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Chapter 1

THE PROBLEM AND ITS SETTING

Introduction
Humans have a great history of preserving ancient artifacts. A
museum was established for the first time around 1638. It was the University
of Oxford's Ashmolean Museum, which held a natural history of wonders.
Eventually, it was made public. Although the term "museum" is used
ambiguously in the 1753 legislation founding the British Museum, the idea of
a museum designed to conserve and display a collection to the public was
well established in the 18th century (Lewis, 2021).
Museums are essential in maintaining cultural identity. A culture can
be preserved and remembered in perpetuity through diligent documentation
and artifact preservation—additionally, individuals from many cultural
backgrounds (Brown, 2016).
Museums have never had a more extraordinary reputation. Every
country that desires to be on the map recognizes that it must construct one.
No overseas trip is complete without visiting one of the attractions
recommended in the itinerary. Capturing daily life within a culture is
essential to its preservation. With the rate at which cultures are vanishing,
the only hope for a cultural group is the meticulous preservation of daily life.
Daily life involves rituals, religion, cuisine, art, and any other characteristics
that contribute to the uniqueness of culture. Whichever type of museum it is,
chances are it will exhibit cultural artifacts, art, music, or technology
(Brown, 2016).
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A museum is not in the conventional sense, but an educational

institution. The museum encompasses all aspects of education. Eilean
Hooper Green Hill defines a museum as an educational institution that may
provide an educational experience across a broad range of factors and
concerning a wide range of institutions and organizations. The definition of
museum education is that museums create an environment conducive to
learning in which visitors can play a role. A learning circumstance is a setting
or environment containing all of the essential components for learning to
occur. The term "learning experience" refers to the mental or bodily reaction
or actions that occur as a result of seeing, hearing, or performing the content
to be learned, and as a result of which one acquires meaning and knowledge
of the information to be learned (Green Hill, 1988).
Several conventional history courses and literature are biased,
omitting thousands of minority cultures having rich histories to tell.
Museums present new histories, timelines, and views, perhaps changing the
thoughts of those who have never been educated outside the modern culture.
This conflicting perspective is necessary for any well-informed individual.
When perspectives are formed purely on the basis of one's own culture, they
become exceedingly limited. Museums bring people together, creating a
network of support for ethnic and religious minorities and organizations.
These kinds of support networks are vital in preventing the extinction of
cultures and languages (Brown, 2016).
Historically, architectural information has been difficult to convey, in
part because of the difficulties inherent in expressing multi-sensorial and
site-specific space. If an individual has not visited a particular structure or
site, they must rely on alternative media representations such as drawings,
models, and pictures. The museum can bring these representations together
in a single space through exhibitions and programs to reveal patterns and
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distinctions between styles and their global and local interpretations, to

contrast "good" and "bad" architecture, and to trace the evolution of spaces
as they are conceived, constructed, and used (Ground, 2016).
A discussion over how museums should incorporate architecture into
their activities recently erupted in response to the announcement in April
2016 by the Museum of Modern Art (MoMA) that it would temporarily close
its dedicated architecture and design galleries to accommodate ongoing
building renovations. This announcement provoked outrage among
members of the design community.
Architecture and Design would have to compete for exhibition space in
the Museum's galleries with other curatorial departments, compromising
public access to architectural and Design materials. Inclusion in more
expansive, diverse presentations may provide a richer context and a larger
audience. The architecture of the museum, its external appearance, the
internal layout of its galleries, as well as exhibit Design and display, all
contributes to how the museum and its contents are perceived (Macdonald,
2010).
Museums are composed of several blocks of space that must be
maintained separate to ensure the museum's security and efficiency.
Although museum spatial design as a medium for experience and perception
making is rarely evaluated in variety of possible study, a few researchers have
emphasized various features of museum space from a wide array of
disciplines. Researchers, philosophers, and theorists who study museum
authenticity, museum space as a stage for social enactments, art museum
design and installations, and visitor experiences. These features all reflect on
concerns addressed here, and the accompanying emergence summarizes how
museum space has been explored during the last couple of years (Simonsson,
2014).
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The link between exhibit design and content is a prominent element in

this study, and it is also the focus of the short article "Moving People, Moving
Experiences: Novel Strategies in Museum Practice" (2000). This article
focuses on museum architecture for modern and contemporary art. Nick
Stanley, head of research at the Birmingham Institute of Art and Design,
successfully draws attention to the much-discussed role of architecture and
spatial design in contemporary art institutions. This drew attention to a
growing issue in art museums: the potential conflict between artistic spatial
design and exhibitions, in which architecture "interferes" with the experience
of the art on exhibit (Stanley, 2000).

"Reality as Illusion: Historic Houses that Become Museums," which

delves into the definition of museums as "house museums," which are
buildings of significant cultural or historical value that have been renovated
to retain a sense of realism. The experience of authenticity at these types of
museums is questioned, as is the apparent continuity in time that they imply.
these features of museum space as a medium of authenticity and reflection of
history in the future (De Gorgas, 2004).

Although the issue of museums authenticity and experience was

discussed but from a different angle than Stanley and de Gorgas. the primary
focus is on contemporary museums and their relationship to elements, as
well as the movement in museums' identity and function away from entity
towards story-centeredness. The subject of authenticity in museums might
be defined as authentic experiences, with all it entails, or as authentic
experiences, which incorporate both de Gorgas' and Hein's opinions on these
disciplines (Hein, 2000).
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Museums and communities are tied by conflicting histories, politics,

economics, and values. In recent years, the nature of these connections has
evolved significantly, with knowledge about historic artefacts being returned
to source communities and community people engaging with museums to
preserve their perspectives on the objects' continued relevance. Museums
have begun to recognize the importance of source communities as an
audience for exhibitions and to assess how museum representations are
perceived and changed by source community members (Peers and Brown,
2003).

 A novel approach to history in which museums and community people

interact to develop a trusting connection. Museums are no longer the sole
upholders of authority when it comes to preserving and interpreting
artifacts; they recognize a moral and ethical (and occasionally political)
obligation to engage source communities in decisions. As museums have
long been associated with assisting in the formation of an individual's sense
of place and identity. This is believed to have an effect on local economies,
growth, and regeneration, especially in light of significant cultural ventures
(British Council, 2014).

From the standpoint of museums, "authenticity" has been recognized as

a vital component of independent museums' success in place-based
development programs. these are reliant upon "authentic heritage assets
with a strong sense of purpose and contribution to the regional economy, as
well as an unwavering commitment to historical accuracy... assisting in the
restoration of local pride and identity." (Ferris, 2010).

Over time, the museum has shifted. Adapting to a changing

environment where time-honored practices are becoming obsolete and
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unproductive. To survive and prosper, museums must adapt to their

audiences' requirements while remaining true to their missions. Apart from
their traditional purpose of preserving cultural and artistic legacy and
guiding the public, art museums are increasingly becoming forums for
discussion and debate concerning today's most sensitive and divisive
problems in modern societies as they serve as a public platform for the
dissemination of diverse perspectives through its exhibitions and
programming. Museum collections must reflect this new role, and the art
that museums collect must reflect artistic answers to pressing social and
political challenges of their cultures and times. (Tan, 2020).

The development in the contemporary art market creates difficulties for

institutions with limited resources in competing with collectors. The art
market's dominance has also resulted in museums following the market's
lead in terms of collections and exhibitions, rather than the other way
around. Museums nowadays play significant roles in giving humans with
perspective, whether through intellectual activities or simply presenting past
errors as evidence of where such conduct may lead humans again. It acquires
the capability to transform and reflect society, which is why museums are
needed now more than ever. If museums serve society and its growth, they
accomplish their goal continuously and holistically, benefiting their
audiences and communities and generating long-term value for both their
stakeholders and future generations. Equity in the treatment of different
generations over time is a critical issue for a sustainable approach (Throsby,
2002).

Concerning the point, if developing issues in contemporary society are

addressed, greater attention should be paid to social changes occurring in
Europe and throughout the world, which have implications for cultural
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heritage management (Black, 2005: American Associations of Museums,

2010: European Foresight Platform, 2012).

Museums' social responsibility and accountability to their communities

have become critical concerns. Consider museums.  as social cohesion factors
and active facilitators of societal transformation as a result of their
contribution to the understanding of history and cultural diversity (Janes
and Conaty, 2005).

Just as today's societies are incredibly diverse and complex, museums

are no longer the monolithic institutions of the past. Instead, many are
focusing their efforts more narrowly, telling particular stories with larger
meanings. Often, these stories reflect issues and people that have been
marginalized by mainstream society – First Nations, immigrants, and
chronic illness. This approach can also lead to an activism that embraces
community issues and inspirations, in an effort to provide value and
meaning (Janes and Conaty, 2005: 3).

The European Commission, which takes a similar stance, concedes that:

Museums are increasingly community-oriented, led by people and stories,
for instance proposing heritage-based narratives that weave the personal
stories of community members into the interpretation of larger historical
events. They place audiences on a par with collections, at the heart of their
activities, do not shy away from exploring sensitive and difficult issues, and
address contemporary topics that speak to more diverse audiences
(European Commission, 2014b: 5-6).

By initiating a virtuous cycle, a museum that successfully creates cultural

value for its visitors generates economic value for itself, attracting additional
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resources to ensure the long-term conservation of its tangible and intangible

cultural heritage – both directly through ticket revenue and indirectly
through public and private funding. By consistently improving its
performance, the museum may innovate its offerings, attracting new
audiences and generating advantages for the local community, such as
increased economic and professional prospects and a greater standard of
living (Montella, 2009: Cerquetti, 2014).

As the emergence of the modern age. Technology has proven itself as a

vital part of current society. It's nearly impossible to envision a world
without digital access, the Internet, or computing tools from where society
stand today, yet some continue to believe that technology has no place in
museums (Charr, 2020). This is probably reasonable in some instances,
where the museum space serves as a getaway from the urge of modern life; a
place to reconnect with human behaviors and experiences.

Numerous art critics have expressed concern that the most striking
museum designs of the last decade have overshadowed or interfered with the
work contained behind (Architecture vs. Art: The Aesthetics of Art Museum
Design).

Example of this is the Daniel Libeskind's kaleidoscopic expansion of the

Denver Art Museum, which opened in the fall of 2006. However, such
absurd architectural ideas have prompted concerns that museum
architecture frequently becomes the true work of art, overshadowing what is
contained within. There is little question that the majority of visitors to
Bilbao's Guggenheim Museum (1997) are there primarily to admire Frank
Gehry's glittering titanium sculpture. For nearly a decade, museum
professionals have spoken of the "Bilbao effect," referring to the marketing
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potential created when a famous architect crafts an eye-catching design for a

museum and its city. The fundamental difficulty highlighted by
contemporary art museum designs is how to manage the conflict between
architects' desire to make an artistic statement and art lovers' demand for a
facility that best showcases the art. Clearly, one would like to have both.
However, several reviewers have expressed concern that art frequently takes
a back seat to architecture. 

An assessment of San Francisco's new De Young Museum (2005) began

with the following lines: "Architects appear to have developed into the
museum world's big evil wolf. Too frequently, flare and sublime triumph over
reflection... and architecture over art."  Hal Foster goes even further in
Design and Crime, stating that iconic museum designs can inflate the art
museum into a "monstrous spectacle-space capable of swallowing any work
of art, let alone any audience." 

In the right hands, technology can be an effective conversation starter

and marketing tool. At times, an attention-grabbing gimmick – a term not
held in high respect, but nonetheless effective – is necessary to attract
visitors to explore the depths of a museum's offerings (Charr, 2020).

On the contrary, the Philippines is recognized for its significant cultural

heritage preservation, which disseminates the legacy of the Filipino people to
future generations. a top museum official said, the launching of additional
museums in the country is expected to encourage both foreign and domestic
tourists to visit additional sites across the country.

The National Museum in the Philippines, is one example of this. it was

erected in 1940 and created in the late 1930s in the neoclassical style by
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Filipino architect Antonio Toledo and shares the same dimensions and floor
layout as its twin building on the circle's northern side, the Finance Building.
Both structures were destroyed during World War II's Battle of Manila. It
was updated with the help of Dominic Galicia Architects and Tina Periquet,
an interior designer. Galicia's design retained the building's facade save for
the inclusion of a glass dome supported by a DNA-inspired double helix
framework. The dome and supporting structure have been called the "Tree of
Life" and will encircle the six-story building's courtyard (National Museum
of History, Manila).

The Mind Museum, which opened in 2012 in Manila, Philippines, is a

scientific museum. It is situated in Bonifacio Global City, the city's
commercial center. It has five major galleries that cover two levels and total
4,900 square meters of display space. Each has a distinct subject, which may
include the atom, life, the earth, the cosmos, and technology. They are
connected via "Nature's Web ways." When it opened, the museum garnered
widespread praise and was awarded the THEA Award for Outstanding
Achievement in the Science Museum category.

Ed Calma of Lor Calma & Partners designed the museum. The

building's design was inspired by the structure and development of cells and
included a solar reflecting façade, natural wind ventilation, and rainwater
flow drainage (Sotheby's, 2018).

In the province of Zambales, more precisely in the city of Olongapo,

since it is well-known for the rich history left by the ancestors, the city
became highly urbanized throughout time. With this, the reopening of malls
and other establishments became normal, as well as the disintegration of the
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only museum in Olongapo which opened to the public in 2003 containing

the dioramas, artifacts, and paintings about the history of the city.

With today's occurrence, learning about the past is not a difficult

notion, in fact it gives insights about living history from times gone by that
aids in self-understanding. This research aims to stimulate people's interest
in looking back, educating and providing a sense of interconnectivity
between histories and human life.

Research Locale

The study was conducted in Olongapo City, Zambales. Olongapo City

is the provincial capital of Zambales and the most densely populated city in
the region. As of 2010, the city has a total population of 221,178 people. As an
urbanized metropolis, the area communicates a variety of dialects, including
Tagalog, Pampango, Ilocano, and Zambal. Others speak in Waray, Visaya,
Cebuano, Pangasinan, Bicolano, and Ilonggo dialects, among others. Various
ethnic groups are represented in the city.

Since Olongapo City's land area is mountainous, urban development

might be expensive. The overall built-up area is approximately 2,600
hectares, or 14.05 percent of the total land area of 18,500 hectares. The city
is delimited to the north by Subic, Zambales, to the east by Bataan province,
to the south by the Subic Bay Freeport Zone, and to the west by Subic Bay. It
covers an area of 185 square kilometers in total (Philippines Cities, n.a.)
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Figure 1. Map Showing the Location of the Research Locale

Conceptual Framework
The Descriptive research describes and interprets the existing
condition to come up with the design solutions needed. The
conceptualization of the design is incorporated in the architectural theories
and principles. The three factors specified under are the actions done by the
researcher.
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Figure 2. Paradigm of the Conceptual Framework

Statement of the Problem

With the shifting realm of museums over time, it shows some methods
are becoming outdated and ineffective, causing a decrease in individuals'
interests. The availability of in-depth information and media has created a
generation of museum visitors that crave sophisticated new experiences and
ideas. These leaves the study into seeking the answers of the following
questions.

 What architectural style is appropriate for the project?

 What are the new features in the project?

 How does the circulation affect the building's orientation and

location?
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Assumption

Scope and Delimitation

The study is focusing on its concept of space planning considering the
landscape that will balance the aesthetic design, features that will highlight
the design using new trends technology and conforming the design and site
planning parameters that will not exceed the national provisions, the
standard codes and legal laws of the area.

Significance of the Study

The study is intended to further the knowledge of the following.

Students. The study will help and elaborate ideas that can be
analyzed by the students of architecture. Study will also provide additional
information to those who are planning to study any related topic with the
said project.

Other Individuals. The study will benefit everyone to involve and

engage themselves in what museums can offer. Making them out of their
comfort zone and instead explore and discover histories.
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Definition of Terms
The following terms are defined for the better understanding of the research.

Artifacts. A human-made object, typically one of cultural or

historical relevance
Contemporary. Existing at the same period or during the current

time period.

Conventional. Most people use and accept.

Collections. Acquired and conserved due to their prospective worth

as examples, reference material, or aesthetic or educational objects

Exhibits. A public display item, such as an artwork in a gallery or a

historical document displayed behind glass at a museum

Facade. The front of a structure, especially the main front facing a

roadway or open space

Heritage. The customs, accomplishments, beliefs, and so on that are

part of a group's or nation's history

Modern Age. Relating to, or appropriate for, the present or a recent

time

Museum. A structure in which a great number of fascinating and

valuable objects, such as pieces of art or historical artifacts, are stored,

examined, and shown to the public.

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Chapter 2

RESEARCH METHODOLOGY

The researcher used qualitative method for the study. Qualitative

method focuses on a humanistic or idealistic approach to study. This was
used to understand people's thoughts, feelings, and interactions.

Research Method

In this study, data were gathered using the descriptive method. The
descriptive method for gathering data and design information that will serve
as a reference for data and design analysis. This method precisely
summarizes and arranges data and other gathered information.

The method chosen is suitable for the study since it accurately describes the
study's current state. This method summarizes the study and analyzes the
data acquired in order to generate viable solutions. Additionally, descriptive
research is a technique that organizes data into patterns that might aid the
researcher in the analysis process.

Instrument/s

The data is gathered using observation, it is where researchers

observe individuals' continuous behavior in an unstructured environment.
This establishes the scope of the study and analyzes the data acquired in
order to arrive with good conclusions.
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Ethical Consideration

The researcher's primary concern was ethical behavior in the field.

The following are considered in conducting the study.

- No respondents were interviewed to collect data for the study.

- The researchers learned the skills and expertise necessary for the
study at hand and an understanding of their specific research limits.
Any gaps in the research domain's knowledge must be identified
explicitly.

- Anonymity and confidentiality, as well as the right to privacy

protected by Republic Act 10173 – Data Privacy Act of 2012 – are
upheld.

Data Gathering Procedure

The researcher began by conducting reference searches in online

resources relevant to the topic that will assist the researcher in locating more
reliable data for the study, and proceeded to the library to obtain additional
information that was not available in the internet resources. A variety of
books and publications such as national standards and time saver books
serve as the major sources of design standards, ensuring that the design
complies with regulations and serves purely for the benefit of individuals and
society. Thesis books that provide an opportunity for the researcher to
expand on the previous researcher's research. Last is, the researcher
conducted observation. This procedure will assist the researcher in making
notes regarding the site's characteristics and conditions.
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Treatment of Data
Research is a process of systematic inquiry that entails collection of
data. Research is a process of systematic inquiry that entails collection of
data.
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Cerquetti, M. (2016). More is better! Current issues and challenges for museum

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Challenges Facing Museums – VernerJohnson. (n.d.). Challenges facing museums.

Charr, M. (n.d.). How technology is bringing museums back to life. Museum Next.

Fischer, H. (2005). Roles Of Museums. Http://Poieinkaiprattein.Org/.

Golding, V. J. W. (2018). Museums and Communities (1st ed.). Cambridge Scholars

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Ground, B. G. (2016, August 17). Architecture’s place in the museum. Archinect.

Jacobson, L., & BAILLIE, G. (2011, January 1). Museums and heritage: scope,

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Kadoyama, M. (2018). Museums Involving Communities: Authentic Connections

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Lewis, G. D. (2021, March 11). Museum structure and operations Building design

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Macdonald, S. (2010). A Companion to Museum Studies (1st ed.). Wiley-Blackwell.

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Magera, A. M. (2013, May). Museums as Artifacts: How Architecture and History

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Museum. (n.d.). New World Encyclopedia.

Museum - Art museums. (n.d.). Encyclopedia Britannica.

The Museum of Modern Art history. (n.d.). MoMA.

Shiner, L. (n.d.). Architecture vs. Art: The Aesthetics of Art Museum Design.

Contemporary Aesthetics.

Talavera, C. (2018, June 28). Museums to attract more tourists to Philippines.

Philstar Global.

Tallant, S. (n.d.). Reimagining museums for the future. Unesco.

TOLEDO, F. (2006, November). The role of architecture in preventive

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