170 sq.m.
DB 2 : Automotive Restoration Shop

2.1
2.2
2.3
2.4
Lobby
Workshop
Office
Total
10 sq.m.
300 sq.m.
1,250 sq.m.
25 sq.m.
1,585 sq.m.
Total
10 sq.m.
750 sq.m.
30 sq.m.
25 sq.m.
60 sq.rn.
60 sq.m.
935 sq.m.
Total
50 sq.m.
300 sq.m.
20 sq.m.
20 sq.m.
20 sq.m.
20 sq.m.
430 sq.m*
Total
5 sq.m.
300 sq.m.
3 sq.m.
125 sq.m.
433 sq.m.
DB 3 : Automotive Art Gallery

3.1
3.2
3.3
3.4
3.5
3.6
Lobby
Gallery Space
Meeting Room
Curator Office
Workshop
Vault
DB 4 : Theatre
4.1
4.2
4.3
4.4
4.5
4.6
Lobby
Auditorium
Public Washroom
Cloakroom
Projection Room
Storage
DBS : Gift Shop

5.1
5.2
5.3
5.4
Cashier
Change Room
Storage
25
DB 6 : Automotive Reference Library
6.1
6.2
6.3
6.4
6.5
6.6
6.7
Lobby
Circulation Desk
Library Main Stacks
Librarian Office
Storage and Preparation Area
Archives Section
Audio-Visual Room
Total
10 sq.m.
20 sq.m.
400 sq.m.
30 sq.m.
40 sq.m.
30 sq.m.
40 sq.m.
570 sq.m.
Total
20 sq.m.
50 sq.m.
400 sq.m.
20 sq.m.
125 sq.m.
15 sq.m.
10 sq.rn.
640 sq.m.
Total
1,250 sq.m.
50 sq.m.
1,300 sq.m.
Total
10 sq.m.
50 sq.m.
150 sq.m.
6 sq.m.
6 sq.m.
100 sq.m.
200 sq.m.
10 sq.m.
15 sq.m.
10 sq.m.
35 sq.m.
592 sq.m.
DB7 : Restaurant
7.1
7.2
7.3
7.4
7.5
7.6
7.7
Lobby
Bar
Seating Area
Public Washroom
Kitchen
Storage
Staff Washroom
DBS : Vehicle Sales Area

8.1
8.2
Vehicle Sales
Sales Office
DB9 : Administrative Office

9.1
9.2
9.3
9.4
9.5
9.6
9.7
9.8
9.9
9.10
9.11
Reception
Boardroom
Meeting Room
Photo-Copying Room
Fax Room
Office
Executive Office
Museum Files Vault
Storage
Staff Washroom
Staff Lounge
DB10 :
10.1
10.2
10.3
10.4
10.5
Building Support Area
200 sq.m.
35 sq.m.
60 sq.m.
35 sq.m.
20 sq.m.
345
sq.m.
Total
Grand Total 14,980 sq.m.
Vehicle Loading Area

Vehicle Holding Area
Loading Dock
Holding Area
Refuse Storage Chamber
26
DB1
Museum Exha>it Area
Art Gallery
Office
DBS
Gift Shop
Symbols
Space: to indicate the different spaces and relative sizes.
SPACE
Circulation: indicates circulation path between spaces in

close proximity to one another.
CIRCULATION
Public Circulation: main public circulation route within

the museum complex.
PUBIJC CIRCULATION
Service Route : indicates the main service route of the

museum complex.
SERVICE ROUTE
Main Entry: indicates main entry from street or area outside building envelope.
MAIN ENTRY
Reception Control : is used where access to a space is

supervised by a cashier counter, secretary, receptionist etc.
ENTRY
Entry: arrow is accompanied with text to describe user. It

is used off of main public circulation space to indicate
main entry of space, or with text to describe secondary
entry.
CQNTROLUSD ACCESS POINT
RECEPTION CONTROL
LOCKED ACCESS POINT
Controlled Access Point: is used to indicate control point

which would consist of security measures to ensure no inappropriate access is permitted. Control may be in the form
of an admission ticket requirement, security access card/
code, eta
Locked Access Point: although the entire complex will
be secured with a minimal of keyed access, this symbol
has been used on some diagrams for clarity to indicate
locked access during Museum hours.
7.0 Case Study

Mercedes -Benz Museum The Mercedes-Benz Museum in Stuttgart-Unterturkheim is unique
as compared with the many other automobile museums all over the world is that the complete
history of the automobile is illustrated by means of one and the same make.
The Mercedes-Benz Museum was built in 1961, and was renovated and reorganised in 1985.
The open design of the Museum allows the visitor to move about freely, with opportunities to
pause and reflect. At every point in the building, new visual perspectives open up and suggest
new connections between the various epochs of the automobile.
The history of the company is also depicted by means of video films, and in the "racing cinema"
excerpts from Mercedes-Benz racing films up to 1955 can be seen. The multimedia show, staged
on an articulated container vehicle, is specially popular attraction.
A most helpful feature for the visitors is a modern cordless "Audio Information System" which
accompanies them on their way round the museum. Whatever route they take, infrared transmitters provide the appropriate commentary to whatever they are looking at.
The main feature is the race track like ramp

which every visitor must pass inorder to access different floors. On this ramp, most of
the eairlier Mercedes Benz race cars are being displayed.
28
Top Floor
First Floor
-^
. ^^r
.B-.
* /T\
Ground Floor
29
BMW Museum The BMW Museum in Munich was built at the same time as the Olympic
Stadium with its famous tent roof and the BMW Building. It was opened in 1973. It was conceived and planned by the same architect who also designed the BMW Building: Professor Dr.
Karl Schwanzer from Vienna.
He made both buildings so revolutionary in their style that they remain unique to this very day.
The Museum is designed in a unitary construction. The reinforced concrete shell supports the
roof. The spiral path inside the Museum rests entirely on the columns also supporting the four
platforms constantly increasing in size the further up you go. The shell expands in size from a
diameter of less than 20 metres to 41 metres at the top. In all, it is 19 metres high. Flying over
the area in an aircraft you will see a huge BMW logo on the roof of the Museum. This is now a
landmark of Munich.
At the museum, you will proceed up a wide spiral path, moving up from one platform to another. Finally the escalators in the middle of the Museum will take you down again to the entry
level. The time needed to finish the tour depends on how much information you would like to
have and how much time you spend on the various exhibits.
The exhibits includes some very rare aircraft engines, motorcycles and cars. A total of 97 video
monitors and more than 6 video projectors presenting information from 85 video discs and 24
video programmes. 10 slide shows offer nonstop information for as long as you want. Right at
the top, there is a cinema where film is shown every 15 minutes. Under normal conditions the
tour will take about 3-4 hours.
30
31
Bibliography
Darragh, J. & Snyder, J. S., Museum Design. Oxford University Press, 1993.
Brown, C. R., Flessig, W. B., Morrish, W. R., Buildings for the Arts, Western States Arts
Federation, 1984.
Montaner, J. M., New Museums. Architecture Design and Technology Press, London 1990.
Hoke, J. RJr., Architectural Graphic Standards, John Wiley & Sons, New York, 1988.
Jacobs, D. H. Jr., How to Design and Build Your Auto Workshop, Motorbooks International,
1993.
Jacobs, D. H. Jr., Automotive Tools Handbook, Motorbooks International, 1993.
Taboldt, W. K. & Richardson T. L., Autobody Repairing and Refinishing, The GoodhaertWillcox Company, Inc., 1993
Callender, J. H., de Chiara, J., Time Saver Standards for Building Types. McGraw Hill Co.,
New York, 1973.
Silk, G., Automobile and Culture, Harry N. Abrams, Inc., New York, 1984.
Busch, E B., Mercedes-Benz Museum, Stadler Verlagsgesellschaft mbH., Germany, 1991.
Egan, M. D., Architectural Acoustics. McGraw-Hill, Inc., New York, 1988.
Dean, D., Museum Exhibition. Theory and Practice, Routledge, London, 1994.
Miles, R. and Zavala L., Towards the Museum of the Future, Routledge, London, 1994.
32
'
Table of Contents
INTRODUCTION
EFFECTS OF LIGHTING ON EXHIBITS
VIEWING CONDITIONS
ARTIFICIAL LIGHTING SYSTEMS
DAYLIGHTING SYSTEMS
13
LIGHTING DESIGN GUIDELINES
19
BIBLIOGRAPHY
23
Lighting plays a key role in establishing mood and ambiance in musuems. A variety of lighting
types are required to accomodate such diverse range of activities. Lighting effects can be used to
the fullest extent in a museum in order to make the exhibits more interesting and dramatic.The
lighting of museums, does not only involve the application of normal display lighting techniques. But there are in fact a number of considerations that apply to museum lighting.
Objectives
Museum lighting design are based on four main conceptions; the

need to see exhibits clearly and favourably in surroundings of moderate brightness free from glare; the need to protect them from harmful radiation, the possibility of using artificial lighting to supplement daylight, and the need to bring out the individual qualities of
the exhibits by modern methods of display.
The Mercedes-Benz Musuem in Stuttgart. Here a mixture of

daylighting and artificial lighting are employed. The mood of the
interior depends heavily on the weather.
The BMW Musuem in Munich. Here only artificial lightings are

being applied, but its evident that the lighting effects has been used
to the fullest extent.
K fleets of Lighting on Kvhihits

Any museum with such valuable collection has a legal and ethical responsibility to conserve it. Unlike exhibiting in showrooms, the vehicles are often exhibited for a long period, ie,
for months or for years. The most widespread cause of damage of light sensitive materials found
on vehichles is that of light and the associated short-wave (ultraviolet) radiation, the risk depending on the light-sensitivity of the materials concerned and the illuminance. Vehicle parts
such as, rubber mouldings, plastics tail-lights, seats, wooden steering wheel, wooden dashboards,
carpets after a period of use are often, damaged or faded by exposure to light. The extent to
which materials deteriorate under given lighting conditions depends largely on their chemical
constitution. Light sensitive materials may be grouped as follows:
Pigments and dyestuffs
In thin-layer paintings such as water-colours, in which the

pigment particles are often scattered in a single layer with
very little binding medium, fading is very noticeable. Since
the paint layer is so thin, the penetration of light is much
greater than in the case of an oil painting of thin glazes in
flesh paint, although rather less noticeable, can severely distort the colour values.
Textile fibres
The cellulose and protein molecules of the vegetable and

animal fibres of cotton, linen, wool and silk are colourless
and are not rapidly affected by light. However, where the
fibres are associated with dyes, mordants, sizes, pigments
and dirt, complex reactions occur under the influence of light.
Paper and Wood
Paper when exposed to light is embrittled and discoloured in

the same way as in cotton. The stability of paper depends on
its quality. In photographs, the paper, the organic emulsion
support and probably the image, are all light-sensitive.
Colored photographic prints are notoriously unstable.
Some woods, such as mahogany and walnut, bleach under
the action of light; oak, rosewood and sycamore turn yellow; others, including teak, darken. Some including boxwood, holly maple, spruce, beech, birch, elm, pine and sycamore can be protected against discoloration by filtering the
UV radiation from the light.
Paint media and adhesive
In the field of natural and synthetic resin varnishes the deleterious effects of light become obtrusive. The natural resinvarnishes used on paintings and furniture are all subject to
discoloration. The hard resins dissolved in oil and the soft
spirit-soluble resins are all more or less unstable; light not
only discolours them, but also accelerates deterioration.Other
Organic materials
The behaviour of leather under the exposure to light, is complicated by the variety of tanning and dyeing treatments. The
dyes themselves may of course be subject to fading.
Factors affecting the

destructive effects of light
the illuminance
the time of exposure of the exhibit to light
the spectral composition of the light
Illuminance
Time
Spectral composition
The combined effect of illuminance and the time of exposure is expressed in the Reciprocity
Law of Photo-chemical Action. This states that the damage caused by light is related directly to
the product of the illuminance and the length of time of exposure of the exhibit to light.
Effect of spectral
distribution
The other factor affecting the destructive effect of light is

the relative power of the light in the different regions of the
spectrum (spectral distribution). Although daylight and the
light from the lamps most commonly used in museums can
be described as 'white', their spectral distributions can vary
considerably. The spectral distribution curves for daylight
and for the light from a tungsten filament lamp are fairly
smooth, but the line spectrum of the mercury discharge which
is the basis of the fluorescent lamp, produces a 'peaky' curve.
The relative destructive power of the light increases as the
wavelength decreases. It is therefore greater towards the blue
end of the spectrum and on into the ultraviolet regions. This
explains the importance of the ultraviolet content of any light
source, for, although it may be small compared with that of
the visible region, it is extremely destructive.The ultraviolet
radiation in daylight and in the light from most fluorescent
lamps is sufficient to cause serious damage to light-sensitive
materials an to justify its virtual elimination.
Viewing Conditions
Attention must be paid, not only to the appearance of the exhibits, but to the visual requirements
of the viewer and to the general environment, including the backgrounds against which the
exhibits are viewed. The main elements of effective lighting are emphasis, modelling and the
colour-rendering properties of the light sources.
Peception
Humans see well over a wide range of illumination levels. The

information we sought should be our main focus. Anything that
interferes with this is considered visual noise. Care must be taken
not to create visual noises such as, glare.
Brightness
Our perception of brightness is very flat and related more to a logarithmic than a linear scale. We are not aware of large variations of
illumination levels within a space or over time. It is difficult to
perceive quantitatively the distribution of light in a space. It is easier
to perceive a variation in the rate of change in light gradients than
the amount of change. It is by such changes of rate that we perceive
edges and form. Since expectation is a large factor in perception, it
results in our perceiving wide fluctuations in daylight levels as natural, and thus unnoticeable.
Relative Nature of
Brightness
The dominating feature of human vision is adaptation. Everything

we see is referred to a reference level, whether of lightness, darkness, or color, and we make our interpretation in terms of this reference level. All visual experience has some basis in past or present
knowledge. Brightness, as well as color, is affected by simultaneous contrast, a situation whereby some objects seem brighter than
others of equal luminance in a uniformly illuminated space.
Glare
Glare is defined as an interference with visual perception caused

by an uncomfortably bright light source or reflection. It is important to minimise, or if possible eliminate glare from light-sources
or from their reflections. Glare occurs when luminaires, windows
or other sources of light, seen either directly or by reflection, are
too bright compared with the general brightness of an interior. Glare
can impair vision (disability glare) and/or cause visual discomfort
(discomfort glare); in a museum the former is likely to be the more
important, as the observer is seldom engaged in a sustained visual
task.
Without Glare
With Glare
Emphasis
Lighting can determine the emphasis given to an exhibit and if

applied incorrectly, may draw attention away from the subject.
Modelling
The modelling effects of light reveal the shape and texture of objects and are derived from its directional characteristics. The degree and type of modelling depend on the dominant angle of incidence of the light and on the degree to which it is diffused. Highly
diffused frontal lighting tends to flatten shape and form, and may
reduce tonal and colour contrasts in paintings on account of veiling
reflections. It may also suppress detail and dull the sheen or glaze
of many embroidered or woven fabrics. A softly diffused directional light is preferable in such cases. Strongly directional light
from a concentrated source will give a harsh effect, due to the strong
highlights and sharply defined shadows it produces. Such lighting
is well adapted for displaying carving in low relief and directional
light on paintings can also enhance appreciation of the brushwork.
Color of light
Visual adaptation operates with respect to the color of light as well

as to its brightness. In all phases of daylight, whether blue sky,
grey sky or sunlight, perceived colors of objects or surfaces remain
apparently constant provided there is enough light available. Difficulties arise only if the spectral distribution of the daylight is altered to an extent that cannot be compensated by adaptation, as
may happen if glazing distinctly colors - the light (some solar-heatabsorbing glasses absorb red and transmit blue-green light) or if
the daylight is reflected from strong-colored surfaces such as extensive areas of grass outside windows or large areas of strong
colored walls, floors, or ceilings. Such colored reflections are only
troublesome if they supply a major part of the total light in an interior.
Color rendering of
light sources
The effect of different light sources on the perceived colors of objects is termed 'color rendering'. An important point is that the
color of the source itself is no sure guide to its color-rendering
properties. Two sources may appear to be of the same color but
have different spectral distributions; this becomes apparent only
when their effects on colored objects are compared.
Artificial lighting systems

Generally speaking, the daylighting of a gallery or museum is designed as a single system for
lighting the exhibits, their backgrounds and the environmen Localised daylighting is seldom
practicable in an old museum,but an artificial lighting system can often be designed to light
each component separately It can be designed to supplement natural lighting by day and be
effective by itself at night,but individual effects must not create imbalance in the overall
design. Modern calculation techniques enable the designer to go a long way towards deciding
his system before installation, but experiments will often be necessary.
Lighting can be directional, diffused, or a combination of the two. Directional lighting is
designed to illuminate an area or an exhibit predominantly from a preferred direction. It is
hard and characterised by highlights and deep shadows and is usually localised. Diffused light
is soft with luminous shadow the light coming initially from a large source, such as a luminous ceiling, or from a number of sources mounted in a symmetrical pattern over the ceiling
light will also be reflected from the ceiling, walls and other surfaces.
Lamps
Lamps are the essential tools of artificial lighting design. Tungsten

filament and tubular fluorescent lamps are the types used most commonly in museums and galleries,but high-pressure discharge lamps
may be installed in situations where accurate colour-rendering is
not important.
Tungsten filament lamps
These lamps, the ordinary electric light bulbs and the reflector lamps,
are compact and easily installed and replaced. They need no external control gear, but because 90 per cent of their energy is emitted
in the form of radiant heat, their luminous efficacy is relatively
low. Their light has a continuous spectrum biased towards the red
and they emit a very high proportion of heat which is radiated with
the light.
Tungsten filament lamps, including tungsten halogen lamps, are
of three types:
1. Mains voltage lamps for general lighting; available in bulb or
tubular form.
2. Mains and low voltage reflector lamps of various light distributions, (floods', wide distribution and 'spots1, narrow beam).
3. Mains and low-voltage lamps for use with optical systems to
give precise light control.
Crown silvered
General service lamps
Decor spot
Interior display
Lamps for display purposes
Lamps for display purposes-low voltage
Internal ciown
reflector foi
narrow no-split
beam
Paiabohc internal
reflector diffusing
front foi high
intensity soft edged
beam
Fa4 caps
Parabolic internal
reflector, clear
fiont for narrow
beam
Parabolic internal
reflector, diffused
front for high
intensity soft
edged beam
R7s caps
Linear tungsten halogen lamps
M29
M30
M34
M35
M32
M28
M36
M38
M40
Single-ended tungsten halogen lamps
Tubular fluorescent
lamp
Tubular fluorescent lamps produce very little radiant heat as opposed to filament lamps because almost all the light emitted by a
fluorescent lamp comes from the internal phosphor coating of the
tube. This is made to fluoresce by ultraviolet radiation generated
by a mercury arc which itself contributes only a little visible light.
Consequently although the same amount of heat is generated less
heat is radiated by a fluorescent lamp than by a tungsten filament
lamp of equivalent wattage. A continuous spectrum is produced by
the phosphors but the line spectrum of the mercury arc is always
present. The color-rendering and color appearance of the lamp are
determined mainly by the nature of the phosphor coating and also
by the current-density of the arc and wattage loading per unit of
lamp length, and will be distorted if the lamps are operated in higher
ambier temperatures than those for which they are designed.
Hot cathode tubes
The ordinary fluorescent (hot cathode) tube is made in standard

lengths up to 2400 mm (nominal) and from 15 mm (nominal) to 33
mm (nominal) diameter and also in circular, and *I_P shapes. The
cathodes of these lamps are preheated prior to lamp starting. Their
'economic* life is based on a three hour switching cycle, less frequent switching will prolong their luminous efficacy, depending
on their color-rendering properties, can be from 3-6 times that of
tungsten filament lamps.
Cold cathode tubes
These lamps may be made in almost any shape and are used in
luminous signs or where they must follow the lines of an architectural feature. Since the cathodes are not preheated, a striking voltage of the order of 12, 000 V is necessary and a special switch is
required.
Hot cathode tubular fluorescent lamps
26 dmmetei bi-pm tube
16 diameter bi-pm tube
curt
38 diameter bi-pin tube
Discharge lamps
Until recently, most discharge lamps are of very poor color-rendering properties made them unsuitable for use in many museums.
Considerable improvements in the color rendering properties of
some of these lamps have been made and they may now be used
for lighting industrial and transport museums and for exterior lighting.
Mercury fluorescent
These lamps are useful in situations where a compact source is

needed but accurate color-rendering is unimportant. The mercury
arc works at high pressure in a small quartz tube enclosed in a bulb
coated internally with fluorescent phosphors to modify the color of
the light from the mercury arc. The lamp takes from five to seven
minutes to run up to full brightness and, if extinguished, from two
to seven minutes before the arc will restrike. A choke and powerfactor capacitor are necessary.
Metal halide
Basically similar to the mercury lamp,but halides of chemically

active metals are added to the mercury in the arc tubes. As the lamp
runs up these metals dissociate from their halides and produce an
arc with quite good color-rendering properties. The outer jacket of
MB IF lamps is internally coated with fluorescent phosphors. Their
run-up time is 12 minutes and restriking time is similar to that of
mercury lamps, but an external ignitor is needed in the circuit.
High-pressure sodium
lamp
Operating the sodium arc at a relatively higher pressure results in

the characteristic monochromatic yellow line spectrum of the lowpressure sodium lamp being broadened to provide a continuous
spectrum, heavily biased towards the yellow but in which colors of
objects can be distinguished although they are distorted. Operating
characteristics are similar to those of the metal halide lamp and
efficacies in the order of 95 lumens per circuit watt. Run-up time is
5-7 minutes, restrike time about a minute.
10
Recessed
Downlisht
Directional
Downlight
Floodlight
Recessed
Wall lamp
Wallwasher
Projector
Projector
Recessed
Floorlight
Recessed
Floorlight
Spotlight
Bollard
Recessed
Downlight
Directional
Downlight
Recessed
Downlight
Fluorescent
Lamp
Floodlight
Floodlight
Spotlight
Daylighting systems
There are generally three sunlighting methods, however, they are not mutually exclusive; each
has its own impact on a building.The three methods are as follow:
1.
2.
3.
Sidelighting
Toplighting
Court, atria and lightwell
Sidelighting
Sidelighting is the most commonly used form of sunlighting because it can at the same time provide light, view and ventilation.
Using Ceiling as
the principle source
of reflected light
The ceiling is the best locationfor redirectling glare-free light downward onto horizontal surfaces and onto vertical surfaces facing away
from the window. The following should be observed when using
this method.
Locate the light sources as far from the ceiling as possible.
Locate and shape the reflecting devices to best redirect light to
the ceiling to avoid glare.
Use high-reflectance ceiling cavities.
Maximize the ceiling's effective reflectance.
Shape the ceiling cavity for best light distribution.
Maximize other reflectances.
By redirecting light received from the ground or a lightshelf, the ceiling

becomes an indirect source of light
Increasing the ceiling height allows more light in the rear of the space.
13
Windows
The location of windows is important in sidelighting design.
Low windows
Low windows provide the most uniform illumination by distributing reflected sunlight deep into rooms. However, low windows effectively place the principal reflected light source near or below
eye level and thus maximize the potential glare.
High windows
High windows give the deepest penetration of sidelight from direct, diffuse light sources to a horizontal workplane and less light
near the window.
Middle windows
The middle third of a wall is not as good as the lower thrid for the
deep distribution of ground-reflected sunlight, nor as good as the
upper third for the deep distribution of diffused light from the overcast sky. However, if it provides sufficient light for the purpose of
the room, it is frequently the preferred choice because it generally
provides the best view.
Locating the light source as far from the ceiling as possible will provide better
reflected light distribution than one located higher up However, high windows
provide the best distribution of the direct, diffuse light of overcast skies
14
Top-lighting
Top-lighting concepts are those in which the daylight penetrates a

space from apertures that are located above the ceiling line and
usually consitute part of the roof of the building. For low-rise buildings, top-lighting can be the most efficient form of sunlighting,
due to the fact that the distribution of illumination can be made
very uniform while the glazing area can remain minimal. There are
five methods each involves a different architectural treatment of
building form, each provides a different and unique lighting character, these methods are:
1.
2.
3.
4.
5.
Horizontal lights
Angled roof lights
Sawtooth lights
Monitor lights
Direct and indirect beam lighting
////////j
Top-lighting can provide uniform luminous

distribution with minimum glazing area
Horizontal lights
Horizontal lights, such as skylights, provide a relatively uniform

level of illuminanace throughout a space and allow for the use of
both sky light and sunlight as interior illuminants, although the use
of sunlight is often discouraged.Skylights are most commonly used
to illuminate horizontal work planes. They are also very efficient
when used to provide general illuminance or to illuminate a threedimensional display or a piece of sculpture.
The performance of skylights under sunny conditions

is dependent on solar altitude
15
Angled lights
Angled lights perform much as clerestoiy ^ c d l for a

when the daylighting requirements of a particu a p
concept that can providedifferent illuminance levels oneihers.de
f+i*
+ *
-n
* In addition, the latitudinal
of the point of maximum illuminance in auui
spread of daylight can be quite large
tion of the room or space usually has a view
aperture.
also be used to
Sawtooth lights
, A snertures that work in conSawtooth lights have vertical or angled ape ^daylight into a
junction with a sloped ceiling surface to he p ^ ^Qf & h&nd_
room. A series of sawtooth apertures look U
^^ .n gaw_
saw; they also were a very common root " ' ^is plausjble.
mills. Either story explaining the appeatlon Qne gurface of the
Typically, sawtooth lights have glazing on o ^^ & butterfly or
aperture. However, a special type of sawtoo , surfaces ^0^^
two-way sawtooth, has glazing on two oppo^ t=roughout a space,
sawtooth lights provide uniform illumman ^ conflguration,
with small variations in brightness P*"6"1^ ^\ affecUhe disheight, depth, and spacing of the sawtooth r ^ ^^ ^ addition
tribution pattern and quantity of dayligM 1 ^^^ iignting apto their traditional use in almost any tand daylighting concept
plication, sawtooth lights can be anexceli6e }s need&ed Over a large
in lighting situations where even illurninanc ^^^ lobbies? and
task or circulation area, such as in office8'
vestibules.
The pattern of illuminance is different in shape

sky type
16
Moinitor lights
Monitor lights are similar in many respects to sawtooth lights. They

have traditionally been used in industrial applications where a central high bay area lies between two low bay areas; the monitor serves
to illuminate the high bay area and part of the adjacent low bay
areas. A space arrangement of this type may be found in the stack
area of libraries, in the merchandise section of many retail stores,
in warehouses, and elsewhere. Since a monitor has two glazed surfaces, it provides bilateral lighting. Its multiple glazings may sometimes raise contrast and sun control to the level of critical design
issues . Monitors can also be designed with glazings on all four
walls of the roof aperturean arrangement called a four-way monitor.
Under an overcast sky, the illuminance

from each light is very similar to the distribution pattern from a sawtooth light,
except that the light spreads an equal distance in both directions
Direct and indirect

beam lighting
Although use of direct sunlight is often avoided in daylighting concepts, with care it can produce attractive and effective illumination. Daylighting concepts that allow the direct component of daylight into a building are called direct or indirect beam concepts.
Direct beam concepts use sunlight as an interior illuminant without attempting to control or distribute it. Since any daylighting aperture that allows sunlight into the building can act as a direct beam
daylighting system, such systems are not uncommon.Indirect
daylighting, as the name implies, is the use of daylight to illuminate a room that does not have a direct view of the sky. Indirect
daylighting is often used in areas where maintaining a specific level
of illuminance is not critical. The three types of indirect daylighting
concepts are:
* Ceiling washers
* Wall washers
* Floor washers
The idea behind these concepts is to wash a surface with daylight,
drawing attention to the surface and using the reflected daylight as
an interior illuminant. Indirect daylighting can be combined with
any sidelighting or top-lighting concept.
Conclusion
The following precautions must be cosidered, if daylight is allowed into the museum:
17
The light rays must be filtered or the illumination confined to reflected light.
The orientation of the sun changes during the day and
according to the season. Establish the angle of the sun's
rays within the exhibition space in order to arrange the
exhibits for maximum protection.
The intensity of light reaching the exhibition area will
vary with atmospheric conditions and time of day, so artificial illumination will still be needed to maintain a constant light level.
The introduction of natural light will affect the temperature and relative humidity in the room. It is important that
exhibits such as, paintings and photographs be kept at a
fixed humidity level to prevent warping, peeling, drying,
and other deterioration.
Certain types of traveling exhibits may only be loaned to
facilities with gallery space that has no access to natural
light.
18
Lighting Design Guidelines

Museum Exhibit Area
For vehicle and machinery exhibition, a high illuminance is generally recommended. This is then supplemented with local directional
lighting and lighting from within the vehicles if necessary. The
nature of this museum and the artifacts it exhibits (vehicles in particular) allows the designer some freedom to use indirect natural
light in the exhibit space, but it should be done so after careful
design consideration.
Note: The special events area, (likely incorporated into the museum exhibit area) will require a higher degree of control in terms
of general lighting in order to accommodate the different activities, (conference gatherings dances etc.)
Automotive Restoration
Shop
For restoration work, a high level of task illuminance is permitted

because of the visual need, and the relative short time of exposure,
(an upper level of 1000 lux is recommended). Restoration often
involves a very fine discriminating process of working with details, which requires adequate lighting. Accurate color perception
in also necessary with absence of glare. Daylight is often used for
restoration, and can be coupled with color matching florescent or
smaller filament lamps.
In these spaces the exhibits demand more attention in response to

conservation. The exhibits will include paintings, drawings and
sculpture. The paintings and drawings are considerably more sensitive to the deteriorating effects of light, with fading being the
primary concern. Elimination of ultraviolet light and limiting illuminance and exposure time are prime solutions.
Theatre
This space will entertain a variety of presentations ranging from

sildes, to movie and to the most advance multi-media presentations. Normal stage lighting flexibility should be provided with
controllable house lights. Natural light source should be controlled
or non-existant.
Gift Shop
This space has relatively few restrictions, allowing the designer to

create the appropriate atmosphere using natural or artificial light,
(or a combination) for general illumination as desired. Local directional lighting system should be included to allow the flexibility
required for varying display illumination.
Department of Architecture . University of Hong Kong

Record of First Jury on Thesis Design 1994/95
Date
Student Name
Thesis Title
Felix Wong
Car Museum
Supervisor(s)
Mr. P.S.S.Lau, Mr. S.C.Lo
1.
Synopsis of presentation
2.
Synopsis of Staff observation
3.
Student's response
DCKJHd/cn/P101
Class No
22stNov. 1994
41
Car Musuem
Mr. P.S.S.Lau
Mr. S.C. Lo
Site Analysis
An Affluent city like Hong Kong has encouraged many car enthusiast, Recently,
a group of car fans from the Hong Kong Classic Car Club and the Automobile
Association have joined together as a group to persuade the Hong Kong
Government to grant them a site to built a facility to provide the Hong Kong
people a chance to look at the car collection in Hong Kong.
The site is located at the heart of the tourist district, close by major hotels and
business district. Moreover, the 4 -lanes Cotton Tree Drive has provide the site
with a dynamic character. The site is a Class A site, zoned as QIC. Since it is a
museum, it is of a non-domestic use. The development potential of the site for a
building height of 15m or less will have a coverage of 100% and a plot ratio of
5. The site Area is 5,968sq.m.. The area required for this project is three times
the site area.
Pedestrian access
Majority of the visitors enters from the Hong Kong Park, because of the MTR link
from Pacific Place. A footbridge that connects Hilton Hotel and Citibank Plaza is
also a very popular route into the site.
Vehicular access
Only one access from Cotton Tree Drive with small service access via Hong
Kong Park at the rear. Traffics is congested during rush hours.
Noise
Generated by cars accelerating up Cotton Tree Drive.
Water
Ponds located at the back, with a very nice waterfall coming down from the hill.
Vegetation
A great number of large trees and grass areas around the site.
Views from site
Very attractive view of the business center.
Case Study
The Mercedes-Benz Museum and the BMW Museum were chosen because
they both have very interesting way of displaying automobiles, with a very
straight forward circulation pattern. However the location of the theater is

different, one being in the beginning of the visit, while the other at the end of the
visit.
Concept
The idea of car being an extension of a building. Since they both provide
shelter for human beings. However, the biggest difference is that car offers
instant mobility. The concept is to bring movement into the museum to create a
dynamic sensation. The best way of showing a car, is when they are moving.
The entrance into the site gives an image of racing pit stop. The ramp as an byproduct of an automobile.
Display methods
Different ways of displaying an Automobile.
Area of Study
Site Development Design Guidelines
Circulation Design Guidelines
Security Design Guidelines
Flexibility Design Guidelines
Architectural Design Guidelines
Climate
Lighting
Acoustics
Structural Requirements
Physical Elements
Building Codes

Mr. P.S.S.Lau
Should study the History of Automobile in Hong Kong.
Look at how Automobile influence the development of the city.
Look at what kind of exhibits to be housed in the Museum,
Assume the number of permanent display in the Museum,
The track is interesting, like fashion show, it is important to understand how to
view the car.
Ford pavilion very interesting.
To examine the relationship between the exhibits and audience.
Examine how wide and how long the track has to be, so that the display is safe.
What* is the difference between a car museum in Hong Kong and the ones
elsewhere?
Why one in Hong Kong?
What are the people interested in?
What did they want to know?
Relate the car with the history of Hong Kong.
To associate the car with people, who drove those cars.
List the possible cars for exhibition and their relationship with history of Hong
Kong.
Majority of Hong Kong people are not familiar with the machine, its a good
chance to show the development of car.
The emphasis of the museum.
Some theme in a museum.
Effects of government's restriction on cars.
May be more economical car.
What Hong Kong has to offer for showing cars.
Mr. S.C. Lo
Rich people made his own museum with his own collection.
Car museum exist due to the manufacturer.
Problem for the justification of this car museum in Hong Kong.
The chosen subject is very important.
The spirit of these in depth investigate, such as the site - speed- acceleration give dynamics, good arch generate from site, should incorporate dynamic into
the design, rather than just applying the ramp.
Do a series of dive into the theme.
Site Analysis
Classification of Site
View from Citibank Plaza
Climate
Site Area
View from Tower
Water
Pedestrian Access
View from Footbridge
Vegetation
Vehicular Access
View from Site Entrance
View from the Site
Noise
View from Site Entrance
View into the Site
.;-
Case Study
Mercedes-Benz Museum
Top Floor
First Floor
Ground Floor
BMW Museum
Concept
Semi Outdoor Display Area
Pond
Display Methods
j mm
Area of Study
Schedule of Accommodation
Design Guidelines
Technical Constraints
Museum Exhibit Area
Environmental Control
Lobby
Public Washroom
Special Events Area
Maintenance and Workshop A re a
Museum Storage
Vehicle Storage
Museum Exhibit Area

Special Events Area
Theatre
Gift Shop
Restaurant
Vehicle Sales Area
Climate
Environmental Design Criteria
Temperature & Humidity Control

Lobby
Gallery Space
Meeting Room
Curator Office
Workshop
Vault
Museum Exhibit Area

Special Events Area
Automotive Art GaJlery
Theatre
Lobby
Stall Washroom & Shower
Workshop
Office
Lighting
Musuem Support Area Design Guidelines

Administrative Offices
Leasable Tenant Space
Musuem Storage
Site Development Design Guidelines
Gift Shop
.Public Automotive Reference Library
Restaurant
Vehicle Sales Area
Acoustics
Structural Requirements
Objectives
Physical Elements
Circulation Design Guidelines
Theatre
Lobby
Auditorium
Public Washroom
Cloakroom
Projection Room
Storage
Public Circulation
Limited .Access Circulation
Service Circulation
Vehicular Access
Pedestrian Access
Parking
Gin Shop
Security Design Guidelines
Cashier
Hign Security
Moderate Security
Limited Security

Change Room
Storage
Flexibility Design Guidelines
Lobby
Circulation Desk
Library Main Stacks
Librarian Office
Storage and Preperation Area
Archives Section
Audio-Visual Room
Vehicle Sales
Main Entry
Museum Exhibit .Area
Theatre
Gift Shop
Vehicle Sales Area
Tenant Office
Museum Support / Storage
Buidling System
Vehicle Sales Area

Sales Office
Architectural Design Guidelines
Restaurant / Cafe
Lobby
Bar
Seating Area
Public Washroom
Kitchen
Storage
Staff Washroom
Ad mini st ra live ( )f11 ce
Reception
Board Room
Meeting Room
Photo-Copying Room
Fax Room
Office
Executive Office
Museum Files Vault
Storage
Staff Washroom
Staff Lounge
Other Building Support Area
Vehicle Loading Area
Vehicle Holding Area
Loading Dock
Holding Area
Refuse Storage Chamber
Building Codes
Car Museum
Felix Wong
Second Jury
The history of cars in Hong Kong dates back to the late 1800's. However
population of cars only increases after the W.W.II. In the car museum
different types of the most popular vehicles are displays. The vehicles are
classified into saloons, city driving, field and sports etc.
Concept
The idea of car being an extension of a building, since they both provide
shelter for human beings. However, the biggest difference is that car offers
instant mobility. The concept is to bring movement into the museum to create
a dynamic sensation. The best way of showing a car, is when they are
moving. The entrance into the site gives an image of a racing pit stop. The
ramp as an by-product of an automobile. Traditional car museum display are
indoor, but since cars belong outdoor, this museum will provide not only the
traditional method of car display but also an outdoor and semi-outdoor areas
for a more realistic display.
The ground floor, consists of the vehicle sales areas, vehicle entrances and
loading and unloading area. The L-1 consists of the automobiles restoration
area, and storage area. The L-2 is where majority of the visitors will enter, it
consists of the cafe, entrance hall, a viewing platform and an outdoor display
area. The L-3 consists of a theater and a viewing platform. L-4 is the
automotive Art galleries where sculpture and paintings are being displays.
The L-5 to L-8 will display the different classifications of vehicles. L-9 is the
special events area where auctions and other functions are being
accommodated. L-10 is the automotive reference library where public can
have access to. L-11 to L-13 are the offices.
Synopsis of Staff Observation

Mr. Patrick Lau
Mr. Gus daRoza
The idea of the circular ramp is good, however it need not have to go up all
the way. Cars can be transported up and down with the means of a freight
elevator. The turning circle, headroom and the gradient has to be carefully
studies.
The idea of the track is also good but it could be more interesting if different
road conditions are being applied, such as bumps, gravel, cement etc.
The building can also be lower, possibly with a larger floor plate, so that it
can function more efficiently.
Display are need not be so rigid and should study carefully how different
types of vehicles can be displayed. Such as Jeep with a outdoor backdrop,
race car on a track.
The Cafe should be more interesting. It should provide the customers with
an environment which offers good view either of the outdoor track or the
indoor display area.
While visitors are traveling up and down the museum's escalators, they
should be able to enjoy the museum, they should be given a chance to look
at the overall space.
Identify the functions of offices in order to justify their area.
Citibank Plaza
Site
oo
Hong Kong Squash Centre
Hong Kong Park

Aviarv
North
Service Route
8.1
Vehicle Sales Area
Sales Office
Main Entry
Loading
Vehicle Sales Area
& '
Unloading / "
Area
A
Taxi Stand
Footbridge
to
Citibank
Plaza
Vehicular Entrance
"1
Level 1
Vehicle Sales Area
Loading & Unloading Area
Vehicular Entrance
2.3
Workshop
^)
2.1
Lobby
Service Route
2.2
2.4
Office
Storage
Automotive
Restoration
Shop
Level 2
Storage Area
Track
Storage L _l
7.3
Seating Area
Service Route
7.5
Kitchen
.,
Bar
7.7
Hh
Staff Washroom LJ
7.1
r-[
rI 7.4
Lobby |_f T_J Public Washroom

Main Entry
Outdoor Display Area
Track
ISP
'
Museum Entrance
'
.;
^^4^''^
Restaurant / Cafe
Level 3
Musuem Entrance
Track
^staurant / Cafe
^ l^tdoor Display Area
Service Route
4.6
Storage4.5
Projection Room
Automotive
Art Gallery
Level 5
Museum Lobby
Level 4
Theatre
heatre^
Preperation Area & Workshop
Vehicle Storage
1.6
Museum Storage
1.5

1.4
Special Events Area
n n 1.3
i_rU Public Washroom
1.1
Lobby
Musuem
Display
Area
Musuem
Display
Area
Level 6 & 8
Museum Display Area
Level 7 & 9
Museum Display Area
Level 10
Special Events Area
Special
Events
Area
DB2
Museum Exhibit Ar
Service Route
Automotive Art Uallvr
6.5
Storage & Preperation Area
6.4
Librarian Office
6.6
Archives Section
6.3
L Library Main Stacks
6.2
Circulation Desk I
M..
Tht-at
~
6.7
Audio-Visual Room
6.1
Lobby
DB6
Public Automotiu- Reference Library
Office
Level 11
A|i,tomotive Ri
Administrative Office
DB5
DB7
DB8
Gift Shop
Restaurant / Cafe
Vehicle Sales
Special Events Area

Racing
Field
Salon
Cit\
Automotive Art (iallcry
Theatr*
Restaurant / Cafe
Outdoor Display Area

Vehicle Sales Area
Lighting
Introduction I j g h n n g play- a key roll- in eslal
sanely of lighting types w i l l he required In -0111
i a i d . i y l i g h i can he mixed veherc appropriate Lighiin:: effce
\ n > muse urn nhMnhalwiWceolleclion has. ltgalnd ethical rcsp

the older v e h i c l e s should hi- f j i i-n s|x-i-i;il consuli-iatiui; in miiM-im. pl.iv
light in the museum All the expert, agree that dircci ~ni,,ht on Hpht ,o:
rve il Ughl sensit

i I PL-Mini; .There is
Bhich are found on the e\hibi

.lonamonndesigncrsahoutd;
Tin- light r a y . IHUM Ix- filtered r the illumination confined to reflected light.
I he orientation of the sun changes during the day and according U> the season fiMabli-h ihc angle of ihc sun's
arrange the exhibits fur nia.Mnium protection
I hi- HiU-nMlyol light reaching the inhibitio
The introduction of natural light will affect the temperature and relative humidity in the rtxim
i he n a t u r e of this museum and the a r t i f a c t s
Oiibit area) w i l l require a higher dcjerce ol
Automotive Restoration Shop For restoration work, a high level of task illuminance is permitted because of the visual need, and the relative short lime ol exposure, (an
color perception in also necessary w ilh absence of glare Daylight is often used for restoration, and can be coupled with color matching florcstent or smaller filament lamps
Automotive Art Gallery In these spaces the exhibits demand more attention in response to conservation The exhibits w ill include paintings. drawing>and sculpture The
paintings and drawings are considerably more .sensitive to the deteriorating effects of light, n i t h fading being the primary concern liliminalion of ultraviolet light and
limiting illuminance and exposure lime are prime solutions
anccs Normal stage lighting flexibility should be provided with controllable house lights Naiural light
should be controlled or non-existanl.
Astern should be included to allow Ihc flexibility required lor varying display illumination
Public Automotive Reference Library ,\ high level of general and direction
glare .incl linglitni-" cutitia-i- shmild d e f i n i t e l y Ix- aioided. (non-glos-y rmishes
daylight can be considered for general daytime lighting.
ighting can support a medium level of general lighting for reading areas In
?n, and left to the d!scretion of the designer Natural lighting is generally n
Vehicle Sales This space should enjoy a fairly high leu-lnl general illunmianci linen -Hit b u y e r - should Iv allotted an a c c u r a t e presentation ol the vehicles olu-uil Im
sale Daylight can he considered due to relative short exposure lime anticipated lor the vehicles on display Display of vehicles shmild be dramatic to attract interest.
building. This adaptation should he allowed as quickly as possible Circulalu

public circulation routes
is should he adequately i l l u i
ated to provide safely, and a clear undi
Osphere. and w i l l make Ihe leasable ol
Felix Wong
Car Museum
Third Jury
Mr. Patrick Lau
The position of the track was being relocated due to the problem of the road noise. The
idea of the track originates from the Ford Pavilion where cars are being display in
motion. The building are now design with less floors but each with a larger floor plate.
Ground Floor
It includes the loading and unloading bay, vehicle sales area, taxi lay-by, refuse storage
chamber and the vehicle entrance.
1st Floor
Automotive restoration area
2nd Floor
Double volume special events area and kitchen.
3rd Floor
Museum main entrance with gift shops and cafe.
4th -7th Floors
Theater, library, art gallery, administration office and the display area.
8th-10th Floors
Offices
The vehicles are display according to their classification such as city driving, salon,
sports car and field vehicle.
The function of the museum is to educate the public on cars, there is one floor dedicated
to show how car are being restored, step by step like a garage.
Detail of the building system are being studied.

Mr. Patrick Lau
Besides the position of the track, track should be more dynamic, circulating around the
building, like a traffic island could be more interesting.
The track could be located below the slope, so that the slope could shield the noise from
the road.
The track should be integrated into the building, indoor and outdoor, vertical and
horizontal. There should be places where visitors could view the cars from different
angles.
The form looks too much like an office building, it should be studied more carefully.
A question was raised about the vehicle collection, whether an permanent collection
exist.
The Automotive Restoration Area could be designed in a way where viewers can walk
through a glass corridor, without interfering the mechanics.
Majority of the museums is designed through a loop.
Another idea is to sink the building into the ground, so that the track can circulate on
top of the roof. Like a spaghetti landscape in a cloverleaves becomes different, concept
has to be a car.
The building is too dominate.
The visitor circulation should be studied more carefully, like the problem with a parking
garage.
The museum could be designed in two ways, one is to make it neutral so the exhibits
can be seen easily, other Frank Ghery very dynamic , detail can look machine like,
lighting air conditioning can be industrial look, like Rogers and Foster.
Leslie Lu
The track could be more fun, going in and out of the building, ramping up and down.
The double height space prevents from close observation unless go inside
Pedestrian route should be studied more carefully.
It doesn't look enough like a machine plan, to look like a machine BMW look like a
cylinder.
Let the ramp be the main feature, be more neutral to show off the ramp to be very
dynamic
Not fun enough
Bank of China Tower
I Kong Squash Centre
Pooi
/ /f/7
Scaie 1:50Q
Citibank Plaza
%//'
REFUSE
STORAGE
CHAMBER
LOADING
&
UNLOADING
GROUND FLOOR PLAN
1ST FLOOR PLAN
2ND FLOOR PLAN
Pond
3RD FLOOR PLAN
4TH -7TH FLOOR PLAN
8TH-10TH FLOOR PLAN
1VJLUMJUJVI
Offices
Offices
HELD
SPORTS
CITY
SALON
Theatre
A dnumstrative Office
Au tomotive Art Gall ery
Autonlotive Referenc Library
& '1500m
rnrnrn
Coffee Shop
Musuem Maun Entrance
- " -1 "i
Special Ev ents Area

\aiomoti%t: RestoraJiOis Sfaop
<& 2600m
J* "QQm
!
!
.k !m.
Vehicle Sales \rca
Section A
Scale 1:250
Ducts
High Intensity Discharge Spotlight

Geraeral Service Downlight
Recessed Floor Lummaires
t4(Xhn
Raised Floor
Detail
Scale 1:25
7th April, 1995.

Felix Wong
Car Museum
Fourth Jury
Mr. P. S. S. Lau
Synopsis of Presentation
As a result of the 3rd jury, there are 2 major amendments. First, the
location of the track has been moved from the Cotton Tree drive side to
the center of the site. This is more interesting because visitors can
now enjoy both sides of the track. Second, This building is now divided
into two separate blocks. By doing this, would encourage visitors to
travel across buildings, offering them more chance for them to observe
the cars from different angles.
Synopsis of Staff Observation

The form track is still unsatisfactory. It should extend more towards
Queensway. The introduction of a contrasting circular ramp might be a
solution.
The form of the building should relate more to the track. The height of
the building is also too high, and should be lowered by adding more
floors to the basement.
Additional parking spaces should also be provided.
Advise on the Final Presentation.
Somewhat similar to the 4th jury. However, more view should be
provided. For example, a series of views from different part of the
road, make it look like a film strip. 3rd dimensional plans are also
advised.
//
Bank of China Tower
Musuem Main Entrance
View from upper Cotton Tree Drive
1st Floor Plan
Scale 1:400
2nd Floor Plan
View from Park Entrance
View from Vehicle Entrance
3rd Floor Plan
5th Floor Plan
View from Park's Service Road
Aerial View
6th & 7th Floor Plan

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Wong, Kin-hay, Felix

WONG Kin Hay, Felix

Site Development Guidelines

Overall Area Requirements

Goals & Objectives

2*0 Program Oragnization

Owner of Land / Existing Property

Plot Ratio / Site Coverage / Class of Site

Access - Pedestrian and Vehicular

Main Services Available

What is the Car?

Is it an extension of our body?

Site Development Guidelines

5* 1 Site Development Guidelines

5,3 Main Building Component Design Guidelines

Museum Exhibit Area

5. Access to washroom facilities.

Maintenance and Workshop Area

1. Space should accommodate 300 people.

Automotive Restoration Shop

Conservation and preservation goals can only be

Service connection to building support vehicle

Automotive Art Gallery

The Gallery should be seen as a special point of

port delivery/loading area.

PreperatioB Area & Workshop

1. Provide a quality theatre with the versatility and

1. Provide a quality store for the museum visitor.

Merchandise Display Area

Public Automotive Reference Library

1. Provide a modern computerized library facility.

| Storage * Preparation Area

1. Should be perceived as a part of the museum com

1. Provide a showroom and sales area for revenue

5.4 Support Area Design Guidelines

The support areas discussed are:

Storage spaces should allow for subdivisions as required.

1. Museum exhibit storage space must accommodate

1. At least three people must be able to work together

Limited Access Circulation

6.0 Overall Area 'Requirements.

DB 1 : Museum Exhibit Area

DB 2 : Automotive Restoration Shop

DB 3 : Automotive Art Gallery

DBS : Gift Shop

DB 6 : Automotive Reference Library

DBS : Vehicle Sales Area

DB9 : Administrative Office

Building Support Area

Vehicle Loading Area

Museum Exha>it Area

Public Automotive Reference Library

Circulation: indicates circulation path between spaces in

Public Circulation: main public circulation route within

Service Route : indicates the main service route of the

Reception Control : is used where access to a space is

Entry: arrow is accompanied with text to describe user. It

CQNTROLUSD ACCESS POINT

LOCKED ACCESS POINT

Controlled Access Point: is used to indicate control point

7.0 Case Study

The main feature is the race track like ramp

LIGHTING DESIGN GUIDELINES