DESIGN PARAMETERS

MUSEUM

Museums, archives, and art storage facilities require special design consideration for a number
of reasons, most notably that the value of the building’s contents often exceeds the value of the
building itself. Even a minor

Museum design tips

The following must be considered when designing museums:

• Design enclosure systems must include air barrier, vapor retarder, and thermal insulation
systems that are sufficient and continuous.

• Design mechanical systems must provide close control over interior temperature and RH
levels.

• Avoid interior shading devices at windows. If shading devices are used, provide supplemental
heat to windows to prevent condensation when the shades are drawn.

• Skylight systems should be high performance, with integral condensate gutters and a heat
source near the skylight. Alternatively, a “buffer zone” of dry air between a skylight and laylight
may be sufficient to prevent condensation problems.

shortfall in building performance with respect to heat, air, and moisture control can compromise
the collections and lead to a problem.
This column diagnoses the three most common moisture challenges with museums, archives,
and art storage facilities and provides design guidance on how to avoid them.

1. Avoid severe swings in temperature and humidity

Museums, archives, and art storage facilities generally have strict requirements for interior
temperature and relative humidity (RH) control. The unofficial museum standard for temperature
and RH is 70°F and 50%.

While much attention is given to getting temperature and humidity levels just right, maintaining
relatively constant conditions is generally more important than the levels themselves.

The fact is all materials have different ideal storage conditions. Limiting fluctuations in
temperature and RH helps reduce mechanical stresses in the materials due to thermal- and
moisture-related expansion and contraction. Materials such as wood and paper will expand and
contract as their temperature and moisture content change. Large or sudden swings in those
levels can induce stresses in the materials, leading to premature degradation.

2. Pay careful attention to fenestration and wall systems to avoid condensation

Museum environments typically have an interior dew point temperature of approximately 50°F—
much higher than a typical office building or condominium—and this dew point is constantly
maintained throughout the winter. In non-humidified buildings, the coldest exterior temperatures
generally coincide with the driest interior conditions, reducing condensation risk in most cases.
For museums, there is no corresponding drop in interior dew point at low exterior temperatures,
thereby increasing the risk for condensation.

Condensation will form on interior surfaces that are colder than the ambient dew point
temperature. While this is typically not a concern for walls with continuous insulation, framed
walls with insulation placed between the studs may experience low interior surface temperatures
due to thermal bridging through the framing. In relatively cold climates, such as the Northeast,
thermal bridging in museum walls can drop interior surface temperatures to the point where
condensation occurs.

The primary source of condensation, however, is fenestration. Aluminum windows, curtain walls,
and skylights, even when thermally broken, often have interior frame temperatures below 50°F
during colder winter periods (Photo 1, at top). Although insulating glass is generally sufficient to
prevent widespread condensation on the vision areas, condensation may still occur in some
cases.

The most common cause of glass condensation is the use of interior shading devices, which can
insulate the framing and glazing from interior heat, while allowing interior moisture to reach
those surfaces. Depending on the shade configuration, surface temperatures may be 10-20°F
colder than the fully exposed condition. This creates a dilemma for museum designers, as
shading devices are often required to control light levels, provide “blackout” capability for special
exhibits or functions, and filter out ultraviolet radiation to protect artifacts from fading and
degradation.

In cold climates, designers should consider specifying shading devices integral to insulating
glass units (i.e., “between the panes”) or fritted or coated/laminated glass to provide light control.
If interior shades must be used, a source of heat, such as a fin-tube radiator below the window,
should be provided to warm the space between the window and the shade while the shade is
drawn.

Museums often contain design features such as large glazed walls and expansive skylight
openings. Skylights pose a significant condensation risk due to their horizontal orientation,
which contributes to additional heat loss via radiation at night. Skylights are often placed far from
heat sources, which results in localized lower temperatures at the skylights. High-performance
glazing and framing, integral condensate gutters, and local heat sources must be included in the
design of museum skylights. A second option is to use interior laylights below the skylights,
which create a captive airspace below the skylight that can either be heated or dehumidified to
reduce condensation risk.

Another common source of condensation in museums is the moisture contained in moving

airstreams. Air leakage across and within exterior walls can carry large amounts of moisture
relatively far from the leakage site, creating the potential for widespread damage in a short
amount of time. This is exacerbated by the typical pressure control scheme in museums, which
tends to create positive interior pressure to prevent exterior contaminants from entering gallery
or storage spaces. While positive pressure keeps contaminants out, it also forces moisture-
laden air through any gaps in the envelope. Since maintaining negative interior pressure is
rarely an option for a museum, a well-detailed, continuous air barrier must be installed to
prevent air leakage and condensation. A continuous vapor retarder is also required for the
enclosure, since moisture can diffuse through porous materials in the walls and roof system.

3. Specify an airtight enclosure to maintain humidity levels

In addition to carrying moisture, moving air, in the form of air leakage through the enclosure,
also carries heat. If air leakage is severe enough, heat and moisture flows can cause variations
in the interior temperature and RH. A daily swing of 10% RH due to cold, dry air infiltration could
damage the museum contents and compromise the museum’s reputation—the ability to maintain
interior environmental conditions within tight tolerances is often a prerequisite to borrow
collections from other museums. An airtight enclosure combined with a well-designed
mechanical system is necessary to maintain tight control over the interior conditions.
GETTING MUSEUM CONVERSIONS RIGHT

In many cases, buildings with historic or artistic significance are converted into museum spaces.
Such buildings are typically older, solid masonry structures with little or no insulation and
inefficient fenestration systems.

Adding insulation and vapor or air barriers to solid masonry structures can cause significant
problems with moisture accumulation, condensation, and accelerated masonry degradation,
since these materials interfere with the walls’ ability to “breathe” (Photo 2). To complicate
matters, windows in these types of buildings may have historic significance and are required to
remain in place. Without modifications, however, the existing enclosure cannot function
effectively under humidified conditions.

Window condensation can often be addressed by installing new interior “storm windows” to
provide thermal resistance and maintain the exterior appearance of the building. In this case, the
interstitial space may also provide room for shading devices. The space must be slightly
ventilated with outdoor air to prevent heat and moisture buildup, and the interior storm window
should be airtight to minimize moisture flow and condensation. Drafty storm windows often result
in heavy condensation or frost on the existing windows.

The simplest solution for walls is to place humidified spaces away from the walls, using those
areas for corridor or other common space. If humidified space must be adjacent to masonry
walls, a ventilated “art hanging wall” can be constructed inboard of the masonry and integrated
with the building mechanical system.This ventilated wall allows artwork to be placed on exterior
walls without the temperature and moisture fluctuations that would otherwise occur. Close
coordination between the architect, enclosure consultant, and mechanical engineer is required
for this system to be successful. Depending on the condition and configuration of the existing
walls, insulation may be allowable in this system without negatively affecting the walls.
SOUVENIR SHOP
DESIGN GUIDELINES FOR SOUVENIR SHOP
1 Background
1.1 The Souvenir Shop (the “Shop” hereafter) has a gross floor area of 300m2
and
a visitor capacity of 150. The aim of the Shop is to sell merchandise and
souvenirs to visitors of HKWP. The Tenant may fit out or redecorate the
Shop during the term of the tenancy at its own cost and in accordance with the
design parameters set out herein.
2 Design Parameters
2.1 The Shop space is to be a secondary element to the atrium space, and is to
function solely as a well designed, well laid out space for the purchasing of
gifts and souvenirs. The Shop space will not in any way distract from the
visual impact of the atrium and will match exactly the aesthetics and high
quality finish of the atrium space.
2.2 The Shop space is to have an entrance of sufficient size (at least 1600mm in
width), to not create a “pinch point” when in use by large numbers of
customers entering and exiting, but of a size that does not in any way distract
from visual impact of atrium space. All signage is to match text and colour
hierarchy used for atrium graphic signage and to be contained within or behind
entrance façade. No structure or elements of the Shop space are to protrude in
to any part of the atrium space; all are to be contained within or behind façade
of Shop space.
2.3 The space is to function as Shop space only with no extra exhibits or features.
Space is to be orderly and minimal in layout with a strong emphasis on flow of
customers throughout the space.
2.4 The Shop space is to have an entrance graphic applied within or behind the
entrance façade. All elements of entrance graphic to match exactly text and
colour hierarchy of atrium graphical signage. The overall look and feel of the
entrance graphic is to be clean, simple and minimal to fit exactly the aesthetics
of the atrium space, the graphic is to be controlled but inviting.
2.5 The space is to have a partially translucent façade, (preferably a one-way
frosted glass material, Lumisty) to make movement and activity visible within
the Shop environment from the atrium space; entrance graphic should work
with this feature to maintain a level of translucency. All features and
merchandise within the space should be set back at least 500mm from the
façade.
2.6 Materials and finished used must be natural materials from a sustainable
source and match exact quality, finish and shade of atrium space. The layout of
the space is to be shaped mainly around the flow of customers through the
space, creating an orderly, spacious and user-friendly environment in both the
display of merchandise and customer interaction. Aesthetic appeal should
mainly come from high quality materials, finishes and lighting. No additional
or non-functional exhibits or elements such as GOBO projections, water
features, are to be included.
2.7 The following information about the Shop is to be approved by the
Government prior to commencement of any fitting-out/decoration work:
(a) Theme of the Shop
(b) Interior design layout plan
(c) Particular specifications of decorations and materials used.
 THEATER

DESIGN A FUNCTIONING AUDITORIUM ACCORDING TO THE TYPE OF PERFORMANCE

AND THE NUMBER OF THE AUDIENCE

The Auditorium | “House”

It is the part of the theater accommodating the audience during the performance, sometimes
known as the “house”. The house can also refer to any area that is not considered playing space
or backstage area. This includes the lobby, coat check, ticket counters, and restroom. The amount
of space required for each auditorium depends on a number of factors but the following guides,
based on modern seating design can give you an idea of the area needed:

 200 seats: 270m² | 2,900 ft2

 150 seats: 190m² | 2,000 ft2
 75 seats: 125 m² | 1,350 ft2
 2. Keep the standard distance for a comfortable audience seating

The aisle is the space for walking with rows of seats on both sides or with rows of seats on one
side and a wall on the other. In order to improve safety when the theaters are darkened during
the performance, the edges of the aisles are marked with a row of small lights. There are usually
two types of aisle arrangements:

 The multiple-aisle arrangement

It consists of 14-16 chairs per row with access to an aisle way at both ends. If the aisle can only
be reached from one end of a row, the seat count may then be limited to 7 or 8.

The multiple-aisle arrangement

 The continental seating plan
If planned carefully, the continental aisle arrangement can accommodate more seating withing
the same space. Usually, it requires an average of 7,5 square feet (2,3 square meters) per person
including the seating area and the space for aisle-ways.
 The continental seating plan

3. The stage is important: choose wisely

The stage is the designated space where actors and other artists perform and the focal point for
the audience. As an architectural feature, the stage may consist of a platform (often raised) or
series of platforms. In some cases, these may be temporary or adjustable but in theaters and
other buildings devoted to such productions, the stage is often a permanent feature. There are
several types of stages that vary as to the usage and the relation of the audience to them:

 Thrust theater:
A Stage surrounded by audience on three sides. The Fourth side serves as the background.
In a typical modern arrangement: the stage is often a square or rectangular playing area,
usually raised, surrounded by raked seating. Other shapes are possible; Shakespeare’s
Globe Theatre was a five-sided thrust stage.
 End Stage:
A Thrust stage extended wall to wall, like a thrust stage with audience on just one side, i.e. the
front.

 “Backstage” is behind the background wall. There is no real wingspace to the sides, although
there may be entrances located there. An example of a modern end stage is a music hall,
where the background walls surround the playing space on three sides. Like a thrust stage,
scenery serves primarily as background, rather than surrounding the acting space.

 Arena Theatre:
A central stage surrounded by audience on all sides. The stage area is often raised to
improve sightlines.

 The Proscenium Stage or End Stage

It is the most common type of stage and it is also called picture frame stage. Its primary feature
is a large opening, the proscenium arch through which the audience views the performance. The
audience directly faces the stage and views only one side of the scene. Often, a stage may
extend in front of the proscenium arch which offers additional playing area to the actors. This
area is a referred to as the apron. Underneath and in front of the apron is sometimes
an orchestra pit which is used by musicians during musicals and operas.

The proscenium stage

 Flexible theater:
Sometimes called a “Black Box” theater, these stages are often big empty boxes painted
black inside. Stage and seating not fixed. Instead, each can be altered to suit the needs of the
play or the whim of the director.

 Profile Theatres:
 Often used in “found space” theaters, i.e. theaters made by converted from other spaces.
The Audience is often placed on risers to either side of the playing space, with little or no
audience on either end of the “stage”. Actors are staged in profile to the audience. It is often
the most workable option for long, narrow spaces like “store fronts”.
Scenically, a profile theater is most like an arena stage; some staging as background is
possible at ends, which are essentially sides. A non-theatrical form of the profile stage is a
basketball arena, if no-one is seated behind the hoops.

 Sports Arenas:
Sports arenas often serve as venues for Music Concerts. In form they resemble very large
arena stage (more accurately the arena stage resembles a sports arena), but with a
retangular floorplan. When used for concert, a temporary stage area often is set up as an end
stage at one end of the floor, and the rest of the floor and the stands become the audience.
Arenas have their own terminology

READ MORE:
Treetop House Melbourne | Matt Gibson Architecture + Design

4. Keep the scenery low for better visibility

In the Theater in the round or the Arena Stage Theater, the stage is located in the center of the
audience, with the audience members facing it from all sides. The audience is placed close to the
action, which provides a feeling of intimacy and involvement. However, this type puts major
restrictions on the amount and kind of visual spectacle that can be provided for a performance,
because scenery more than a few feet tall will block the audience view of the action taking place
onstage.
 Theater in the round. The Victoria Theater. Stoke-on-Trent. Courtesy of Studio Theatre Ltd.

5. For greater intimacy with the audience, go with the Thrust Stage
A thrust stage is one that extends into the audience on three sides and is connected to the
backstage area by its upstage end. A thrust has the benefit of greater intimacy between the
audience and performers than a proscenium while retaining the utility of a backstage area. The
audience in a thrust stage theater may view the stage from three or more sides.
 The thrust stage. Everyman Theater, Liverpool.

6. Keep your theater flexible

Flexible stage theaters are those that do not establish a fixed relationship between the stage and
the house. They can be put into any of the standard theater forms or any of the variations of those.
Usually, there is no physical distinction between the stage and the auditorium and the audience
is either standing, intermingling with the performance or sitting on the main floor.
 The Flexible Theater | Black Box Theater

7. Sound quality is as important as visibility

Although theater performances are a visual medium, poor sound quality will ruin even the better
plays. The sound is an area often overlooked but, just as you need good sightlines, you also need
good sound-lines. Apart from the obvious comfort and size considerations, it is imperative that the
auditoria are designed with the following in mind:


Sound Reflectors in Basic Theater Design

External sound insulation (how many times have you heard traffic noise, trains or building works
over the soundtrack of the film you are watching?)

 Internal sound insulation – this is particularly important with multiple screens where a loud
soundtrack can leak into the adjoining auditorium
 Services and equipment noise control – noises such as air conditioning, lifts, toilets and
projection equipment need to be controlled
 Acoustics – acoustic design in theaters should be considered from feasibility stage – location,
auditorium planning etc. through to final commissioning
WORKSHOP
Planning activities in detail

As well as considering how the whole workshop fits together, think about exactly how each activity
will work, what you are trying to achieve with it and how you will explain it to the participants.
Aims: just as with the overall agenda, work out
for each exercise what you want to get out of it,
both in terms of learning and group dynamics. If
an activity doesn’t fit your aims, save it for
another workshop.

Group sizes: what kind of grouping will work for

this exercise? The groups that people work in

have a major impact on how different people
participate. For example, whole group sessions
can be more efficient if 1 or 2 people have
information to share with the rest of the group.
Pairs and small groups can make it easier for
more people to be actively involved at the same
time.

Giving instructions: giving good, concise and

clear explanations for how to do activities is an
important skill.

If the activity involves several

stages, consider backing up your spoken instructions with all the steps written down, or
demonstrating the activity. When participants have
started the exercise it is worth going round all
the groups to check they are doing what you
expect them to.

Facilitator input: if you are giving the participants input from your own knowledge or experience,
strip down what you want to say to a small
number of important points.

Break it up so they
don’t have to listen to you for more than five or
ten minutes at any one time. Think about how
you can present the information in a way that fits
different people’s learning styles, e.g. backing up
what you are saying with visuals or activities.

Practical preparations
Practicalities are also important in making your workshop more participatory, focused and
enjoyable:

The workshop space should be comfortable,

with plenty of natural light and air circulation
and a comfortable temperature. The space should
be set up to encourage participation – a circle of
chairs works well – everyone can see each other
and there is no automatic hierarchy in a circle.
We prefer to clear the circle of any tables, as this
creates less of a boardroom atmosphere and is
more practical for breaking into small groups.
It pays to check any equipment that you or the
participants will be using. This may just be about
your workshop running smoothly – it can be very
annoying spending ages preparing some slides
and then finding the projector doesn’t work. It
can also be about having enough tools and equipment for everyone to participate – there’s no
point in running a carpentry workshop where
only one person out of six has a sharp saw. Most
www.seedsforchange.org.uk Pg.7/16
importantly it can be about safety – knowing the
history of any climbing harnesses you hand out
to people, for example. Beg and borrow, or limit
the numbers in your workshop so that you have
the right equipment for everyone.
Make sure food and drink is suitable for the
group. Consider ethical concerns, food allergies
and religious or cultural needs. Having tea and
coffee breaks slows a workshop down, so if you
want it short and focused, it might be best to give
it a miss, wait until afterwards, or just have a jug
of water and cups available.
Having said that, in a longer workshop, ignore
breaks at your peril! People don’t learn effectively when they’re tired, gasping for a drink, or
desperate for the toilet, so aim for a break
roughly every one-and-half to two hours. Be realistic as to how long the break will take – if there
are twenty participants and one toilet, ten
minutes won’t be enough.
Workshop times – will people need to leave in a
hurry? If so make sure important information or
discussion happens towards the start of the workshop, or make extra sure you finish on time.
Consider how start and end times fit with public
transport if people are travelling to the event.
Think about how to make your workshop
accessible to as many people as possible. Check
whether your space is suitable for wheelchair
users or people with other access needs. Are
there other practical preparations you can make
to help people access your workshop? Also see
our briefings Access Issues at Meetings and A
Facilitator’s Guide to Making Meetings Accessible.
LIBRARY

EARLY PLANNING
FOR A NEW LIBRARY

A significant amount of planning and analysis is needed long before the first
shovel of dirt is unearthed for a new library building at groundbreaking. A building does not just
happen; rather, it is the result of a complex set of activities
unique to each jurisdiction planning a library.

PROBLEMS WITH THE EXISTING BUILDING

Often the need for a new library building results from dissatisfaction with existing facilities, but
sometimes this is difficult to recognize. Just as the lobster in
a boiling pot doesn’t realize what is taking place around it, most of us continue
to work in library buildings that lack the resources needed to serve our customers. We gradually
get used to the lack of space for users, staff, and collections
and our inability to provide the technology that users need. Examining a number of factors that
affect library service can help in assessing the adequacy of library buildings and in building a case
statement for a new or renovated library.

Collections
Having no more room to shelve books and media is an indicator that a physical change may be
required to meet a growing collection. Collection obesity is
sometimes the product of a librarian who is a book collector rather than a librarian. A collection
development policy needs to be developed and implemented,
and it should include a rigorous weeding program. In determining future collection space needs,
the following issues should be examined:
• What is the current stack capacity of the library, and how much growth is
available in existing stacks? Often, libraries run out of room for materials
and convert other functional areas, such as seating and meeting rooms,
into collection spaces.
• Does the library have open stacks? Closed stacks? A combination of the
two? Closed stacks can often hold more volumes than open stacks because
they can be packed to the limit, as staff will be accessing them.
• How many volumes are acquired each year? The number and variety of
materials that libraries acquire today often make the job of holding and
displaying materials more difficult, because libraries must deal with media
and a wide variety of book formats.
• How many volumes are weeded each year? Weeding seems to be one of
the things that librarians never find time to do, and yet the cost of holding
materials on shelves is expensive. If a library can store approximately
twelve books per square foot of space, which is a fairly accepted number,
and the construction cost of a new building is $250 per square foot, the
cost to house one book is almost $21 (an incentive to weed).
• Is auxiliary storage available? Having a low-cost storage location to house
materials away from the library is a cost-effective way to retain important
materials that are not immediately needed. A system for library users to
request and receive materials from remote storage in a timely manner is
required.
• What impact will electronic resources have on the library? Libraries have
been shifting from paper to electronics for reference and fact publications,
but most readers still prefer paper for reading books and current magazines.
• Will electronics create a future need for more or less space? (Who knows?
This will be determined by the speed of the shift to electronics.) Although
an electronic version of a book or journal may require zero space, a reader
sitting at a table requires approximately 20 square feet of space, and the
same reader at an electronic workstation requires about 45 square feet.
• Will the library run parallel print and electronic systems? The answer is
yes, to a great extent, for the immediate future.
Seating Capacity
As space grows short, seats are sometimes sacrificed for stacks and technology. It is illustrative to
examine the seating plan or photos of the library on
opening day and compare it to the present. There may also be changes in the
pattern of use by the population served by the library, as well as a need for additional seating
because of population growth.
Library as a Place
The public library is a place that belongs to everyone. New libraries often
are arranged like bookstores, and many offer light refreshments that encourage
customers to linger. Libraries are increasingly becoming places for interaction,
and most newer ones have meeting spaces, seminar rooms, and sometimes
performing-arts spaces and galleries. All of these activities and attractions make
the library a desired destination and increase the square footage needs for new
libraries.
Physical Problems in the Building
As they age, buildings develop physical problems that are beyond the scope
of maintenance or renovation. One or more of the following problems may not
require an immediate move to a new building, but these are often cues that a
new building is desirable:
• Building conditions that are dangerous to users and staff or so expensive
to mitigate and repair that they are not worth the effort. A building full
of asbestos, or a serious structural problem, may hasten the move to a new
library.
• Building systems (electrical, heating, ventilating, and air-conditioning
[HVAC]; fire safety; etc.) that are outmoded or expensive to operate. As
the number of electrical units in a library increases, the capacity of a
building to handle the additional load is taxed. Other systems may be so
expensive and difficult to replace that, in the long run, a new building
may be cheaper.
• An inflexible floor plan in that it does not meet changing service program
needs. Libraries today have programs and activities such as homework
centers, computer labs, and lifelong learning that were not in existence
when many older buildings were built. Physical limitations may prevent a
library from successfully establishing these activities.
• Difficulty in providing technology access (cables, wiring, etc.) to the existing space. Older buildings
with thick concrete floors and columns often
make it difficult to run power and data to parts of the building.
• A building that is not compliant with the Americans with Disabilities Act
(ADA). Most buildings more than ten years old were not built to ADA
standards and sometimes require costly alterations.
Site
Site problems may include the following:
• A location may no longer be accessible to the majority of users because of
demographic movement in the service area. Many libraries in older communities have experienced
population movement that resulted in the library’s no longer being located in an area that easily
serves most of the
community.
• A location may be valuable for other activities, and the library’s board
may be forced or want to sell the property to owners who will use it for
other purposes.
• The site may have environmental problems that could be dangerous, such
as being in a flood zone or disclosure that the existing site was once a toxic
waste site.
• A site may not provide adequate access through parking, public transportation, or other means of
access.
• A location may not provide space needed for expansion on that site.
FORECASTING
• Forecasting collection growth. This will be determined by the library’s
budget, type of materials it acquires, circulation rates (percentages of the
collection on the shelf), and weeding policy. Will the collection grow, stay
the same, or perhaps even be reduced? Will the types of media change
over the life of the building? All libraries should have a written collection
policy that addresses these issues.
• Forecasting seating requirements. Most new libraries experience a surge of
use after the building opens, and the question is, will the library continue
to experience the increased in-house use of materials? Help in determining this should come from
community analysis.
• Forecasting technology growth (difficult, but not impossible). The library may
prepare for future changes by designing the building to be as flexible as
possible through the use of cellular floors for power and data passage and
an open floor plan for future rearrangements.
• Forecasting staff needs. This depends on how many service desks the new
building will have and the projected increased workload. It is important early
in design to lay out desks to get the maximum coverage with the fewest number of service points.
A new building will generate more circulation and inhouse use, and this increased workload may
require additional staff.
• Forecasting new programs. What new programs will be added with the new
building? If community analysis discloses a need for a large community
room, this will definitely have an impact on the size of the building. When
will the new programs be added, and how will they be added over the life
of the building?
• Forecasting discontinuing programs. Will any existing programs be discontinued in the new
building? Staff have often developed an attachment to existing programs, and their elimination
sometimes is difficult to accomplish