Research Dissertation on

The Psychology of Space in Museums: How

Architectural Design Influences Visitor Behavior

by
A Mohamed Rafee
20218001| Semester IX
B.Arch. | IIT (BHU) Varanasi

A dissertation report submitted for course AR 559 evaluation

Under the guidance of

Dr. Rabi Narayan Mohanty

Submitted on
06 November 2024

Department of Architecture, Planning and Design

Indian Institute of Technology – (Banaras Hindu University)
Contents

Introduction..............................................................................................................3

Research Gap........................................................................................................... 4

Aim............................................................................................................................ 5

Objectives................................................................................................................. 5

Methodology.............................................................................................................6

Scope......................................................................................................................... 7

Limitations................................................................................................................7

Literature Study.......................................................................................................8

Case Study................................................................................................................ 9

References...............................................................................................................10

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Introduction

A museum is “A 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" - ICOM (International Council of Museums). Museums not only showcase human
expressions via art and sculptures, but they also tend to show moments of humanity's struggles,
achievements, and major events that shape the modern society in which we live. Museums can
be classified into Archaeology, anthropology, and ethnographic museums; art museums and
galleries; difficult history, dark tourism and migration museums; historical house museums;
history and cultural museums; natural history, agricultural museums; aquariums, zoos; science
and technology museums, etc.

Why are museums important?

Museums can increase our sense of well-being, help us feel proud of where we have come from,
inspire, challenge and stimulate us, and make us feel healthier. With society facing issues such as
poverty, inequality, intolerance and discrimination, museums can help us understand, debate, and
challenge these concerns. They can also enhance everyone’s life chances by breaking down
barriers to access and inclusion. Museums are doing this through active public participation,
engaging with diverse communities, and sharing collections and knowledge in ways that are
transforming lives. Moreover, museums are devised to store, preserve and conduct research on
areas of specific interest and exhibit them to the general population.

Who are the users?

Museums are open to the general public and can be visited by anyone, though the type of users
can be generally classified as casual, cursory, Study visors. Casual visitors are people who move
through a gallery quickly and who do not become heavily involved in what they see. Cursory
visitors show instead a more genuine interest in the museum experience and collections. Study
visitors are a minority of visitors who thoroughly examine exhibitions with much more detail and
attention. They are learners who will spend an abundance of time in galleries, reading the text
and labels and closely examining the objects.

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Research Gap

Museums have consistently been recognized as essential places for education and cultural
engagement, but the way their architectural design affects the psychology of visitors hasn't been
fully explored yet. Most existing research tends to focus on practical issues, like how exhibits are
arranged, how lighting helps with artefact preservation, and how to manage the flow of visitors
through the space (Bitgood, 2011). While these aspects are necessary, they often lack
understanding of the user's emotions as they move through the space.

Research on large-scale spaces usually focuses on commercial aspects and user flow rather than
the psychological effect on visitors. It's essential to understand how architectural design impacts
the satisfaction, learning, and engagement of users and can significantly improve their
experience.

"Graveyards for stuff, tombs for inanimate things" ~ (Durston, CNN, 2012)

The above statement shows people's views of museums and brings attention to the need to
rethink how museum spaces connect emotionally with visitors. His critique reflects how many
people see museums as static and distant, which highlights why the emotional journey of visitors
should be considered more carefully in design. Unfortunately, this emotional aspect has not been
a significant focus in architectural studies that deal with museums.

Additionally, while there's been more focus on how digital technology can improve the museum
experience, the role of physical architecture in influencing emotional and psychological
responses remains largely unexplored (Weil, 2002). Modern museum designs go beyond simply
educating visitors and look to create immersive and meaningful experiences by using AR/VR
technologies. However, there's still room to improve the spatial design to meet these goals.

This research aims to address this gap by understanding the effect of psychology on user-looking
psychology users, looking at all the spatial components to make museum spaces more engaging
and emotionally impactful, and providing valuable insights for museum designers.

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Aim
The aim of this research is to investigate how architectural design elements affect the
psychological experience and behaviour of visitors in museums, and to provide design
recommendations that enhance user experience.

Objectives
1. To understand the impact of spatial design on users and spur visitor behaviour and
engagement with museum exhibits.
2. To develop actionable design recommendations based on psychological insights to enhance
the emotional impact of museum spaces in accordance with the nature of exhibits.

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Methodology
The methodology begins with the identification of the dissertation topic and a literature review to
build a foundational understanding. From this, the research scope, limitations, and aim are
defined, leading to two primary objectives. Key architectural parameters are analysed through
selected case studies, and a comparative analysis is conducted to draw inferences. These findings
inform the conclusions and provide design recommendations to enhance the psychological
experience of museum visitors.

Figure - 1 : Methodology flow

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Scope
This research focuses on various architectural aspects that impact the psychological experience
of museum visitors. The scope includes:

Spatial design
Studying the influence of spatial configuration on visitor's emotions and behaviour with exhibits.
This includes the setup of exhibits, pathways, visitor traffic flow, and space dimensions.

Colour and Texture

Exploring how colour schemes and textures in the museum environment influence visitor mood,
perception, and interaction with exhibits.

Limitations
The research acknowledges several limitations, which the study does not take into account.

Maintenance
The maintenance of the museum environment can impact how visitors experience architectural
elements. Regular maintenance issues or changes in the state of exhibits and facilities may affect
the consistency of the research findings.

Economy or Finance
Budget constraints can limit the implementation of ideal design recommendations. Financial
considerations may affect the extent to which recommended architectural revisions can be
implemented in the design.

Storage and preservation

The research does not focus on the logistics and study of the artefacts and the exhibits.

Lighting
Lighting is acknowledged as a critical factor in shaping the user experience. However this study
doesn't focus on the aspects of lighting.

Acoustics
This study does not explore the technical dimensions of sound design. Elements such as noise
control, reverberation management, or the impact of materials on sound quality are beyond the
scope of this research.

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Literature Study
The literature study is conducted in accordance with design guidelines in India and to understand
how architectural design in museums influences visitor psychology and behaviour. The literature
study is further divided into sub parts as follows:

1. Functional areas in museums

2. Common layouts
3. Fire safety
4. Psychological influence of spatial design
5. Colour and texture in exhibit design
6. Emotional and cognitive responses to museums

1. Functional Areas in Museums

Public Area
Public areas include galleries, auditoriums, libraries, and counters, focusing on visitor
engagement and accessibility. Auditoriums should be versatile for lectures and cultural events,
while libraries need well-lit reading and study areas. Additional elements like ample staircases,
non-slip flooring, and high ceilings enhance navigation and exhibit presentation.

Private Area
The service area, crucial to museum operations, typically requires 40% of the museum’s total
space. It includes preservation labs, administrative offices, workshops, and storage. Essential
infrastructure like power, water, and ventilation ensures efficient workflow. Access points should
be minimal for security, with a dedicated entrance for service access. Additionally, utility areas
(e.g., electrical, air conditioning) should be near storage for efficient movement of goods without
impacting public spaces

General Planning
There is nothing an ideal plan for museum building which will serve any type of museum. Every
collection will have its own conditions, requirements, purpose and problems.

Reference : National Museum Architecture in India. ISSN: 2321-788X.

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2. Common layouts and visitor flow

Figure 2 : Typical functional scheme Figure 3 : Typical layouts

The functional layout of the museum shows Display Concept Layout

how the museum is segregated into 3 major
Oriented on display items Open
blocks as exhibition, administration and
restoration with each zone serving to Systematic Main & side
showcase, manage and store the assets
Thematic Linear, round
respectively. Also it is understood that
almost half of the museum space falls under Complex Labyrinth, complex
the private zone (administration and
restoration) for obvious reasons. Table 1 : Usage - Layout table

Figure 3 and table 1 is to be correlated to

design the layout on the nature of display of
artefacts or items.

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3. Fire safety in museums
Site planning
The selected site for the museum must have a reliable water supply for firefighting and be easily
accessible from the nearest fire station. Consultation with local fire authorities is recommended.

Protection against fire

Museums should be positioned to prevent fire from spreading from adjacent buildings. Adequate
space should be provided for a natural fire break. If sufficient space cannot be achieved, exterior
walls facing nearby structures must be constructed with fire-resistant materials rated for 4 hours,
per IS 1642, and must not have doors or windows. Essential openings should use wired glazing
and be protected with fire check doors and water drenching systems, if feasible. Roofs and
window frames must also be non-combustible.

Air conditioning and false ceiling

Air conditioning systems must use non-combustible materials for ducting and insulation,
conforming to IS 1642. If false ceilings are installed, they should preferably be made of wood
wool board with at least 1 hour of fire resistance. Automatic systems must be in place to shut
down air handling units in case of fire

Compartmentation
Large display halls can facilitate visitor gathering but may also allow rapid fire spread due to
combustible exhibits. Therefore, proper compartmentation is necessary. This should include
fire-resistive walls rated for 4 hours to control fire spread.

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4. Psychological influence of spatial design
The psychological influences of a space can be categorised into 3 types such as architectural,
ambient and extra exhibit

Architectural
The mood created by the style of the building, the effects of doors and windows, etc. Some of
these effects include:
1. When other forces are not operating, visitors spend more time viewing right-hand walls
of exhibit galleries than left-hand walls.
2. Exit attraction: an open door is an invitation to leave the gallery; visitors tend to leave by
the first exit they encounter.
3. Exit gradient: visitors often follow the straightest line between the entrance and a visible
open door.

Ambient distractions
Ambient distractions include the sights and sounds from other exhibit units and other areas of the
facility. Ambient factors may also include temperature and other causes of physical sensation.
Examples of research findings suggest:
1. Exhibits on opposite sides of a visitor walkway compete for attention with one another.
2. Distracting sounds often pull visitors away from an exhibit to which they have been
attending.
3. Movement in one exhibit will often divert attention from surrounding exhibit units
4. Visitors spend less time viewing outdoor exhibits under aversive weather conditions such
as extreme cold, extreme heat, and rain/snow.

Extra-exhibit
Media include museum guides and general orientation information. These media might include
an audio tour of the museum or a hand-carried museum guide. Such media are extra-exhibit if
they are not associated with a specific exhibit. Unfortunately, only a handful of studies have been
conducted on hand-carried communication media

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5. Colour and texture in exhibit design
● Color schemes and textures significantly impact mood and perception. Warm colors and
textured materials are associated with comfort and engagement, often used to create a
welcoming atmosphere that encourages exploration.
● Reference: Pile, J. F. (1997). Color in Interior Design. Prentice Hall.

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6. Emotional and Cognitive Responses to Museums
- Emotional engagement is heightened when museums use immersive and interactive
exhibits, making experiences more memorable and meaningful. This aligns with findings
on cognitive psychology in museum design.
● Reference: Falk, J. H., & Dierking, L. D. (2018). Learning from Museums: Visitor
Experiences and the Making of Meaning.

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Case Study
In order to understand the essence of museum architecture and to be in line with o the objectives
of this dissertation, 2 case studies have been chosen for their uniqueness in terms of spatial
aspect. The case studies are as follows.

1. Smriti Van Earthquake Memorial Museum

2. Fondazione Luigi Rovati

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Smriti Van Earthquake Memorial Museum - Bhuj, India

Figure 2 : Aerial view

The Smriti Van Earthquake Museum integrates contemporary architecture with a deep respect for
those impacted by the 2001 Gujarat earthquake. The design features interactive exhibits,
immersive experiences, and memorial spaces that foster reflection and education about natural
disasters. Its architectural approach combines minimalist interiors, natural light, and sustainable
materials, creating an environment that is both contemplative and engaging.

Overview
Architects: Vastu Shilpa Consultants
Location: Bhuj, Gujarat, India
Completed: 2022
Site Area: Approx. 470 acres (19,02,560 Sq.M)
Built-Up Area: 11,500 Sq.M
Floors: G + 2
Theme: Memorial and Educational Space on Natural Disasters

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Architectural Diagrams

Figure 3 : Master Plan

This master plan of the Smriti Van Earthquake Memorial Museum emphasises a thoughtful
layout that integrates natural terrain with memorial spaces. The design encourages introspective
visitor movement through winding paths and open spaces, creating a reflective journey symbolic
of resilience and memory. Each area serves a distinct purpose, from educational exhibits on
seismic activity to serene reflection zones, while guiding visitors through a carefully
choreographed experience that fosters both learning and emotional connection to the events
commemorated.

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 Figure 4 : landscaping

The landscaping approach uses native plants and natural materials, harmonising with Bhuj’s
rugged landscape. This setup not only minimises environmental disruption but also symbolises
resilience and renewal. The landscaping acts as a natural extension of the memorial's theme,
blending sustainability with aesthetics to create a peaceful environment conducive to
remembrance. The gallery roofs provide additional exhibition and performance space.

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 Figure 5 : Thematic zoning of the Museum

The thematic essence of each block was represented through a traditional craft from Kutch
grounding the exhibition design to a local context with a national/international outlook. Each of
the blocks are aligned to the contour and specifically levelled to match the contour of the site.

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Interiors

Figure 4, 5 : Timeline exhibit, freezeframe exhibit respectively

The Timeline Exhibit offers a chronological visual journey of the events surrounding the 2001
Gujarat earthquake, providing visitors with a comprehensive understanding of the disaster’s
impact. The Freezeframe Exhibit captures key moments, encouraging viewers to pause and
reflect. Together, these exhibits deepen visitor engagement, allowing a personal connection to
history through an immersive, narrative approach.

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 Figure 6, 7 : Makeshift theatre, Geographic exhibit respectively

The makeshift theatre is built using a retired motor bus and it presents documentary screenings
that focus on the disaster and survivor stories, immersing visitors within the limited space and
with all the windows blocked out it enhances viewer’s psychology. The Geographic Exhibit
provides detailed visualisations of seismic data, regional geology, and tectonic plate movements.
This combination of interactive technology and storytelling aids in educating visitors on the
science behind earthquakes, making complex topics accessible and emotionally impactful.

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 Figure 8, 9 : Falling skies interior, Corridor

The Falling Skies Interior, designed with open, expansive ceilings, makes sure the user feels the
sensation of vulnerability felt during seismic events where one can’t find a place to run or hide.
The corridor in figure 9 leads shows the museum walls were clad in stone sourced locally.

Figure 10, 11 : Simulation exhibit, Remembrance exhibit respectively

The Simulation Exhibit allows visitors to experience a controlled tremor, giving them a firsthand
feel of seismic forces in a safe environment. This experiential element fosters a deeper
understanding of the physical realities of earthquakes. Meanwhile, the Remembrance Exhibit
uses subdued lighting and personal artefacts to create a solemn environment dedicated to those
who lost their lives, promoting a collective sense of empathy and reverence.

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 Figure 12 : Rubble exhibit

The Rubble Exhibit presents remnants from the earthquake, symbolising both destruction and
resilience. Arranged artfully, these pieces remind visitors of the quake’s impact on communities
and infrastructure.

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Inferences

Dedicated Reflection Zones - Spaces like the Falling Skies Interior and Remembrance Exhibit
create moments of empathy and introspection, enhancing the museum’s impact by highlighting
themes of vulnerability and loss.

Interactive Learning - Exhibits like the Timeline and Simulation actively engage visitors,
making complex topics like seismic science more relatable and memorable, aligning with
psychological goals for immersive, hands-on learning​.

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Fondazione Luigi Rovati - Milan, Italy

Figure 2 : Front elevation

The Fondazione Luigi Rovati Museum combines modern architecture with a reverence for
historical and archaeological themes, emphasising the preservation and exhibition of Etruscan
artefacts. The design focuses on creating a harmonious blend between the new underground
spaces. The architectural approach involves modern, minimalistic interiors, warm lighting, and
earthy tones to enhance the viewing experience.

Overview
Architects: Mario Cucinella Architects (MCA)
Location: Milan, Italy
Completed: 2022
Site area: 1800 Sq.M
Built up area: 2800 Sq.M
Floors: 2 UG + G + 3
Theme: Art and Cultural Heritage Preservation, merging contemporary and ancient aesthetics

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Architectural Diagrams

Figure 3 : Exploded view

This exploded view highlights the museum's internal layout, revealing the underground floors
dedicated to exhibit spaces. Designed to provide a flow that feels immersive and reflective, these
spaces employ strategic lighting and earthy tones to emphasise the historical significance of the
displayed artefacts.

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 Figure 4, 5, 6 : Ground floor plan, First floor plan, Underground plan

The rear elevation showcases architectural style blending into its surroundings to respect Milan’s
historical landscape. The underground sections visible in the cross-section reveal 2 floors with
the 1st underground floor used for exhibits and the 2nd floor used for services (HVAC) and some
space allocated for storage.

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 Figure 4, 5, 6 : Rear elevation, Rear underground section,
Enlarged rear underground section respectively

The rear elevation showcases architectural style blending into its surroundings to respect Milan’s
historical landscape. The underground sections visible in the cross-section reveal 2 floors with
the 1st underground floor used for exhibits and the 2nd floor used for services (HVAC) and some
space allocated for storage.

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 Figure 7 : Isometric view of underground 1

The isometric view of the first underground level showcases the spatial organisation intended to
immerse visitors in the Etruscan-themed exhibit. The layout is designed with an intuitive flow
that leads guests through various exhibit zones, creating a journey-like experience that mirrors
archaeological discovery. Thoughtful lighting and material choices enhance the ambiance, using
subdued tones and textures that echo the earthy, ancient aesthetics of Etruscan artefacts. This
design prioritises both visitor engagement and preservation, allowing guests to experience the
artefacts up close within a controlled, atmospheric setting.

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 Figure 7 : Isometric view of underground 1

The isometric view of the first underground level showcases the spatial organisation intended to
immerse visitors in the Etruscan-themed exhibit. The layout is designed with an intuitive flow
that leads guests through various exhibit zones, creating a journey-like experience that mirrors
archaeological discovery. Thoughtful lighting and material choices enhance the ambiance, using
subdued tones and textures that echo the earthy, ancient aesthetics of Etruscan artefacts. This
design prioritises both visitor engagement and preservation, allowing guests to experience the
artefacts up close within a controlled, atmospheric setting.

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Interiors

Figure 8, 9 : Entrance from the inside, lift lobby respectively

The entrance and lift lobby interiors emphasise a warm, welcoming atmosphere achieved
through wood finishes and ambient lighting. This setting prepares visitors for a contemplative
experience, aligning with the museum’s goal of fostering cultural reverence and appreciation.

Figure 10, 11 : Views of underground floor

Views of the underground floor show a subdued yet sophisticated environment. The layout
facilitates close engagement with exhibits, encouraging visitors to explore details and make
personal connections with the art in a quiet, introspective atmosphere.

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 Figure 12, 13, 14 : Views of first floor corridor, first floor exhibit room
and section of first floor respectively

The corridor and exhibit room on the first floor feature ample space and lighting, giving visitors
freedom of movement and time to absorb information without congestion. The neutral colour
palette in these spaces allows artefacts to stand out, enhancing the exhibit's narrative impact.

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 Figure 15, 16 : Views of second floor exhibit room

The second-floor exhibit room views reveal an open layout, bathed in natural light during the
day, which enriches the visitor experience. This design allows a sense of tranquillity and
connection to the artefacts, underscoring the museum’s mission of preserving and showcasing
cultural heritage.

Figure 17, 18 : Views of meeting hall and storage space in ground floor

The meeting hall allies with ample natural light, accommodates events ranging from lectures to
community gatherings. Adjacent to it, the storage space provides climate-controlled conditions
with modular shelving, ensuring safe preservation and easy access to artefacts for display and
management.

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Inferences

Material Palette - Natural materials such as stone, warm wood, and metal finishes were used,
inspired by ancient architecture.

Spatial Arrangement - Underground exhibition spaces were designed to create an immersive

environment that connects with the artefacts’ ancient origins.

Lighting Design - Emphasises both natural and artificial lighting to highlight the exhibits,
enhancing visitor experience while preserving the artefacts.

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References
Introduction

1. Audit of Museum Marketing Communication in the Modern Management Context. (2020,

April). MDPI Open access journals, 08(03), 39. https://doi.org/10.3390/ijfs8030039
2. COMPARISON BETWEEN VIRTUAL MUSEUMS. (2014). SCRIES IT, 04(01), 58.
https://periodicals.osu.eu/ictejournal/dokumenty/2014-01/ictejournal-2014-1-article-2.pdf
3. Museums Association. (2021). The impact of museums. Museums Association. Retrieved
September 8, 2024, from
https://www.museumsassociation.org/campaigns/museums-change-lives/the-impact-of-mus
eums/

Research Gap

4. Bitgod, S. (1993). The Anatomy of An Exhibit. Research Gate.

https://www.researchgate.net/publication/252512608_The_Anatomy_of_An_Exhibit
5. Durston, J. (2013, August 22). Opinion: Why I hate museums. CNN. Retrieved September 9,
2024, from https://edition.cnn.com/travel/article/opinion-why-i-hate-museums/index.html
6. Weil, S. E. (2002). Making museums matter. Smithsonian Institution Press. ISBN
978-1560989784.

Methodology

7. Figure - 1 : Author

Literature Study

Case Study

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