The problem was our coverage
here at Georgia Tech.

And I want to begin by saying
that we have here to thank for

the symposium as an event may
venture attended with smiling.

I'm Additionally my conception was
that I would invite speakers to come

individually to speak to my class and it
was John who said why don't we make it but

I have an event but I have an occasion.

So I thank you very much for

about the opportunity to invite
people from outside the class.

John architect and professor of
architecture here at Georgia Tech.

Although he operates not only within
the school of architecture but

across the college and has done for
many years along with his academic

career he has practiced architecture in
green since one thousand nine hundred two.

And tried to balance those two
aspects of his life his work.

And she's published extensively
on the principles and

constraints that battering
the generation of built.

That architecture and urban scale and
particular of a social cultural and

cognitive functions are of
particular special configurations so

to both He's going to talk about
museums as spatial marriage and

introduce us to some of the language
used by space syntax analysis to

evaluate higher architecture actually
works for the people who use it.

So thank you for
trying to turn on the lights for you.

This is in my size.

Thank you very much.

Lord I really appreciate
how you only been here for

half a year or slightly more and
I imagine that you were was been here but

didn't really like the way that you've
engaged or the like of the and.

So to make connections that we have
failed to make over over maybe

the last twenty years.

I make so many great for
listening to John Phelan's presentation.

I'm reminded how intensely

and intellectually demanding
architecture is in practice.

It was an extraordinary
inspiring presentation and

I'm very grateful that this.

Symposium today has given the opportunity
for good to those who are then present.

Sometimes we have people talk
about the good things less.

Much more of them to talk about the step
that goes into making buildings.

Asked Arcelor said she she
was far more generous than.

Then the truth is I keep
my hands in practice most

as a consultant working with and that is
critical as in my record kid no with whom

we've been friends since we had these
at the battle it's quite a bit there.

Sure about three centuries ago and
it just so

happens that we've actually done
a museum the one you see here the bend.

I came out than in Athens.

And this is the publication a good
thing because I've been let in generate

two thousand and six.

It's a very simple plan in
fact around the courtyard and

it was a conversion of
another that's are building.

Because the building of any value but
because of the.

And the more layers the building
that would never get permission to

build that much volume and
square footage on that site.

So it was a.

It was disguised as a conversion.

With some addition at the top and

over the years I've been kind of
keeping track of the moods inside and

six mission designers insert
their different exhibitions.

But I'm not going to talk about
practice today because I think

that letter I had in mind is that I would
talk a little bit about the search.

So what the want to do is give a sort of
overview of some ideas that have been

sort of something to work with
over the last twenty years and and

give you a few case studies that sort of
have me develop my thoughts about museums

and there so that some of the methodology
is that we're developing more technically

in the two thousand and I's museum space
and therefore provide some background for

because a man is present ation that
comes right after mine but some of this.

I just read applied to a study of
the High Museum of I think it's

never do with museums is a paper that I
have found inspiring once I discovered

that the press published
in one thing fifty five or.

Up the British are like a picture of
you because then the Very Young Man.

Actually.

Turns out.

Mercy Mission thirty one of the few
that's recognized that the discussion

about buildings as as that as a catalyst
for sexual abuse an institutional ideas.

Mr Ressa So she had a discussion
about buildings firms with

knowledge with work with Mission for.

In the sixty's and seventy's and.

And that's because people
have as the notion that.

I do this and I actually mean
things I do not abstract only.

But I do this and that.

Being more powerful and
when they get in bed.

That is it in a situational
practices which was about for

clear was very interested then or
very significantly in architecture.

Marcus was actually doing this very much
earlier about fifteen years earlier.

So young man then went on to become
a specialist in Building Performance

modeling energy and what have you and
then took a little time and

to produce another book in the special
logic of buildings when he was limited

to Professor I forget now in one
thousand eight hundred forty or

so the buildings and
I read that many of your might have seen.

So this was the background of my
interest in museums I was a young man of

the time I was I'm so
impressed by I feel for

Quentin ideas and you know to be able to
make that i conversation a part of his

I made sure I read the mission for
course because I could get my hands on.

One thousand nine hundred two.

My first publication ever

bad transformations that were going on
in the Natural History Museum in London.

And this stuff from the next person Museum
in London as I was a few minutes was

addicted and building this I bet the same
designers did the courthouses in London.

It was finished an eight hundred
eighty one and in one thousand and

fifty one was celebrating its And
then you know.

But since the mid seventy's it had
been the site of experimentation us

people standing there for sizing
the pedagogical relevant museums and

the idea that museums are really
about informal education.

Which has been growing ever since.

So we have distance vision from
the museum as preservation and

display to the museum was preserved.

Mentioned this place and
in fact I was teaching and.

So this is the building in
Kensington south of High Park

and this was the original plan and
it were actually

to some extent driven by Fermilab years
of a time of business symmetry and.

The notion of.

Galleries of the back and
said Look gutters in the front but

the fact of the building was
centrally a particular thing.

A program I think background and
the curator there's essentially

requesting that the building be literally
taking the form of an encyclopedia.

And so
the the magic words that there would be

a center in space which works like a table
of contents and then the classification.

Displays which literally mirror scientific
knowledge of the time went by so

that it's not quite like that at the time
of course it was the going to build going

to pollution theory and more classical
approaches to the study of nature but

only when there was
an end to the reunion and

very much a bad taxonomy as or
essentially mutable species.

So we're still going for
a slightly fashion model and syrup

suburban did use to take another
time you could still see this in

the published catalogues the technicians
of classification the painstaking and

enjoyment of displays according
to their visible and named

critical attributes and the classification
onto the plan in the most literal sense.

Telegraph the gallery and

to some extent you're might say that then
the museum building of that sort but

it's like I'm up in the strict
sense that when I look at the map.

I see the illusions of things and
I'm able to perceive parts and

whole sims they mean.

And what happened in the middle of
the seventy's and I seventy five.

It's that is a very different kind of
exhibition space was created which

first of really is characterized by that
discontinuity as between one exhibition in

the next and

then by pursuing much more abstract themes
instead of looking at better flies or

birds are dinosaurs you look at the
abstract notion of human biology and it's

a bit looking at through a specimen of
anything you actually look at fabricated.

Interactive contraptions that
introduce you to a subject.

And from an architecture point of view
what that you may who allege is happening

is first of all the museum building
disappears completely when the number of

how good the code and building
that happens to have a collection.

We have a total exhibition environment.

Every part of the old building is
concealed behind new berthing.

And then views are voted for Sharpton.

And.

And said things keep changing
thematically as you move along.

So the idea of continuity.

The notion of a map.

Is replaced by it and I do a video can
tell you to discontinue it it asks

people have to come to terms with
the fact that you can no longer

display knowledge Bexley because it's not
anymore supposed to be interesting to

compare Don't use the horses and but
the flies the birds and all of that.

What's more interesting is to
visualize up second or ledge and

of course between the scientist and
the architect that I've had to direct

a relationship in the nineteenth century
were not hives I'm a delusion that comes

through the whole of expertise
that the first presentation

introduced engine from graphic
design to education or

psychology to exhibit design so we have
heard this may be action between so

to speak the science and then the.

Design.

And there were a component
of the realm of this is the.

The bringing together of a.

Third you know killer shapes Literally it.

If I do is a phantom
service not quiet together.

Like that is no immediate connection
between classical anatomy and

modern analysis of genetics and yet
the exhibition of human biology

will try to give you an impression
that it's a seamless flair for

knowledge which been
cruising it may be becoming.

But there are certainly not at
the time when this was designed.

The thing that goes with all
of that is the mesh from

visitors up to the explorers
the kids that took the.

Drawing pads and went and did wonderful
child pencil drawings of dinosaurs.

I'm asked to be passive.

And the active kids are the ones that
will enter this sort of playground and

good interactive exhibits.

But the from tracks the evolution of
layouts over the period of time seventy

seven thirty three the date is missing and
they do six wouldn't have time to for me

to ask you to pick one of the differences
and sampling them out in seven to seven

and actively exploring kid might actually
decide to skip most of the exhibition

in a two three and not to be exploring
kid might decide to skip some but

the would be first to see much more and
in eighty six and actively in for

free exploring active kid with action and
to see three quarters of it.

No other what.

So basically a contest instituted that
I've read between pretenses are for.

If I can free expression and
realities are dictated paths.

Now the interesting thing is that

is the same I come up that sort
of good to be discussed and

have the butter career than me which
actually is a world thing and good just.

In conversation with another Miles
the curator of those exhibitions and

the person responsible for transforming
the Natural History Museum in London

at the time of institution was
under considerable hardship

because the Conservative
government was cutting funding.

So he had to draw people in that
would be willing to pay donations or

take it's to head survival.

And he first of all for that of course and

he was very happy that that there was
a young fool theorizing absolute garbage.

Being critical of the new exhibitions but
then he.

That the concept of ever claim a point
which is actually very clearly spelled in

a paper that's a published in
eighty six in the pond was this.

The very designed exhibitions.

From the content to the architecture.

The third this to be the obvious
principle Young Allies.

First the content you particular
competent to the storyboard and

you let it get there should emerge.

The most as you would have done
if you were designing a factory

you would start from the public
you would you would then but

the public down into steps and
you would let the layout emerge.

But there's then came to understand by
tracking visitors that actually people but

these are entered.

And that the clarity of the building
is a consideration in its own right.

And that there for
your generation of exhibits.

Should distinguish between the starter
bass into it and the architecture and

I lie or the two to function
independently as well as in conjunction.

And so
that's happened in London afterwards

is that the exhibition is that
we're placed in the bourbon.

We're actually beginning
forever of you know and so

here you have a moment where in Mebane
high taking the architecture I think

that it was originally
just as he had left.

Norman first as office is inserted in
the Victorian building which is still

allowed to be celebrated and
to attract attention.

Firstly there were.

But is that gives you a member of yours or
suspend the displays and

then you can be led to do to get
the message in them or buy back think and

more first to give months after
you've seen the lever view.

So essentially sober for
a naive mind at a time.

This was an issue where there were
not the picture of this misery and

maybe with Museum a thread.

Was actually a document thing changes.

From mission of the institution and the
concert of a reading of the institution.

Changes from.

Better in motion between the letter an
exhibition to a new group of the relation

changes between the fine and
I think engagement for

example by missing of students drop out.

To define an active engagement in terms
of how many bathrooms you have first and

how many questions you could if you
answered in your interaction with exhibits

to try to see it as a good
time is by begging for

a better best science theory or
other because sometimes mission

that crudely speaking states
that no matter what the content

in any educational things mission that
I mean are two fundamental issues.

How strong the boundaries between and
to cap the good it is and I strongly that

the next mission is going to have in terms
of the order of the sequence and the pace.

Never mind with the content and it became
tempting to begin to look at the Newseum

space in terms of simplified backgrounds
that say that the building was

in fact the best you can devise
that you might have a really good.

In a strong subdivision
of space to just berth.

Some to civic action and frame.

Or you might have multiple circulation
of theirs to suggest with framing but

still strong subdivision to keep things
visually up out of that to my big.

Into so just sequence but
not visual connections or

that you might let everything
be much more loose.

And spend a little bit of time sort
of imagining how this might work

except this but that of course in the
schematic diagram like this ever works.

It is or was a good stand
Think want to get bang but

it's never a good way to
conclude the night agreement.

And for example you can easily frustrated
this just by changing the way that you

distribute the exhibits.

If you step to mixing exhibits colors but
of presenting here contents

of course the same plan can and
can operate according to different logic

to them the interest of them is
the mission but Bourbons I miss

the flick the feel of institutional
values and cultural function but

there's that they're not fully understood
sometimes by pure doubt there's.

General thing happens or

from then there's an understanding
that simply reflecting it.

That's visiting an exhibition is not
the same as passively reading a book but

it's the kind that may be
more than the theory has

tried to engage more with is as
important as web the first or

puts an end in the first America doctrine
that seems to be not the special case but

the general case and
the limited works when we visit museums.

I think and look sometimes tenuously and
if there is this very simple

conjunction which is a bit immersive
comes action of the king saying and

thinking and the next is exciting.

So the architectural question is to
understand how that might work and

that's where some of the best staff
comes in the first computer but Georgia.

I believe it was around
one nine hundred ninety S.

by the group of and he was actually the
third the judge of the first computer the.

My full of I should have said I think it
had been quite a few graduates before him.

He had actually visited and stabbed.

Exhibition settings in the US in
staging the tracking visitor spots.

To begin to understand the choice
of path because actually.

In museums people with their feet.

Be fed up with their hands.

I didn't go to interactive exhibits
in the case of science museums

they voted with their feet and
said that word of

the distinction between luaus Edward led
back to Kelly because I love your nice

tentative the extremely imposing
rigid sequences that you're often

find in history museums in London
during that I'm an occupation.

London under the fine London in the Second
World War you know if you happen to want

to go to the restroom and you're
still in the Great Fire you've had it

in the history of London Museum survey
of the buyback the cute sequences

to be contrasted with with a seemingly
deserve the plans which actually work

much more statistically probabilistically
by making some space it was more likely to

be a visit to the members but the crew
thing is a natural and the British and.

People might choose to see it depending on
whether to stay a short amount of time and

the pending on whether they intend
to do to have only one chance.

And this one stabbing much smaller

traveling exhibits with funding from
the National Science Foundation.

And I'm sure it's just an intuition
of the sorts of variables that we

bring into play.

Visibility polygons and
measure what's seen from each position.

And then we sort of calibrate
the plan according to exposure.

We then look at how many corners
everything is from any one place we look

at the event this displays become visible
sort of the finger does this display or

might be actually answer saying
something else in the background and

we stand behind our displays may.

Create clustering for magic clustering
in space and with President or for

an event in the Ascension.

This is just a kind of vision of the same
in a bid to basically begin to capture

statistically significant trends and
where people will go and

reputable really engage numbers of
the mechanics of movement in museums.

Not to look at picture question
of the better begin to address.

The person a rather complex or bears which
is not possible to do in another way.

I can picture gives us a sense of ending
temperature burn framing environment

and the less well designed content

to put it very simply
I'm conscious of time so

I want to try to explain to the turn
of the number crunching here but

then the next step that one needs to
continuously keep in mind is the.

Step that strand the current difficult for
Team functionality and

the museums are less teasing to work in

particular ways and where that these crime
grew into the could have had an intention

then you are happy but whether that these
incompetent then you have a problem.

And so the task.

Of the consultant that there is with
layout is to make sure that this

congruence is achieved
between the intent and

actual mechanics of movement but
the mechanics of money.

And there's meant as
opposed to of course and

then one needs to set much beyond the
numbers to begin to see how that could but

I think you know there's an architectural
intention in that context because

I'm thinking that has been a significant
building in my own mind as you know it's.

Kind of this kind of past bend
decades actually I think converting

the urban into museum to the point
of there's an individual exhibits.

And that's intriguing when you visit
that sometimes when I first arrived it's

a question of a cure.

By the way because well in terms of
the actual terrorists on a much more to

the rest of their to move
on this than I thought

Scott because there's decorative
gravitas crafter things and so

I was dragged by students to the who
might remain eternally grateful

because it was one of them are still
standing things that I've visited.

And then an interesting thing as you
enter the miller floor where by the way.

The center left is a movement
described as creation and

it did not protest the aligned beforehand.

I swim towards a flirt obviously.

What everybody is intimated by is
the sense that you had on the floating

platform that has been inserted
into the old envelope but

the exhibit seem to be very polite
in polite they the sort of seem

to be turning their back to you as
you enter which is not the sort of

situation that you expect the most
museums where things that are facing you

might have less eyes mannequins
are facing you to go to Macy's here I am.

Can I please catch your attention he would
get you have the opposite of that you

have an exhibit turning its back to you.

And so if you track at your leisure
the statue is added the ability

to place to be facing intercepts
of the actions that could.

Yes the special fast to sort of
drone down the axis and maybe.

The economy is a more superficial
Bruns I do accept bits and

what's happening is that the gurus or
their staffers actually intersect.

To clear the field.

If you like presence there.

Sure presence between status but

the points of intersection that they've
actually sometimes very intense and

Persians which I am
aware is not signalled.

You have to discover yourself than seeing
the bands and I understand two years.

That's that's one particular were for
inventing the notion that

back at the very specifically in museums
the purpose not to see it on live but

the point is to be the best you
are yourself being seen the suppressor of

the goodies is fundamental to first of the
experience of museums especially spaces.

You're saying and we're being seen and
band of additional corrupt earlier but

such an incredible people
seeing the exhibits and

and never visitors are a nuisance.

That sort of doesn't allow you to to have
the I'm disturbed remission individual

appreciate a lot of events to the object
but in fact some perverse people like me.

Enjoy the presence of other
people in museums and

then service is really messed
up this notion of into

something good is them could never missed
a continuum between the step two is which

at a convenient kind of exhibit obviously
the step here is that the trailer.

And intersect thing I ever read is M M M M
designated spaces and ice dancing around.

And.

Up stairs.

With his insipid paintings.

There is.

The first thing that strikes you is
that he plays this abuse going between

a stroke perspective on this.

And a slightly destructive perspective due
to the irregular shape of the building

I said faces that are on the inner side
and in between those two perspectives.

He places the painting galleries.

But the main thing is that some of
the paintings haven't easels and

you may say that's just a way to show him
the ability to design these wonderful

objects and they're down right with
actually does something five were

significant means that instead of
sheepishly moving out on the perimeter

looking at the subject after accept it.

That's with the addition of the do
you actually first to read it and

that's your first to take a look at these
will you could change your emotions or

fairground and background.

And that's you do that you create
opportunities for things to turn to

you and then to your mind because you're
likely to see that painting down but

I think back to your
attention is focused here.

And then when you come back a variant of
that painting will be the focus of your

attention but you are sort of turn around
and see the painting you might have but

he was listening when you went
on the left side of the room.

So what is this.

If you're seeing the special.

Distribution of the objects
to create a sense of.

Quest for years.

People's views and changing views or

objects particularly in the event after
finishing shifts with one another.

Sometimes they might pick up
something things or maybe.

In one painting of Jesus.

For example sometimes nets them
I think sometimes contrasting

women think that and
service is a bad I'm thinking that

the overlapping patterns in the visual
field but they're the best actually.

Size up in ways that I'm not
absolutely conventional So

they're trying to paint things objects
that there's a huge thing things

which by definition would mean that you
have to change your distance from the.

Right because if your suppliers

that that the clear vision is
let's say a thirty degree angle.

Let's say for the sake of argument or
six it doesn't matter you would have to

distance from the really nerve
to the sick literally and

then you would have to dance
a complicated dance which is piped on for

the distance factor and partly driven
from the robot that users are located.

And so the point here is
that Scott downstairs and

up stairs of course I think you know.

Using.

The mission of the museum regulating
Merson meant not simply of the mechanistic

sense of making sure people would go to
the gutters where the main message is but

then the family sense that
the view from the critter graffing

good for perception and
come from the understanding.

And so it is this transition from the
mechanics of movement to the perfect sort

of movement the that is of interest
here and I'm description of that.

Main statue of the previous owner
of the castle as you know and

in a very interesting junction.

I'm on the path from going up unknown
the ring to the ring that he has and.

I'm sure would go up.

A good bit his views but he would and
would be stepping up to you.

When you're ready enter the gallery.

So it's almost like there is a critical
moment when you have to change face to

face contact and then from every other
moment it's a kind of haphazard bangle

I remember I have a.

Set in the same direction.

Trying to negotiate between
developing technical and

developing an eyewitness of questions.

With a student action.

I have enough sense

that the museum of Byzantine culture
infrasonic you which were designed.

Rather nice gift that with that crap
course that maybe more than ten years ago.

It's a bubble which is
extraordinary detailing and it's.

Back the use of a picture of the thing
as a way to introduce people to

essentially the history record
that you're accustomed Grace.

To have a complicated plan at face value.

But the central it's.

You come into into the main hurdle and
then it's essential that goes upstairs and

a thumbs down stairs at
the best of the building.

That Where's the conflict of tension.

And the message

that exhibition designers and curator
saying Come up and hence the message.

So for example in Byzantine churches
that I'm sure many of you will

have visited one of the key question
of this is the plaintiff like.

Between.

Dark and slightly in the night that and
murdering them in the locations

that the play between daftness and

rabbit is actually a phantom have power
from the hound in the lives of the museum.

Of the main times.

If you like.

That's important and
families swept under in my judgment.

Exhibition her them have
taken over during the next.

Documented painstaking
efforts in the value of every

piece whether with them a bad eloquence
and or whether with their going back.

Checks.

But them doing that they seem to have.

A super from display which emphasizes.

I'm sure from time that this
highlights an individualized object of

great value to which you're
suppose I'm a from time to Lucian

slightly good from time with this but.

A system of distinct flimflam
views as the betterment

of your NG this perfect to recommend
the book capturing this as as well as.

As I said group versus a much.

Good actual experience
one has of the church.

To remember things.

Sometimes sometimes it's good
sometimes it simply as good for

example and I come to suffer for the flood
light and sometimes seem clearly so

that the only way to begin to enter is
that is to some sort of conjunction

between writing anonymous and
there's a booth and

I was and
that your mythical sense convention next

icons of interest for example around here
than one but in this particular church.

Identifier patterns are different ranges
of distance from which these icons

geometrical are supposed to see.

And they make are Americans
that that potentially could.

It's a book but to use the then I was
reflecting to actually distinguish between

There's the i Pad clearly visible and
there's a band hardly visible given

the light and the very first to begin
to quantify the experience of movement

as an experience that changes not just the
geometry of course there's a benefit but

the intensity of the primitive
that I don't have time

there is there is a muse my sort of being
an administrator so I didn't have time to

the glass equivalent images for
the museum but I hope you

get the sense or at least what the fast of
the two has been and this is the work of.

Yeah my staff has got to be a year and

a half ago in Greece or took a bath

in a minute and I went but
I still have found.

The Highers interesting that everybody
has to root it because it has

to you would want to hang paintings from
the point of you remember back at me.

Some certain extraordinary
interesting blending in fact it has

a challenge to the balance between
folk and display at a time.

And distributed attention to changing
clusters of course visible displays.

And make this cryptic certain unfettered.

In the minute.

Informed this is the high.

It's actually a standing example

of two very different sensitivities to
how one mind might hundred museum space.

The family or classical piano.

Version of the open plan plan.

The sense of how you might move but
very classic in how it puts the emphasis

on the entrance hall and then on
the on the two kidnapped on spaces and

then to the peripheral spaces
versus the original second

floor where you have this very
thing to keep them very gritty.

Between visual Christmas.

That said to himself
backstage versus visual for

views that create the fabric and sense
of occasion for on stage and certainly

I bring I think it's an attempt to clarify
I'm still driving the backstage question.

Fathomed challenger and
event that much more straightforward but

I'm going to have piano so I look forward
to what has to say and I'll stop here.