BHUJ CITY HERITAGE MUSEUM ,THESIS

BHUJ CITY HERITAGE

MUSEUM

KUTCH, GUJARAT

UNDERGRADUATE ARCHITECTURAL DESIGN THESIS PROPOSAL

SUBMITTED BY JAY TANK

EN NO: 91600629018 YEAR: 2020-21

GUIDED BY PROF. RAJDEEP ROUTH

SUBMITTED TO FACULTY OF ARCHITECTURE MARWADI UNIVERSITY, RAJKOT

Acknowledgments

It is a genuine pleasure to express my deep sense of thanks and gratitude to my mentor and guide Prof. Rajdeep Routh for his continuous support in my study and research, for his motivation and enthusiasm and giving me direction to move further in the research. His guidance has helped me at every step of this thesis.

My sincere thanks also goes to Deep Buch for being my go-to person whenever I had a doubt regarding the topic, always being ready to help and co-ordinating my visits to City of Bhuj.

I would like to thank my friends Heerav, Rushi, Rishit, Rishiraj and Kushal, for supporting me throughout my dissertation duration. I would also thank other friends Ruchi, Jahnvi, Sahil, Alisha, Bharvi and Mayur for making my life at Marwadi University memorable. And I cannot thank my brothers Harshal and Chirag enough for all the things they have done.

I am extremely grateful to my parents Nareshbhai Tank and Sonalben Tank for their love, prayers, support and sacrifices for preparing me for my future. I cannot forget Priya who made it bearable for me to work on the thesis during the lock-down hours. I owe a deep gratitude to my uncle, Vinubhai Tank for helping me at every step throughout my five years of architecture.

CONTENTS

Acknowledgement

Abstract

1. Overview 1.1 Statement of Problem 1.2 The Rationale of the Study 1.3 Aim 1.4 Objective 1.5 Research Methodology 1.6 Scope and Limitations

2. Precedent Study 2.1 Criteria for Selection of the Case Studies 2.2 Framework for Evaluation of Case Studies 2.3 Museum Case Studies 2.3.1 National Handicraft Museum, Delhi 2.3.2 Museum of Islamic Arts, Doha 2.3.3 Bihar Museum, Patna 2.4 Urban Park Case Studies 2.4.1 The Central Park, New York 2.4.2 Freeway Park, Seattle 2.4.3 Parc de La Villette, Paris

3. The City: Bhuj 3.1 Prelude 3.2 History 3.3 Cultural Heritage 3.4 Architectural Heritage 3.5 Chosen Site

4. Design Development 4.1 Design Brief and Architectural Program 4.2 Criteria for Selection of Site 4.3 Site Analysis 4.4 design Process

5.Design Portfolio 5.1 Design Concept 5.2Design Proposal

6. List of Illustrations

7. Bibliography

81 87 89 91 92 115 119

1

//OVERVIEW

The first chapter will be providing with a brief overview of the whole design thesis. It consists of the proposal, the rationale of the study, the aims and objectives tried to be achieved in the thesis, the methodology put in use for the study and the scope and limitations of the study.

1.1 Introduction

1. OVERVIEW

The search for the thesis is guided by a series of questions that would linger in my mind and leave me unsettled. So the thesis is a journey of figuring out answers to those questions.

Modernization theorists from Karl Marx to Daniel Bell have argued that economic development brings pervasive cultural changes irrespective of the context. Karl Marx also claimed that economically developed societies show the future to less developed societies which are clearly evident in the whole of Indian sub-continent where people are getting highly influenced from the more developed countries and are slowly and gradually losing on their rich cultural heritage touch. It’s not only economic development but the pre-conceived widespread notion of the other societies and their culture is far more superior to our own, which influences the newer generation and are influenced by the persuasive foreign cultures. These are just a few of the various threats to the conservation of the cultural heritage of any society or community. This concern came to my mind as well and I thought about how an architectural intervention can help preserve the cultural heritage of a place. It is something all of the readers of this thesis would agree to that any community in India is losing upon its cultural heritage. The thesis aims to not only preserve and conserve the cultural heritage but also exert its significance to the common public as well as tourists through an architectural intervention.

Heritage is anything that is considered important enough to be passed on to future generations. Heritage is broadly categorized into main divisions. Heritage is broadly categorized into two main divisions.

The main foundation of every country and every society is its culture. Culture is not something that we can create in a day, week,

Figure.1: The amalgamation of different cultures, and domination of one on another.

Figure.2: Loss of Architectural Heritage in Bhuj, 2001

Overview or month. The development of culture in a society is a long process. Cultural Heritage refers to the cultural aspects like heritage sites, monuments, folklore, traditional activities, and practices, language, etc. Those are considered vital to be preserved for future generations.

Understanding our cultural heritage can give us a better sense of our personal identity and promote better cooperation in our community. It can play an essential role in our society by linking the past, the present, and the future generation, a basis for building a strong nation and national identity. It gives people a connection to certain social values, beliefs, religions, and customs. It allows them to identify with others of similar mindsets and backgrounds.

Cultural Heritage can provide an automatic sense of unity and belonging within a group and allows us to better understand previous generations and the history of where we belong.

The link between culture and tourism is the most noticeable aspect of the contribution of culture to local development. According to a certain research, 37% of global tourism has a cultural motivation. When tourism is identified as a part of the overall development strategy, the identification, protection, and enhancement of historic resources are vital for any sustainable effort. Worldwide, wherever heritage tourism has been evaluated this basic tendency is observed: heritage visitors stay longer, spend more, and therefore have a significantly greater trip economic impact. In some places, cultural heritage tourism is one of the main economic contributors. Such a place has been selected for the architecture intervention in this thesis as well, that is the city of Bhuj, the district headquarters of Kutch District in the state of Gujarat, India. The place comes to life during the winters when the Rann Festival is held during December-February everywhere in which there are huge camp settlements with cultural programs, functions, and adventure activities like hot-air ballooning.

Kutch is also among the largest district of India with a terribly low population density. Also, Kutch lies on the India-Pakistan border and you can see parts of Pakistan from Kutch. Kutch is also famous for crafts and embroidery works, Flamingo Sanctuary

and Wild Ass Sanctuary. Bhuj is an ideal starting point to visit the Rann of Kutch. The beautiful beaches of Mandvi near Bhuj are also totally worth visiting during a trip to Kutch. One cannot miss seeing the ancient town of Dholavira in the same province.

Talking about how an institution could help preserve the cultural heritage, the search is narrowed down to Libraries and Museums which have a central role in preserving and promoting cultural heritage and the best way to preserve our cultural heritage is to share it with others. For this thesis, the site which has been chosen is in Bhuj and the proposed intervention would be a Heritage Museum. It is the citizens of this nation’s responsibility to keep the history intact for the coming generation so that they may have the same opportunities to learn about the past and their own roots as we have.

1.2 Statement of the problem

The statement of the problem for this is not a problem but rather a concern, if there is no preventive measure taken to conserve the heritage in any establishment which is losing upon its heritage touch, all the societies will become identical and people will lose the important history and heritage. A concern on a similar line was observed for the locals of the Kutch region, people are forgetting their culture at a speed not witnessed before, hence the architectural intervention in Bhuj will aim to help grow and conserve the existing cultural heritage.

There is another problem seen in the city of Bhuj, there are multiple museums already present in the city. The proposed project will rather not only unite all of the existing museums and exhibitions but be a cohesive campus exhibiting all the possible aspects of the cultural heritage of Bhuj. The first point is catering to the residents of the city while the second one to the tourists visiting the city.

Figure.3: Cultural Tourism plays a major role in supporting a local community

1.3 The rationale of the study

People are losing the connection with their very own culture and heritage, the concern regarding the same has already been cleared in the above subtopics; this study is an effort to aid in cultural heritage preservation through architecture. There is no common museum in Bhuj, which cohesively exhibits all the aspects of the cultural heritage of the Bhuj city.

The area between the Sharad Baug Palace and the Hamirsar Lake is quite neglected, there is a heritage building in dilapidated condition and the urban green space is deteriorating in its state. The design aims in giving it a new purpose by providing a City Heritage Museum on this site, leading to citizens of Bhuj and tourists as well reviving this space by visiting and keeping it alive.

1.4 Aim

The primary aim for researching in this topic and proposing this specific intervention is to acknowledge the identity of the heritage of the Kutch-Bhuj region through an architectural intervention adjacent to Hamirsar Lake in Bhuj and aid in preserving the region’s heritage.

1.5 Objectives

All the objectives that the thesis aims to cover are listed below, however all these subsidiary objectives will lead the path to the final ultimate objective.

•

To emphasize on the significance of cultural heritage of a region.

•

To decipher the role of Hamirsar Lake and the surrounding areas.

•

To understand the significance of a public institution with is surrounding green spaces and their potential to revive a neglected area.

• To study visitors experience and circulation patterns in museums and galleries.

• To comprehend how a built thing could play a significant role in preserving the cultural heritage of a city.

•

To design an intervention that is competing but rather complementing the existing heritage structures on the site.

The ultimate objective of this design thesis is to come up with a well-articulated ‘Bhuj Heritage Museum’ on a chosen site in Bhuj, Kutch.

1.6 Research Methodology

• Understanding what is cultural heritage through carious mediums like literature readings and interviews.

• Comprehending what is ‘cultural heritage’ of Bhuj through visiting the city and interviewing people.

• After the site has been chosen, case study of a few other projects which share similarities in the proposed program and the site conditions.

• Choosing a potential site for the intervention, and then mapping the site, analyzing its context and documenting the site to identify activities to be incorporated in the design.

• Formulation of program based on the inferences of the case studies and site analysis.

1.7 Scope and Limitations of the study

•

As a part of academic thesis, the proposal has limitations of legal matters and some part of the thesis would be hypothesis.

• It doesn’t cover the redesign of the Hamirsar Lake, because it has already been proposed by the Ahmadabad based – HCP architecture firm but the construction work hasn’t started yet. The thesis presents its idea assuming the Lake edge to be developed already.

• The proposed design has been specifically designed for the Bhuj city’s context, be it tangible or intangible. Hence the same design cannot be executed in any other context.

CHAPTER 2

STUDY

The second chapter covers the analysis and study of the six case studies done, three for building scale and three at a landscape scale. Different cases from different scenarios and context have been chosen for the same.

2. PRECEDENT STUDIES

2.1 Criteria for selection of the case studies

Different sets of three case studies were selected for different aims of studying and analyzing. Three case studies were chosen for the built part and three case studies were chosen for studying the Urban Park type.

For case studies of Museums and Galleries, three of the famous museums designed by renowned architects were chosen, in which all of these case studies had different approaches and designed in relatively different context. The National Handicraft museum which has got very well resolved circulation, Museum of Islamic arts where the old and well versed Islamic elements have been defamiliarized and used in a contemporary way while Bihar Museum is the latest built with contemporary use of materials and proper planning and zoning.

For the case studies related to urban park, case studies were chosen from different time periods, in different context and those which had different definitions of leisure and recreational space. Central Park, which was a strict rectangle with highly urban built environment surrounding it. The Freeway Park which was designed a left over space and redefines what ‘landscape’ is. The last one is Parc de La Villette, which has been designed as a landscape of follies creating a cultural landscape.

2.2 Framework for evaluation of case studies

The Framework for analysis have loosely been derived from Aldo Rossi’s book - ‘The Architecture of the city.’ The parameters have been modified to suit the study and for better learnings to be drawn from the case studies. Also, some of the parameters were added to comprehend the aspects that were not covered in the book.

Figure.4: National Craft Museum, Delhi

Figure.7: Central Park, New York

Figure.8: Freeway Park, Seattle

Figure.9: Parc de La Villette, Paris

Figure.5: Museum of Islamic Arts, Doha

Figure.6: Bihar Museum, Patna

Precedent Studies

Precedent

2.3 Museum Case studies

2.3.1 National Handicraft Museum

Location: New Delhi, India

Client: Trade Fair authority of India

Architect: Charles Correa

Year: 1956 - 1990

Area: 2500 sq. m.

Introduction:

The Craft museum was set up with the view of preserving the artistic and cultural heritage of India. So it isn’t lost with time and modernization. Popularly known as the National Crafts Museum & Hastkala Academy, celebrates the rich, diverse, and practising craft traditions of India. Situated in a large campus at the corner of Pragati Maidan, opposite the majestic Purana Qila, the museum was designed by the renowned architect Charles Correa.

Over 33,000 specimens in various crafts have been collected over a 60-year period from various Indian states. The collection pays homage to handicrafts and hand-looms’ long histories. Textiles, a wide range of metal lamps, sculptures, utensils, etc., Wood-works, Folk/tribal paintings, a variety of cane and bamboo crafts, clay and terracotta figures, and much more are among the museum’s traditional treasures.

The rarest and finest examples of traditional Indian handicrafts and hand-looms are saved with the goal of using them as source material for the resuscitation, reproduction, and development of Indian crafts. These source materials are intended for master craftsmen, art historians, and craft designers, as well as anyone interested in learning more about our ancient cultural history. For international travelers interested in seeing our material culture, the museum is a unique draw.

The main objective was to collect the finest work of Indian craftsmen ship which would serve as source material revival of the crafts. The museum has collection of more than 25000 items of folk and tribal arts which serves as a reference material for craftsmen who are increasingly forgetting their own tradition in terms of material, techniques, designs etc.

Figure.10: Ground Floor Plan and First Floor Plan with Zoning Divisions

Figure.11: Open spaces which act as light sources have been marked with yellow shade.

Precedent Studies

Precedent Studies

The museum creates an ambiance where the craftsmen feel free to confine to his traditions. Every month the museum invites about 50 traditional artists and craft persons from all over India to come and stay in the museum. Thus providing them with an opportunity to demonstrate their skills, to market their product and to establish links with their own concept the craft museum follows the concept of ancient temple which was structured around open to sky courtyards concept is of great relevance to the architecture in a warm climate. The craft museum is organized around a central pathway, revealing a sequence of open spaces along the pedestrian spine .off theses courts are exhibits of the various village crafts. It is a very well articulated building, with loosely defined semi-open spaces overlapping with the circulation routes.

Figure.12: Circulation shown with Blue, Red and Green lines.

Figure.13: Photos of different exhibition spaces as experienced by a user.

Precedent Studies

Precedent Studies

2.3.2 Museum of Islamic Arts

Location: Doha Bay, Doha, Qatar

Client: Government of Qatar

Architect: I. M. Pei Architects

Year: 2003-2008

Area: 45,000 sq. m.

Introduction: This Museum symbolizes cultural values, wealth, global status and a center of attraction. Although the building was designed by I.M Pei, a well-known architect outside the principles of Islamic design and local Qatari architecture, it is one of the most prominent monuments of the city and one of the emblematic icons of the neovernacular Qatari Architecture that catalyzes urban rejuvenation.

The museum of Islamic Art is dedicated to reflecting the full vitality, complexity and diversity of the arts of the Islamic world. The Museum of Islamic Art collects, preserves, studies and exhibits masterpieces that span three continents from the seventh to the nineteenth centuries. The austerity of the exterior of the Museum contrasts with the use of decorative patterns and shapes used by Pei inside the building. Apart from the more elaborate metal canopy of the entrance, the building is essentially flat but divided into multiple volumetric forms.

The inspiration for the final design was the 13th-century sabil (ablutions fountain) of the Ahmad Ibn Tulun Mosque in Cairo, Egypt (9th century). The sabil offered an almost cubist expression of geometric progression, evoking an abstract view of the key design elements of Islamic architecture. The relationship between the final form of the Museum of Islamic Art in Doha and the high dome of the fountain of ablutions erected in the central courtyard of the Ibn Tulun Mosque in the 13th century by Sultan Lajin Mamluk is clear.

Figure.14:

Figure.15:

Precedent Studies

Precedent Studies

Figure.17: Longitudinal Section cutting through the main atrium.

Figure.18: Internal and external photos showing the contemporary use of dominant elements.

Precedent Studies

Precedent

2.3.3 Bihar Museum

Location: Patna, Bihar, India

Client: Department of Art, Culture and Youth(DACY)

Architect: Maki & Associates + Opolis

Year: 2018

Area: 25,000 sq. m.

Introduction

Maki and Associates’ design for the Bihar Museum creates an engaging and appropriately-scaled response to a prominent site and an ambitious, multi-faceted museum program. The Museum houses a rich variety of treasures from the region, and includes event and education spaces that nurture a newfound sense of pride and connection to Bihar’s storied history.

For the design of the Museum building, world renowned architectural firms were invited to submit their proposals and selection was on a competitive basis. Japanese firm, Maki and Associates submitted the winning concept, which they proposed to execute with OPOLIS Architects, based in Mumbai. For the Bihar Museum, Maki outlined a concept that was appealing to the sensory experience, fitting with practical considerations and making provisions for the future growth of the establishment. The architects visualized the Museum as if viewing it through different lenses to expand on various different facets.

• The Museum as Expanse – a museum that reflects the many layers of Bihar’s history.

• The Museum as journey – a museum that reflects the memories and epic scope of the Bihar region.

• A Museum as Learning Landscape – a museum that reflects Bihar’s educational needs and

• Museum as Symbol – a museum that reflects both India’s past and future.

The generous 5.3 hectare plot along Patna’s Bailey Road allowed for a variety of site planning approaches, while demanding sensitivity to its low-scale surroundings and prominent tree growth. In response to this context, Maki and Associates conceived the Bihar Museum as a “campus” – an interconnected landscape of buildings and exterior spaces that maintains a modest but dynamic profile, in

Figure.19: First Floor and Second Floor Plan of Bihar Museum

Figure.20: Zoning of the Bihar Museum

Precedent Studies

Precedent Studies

harmony with existing site conditions. Each program zone has been given a distinct presence and recognizable form within the complex. These zones are linked together via interior and exterior courtyards and corridors, ensuring that all spaces retain a connection to the surrounding landscape while remaining sheltered and comfortable throughout the year.

The Museum’s exterior is characterized by extensive use of weathering steel, a durable material that complements its context and creates a dignified contrast to the surrounding greenery. The weathering steel symbolizes India’s historical achievements in metallurgy as well as its current prominence within the international steel industry. It is supplemented with stone, terracotta, and glass finishes – a modern material palette with clear connections to Bihar’s past and future.

Figure.21: Longitudinal Elevation of the front facade facing the road.

Figure.22: Construction Details of the bridge connecting in air.

Figure.23: Photos of Bihar Museum, showing the contemporary use of Materials.

Precedent Studies

2.4 Park Case Study

2.4.1 The Central Park

Area: 843 acres

City: Manhattan, New York

Type: City Park

Precedent Studies

Architects: Frederick Olmsted & Calvert Vaux Year: 1857

Central Park is an urban park in New York City located between the Upper West and Upper East Sides of Manhattan. It is the most visited urban park in the United States with an estimated 38 million visitors annually.

When the Manhattan was growing north from its southern tip, a land on the fringes was left out in the land schemes as a park. Citizens of the city played a major role in forcing the government to do so.

Location in the city:

Between 1821 and 1855, New York City’s population nearly quadrupled. As the city expanded northward up Manhattan Island, people were drawn to the few existing open spaces, mainly cemeteries, for passive recreation. These were seen as escapes from the noise and chaotic life in the city. The acquisition of the site area bounded by 59th and 106th streets between Fifth and Eighth avenues initiated in 1855.

Transportation:

The central park is connected directly to multiple primary roads, the four corners of the rectangular void have been converted intro circle which mark the much celebrated entry points. All the four edges of this quadrilateral park are main roads.

Figure.24: Ariel view of The Central Park

Figure.25: People enjoying the sun in cold winter at The Central Park.

Figure.26: Location of the Park in New York.

Figure.27: Transportation Network around the park.

Precedent Studies

Figure.28: Green cover and Waterbodies.

Figure.29: Internal Circulation routes marked with blue lines.

Figure.30: Green Spaces and Designated Circulation Routes

Precedent Studies

Open Spaces: Manhattan has got 27% public green spaces in the city with a population of 16.3 lakhs. Central Park has got about 77.2% of green cover.

Internal Circulation: Central park is super intertwined with circulation routes in the park. It has got multiple levels in hierarchy of the circulation routes. The reason for the same is multiple entry/exit points, multiple types of leisure this park is catering to and the scale of the urban park.

Quality of Green Spaces and Designated Circulation Routes

Precedent Studies

Precedent Studies

Figure.31: Ariel view of Freeway Park

Figure.32: The concrete park acting as landscape in the park.

Figure.33: The location of the park in Seattle.

Figure.34: The primary and secondary road network around the park.

2.4.2 Freeway Park

Area: 5.2 acres

City: Seattle, Washington

Type: Pocket Park

Architects: Lawrence Halprin & Angela Danadjieva

Year: 1976

The park sits atop a section of Interstate 5 and a large cityowned parking lot; 8th Avenue also bridges over the park which would bring communities together.

The park is an unusual mixture of brutalist architecture and greenery. The park is widely considered a masterwork of a modernist master and a precedent setting park that single-handedly defined a new land-use typology for American cities.

Location in the city:

A highway was passing through the city center and clearly dividing the neighborhoods in two parts, the park over the freeway aimed to bridge the gap between the parts and binded the communities together. The park did not just include a landscape in the city but rather a blend of human-made and natural scape for people to escape the city life and enjoy the mannered nature.

Transportation:

Freeway Park is built over a main transportation route, it is but connected to only secondary transportation routes, possibly because of the scale of the Urban Park, where it is acting as a Neighborhood Park and not a City Park.

Precedent Studies

Figure.37: The man-made brutalist landscape in park.

Precedent Studies

Open Spaces: Seattle has got 14% public green spaces, being a city with 7.45 lakhs population. Everthing that is not built in the park is green in Freeway Park which adds up to almost 82.3%

Internal Circulation:

Freeway park has got a directional/ axial circulation route, because it is bridging the two sides and hence has only s few entry points which results into less complex circulation network in the park.

Quality of Green Spaces and Designated Circulation Routes

Figure.35: Green Cover in the park.

Figure.36: Internal Circulation routes

Precedent Studies

Figure.38: The Ariel view of Parc de La Villette.

Figure.39: The pedestrian route adjacent to the canal dividing the park in parts.

Figure.40: Location of the park in Paris city.

Figure.41: Transportation routes surrounding the park.

Precedent Studies

2.4.3 Parc de La Villette

Area: 137 acres

City: Paris, France

Type: City Park

Architects: Bernard Tschumi & Colin Fournier

Year: 1998

The park is located at the northeastern edge of the city in the 19th arrondissement. The park houses one of the largest concentration of cultural venues in Paris.

It was designed on the site of a huge Parisian slaughterhouses. La Villette has become known as an unprecedented type of park, one based on “culture” rather than “nature.” Since the creation of the park, museums, concert halls, theaters and various other intervention have been designed in it.

Location in the city:

The park has been built over the site of a slaughter house on the edge of Paris. It has got a water canal cutting the park in two parts. It acts as a city level public spaces where even people from opposite end of the city visit the park. The park includes culture into the city, less defined spaces and structures are up to people’s interpretation for use.

Transportation:

Parc de La Villette also being a City Park is directly opening to primary transportation network. It is mandatory for an urban park of this scale to also prevent issues like traffic or congestion which come hand in hand with the public.

Precedent Studies

Precedent Studies

Open Spaces:

Paris has the least public green space percentage at the city level in comparision to the other two. It has got only 9.5% public green space with a popualtion of 21.5 lakhs. Parc de La Villete has got 73.2% green cover by area.

Internal Circulation:

Parc de La Villette has got a unique network of circulation which was designed purposefully by the Architect to deviate the visitors and which resulted into routes that take you no where and intensive meandering around the park.

Quality of Green Spaces and Designated Circulation Routes

Figure.42: Green Cover and Water bodies in the park.

Figure.43: Internal circulation routes of the park.

Figure.44: Internal circulation routes of the park.

3

//THE CITY

The third chapter will be briefing the readers with the information about the city of Bhuj. This chapter will cover particulars like, history, culture, topography and weather. It will further provide with the location of the selected site in the same city.

What is Kutch?

3. THE CITY: BHUJ

3.1 Prelude

Country: India

State: Gujarat District: Kutch Municipality: Bhuj Municipality Founded by: Rao Hamirji

Area Total: 56km2

Population Total: 213,514 (2011 Census) Population Density: 3,800 / km2

Languages Official: Kutch, Gujarat

3.1.1 Location

Bhuj is located in the Kutch District, the Land of Mystery, in the north-west part of India. The total area covered by Kutch District is 45,674 km2, that is more than even some of the Indian States. It is a mosaic of diverse landscapes, people, and cultures that together create a distinct identity that is unmistakable to those who come here.

The district is a meeting point of people, cultures faiths, languages, and traditions across a diversity of ecosystems and terrains. A place that is constantly changing, yet feels curiously unchanged.

The location of Bhuj is strategic as it is having hills on its eastern side and a huge lake Hamirsar on the other side. The city has derived its name from this hill named “Bhujio Dungar” which also houses a fort on its top. This fort, Bhujia Fort, separates Madhapar Town and Bhuj City.

Originally Bhuj city was surrounded by Bhujia fort-wall that had 5 major gates and a single small gate called Chhathi Bari. Due to development and extension of city boundaries, most part of the wall got destroyed. The wall was also destroyed due to 2001 earthquake.

Bhuj

City: Bhuj

Figure.45: Satellite view of Bhuj City in 2001 post earthquake.

Figure.46: Satellite view of Bhuj City in 2005, gamtal region still not recovered.

Figure.47: Satellite view of Bhuj City in 2010, the whole of Gamtal flourishing again.

Figure.48: Satellite view of Bhuj City in 2015, developments seen on the city fringes.

3.1.2

Growth - Timeline

Bhuj has come a long way since the 2001 earthquake, both economically and in terms of its built environment. With the passage of time, the population has likewise increased.

It is seen that after 2010 their has been rapid growth in the Gamtal region of the city. Contemporary and modern construction techniques lead the way for such a rapid expansion of the city boundaries. The city boundaries have now expanded with modernization, the lake doesn’t contains water throughout the year and the new road network will further facilitate the urban growth of the existing built environment.

There are numerous NGOs and other organizations which are working in line with architecture profession for the communities of Bhuj city.

3.1.3 Geography & Climate

The average elevation of Bhuj is 110 metres (360 feet).Bhuj has a borderline hot desert climate just short of a hot semi-desert climate. Although annual rainfall “averages” around 330 millimetres or 13 inches the variability is among the highest in the world with coefficient of variation of around sixty percent. Recorded annual rainfall has been as low as 21.9 millimetres or 0.86 inches in 1899 –yet in 1926 a total of 1,177.1 millimetres or 46.34 inches fell and in the incomplete year of 1959 rainfall exceeded 1,160 millimetres or 45.67 inches, of which 730.6 millimetres or 28.76 inches fell during Bhuj’s wettest-ever month of July 1959.

Apart from the cool mornings of the “winter” season from December to February, temperatures are very warm to sweltering throughout the year, which further reduces the effectiveness of the erratic monsoonal rainfall. During the “hot” season from mid-March to mid-June, temperatures of 40 °C or 104 °F are frequent, whilst during the monsoon season they exceed 34 °C or 93.2 °F with high humidity except during rainy spells accompanied by cooler temperatures but oppressive humidity.

The prevailing climate in Bhuj is known as a local steppe climate. In Bhuj, there is little rainfall throughout the year. This climate is considered to be BSh according to the Köppen-Geiger climate classification.

Bhuj

Bhuj

Figure.49: Satellite view of Bhuj City in 2020,the city boundaries have grown beyond.

Figure.50: Dried lake bed of Hamirsar lake in the Summer months in the Bhuj City.

Figure.51: Average temperatures and precipitation. With an average of 30.4 °C | 86.7 °F, May is the warmest month. January has the lowest average temperature of the year. It is 19.6 °C | 67.3 °F. June is the windiest month in the year.

Figure.53: Maximum temperatures recorded. The Summer months of April, May and June are the hottest in Bhuj. The high temperatures rises up to more than 40 degrees Celsius.

day

day

day

day

Sunny Partly cloudy Overcast Precipitation days

Figure.52: Cloudy, sunny, and precipitation days. In April the highest number and In January, the lowest of daily hours of sunshine is measured in Bhuj on average. In April there is an average of 10.9 hours of sunshine a day and a total of 338.05 hours of sunshine throughout April.

day

day

day

day

day

Figure.54: Precipitation amounts as recorded in Bhuj. The annual rainfall is very less in Bhuj region also it is very unpredictable hence they don’t rely on agriculture as compared to other communities.

Kutch has a distinct identity derived from its indegenious culture, its traditions, architecture, local crafts, ethnic communities, food, heritage, diverse geography, ecology, and wildlife, it’s a timeless place evovled from prehistoric indus valley civilization to modern large scale industries operating in kutch.

Figure.55:

Figure.56:

The City: Bhuj

The City: Bhuj

Figure.57: The Map of Kutch District with major significant points.

City: Bhuj

3.2 History

Bhuj was founded by Rao Hamir in 1510 and was made the capital of Kutch by Rao Khengarji I in 1549. Its foundation stone as state capital was formally laid on Vikram Samvat 1604 Maagha 5th (approx. 25 January 1548). From 1590 onwards, when Rao was forced to acknowledge the Mughal supremacy, Bhuj came to be known as Suleiman Nagar amongst Muslims. The city’s walls were built by Rao Godji I in 1723, and the Bhujiya Fort by Devkaran Seth in Rao Deshalji I’s time (1718 - 1741).

3.2.1 Etymology

According to legend, Kutch was ruled by the Nāga chieftains in the past. Sagai, a queen of Sheshapattana, who was married to King Bheria Kumar, rose up against Bhujanga, the last chieftain of Naga. After the battle, Bheria was defeated and Queen Sagai committed sati. The hill where they lived later came to be known as Bhujia Hill and the town at the foothill as Bhuj. Bhujang was later worshiped by the people as snake god, Bhujanga, and a temple was constructed to revere him.

3.2.2 Time-line

The following figure represents the broad history of the region, with all the major milestones being covered in it.

640

The rulers adopt the name “Jadeja”

Bharmal accedes to Mughal Emporor Akbar

With support of some Jadeja chiefs, British attacked Bhuj

Madansinhji, signed the Instrument of Accession of Kutch.

Kutch joins the newly formed state of Gujarat.

Early

Bhuj

3.3 Cultural Heritage

Culture is the patterns of learned and shared behavior and beliefs of a particular social, ethnic, or age group. It can also be described as the complex whole of collective human beliefs with a structured stage of civilization that can be specific to a nation or time period. Humans in turn use culture to adapt and transform the world they live in.

Bhuj is a famous destination within India for observing the historic craftsmanship of the Kutch region, including the textile crafts of bandhni (tie-dye), embroidery, and leatherwork. Artists of nearby villages bring their artwork for sale in ‘Bhuj Haat’, which is situated near Jubilee Ground. Locals often visit Hamirsar Lake for relaxation in natural surroundings.

Bhuj is also famous for its regional cuisine, especially Pakvans, chikki, Kutchhi Dabeli (a vegetarian burger made with mashed potato, cooked with masala curry and chutneys), and regional Gujarati sweets. For Bhuj, culture constitutes of its specific food,painting style, textiles, festivals limited to the boundary of the region, different communites and their beliefs.

However these are only a few parameters to gauge what is the ‘culture’ of Bhuj, and the thesis is only able to cover this many parameters in the given time frame,

3.3.1 People

Bhuj boasts itself with different types of communities that include Rabari, Mutwa, Sodha, Muslims, Jats and others. People here are warm and very friendly. Bhuj is very famous for the hospitality of locals and also for the diversity of handicrafts and hand-looms. Even not, ynu will get to see nomadic an‹1 semi-nomadic people in Bhuj moving in groups from one place to another. People of Rabari especially the Rabari women have got extensive tattooing done on their arms, legs and necks.

Jadeja Rajputs

50 51 The City: Figure.58: Bhujia Hill

The Figure.59: Woman and her attire of Kutch Region

3.3.2 Dance

The traditional dance of Bhuj, Garba, is performed during almost all social and religious functions of Bhuj. Traditionally this dance is performed with a lamp or image of Devi Shakti in the middle. During the festival of Navratri, Garba is performed with an image of Devi Durga or Maa Amba in the middle. Modem forms of Garba have influences of Dandiya Dance, a dance form of Gujarat generally performed by the men. The songs of Garba have main subjects as 9 Goddesses or Lord Krishna. Dancers wear Chanya Choli of bright colors e.g. pink, orange, yellow or red. They put on odhini or head-cover with bandhini style decorated with mirrors or abla, The dancers also put on lots of jewelry items like earrings, necklaces, bangles, and waist belts.

3.3.3 Food

The city of Bhuj is no exception! Local Gujratis inBhuj prefer having vegetarian food as overall Gujrat tends to have an inclination for Vegan food. However due to popular demand, non vegetarian restaurants have also been established in Bhuj.

There are umpteen restaurants in Bhuj where one can savor the local Gujrati delicafies. The infiltration of tourists in Bhuj is lower and this has preserved the authendMtyofcidhureinthbcity.Some of the traditional food items found in Bhuj are as under:

• Chana Dal Pakwan

• Dabeli

• Laahsooni Aloo and Lahsooni Parantha

• Gopi Gola - Ice Dish

Figure.60: Garba - Folk Dance of Kutch, Gujarat

Figure.61: Famous Food items in Bhuj

3.3.4 Festivals

There are many festivals limited and specific to the Kutchh region. “Mota Yaksh, Hajipir, Dada Mekan Fair, Shitla Saptami, JesalToral, Naagpanchmi, Mamaidev, Matia Pir and Mai Bhambhi are some tribal festivals celebrated in the region. The three festivals that this thesis will cover are

• Ram Mahotsav,

• Bhagoria Festival

• Ravechi Festivals.

Figure.62: Festivals of KutchBhuj region.

Rann Mahotsav

In winter season, every year the Rann Utsav or White Rann festival is organized called in the white desert which goes on for approximately 3 to 4 months from November to February. This Rann Utsav is held at Kutch and holds numerous cultural events, folk dance arid many programs which attract tourists to stay at Kutch, Gujarat, India.

Bhagoria Festival

The Bhagoria Festival is celebrated near the border of Gujarat and Madhya Pradesh, it marks the onset of the spring.season arid falls a few days before Holi. Earlier Bhagoria used to also be the annual gathering where old disputes were settled. The name Bhagoria is believed to have originated from the word ‘Bhag’ to run since it is here that partners are allowed to elope.

Ravechi Festival

The Ravechi Fair of Gujarat is held in the month of ‘Bhadra’ according to the Hindu calendar. The Ravechi fair of Gujarat is the perfect place for people from different cultures to unite Feople from the communities like Ahir, Rabari and Charan take active part in the Ravechi fair. All devotees perform bhajans, dance garba at temple site.

3.3.5 Textiles

There are various indigenious textiles styles prevalent in the Bhuj rergion, it is famous for Bandhej, Embroidery/Mirror work, Ajrakh Block Print, Batik Print, Bela Print, Camel Wool weaving, Kharad Weaving, Mashru Weaving, Leather Crafting, Namda, and Rogan Painting

Bandhej

Bandhani is an expression used in Gujrat for textiles where different designs are produced by tying individual parts of the fabric before dyeing. The Gujrati word ‘Bandhavnu’ is derived from the Sanskrit word for tying ‘Bandhan’. The people engaged in producing designs on fabric as a result of tie-dying technique are known as ‘Bandhej’.

Embroidery/Mirror work

Kachchh is popular for its fine folk embroideries. It is known to make 17 distinct types of embroideries which can be seen in the fabrics in the market. Some of the most recognized embroideries are so, Ahir, Rabari, Sodha Rajput and Jat.

Ajrakh Block Print

Ajrakh block print has patterns depicting complex geometry to form starry constellations in black, white, indigo and madder across lengths of cloth. The patterns are quite similar to the architectural forms of Islamic convoluted jaali windows and trefoil arches.

Batik Print

Initially Batik prints were made by using hot piloo seed oil in which the blocks were dipped and then pressed onto fabric. Gradually, wax was used in the technical process which actually changed the appearance of the textile, thus making it more affordable and practical.

Bela Print

Bela prints tend to capture one’s attention with its print being graphic and bold. Generally, a vibrant palette of printed colour is made on a plain white background. Bela printing involves more usage of Red and black colours as for their colour Vastness.

Camel Wool Weaving

Camels produce wool of a high quality that is highly durable, water-resistant and very warm. It can be used to make carpets, ropes and textiles, bags, stoles and another products.

Kharad Weaving

Kharad Craft involves use of natural resources like vegetable colours and wool. The wool used is generally a goat or camel hair wool. The Kharad that is made is used for spreading on the floor. They also make Khurjani which is used to keep on the back of a camel to carry heavy items and Rasa which is used to cover grains.

Mashru Weaving

The Mashroo textile was woven mainly for Muslim comunimities as they believed that silk should not touch a person’s skin. Thus Mashroo textile came into existence by weavers who mixed silk and cotton threads to create a textile that was rich silk on one side and simple cotton on the other. Mashroo means ”this is allowed.”

Leather Crafting

A collaborative outcome of the Maldhari nomads‘ tanning expertise and the Meghwal community’s stitching and embroidering skills, the Kutch leather craft is now a means of business and livelihood for many villages in Kutch, Gujarat. The leather craft was traditionally used to make harnesses for camels and horses, musical instruments, storage containers and footwear.

Namda Work

Namda work usually consists of shawls which are made primitively from sheep wool. Namda is made by cleaning and dying the wool after which it is compressed into sheets. The artisans then make intricate and colourful designs which are often embroidered. This craft is used to create saddle blankets for camels and horses and camels.

Rogan Painting

Rogan Art, an ancient skill with its origins in Persia, came down to Kutch around 400 years ago. Traditionally, the craft was pursued to beautify bridal clothing of the regional tribes, beautiful borders and floral patterns on ghagras, odhni and bead spreads were painstakingly painted.

Figure.63: Textiles of Kutch - Bhuj, integral part of cultural heritage.

Bhuj

Wood Lacquering

This art is practiced by a semi norriadic tribe in Cujarat. Lacquer is obtained from the sap of the Rhus Tree. Lacquer is mixed with natural and artificial dyes to obtain the vibrant colours. Mango Wood is used. as the base for making the article which is then embellished with lacquer.

3.4 Architectural Heritage

When we talk about architectural heritage we refer to buildings or ruins, whether single or set of constructions, whose original value in terms of emotional, cultural, physical, intangible, technical or historical has been increased over the years. Ultimately, it is those buildings without which the place in which they are located on would lose its essence.

Darbar Gadh Palace

Built in the 18th century by Rao Lakhpatji, Darbar Gadh, Bhuj is a perfect example of an enclosed area of the royal family which exhibited a drastic change in the style of architecture and the layout that resembled those of Europe to a large extent. Darbargadh in Bhuj is a royal enclosure, which was fragmented into a cluster of apartments that were dwelled by the various sections of the royal family. Each cluster was structured around a small courtyard, which thus separated its inhabitants from the outside world.

Further, the Darbar Gadh was built in accordance with the houses in the surrounding towns and villages so much so, that even the resources used in building such structures as well as the space occupied by them was almost similar to those of the common man.

Aina Mahal

This beautiful palace, built in 1752, lost its top storey in 2001 earthquake, but the lower floor is open, with a fantastic 15.2m scroll showing a Kutch state procession. The 18th-century with elaborately mirrored interior is a demonstration of the fascination with all things

European — an inverted mirror of European Oriental-ism — with blue & white Delphi-style tiling, a candelabra with Venetian-glass shades, and the Harding lithograph series The Rake’s Progress. There are lofty views of Rani Mahal from atop the tower.

The palace was built for Maharao Lakhpatji by Ramsingh Malam, a sailor from Dwarka who had learnt European arts and crafts on his travels. In the bedroom is a bed with solid gold legs.

Fuvara Mahal

The king also regularly visited the Fuvara Mahal, a room with umpteen fountains that danced in a symphony of their own, while the king watched the dancers perform. The marble walls adorned with gold lace and glass created a dreamy confection.

Prag Mahal

Raised in the year 1879, the Prag Mahal is a splendid palace made of Italian marble and sandstone. The ornamentation on the body of the structure would definitely leave you spell bound. The Corinthian pillars and Jali work which depicts European plants and animals are also worthy of a mention.

Rao Pragmalji II took up the construction of Prag Mahal in Bhuj, India on 1838 A.D. and continued with it till the year 1876. He assigned the task of designing the building to Colonel Henry Saint Wilkins. Colonel Wilkins was a renowned architect of his time and had gained such reputation by virtue of designing a few of the famous structures.

Rani Mahal

The l7th-century Rani Mahal, the former main royal residence, is completely closed up, though you can still admire the latticed windows of its zenana (women‘s quarters). It’s particularly beautiful around sunset, when the golden light enters through the window to illuminate the whole room with golden sun rays.

Bhuj

Bhuj

Figure.64: Typical toys of Bhuj Region Figure.65: Darbar Gadh Palace

Figure.66: Aina Mahal

Figure.67: Fuvara Mahal

Figure.68: Prag Mahal

Figure.69: Rani Mahal

The Maharao’s Chhattardi

These umbrella—shaped dome structures stand guard over the royal cenotaphs situated in the centre of the Hamirsar lake. Said to have been constructed sometime in the 18th century by Rao Lakhpat, they are specimens of fine carvings in red sandstone. The exterior walls are heavily ornamented, with sculptures of deities and panels depicting hunting scenes and couples in local costumes. The architecture of these structures shows a strong Islamic influence - it’s evident in the Mughal arches, the geometrical pattern of the jaalis and in the use of turquoise blue on a roof. The chhatri that commemorates Rao Lakhpat’s death is the largest; the depictions in stone suggest that 15 of his consorts gave up their lives at his funeral pyre.

Kutch Musem

The oldest museum in Gujarat holds its pride in the fact that it has Kshtrapa inscription as old as 1st Century AD along with some of the extinct Kutch script and Kori (local Kutch currency). The museum is built in a Gothic architectural style, & has an advantage of being situated on the back of the lake Hamirsar opposite the Nazar Bagh garden. The two steered museum has sections as picture gallery, anthropological section, archaeological section, and one section each for textile, weapons, musical instruments and shipping The attraction of: the museum is the 18th- century beautiful wood work of the elephant called Airavat, the carrier of Lord Indra in Kamgiri style with flowers and creepers.

The Bhujiya Fort

The Fort is famous because of its strategic importance and its solid strength. The fort has been guarding Bhuj and the Rarm of Kutch since 1700 A.D. The Bhujiya Fort stands atop the Bhujiya Hill and is currently used as an encampment area of the Indian Army. The fort took more than 50 years to be built and has protected the Jadeja warriors from many invasions. It’s interesting to note the columnar structure of the pillars and double layered walls of the Bhujiya Fort as they reflect some influence of the ancient Greek castle architecture.

3.5 Chosen Site

The site which has been chosen for the intervention is in the campus of an already existing Heritage Buildings - the Sharad Bagh Palace and an adjacent small warehouse. The area at present is know as Rajendra Prasad Park but is depleting in condition. The next chapter will talk about the site in further detail.

Sharad Baug Place

Sharad Baug Palace, an elegant Italianate palace, was horne to Madansingh, the last Maharao of Kutch, until his death in 1991. The third floor came down in the quake, after which the lower floors were also closed. An adjacent former dining hall now showcases the palace’s museum collection, including two huge stuffed tigers that the erstwhile Maharao shot. The folk museum has recreated a traditional Kutchi village in the forecourt, and an outstanding collection of beadwork, embroidery, leather articles, woodworks and historical relics.

Figure.70: The Maharao’s Chhattardi

Figure.71: The Kutch Museum

Figure.72: The Bhujiya Fort

Figure.73: Sharad Baug Palace - external photos

Bhuj

City: Bhuj

Figure.74: Kutch Location in Gujarat

CHAPTER 4

DEVELOPMENT

The fourth chapter covers the analysis and study of the chosen site and very briefly goes through the process of design iteration towards the outcome, along the whole design thesis semester.

4. DESIGN DEVELOPMENT

4.1 Design Brief & Architectural Program

The primary aim of proposing an architectural intervention through this thesis is to help preserve the cultural and architectural heritage of a specific region. It was concluded that a Museum would be the best option for the same because it gives an opportunity to preserve and showcase the Heritage at the same time, not only to the residents but the tourists as well. This one museum will serve as the unifying point where tourist and residents both will come together. The surrounding spaces around the building would serve as a public space used in people’s leisure time.

Bhuj is already having multiple museums and this one museum aims to unite all the these scattered exhibitions and galleries. It would end up becoming the identity of Heritage of Kutch-Bhuj region. The brief for the same was also inspired and concluded form the various case studies mentioned earlier in the Chapter - 3.

4.1.1 Program Components or Brief

The following would be the main features of the museum.

1. Galleries

2. Exhibition

3. Workshop & Research Centre

4. Library Services

5. Convention facilities

6. Office

7. Hospitality

8. Administrative and Management Area

The above mentioned important components are discussed in detail to proceed onto the ideation of layout using a bubble diagram. These components were further broken down into sub-parts of all the six components.

Development

Gallery

Historical Legacy Gallery

Cultural Heritage Gallery

Contemporary & City Future Gallery

Permanent Exhibition Space

Exhibition

Temporary Exhibition Space

Auditorium (250 Seating)

Convention Facility

Offices

Conference Facilities

Administrative & Management Support

INTACH Bhuj Chapter Office

Bhuj Tourism Office

Bhuj Government Representative

Design

Galleries:

The goal of modern museums is to collect, conserve, interpret, and show works of art, culture, and science for the public’s education. Galleries have shown to be an effective medium for displaying collections for the general public to see. The Museum will include three huge galleries dedicated to displaying the city’s historical and cultural history, as well as current and potential future developments.

Exhibition:

A collection of artifacts made available to an audience is called a “exhibition” in most cases, although not always. The museum would host both temporary (connected with the workshop and research centre to display relevant advancements) and permanent exhibition spaces, which would house exhibitions for long periods of time (For Example: Quarterly or Half Yearly basis).

Convention Facilities

These would be similar to those seen elsewhere, and they would be offered to organisations hosting debates, discussions, or seminars on pertinent topics. They’d be unavailable for commercial or promotional events. These facilities would be state-of-the-art, with seating capacity ranging from 50 to 2S0 people.

Office

Small branch offices of bodies and corporations committed to the city’s study, survey, and management, as well as conceiving associated future plans, would be housed in the museum. This would make collaboration easier and allow different bodies to make better informed judgments.

Development

Workshop and Research Centre

Design

Workshop & Research Centre

Research and Development Labs

Prototyping

Material In-Charge

Support and Administrative Facility

DevelopmentDesign Book Security

Reading Zones

Library

Reference Section

Library Management

Digital Library

The museum is envisioned as evolving into a learning centre with educational facilities and programming aimed at closely studying the city’s transformation and reviving the city’s dying skills and crafts. The Workshop and Research Centre would be a place where people could learn, research, experiment, and grow.

Library Services

There would be a vast number of books and volumes on all fields of human activity in this library. It would be a central repository for all available information on the subject, whether in print or on the Internet.

68 69 and Lecture Halls

Urban Park

Office Area

AdministrationGalleries

Service Entry

Museum

Entry

Workshop and Research Centre

Temporary Exhibitions Library

Lecture Room

Cafe Restaurant Kitchen

Ticket Window

Laboratory

Auditorium

Souvenir Shop

70 71 Design DevelopmentDesign Development Conference Rooms Administration Area

Development

4.1.2 Area Statement

The following table will show the bifurcation of the area and how it has been divided amongst the various sub-parts.

Design

Design

Design Development

Design

The area statement concluded aside was derived from the brief formed through the requirements of the site and the proposal.

4.2 Criteria for selection of site

Selection of Site was based on multiple criterias. Reasons for choosing the site as shown in the adjoining figure are:

• As learnt from the case studies, the sites in all those cases were in the centre of the city, and already acting as a public space up to some extent.

• The selected site has got all the major places to visit of Bhuj in less than 1 KM of radius from the site.

• The Rajendra Prasad Park and the buildings inside the park are deteriorating in their condition. The site and the built structures in the park are neglected right now and no proper care is taken of them.

• The site is properly connected with the primary and secondary road network - Vehicular as well as Pedestrian paths.

• The site is exactly on the edge of the Hamirsar lake development project, which will be built in the future. The informal seating spaces around Hamirsar lake at present itself acts as a thriving public space during the evening and night time.

•

The site has already been marked as Land for public use and recreation according to the District Planning Scheme by BHADA.

The above mentioned criterias led to the decision of choosing this site because it has got enough potential to sustain the ‘Bhuj Heritage City Museum’ .

Figure.75: District Planning Scheme of Bhuj Municipality, BHADA

Figure.76: Location of Site on the 24meter wide road, for the use of recreation and public use

Seat of Power

Well Connected Cultural Hub Economic Hub

HeadquartersHeritage City

4.3 Site Analysis

The site and its surrounding has been analysed at multiple scales. The factors that would stay constant at the city level have already been mentioned in the Chapter: The City. The study of surrounding at a smaller community and neighborhood scale have been covered in the following parts of the chapter.

4.3.1 Fundamentals

Site Coordinates: 23°15’13.2”N, 69°39’38.9”E

Site Area: 74,000 m2 Elevation: 110m

Figure.77: Location of the site on a schematic map of Bhuj City.

Figure.78: Satellite View of the site post Monsoon months.

Figure.79: Timeline of water system near the main Hamirsar Lake.

Design Development

4.3.2 Site Diagrams

The following diagrams have been made for the site analysis based on the parameters that matter for a proposed Museum.

Figure.80: Surrounding Precincts

Figure.81: Cultural - Social - Natural nodes

Design

Figure.82: Road Network

Figure.83: Connecting Network

4.3.3

Site Photos

Different photos have been capture from around the vast site so as to document the spaces, the colours and textures of various surfaces. The disparity between the patches of land that are being taken care of and those which are neglected is clearly apparent from the photos below.

4.3.4 Seasonal Changes

Bhuj has got extreme climatic conditions and hence it is seen from the two satellite views above captured during different months, about the rise and fall of the water level in Hamirsar Lake. The lake is usually dry in the summer months and stays filled up until February - March.

Figure.84: Public spaces around the site

Figure.85: Satellite view of Hamirsar Lake in Summer 2019 Figure.86: Satellite view of Hamirsar Lake post Monsoon 2020

Figure.87: Site Photos captured during a site visit in the month of February

Development

Design

4.4 Design Process

The process for this design was a step by step process and also not a linear process. The design and thought process swayed to and fro while resolving the design towards the final proposal.

4.4.1 The first step

• Making of an area statement and then developing bubble diagrams from the flowcharts

4.4.2 The second step

• Recurring discussions and development of design. The design started of with imagining the building as one whole entity.

4.4.3 The third step

• It was while I was thinking about the light and ventilation that the idea of courtyards struck my mind and I ended up imposing multiple courtyards.

4.4.4 The fourth step

• The idea of retaining the original existing building made me think more about the idea. The design proceeded further to develop into something that celebrates culture and heritage.

4.4.5 The fifth step

• The idea of preserving the old building lead into creating informal promenades or streets radiating outwards from the ancient building.

Figure.88: Process drawings and models

5

PORTFOLIO

The fifth chapter covers the whole portfolio of the design thesis outcome, all the necessary drawings will be present in the chapter.

5. DESIGN PORTFOLIO

5.1 Design Concept

The aim of the architectural intervention was clear prior to the designing stage, the thesis aimed at designing something that would not only help preserve the cultural heritage of Kutch region but also give an identity to it. The building was going to carter to both the tourist category and residents as well, hence the building needed to stand out from the surrounding and not merge or camouflage with it. The building needed to be an iconic building up to some extent, and because of the program it was inevitable going to be of a monumental scale.

The building was supposed to retain the existing building, and hence the existing building acts as the datum, defining the organisation of the building around it.

To complement the existing building, four radial routes have been carved out to form informal boulevards, meeting in the centre at the existing building. These streets or boulevards will act as a semi sheltered thriving public space in the scorching heat of Bhuj. The buildings are now read as separate entities and not a single thing, but still continuing the same architectural language amongst all of them.

The landscape part of the proposal, the urban park will also itself be as a ,museum, it will be housing different landscapes of Gujarat. The urban park is the best manifestation of leisure space because shade is absolutely necessary and green spaces are depleting day by day.

The hybridization of program has permitted all the various stakeholders to come and interact together in this one campus. The end result is a mixture of multiple conceptual ideation.

Figure.89: Concept Site Layout - Divisions

Design

Design Proposal

5.2.1 Site Plan

The site plan shows the clear division between the two parts of the site, the built part which houses the museums, galleries and exhibition spaces primarily and the landscape part which is the redeveloped Rajendra Prasad Park.

The Urban Park has been conceptualized as a museum as well, the quadrilateral division will house different types of landscapes of Kutch region in each of the pocket. Few of these landscapes would be, marshy landscape near the lake, Banni grasslands like landscape in the centre and sandy dunes at the western end of the park.

The central round-about clearly divides the site into two parts. One can go into the park through the small bridge. The lake below the bridge is a motif of the larger Hamirsar lake across the road on the eastern end.

The site plan also justifies how the built has only been concentrated into a part of the site and letting the nature take over in the rest of the areas.

site plan

Design Portfolio

5.2.2 Ground Floor Plan

The ground floor plan of the built part depicts the activities each of this space would cater to through the placement of the furniture. All the spaces have been thoroughly labeled and demarcated.

The central building is an already existing heritage building which shall be preserved and the new additions are to be done around that building. These new buildings will form a cocoon around the existing building and instead of competing, will compliment it by creating lively public spaces around it rather than being a storage shelter as it is now.

The radial routes on the ground floor will act as the spines of the building, they will be spill out areas, the pause points, the preferred circulation routes and the entrance - exits as well. The existing will sort of become the ultimate goal for an visitor, one would always end up traversing towards the central building, exaggerating the importance of that building.

First Floor Plan

Second Floor Plan

Basement Plan

Terrace Plan

LVL+6.9O

LVL+1.5O

LVL+12.3O LVL+O.OO

LVL+1.5O

LVL+12.3O LVL+O.OO

LVL+12.3O

LVL+6.9O

LVL+1.5O

LVL+17.7O LVL+O.OO

LVL+17.7O

LVL+12.3O

LVL+6.9O

LVL+1.5O

LVL+O.OO

SECTIONA-A' SECTIONB-B' SECTIONC-C' SECTIOND-D' SECTIONS JayTank 91600629018 Bhuj CityHeritage Museum SemesterX MarwadiUniversity FacultyofArchitecture 02.5510 LVL+6.9O

Elevations

Isometric Drawings

Proccess Models

The adjoining model was a process model prepared for the third review, as discussed previously this was at the third step where I had come to the idea of retaining the existing building and my intervention was cocooning around it.

Isometric Drawing

Exploded Isometric View

I S A T I

DRAWINGS

Visualization

6. LIST OF ILLUSTRATIONS

Figure.1: The amalgamation of different cultures, and domination of one on another.

Figure.2: Loss of Architectural Heritage in Bhuj, 2001

Figure.3: Cultural Tourism plays a major role in support ing a local community

Figure.4: National Craft Museum, Delhi

Figure.5: Museum of Islamic Arts, Doha

Figure.6: Bihar Museum, Patna

Figure.7: Central Park, New York

Figure.8: Freeway Park, Seattle

Figure.9: Parc de La Villette, Paris

Figure.10: Ground Floor Plan and First Floor Plan with Zoning Divisions

Figure.11: Open spaces which act as light sources have been marked with yellow shade.

Figure.12: Circulation shown with Blue, Red and Green lines.

Figure.13: Photos of different exhibition spaces as expe rienced by a user.

Figure.14: Fifth Floor Plan

Figure.15: Second Floor

Figure.16: First Floor

Figure.17: Longitudinal Section cutting through the main atrium.

Figure.18: Internal and external photos showing the contemporary use of dominant elements.

Figure.19: First Floor and Second Floor Plan of Bihar Mu seum

Figure.20: Zoning of the Bihar Museum

Figure.21: Longitudinal Elevation of the front facade fac ing the road.

Figure.22: Construction Details of the bridge connect ing in air.

Figure.23: Photos of Bihar Museum, showing the con temporary use of Materials.

Figure.24: Ariel view of The Central Park

Figure.25: People enjoying the sun in cold winter at The

Central Park.

Figure.26: Location of the Park in New York.

Figure.27: Transportation Network around the park.

Figure.28: Green cover and Waterbodies.

Figure.29: Internal Circulation routes marked with blue lines.

Figure.30: Green Spaces and Designated Circulation Routes

Figure.31: Ariel view of Freeway Park

Figure.32: The concrete park acting as landscape in the park.

Figure.33: The location of the park in Seattle.

Figure.34: The primary and secondary road network around the park.

Figure.35: Green Cover in the park.

Figure.36: Internal Circulation routes

Figure.37: The man-made brutalist landscape in park.

Figure.38: The Ariel view of Parc de La Villette.

Figure.39: The pedestrian route adjacent to the canal di viding the park in parts.

Figure.40: Location of the park in Paris city.

Figure.41: Transportation routes surrounding the park.

Figure.42: Green Cover and Water bodies in the park.

Figure.43: Internal circulation routes of the park.

Figure.44: Internal circulation routes of the park.

Figure.45: Satellite view of Bhuj City in 2001 post earth quake.

Figure.46: Satellite view of Bhuj City in 2005, gamtal re gion still not recovered.

Figure.47: Satellite view of Bhuj City in 2010, the whole of Gamtal flourishing again.

Figure.48: Satellite view of Bhuj City in 2015, develop ments seen on the city fringes.

Figure.49: Satellite view of Bhuj City in 2020,the city boundaries have grown beyond.

Figure.50: Dried lake bed of Hamirsar lake in the Summer months in the Bhuj City.

Figure.51: Average temperatures and precipitation. With

an average of 30.4 °C | 86.7 °F, May is the warmest month. January has the lowest av erage temperature of the year. It is 19.6 °C | 67.3 °F. June is the windiest month in the year.

Figure.52: Cloudy, sunny, and precipitation days. In April the highest number and In January, the lowest of daily hours of sunshine is mea sured in Bhuj on average. In April there is an average of 10.9 hours of sunshine a day and a total of 338.05 hours of sunshine through out April.

Figure.53: Maximum temperatures recorded. The Summer months of April, May and June are the hottest in Bhuj. The high temperatures rises up to more than 40 degrees Celsius.

Figure.54: Precipitation amounts as recorded in Bhuj. The annual rainfall is very less in Bhuj region also it is very unpredictable hence they don’t rely on agriculture as compared to other communities.

Figure.55: Wind Speed in Bhuj, the wind speed is optimum and doesn’t cross 28kmph throughout the year.

Figure.56: The pre-dominant wind diretion for the blowing of Wind in Bhuj is Southwest direc tion.

Figure.57: The Map of Kutch District with major significant points.

Figure.58: Bhujia Hill

Figure.59: Woman and her attire of Kutch Region

Figure.60: Garba - Folk Dance of Kutch, Gujarat

Figure.61: Famous Food items in Bhuj

Figure.62: Festivals of Kutch - Bhuj region.

Figure.63: Textiles of Kutch - Bhuj, integral part of cultural heritage.

Figure.64: Typical toys of Bhuj Region

Figure.65: Darbar Gadh Palace

Figure.66: Aina Mahal Figure.67: Fuvara Mahal Figure.68: Prag Mahal Figure.69: Rani Mahal Figure.70: The Maharao’s Chhattardi

Figure.71: The Kutch Museum

Figure.72: The Bhujiya Fort

Figure.73: Sharad Baug Palace - external photos Figure.74: Kutch Location in Gujarat

Figure.75: District Planning Scheme of Bhuj Munic ipality, BHADA

Figure.76: Location of Site on the 24meter wide road, for the use of recreation and public use Figure.77: Location of the site on a schematic map of Bhuj City.

Figure.78: Satellite View of the site post Monsoon months.

Figure.79: Timeline of water system near the main Hamirsar Lake.

Figure.80: Surrounding Precincts

Figure.81: Cultural - Social - Natural nodes

Figure.82: Road Network

Figure.83: Connecting Network Figure.84: Public spaces around the site

Figure.85: Satellite view of Hamirsar Lake in Summer 2019

Figure.86: Satellite view of Hamirsar Lake post Monsoon 2020

Figure.87: Site Photos captured during a site visit in the month of February

Figure.88: Process drawings and models

Figure.89: Concept Site Layout - Divisions

7. BIBLIOGRAPHY

(CCA), C. C. for A. (n.d.). Seattle Freeway Park Il lustrative Site Plan. Canadian Centre for Architec ture. https://www.cca.qc.ca/en/articles/72236/ seattle-freeway-park-illustrative-site-plan.

Accueil - La Villette. La Villette - Par is. (n.d.). https://lavillette.com/.

Author Khushbu Soni

An Architecture graduate with a postgraduation in Ur ban Design and an Educationist by profession. She is on a constant quest for knowledge be it through reading, Soni, A. K., & An Architecture graduate with a post graduation in Urban Design and an Educationist by pro fession. She is on a constant quest for knowledge be it through reading. (2020, November 23). Bhuj

– A historic city. - RTF: Rethinking The Future. RTF | Re thinking The Future. https://www.re-thinkingthefuture. com/fresh-perspectives/a1920-bhuj-a-historic-city/.

DISCOVER INDIA’S MOST INSPIRING MUSEUM. Na tional Crafts Museum & Hastkala Acade my. (n.d.). http://nationalcraftsmuseum.nic.in/.

Freeway Park. Freeway Park - Parks. (n.d.). http:// www.seattle.gov/parks/find/parks/freeway-park. Freeway Park. The Landscape Architecture of Law rence Halprin (The Cultural Landscape Founda tion). (n.d.). https://tclf.org/sites/default/files/ microsites/halprinlegacy/freeway-park.html.

Fun, M. H. (2016, August 5). Bhuj Earthquake: Restoring Lost Heritage. Make Heritage Fun! https://www.makeheri tagefun.com/bhuj-earthquake-restoring-lost-heritage/.

NATIONAL CRAFTS MUSEUM, DEL HI. The_Prototype. (2020, September 26). https://architecturecasestudies.wordpress. com/2020/09/26/national-crafts-museum-delhi/.

Powell, R. (2020, July 21). Crafts Museum in Del hi, India by Charles Correa. Architectural Review. https://www.architectural-review.com/essays/ crafts-museum-in-delhi-india-by-charles-correa.

Tiller, J., & Justintiller. (n.d.). Architec ture and Deconstruction: A Critical Analysis of Jacques Derrida and the Parc de la Villette. Issuu. https://issuu.com/justintiller/docs/dissertation.

User, S. (n.d.). Beautiful Memories of Pal estine. The Museum of Islamic Art, Doha, Qatar. https://www.mia.org.qa/en/.

Provoost, W. P. & K. (2017, March 16). Why IM Pei’s Museum of Islamic Art is the Perfect Building to Suit Doha’s Style. ArchDaily. https://www.arch daily.com/867307/why-im-peis-museum-of-islam ic-art-is-the-perfect-building-to-suit-dohas-style.

vishalgohel52. (n.d.). Architectural Graduation The sis City Heritage Museum , Precinct of Gangajaliya lake Bhavnagar. Issuu. https://issuu.com/vishalgo hel52/docs/vishal_gohel_a0715_final_document.

Baldwin, E., Harrouk, C., Walsh, N. P., Submis sions, R., Lynch, P., Stott, R., Cruz, J. L. G., & Winstanley, T. (2020, December 14). ArchDai ly. https://www.archdaily.com/tag/central-park.

Bhuj Municipality. Bhuj Municipality | District Kachchh, Government of Gujarat | India. (n.d.). https:// kachchh.nic.in/public-utility/bhuj-municipality/.

Google. (n.d.). Google Earth. https://earth.goo gle.com/web/search/bhuj/@23.25073945,69.66 892015,103.64735646a,17087.22659285d,35y,3 60h,0.00002373t,0r/data=CigiJgokCcEfNXUU0E ZAEey423cbzkZAGWYfdc_Q0iVAIUOBzfm0xyVA.

Gujarat: The architectural heritage of Bhuj. https:// www.outlookindia.com/outlooktraveller/. (n.d.). https:// www.outlookindia.com/outlooktraveller/explore/sto ry/46756/gujarat-the-architectural-heritage-of-bhuj.

Bihar Museum at Patna, by Maki and Associates with Opolis Architects. ArchitectureLive! (2021, May 3). https://architecturelive.in/bihar-museum-at-patna-in dia-by-maki-and-associates-with-opolis-architects/.

Inglehart, R., & Baker, W. E. (2000). Moderniza tion, cultural change, and the persistence of tradi tional values. American Sociological Review, 65(1), 19. doi:10.2307/2657288

Publishing, M., & Mapin. (n.d.). Bhuj. Is suu. https://issuu.com/mapin/docs/bhuj.

Sabu, S., & Sharonsabu. (n.d.). Mixed-use Heritage Centre, Kochi: Architecture Thesis 2020: Sharon Sabu. Issuu. https://issuu.com/sharons abu/docs/report_a_2869_2015_compressed.

Weather in Bhuj, Gujarat, India. time anddate.com. (n.d.). https://www.time anddate.com/weather/india/bhuj.

What is cultural Heritage? (n.d.). Retrieved June 10, 2021, from https://www.khanacademy.org/human ities/special-topics-art-history/arches-at-risk-cul tural-heritage-education-series/arches-begin ners-guide/a/what-is-cultural-heritage

Sadana, A. (2020, February 7). National Crafts Mu seum: Away from Delhi’s chaos, history in all its glory. The Indian Express. https://indianexpress. com/article/lifestyle/art-and-culture/nationalcrafts-museum-delhi-things-to-see-6157814/.

Your Official Guide to Central Park I Central Park Conservancy. Central Park Conservancy. (n.d.). https://www.centralparknyc.org/.

Bihar Museum. (n.d.). https://biharmuseum.org/.

Case Studies on Central Park’s Success - Central Park by Cool People. Central Park by Cool People RSS. (n.d.). https://eportfolios.macaulay.cuny.edu/groupd/.

Deitz, P. (2017, April 25). Museum of Islamic Art by I. M. Pei. Architectural Record RSS. https://www.architectur alrecord.com/articles/8189-museum-of-islamic-art-by-im-pei.

Kapoor, V., & Vertikakapoor. (n.d.). AGRA HER ITAGE MUSEUM THESIS REPORT. Issuu. https://is suu.com/vertikakapoor/docs/final_thesis_report. Khurana, G. S. (2018, November 24). Museum of Is lamic Art, Doha (Qatar). Archistudent. https://ar chistudent.net/museum-of-islamic-art-doha/.

Milotlamicha. (2021, June 18). Weath er Bhuj. meteoblue. https://www.meteoblue. com/en/weather/week/bhuj_india_1275812. National Crafts Museum – New Delhi. Trib al Cultural Heritage in India Foundation. (n.d.). https://indiantribalheritage.org/?p=4220.

Sagredo, R. (2018, March 5). The Bihar Muse um / Maki and Associates + Opolis. ArchDai ly. https://www.archdaily.com/889978/the-bi har-museum-maki-and-associates-plus-opolis.

Souza, E. (2011, January 9). AD Classics: Parc de la Villette / Bernard Tschumi Architects. Arch Daily. https://www.archdaily.com/92321/adclassics-parc-de-la-villette-bernard-tschumi.

Thacker, M., & meetthacker8. (n.d.). Kutch do Baaremaas Cultural Interface for Kutch: Un dergraduate Architectural Thesis. Issuu. https:// issuu.com/meetthacker8/docs/ug_thesis.