SEE THROUGH THE GLASS OF ART: PROPOSED INTERIOR DESIGN OF eCO-FRIENDLY STYLE TO THE MUSEO ORLINA IN TAGAYTAY CITY

CHAPTER ITHE PROBLEM AND ITS SETTINGINTRODUCTION

1.1 RationaleThe Museo Orlina is bringing life to a multitude of glass treasures thats why it is a great place to wander. The sculptures and other forms of art are a representation of how great the artist is, which make him a true Filipino pride, this is why the Museo Orlina is a gem of an experience, a place and a showcase of the artistry of internationally acclaimed Ramon Orlina, pioneer and foremost practitioner of glass sculpture in the country. Before Orlina, glass was largely appreciated only for its utilitarian function: as drinking vessels, window glass panes or automotive windshields. A visionary, Orlina saw beyond the humble origin of this industrial glass residue. The result is an exultant body of works that, through the decades, has dazzled the art scene and prized by numerous collectors. Triumphantly, Orlina has transformed the medium by elevating it to the dignity and respectability of art.The MuseoOrlina opens its door to the public, where they can view superb examples of Ramon Orlinas scintillating artistry to their delight and enchantment. The museum is committed to support and promote public interest, awareness, knowledge, education, understanding and enjoyment of modern and contemporary art (visual art) in the Philippines and abroad.To this end, the Foundation aims to: develop and preserve a permanent collection of original works of art, useful for both research and display; present temporary exhibitions of the highest artistic merit; present educational programs of significant importance; sustain a library and archives for research; and support scholarship and publications of intellectual merit.The design concept of an eco-friendly is an approach to design a product with special consideration for the environmental impacts of the product during its whole life space cycle. In a life cycle assessment the life cycle of a product is usually divided into procurement, manufacture, use and disposal. Ecodesign is a growing responsibility and understanding of our ecological footprint on the planet. Green awareness, overpopulation, industrialization and an increased environmental population have led to the questioning of consumer values. It is imperative to search for new building solutions that are environmentally friendly and that lead to a reduction in the consumption of materials and energy. Just because something has always been built a certain way doesnt mean it needs to be built that way. Thats why this design concept is suited to the Museo Orlina so it can preserve and value the art works of the museum.

1.2 Statement of the ProblemThe issue to be addressed in this research proposal is the continuous changes to their interior and exterior of the environmental, which will impact on their facilities requirements, from the space and the circulation of the art work in the museum like:Major Problem:1. What is Eco friendly interior style?2. What will the design concept blend perfectly suited in all individual area of the museum?3. Who will the benefit from the positive effects of the design concept of the museum?4. What will establish whether design management could improve the space that is required by the museum?Minor Problem:1. What will be the outcome of the circulation to the existing facility?2. What will the aspect to be considered in designing an Eco friendly interior style?3. What could be the requirements in designing an interior of an Eco friendly interior style?

1.3 Objective of the StudyThis research work is predicated on the need to understand the ways in which effective circulation can be used as a tool for achieving a much more functional and purposeful museum. The following objectives would guide for faster and better achievement of the aim of this museum:

1. Identify the acquiring knowledge and innovation for design concept of the museum.2. Identify the circulation of the Museo Orlina.3. Identify the relevance of the space changes in existing facility.4. Identify of present condition of the Museo Orlina.5. Presentation of strategies and creating functional framework of adopting the good attributes of the studied existing museums and putting into these attributes to achieve a functional use of space within a museum interior and exterior.

1.4 Significance of the StudyThis study will be undertaken to find out the Museo Orlina rendered in Tagaytay City and to measure its effectiveness through the creativeness, circulation, spacing of the areas and also special needs. Benefiting the study are the various sectors as follows:To the Owner, the study will give them opportunity or benefit to give what they had experienced in putting up the business so that others will be given opportunity to study the consequences they are facing and avoid the possible problem it may brought in the future.To the Students, the study which will be the output of this study could be of great help to students because it will allow them to learn and review the different procedures in Interior Designer. It can be used as a reference in their studies regarding in Interior Design to provide them a vital information and better understanding and equip them with knowledge.To the Researchers, Through this study, they will have an effective way of show casing what they have learned and come up with an output, in the form of making a research study that would be of benefit to others., this study will also this study will serve as background and added information on how to establish a successful in Interior design, this study will also enable the researcher to be more resourceful and studious in the field of this study.To the Tourism, this will serve as a guide for some professionals to acquire new knowledge about the elements, principle of design, design scheme, history and culture that governed the whole interior of ECO Friendly design in museum.

1.5 HypothesisThis study provides hypothesis in order to analyse. At the end of this research, that intends reach reasonable conclusions that will confirm that effective human and material circulation enhances the functionality of a museum. Reasonable evidences and facts would have been proven and this hypothesis would be ascertained in the museum:

1. To identify any factors which has particular relevance to a design management?2. To identify the space of the previous to the subsequent.3. If I change the circulation, will it have an effect to the spacing of the museum?4. Will bring about a reaction to the guests of the museum.

1.6 Scope and DelimitationThe scope and focus of the study will be the following: Receiving and information area ( 1st Floor ) Lower Level Level 1 ( 1st Floor ) Level 2 ( 2nd Floor ) Level 3 ( 3rd Floor ) Roof Deck

The following are the delimitation of this prospective: Owner Office Power Room Sculpture GardenThe identified areas will be having more consideration and will undergo further studies and treatment.1.7 Definition of Terms MUSEUM: Museum can be defined as an institution dedicated to helping people understand and appreciate the natural world, the history of civilizations, and the record of humanitys artistic, scientific, and technological achievements. Museums collect objects of scientific, aesthetic, or historical importance; care for them; and study, interpret, and exhibit them for the purposes of public education and the advancement of knowledge.It can also be defined as a place where important things are preserved: a building or institution where objects of artistic, historical or scientific importance and value are kept, studied and put on display. ARTS: It is described as a creative design of everyday object. It is often described as the hand production of decoratively design, especially as a skilled craft or as part of an educational rehabilitation program. Art is the product of creative human activity in which materials are shaped or selected to convey an idea, emotion, or visually interesting form. The word art can refer to the visual arts, including painting, sculpture, architecture, photography, decorative arts, crafts, and other visual works that combine materials or forms. We also use the word art in a more general sense to encompass other forms of creative activity, such as dance, drama, and music, or even to describe skill in almost any activity, such as the art of bread making or the art of travel. In this article art refers to the visual arts. CIRCULATION: This also referred to as flow which can be defined as the free movement of something such as air, water, people or materials in an enclosed space. ECO FRIENDLY DESIGN: Eco-friendly literally means earth-friendly or not harmful to the environment. This term most commonly refers to products that contribute to green living or practices that help conserve resources like water and energy. Eco-friendly products also prevent contributions to air, water and land pollution. You can engage in eco-friendly habits or practices by being more conscious of how you use resources. DESIGN CONCEPT: It is where you define elements that make up a design. It is when you look deeper than the paint or flooring to understand what message does a certain space is trying to convey. You may consider the use of combination of different light layers, type and color of utilized wood, displays, and other things that constitute Shop fitting and fit outs. SCULPTURE: This is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since modernism, shifts in sculptural process led to an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded, or cast. ART GLASS: It is an item that is made, usually for decoration but also for purpose, from glass that has been worked into a form that is considered pleasing to the eye. Such techniques include stained glass windows, leaded lights (also called leadlight), glass that has been placed into a kiln so that it will mould into a shape, glassblowing, sandblasted glass, and copper-foil glasswork. Art glass has grown in popularity in recent years with many artists becoming famous for their work; and, as a result, more colleges are offering courses in glass work. Many amateurs now undertake making art glass a hobby. DESIGN MANAGEMENT: It is a business discipline that uses project management, design, strategy, and supply chain techniques to control a creative process, support a culture of creativity, and build a structure and organization for design. The objective of design management is to develop and maintain a business environment in which an organization can achieve its strategic and mission goals through design, and by establishing and managing an efficient and effective system.

CHAPTER IIREVIEW OF LITERATURE

2.1. Gatherings of DataWhat is an Art Glass Museum?Art glass is an item that is made, usually for decoration but also for purpose, from glass that has been worked into a form that is considered pleasing to the eye. Such techniques include stained glass windows, leaded lights also called leadlight, glass that has been placed into a kiln so that it will mould into a shape, glassblowing, sandblasted glass, and copper-foil glasswork. Art glass has grown in popularity in recent years with many artists becoming famous for their work; and, as a result, more colleges are offering courses in glass work. Many amateurs now undertake making art glass a hobby.From the 19th century, various types of fancy glass started to become significant branches of the decorative arts. Cameo glass was revived for the first time since the Romans, initially mostly used for pieces in a neo-classical style. The Art Nouveau movement in particular made great use of glass, with Ren Lalique, mileGall, and Daum of Nancy important names in the first French wave of the movement, producing colored vases and similar pieces, often in cameo glass, and also using lustre techniques. Louis Comfort Tiffany in America specialized in secular stained glass, mostly of plant subjects, both in panels and his famous lamps. From the 20th century, some glass artists began to class themselves as in effect sculptors working in glass, and as part of the fine arts.Several of the most common techniques for producing glass art include: blowing, kiln-casting, fusing, slumping, pate-de-verre, flame-working, hot-sculpting and cold-working. Cold work includes traditional stained glass work as well as other methods of shaping glass at room temperature. Glass can also be cut with a diamond saw, or copper wheels embedded with abrasives, and polished to give gleaming facets; the technique used in creating Waterford crystal. Art is sometimes etched into glass via the use of acid, caustic, or abrasive substances. Traditionally this was done after the glass was blown or cast. In the 1920s a new mould-etch process was invented, in which art was etched directly into the mould, so that each cast piece emerged from the mould with the image already on the surface of the glass. This reduced manufacturing costs and, combined with a wider use of colored glass, led to cheap glassware in the 1930s, which later became known as Depression glass. As the types of acids used in this process are extremely hazardous, abrasive methods have gained popularity.

Manufacturing techniquesStained glassStained glass, such as the windows that are seen in churches, are windows that contain an element of painting in them. The window is designed. After the glass has been cut to shape, paint that contains ground glass is applied, so that, when it is fired in a kiln, the paint fuses onto the glass surface. Following this process, the sections of glass are placed together and held in place with lead came? That is then soldered at the joints. Leadlight and stained glass are manufactured in the same way, but leadlight do not contain any sections of glass that have been painted.Blown glassGlassblowing is one of the most used techniques for creating "art glass" and is still favoured by most of today's studio glass artists. This is because of the artist's intimacy with the material, and an almost infinite opportunity for creativity and variation at almost every stage of the process. Glassblowing can be used to create a multitude of shapes and can incorporate color through a wide range of techniques. Colored glass can be gathered out of a crucible, clear glass can be rolled in powdered colored glass to coat the outside of a bubble, it can be rolled in chips of glass, it can be stretched into rods and incorporated through cane working, or it can be layered, cut and fused into tiles, and incorporated into a bubble of glass for intricate patterns through murrine. "Blown glass" refers only to individually hand-made items but can include the use of moulds for shaping, ribbing, and spiking to produce decorative bubbles. Glass blown articles must be made of compatible glass or the stress in the piece will cause a failure.Kiln-formed glassKiln-formed glass is usually referred to as warm glass, and can be either made up from a single piece of glass that is slumped into or over a mould or different colours and sheets of glass fused together. The process of hot glass is highly scientific in that the types of glass and temperatures that they must be fired at are quite complicated operation to undertake correctly. Art glass that is kiln-formed usually takes the form of dishes, plates or tiles. Glass that is fused in a kiln must be of the same co-efficient of expansion (CoE). If glass that does not have the same CoE is used for fusing, the differing rates of contraction will cause minute stress fractures to form and, over time, these fractures will cause a piece to crack. The use of polarizing filters to inspect the work will determine if stress fractures are present.Usable art glassMany items that are now considered art glass were originally intended for use. Often those uses have ceased to be relevant, but even if not, in the Victorian era and for some decades beyond useful items were often decorated to a high degree that we can now appreciate them for their artistic or design merits.Some art glass retains its original purpose but has come to be appreciated more for its art than for its use. Collectors of antique perfume bottles, for example, tend to display their items empty. As items of packaging, these bottles would originally have been used and thus would not ordinarily have been considered art glass. However, because of fashion trends, then as now, producers supplied goods in beautiful packaging. Lalique'sArt Nouveau and Art Deco designs and Joseph Hoffman's Art Deco designs have come to be considered art glass due to their stylish and highly original decorative designs.Moulded art glassA major shift in the definition of what constituted "art glass" came with the 1977 publication of the book Glass - Art Nouveau to Art Deco by Victor Arwas. Following the book's publication there was a growing recognition that moulded, mass-produced glass with little or no decoration but high artistic and fabrication quality such as that produced by Lalique should be considered art glass.Art glass decorating techniques Color: Various colors inter-mixed or otherwise incorporated Texture: Frosting, satinizing, glue-chip, overshot and sandblasting Surfaces: Overlays, cameo, cut-back, cutting and engraving

Refined glasswareUp-market refined glassware, usually lead crystal, is highly decorated and is revered for its high quality of workmanship, the purity of the metal (molten glass mixture), and the decorative techniques used, most often cutting and gilding. Both techniques continue to be used in the decoration of many pieces made from lead crystal, and nowadays these pieces are regarded as art glass.Cut glassCut glass is most often produced by hand, but automation is now becoming more common. Some designs show artistic flair, but most tend to be regular, geometric, and repetitious. Occasionally, the design can be considered a "pattern" to be replicated as exactly as possible, with the main purpose being to accentuate the refractive qualities, or "sparkle", of the crystal certainly an aesthetic consideration, but not generally considered artistic.Art cutA clear exception could be made for the highly distinctive cut crystal designs which were produced in limited quantities by designers of note. Examples are the designs of Keith Murray for Steven & Williams and those of Clyne Farquharson for John Walsh Walsh. A relatively new term is coming into use for this genre: "Art Cut"

History of an Art Glass Museum?People had used naturally occurring glass, especially obsidian (the volcanic glass) before they learned how to make glass. Obsidian was used for production of knives, arrowheads, jewellery and money.The ancient Roman historian Pliny suggested that Phoenician merchants had made the first glass in the region of Syria around 5000BC. But according to the archaeological evidence, the first man made glass was in Eastern Mesopotamia and Egypt around 3500BC and the first glass vessels were made about 1500BC in Egypt and Mesopotamia. For the next 300 years, the glass industry was increased rapidly and then declined. In Mesopotamia it was revived in the 700BC and in Egypt in the 500s BC. For the next 500 years, Egypt, Syria and the other countries along the eastern coast of the Mediterranean Sea were centres for glass manufacturing. In the beginning it was very hard and slow to manufacture glass. Glass melting furnaces were small and the heat they produced was hardly enough to melt glass. But in the 1st century BC, Syrian craftsmen invented the blow pipe. This revolutionary discovery made glass production easier, faster and cheaper. Glass production flourished in the Roman Empire and spread from Italy to all countries under its rule. In 1000 AD the Egyptian city of Alexandria was the most important centre of glass manufacture. Throughout Europe the miraculous art of making stained glass on churches and cathedrals across the continent reached its height in the finest Chatres and Canter bury cathedral windows produced in the 13th and 14th centuries. Glass Manufacturing HistoryBy the time of Crusades, glass manufacturing was developed in Venice and it became glassmaking centre of the western world. In 1291 glassmaking equipment was transferred to the island of Murano. During 15th century Venetian glass blower, Angelo Barovier, crated cristallo, nearly colorless, transparent glass. By the late 1500s, many Venetians went to northern Europe seeking better life where they established factories and brought the art of Venetian glassblowing.By 1575, English glassmakers made glass in Venetian fashion. In 1674, an English glassmaker George Ravenscroft invented lead glass. The first glass factory in the United States was built in Jamestown, Virginia in 1608. In the early 1800s, there was a great demand for window glass which was called crown glass. In the 1820s, the age of blowing individual bottles, glasses and flasks was ended by the invention of a hand-operated machine. In the 1870s, the first semi-automatic bottle machine was introduced. After 1890, glass use, development and manufacture began to increase rapidly. Machinery has been developed for precise, continuous manufacture of a host of products. In 1902, Irving W. Colburn invented the sheet glass drawing machine which made possible the mass production of window glass. In 1904, the American engineer Michael Owens patented automatic bottle blowing machine. In 1959 new revolutionary float glass production was introduced by Sir Alastair Pilkington by which 90% of flat glass is still manufactured today. For detailed information about this subject read all our articles.What is the role of Art Glass Museum?Glass is magical It is a very strong material, at the same time it is fragile, imminent glass sculptor Ramon Orlina muses. Even early on in his career, he had had a fascination for glass, starting with his work with glass and steel as an architect.In the 70s, when he first ventured into art he started with painting Orlina used glass as his canvas. Finally, his style and technique developed into the bold, exquisite glass sculptures that he has become synonymous with.The material has its own identity; it has its own soul and imperfections Lalabanan ka niya (It will fight you), says Orlina on the struggles of being a sculptor.A good sculptor, he says, must be able to work with the imperfections without destroying the design he has conceptualized. Theres another entity, another soul.Though he did not study art in school, Orlina has a degree in architecture. He says he learned everything by experience, through trial and error, gaining an understanding of glass in different capacities both as a functional material which he worked with as an architect and as a material with its own soul, resisting and yielding to Orlina, the artist.You must know how to handle the material, Orlina says, and points out that, when handled properly, glass has made great contributions to civilization, from the telescope to microscopes to camera lenses.Ive been thinking about a museum a long time ago, but I was planning to put it in Taal, Batangas, my home town, he shares. But the houses owned by his family in Taal are old, historical houses; heritage houses that are more than a century old that are significant tourist attractions in themselves.I dont think my works would fit into that, he says. A proud resident of Taal, Orlina has made it his advocacy to promote and preserve the towns history and architecture, hoping to eventually have it recognized as a World Heritage Site. How will it become a World Heritage Site if there are no more heritages? he asks, lamenting the destruction of the original architecture of old buildings in the area.Serious about his advocacy, he has gone so far as suing the parish priest of the Taal Basilica and was successful in stopping the construction of a chapel that would destroy the facade of the church.When his friend offered him a property in Tagaytay a pair of townhouses Orlina jumped at the offer (even partially paying for it with a sculpture) and decided to build his museum there. Its been a dream, he says, and acquiring the property was a sign that it is meant to be.Now the Museo Orlina overlooks the artists beloved Taal. The ground floor and basement are dubbed the Reflections Gallery, a venue for different artists to be featured in monthly changing exhibits so visitors can keep on coming back and see something new every time.The second and third floors house Orlinas works some pieces from each of his series and some works that have never before been displayed in public. They give an overview of the different stages in Orlinas career and showcase the various techniques that he has mastered through the years.I have paintings on glass, I have sand-blasted sculptures, I have jewelry, stained glass, chairs Orlina says. The museum is a testament to his work throughout the years and shows his evolution as an artist. It will be the sculptors lasting legacy to his viewers.The museum had its soft opening last November 30. The grand opening will be in January, a bright way to start the new year, and in time for Orlinas birthday. The inaugural exhibit in the Reflections Gallery will feature works by National Artist for Visual Art Arturo Luz and painter Onib Olmedo.Eventually, Orlina plans to build a sculpture garden outside and will soon open a coffee shop on the roof deck.Im inspired by so many things, he says, confirming that he is constantly working on new projects. This inspires me, he says, indicating the sweeping, unobstructed view of the Taal Volcano and Taal Lake from the rooftop.He hopes that MuseoOrlina will likewise inspire many more people as well. People have to be exposed to art, he says, noting that while Tagaytay is a popular place to visit because of its cool climate and its close proximity to Metro Manila, there is not much to do there aside from eating and enjoying the weather. They need a place to go to see art in Tagaytay, Orlina says.Viewing Orlinas glass sculptures, one can see each facet from every angle and appreciate the lean of each curve. The artist points out another aspect of glass You can see yourself in it.As the sunset colors the sky and water a deep orange, the light filters into the galleries of MuseoOrlina and caresses the glass sculptures within. The browns, greens, blues make the museum a cathedral of stained glass, a play of light and shadows. Orlina is right, glass is magic. And he is the magician who has mastered it.

What is the Art Glass Museum Graphical Consideration?Public transport and vehicle access Find out the nearest public transports top to your location and what sort of disabled access they provide. Provide information in brochures and website including type of public transport, general hours of operation, timing between services and distance from the transport stop to your site (mention if it is a flat route or not). Provide information about car parking on site or nearby including any associated costs, disability car parking spaces and the distance to the entrance.Entrance Ensure the entrance is easy to locate through appropriate signage etc. Include information about disabled access is included in entrance signage, brochures and website. In particular directions for vehicles such as which entrance to use and how close to the entrance vehicles can come. If there are steps, can you fit a ramp or provide an alternative dignified entry point for people with physical disabilities?Signage including labels and wall panels Use large, clear fonts such as Arial or Helvetica. Where possible position signage at eye level (signs at floor level are difficult to read with bifocal glasses). Large print versions of material can be easily produced by photocopy enlarging original material.CirculationThis can be difficult where there are small room and large space such as in a museum. In larger settings you may need to consider rests pots. Ensure there is a clear path for visitors to move through spaces. Consider how wheelchairs, prams and walking frames are able to move through spaces if you have tight areas you may need to have photos of exhibits or guides who can brings mall items to visitors.Multimedia exhibition Provide transcripts or text descriptions of recordings. Provide audio description of visual material Talk to organizations such as technical aids for the disabled about the preparation of multimedia material for people with disabilities.

REVIEW OF RELATED LITERATURE2.1.1 LOCAL LITERATURE

Metropolitan Museum of Manila

The Metropolitan Museum of Manila looks forward to a Filipino nation that takes pride in the variety and excellence of its arts and culture. As the premier museum of modern and contemporary visual arts in the Philippines, the Met Museum not only seeks cultural upliftment, but also embraces art as a discipline in teaching non-art concepts such as cultural values, civic responsibilities, environmental awareness, and a belief in the need for excellence. It brings art to all levels of the local and international community, and situates art within the context of Philippine history and society. Its slogan, ART FOR ALL, is the foundation of all programs, which include permanent, changing, and travelling exhibitions, interactive stations, and educational activities.HistoryEstablished in 1976, the Metropolitan Museum of Manila was originally a museum for foreign art that sought to increase the Filipinos awareness of the cultures of the world and to provide them with the opportunity of viewing international art in original form. By 1986, more than 100 exhibitions of non-Philippine art had been held at the museum, among them works by Pablo Picasso, Paul Klee, and Walter Gropius, as well as group shows from Germany, Italy, Mexico, the United States, and Yugoslavia. In 1986, the Metropolitan Museum expanded to include Philippine art in a groundbreaking bilingual approach. For the first time, publications, exhibition notes, invitations, labels, signs, and posters were formatted in both Filipino and English. Selected foreign shows were complemented with Philippine art of the same period, theme, or style. At least one major Philippine show was exhibited every year. In 1994, The Met Museum hosted the Vatican Collection (And They Will Come from Afar, 2000 Years of Vatican Treasures). By 1996, The Met has organized major retrospectives of senior artists, three of whom have been named National Artists Arturo Luz, Jerry Elizalde Navarro and AngKiukok. The Met Museum has also co-curated Philippine exhibitions organized by major agencies, such as the centenary exhibitions namely At Home and Abroad, 20 Contemporary Filipino Artists and Form and Splendor. Today, Philippine art exhibitions are curated from local, individual, corporate and institutional collections and from the Bangko Sentral ng Pilipinas Art Collection. Teacher-training and childrens art classes have been initiated and are on-going programs. Workshops, career talks, and apprenticeship programs are held till this day. The Metropolitan Museum of Manila continues its creative and groundbreaking approach to art education and museum management. It is also constant in pursuit of its mission ART FOR ALL to make art count in the lives of those that it touches.

Museo de LipaPlaza Independencia Site, Pres. L. Katigbak St., Lipa City, Batangas, Philippines

AboutThe Tourism Councils primary aim is to promote the different tourism attractions and events in the city of Lipa.It also manages Museo de Lipa a repository of the citys olourful and rich history. Inaugurated on November 2007, the museum is dedicated to the preservation of certain aspects and material culture of the early and 19th century Lipeo lifestyle. It also houses the artworks and photographs of different Lipeo artists.The Museo de Lipa Collection features antique family heirlooms such as furniture, decorative objects, fine and applied arts donated by, or on long-term loan from collectors and old Lipeo clans.General InformationLipa (Lungsod ng Lipa) is acity located in theprovince ofBatangas,Philippines. It is one of the threecomponent cities of the province (the others beingBatangas City and theCity of Tanauan). It is the famedLittleRome of the Philippines and the seat of theArchdiocese.It is situated 78 kilometers south ofManila, and according to the latest census, it has a population of 260,558 inhabitants in 41,962 households. Lipa City is bounded by the town ofSanto Tomas in the northeast,San Pablo City ofLaguna andSan Antonio of Quezon in the east, the municipalities ofPadre Garcia andRosario in the southeast, the municipalities ofIbaan andSan Jose in the southwest, the municipalities ofCuenca andMataas Na Kahoy andTaal Lake in the west and the municipalities ofBalete andMalvar in the northwest.The citys location, in a valley between Mount Malarayat and Mount Makulot, makes it a low risk area. These two mountains serve as wind breakers in times of typhoon. Mount Makulot at the western portion also served as shield of the city in times of eruption ofTaal Volcano.Lipa City is a major recreational, religious, commercial, industrial and educational center in centralBatangas province, as shown with the presence in the city of entities likeHotel la Corona de Lipa, NestlePhilippines, Lipa City Science High School, Canossa Academy,De La Salle Lipa, Lipa City Colleges, AMA Lipa, The Nazareth School, the San Sebastian Cathedral (seat of theRoman Catholic Archdiocese of Lipa),The Mabini Academy which was founded in 1922 and the oldest school in Lipa City, the Carmelite Convent, Robinsons Place Lipa Mall, Mount Malarayat Golf and Country Club, Summit Point Golf and Country Club andSM City Lipa Mall. The City is also home to the Fernando Air Base, the former headquarters of thePhilippine Air Forces 100th Training Wing andAir Education and Training Command (AETC) which is known in military circles as theBaguio of theArmed Forces of the Philippines.AttractionMuseo de Lipa, inaugurated on November 2007, is the brainchild project of the Lipa City Tourism Council envisioned by its Past President, Lucila R. Resurreccion. It provides a chance for the people of Lipa to have a historical journey back to the citys past. On display are antique mementos such as: the Coffee Corner an exhibit of the different tools used in coffee production; Las trajes de mestizas and ternos gowns worn by women during the pre-war days and during festive occasions; the Satsuma Vase a gift given by the Luna brothersto the unparalleledhospitality shown by the aristocratic couple Doa Germana Solis and Dr. Jose Lozada; and the office tables of Don Claro Mayo Recto and Mayor Carlos Solis, the 24 hour Mayor.Other artifacts exhibited are certain collections of furniture and objects of art loaned and donated by different antique collectors and by some of the famous and landed gentry of Lipa: antique cabinets, tables, mirrors, antiquesilverwarechinaware, tea sets, religious images and articles, jars, and brass artifacts.The ground floor serves as a function area and currently features works of several contemporary Lipeo visual artists like Mr. Chito Segismundos photo gallery of Recuerdos de Lipa memoirs of Lipa and thesketch-worksof incumbent LCTC President, Mr. Alejandro Alex Africa Maralit.

2.1.2 FOREIGN LITERATURECorning Museum of Glass

The Corning Museum of Glass is a museum in Corning, New York dedicated to the art, history and science of glass. It was founded in 1951 by Corning Glass Works and currently has a collection of more than 45,000 glass objects, some over 3,500 years old.HistoryFounded in 1951 by Corning Glass Works (now Corning Incorporated) as a gift to the nation for the companys 100th anniversary, the Corning Museum of Glass is a not-for-profit museum dedicated to telling the story of a single material: glass. Thomas S. Buechner, who would later become director of the Brooklyn Museum, was the founding director of the glass museum, serving in the post from 1951 to 1960 and again from 1973 to 1980.Growth and RenovationsThe original Museum and library were housed in a low, glass-walled building designed by Harrison &Abramovitz in 1951. By 1978, the Museum had outgrown its space. Gunnar Birkerts designed a new addition, creating a flowing series of galleries with the library at their core, linked to the old building via light-filled, windowed ramps. With memories of the 1972 hurricane still fresh (see Flood Damage), the new galleries were raised high above the flood line on concrete pillars. The new Museum opened to the public on May 28, 1980, exactly 29 years after its first opening.By the early 1990s, the Corning Museum of Glass was once more overflowing its exhibition space, and increasing visitation put a strain on guest facilities. In 1996, the Museum embarked upon the first phase of a planned five-year, $65 million transformation. Under the directorship of Dr. David Whitehouse, the first element to be added was The Studio. This state-of-the-art teaching facility for glassblowing and coldworking opened for classes in 1996.Architects Smith-Miller + Hawkinson designed an addition to the main Museum building, using glass wherever possible to convey the beauty and elegance of the art form in the building itself. The Museum's renovation was completed in 2001, and included a new visitors' center, Sculpture Gallery, (now the Contemporary Glass Gallery), Hot Glass Show demonstration stage and a hands-on Innovation Center with exhibitions designed by Ralph Appelbaum Associates. A redesigned 18,000-square-foot (1,700 m2) GlassMarket, one of the largest Museum shops in the country, filled the entire first floor of the museum. The Rakow Library was relocated to new quarters across the Museum campus.Over the past decade, the Museums collection, programs, and global impact have grown significantly. At the beginning of 2012, the Museum announced a $64 million expansion project, designed by Thomas Phifer, to expand contemporary gallery and Hot Glass Show space. The North Wing expansion was slated to open in 2014.

The Glass CollectionGalleriesThe Museum's Glass Collection showcases more than 35 centuries of glass artistry. The Museum's collection of contemporary artworks includes pieces by significant artists such as Klaus Moje, Karen LaMonte, Bruno Pedrosa, Dale Chihuly, Libensk / Brychtov and Josiah McElheny. The Glass Collection Galleries show the most comprehensive and celebrated glass collection in the world. The galleries explore Near Eastern, Asian, European, and American glass and glassmaking from antiquity through present day. They tell the story of glass creation, from a full-scale model of an Egyptian furnace, to the grand factories of Europe, to the small-scale furnaces that fueled the Studio Glass movement that began in America in 1962. The galleries contain objects representing every country and historical period in which glassmaking has been practiced. The galleries include: Glass in Nature, Origins of Glassmaking, Glass of the Romans, Glass in the Islamic World, Early Northern European Glass, The Rise of Venetian Glassmaking, Glass in 17th-19th Century Europe, 19th Century European Glass, Asian Glass, Glass in America, Corning: From Farm Town to Crystal City, Paperweights of the World and Modern Glass.In addition to these galleries, there is the Jerome and Lucille Strauss Study Gallery, Frederick Carder Gallery and Ben W. Heineman Sr. Gallery of Contemporary Glass. The Study Gallery is filled with a wide range of objects from all periods. The gallery is named after Museum benefactors Jerome and Lucille Strauss, who, by gift and bequest, provided the Museum with an unparalleled collection of 2,400 drinking glasses dating from ancient to modern times. The Frederick Carder Gallery features an extensive collection of glass designed by Frederick Carder (18631963), a gifted English designer who managed Steuben Glass Works from its founding in 1903 until 1932. During this time, the production of Steuben changed from various types of colored glass to colorless glass.The Museums gallery of contemporary glass focuses on vessels, objects, sculptures, and installations made by international artists over the last 25 years. The purpose of the gallery is to show the different ways in which glass is used as a medium for contemporary art. The gallery is named for the Ben W. Heineman Sr. family, who donated a major collection of contemporary glass to the Museum in 2005.ExhibitionsThe Corning Museum of Glass offers exhibitions year-round. Past exhibitions have included: Medieval Glass for Popes, Princes and Peasants, East Meets West: Cross-Cultural Influences in Glassmaking in the 18th and 19th Centuries and Mirror to Discovery: The 200-Inch Disk and the Hale Reflecting Telescope at Palomar. Several special exhibitions are offered at the Museum and the Rakow Research Library each year, from shows focused on specific artists to major exhibitions on important topics in glass and glass history.Innovation CentreIn the Glass Innovation Centre, visitors can meet the inventors whose ideas changed the world. At the Innovation Centre guests have the opportunity to dabble with glass chemistry, experience the power of optical fibre and see themselves in the strange reflection of a flight simulator mirror? The Innovation Centre galleries currently on display include the Optics Gallery, Vessels Gallery and Windows Gallery. A 300-foot bridge connects three floating pavilions.The Rakow CommissionInaugurated in 1986 by The Corning Museum of Glass, the Rakow Commission supports the development of new works of art in glass. This program, which provides $25,000 each year, is made possible through the generosity of the late Dr. and Mrs. Leonard S. Rakow, who were Museum Fellows, friends, and benefactors of the Museum. Each commissioned work is added to the Museum's collection and is displayed publicly for the first time during the annual Seminar.GlassmakingGuests can watch live glassmaking, or learn to make glass at the Museum. The live glassmaking demonstrations are major visitor attractions. Not only do these demonstrations happen live in Corning every day, but also on three Celebrities cruise ships.DemonstrationsThe Museum offers several live glass making demonstrations that allow visitors to get a better understanding of both the art and science of glassmaking. Hot Glass ShowThe Hot Glass Show is a demonstration where one of the museums glass blowers provides a live glass blowing demonstration, which is also narrated by another of the glass blowers. The Hot Glass Show is performed at the Museum, on the road, and at sea on three Celebrity Cruise ships.At the MuseumAt the Museum, the Hot Glass Show is offered all day, every day and is included in the cost of admission. At each demonstration, the glassmaker takes a glob of molten glass and shapes the globs into vases, bowls, or sculptures. Throughout the demonstration, a narrator describes the process, and cameras give viewers a close-up look into the furnaces where the glass is heated. The show gives viewers a look into an ancient Roman technique that is still used today for glass making. Each show lasts between 2040 minutes.Hot Glass RoadshowThe Museum takes the Hot Glass Show on the road, bringing the unique demonstration to the public, designers, and other museums. The Museum uses unique equipment in order to recreate the state-of-the-art studio environment. The Hot Glass Roadshow travels internationally.Glassbreaking DemoThe demonstration is a 15-minute demo that explores how glass breaks and why. Demonstrators show how glass can become stronger or weaker depending on how it is heated or cooled; demonstrators explain how this phenomenon affects the way it breaks. The demonstration takes place in the Windows Gallery of the Museums Innovation Centre and the demo is included in the cost of admission.

Kraut Art Glass For Over a Century, kraut has installed beautiful and custom-made stained glass window all over the Philippines, around Asian and the rest of the world, kraut has brought beauty to numerous churches, mausoleums, religions institution, residences and public land markHistory

FOR OVER A CENTURY, Kraut Art Glass - Manila has installed quality, artistic, custom-made and authentic stained glass windows and leaded art glass in Metro Manila, all over the Philippines, around Asia and the rest of the world.Kraut stained glass panels have brought beauty and life to numerous churches, universities, religious institutions, residences and public landmarks in Metro Manila and other key cities. In fact, if you see a stained glass window or colored art glass window, that is artistically and quality made, it must be from Kraut Art Glass.Painted by talented pool of artists and hand assembled by skilled craftsmen, the Kraut stained glass windows have followed the old tradition and process of making quality art glass and stained glass.Handcrafted and baked, the stained glass windows do not fade in time. Instead they even become more brilliant as the years pass.Kraut Art Glass is the original and premiere stained glass and art glassmaker in Metro Manila, and in the Philippines. A legacy passed on for a century, this stained glass business has been in existence in Manila since 1912. Kraut Art Glass has designed numerous Religious Stained Glass panels that adorn many places of worship. Kraut Art Glass, or stained glass for that matter, has been synonymous to religious designs, but over the years, Residential Stained Glass has paved its way in beautifying our homes as well. Kraut Art Glass has also developed new products such as Textured Glass and Paper Art Glass to cater to the demands of modern architectural style.National artists, prominent architects and famous designers have collaborated with and commissioned Kraut Art Glass for their authentic stained glass and other art glass needs.From abstract to realistic designs, from classic to modern art, Kraut Art Glass can turn your imagination to reality. The possibilities with stained glass windows are endless.Kraut stained glass windows are not just another art glass panel that adorn; rather they are art pieces themselves. Our clients have their stained glass windows installed in places where they can be conspicuously seen.Kraut Tradition in the Philippines Stained glass is Kraut art glass. In 1911, family patriarch Matthias Kraut, born in Saarbruechen, Germany, arrived from Switzerland as a representative of Moore Paints, distributed in Manila by Sprungli & Co. Within a year after his arrival, the enterprising Matthias made a name for himself as a house painter among the illustrados of Central and Southern Luzon through the Standard Paint Co., and was widely known as "The Standard Painter". It was soon later that he diversified into artistic glass windows after purchasing equipment from a compatriot's short-lived attempt at a stained glass business. In 1912, he diversified artistic glass windows and put up the first Kraut stained glass studio in Bilibid Viejo, Quiapo. This was where he met, and eventually married, the lovely Pilar Gonzalez. Before long, Matthias was selling a novel decorative concept: interiors planned not just with paints, but colorful windows as well. Kraut Art Glass is a Selectively-staffed Family AffairMatthias employed two brothers-in-law, Fernando and Alvaro Gonzalez, when he started out in his studio in Quiapo, Manila in 1912. The two brothers were still actively engaged in the business 60 years later. In 1926, Heinrich Berghoff, a nephew, arrived from Germany with special training in the medium; he assisted until the outbreak of World War II. From 1938 to 1967, Paul, the eldest of the seven sons of Matthias, enriched the firm's artistic offerings, while Ludwig and Peter, second and fourth among the siblings, handled the management responsibilities. Paul retired from the profession in 1967, while Ludwig and Peter retired in 1997. At present, the craft is under the management and supervision of three third-generation Krauts - Robert, Jr., Roland and Rochelle, children of the youngest of the seven siblings, Robert, Sr. Quality without Compromise a Familys Personal Touch and GuaranteeIt is guaranteed that we can offer the finest stained glass with world-class quality matched with the finest personalized service - employing century-old stained glass art techniques, using a brilliant selection of imported art glasses from Europe and the U.S.A., and most importantly, having people with a true passion to carry on a century-old tradition of stained glass artistry and craftsmanship. Over the years, Kraut has provided custom-made art glass for numerous clients from all over the Philippines, Asia and the rest of the world.

CHAPTER IIIRESEARCH METHODOLOGY

3.1 Data Gathering How did the Museo Orlina start? Who were the people behind it? When did the museum start to be open in public? How can this museum help the tourism in the Tagaytay City

3.1.1 InterviewAn interview is very handy in this study. This helps in getting information regarding the owner or the Museo Orlina.Transcript of the interview from Mr. Ramon Orlina:When did you decide to become an artist?I started to practice art full time in 1974.Can you describe your body of work?I have a significant body of works in a variety of forms and media, but I am best known for my glass sculptures which I developed on my own.What are the best and worst things about doing what you do?The best thing is I have the freedom to create. The worst thing is the limitations of the glass medium that I work most with.Do you enjoy the whole process of making art?Yes I enjoy it very much, in fact I love what I do.Name some of your artistic influences.I am influenced by the Bauhaus and other artists such as Michelangelo, Jean Arp, Henry Moore, Alexander Calder, Piet Mondrian, Ju Ming, Frank Gehry, Wassily Kandinsky.What stimulates you to like your work of art?Music, nature, family.What are your three favourite mediums?Glass, cast bronze and stainless steel.

3.1.2 ObservationVisiting and observing the subject of the study is one of the factors that are needed to be known first before anything else. Knowing the subject capacity, capability, purpose and weakness must be known for the researcher to end up with a reliable and productive craft.They had ethical concerns about the lack of informed consent for the shadowing; only gaining consent after the shadowing had taken place. On one occasion this format was experimented with and a visitor was asked if they would give permission to be shadowed which they agreed to. They afterwards expressed that they wished they had not been aware of the researcher following them as it interfered with their museum experience. Therefore, it was decided to only gain consent during the interview following the visit, when the study could be explained fully.

3.1.3 Library ResearchThrough a research paper is a process of interaction between the materials that find in primary sources and the ideas you develop yourself. The ideas lead to search out additional materials, and these new-found materials lead to new ideas. Throughout this process, it is who to decide what materials that need, discovers the connections between different pieces of information, evaluates the information, frames the questions that will answer, and comes to original conclusions. Before it begin, you cannot know what will you find or what is the conclusion will be; but as you proceed, your emerging sense of direction will give shape to the entire project.

3.1.4 Internet ResearchOn the Internet, on the other hand, "anything goes." Anyone can put anything they want on a Web site, there is no review or screening process, and there are no agreed-upon standard ways of identifying subjects and creating cross-references. This is both the glory and the weakness of the Net it's either freedom or chaos, depending on your point of view, and it means that you have to pay close attention when doing research on-line. There are a great many solid academic resources available on the Net, including hundreds of on-line journals and sites set up by universities and scholarly or scientific organizations. Using material from those sources is no problem; it's just like going to the Library, only on-line. It's all the other stuff on the Net that you have to be cautious about.The internet is very useful in gathering concrete and accurate data, aside from that; internet is such a good source of idea that can be used in planning and formulating a unique to a product. Through internet answers to the question are on hands easily.

3.1.5. Photo CriticismReceiving and information AreaIn this area the interior design is need to improper place of the divider, the counter table, and also the walling, the flooring. The counter table must be in easy to see of many visitors not like in the picture its look like hidden in the wall. The divider that near on the television for me its look nothing in their place its must be inside the counter table so that it can be more useful by the owner. The walling and also for the flooring is to plane for a information area that will attract there visitor or tourist to come.

Level 1 (Naesa)In this area the problem is the walling, the ceiling and also the flooring to the artistic design of the artist owner. The interior design on this room is not giving comfortable feelings to the visitors because the area is to dark to see the artworks.

Lower LevelIn this area the problem is the walling, the ceiling and also the flooring because the interior design on this room is not giving comfortable feelings to the visitors even it is the smallest area it should a have a comfort that will come to the museum.

Level 2 (Ningning)In this area the problem is the walling, the ceiling and also the flooring because The interior design on this room is not giving comfortable feelings to the visitors and the artwork is all compress in a one area and also the circulation of the artwork.

Level 3 (Anna)In this area the problem is the walling, the ceiling and also the flooring because the interior design on this room is not giving comfortable feelings to the visitors and the artwork is all compress in all the side of area.

Roof Deck (Michael)The coffee bar on the roof deck of the museum they only use that for more chance publicity of the museum its just only the furniture that give beauty to the rooftop of the museum. The roof deck has a bigger space not only in a one place of the roof deck and also the flooring of the roof deck isnt comfortable for a coffee bar.

CHAPTER IVRESULT AND DISCUSSION

4.1 Analysis of the Existing BuildingThe general goal of these projects is to meet these facilities standards for new projects. Renovation designs must satisfy the immediate occupancy needs and anticipate additional future changes. As they are remodeled, building systems should become more flexible and adaptable to changing occupancy needs.In the first instance, the aim should be to satisfy the program requirements within the parameters and constraints of the existing systems. The smaller the area in comparison to the overall building, the fewer changes to existing systems should be attempted. Components, equipment and construction should match the existing as much as possible to facilitate building maintenance.In the second case, the opportunity exists to approximate the standards and flexibility of a new building, within the limits of the existing space and structural capacity.In general, alterations in significant spaces should be designed contextually to blend with original materials, finishes, and detailing, and to ensure a uniform and inviting first impression. When substantial repairs or alterations are undertaken in significant and highly visible locations, opportunities should be sought to restore original features that have been removed or insensitively altered, to reestablish the original design integrity of the space. Alterations affecting the configuration of significant spaces should be as transparent as possible, using glass and contemporary materials, as appropriate, to minimize the visibility of the alterations while subtly distinguishing new construction from original construction.

4.2 Design PrincipleInterior design is the process of shaping the experience of interior space, through the manipulation of spatial volume as well as surface treatment. Not to be confused with interior decoration, interior design draws on aspects of environmental psychology, architecture, and product design in addition to traditional decoration. Interior design is a creative practice that analyzes programmatic information, establishes a conceptual direction, refines the design direction, and produces graphic communication and construction documents. There are many principles of design; everyone understands the importance of balance. An unbalanced interior space can be uncomfortable. There are instances when this is the desired effect, but for the majority of spaces one goal is visual balance. This is achieved by distributing the visual weight of objects within a space to achieve a feeling of equilibrium. The size, color, texture, shape of an element can change its visual weight. For example, larger, darker, brighter, highly textured, complexly shaped objects typically feel heavier and require balance through the placement equally heavy items or multiple less heavy items. Balance can also be achieved in three ways: symmetrically, asymmetrically and radically.

4.3. Design ConceptAn Eco-Friendly is an approach to design of a product with special consideration for the environmental impacts of the product during its whole lifecycle.

1. Create and reshape their environment whit the aid of practical experimentation.2. Used a material that will not affect the museum such as wood, glass, and metal to combine and create household furniture.3. Detailed of the wallpaper and wall painted.

Functional Techniques:

Austerity ConsistencyBalance ReliabilityStability OrganizationGeneralization SimplicityRefinement Eligibility Harmony

4.4. Design ConsiderationMuseo Orlina in Tagaytay City is a grand reflection of its owners various artistic feats and ongoing passion to create beautiful sculptures from glass, the medium that has established Ramon Orlina in the art firmament.The Museo Orlina, which consists of oversees the planning of activities and events that further enhance the museums role as an artistic centre. The museum is committed to support and promote public interest, awareness, knowledge, education, understanding and enjoyment of modern and contemporary art (visual art) in the Philippines and abroad.An art space not just for Orlinas signature glass pieces but for all forms of art by his artist-friend. In this four-story modern building having an area 20.03 meters by 9.10 meters and was divided into different area having different artifacts on it. It is simple having its light color and modern materials on it. On the first floor you can see the reception lobby, the reflection gallery and other work of an artist that were accentuated with pin light and track lights. The reflections gallery spills onto the lower level that opens up through a doorway to the sculpture garden. The second floor you can see it contains two galleries. One gallery exhibits the early pieces that paved distinct directions to the immense potentiality of glass. The other gallery exhibits his more recent works, a veritable treasure trove of unrivalled Orlina masterpieces. The third floor gallery showcases the maquettes and photographs of Orlinas monumental indoor and outdoor works here and abroad over a span of three decades. The roofdeck the windswept terrace opens up to the Museum with a view of the Taal lake and volcano and also where the greenbean cafe.The ECO-Friendly it will surely enjoy the museo orlina and add life to the work of orlina and also captured the attentions of the tourist that will visit the museo orlina. Its new style it will have a clean, factional fixture and other materials that will complete the missing pieces of the museo orlina.AestheticTo be more pleasing, the space needs a proper for furniture, color, accessories, and lighting for the entrance, the looby, and the roofdeck to improve to the interior style.CirculationCirculation refers to the way people move through and interact with a building. In public buildings, circulation is of high importance; for example, in buildings such as museums, it is key to have a floor plan that allows continuous movement while minimizing the necessity to retrace one's steps, allowing a visitor to see each work in a sequential, natural fashion. Structures such as elevators, and staircases are often referred to as circulation elements, as they are positioned and designed to optimize the flow of people through a building.LightingThe lighting in a home changes the mood of a room just as it does the perceived size of a room. Placement and type are important aspects of interior design, and they work in conjunction with color selections, room size, availability of natural light and furniture selection. The elements that come together when the right lighting is achieved transform a room into a seamless combination of functionality and style.VentilationVentilation should give a attention because if the environment which includes the atmosphere around, facilitate concentration and induces one relax.ColorThe quickest, the most dramatic, and the most reasonable way in which to create instant change in a room is through the use of color. A fresh coat of paint will instantly revitalize an interior, camouflage cosmetic problem, and minimize architectural defects. Paint can completely change the atmosphere of a room, establish harmony within a dcor, create illusion, and accent an interior withpersonal style.

MaterialsMaterial like metal, wood, and glass are mostly common used in interior design.ComfortableComfort in museum should feel ease inside so the materials should everything has to be chosen wisely. It the tourism is satisfaction and achieved the interior style.

4.5 Design ObjectiveThe Museo Orlina is already pleasing to the eye but still something is missing. The Design Concept aims to fulfil the need of the museo. Design Concept is an approach to design of a product with special consideration for the environmental impacts of the product during its whole lifecycle.

Design Concept objective intends to:

1. To make the museo orlina more comfortable in all aspects using ECO-Friendly.2. To maximize the given space due to its limited area.3. Given new texture to the whole place for it to be more eye catching and functional.4. Promote the museo orlina either local or foreign tourism.5. Make the museo orlina always up to date.

CHAPTER VSUMMARY, CONCLUSION, RESOLUTION

5.1 Summary1. Museo Orlina is the showcase of the artistry of internationally acclaimed Ramon Orlina, pioneer and foremost practitioner of glass sculpture in the country.2. The design concept of an ECO friendly is an approach to design of a product with special consideration for the environmental impacts of the product during its whole lifecycle. By designing a museum interior it is different to other designing and planning a structure of a museum there is also many to consideration that must be set and to known to come up with idea that should be followed for standardization.3. In this study is to discover the simplicity and organization that can affect the positively of the museo orlina and also to support nad promote public interest, awerness, knowledge, education, understanding and enjoyment of ECO-Friendly. It also adds life to the work of orlina and also captured the attentions of the tourist that will visit the museo orlina it will somehow live a lesson and learning to anyone that will visit the museo orlina.

5.2 ConclusionThis study will be significant to attempt in promoting good conceptual design work in the museum. In order to investigate the question of what can serve as an appropriate solution to effectively cater to the museum; this study confronted the modernist solution of spatial neutrality. It was argued that a neutral relationship between art and space has been, and continues to be understood as the appropriate solution, theory, and aesthetic for art related spaces in most contexts. However, as demonstrated in the theoretical investigation, this solution is problematic and detrimental to the development of the interrelation of art and space. 1. Most people have heard the term eco-friendly or green interior design. But, not everyone understands exactly what it means. Green or eco-friendly interior design focuses on improving indoor air quality as well as reducing the impact that furniture purchases have on the environment.2. One of the great benefits can bring to all these initiatives is to encourage creative thinking, for example by bringing artists into many different contexts. This has seen creativity spreading to the areas around the museum through the active participation ofthe tourism. It'sabout continuing a dialogue, often through small projects which on their own may seem incidental but, when viewed as a whole over time, this more considered, natural and inclusive approach tochange the model for the future, replacingold-fashioned and outdatedthe museum.3. Circulation area of the existing facility which provides people with access to the all of the spaces within the building. There are specific regulations about circulation area which are designed to make sure that this space meets accessibility and safety requirements for building users. 4. The design aspect that is needed is to starts with a planning design and financing continues until the structure is ready for construction. The designer usually meets face to face with the client to find out how the space will be used and to get an idea of the clients preferences and budget.5. Any design concept needs a requirement, like Place plants as decoration, Let sunlight in, Use organic and natural materials, Use energy-efficient lighting, Choose products with low voc content, Use energy efficient windows, Choose eco-friendly wall coverings, and Have furniture from natural woods, Use wool-stuffed organic materials.

5.3 ResolutionThe proponent gathered and analyzed some data about different preferences that are related the design of the whole interior to come up with a good and satisfying whole. Under this are the different areas with the respective proposed design.

Receiving and information areaFloor Treatment: Pergo Presto Walden Oak 8 mm Thick x 7-5/8 in. Wide x 47-5/8 in.Wall Treatment: Oak wood planksCeiling Treatment: Pergo XP Hand Sawn Oak 10 mm Thick x 4-7/8 in. Wide x 47-7/8 in.Lighting: Pin Light Fixture Droplight FixtureFurniture: Wooden Reception Desk Moon Bar Stool Barcelona Chair Eileen side table DividerLevel 1Floor Treatment: Oak Wood PlankWall Treatment: Sospiri with Wooden Wall DecorativeCeiling Treatment: Flat Eco-Wood Ceiling 40x55mm

Lighting: Track Light Fixture Pin Light Fixture

Level 2Floor Treatment: Oak Wood PlankWall Treatment: Sospiri with Wooden Wall DecorativeCeiling Treatment: Flat Eco-Wood Ceiling 40x55mm

Lighting: Track Light Fixture Pin Light Fixture

Level 3Floor Treatment: Oak Wood PlankWall Treatment: Sospiri with Wooden Wall DecorativeCeiling Treatment: Flat Eco-Wood Ceiling 40x55mm

Lighting: Track Light Fixture Pin Light FixtureRoof Deck (Michael)Floor Treatment: Iron Wood Resilient Vinyl Plank FlooringLighting: Pine Cone Light Fixture Pin Light FixtureFurniture: Malibu Arm Chair Malibu Coffee Table Malibu Chair

Lower LevelFloor Treatment: Oak Wood PlankWall Treatment: Wall Mounted Decorative PanelCeiling Treatment: Wood Ceiling Details Lighting: Track Light Fixture Pin Light Fixture67