No abstract

Museums are complex architectural works with many distinctive elements. One of the most significant museum features are routes or paths on which visitors circulate museums and perceive exhibitions. Children and people with special needs often have specific demands on physical accessibility of the surrounding environment, chronological arrangement of spaces and amount of information presented at a time. The arrangement of functional units in museum layouts affects wayfinding in space, understanding of the exhibition, as well as visitor guidance. The order in which people visit particular segments in a museum can also be described as one of the most important architectural and operational characteristics of this type of cultural buildings and areas. The article examines ways of arranging spaces in a museum building and the suitability of their application. These forms are evaluated based on various aspects; some of the created effects are studied, e.g. creation of a desired atmosphere. Existing concepts are compared and supplemented with other theoretical knowledge. The article aims to present variant suitable ways of composing routes that would meet the needs of different people, and bring them a quality leisure and educational experience from a museum tour. Various types of museum layout organisation and arrangement of exhibition spaces are illustrated with abstract schemes, as well as with specific case studies of five selected museums. The selection consists of architecturally exceptional and high-quality museums in Central Europe, which are able to attract a whole range of various groups of people including a younger audience. They are examples of both modern museums in this area and route planning options. The case studies highlight interesting local ideas, space concepts, routing methods, and also solutions for increasing inclusion of all visitors and children in particular.

Museums represent an architecturally multifaceted typology. Regardless of their variant focus, their current task is to provide an opportunity for cultural, educational, and exploratory experience for all. The accessibility of the physical environment is important, but so is the accessibility of the perception of the exhibition. This paper deals primarily with spatial and design qualities, which determine the degree of inclusion in museums. The principles of Universal Design (UD) are considered in this regard; therefore, the article reviews means of applying these principles in museums theoretically, and also practically, through on-site evaluation using checklists. Specifically, solutions beneficial for inclusion are examined in an outstanding example, the Graz Museum Schlossberg, which demonstrates many inclusive principles.The aim of the article is to support suitable ways to implement UD in museum architecture with a historical background, one which would meet the needs of the largest possible range of visitors and preserve the historical value of architecture. Beneficial ideas from theory and practice should also be applicable in the future and are commented on in the article.

No abstract