CASE STUDY ON MUSEUM

LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

ACKNOWLEDGEMENT

We would like to express our special thanks of gratitude to our Architectural Design teacher “ Ar. Indrani Dhar and Ar. Amitava Bhattacharya for their able guidance and support in completion of this case study.

We would also like to extend our gratitude to our H.O.D Ar. Vivekanand Bhuiya for providing us with all facilities that was required for this case study .

DATE :

ANWESHA DUTTA JOYANTI CHOWDHURY MD. TAQUIR ZAFAR PAMELA PODDAR RITU OJHA SOUMITA BAIDYA 4TH YEAR , 8TH SEMESTER B.ARCH

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

PREFACE

It is a great opportunity for us to have the BACHELOR OF ARCHITECTURE in RANI ASHMONI SCHOOL OF ARCHITECTURE , DURGAPUR . In accomplishment of this degree we are submitting a project report on “ MUSEUM “ . Subject to the limitation of the time efforts and resources every possible attempt has been made to study . “Architecture is the art of spaces . The human feelings are influenced by architectural space from time to time . Relating to the design of a museum , it evokes a certain feeling , memory of a historical event .

A theoretical as well as practical key issue in museum and galleries is how to layout of space interacts with display to create effect.”

The whole project is measured through analysis and the result was obtained.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

INDEX INDIAN MUSEUM KOLKATA

1 . INTRODUCTION & RELEVANCE 2 . SITE ANALYSIS 3 . FACILITIES PROVIDED 4 . FLOOR PLANS 5 . AREA CHART AND ANALYSIS 6 . AGE ANALYSIS 7 . ARCHITECTURE OF THE MUSEUM 8 . GALLERIES 9 . AUDITORIUM 10 . FIRE SAFETY 11 . INFERENCE 12 . CONCLUSION 13 . BIBLIOGRAPHY THE GUGGENHEIM MUSEUM , NEW YORK

1 . INTRODUCTION 2 . RELEVANCE 3 . SITE 4 . AREA PROGRAMMING 5 . DESIGN AND STRUCTURE 6 . ZONING 7 . LIGHTING 8 . OBSERVATION 9 . INFERENCE 10 . CONCLUSION 11 . BIBLIOGRAPHY

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INDIAN MUSEUM, KOLKATA

III

LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

INDIAN MUSEUM, KOLKATA INTRODUCTION: Every room hides a million tales. Every brick smells of a history, made immortal. Such is the magnificence of the Indian Museum.

 The Indian Museum in Kolkata, West Bengal, India, also referred to as the Imperial Museum at Calcutta in colonial-era texts, is the ninth oldest museum in the world, the oldest museum in India, and the largest museum in India.  It was founded by the Asiatic Society of Bengal in Kolkata, India, in 1814. The founder curator was Nathaniel Wallich, a Danish botanist.  It has rare collections of antiques, armour and ornaments, fossils, skeletons, mummies and Mughal paintings.  It has six sections comprising thirty five galleries of cultural and scientific artifacts namely Indian art, archaeology, anthropology, geology, zoology and economic botany.  Many rare and unique specimens, both Indian and trans-Indian, relating to humanities and natural sciences, are preserved and displayed in the galleries of these sections.  In particular the art and archaeology sections hold collections of international importance.

RELEVANCE: The museum which was known in the beginning as the "Asiatic Society Museum" subsequently came to be known as the "Imperial Museum" later familiarized as the "Indian Museum". The museum is more familiar by the name Jadughar or Ajabghar among the visitors.

Previously in central courtyard of museum there was Char bag garden. Due to maintenance Char bag concept has been removed

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

SITE LOCATION:

India

Kolkata

 Established on:

         

2nd February

1814, 207 years ago

• Site Plan

Established by: The Asiatic society of Bengal Location: 27, Jawaharlal Nehru Road, Park Street, Kolkata, West Bengal 700016 Coordinates: 22.5579° N, 88.3511° E Area: The building has three floors, each spanning across an area of around 930 square metres.

Other Names: Jadu Ghar or The House of Magic.

Collections: Indian Art, Archaeology, Anthropology, Geology, Zoology and Economic Botany.

No. of Collections: 1,02,646 (as of March 31,2004) Architect: Walter Granville (Architect of Victorian Period) Architectural Style: Neoclassical

CLIMATE :      

• Sun Path Diagram

• Wind Rose Diagram

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

THE VARIOUS FACILITIES PROVIDED BY THE INDIAN MUSEUM : TICKET COUNTER

You may book and buy tickets from the Ticket Counter

INFORMATION DESK

For any information regarding museum, please contact the information desk.

DRINKING WATER

R O filtered drinking water facilities provided in the ground floor corridor of the main Indian museum building which is located juxta positioned between the corridor and the public convenience building.

DIFFERENTLY ABLED VISITORS

(1) Wheelchairs are available (2) Lift facility is there (3) Ramps at appropriate places (4) Specialized Washrooms for Differently abled Visitors.

CAFETERIA

Cafeteria is open for visitors from 12 PM – 3PM. Lunch is available.

Cafeteria is closed on 2nd Saturday sometimes, and also on certain Sundays.

Located in the backside of the Museum

LIBRARY

Indian Museum library houses a vast collection of fifty thousand books and journals along w ith many rare and unique publications. Books and Journals are available on Museology, Archaeology, Anthropology, Art, Botany, Zoology, Geology, etc.

MUSEUM SHOP

This is open for the sale of Books, Children's books, Indian Museum publication consisting of Bulletins, Catalogues, Art Albums, Picture Postcards, replicas and photographs.

WASHROOMS

Washrooms available for Female and Male

ASUTOSH BIRTH CENTENARY HALL AND AUDITORIUM

Temporary Exhibition, Special Lectures, Seminars, Workshops, Cultural programs are held at ABC Hall and Auditorium. It is also available on rent.

For information, Contact: Education Officer or Hall Assistant Located in the back side of the Museum.

FACILITIES FOR SCHOOL

School Students get a full concession on their entry. Schools can give prior information of their visit through an email to the Director or to the Education officer of the Museum and bring a letter of their school citing the free entry of students and get permission by the Museum authorities on their day of visit.

GALLERY STATUS

Galleries open for public – Bharhut, Gandhara, Coin, Long Archaeology, Human Evolution, Rocks and Minerals, Terracotta and Minor Arts, Siwalik, Invertebrate Fossils, Painting, Egypt, Bird, Reptile, Amphibia, Fish, Textile and Decorative Art and Mask Gallery.

Certain Galleries are closed for renovation

EMERGENCY EXIT

Emergency exit available for any emergency

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

 GALLERIES  ARCHAEOLOGY

1. Bharhut 2. Gandhara 3. Coin 4. Sculptures(Archaeology) 5. Bronze 6. Prehistory 7. Terracotta & Minor Art 17. Egypt

 GEOLOGY 10. Rocks & Minerals

11. Earth & Meteorites 12. Siwalik Vertebrate Fossil 24. Invertebrate Fossil

 BOTANY 23. Industrial Botany  ART 13. Bengal Painting 14. Oil Painting 15. Textile 16. Decorative Art

 ANTHROPOLOGY 8 . Human Evolution

9. Cultural Anthropology 25. Mask

 ZOOLOGY 18 . Amphibia, Reptiles & Birds 19. Fish 20. Insects 21. Large Mammal 22. Animal Ecology

 SUPPORT UNITS S1. Education S2. Library S3. Security

 VISITOR FACILITIES & SERVICES V1. Ticket Counter, Cloak Room, Wheel Chair V2. Information Desk V3. Elevator V4. Exit V5. Washroom (Female)

V6. Washroom (Male) V7. Museum Shop V8. Cafeteria V9. Auditorium V10. Emergency Exit

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

AREA CHART OF INDIAN MUSEUM : GROUND FLOOR AREA

FUNCTION

1 2 3 4 5

6 7 8 9 10

11 12 V1 V2 V3

S1 S2 S3 COURT YARD CORRIDOR

FIRST FLOOR AREA

FUNCTION

IN SFT

IN SQM

2350

218.4015

13

1810

168.2156

14

2225

206.7844

15

6050

562.2677

16

1810

168.2156

16-

6800

631.9703

17

650

60.40892

1810

168.2156

7590

705.3903

6050

562.2677

1810

168.2156

2350

218.4015

600

55.76208

3025

281.1338

290

26.95167

320

29.73978

4950

460.0372

1550

144.052

12200

1133.829

10000

929.368

18 19 20 21 22 23 24

IN SFT

IN SQM

2600

241.6357

2350

218.4015

2225

206.7844

4950

460.0372

1550

144.052

615

57.15613

6050

562.2677

1810

168.2156

1810

168.2156

6800

631.9703

905

84.10781

905

84.10781

6050

562.2677

SECOND FLOOR 25

2200

204.461

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

CIRCULATION DIAGRAM – F.F

CIRCULATION DIAGRAM - G.F

BUILTUP AREA DISTRIBUTION

AREA DISTRIBUTION

[PERCENTA GE]

11% 25%

[PERCENTA [PERCENTA GE] GE] GALLERIES

OPEN SPACE CORRIDOR SPACE CLOSED SPACE

ADMINISTRATION SERVICE

SPACE

[PERCE NTAGE ]

AREA-Sq.FT

AREA – Sq.m

OPEN SPACE

12200

1133.829

CLOSE SPACE

42240

4631.97025

CORRIDOR

10000

929.368

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Attendance at Museum Age distribution

19%

27%

30-39 years 40-49 year 50+ years 0-9 years

16%

10-19 years 5%

8%

25%

20-29 years

THE AGE DISTRIBUTION OF PEOPLE ENTERING A MUSEUM IS SHOWN IN THE PIE GRAPH

Student Middle age Senior Citizen

NUMBER OF VISITORS PER MONTH IN SUMMER

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

ARCHITECTURE OF INDIAN MUSEUM :  The architecture of the Indian Museum resembles a simplistically designed grand white Neoclassical-style building. Each floor houses colonnaded pavilions and massive halls.  The museum was completed in 1875 at a total expense of INR 1, 40,000. The building has three floors, each spanning across an area of around 930 square meters.

 Entrance Gate.

 Window, inviting day light.

 Bilateral Symmetrical layout.

 Staircase.

 Elegant balustrades & lamp standard.

 2.4m wide, Colonnaded Corridor.

 Natural & Artificial light in galleries.

 Huge Central Courtyard.

 Doric Columns fused with Arch opening.

 View form cor-ridor of 1 st floor.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

The total area is divided into thirty five galleries, whose sizes vary depending on what they feature. These are broadly classified under six sections, namely,​

​ Archaeological or that which preserves sculptures belonging to the Mathura and Gandhara styles of art, Egyptian artefacts and over 50,000 coins from different dynasties, dating as far back as the 5th century BC​.

Replica of reminents of sanchi stupa

Space in between columns Bharhaut & gandhara gallery

Gandhara styles of art

View showing the arrangement of the gallery

The adjacent picture of the gallery showcases the presence of long rose windows which was probably used in ancient times for natural lighting but now it has been covered and process for artificial lighting has been provided. The space between 2 columns in kept as an exhibit space and as one can see each exhibit space in artificially lighted .

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Coin Gallery – archeology section

Ceiling - modified

The coin gallery having exhibits on both sides and the ceiling is framed for false ceiling purpose and the upper portion is either used for storing artifacts or may be some office purpose.

Egypt gallery -

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Geological or the one that houses stone and rock specimens, meteorite fragments, fossils, etc.

Orientation of the gallery

Three important galleries in the Museum are maintained by Geological Survey of India. These are the Siwalik Gallery, the Rocks and Minerals Gallery, and the Invertebrate Gallery which contains the collections of the former Geological Museum and those belonging to the Geological Survey of India, together with a certain number of specimens belonging to the Asiatic Society of Bengal.

The picture shows the orientation , skylights and artificial arrangements of lighting

Invertebrate Fossil Gallery The gallery has a wide collection of fossil of Invertebrate Group like Arthropods, Brachiopods, Ammonites, Gastropods, Cephalopods, Bivalves, Echinoids, Corals, etc. from India along with other parts of the world .

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Rock and mineral gallery

Each rocks and minerals are kept in a glass wooden framed box for display and the pic above shows the orientation of the gallery. As one can see that each column is used as a display corner for different types.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Anthropological or the section that depicts the different phases of human evolution, the lifestyle, clothing and habitat of different Indian tribes and the masks they wear for a variety of rituals. It involves : The Mask Gallery, Cultural Anthropology Gallery, PalaeoAnthropology Gallery, and Musical Instrument Gallery.

Human evolution gallery :

In this gallery as one can see that even the corners are used in a creative way by placing a display box right at the corner of the gallery .

The central arrangement showcases the DNA helix and this gallery leads to another pathway through the stairs .

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

MASK GALLERY The Mask gallery was recently made open to public in 2016, after renovation. It is accessible through the Textile and Decorative Art gallery.

The gallery exhibits various masks from West Bengal, Orissa, Assam, Karnataka, and also from Bhutan and New Guinea

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Zoological that has flora and fauna specimens on display. The newly renovated gallery holds a vast collection of unique stuffed mammals from India and around the globe. The galleries under Zoology Section include Fish Gallery, Amphibia and Reptilia Gallery, Insects gallery ,Bird Gallery, Mammal Gallery and Ecology Gallery.

Mammal gallery - There are a total of 314 exhibits, some of which are more than 100 years old. The collection includes stuffed animals, horns, antlers, skeletons, trophy heads, and skulls.

Mammal gallery – orientation , natural lighting , artificial lighting .

Insect gallery

Insects gallery – orientation , natural lighting , artificial lighting .

Central insect display tree

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Bird Gallery: The gallery displays specimen of migratory birds, their behaviural patterns, and ecosystem and survival patterns.

There is also an insect gallery adjacent to the bird gallery.

Birds gallery – orientation , natural lighting , artificial lighting .

Since the height of the museum gallery is quite large as compared to the normal buildings , the upper portion of the gallery is used as a display by creating a small extruded balcony

Amphibia and Reptilian Gallery :

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Fish gallery : Fish gallery is comparatively darker as compared to other galleries as there is no natural lighting facility available and the artificial lights are comparatively poor .

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Economic Botany section which displays specimens related to botanical developments in medicine, agriculture and industry.

The botanical gallery, earlier known as “The Economic Botany Gallery” was launched in 1901 by Sir George Watt showcasing 15,185 exhibits on plant-based economic products. The botanical gallery at the Indian Museum highlights economic botany and wild species of plants. ... “The focus of our collection is on wild plants.

Economic Botany gallery – orientation , artificial lighting . Small columns at the center of the gallery is also used for display

Plan of the gallery

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Art, which showcases paintings, textiles, jewellary, bone art, wood work, pottery, etc. Another important part of the museum building is its colossal library that houses several books and is open to the common people on very basic membership charges.

The orientation of the gallery : upper portion is again used as a secondary display area - as one can see that there is presence of spiral staircase for the access but this area is only used by the official staffs The Painting gallery has 2 main sections viz., Indian Miniatures and Bengal School of Art. The display in the gallery has been organized in a chronological order.

Indian Miniatures: This section contains a substantial number of miniature paintings ranging from Persian, Mughals, Provincial Mughals, Deccan, Rajasthani, Pahari and Company School of Paintings.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Bengal School of Art: It contains the masterpieces from the nineteenth and twentieth century that belong to the Neo-Bengal School of Painting like Rabanindranath Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandalal Bose, Sunayani Devi, Asit Halder, Ishwari Prasad, Abdur Rehman Chugtai, and Jamini Roy. All these have been made using water color. Besides these, PataChitra, certain lithographs and some of the oil paintings of 20th Century Bengal are also on display here.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

The decorative arts section in the gallery embraces some of the aesthetic creations of craftsmen.

This section includes objects of Royal Glazed Earthenware, huge front portion of a Salin monastery and temple façade of Mandalay showing Burmese art, the front piece of a Kathiawar house, objects made of wood, bone, brass, bronze, copper-ware, silver, ivory, jade, bidri, and damascene. These objects were used either for decoration or as ritualistic

Few elements from decorative arts gallery .

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Orientation, arrangement , artificial lighting of the decorative arts gallery – each glass pannel is divided into 2 halves and each pannel has led lights for display.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

TEXTILE GALLERY The textiles displayed in the gallery reflect the exuberant fabrics that are produced in the Indian subcontinent. The collection encompasses colourful fabrics that comprise of cotton, wool as well as silk The displays consists of Shawls of Kashmir, Phulkari chadars of Punjab, mirror works of Kuchh, rumals of Chamba, Benarasi sari from Benaras, Jamdani sari from Dacca, Baluchari and Kantha saris from Bengal, Soznis from Pakistan, and printed fabrics from Lucknow and Chennai.

The arrangement of the gallery – lighting , orientation

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

Ashutosh Birth Centenary Hall in Jawaharlal Nehru Road, Kolkata Location and Overview: Ashutosh Birth Centenary Hall in Jawaharlal Nehru Road, Kolkata is a top player in the category Auditoriums in the Kolkata. This wellknown establishment acts as a one-stop destination servicing customers both local and from other parts of Kolkata.

Products and Services offered: Ashutosh Birth Centenary Hall in Jawaharlal Nehru Road has a wide range of products and / or services to cater to the varied requirements of their customers. The staff at this establishment are courteous and prompt at providing any assistance.

They readily answer any queries or questions that you may have.

SITE PLAN

ENTRANCE SITTING ARRANGEMENT

It has 2 level seating arrangement which allows a good view.

The stage is very tight in length & width Good place to hold exhibitions, meetings, stage Few facilities such as proper acoustics, projection system , proper HVAC system is not availaible.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

FIRE SAFETY PECAUTIONS IN MUSEUM

• •

•

•

Metro found out that a few fire extinguishers in the galleries is all that the museum is equipped with to fight a blaze.

There are no fire detectors or smoke alarms, nor any evacuation plan for visitors. The electric wiring in the older galleries, like the terracotta gallery or the Egyptian gallery where the mummies are kept, have not been changed.

The museum lacks an integrated fire management system. They have different types of fire extinguishers in every gallery. But that is not enough to protect artefacts.

A fire safety manual was prepared after the National Museum of Natural History blaze in 2016 but has not yet been implemented.

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

INFERENCES • • • • • •

• • • •

Natural light replaced to mechanical light Crisis of space in galleries in comparison to specimen Narrow circulation space in galleries No spiral display for exhibit Absence of barricade in fossils gallery Due to lack of maintenance issue charbag in central courtyard has been removed Use of sensor lights in few of the galleries Chaotic organization of artifacts in galleries No provision of lifts and elevators for common people , instead only for the person with disabilities For controlled natural lighting black sheets are fixed onto the windows CONCLUSION

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LIVE CASE STUDY: INDIAN MUSEUM, KOLKATA

BIBLIOGRAPHY Indian Museum- The Museum that Began An Era - Sugam Homes https://indianmuseumkolkata.org/informations/NDc%3D/visitors

https://indianmuseumkolkata.org/ https://kolkatatourism.travel/indian-museum-kolkata https://indianmuseumkolkata.org/cmspages/virtual-gallery

https://indiapl.com/west-bengal/ashutosh-birth-centenary-hall429235 https://www.telegraphindia.com/west-bengal/fire-safety-redflags-at-indian-museum/cid/1670357

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THE GUGGENHEIM MUSEUM , NEW YORK

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

THE GUGGENHEIM MUSEUM , NEW YORK

INTRODUCTION  The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighbourhood of Manhattan, New York City.  It is a landmark work of 20th-century architecture designed

by Frank Lloyd Wright. The cylindrical building, wider at the top than at the bottom, was conceived as a "temple of the spirit".  Its unique ramp gallery extends up from ground level in a long, continuous spiral along the outer edges of the building to end just under the ceiling skylight.  16 year project designed by American architect Frank Lloyd Wright.  The building underwent extensive expansion and renovations in 1992 when an adjoining tower was built, and from 2005 to 2008.  It has a 51,000 ft2 gallery space office, theatre, and retail space .  92ft tall atrium topped with expansive glass dome .  Main ramp coils upward 6 floors, more than ¼ mile.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

RELEVANCE Rebay conceived of the space as a temple of the spirit that would facilitate a new way of looking at the modern piece in the collection . She wrote to Wright “ Each of these great masterpieces should be organized into spaces and only you …. would test the possibilities to do so…. I want a temple of spirit a monument.

Wright held that a building should be a product of its place and its time , intimately connected to a particular moment and site – never the result of an imposed style . It is one of the best examples of art gallery around the world and design on basis of modern contemporary style.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

SITE The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighbourhood of Manhattan, New York City.

Latitude : 40° 46’ 58.728”’ N Longitude : 73° 57 ‘ 32.2956 “ W Connectivity  5.1 km away from Grand Central.  6.0 km away from Pennsylvania Station  29.2 km away from J . F Kennedy International Airport

Climate  Macro Climate : Humid Continental  Average temperature : 12° C  Minimum temperature : 27° C  Maximum tyemperature : - 18° C  Annual Precipitation : 1600 mm  Prevailing Wind Direction : 15 km/ hr North - West

Temperature

Sun Path diagram

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

AREA PROGRAMMING S.N

SPACE

O

1.

2.

NO OF AREA Desig UNITS (In n sq.m) capac ity

ENTRANCE

100

Entrance Lobby

-

300

Reception

1

30

Back Office

1

20

ADMINISTRATION

50

Staff office

5

60

Director General’s Chamber

1

20

Curator office

1

12

Meeting Room

1

40

Staff Rest Room

1

40

Security Monitoring Room

1

20

Server Room

1

20

5/5

30

Restoration Laboratory

1

200

Pantry

1

40

Staff Toilet (M/F)

50

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

3.

4.

5.

EXHIBITION GALLERY

700

Level 1 Gallery

1

200

Level 2 Gallery

1

400

Level 3 Gallery

1

800

Level 4 Gallery

1

800

Level 5 Gallery

1

800

Level 6 Gallery

1

400

Level 7 Gallery

1

200

LIBRARY

-

150

Librarian’s Office

1

20

Cyber Room

1

30

Restaurant

1

200

50

Museum shop

1

100

40

Seminar hall

1

200

50

Toilet (M/F)

10/10

50

60

AMENITIES

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

6.

7.

8.

9.

SERVICES Maintenance

1

200

Janitor Room

1

50

Store

5

200

Housekeeping Centre

1

200

High Tension Control Room

1

200

HVAC

1

200

PARKING

-

200

Staff Parking

-

100

OPEN SPACES

-

Atrium

-

TRANSITION AREA ( 40% OF TOTAL BUILD UP AREA)

TOTAL AREA

40

250 900 3200

11,200 SQ .M

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

USER ACTIVITY USER

VISITOR

ACTIVITY

Visual Experience

Shopping Reading Parking Sanitation Beverages & Food ADMINISTRATI Official Work & ON & SERVICE Monitoring STAFF Services

Meeting

SPACE

Level 1 Gallery Level 2 Gallery Level 3 Gallery Level 4 Gallery Level 5 Gallery Level 6 Gallery Museum shop Library Cyber Room Parking Area Toilet Restaurant Water Foundation Office Server Room Maintanance Janitor Room Store Housekeeping centre High Tension Control Room HVAC Meeting hall Seminar hall 35

INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

WORKERS STAFF

Retiring Beverages & food Sanitation

Staff Rest Room Pantry Staff Toilet

Restoration

Restoration lab Store Reserve Collection

AREA DISTRIBUTION

SITE DISTRIBUTION BUILD UP AREA

TRANSITION SPACE

ATRIUM

OPEN SPACE

PARKING

45%

25% 20% 7%

3%

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

AREA DISTRIBUTION

AREA DISTRIBUTION ADMINISTRATION

EXHIBITION

AMENTIES

SERVICES

18%

LIBRARY

9%

9% 4%

60%

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

DESIGN AND STRUCTURE  Connects the monitor and rotunda, used to feature portecochere, in which a vehicle drove under the bridge to drop off visitors and provided drive access under the structure.

However, in 1975 it was closed off and now houses a bookstore .

 Ten story limestone clad. Constructed in 1992. It was an extension of the four-story annex built in 1968, the present structure occupies the same footprint and incorporates the foundations and framing of its predecessor.  Four floors of exhibition space, three of which are double height, also has office and storage space for mechanical systems.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

 Twelve radial web walls divide the gallery into 70 bays for viewing artwork.  A large glass dome covers the entire rotunda, providing natural lighting inside the gallery.  Skylights line each level of the rotunda, providing natural light along the periphery.

 The gallery walls are 9’6” tall and slope slightly outwards at 97 degrees from the floor.  Designed to hold paintings, the tilt of the gallery walls was intended to replicate the slope of an easel.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

 Designed to hold paintings, the tilt of the gallery walls was intended to replicate the slope of an easel.

 In 1963, the second floor of the monitor was converted into a separate gallery that opens to the main exhibition space .

 In 1980, the monitor’s ground floor was opened to the main lobby. All other floors are utilized for gallery space.  skylights: originally intended to illuminate the painting in natural light, but were changed to artificial to have more controlled light

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

 Glass dome with aluminium frame. 12 ribs, coinciding with the 12 radial “web walls”. The web walls connect at the roof level forming hairpin beams that support the massive central skylight.

 The Guggenheim is primarily composed of reinforced concrete  Normal weight cast in place concrete is the material of the lower levels. Light weight concrete is the material of the interior radial walls and the ramps. Gunite, (or shotcrete: a mixture of concrete and sand that is sprayed through a metal mesh with wooden formwork), is the material used for the exterior of the spiral curved walls.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

 Steel framed windows, Aluminium skylights & Cement plaster soffits on metal lath.  The reinforcing of the shotcrete consists of vertical and horizontal steel bars sandwiched between two layers of welded wire mesh .

 The curved walls are constructed of shotcrete (gunite) which was sprayed onto plywood forms secured every 10 degrees to vertical steel Tees embedded in the walls.

Shotcrete walls are 5 inches thick.  The loads are transferred from the dome to the hairpin ribs, which then transfer into the web walls.  The loads from the floor slab and cantilevered angled walls also trace back to the web walls, which act as shear walls and transfer all loads to the foundation.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

ZONING The museum was designed by zoning of spaces into exhibition spaces , administrative space and other amenities . Spaces were zoned vertically rather than horizontally approach . Four floors of exhibition space, there of which are double height , also have office and storage space for mechanical system.

SECTION

SITE PLAN

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

LIGHTING  Throughout the construction of the Solomon R. Guggenheim Museum, Frank Lloyd Wright, and James Johnson Sweeney, then director of the museum, often disagreed about the building’s design and function. Lighting was an issue that was constantly discussed and that was only resolved after Wright’s death in 1959, when Sweeny hired a lighting consulting firm to improve the visitor’s experience .

 The objective was to make the entire interior of the museum appear bathed in sunlight without shadow. To achieve this, American Lighting Corporation created a complex system of louvered sections and specially designed fixtures. All lights were fluorescent and mixed with sunlight that filtered through skylights. As mentioned in the press release, the result was that “visitors . . . will see completely new concepts of museum and display lighting” that allowed “paintings to seem to float on walls of light.”

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

OBSERVATION The exterior of the Guggenheim Museum is stacked while cylinder of reinforced concrete swirling towards the sky . The museum ‘s dramatic curves of the exterior , however, had an even more stunning effect on the interior . Insida wright proposed “ one great space on a continuous floor “ and his concept was a success.

Walking inside a visitors first intake is a huge atrium rising 92’ in height to an extensive glass dome . Along the sides of this atrium is a continuous ramp uncoil;ing upwards six stories for more than one – quarter of a mile , allowing for one floor to flow into another . The ramp also creates a procession in which a visitors expriences the art displayed along the walls as they climb upwards towards the sky.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

INFERENCES:  To my understanding, The Guggenheim Museum of New York is a masterpiece of F. L. Wright which gives teaches us how we can incorporate nature and organic features in our designs. It shows how to make a building dramatic and give the user a feel of grandeur. It shows how even the slightest change in the usual design elements, sums up to being a totally different, innovative and one of its kind type of a design.

 According to Wright's design visitors would enter the building, take an elevator to the top and enjoy a continuous art viewing experience while descending along the spiral ramp.  F.L Wright always thought in curves and straight lines which held a symbolic significance - triangle = structural unity - circles = suggested infinity - spire = aspiration - spiral = organic process - square = integrity  The tower's simple facade and grid pattern highlight Wright's unique spatial design and serves as a backdrop to the rising urban landscape behind the museum.  Atrium in the center provides natural light to optimize the building efficiency.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

 A monument to modernism, the unique architecture of the space, with its spiral ramp riding to the domed skylight, continues to thrill visitors and provide a unique forum for the presentation of contemporary art.

 Internally the viewing gallery forms a helical spiral from the main level to the top of the museum

CONCLUSION Despite the opinion of critics , there is no doubt that wright design for Guggenheim Museum provides a spatial freedom that is unique to his style . It took wright 700 sketches and six set of working drawing to turn his vision into an extraordinary sculpture of a building overlooking a central park , that in the very least should be acknowledged as one of the most spatially beautiful international – style works of architecture.

Wright also embraced new materials , machinery and technologies . Far from seeing them in opposition to nature , he saw them as allies . Depending upon each other for their integrity , nature would inform and machinery excute a totally new architecture – one where the machine’s capacities transformed natural principles into architectural forms.

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INTERNATIONAL CASE STUDY : THE GUGGENHEIM MUSEUM , NEW YORK

BIBLIOGRAPHY  facult.arch.famu.edu>media [pdf]  https://www.archdaily.com/60392/ad-classicssolomon-r-guggenheim-museum-frank-lloyd-wright  https://www.slideshare.net  https://www.guggenheim.org/  https://en.wikipedia.org/wiki/Solomon_R._Guggen heim_Museum  https://www.britannica.com/topic/GuggenheimMuseum-art-museum-New-York-City

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