MUSEUMS

The museum's architectural design is capable of

creating a unique and inspiring environment that
provides its guests with a variety of experiences
based on its cultural message. It became the
primary source for artworks, inventions, and
human achievements.

The architectural design of museums has evolved

through various stages, beginning with the idea of
creating a space to preserve artwork and ending
with it becoming the primary cultural and
educational symbol for communities, making it
one of the most important building types. It
evolved over generations to become a special
building with unique architectural features.
Rawan Dakhil
20192017084
The Origin of Museum:
The name "Muse" refers to "The God of inspiration" or "The protector of Arts"
in ancient Greek civilization and mythology, while the word "Mouseion" refers
to "The seat of Muse" in ancient Greek civilization and mythology, which was
based on the belief in the existence of gods.
During the Roman era, the word Muse
was referring to “The places of meditation and philosophical discussions

The muses of Greek mythology

According to ICOM, the museum is “A non-profit, permanent institution in the
service of society and its development, open to the public, which acquires,
conserves, researches, communicates and exhibits the tangible and intangible
heritage of humanity and its environment for the purposes of education, study and
enjoyment” the service

Early museums began as private collections of art and rare or

unique natural objects and artworks collected by wealthy people,
families, or institutions. These were frequently displayed in
Museo Nacional del Prado-1785
"wonder rooms" or "cabinets of curiosities."
Some of the world's oldest public museums were established in
Italy during the Renaissance, although the majority were
established during the 18th century.

Vatican Museum - 1771

Typologies :

archaeological museums: They have items from archaeology on exhibit.

They may take the form of outdoor museums or indoor exhibits.
museum of art: Also referred to as art galleries. These are exhibition
areas for artefacts, usually visual artefacts like metals, paintings,
sculptures, photographs, drawings, and illustrations.
military and historical museums: Military history is the speciality of
museums, which are typically structured around the perspective of a single
country and the wars in which it has participated. They gather and display
artefacts, battle technology, decorations, weaponry, and uniforms.

Open-air museums: Characteristic for exhibiting outdoors.

Exhibitions consist of buildings that recreate architecture from the
past. It first opened in Scandinavia near the end of the 19th century
The Twist
Museum
The twisted museum
Designed by: the BIG architects
located in: Norway

crosses the twisting Randselva River and

opens as an inhabited bridge with a torque
applied to its center, creating a new path and
artwork within the Kistefos Sculpture Park in
Jevnaker, Norway. The largest sculpture park
in northern Europe is connected to two
woodland riverbanks through the
infrastructure of Kistefos's new 1,000-square-
meter modern art institution.
A simple twist in the volume of the building allows the bridge to
rise from the bottom. Both sides of the structure serve as the
primary entry, forming a continuous trail in the environment. The
museum's double-curved geometry is made up of straight wide
aluminum panels organized like a stack of books. Visitors can
walk through the twisted gallery from either direction, as if they
were walking through a camera shutter.
The MAAT Museum
Designed by: AL_A

MAAT is an outward-looking museum located

on the Tagus River's banks in Belém, the
district from where the famous Portuguese
explorers set forth. The kunsthalle is a powerful
yet sensitive and low-slung building that
investigates the convergence of modern art,
architecture, and technology, proposing a new
interaction with the river and the world as a
whole.

The roof is transformed into an outdoor room, a

physical and mental reconnection of the river to
the heart of the city, where guests can turn away
from the river and admire the cityscape, or watch
a film with Lisbon as a backdrop at night.

Three-dimensional crackle glazed tiles connect

the façade and make a complex surface with
variable readings of water, light, and shadow,
drawing on Portugal's rich history of craft and
ceramics.
 The design of the paths that connect the outside to
the inside of the museum always keeps the visitors
flowing in-between spaces

The overhanging roof that gives welcome shade is used to

reflect sunlight off the water and into the building.
The museum offers the visitors to experience and sense
the river nearby through an amphitheater that was blended
with the landscape shadowed under the building structure
or the open-air rooftop for a wider view
Audain Art Museum
The Audain Art Museum's shape and character are
purposefully constrained in order to give a serene, basic
backdrop to the art within and the surrounding natural setting.
The exterior's basic form is covered in a dark metal envelope
that recedes into the shadows of the surrounding woodland.
The black metal is topped by an enticing light wood casing
where this envelope is opened, to enable access to the entry
porch or a glimpse from the glazed walkway to the galleries.
This warm bright materiality is continued in public places
visible from the exterior.

Simply and immediately, our design answers

to these drivers by projecting a volume of
consecutive public spaces and galleries into an
existing linear vacuum within the surrounding
forest. It is a full story above ground and
capped with a sharply slanted roof that houses
administrative and back-of-house support
services.
 From Blackcomb Way, a bridge rises through the forest to a sky-lit
museum entry porch. Visitors can then either descend to the forest
floor and centre meadow to continue their journey across the park,or
enter the museum lobby and event space. Once inside, visitors stroll
along a glazed walkway overlooking the meadow below to obtain
access to the galleries housing the permanent collection first,
followed by galleries housing temporary displays.

The exterior's basic form is covered in a dark metal envelope

that recedes into the shadows of the surrounding woodland.
The black metal is topped by a brilliant wood casing where
this envelope is opened, to enable access in the entry porch
or a view from the glazed walkway to the galleries. This
warm bright materiality is continued in public places visible
from the exterior. The gallery interiors, whether permanent
and temporary, are closed white volumes with minimal
detail.