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Alfred Waterhouse changed the design from Renaissance to German Romanesque, which came to be known as the Waterhouse building up to today. This is an analytical survey at the museum’s space in relation to its interior, creator and the 19Th century society.
The space inside the museum is extensive with beautifully decorated ceiling panels displaying pictures of plants from all over the world. The museum has extensive halls that house different departments within the museum. The entrance to the museum is located between two towers representing the Victorian style of architecture. There are rounded arches, made of bricks, and layered with terracotta. This design was inspired by the basalt columns at Fingals cave in western Scotland. Inside the entrance, there is a large hall with a grand staircase that leads up to the second floor that houses the galleries. Albert Waterhouse’s artistic mind made him leave the bare iron and glass exposed to express the beauty of the building materials. The outer design comprising of terracotta was both for aesthetic purpose and practical reasons (Anderson, 2004 p5). The blue colour, of the terracotta designed in relief, portrays different plants and animals as well as offering protection from the characteristic Victorian acidic smog.
The halls in the museum are high ceilinged creating a comfortable ambience for visitors. High above the halls, there is an exhibition of sorts in the form of panels that depict various species of plants from around the world. The painted panels, on the ceiling, are in dark shades, which make the ceiling appear lower than it is. This makes a person feel intimate with the room; the vast spaces do not overwhelm people. The lighting in the museum is cleverly done so as not cause reflective glares when viewing the exhibits. The light emanates from hidden lighting sources on the walls and panels for effect and for protecting the exhibits from
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