Chapter 3

Republic of the Philippines
Polytechnic University of the Philippines

COLLEGE OF ARCHITECTURE, DESIGN AND
THE BUILT ENVIRONMENT
Department of Architecture
ESPASYO: MINDANAO TRADE AND CULTURAL CENTER

Stimulating Mindanawons Cultural Diversity in the Capital Region
Through Phenomenological Architecture
CHAPTER 3
In Partial fulfilment of the course requirements in

Architectural Design 9
Bachelor of Science in Architecture
Submitted by:
Soriano, Emerson John M.
2016-00197-MN-0
Submitted to:
Arch. Melodia Sampan
Stimulating Minadanawons Cultural Diversity in the National Capital Region
through Phenomenological Architecture
CHAPTER 3
TERM OF REFERENCES
3.1 REVIEW OF RELATED LITERATURE
3.1.1 LITERATURE REVIEW 1
Purpose: The Literature review define the importance of the Cross-cultural
Communication to stimulate cultural diversity as one reason of the proposed
research project.
CROSS-CULTURAL COMMUNICATION IN CULTURAL DIVERSITY
As community builders, understanding culture is our business. No matter
where you live, you are working with and establishing relationship with people.
Culture refers to a group or community which shares common experiences that
shape the way its members understand the world. It includes groups that we are
born into, such as race, national origin, gender, class or religion. Culture is a
strong part of people’s lives. It influences their views, their values, their hopes,
their loyalties and their worries and fears.
Why is understanding culture important if we are community builders?
The world is becoming increasingly diverse and include peoples of many
religions, languages, economic groups and other cultural groups .It is becoming
clear that in order to build communities that are successful at improving
conditions and resolving problems, we need to understand and appreciate many
cultures, establish relationships with people from cultures other than our own,
and building a strong alliances with different cultural groups 14.
 In order to build communities that are powerful enough to attain significant
change we need large numbers of people working together.
 Each cultural group has unique strengths and perspectives that the larger
community can benefit from.
 Understanding cultures will help us overcome and prevent racial and
ethnic divisions.
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 An appreciation of cultural diversity goes hand in hand with a just and
equitable society.
 If we do not learn about the influences that cultural groups have had on
our mainstream history and culture, we are all missing out on a accurate
view of our society and our communities.
Establish relationships with other people culture through cross cultural
communication or exchange that can establish relationship with people as an act
against racism and other forms of discrimination, overcome internalized
oppression and building strong and diverse nation. 15
Cross-Cultural strengthen Intercultural Communication
Equality, diversity and inclusion are everyone’s business. According to
Bloomfield and Wood (2011), interculturality cannot be expected to occur by
accident alone- there need to be tools, agents, spaces and places of
interculturality. They also defined intercultural centers as any spaces where there
is an underlying philosophy that cultural mixing is more desirable than
separation. Bloomfield and wood (2011) determine the elements or the shared
principles from different intercultural centers.
 Intergenerational nature of intercuturality - requiring focus with children in
and outside the school.
 Insistence on high quality and artistic excellence- bringing the best out of
people by transferring skills, and putting cultural and social differences to
work creatively to produce new outcomes.
 Creating a reflective/ spiritual space- which makes people feel safe and
allows them to shift to more open and tolerant positions at their own pace,
by getting to know and respect others.
Understanding Cross-cultural Communication and its connection with
interculturalism is a must in building a good relationship with others. Establishing
relationship with other people culture can make a difference and will able to
unhype the stereotyping in a certain culture. This will also bring the spirit of unity
in diversity in the community.
SORIANO, E.J.M 3
Purpose: The Literature Review provides the importance of design and weaving
traditions of Mindanawons and the symbolic patterns that will incorporate to its
building design.
WEAVING A STRONGER FABRIC OF MINDANAWONS IDENTITY THROUGH
TRADITIONAL TEXTILES
Philippines has a rich textile tradition with no less than 26 areas identified
as principal active- practitioners of the tradition. Each area corresponds to a
province with a community engaged in the production. It is entirely, the 26 textiles
areas are those of e 23 Ethno linguistics communities roughly representing ½ of
the major ethno-linguistic groups in the Philippines.12 out of 23 ethno linguistic
communities that practice textile weaving is came from Mindanao. South’s
colorful fabrics serve as an image of the different cultural groups thriving together
in the region—Muslims, Christians and Lumads.
Cultural Factors that Influence and Ornamentation of Textiles
According to Norma Absing Respicio on her book From the Journey of a
Thousand Shuttles: The Philippine Weave that the Philippine belief system is
non-Christian in terms of textile patterns. It is a world where mortals and spirits,
nature and ancestral, intermingle as dramatized in the rituals of appeasement
and propitiation, and in the belief of life after death.
The most significant factors in the manufacture of textile is the fact that
they play a dominant role in the religious life of Mindanawons. Textiles are rich
with religious connotations- from their manufacture to their use in rituals. The
religious character is implied in the sacred origin of
the ikat technique and in the motifs that adorns the
traditional and clothing forms.

Figure 6: Human Pattern
The weaving and ornamentation of textiles
Source: Respicio,N.A
using figures representing human, animals and plants
have an aura of sanctity and often involve a spiritual guardian. Beautifully
adorned textiles are created for use in a ritual that is meant to invoke deities for
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the assurance of well-being of the weaver herself, the wearer and the entire
community.
Buaya represents to scare the buso " buso referred to
all demons, spirits of diseases, evil supernatural
beings of whatever form.8

Figure 7: Crocodile Pattern
Source: Respicio,N.A
Overall the textiles of each region are
resulting art forms that originate from the minds and hands of native artists who
live within a social group 9. The artists expressions are often group expressions
that point to the values and styles of the cultures from which they came from. The
personal, socio-political, and religious aspirations of the community inspires the
creation of finely woven and decorated textiles and sustain the textile tradition 10.
Clothing are considered communal properties and thus worn by several
individuals with varied measurements. (Reyes p.153) Hence, if each shirt,
trousers or skirt is tailored in the body of the wearer. The use and ownership of
the piece is limited to just one individual, thus discouraging social exchange
which is essential in unifying members of the community and their diverse
culture.
Based on the research it can be concluded that the weaving textile has a
big factor in stimulating cultural diversity in Mindanao. The textiles designs
mentioned showcase symbolism which are conceptual and abstract. It exemplify
how to achieve a timeless status for trade and cultural center. The symbolism,
imagery and aesthetics of culture from textile design in architecture, can invite
the people not only to learn but also to think, speak, feel and behave new.
The literature reviewed identifies that through the appropriation of symbols,
meaning and intention, a wide array of knowledge of culture can be embedded
simultaneously within a trade and cultural center. It is important to the study
because it discussed the critical questions that concern the design of trade and
cultural center. Furthermore, having knowledge in rich history of the textile in
SORIANO, E.J.M 5
Mindanao can help the researcher in planning and designing the weaving and
design center as part of Mindanao Trade and Cultural Center
Purpose: The Literature Review provides the derivation of the design guidelines
in using the Phenomenological approach in Architecture.
PHENOMENOLOGICAL CONCEPT IN ARCHITECTURE
Designing an experience is a unique responsibility of an architect.
Phenomenology demonstrated in architecture is the manipulation of space,
material, and light and shadow to create a memorable encounter through an
impact on the human senses. This theory promotes the integration of sensory
perception as a function of a built form. This creates an experience that is
beyond tangible, but rather abstract, observed and perceived.
Architecture influences the community through incorporating human
activity with adapted site context, organized programmatic and interstitial space,
and exploration of material. Phenomenological concept strategies in architectural
design intend to develop a unique experience of the phenomena of space, light
and form. This theory contrasts rationalism by analysing quality based on its
effect on the sensitivity of human perception, rather than developing a
mechanical sense of reason and tectonics. As defined by theorist Vernon
Bourke, rationalism is a theory "in which the criterion of the truth is not sensory
but intellectual and deductive" (Bourke p.263). Rationalism produces a layered
system of scientific reduction, whereas phenomenology delivers layers of
sensory details such as emotion informed by design features of light and
shadow, material and spatial perception. A new interpretation of functionality
within design exists in the phenomenological construct.
The dynamics of human perception, of the individual and the community,
should influence design form and function, in terms of circulation and
organization of an elastic, sinuous program to produce sensory architecture.
Architecture is designed to serve the needs of human activity; therefore, creates
a relationship between human senses and the building to transform emotion and
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perception. Throughout history admiration for the human body in architecture
resonates, specifically in its relationship to human perception. Christian Norberg-
Schulz stresses that “the environment influences human beings, and this implies
that the purpose of architecture transcends the definition given by early
functionalism” (Norberg-Schulz). Phenomenology is the function of quality.
Design should foremost consider sensory details when integrating a collaborative
program. Intimate memories of place are often derived from intricate forms of
detail allowing a bond, beyond physical use of a building, an experience, to
become ingrained in memory.
The Senses
The senses play a vital role in Phenomenology. The very subject of
phenomenology is everything that can apprehended through our senses and its
main axis is the belief that we should turn towards the experiences themselves,
as they enter our body and mind through the senses or are within us.
Sokolowski’s separation of sense in the classical distinction between the five
‘external’ sense (vision, hearing, touch, taste and smell) and the four ‘internal’
ones (common sense, memory, imagination and estimation, the sense for what is
harmful or helpful) can help us understand the different levels of experience 17. As
he suggests,” vision presents color, light and shadow; hearing presents sound
and its loudness and softness; touch presents surface and texture and so forth”.
When a stimulus goes through our sensory system in order to perceive it,
it has to relate to something. When it comes to simple stimuli that address the
five essential senses, things can be more straightforward. However, still the
relation to something that is already there is essential. We need our memory, our
common sense, our experiences, our subconscious mechanism and our
momentary dispositions.
The architect must act as a composer that orchestrates space into
synchronization for function and beauty through the senses – and how the
human body engages space is of prime importance. As the human body moves,
sees, smells, touches, hears and even tastes within a space – the architecture
comes to life. The rhythm of architecture can be felt by occupants as a result of
SORIANO, E.J.M 7
the architect’s composition – or arrangement of all the sensorial qualities of
space. By arranging spatial sensorial features, an architect can lead occupants
through the functional and aesthetic rhythms of a created place. Architectural
building for all the senses can serve to move occupants – elevating their
experience.
Experiential Approach
There are three closely inter-rellated concepts namely experience,
interaction and engagement (Dalsgaard 2008). He cited Dewey in his clear
distinction between experience, which is the constant stream of experience of
being in the world, and an experience, a discrete event that stands out on the
background of the continuous experience. Interaction can be defined as a person
acting in a situation in order to effect certain changes while drawing upon
personal and external resources. Based in a Deweyan understanding of
experience and interaction in which the user enters into a reciprocal relationship
which potentially effects changes in both the user and the situation. Engagement
relies on a certain mode of experiencing the world, namely inquiry Inquiry is the
controlled or directed transformation of an indeterminate situation into one that in
its constituents distinctions and relations as to convert the elements of the
original situation into a unified whole (Dalsgaard 2008).
A key interaction concern when designing engaging interactive
environments is to simultaneously frame a situation that invites or provokes a
user to interact and to scaffold the interaction by offering access to certain
resources. (Dalsgaard,2008).
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Figure 8: The Interactive Experience Model

Source:www.museumexperiencedesign.wordpress
Architecture has the power to transform human behaviour and experience
(Ahlawat, 2015).Juhani Pallasma said in his book, “ The Geometry of Feeling”
that the style of modern architecture suggest that it is lacking in experiential and
sensorial aspects. Besides the functional and aesthetic demand the question for
the design should include how the people will feel inside the building and how are
they going to experience the space. Architectural Phenomenology can be used
as a tool for creating experience in space. The experience in architecture is the
result of individual perception and quality of spaces created by the architect.
Experience is created when the space is designed for creating a sense of place
keeping in mind the user requirements and how the user will perceive that space
as depicted in the figure. Human experience space in perspective not in plan and
elevation so the design should support the perspective need of human
psychology (Ahlawat,2015)
Emotion Based Approach
The process of how emotions are triggered is universal (Desmet 2002). A
basic model of emotions compromises of three underlying key variables;
appraisal, concerns and stimulus. Appraisal is the direct, immediate sense
judgemental of weal or woe and as being at the heart of every emotion. It is a
non-intellectual, automatic evaluation of the significance of a stimulus foer ones
personal well-being. Concern is always present in every emotion. An
environment will only evoke an emotion if it either matches or mismatches a
concern. Stimulus can be some event, someone saying something to us
encountering something in a spce (Desmet, 2002).
As architectural feature or built environment (stimulus) evokes an emotion
when it is appraised as either inspiring or indifferent to one’s concern. The basic
model of emotions applies to all human emotions. Thus emotions can only
predict or manipulate emotional impact of their designs when they are aware of
the concerns of those for whom they design (Fadzil 2015)
SORIANO, E.J.M 9
There are three environmental stimuli; the morphological factor, sensory
factor and perceptual factor (Cho & Kim, 2017). The morphological factors reflect
the idea of order and variables, such as volume façade, complexity, variety,
proportion, order and rhythm which fall under the visual composition of the
buildings. The consideration of the pleasurableness of the sensation received
from the buildings can be identified through the sensory factors which includes
material, color, texture, light and object. And the perceptual factors include
context-awareness, real-time feedback, social integration and immersive
experience (Cho & Kim 2017)
The study suggest that the sensory features are strong stimuli for users
emotions in spaces compared to the morphological features. The study also
found out that perceptual factors influence emotion more than the space
evaluation space which includes memory, attraction, pleasure, stimulation,
contents and satisfaction. Thus, designers need to design buildings in more
diverse ways. Emphasizing sensory factors and perceptual factors, not just
focusing on morphological factors for design.
Purpose: The Literature Review provides Steven Holl’s interpretation and
application of the manipulation of space and the human body as one of the
pioneer criteria in Phenomenological Architecture that will help in designing and
planning the research project.
BODY,MOVEMENT AND THE ARCHITECTURAL SPACE
Phenomenology of perception can be considered as bringing human
perception as the manifestation of consciousness in one‟s daily bodily engagement
with the world. In this connection, the world is not separable from our experience of
the world, it is our experienced world. ―We are caught up in the world and we do
not succeed in extricating ourselves from it in order to achieve consciousness of the
world‖ (Merleau-Ponty, 1962, p.5). However, the experienced world is fundamentally
related to our body; the body as an incarnate „lived body‟, not as an object
SORIANO, E.J.M 10
Holl’s denoting of the three main principles as the relation of body to space,
the spatiality of perception and finally the notion of lived space, designates, indeed,
his emphasis on the phenomenology of space he puts emphasis in architecture.
Through his use of materials, color, light, and his focus on detail a phenomenological
understanding of architecture and an awareness of its experiential potential is made
manifest. He explains the importance of bodily presence that of experiences the
architectural work, by saying: “The body is the very essence of our being and our
spatial perceptions.”
Holl considers the body as an essential feature of the architect’s conception
of space. Approaching, to Merleau-Ponty’s phenomenological philosophy, for the
architect the body is not only the way we exist in the world, but also the subject of
architectural perception. The body experiences the space. It is through the body that
one is able to connect himself/herself to the space. As Holl mentions “…space is
only perceived when a subject describes it.”Presupposing the primacy of body in
architectural conception, perception is interpreted as the means by which the space
can be comprehended. As Holl mentions, “spatial definition is ordered by
perception.” Within this framework, it can be stated that he brings forth a body-
dependent approach to architectural space. Perception should not be disregarded in
conceptualizing architectural space.
Holl’s emphasis on body’s spatial experiences can be related to the primacy
of perception in providing the ground for body’s “being-in-the-world.” Perception
enables the body to acquire a lively communication with others, things and the entire
world; being experientially connected to space, the subject perceives architectural
space.
application of the manipulation of materials as one of the pioneer criteria in
Phenomenological Architecture and its effect to human senses that will help in
designing and planning the research project.
THE HAPTIC FIELD
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Phenomenology emphasis on the making of architecture resides in
ultimate aim of connecting the intellect with senses, idea with phenomena and
body with environment. In order to do this, putting forward the haptic sensibility
must practice in architecture.
In view of his emphasis on the phenomenal experiences offered through
architecture, Holl mainly focuses on the feeling of material texture, the details,
and the spatial effects of light reflections, through which architecture’s
phenomenal potential is made manifest. What Holl calls the “haptic realm” is this
multi-sensory experiential phenomenon, through which architecture speaks
without words. The architect is concerned with the unpredictability of spatial and
material experiences of a building and its tectonic impression. Therefore, as he
states, “the play of light and shadow, the music echoes and textures and smells,
the aura and presence of real materials” become the means through which
architectural meaning is conveyed.
Accordingly, Holl focuses on the experiential and emotional attributes of
materiality and the spatial sense. How people receive the experiential depth of
his architecture is his main concern. For him, the spatial, material, and light
experiences of built form conduct the perceivers’ understanding of architecture
independently of architect’s implications. .
For the architect, a phenomenal field is presented through the physicality of
the built form. In this phenomenal field there exist visual, tactile, aural qualities,
even sense of odor. The use of material, the design of details, color, light and
shadow effects establish a phenomenal realm, which is distinctive to architecture.
Steven Holl uses the term “haptic realm,” which for him best manifests the multi-
sensory phenomenological qualities of architecture
application of the Light and shadow as one of the pioneer criteria of
Phenomenological Architecture and its effect to human sense that will help in
designing and planning the research project.
SORIANO, E.J.M 12
LIGHT AS STRUCTURE MATERIAL
Steven Holl concentrates on light as an architectural element, or a
structuring material. He experiments with the ever-changing qualities of natural
light and their spatial effects. It can be stated that Holl uses light poetically. In his
buildings, natural light is transmitted into interior spaces, usually not directly, but
through uniquely designed architectural elements, in order to control and
structure light reflections. His use of light creates plastic and artistic effects where
light becomes a space-defining factor through which a sense of spatial depth is
brought into presence.
Another fundamental property of light can be mentioned as its potential to
conduct the way the texture of surface can be perceived. Depending on the way
it is used, light effects cause to strengthen or diminish material texture. The
shadows and shades create varying material and spatial senses in the
perception of a building. Thus, due to varying textural effects, the use of light
becomes an act intensifying the depth of architectural forms and spaces. Holl
points out the emotional and psychological dimensions in the experience of
architecture. While perceiving a building the body enters into an intimate
experiential realm, which is related to the psychological insights of the subject.
Light has an influential role in the perception of architecture. In his book
Anchoring Holl states as follows:
“Space remains oblivion without light. Light’s shadow and shade, its
different sources, its opacity, transparency, translucency, and conditions of
reflection and refraction intertwine to define or redefine space. Light subjects
space to uncertainty, forming a kind of tentative bridge through fields of
experience. What a pool of yellow light does to a simple bare volume or what a
paraboloid of shadow does to a bone white wall presents us with a psychological
and transcendent realm of the phenomena of architecture.”
As he emphasizes above, Steven Holl’s focus on can be related with the
psychic implications of light in architecture. The perception of varying qualities of
light is influenced by the psychological and emotional states of the viewers.
SORIANO, E.J.M 13
Color, which Holl defines as “the absent referent to an experience,” is an
important quality in the phenomena of architecture.In his buildings, he works with
color reflections and projections, experimenting the spatial and surface effects of
color. Color indicates the supposed character of architectural space. It intensifies
the architectural expression. It is influential in the perception of surface and form.
Purpose: The Literature Review provides Steven Holl’s basic phenomenological
concerns and application that will help in designing and planning the research
project.
PHENOMENAL ZONES
In ‘Phenomenal Zones’ (1994), Steven Holl intends to describe basic
phenomenological concerns and the way he utilizes them in his projects and
designs. These themes play an important role during the first stages of drawing,
and mostly are the departure point in finding and developing a concept and idea.
Of color
Holl talks about the phenomenology of color which is rooted in the variety
of the reflections in various surfaces and materials. Moreover, the situation,
climate, and culture are very vital in the perception of color. Different people have
different feelings about the different conditions of light reflected in different
climates on different surfaces and textures.
Of light and shadow
“My favorite material is light. Without light, space remains in oblivion.
Light‟s myriad sources, its conditions of shadow and shade, and its opacity,
transparency, translucency, reflection, and refraction intertwine to define or
redefine space. Light makes space uncertain. What a pool of yellow light does to
a simple volume, or what a paraboloid of shadow does to a bone-white wall –
these comprise the transcendental realm of the phenomena of architecture” (Holl,
2003, p.27).
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Holl takes a very delicate attitude towards the presence and absence of
the light in architectural space, and it plays a vital role in his architectural
investigations and studies, so that in different projects, light is the inspiration
source. He intends to catch the ‘thingness’ of the light, the essence of the light,
as a very phenomenal entity. “There is a „thingness‟ to light that one cannot form
with one‟s hands. Light is not verbal; we need images, we need spaces. A new
field of vision is opening to the pressure of light, the speed of shadow”
On the other hand, light is perceived in contrast to darkness, so that to
capture the light we need first understand the darkness. “With as much attention
to darkness and to the contrasting secrets of light and dark, we engage in a
metaphysics of light. Night‟s darkness evokes a connection to Dionysian
archetypes and mysteries, while the bright light of day is Apollonian, exuberant,
and unconcealed” (Holl, 1996, p.11).
Spatiality of night
Using a chemical term, Holl talks about the viscosity of the spaces. For
instance, the viscosity of night space has a density which is unique to every city.
Therefore, we can talk about the Tokyo night, Manhattan night and Amsterdam
night. The viscosity of spaces determines the fluidity of spaces and not only
leads to visual fluidity, but also has psychological implications. Thus,
“Architecture can define fluid movement by determining daytime and nighttime
viscosities of light and shadow”(Ibid., p.13). In this connection, Holl states that
the sudden change of the quantity of night light in the twentieth century altered
our perception of the cityscape deeply. For example, Holl argues that
approaching the cities at night by air provides a completely different and new
sensation of the city space. “To shape this light is to give new dimensions to the
urban experience” (Holl, 1994b, p.69). This fact is more important in the cities
where the night time is longer than the day time.
Water: a phenomenal lens

Holl considers water as a ‘phenomenal lens’ with the power of reflection,
spatial reversal, refraction, and the transformation of rays of light. The power of
water is mostly forgotten because of the current urban constructions which do not
SORIANO, E.J.M 15
allow us to be in touch with the natural phenomena. In ‘Fukuoka Housing’ by Holl
the ‘void space’ as the water garden is the scene of the presence of the dancing
liquid sunlight, by which the patterns of the moving water are projected on the
undersides of ceilings and soffits. Thus, the void spaces become a ‘phenomenal
lens’ in which “a fresh rain is immediately evident in ripples on the void space
water courts. The wind changes the pattern of the reflections depending on its
intensity. Clouds pass overhead and likewise pass through the mirror bottom
voids”. Therefore, the water court brings the sky, the clouds, and the rain into the
heart of the building, and plays a ‘gathering’ role by which various surrounding
phenomena come together.
Of sound
Holl argues that in the perception of space we should not rely simply on
the visual, but shift our attention to how it is shaped by resonant sounds,
vibrations of materials, and texture. Every city, for instance, has it own ‘sound
space’, derived from its activities and spatial map of the city’s geometry.
Detail and touch

According to Holl, the haptic realm in architecture is related to the sense of
touch. This realm is closely linked to the details and materiality of the work:
“When the materiality of the details forming an architectural space become
evident, the haptic realm is opened up. Sensory experience is intensified;
psychological dimensions are engaged” (Ibid., p.91).
Lived time
Holl talks about the ‘lived time’ in contrast to the modern linear concept of
time which is the result of the temporal fragmentation of modern life. He refers to
the idea of ‘duration’ introduced by Henri Bergson as ‘multiplicity of secession,
fusion, and organization’ and asserts that “an architectural space forms the frame
of measure for „lived time‟” (Garofalo, 2003, p.74).
On the other hand, Holl argues that the current attitudes towards
conservation of the past through stimulating it are very superficial and avoids the
existential burden of time. He says that “We are not merely of our time, we are
our time” and states that architects should not ignore the implications of time
SORIANO, E.J.M 16
which are the result of new conditions and developments. However, there should
be a resistance against the current commercial attitudes in making a similar
monotonous world. Though a global movement tends to connect all the places
and cultures in a continuous time-place fusion, the opposite one focuses on the
local cultures and places. Thus, “a new architecture must be formed that is
simultaneously aligned with transcultural continuity and with a poetic expression
of individual situation and community”
Purpose: The Literature Review provides the concept, spatial programming,
design guidelines and standards that will help in designing and planning of
Museum, as one of the physical scope of the research project.
CONCEPT OF MUSEULOGY AND SPATIAL REQUIREMENTS
From the first established concept of museum as historical center, idea
changed in reason and work on as indicated by various societal setting.
Afterward, when International Council of Museum (ICOM) was set up in 1946,
individuals who were exhibition hall laborers at long last embraced the meaning
of historical center as non-benefit, perpetual foundation, in the administration of
society and of its improvement and open to the general population.
Museum architecture as defined as the art designing and installing or
building a space that will be used to house a specific museum functions, more
particularly the functions of exhibition and display, and remedial active
conservation, study, management and receiving visitors (Desvallees, 2010)
In the Philippines, museum design is guided by Guidelines for Museums
by Dr.Jesus T. Peralta for the National Commission for Culture and the Arts
(NCCA). Also there are international guidelines for museum design by the
International Commission of Museums. (ICOM).
Guidelines for Museum
Physical Facilities
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The facilities a museum requires correspond basically to the various steps
in the processing of specimens or collection items. The ideal certainly is to have
adequate space in the museum premises to carry out all the functions. Where the
ideal does not exist, provisions should be made for vital functions to be carried
out.
1. Fumigation/ Cleaning
A collection item that has just come in and is newly registered ordinarily
undergoes treatment. The final phase of treatment is cleaning of the item or
object just before it is placed with the rest of the collection. The reason is that it
might be infected with fungus, wood borers,etc., which may contaminate other
items in the collection. Fumigation is imperative. In the absence of fumigation
chambers, other means can be resorted to.
2. Storage
Most small museums do not have provisions for storage. Storage space is
imperative not only as the usual little closets and rooms reserved for office
equipage and facilities but also and more so for collection items. A museum
continually collects even though exhibition space is usually limited. Rotation of
exhibitions require space for keeping items not on display.
Storage System
Collection items should be classified while in storage. The items may be
grouped according to type of items. For conservation purposes, storing by
material is recommendable since it is easier to treat, for instance, textiles as a
group instead of individual pieces scattered all over the collection.
Exhibition
The art audience is from a narrow segment of the population, generally white collar
and well-educated.
The sexes are just about evenly represented.
Museum visitors at least have some college education.
People tend to go to museums with others.
Many are repeat visitors.
Museum attendance vary seasonally with the least during the summer months.
The museum visitor spends an average of five minutes in an exhibition, and less in an
art display.
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The average visitor’s attention span is about thirty seconds per exhibit in a science
museum.
“The majority of the public appears to be gaining little or nothing other than trivial
impression of the exhibits”
(Zyskowksi, 1968).
Only a small percentage of visitors make use of printed guides.
Education and place of residence are important determinants of museum attendance.
Museums actualize the experiences of the visitors.
While adding to knowledge, museum exhibits tend to amplify feelings.
Some form of visitor participation is advantageous in maximizing the effects of
museum visit.
Curators should take a keen interest in visitor profiles in order to make the
museum effective in a community. The population of museum visitors shares
general characteristics. Among these are:
Education is the best predictor of museum attendance.

The museum visitor has a wide variety of interests and backgrounds.
The museum visitor has limited time.
The museum visitor is physically exhausted after a visit and often overwhelmed by too
much sensory inputs.
The average museum visitor is not anxious for more information or educational
materials on museum collections. Most people do not read display labels. Keep
children in mind with respect to labels.
In sum, museums provide different services for different people. Visitors
have different personal interests, thus a museum visit cannot be structured. A
museum should therefore aim to provide a wide range of opportunities for their
visitors to choose from, making the museum experience unique for each
There are beliefs, however, that visitors expect to remain passive, preferring to be
left on their own.
individual.
The primary concern of many museums is display of the collection items.
Limitations of space call for well-organized exhibits and periodic rotation. Most
museums tend to display everything at once.
Well-ventilated
Dust-free with some means to control light, temperature and humidity.
This would mean that the gallery be an enclosed hall with no windows through which
direct sunlight could enter. Windows, too, can get in the way of the placement of
exhibition facilities and visitors traffic flow.
No general lighting for the hall is needed but a large number of outlets should be well
and conveniently distributed throughout the room; on the base of the wall, the flooring,
or the ceiling, would be recommendable.
The exhibition gallery should be:
SORIANO, E.J.M 19
It is advisable for small museums to opt for display structures that are
generalized, that is, designed to accommodate different kinds of objects with
varying sizes. There are three types of display structural facilities needed:
Display facilities should be highly adaptive to various needs. In case of

shadow boxes, the glassed portion should be deep and high, which could
accommodate a number of related objects rather than just one. Some means
of providing adequate ventilation for the displayed object must be made,
especially if high-intensity lighting is to be used which will increase temperature
inside the showcase. Of course, especially valuable objects warrant a special
case.
Where storage space is a problem, the bottom part of display cases can be
utilized for storage if constructed as such and provided with access.
Pedestals, to save on space, can be made into sizes that can nest inside
one another. There must be some means to lock the glass tops to the bases. It
is better to have a large pedestal holding a small object than vice versa, so
large sizes are better. Large ones also are more stable.
Sufficient number of assorted sizes of small boxes to be used as individual
pedestals of smaller objects inside a display case should be available.
Display panels should be dismountable so that these can be stored in as
small a space as possible. To last longer, perforated panels are recommended
because things can be laid out on them without the continual use of nails. It is
preferable that the panels are double-faced.
Design Considerations in Museum
Conservation
All materials change through time. Conservation merely retards the rate of
changes to perpetuate the condition of an object. In general, rapid and frequent
changes in the physical environment of an object will lead to its earlier
deterioration. A relatively stable environment without the extremes is therefore
ideal for conservation of museum objects. The Philippines is fortunate in being in
the tropics where the fluctuation of climate is not to the extremes. The difference
in annual temperature is not that pronounced. In fact, the difference in
temperature between day and night is greater. The problem is more with respect
humidity for our environment has plenty of this. Countries in temperate regions
have greater museological problems due to the fluctuation of environmental
SORIANO, E.J.M 20
conditions to the extremes.To avoid the growth of fungi, extreme temperature
changes and dampness should be avoided. Thymol crystals can be used to
inhibit the growth of moulds. This must be used with care. It should not be used
near oil paintings, painted woodwork, etc. because it can soften many paints and
lacquers.
Pollutants
Even clean air contributes to the decay of specimens due to its oxygen
content. Atmospheric pollution aggravates the situation for museums particularly
with respect to carbon monoxide, sulphur dioxide, hydrogen sulfide, and the soot
from insufficiently burned fuel from motor vehicles. Dust is dangerous for this
provides the nuclei for water condensation and the start of chemical and physical
reactions. Nearness to sea poses dangers of the corrosive effects of salt. The
only effective control of air pollution is air conditioning. Where this is not possible
free air ventilation with filtration may be used.
Temperature
If the temperature range can be managed then this should be kept within
the range of 20ºC ± 2ºC as most collection items will not deteriorate as quickly at
these temperatures. A simple room thermometer will do to measure the
temperature. In the absence of air conditioners, electric fans or other forms of
ventilation will suffice.
Humidity
A relative humidity of 50-55% is recommended. If the relative humidity
goes above 65% and the temperature is also high, moulds will develop and
destroy many objects such as textiles, pigments and paper. Hygrometers are
used to measure relative humidity. In the absence of these, one can more or less
feel increased humidity by a feeling of heat, oppressiveness and stickiness of the
skin.
Light
SORIANO, E.J.M 21
Light has a deleterious effect on certain materials like pigments, inks,
dyes, paper, textile and the like. It should therefore be controlled. Natural light
has both ultra-violet and infra-red rays. Ultra violet rays can cause chemical
changes on some objects while infra-red light or heat can effect physical
changes.Ultra-violet filtering plexiglass can be used in frames and cases instead
of glass. Fluorescent lights can also be covered by these filters. There are
lighting facilities like Philips TL-37 which have ultra-violet filtering components.
To control infra-red rays the amount of light falling upon an object should be
limited. Spotlights give off excessive heat. The amount of light that falls upon an
object should receive serious consideration.
Defining Organization of Space in Museum
The functions inherent in a museum all revolve around the notion of
relationship. The relationship is between a cultural object and a person: on the
one hand, between the object and the curator, and on the other, between the
object and the public. These relationships determine the essential aim of the
museum, and hence the nature of the functions to be fulfilled if that aim is to be
achieved. The functions will be more or less numerous and complex according to
the type, kind and size of the museum. They may, however, be divided into four
classes:
Basic activities
Composed of the functions relating to the permanent exhibition rooms, the
study rooms, the temporary exhibition rooms, and where applicable, the areas
used for Presentation or exhibitions.
Reception activities
They usually cover reception areas proper, together with information,
orientation, sales, cloakrooms and toilets, issuing of tickets, meeting points,
SORIANO, E.J.M 22
cafeteria and/or restaurant, reading-room, play room, rest-rooms, children's
workshops, etc.
Logistic activities
These are parallel reception activities, but are concerned with products
and exhibits. They include the safety and surveillance of both people and
exhibits, the transit and storage of consumer goods, the transit and storage of
exhibits (reserves), workshops in which presentations and displays are prepared,
workshops which make various articles needed for exhibitions, etc., laboratories
and so on.
Coordination activities
Coordination activities are the ‘intellectual’ support of the three preceding
forms of activity. They are concerned chiefly with office and study areas, such as
the director’s or curator’s office, offices of staff responsible for conservation,
administration and management, and study and assembly rooms.
Organization of Space in Museum

LIBRARY
PUBLIC AREAS
DISPLAY RELATED EVENTS
General reception
EXHIBITION LECTURE RM
Key Role:
RECEPTION
RESTAURANT
o rest and relaxation FOR CHILDREN
o smoking area
RECEPTION
o meeting point
o assembly point
Figure 9: Bubble Diagram
Source: Programming for Museums
Other facilities located in Planning and Designing Consideratons:
The reception of the public should be at street level,
General Reception on the same level as access to gardens and car
parks he sexes are just about evenly represented.
Ideally, for reasons of security, the general
o information centre reception area should be the only one opening
directly on the outside.
o cloakrooms and
The general reception area should be free of all
toilets security checks, except in special circumstances.
Entry should be free and unimpeded, and the
o telephones
general appearance should be such as to attract
o sale of products people into the museum.
o sale of tickets, etc.
SORIANO, E.J.M 23
Reception of Staff and of visiting experts
Key Role:
o When the general reception is shut, the staff entrance is the only possible
mode of entry into the museum. It therefore has to be under strict and
permanent surveillance.
Location: Separated from the general reception area
Considerations: Strict and Permanent surveillance
Reception of Children
Key Role:
o Reception of children is an autonomous activity and should be adapted to
the problems of young visitors either alone or in groups.
Location: It is independent of the general reception area, but is directly
connected both with it.
Considerations: Strict and Permanent surveillance and free-expression
workshops provided especially for children.
Permanent and Temporary Exhibition.
Key Role:
o The function of presentation or exhibition covers all the activities
facilitating a direct relationship between object and public at the cultural,
scientific, recreational or aesthetic level. The areas in which this
relationship occurs form the most important nerve centre of the museum.
Planning and Designing Consideratons:
Must be ready access to these areas from the general reception area (or their own
special reception area if they have one).
In close functional relationship with the reserve (storage) areas and museological
workshops, though they are strictly isolated from them.
Public means of access to the exhibition areas should be easily visible. Access may
be from the outside provided it is through an enclosed space (e.g. an inner courtyard)
within the general area of the museum.
Exhibition areas should in most cases have a supply of natural light sources that can
be controlled. Artificial light should never be such as to create problems. The best
natural lighting is often zenithal, though lateral lighting may be more suited to some
museums.
As they are meant to hold large numbers of the public strolling about freely, exhibition
areas need to be spacious and allow plenty of room to move around. The flow of
movement should be fluid and easy.
Strict surveillance from the point of view of security and fire and theft prevention, and
it must be possible to isolate them completely from the rest of the museum’s
activities.
Never open directly on to an outside area connected to the street. They should
include enclosed and isolated service areas where objects can be changed or
exhibitions prepared.
Reading and reference rooms
Reading and reference areas usually fall into two main parts: (a) reference
areas proper; and (b) storage areas containing reference documents. When
SORIANO, E.J.M 24
there is free access to open shelves, the two areas are usually partly or wholly
combined.
Key Role:
o The function of reading and reference may concern public and staff alike,
and the areas involved may be shared or separate. The modes of
operation are the same whether it is the public or the staff that is
concerned.
These areas need to be specially placed, away from the main flows of movement
(risk of noises), and sound-proofed.
In the case of the staff, the areas should be in close functional relationship to the
offices of the conservation staff. In the case of the public, they should be close to the
general reception.
Provided the standard approximates to daylight, it is not usually essential to have
good natural lighting,except for consulting drawings, prints, photographs, etc., in
which case the same conditions should apply as for exhibition areas.
In either case, they should never open directly on to an outside area directly linked to
the street. Storage areas must be screened from daylight.
Other events related to exhibits.
Areas set aside for other events related to exhibits often need to be ‘open’
spaces, very flexible and without heavy equipment. Without aspiring to provide
stage facilities, they accommodate a variety of activities supplementary to those
of the exhibition proper, and therefore need to be able to cater for various
practical and technical requirements as regards acoustics, lighting, access, etc.
They are strictly isolated from other museum activities and may sometimes
continue into the open.

They should open directly on to the general reception area, their only connection with
the outside being via the prescribed safety exits.
They should have their own special security checks.
They should be completely sound-proofed, and situated preferably on ground level or
in the basement; contain a public auditorium, a projection-cum-control room, a
service area with office and ante-room, and toilets. It should be possible to use them
outside normal museum hours.
Projection and lecture rooms.
Rest and recreation areas.
Cover many kinds of activity and may include play, physical relaxation,
conversation, strolling about, and so on. Rest areas should be placed within
areas devoted to other activities, to which they should form the antithesis.The
SORIANO, E.J.M 25
rest areas will thus be isolated both visually and acoustically from the context of
the activity to which they belong. They may include service areas and such
facilities as telephones, water fountains, tea- and coffee-dispensers, etc.
Assembly and lecture rooms.
The areas concerned should open on to a reception area (general or
special); be isolated visually and acoustically, and relatively independent. They
may be grouped together or separate as appropriate, but are situated on a major
axis of movement through the museum, and may include service areas
(anteroom, offices, projection and simultaneous- interpretation rooms). They may
be used by either public or staff.
Cafeteria and/or restaurant.
This covers all catering, and the areas concerned are specialized
according to their particular function: bar/refreshment room, cafeteria, restaurant,
etc. They are usually completely isolated from the museum’s other activities, for
reasons both of comfort (smell, noise, etc.) and of security (long opening hours),
as well as for functional reasons.
They may open on to both the main reception area and the outside (street
and/or private space such as garden or terraces), and they can be divided into
three parts.
(a) Public refreshment area (cafeteria-restaurant);

(b) Preparation area (kitchen); and,
(c) Private service area (store-rooms).
These three types of area may open on to the outside so long as security
for the rest of the museum is properly safeguarded. The public cafeteria and/or
restaurant may sometimes be open to the museum staff.
OFFICE AREAS
Administration and management offices.
SORIANO, E.J.M 26
The director’s office or the curator’s office is therefore located in the
middle of the office areas, and, for convenience, close to the reception area for
visiting specialists.
Administration covers everything involved in administrative service, and is
chiefly made up of: personnel management, welfare services, budgetary
management, general services, etc. The areas used for this function may be of
three types: partitioned off (individual offices) semi-open plan, and open plan.
Management covers all the practical and technical tasks involves in the
proper functioning of the museum: i.e. archives, security, cleaning, telephones,
mail services, rest and relaxation, information and orientation, sales. The areas
concerned (apart from offices, which may be grouped together) are usually
scattered throughout the museum.
Archives.
The area set aside for archives may be outside the general office area, but
should preferably be in direct and easy relation to it.
It needs surveillance, and calls for installation of a special automatic fire
detection and sprinkler system.
Security.
The central security office may include a centre for checking equipment
and premises for the security staff (these two areas being adjoining). It is set
apart from public areas and accesses to it call for strict surveillance. Its location
should take into account:
(a) the need for swift intervention on the part of staff (central position);
(b) the dangers of too easy public access; and
(c) the network of automatic control and surveillance systems.
These areas should provide reasonable comfort for the staff concerned,
but should not open on to the outside unless there is no possibility of unlawful
entry and/or obstruction. ,
Conservation and museology.
SORIANO, E.J.M 27

As regards conservation proper, the areas concerned should be linked to the exhibit
reserves, the exhibition rooms and the reference areas (library and documentation).
A special strong-room should be provided for works in transit.
Spacious and quiet general work areas facilitate the preparation of exhibitions and
new displays.
Documentation requires large work areas and good sound-proofing.
The drawing office is comparable to the architectural office.
Daylight is indispensable for all areas devoted to conservation.
The function of conservation covers all the scientific and technical tasks
necessary for the proper functioning of the museum and the conservation and
study of its contents. It includes: conservation proper, documentation, teaching
and group work, drawing office, etc.
SERVICE AREAS
Technical and waste disposal installations.
These areas include all central plants of this kind, i.e. heating and cooling
plant, air-conditioning and heat conservation plant, electricity-supply plant and
security and emergency systems, centre for storing and distributing sprinkler
fluid, plant for collection and treatment of refuse, telephone systems, etc., and
plumbing.

This heavy equipment can be a source of noise and vibration, so the technical
installations are isolated from the museum’s other activities. Floors, ceilings and walls
are treated accordingly (floating floors, double partitions, etc.).
For security reasons, access to the tehical installations is subject to strict supervision.
They should be rationally situated in relation to the power and water mains
They mostly contain heavy machines and equipment, often bulky, and there should
be easy and adequate access from outside for the purpose of repairs and alterations.
Staff premises.
Staff areas may include the following units: cloakrooms, toilets, showers,
rest-rooms and recreation rooms, staff rooms, infirmary, union premises,
assembly room. They may also include a cafeteria where the staff does not use
the public cafeteria/restaurant area.
SORIANO, E.J.M 28
The infirmary should be placed so that stretchers can easily be carried out
to an ambulance, and the possible presence of members of the public should be
taken into account (in the case of accidents or sudden illness).
Staff premises should have a high standard of comfort as regards both
installation and equipment (for example, daylight in staff room, rest-room and
recreation room).
Stores and reserves.
Although their function is the same, it is necessary to distinguish between
goods storage and art reserves. Stores serve for stocking ordinary consumer
goods necessary for the proper functioning of the museum, together with
equipment necessary for the maintenance of the building. The, reserves are
devoted chiefly to the storing of exhibits.
Both stores and reserves should be located between the areas of the
activities they serve and the delivery areas. They may be underground and
require no natural light. They should be completely isolated, have access that
can be strictly checked (one entrance, without direct connection with outside),
and be especially well protected against fire and theft. The reserves also have
study areas in which specialists may study individual objects. Storage and
reserve areas may be broken down functionally as follows: stores proper, transit,
packing and unpacking, and reception and distribution.Handling areas should be
included under this heading (storage of trolleys, etc.).
Work-shops.
This term covers all areas in which production functions are carried out,
i.e. building maintenance workshop, museology workshop, workshop for
maintenance and restoration of exhibits, photographic laboratories, photographic
studio, equipment simulation workshop, duplication and photocopying workshop,
and vehicle maintenance workshop.
These units as a whole may be grouped together or divided into two parts,
according to size : (a) Workshops relating to the exhibits (b) Workshops relating
to the building or administration.
SORIANO, E.J.M 29
Workshops may open directly on to the outside, but it is preferable to have
an intermediate buffer area which can be subject to supervision (usually loading
and unloading bays).
FINDING AND ANALYSIS
Theres a lot that needed to be considered when designing Museums. Although
Museums are being often being designed in an open-plan layout, the critical
things that needed to be address is the safety and conservation of the materials
that were being exhibited. The guidelines provide a comprehensive requirements
and guidelines in planning such development from the need space and facility up
to the favourable mechanical and electrical systems to be installed.
RELEVANCE TO THE STUDY
The guidelines will be beneficial to the users because it provided the
space requirements need in developing museums in the Philippines. It enlisted
the spaces defined each of them and suggested some alternatives if such space
can be provided. Also provide where would be the best location for a certain
facilities to be able to maximize its usefulness.It also formulated the required
utilities that would greatly affect the display in the Museum.
Library, as one of the physical scope of the research project.
CONCEPT OF LIBRARY AND SPATIAL RQUIREMENTS
Library play an important role as a cultural center . In addition to providing
books,it can provide record and tape lending, music listening facilities, visual-aid
facilities, and lecture series as well as act as a general information center. With
such an expanded role, the library or cultural center will be an important element
in the neighborhood .
SORIANO, E.J.M 30
Regardless of the size of the community, its library should provide access
to enough books to cover the interests of the wholepopulation .
1. Libraries serving populations from 5,000 to 50,000 require a minimum of 2
books per capita .
2. Communities up to 5,000 persons need access to a minimum of 10,000
volumes, or 3 books per capita, whichever is greater. The library building should
provide space for the full range of library services All libraries should have
designated areas for children's, young adult, and adult materials.
Multipurpose rooms should be provided for meeting, viewing, and listening
by cultural, educational, and civic groups unless such facilities are readily
available elsewhere in the community. They should be located for easy
supervision so that they may be used for quiet reading and study when not
needed by groups . No single type of building is satisfactory for all public
libraries. Each building is likely to be different, and its differences should be
directly related to its service program.
Library Space requirements
Generally speaking, the total need may be divided into five categories:
space for (1)books, (2) readers, (3) staff, (4) group meetings, and (5) mechanical
operations and all other (stairways, elevators, toilets, etc .) .Actual space
allocations will tend to vary in accordance with the library service program in
relationship to community needs.
Space for Books
To a large extent the amount of book shelving required will depend on the
size of the library service area and whether the library is a member of a library
system . Most library planners, when estimating the size of the book collection,
SORIANO, E.J.M 31
apply a standard which ranges from three books per capita (smallest
communities) to one and one-half books per capita (largest cities).
Figure 10: Optimum Shelving Conditions for Adult

Source: Time Saver Standards for Building Type p.344
Figure 11: Optimum Shelving Conditions for Teen agers

Figure 12: Optimum Shelving Conditions for Children

Space for Readers
SORIANO, E.J.M 32
Reader seating requirements should be determined for at least 20 years
ahead. Two principal sources of information which library building planners will
find equally useful, a careful analysis of purely local needs, and second, existing,
time- proven formulas applied as a basic guide.
Figure 13: Minimum clearance for people in Reading Room

Space for Staff
Staff space requirements should be calculated on the basis of 100 sq ft
per staff member. It is important that this standard be met for there is ample
evidence that space for staff has been outgrown more rapidly than any other type
of space in most library buildings .The unit of measurement of 100 sq ft per staff
member includes space for desk, chair, books, and equipment. A checklist of
staff work areas should include(1) administrative offices, (2) workrooms, and (3)
staff lunch and lounge rooms .
Administrative offices should include a combination librarian's office-
trustee room;spaces for the assistant librarian and a secretary-receptionist ;
business office ; and other related offices . Work room areas should be provided
for technical processing; reference, circulation, extension, and other departments
subject specialists ; and supply storage. Comfort facilities for the staff should
include cooking and lunchroom areas as well as appropriate locker, lounge, and
toilet facilities for both men and women. Comfortable working conditions
contribute to effective personnel administration as well as to efficient library
service.
SORIANO, E.J.M 33
Space for Mechanical Operations

Included within this category are halls, stairways, toilets, elevators and
lifts, air ducts, heating and air conditioning equipment, closets, and shops.
Because it is exceedingly easy to underestimate the amount of space required
for mechanical operations, it is recommended that the best available technical
advice be secured to assure inclusion of an accurate estimate within the program
statement. Fortunately, with the development of new construction materials and
techniques combined with new concepts in planning, much less space is needed
for these purposes than was formerly the case. It is suggested that an allowance
of 20 percent be made for mechanical operations. In comparison, some planners
allowed twice as much space not too many years ago. It is of utmost importance
that this space requirement not be overlooked. After the amount of space needed
has been estimated, it should be added to the total required for the other
activities to be provided in the building.
There’s a lot that needed to be considered when designing Library.
Although Library has a minimum requirements since limited activities happened
there though the safety and conservation of the books must be addressed. The
guidelines provide a comprehensive requirements and guidelines in planning
such development from the need space and facility up to the Mechanical
operations.
The guidelines will be beneficial to the readers and staff because it
provided the space requirements need in developing Library in the Philippines. It
enlisted the spaces defined each of them.Also provide anthropometrics and
ergonomic that focused on the circulation, flow and interconnection of the spaces
to the users that varies according to age e.g adult, teenager or children.
SORIANO, E.J.M 34
Theater, as one of the physical scope of the research project.
CONCEPT OF THEATER AND ITS SPATIAL REQUIREMENTS
Theaters as a Building Type
The heterotopic quality is one of the ways in which theater buildings are a
distinct building type. In fact, theaters possess multiple characteristics that make
them an extraordinary building type. And these characteristics are additional
reasons for the fascination they hold for both architects and the public.
Theater buildings exist for the preparation and presentation of live
performing arts. A theater can also be used as a lecture hall, cinema, or meeting
place, but its range of uses is limited. This lack of versatility reinforces the
perception of the theater as a separate space with a quality of “otherness.”
Theaters Are Complicated Buildings
Theaters bring with them a complicated set of requirements, as or more
intricate than hospitals, although this is not widely recognized in the design and
construction professions. In fact, theater buildings are not well understood by the
architects and contractors who design and build them, and this only adds to the
complexity of creating them.
Design Consideration for Theaters
Population
Theaters house a large number of people (up to tens of thousands) in one
room. The need for the audience to see and hear the performance defines
particular three-dimensional room geometries.Protecting the life safety of large
numbers of patrons is a further complication.
Program
SORIANO, E.J.M 35
Program here means the architectural program and includes all the
functions that must be accommodated within the building. The front face of the
building invites the public into exciting, elegant, or monumental front-of-house
spaces. Around the back of the building is a loading dock leading to utilitarian,
often factory-like back-of house spaces. In between are many individual rooms
with unique requirements. A classroom or office building may have many
identical rooms, but a theater does not. And each individual room in a theatre has
critical relationships to other unique rooms. Accommodating the optimal locations
and adjacencies of these rooms is a challenging task.
Structure
The auditorium requires long structural spans and often multiple
cantilevered balconies. In addition, the structural system of a theater must
accommodate rigging and other equipment loads. Unlike downward gravity
loads, rigging loads point in all directions, including up! The structural design may
be complicated by acoustic requirements for massive walls, ceilings, and roofs—
for sound reflection and/or noise isolation. Sometimes critical rooms have
independent and isolated structural systems (called box-in-box construction) to
prevent intrusion of exterior noise.
Services
The heating and cooling system must be quiet, so as not to disturb the
performance. Usually this means a high volume, low velocity system where a
large quantity of slow-moving air is delivered via huge ducts snaking through the
building. Similarly, thousands of electrical conduits for power, lighting, sound,
projection, and broadcast equipment must find their way from control and
equipment rooms to distribution points throughout the building.
Different types of theatre building
1. Opera house:
This belongs to the tradition of 18-19th century Italian opera buildings. It is
characterised by a clear spatial and architectural separation between auditorium
SORIANO, E.J.M 36
and stage, by high numbers of seats (1 000 to nearly 4000) and the
corresponding system of boxes or tiers, which is necessary for so many theatre
goers.
2. Playhouse:
This is in the tradition of the German reform theatre of the 19 th century. It
is characterised by the stalls layout (that is, the audience sit on a large, rising and
curved floor) and by a pronounced apron stage (area in front of the proscenium),
which can be used for the play as well. The playhouse also, however, follows the
tradition of the English theatre in the round. The open and variable layout
became more intensive with the spatial experimentation of theatres in the 1970s.
3. Multi-purpose theatre:
This mixed form of opera, theatre and ballet is a speciality in German-
speaking regions. The space is mostly characterised by the predominant
influence of the opera. The frequent changes of scenery are enabled by the
appropriate subsidiary rooms (store, scenery store, workshops).
4. Musical theatre:
Actually no separate type of building, but rather a theatre built, usually, for
a particular musical by an impresario. A specific challenge for the designer is the
adaptation of the building to the concept of the musical without neglecting the
needs of later uses for other productions.
Space Planning of Theaters
STAGE
Proscenium Stages
The defining features of a proscenium theater are the wall separating the
auditorium and stagehouse and the opening in this wall that gives the audience a
view into the stagehouse.
Types of Performance
SORIANO, E.J.M 37
The stage opening width is primarily determined by the types of
performances that will take place on the stage. Both repertoire and production
practices come into play.
Proscenium Opening
The soft opening is the decorative or trimmed (adjustable) opening—the These

areas need to be specially placed, away from the main flows of movement (risk of
noises), and sound-proofed.
The hard opening matters for building code purposes. This is the opening
defined by fire-resistant construction and usually protected by a fire curtain.
The proscenium opening is often made adjustable to better suit different types of
performances, or to allow more flexibility within a performance type. The
adjustable elements could also be architecturally finished panels that track in and
out, or even framed scenery or stage drapery that’s not part of the architecture at
all. When a proscenium opening is adjustable or has a decorative frame, a
distinction is made between the hard and soft openings.
Stage Footprint
We turn now to the dimensions of the stage behind the proscenium. Usable Area
Stage dimensions are given as the clear depth (D) and width (W), as these
dimensions define the usable floor area.
Figure 14: Stage Plan and Transverse Section

Source: Theater Planning p.154
Wings
The stage areas to each side of the proscenium opening are called wings, or off
right and off left. The wings need not be symmetrical.
SORIANO, E.J.M 38
Plaster Line
The line on the stage side of the proscenium wall from which the clear
depth of the stage can be measured is called the plaster line. No fixed
obstructions exist between the plaster line and the rear wall of the stage, so it’s
the theoretical line on the stage floor from which the director and production
designers are unfettered by architecture. The plaster line is an important datum,
and all dimensions on stage are taken either from the stage centerline or “from
plaster.”
Figure 15: Acting Area Figure 16: Scenery Area Figure 17: Circulation & Work Area
Source: Theater Planning p.155 Source: Theater Planning p.155 Source: Theater Planning p.155
Stage Height
The volume above the stage floor is called the fly loft, rigging loft, or the fly
or flies. The term stagehouse tends to encompass both the stage floor and fly
loft, while the terms fly tower and stage tower connote the appearance of the
stagehouse from the exterior.
A useful starting point for a full fly is to apply a longstanding rule of thumb:
the preferred grid height (G) is three times the proscenium height (h) and should
be no less than 2.5 times the proscenium height (h). That is,
Fly Loft
Extended over the entire stage footprint or just over the central portion,
leaving one or both wings at a lower height. Scenery, lighting, drapery, and other
production elements and equipment are suspended within the fly loft on rigging
and lowered (flown in) or raised (flown out) as needed. One or more galleries
may be provided at the side walls of the fly loft for operating and maintaining the
SORIANO, E.J.M 39
rigging and other stage equipment. Usually, a gridiron extends over the entire
upper portion of the fly loft.
Gridiron
Is a structural steel frame that supports the rigging equipment and
provides personnel access for operations and maintenance. The walking surface
is bar grating or toe-down channels spaced to provide open slots between
channels. Typically, seven feet of clear height is provided between the top of the
grid channels and the underside of the roof steel. While it is a walking surface,
the gridiron is not a floor for building code purposes.
Fire Safety Curtain
Automatically descends to close off the proscenium opening in the event
of a fire. The bottom of the curtain must be out of the audiences view when
stored, and when deployed the top of the curtain overlaps the top of the stage
opening by two feet. Add two feet for grid structure and sprinkler piping (as
above) and two feet for extra hardware at the top of the fire curtain. The minimum
grid height to accommodate a fire curtain is:
If the proscenium opening is 16 feet high (h = 16) then this formula results in the
same grid height as the minimum formula G = 2.5 × h.
50-Foot Dimension
Another benchmark for grid height is a maximum 50-foot dimension from
the stage floor to the ceiling or the underside of the roof deck overhead. The
International Building Code requires stages with heights greater than 50 feet to
have walls with a minimum 2-hour fire resistance rating and a fire safety curtain
protecting the proscenium opening. Stages that are 50 feet or lower in height
must have walls with a minimum 1-hour fire resistance rating, and no fire safety
curtain is required. Therefore, dropping the height of the stage tower for a small
stage to 50 feet or lower can result in significantly lower construction costs.
SORIANO, E.J.M 40
Stage Circulation
Performers and technicians should be able to access the stage at each of the
four corners. If this is not possible, access to at least three corners is the
minimum requirement.
Each entrance should be as close to the actual corner as possible, and should
be provided with a vestibule (sound and light lock) to prevent the intrusion of
unwanted light and noise onto the stage.
Entrances
Loading
A stage needs a loading door in addition to the above personnel doors
The preferred location is on the side wall opposite the rigging. If the door must
be on the rear wall, it should be as far offstage as possible, so that it’s not
blocked by a backdrop or other scenery.
A loading door may be provided with a sound and light lock, depending on the
uses of the adjoining spaces. As is obvious, the loading door must
accommodate the largest object the users might want to move onto the stage
—the trick is guessing the size of that object. If the theater is only for touring
shows, a door somewhat larger than the cross-section of a semitrailer will do.
Corridors
A corridor that wraps around the side and rear walls of the stage and connects
our four corner entrances is the ideal.
This corridor should be wide enough for easy movement of people, musical
instruments, costume racks, and road cases.
At minimum, a crossover corridor connecting the two rear stage entrances
should be provided, so that performers and others can quickly get from one
wing to the other outside of the audience’s view..
If no crossover corridor is provided, the rear of the stage must be dedicated to
this purpose, limiting the effective depth of the stage.
Vertical Circulation
Convenient vertical circulation is also needed. The preferred solution is a stair
at each side of the stage that provides ready access to the traproom below the
stage and to all raised galleries and the gridiron above the stage. These same
stairs should provide access to the technical levels above the auditorium. If
the grid is especially high, or the project especially well-funded, then an
elevator serving these levels should be provided.
Traprooms
A traproom is the area below the stage into which openings can be
created for staircases, trap doors, or other scenic effects. Both the opening in the
stage floor and the cover for that opening is called a trap. A traproom extends the
vertical dimensionality of the stage and provides greater artistic flexibility. Not all
stages require traprooms.
SORIANO, E.J.M 41
Table 10: Stage Dimensions Ratio

Source:Theater Planning p.167
Forestage Zone
The forestage is the three-dimensional zone where a proscenium stage
and auditorium meet. The forestage geometry may be static or flexible, but it is
always a transition zone between performance space and audience space. Very
often the forestage has movable parts to create an extension of the stage apron,
additional audience seating, or orchestra pits of differing sizes. It may be heavily
equipped with rigging, lighting, and audio technology to allow the extension of the
production design into the auditorium.
Apron
The apron is the area
of the stage between the
house curtain and the stage
riser or orchestra pit. It
should be deep enough for
the performance of entractes
—short scenes performed in
front of the closed curtain—
but not deeper than

Figure 18: Forestage Zone
necessary. Our objective Source: Theater Planning p.173
always is to keep the first row
SORIANO, E.J.M 42
as close as possible to the plaster or setting line, where the full production
capacity of the stagehouse is available.
Orchestra Pit
Orchestra pits must be usable by musicians in wheelchairs. Some older
theaters have shallow pits accessed via steps from the auditorium, but it takes
great finesse to make this arrangement both attractive and code-compliant. The
preferred point of entry and exit is below the apron. Here, if a platform lift is
needed, it can be outside of the auditorium and stage. Pits with an occupancy of
50 or more require two exits, and these are usually located at the two ends of the
pit below the apron. One of these doors might be double-leafed, to facilitate
movement of large instruments.
SORIANO, E.J.M 43
The pit should extend at least five feet upstage of the apron edge, to
accommodate the exit doors and provide maneuvering room for wheelchair
users.
Audience Seating
Most patrons in most auditoriums sit in chairs fastened to the building. A
few patrons will use wheelchairs or other mobility devices, and a few may sit in
loose armchairs in the boxes. In flexible or informal spaces, the audience may sit
on movable chairs that are ganged into rows. And there are many other seating
variations including benches, banquettes, sofas, and stools of varying heights.
SORIANO, E.J.M 44
We’ll look in detail at the two most common types of seating, fixed auditorium
chairs and wheelchair spaces.
Figure 20: Elevation of Seating (gradient)

Source: Neuferts-4th Edition p.212
Fixed Auditorium Chairs
SORIANO, E.J.M 45
Auditorium chairs are field assembled from component parts, usually standard
cataloged parts. Even with no customization, the available parts, colors, and
fabrics present a wide range of options.
Figure 21: Fixed Auditorium Chairs and Figure 22: Fixed Auditorium Chairs on
Wheelchairs Spaces (a) Steep Slope(b) Shallow Slope
Source: Theater Planning p.228 Source: Theater Planning p.230
Chair Width
Chair backs and seats are manufactured in a range of widths used to
create horizontal stagger between successive chair rows. Width is measured as
the centerline-to centreline dimension between adjacent standards, so the actual
width of the back or seat part is a few inches less than the nominal width. If the
row is curved, the standards will be splayed, and chair width is measured along a
theoretical arc called the “chair size line” or “setting out line.”
Chair widths grew gradually through most of the twentieth century: the
current range is 20 to 24 inches.
Back Pitch
Back pitch is the angle of the chair back, which is set when the back is
fastened to the standards. Back pitch ranges from 12 degrees (which provides an
upright posture for balcony seating with downward viewing angles) to 22 degrees
(which provides a relaxed posture for orchestra seating where sightlines are
closer to horizontal). Theater chairs almost always promote a more upright
SORIANO, E.J.M 46
posture and have firmer padding than cinema chairs, which are heavily padded
and sometimes recline.
Chair Envelope
Chair envelope is simply the front-to-back dimension of the chair,
measured plumb line to plumb line. Chair envelope may be measured with the
seat down or with the seat up. If the seat is self-rising, the“seat up” dimension is
used for code calculations. This dimension, labeled b in Figure 22, is usually
between 18 and 22 inches.
Back Overhang
The back overhang is the distance between the chair size line and a
plumb line at the rear of the chair back. This is dimension d in Figure 22. Again,
this dimension varies with back pitch—so its larger for chairs at the orchestra
level and smaller for balcony seating. Because the chair back overhangs the riser
face, up to 12 inches of extra depth must be allowed at the last row.
Wheelchair Spaces
Number
The required number of wheelchair spaces varies, with proportionately
more spaces required in smaller auditoriums. Table 13.1 indicates the minimum
requirements according to the 2010 ADA Standards for Accessible Design.
Table 11: Required Number of Wheelchair Spaces

Source:Theater Planning p.231, 2010 ADA standards foe accessible
Means of Egress (MOE) Components
In technical terms, a means of egress is a continuous path of travel from
any point in a building to a public way. It consists of three parts—the exit access,
SORIANO, E.J.M 47
the exit, and the exit discharge. In code terms, an exit is just one part of a means
of egress system.
Exit Access
An exit access is a path from anywhere in a building that leads to an exit. In an
auditorium, its the travel route from each chair or wheelchair space to one or
more exits. It is a concept very relevant to the design of seating layouts, since
the spaces between the rows of chairs, the aisles, and most open floor areas
within the auditorium are all part of the exit access.
Exits
Conceptually, the simplest exit is a door that leads directly to the exterior.
Enclosed interior stairs, ramps, and corridors can also be exits, as can exterior
stairs and ramps. Perhaps the most arcane of exits is the horizontal exit. This
is a passage that brings you “horizontally” across a fire barrier into a “safe
area.Horizontally meaning without a significant change in level, and safe
meaning protected from fire and smoke spreading from the area .
Accessible Routes and Egress
Not all means of egress components are usable by persons with impaired
mobility. As defined by the ADA and the building code, the term “accessible
route” refers to a circulation path usable to persons with impaired mobility,
including persons in wheelchairs. The building code goes on to define
requirements for accessible means of egress.
Catchment Areas
The required capacity of an aisle depends on the number of seats it
serves. To determine this, each level of the auditorium is divided into
catchment areas that assume proportionate use of the means of egress
capacity. Figure 13.3 shows a simple example—a single level auditorium with
500 seats is served by four doors of equal width. We assume one quarter of
the audience will exit through each of the four doors, so the portion of aisle
leading to each door must have a capacity of 125 people. If the aisles have a
slope greater than 1:12, the width required is 125 times 0.22 or 27.5 inches.
SORIANO, E.J.M 48
Figure 23: Catchment Area Example

Source: Theater Planning p.236
Minimum Width
The actual width of aisles is often determined not by the capacity
calculation, but by a separate code requirement for minimum width. Table 13.2
lists minimum aisle widths according to the 2015 edition of the IBC.
The aisles in our example from Figure 13.3 are sloped aisles with seats on
only one side, serving more than five rows. According to Table 13.2, their
minimum required width is 36 inches.
Table 12: Minimum Aisle Widths per 2015 IBC in inches

Source:Theater Planning p.237
WORKSHOPS AND STAFF ROOMS
Figure 24: Catchment Area Example

Source: Theater Planning p.236 SORIANO, E.J.M 49
Workshops for production of scenery
The area required for scenery workshops is 4-5 times the main stage area
for medium-sized theatres (theatres and multi-purpose theatres); in large opera
houses or double theatres (opera and theatre), 1 0 times. Workshops, in or
outside the building, should always be accommodated on one level. The
Workplace Regulations and their technical rules and the work protection and
accident prevention rules of insurers have to be taken into account in the design.
In some cases, the company and collective agreements with the employees can
also have an effect.
Scenery workshops are categorised as follows:
a) Painting room:
The floor area must be designed to accommodate two large backdrops or
'cycloramas' (Rundhorizonte - curved backdrops) rolled out on the floor for
painting. The average size of a cyclorama is 10 x36 m.lt must be possible to sub
divide the room with a thick curtain for spraying work. Also required are
underfloor heating to dry the painted backdrops; wooden floors for spreading out
the canvases; a gallery from which to check the work lying on the floor. The
painting room is located next to the sewing room (with a size about 14 of the
painting room) joining the pieces of material.
b) Carpenter's shop:Divided into bench and machine rooms, it has wooden floors
and an adjoining timber store for 3-10 productions.
c) Upholstery: approx. 1/10 area of painting room.
d) Metalwork: as carpenter's shop, screeded floor.
e) Sculpture workshop.
f) Workshops should be grouped round an assembly room, which serves to test-
assemble the scenery and has the same floor area as the stage. The height
should be proscenium plus 2 m, diameter 9-10m.
SORIANO, E.J.M 50
g) Changing, washing, and rest (canteen) rooms are to be provided for technical
staff, and offices for the technical management.
Further workshops for sound, lighting, props and costumes, size as required
(production intensity, personal equipment).
Personnel rooms
Artistic staff, stage manager, administration. Historically, personnel rooms
were situated on both sides of the stage: left, ladies, right, gentlemen, although
this was operationally impractical. Today, these rooms are located on one side,
opposite the technical side on several floors. This includes make-up, frequently
also the costume workshop, administration and stage manager.
REHEARSAL AND PUBLIC ROOMS
Rehearsal rooms
Every theatre needs at least one rehearsal stage to back up the main
stage. For example, a small theatre: the main stage has the scenery of the
current play and the rehearsals
take place on the rehearsal
stage. The dimensions should
correspond to the main stage.
Typical floor plan of the rehearsal
stage of a traditional theatre.
Multipurpose theatres and opera
houses also require: orchestra
rehearsal room, chorus rehearsal
room, soloist rehearsal room and
ballet room.
Experimental theatres
These also require, in reduced form, staff and rehearsal rooms,workshops
and stores, if in continual operation.
SORIANO, E.J.M 51
Technical rooms
Rooms for transformer, medium- and low-voltage switchgear, emergency
power supply batteries, air conditioning and ventilation plant, water supply
(rainwater system), according to local conditions and specialist design work.

Figure 25: Large Rehearsal Room , Typical Plan
Source: Neuferts- 4th Edition p.217 Lobby
The area in which the
audience gathers and socializes before the performance and during
intermissions. It provides access to the auditorium and to patron amenities. The
lobby may provide queuing space at the ticket office windows, coat check, and
concessions. It’s often used for the sale of programs and other show
merchandise.
Ticket Office
. Ticket office designs range from the highly secure, with bulletproof sales
windows, to open counters similar to a hotel registration counter. The trend is
perhaps toward open counters, as the exchange of cash at ticket windows
declines and many arts organizations attempt to improve the experience of their
customers.The ticket office is usually located near the public entry to allow
convenient access for daytime visitors. The location must allow space for patrons
to queue at the sales stations without disrupting the flow of other patrons in and
out of the building.
Designing and Planning theatre required a lot of knowledge and
analyzation. There’s a lot that needed to be considered in planning the Theater.
From the stage, backdrop wall, curtain, audience seating and the egress. The
guidelines provide a comprehensive requirements and guidelines in planning
such development from the need space and facility up to the Structural and
Mechanical operations.
SORIANO, E.J.M 52
The task of theater design is first to determine the size and shape of the
audience chamber, and to develop seating layouts, access, circulation, and
egress to ensure the safety of the audience and the quality of their experience. It
also includes the layout of the stage or performance area, with circulation and
technical elements such as traps, grids, and galleries.
The guidelines will be beneficial to the performer, staff and audience
because it provided the space requirements need in developing Theater in the
Philippines. It enlisted the spaces defined each of them. Also provide
anthropometrics and ergonomic that focused on the circulation, flow and
interconnection of the spaces to the users.
Purpose: The Literature Review provides the spatial programming, design
guidelines and standards that will help in designing and planning Auditorium, as
one of the physical scope of the research project.
AUDITORIUM DESIGN
Auditorium and stage/acting area
Size of auditorium: the number of people in the audience gives the
required floor area. For seated spectators, assume >0.5 m2/spectator. This
number results from: seat width x row spacing
Exits, escape routes 1.2 m wide per 200 people. 1% of the seats (at least two)
must be accessible for wheelchair users, if possible in connection with a seat for
an accompanying person.
Proportions of the auditorium
These are derived from the psychological awareness and angle of view of
the spectator, or the requirement for a good view from all seats. Options are:
1. Good view, without moving head, but light eye movements of approx. 30°.
2. Good view with slight head movements and light eye movements of approx.
60°.
SORIANO, E.J.M 53
3. Max. awareness angle without head movement approx. 110°, i.e. all actions in
the field are 'in view'. Outside this field, there is uncertainty, because 'something'
is out of view.
4. Full head and shoulder movement allows an angle of view of360°.
Four Qualities in designing Auditorium
Proximity
The first quality is proximity. The design of the auditorium must place the
members of the audience in close proximity to the performance and to each
other. According to tht Nineteenth century European theater architects Fellner
and Helmer described this quality succinctly and somewhat humorously in their
“rules” for theater design:
1. The aim is to get the audience as close as possible to the stage.
2. It is important for the art of theatre to see the actor’s eyes and mouth.
3. Create an auditorium as small as possible, leave out any unnecessary spaces.

The audience is happiest in an intimate space, even at the cost of the architect’s
feelings.
Cluster
The quality of cluster is harder to measure, but it has observable features.
One is encirclement, or the enveloping of the performance area by the audience
seating. Cluster is also developed by placing spectators where they have a close
connection to the performance, and placing spectators where other audience
members can see them. These design features enhance the intangible
phenomenon often described as the “exchange of energy” between the
performers and audience.
Scale
Scale is a quality of all architecture. In its simplest form, scale simply
means size, but scale is also developed through the use of proportion, repetition,
order, light, and shadow. Scale can be used to minimize the stature of the
individual. Medieval cathedrals (which exalt God over humanity) and communist
party plenary auditoriums (which exalt the party over the individual) are clear
examples of this use of scale. Theater designers work in the opposite direction,
SORIANO, E.J.M 54
using scale to support the performer and enhance the performance. On a movie
screen the performers’ bodies can be magnified many times. In real life and in
live performance, the performers’ bodies are only so big. Therefore, the theater
architecture must assumea human scale.
Place
The quality of “place” describes architecture that is stimulating, pleasant, and
meaningful to its inhabitants. In Towards a New Architecture, Le Corbusier put it
this way—“You employ stone, wood, and concrete, and with these materials you
build houses and palaces. That is construction. Ingenuity is at work
o Vivid and varied colors

o Articulated side walls and finished ceiling
o Multiple and distinct seating areas and levels
o Seating served by aisles and crossaisles to provide some measure of
mobility
o Lighting on the room surfaces and faces of spectators
o Multiple, close focal points and sources of sound
RELEVANCE TO STUDY
Designing and Planning Auditorium required a lot of knowledge and
analyzation. Applying the four qualities in designing Auditorium will provide
comfortability, interconnection of the spaces and innovate the theatre design to
the users.
design guidelines and standards that will help in designing and planning of Trade
Hals, as one of the physical scope of the research project.
PLANNING AND DESIGNING SOCIAL SPACES WITHIN TRADE HALLS
Commercial exhibitions and trade shows are one of the significant
powerful tools for community to introduce and sell their own products and
services. The trade halls purpose is to attract, hold, persuade and inform visitors.
SORIANO, E.J.M 55
In trade shows, a well organized and designed social space can allow exhibitors
and visitors to communicate and interact each other in effective way.
Design Strategies
Distance Control
In terms of human senses and communication, the study of social
dimensions is related to the the most comprehensive social activities, such as
walking, resting, seeing and hearing in both public and private spaces. To
familiarize and control those dimensions in trade show planning is a necessary
prerequisite leading to the success of exhibition layout.
Interior Streetscape
When the massive exhibition venue is treated in a context of urban space,
interior streetscape is a useful tactic to form a powerfully structured, vividly
identified and highly imageable environment within trade shows.
Figure Ground
The contrast of an object to the ground. The suspending banner,standing
banner, standing signage or other vertical elements can stand out as figures in
contrast to exhibiting booths and build mental identity.
Continuity.
Series of coherent parts related by keeping a common scale, form, texture, or
color for a space or area (Ibid).Using the same material on booth board of a
particular color along the pathway will give continuity and orientate visitors to
the destination.
In streetscape design, Rubestein (1992) gives the following characteristics
that should be considered in design or aesthetic quality associated with trade
show design and considered to be applied to social space design
particular color along the pathway will give continuity and orientate visitors to
the destination.
Sequence
Continuity in the perception of space that may create motion or mood, or give
direction (Ibid). Any repetition and similarity of shape,color or texture can
contribute to this characteristic.
Rhythm
Is a break interrupting the sequence of repetitive elements at specific intervals
(Ibid). It can be incorporate into a flooring pattern by creating a design.
Sensory Quality
Sensory qualities is a further dimension to the sense of a place, the visual
impression and appeal to senses of hearing , smell and touch (Ibid). Features
SORIANO, E.J.M 56
that cn please human senses can give the social space an atmosphere that
attracts people like well-designed banners, soft illumination, comfortable sitting
area and appealing activities.
Motion
A process of temporal alternation or geographical position changing.It
reinforces direction or distance and gives a sense of form in motion (Ibid).
Figure 26: Trade Halls Bubble Diagram

Source: www.google.com
Spatial Requirements
Information
hub
 Information display
 Self service catering for café, drinks or snacks
 Desk for customer service or administration staff
 Sitting area for relaxing
Exhibition
Booths
Forum
Stage
 Sitting Area for audience
 Stage for presenting a speech
Lounge
 Intimate seating for relaxing
 Open seating for conversations
 Self service catering for café, drinks or snacks
SORIANO, E.J.M 57
Circulation
Circulation is devoted to the movement of the trade halls attendees. In the
same way as exhibition booths, the social space must also be easily accessible
and the circulation adequate for the activities. The pathway or aisle should be
wide enough for people to pass through, stand, look or bend to look. There is
also room for people to stop to talk or to exchange information without disturbing
the solidarity viewer (Velarde,2001)
Trade shows is a powerful tool to introduce and sell products and services
need to attract, hold, persuade and inform visitors. In trade shows, well-designed
social spaces cn facilitate active communications and interactions between
exhibitors and visitors.
Besides introducing amenities to and design strategies to retain visitors,
social spaces can balance or re-stimulate visitors emotions. Based on
environmental psychlogy and exhibition design, it provides a new strategy of
organization for exhibition layout, structured by social spaces and various scale
and levels. The understanding of human behaviour and activities determines an
appropriate configuration of social spaces,
3.2 CASE STUDY
LOCAL CASE STUDY
3.2.1 LOCAL CASE STUDY 1
Purpose: The case study is focused in designing the first ever experiential
museum in the Philippines on
how they exhibit the material
heritage and showcase it
wherein the visitors engage
in more interactive ways.
SORIANO, E.J.M 58
QUEZON CITY
EXPERIENCE
(QCX MUSEUM)
Quezon, Memorial Circle, Diliman, Quezon City
3.2.1.1 SUMMARY: Figure 28:QCX Museum

Source: www.google.com
The Quezon City Experience Museum or better known as QCX museum,
is a 6 229.21 square meters interactive and socio-cultural/ historical museum
which primarily exhibits the history of Quezon City. It is situated inside the
premises of Quezon City Memorial Circle facing the eastern side of the Elliptical
Road.
3.2.1.2 ARCHITECTURAL ANALYSIS:
SPACE CONFIGURATION
The QCX complex is composed of a 5-pod museum has its own coffee
shop, a small cafeteria and memorabilia store at the lobby, where visitors can
spend time, dine or buys souvenir items. It also consist of a small theatre with 80-
90 seating capacity that can be rented out for group film screening and other
events. Its lecture room, which has 60 seats, can also be rented, as venue for
important meetings and other activities.
Each pods are interconnected with covered path walks and are arranged
in radial manner forming a circular courtyard right in the center of the
development. The layout also created more open space in the middle where
sculptures, planters and free-flowing benches are placed which also provides an
experience to the outdoor space.
LAYOUT OF GALLERY
The museum is compromising of an overall 16 interactive galleries
namely; Pylon,Quezon on a Hill, Malacañang, War Gallery, Monument, Housing ,
Jeepney, Education, Street Scenes, Business, Entertainment, Issues and
SORIANO, E.J.M 59
Barangay. Each galleries displays the humble beginnings of the city of Quezon,
the issues and tragedies it encountered and the envisioned future. The gallery
promotes users experience by arranging each gallery in a manner that would
create more movements and integration of interactive and innovative materials
such as digital arts and learning sources. Another experiential approach that can
be seen inside the museum is the recreation of particular place of event such as
the horrifying views of the Balete Drive and Wars that conveys dark and intense
emotion to the users with the help of manipulation of lights, materials and space.
3.2.1.3 FINDING/SYNTHESIS:
The QCX Museum creates a breakthrough design in historical and socio-
cultural museums. Unlike any other similar established development, this facility
creates a learning environment far from the traditional way of displaying artifacts
that only serves the visual satisfaction but it also considered other senses such
as touch, hear and smell.
3.2.1.4 APPLICATION IN RELATION TO PRESENT STUDY:
The museum is an effective model of experiential design.It also provides
different strategies integrated inside the building the purpose of providing sensual
and perceptual experience to the users. The QCX Museum especially the
recreation of particular place or events can incorporate to the proposed research
project especially the dark and intense emotion that provide to the users because
of manipulation of space, materials and light and shadow.In addition, the
arrangement of galleries in the QCX museum inspired the proponents to
integrate it to the proposed Mindanao Trade and Cultural Center in the NCR.
Purpose: The case study is focused in planning the first Cultural Center in the
Philippines specifically the different theaters and exhibitions gallery in the center.
SORIANO, E.J.M 60
CULTURAL
CENTER OF
THE
PHILIPPINES
CCP
Complex,
Roxas Blvd,
Pasay City
Ar. Leandro
Locsin
Figure 29:Cultural Center of the Philippines
Source: www. culturalcenter.gov.ph
3.2.2.1 SUMMARY:
The Cultural Center of the Philippines (CCP), located in Pasay City, is the
premiere showcase of the arts in the Philippines. It has been producing and
presenting music, dance, theatre, visual arts, literary, cinematic and design
events fro the Philippines and all over the world for fifty four years. It was
established in 1966 during Ferdinand Marcos Regime, to promote and preserve
the Filipino arts and culture. The CCP provides different venues for performances
and exhibition for local and international productions. The center was design by
Filipino National Artist Leandro Locsin who was known for the use of concrete,
floating volume, and simplistic design in his projects.
EXTRERIOR
The characteristics of the center is International style buildings are
rectilinear forms; light, rigid plane surfaces that have completely exposed; open
interior spaces by the use of glasses in general and an illustrational weightless
quality produced by the use of cantilever construction.
The great structure was designed by Ar. Leandro V. Locsin to promote and
preserve Filipino arts and culture. The rest of the structure is clad in concrete,
textured by crushed seashells, the parts of the shell itself within the concrete that
was used mainly in street and amazingly in structure itself.
SPACE CONFIGURATION:
SORIANO, E.J.M 61
The center as designed is contemporary and functional in structure; simple
and elegant in tone. The architectural concept will consist of: (1) a theatre of
performing arts, (2) a museum and an art gallery which shall serve as the
treasure house of cultural artifacts and works of art (3) an art and music library
(4) an open amphitheatre for outdoor concerts, and other artistic performances.
Tanghalang Nicanor Abelardo

(Main Theater)
The theatre has four levels
Orchestra, Boxes, Balcony 1 and
Balcony 2 and is able to accommodate
a total of 1 821 guests. The theatre has

Figure 30:Interior of the Main Theater
Source: www. culturalcenter.gov.ph a split orchestra pit floor and is
equipped to meet the requirements of large theatrical production such as ballets,
operas, symphonic concerts and other musicals.
Tanghalang Aurelio Tolentino

(Little Theater)
The Little Theater is a
conventional proscenium stage,
designed for drama, chamber music,
solo recitals, lectures and film

Figure 31 : Interior of the Little Theater
screenings, with a capacity of 421 Source: www. culturalcenter.gov.ph
guests. The stage curtain is a tapestry made in Kyoto, Japan based on the
painting of Roberto Chabet, former director of the CCP museum.
Tanghalang Huseng Batute

(Studio Theater)
Designed for experimental
production and has two level as a
studio which features a variable stage.
Figure 32: Interior of the Studio Theater Tanghalang Francisco Balagtas

Source: www. culturalcenter.gov.ph (Folk Arts Theater)
This covered proscenium
amphitheatre as where popular concerts are
usually staged it has a seating capacity of 8,458
Figure 33: Exterior of Folk Arts with ten sections.

Theater
SORIANO, E.J.M 62
Tanghalang Manuel Conde

(Dream Theater)
The CCP Dream Theater is the first
direct-
to- home satellite venue for art and culture films
and videos on the arts of the Philippines.

Figure 34: Interior of the Dream Theater
Exhibition Halls/ Galleries

o Bulwagang Juan Luna (Main Gallery)
The Bulwagang Juan Luna on the third floor offers a year round program of
large survey and retrospective exhibition. The gallery is a rectangular space, has
white walls and floors area of 440 sq. meters.
o Bulwagang Fernando Amorsolo (Small Gallery)

The Bulwagang Fernando Amorsolo on the fourth floor is an intimate space
for individual exhibitions and installations.
o Pasilyo Vicente Manansala (Second Floor Hallway)

A gallery that can feature diverse visual exhibits, installations, and collections
of artworks. This gallery is named after the National Artist for Painting, famous for
his unique style in depicting Filipino culture found in his works.
o Pasilyo Guillermo Tolentino (Third Floor Hallway)

Located along Balcony 1 on the \third Floor. The gallery is used for regional
art works or for exhibits in line with cultural agreements. Named after the
National Artist for Sculpture, whose work have remained Iconic in modern
Philippine art history.
o Pasilyo Victorio Edades (Fourth Floor Hallway)
Situated at the east end of the Fourth Floor where the works of new talents
are usually displayed. It is often used for exhibits of panoramic works,
photographs, drawings, prints and works on paper. The gallery is named after the
National artist for painting who has made Philippine modern art stand out.
STRATEGIC SITE LOCATION
. The Cultural Center of the Philippines is also accessible to the great
population of Manila area and surrounding cities and districts. Manila is a perfect
SORIANO, E.J.M 63
location since it is the center of government and of commercial and cultural
activities that attracts the greatest number of foreign and provincial visitors
The Cultural Center of the Philippines exemplifies an international style
architecture that flourished during its time. The building might be massive but it
was complemented by its floating and weightless effect which is an exquisite
example of cantilever construction.
The Cultural Center of the Philippines is the first ever cultural center in the
country. The Center offer various venues for performances and varies its sizes
depending to the users. After the proponents conduct research to the Center.
The proponent will use as an inspiration as one of the physical scope of the
research project is the Tanghalang Aurelio Tolentino or also known as the Little
Theater. The project’s theater will use conventional proscenium stage which is
commonly used by the other theater as well. The proponent can also incorporate
to the research project on how the center locate, plan and named the exhibition
hall/ galleries that can be seen in all open spaces that can create interaction to
the visitors. The way they honor the artist by naming the exhibition halls /
galleries according to the artist forte.
In addition, the Center offer different venues for showcasing the arts of
Filipino that promotes the culture and its traditions..In terms of exhibition the
center highlights the artist’s masterpiece by complementing the choice of lighting,
the color of the walls or partitions that will add another drama of the atmosphere.
Purpose: The case study focused on how Nayong Pilipino incorporate the
different historical place in the amusement park that provides a sensory,
emotional and experiential approach in architecture.
SORIANO, E.J.M 64
NAYONG
PILIPINO
Centennial Road,
Clark Field,
Mabalacat,
Pampanga
Figure 35:Nayong Pilipino

Source: www.visitpilipinas.com
3.2.3.1 SUMMARY:
Nayong Pilipino is a one stop place to know about the Phillippies. It is a 5
acre amusement/ theme park type environment. This park essentially a
representation in a miniature version of the diverse Philippine and its culture, all
in one place. This recreational/ leisure/ history-learning facility is divided into
numerous geographically-sectionalized display areas.
Nayong Pilipino directly translates to Philippine
Village, and that is essentially what the park is
about.Instead of Human replicas, Nayong Pilipino is
composed of imitations of both natural and man-
made wonders that can be seen in the Philippines.
These include small versions of RiceTerraces in
Banaue,
Figure 36: Mt. Tabon
Replica in Palawan, the National Hero
of Ifugao
Rice Terraces
Jose Rizal’s house and the Barasoian Church in
Source:
www.visitpilipinas.com
Malolos, Bulacan.
Aside from the infrastructures, there
are also native villages within the
SORIANO, E.J.M 65
Figure 37:Replica of Mt. Tabon

Nayong Pilipino namely the Kalinga, Ifugao and Aeta with natives who can
explain their way of life.
Moreover, the Nayong Pilipino
has daily cultural shows, the Teatro, the
Heroes Plaza, and around the Lagoon.
Nayong Pilipno also has two museums
that feature cultural artifacts.

Figure38:Replica of Rizal’s House
Source: www.visitpilipinas.com
Nayong Pilipino is a great place to explore the diverse culture of the
Philippines. Some regions of the Philippines area represented through the
replicas of their traditional house, landmark or structure. In this park, the visitors
can feel they’re exploring the culture of the country without travelling. There are
different stalls where local products and crafts of different regions are being sold.
The cultural shows that will be additional learning spaces for the visitors where
they can actually see their traditional dances, rituals and acts.
The replication of historical/ tourist landmarks came from different places
in the country provides the spirit of a place that Nayong Pilipino features. The
proponent inspired to adopt the replicas that promote sensory, emotion and
experiential approach that will help to stimulate the cultural diversity of the
Mindanawons. Manipulation of space by adopting the historical landmarks
original location, manipulation of materials by using different materials that
provide intricate design for replication and the manipulation of light and shadow
that creates a memorable and learning impact to the visitors.
FOREIGN CASE STUDIES

3.2.4 FOREIGN CASE STUDY 1
SORIANO, E.J.M 66
Purpose: The case study focused on the conceptualization and the spatial
programming of the King Abdulaziz Center that promotes the culture and history
of Saudi Arabia.
KING ABDULAZIZ
CENTER
Dharan,Dharan,
Saudi Arabia
Snohetta
Architectural Firm
Figure 39::King Abdulaziz Center

3.2.4.1 SUMMARY: Source: www.snohetta.com
The King Abdulaziz
center for World Culture is a bold initiative on the part of the Saudi Aramco Oil
Company to promote cultural development within the kingdom. The project
contains diverse cultural diversities, including auditorium, cinema, library,
exhibition hall, museum and archive that serve the local population and
becoming a cultural landmark on both a regional, national and global horizon.
FORM CONCEPT
The design focuses on the
geological nature of the area, using
an assortment of different sized rock
which symbolize diversity. These
rocks lean on one another to
Figure 40: Form Conceptualization illustrate solidarity, and show that

Source: www. snohetta.com
the various disciplines explored in
the building all depend on one another.
The design even extends to the layout of the content housed within, placing
inspiration from past in the rocks underground, the present at ground level and
the future soaring up into the sky.
SORIANO, E.J.M 67
SPACE CONFIGURATION
Library
The library in this center is not
the typical type, rather than just a
varied series of book shelves, the
library is an interactive experience,
with an emphasis on active learning.

Figure 41: Interior of the Library
The library consist of books, Source: www. snohetta.com
periodicals and reports in digital
archives, to encourage a new culture
of reading in the Kingdom.
Knowledge Tower
This tower consist of 18
floors of learning facilities that host
2000 workshops annually in STEM
subjects, as well as the arts,
Figure 42: Interior of the Knowledge Tower multimedia and skill building
program.
Children Museum
The first museum intended for the children aged twelve and under, this
aims to develop cognitive and personality skills during the formative years,
through exhibitions and entertaining, interactive activities.
Museum
It provides a panoramic view of
the best of Saudi and global cultures in
four galleries. Each focuses on a
specific topic, opening minds to new
ideas, forms of cultural expression, and

Figure 43: Interior of the Museum
Source: www. snohetta.com understanding. The discovery begins
with Contemporary Saudi art, followed by Saudi Identity and heritage, Islamic art
and legacy and the natural history of the Arabian Peninsula.
SORIANO, E.J.M 68
The Great Hall

The Great Hall is the window
to the world, housing international
touring exhibitions, festivals,
conferences and event. By offering
visitors chance to see what other

Figure 44: Interior of the Great Hall
societies have to offer, this space Source: www. snohetta.com
act as a bridge connecting cultures.
Multimedia Theater
A 3000 seat auditorium
offers lectures or film. Its primary
purpose I to screen original works
from the emerging Saudi Film
Figure 45: Interior of the Multimedia Theater

industry, as well as educational and
culturally insightful documentaries
from across the globe.
Performing Arts Theater

The 900 seat theatre will feature
live local and international productions.
The shows will reinforce Saudi social
and cultural values and provide
training to local talent in the fields of
cinematic, production, script writing Figure 46: Lobby of Performing Arts

and the supporting arts.
Archives Library
The Archives Library is the place for Kingdom’s heritage. The rare, vital
documents, record and elements of their history are managed, catalogue and
preserved.
Energy Exhibit
The Energy Exhibit provides a hands on, immersive experience of the
world of petroleum, its sciences, energy and technology.
SORIANO, E.J.M 69
The center is the world cultural center for its innovativeness when it comes
to materials used, the programs and the spaces. Each spaces that they planned
promotes their culture and learning for future generations.
The King Abdulaziz Center is a structure that is an innovation of
architecture and engineering. Its innovativeness of the materials where in it can
manipulate its spaces, and light and shadow attained by this project is substance
of the phenomenological approach.
The proponent will use as an inspiration are the spaces that the Cultural
Center provides.
 The Museum that focuses on a specific topic, opening minds to
new ideas, forms of cultural expression, and understanding. The
discovery begins with Contemporary Saudi art, followed by Saudi
Identity and heritage, Islamic art and legacy and the natural history
of the Arabian Peninsula.
 The Great Hall that is the window to the world, housing international
touring exhibitions, festivals, conferences and event. By offering
visitors chance to see what other societies have to offer.
 Promoting and teaching its legacy by providing a center that is very
well known product by its country like the Energy Exhibit. The
exhibit provides a hands on, immersive experience of the world of
petroleum, its sciences, energy and technology.
In addition,the proponent will use as an inspiration are the manipulation of
the spaces, materials and light and shadow that the center apply to the following
spaces: (1) its great hall; the interplay of the light and shadow in its ceiling, multi
meida theatre; the application of materials and the effect of the light, the lobby;
natural light that creates spaciousness and its being abstract to the form
conceptualization of the center.
SORIANO, E.J.M 70
Purpose: The case study is focused on the innovative material used in the façade
and the connectivity used in the interior spaces.
RAIF DINCKOK
YALOVA
CULTURAL
CENTER
Yalova, Turkey
Emre Arolat
Architects
Figure 47: Raif Yalova Cultural Center

Source: www. archdaily.com
3.2.5.1
SUMMARY:
The Raif Dinckok Yalova Cultural Center located in Yalova, a tourist town
on the Sea of Marmara, has adual nature:on the one hand it stands out for its
charming landscape, full of colors and vegetation; on the other it is an industrial
and manufacturing center.The main objective of the project was to relate
architecture, which has a cultural function, to the city and to the inhabitants of the
city, attempting to reconcile the conflicting aspects of the place and of the
landscape.
SPACE CONFIGURATION
SORIANO, E.J.M 71
The Cutural Center translates into an extremely flexible distribution of
internal spaces, because it is completely independent from the outer envelope:
the visitor experiences the feeling of being in a large open space, despite the
many activities that take place there, conferences, research and entertainment.
Figure 48: Ground Floor Plan Figure 49: Second Floor Plan
Source: www. archdaily.com Source: www. archdaily.com
EXTERIOR
Figure 50: Raif Yalova Cultural Center during night

The
façade is perforated provide the surface to dissolve at the night time like a tulle
curtain and the inner would to be perceived easily. The users enters the building
from its mouth. There is not a door or a barrier. The metal tulle now transform
into a protector it leaves the negative impacts of rain, sun and wind but it does
not transform into an interior space because of it semi- transparent nature. The
air ventilates freely in the area.
SORIANO, E.J.M 72
The façade is made of material
called Corten steel, which is constanly
enriched with new shades due to
oxidation and the formation of the
typical protective layer of a purple color,
caused by its exposure to air.
The building façade also
enriched with a spectacular feature, as
the design of metal mesh represents a
homage to traditional Arab architecture,
Figure 51: Skin of the Exterior

which is characterised by the
conspicuous presence of decorative
grilles.
The cultural center is sub divided into two layers the outer enveloped
which is made up of corten steel and the inner enveloped that is composed of the
spaces like conferences, exhibitions and many more. This contextual layers
symbolizes the distinction of the two existing faces of the site.
CONNECTIVITY
Figure 52: Sections

The spaces in the building are shaped specifically to their different
functions and necessary dimensions areas like 600 people capacity multi-
purpose room, 150 people capacity workshop room, nuptial and exhibit rooms,
library, office and cafeteria are related to each other from different elevations.
SORIANO, E.J.M 73
These spaces that are disconnected from the building façade and from each
other exit inside the building with their unique geometries. This surfaces
emphasize Yalova’s colorful and overgrown natural texture. It is aimed that the
joyful image that various plants generate will appear beneath the surface of the
façade as a second layer of exterior perception of the building just like it is on
digital publication close perception.
The ramps that connects these spaces to each other by creating a
sheltered inner street, try to enrich lives of the visitors. That open spaces that are
in between the ramps are mostly recreational activity functions and service
spaces. This spaces use lighting (natural or artificial) to give a vibrant color to the
visitor that lead to a social developmental of an individual.

Figure 53: Ramp 1 Figure 54: Ramp 2 Figure 55: Ramp 3
STRATEGIC SITE LOCATIONSource: www. archdaily.com
Source: www. archdaily.com Source: www. archdaily.com
One face of Yalova is its natural side. The endemic plants, areas where
these plants are grown, exhibited and evaluated commercially, and even most
developed arboretums of the near geography are facts that determine the current
existing state of the city.
The other face of Yalova is an industrial city. This is the existing area
without trees. It is not vibrant compared to the other side this is the place where
labor and sweat come out.The architects reconcile the two existing states that
are totally opposites to each other. And this creates the unique soul of the city.
The DMK Cultural Center proves the relationship of the built environment
which is the cultural center, the city and the people of the city is the primary
vessel of the design. In this sense, the center fulfilled to connect the opposite
layers of the city through culture.The center has many spaces like multi-purpose
room, workshop room, nuptial and exhibit rooms, library, office and cafeteria are
related to each other from different elevations. The exterior is very andapply the
abtract representation of the traditional Arab architecture.
SORIANO, E.J.M 74
The proponent will use as an inspiration are the following:
 The DMK Cultural Center building façade that is enriched with a
spectacular feature, as the design of metal mesh represents a homage to
traditional Arab architecture, which is characterised by the conspicuous
presence of decorative grilles
 The connection in that connects the spaces provides the ability of the light
and shadow to interplay,the ability in social interaction and location of
galleries in the center.
 The open spaces below the ramps can create a social interaction spaces
for the visitors.
Purpose: The case study is focused on the spaces of the weaving center .
GAGYEL LHUNDRUP
WEAVING CENTER
Thimpu, Bhutan
Figure 56: Gagyel Lhundrup Weaving Center

Source: www. google.com
3.2.6.1 SUMMARY:
Located on the south end of
Thimpu in Changzamtog, the Gagyel Lhundrup Weaing center provides Bhutan’s
finest fabrics.
THE CENTER
It is a simple building with neutral facade, and used the Bhutanese
architecture. Their most refined and complex traditional arts is the art of weaving.
SORIANO, E.J.M 75
Weaving from them also brings luck and Bhutanese take superstitions very
seriously, one can use to keep evil spirits by painting giant ejaculating phalluses
on the walls. It has two storey building were divided in retailing, workshops and
showcasing their products. The retail and showcase area is in the ground floor
while the workshop, where you can see the actual weaving and hand looming is
located in second floor.
The center preserve their richest traditional art by having a workshop and
retail at the same time.
The proponent will use as an inspiration are the spaces that the Weaving
Center provides. Design and Weaving center is one of the physical scope of the
proposed project.
Purpose: The case study focused on how the Museum used phenomenological
approach in creating a memorable impact to the society.
JEWISH MUSEUM
Berlin, Germany
Ar. Daniel Libeskind
Figure 57: Jewish Museum

Source: www.archdaily.com
3.2.7.1 SUMMARY:
The current Jewish Museum Berlin was opened in 2001 and is the largest
Jewish museum in Europe. It consist of three buildings, two of which are new
additions specifically built for the museum by architect Daniel Libeskind. German-
Jewish history is documented in the collections, the library and the archive, and
is reflected in the museum’s program of events.
SORIANO, E.J.M 76
THE CONCEPT
The building’s overall composition is the distorted Star of David, with a
straight “void “running through the length of the building. Heavy with symbolism
and metaphor, the building uses fragmentation, void and disorientation to reflect
the three aforementioned aspects of Jewish history.
EXTERIOR
The most obvious element of the building’s exterior is the fragmented Star
of David from which the plan is derived. This is combined with the contrast of the
straight line of the void, which can be seen from the above in the form of roof
elements. Libeskind states, “One is a straight line, but broken into many
fragments, the other is tortuous line, but continuing indefinitely.”
VOID
Figure 58: Jewish Museum Conceptual Plan

Source: www.archdaily.com
The theme of fragmentation can be seen in th overall “ tortuous” line of the
plan, but also in the window placement. Libeskind plotted the addresses of
Jewish citizens on a pre-war map of Berlin and used the matrices to determine
the form of the windows- a less obvious but no less powerful metaphor. The
theme can also be seen in the lack of right angles or symmetry in almost any part
of the building.
INTERIOR
The main metaphor of the interior of the
museum is the void metaphor. Libeskind states that
SORIANO, E.J.M 77
the straight line void cutting through the museum “is the space of Berlin, because
it refers to that which can never be exhibited when it comes to Jewish Berlin
history. Humanity reduced to ashes “( Libeskind 1999). The space is organized in
such an unavoidable way that “visitors must cross one of the 60 bridges that
open this void”
The other main metaphor of the building’s interior is the split entry route,
where visitors are faced with choices mirroring the choices of Jews during the
holocaust. “The descent leads to three underground axial routes, each of which
tells a different story. The first and longest, traces a path leading to the stair of
continuity, then up to and through the exhibition spaces of the museum,
emphasizing the continuous of history. The second leads out of the building and
into the Garden of Exile and Emigration, remembering those who were forced to
leave Berlin. The third leads to a dead end, the Holocaust Void.
GARDEN OF EXILE
First and foremost, the garden,
which visitors move through as they exit
the museum,” represents an attempt to
completely disorient the visitor. It

Figure 60: The Garden of Exile
represents a shipwreck of history” Source: www.archdaily.com
(Libeskind 1999). Libeskind achieves this
disorientation by tilting the floor. This is especially effective considering the
garden appears to be the only structure in the museum to be composed on a grid
systemof right angles.
The Jewish Museum utilizes symbolism and metaphor, including
fragmentation, void and disorientation, in order to create a more substantial
museum experience for the visitor. Rather than presenting information as
museum traditionally do. Jewish Museum use these effects to communicate the
aspects of Jewish history, especially the Holocaust, which cannot be expressed
in only words.
SORIANO, E.J.M 78
Libeskind’s design significant to its complexity, artistic beauty and
downright audacity. The form concept has aura of mystery and symbolism that
pervades the entire building. On its own, the Jewish Museum Berlin is a
manifestation of the repeated phrase “Let us not forget,” but it is also a part of the
greater experience of Berlin.
 The researcher inspired by the sculpture and work of art that has a deep
meaning that surely tangled in the memory of the visitors and will be
timeless masterpiece.
 The garden of exile that can incorporate to Steven Holl’s as water as
phenomenal lens.
 The manipulation of materials that provides sensory, emotional and
experiential experience to the visitors.
Purpose:The case study focused on Steven Holl’s application of
Phenomenological Architecture.
BLOCH GALLERY
OF ART
‘The Feather’
Kansas City, Missouri

Ar. Steven Holl
Figure 61: Bloch Gallery of art during night

Source: www.bnim.com
3.2.8.1 SUMMARY:
The Henry W. and Marion H. Bloch Gallery of Art, an expansion to the
Nelson-Atkins Museum of Arts, fuses architecture with landscape and features
SORIANO, E.J.M 79
five striking “ lenses” rising from the rolling terrain on the east side of the
Museum. The new addition contais galleries and public facilities including an
entry lobby, an art library, a café and a sculpture court devoted to the works of
Isamu Naguchi.
SORIANO, E.J.M 80
THE FIVE LENSES
23
4 5
Figure 62: Bloch Gallery of art spaces

 The first of the five lenses
forms a bright and
transparent lobby, with café,
art library and bookstore,
inviting the public into the
Museum and encouraging Figure 63: First lenses of Bloch Gallery

movement via ramps
towards the galleries as they
progress downward into the
garden.
 From the lobby a new cross
axis connect through to the
original
Figure 64: Landscape beside Bloch Gallery
Building’s grand spaces. Source: www.bnim.com
The second lenses is
where the events and activities room located and on its ground floor
is the contemporary arts area 1.
SORIANO, E.J.M 81
 From its third to fifth lenses is where located the contemporary arts
area 2 and spaces for featured exhibitions.
The design for each lenses has a sustainable building concepts; the
sculpture garden continues up and over the gallery roofs, creating sculpture
courts between the lenses, while also providing green roofs to achieve high
insulation and control storm water.
CONNECTIVITY
The galleries, organized in sequence to
support the progression of the collections, gradually
step down with the use of ramps and stairs down
into the Park, and are punctuate by views into the
landscape. The bloch building will provide
experience to the visitors the flow between light,

Figure 65: Ramps and Stairs art, architecture and landscape.
THE BUILDING AND SITE
According to Steven Holl, the idea of complimentary contrast, the stone
and the feather, drive the design for the addition to the classical stone temple
and surrounding landscape. The addition envisioned a new paradigm fusing
landscape and
architecture. In
contrast to the stone
building, the new
lightweight architecture
of glass lenses is
scattered about the

Figure 66: Actual site of the Gallery
Source: www. bnim.com landscape framing
sculpture gardens.
3.2.8.3 FINDING/ SYNTHESIS:
SORIANO, E.J.M 82
The Bloch Addition, often described as “the Feather”, is an exploration of
space through the effect of light. A unique juxtaposition to the static existing
Nelson Art Gallery building, the light-gathering lenses strung down the hillside
integrate a sensitive, experiential journey into the site’s fabric. Holl’s flowing
program circulation and structural design allows infused day lighting opportunity
throughout the galleries. The envelope of channel glass glows in the night and a
permits ambient light during the day and its language is extended throughout the
building.
Figure 67: Light and Shadow

Source: www. bnim.com
Figure 68: Natural Light

Source: www. bnim.com
SORIANO, E.J.M 83
The Bloch Gallery design by Steven Holls is the application of his
Phenomenal Zone; Color,Light and shadow, Spatiality of night, Water: a
phenomenal lens,sound, Detail and touch and Lived time.
 The movement between the light gathering lenses of the new addition
weaves the new building with the landscape in a fluid dynamism based on
a sensitive relationship to its context.
 Rather than an addition of a mass the new elements exist in
complementary contrast with the original classical temple. It is a dynamic
relationship between art, landscape, light and architecture that can be
adopted to the project.
 Phenomenological experience of space and material seem to be
highlighted with cooperation of light and shadow. Holl suggests, “the
perceptual spirit and metaphysical strength of architecture are driven by
the quality of light and shadow shaped by solids and voids, by opacities,
transparencies and translucencies.
 The design for each lenses has a sustainable building concepts; the
sculpture garden continues up and over the gallery roofs, creating
sculpture courts between the lenses, while also providing green roofs to
achieve high insulation and control storm water.
 The connection that connects the spaces provides the ability of the light
and shadow to interplay,the ability in social interaction and location of
galleries in the center.
 The open spaces below the ramps can create a social interaction spaces
for the visitors.
SORIANO, E.J.M 84
SORIANO, E.J.M 85

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Republic of the Philippines

Polytechnic University of the Philippines

ESPASYO: MINDANAO TRADE AND CULTURAL CENTER

In Partial fulfilment of the course requirements in

Bachelor of Science in Architecture

3.1 REVIEW OF RELATED LITERATURE

3.1.1 LITERATURE REVIEW 1

Purpose: The Literature review define the importance of the Cross-cultural

Communication to stimulate cultural diversity as one reason of the proposed

CROSS-CULTURAL COMMUNICATION IN CULTURAL DIVERSITY

As community builders, understanding culture is our business. No matter

Culture refers to a group or community which shares common experiences that

their loyalties and their worries and fears.

Why is understanding culture important if we are community builders?

The world is becoming increasingly diverse and include peoples of many

clear that in order to build communities that are successful at improving

conditions and resolving problems, we need to understand and appreciate many

and building a strong alliances with different cultural groups 14.

 In order to build communities that are powerful enough to attain significant

change we need large numbers of people working together.

community can benefit from.

 Understanding cultures will help us overcome and prevent racial and

 An appreciation of cultural diversity goes hand in hand with a just and

view of our society and our communities.

Establish relationships with other people culture through cross cultural

communication or exchange that can establish relationship with people as an act

against racism and other forms of discrimination, overcome internalized

oppression and building strong and diverse nation. 15

Cross-Cultural strengthen Intercultural Communication

Equality, diversity and inclusion are everyone’s business. According to

Bloomfield and Wood (2011), interculturality cannot be expected to occur by

accident alone- there need to be tools, agents, spaces and places of

is an underlying philosophy that cultural mixing is more desirable than

principles from different intercultural centers.

 Intergenerational nature of intercuturality - requiring focus with children in

and outside the school.

people by transferring skills, and putting cultural and social differences to

work creatively to produce new outcomes.

by getting to know and respect others.

Understanding Cross-cultural Communication and its connection with

interculturalism is a must in building a good relationship with others. Establishing

in diversity in the community.

3.1.2 LITERATURE REVIEW 2

WEAVING A STRONGER FABRIC OF MINDANAWONS IDENTITY THROUGH

as principal active- practitioners of the tradition. Each area corresponds to a

province with a community engaged in the production. It is entirely, the 26 textiles

areas are those of e 23 Ethno linguistics communities roughly representing ½ of

the major ethno-linguistic groups in the Philippines.12 out of 23 ethno linguistic

communities that practice textile weaving is came from Mindanao. South’s

in the region—Muslims, Christians and Lumads.

Cultural Factors that Influence and Ornamentation of Textiles

According to Norma Absing Respicio on her book From the Journey of a

non-Christian in terms of textile patterns. It is a world where mortals and spirits,

nature and ancestral, intermingle as dramatized in the rituals of appeasement

and propitiation, and in the belief of life after death.

religious character is implied in the sacred origin of

the ikat technique and in the motifs that adorns the

traditional and clothing forms.

using figures representing human, animals and plants

have an aura of sanctity and often involve a spiritual guardian. Beautifully

Buaya represents to scare the buso " buso referred to

all demons, spirits of diseases, evil supernatural

beings of whatever form.8