Group 2 Assignment 1b Booklet

DESIGN STUDIO 4 DESIGN CRITERIA Design Studio 4 Semester 4 FOR MUSEUM Jan 2021 SPACES Group 2 Project 1b Craft Museum Research Coordinated by Mr. Huat Lim

DESIGN STUDIO 4 CONTENT 3

MUSEUM DESIGN CRITERIA Introduction 2 Project Linkage 3 Project Data 4 Key, Location & Site Plan 8 Design Criteria 18 Accessibility 24 Structural Integrity 38 Furniture Equipment & Operations 46 Internal Illumination 54 Fire Protection 60 Natural Ventilation 68 Daylight 76 Security System 82 External Awareness 92 Facade & Building Envelope 96 Acoustics 98 Information & Data System 106 Air Ventilation 116 Wayfinding & Internal Circulation 122 Indoor Air Quality Space Planning & Room Allocation 4

DESIGN STUDIO 4 Semester 4: Craft Museum Jalan Tun Razak It is generally accepted that museums are a public service - it is essentially private in so far of the collection was curated and acquired through private money and later loan or lent to a government body or agency. In the context of malaysia one needs to prevail and understand that most buildings do not conform to standards we find elaswwhere - in which we see funding and financial aid and sponsorship coming through corporations which support the arts. This is not a widely practiced culture or obligation, hence the issue of quality. In this program the students will need to prepare designs which can address the shortcomings above and also propose solutions which can be markedly different from the models we see today in the country. Aesthetic and formal solutions may be what is sought after but more importantly we want to students to embrace the correct protocols and conceptualists their designs through humanistic and conscientious approach. In the forthcoming 12 weeks or so the entire process will be captured and presented inside a clear framework which enables easy reading and reflection at the end of the course. Huat Lim INTRODUCTION 2

MUSEUM DESIGN CRITERIA PROJECT LINKAGE 3

Bandar Menara LRG AIR JERNIH 2 LRG AIR JERNIH 1 LRG AIR BERSIH Titiwangsa JLN AIR MASIN BERSIH 2 LRG AIR 1 Baru Sentul Esso PESIARAN KUANTAN JLN AIR JLN AIR DERASJALAN AIR JERNIH JLN JLN AIR PASANG LRG AIR BERSIH 3 BP BEKU LRG AIR JALAN AIR BERSIH SURUT LRG AIR PASANG JALAN 1/48A JALAN TITIWANGSA AIR SURUT JLN AIR KERING LRG AIR JALAN PAHANG LRG AIR BERSIH 4 LRG AIR KERING JALAN TITIWJAALNAGNSATI2TIWANGSA 2 Titiwangsa BERSIH 5 Golf PROPOSED SITEPESIARANTITIWANGSA RNeeslatayuarnant PESIARAN TITIWANGSA 1 Taman TasikJALAN KUANTAN Titiwangsa Sc JALAN PAHANG JALAN MENTAKAB Gombak River PESIARAN TITIWANGSA 3 JALAN PAHANG BARAT Hopital Tawakal Maktab Perguruan Sri Kota (Aminuddin Baki) Esso Institut JALAN PAHANG JALAN BERSERAH JALAN BERSERAH Seri TiStiMwPauLnteeglrsaSiakTMiitiPwearnegmspauan STTAITDIWIUAMNGSATECNONUISRT JALAN HAJI HASHIM Respitori JALAN KUANTAN Istana Corruriculum JALAN CAFE Budaya Center KL Pekeliling Quarters JALAN ABDUL MANAN NORDIN CUlKinMic Flats JALAN TUN NGaatliloenryal Art Pekeliling Stadium RAZAK NaBtliSooeonCrdaevlinctere TEMERLOQHuarters Kg. Bawean Flats TPCA JALAN PEKELILING LAMA BaPnrkopIsolasemdHQ DKar.mIssmisaTilunSJMlnJFKleTtacmheilr LORONG GURNEY LOTROeNLGlGaeUPRtkNiuhEoYsamKIRanI t JALAN BIDOR LRG SAN AH WING InJNastneittguuatnrga Proposed JLN LAI TET LOKE JALAN SETIAWAN Hospital Islam BERNAMA(AbaMndaosMnaeeUdn/)aCra (Majlis Agama Marinara U/C Telekom JALAN CEMUR Vistana JALAN PAHANG JALAN MASJID HOSPITAL LRG LAI TET LOKE DBKL AMDB Condo JALAN TUNLNiabtriaornyalIslamW.P) (Abandoned) Sentosa HosKpLital LRG LAI TET LOKE SEMARAK JLN SAN AH WING Grand Seasons Avenue JALAN DOKTOR LATIF LORONG RAJA MUDA RAZAK College JALAN JALAN DOKTOR LATIF RaSjaRMKuda YSAEYLAANSAGNOSRELBOURNE CITY TALBEUMNBGAHGAAJI PalladiumJalanS1GRu&Krn2ey JLN GURNEY 1 JALAN RAJA MUDA ABDUL AZIZ JALAN RAJA MUDA ABDUL AZIZ BFaelaldi aJLN GURNEY 3 Car Park RAJA LAUT CHOW KIT JALAN A. RAHMAN IDRIS JALAN HAJI YAHYA SHEIKH AHMAD PCrooKpmUopBsleedx JALAN GURNEY LENGKOK STATION JALAN DAUD LRG RAJA UDA 1 BriFgiarede Mosq PendJidaibkan DATO ABDUL MALIK JLN GURNEY 2 PerWseilkauytauhan JALAN L. RAJA UDA 2 Car Park KL Inter Hotel JALAN RAJA UDA Palladium Daruzzakah City Park Hotel Kg. BaruJALANHAMZAH City Villa JALAN HAJI YAAKUB Brisdale LORONG HAJI TAIB 3 LORONG HAJI TAIB 4LORONG HAJI TAIB 5 Flats JALAN HAJI HUSSEINJALAN RAJA BOT AABBDDUULLLLAAHH Malay ReserveJALAN RAJA UDA Sikh Temple Proposed JALAN DAUD JALAN RAJA MAHMUD LORONG RAJA BOTDevelopment Stanford Hotel by KL City MBaKasgrji.ud JALAN RAJA MUDA MUSA 5 JALAN DATOK ABDUL MALIK Bazaar SB jv DBKL JALAN RAJA ALANG JALAN RAJA ALANG JALAN RAJA ALANG COJUERLITTA Shell KEY PLAN SCALE N.T.S JALAN BERSERAH JALAN BERSERAH JALAN BERSERAH JALAN KUANTAN Istana Corruriculum Budaya PROPOSED SITE Center KL PARKING LOT JALAN TUN RAZAK GNaatllieornyal Art LOCATION PLAN JALAN TEMERLOH SCALE 1:3000

2 WAY DRIVE LANE PADESTRIAN WALKWAY EXIST FACILITY JALAN BERSERAH JALAN BERSERAH JALAN BERSERAH JALAN KUANTAN ACCESS ROAD 23.6' 7200MM Corruriculum Center KL Istana ACCESS ROAD 23.6' 7200MM PARKING LOT Budaya PROPOSED SITE ACCESS ROAD 23.6' 7200MM ACCESS ROAD 23.6' 7200MM THE STUBBORN HOUSE ACCESS ROAD 23.6' 7200MM EXIST. WARUNG NGaatllieornyal Art ACCESS ROAD 23.6' 7200MM 4(650400.S5QFST)QM ACCESS ROAD 23.6' 7200MM ACCESS ROAD 23.6' 7200MM EXIST. GUARD HOUSE JALAN TUN EXIST. BUS STOP JALAN TEMERLOH RAZAK DETAILED LOCATION PLAN SCALE 1:3000

2 WAY DRIVE LANE ACCESS ROAD 23.6 PADESTRIAN WALKWAY EXIST FACILITY BOUNDARY LINE ACCESS ROAD 23.6' 7200MM EXIST. BUS STOP 4(650400.S5QFST)QM JALAN TUN RAZAK SITE PLAN SCALE 1:600

6' 7200MM ACCESS ROAD 23.6' 7200MM ACCESS ROAD 23.6' 7200MM EXIST. WARUNG

DESIGN STUDIO 4 01 8

MUSEUM DESIGN CRITERIA ACCESSIBILITY Research by Noah Fuad Abstract Throughout my research, it is found that accessibility in cultural spaces comes across a myriad of barriers, which prevent people with impairments to fully enjoy these venues. Museums have played an important role in combating social exclusion of the visitors with visual impairment. Social exclusion means lack of access to various social benefits to an individual or a social group (Brstilo, 2010). I have uncovered that attempts to overcome these obstacles to social inclusion have been developed in the past decades with considerable progress in the US, the UK and a handful of European countries. However, Malaysia is not yet among these countries, though some efforts have been carried out in terms of universal accessibility. To avoid social exclusion of visitors with any forms of phsyical,visual or cognitive impairments, the museums we design should adopt and understand the social model of disability. 9

DESIGN STUDIO 4 Accessibility in terms of the physical aspect of space Handicapped or Physically Impaired users The primary barrier which physically challenged members of the community, particularly those who are using wheel chairs, find themselves having to battle against its mobility and access to museum. People using wheelchairs find it hard to reach the vicinity of museums independently.It is worthwhile to point out that after reaching museum premises wheelchair users are confronted with parking complications. In many cases despite having special parking spaces, there was often no ramp between the road and the sidewalk. I believe, in order for Museums to rectify this situation, it is necessary for us to modify infrastructure, building ramps and railings to accommodate the disabled. 10

MUSEUM DESIGN CRITERIA Taking the Museum’s entrances accessibility into consideration In a misguided attempt to accommodate the physically disabled, some museums have located wheelchair entrances far away from the regular entrance. This separation creates sentiments of exclusion for wheelchair users.   Subsequently it is a reasonable expectation that museums should retrofit or build entrances that accommodate all people, with stairs and ramps adjacent to each other or in close proximity.  This will go a long way towards eliminating the stigma wheelchair users feel when asked to use a separate, hidden entrance. Furniture Accessibility for the Handicapped & Physically Impaired Once inside the museum, people in wheelchairs are alienated through the use of tall furniture. This height creates a sense of separation that prevents comfortable communication, as they cannot see the face of the person they talk to. One of the roles of the museum is to educate people, hence it is imperative for wheelchair users to be able to communicate without feeling excluded. 11

DESIGN STUDIO 4 Accessibility for the Visually Impaired Audio Descriptions Museum visitors are expected to rely heavily on vision to access exhibits, which may be behind glass and rarely available to touch, traditionally making museums inaccessible to visitors with visual impairments. Therefore I find having audio desripctions crucial. It seeks to make visual information accessible using verbal description. It can be delivered live by an audio describer or trained guide, or in recorded form, either online or through a listening device in the museum. Practitioners face important questions regarding not only which content within a museum should be selected for description but also what the salient features of a particular piece may be and how to address them. We must decide whether to describe exclusively colors, shapes, and spatial content or whether to explore information that goes beyond these visual aspects such as meaning. 12

MUSEUM DESIGN CRITERIA Tangible Exhibits Museums can implement different interactive technologies to communicate their exhibitions; however, it turns out that in most cases, information is not accessible to all members of the public. An example of a tangible exhibit is the design of a tangible user interface to enhance accessibility in interactive exhibitions, specifically for the case of visitors with visual impairments. Exhibitions and art that emphasize on touching sensations allows the visually-impaired to experience the art. 13

DESIGN STUDIO 4 Accessibility for the Hearing Impaired The deaf are another group of people with disabilities who encounter accessibility challenges during their visits to museums. Most museums do not offer sign language interpretation, which makes communication with the deaf almost impossible. Museum visitors are always keen to know more about exhibits. Generally they do this by asking questions and reading text labels. The deaf often find themselves helpless as museum staff do not understand sign language. Museums should hire sign language interpreters who can assist in these cases. The employee may also be responsible for guiding deaf visitors around, showing them the exhibits and answering their questions. This will provide deaf members of the community with the chance to learn about artifacts and culture from museums without being hindered by communication breakdowns. Use of signage, graphics and icons create a universal understanding amongst users. 14

MUSEUM DESIGN CRITERIA Sign language being used to describe exhibits 15

DESIGN STUDIO 4 Accessibility for users with Mental Health Disorders Considerations for the users with Cognitive Impairments Many factors must be taken into consideration to ensure the accessibility of the exhibition text, such as legibility (font size), how the text is related to the exhibition objects, how the text interacts with the exhibition design and how the text presents itself as genre. Text-Level Exhibition texts should not be too long; however, there is no quantitative way to establish the exact appropriate length. To aid reading, texts should be divided into independent paragraphs with one main idea per paragraph. Sentence-level Sentences should be kept relatively short, and simple clauses without excessive subordination are preferable. The word order should be straightforward and sentences must not start with new or unfamiliar information. Generally, active voice is preferred to passive voice, so it. Word-level On word level, it is repeatedly stated that jargon should be avoided, and that simple words should be used instead. Jargon is not really explained in the museum literature, but we assume that this covers technical terminology related to museums, art, history, archaeology etc. 16

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DESIGN STUDIO 4 The Nesting Doll To started off, Structural intergrity play an important part whenever building was built. Generally, to ensure the building stand and prevent it from falling apart. Later that, the studio program introduce to propose a craft museum in between the National Art Gallery of Malaysia and Malaysia ‘s Heritage Centre...that lead me a question that goes : “if the ‘two of them’ is there will ‘Generally’ enough ?” ; and the awnser is : “Generally was NEVER enough.” and then agian it leads another question that goes : “so structure intergrity is about prevent things falling down beside that ,can be more?” that’s where we began to reveal the layer of the Nesting doll. Theoretically, for me understanding something is about breaking down things and find out what is inside of it. To design, i need to understand the core “Because emphathy, is the foundation of design” - Iise Crawford. Research by Yong Woon Kang STRUCTURAL INTEGRITY 18

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DESIGN STUDIO 4 What structure / build our building? Concrete: overall casted badly ; honeycomb and crack brickwork: Not aglined; often cover by thick plaster & paint Timberwork: overall good; worker originate from boat maker Welding work: overall good; well trained worker Overall context of Malaysia Long story short, we live in a comfortable and violent zone. we did’nt have natural desaster like earthquick, typhoon ; we just have alot of rain, twice a year and a lot of sunshine. Combination of rain and sunshine together, resulting a tremendous rate of growing and decay. Thing grow fast and decay fast. Malaysia’s way of built The Ecology, menifest itself on man-made thing together with grow and decay condition which give birth to Malaysia’s way we build 20

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DESIGN STUDIO 4 World and Us One of my theory on world, is everything/stuff/system that are divide to official and non-official, and I found out that the official system,Generally, we need certain degree of “official” in order to recognize it as a official system and overall are made up of these catogory : 1. The way we we “wrap” our building architecturelly, we contain our building from ceiling ,glass window, or space in building: it’s all about stopping air movement. 2. The way we maintain/keep it clean. To maintain,cleaning works from day to day, time to time 3. The way we design it - outlook/form - After awhile, it does’nt matter whether you know, what that official system for:- you just follow/copy anyhow. Where non-official system is normally thought as it’s a failure of official system; things like: the judiciary get corrupted,we think that’s non-official system, when barbed wire place around our build- ing we thought is a non-official system, which is not. Because non-official system are everything not officially example: is like, the first thing you do when you wake up,you’re looking at the side of your bed, side window instead of your feet. They are actually 2 totally different thing and to kick start is: whenever a new things came out to trend,by intentionlly or evolution,is because,things happen to non-official system that re- sult by context ask a question of non-official system then it become official. 22

MUSEUM DESIGN CRITERIA Non-official system + context In architecture, I manage to find out that combination result in few ways 1.The way we “frame’ our buiding . Summerize, as and idea of traditional malay house; is all about air movement.open, unwrap, frame. 2.The way we maintain/trim our plant. Is never just how we make our building,but what grows on them and add asthetics of the building instead of take away from it. 3.the way we respond to context. It’s something to do with : the location of valve and shower, why traditional malay house sit on stilt, platform made by wooden plank.. 23

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MUSEUM DESIGN CRITERIA FURNITURE EQUIPMENT & OPERATIONS Research by Tan Wei Ling Soane Museum Sir john Soane’s Museum is located in residence and it is a personal museum and library. Soane was forever exploring new ideas and seeking new inspiration in sculpture and painting as well as in architecture. His home was a kind of laboratory for his ideas. His collections were antiquities pictures, books and sculptures. There were carefully arranged as a series of ‘studies for my mind’ and as a lavish expression of his architectural imagination. All of the paintings are housed in Soane’s specially built Picture Room, where the majority are hung not on the walls but on a cleverly designed system of hinged screens (Soane called them ‘movable planes’) which can be opened up to display the paintings, then folded away again. Among the collection are two famous Hogarth series, A Rake’s Progress and The Election, and three top-notch Canalettos. Furtheremore, Soane also put his sculpture on top of choc-a-block. Choc-a-block 25

DESIGN STUDIO 4 Malaysia Art and Craft There are some of the traditional arts, crafts and trades which well known in Malaysia. They keep us connected to our roots and build our cultural identity. Therefore, we need to preserve all art and craftwork to our next generations. Below are some of the example of Malaysia art and craft. 1. Batik 2. Gasing 3. Wau 4. Calligraphy 5. Bamboo Weaving 6. Wayang kulit 7. Lantern 8. Nyonya beadwork 9. Wooden clogs 10. Leaf origami 11. Mask carving 12. Pottery 26

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DESIGN STUDIO 4 Security in Museums Metal detector communities portray themselves as heritage rescuers. Before then, a guard used to conduct a quick bag check when people entered museums. But this is not enough safety as visitors will hide their metal weapon inside their shoe. Nowadays, all items have to be removed from pockets, bags are subject to a more thorough search and all visitors must go through metal detectors. Furthermore, walk through metal detectors are much quicker, and they will alert the security personnel of dangerous objects such as knives or weapons. 28

MUSEUM DESIGN CRITERIA CCTV systems had played an important role in a museum’s defences of the collections against theft or damage. It can also support staff and visitors when an incident occurs and offer a deterrent to a would-be offender. CCTV system needs to respond to the needs of our museum. Hence, when setting up CCTV need to consider our building’s layout, entrances and exits, and the location of our collections. 29

DESIGN STUDIO 4 Exhibition Room All the exhibition artefact can be well arranged is one of the key factors of a success museum. In order to meet the above conditions, movable partition has become the first choice for many large- scale exhibit room. The use of movable partitions within museums can create small groupings and arrange artworks thematically creating optimal flexibility. Hinged screen offer museum flexibility to arrange their spaces that help to ‘create dialogs’ with their customers. Hence, It can be opened up to display paintings or batik and folded away again. Lastly, It is worth mentioning that the movable partition also has many special properties that are generally recognized, such as sound insulation, heat insulation, fire prevention and other functions. It can provide a strong guarantee for the special environment. Catalog records give us access to information about our museum collection for research and interpretation. They are also the primary property accountability records for museum objects. Catalog records tell you what objects you have, their history, and where they’re located. They provide physical and intellectual access to your museum collection. Then, map is also important while entering museum as it help visitor to figure out where they are and how to get to the place that they want to go. Hence, catalog and map can be place on the bookrack. 30

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DESIGN STUDIO 4 Display Cabinet Materials All the craftwork need to have a place to exhibit but what materials should the cabinet use? Some items are sensitive to light, others might be made of a particularly delicate material such as paper. Metals such as stainless steel, powder coated steel, or alluminium is the preferred material for many display cases and storage shelving because they are strong, non-flammable, and don’t emit harmful vapour. Next, acrylic is a great cost-effective option with the added benefit of being safer due to the fact that it will not smash or shatter. It is light and therefore easy to relocate, and also features the best optical clarity with crystal clear properties whilst blocking ultraviolet light, making it perfect for protecting objects that are sensitive to UV light. Display Case Types The size and shape of the items that you want to display, along with the look, feel, and flow of your exhibit will inform the type of display. Therefore, table top Museum display, wall display cabinet, freestanding display case, plinth with case on top, modular display case, drawer cabinet is some of my options. This is because a good case should effectively highlight the piece without distracting from it. It should also not distract from the overall design of the exhibition or gallery, whether you’re going for a simple white aesthetic or a design that compliments the time period or style of the exhibition. 32

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DESIGN STUDIO 4 Exhibition Room Exhibition room is a must in museum. Therefore, if we talk about an Art Museum, we will not need shelving-units as most of the times the works will be hanging on the walls (so the case of paints pictures) or placed on pedestals. But one thing that we will need for sure, it is the seating for visitors to sit down and calmly contemplate the works of art displayed. In this kind of areas, we need to provide seating that do not disturb the visitor’s flow and the possibility to staring the works of art. We will find a good example in backless bench which combines both requirements, one is the lightness and the other the backless version which enables the full view of the exhibition. 34

MUSEUM DESIGN CRITERIA Conference Room Besides the exhibition areas, Museums very often also have Con- ference Rooms where any eventual event can be held and it is nec- essary to count on the proper furniture equipment. The furniture meant for the Conference Rooms should have the following features which are functionality aesthetic easy maintenance and versatil- ity. It is not an easy task to get that a same furniture product can gather all these features, but here you have some. Therefore, bench with folding writing tablet is a good example as it is a seating together with the writing tablet which is very often re- quired in press conferences, teacher’s lectures or master classes. 35

DESIGN STUDIO 4 Workshops After walking though the museums, we can create our own artwork inspired by works in our collection and learn new art-making methods with the guidance of expert artists and designers. This public workshop provide opportunities for people to explore art making as a means of learning and knowing. Therefore, it will explore the museum at their own pace and appreciate the beauty art through drawing, reveal the museum. Hence, having this work- shop will need some table, rack and chair. Cafeteria Good café were found to be a key attraction and motivation for a museum visitation. Its provides a cognitive break’ after having a long duration of a visit. Therefore, visitor can have their lunch at indoor and outdoor and also do some sketching there. Hence, café spaces will features museum retail as well as core exhibit areas. Therefore, this spaces require tables, chairs and signboards. 36

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DESIGN STUDIO 4 Interior Lighting Interior lighting is one of the significant design features that is required in museum design. There are different types of artificial light sources with different light types can be used for various spaces. What does the light do? Other than allowing people to see, the appropriate use of different type of lighting produces various atmosphere in a space which will be discussed later. However, it is a double-edged sword. With other environmental factors such as temperature and humidity, the properties of crafts can be altered drastically throughout their exhibition which leads to deterioration. Therefore, to balance the act of achieving preservation needs of artifacts and form interactive spaces by discovering, exploring and learning which is the goal of a museum, some researches are done. Research by Ng Xin Ru INTERNAL ILLUMINATION 38

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DESIGN STUDIO 4 Diagram 1: Material classification based on sensitivity to light Diagram 1 is the data analysed by CIE which is the International Commission on Illumination on museums in Argentina and Spain. The materials that is extremely susceptible to light cannot be displayed under natural lighting until certain level of natural light is controlled. The lighting level need to be as low as when the sun is just below the horizon in the early morning or sunset in the evening. In this case, the use of artificial lighting is prohibited. For other materials, lighting level can be increased with the condition of considering conservation policy. 40

MUSEUM DESIGN CRITERIA Colour Temperature Colour temperature is a way to describe illumination appearance such as how yellow or blue the light emitted is from the light bulb. The higher the colour temperature, the cooler the resultant light effect. It is an important variable to be considered as it does not only affect the colour appearance of the artifacts or spaces but also the mood communicated to people. Warm light source such as incandescent bulbs have low color temperature which is from 2200K to 3000K and it makes softer and cozier space. On the other hand, cool light sources such as fluorescent lamps have high color temperature which is more than 4000K and aids in concentration. Diagram 2: Colour temperature from various artificial light sources While designing lighting system, concept of circadian lighting need to be considered as it follows circadian rhythm by working in harmony with human internal clocks. For instance, in the evening when the day is bright, the space need to give external awareness to people that means outside is still daytime. If daylight is insufficient, the intensity and color of artificial light will be modified according to the natural lighting cycle. This allows visitors to reduce circadian disruption which optimize mood and visual experience in museum while improving sense of wellbeing. At night when there is no daylight, light with low color temperature is suggested as it triggers the production of Melatonin which has relaxing effect. In contrary, high color temperature causes the release of Serotonin which boosts one’s energy level. 41

DESIGN STUDIO 4 Zoning In order to achieve high energy efficient projects, British Standard Institution which is BSI sets out standards for internal illumination - BS EN 12464-1. The lighting requirements are set based on three basic human needs. Firstly, visual comfort whereby lighting gives people such as workers in museum feelings of wellbeing and thus contributing to their productivity. Next is the visual performance which allow people to fulfil visual tasks under any circumstance for an amount of time and luminaires should enable all work to be carried out safely. The diagram beside shows the lighting levels for spaces in the unit of lux. The Society of Light and Lighting(SLL) which is part of Chartered Institution of Building Service Engineers (CIBSE) has provided a guide – Lighting Guide (LG7)that aims to ensure adequate amount of lighting and provide a stimulating environment for people. It stated that to allow for energy saving and improving well-being, best practice is to utilize daylight in conjunction with having dimming settings. Otherwise, with the excessive lighting amount and improper located luminaires glare which happens when one part of an interior is much brighter than the ambient brightness may occur to the visitors that has visual discomfort or workers who experiencing disability glare. 42

MUSEUM DESIGN CRITERIA Diagram 4 shows that even the material used for finishes is impor- tant as they have their own reflectivity. If a space is created for educational purpose in museum, the illumination level would be similar to the data shown in Diagram 4 but it can be adjusted according to different condition. All walls and ceilings should be illuminated. People need to be able to look away into the distance to avoid eye strain. The best scenario here is that they can look outside but if not, there should be a distance to explore, and the walls and ceiling within this view should be lit to a similar level to the task area. 43

DESIGN STUDIO 4 Mounting When planning museum lighting, there are some key areas to focus on. All the various ways that artefacts may be displayed, from items placed on the walls or large objects on plinths, to small, intricate pieces inside display cabinets, should be included in a good museum lighting scheme. Museums also hold special or temporary exhibits, so the lighting fixtures for museums should also be considered as exhibitions change, space will need to be altered in the future. All these various display techniques and the broad range of items on display calls for a mixture of different lighting fixtures, from ceiling mounted track lighting to small cabinet lights on poles. Normally lighting for art museum will typically concentrates on wall displays. This can be done by choosing dimmable fixtures with adjustable beam angles that allow lighting technique to adapt to the artifacts on display. A costume on a mannequin may be better viewed using a wide beam angle to create a pool of light, whereas the detail of a small item of jewelry will benefit from a narrow and focused beam. Artificial illumination can be classified into three main sources through generation and the development of technology that enabled its existence. First, incandescent lamps which light up by heating the wire filament. Halogen lamp which is also known as tungsten halogen is a type of incandescent lamp filled with a halogen gas such as iodine (I) or bromine (Br). This type of light is not suitable for museum as it emits ultraviolet light which may affect artifacts and heath of everyone in museum so prolonged exposure need to be avoided. Next, fluorescent lighting is the second source of illumination. Although this type of light is an efficient way to provide lighting over a large area and last longer than incandescent bulbs, light that comes from fluorescent bulbs is omnidirectional. It scatters light in all direction and this really wastes energy as only about 60% to 70% of light is used. Moreover, it cannot be frequently switched on and off as this action shortens the lifespan. Lastly, light-emitting diode (LED) lamps. It emits light when electric current passes through the diode and excites the atom inside to high energies. 44

MUSEUM DESIGN CRITERIA It is a cost-effective alternative for non-domestic building espe- cially museum which uses light for a long period to replace other type of light source as it is long-lasting and uses less energy to provide same light output. In conclusion, internal lighting has always been a fundamental feature due to its major role in enhancing visual comfort and aesthetic purposes. The color temperature, space zoning, mounting and types of artificial lighting are all the criteria that should be considered in order to reduce the cost and energy consumption. Daylight should be used as much as possible before installing artificial light as why shouldn’t we use the free gift given by nature? 45

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MUSEUM DESIGN CRITERIA FIRE PROTECTION Research by Lau Yee Seng Abstract Fire protection means fire prevention for buildings. All fire protection should be taken when designing a building to prevent fires before it happens and reduce the risk of fire to life and property. Fire prevention mainly determines the fire resistance rating of building materials and fire resistance construction, controls the number of combustible materials, and separates the fire-prone areas. In the unfortunate event of a fire, the main thing to do first is fire compartmentation, set up evacuation facilities, fire smoke extraction systems, and fire extinguishing equipment. 47

DESIGN STUDIO 4 Fire Triangle Three elements must be present for a building to catch fire: Combustible materials, ignition sources and combustion aids. Therefore, all three elements should be effectively controlled in the design of building fire protection. Neglected details cause almost all major fires. Glasgow School of Art In 2014, Charles Rennie Mackintosh’s Glasgow School of Art was damaged by a fire. Flames enveloped the building and the adjacent residential area was evacuated as people watched in horror. The damage was devastating, although the fine library was lost, no one was killed or injured. And the extensive restoration work was estimated to cost 35 million pounds. A second fire destroyed the building again in June 2018. Following this disaster, the entire interior, east and west wings, was damaged and the roof disappeared. The library, which had previously been renovated, was also destroyed. Once again, the relevant organizations and the government urgently appealed to the public to start rebuilding the Glasgow School of Art, but the sad truth is that little can be restored. 48