Museum Design Guidelines Architecture Pdf Download 
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Certain facilities used for transient lodging, including time shares, dormitories, and town homes may be covered by both these requirements and the Fair Housing Amendments Act. The Fair Housing Amendments Act requires that certain residential structures having four or more multi-family dwelling units, regardless of whether they are privately owned or federally assisted, include certain features of accessible and adaptable design according to guidelines established by the U.S. Department of Housing and Urban Development (HUD). This law and the appropriate regulations should be consulted before proceeding with the design and construction of residential housing.
Section 233 outlines the requirements for residential facilities subject to the Americans with Disabilities Act of 1990. The facilities covered by Section 233, as well as other facilities not covered by this section, may still be subject to other Federal laws such as the Fair Housing Act and Section 504 of the Rehabilitation Act of 1973, as amended. For example, the Fair Housing Act requires that certain residential structures having four or more multi-family dwelling units, regardless of whether they are privately owned or federally assisted, include certain features of accessible and adaptable design according to guidelines established by the U.S. Department of Housing and Urban Development (HUD). These laws and the appropriate regulations should be consulted before proceeding with the design and construction of residential facilities.
The height and position of a platform must be coordinated with the floor of the vehicles it serves to minimize the vertical and horizontal gaps, in accordance with the ADA Accessibility Guidelines for Transportation Vehicles (36 CFR Part 1192). The vehicle guidelines, divided by bus, van, light rail, rapid rail, commuter rail, intercity rail, are available at www.access-board.gov. The preferred alignment is a high platform, level with the vehicle floor. In some cases, the vehicle guidelines permit use of a low platform in conjunction with a lift or ramp. Most such low platforms must have a minimum height of eight inches above the top of the rail. Some vehicles are designed to be boarded from a street or the sidewalk along the street and the exception permits such boarding areas to be less than eight inches high.
BOOK REVIEWS many excluded. Selftends to favor projects with iconic intentions and ambitious, transformational urbanistic aspirations. The museums considered are the Modern Art Museum of Fort Worth (Fort Worth, Texas; Tadao Ando & Associates); the Contemporary Art Center (Cincinnati, Ohio; Zaha Hadid, Architects); the Kunsthaus Graz (Graz, Austria; Spacelab Cook/ Fournier); the Nasher Sculpture Center (Dallas, Texas; Renzo Piano Building Workshop); the Museum of Modern Art expansion (New York, New York; Yoshio Taniguchi and Associates); the Walker Art Center expansion (Minneapolis, Minnesota; Herzog & de Muron); the Museo Nacional Centro de Arte Reina Sofia expansion (Madrid, Spain; Ateliers Jean Nouvel); the de Young Museum (San Francisco, California; Herzog & de Muron); the Toledo Museum ofArt Glass Pavilion (Toledo, Ohio; Kazuyo Sejima + Ryue Nishizawa/SANAA); the Denver Art Museum (Denver, Colorado; Studio Daniel Liebeskind); the Institute of Contemporary Art/Boston (Boston, Massachusetts; Diller, Scofidio +Renfro); the NelsonAtkins Museum of Art Bloch Building (Kansas City, Missouri; Steven Holl Architects); the Akron Art Museum (Akron, Ohio; Coop Himmelb(l)au); the New Museum (New York, New York; Kazuyo Sejima + Ryue Nishizawa/SANAA); the Acropolis Museum (Athens, Greece; Bernard Tschumi Architects); the Museum Brandhorst (Munich, Germany; Sauerbruch Hutton); and the Museo Nazionale delle Arri dell XXI Secolo (Rome, Italy; Zaha Hadid Architects). This list of case studies includes virtually all the major players in contemporary art museum design, though Renzo Piano, the leading art museum architect of the period, is represented only by the Nasher Sculpture Center which, though incorporating his trademark glass roof and natural lighting, is not the most representative of his work because of the institution's sole focus on sculpture. Important projects conspicuous in their absence are the DIA: Beacon Riggio Galleries (Beacon, New York; the ARRIS 70 § Volume 25 § 2014 installation artist Robert Irwin, in association with OpenOffice); the Musee de Quai Branly (Paris, France; Jean Nouvel); and the Smithsonian American Art Museum/National Portrait Gallery expansion (Washington, DC; Foster+ Partners). This said, these exclusions are largely explained by Self's interest in what he terms "the Bilbao effect" or "the Sydney effect": the quest of clients and architects to use these buildings to create destinations that will also become transformative symbols of their cities. Further, the other pole of contemporary art museum design (that of the understated, spiritual envelope for collections) has been virtually monopolized over the past thirty years by the practice of the Renzo Piano Building Workshop. Self's critiques are always judicious, taking into account the realities of process and clients' desires rather than long discussions of aesthetic preferences, though he clearly articulates the relative success and failure of the buildings analyzed. The journalistic origins of the case studies are apparent, however, in their uniform length; some of the more complex projects, such as the MoMA or Reina Sofia expansions, would have benefited from longer exposition and exploration than some ofthe simpler projects. Perhaps a little more time could also have been spent on the museological implications of radical architecture (Self acknowledges that many of the projects present challenges to curators; should they? The preference of many ofthe great collections for "white cube" galleries and warehouse-type exhibition spaces endures for a reason), but The Architecture ofArt Museums presents a terrific summation of the building type over the first decade ofthe twenty-first century and is the definitive reference work on the subject. It belongs on the shelf of any architect engaged in museum design. ERICMICHAEL WOLF The Menil Collection Houston, Texas A Field Guide to American Houses Th Definitiv Guid to Identif ing and Und r tand.ng Am nca Dome tic Architec ure Virginia Savage McAlester Virginia Savage McAlester. A Field Guide to American Houses: The Definitive Guide to Identifying and UnderstandingAmerica's Domestic Architecture. New York: Alfred A Knopf, 2013, 848 pp., black-and-white illustrations, hardcover, ISBN 978-1-4000-4359-0. This book is the long-awaited second edition of the nationally recognized standard for identifying American domestic architectural styles. The first edition, published in 1984 and in print since its release, is in the library of every preservation architect, State Historic Preservation Office, historic preservation specialist, and educator and serves the professional and advocate with an illustrated and comprehensive architectural vocabulary and a national...
While architectural practice has traditionally been dominated by the eye/sight, a growing number of architects and designers have, in recent decades, started to consider the role played by the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and, on rare occasions, even taste. It is, then, clearly important that we move beyond the merely visual (not to mention modular) focus in architecture that has been identified in the writings of Juhani Pallasmaa and others, to consider the contribution that is made by each of the other senses (e.g., Eberhard, 2007; Malnar & Vodvarka, 2004). Reviewing this literature constitutes the subject matter of the next section. However, beyond that, it is also crucial to consider the ways in which the senses interact too. As will be stressed later, to date there has been relatively little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research in recent decades (e.g., Calvert, Spence, & Stein, 2004; Stein, 2012).
At the same time, however, this review also highlights how the contemporary focus on synaesthetic design in architecture (see Pérez-Gómez, 2016) needs to be reframed in terms of the crossmodal correspondences (see Spence, 2011, for a review), at least if the most is to be made of multisensory interactions and synergies that affect us all. Later, I want to highlight how accounts of multisensory interactions in architecture in terms of synaesthesia tend to confuse matters, rather than to clarify them. Accounting for our growing understanding of crossmodal interactions (specifically the emerging field of crossmodal correspondences research) and multisensory integration will help to explain how it is that our senses conjointly contribute to delivering our multisensory (and not just visual) experience of space. One other important issue that will be discussed later is the role played by our awareness of the multisensory atmosphere of the indoor environments in which we spend so much of our time.
Before moving on, though, it is worth noting that in this study, as in many of the other studies reported in this section, there is a possibility that the design of the experiments themselves may have resulted in the participants concerned paying rather more attention to the atmospheric/environmental cues (and possibly also their congruency) than is normally likely to be the case when, as was mentioned earlier, the architecture itself fades into the background. Ecological validity may, in other words, have been compromised to a certain degree.
These standards apply to facilities designed, constructed, altered, or leased with Federal funds under the Architectural Barriers Act (ABA) except postal facilities, housing, and military facilities. The General Services Administration (GSA) adopted these standards according to updated guidelines issued by the Board. The standards became effective May 8, 2006 (February 6, 2007 for leased facilities) and replace the Uniform Federal Accessibility Standards (UFAS). 2b1af7f3a8