ARCHITECTURAL DESIGN 6

Rivera, Angela
BS ARCHI 3A

1 / 7 / 16
ARCHT ARJAY TY

Provincial Museum
Museum (/mjuzim/; myoo-zee-um) is an institution that cares for (conserves) acollection of artifacts and
other objects ofartistic, cultural, historical, or scientificimportance and makes them available for public
viewing through exhibits that may be permanent or temporary. Most large museums are located in major cities
throughout the world and more local ones exist in smaller cities, towns and even the countryside. Museums
have varying aims, ranging from serving researchers and specialists to serving the general public. The goal of
serving researchers is increasingly shifting to serving the general public.
Interaction Types of Museum
History Museums
OPPORTUNITIES - History museums are in many ways the best-suited for visitor participation. They are
frequently about real people's stories. As cultural anthropology has swung away from a vision of authoritative
history and toward the embrace of multiple perspectives, there is potential for those stories to come from all
over the place, including visitors themselves. For this reason, history museums as best-suited for participatory
projects that involve story-sharing and crowdsourced collecting (e.g. MN150). Because of the incredible
popularity of genealogy as an activity, history museums are also excellent places for visitor-generated or
-supported research projects (e.g. Children of the Lodz Ghetto). Finally, because of their social content, they
are good places for community dialogue programming and comment boards (for example, consider the Levine
Museum of the New South'sextensive use of sticky notes and talking circles). Everyone can have her own
personal experience of history.
CHALLENGES - Despite their support for multiple perspectives, history museums feel strongly about
accuracy and authenticity. They also want to avoid stories or perspectives that reflect hateful or offensive views
toward other people. Validating and moderating visitors' stories or contributions is often a top concern in
history museums. So is maintaining a narrative thread that is intelligible and enjoyable to visitors. Balancing
multi-vocal content with a comprehensive narrative can be tricky. Finally, some history museum staff members
feel that they should not be dealing with contemporary social issues or that they are unable to facilitate
dialogue on contentious topics.

Art Museums
OPPORTUNITIES - Art museums are well-suited for creative visitor participation. They show the creative
process, and many visitors may be inspired to create their own art in response to that on display (e.g. In Your
Face). While art historians and curators may have their own sense of what interpretations of art are most
accurate or valuable, it's generally accepted that everyone has his own experience of art, and that individuals'
different interpretations or preferences are acceptable (which encourages some museumsto invite visitors to
write their own labels). Finally, many art museums do fabulous, highly participatory projects that are led by
participatory artists who work specifically in the realm of dialogue or active social participation.
CHALLENGES - Art museums have more significant separations between education departments and

curatorial departments than other types of museums. This means that an activity construed as educational (i.e.
write your own label) often cannot be placed in the gallery if it is perceived by curators to distract from the
aesthetic experience of connecting with the artworks. Ironically, art museums often present the most radical
participatory experiences for visitors--but only when led by an artist, not by internal staff members. There is
also a strong bias in some art museums against amateur content, which prevents some institutions from
encouraging creative participation by visitors.
Science Museums and Science Centers
OPPORTUNITIES - Science museums and science centers have a long history of interactive display
techniques, which makes them naturally suited to encourage other kinds of active visitor participation. They
also have a general visitor-centered "you be the scientist" approach, which elevates visitors' own opinions,
actions, and contributions in the context of the museum experience. Finally, they are commonly used by school
and family groups as learning places. These attributes makes science museums and science centers ideal for
participatory projects that are collaborative and action-oriented. Many science centers support participatory
design challenges,citizen science projects, and nature exchanges that encourage visitors to engage personally
and socially in doing science. Some science museums also present dialogue-based programs and exhibits
around contemporary science issues, like race, wealth disparity, and climate change. Several also offer adultsonly events or venues to encourage older visitors to engage with tough topics in modern science.
CHALLENGES - Unlike history museums or art museums, science institutions do not value multiple
perspectives on basic interpretation of science. Theories like evolution and the laws of thermodynamics are not
open to visitor reinterpretation. Additionally, the family-oriented focus on fun and shared learning at science
centers leads some to shy away from controversial topics or visitor experiences that might be perceived as too
complicated to integrate into a family visit. There is also the concern that visitors' contributions are more likely
to be off-topic or comment boards used in entirely inappropriate ways, especially by school groups. Visitors
are rarely engaged in exhibition development or content production as they might be in art or history museums;
participation in science centers is often focused narrowly on teens and young adults who are engaged in formal
internships or staff positions.

Children's Museums
OPPORTUNITIES - Like science centers, children's museums are highly interactive and visitor-centered.
There are many opportunities for visitors to make things both to share and take home in the context of a visit.
Children's museums often encourage visitors to explore new ideas and developnarratives around their
experiences, and institutions frequently showcase visitors' stories and creations. In some cases, professionals
develop exhibitions or shows with children's participation, as in Capital E Theater's opera, Kia Ora Khalid,
which was based on anddeveloped with young immigrants. Some institutions encourage visitors to make
personal pledges relative to tough topics, likeprejudice, personal health, or environmentalism.
CHALLENGES - The biggest challenge to visitor participation in children's museums is concern about
privacy. Most children's museum staff are not comfortable encouraging visitors to document each other (i.e.
take photos of each other's kids), asking for personal data about children, or encouraging children to approach
strangers (unsurprisingly). Additionally, many museum staff members assume that family and young visitors
are not able to make substantive contributions as participants due to their level of ability and availability.

Architectural museums

Architectural museums are institutions dedicated to educating visitors about architecture and a variety of
related fields, often including urban design, landscape design, interior decoration, engineering, and historic
preservation. Additionally, museums of art or history sometimes dedicate a portion of the museum or a
permanent exhibit to a particular facet or era of architecture and design, though this does not technically
constitute a proper museum of architecture.
The International Confederation of Architectural Museums (ICAM) is the principal worldwide organisation for
architectural museums. Members consist of almost all large institutions specializing in this field and also those
offering permanent exhibitions or dedicated galleries.
Architecture museums are in fact a less common type in the United States, due partly to the difficulty of
curating a collection which could adequately represent or embody the large scale subject matter.
The National Building Museum in Washington D.C., a privately run institution created by a mandate of
Congress in 1980, is the nations most prominent public museum of architecture. In addition to its architectural
exhibits and collections, the Museum seeks to educate the public about engineering and design. The NBM is a
unique museum in that the building in which it is housedthe historic Pension Building built 1882-87is
itself a sort of curated collection piece which teaches about architecture. Another large scale museum of
architecture is the Chicago Athenaeum, an international Museum of Architecture and Design, founded in 1988.
The Athenaeum differs from the National Building Museum not only in its global scopeit has offices in Italy,
Greece, Germany, and Irelandbut also in its broader topical scope, which encompasses smaller modern
appliances and graphic design.
A very different and much smaller example of an American architectural museum is the Schifferstadt
Architectural Museum in Frederick, Maryland. Similar to the National Building Museum, the building of the
Schifferstadt is an historic structure, built in 1758, and therefore also an embodiment of historic preservation
and restoration. In addition to instructing the public about its eighteenth century German-American style
architecture, the Schifferstadt also interprets the broader contextual history of its origins, including topics such
as the French and Indian War and the arrival of the regions earliest German American immigrants.
Museums of architecture are devoted primarily to disseminating knowledge about architecture, but there is
considerable room for expanding into other related genres such as design, city planning, landscape,
infrastructure, and even the traditional study of history or art, which can provide useful context for any
architectural exhibit.
Archaeology museums
Archaeology museums specialize in the display of archaeological artifacts. Many are in the open air, such as
the Agora of Athensand the Roman Forum. Others display artifacts found in archaeological sites inside
buildings. Some, such as the Western Australian Museum, exhibit maritime archaeological materials. These
appear in its Shipwreck Galleries, a wing of the Maritime Museum. This Museum has also developed a
'museum-without-walls' through a series of underwater wreck trails.

Biographical museums

Biographical museums are dedicated to items relating to the life of a single person or group of people, and may
also display the items collected by their subjects during their lifetimes. Some biographical museums are
located in a house or other site associated with the lives of their subjects (e.g. Sagamore Hill (house) which
contains the Theodore Roosevelt Museum or The Keats-Shelley Memorial House in the Piazza di
Spagna,Rome).
Design museums
A design museum is a museum with a focus on product, industrial, graphic, fashion andarchitectural design.
Many design museums were founded as museums for applied arts ordecorative arts and started only in the late
20th century to collect design.
Encyclopedic museums
Encyclopedic museums are large, mostly national, institutions that offer visitors a plethora of information on a
variety of subjects that tell both local and global stories. The aim of encyclopedic museums is to provide
examples of each classification available for a field of knowledge. "With 3% of the world's population, or
nearly 200 million people, living outside the country of their birth, encyclopedic museums play an especially
important role in the building of civil society.
Ethnology or ethnographic museums
Ethnology museums are a type of museum that focus on studying, collecting, preserving and displaying
artifacts and objects concerning ethnology and anthropology. This type of museum usually were built in
countries possessing diverse ethnic groupsor significant numbers of ethnic minorities. An example is
the Ozurgeti History Museum, an ethnographic museum in Georgia.
Mobile museums
Mobile museum is a term applied to museums that make exhibitions from a vehicle- such as a van. Some
institutions, such as St. Vital Historical Society and theWalker Art Center, use the term to refer to a portion of
their collection that travels to sites away from the museum for educational purposes. Other mobile museums
have no "home site", and use travel as their exclusive means of presentation. University of Louisiana in
Lafayette has also created a mobile museum as part of the graduate program in History. The project is
calledMuseum on the Move
Open-air museums
Open-air museums collect and re-erect old buildings at large outdoor sites, usually in settings of re-created
landscapes of the past. The first one was King Oscar II's collection near Oslo in Norway, opened in 1881. In
1907 it was incorporated into the Norsk Folkemuseum.
A Note on Small Museums vs. Large Museums
While the delineations above are by museum subject matter, there are also significant differences between
participatory opportunities in large and small museums. Small museums are more likely to be communityoriented and to be comfortable incorporating visitor-generated content without feeling that it disrupts the

overall design of the institution. However, small museums are also less likely to have staff support to maintain
and sustain participatory projects over time. While large museums are often beleagured by endless committee
meetings that can hinder the potential for creative new projects, when all the dotted lines are signed, the
projects tend to affect more visitors than those of small museums, and may be better funded over time. Frankly,
I think small museums win out on this one--ultimately, they are less focused on authoritative image than large
museums and more likely to enthusiastically embrace community involvement.

Building and site requirements:

What needs to be considered when planning museum design and operations?
Summary
There are a number of issues both new and existing museums need to consider. These include the use of space;
control of the internal environment; visitor flow and comfort; building security; maintaining the integrity of
any heritage features of the site or building; and staff comfort.
Use of space
Ideally, allow approximately one third of the space to work areas, collection storage and exhibitions.
If retail facilities are planned, ensure that these are visually separate from exhibitions.
Collection facilities
Storage areas should be internal rooms. Box within a box'
Allocate separate storage areas for different types of materials, where possible. Paper and textiles should be
stored separately from metals and wood
Block natural light in all museum areas where collection are stored or displayed
Ensure the building is well ventilated and that the air is filtered for dust.
Minimise temperature and Relative Humidity fluctuations
Plan for building security. See Security' information sheet.

Administration facilities
Allocate a room for administrative facilities.
Plan for curatorial space where staff can work without interruptions.

 Ideally, plan a research space where the public can use the museum's reference library, resources, and
appropriate collection information.
If there are museum guides or attendants, ensure they have a comfortable place to sit; somewhere to store
their belongings; a place to have refreshments, away from the collection.
Visitor flow and comfort
A single point of entry and exit for visitors.
If the museum site consists of more than one building, minimise the number of doors used. This is for both
security and climate control purposes.
A group assembly area is advisable. This assists with managing school and group bookings.
Provide seating at strategic points throughout the museum.
Clean toilets, conveniently located.
Disabled access and safety considerations are paramount.
Heritage buildings
Ensure that the heritage significance of any museum building or site is maintained and interpreted. This can
present some challenges. It may seem that the demands of caring for a museum collection are not that
compatible with the requirements of building conservation according to the Burra Charter. This issue requires
careful consideration and planning.
Future expansion
The most common reasons for expansion are for additional work and storage space, and to house large
machinery. Allow for expansion needs in any new building, if possible.
Appropriate housing of machinery should protect against further deterioration (preventive conservation
principles apply). This should, at the least, include a level, sealed floor and walls that provide protection from
the elements. Allow space for interpretation of the machinery.
Take into account the potential for archaeological research when planning any new buildings.

Determining Museum Storage Space Requirements

One of the more daunting aspects of planning a museum collection storage facility is determining
how much space is needed to store the collection. This Conserve 0 Gram will guide you in
making an estimate of your storage space requirements. It supplements information on museum

collections storage planning provided in the NPS Museum Handbook, Part I (Rev 9/90), Chapter
7.
To plan collection storage space you must:
1. Determine the storage equipment requirements for the collections. See Conserve 0 Gram 4/10,
Determining Museum Storage Equipment Needs.
2. Develop a layout for the equipment within the storage space.
3. Calculate the space occupied by the storage equipment. This process should be useful to park
and museum staff responsible for resolving museum storage space and equipment issues and who
find themselves in one or more of the following scenarios.
Scenario 1. There is no centralized storage area for the museum collection. Objects are stored
haphazardly in a variety of places: on the floor, on top of file cabinets, on multipurpose shelving
and in cabinets with non-museum items. You make a decision to establish a dedicated space
where the collection can be consolidated and properly stored. How much space will be required?
What special equipment is needed?
Scenario 2. Your collection storage area was developed without the benefit of a
preconceivedlayout. Storage equipment was purchased as objects were moved into the room.
Objects of different sizes and types are stored together in a variety of equipment. Aisles are
irregular making the movement of objects difficult. You make a decision to reorganize the room
so the objects are properly stored and more accessible. How do you go about rearranging the
space?
Scenario 3. Your site has an established collection storage area. Additional materials have been
added to the collection over the years. The storage room now is overcrowded. You evaluate other
spaces at the site. If no on-site space is acceptable, a new facility will be constructed. How do
you establish the current and future requirements for space? Do you need additional equipment ?
When planning for collection storage space, the following options are usually considered: l
developing new space in a dedicated building l adapting another space or building l upgrading
the space currently used to better meet the needs of the collection
Developing a Layout
Develop one or more layouts of your storage equipment within the proposed storage space. Keep
in mind the following as you arrange the space: l allow for safe movement of objects and staff
throughout the space l provide adequate access to the stored collections

Museum Storage Equipment Template

Reduce the square footage required to store the collection by using high density storage systems
that compress aisles. Reduced square footage requirements must be weighed against increased
cost and heavier floor load requirements.
The process of space planning for your museum storage facility need not be difficult. The goal is
simple: develop the equipment layout that works for the collection and the staff, a layout that is
safe for both objects and people, meets your access needs, and contributes to the care and
preservation of the collection.

Site Design Philosophy and Museum Appeal

Overview
Visitors enjoy the ability to choose the activity and educational space. This ability to choose the space of
interest and the sites informality must be retained in any future development of the site. This human size and
ability to explore as a couple, group or individuals is once of the primary assets of the site. Any new structures
should retain this atmosphere and architectural style.
Some visitors choose to explore the main building with its series of spaces which link in an informal
narrative. They like the informal structure, the size of the spaces and the range of activities in the space. These
spaces have a range of static displays (photographs, books, documents, artifacts and collections) and a small
theatrette.
Other Interpretive and Display buildings on site include:

Overland Telegraph Display Building audio visual display, plus static displays
Skillon Shed - the pastoral, horticulture and agriculture implement displays both
inside and outside.
Interpretive Shelters Aviation display and information
Aviation Shed Clyde Fenton aircraft and interpretive material
Other buildings include:
Internal and external amenities blocks Caf and sheltered sitting area Rotunda
Caretakers Cottage
Various Storage containers
Other Spaces
Generally the buildings are set in a garden environment which enhances the sense of arrival. This sense of
peace and of somewhere special needs to be retained.
The Native Garden used by visitors and locals for events, walking, exploring and for
photos.
The Rock Garden used by visitors and locals for photos, walking and linking the
various spaces.
Rotunda and lawned area events, weddings, dinners, picnicking and relaxing space for visitors.
Pedestrian Security to the Buildings and Displays on Site
There needs to be one entry point to the site buildings and display areas through the new entry space. Fencing
and design of new spaces need to take this into consideration. Given the location of the overland telegraph
building this may have to remain outside the fence area.
6.4 Services Analysis and Environmental Sustainability
There is a full range of utilities services to the site. When considering any additional buildings, additional
services to the site, the need for the site to be environmentally sustainable should be taken into consideration.
Use of natural ventilation, design and management of climate sensitive areas, use of natural shade and breezes,
rainwater harvesting, low wattage fittings and reticulated automatic sprinkler systems all should be considered.
The carbon footprint of the Museum and its associated areas should be minimalised through good design of
new the building, their linkages and the landscape.

Services Analysis Power

Power on site will need upgrading to meet the requirements of the new building. Care should be taken as the
building may trip in an upgrade to PAWA network. Currently 1600 amps are available

Water
There is adequate water supply to the site. Sewerage
The sewerage connection on site was recently upgrade and there is adequate capacity.
Communications
There are adequate communications to the site.

Hydrology
During the 1998 flood the main Museum building and associated buildings were above the flood level. The
Clyde Fenton Building has some water flow through the building. Any new buildings should take the flood
levels into consideration and should be atleast 600 mm above the current RL flood level.

External Spaces

Car Park and Traffic Management

There is limited space for parking particularly given that coaches, mobile homes, cars and caravans all required
to be catered for within the parking requirements. The current car park is on the original hard stand area of the
airport. This will need to be extended and traffic movements directed to allow for easy access and egress from
the site.
Additional allowances will need to be made for disabled car parking and for caravan, coach, and mobile
homes. A coach drop off area should be created to allow quick convenient access for visitors. There should be
all weather access designed for the rear of the block to allow access to the maintenance and service areas.

Maintenance Space
There needs to be a dedicated location for maintenance activities, such as repairs or conservation of equipment,
storage containers and general grounds maintenance equipment. This needs to be easily accessible for staff and
conservation works away from main visitor traffic areas (both pedestrian and vehicle access). The area needs
to provide enough space for several work areas, covered space for equipment and link to the Agriculture
Building and to the machinery display areas.
This space should be accessible by vehicle.
Garbage collection area
Garbage should be located in the Maintenance Bay area to keep all refuse in one location. This space should be

screened from remainder of complex. Need stop cock tap for wash down and cleaning of space.

Linkages
Linkages need to be created between the Main Museum Building and the new entry and each of the other main
display areas.

Existing and New Buildings

1. Existing Museum Building
It is envisaged to keep the existing Museum building for static displays. The current office area will be
refurbished and used for static display areas.
2. Access
Access will need to be controlled to the new building through the new entry area. Solutions need to be found
on how to manage the pedestrian traffic from the new entry into this building without impacting on the
ambiance of the building. Suggestions include fencing of the building and garden area and linking back to the
main entry area.
3. Security
Due to no staff being based in the existing display building, security cameras will need to be installed to
monitor activities in the building and displays will have to be secured to ensure no theft occurs.
4. Aviation Display
Should be linked visually to the new entry building and to the runway.
5. Display area of Pastoral Equipment
This area is exposed to the weather. There is considerable interest by some clients in this area. The equipment
needs to be covered by a shelter to provide protection for the equipment and for visitors. There needs to be
some fencing in this area to restrict visitors from being able to climb and play with some piece of equipment.
There should be interactive spaces and spaces which do not allow pedestrian movement.
6. Agriculture and Pastoral Building (Skillion building)
This skillion shed provides ample internal space. There are a number of external displays which would benefit
from some protection from the weather and provide shade for visitors. Shading this area without making this
central area look crowded needs to be considered original designs. The space is under negotiation for use by
the Motor Vehicle Enthusiasts Club. If this space is leased to the Club certain internal structures will be erected
but they will be independent of the existing structure.
7. Clyde Fenton Building
This building should be combined into the new building as the Plane and its story is one of the iconic stories of
the Region. The plane is in a state of deterioration due to the hardness of the climate and the lack of climate
controlled air conditioning of the building.
8. The New Building
The new building should have a number of spaces and purposes including:
Entry Point to the heritage aspects of the site hence adjacent the car park Souvenir Sales point
Exhibition space for the plane and associated collections Exhibition spaces which are flexible
Additional Theatrette area
Office Space and kitchette for the management and Staff Conservation areas

 Storage space both air conditioned and non air-conditioned Amenities

Caf/coffee outlet and associated kitchen Secure IT/server room Cleaners Room
Loading Bay area which is covered
Descriptions of each space area attached.
Brief History of Cavite

Colonizers arriving in the late 16th century saw an unusual tongue of land thrust into Manila Bay and saw
its value as the main staging ground from where they could launch their bulky galleons. Formed in the shape of
a hook, which in Tagalog is called kawit , it became the most important port linking the colony to the outside
world.
What is now Cavite City was once a mooring place for Chinese junks trading that came to trade with the
settlements around Manila Bay. In 1571, Spanish colonizers founded the port and city of Cavite and fortified
the settlement as a first line of defense for the city of Manila. Galleons were built and fitted at the port and
many Chinese merchants settled in the communities of Bacoor and Kawit, opposite the Spanish city to trade
silks, porcelain and other Oriental goods. The vibrant mix of traders, Spanish seamen and local residents gave
rise to the use of pidgin Spanish called chabacano.
In 1614, the politico-military jurisdiction of Cavite was established covering all the present territory except
for the town of Maragondon, which used to belong to the corregimiento of Mariveles. Maragondon was ceded
to Cavite in 1754. Within Maragondon was a settlement established in 1663 for Christian exiles from Ternate,
Mollucas.
Owing to its military importance, Cavite was attacked by foreigners in their quest to conquer Manila and the
Philippines. The Dutch made a surprise attack on the city in 1647, founding the port incessantly, but were
repulsed. In 1672, the British occupied the port during their two-year interregnum in the Philippines. American
forces attacked the Spanish squadron in Cavite. The Spanish defeat marked the end of Spanish rule in the
country.
Missionary orders acquired and enlarged vast haciendas in Cavite during the 18th and 19th century. These
haciendas became the source of bitter agrarian conflicts between the friar orders and Filipino farmers and
pushed a number of Cavitenos to live as outlaws. This opposition to the friar orders was an important factor
that drove many Cavite residents to support reform, and later, independence.
In 1872, a mutiny by disgruntled navy men in Cavite led to a large-scale crackdown on reformers and
liberals. Three Filipino priests Jose Burgos, Mariano Gomez and Jacinto Zamora- were executed and dozens
others sent into exile. In 1896, after the outbreak of the Philippine Revolution, Cavite took center stage as
thousands of Katipuneros liberated most of the province's towns.
On August 26, 1896, when the Philippine revolution against Spain broke out, Cavite became a bloody theatre
war. Led by Emilio Aguinaldo, Cavitenos made surprise attacks on the Spanish headquarters and soon liberated
the whole province.

Emilio Aguinaldo, the first Philippine president came from the town of Kawit and directed the conduct of the
Revolution from his base in the province. He agreed to go into exile in December 1897, but returned to the
Philippines in May 1898. On June 12, he declared Philippine independence from the balcony of his home in
Kawit.
The Americans established civil government in the province in 1901. The naval station in Sangley Point
became the chief American naval base in the country.
The Japanese targeted the naval base during the first wave of attacks on military installations in the
Philippines.
Cavite and its people, what they are today, and what will be tomorrow will remain their infinity, as a place
with a glorious history, and a people fortified with strength to live and die for a worthy cause.
Concept Detail
The design of museums has evolved throughout history, however, museum planning involves planning the
actual mission of the museum along with planning the space that the collection of the museum will be housed
in. Intentional museum planning has its beginnings with the museum founder and librarian John Cotton Dana.
Dana detailed the process of founding the Newark Museum in a series of books in the early 20th century so
that other museum founders could plan their museums. Dana suggested that potential founders of museums
should form a committee first, and reach out to the community for input as to what the museum should supply
or do for the community. According to Dana, museums should be planned according to communitys needs:
"The new museumdoes not build on an educational superstition. It examines its communitys life first, and
then straightway bends its energies to supplying some the material which that community needs, and to making
that materials presence widely known, and to presenting it in such a way as to secure it for the maximum of
use and the maximum efficiency of that use."
The way that museums are planned and designed vary according to what collections they house, but overall,
they adhere to planning a space that is easily accessed by the public and easily displays the chosen artifacts.
These elements of planning have their roots with John Cotton Dana, who was perturbed at the historical
placement of museums outside of cities, and in areas that were not easily accessed by the public, in gloomy
European style buildings.
In terms of modern museums, interpretive museums, as opposed to art museums, have missions reflecting
curatorial guidance through the subject matter which now include content in the form of images, audio and
visual effects, and interactive exhibits. Museum creation begins with a museum plan, created through
a museum planningprocess. The process involves identifying the museum's vision and the resources,
organization and experiences needed to realize this vision. A feasibility study, analysis of comparable facilities,
and an interpretive plan are all developed as part of the museum planning process.
Some museum experiences have very few or no artifacts and do not necessarily call themselves museums, and
their mission reflects this; the Griffith Observatory in Los Angeles and the National Constitution
Centerin Philadelphia, being notable examples where there are few artifacts, but strong, memorable stories are

told or information is interpreted. In contrast, the United States Holocaust Memorial Museum in Washington,
D.C. uses many artifacts in their memorable exhibitions.

Exhibit A: Space Requirements In this example of space requirements, the list is divided into two
parts representing space with significantly different construction costs.

Exhibit A: Space Requirements (continued)

Happy Valley Children's Museum (continued)