YAAD-E-HAADSA : Bhopal Gas Tragedy Memorial

yaad-e-haadsa BHOPAL GAS TRAGEDY MEMORIAL

Submitted by- jayati chopra

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Figure1:  ucil plant Source- NASA Sheets, SPA Delhi, 2011

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DECLARATION The thesis titled YAAD-E-HAADSA - Bhopal Gas Tragedy Memorial has been carried out by the undersigned as a part of Bachelor’s program in Department of Architecture, School of Planning and Architecture, New Delhi, 110002, India under the supervision of Prof. Dr. Mandeep Singh (Design guide) and Ar. Vikas Kanojia (Design + Research guide).

I hereby submit two hard copies of the report for internal and external evaluation respectively.

The undersigned hereby declares that this in her original work and has not been plagiarized in part or full, from any source. Furthermore this work has not been submitted for any degree in this or any other University.

JAYATI CHOPRA A/2580/ 2013 Fifth year Barch, SECTION A School of planning and Architecture

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CERTIFICATE We certify that the thesis titled YAAD-E-HAADSA- Bhopal Gas Tragedy Memorial was by Jayati Chopra roll no. A/2580/2013 was guided by us in January- May 2018 and placed in front of the jury by the candidate on 24-25 th May 2018. On completion of the report in all respects including the last chapter by the candidate and based on the declaration by the candidate herein above we above, we forward the report to the Department to be placed in the library of School of Architecture and Planning, New Delhi.

PROF. DR. MANDEEP SINGH

DESIGN GUIDE

AR. VIKAS KANOJIA

RESEARCH + DESIGN GUIDE

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SYNOPSIS Although Bhopal gas tragedy has become a synonym for Bhopal but even after 34 years there has not been a single structure built to commemorate the tragic incident. The research question that guides this venture is - how a memorial to the victims of Bhopal Gas Tragedy could act as a source of caution, conciliation and commemoration. Although all memorials around the world have almost same ideologies but a unique situation arises as memorials are generally dedicated to an event or person but here it is made to commemorate a series of events that happened on the night of 3rd Dec and aftermath due to injustice and lack of compensation.

The research work inclusive of various articles, news-reports and publications, interviews etc. done till date from the dark night, back in 1984. The potential of “dark tourism� as a facilitator to revitalize the contaminated site and uplift the impoverished neighboured was explored to develop a sensitive design approach. The thesis draws inspiration from various memorials built world-wide and the memorials proposed on the same site. The needs, aspirations and expectation of multiple stakeholders including the survivor community and expected visitors are taken into consideration to arrive at a holistic area program. Further, technology and practices have been suggested that would help overrule contamination of the site. Appropriate construction technology has also been explored as the part of architectural design in-order to support conceptual ideologies.

This thesis report tries to encapsulate the design journey- the designer’s thought process resulting in a designed intervention. Where the academic exercise ends, the interim product hopes to initiate further ideation and constructive debate on this issue, not just from an architectural point of view but through a holistic interdisciplinary approach.

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Figure2:  ucil plant Source- NASA Sheets, SPA Delhi, 2011

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ACKNOWLEDGEMENT I would like to begin by expressing my deep gratitude towards my guides Prof. Mandeep Singh and Shri. Vikas Kanojia for their constant confidence in us and for their valuable advice that helped me shape my thesis better. I would like to extend a vote of thanks to Prof Aruna Ramani Grover for her guidance and help in understanding the process of research better.

I am grateful to Moulshri Joshi Ma’am, Shubham Kesharwani for their energetic outlook, advice and refreshing opinions on the real time issues surrounding my project, which helped me to design better, keeping in mind various aspects like the experience and the image, the community and the visitors, the landscape, urban design and so on. I would also like to thank various people I met on site, site-visits, library and research areas from the guard who had let us in the UCIL premises without permission to the care taker at Shaurya Smarak who explained and showed even the restricted areas.

In the end I would like to thank my parents for their support and words of encouragement, that motivated me to keep working till the very end. For the many experiences and stories that helped me get a better understanding of the tragic situations and sentiments attached with it.

I found inspiration in trusted friends and mentors, but also in unexpected sources. Thank you everyone, named or unnamed for keeping me going !!

JAYATI CHOPRA A/2580/2013

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table of contents DECLARATION CERTIFICATE ACKNOWLEDGEMENT TABLE OF CONTENTS LIST OF SOURCES LIST OF ABBREVIATION

chapter 0 prelude

2 3 5 6 8 14

chapter 1 chapter 2 (A) INTRODUCTION research

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BHOPAL GAS TRAGEDY AND STRUGGLE 17 FOR JUSTICE

24 PROPOSITION 25 THE PROJECT 26 THE NEED AREAS OF RESEARCH 27

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MEMORIAL IN LITERATURE MEMORIAL THROUGH THE EYES OF A SURVIVOR THE TEMPLATE-REMEMBER MUSEUM UNION CARBIDE AS AN INDUSTRIAL HERITAGE SPREAD OF MIC AND EFFECT OF WATER REVITALIZATION OF NEARBY AREAS

30 32 33 34 35 36

chapter 2 (B) CASE STUDIES YAD VASHEM WTC MEMORIAL JALLIANWALA BAGH SHAURYA SMARAK BHOPAL MEMORIAL CASE EXAMPLEJEWISH MUSEUM

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chapter 3 PROGRAM DEVELOPMENT AND COMPONENTS 59

39 42 45 47 50

60 SKILL DEVELOPMENT CENTRE SOCIAL FORESTRY- COMMUNITY FORESTRY 62 MAJOR COMPONENTS OF 63 AREA PROGRAM

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chapter 4 chapter 5 READING THE SITE TECHNOLOGY 71

BHOPAL URBAN GROWTH AND INDUSTRIALIZATION HISTORY OF THE SITE LANDUSE SITE EVOLUTION THE SITE CONTEXT AND CONNECTIVITY SITE PHOTOGRAPHS READING A BROWNFIELD SITE POINTS OF INTEREST SOIL ANALYSIS

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WAYS TO TREAT HAZARDOUS WASTE 82 73 IN - SITU CAPPING 83 73 PHYTOREMEDIATION 84 74 STRATEGIES FOR 86 74 MUSEUM 87 75 CALCULATIONS MATERIAL AND 76 92 STRUCTURE 72

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chapter 6 chapter 7 DESIGN CONCEPT DETERMINANTS 94 SWOT ANALYSIS DETERMINANTS

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chapter 8 chapter 9 DESIGN design DEVELOPMENT104 outcome 117

EXISTING MEMORIALS 99 95 IDEAS BEHIND 101 INITIAL IDEAS 105 96 SITE IMPLEMENTATION 102 STAGES OF DESIGN 107

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LIST OF FIGURES Figure1: ucil plant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Source- NASA Sheets, SPA Delhi, 2011 Figure2: collage- story in brief. . . . . . . . . . . . . . . . . . . . . . 16 Source- Author Figure3: ariel view of the ucil plant in 1984 after the disaster - BY RAGHU RAI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 SOURCE- https://www.ndtv.com/photos/news/bhopal-gas-tragedy-then-andnow-18913#photo-243291 Figure4: baby girl found after the tragedy - RAGHU RAI. . . . . . . . . . . . . . . . . . . .

18 SOURCE- https://www.indiatoday.in/india/photo/bhopal-gas-tragedy-30th-anniversary-warren-anderson-374007-2014-12-02 Figure5: paper clippings. . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Source- Author Figure6: poster collage. . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Source- Author Figure7: INTERIOR VIEW Of THE GROUND FLOOR .33 SOURCE- Author Figure8: INTERIOR VIEW Of THE FIRST FLOOR . . . . 33 SOURCE- Author Figure9: The system that failed. . . . . . . . . . . . . . . . . . . . . 34 Source: SPA LIK sheets, NASA 2011 Figure10: The gas affecected areas of the bhopal city based on mortality rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Source: Layout map of Bhopal city. Bhopal disaster- a personal experience: J. of Loss Prevention in the Process Industries Figure11: chemical reaction of mic with water. . . . . . . 35 Source- The Bhopal Saga by Ingrid Eckerman Figure12: districts of BHOPAL TO THE SOUTH OF BHOPAL . . . . . . . . . . . . . . . . .

36 Source- Author

Figure14: VIEW OF SLUMS ACROSS THE RAILWAY TRACKS. . . . . . . . . . . . . . . . . . . . . . . . .

36 Source- Author Figure15: Slums behind the site. . . . . . . . . . . . . . . . . . . . . 36 Source- Author Figure16: Immediate context around the site. . . . . . . . 36 Source- Author Figure13: LANDMARKS OF BHOPAL TO THE SOUTH OF UCIL. . . . . . . . . . . . . . . . . . . . . .

36 Source- Author Figure17: Longitudinal section through the museum.39 SOURCE- https://es.wikiarquitectura.com/edificio/museo-historico-del-holocau to-yadvashem/#lg=1&slide=2 Figure18: Aerial view of vad vashem. . . . . . . . . . . . . . 39 SOURCE- https://www.archdaily.com/179679/yad-vashem-holocaust-museum-safdie-architects Figure19: SITE MAP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Source - http://peace.maripo.com/x_israel_ yad_ vashem.htm Figure23: SITE PLAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Source- http://peace.maripo.com/x_israel_ yad_ vashem.htm Figure20: Hall of names Source- https://www.archdaily.com/179679/yad-vashem-holocaust-museum-safdie-architects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Figure24: detail plan of memorial museum. . . . . . . . . 41 Source: http://www.logos-ministries.org/images/yad v_ ashem_ history_ Figure21: Observation terrace Source- https://www.archdaily.com/179679/yad-vashem-holocaust-museum-safdie-architects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Figure22: Central spine- museum. . . . . . . . . . . . . . . . . . 41 Source- https://www.archdaily.com/179679/yad-vashem-holocaust-museum-safdie-architects Figure25: ARIEL VIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Souce: https://en.wikipedia.org/wiki/National_ September_11_ Memorial_%26_ Museum Figure26: The World Trade Center site prior to the September 11 attacks and

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Preliminary site plans for the World Trade Center rebuild.. . . . . . . . . . . . . . . . . . . . . . . .

43 Source: https://en.wikipedia.org/wiki/World Trade Center site Figure27: site section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Source: https://www.archdaily.com/272400/national-september-11-memorial-handel-architects-with-peter-walker Figure28: site plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Source: https://www.archdaily.com/272400/national-september-11-memorial-handel-architects-with-peter-walker Figure30: museum section. . . . . . . . . . . . . . . . . . . . . . . . . 44 Source: thttps://www.archdaily.com/272338/national-september-11-memorial-museum-davis-brody-bond Figure29: floor plan at -1 level and floor plan at -2 level . . . . . . . . . . . . . . . . . . . . .

44 Source: https://www.archdaily.com/272400/national-september-11-memorial-handel-architects-with-peter-walker Figure32: activity around parapet of the fountain with inscribed names of the victims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Source: https://inhabitat.com/nyc/911-memorial-museums-design-honors-the-history-and-recovery-of-ground-zero/911-memorial-museum-impact-steel-below/vv Figure31: last column view inside the museum. . . . . . . 44 Source: https://www.archdaily.com/272338/national-september-11-memorial-museum-davis-brody-bond Figure33: memorial monument. . . . . . . . . . . . . . . . . . . . . 45 Source: http://punjab.punjabkesari.in/punjab/news/jallianwala-bagh-amritsar-640061 Figure34: bullet marks on the wall. . . . . . . . . . . . . . . . . 46 Source-Author Figure36: the martyr’s well. . . . . . . . . . . . . . . . . . . . . . . . . 46 Source- Shubham Kesharwani Figure35: entrance to the bagh. . . . . . . . . . . . . . . . . . . . 46 Source-Author Figure37: AERIAL VIEW OF THE SITE. . . . . . . . . . . . . . . 46 Source- Google Earth Figure38: aerial view of the site. . . . . . . . . . . . . . . . . . . 47 Source- Google Earth Figure39: CONCEPTUAL SITE PLAN WITH ENTRANCES AND PARKING Source- Alok Kr. Kureel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

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11 Figure40: museum plans. . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Source- Alok Kr. Kureel Figure41: schematic diagram explaining concept. . . 49 Source- Alok Kr. Kureel Figure44: installation dedicated to the soldiers. . . . . 49 Source- Author Figure42: entrance to shaurya smarak. . . . . . . . . . . . . 49 Source- Author Figure45: interior of the underground museum gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . .

49 Source- Author Figure43: inaugural stone . . . . . . . . . . . . . . . . . . . . . . . . . 49 Source- Author Figure46: shaurya stambh. . . . . . . . . . . . . . . . . . . . . . . . . . 49 Source- Author Figure48: conceptual space-subspace representation. . . . . . . . . . . . . . . . . . . . . . . . . . . .

50 Source- Thesis report, Shubham Kesharwani Figure49: conceptual space-subspace representation.50 Source- Thesis report, Shubham Kesharwani Figure50: conceptual space-subspace representation. . . . . . . . . . . . . . . . . . . . . . . . . . . .

50 Source- Thesis report, Shubham Kesharwani Figure47: design determinants . . . . . . . . . . . . . . . . . . . . 50 Source- Thesis report, Shubham Kesharwani Figure52: model showing structural system. . . . . . . . . 51 Source- Thesis report, Shubham Kesharwani Figure53: section through the museum. . . . . . . . . . . . 51 Source- Thesis report, Shubham Kesharwani Figure51: site plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Source- Thesis report, Shubham Kesharwani Source- Thesis report, Shubham Kesharwani Figure56: view of the memorial garden . . . . . . . . . . . 52 Source- Thesis report, Shubham Kesharwani Figure54: section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Source- Thesis report, Shubham Kesharwani Figure57: view of the doomsday tower . . . . . . . . . . . 52

YAAD -E - HAADSA 12 Source- Thesis report, Shubham Kesharwani Figure55: model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Figure58: aerial view- jewish museum. . . . . . . . . . . . . . 56 Source-https://www.inexhibit.com/case-studies/daniel-libeskind-jewish-museum-berlin/ Figure59: VOID AXIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Source-Josh Mollman, Daniel Libeskind Figure63: VIEW WITH WINDOWS. . . . . . . . . . . . . . . . . 57 Source- https://in.pinterest.com/pin/211880357440454409/?lp=true Figure60: FUNCTIONING OF THE MUSEUM. . . . . . 57 Source- https://www.pinterest.co.uk/pin/445293481882459398/ Figure62: VOID interior. . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Source- https://www.inexhibit.com/case-studies/daniel-libeskind-jewish-museum-part2/ Figure61: AXIS OF HOLOCAUST AND AXIS OF EXILE. . . . . . . . . . . . . . . . . . . . . . . . . .

57 Source-https://www.inexhibit.com/case-studies/daniel-libeskind-jewish-museum-berlin/ Figure64: inferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Source-http://2.bp.blogspot.com/-lPpg9UkkNaI/UEjo6VBSQRI/AAAAAAAAAMg/ s1YgB71wnpk/s1600/Screen+shot+2012-09-07+at+1.17.11+AM.png Figure66: finished wood lacquer products. . . . . . . . . 60 Source: http://gaatha.com/budni-lacquer-craft/ Figure65: paper mache finished products. . . . . . . . . . 60 Source: http://gaatha.com/papier-mache-bird-ujjain/ Figure69: finished maheshwari sarees. . . . . . . . . . . . . . 61 Source: https://www.craftsvilla.com/blog/maheshwari-sarees-the-process-of-weaving-a-maheshwari/#Weavingprocess Figure67: finished dhokra brass show piece. . . . . . . . 61 Source: https://www.quora.com/What-does-Dhokra-mean Figure70: loom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Source: https://www.craftsvilla.com/blog/maheshwari-sarees-the-process-of-weaving-a-maheshwari/#Weavingprocess Figure68: finished beadwork on a batua. . . . . . . . . . 61 Source: https://glowroad.com/the-india-craft-house-beadwork-potli-bags-exclusive-from-bhopal-dull-gold-on-gold-colored-satin-silk/az/B01IINKFBE Figure71: social forestry. . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Source- http://www.bureauveritas.co.in/home/clients/success+stories/sc+-+id-

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d+-+new+itc+foresty Figure72: view of tajul masjid. . . . . . . . . . . . . . . . . . . . . . 72 Source: http://www.tripsbank.com/city/bhopal-218.html Figure73: UCIL FACTORY WITH CONTEXT. . . . . . . . . 73 Source:Bhopal 2011, Landscape of memory Figure74: URBAN GROWTH AND INDUSTRIALIZATION. . . . . . . . . . . . . . . . . . . . . . . . . . .

73 Source:Bhopal 2011, Landscape of memory Figure86: connectivity of the site with railway stations and airport. . . . . . . . . . . . . . . .

76 Source: Author Figure87: immediate context + connectivty + demarcation of different views . . . . .

76 Source: Author Figure75: VIEW FROM THE FLYOVER TOWARDS THE SITE . . . . . . . . . . . . . . . . . . . . . . . .

76 Source: Author Figure76: VIEW OF THE FLYOVER FROM THE SITE. 76 Source: Author Figure77: VIEW OF UCIL PLANT STRUCTURES FROM THE ROAD. . . . . . . . . . . . . . . .

76 Source: Author Figure78: VIEW OF NEW BOUNDARY WALL CONSTRUCTED. . . . . . . . . . . . . . . . . . .

76 Source: Author Figure79: WAILING LADY WITH THE GRAFFITI ON THE WALL. . . . . . . . . . . . . . . . . . . .

76 Source: Author Figure80: STRUCTURES IN THE SOUTHERN EDGE OF THE SITE. . . . . . . . . . . . . . . . . .

76 Source: Author Figure81: NEW BOUNDARY WALL BEING BUILT. . .76 Source: Author Figure82: OTHER PARTS OF THE FACTORY USED AS OFFICE. . . . . . . . . . . . . . . . . . . . .

76 Source: Author Figure83: ABANDONED FACTORY STRUCTURE. . . 76 Source: Author

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Figure84: FLARE TOWER. . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Source: Author Figure85: VENT GAS SCRUBBER. . . . . . . . . . . . . . . . . . 76 Source: Author Figure88: SEVIN+ MIC PLANT. . . . . . . . . . . . . . . . . . . . . 79 SOURCE-Author Figure89: statue of wailing lady. . . . . . . . . . . . . . . . . . . . 79 SOURCE-Author Figure90: protest wall transformation. . . . . . . . . . . . . . 79 SOURCE-Author Figure91: Places at UCIL where contaminants were tested. . . . . . . . . . . . . . . . . . . . . .

80 Source-Action plan Environmental Remediation in and around UCIL, CSE, 2013 Figure92: contaminants found. . . . . . . . . . . . . . . . . . . . . . 80 Source-Action plan Environmental Remediation in and around UCIL, CSE, 2013 Figure93: remediation plan for plant site according to cse 2013 report. . . . . . . . .

80 Source: http://www.indiaenvironmentportal.org.in/media/iep/infographics/Bhopal%20Gas%20Disaster/index.htm Source- Author Figure96: EARLIER SITE - HEAVILY CONTAMINATED.83 Source- Strategic Contaminated Soil Placement by Gustafson Porter Figure94: PROPOSED steps FOR in-situ capping. . 83 Figure97: SITE AFTER REMEDIATION- CUT AND FILL AREAS. . . . . . . . . . . . . . . . . . .

83 Source- Strategic Contaminated Soil Placement by Gustafson Porter Figure95: SPECIAL CASE FOR PRESERVATION OF EXISTING TREES. . . . . . . . . . . .

83 Source- Strategic Contaminated Soil Placement by Gustafson Porter Figure99: different ways of phytoremediation. . . . . . 84 Source: https://en.wikipedia.org/wiki/File:PhytoremediationP_rocess_-_svg.svg Figure98: different speices helpful in phytoremediation sunflower, carrots, bamboo, cabbage, spinach, cauliflower. . . . . . . . . . . . . . 84 Source- Author Figure101: building above ground and below ground.86 Source- http://www.homeintheearth.com/techn_ otes/basics-of-earthsheltering/ Figure100: insulation and waterproofing detail for roof. . . . . . . . . . . . . . . . . . . . . . . . .

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13 Source- https://visual.ly/community/infographic/business/flat-roof-green-garden interior lighting power by building area method Figure102: ucil factory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Source-http://www.rediff.com/business/slide-show/slide-show-1-bhopal-tragedy-toxic-waste-continues-to-contaminate-water/20110720.htm Figure103: survivor community. . . . . . . . . . . . . . . . . . . . . . 99 Source- https://www.newskarnataka.com/health-lifestyle/bhopal-gas-tragedy-manywomen-couldnt-become-mothers-again Figure105: various trees on site. . . . . . . . . . . . . . . . . . 100 Source- Kumar Rahul Verma Figure106: tree- symbol of victory. . . . . . . . . . . . . . . . 100 Source- https://drawception.com/panel/drawing/VyuJ6336/strong-tree/ Figure104: statue of the wailing lady. . . . . . . . . . . . . 100 Source- http://www.terrainspotter.com/city-siting-on-a-tragedy--bhopal.html Figure107: IDEAS BEHIND. . . . . . . . . . . . . . . . . . . . . . . . . 101 Source- Author Figure108: design implementation. . . . . . . . . . . . . . . . . 102 Source-Author Figure109: CONCAVE WELCOMING PLAZA. . . . . 102 Source- Author Figure110: BUILT THAT FRAMES MIC. . . . . . . . . . . . . . 102 Source- Author Figure111: COURTYARD TYPOLOGY TO PRESERVE TREES. . . . . . . . . . . . . . . . . . . . . . . . . . .

102 Source- Author Figure115: Reaction of mic with water. . . . . . . . . . . . . 103 Source- The Bhopal Saga by Ingrid Eckerman Figure112: concept of space (positive) -subspace (negative). . . . . . . . . . . . . . . . . . . . . . . . .

103 Source- Shubham Kesharwani Figure113: acute angles. . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Source- Author Figure116: view of pathway with names of the dead.103 Source- Author Figure114: view of mic with waterfall. . . . . . . . . . . . . . . 103 Source- Author Figure117: stage 1 - 3d view. . . . . . . . . . . . . . . . . . . . . . 107 Source- Author

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LIST OF maps Map No.3: SITE IN 2002. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Source: Google Earth Map No.1: MASTER PLAN 2005. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Source: Author Map No.4: SITE IN 2012. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Source: Google Earth Map No.2: PRESENT SCENARIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Source: Author Map No.5: SITE IN 2018. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Source: Google Earth Map No.6: understanding the site. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Source: Author Map No.7: parts of the site along with their relevance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Source- Shubham Kesharwani Map No.8: location of transformers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Source- Author Map No.9: STP location. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Source- Author Map No.10: location of waterbody created by using harvested water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Source- Author Map No.11: design determinants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Source-Author Map No.12: visual axis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Source-Author Map No.14: vehicular movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Source-Author Map No.13: user based zoning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Source-Author Map No.15: pedestrian movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Source-Author

THESIS 2018

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15

LIST OF tables/ charts CHART/TABLE-1.Timeline before disaster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 SOURCE- BHOPAL 2011- Landscape of Memory CHART/TABLE-2.timeline immediately after disaster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 SOURCE- BHOPAL 2011- Landscape of Memory CHART/TABLE-3.timeline years after the disaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 SOURCE- BHOPAL 2011- Landscape of Memory CHART/TABLE-4.NEEDS.26 Source- Author CHART/TABLE-5.Based on “The Modern Cult of Monuments: Its Character and Its Origin” by Aloïs Riegl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Source- Author CHART/TABLE-6.Based on Horst w . Janson’ s book - The rise and the fall of the Public Monument,1976. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Source- Author CHART/TABLE-7.Area distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Source- Author CHART/TABLE-8.conceptual framework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Source- Author CHART/TABLE-9.WAYS TO TREAT HAZARDOUS WASTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 CHART/TABLE-10.WATER /GROUNDWATER (Schnoor, 2002). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Source- Waqas Azeem, Department of Soil and Environmental Sciences, UCA CHART/TABLE-11.WATER /GROUNDWATER (Schnoor, 2002). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Source- Waqas Azeem, Department of Soil and Environmental Sciences, UCA Source- ECBC CHART/TABLE-12.water requirement for buildings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Source-NBC CHART/TABLE-14.waste production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Source- Author CHART/TABLE-13.user distribution- waste production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Source- Author

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LIST OF ABBREVIATIONS BGIA- Bhopal Group for Information and Action BGPMPSM- Bhopal Gas Peedit Mahila Purush Sangharsh Morcha BGPMSKS- Bhopal Gas Peedit Mahila Stationary Karmchari Sangh BGPMUS- Bhopal Gas Peedit Mahila Udyog Sangathan BGPSSS- Bhopal Gas Peedit Sangharsh Sahayog Samiti BHT- Bhopal Hospital’s Trust CBO- Community Based Organization CBI- Central Bureau of Investigation, India CDA- Critical Discourse Analysis CEO- Chief Executive Officer CHWB- Cultural Heritage without Borders CPCB- Central Pollution Control Board CSE- Centre for Science and Environment CSIR- Council of Scientific and Industrial Research, New Delhi DCB- District Court Bhopal GOI- Government of India IIT- Indian Institute of Technology MIC-Methyl Isocyanate MDG- Millenium Development Goals MP- Madhya Pradesh NEERI- National Environmental Engineering Research Institute NGO- Non-government Organization NGRI- National Geophysical Research Institute R&D- Research and Development SC-Supreme Court SEP- Solar Evaporation Pond UCC- Union Carbide Corporation UCE- Union Carbide Eastern, Hong Kong UCIL- Union Carbide India Limited USD- United States dollar

THESIS 2018

PART 1- DESIGN INVESTIGATION

chapter - 0

prelude

Phosgene gas that was used by Hitler in his gas chambers, and that is used for the production of methyl isocyanate, is stored in a tank in this factory and if that leaks or explodes it will take one to one and half hour for the death of the entire population of the city.

- Raajkumar Keswani, Rapat Weekly, 1982 “In its timing and in the composition of the principal actors, Bhopal is a curtain raiser to the sordid drama of globalis ation. Bhopal is a window to what lies at the end of Globalisation.

- Satinath Sarangi, Bhopal Activist, Sambhavna Clinic, 2001 “The enormity of that (Bhopal) tragedy of neglect still gnaws at our collective conscience” -Manmohan Singh (Prime Minister of India, 2008)

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Figure3:  collage- story in brief Source- Author

THESIS 2018

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THESIS 2018

BHOPAL GAS TRAGEDY AND THE STRUGGLE FOR JUSTICE PRAYER FOR PEACE Aim a blowtorch at my eyes Pour acid down my throat Strip the tissue of my lungs Drown me in my own blood Choke my baby to death in front of me Force me to watch as she dies in front of me.

Cripple my children Let pain be their daily and only playmate Spare me nothing.

Ruin my health so that I can no longer work Or feed my family Watch us starve.

See my children drinking water at night To fill their hungry bellies, and then Poison our drinking water Never warn us of the danger Cause monsters to be born among us.

Make us curse god Stunt our living children’s growth Say it has nothing to do with you.

Don’t ever say sorry for 18 years long Ignore my cries and teach me my rage is as useless as my tears.

Prove to me beyond all doubt There’s no justice in this world You are an American corporation I am a woman of Bhopal.

-survivor of Bhopal gas Tragedy

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Post-midnight on 3rd December,1984, 42 tonnes of poisonous methyl isocyanide gas(MIC) leaked from a storage tank of the Union Carbide India Limited (UCIL) pesticide Plant, exposing half a million residents of the city. Bhopal seemed to have turned into a large gas chamber, with people running on the streets bleeding, vomiting and dying. This incident therefore is recollected as world’s

deadliest man-made

industrial disaster, with almost 8000 immediate fatalities. (Eckerman,

2005) A quarter million more were affected over the next three decades, of which many suffocated to death. In 2006, a government affidavit stated that 558,125 injuries, including 38,478 temporary partial injuries and approximately 3,900 severely and permanently disabling injuries had been recorded. Till date, children are being born with chronic illnesses and congenital deformities. (Vidhi Wadhwan, 2017)

Figure4: ariel view of the ucil plant in 1984 after the disaster - BY RAGHU RAI SOURCE- https://www.ndtv.com/photos/news/bhopal-gas-tragedy-then-and-now-18913#photo-243291

Government till 1984, had handled natural disasters like floods, cyclones and even earthquakes but had no clue how to respond in the case of an industrial disaster. The US-based MNC, Union Carbide Corporation (UCC), which owned the plant through its subsidiary UCIL, did little to help deal with the human tragedy. Thirty years later, there is no closure. Not because of what happened that fateful night, but because our response has been incompetent and callous. (Eckerman, 2005) The Bhopal Gas Kaand (incident) had silenced thousands, but the real agony was of the ones whose voices had been subdued. Battling the loss of loved ones, the survivors were left with a number of challenges: compromised health, medical expenses, diminished earning capacity, unemployment and everlasting fear of passing diseases to their progeny. The struggle was multi-fold, demanding attention in mental, medical, educational and social spheres.

Figure5: baby girl found after the tragedy - RAGHU RAI

SOURCE- https://www.indiatoday.in/india/photo/bhopal-gas-tragedy-30th-anniversary-warren-anderson-374007-2014-12-02

RESEARCH

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CHART/TABLE-1

Timeline before disaster

SOURCE- BHOPAL 2011- Landscape of Memory

RESEARCH

YAAD -E - HAADSA

CHART/TABLE-2

timeline immediately after disaster

SOURCE- BHOPAL 2011- Landscape of Memory

RESEARCH

YAAD -E - HAADSA

CHART/TABLE-3

timeline years after the disaster

SOURCE- BHOPAL 2011- Landscape of Memory

Figure6:  paper clippings Source- Author

Similar timeline continues till date...

chapter - 1

introduction

In 21st century Bhopal may take pride in various achievements like 2nd cleanest city in India or to become smart city in Phase 1 or among top 10 green cities of India. It may also be associated with lakes, begums, palaces, forts or even Mowgli’s jungle.

In reality, what the world associates with Bhopal are not these but a dark event in the past- “The Bhopal Gas Tragedy”. It has almost become a synonym for “Bhopal”.

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THESIS 2018

PROPOSITION What happened on the night of 02 December 1984 was an unfortunate, unspeakable tragedy, and the suffering of those who died, were diseased for lifetime, physically injured or mentally traumatised cannot be exaggerated. Further, the endless struggle of the victims for justice seems to be a depressing saga against powerful forces. Over the years, the tragedy seems to have shrunk from a Global disaster to a nation’s liability to a city’s albatross to a conflict between the “perpetuators” and the “survivors” of the tragedy. This distant memory needs to be preserved and commemorated. (Ballal, 2011) “Memory is the diary that chronicles things that never happened or couldn’t possibly have happened.”

-Oscar Wilde Therefore, the title “YAAD-E- HAADSA” which literally translates into in the “memory of the tragedy”. It is a tribute to the victims of the disaster and a sign of consideration for the survivor community, who had set up a museum as a template by the same name. The memorial shall be a repository of history- facts and stories that need to be told.

Therefore, this thesis shall be an attempt to commemorate the past, cure the present and caution the future through an architectural intervention- memorial.

Since Bhopal was struck by two tragedies - one that occurred immediately and one that unfolded over the years as struggle for justice and adequate compensation and contamination that spread over the years. Therefore, unlike most of the memorials which are built to remember a person or an event, this would encompass a complete time frame from the time everything got initiated to the present day.

To some the factory site is an eyesore and believe that it would be better to get rid of the depressing past. Others might argue against the general notion of heritage -as something through which achievements of the past are celebrated but fails to even recognize the narratives of injustice, failures, loss, discrimination and past mistakes. Therefore, an informed decision should be taken whether to preserve the factory built at the site or to demolish it keeping in mind the heritage value, the cities identity and most importantly the view of the survivors.

Understanding the importance of the site and the complexities associated with it on one hand draws concern but also creates an opportunity for creative and innovative ways of engaging with public memory.

The viability of the project depends on a lot of factors like social will, political commitment and professional input. Therefore, a middle path shall be devised which generates sufficient resources for maintenance and at the same time is profitable for the community.

THESIS 2018

THE PROJECT COMPETITON BRIEF …AND PROJECT STATUS

In 2005 the state government of Madhya Pradesh proposed a memorial on the Union Carbide factory site.

The competition brief was released by EPCO gave the leverage to either preserve the dark side of the event or to provide recovery from the tragic event towards a new understanding and hope for human endeavours.

Further the focus was drawn towards the factory structure and asked to sensitively evolve a concept such that due attention is paid to its significance. Beyond this, the competition gave no specification, leaving it completely to architects for the design of an appropriate architectural intervention- the memorial.

UNDERSTANDING CLIENT

Although formally the client is the State government of MP, the brief suggests that “the memorial complex should first of all be for victims of gas tragedy”. Therefore, the complex should be designed primarily for two types of visitors- the victims/survivors and secondly for locals and tourists. The survivors section includes all the people who were physically or mentally affected by the tragedy. All those who witnessed the catastrophe, lost their near and dear ones, got diseases or injuries, had mutated genes, struggled through mental trauma etc. Visitors include both locals and tourists who might come to mourn the disaster, pay homage or develop an understanding of the disaster and its aftermath.

The competition was won by Space Matters, but the construction did not begin due to contamination of the site.

PrESENT STATUS

In December 2015 the government conducted a successful trial for disposal of 10MT of toxic wastes from the site, which will be followed by all 330MT of the waste. Further a timeline has been devised according to which the contamination would be cleared and processes before the memorial is built. This has boosted the chances of memorial construction

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THE NEED 1.

A major concern is, what shall happen to the original site. It not only needs remediation as it is the epicentre of contamination but also a proposed world industrial heritage site which must be preserved and commemorated due to the catastrophe, which leaves its traces till today.

2.

Since the people and the society have been busy fighting for justice, even before they were able to overcome the trauma of the loss that they were incurred to. There is a compelling need for a proper official “CLOSURE”.

3.

“History is produced at the point where the imperfections of memory meet the inadequacies of documentation.”

-Julian Barnes (The sense of an ending, 2011) There is not a place built, where all these stories and facts are preserved and presented on the public front. This memorial will be a repository of history and stories that need to be told. It will seek to communicate a meaningful and relevant narrative to its visitors.

4.

It may also be considered as an attempt by the government to undo the wrong which happened due to negligence, inexperience to deal with such situations etc. Or a move against the common notion “For the last 30 years, the state’s imagination on remembering Bhopal has been strictly around the anniversary each year.” (Rama Lakshmi, 2014) 5.

There is preceding need for the project scheme to be thought with the change in context over time. With new flyovers and roads built along with dense slums around them.

CHART/TABLE-4 Source- Author

NEEDS

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29

AREAS OF RESEARCH 1.

Understanding the need to build a memorial after 34 years of the disaster.

2.

The needs and purpose of the memorial in such a context.

- insight on Bhopal Gas Tragedy - the struggle- justice / injustice - understanding the delay and complexities of the site

- understanding the context-Bhopal and its evolution and morphology.

- functioning of the factory

3.

Understanding the needs and requirement of the locals and survivors and thereby addressing them.

4.

Understanding translation of intangible aspects like emotions, 6th sense to physical form in memorials for it to be called “successful�.

- public spaces, employment opportunities, skill development etc - finding a middle path which contributes to the interests of the user groups and also adds economic value to the project thereby making the project more viable.

- understanding- lighting, acoustics, spaces, materiality etc

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Figure7:  poster collage Source- Author

chapter - 2(a)

RESEARCH

“designed to evoke a specific reaction or a set of reactions, including public acknowledgment of the event or people represented; personal reflection or mourning; pride, anger or sadness about something that has happened; or learning or curiosity about periods in the past.�

- (Sebastian Brett, 2007)

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THESIS 2018

MEMORIAL - IN LITERATURE “Architecture was an art of memorial, living art memorializing living values, in forms and techniques appropriate to and expressive of their age and culture.” (of light and structure, space and silence) -Louis Khan, 1944, New Monumentality “Memorials are a means by which societies unceasingly shape their pasts. They provide a focus for public commemoration of individual memories, guiding them into channels that serve changing public purposes. The channels are determined and re-determined through time in often conflicting negotiations between the authority who authorised, designed, and constructed a memorial, the groups who use it for purposes, and the memorial itself, including changes made to it or to its site.”

Another thought which might be added to this is that memorials not only shape our past but also influence the future. (Olin, 1995) “Functional analysis of art” is an approach studied by James E. Young, in 2004 which talks about architecture beyond design concept and theory, i.e. the effect and influence it would have on the city and memory they embody. “way of seeing is a way of not seeing; way of remembering is a way of forgetting too”, “dynamics of distortion in collective memory” -Michael Schudson, Memory Distortion: How Minds, Brains, and Societies Reconstruct the Past “there is nothing in this world as invisible as a monument”-Robert Musil, Posthumous papers of a living author, 1987 “the essential stiffness monuments share with all other images: as a likeness necessarily vitrifies its otherwise dynamic referent, a monument turns pliant memory to stone”-James E Young, 1993 Monument and memorial are used interchangeably frequently in art and architecture but Arthur Dunto,1987 beautifully explains difference between these as “monuments make triumphs, victories and conquests, perpetually present part of life. The memorial is a special precinct extruded from life, a segregated enclave where we honour the dead. With monuments we honour ourselves. “a human creation, erected for a specific purpose of keeping single human deeds or events (or a combination thereof) alive in the minds of future generations.”

-Alois Riegl, 1903 “designed to evoke a specific reaction or a set of reactions, including public acknowledgment of the event or people represented; personal reflection or mourning; pride, anger or sadness about something that has happened; or learning or curiosity about periods in the past.”- (Sebastian Brett, 2007)

INFERENCE The factory structure represents the monument and the memorial needs to be built. Based on the understanding that through monuments we honour the people in power and through memorials we honour the dead or connect to the community.

YAAD -E - HAADSA

THESIS 2018

CHART/TABLE-5

Based on “The Modern Cult of Monuments: Its Character and Its Origin” by Aloïs Riegl

Source- Author

CHART/TABLE-6 Source- Author

Based on Horst w . Janson’ s book - The rise and the fall of the Public Monument,1976

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THESIS 2018

MEMORIAL THROUGH EYES OF A SURVIVOR “How and what we remember of the Bhopal story is contested territory’ (Lakshmi, 2011) Rashida Bi, a survivor and winner of the 2004 Goldman Award for outstanding services to the environment upholds, “A true memorial is one which lets us tell our stories of anger, bitterness, tears, and courage. Our story and our movement is a lesson for others. That’s all we are now –A lesson.” (Rama Lakshmi, 2014) “Had the people who died still been alive, they would have written the stories of their lives on their own,” said Hazira Bi, an activist and survivor whose testimony is a part of the museum. “But they are dead. Others should learn the lesson that there should be no more Bhopals, whether it is the coming government or the new generation, which is why we are building this museum.” (Chari, 2014) Some survivors are sceptical that the government-built memorial might just be an indicator of power and end up in narrating their story in a biased way. Moreover, morally they find it unjust as they regard the government a complicit in the injustice that they have suffered over decades.

The survivor groups also demand the right to imagine and shape the memorial, with the financial and resource support from the government. As they think that any remembering that is different from their experience could act as a threat to the combined gas-peedit community. Stuart Hall correctly wrote, ‘Heritage is a powerful mirror. Those who cannot see themselves in it feel excluded.’

Some survivors fear that the government in order, to maintain its cultural pride may build a sedate and safe memorial. Once again disengaged from the India of a million mutinies, social anxieties and tragedies.

Hajira Bi, a survivor-activist reaffirms, “We want the factory structure repaired and preserved. It should be safe and stand erect. No government should dismantle this structure. This is our history. Our future generations, if they survive, and other people would remember through this that due to a foreign multinational a huge disaster happened in Bhopal, in 1984. A ‘Yaad-e-Hadsa’ like museum should be set up here, which should tell our memories” (Rama Lakshmi, 2014) “The Bhopal story presents a unique, first ever opportunity to recast the Indian museum universe, which is dominated by celebratory, nationalist stories.”- Rama Lakshmi

INFERENCE The factory structure needs to be preserved from the standpoint of the victims. The memorial shall include both the tragedy and the struggle that continued afterwards.

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THE TEMPLATE

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REMEMBER MUSEUM

“In 2004, on the 20th anniversary of Bhopal gas tragedy, survivor groups went around collecting objects and artefacts of victims. They set aside a room at their campaign office and placed the objects on a table in a triangular form next to each other. They called this Yaad-e-Hadsa (The Memory of Disaster) Museum”, recalled Rama Lakshmi. (Nath, 2014) In 2012, “Remember Bhopal Trust” and in 2014 “Remember Bhopal Museum” were established by the survivors. The museum is inconspicuously placed among Gas colony and Vidhwa colony, inside a residence close to the Union Carbide Factory. The exhibits include artefacts, oral history, photographs, protest songs and slogans, campaign poster that have emerged over the years. The curator Rama Lakshmi explains it as the first museum that is based on “contemporary social movement for justice”.

The museum is designed and conceptualized by Vikam Seth, a museologist.

Although museum has been split into five sections — Trauma Room, Health Room, Anderson Wall, Toxic Water Wall, Compensation Room and the Movement Room. The spaces have majorly been divided into three parts -a dark room with exposed pipes as a reminder of the dark claustrophobic night and the plant to create a sense of entrapment. This opens on to a double height buffer space with staircase displaying the aftermath of the disaster and the upper floor showing the struggle for justice and equity.

Another notable aspect is that the museum also does not use any chemicals or preservatives, vinyl or plastics.

The museum not only aims to sustain the memory of the tragedy but also act as a template for the government to what a memorial should represent.

Figure8: INTERIOR VIEW Of THE GROUND FLOOR SOURCE- Author

Figure9: INTERIOR VIEW Of THE FIRST FLOOR SOURCE- Author

INFERENCE The case study of remember museum as a template showed the measures taken to avoid chemicals, preservatives, plastics or vinyl. The use of bamboo and clay-bricks as construction material has been inspired from the organic interiors of remember museum as a sign of aversion from UCIL pesticide factory.

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UNION CARBIDE structure AS AN INDUSTRIAL HERITAGE Cambridge dictionary defines it as “features belonging to the culture of a particular society, such as traditions, languages, buildings that were created in the past and still have historical importance.”

The social construct of heritage is closely linked to social construct of identity-as both have some distinguishing factors associated with them. Also knowing the language and art of heritage construction are not enough, one also needs to know social, historical and cultural context of production. (Theres Albert, 2013) Therefore, industrial heritage transforms into a cultural heritage also.“is not what heritage is but what heritage does and for whom and to it does it.” (Hanson, 2016) Retention of the factory building as an important artifact have been strongly advocated by the people and survivor groups. “a living memorial to the disaster that informs present and future generations about the worst corporate massacre in world history,” said a statement of five survivor organizations in February 2010. “Any move to dismantle the factory structure will face the wrath of the victims,” said Nawab Khan, a survivor. (Lakshmi, 2011) ‘Conflicts of interest are an inseparable accompaniment to heritage as practice and process.’(Bergstorm, 2002).

Art historian, Alois Riegl, in 1903 wrote on the concepts of heritage values and their relation to art history and aesthetics. He described two types of heritage one which has “age value”- old therefore valuable and other which has “historic value”- specific occurrence or phenomenon in history.

When an industry is constructed conscious architectural design, efforts are put but with social and industrial developments over the time, numerous additions and conversions are done, which tend to “disturb” the sense of original architecture. Hence, generally during preservation the latter additions are removed, thereby valuing only the architectural expression and ignoring other aspects like industrial production. In 1979, Marie Nisser pointed out the necessity to preserve full industrial Figure10: The system that failed sites in-order to gain a better understanding and develop a balanced image of our historical past. Source: SPA LIK sheets, NASA 2011 (Laagerqvist, 2011)

INFERENCE- There is a need to save the factory structure as a sign of industrial heritage. The take on Union carbide to just preserve the central iconic structure might in one go appear a pure design-based choice. But when one goes deep into the story of how MIC got leaked- series of activities and machinery involved one would understand the value of the retained structures of the plant.

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SPREAD OF MIC AND EFFECT OF WATER

Figure12: chemical reaction of mic with water Source- The Bhopal Saga by Ingrid Eckerman

Since the wind direction was towards South-East and the site was located in Bhopal’s, one of the most densely populated areas- the impact of the gas maximized.

Further the lower parts of the city were not much affected, as the gas got neutralized from evaporation of the two lakes i.e.- bada and chota talab.

Figure11: The gas affecected areas of the bhopal city based on mortality rate Source: Layout map of Bhopal city. Bhopal disaster- a personal experience: J. of Loss Prevention in the Process Industries

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REVITALIZATION OF NEARBY AREAS OVERALL CITY LEVEL

UCIL

Since the site lies in the northern outskirts of the city, it is away from the centralized zone of public activity and interaction. Which physically transforms into a belt of publicsemi-public activities with administrative and tourist spots bundled together. Moreover, if we look at the broader picture, the city seems to have grown towards south and restrained its growth towards the Union Carbide side. The plant which was once seen as a vehicle to modern Indi has turned out just the opposite.

PRECINT LEVEL After the disaster, the Union Carbide Plant lies abandoned with its walls bearing slogans of protests following the tragedy. Further, the nearby area of Karond industrial development has stagnated probably due to fear and contamination. As a result, the nearby lands were left desolated and their prices fell. This catalysed the growth of an ad-hoc settlement, predominantly of migrants that moved in from adjoining villages during the late nineties. This is evident from the low rise, half-built and un-plastered structures nearby. (Vidhi Wadhwan, 2017)

WALLED CITY OLD BHOPAL NEW BHOPAL HEART OF THE CITY Figure14: LANDMARKS OF BHOPAL TO THE SOUTH OF UCIL Source- Author INDUSTRIAL AREA Figure13: districts of BHOPAL TO THE SOUTH OF BHOPAL Source- Author

Figure15: VIEW OF SLUMS ACROSS THE RAILWAY TRACKS Source- Author

Through the years, the site seems to have emerged as an opportunity for development backed by history, prime location and new technology.

Figure16: Slums behind the site Source- Author

Figure17: Immediate context around the site Source- Author

chapter - 2(b)

case studies

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THESIS 2018

case studies 4 case studies have been identified keeping in mind their relevance to various factors that will be considered while designing the project. 2 of which are international projects and 2 Indian projects. Further another proposal done in the year 2016 has been studied. All the case-studies identified have one thing in common, all the memorials are related to tragic incidents of the past.

YAD VASHEM

A memorial complex with site area comparable to the given site. This aspect of the site is a very important, as these is a need to study the functional relationship between buildings spread across a site of comparable scale. Yad Vashem in Jerusalem has been chosen as the apt case study for this aspect.

WTC MEMORIAL

As the site of the memorial is the Union Carbide factory, it is located right at the heart of the cause of disaster, and its victims.

Thus the design proposal should be sensitive to the site, and should be able to take the advantage of its peculiar location.

The 9/11 memorial in NewYork was chosen as a case study to demonstrate this aspect, as it is located on the ground zero of the 9/11 attacks.

JALLIANWALA BAGH

The memorial chosen is one of the few tragic memorials in India. It has been chosen as a primary case study due to the context and the possibility of visiting and studying it. Further it is close in the aspect as in both the cases foreign elements are considered responsible for the tragedy.

SHAURYA SMARAK

The memorial chosen is one of its kind, it is supposedly the first designed memorial in India. It has been chosen as a primary case study, as the tourists visiting here, may become part of the tourists visiting the memorial in future as it is also situated in Bhopal.

BHOPAL MEMORIAL

The memorial designed has been studied to get an insight of how different people can approach the same project according to their understanding. Further understanding what has been done and what shall the thesis add to the project.

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Yad Vashem

LOCATION - Jerusalem, Israel ARCHITECT- Moshie Safdie CLIENT - Holocaust Martyrs’ and Heroes’ INTRODUCTION Remembrance Authority It is the official memorial to the holocaust in Israel.

SITE AREA - 44.5 ACRES Yad Vashem in Hebrew literally, “a monument and a name“. Built on the western slope of the mount Herzl also BUILT UP AREA - 17,700 sq. m. known as “mount of remembrance”, which lies in extreme west of Jerusalem. it was established in 1953 but was rebuilt VISITORS - One million per year in 2005.

DESIGN AND CONCEPT Museum is t. The triangular form of the structure was chosen to support the pressure of the earth above the prism while bringing in daylight from above through a 200 meter-long glass skylight. The skylight allows gleams of daylight to contrast with darker areas required for multimedia presentations. Within the galleries, light enters through localized skylights varying from diffused to clear glass, depending on the requirements of each exhibit.

Throughout the prism, the triangular cross-section varies, becoming narrower at the center. The warped surface formed by this variation, amplified by a gently sloping floor, creates a changing sequence of spaces and gives the illusion of descending deep into the mountain. As the route nears its northern exit, the floor begins to ascend and the triangle opens up again, with the exit bursting forth from the mountain’s slope to a dramatic view of modern-day Jerusalem.

Figure18: Longitudinal section through the museum SOURCE- https://es.wikiarquitectura.com/edificio/museo-historico-del-holocau to-yad-vashem/#lg=1&slide=2

MATERIALITY The entire structure of the museum — floors, wall, interior and exterior — are reinforced concrete. Nothing is painted or decorated as a sigh of struggle and

Figure19: Aerial view of vad vashem SOURCE- https://www.archdaily.com/179679/yad-vashem-holocaust-museum-safdie-architects

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Figure20: SITE MAP Source - http://peace.maripo.com/x_israel_yad_vashem.htm

RELATIONSHIP WITH SURROUNDINGS Site is located on the western edge of the city on a hill. Has access from eastern end and other edges of the site face a green field. The site is away from the hustle bustle of the city in a more peaceful environment.

SITE PLANNING The site is located on the top of a hill. You enter from one end of the site which is the highest point, which houses the visitors center, flowing downhill on west towards the holocaust museum, and further towards the rest of the site which houses several monuments. Downhill to the north of visitors center is the main administration and research building.

PEDESTRIAN AND VEHICULAR MOVEMENT The whole site has been pedestrianized with vehicular movement along the periphery of the site. All points on site are accessible by vehicle, marked in gray.

THESIS 2018

1 Visitors’ Center 2 Book and Resource centre 3.Cafeteria 4 Avenue of the Righteous Among Nations 5.The Holocaust History Museum 6 Hall of Names 7.Square of Hope 8. The Holocaust Art Museum 9 Synagogue 10 The Exhibitions Pavilion 11. The Visual Center 12. The Learning Center 13. Hall of Remembrance 14.Pillar of Heroism 15. Children’s memorial 16. Janusz Korczak Square 17. Archives and Library Building 18. Family Plaza 19.International School for Holocaust Studies 20.Administration and Research Building 21. Partisans Memorial 22 Partisans Panorama 23 Valley of Communities 24 Cattle Car 25 Wall of Remembrance 25 Warsaw Ghetto Square 26 Swedish Ambulance 27 Le Cambon-sur-Lignon 28 Nieuwlande Monument 29 Garden of the Righteous

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Figure21: Hall of names

PHOTO GALLERY

Figure22: Observation terrace

Figure23: Central spine- museum

Source- https://www.archdaily.com/179679/yad-vashem-holocaust-museum-safdie-architects

TIMELINE

Figure24: SITE PLAN Source- http://peace.maripo.com/x_israel_yad_vashem.htm

RELATIONSHIP BETWEEN FUNCTIONS ON SITE All the buildings on site connect via a network of pedestrian pathways. The admin block with research facilities is not part of the tourist movement network on site. Tourists enter from visitors center and move further towards museum and exhibits.

LEARNINGS + INFERENCES • Broad function that need to be put in a memorial complex of similar scale • Proper demarcation between public and private functions of the site in terms of accessibility and location.

• Movement systems and hierarchy for tourists on site level.

• Public movement and exhibit organization inside a museum building.

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Figure25: detail plan of memorial museum Source: http://www.logos-ministries.org/images/yad_vashem_history_

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World trade Center Memorial INTRODUCTION The memorial was planned in the immediate aftermath of the attacks. The competition for the memorial museum design was rolled out in 2003 to remember and honor the people killed in terrorist attacks of September 11, 2001 and February 26, 1993. The results were announced in 2004 and the construction was completed in 2014.

The Huffington Post wrote that “walking through the museum is like being transported back to the turmoil, destruction and anguish of 9/11. Exhibits express the disbelief and heartache of New York and the nation.”

LOCATION - Manhattan, NY, USA ARCHITECT- Davis Brody Bond for underground museum, Michael Arad for memorial design, Peter Walker for landscaping and SNOHETTA for pavilion design CLIENT - Lower Manhattan Development Corporation + Port Authority of New York and New Jersey (PANYNJ) SITE AREA - 8 Acres out of total 16 areas BUILT UP AREA - 11,000 sq. m.

VISITORS - Six million per year

DESIGN As the name of the competition entry “Reflecting Absence” suggests, the footprint of the twin towers was transformed into two 1 acre pools with the largest man-made fountains in United States. The voice of gushing water from the fountains, muting the hustle-bustle of the city and the 400 White Oak trees provide a perfect setting for a contemplative sanctuary. Thereby enhancing the “reflective” nature of the project.

The memorial plaza is designed to be a mediating space; it belongs both to the city and to the memorial. Located at street level to allow for its integration into the fabric of the city, the plaza encourages the use of this space by New Yorkers on a daily basis. The memorial grounds is not be isolated from the rest of the city; they will be a living part of it.

The Museum explores the historic implications of that tragic date, through stateof-the-art multimedia exhibits, archives and monumental artifacts. Rather than designing “icon containing exhibits; a series of icons, which are the exhibit”has been designed. Large parts of the museum are left empty owing to the massive scale and the concept of the overall complex. It has 4 major components: 1st entrance - from a lively plaza to a quite and contemplative environment.

2nd-“meandering ribbon” which is a sloped path with exhibits along it “as if drawn by gravity”.3rd-West chamber- the bedrock level chamber having the foundation of the WTC towers, “last column” with, “slurry wall”-surviving retaining wall as the backdrop.4th- the escalator from ground zero to memorial level.

Figure26: ARIEL VIEW Souce: https://en.wikipedia.org/wiki/National_September_11_Memorial_%26_ Museum

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THESIS 2018

RELATIONSHIP WITH SURROUNDINGS Located in lower Manhattan. Memorial is a part of the master plan done by Studio Daniel Libeskind. It serves as a plaza for the surrounding skyscrapers SITE PLANNING The site is dominated by the two depressions on the surface of the earth which are the foundation cavities of the twin towers, which house the memorial monument. A museum pavilion, a glass structure is the only building on site which leads to the underground museum. Rest of the site is lined by trees. The positioning of the museum in the site is according to the master- planning done by Libeskind studio.

Figure29: site plan Figure27: The World Trade Center site prior to the September 11 attacks and Preliminary site plans for the World Trade Center rebuild.

Source: https://www.archdaily.com/272400/national-september-11-memorial-handel-architects-with-peter-walker

Source: https://en.wikipedia.org/wiki/World_Trade_Center_site

PEDESTRIAN AND VEHICULAR MOVEMENT The site is surrounded by roads on all sides and the site merges with the sidewalks. It has the path subway station just underneath it. The memorial plaza is located at street level and is pedestrian accessible, from all sides which makes it seamlessly merge into the city fabric.

Whole site is pedestrianized.

Figure28: site section Source: https://www.archdaily.com/272400/national-september-11-memorial-handel-architects-with-peter-walker

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RELATIONSHIP BETWEEN FUNCTIONS The three key point on site a. foundation of WTC1 b. foundation of WTC2 and c. the museum pavilion are connected via a landscaped pedestrian plaza. The subway station exit is on the north east end of site from where most of the pedestrian population arrives.

SUSTAINABLE APPROACH The Memorial Plaza has been created as one of the most sustainable, green plazas ever constructed. The most innovative out of which was 100% shade in non-pervious areas through the tree cover. The project is pursuing the Gold certification in the U.S. Green Building Council’s LEED for New Construction program.

INFERENCES AND LEARNINGS • Usage of the remains from the WTC building.

• Response on ground zero should be sensitive enough to respect the sanctity of the site.

• Memorial to a very recent event that plays a very crucial part in healing wounds. Hence needs to be more interactive with the relatives and friends of the victims.

• The arbitrary dimensions of the entrance pavilion to museum does not evoke any emotion and the form and shape of the museum seems out of place with the rest of the memorial.

Figure30: floor plan at -1 level and floor plan at -2 level Source: https://www.archdaily.com/272400/national-september-11-memorial-handel-architects-with-peter-walker

night view of the fountain with context

Figure33: activity around parapet of the fountain with inscribed names of the victims Source: https://inhabitat.com/nyc/911-memorial-museums-design-honors-the-history-and-recovery-of-ground-zero/911-memorial-museum-impact-steel-below/vv

Figure31: museum section Source: thttps://www.archdaily.com/272338/national-september-11-memorial-museum-davis-brody-bond

Figure32: last column view inside the museum Source: https://www.archdaily.com/272338/national-september-11-memorial-museum-davis-brody-bond

THESIS 2018

JALLIANWALA BAGH MEMORIAL INTRODUCTION The Jallianwala Bagh memorial, a memorial of national importance was built inside the Jallianwala park, to commemorate the infamous Jallianwala bagh massacre. The memorial was inaugurated by then President of India Dr. Rajendra Prasad, on April 13, 1961.

DESIGN + CONCEPT The site has landscaped garden with memorial shrine and the Martyr’s well. Also an old tomb and park walls with marked bullet holes. The design of the memorial monument represents a flame also called the ‘Flame of liberty’. The central 30-ft high pylon, a four-sided tapering stature of red stone standing in the midst of a shallow tank, is built with 300 slabs with the national emblem, carved on them. A stone lantern stands at each corner of the tank.

RELATIONSHIP WITH SURROUNDINGS The Park has only one entrance which is a narrow street flanked by old built. The whole park is surrounded by old buildings with mix landuse - shops, hotels, nursing home but majoly residential. As the site is walking distance from the Golden Temple. It also serves as the green buffer amidst densely populated old city.

Figure34: memorial monument Source: http://punjab.punjabkesari.in/punjab/news/jallianwala-bagh-amritsar-640061

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LOCATION -Amritsar, Punjab ARCHITECT- Mr. Benjamin Polk CLIENT - Jallianwala Bagh National Memorial Trust SITE AREA - 6.5 Acres VISITORS - 7500-9000 monthly

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SITE PLANNING The architect has tried to establish an axis which has an entrance pavilion at one end made in red sandstone, to the memorial monument which stands exactly opposite to it at the further end of the site. The pre-existing well has been enclosed in an ornate building which stands on the left side of the axis to the sites edge.

PEDESTRIAN AND VEHICULAR MOVEMENT The site is completely pedestrian as it is only accessible by pedestrians. The entrance of the site is on the golden temple road which leads to the Golden temple.

RELATIONSHIP BETWEEN FUNCTIONS ON SITE All the functions on site don’t interact with each other neither are part of a cohesive system of tourist movement. Anyone can move anywhere and can see any monument.

Figure38: AERIAL VIEW OF THE SITE Source- Google Earth

Figure35: bullet marks on the wall Source-Author

Figure36: entrance to the bagh Source-Author

Figure37: the martyr’s well Source- Shubham Kesharwani

INFERENCES AND LEARNINGS • Being able to engross the visitors into experiencing the grave situation posed to the victims of the massacre though original evidence existing on site.

• Visitors can see and imagine the fate of the people who were on site on that day • Plaques on site can help visitors better understand what could have had happened.

•The memorial lacks interactive sculptures or exhibits •There is a dearth of semi-covered and covered spaces as walkways or resting spaces.

• The potential of the site has not been exploited nor explored.

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SHAURYA SMARAK INTRODUCTION It is the war memorial inaugurated by the Prime Minister of India Narendra Modi on 14 October 2016. The memorial is dedicated to the gallantry heroes of India who proved their valour in various wars against China and Pakistan. It not only pays tribute to three armed forces of the country- Army, Navy and Air-force but also aims to increase the appeal of armed forces among the masses. Chief Minister of the State -Shivraj Singh Chauhan claims it to be “first of its kind” memorial in India.

DESIGN AND CONCEPT The memorial is thought as a temple where people come to pay their respects.

The journey through the memorial is envisaged as -life, war, death and victory over death in a style that promises to inspire the feeling of patriotism in the masses. . Main components of the complex are• Shaurya Stambh- It is a 62-ft tall pillar which uses grey and white granite and stands in middle of a small pool. Names of the martys have been inscribed on glass around it. Some say it is a representation on a soldier’s life whereas others say based on materiality it is a tribute to the 3 armed forces of India.

• a Museum-A subterranean structure providing information about wars and heroes from ancient times to the present.

• an open air 50 seater amphitheater is set along the slope of the site • an interpretation center-a semi-open congregation space with an information display system, explaining the essence of the memorial and providing a preview to visitors before they physically experience it.

Cafe, statues and installations also adorn the site.

RELATIONSHIP WITH SURROUNDINGS It is located in the prime location of Arera Hills, surrounded by administrative and public areas like Bhopal Haat, Chinar Park, DB City.

Figure39: aerial view of the site Source- Google Earth

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LOCATION -Arera Hills, Bhopal, MP ARCHITECT- Shona Jain CLIENT - State government of MP with EPCO as nodal agency SITE AREA - 12.67 Acres BUILT UP - 8000 msq VISITORS -3000-5000 monthly

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SITE PLANNING The architect seems to have aligned all spaces along an imaginary axis. The overall zoning has been very thoughtfully done as the amphitheater utilizes the slope of the site at Arera Hills. Shaurya Stambh is located strategically where it would be seen and noticed the most. The entrances to the memorial are placed away from the square, thereby avoiding traffic-jams. 4 Separate type of entrances - 2 Public, VIP, Service have been provided for smooth functioning of the complex.

PEDESTRIAN AND VEHICULAR MOVEMENT The site has vehicular movement on three sides, along with three parking areas. All spaces are inside the site are well connected by pedestrian walkways as there are no vehicles allowed in the site.

RELATIONSHIP BETWEEN FUNCTIONS ON SITE All the functions are well distributed in the whole site, leaving almost nil waste spaces. As the pathways are interconnected loops they give freedom of movement to the visitors without hampering the narrative or the storyline of the memorial. The visual axis helps in maneuvering as it rarely gets hindered, due to height variations in the exhibits and very less other hindrances like trees.

MAIN PUBLIC ENTRANCE SERVICE ENTRANCE VIP ENTRY / EXIT

Figure40: CONCEPTUAL SITE PLAN WITH ENTRANCES AND PARKING

Source- Alok Kr. Kureel

AREA PROGRAM MEMORIAL GALLERY STAMBHA AMPITHEATER NTERPRETATION CENTRE CAFETERIA TOILET+ SERVICES

2321 SQMT 2320 SQMT 270 SQMT 2029SQMT 70 SQMT 341 SQMT 1000 SQMT

TOTAL

8000 SQMT

AHU DUCT AHU + ELECTRICAL ROOM CAFE + PANTRY ADMINISTRATION ROOM STORE ROOM PUBLIC + STAFF TOILET HANDICAPPED TOILET LT PANEL ROOM Figure41: museum plans Source- Alok Kr. Kureel

ENTRY/ EXIT

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THESIS 2018

Figure43: entrance to shaurya smarak

Figure45: installation dedicated to the soldiers

PHOTO GALLERY

Figure42: schematic diagram explaining concept Source- Alok Kr. Kureel

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Figure44: inaugural stone

Figure46: interior of the underground museum gallery

Figure47: shaurya stambh Source- Author

INFERENCES AND LEARNINGS • Site planning keeping in mind the topography and visual appeal are recommendable • The rich mix palette of materials help in creating a sense of respect • Although one might not relate the memorial to a temple but the experience and the flow of spaces generated is appreciative • Some parts of the memorial show ancient war heroes of Mahabharata and Ramayana or Tipu Sultan ,Maharana Pratap, which actually deviates from the core theme to encourage masses to join defense forces.

• Weak portrayal of the theme and lack of interactive installations or sculptures make the memorial difficult to relate.

• Architectural expressions generated through -play of light and shadow,variation in types of spaces, framed views through the journey seem to be lacking in the museum complex.

• Amphitheater utilizes the slope of the site, which has led to a south facing open air theater.

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BHOPAL MEMORIAL INTRODUCTION The project was taken as thesis in the Year 2016. Owing to the large size and contamination of the site, a part was developed i.e. 10 hectares out of 25 hectares.

LOCATION -Union Carbide Plant,Arif Nagar, Bhopal, MP ARCHITECT- Shubham Kesharwani CLIENT - State government of MP with EPCO as nodal agency SITE AREA - 25 acres out of 67 Acres BUILT UP - 15,505 msq

DESIGN AND CONCEPT The concept of the memorial is derived from reminders of the tragedy - The union carbide factory, the survivor community and the statue of the wailing lady. The purpose of the memorial complex can be summarized using three keywords- prevention, remembrance and healing.

Space zone will be above the ground and will have all the functions promoting positivity and hope. While the subspace will carry the story of the event, taking people through spaces, emanating negative emotions to be able to effectively communicate the gravity of the tragedy Visitors follow a path of prevention and survivor community follows the path of healing which meet at a common point called the memory box. with the motive of remembrance.

Figure49: conceptual space-subspace representation

Figure48: design determinants

Figure51: conceptual space-subspace representation Figure50: conceptual space-subspace representation

Source- Thesis report, Shubham Kesharwani

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RELATIONSHIP WITH SURROUNDINGS The community axis connects the basti on one side to the memory box on the other.

SITE PLANNING The spaces are arranged on the basis of utility to the specified users. Therefore, two axes one for visitors and other for community has been farmed. Further functions with more footfall at a particular time like auditorium are placed near the road network.

VEHICULAR AND PEDESTRIAN MOVEMENT Vehicular entrance is provided from one side into the complex.. It runs along the periphery whereas the pedestrian walkways connect all the functions in the memorial except research and guest house block.

RELATIONSHIP BETWEEN FUNCTIONS ON SITE All functions are well connected through pedestrian walkways except research and guest house block. The functions interact more along their specific axis and sometimes cross connect as sufficient paved areas have been given.

MATERIALITY- Bamboo and brick construction have been used.

Figure53: model showing structural system

Figure52: site plan

Figure54: section through the museum

Source- Thesis report, Shubham Kesharwani

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COMPARASION OF AREA PROGRAM Memory Box of 1018 msq and Community center of 1242 msq are two major components of the area program brief which are missing in the new proposal. Further different functions like informal bazar, school for disabled have been suggested.

Figure55: section

INFERENCES AND LEARNINGS • Further the site chosen for developing might remain almost same taking into account several considerations like 1. it is the area connecting road network to the MIC plant 2. Lower levels of contamination.

• For any journey two key factors start and the end are critical. Visitors’ axis lacks the starting anchor point, whereas community axis has both “The wailing lady” and the basti.

• The concept of space and sub-space has not been well applied to the memorial probably due to less built up as compared to the size of the site.

• Both visitors and survivors need to travel a long distance before they reach the final finale.

• In the zoning the Guest house and research center are placed next to a large parking lot which is not a pleasing situation • Building materials like bamboo are excellent as chemicals are avoided, which may remind of DOW chemical company.

• A conceptual glitch occurs on the division of two separate axes, as 2 critical component of the reminders of the tragedy i.e. the survivor community and the statue of the wailing lady- are absent from the visitors point of view.

• The use of sloping in a climate like of Bhopal is not recommended as it takes away usable terrace areas.

Figure56: model

Figure57: view of the memorial garden

Figure58: view of the doomsday tower

Source- Thesis report, Shubham Kesharwani

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i

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NAME OF THE PROJECT

YAD VASHEM

WTC MEMORIAL

JALLIANWALA BAGH

SHAURYA SMARAK

BHOPAL MEMORIAL

LOCATION

Jerusalem, Israel

Manhattan, NY, USA

Amritsar, Punjab

Arera Hills, Bhopal, MP

Arif Nagar, Bhopal, MP

MEMORIAL TO

Holocaust victims of the world

9/11 terror attacks

Victims of Jalliwanlabagh massacre

Heroes and martyrs of the wars

Bhopal Gas Tragedy

YEAR OF COMPLETION

Rebuilt in 2005, established May 21,2014 in 1953

April 13, 1961

October14, 2016

Proposed in 2016

ARCHITECT

Moshie Safdie

Davis Brody Bond for museum, Mr. Benjamin Polk Michael Arad for memorial, Peter Walker for landscaping and SNOHETTA for pavilion design

Shona Jain

Shubham Kesharwani

CLIENT

Holocaust Martyrs’ and Heroes’ Remembrance Authority

Lower Manhattan Development Jallianwala Bagh National Corporation + Port Authority Memorial Trust of New York and New Jersey (PANYNJ)

State government of MP with EPCO as nodal agency

State government of MP with EPCO as nodal agency

PROGRAM TYPE

Museum, research center, Memorial monument and visitor’s center, archive and museum library, school for holocaust study, learning center

Landscaped garden with memorial shrine

Museum, landscaped garden, interpretation center, Shaurya Stambh, amphitheater

Museum, interpretation center, research center, guest house, community center, skill development center, auditorium

SITE AREA

44.5 ACRES

8 ACRES

6.5 ACRES

12.67 ACRES

25 Acres

BUILT-UP AREA 17,700 sq. m.

VISITORS One million per year

11,000 sq. m.

-

8000 sqm

15,505 sqm

Six million per year

7500-9000 monthly

3000-5000 monthly

-

Design + concept

Named- reflecting absence- 2 one acre pools and 400 trees a meditative plaza for the people of the city-making it living part of the city. Museum-”icon containing exhibits; a series of icons, which are the exhibit”.

Memorial monument represents a 30 ft tall flame also called the ‘Flame of liberty’,made from 300 slabs of red sandstone with national emblem. 4 stone lanterns on all 4 corners.

Thought as a temple where people come to pay their respects. The journey through the memorial is envisaged as -life, war, death and victory over death.

Purpose of the memorialprevention, remembrance and healing, reminders of the tragedy - The union carbide factory, the survivor community and the statue of the wailing lady.

a concrete prism like triangular structure, with varying cross-section that penetrates the mountain from one side to the other, with both the ends dramatically cantilevered in air.

YAAD -E - HAADSA 56 NAME OF THE PROJECT YAD VASHEM RELATIONSHIP WITH Located on the western SURROUNDINGS edge of the city on a hill.

Has access from eastern end and other edges of the site face a green field.

THESIS 2018

WTC MEMORIAL

JALLIANWALA BAGH

SHAURYA SMARAK

BHOPAL MEMORIAL

Located in lower Manhattan. It is a part of the master plan done by Studio Daniel Libeskind. It serves as a plaza for the surrounding skyscrapers.

Single entrance- narrow street flanked by old built, site surrounded by old buildings, walking distance from Golden Temple, serves as the green buffer amidst densely populated area.

Located in the prime location of Arera Hills, surrounded by administrative and public areas like Bhopal Haat, Chinar Park, DB City.

The community axis connects the basti on one side to the memory box on the other.

SITE PLANNING

entrance from highest point, which houses the visitors center, flowing downhill on west towards the holocaust museum, and further towards the rest of the site which houses several monuments. Downhill to the north of visitors centre is the main administration and research building.

Museum pavilion, a glass structure is the only building on site which leads to the underground museum. Rest of the site is lined by trees. The positioning of the museum in the site is according to the master- planning done by Libeskind studio.

An axis which has an entrance pavilion at one end made in red sandstone, to the memorial monument which stands exactly opposite to it at the further end of the site. The well has been enclosed in an ornate building which stands on the left side of the axis.

Spaces aligned to imaginary axis, amphitheatre utilizes slope, Shaurya Stambh strategically placed, based on maximum view. 4 entrances- 2 public, VIP,service entrances are placed away from the square to avoid traffic jams.

Spaces are arranged on the basis of utility to the specified users.

Therefore, two axes one for visitors and other for community has been farmed. Further functions with more footfall at a particular time like auditorium are placed near the road network.

VEHICULAR AND PEDESTRIAN MOVEMENT

The whole site has been pedestrianized with vehicular movement along the periphery of the site

All the buildings on site connect via a network of pedestrian pathways. The admin block with research facilities is not part of the tourist movement network on site. Tourists enter from visitors centre and move further towards museum and exhibits.

The site is completely pedestrian as it is only accessible by pedestrians. The entrance of the site is on the golden temple road which leads to the Golden temple.

The site has vehicular movement on three sides, along with three parking areas. All spaces are inside the site are well connected by pedestrian walkways as there are no vehicles allowed in the site.

Vehicular entrance is provided from one side into the complex.. It runs along the periphery whereas the pedestrian walkways connect all the functions in the memorial except research and guest house block.

site plan

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THESIS 2018

RELATIONSHIP BETWEEN All the buildings on site FUNCTIONS ON SITE connect via a network of pedestrian pathways. The admin block with research facilities is not part of the tourist movement network on site. Tourists enter from visitors center and move further towards museum and exhibits.

INFERENCES + LEARN- • function that need to INGS be put in a memorial complex of similar scale • demarcation between public and private functions in • terms of accessibility and location.

• Movement systems and hierarchy for tourists on site level.

• Public movement and exhibit organization inside a museum building.

MUSEUM PLANS

57

The three key features a. foundation of WTC1 b. foundation of WTC2 and c. the museum pavilion are connected via a landscaped pedestrian plaza.

The subway station exit is on the north east end from where most of the pedestrian population arrives.

All the functions on site don’t interact with each other neither are part of a cohesive system of tourist movement. Anyone can move anywhere and can see any monument

Functions are well distributed in the whole site with nil waste spaces., loops- freedom of movement to the visitors. Clear visual axis helps in manoeuvring due to height variations in the exhibits and very less other hindrances like trees.

All functions are well connected through pedestrian walkways except research and guest house block. The functions interact more along their specific axis and sometimes cross connect as sufficient paved areas have been given.

• Usage of the remains • Response on ground zero should be sensitive enough to respect the sanctity of the site.

• Memorial to a very recent event that plays a very crucial part in healing wounds. Hence needs to be more interactive with the relatives and friends of the victims.

• The arbitrary dimensions of the entrance pavilion to museum does not evoke any emotion and the form and shape of the museum seems out of place with the rest of the memorial.

•

• Site planning according to topography and visual appeal • Rich material palette • appreciative quality of flow of spaces • depiction of ancient war heroes, deviation from core theme • weak portrayal, lack of interactive installations • architectural expression lacking in museum building • south facing amphitheatre

• Site chosen for development might remain same.

• lack of anchor points for visitor’s axis • space-sub space concept not well applied • need to travel long distances • positioning of spaces next to parking-not pleasing situation • organic building material- contextually suitable • conceptual glitch-in division of axes • use of sloping roof system is questionable

• • • •

-

visitors experience grave situations faced by victims, through original evidence lack of interactive sculptures or monuments dearth of coveredsemi-covered areas plaques help in better understanding potential of the site is not exploited nor explored

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THESIS 2018

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LOCATION -Berlin, Germany ARCHITECT- Daniel Libeskind CLIENT - Stiftung Juedisches Museum Berlin BUILT UP - 15500msq

Case example Jewish museum-CONCEPT AND FORM STUDY The intention behind the museum was to expand the old museum that was dedicated to the history of the city, and also create a space for a proper Jewish museum For Libeskind, “The new design, which was created a year before the Berlin Wall came down, was based on three conceptions that formed the museum’s foundation: first, the impossibility of understanding the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens of Berlin, second, the necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, that only through the acknowledgement and incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.”

The building’s overall composition is that of a distorted Star of David, with a straight “void” running through the length of the building. Heavy with symbolism and metaphor, the building uses fragmentation, void, and disorientation to reflect the three aforementioned aspects of Jewish history. The theme of fragmentation can be seen in the overall “tortuous” lines of the plan,but also in the window placement.

While the voids of the interior cannot be seen as clearly from the exterior, the fragmented form still creates voids within its own form. Additionally, there is an extra void building which serves as a Holocaust memorial and stands completely empty, which Libeskind describes as a “voided void” (Quoted in Libeskind & Goldberger,2008).

Figure59: aerial view- jewish museum Source-https://www.inexhibit.com/case-studies/daniel-libeskind-jewish-museum-berlin/

Figure60: VOID AXIS Source-Josh Mollman, Daniel Libeskind

YAAD -E - HAADSA

THESIS 2018

The theme of disorientation is also less clear at the exterior level, but the general lack of hierarchical structures or a clear path to or from the addition adds to the theme. The contrast between the old baroque structure and the newer addition may also leave visitors confused.

The main metaphor of the building’s interior is the split entry route, where visitors are faced with choices mirroring the choices of Jews during the Holocaust: “The descent leads to three underground axial routes, each of which tells a different story. The first, and longest, traces a path leading to the Stair of Continuity, then up to and through the exhibition spaces of the museum, emphasizing the continuum of history. The second leads out of the building and into the Garden of Exile and Emigration, remembering those who were forced to leave Berlin. The third leads to a dead end — the Holocaust Void.” (“The Libeskind Building”)

Figure64: VIEW WITH WINDOWS Source- https://in.pinterest.com/ pin/211880357440454409/?lp=true

Figure61: FUNCTIONING OF THE MUSEUM Source- https://www.pinterest.co.uk/ pin/445293481882459398/

Figure63: VOID interior

Figure62: AXIS OF HOLOCAUST AND AXIS OF EXILE

Source- https://www.inexhibit.com/ case-studies/daniel-libeskind-jewish-museum-part2/

Source-https://www.inexhibit.com/case-studies/daniel-libeskind-jewish-museum-berlin/

59

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THESIS 2018

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INFERENCES The diagram below shows the difference between nature of space when dependent on objects and the nature of space created by narration and experience of space like in Jewish museum.

Therefore, the memorial museum shall try to express emotions and generate experience through the spaces and volumes.

Figure65:  inferences Source-http://2.bp.blogspot.com/-lPpg9UkkNaI/UEjo6VBSQRI/AAAAAAAAAMg/s1YgB71wnpk/s1600/Screen+shot+2012-09-07+at+1.17.11+AM.png

chapter - 3

program development and components

“too often a community’s monument assume the polished, finished veneer of a death mask, unreflective of a current memory, unresponsive to contemporary issues.”

-James E Young,1996 “While it is true that commercial art is always in danger of ending up as a prostitute, it is equally true that non-commercial art is always in danger of ending up as an old maid.” Erwin Panofsky, 2013

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THESIS 2018

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SKILL DEVELOPMENT CENTER This center will serve as a source of hope for the deprived and backward survivor community and migrants around the site. This center will have workshops training people in various forms of handicrafts native to Madhya Pradesh, only these handicrafts will be re-interpreted to produce designers objects more relevant to the contemporary context, so as to be able to create better employment opportunities for the people. These workshops will also be producing souvenirs for the memorial. Apart from workshops training will be given in computer handling, personality development, . Handicraft workshops that will be included A. Paper mache, native to districts of Gwalior and Ujjain B. Wood lacquer products, Sheopur, Budni C. Dhokra brass crafts, Betul D. Bead works, Bhopal E. Maheshwari / Chanderi weaving, Maheshwar, Chanderi Visitors will have an option to visit these centers and interact with the community as they form an important part of the memorial.

1. PAPER MACHE Scrap paper, collected from local printing presses, constitutes the main ingredient in this curious concoction that converts waste to Art. Paper shreds are soaked in water for a few days, and when soft, are mashed into a pulp and dried. When dry, this pulp becomes a brittle grainy mass and can be stored for future use. When required, a chunk of the dried mass is broken and soaked in water again. It is then mixed with the gum of “dhaora” tree and chalk powder, and kneaded to get dough like consistency. Instead of shaping each piece of papier mâché individually, craftsmen sculpt clay and make moulds of Plaster-of-Paris, for increased efficiency. The papier mâché dough is flattened into thick sheets and cast in the moulds. After drying in the sun, the moulded piece of papier mâché is smoothened with sandpaper. The articles are then painted with “desi colours”available locally. Craftsmen make all sorts of curios, like masks of animals and mythical characters and statues of gods and goddesses. (Gatha_ home, 2010)

2. WOOD LACQUER PRODUCTS Lac turned wood is practiced using simple tools, a self-made lathe, a string attached to a bow, and sticks of coloured lac. Each lathe is demarcated by two sharpened iron rods which are bent toward each other at ninety degree angles and fixed in the ground. The distance between them is dependant upon the length of wood the artisan is turning because the wood must be held firmly between the rods’ pointed ends. The artisan begins by carving the wood. One the wood is carved into product, artisan apply lac on the wood to create colour patterns on it.

Traditionally, the lacquer was colored with vegetable dyes though, more recently, artisans use brightly coloured chemical dyes. The first colour is a base upon which the artisan adds layers of colours. (Anon., n.d.)

Figure66: paper mache finished products Source: http:// gaatha.com/papiermache-bird-ujjain/

Figure67: finished wood lacquer products Source: http://gaatha.com/budni-lacquer-craft/

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THESIS 2018

63

3. DHOKRA BRASS CRAFTS Dhokra, locally known as “Bharai kaam”, is the art of sculpting brass with the ancient technique of lost wax casting. A mixture of natural beeswax and saras,a kind of gum, is boiled to a thick paste like consistency and pressed through a sieve, to get fine noodle like threads. A base form is made using mud and cow dung mixture. Over this, the wax threads are coiled in the desired shape of the final piece. A thin coat of very fine mud covers the wax, over which a final coat of mud mixed with cow dung and hay is applied. Holes for letting melted metal in and liquid wax out, are made into the mud covering. This is dried in shade for a couple of days and then baked in a furnace. The heat melts the wax and bakes the mud, thus forming a mould in which molten brass is poured. After the metal cools and hardens, the baked mud is broken to reveal threads of brass composed in the form of figures and artefacts. Cleaning and polishing may be done with a brush, to achieve a shiny metallic surface. (Bajoria, 2010) Figure68: finished dhokra brass show piece Source: https://www.quora.com/What-does-Dhokra-mean

D. BEADWORK The Bhopali ‘Batua’ is a part of the rich cultural heritage of this ancient city which survives due to devotion of a few senior artisans. The ‘Batua’ craft tradition is believed to have been linked to the Gond tribe who were traditionally skilled to make exotic ornamenrs from bones, ivory, wood and shell. The traditional skill was later infl uenced by persian art under the patronage of Begums of Bhopal. The artisan fi rst makes the drawing on a butter paper.

The butter paper is then put on a velvet or satin cloth. A solution of chalk powder and kerosene is applied on the drawing, which seeps through the paper to leave an impression on the cloth. The cloth is then tightly tied to a square frame called ‘ada’ before fine bead work is done on it. These clothes are then stitched onto various goods like wallets, bags, clothing etc. (Anon., n.d.)

Figure69: finished beadwork on a batua Source: https://glowroad.com/ the-india-craft-house-beadworkpotli-bags-exclusive-from-bhopal-dull-gold-on-gold-coloredsatin-silk/az/B01IINKFBE

E. MAHESHWARI + CHANDERI WEAVING There are two types of handlooms are used in Maheshwar – the older pit looms which are heavy and fixed, and the newer frame looms with lightweight metal frames. The latter is the more popular type now. The dyed and untangled yarn goes through the tedious and time-consuming process of weaving by master weavers. After dyeing, the yarn is normally received by the weavers in the form of bundles. They are then are taken through a process of reeling by using a charkha, thus converting the bundles into small rolls. In case of warp, a big motorised charkha is used; in case of weft, a small, hand driven charkha is used, which makes bobbins. In the case of the warping of the silk threads, a more delicate process involving an octagonal cylindrical frame and hooks is used. . (CHAKRABARTI, 2016) Figure70: finished maheshwari sarees Source: https://www.craftsvilla.com/blog/ maheshwari-sarees-the-process-of-weaving-a-maheshwari/#Weavingprocess

Figure71: loom Source: https://www.craftsvilla.com/blog/maheshwari-sarees-the-process-of-weaving-a-maheshwari/#Weavingprocess

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THESIS 2018

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SOCIAL FORESTRY- community forestry Social Forestry a forestry which aims at ensuring economic, ecological, and social benefits to the people, particularly to the rural masses and those living below poverty line, specially by involving the beneficiaries right from the planning stage to the harvesting stage. (Anon, n.d.)

Its aim is to ensure that the trees get planted and survive but rather to ensure that the people who plant the trees receive adequate sustenance to live with dignity before reaping the harvest from the raised crops. FAO defined social forestry as ‘any situation which intimately involves local people in a forestry activity’. Social forestry is basically for the people by the people and of the people approach. (Anon, n.d.)

Figure72: social forestry

COMMUNITY FORESTRY It is another scheme taken up under the social forestry programme, in which raising of trees is done on community land. All these programmes aim to provide for the entire community and not for any individual. The government has the responsibility of providing seedlings, fertilizer but the community has to take responsibility of protecting the trees. (Anon, n.d.)

Although “Social Forestry” is generally employed in rural areas, here it shall be used in an urban context but with the same purpose.

Source- http://www.bureauveritas.co.in/home/clients/success+stories/sc+-+idd+-+new+itc+foresty

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THESIS 2018

65

MAJOR COMPONENTS OF area program

community welfare PUBLIC TOILETS

income generation

COMMUNITY CENTER

CRAFT BAZAAR

CAFETERIA

SCHOOL FOR DISABLED

SKILL CENTER

GUEST HOUSE

education + AWARENESS RESEARCH CENTER+LIBRARY

MEMORIAL MUSEUM

AUDITORIUM

environmental remediation CYCLE STAND

WATER PURIFICATION SYSTEM

URBAN FOREST- PHYTOREMEDIATION

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KEY COMPONENTS OF project MEMORIAL MUSEUM- The core built of the site, the museum will be a collection of stories and experiences of the people and their running struggle in pursuit of justice. The museum will be located close to the interpretation centre, as a person would enter it after visiting the interpretation centre.

INTERPRETATION CENTRE – It is the first impression in the mind of a person as it is the first building that they will enter. It is through this built that they will enter other spaces. The building will contain basic facilities like information desk, book and resource centre, cafeteria, cloak room etc. Interpretation centre will brief and guide the people on what they are about to experience at the site.

FACTORY / MIC PLANT- The retained part of the factory- maojorly, MIC building will be one of the focal points of the whole scheme.

AUDITORIUM- auditorium with a capacity of 400 seats, to be used for various cultural and social functions.

RESEARCH CENTRE- To research on various social, technical, scientific and environmental issues relating to chemical disasters. The research centre will be one of its kind in the country where people from around the country will be trained. It would have reservation for “gas peedhit”.

SKILL DEVELOPMENT CENTRE- Set up for empowerment of the affected community. The centre will specialize at training in certain handicrafts native to Bhopal and Madhya Pradesh. Also, it will hold workshops in various disciplines, for people to pursue interests that they would generally not get an opportunity to get trained in, like photography, painting etc STAY FACILITY - It would be combination of a hotel and a guest house. For tourist who would stay for a short time and are interested in seeing how things work at ground zero, a hotel has been provided. For meetings or research work special teachers or scholars might want to stay for a longer period of time.

THESIS 2018

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THESIS 2018

AREA DISTRIBUTION

Functional relationship FUNCTIONAL CONNECTIVITY ON THE BASIS OF USER GROUPS AND MOVEMENT SYSTEM

CHART/TABLE-7

Area distribution

Source- Author

EDUCATION +AWARENESS COMMUNITY WELFARE INCOME GENERATION

CHART/TABLE-8 Source- Author

conceptual framework

COMMUNITY PEOPLE VISITORS SCIENTISTS + RESEARCHERS

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THESIS 2018

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68

S.NO. FUNCTION

STAFF OCCUPANCY

UNIT NO.

a VISITOR'S CENTER a.1 RECEPTION LOBBY 1.1 1.2

RECEPTION TICKET COUNTER

AREA

1

314 10 20

1

10

LOCKER ROOM / CLOAK ROOM

1

1.4

ATM

1

1.5 1.6

LOST AND FOUND SECURITY OFFICE

1 1

1.7

WAITING AREA

1

i ii iii a.3 a.4 a.5 a.6 a.7 a.8 a.9 a.10

VISITOR'S SEATING LOBBY AREA EXHIBIT

1 1 1 1 1 1 1 1 1 1 1

8 8 10

1

WORST CASE OVERCROWDING-SCHOOL 248 CHILDREN VISITS 100

1

14 20 1

0.9 1.2 8

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL b MUSEUM BUILDING b.1 EXHIBITION HALLS

5

b.2 b.3 b.4 b.5 b.6

1 1 1 1 4

STORAGE ROOM TOILETS INFORMATION CENTER RECEPTION LOBBY TEMPORARY EXHIBITION SPACES 40% FOR CIRCULATION+ WALLS+ HVAC TOTAL

REMARKS

1 1 1

1.3

TOURIST INFORMATION CENTER BOOK AND RESOURCE CENTER STORAGE ROOM DRINKING WATER TOILETS ORIENTATION ROOM FIRST AID AND MEDICINAL ROOM LOUNGE

AREA PER USER OCCUPANCY PERSON

160 48 30% OF SITTING AREA 40 150 75 6 5 13 24 8 30 625 250 875

2500

20 3

0.9 4

40% OF TOTAL EXHIBITION 1000 AREA 18 12 100 600 150 EACH 4230 1692 5922

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THESIS 2018 c c.1 c.2 c.3 c.4 c.5 c.6 c.7 i ii iii iv c.8 c.9 c.10 c.11 c.12 c.13

VOCATIONAL TRAINING CENTER RECEPTION (RECEPTION DESK,LOBBY AND WAITING AREA) OFFICE (MANAGEMENT AND RECEPTION) PANTRY TOILETS STAFF ROOM STAFF CABINS WORKSHOPS WOOD METAL WEAVING CLOTH OTHER LECTURE HALLS COMPUTER LAB TOILETS STORAGE ROOM CONFERENCE ROOMS EXHIBITION SPACE

1 1 1 1 1 5

3

10

6 1

0.9 4 10

1 1 1 2 2 1 1 2 2 1

10 10 10 10 35 20 14

10 12 12 4 1.9 4 0.9

15

1.5

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL d d.1 d.2 i ii iii d.3 d.4 d.5 d.6 d.7 d.8 d.9 d.10 i ii d.11 d.12 d.13 d.14

RESEARCH CENTER + LIBRARY RECEPTION LIBRARY + ARCHIVES (2500 VOLUMES)

OFFICE ACCOUNTS SECTION STAFF ROOM STAFF CABINS SCIENTIST'S/ RESEARCHER'S CABIN TOILETS LECTURE ROOMS CONFERENCE ROOMS

LABORATORY GREEN-HOUSES DOCUMENTATION SECTION PHOTOCOPY + STATIONARY 40% FOR CIRCULATION+ WALLS+ HVAC TOTAL

BOOK STACKS READING ROOM RECEPTION/ ISSUE

A B

1 1 1 1 1 1 1 1 3 3 2 3 2 1 1 2 2 1

2 5

2 4

1 3

2

2500 VOLUMES 30

150 VOL/MSQ 1.2 10

14 40 10 20

8 12 20 0.9 1.5 2 2 25MSQ 50

60 30 4 10 24 50 420 100 120 120 80 133 80 13 20 45 150 1039 415.6 1454.6

70 300 160 35 30 40 54 8 36 60 26 180 60 20 40 50 100 60 25 1069 427.6 1496.6

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THESIS 2018

YAAD -E - HAADSA

70 e e.1 e.2 e.3 e.4 e.5 e.6 e.7 e.8 e.9 e.10

GUEST HOUSE RECEPTION (WITH MANGER'S DESK) DORMITORY HOSTEL/ GUEST ROOMS DINING AREA KITCHEN STORAGE ROOM TOILETS LAUNDRY STAFF ROOM STAFF TOILETS

1 2 8 1 1 1 1 1 1 1

1 2 6

10

40 30 4

14

0.9 10 0.9

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL f f..1 f.2 f.3 f.4 f.5 f.6 f.7 f.8 f.9

COMMUNITY CENTER MULTIPURPOSE HALL KITCHEN STORAGE ROOM NGO OFFICES GAMES ROOM AV ROOM RECEPTION LOBBY AND WAITING AREA OPEN HALL TOILETS

1 1 1 3 1 1 1 1 1

180

2 2 1 1 2 1 1 1 1 1 1

25 PER CLASSROOM 25 PER CLASSROOM

2.8

30 45

1

14

0.9

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL h h.1 h.2 h.3 h.4 h.5 h.6 h.7 h.8 h.9 h.10 h.11

SCHOOL OF SPECIALLY ABLED CLASSROOM SPECIAL CLASSROOM RECREATIONAL ROOM STORE TOILETS STAFF ROOM DOCTOR'S CABIN MEDICAL ROOM (WITH PHYISOTHERAPY AREA+ STORE) PRINCIPAL'S OFFICE SPECIAL LIBRARY CANTEEN 40% FOR CIRCULATION+ WALLS+ HVAC TOTAL

3 1

65 80 240 40 20 45 13 10 20 6 539 215.6 754.6

500 140 85 90 100 45 130 275 13 1378 551.2 1929.2

140 140 100 15 8

24 12 70 12 100 613 245.2 858.2

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THESIS 2018 i CRAFT BAZAAR i.1 SHOPS i ii

A B

10 10

1 2

10MSQ 20MSQ

1 1 1 1 1 1 1 1

10 10 14

1.5 0.9

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL ADMINISTRATION ADMINISTRATION (SITE OFFICE + MANAGER'S OFFICE ETC.) CONFERENCE ROOM TOILETS STAFF LOCKERS STAFF TOILETS STAFF ROOM SECURITY OFFICE STORE+ RECORD ROOM

14 5 3

0.9 10

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL CAFETERIA DINING AREA PREPARATION AREA COLD STORAGE DRY STORAGE STAFF TOILETS WASHING AREA WASHROOM

1 1 1 1 1 1 1 1

40

2

40

1.5

500

1.5 0.5

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL AUDITORIUM MAIN HALL STAGE PROJECTION ROOM CONTROL ROOM LOBBY AREA TOILETS 40% FOR CIRCULATION+ WALLS+ HVAC TOTAL

1

100 200 300 120 420

200 15 13 16 13 50 100 10 417 166.8 583.8

80 24 10 7 6 7 134 53.6 187.6

750

1000 400 1400

71

72

THESIS 2018

YAAD -E - HAADSA i CRAFT BAZAAR i.1 SHOPS i ii

A B

10 10

1 2

10MSQ 20MSQ

1 1 1 1 1 1 1 1

10 10 14

1.5 0.9

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL ADMINISTRATION ADMINISTRATION (SITE OFFICE + MANAGER'S OFFICE ETC.) CONFERENCE ROOM TOILETS STAFF LOCKERS STAFF TOILETS STAFF ROOM SECURITY OFFICE STORE+ RECORD ROOM

14 5 3

0.9 10

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL CAFETERIA DINING AREA PREPARATION AREA COLD STORAGE DRY STORAGE STAFF TOILETS WASHING AREA WASHROOM

1 1 1 1 1 1 1 1

40

2

40

1.5

500

1.5 0.5

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL AUDITORIUM MAIN HALL STAGE PROJECTION ROOM CONTROL ROOM LOBBY AREA TOILETS

1

100 200 300 120 420

200 15 13 16 13 50 100 10 417 166.8 583.8

80 24 10 7 6 7 134 53.6 187.6

750

1000 400 1400

40% FOR CIRCULATION+ WALLS+ HVAC TOTAL CYCLE STAND (semi covered) MEMORIAL PARK i URBAN FOREST PUBLIC TOILETS TOTAL BUILT UP

4

25MSQ

100 HOUSEKEEPING INCLUDED 15981.6

chapter - 4

READING the site

“For me, a building is a medium to tell a story. It’s not only about itself” (Quoted in Libeskind & Goldberger, 2008).

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BASIC INFORMATION

BHOPAL Sprawled across the Vindhya and Singarcholi mountains is the beautiful city of lakes – Bhopal. Spanning 20-25 km. across, Bhopal is a well planned, fast developing city. Wide roads, lush greenery, luxuriant urban spaces and modern buildings in a continuous, undulating terrain make up its beautiful cityscape. Adding romance to this environment are the lakes of Bhopal. The largest and the oldest of these lakes, supplies the city with water – the Upper lake, commonly known as ‘Bara Talab’ (or Upper Lake), constitutes the thousand year old heritage of the city. Holding this lake is the equally ancient dam – King Bhoja’s Dam, a reminder that Bhopal’s origins lay in a far-sighted environmental management that has stood the test of time. In the heart of the city today, lie many silent documents of the history of Bhopal – many of them in a ruined, unattended and uncared-for state. (Das, 2011)

Figure73: view of tajul masjid Source: http://www.tripsbank.com/city/bhopal-218.html

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THESIS 2018

URBAN GROWTH AND INDUSTRIALIZATION • 1856: Railway introduced in the city • the railway lines still exist adjacent to the Union Carbide site and connect central India to the states

•

Process of industrialisation begins with the first cotton mill in the precinct of the current site

75

•

1931: the site as an Airport for Royal Air Force Training • 1940’s: More agriculture and handloom industries open with a slow curve

•

BHEL, first largest industry established in 1956 and Govindpura industrial area marked out for future development • With Nehru’s vision and green revolution, UCC invited for foreign investment in industrial sector • the site given for industrial development to UCIL in 1969 contrary to the landuse of the region • the UCIL site at a stratergic location near the railways, on the highway Figure75: URBAN GROWTH AND INDUSTRIALIZATION

HISTORY OF THE SITE

Source:Bhopal 2011, Landscape of memory

1969: Union Carbide India Limited’s (UCIL) pesticides plant at Bhopal is built.

1978: The alpha naphthol manufacturing unit is set up and a year later, the MIC unit is set up at the plant.

1981: Leak of phosgene gas at the UCIL plant kills one worker.

1982: Raajkumar Keswani, a journalist, writes a series of articlesin the local press about dangers posed by the UCIL plant.

1982: Another leak from the plant results in hospitalisation ofhundreds of nearby residents.

1983: Shahnawaz Khan, a lawyer from Bhopal serves a legal notice to UCIL stating serious risk to workers and nearby residents posed by the plant, which is denied by UCIL. 1984: At 8.30 pm, during the water-washing exercise to clear choked pipes, water enters the MIC tank past leaking valves and sets off an exothermic ‘runaway reaction’ causing the concrete casing of tank 610 to split and the contents to leak into the air.

Thousands die on the first night and many more thereafter.

Figure74: UCIL FACTORY WITH CONTEXT Source:Bhopal 2011, Landscape of memory

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landuse The landuse of the site remains industrial and no bye-laws apply as it has been considered different due to special historical context.

RESIDENTIAL

site evolution

Map No.1: MASTER PLAN 2005

Map No.2: PRESENT SCENARIO

Source: Author

Source: Author

CENTRAL EXHIBITION GROUNDS

Map No.3: SITE IN 2002 Source: Google Earth

Sparsely spread slums with few industrial areas around.

GREENS

IINDUSTRIAL

WHOLE SALE MARKET/ MANDI

PUBLIC UTILITIES AND FACILITIES

Map No.4: SITE IN 2012

Map No.5: SITE IN 2018

Source: Google

Source: Google Earth

Slums spread and densified and a new fllyover built .

Slums further spread and densified with considerable increase in building heights.

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THESIS 2018

THE SITE VEHICULAR MOVEMENT PEDESTRIAN PATHWAYS USED BY LOCALS RAILWAY TRACKS NATURAL DRAINAGE OF SITE IN SOUTH-EAST DIRECTION ELECTRICITY LINE TREES BUS STOP FLYOVER PUBLIC TOILET SBI BANK Dense tree cover is present on the site.

Some trees identified were 1. Eucalyptus 2. Neem 3. Plum 4. Dates 5. Ashoka 6. Gular 7. Gulmohar 8. Babool 9. Keekar Map No.6:  understanding the site 10. Amaltas Source: Author

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TOWARDS BERASIA

context and connectivity

blue moon colony

new ARIF NAGAR

prem nagar

raja bhoj airport uc site TOWARDS DIG. BUNGLOW SQUARE bhopal junction

industrial area TOWARDS CHOLA ROAD SQUARE

J P NAGAR

Figure88: immediate context + connectivty + demarcation of different views Source: Author

habibganj

Figure87: connectivity of the site with railway stations and airport Source: Author

ACCORDING TO NUMBERING for phtographs towards right Figure76: Figure77: Figure78: Figure79: Figure80: Figure81: Figure82: Figure83: Figure84: Figure85: Figure86:

VIEW FROM THE FLYOVER TOWARDS THE SITE VIEW OF THE FLYOVER FROM THE SITE VIEW OF UCIL PLANT STRUCTURES FROM THE ROAD VIEW OF NEW BOUNDARY WALL CONSTRUCTED WAILING LADY WITH THE GRAFFITI ON THE WALL STRUCTURES IN THE SOUTHERN EDGE OF THE SITE NEW BOUNDARY WALL BEING BUILT OTHER PARTS OF THE FACTORY USED AS OFFICE ABANDONED FACTORY STRUCTURE FLARE TOWER VENT GAS SCRUBBER

THESIS 2018

site photographs

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READING A BROWN-FIELD SITE – Monumental and historical values: Main Plant structures, ‘Protest wall’ and Ruth Waterman’s Bhopal memorial sculpture in the south – Instrumental value: Existing dilapidated factory buildings – Historical value: Discharge wells – Red-framed ground areas: Areas with high level of contamination.

Map No.7: parts of the site along with their relevance Source- Shubham Kesharwani

THESIS 2018

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THESIS 2018

POINTS OF INTEREST SEVIN AND MIC PLANT The two factories are the tallest and most prominent buildings on the site. MIC plant has historical significance as it is from where the gas leak happened. Both the plants are in dilapidated condition and rusting. They require immediate attention for the purpose of restoration if intended.

Figure89: SEVIN+ MIC PLANT SOURCE-Author

STATUE OF THE WAILING LADY It is the only existing memorial of the disaster which was sculpted by Ruth Waterman, a Dutch sculptor. The statue stands across the road from the site and seems to have lost its importance and respect with time as locals continue to lead their lives neglecting or at times even unintentionally disrespecting, the sculpture.

PROTEST WALL

Figure90: statue of wailing lady SOURCE-Author

The wall which once was used to express emotions though the protest graffiti has now been replaced by a newly constructed boundary wall. Therefore, it is no more counted as a point of interest.

Figure91: protest wall transformation SOURCE-Author

The protest wall has been demolished and has been replaced by new boundary wall

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SOIL ANALYSIS

The UCIL site is heavily contaminated with pesticides, chlorinated benzene compounds and heavy metals. Various studies done till date have confirmed this.

Most of the studies confirmed groundwater contamination with organic contaminants. The contamination is found more towards the reported direction of the groundwater flow, i.e. north-east.

In 2013, CSE, in consultation with experts from across the country, prepared an action plan to clean the plant site. Experts included representatives from scientific institutions such as NEERI, NGRI and IITs; regulatory bodies such as CPCB; industry and organizations from Bhopal. (Anon., 2013)

Figure92: Places at UCIL where contaminants were tested Source-Action plan Environmental Remediation in and around UCIL, CSE, 2013

Figure94: remediation plan for plant site according to cse 2013 report Source: http://www.indiaenvironmentportal.org.in/media/iep/infographics/Bhopal%20Gas%20Disaster/index.htm

Figure93: contaminants found Source-Action plan Environmental Remediation in and around UCIL, CSE, 2013

Out of various strategies almost none have been put to action till date. Further, plant detoxification and dismantling plan has been called off.

chapter - 5

technology

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WAYS TO TREAT HAZARDOUS WASTE

CHART/TABLE-9 Source- Author

WAYS TO TREAT HAZARDOUS WASTE

THESIS 2018

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THESIS 2018

85

IN-SITU CAPPING A non removal remediation method in which a layer of sediment or any other material is placed above the contaminated sediments isolating it from the environment to prevent further spread of contamination.

(Porter, 2007)

EXAMPLE- Cultuurpark Westergasfabriek, Amsterdam, Holland

Figure95: PROPOSED steps FOR in-situ capping

Figure96: SPECIAL CASE FOR PRESERVATION OF EXISTING TREES

Source- Strategic Contaminated Soil Placement by Gustafson Porter

Figure97: EARLIER SITE - HEAVILY CONTAMINATED Source- Strategic Contaminated Soil Placement by Gustafson Porter

Source- Strategic Contaminated Soil Placement by Gustafson Porter

Figure98: SITE AFTER REMEDIATION- CUT AND FILL AREAS Source- Strategic Contaminated Soil Placement by Gustafson Porter

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PHYTOREMEDIATION It is the in-situ use of plants to remove harmful toxic substances from the soil, air or water.

Plants have unique metabolic and absorbtion capabilities as well as transport systems that take up nutrients or contaminants selectively. Therefore, they are grown in the affected piece of land for a particular period of time then harvested, processed and subsequently disposed. Here, some native speciaes of plants and trees have been identified for removal of toxic chemicals like nickel, lead, cadmium, sulphur, chromium and other organic chemicals like dichlorobenzenes from the soil. Some species identified arespinach carrots cauliflower sunflower cabbage eucalyptus ( native ) willows ( native ) Poplar Bamboo Broccoli gerbera Amaranth Brake fern Mustard Phytoremediation is a low cost, sustainable, effective way to clean up soil and water but it might take several years to achieve the desired results.

Figure100:  different ways of phytoremediation Source: https://en.wikipedia.org/wiki/File:Phytoremediation_Process_-_svg.svg

Figure99:  different speices helpful in phytoremediation sunflower, carrots, bamboo, cabbage, spinach, cauliflower

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THESIS 2018

CHART/TABLE-10

WATER /GROUNDWATER (Schnoor, 2002)

Source- Waqas Azeem, Department of Soil and Environmental Sciences, UCA

CHART/TABLE-11

WATER /GROUNDWATER (Schnoor, 2002)

Source- Waqas Azeem, Department of Soil and Environmental Sciences, UCA

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CALCULATIONS electricity CALCULATIONS

interior lighting power by building area method

Source- ECBC

HVAC LOAD

Map No.8:  location of transformers Source- Author

Transformer location near boundary and along existing electricity line

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THESIS 2018

stp calculation

CHART/TABLE-12 Source-NBC

water requirement for buildings

89

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THESIS 2018

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water storage tank Based on-NBC Water consumption =119.6 kld Safety Factor of 20% = 143.52kld OHT = 66% = 94.7 kld UGT = 33% = 47.36 kld

RAIN WATER HARVESTING CALCULATIONS Based on CPWD Rainwater harvesting and conservation Manual Wet period (maximum precipitation)- June to September Highest Precipitation (August)- 359mm Lowest Precipitation (April)- 2mm Dry period- 243 days Therefore Roof Area x Peak Rainfall x Runoff coefficient= = 5477 x 359 x 0.8 = 1573 kld (approx)

Map No.9: STP location Source- Author

micro treatment plant = water from rainwater harvesting + water from domestic usage = 1573 +25.155 kld =1598 kld Map No.10: location of waterbody created by using harvested water Source- Author

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THESIS 2018

SOLID WASTE

Source- Manual on municipal Solid waste management ORGANIC WASTE Waste from cafeteria, mess HAZARDOUS ORGANIC WASTE

SOLID WASTE

Waste from landscape INORGANIC WASTE plastic and metal waste HAZARDOUS INORGANIC WASTE

Disposed by organic waste converter to produce manure

Disposed off in an incineration tank Disposed off through private waste collecting vendors after temporary storage at site

Chemicals, paints, oils, batteries, pesticides

Not produced or minimal

E-WASTE

Disposed off through recyclers authorized by central pollution control board

Information technology and telecommunication network ELECTRONIC WASTE CFL Lamps, Fluorescent tubes

WASTE PRODUCED BY DAILY USERS

Disposed off through recyclers authorized by central pollution control board

WASTE PRODUCED BY FLOATING POPULATION CHART/TABLE-13 Source- Author

CHART/TABLE-14 Source- Author

waste production

user distribution- waste production

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TOILET CALCULATIONS

Source- NBC

THESIS 2018

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93

material and structure bamboo Bamboo and clay bricks construction is used as it is organic, herbal material as a sign of aversion from the UCIL pesticide factory. Further these are locally available, manufactured in small scale industries, thus adding to the contrast from a foreign MNC. Bricks are used for walls and bamboo is used for roofing and structural system.

Madhya Pradesh is thelargest statein terms of forestarea, accountingfor 20.3% of India’s forest area. It also has the largest bomboo cover in india which comprises of 12% of the country’s growing bamboo stock.

source- Madhya Pradesh state Bamboo Mission

There are various species of bamboo available, but the predominant species of bamboo in Madhya Pradesh are Dendrocalamus strictus—called ‘desi bans’and found in nearly 80% of natural forests—and Bambusa bambos—called ‘katang bans’and found in 80% of private bamboo clumps.

Bambusa Bamboo has been chosen for construction because of its superior quality and larger sizes over the other species.

source- Madhya Pradesh state Bamboo Mission, Bamboo construction source book by Hunnarshala,

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structural case study bamboo playhouse

CLOCKWISE Figure101: plan Figure102: interior view Figure103: section Figure104: model Source- https://www.dezeen.com/2015/11/17/ eleena-jamil-bamboo-playhouse-lake-island-kuala-lumpur-malaysia-perdana-botanical-gardens/

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95

bamboo sports hall

CLOCKWISE Figure105: plan SourceFigure106: https://www.archdaily.com/877165/bamboo-sports-hall-for-panyaden-international-school-chianinterior view gmai-life-construction?ad_medium=widget&ad_name=navigation-next Figure107: structural system Figure108: joinery detail Source- https://www.archdaily.com/877165/bamboo-sports-hall-for-panyaden-international-school-chiangmai-life-construction?ad_medium=widget&ad_name=navigation-next

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roof detail

Figure109: stage 1- Interlocked Bamboo Net

Figure110: stage 2- split bamboo shells/ stems

Source- https://www.bamboo-earth-architecture-construction.com/in-the-news/waterproofing-bamboo-roofs/

Source- https://www.bamboo-earth-architecture-construction.com/in-the-news/waterproofing-bamboo-roofs/

Figure111: stage 3- thick sheets of linen soaked in tar

Figure112: stage 4- split bamboo shells/ stems

Source- https://www.bamboo-earth-architecture-construction.com/in-the-news/waterproofing-bamboo-roofs/

Source- https://www.bamboo-earth-architecture-construction.com/in-the-news/waterproofing-bamboo-roofs/

THESIS 2018

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97

wall section

Figure113:  wattle and daub Source-https://www. lowimpact.org/lowimpact-topic/wattle-daub/

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COLUMN DETAIL

THESIS 2018

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THESIS 2018

99

STRATEGIES for museum green roofs Green roofs have been adopted for the roof of the underground structure, which serves dual purpose of camouflaging the museum, thereby avoiding disturbance in the landscape near a heritage building. Further they provide excellent insulation from the heat. Therefore support energy efficiency and comfortable environment.

Figure114:  insulation and waterproofing detail for roof Source- https://visual.ly/community/infographic/business/flat-roof-green-garden

underground structures Building on the surface results in high heat flux due to the large temperature gradients, whereas sheltering the building with earth reduces the temperature gradients and the heat flux. Therefore such structures remain cool in summer and warm in winter.

Figure115:  building above ground and below ground Source- http://www.homeintheearth.com/tech_notes/basics-of-earthsheltering/

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RCC STRUCTURE MUSEUM Exposed concrete structure has been chosen to represent the subspace of the museum narrating the rough and negative aspects of the disaster.

THESIS 2018

chapter - 6

design determinants

THESIS 2018

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102

swot

strength • The site has strong historical context as it is the ground zero for the world’s biggest industrial disaster.

• Well connected large site • The site is surrounded by slums and the newly built flyover, providing a perfect picture of the precinct after the tragedy.

weakness • •

The shape of the site is very weird Very limited vehicular circulation around the site which reduces the possible entry points to the site • There is a lot of existing vegetation on the site • Large parts of the site are still contaminated and hazardous.

• Noise from the railway track from the northern side

threats

opportunity •

To create something for the society which has suffered so much.

• To revitalize the precincts of the site.

• To change the negative image of the past to a positive and constructive image of the future • To provide remediation for contamination

•

The acceptance of the affected society and the government to a single proposal.

• The chances of contamination or other related problems resurfacing.

• No or very less public, semipublic functions are located around the site. Further the dense slums around, makes visitors less likely to visit site randomly and increase the chances of a less popular public destination.

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THESIS 2018

design determinants from site NODEIt is the most active point where the visibility of the site for public is maximum Noise producing areas MIC and The Statue of the wailing lady - Memorial markers Proposed passageway

DETERMINANTS OF MOVEMENT The entrance for the site can only be from the southern edge, as people coming from city would have to travel on the wrong side or a considerable distance to take U-turn if entrance is on the eastern edge.

Map No.11:  design determinants Source-Author

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The site shows the potential for generation of a visual axis that connects the MIC factory structure to the statue of wailing lady.

Area closer to settlement and presently used as playground, shall be used for community activities.

Map No.12: visual axis

Visitor activities shall occupy other half of the public edge

Source-Author

Map No.13: user based zoning Source-Author

As the site is huge and there are many functions that require servicing road network needs to be developed. A closed loop movement system based on traffic movement, utilizing the existing public roadways shall be devised.

Since the factory is located on the other end of the site the shortest route shall be adopted, keeping in mind the orientation of the existing factory structure Map No.14: vehicular movement Source-Author

Map No.15: pedestrian movement Source-Author

chapter - 7

concept

““Architecture is not a limited field, even though many practice it as such. It affects everyone; it is centrally positioned, so consequently it is part of film, language, the visual and not visual world. The visible art of architecture makes us aware of that which is not visible.”

-Daniel Libeskind (Quoted in Libeskind 1999).

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EXISTING MEMORIALS The design concept is based on the existing “constants” or “reminders” that have been a source of memory for the city and its people from past 34 years.

ucil factory It could be considered as the most significant reminder of the gas tragedy. The factory gets featured in media whenever there is a discussion over the disaster. The dilapidated rustic factory structure has been ingrained in the memory of the people and the world as the core cause and source of the fateful event.

The factory is now seen as an industrial heritage that needs to be preserved. Therefore heritage is not just celebrations of our past achievements but also stories of disasters, mistakes, injustice and discrimination.

Even the survivor community considers the factory to be a memorabilia and wants to retain it as a part of the memorial. “We believe that it is critically important to preserve and communicate the memory of the Union Carbide disaster in Bhopal. We believe that the structures of MIC and Sevin plants and few remaining structures are, in the likeness of the remains of the concentration camps at Auschwitz and Buchenwald and other places, of tremendous educative value for future generations across the world and therefore must be preserved.”

Figure116: ucil factory Source-http://www.rediff.com/business/slide-show/ slide-show-1-bhopal-tragedy-toxic-waste-continues-to-contaminate-water/20110720.htm

Over the time the factory has evolved as a symbol of mass destruction. “The union carbide factory still stands in bhopal like a haunting symbol of the worst tragedy of the industrial era, etched in the memory of millions of Indians.

(NDTV,2010) Figure117: survivor community

THE COMMUNITY

Source- https://www.newskarnataka.com/ health-lifestyle/bhopal-gas-tragedy-many-womencouldnt-become-mothers-again

Apart from the factory, the survivor community is a living memory of the repercussions of the disaster. They are an indispensable evidence to the damage done by the tragedy. These were the local people who witnessed the catastrophe and are the repository of the events of the dark night.

The survivor community with a long history of struggle and visible scars narrate the story of the second tragedy which unfolded after the first one.

“Since December 1984, i have personally witnessed how broken widows with no future, or children who were forced to become heads of their orphaned families at the age of 9, and day labourers who lost their “ability to work”, all turned into strong human beings, great activists, tireless campaigners and capable organisers. This self empowerment through collective struggle is the single greatest achievement of the people of Bhopal and their transformation from victims to victors.”

-Pratful Bidwai, journalist, July 2004

statue of the wailing lady The only formal memorial which exists for the tragedy is the statue.

Dutch sculptor Ruth Waterman along with the survivors and the activists came together to build the first memorial in the form of statue in 1985. Waterman is a holocaust survivor. The design was shaped by the memories of the survivors as they recollected the tragic event. The sculpture was built with the help of the survivors. (Maitra, 2014) The statue depicts a woman running with a baby in her arm carries the message - “No more Bhopal, No more Hiroshima”.

The statue is located just outside the factory and is the site for protest and marches and demonstration by the survivor community in their struggle for justice.

Figure118: statue of the wailing lady Source- http://www.terrainspotter. com/city-siting-on-a-tragedy-bhopal.html

Trees The site has a rich cover of vegetation that needs to be preserved as the existing trees are resistant species towards contamination. These further represents sign of victory against negativity and contamination.

Figure120: tree- symbol of victory Source- https://drawception.com/panel/drawing/VyuJ6336/strong-tree/

Figure119: various trees on site Source- Kumar Rahul Verma

All these four existing memorials will form the source for the concept derivation and site planning of the memorial complex. The visitors shall be able to understand the disaster and its consequences, to create awareness and avoid further disasters. Whereas, survivors shall fell the connect to the memorial. It shall pave way for hopeful and bright tomorrow for the survivors and people of the world.

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IDEAS BEHIND The purpose of the memorial can be summarized using 3 key words

commemorate the present

C

OMMEMORATE AUTION CONCILIATE

The act of recalling the event and showing respect to the dead. Both visitors and community people need to come together and remember the disaster

caution the future Spreading awareness about the tragedy and other such industrial disasters is the need of the hour to prevent any such event of any such larger or smaller magnitude from happening in future. Visitors and younger generations shall understand the magnitude of damage that a little carelessness can cause.

conciliate the past Conciliation and healing for the survivor community and the people who were affected by the tragedy in any form - mentally or physically. Healing is necessary as the trauma imparted by the event is of a higher magnitude which is not forgotten. Also the absence adequate justice to the survivors makes the idea of conciliation more important.

Figure121:  IDEAS BEHIND Source- Author

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THESIS 2018

site implementation The memorial complex can be divided into 3 parts PLAZA MEMORIAL MUSEUM and LANDSCAPE each of these correspond to a particular idea keeping in mind the existing memorials.

plaza - commemorate The entrance or the first experience is a large open congregation space with a concave arrangement of the built to create a welcoming experience. Since the site has been an image of negativity for so long, a positive gesture is required to bring people back to the same space.

Figure122: design implementation

The plaza has the statue of wailing lady as the central focus. Thereby, providing more than sufficient space for commemorative activities like protests, gatherings, marches etc.

Source-Author

Spaces have been divided on the basis of user groups with community spaces near the existing basti and visitor spaces on the other side.

It is the space where visitors and community people come together, interact and commemorate. This space could serve as a large open public space where a large event can be organised on 3rd Dec every year.

Figure123: CONCAVE WELCOMING PLAZA

The built has a courtyard typology to preserve the trees at the site. Also the typology is traditionally found in the area thereby, making people more comfortable.

The built also frames the view of the MIC plant. Which is achieved by the concept of “absence is the presence”, the absence of the built brings focus to the factory. This further leads people towards the memorial museum

Source- Author

Figure124: BUILT THAT FRAMES MIC Source- Author

Figure125: COURTYARD TYPOLOGY TO PRESERVE TREES Source- Author

109

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THESIS 2018

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memorial museum - caution The museum is located below the ground i.e. SUBSPACE as it narrates the story of events, emanating negative emotions as opposed to the positivity and hope above ground i.e. SPACE. The memorial museum architecture incorporates acute angles and sharp edges to express the harshness and bitterness of the tragedy.

Figure126: concept of space (positive) -subspace (negative) Source- Shubham Kesharwani

After understanding the gravity of the tragedy the museum finally opens up to a view of MIC factory amidst a huge water fall. Which not only has a healing impact but also adds to the acoustically to the ambience by the clashing sounds between the sharp sound of railway engine and soothing sound of water.

Figure127: acute angles

Figure128: view of mic with waterfall

Source- Author

Source- Author

landscape - conciliate Since MIC gets neutralized by water and Bhopal is the city of lakes it helps in the soothing effect and also contextualizes the city.

A walkway with the names of the victims leads people up to the restored MIC plant Figure129: Reaction of mic with water

The return journey happens through landscape which is lined with the surviving trees or with the plant species which helped in phyto-remediation.

Source- The Bhopal Saga by Ingrid Eckerman

The overall conciliation and healing effect have been amplified with both the ends having water bodies acting like anchor points.

Figure130: view of pathway with names of the dead Source- Author

chapter - 8

design development

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INITIAL IDEAS OUTDOOR MEMORIAL SPACES

PEZO- ELECTRIC TILES EMPLOYED THAT PRODUCE SMALL WHIRLPOOLS ON WALKING. CONCEPT- SMALL STEPS CAN MAKE AN AFFECT

HOMAGE ON 3rd DEC

INTERACTIVE INSTALLATIONS - RING THE BELL- AS A SIGN OF WARNING SIREN

END OF THE MUSEUM HAS A WATER CURTAIN TO AVOID DIRECT VIEW OF MIC PLANT

WIND CLEANING TOWER -RESPONDING TO NODE

FLAME OF HOPE -HIGHEST POINT

OAT FOR COMMUNITY ACTIVITIES

CONTEMPLATIVE AND COMMEMORATIVE AREAS

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THESIS 2018

113

museum

BEFORE 3rd DEC- HOPE

STRUGGLE- UP’S AND DOWN’S IN GALLERY

IMPACT- CHERRY COLOURED LASER CORRIDOR SPACE WITH SKYLIGHT BEAMS ALONG WITH SMOKE, INCLINED WITH ONE SIDE TANGIBLE AND OTHWALLS FOR CLAUSTROPHOBIC EXPERIENCE ER SIDE INTANGIBLE

IMPACT- CHERRY COLOURED LASER BEAMS ALONG WITH SMOKE HOLOGRAPHS OF HUMANS RUNNING

INSTALLATION AT THE EXIT OF THE MUSEUM

INSTALLATIONS FOR DIFFERENT GALLERIES

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THESIS 2018

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STAGE -1

MEMORIAL MUSEUM (UNDERGROUND) AUDITORIUM ADMIN COMMUNITY CENTER SKILL CENTER

PLAZA

Figure132: Detailed plan

RESEARCH CENTER +LIBRARY

Source- Author

CRAFT’S BAZAAR

SCHOOL FOR DISABLED

Figure133: plan of the underground museum Source- Author

Figure131: stage 1 - 3d view Source- Author

STRENGTHS

WEAKNESSES

• Aesthetically pleasing design • Basic concept translated well on to design • Service road away from visitor’s visual experience.

• • • •

Out of proportion plaza with respect to built zoning of different functions seems random no distinction between public and semi-public built exit to the museum is not well articulated

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115

STAGE -2

SCHOOL FOR DISABLED

AUDITORIUM

craft bazaar

CAFE LIBRARY RESEARCH CENTER

COMMUNITY CENTER

Figure135: stage 2 -plan Source- Author

PLAZA

SKILL CENTER

Figure134: stage 2 - 3d view Source- Author

STRENGTHS

WEAKNESSES

• Plaza to the built proportion along with the roof framing the view of MIC achieved.

• welcoming experience and focus towards the wailing lady due to concave shape of built.

• •

zoning better than before but still not clear in terms of intent a lot of water was being used in the site plan which was not possible because of scarcity of water in the semin arid area.

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STAGE -3 forest

social forestry

SCHOOL FOR DISABLED MEMORIAL MUSEUM (UNDERGROUND)

MULTIPURPOSE HALL

SKILL CENTER

GUEST HOUSE

Source- Author

COMMUNITY CENTER

ADMIN

RESEARCH CENTER

Figure137: site plan

LIBRARY CAFE

AUDITORIUM

Figure136: stage 3- 3d view

Figure138: detail plan

Source- Author

STRENGTHS • coutyard typology makes it possible to preserve various existing trees.

• Clear distribution of functions on the basis of users and public / semi-public nature of the building • Experientially articulated, museum’s exit.

Source- Author

WEAKNESSES • the return journey through landscape shall expose people to harsh weather conditions

chapter - 9

design OUTCOME

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site plan

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part plan

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part plan

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museum plan

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B A

B’ A’

museum section aa’

museum section bb’

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C

C’

section cc’

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D’

D

section dd’

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E

section ee’ F’ F

section ff’

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elevations

site elevation xx’

building elevation aa’

building elevation bb’

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3D VIEWS

VIEW FRAMING THE FACTORY STRUCTURE BEFORE ENTERING THE MUSEUM

AREIAL VIEWS

AREIAL VIEW NEAR THE FACTORY STRCTURE

VIEEW FROM PATHWAY TOWARDS UCIL PLANT

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JURY COMMENTS The final presentation took place in an interactive manner. A detailed discussion went on how conceptual ideas were translated into design. Due to the scale and nature of the project discussion was limited to site plan and concept.

Jury liked the effort and how different thoughts and stories, served as inspiration for ideas and concepts and finally represented in the design. They also appreciated that various small areas were thought in depth. Jury felt that at times one needs to move above concepts and think beyond.

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BIBLIOGRAPHY Anon., 2013. Action plan Environmental Remediation in and around UCIL, s.l.: Centre for Science and Environment.

Anon., n.d. homeintheearth. [Online] Available at: http://www.homeintheearth.com/techn_ otes/basics-of-earthsheltering/ [Accessed 2018].

Anon., n.d. social forestry. [Online] Available at: http://edugreen.teri.res.in/explore/forestry/social.htm [Accessed 2018].

Anon., n.d. Social forestry in Bangladesh. [Online] Available at: http://www.assignmentpoint.com/arts/sociology/social-forestry-in-bangladesh.html [Accessed 2018].

Ballal, A., 2011. Bhopal 2011-Landscape of memory. s.l.:Space Matters.

Barnes, J., 2011. the sense of an ending. s.l.:s.n.

Birkhauser, 2007. Living Systems. s.l.:s.n.

Chari, M., 2014. Thirty years later, a museum wants to change the way we look at the survivors of the Bhopal gas leak.

Das, M., 2011. City with a Past. In: Bhopal 2011- Landscape of memory. s.l.:s.n.

Eckerman, I., 2005. The Bhopal Saga—Causes and Consequences of the World’s Largest Industrial Disaster. s.l.:India: Universities Press.

Lakshmi, R., 2005. The Morality of Memory.

Maitral, P., 2014. Ruth wanted to be with midnight’s children.

Nath, A., 2014. We wanted the ‘Remember Bhopal Museum’ to be as close as possible to the Union Carbide factory: Curator Rama Lakshmi. Saddahaq.

Porter, G., 2007. Strategic Contamination Soil Placement. In: Living Systems. s.l.:s.n.

Rama Lakshmi, S. S., 2014. Remembering Bhopal: Voices of Survivors. Social Justice.

Vidhi Wadhwan, S. K., 2017. Expressions of Aspirations: United by a Night. s.l.:s.n.

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