Impact of lighting and circulation in showcasing the antiquity in a heritage museum

THE IMPACT OF LIGHTING AND CIRCULATION IN SHOWCASING THE ANTIQUITY IN A HERITAGE MUSEUM

DISSERTATION SUBMITTED BY: NITHYA RAVEENDRAN 133701156 B.ARCH VII SEMESTER ‘B’

FACULTY OF ARCHITECTURE NOVEMBER 2016

FACULTY OF ARCHITECTURE MANIPAL

CERTIFICATE

We certify that the Dissertation entitled “--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- “ , that is being submitted by --------------------------------------------------------------------, in the VII semester of Architecture undergraduate programme, Faculty of Architecture, Manipal University, Manipal is a record of bonafide work, to the best of our knowledge.

-----------------------------FACULTY IN CHARGE

-----------------------------DIRECTOR

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ACKNOWLEDGEMENT

I take this opportunity to sincerely thank the people without whose guidance and valuable contribution, this dissertation would not have been possible.

First and foremost, I show my utmost gratitude to my guide, Asst. Prof. Uzma Khan, whose constant guidance and encouragement helped the project to take its present shape. I would also like to show my gratitude to Asst. Prof. Shalini Singh, for her guidance in the initial stages of my dissertation. Also, my gratitude goes out to my panel professors, Associate.

Prof. Lulwa Khaleel and Asst. Prof. Charline Stella Samuel for their guidance and motivation towards the project. I would also like to forward my sincere thanks to the Head of the Department, Prof. Nishant H Manapure, for the direction provided in the initial stages.

I am also extremely grateful to my friends for their cooperation, valuable inputs and support throughout the term unconditionally.

Last but not the least; I would like to thank my family, their advice and support in all matters and the strength and motivation they give to believe in the success of the project.

THANK YOU

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ABSTRACT A museum is a place to discover, explore and learn about the past, present and future of creativity, as well as history. Lighting and circulation plays a significant role in developing interaction between humans and museum artefacts in one defined space. This study evaluates both the quantitative and qualitative aspects of lighting and circulation in a museum. Psychological, physiological and experimental components are observed in these museum environment within its exhibits LIGHTING IN A MUSEUM Lighting plays an important role in a museum for spatial impression and enjoyment of art. Different lighting arrangements and situations-light spaces- designed to meet the needs of an exhibit.

Different light colors and beam spreads, different designs and arrangements of luminaires and lamps create different lighting situations. Also special attention needs to be paid to the conservation requirements as light protection plays a major role in any display room.

CIRCULATION AND WAYFINDING Circulation is another important factor that involves how movement in space or time will be resolved in a museum plan. The study helps in displaying information to a larger audience and developing the most successful way finding method to allow visitors to easily navigate throughout an exhibit space as it has a significant role in determining how signage and different way finding systems could be best designed in a museum to display exhibits, create ease of movement and attract audiences. It is the deciding factor regarding how the exhibits will be displayed and then be viewed.

HISTORICAL RESEARCH Kozhikode or Calicut has a rich historical background and has many heritage structures in the city that has different vernacular characters of different religions and from different timeline. The old mosques around the kuttichira square and the other Islamic structures which are architecturally rich. The temple architecture also has its importance as its prominence in sculptures and inscriptions. Also the city dubbed as the ‘city of spices’ was a major trading point of eastern spices during the middle ages and as early as the classical antiquity.

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CONTENTS 1. CHAPTER I-INTRODUCTION.......................................................................................................................5 1.1 AIM...........................................................................................................................................................5 1.2 RELEVANCE OF THE RESEARCH.................................................................................................................5 1.3 RESEARCH QUESTIONS.............................................................................................................................5 1.4 OBJECTIVES...............................................................................................................................................5 1.5 SCOPE OF THE RESEARCH.........................................................................................................................5 1.6 METHODOLOGY........................................................................................................................................6 1.7 SCOPE AND LIMITATIONS..........................................................................................................................6 1.8 OUTCOME OF THE STUDY.........................................................................................................................6 2. CHAPTER II-LITERATURE STUDY................................................................................................................8 2.1 INTRODUCTION........................................................................................................................................8 2.2 LIGHTING IN A MUSEUM..........................................................................................................................9 A.

ACTION OF LIGHT................................................................................................................................9

B.

LIGHTING SYSTEMS...........................................................................................................................10

C.

VIEWING THE EXHIBITS WITHOUT INTERFERENCE...........................................................................12

D.

DAYLIGHTING....................................................................................................................................12

2.3 A.

CIRCULATION IN A MUSEUM............................................................................................................14 COMPONENTS OF CIRCULATION...........................................................................................................14

2.3 HISTORICAL RELEVANCE.........................................................................................................................16 A.

INFLUENCES IN ARCHITECTURAL STYLE............................................................................................16

3. CHAPTER III- CASE STUDIES.....................................................................................................................20 3.1 GANDHI SMARAK SANGRAHALAYA, SABARMATI ASHRAM, AHMEDABAD..............................................20 ..................................................................................................................................................................... 20 3.2 THE MUSEUM OF TRIBAL HERITAGE, BHOPAL, MADHYA PRADESH........................................................25 3.3 CONCLUSION..........................................................................................................................................28 4. CHAPTER IV – DATA ANALYSIS.................................................................................................................29 4.1

INTRODUCTION................................................................................................................................29

4.2

COMPARATIVE ANALYSIS OF DATA....................................................................................................29

4.3

QUESTIONNAIRE...............................................................................................................................30

4.4 CONCLUSION..........................................................................................................................................31 5. CONCLUSION..........................................................................................................................................32 6. BIBLIOGRAPHY........................................................................................................................................33 7. ANNEXURE..............................................................................................................................................34 8. APPENDIX................................................................................................................................................35

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CHAPTER I-INTRODUCTION 1.1 AIM To study the factors affecting the functions inside a museum and derive the different spaces and their spatial requirements.

1.2 RELEVANCE OF THE RESEARCH The museum design will guide the visitors to discover, explore and learn about history in a creative environment.

Lighting is a critical component in a museum environment because the space enables visitors to see objects, experience new sights and react to the new environment.

Circulation with the help of signage is important to understand how a viewer reacts to a certain style of sign and to evaluate this response for an effective design.

1.3 RESEARCH QUESTIONS PRIMARY QUESTIONS  What role does lighting and circulation have in the functioning of a museum?

SECONDARY QUESTION  What are the other activities functioning in a museum?  What are the different design parameters for lighting in a museum?  What are the design guidelines that makes a space look spacious during large gathering and not usually large during less density of people?  What effect does light have on different materials and texture?  How are different light perceived by different age groups visiting the museum?  How does way finding techniques help the psychology of the people visiting the museum?

1.4 OBJECTIVES      

To understand different spaces and their hierarchy in a museum.

To understand the different lighting requirements in the spaces mentioned above.

To understand the different hierarchy in the circulation pattern in a museum.

To understand the effect of light on different materials and different types of artifacts.

To host different activities apart from displaying artifacts or relics.

To determine how signage could best be designed for circulation in a museums and exhibits to clearly display information, create ease of way finding and attract the largest audience.

1.5 SCOPE OF THE RESEARCH 

To learn different lighting techniques to showcase the artefacts or relics in a museum.

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 

To learn different way finding techniques in a museum.

Define the space as a place of social interaction and have people to be part of culture and heritage exchange.

1.6 METHODOLOGY           

Archive research- evolution of timeline over the years Mapping- individual building plans, on-site documentation Photographic survey- on-site photography, collection of photographs related to the research topic.

Programmatic data- primary interviews with the users, employees, staff, localities etc.

Questionnaire- understanding users’ response to various specific questions.

Environmental behavior psychology- people’s response to various spaces inside a museumtheoretical and analytical Literature case studies- different museum designs in different cultural and environmental context Live case studies- how heritage museums are affected in the local context Reviews- based on articles and reports Analysis Conclusions

(Fig.1. methodology)

1.7 SCOPE AND LIMITATIONS 

 

To understand and educate their visitors about the history, cultural and natural heritage of a city, or about a chosen subject of special interest, while also preserving these elements for future generations.

To understand the effects of lighting in a museum on human perception.

Addressing the movement in and around the exhibits in a museum.

1.8 OUTCOME OF THE STUDY    

Guidance in lighting of an interior public space.

Guidance in different circulation pattern in the interior of a public space.

Design guidelines for a barrier free design in the interior of a public space.

Knowledge and connection with the heritage and the historical evolution of the city or place.

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Figure 1 Methodology

CHAPTER II-LITERATURE STUDY

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2.1 INTRODUCTION A heritage museum is a space that is primarily dedicated to the display, presentation and preservation of the historical and cultural characteristics of a place and its people and to some level the natural features. Heritage museums diverge from most traditional museums by featuring a large proportion of hand-on exhibits and life-like exhibits. Lighting and circulation plays a major role in the display and presentation of the exhibits.

Lighting is vital for spatial impression and enjoyment of art. Different light colors and beam spreads, different designs and arrangements of luminaires and lamps create different lighting situations – light spaces – designed to meet the relevant needs of the exhibition. Special attention needs to be paid to conservation requirements of an exhibit. Light protection plays an important role in any exhibition or display room.

Circulation is another important factor that involves how movement in space or time will be resolved in a museum plan. The study helps in displaying information to a larger audience and developing the most successful way finding method to allow visitors to easily navigate throughout an exhibit space. Also the different arrangements help us understand the different types of experiences created.

CONTEXTUAL STUDY Kozhikode or Calicut has a rich historical background and relevance and has many structures in the city that has different vernacular characters of different religions and from different timeline that preserve this heritage of the city. Heritage Centre or museums are created to generate awareness among the citizens of Calicut, including students, about their rich and composite cultural heritage of the city. The main aims and objectives of such a museum would be to: Preserve and protect the objects and symbols that symbolize the history and culture of Calicut o Identify, evaluate, and document such objects and symbols like buildings, monuments, artefacts, documents, photographs, etc. o Assist and support research into the history and culture of Calicut; o Digitalize the manuscripts and scripts and other written material for preservation o Generate social responsibility for the preservation of the heritage. o Promote heritage tours of Calicut city. [ CITATION MGS06 \l 1033 ] [ CITATION For08 \l 1033 ] o

2.2 LIGHTING IN A MUSEUM

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Lighting plays an important role in developing interaction between humans and the exhibits in a space. The study shows different lighting design aspects in lighting installations. The lighting design should be such that it displays a balance between visibility, interest, preservation and environmental considerations.

Lighting helps in the visibility of the display and in creating an experience with the surrounding environment. There are two types of lighting- natural and artificial. The main aim of lighting design is to create an interactive space an also preserve the conditions of artefacts.

A. ACTION OF LIGHT Daylight and artificial light contains rays which may fade, dry out, discolor or deform exhibits. There mainly two types of lighting in a museum-room and exhibit lighting.

1. Room lighting- it is a mix of both diffuse and directional lighting 2. Exhibit lighting- it uses directional lighting to highlight individual items on display and is used for a dramatic effect.  Diffuse lighting: this type radiates light in all direction and this type of lighting produce little or no shadowing  Directional lighting: the light falls directly onto the object illuminated by the lighting arrangement.  Diffuse/directional lighting: the light is made to radiate in a particular direction and is also partially directional. [ CITATION mic04 \l 1033 ] Figure 2 Diffuse and directional lighting

a) Directional lighting for wall and diffuse lighting for the room b) Supplementary directional lighting for the object in the room 20

c) Solely directional lighting d) Indirect component produce diffuse lighting and direct component produce directional lighting B. LIGHTING SYSTEMS The most important lighting systems used in a museum are:     

luminous ceilings with opal glass enclosure (diffuse light) or satinised and textured glass (diffuse/directional) indirect luminaires (diffuse) cove luminaires (diffuse) wall washers (directional or diffuse/directional) spot lamps

B.1 LUMINOUS CEILINGS Luminous lightings are used as a desire to imitate daylight. They are particularly suitable for painting galleries. The choice of light sources are tubular fluorescent lamps and they should be spaced no further apart than the distance to the ceiling enclosure. They have a high level of luminance from 500 to 1000 cd/m2, ranging up to 2000 cd/m2 for very high ceilinged rooms and also suitable for interiors with 6m ceilings or higher. (fig.2)[ CITATION Oks04 \l 1033 ] Figure 3 Luminous ceilings

B.2 INDIRECT LUMINAIRES Indirect light gets bounced off the ceiling and upper all surfaces into the room and this diffused uniform light is used in rooms where daylight does not enter. They can be produced by suspended luminaires radiating light like suspended power tracks systems above with spots for directional lighting. (fig.3) [ CITATION Oks04 \l 1033 ]

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Figure 4 Indirect luminaires

B.3 COVE LUMINAIRES It is an indirect lighting solution with the diffuse light of luminaires installed in the curving transition between wall and ceiling. The main direction of light with cove luminaires is closer to the horizontal than with a luminous ceiling and light is shadow free. The widely used light source are the linear lamps-usually tubular fluorescent lamps.

Figure 5 Cove luminaires

B.4 WALLWASHERS They are used as individual luminaires or also in continuous rows and should illuminate the walls as uniformly as possible. Widely used light sources include linear lamps like fluorescent lamps and high voltage halogen lamps. (fig.5)[ CITATION Oks04 \l 1033 ] Figure 6 Wall washers

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B.5 SPOT LAMPS Reflectors in lamps or spots direct most of the light emitted by punctual light sources in a defined beam direction and can be fully or partially integrated into a ceiling as recessed ceiling spots. High voltage halogen lamps and low voltage halogen lamps with or without reflector, incandescent lamps as well as metal halide lamps. (fig.6)[ CITATION Oks04 \l 1033 ] Figure 7 Spot lamps

Penn museum C. VIEWING THE EXHIBITS WITHOUT INTERFERENCE All exhibits should be shown to their best advantage, the exhibit lighting should interfere with the visual task. There should be no shadows or patterns of light, with no reflections. The relation between uniform illumination and visual comfort is such that the angle between luminaire and wall to the lower limit of the exhibit should be between 25-30 degrees. (fig.7)[ CITATION DeC07 \l 1033 ] Figure 8 Viewing standards

D. DAYLIGHTING It is the illumination of interiors of buildings with natural light. There are different ways in daylighting in a museum like the use of skylights, windows and the combination of daylight and artificial light. (fig.8)[ CITATION pau04 \l 1033 ]

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Figure 9 Daylighting

Recommended maximum light dosage [ CITATION DAV98 \l 1033 ]

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2.3 CIRCULATION IN A MUSEUM The circulation in a museum has a significant role in determining how signage and different way finding systems could be best designed in a museum to display exhibits, create ease of movement and attract audiences. It is the deciding factor regarding how the exhibits will be displayed and then be viewed and helps in displaying information to a larger audience and developing the most successful way finding method to allow visitors to easily navigate throughout an exhibit space.

A. COMPONENTS OF CIRCULATION The main five aspects of circulation are:     

Approach `Entrance Configuration of the path Path/space relationship Form of circulation space

A.1 APPROACH It involves the distant view before entering the museum, and acting as a preview to the experience of the spaces within.

A.2 ENTRANCE They are usually highlighted by eye-catching decorative or structural components and signifies the formality of a cultural institution. It also acts as a preview to the experiences inside.

A.3 CONFIGURATION OF THE PATH It is determined by certain factors like overall shape of the path, volume of the space allotted to the path, and organizational pattern of the spaces. They can be of different forms like linear, radial, spiral, grid, and network. Configuration plays a major role as it helps in orienting the visitor in the correct direction and also in understanding the spacial layout of the place. (fig.9) configuration of path[ CITATION Fra96 \l 1033 ]

Figure 10 Configuration of path

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A.4 PATH/SPACE RELATIONSHIP The path passes by the spaces, ensuring the integrity of each space, like when long corridors open into galleries or when the path passes through the space like creating patterns of rest and movement. Lastly the path terminates in a space, as a way of emphasizing the importance of the final destination.

A.5 FORM OF CIRCULATION SPACE The overall form and scale of the space is considered and how the pathways for movement are integrated into the spatial organization. It may be enclosed, open on one side or open on both sides.

Figure 11 Open plan Figure 12 Core and satellite Figure 13 Linear Figure 14 Loop

Figure 15 Complex Figure 16 Labyrinth

Different spaces required according to circulation diagram

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2.3 HISTORICAL RELEVANCE Calicut, is the most important coastal city of Malabar the north region of state of Kerala. It was a leading trading center for spices on the west coast of India and found a place in world history with the discovery of the sea route to India. It was under different rule over the period and different period had various contriutions to the rich heritage of the city. The timeline of different rules were:

SANGAM PERIOD 3rd-4th CENTURY BC

CHERA PERIOD UNTIL 1102 AD

ZAMORIN PERIOD 12th-18th CENTURY

PORTUGUESE PERIOD 15th-16th CENTURY

DUTCH PERIOD 1660-1795

MYSORE RULE 1773-78, '83-'88

BRITISH RULE 1795-1947

A. INFLUENCES IN ARCHITECTURAL STYLE       

Climate responsive building The building had secular and religious influence Use of locally available materials like stone, timber, clay, palm leaves, granite and laterite blocks Use of timber architecture Open spaces both inside and outside i.e. Verandah and courtyards for cross ventilation.

Long steep sloping roof to protect the walls and to withstand the heavy monsoon.

High plinth for protection against dampness and insects in the tropical climate. (fig.10) Open and semi-open spaces

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Figure 17 Ventilation through semi-open spaces

(fig.11) ‘Nasika’ a natural solution for light and ventilation Traditional ‘azhi’ grill in timber Figure 18 Nasika and traditional azhi grill

St. Mary’s church (fig.12)[ CITATION MGS06 \l 1033 ]

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Figure 19 Christian characteristics

Figure 20 Characteristic features of sangam and post sangam period

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TYPICAL CHOLA PILLARS

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APSIDAL GARBHAGRIHA

INFLUENCES OF RELIGIOUS STYLES I.

TEMPLE ARCHITECTURE  Engraved carvings and murals and typical chola pillars and pilasters  Two storied sanctum, stone sculptures, integration between wood and laterite.  Nasikas with demonic carvings for light and ventilation.  Small windows with wooden screens traditional 'azhi' and attic space for storage and cooling the interiors.  A water reservoir for water supply and sometimes used as a bathing pool.

Figure 21 Tali temple

II.

ISLAMIC ARCHITECTURE  Four storied mosque with Italian tiles, 47 doors, and 24 pillars with carvings.  Resemblance to temple architecture- gopuram style arches and mihrab style doors.  Intricate wood carvings like lotuses and geographic motifs on the ceiling.  Arabic inscriptions on the wooden walls and rafters of the ceiling and 1.5m high plinth  In plan the mosque comprises a large prayer hall with a mihrab on the western wall and covered verandah all around.  High minarets and domes grew vertically and ablution area in houses and rooms with windows facing towards the street with wooden screens used for privacy.

Figure 22 Mishkal mosque

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III.

CHRISTIAN ARCHITECTURE  Curved arches on the doors and windows and Colonnade on the spires like the neo-roman architectural style  Facade flanked by lofty, square towers on either side or Nasikas with murals of cross, angles and saints and also granite carvings and towers like shikaras.  Latin cross plans were adopted with exteriors having pilaster, gothic arches and buttresses.  Large rooms with high ceiling and verandahs all around and windows of large size with projections with ornamental brackets and columns.  Exposed laterite and chunam plastering and wooden windows and shutter doors having ribbed elements, Venetian blades permitting air circulation and privacy.

Figure 23 St. Mary’s church

Image source: google images

CHAPTER III- CASE STUDIES 3.1 GANDHI SMARAK SANGRAHALAYA, SABARMATI ASHRAM,

AHMEDABAD Figure 24 Gandhi ashram site map

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SITE AREA: 4

acres

ASHRAM AREA: 0.55 acres with 54 blocks of 6mx6m BUILDING CONTRUCTION TYPE: incremental modular unit of reinforced cement concrete connecting spaces, both open and covered.

MATERIALS USED: Tiled roof, brick wall, stone floor, wooden floor, light and ventilation by operable wooden louvers These elements combine to form a pattern of tiled roofs which are grouped in casual pattern, creating a pathway along which the visitors progress towards the centrality of the water court.

TIMINGS: 8.30am to 6.30pm CIRCULATION THROUGH THE SITE [ CITATION and05 \l 1033 ] Figure 25 Schematic section through the building

[ CITATION And05 \l 1033 ]

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Figure 26 Circulation through the site

Figure 27 Core and satellite layout

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Figure 28 Circulation inside the building

Figure 29 circulation through the gallery

Figure 30 Linear configuration of path

  

Some of the units are enclosed by walls and some are semi-enclosed with seating spaces in between where the visitors can sit and meditate. Use of barrier free design by use of ramps.

Inside the museum the exhibits are arranged in a sequential manner which showcases the timeline in which the events occurred.

The exhibits are also arranged according to anthropometry

INTERIOR SPACES Five interior rooms contain the collection of the museum: - correa’s subtle changes of the enclosure allow for variety in the module’s lighting, temperature’ and visual permeability. [ CITATION And05 \l 1033 ]

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Figure 31 Interior spaces

LIGHTING THE EXHIBITS- ANALYSIS Daylight through operable wooden louvers and also the exhibits placed in semi-enclosed spaces lit by daylight.

Figure 32 Directional lighting

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Glare from louvers got reflected from the glass cased exhibits and were also individually lit by artificial lighting i.e. Directional lighting Usage of both daylight and artificial light created bright spots while viewing the exhibits.

All the galleries open into a central pool and the intermediate courtyards and the open spaces act as a respite and creates a bond with nature.

Figure 33 Spot lighting

Figure 34 Natural lighting

Figure 35 Lighting in semi-open space

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3.2 THE MUSEUM OF TRIBAL HERITAGE, BHOPAL, MADHYA

PRADESH SITE AREA: 7 acres BUILDING CONSTRUCTION TYPE: the galleries are raised above the ground on columns, forming a continuous, multileveled verandah, following the contours of the sloping, rocky terrain.

TIMINGS: 12.00 pm to 8.00 pm

Figure 36 Site plan [ CITATION Aca83 \l 1033 ]

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CIRCULATION THROUGH THE SITE Figure 37 Circulation through the site

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Figure 38 Loop layout

Figure 39 Construction [ CITATION Aca83 \l 1033 ]

Figure 40 Circulation inside gallery Figure 41 Network configuration of path

[ CITATION Aca83 \l 1033 ] The architecture of the museum is inspired by the tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness.

INTERIOR SPACES The circulation through the site is in a successive manner and the intermediate courtyards bring in light and air, while enabling the roof forms to establish modulated scales and composition.  Gallery 1- cultural diversity  Gallery 2-tribal life  Gallery 3-trial aesthetic  Gallery 4-tribal spiritual world

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

Gallery 5-exhibition and guest gallery

Figure 42 Sequence of spacing on the site

LIGHTING THE EXHIBITS- ANALYSIS Natural blend of inside with the outside environment where the natural daylight gives the exhibits a life like appearance.

Figure 43 Dim spot lighting Figure 44 Diffused lighting

Dim spot lighting gives the exhibit the prominence and also provides the background setting for a tribal village surrounded by greenery and vegetation.

The intermediate open space provides the continuity between the interior of the space to the outside natural environment by giving a sense of living in the wild.

Figure 45 Intermediate courtyards

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3.3 CONCLUSION In conclusion, the above case studies have helped us understand the different effects of lighting and circulation in enhancing the quality of the space and efficient functioning of the place.

CHAPTER IV – DATA ANALYSIS

4.1 INTRODUCTION One may observe that in both the case studies both natural daylighting and artificial light have contributed to enriching the space by not only creating a functional but also a visually pleasing space.

The natural surroundings have been made a crucial part of the design allowing the user to interact with the natural environment. A well composed space which is not just brightly lit but also has balance between light and dark spaces.

The design process involves the lighting of the space as well as the exhibits keeping in mind the experience that it creates and the circulation and the configuration of the path.

4.2 COMPARATIVE ANALYSIS OF DATA A comparative analysis can be made between Gandhi smarak sangrahalaya, Gujarat and the museum of tribal heritage, MP. Both design have made by considering the climatic factors of that region and has followed the contours of the site. The designs have included the natural surroundings as a vital element of the design. For example, in Gandhi smarak all the galleries open into a central pool which with the intermediate courtyards acts as a respite and creates a bond with nature. In the tribal museum the intermediate courtyards ring in light and air and provide continuity between the spaces.

GANDHI ASHRAM, GUJARAT

TRIBAL MUSEUM, MADHYA PRADESH

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Intermediate courtyards and central pool

Intermediate courtyards for outdoor exhibits

Interior spaces in sequential manner depicting the life of Gandhiji.

Continuity in spaces through open spaces Small height gallery rooms i.e. 3.2m

Interior spaces arranged according to the activities in a tribal life.

Continuity through open spaces Large double height display rooms with mezzanine floors Interaction with nature by replicating the surroundings of a tribal community Use of both artificial and natural lighting separately i.e. indoor exhibits have only artificial lighting like dim spot lighting.

Interaction with nature by inviting different kinds of birds into the site.

Use of both artificial and natural lighting together i.e. directional task lighting and spot lighting

In both the case studies, the exhibits are arranged in a sequential manner depicting a story in the process and hence establishing a continuity in the timeline in the minds of the observer.

Both the designs follow a modern approach to the design where simple spaces are created, but through the play of light and shadow and the different arrangements complexity is added to the design.

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4.3

QUESTIONNAIRE

A questionnaire survey was conducted on human perception in a museum for a sample of 80 people from Kerala. The people were asked to keep in mind the context in which they reside for the survey. A museum is

a place to discover, explore and learn about the past, present and future of creativity, as well as history.

The questions included were related to the lighting ambience and the spatial configuration of the space in relation with the type of museum.

The data was then analyzed on the basis of different interests and how they perceive the space. Out of the sample 42% of the people prefer visiting historic museums, 27% science museums, 17% art museums and the rest 12% other museums.

A majority of the people prefer museums with the combination of both artificial and natural lighting with 52% interested in indoor exhibits.

77.5% of the total sample survey prefer large and spacious rooms for the exhibits with proper signage for better museum experience.

Other than the above mentioned questions, some questions were based on the personal individual interests like the any other kind of activities that they would prefer to have in a museum to enhance their experience and attract larger audiences.

4.4 CONCLUSION In conclusion, both the case studies are excellent examples of demonstrating how proper lighting including both natural and artificial can help in increasing the quality of the design and different circulation patterns that enhance the drama created in that space.

Also both the case studies have held the essence of the space intact by showing the life of Gandhiji using minimalism and being true to the materials used in Gandhi ashram and by showing the geometries, materials, forms, aesthetics, spacial consciousness and the different rhythms in the tribal community.

Also from the survey questionnaire it can be determined that majority of the people prefer museums related to historic events with indoor exhibits having large spaces with combination of both artificial and natural lighting.

In conclusion, the feasibility of a heritage museum in Calicut city is derived.

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CONCLUSION From the literature study and case studies, it is possible to come up with guidelines related to design of a museum. Since the focus of the study is heritage museum, the guidelines will be related to the preservation and conservation of the heritage artefacts This study gives an overall picture of the importance of lighting and circulation in the building design of a museum and the development of the design with respect to the climate and the natural surroundings. It helps one understand the various tools of lighting and the technicalities involved in the usage of the space.

The survey questionnaire also helps in determining the feasibility of the project in Calicut city i.e. of designing a heritage museum in the city. The study helps in deriving the different spaces and their spatial requirements for the design of the project.

The different spaces required according to the circulation diagram will be:

The different viewing standards will be:

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Figure 46 Directional lighting accentuates exhibits Figure 47 Planar lighting makes for uniform illumination Figure 48 Viewing standards

The studies give a better understanding how lighting and circulation can be implemented in the design process and the positive effects it has in enhancing the quality of the space and keeping its heritage intact.

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BIBLIOGRAPHY Academy, A. L. (1983). Choumasa. Choumasa.

ADLER, D. (1998). Metric Handbook: Planning and Design Data. Taylor & Francis. andrew. (2005). indian student analysis. Retrieved from charles correa associates: http://www.andrew.cmu.edu/user/gutschow/india/India%20Student%20Analysis.pdf Andrew. (2005). Indian student analysis. Retrieved from charles correa associates: http://www.andrew.cmu.edu/user/gutschow/india/India%20Student%20Analysis.pdf Chiara, D. (2007). Times savers standards for building types. New York: Mc Graw-Hill.

Ching, F. D. (1996). Archtecture, form,space and order. New York: John Wiley & sons.

Forum, T. C. (2008, january). Calicut Heritage. Retrieved from preserving calicut's history, culture and heritage: http://calicutheritage.com/about_us.aspx michael scuello, i. a. (2004). museum lighting. optimising the illuminant, 10231.

NARAYANAN, M. G. (2006). CALICUT: THEE CITY OF TRUTH REVISITED. calicut: university of calicut.

Oksanen, J. N. (2004). Lighting design for art, museums and architecture. tokyo. paul f marty, k. b. (2004). Museum Informatics: People, Information, and Technology in Museums. usa: florida state university.

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ANNEXURE Figure 1 Methodology........................................................................................................................................7 Figure 2 Diffuse and directional lighting.............................................................................................................9 Figure 3 Luminous ceilings................................................................................................................................10 Figure 4 Indirect luminaires..............................................................................................................................11 Figure 5 Cove luminaires..................................................................................................................................11 Figure 6 Wall washers.......................................................................................................................................11 Figure 7 Spot lamps..........................................................................................................................................12 Figure 8 Viewing standards...............................................................................................................................12 Figure 9 Daylighting..........................................................................................................................................13 Figure 10 Configuration of path........................................................................................................................14 Figure 11 Open plan.........................................................................................................................................15 Figure 12 Core and satellite..............................................................................................................................15 Figure 13 Linear................................................................................................................................................15 Figure 14 Loop..................................................................................................................................................15 Figure 15 Complex............................................................................................................................................15 Figure 16 Labyrinth...........................................................................................................................................15 Figure 17 Ventilation through semi-open spaces..............................................................................................16 Figure 18 Nasika and traditional azhi grill.........................................................................................................17 Figure 19 Christian characteristics....................................................................................................................17 Figure 20 Characteristic features of sangam and post sangam period..............................................................17 Figure 21 Tali temple........................................................................................................................................18 Figure 22 Mishkal mosque................................................................................................................................19 Figure 23 St. Mary’s church..............................................................................................................................19 Figure 24 Gandhi ashram site map...................................................................................................................20 Figure 25 Schematic section through the building............................................................................................20 Figure 26 Circulation through the site..............................................................................................................21 Figure 27 Core and satellite layout...................................................................................................................21 Figure 28 Circulation inside the building..........................................................................................................22 Figure 29 circulation through the gallery..........................................................................................................22 Figure 30 Linear configuration of path..............................................................................................................22 Figure 31 Interior spaces..................................................................................................................................23 Figure 32 Directional lighting............................................................................................................................23 Figure 33 Spot lighting......................................................................................................................................24 Figure 34 Natural lighting.................................................................................................................................24 Figure 35 Lighting in semi-open space..............................................................................................................24 Figure 36 Site plan (Academy, 1983).................................................................................................................25 Figure 37 Circulation through the site..............................................................................................................26 Figure 38 Loop layout.......................................................................................................................................26 Figure 39 Construction (Academy, 1983)..........................................................................................................27 Figure 40 Circulation inside gallery...................................................................................................................27 Figure 41 Network configuration of path..........................................................................................................27 Figure 42 Sequence of spacing on the site.......................................................................................................27 Figure 43 Dim spot lighting...............................................................................................................................28 Figure 44 Diffused lighting................................................................................................................................28 Figure 45 Intermediate courtyards...................................................................................................................28 Figure 46 Directional lighting accentuates exhibits..........................................................................................32 Figure 47 Planar lighting makes for uniform illumination.................................................................................32

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Figure 48 Viewing standards.............................................................................................................................32

APPENDIX SURVEY QUESTIONNAIRE

1) Your age group?

2) How often do you visit a museum?

3) What type of museum do you prefer to visit? o historic and architectural relevance o art museum o biographical o science o Other 4) Which type of lighting do you prefer in a museum? o daylight o artificial lighting o both 5) How do you like the exhibits to be showcased? o sequential manner or depicting a story o randomly o exhibited under different categories 6) What configuration of path would you prefer for movement in a museum? o linear o radial o spiral o grid o network 7) What kind of space do you like for an exhibit? o open space o semi-open space o indoor 8) What size of room do you prefer for an exhibit? o large and spacious o small rooms 9) Does having signage in a museum help in better experience? o Yes o No o Maybe 10) What other activities would you prefer to make the museum experience better?

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