The division of spaces on the basics of zone: ZONE 2 iii.

LIBRARY:
1. PUBLIC/ NO COLLECTION Standard space requirement overall:
i. EXIBITION HALLS 0.35 to 0.55 sq m per pupil.
i. Parking In general, layout of a exhibition room is divided
ii. Open area and Landscape into
iii. Entrance and Lobby the following types:
iv. Ticket Counters -The tandem type aims at connecting all exhibition
v. Washroom rooms; its visiting circulation is specific but less
flexible.
vi. Food Service
-As for radial type, all the exhibition room are
vii. Shop arranged
2. PUBLIC/ COLLECTION around the atrium.
i. Exhibition Hall -the hall type aims at centralizing most exhibition
ii. Galleries spaces into a comprehensive hall.
iii. Library
iv. Auditorium
3. PRIVATE/ NO COLLECTION
v. Toilets
•Should have non slip flooring
i. Kitchen
•Waterproof walls
ii. Offices
•Should be barrier free
iii. Conference
iv. General Storage CONE OF VISION iv. AUDITORIUM
•For a standing viewer, this means
v. Security Room 1. Size- An area of at least 0.5 Sq.M is
that pictures should be hung 3ft required per spectator.
vi. Service Room ( HVAC) above or 1 ft eye level.
4. PRIVATE/ COLLECTION 2. Maximum 16 no. of seats per aisle
•It is necessary to allow 3-5 m sq
is provided
i. Loading hanging surface per picture,6-10 3. Good view is 30-60 degrees
ii. Collection Storage msq ground surface per sculpture. 4. Best perception angle is 110
vi. Café and Food Service : degrees.
Zone 1
i. PARKING To be able to eat comfortably , one person
requires .A table area of around 60 cm
wide by 40 cm deep. This provides
sufficient clearance between adjacent
diners.

ii. GALLERY ARRANGEMENT

vii. Shops
1. Height of shelf- 0.3M- 1.8M
ZONE 3 HVACs LIFTS
ZONING
i. KITCHEN The 400 kg ( small lift ) for passengers with hand bags.
630 kg for prams and wheelchairs
DIFFERENT LAYOUTS

ZONE 4
ii. OFFICE FIRE PROTECTION i. LOADING
Max. turning radius for a loading truck is 12M

iii. CONFERENCE

CORRIODO
S
Established :1979 Canadian Centre for Architecture
Location : Montreal, Quebec, Canada Montréal, Quebec
Coordinates :45°29′27.6″N 73°34′42.8″W
Type :Architecture museum
The Canadian Centre for Architecture (CCA) represents an
important act of faith in the reconstruction of a severely damaged
portion of Montreal, and the introduction not only of the Center
but also of a significant landscape. The CCA is a museum and
research center dedicated to the study of architecture and the built
environment. Encompassing over 160,000 sq ft, the Center includes
exhibition galleries, a theater, bookstore, library and research
center, curatorial and conservation facilities, and controlled archival
storage for books, photographs, models, and works on paper. A
café and administrative offices are located in the newly restored
Shaughnessy House, the 19th century mansion which existed on
the site.

Bounded on three sides by highway ramps and inhabited at its

center by the vandalized shell of the abandoned Shaughnessy
house, the site once stood as a clear example of the city’s losing
battle against the various effects of the automobile and urban
blight. The surrounding residential quarter of grey stone
neoclassical buildings had, for decades, suffered from dissolution
and decay. The construction of the CCA building and gardens, as
well as subsequent residential development in the district, now
stands as proof that architecture not only has the ability to
conserve, consolidate, and heal fragmented and disused urban
landscapes, but can also act as a catalyst and inspiration for future
growth.
Architects :Rafael Moneo
Project :Year 1986
Arches have long been used to mark the greatest achievements of Roman
civilization. Constantine, Titus, and Septimus Severus built them to
commemorate their military victories. Engineers at Segovia and Nîmes
incorporated them into their revolutionary aqueducts. And fifteen hundred
years after the Fall of Rome, Rafael Moneo gave a modern touch to the
ancient structure in Mérida's breathtaking National Museum of Roman Art,
located on the site of the former Iberian outpost of Emerita Augusta. Soaring
arcades of simple, semi-circular arches merge historicity and contemporary
design, creating a striking yet sensitive point of entry to the remains of one of
the Roman Empire's greatest cities.
Moneo's commission for the museum came in 1979 as part of the Spanish
government’s celebration of the bimillennial anniversary of the founding of
Emerita Augusta. Replacing an 1838 museum on the same site, it was built in
the middle of one of the largest and best preserved Roman cities in Western
Europe, immediately next to an amphitheater and one of the most
spectacular surviving ancient theaters in the world – the Roman Theater of
Mérida.
NATIONAL MUSEUM OF ROMAN The cavernous above-ground exhibition spaces appeal to
history in another way still, appropriating the enduring
power of architectural ruin. The iconic image of dereliction
—a field of freestanding columns that have long outlived
the roof they once supported—is hauntingly evoked in the
main galleries. Massive structural arches that seem capable
of supporting a weighty roof are capped instead by a light,
glassy covering, creating an interior condition that feels
entirely exposed to the outside world, as if time has slowly
worn through the protective covering of architecture. As a
result, the space is burdened by none of the oppressive
weightiness of a traditional roof and the immersive
experience within the archeological site feels all the more
authentic
Thin, elongated brickwork, distinctly non-Roman in its
shape and perfect uniformity, gives the museum its
trademark appearance. Walls, columns, and arches are
made of the same material, but the appearance is far
from monotonous; patchworks of gold and red hues
paint the walls in pixelated clusters of color, lit afire by
the dramatic overhead lighting. For Moneo, whose body
of work displays remarkable stylistic variation, it is
perhaps this careful and deliberate control of daylight
that makes this building characteristically his. As Robert
Campbell wrote in a Pritzker retrospective of the
architect, “the handling of the interior daylight is
masterful, here an ever-changing golden wash. The light
contrasts with the ghostly paleness, therefore the
pastness, of the antiquities on display.”
In an era in which museum commissions too often represent
opportunities for architects to pursue personal agendas with
little sensitivity to the objects they are intended to display,
Moneo’s museum in Mérida is refreshingly self-aware of its
purpose as an exhibition space for the city's ancient past. The
architecture, independently spectacular though it is, serves
not to shamelessly promote itself, but to dramatize the
achievements of Roman culture without overshadowing them.
It is a masterful negotiation of the ancient and the modern,
the inventive and the referential, and a successful rethinking of
the museum typology through thoughtful contextualization.
Architects : INNOCAD
Location : Graz, Austria
Category : Refurbishment
Team : Patrick Handler, Martin Lesjak, Jörg
Kindermann, Dominik Gladik, Sigrid Prinz,
Amila Smajlovic
Area : 832.0 m2
Project Year : 2017
Photographs : Paul Ott
Manufacturers : Erco, Led Linear, Luce&Light,
Sika , Berger GMBH, Volas, Zieta
Prozessdesign, ELDAX Fieldsolution GmbH,
molitor, OZ Lighting, Audio-Technica, liyama
The new trilogy of permanent exhibitions showcases the Styrian
cultural heritage at the History Museum, located on the second
floor of the Palais Herberstein, a significant historic building in
the city center. The “Schaudepot”, conceived as an exhibition
depot, consisting of two parts, the Cultural History Collection and
the Multimedia Collection, represents together with the
exhibition “100 x Styria” a  milestone in the transformation of the
History Museum Graz.
HISTORY MUSEUM GRAZ
The exhibition “100 x Styria”, which is located in the outstanding
The second part displays multimedia archives enabling
historic mirror hall, articulates spatial intervention in both
deep insights into the dispersed depot character
functional and artistic ways. Relating to the concept of a “laid table
through tailored scenography which leads the visitor to
of history”, the furniture-like installations made of glass or mirror
embark on a journey through the genesis of the
are implemented with the aim to remind and reflect the historic
Multimedia Collection.
use of these chambers. The space, furniture, objects, and visitors
easily merge into one another and simultaneously maintain one
exhibition medium. By becoming a part of the exhibition through
the boundaries blurring, the spatial experience raises questions
like: “What is forthcoming? What remains?”

Finally, formerly hidden treasures of both collections are

made accessible to the public in a raw and industrial
surrounding, enabled by the fluent transition throughout
of an infinite metal wall loop that allows a balance of
historic content and contemporary exhibition design.

The first section of “Schaudepot” honors the diversity of physical

objects that reflects use of industrial material with less
customization while providing an interaction with the historic
artifacts. While the exhibition setting is multifunctional and freely
adaptable, it also retains a consistent interior lining which creates
an atmosphere that displays objects of various shapes and sizes
allowing visitors to experience the historical space from an
unexpected perspective.