BUDDHA SAMYAK DARSHAN

BUDDHA SAMYAK DARSHAN NARRATORIUM OF BODHGAYA

A DESIGN DISSERTATION REPORT Submitted By

RASHID SIKANDAR Under the Guidance of

Ar. Niladwuti Chattopadhyay In partial fulfillment for the award of the degree Of BACHELOR OF ARCHITECTURE In

Lokmanya Tilak Jankalyan Shikshan Sanstha’s LOKMANYA TILAK INSTITUTE OF ARCHITECTURE AND DESIGN STUDIES Plot no. 22 & 23, Vikas Nagar, Sector – 5, Koparkhairane, Navi Mumbai, 400709

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Affiliated to University of Mumbai 2019-2020

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DECLARATION I hereby declare that this written submission entitled

“BUDDHA SAMYAK DARSHAN” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references.

No material other than that cited and listed has been used.

I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying.

I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission. This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student Name of the Student: RASHID SIKANDAR Exam Roll No: 2019 AR 959 Date: 25th November 2019

Place: Koparkhairane

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include:   

The verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; The close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; Unacknowledged quotation of phrases from another’s work;

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 

The deliberate and detailed presentation of another’s concept as one’s own.

“Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

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Lokmanya Tilak Jankalyan Shikshan Sanstha LOKMANYA TILAK INSTITUTE OF ARCHITECTURE AND DESIGN STUDIES PLOT NO. 22 & 23, VIKAS NAGAR, SECTOR – 5, KOPARKHAIRANE, NAVI MUMBAI, 400709

Certificate This is to certify that the Dissertation titled BUDDHA SAMYAK DARSHAN NARRATORIUM OF BODHGAYA

Is the bona-fide work of

RASHID SIKANDAR

Of the Final Year B. Arch. Sem (IX) and was carried out in the college under my guidance and here by partial fulfillment of the requirements for the degree of the Bachelor of Architecture Under University of Mumbai

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Signature of Guide

Signature of

Signature of

Date: 22/11/2019

External juror

External juror

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Signature of Principal & College Seal

ACKNOWLEDGEMENT

The completion of this research could not have been possible without the participation and assistance of so many people whose names may not all be enumerated. Their contributions are sincerely appreciated and gratefully acknowledged. However, I would like to express my deep appreciation and indebtedness regarding the same.

Firstly, I would like to thank my Thesis guide Prof. Niladwuti Chattopadhyay of Lokmanya Tilak Institute of Architecture and Design Studies at Mumbai University, for her endless support and sincere guidance throughout the process. I submit my gratitude to the Principal Prof. Harish Setty and all other faculty members of college for their help and support and for giving me this opportunity.

I would like to thank Ragini Megmalhar curators of CSMVS and Rahul Laware assistant architect at opolis Mumbai for providing me with the necessary information that became the foundation of my thesis.

My joy knows no bounds in expressing my cordial gratitude to my friends Atul Yadav, Md. Ehsan, Yash Salve and Ashish Sharma for their keen interest and encouragement throughout the course of this research work.

I would also like to thank my Father, Mr. Sikandar Azam Khan, my Mother, Mrs. Nasreen Khanam and my sisters for their consistent belief, love, support and unceasing encouragement.

Above all, I would like to thank God for giving me this opportunity and courage to gain knowledge and by directing my views to a broader vision.

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TABLE OF CONTENTS PREFACE i. ii. iii. iv. v. vi. vii.

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Declaration…………………………………………………………………………….......i Certificate……………………………………………………………………………………….…..ii Acknowledgement…………………………………………………………………….…..iii Table of content…………………………………………………………………………..iv List of figure……………………………………………………………………………..viii List of Tables……………………………………………………………………………………..xviii Abstract……………………………………………………………………………………………xix THESIS OUTLINE...............................................................................................................1

1.1 Narratorium.............................................................................................................................2 1.2 Aim:.........................................................................................................................................3 1.3 Objectives:..............................................................................................................................3 1.4 Methodology...........................................................................................................................4 1.5 Scope:......................................................................................................................................5 1.6 Limitations:.............................................................................................................................5 1.7 Conclusion:.............................................................................................................................5 2. EVOLUTION OF MUSEUM...............................................................................................6 2.1 What is a museum?.................................................................................................................7 2.2 What is a heritage museum or a narratorium?........................................................................7 2.3 Educational role of narratorium..............................................................................................8 2.4 Historical evolution of museum architecture..........................................................................9 2.4.1 Museum of Ancient time (B. C)................................................................................................10 2.4.2 Museums of Medieval from the 5th to the 15th century............................................................11 2.4.3 Museums of Renaissance from the 15th to the 17th century.....................................................12 2.4.4 Museums of the late 17th century.............................................................................................13 2.4.5 Museums of the 18th century....................................................................................................13 2.4.6 Museums of the 19th century....................................................................................................15 2.4.7 Museums of the 20th century....................................................................................................17 2.4.8 Museums of the 21st century....................................................................................................20 2.4.9 Conclusion................................................................................................................................22

2.5 History of indian museum.....................................................................................................23 2.6 Types of museums.................................................................................................................24 2.6.1 Art Museums.............................................................................................................................24 2.6.2 History Museums......................................................................................................................25 2.6.3 Science and Technology Museum.............................................................................................26

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2.6.4 Children’s Museums.................................................................................................................27 2.5.5 Military and war museums........................................................................................................27 2.5.6 Archaeology museums..............................................................................................................28

2.6 Statewise museums in india..................................................................................................28 3. LITERATURE REVIEW- WHY CITY NEEDS NARRATORIUM?............................30 3.1 City needs to be Represented................................................................................................31 3.2 Museums as Representation..................................................................................................32 3.2.a They Document Daily Life.......................................................................................................32 3.2.b They Educate Others on Local Culture.....................................................................................33 3.2.c They Display Alternative Perspectives on History....................................................................33 3.2.d They Connect Those of Different Backgrounds........................................................................33

3.3 Objects and its role................................................................................................................33 4. LEARNING FROM EXISTING.......................................................................................36 4.1 Live Case Studies..................................................................................................................37 4.1.1 Bihar Museum, Patna, Bihar.....................................................................................................37 4.1.2 Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai......................................................49 4.1.3 Dr. Bhau Daji Lad Museum, Mumbai.......................................................................................56

4.2 Net Case Studies...................................................................................................................64 4.2.1 Art and Science Museum, Singapore........................................................................................64 4.2.2 Sanskar Kendra, Ahmedabad, Gujrat........................................................................................74 4.2.3 Dande kutir Museum, Gandhinagar, Gujrat..............................................................................85 4.2.4 Virasat-E-Khalsa Museum, Anandpur Sahib, Punjab................................................................93

4.3 Comparative Analysis.............................................................................................................1 4.4 Conclusion..........................................................................................................................105 5. CURATIONAL ASPECTS IN A MUSEUM...................................................................107 5.1 Different methods of display...............................................................................................108 5.1.1 Mounting and displaying objects............................................................................................108 5.1.2 Displaying works on paper......................................................................................................112 5.1.3 Labels and interpretation.........................................................................................................114

5.2 New method used for curation in contemporary museum of today....................................116 5.2.1 Audio-visual............................................................................................................................116 5.2.2 3d Projection Mapping............................................................................................................119 5.2.3 Virtual Reality.........................................................................................................................120 5.2.4 Robotics..................................................................................................................................121 5.2.5 Beacons...................................................................................................................................122 5.2.6 3d Scanning............................................................................................................................123 5.2.7 Augmented Reality.................................................................................................................123

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5.2.8 Conclusion..............................................................................................................................124

5.3 Lighting...............................................................................................................................125 5.3.1 Muesum lighting.....................................................................................................................125 5.3.2 Types of Museum Lighting.....................................................................................................126 5.3.3 Lighting technique for 2D object............................................................................................134 5.3.4 Lighting technique for 3D object............................................................................................135 5.3.5 Case Study on lighting of Nehru centre, Mumbai...................................................................136 5.3.6 Conclusion..............................................................................................................................140

5.4 Fire safety............................................................................................................................141 5.4.1 Cause of Fire...........................................................................................................................141 5.4.2 Principles of Fire Extinction...................................................................................................142 5.4.3 The fundamental principles to prevent fire are:.......................................................................142 5.4.4 Standards for protection against fire.......................................................................................142 5.4.5 Extinguishing systems in the museum....................................................................................143 5.4.6 Fire Extinguishing in Archives area........................................................................................145 5.4.7 Case study of Fire Extinguishing in Nehru Centre, Mumbai...................................................145 5.4.8 NBC of fire.............................................................................................................................148 5.4.9 Conclusion..............................................................................................................................148

5.5 Air conditioning..................................................................................................................149 5.5.1 Ventilation in Museum............................................................................................................149 5.5.2 Thermal-hygrometric parameters in the museums..................................................................150 5.5.3 HVAC system design for the museums...................................................................................151

5.6 Circulation...........................................................................................................................155 5.6.1 Circulation in museums..........................................................................................................155 5.6.3 Component of Circulation.......................................................................................................160 5.6.4 Path/Space relationship...........................................................................................................163 5.6.5 Common Circulation plan of galleries....................................................................................164 5.6.6 Jewish Museum, Berlin, Germany..........................................................................................166 5.6.7 Conclusion..............................................................................................................................168

5.7. Words by Curator (Ragini Megmalhar, Assistant Curator of Csmvs, Mumbai)................169 5.8 Conclusion..........................................................................................................................171 6. BODHGAYA – THE CITY OF ENLIGHTMENT.........................................................172 6.1 Introduction.........................................................................................................................173 6.2 History of Gaya District......................................................................................................174 6.3 Bodhgaya in History...........................................................................................................174 6.4 The Buddha.........................................................................................................................175 6.5 Heritage Component of the City.........................................................................................177 6.5.1 Inventory of Heritage Resources.............................................................................................178

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6.6 Paintings of Mithila.............................................................................................................182 6.7 Nalanda University.............................................................................................................183 6.8 Vaishali – Birthplace of Lord Mahaveer.............................................................................183 7. KNOW ABOUT SITE.......................................................................................................185 7.1 Site Context.........................................................................................................................186 7.1.1 Urban......................................................................................................................................186 7.1.2 Demography...........................................................................................................................187 7.1.3 Area of Influence....................................................................................................................187 7.1.4 Support system of site.............................................................................................................190

7.2 Site Location.......................................................................................................................190 7.3 Site Surroundings................................................................................................................197 7.3.1 Supporting Infrastructure........................................................................................................197

7.4 Site Climate.........................................................................................................................203 7.4.1 Topography and soil................................................................................................................203 7.4.2 The Rainfall and Humidity......................................................................................................204 7.4.3 Temperature............................................................................................................................206 7.4.4 Wind.......................................................................................................................................208 7.4.5 Sun Path and Sciography........................................................................................................209 7.4.5 Local Material.........................................................................................................................210 7.4.6 Development Plan...................................................................................................................213

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DESIGN PROGRAM.......................................................................................................221

8.1 Program Components..........................................................................................................222 8.2 Area Program......................................................................................................................223

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LIST OF FIGURES Figure 1.1 A Conceptualised narratorium........................................................................................2 Figure 2.1Effect of museum education............................................................................................8 Figure 2.2 Terracotta warriors and horses.....................................................................................10 Figure 2.3 The Triumphal Quadriga..............................................................................................11 Figure 2.4 Paintings for Charles I of England, paint by Antony Van...........................................12 Figure 2.5 Michelangelo's design for Capitoline Hill, now home to the Capitoline Museums 156 .......................................................................................................................................................13 Figure 2.6The Entrance to the British Museum in London, England............................................14 Figure 2.7 The Louvre Palace........................................................................................................14 Figure 2.8 The Metropolitan Museum, New York.........................................................................16 Figure 2.9 The Australian Museum, Sydney.................................................................................16 Figure 2.10 The Winter Palace, St. Petersburg, Russia.................................................................17 Figure 2.11 Guggenheim museum, New York...............................................................................18 Figure 2.12 London’s science museum.........................................................................................19 Figure 2.13 Guggenheim Bilbao Museum, Spain, by Frank Gehry..............................................20 Figure 2.14Denver Museum of Modern Art, USA, by Daniel Libeskind.....................................21 Figure 2.15Grand Egyptian Museum, Egypt, designed by Heneghan Peng’s company...............21 Figure 2.16Gallery inside the Prado Museum...............................................................................25 Figure 2.17 Entrance hall of the Egyptian Museum......................................................................26 Figure 2.18Art and science museum, Singapore...........................................................................26 Figure 2.19 Children Museum, csmvs, Mumbai...........................................................................27 Figure 2.20 US Army Women’s Museum......................................................................................27 Figure 2.21 National Museum of Beirut........................................................................................28 Figure 3.1 1It indicating unity of people and culture....................................................................32 Figure 3.2 Object collections of British Museum..........................................................................34 Figure 4.1Front view of Bihar Museum........................................................................................37 Figure4.4.2Map of India indicating Bihar.....................................................................................38 Figure4.4.3Map of Bihar indicating different museum.................................................................38 8

Figure4.4.4Map of Patna...............................................................................................................38 Figure 4.5Three elements contribute to create the sensory ‘depth’...............................................39 Figure4.6Effects of sunlight in corridor........................................................................................39 Figure 4.7Site Plan of Bihar Museum...........................................................................................39 Figure 4.8 Site section...................................................................................................................40 Figure 4.9 Conceptual development of the museum.....................................................................40 Figure 4.10 Circulation pattern of the museum.............................................................................41 Figure 4.4.11 Floor Plans...............................................................................................................42 Figure 4.12 Front Elevation...........................................................................................................43 Figure 4.13 Model of Bihar museum.............................................................................................43 Figure 4.14 Section of Bihar museum...........................................................................................43 Figure 4.15 Pie-chart showing site area distribution.....................................................................46 Figure 4.16 Use of corten metal in facade.....................................................................................46 Figure 4.17 Use of terracotta in interior........................................................................................46 Figure 4.18 Play of natural and artificial light...............................................................................47 Figure 4.19 Play of light and shadow in corridor..........................................................................47 Figure 4.20 View of the Museum from Entrance gate...................................................................49 Figure 4.4.21Map of India indicating state of Maharashtra..........................................................50 Figure 4.4.22Location of museum in map of Maharashtra...........................................................50 Figure 4.23Map of Mumbai indicating csmvs and other museums...............................................51 Figure 4.24 Vaulting Arch..............................................................................................................52 Figure 4.25Balcony of csmvs........................................................................................................52 Figure 4.26 Central lobby..............................................................................................................52 Figure 4.27 Dome roof..................................................................................................................52 Figure 4.4.28European style false ceiling......................................................................................53 Figure 4.29 Wooden flooring.........................................................................................................53 Figure 4.30 Marble flooring..........................................................................................................53 Figure 4.4.31 Ground floor plan....................................................................................................54 Figure 4.4.32 First floor plan.........................................................................................................54 Figure 4.33 Second floor plan.......................................................................................................54 Figure 4.34 View of the Museum from Entrance gate...................................................................56 9

Figure 4.35 Map of India indicating state of Maharashtra............................................................57 Figure 4.36 Location of museum in map of Maharashtra.............................................................57 Figure 4.37 Map of Mumbai indicating Bhau daji lad museum and other museums....................58 Figure 4.38 The framework and architecture style creates a feeling of weightlessness and intricate details...............................................................................................................................59 Figure 4.39 Arrangements of exhibits round the central wide aisle..............................................59 Figure 4.40 Column Detailing

Figure 4.41 Arrangements of artefacts.......60

Figure 4.42 Ground Floor plan......................................................................................................60 Figure 4.43 Open space behind main building..............................................................................61 Figure 4.44 Open space.................................................................................................................61 Figure 4.45 Interior lighting of the Museum.................................................................................62 Figure 4.46 Exhibit around the columns........................................................................................62 Figure 4.47 Cross section of the museum......................................................................................63 Figure 4.48 View of the Museum from sea...................................................................................64 Figure 4.49 Map of Singapore indicating museums......................................................................65 Figure 4.50 Map of Art science museum.......................................................................................65 Figure 4.51 Moshe conceptual sketches........................................................................................66 Figure 4.52 Location of museum on site.......................................................................................66 Figure 4.53 Combination of basic form.........................................................................................67 Figure 4.54 Derivation of basic unit..............................................................................................67 Figure 4.55 Framework of the structure........................................................................................68 Figure 4.56 Ground floor...............................................................................................................68 Figure 4.57 First floor....................................................................................................................69 Figure 4.58 Second floor...............................................................................................................69 Figure 4.59 Roof floor...................................................................................................................70 Figure 4.60 Roof floor...................................................................................................................70 Figure 4.61 Flower like structure...................................................................................................71 Figure 4.62 Open palm of lotus design..........................................................................................71 Figure 4.63 Steel lattice.................................................................................................................72 Figure 4.64 Pond near entrance.....................................................................................................72 Figure 4.65 Use of modern technologies.......................................................................................73 10

Figure 4.66 Sanskar Kendra..........................................................................................................74 Figure 4.67Map of India and indicating the work of Corbusier in India.......................................75 Figure 4.68 Map of Gujrat indicating museums in Gujrat.............................................................75 Figure 4.69 Map of Ahmedabad indicating Sanskar Kendra........................................................75 Figure 4.70Corbusier pilotis theory...............................................................................................76 Figure 4.71 Corbusier free facade theory......................................................................................76 Figure 4.72 Corbusier ribbon window theory................................................................................76 Figure 4.73Corbusier open plan theory.........................................................................................77 Figure 4.74 Corbusier roof terrace theory.....................................................................................77 Figure 4.75Phase I -Museum core.................................................................................................77 Figure 4.76 Phase II - construction of 3 additional volumes.........................................................78 Figure 4.77Phase III - extension of original core in 7x7m modules up to 84x84m......................78 Figure 4.78 Schematic section showing 3 phases in section.........................................................78 Figure 4.79 Site Plan......................................................................................................................79 Figure 4.80 Ground level plan.......................................................................................................79 Figure 4.81First level plan.............................................................................................................80 Figure 4.82 Second level plan.......................................................................................................80 Figure 4.83 Third level plan..........................................................................................................80 Figure 4.84 Roof level plan...........................................................................................................81 Figure 4.85 Road side elevation....................................................................................................81 Figure 4.86 Section........................................................................................................................81 Figure 4.87 View from road...........................................................................................................82 Figure 4.88 View of courtyard.......................................................................................................82 Figure 4.89 Structural layout.........................................................................................................82 Figure 4.90 View of courtyard.......................................................................................................83 Figure 4.91Brick and Concrete used for construction...................................................................83 Figure 4.92 Internal space have open plan....................................................................................84 Figure 4.93 Dande kutir museum..................................................................................................85 Figure 4.94 Map of India...............................................................................................................86 Figure 4.95 Map of Gujrat indicating museums in Gujrat.............................................................86 Figure 4.96 Map of Gandhinagar indicating dandi kutir...............................................................87 11

Figure 4.97Site plan of dandi kutir................................................................................................87 Figure 4.98 Depiction of salt mound rising from sand pit.............................................................88 Figure 4.99 View of salt mound museum from suspended bridge................................................88 Figure 4.100 The cone foyer with ramps and stairs leading to galleries.......................................89 Figure 4.101360 projection in a gallery.........................................................................................89 Figure 4.102 Use of Audio-visual media.......................................................................................90 Figure 4.103 Holographic on the facade........................................................................................90 Figure 4.104 360° theatre projection.............................................................................................91 Figure 4.105 3D projection mapping inside a gallery...................................................................91 Figure 4.106 Light show on façade...............................................................................................91 Figure 4.107Virat-e-khalsa............................................................................................................93 Figure 4.108 Map of India.............................................................................................................94 Figure 4.109 Map of Punjab indicating museums in Punjab.........................................................94 Figure 4.110 Map of Anandpur sahib indicating virasat-e-khalsa.................................................95 Figure 4.111 Site plan of Virat-e-khalsa........................................................................................95 Figure 4.112 Dargah in Anandpur Sahib.......................................................................................96 Figure 4.113 Site plan....................................................................................................................97 Figure 4.114 View of block A........................................................................................................98 Figure 4.115 Connection of block A and block C via bridge.........................................................99 Figure 4.116 Buff coloured sandstone facade................................................................................99 Figure 4.117 3D interpretive structures and paintings.................................................................100 Figure 4.118 3D interpretive structures.......................................................................................100 Figure 4.119 Reflection of structure in the water........................................................................101 Figure 5.1 General measurement of mounting and displaying method.......................................108 Figure 5.3 A display of artefacts in Bhau daji lad museum.........................................................108 Figure 5.4A display using plinths of various sizes......................................................................109 Figure5.5General measurement of typical plinth and raise display............................................109 Figure 5.6 A Plinth raise display of Sculptures in a gallery in Bihar museum............................109 Figure 5.7A display using foam board object and label mounts..................................................110 Figure 5.9Niches displays............................................................................................................110 Figure 5.10Niches display of Paintings in Bihar museum...........................................................111 12

Figure 5.12Imperial crown sedan is displayed in Petersen automotive museum, Los Angeles, USA.............................................................................................................................................112 Figure 5.14General measurement of stainless steel mounts........................................................112 Figure 5.14A display of Paintings in a gallery in Bihar museum................................................112 Figure 5.16 D-ring used with a Takiya hook to hang a painting in storage.................................113 Figure 5.19Vinyl lettering used in North Otago Museum’s Janet Frame display........................115 Figure 5.22 Audio-visual display in Dande kutir museum..........................................................117 Figure 5.23 Audio guide..............................................................................................................117 Figure 5.25Audio guide...............................................................................................................118 Figure 5.26 Playing a touch screen based game in the exhibition room......................................118 Figure 5.27 3d project inside a gallery.........................................................................................119 Figure 5.28 3D projection mapping done in façade of Dande kutir museum..............................119 Figure 5.29 A user experiencing artefacts through VR................................................................120 Figure 5.30 Visitor experiencing volcanic explosion through Virtual reality in Auckland museum .....................................................................................................................................................120 Figure 5.32 Roboguide guiding a visitor in Museum of the Great War museum........................121 Figure 5.33 Visitor got information on his tablet by Beacons in National Slate Museum, Wales .....................................................................................................................................................122 Figure 5.33 Scanning a artefact..................................................................................................123 Figure 5.34 Experiencing a Giraffe inside the gallery.................................................................123 Figure 5.36 Visitor experiencing Dinosaur created by Augmented Reality in Swedish national museum of science and technology, Stockholm, Sweden...........................................................124 Figure 5.37Elements of exhibit lighting......................................................................................125 Figure 5.40Plans and Section showing various natural light arrangements................................127 Figure 5.41Section showing raised roof monitors.......................................................................128 Figure 5.42Section showing saw tooth roof monitors.................................................................128 Figure 5.44Section showing side lighting...................................................................................129 Figure 5.45Section showing normal opening, shadow on wall...................................................129 Figure 5.46Section showing favourable lighting from north.......................................................129 Figure 5.47Natural light through window on exterior.................................................................129 Figure 5.49 Vertical windows for natural light............................................................................130 13

Figure 5.50 Clerestory windows for natural light........................................................................130 Figure 5.51Horizontal windows for natural light........................................................................130 Figure 5.52Windows wall for natural light..................................................................................130 Figure 5.53Directional lighting in a gallery................................................................................131 Figure 5.55Spot light diagram.....................................................................................................131 Figure 5.56 Diffuse lighting in a gallery......................................................................................132 Figure 5.62 Spot light focussing on paintings.............................................................................134 Figure 5.63 Light focussed on a painting...................................................................................134 Figure 5.64 Image showing adjustment of light on a painting....................................................134 Figure 5.65 Image showing angle and reflection of light on paintings.......................................135 Figure 5.66 Image showing angle and reflection of light on sculpture.......................................135 Figure 5.67 Image showing adjustment of light on paintings.....................................................135 Figure 5.68Light focussed on a sculpture....................................................................................136 Figure 5.69 Spot light focussing on sculptures............................................................................136 Figure 5.70 Image showing angle and adjustments of light on a sculpture.................................136 Figure 5.71 Plan showing arrangements of lights.......................................................................137 Figure 5.72 Ceiling flushed LED and spot light in galleries.......................................................138 Figure 5.73 Natural light through skylight and halogens used in night.......................................138 Figure 5.74 Tube lights and suspended LED in cafeteria............................................................138 Figure 5.75 Suspended Led lights provided in stairs area...........................................................138 Figure 5.76 First floor plan showing arrangements of lights.......................................................139 Figure 5.77 Led lights are provided in library at 1.5m c/c..........................................................139 Figure 5.78 4 combined halogen light set used in museum area.................................................139 Figure 5.79 Tube lights provided in book storage area at 2m c/c................................................139 Figure 5.80 Water Sprinkler.........................................................................................................143 Figure 5.81 Water mist system.....................................................................................................144 Figure 5.82 Water mist system.....................................................................................................144 Figure 5.83Plan showing arrangements of fire extinguishers.....................................................146 Figure 5.84 Fire duct with hose reel............................................................................................146 Figure 5.85 Manual Fire extinguisher.........................................................................................146 Figure 5.86 Fire alarm system.....................................................................................................146 14

Figure 5.87 First floor plan showing arrangements fire extinguishers........................................147 Figure 5.88 Beak glass in book storage.......................................................................................147 Figure 5.89 Alarm system in library............................................................................................147 Figure 5.90 Air-water system diagram........................................................................................152 Figure 5.91 All Air system diagram.............................................................................................152 Figure 5.92 Multi-zone air handling unit diagram.......................................................................153 Figure 5.93 Multi-zone air handling unit diagram.......................................................................154 Figure 5.94 Circulation diagram of a museum............................................................................155 Figure 5.95 Single and double side display corridors..................................................................156 Figure 5.96 Breakup corridor in between long corridors............................................................156 Figure 5.97 Bottle neck corridor

Figure 5.98 Angling of corridors.157

Figure 5.99 Blind corners of a gallery.........................................................................................157 Figure 5.100 Linear configuration of path...................................................................................158 Figure 5.101 Axial configuration of path....................................................................................158 Figure 5.102 Grid configuration of path......................................................................................158 Figure 5.103 Circulation in guggenheim museum, Newyork......................................................159 Figure 5.104 New Acropolis museum.........................................................................................159 Figure 5.105 Circulation pattern of acropolis museum...............................................................160 Figure 5.106 Different arrangement of galleries space................................................................160 Figure 5.107 CSMVS, Mumbai

Figure 5.108 Bhau daji Lad

Museum, Mumbai........................................................................................................................161 Figure 5.109 Guggenheim museum, New york...........................................................................161 Figure 5.110 Edo Tokyo museum................................................................................................161 Figure 5.111 Porshe museum, Germany......................................................................................161 Figure 5.112 Guggenheim Museum, Bilbao................................................................................161 Figure 5.113 Portland Harbor Museum.......................................................................................162 Figure 5.114 Natural History Museum, London.........................................................................162 Figure 5.115 Modern Art Museum, Japan...................................................................................162 Figure 5.116 Oakland Museum, California.................................................................................162 Figure 5.117 Porshe museum, Germany......................................................................................163 Figure 5.118 Petersen Automotive Museum - Los Angeles........................................................163 15

Figure 5.119 Relation of path and space, Toledo Museum Of Art..............................................163 Figure 5.120 Chain Circulation...................................................................................................164 Figure 5.121 Window Circulation...............................................................................................164 Figure 5.122 Central Circulation.................................................................................................164 Figure 5.123 Block Circulation...................................................................................................165 Figure 5.124 Brush Circulation...................................................................................................165 Figure 5.125 Jewish museum......................................................................................................166 Figure 5.126 Underground circulation plan.................................................................................166 Figure 5.127 First floor circulation plan......................................................................................166 Figure 5.128 Second floor circulation plan.................................................................................167 Figure 5.129 Third floor circulation plan....................................................................................167 Figure 5.130 Fourth floor circulation plan..................................................................................167 Figure 6.1Culture of Bihar...........................................................................................................173 Figure 6.2 Life of Buddha...........................................................................................................176 Figure 6.1 Bodhi tree, Bodhgaya.................................................................................................178 Figure 6.3 Mahabodhi temple, Bodhgaya....................................................................................179 Figure 6.4 Ashokan railing near Mahabodhi temple...................................................................180 Figure 6.5 Niranjana river............................................................................................................180 Figure 6.6 Sujata temple, Bodhgaya............................................................................................181 Figure 6.7 Pragbodhi Hill, Bodhgaya..........................................................................................182 Figure 6.8 Mithila paintings........................................................................................................182 Figure 6.9 Ruins of nalanda university........................................................................................183 Figure 6.10 Ruins of vaishali city................................................................................................184 Figure 7.1 Influence of Buddhism in the world...........................................................................187 Figure 7.2 Influence of Buddhist circuit in India........................................................................188 Figure 7.3 Influence of Buddhist museum and display in India..................................................189 Figure 7.4Map of India indicating locations of site.....................................................................191 Figure 7.5 Map of Bihar indicating Bodhgaya............................................................................191 Figure 7.6 Map of Bodhgaya indicating site...............................................................................192 Figure 7.7 Plot.............................................................................................................................192 Figure 7.8 Map of UP indicating Varanasi...................................................................................193 16

Figure 7.9 Map of Varanasi indicating sarnath............................................................................193 Figure 7.10 Map of Sarnath indicating site.................................................................................194 Figure 7.11 Plot............................................................................................................................194 Figure 7.12 Map of Delhi indicating site area.............................................................................195 Figure 7.13 Map of Mehrauli indicating site..............................................................................195 Figure 7.14 Plot...........................................................................................................................196 Figure 7.15 Mahabodhi temple....................................................................................................198 Figure 7.16 Metta buddharam temple..........................................................................................198 Figure 7.17 The great buddha statue............................................................................................198 Figure 7.18 Annata meditation monastery...................................................................................198 Figure 7.19 Kagyu monastery......................................................................................................199 Figure 7.20 Wat Thai Magadha...................................................................................................199 Figure 7.21 Dhamekh stupa.........................................................................................................201 Figure 7.22 Ghats of Varanasi......................................................................................................201 Figure 7.23 Jama Masjid..............................................................................................................201 Figure 7.24 Qutub minar..............................................................................................................201 Figure 7.25 Annual rainfall chart of Bodhgaya...........................................................................204 Figure 7.26 Annual rainfall chart of Varanasi..............................................................................205 Figure 7.27 Annual rainfall chart of Delhi...................................................................................206 Figure 7.28 Courtyard response to architecture...........................................................................207 Figure 7.29 Typical section shows response of sunlight in different season...............................207 Figure 7.30 Annual wind direction..............................................................................................208 Figure 7.31 Annual wind direction of Delhi................................................................................209 Figure 7.32 Orientation of block according to wind....................................................................209 Figure 7.33 Sciography of Bodhgaya and Sarnath......................................................................210 Figure 7.34 Sun Path Diagram of Bodhgaya and Sarnath...........................................................210 Figure 7.35 Sciography of Delhi.................................................................................................210 Figure 7.36 Sun Path Diagram of Delhi......................................................................................210 Figure 7.37 Existing Land use map of Bodhgaya........................................................................213 Figure 7.38 Bodhgaya development plan 2031...........................................................................214 Figure 7.39 Development plan of Varanasi.................................................................................215 17

LIST OF TABLES Table 1 Museums in India..............................................................................................................28 Table 2 Area Progarm of Bihar Museum.......................................................................................44 Table 3 Area Program for the Proposed Narratorium..................................................................223

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ABSTRACT Bodhgaya is a small but internationally renowned town of immense religious and cultural significance, located in the Gaya District of Bihar, India. Its claim to fame lies in the fact that Lord Buddha attained enlightenment here more than 2500 years ago under the Bodhi tree. Bodhgaya is thus considered as the geographical centre of the Buddhist.

Bodh Gaya is the most visited place by tourist and pilgrims in Bihar and it is the most important of the main four pilgrimage sites related to the life of Gautama Buddha. The history of Bodh Gaya is rich in the field of religion and philosophy since it is the place of enlightenment for Buddha. Throughout history this place has been visited by the scholars from far of places and the trend is still followed on today. Due to the frequent visit by the tourist this city had been a prime reason for the recent government initiative to develop tourism industry and to promote it in Bihar.

In order to enhance the religious, cultural, heritage tourism industries proposed to educate, and local inhabitant for their experience and understand to enhance the identity of the place and that has the capacity and the ability to impart cultural education effectively as it houses the tools and materials for doing so in its collections. In modern society, the museums enrich the educational process by exposing children and indeed the public to their history; they assist our future generations to understand and appreciate their history and culture and take pride in the achievements of their forbearers.

Museums play a crucial role in preserving local culture. With careful documentation and artefact preservation, a culture can be recorded and remembered regardless of its future. Museums help to provide an experience for people so that when they visit any community, or are moves through any region, they feel like there is a sense of vitality and sense of place and sense of vibrancy.

The role that architecture plays in our individual and communal lives is often overlooked, yet in electronic devices, an investment in quality spaces that promote social and ecological well-being seems more urgent than ever. Today, as architectural spaces for cultural exchange set the stage for our art-viewing experiences, they can also be seen as expansive and collaborative.

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1. THESIS OUTLINE

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1.1 NARRATORIUM A Narratorium is a narrating or a story telling city museum created for translating the language of the past incidents in the order of their occurrence and displaying it in a contemporary manner to Narrate the context and process of its exploration using architecture and technology.

This would not just bring clarity to the perception and understanding of the people but also a sense of awareness and intimacy to preserve their past. A narratorium is a form of museum, where art and knowledge amalgamate. Three primary tasks of a narratorium are as follows (i) (ii) (iii)

Education Presentation Forming of a collection

Narratorium is a place of knowledge providing and storing a vast amount of information, it should serve well in educating a large sector of the population. Rather than being static archaeological and historical deposits, museums must explore their potential as a mediator between the site and local communities for invaluable heritage education. Narratoriums cover a large sum of data right from the origins of a particular place that significantly help in communicating the history and journey of the place at a broader level. Narratoriums can not only help in enriching the cultural life of the society but it can also provide a more interactive way of learning history.

Figure 1.1 A Conceptualised narratorium (source: marianelanevett.com) accessed on 25/07/19 (09:12)

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1.2 AIM:

To design a Narratorium with the finest sensibility and aesthetics that convey the incisive stand taken on behalf of the grandeur of history of Bodhgaya, in which the drama of its heritage shall unfold.

1.3 OBJECTIVES:

Primary objective: To design a Narratorium that will be designed with respect to its functionality and aesthetics that it will act as a landmark and provide knowledge and accentuate the rich heritage that the state of Bihar upholds. The building should be as iconic reflecting the past, present and future image of the state of Bihar.

Secondary objectives: 

To research, analyze and identify the traditions, culture, lifestyle and prominent



events in the history of Bodhgaya since its origin.

To identify the role of the built space (museum) and the open space (public space) in the site.

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1.4 METHODOLOGY RESEARCH ON LOCALS/NATIVE AREA AND ITS NATURAL SIGNIFICANCE

REPRESENT THROUGH ARCHITECTURAL INTERVENTION

MUSEUM AS BUILDING TYPE

CASE STUDIES

NET/BOOK

LIVE

LITERATURE REVIEW

RESEARCH ON CULTURE OF BODHGAYA

DATA OF SITE

AREA PROGRAM

DESIGN GUIDELINES 4

1.5 SCOPE:

(i) Designing a heritage museum in a historic place like Bodhgaya, will provide an opportunity or scope to create a new iconic tourist landmark for the state. (ii) Museum will be built where various aspects of the life, philosophy, preaching of Lord Buddha and Buddhist art will be displayed through technologies like audio visual presentation. (iii) This kind of project will help to enhance heritage tourism by drawing large masses which will thereby add to the revenue of the government as well as knowledge base to the visitors.

1.6 LIMITATIONS:

The research and design associated with the narratorium is limited to the history of Bodhgaya and Bihar and its representation through a museum building.

1.7 CONCLUSION:

The museum brings to life multiple dimensions of India’s rich history and culture. It highlights Bihar’s role in the history of Indian sub-continent. It will adopt latest curatorial practices to educate the domestic and international tourists and inspire and motivate the younger generation.

The building is to be iconic which create a landmark for the state.

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1.

EVOLUTION OF MUSEUM

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2.1 WHAT IS A MUSEUM? A museum is as defined by the Oxford English Dictionary, A building in which objects of historical, scientific, artistic or cultural interest are stored and exhibited. The word museum is derived from the Latin muses, meaning ‘a source of inspiration’, or ‘to be absorbed in one’s thoughts’. It is an institution that cares for (conserves) a collection of artefacts and other objects of artistic, historic, scientific or cultural importance and some museums make them available for public viewing through exhibits that may be permanent or temporary.

Museums have varying aims ranging from serving researchers and specialists to serving the general public. A museum is a building, place or institution devoted to the acquisition, conservation, study, exhibition and educational interpretation of objects having scientific, historical or artistic value.

It is the role of the curator to look after the objects and explain their history to visitors. Museums are said to ‘bring the past to life’ and are great representations of the different periods of our cultural history. They enable the visitors to touch, feel, see, hear, experience and smell the past.

2.2 WHAT IS A HERITAGE MUSEUM OR A NARRATORIUM?

Heritage is something that is handed down from the past, as a tradition to the next generations. It is the best expression of the cultural identity of the community or place, where it originates in individual or in groups. A heritage museum or a narratorium is a building, place or institution devoted to the acquisition, conservation, study, exhibition and educational interpretation of objects having historical and cultural value. Narratoriums are said to ‘bring the past to life’ and are great representations of the different periods of our cultural history. They enable the visitors to touch, feel, see, hear, experience and smell the past. It acts as a bridge between people and traditional living along with the culture and other prominent events of the past. Continuity is important because it forward past history to the newer generation to know their culture and heritage.

As a narratorium is a place of knowledge providing and storing a vast amount of information, it should serve well in educating a large sector of the population. Rather than being static 7

archaeological and historical deposits, museums must explore their potential as a mediator between the site and local communities for invaluable heritage education. Narratoriums cover a large sum of data right from the origins of a particular place that significantly help in communicating the history and journey of the place at a broader level. Narratoriums can not only help in enriching the cultural life of the society but it can also provide a more interactive way of learning history.

2.3 EDUCATIONAL ROLE OF NARRATORIUM

As a narratorium is a place of knowledge providing and storing a vast amount of information, it should serve well in educating a large sector of the population. Rather than being static archaeological and historical deposits, museums must explore their potential as a mediator between the site and local communities for invaluable heritage education. Narratoriums cover a large sum of data right from the origins of a particular place that significantly help in communicating the history and journey of the place at a broader level. Narratoriums can not only help in enriching the cultural life of the society but it can also provide a more interactive way of learning history.

Figure 2.2Effect of museum education (source: www.museumvereniging.nl) accessed on 18/11/19 (19:45)

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2.4 HISTORICAL EVOLUTION OF MUSEUM ARCHITECTURE

Museums of the 21st century

Museums of the 20th century

Museums of the 19th century

Museums of the late 18th century

Museums of Renaissance from the 15th to the 17th century Museums of Medieval from the 5th to the 15th century Museum of Ancient Times

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The museum culture has spread to nearly every part of the world and today it has become uncommon to find any country that does not have a museum, no matter how small it may be. The main ideologies for museums in each era will be highlighted, passing through the emergence of museum concept and the changes happened due to the changes of world culture form high to public culture and how it could be affected by the new digital design technologies.

2.4.1 Museum of Ancient time (B. C) The idea of establishing a museum or expressing it backs to the B.C time. The museum was an important feature in the ancient schools and libraries. During the rule of the Pharaoh Akhenaten (1335-1353 B.C) a big library was built upon his request in Tal El Amarna region, it was full of antiques and precious collections. Some cloned pieces of old precious pieces with the same materials was found in Larsa in Mesopotamia (Iraq now), back to the second millennium B.C, these pieces have been used for educational purposes, other parts of Babylonian city had been discovered by Sir Leonard Woolley, these parts show how the kings Nebuchadnezzar and Nabonidus were caring about collections while they were ruling Babylonian. Sir Leonard Woolley also found a collection of old pieces and a tablet back to the 21st century B.C in a room found in an old school located near his area of discoveries, this tablet was explaining the life during the 21stcentury B.C, and also tells a story about Ennigaldi-Nanna, Nabonidus’ daughter and a priestess who operated this school, which preserved some items in their small educational museum.

In Asia, especially China, the emperor Shang Dynasty who ruled the yellow river valley area (old China) during the 3rd millennium B.C (1122-1766) was interested in making collections. Also, did the emperors Shih Huang-Ti and Near Sian, and their tombs had witnessed on their care of collecting precious and rare pieces, which were guarded by a group of terracotta warriors and horses, and displayed after that in The Museum of Ch’in figures. The art in China was not only sculptures or paintings, but also included glass, metal works, and poetry. An academy for handwriting and drawing was built at this time by one of the Hun emperor Wu-Ti (87-140B.C), and the last Hun emperor Hsien-Ti, who built a gallery for his ministers’ portrait.

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Figure 2.3 Terracotta warriors and horses (source: bbc.com) accessed on 15/08/19 (17:24)

2.4.2 Museums of Medieval from the 5th to the 15th century The spread of Christianity during the medieval times in Europe emphasized new changes in the religious ideology and culture of this era, which gave the church a great importance to princes and diplomats. The art collections were mainly preserved in princess’s palaces or in the church safes. Collections had a great importance for economical purposes, as it had been used for funding arms during the war. Also, the cloned pieces of these collections have been used for trading, which was including some treasures of the emperor Charlemagne, who ruled the Romanian empire (800-814), and the king of Franks (768-800), who had a number of palaces in Nijmegen and Anglhaim, which had been contained many treasures, columns, golden and silver lights, and bronze doors, after that it had been divided between the church and princes.

Because of the waterways connecting between Europe with the other countries, and harbors like Lombardy and Tuscany on the Mediterranean Sea; a continuous communication between these countries and the church in Rome, in addition, trade traffic around the world depending on selling collection has been made. The collections were moving between owners from different countries. Most of the shoppers were bishops like Henry of Blois (the bishop of Winchester), who bought some ancient statues during his journey to Rome in 1151, and delivered them to England. The conveyance of antiques was very common in Europe during this period, which became more obvious after conveying the famous bronze horses from Constantinople to St Mark’s Basilica in Venice during the Crusades in the 13th century, these horses called after that The Triumphal Quadriga or Horses of St Mark's.

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Figure 2.4 The Triumphal Quadriga (source: medium.com) accessed on 15/08/19 (17:32)

2.4.3 Museums of Renaissance from the 15th to the 17th century The prince’s, noble’s, and merchants’ passion of collecting classical antiques has increased more than before the Renaissance period (1400-1650), and spread all over the European countries. The start was by the king of Hungary Matthias I, who put the Romanian antiques that have been collected in Szombathely castle, and the paintings in Buda. Also, did Maximilian I of Austria, who preserved the paintings he had collected in his palace in Vienna. In the “Green vaults” of the Dresden palace of Augustus of Saxony samples for scientific materials and pieces of art were found inside. In addition, some collections belong to nobles from central Europe were found, including some collections of the Holy Roman emperor Rudolf II in Prague.

In France, the passion of making collections had started during the ruling period of Frances II (1515-1547), and Henry II (1547-1559) following their father, then the king Louis XIV (16821789) who made a collection containing more than 1500 painting for artists from Italy and Paris, some of these pieces have been transferred to the grand gallery of Louver to present to public during occasions, and the other collections have been preserved in Versailles palace.

In Spain, the Holy Romanian emperor Charles V was keen on making his own collection, which is now presented in the Prado museum in Madrid. Other items presenting the Italian artworks were added to the Spanish royal collection by the Italian king Philip IV. In England, King Charles I (1625-1649) was fond of collection since he was the Prince of Wales; he gathered many art pieces across Europe, and paintings of the famous artists at that time like Antony Van, Leonardo Da Vinci, Raphael, and Peter Paul.

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Figure 2.5 Paintings for Charles I of England, paint by Antony Van (source: pinterest.com) accessed on 15/08/19 (17:40)

2.4.4 Museums of the late 17th century At the end of the 17th century, the royal and noble's passion of collection has been increased, they were keeping these collections in what so-called “Cabinet of Antiques”, which had been contained many paintings, antiques and some pieces of natural history.

After that, all of these palaces had turned into museums, as it had been contained valuable antiques, and treasures. The Louver museum was one of those palaces, it was built in the 12th century, during Philip II ruling time, and in 1682, it had been turned from the Louver palace to a museum by Louis XIV to present his royal collection, and moved to live in Versailles palace.

Most of Florence, Vienna, and the Vatican collections have been transferred to other museums, known now as the most important museums around the world. These collections were presented to the cultivated class only, as a part of luxury, for promoting spirits, sublimity the sense of beauty, appreciating the artistic value, and emancipating thoughts from the church domination.

2.4.5 Museums of the 18th century The 18th century is considered the onset of the public museums in Europe. The high class’s power had been diminished, and the church domination, the public interest of arts and culture became higher, especially after the Industrial revolution in this century, in addition to the new developments in science, technology, and arts. Museums were still for aristocratic class only, but it has been opened a few days for public to visit. New museums had appeared during the period in Europe, the Vatican collection was presented for public in museums like the Capitoline Museum in 1734 and the Pio-Clementino Museum in 1772, its collection had been contained many of the antique works of the Renaissance era.

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Figure 2.6 Michelangelo's design for Capitoline Hill, now home to the Capitoline Museums 156 (source:researchgate.net) accessed on 15/08/19 (17:49)

After discovering the Americas, the revival of the trade traffic in northwestern Europe, and the industrial progress, new museums had been built in Europe, including the British museum in London 1759, as in (Fig. 5), and the Louver Museum in Paris 1793, as in (Fig. 6). The presented collection in the British museum at this time was collected by Sir Hans Sloane - an Irish physician and a collector - his collection had been contained specimens, natural history pieces from Jamaica, ethnographic, numismatic, and art materials. Sloane’s collection was about 100,000 pieces, which made it the main core of the museum [12]. Other collections had been added to the British museum by Sir Robert Cotton and Robert Harley -1st earl of Oxford- which had been contained manuscripts mainly.

Figure 2.7The Entrance to the British Museum in London, England (source: alamy.com) accessed on 15/08/19 (17:56) Figure 2.8 The Louvre Palace (source: travelfranceonline.com) accessed on 15/08/19 (18:00)

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In India, the onset of Calcutta Museum the same as the Central museum of Indonesian Culture.

Calcutta Museum collection in 1784 was mainly from the Asiatic Society of Bengal’s collection, as for the Indonesian museum the Batavia Society of Arts and Science’s collection was the base for it in 1778.

The architectural style of museums at that time was looking like the previously noble’s palaces and public buildings, as a result of turning most of these palaces into museums, and the domination of the Neo-Classic architectural style in Europe for half a century, in addition to the domination of Renaissance period building style. In the 18th century, museum building architecture was as follows. 

The museum was with the cross shape plan, with a dome in the center surrounded by exhibition halls covered by vaults.



They used solid elevations in case of using top lighting. The main elevation was full of column, natural forms, with big entrance.



The light source was always from the natural light by top lighting, so they used the clear story lights, and large numbers and areas of windows in the elevations to get the maximum advantage of the natural light.



Exhibits were mainly from natural history pieces, books, antiques, monuments, and manuscripts.

The traditional way of exhibition had been used with a simple record for each piece.

2.4.6 Museums of the 19th century After the French revolution in 1789, the ideology of the society has been changed, and provided the public and the middle classes with more social rights, which affected the governing ideologies and all the social life in Europe.

After the French campaign on Egypt and Damascus in 1798, which spends three years there, it was returned to France with some Egyptian artifacts that gave more importance to the museum idea, and as a result; new museums have been opened and more palaces have been turned into museums.

In the United States, many museums had been opened, including the American natural history museum, the Metropolitan museum in Philadelphia, the central museum in Chicago, and the

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natural history museum in Newberg, Philadelphia, which opened for public in 1850, and became George Washington’s base during the American Revolution in 1782 and 1783.

In South America, new national museums had been built, such as the Argentine museum of natural science in Buenos Aires in 1812, the Brazil’s national museum in Rio De Janeiro that had been opened to the public in 1818, and the national museum of natural history in the Santiago, Chile 1830.

In South Africa, the zoological collection of Sir Smith Andrew, which had been found in Cape Town in 1825 was the main collection in the Zoological Museum.

Figure 2.9 The Metropolitan Museum, New York (source: smartify.org) accessed on 15/08/19 (18:13)

In Australia, a new museum had been opened in Sydney, which had been founded in 1827. In Egypt, the Egyptian museum in Cairo, or The Museum of Egyptian Antiques. The museums had been established in 1835, near Ezbekeyah Garden, later it had been moved to another building in Boulaq because the building had been full with antiques, and there is no place for new pieces.

The new museum building location was beside the Nile Riverbank, but the antiques had been moved again to a museum in Giza after the damages happened because of the flood of the Nile River. The antiques had been moved for the last time in 1902 to the museum located in Tahrrir square. The Egyptian museum contains most of Pharaonic artifacts, which had been discovered.

New museums found their way during the 19th century and opened in many countries, including Ukraine, Copenhagen, Denmark, France, United Kingdome, and Germany.

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Figure 2.10 The Australian Museum, Sydney (source: canadabayheritage.asn.au) accessed on 15/08/19 (18:19)

2.4.7 Museums of the 20th century Since the beginning of the 20th century, a new generation of museums had emerged. Many factors affected the establishment of museums at that time, started by the World Wars I, as a result, new museums had been established, especially in Germany to glorify the war men, the important characters of the country, and the Nazis figures.

After the Three Russian revolutions, new museums had been established to glorify these revolutions, such as The Winter Palace at Petrograd (St. Petersburg), which contains some collection related to the revolutions. A different type of museums had been emphasized named “The Memorial Museums”, which preserved the personal stuff of the famous characters in this period, from these museums was The Central Museum in 1924.

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Figure 2.11 The Winter Palace, St. Petersburg, Russia (source- saint-petersburg.com) accessed on 15/08/19 (18:27)

After the Second World War, many ruins resulted from the war, especially in Europe. Most of the European countries used this ruins during its reconstruction, and this ruin had placed in the museums to be preserved after the war. The museums before this period were suffering from the domination of politics and government men, as in the Chinese museums, and Eastern Europe, but after the war everything had been changed, democracy had been extended all over the world, consequently; museums became an independent society.

The rise of new architecture pioneers and schools, with new visions for the architecture of this century, like Le Corbusier, Mies Van Der Rohe, Frank Lloyd Wright, and others, each architecture school had adopted a different ideology (form or function), which had a deep effect on the design concepts of museums to be different from the past. The new school’s leaders were searching for what makes their work a landmark in the architectural history, so they started with the museum’s buildings, for its leading educational and cultural role. Le Corbusier and Frank Lloyd Wright had a significant contribution in the museum design. The Museum of unlimited Growth in 1939, Sanskar Kendra museum in 1956, Ahmedabad, India, The National Museum of Western Art in 1957, Tokyo, designed Le Corbusier and The Guggenheim museum in 1943, for Frank Lloyd Wright.

Figure 2.12 Guggenheim museum, New York (source- newyorkpass.com) accessed on 15/08/19 (18:36)

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As a result of the scientific and technological progress, new types of museums had appeared, London Science museum in 1857, which moved to another building in 1919, and the Deutsches Museum in 1925, in Munich.

At this time, museums have become very common, and its visitor from different countries, cultures, ages, which give museums a great cultural, educational, touristic, and entertainment statue. Museums typology became varied, science and technology, anthropology and ethnology, archaeology, arts, and natural history.

Figure 2.13 London’s science museum (source- aviewoncities.com) accessed on 15/08/19 (18:42)

The differences between museum visitors and their motivations, new functional spaces had been imposed, in addition to the main spaces of the museum, which differ according to the museum topology, consequently; the functional program of museums changed and have to include new functional spaces such as: • Preservation and restoration rooms: labs, and workshops.

• Educational and cultural spaces: library, lecture halls, showrooms, and conference hall.

• Entertainment spaces: restaurants, cafeterias, and stores for gifts and souvenirs.

According to the changes happened to society during the 19th and 20th century, an economical problem had appeared with the Russian state of museum, after the collapse of the Soviet Union, 19

museums had its own budget, sooner it became very hard for the government to save money for developing museums, so they began to make the museums fund itself after the public donations had fallen. As a result of that, these new spaces such as restaurants, shops, and cafeterias became the main funding source for museums not just for entertaining visitors, and the income from such activities will be used for enlarging the museum collections by buying new original items, or for building new museums.

2.4.8 Museums of the 21st century During the 21st century, many museums took their place all over the world; because of the paradigm shift occurred in the digital design technology, which is the result of the interference between science branches, the design ideology for the museum architecture has been developed rapidly. This shift offered the architects new solutions for their problems between designing an imaginary form, and the building functional needs, accordingly the field of architecture design became more advanced, as they moved to use this technology in the design stages. This new technology included new ways of presenting artifacts, lighting techniques, monitoring, controlling, and virtual visits for the museums. The new design technologies presented in few types containing optimized, parametric and algorithmic design. A new generation of architects has adopted this new trend of architectural design by digital tools, which affected the museum design during the 21st century, including Frank Gehry (who designed the Guggenheim Bilbao Museum, which was modeled with CATIA, the computer modeling system in order to develop and coordinate building systems by mapping its curved surfaces), Zaha Hadid, Daniel Libeskind, Jean Nouvel, and other. The new trends and technology used in the design stages changed the design ideology along century.

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Figure 2.14 Guggenheim Bilbao Museum, Spain, by Frank Gehry (source:travelade.com) accessed on 15/08/19 (18:52)

Figure 2.15Denver Museum of Modern Art, USA, by Daniel Libeskind (source:arch2o.com) accessed on 15/08/19 (18:54)

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Figure 2.16Grand Egyptian Museum, Egypt, designed by Heneghan Peng’s company (designbuild-network.com) accessed on 15/08/19 (18:56)

The new millennium technology in museums is the virtual museums, which became preferable for whom cannot visit museums, and more common. This new service will definitely affect the architectural design of the upcoming museum spaces, not only for the real visitors, but also for the virtual visitors. The control of movement inside the museum became easier to be solved after the new solutions presented by the digital technologies, but the virtual movement, it is still in such a need for other ways to be developed.

2.4.9 Conclusion The architectural design of the museum is the ability to create a special and inspiring envelop, which provides its visitors with different experiences, according to its cultural message. It became the main place for preserving artworks, inventions, and human achievements. The architectural design of museums has passed through many stages from the onset of the concept of creating a space to preserve artifacts, until it became now the main cultural and educational beacon for communities, which made it from the most important building types. It was developed over centuries until it became a separate building with special architectural characteristics.

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If we define a museum simply as a collection of meaningful objects and the stories behind them, then museums have been around since ancient times. For centuries, valuable collections were accessible only to small elites the first museums that were open to the public were established in the 18th century.

The design of a museum building has become a great challenge for any architect, which reflects the ideology of this era, and remarked as a progress for any school of architecture. At this time, museums are the places for preserving history, appreciating the artistic icons, and recording the human science invents. The visitors of museums now are from every place, different cultures, different ages, and coming for different purposes.

2.5 HISTORY OF INDIAN MUSEUM

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The Asiatic Society of Bengal, 1796

Madras Museum, 1819

Grand Medical College Museum, 1822

Lucknow Museum,1863

Raipur Museum, 1875

Pune-1890, Baroda-1894, Trichinopoly-1895

Baripat-1903,Sarnath1904,Agra-1906,Jodhpur1909

Hindi term for Museum is Ajayabghar (wonder house) or Jadughar (Magic house) and now it is known as Sangrahalaya. The first museum collection in India started in 1796. The Asiatic Society of Bengal, Calcutta founded in 1784 decided to house and exhibit whatever it had accumulated. In 1814, the society was able to establish a proper museum and since then it was known as Indian museum. The museum was divided into two sections: 1) Archaeology, Ethnology and Technology 2) Geology and Zoology 24

Meanwhile, in other parts of India the idea of museum sprang up. In 1819 efforts were made to establish a museum in Madras but it took a longtime to materialize it on a sound basis. A few years later, the pathology museum of Grand Medical College, Bombay, the first medical museum in Asia was opened. It was not until 1863 that museums were also established in Lucknow and Nagpur. Afterwards, other museums were born gradually at Bangalore-1965, Faridabad-1867, Raipur-1875, Jaipur-1887, Rajkot-1888, Pune-1890, Baroda-1894, Trichinopoly-1895. In the 20th century when Lord Curzon was the viceroy, there was an outburst of activity for establishing archaeological museums all over the country. Museums were also established at Baripat-1903, Sarnath-1904, Agra-1906, Jodhpur-1909, Delhi Fort -1990, New Delhi-1949, Calcutta Ashutosh Museum -1937. In India, there are about 120 museums at present.

2.6 TYPES OF MUSEUMS

Given their diverse origins, varying philosophies, and differing roles in society, museums do not lend themselves to rigid classification. Certain museums provide for a specialist audience for example, children, societies, universities, or schools. Some have particular responsibilities for a defined geographic area, such as a city or region. Other museums especially ones where the primary ethos is nationalistic, religious, or political may offer unusual perspectives, resulting in alternative interpretations of artistic, historical, or scientific collections.

2.6.1 Art Museums Also known as art galleries. They are spaces for showing art objects, most commonly visual art objects as paintings, sculpture, photography, illustrations, drawings, ceramics or metalwork. First publicly owned art museum in Europe was Amerbach-Cabinet in Basel.

25

Figure 2.17Gallery inside the Prado Museum (source: britannica.com) accessed on 15/08/19 (22:20)

2.6.2 History Museums History museums can be huge, covering many different eras of history and collecting millions of objects and documents or they can be small, and dedicated to one era of history, one area of the country, or one person or set of people. Exhibits and programs at history museums cover endless topics, but their common thread is to use artifacts to teach visitors about the past, to use the past to share lessons about how to better live the future. Staff at history museums often have museum studies backgrounds, or history degrees.

26

Figure 2.18 Entrance hall of the Egyptian Museum (source: thetravellingsquid.com) accessed on 15/08/19 (22:29)

2.6.3 Science and Technology Museum Museums of science and technology are concerned with the development and application of scientific ideas and instrumentation. Science museums generally use interactive exhibits to demonstrate scientific processes and introduce basic concepts of science to a wide audience.

Most exhibits are family friendly, though many science museums also offer IMAX films, planetaria, or traveling exhibits that might appeal more to an adult audience.

Figure 2.19Art and science museum, Singapore (source: marinabaysands.com) accessed on 15/08/19 (22:36)

27

2.6.4 Children’s Museums Children’s Museums are an unusual entry in the museum category, because they do not generally hold collections of artifacts, and they “break all the rules” of traditional museums children’s museums are entirely about touching and interacting with the exhibits. They are dedicated to teaching children about all elements of their environment, and normally their exhibits encourage learning about history, civics, nature, art and science.

Figure 2.20 Children Museum, csmvs, Mumbai (source: archdaily.com) accessed on 15/08/19 (22:43)

2.5.5 Military and war museums Museums specialized in military histories. Usually organized from a point of view of a one nation and conflicts in which that country has taken part. They collect and present weapons, uniforms, decorations, war technology and other objects.

Figure 2.21 US Army Women’s Museum (source: awm.lee.army.mil) accessed on 15/08/19 (22:52)

28

2.5.6 Archaeology museums They display archeological artifacts. They can be open-air museums or they can exhibit items in a building. Many are in the open air, such as the Ancient Agora of Athens and the Roman Forum. Others

display

artifacts

inside

buildings,

such

as National

Museum

of

Beirut and Cairo's Museum of Egyptian Antiquities.

Figure 2.22 National Museum of Beirut (source: enqantara.de) accessed on 15/08/19 (22:59)

2.6 STATEWISE MUSEUMS IN INDIA

India is a large country and there are over 250 local and national museums spread across the country. The table below shows the relative number of different types of museums in India.

Table 1Museums in India

TYPE Archaeological Art Archives Science Natural history

HERITAGE Automobile and transport 29

NO. MUSEUMS 64 36 6 18 4 1 6

OF

Military Textile Law Forestry ethnical

8 2 1 3 1

Of the above categories, there is only one heritage museum in India that exhibits the entire history at a single place, which is in Punjab and it specifically exhibits the Sikh history only (Virasat-e-Khalsa, Anandpur).

30

2. LITERATURE REVIEW- WHY CITY NEEDS NARRATORIUM?

3.1 City needs to be Represented 31

Each city naturally has a pride in cityhood and would like to present it to the world. Cityhood, in this case, means a state of having an identity and a story of how this city becomes the city and has remained as the city until the present. The story may include many factors such as people, culture both tangible and intangible, history, and so on. One way to present the story of the city is to communicate via museums and so a city museum seems to be an appropriate means. There is a large number of cultural properties in the city in the form of manuscripts, paintings, textiles, coins, arms and armour, sculptures etc., which are prone to deterioration. The museums as the custodian of those cultural heritage, is the right answer to the recourse of education and culture.

What remains had to be preserved at all cost, so that the future generations may have access to the ancient archaeological, ethnological, works; it is the responsibility of the present generation to provide for their preservation and take care of the objects it has inherited from the past.

The museum cluster has become a key element of the tourism sector and an important contributor to the urban economy. To attract visitors, residents, and businesses, more and more cities are profiling themselves as a Cultural City, an Entertainment City, or a Fantasy City.

Museums have evolved from buildings devoted primarily to educational and cultural presentations into public spaces where the visitor reigns. (By Van Aalst and Boogaarts, from museum to mass entertainment).

Many a city profiles itself with an interesting theatre, a sensational museum, or an annual festival. Cities try to increase their appeal by building and refurbishing cultural facilities, many have recently developed concentrations of places to go in what is known as a cultural district.

From time immemorial, the production and consumption of art and culture have been urban activities. Cities throughout the world have placed greater emphasis on a policy for art and culture over the past 20 years. (By Van Aalst and Boogaarts, from museum to mass entertainment).

Today’s museum is one of the top attractions for culture-seeking tourists. Cities use Museums as tool to redevelop or regenerate city centres, museums in particular seem to give a strong energy to urban culture; these institutions operate at the interface of art and culture, tourism, and recreation. The creation of cultural districts and museum clusters offers several advantages. First of all, it is possible to make use of a shared infrastructure, including parking space, public transport, and access roads. Second, a cluster leads to greater visibility and a strong orientation 32

towards the increased diversity and momentary nature of the way people spend their leisure time (Mommaas, 2000).

3.2 Museums as Representation Museums play a crucial role in preserving local culture. With careful documentation and artefact preservation, a culture can be recorded and remembered regardless of its future. It can also be shared and understood by those from different cultural backgrounds. Museums are meaningful expressions to enquire about the representations that a society makes of its own historicity.

Reasons why Museums are so essential for Representation are-

Figure 3.23 1It indicating unity of people and culture (source: njmaritimemuseum.org) accessed on 25/07/19 (11:16)

3.2.a They Document Daily Life Recording everyday life within a culture is one of the most important pieces of preserving it.

With the rate at which cultures are disappearing, careful preservation of daily life is the only hope a heritage group has for recovering its culture. Daily life encompasses rituals, religion, foods, art, and any other facets that make a culture unique. Regardless of what type of museum it is, odds are it has some cultural artefacts, art, music, or technology displayed. (by Regan Brown, njmaritimemuseum.org)

33

3.2.b They Educate Others on Local Culture In order for a culture to be respected and survive globalization, those of the dominant culture must be educated about minority cultures and their way of life. The best way to do this is through a respectful display of local culture in a museum. With an educated populace who respects minority cultures, culture loss suddenly finds itself decreasing.

3.2.c They Display Alternative Perspectives on History Many mainstream history courses and books are biased, focusing on the perspective of the dominant culture and ignoring the thousands of minority cultures with fascinating history to be told. Museums display histories, timelines, and perspectives that have never heard before, potentially altering the mind sets of people who have simply never been educated outside the mainstream culture. (by Regan Brown, njmaritimemuseum.org) 3.2.d They Connect Those of Different Backgrounds Two types of people will visit museums in search of information on other cultures. People with that heritage, and people interested in learning about that heritage who come from a different background. Museums focused on heritage and culture bring people together, creating a network of support for different minorities and groups. It is support networks like these that prevent cultures from disappearing and languages from dying. Museums and their patrons are critical components in the effort to prevent culture and language loss. (by Regan Brown, njmaritimemuseum.org) 3.3 Objects and its role Museum objects are important part of the cultural and natural heritage of a country. They act as important means of work and represent the basis of work, an object of research for various technical, social and natural science branches such as botany, zoology, history, history of art, archaeology, ethnography, etc.

34

Generally, all the museums made of substitutes such as museums of casts, collections of models, collections of wax reproductions, or science Centre’s which display mostly models. Since these objects were considered as elements of a language, they can be used to create lecture exhibitions. (by Andre Desvallees, evmuseography.wordpress.com)

Figure 3.24 Object collections of British Museum (source: .britishmuseum.org) accessed on 16/08/19 (21:48)

Objects can make unique contribution to our understanding of the working of individuals and societies. It can tell us more about ourselves. Museums collect objects to show illustrative examples of societies and individuals. Learning directly from the objects provide a first-hand experience to the learners. For example, an individual who has seen and handle few fossils or examined an exhibit showing how fossils are formed would have a better knowledge about fossils then those who have only read about them. (by Prabhas Kumar Singh, Museums and Education). The foremost function of a modern museum is, therefore, to utilize the objects of the past as tools to generate knowledge and there by enlighten the minds of the public. Thus the museum collections are the central point around which all interest and activities of specialists, educationists and the public revolve.

35

REFERENCE

www.cec.nic.in/wpresources/module/Anthropology/PaperXA/1/content www.maltwood.uvic.ca/cam/activities/past_conferences/1999conf/batch1/CAM%2799EmmanuelArinze.GuyanaFinal.pdf www.historyofmuseums.com/museum-facts/types-of-museum www.researchgate.net/publication/328569337_The_definition_of_the_museum_through_its_soci al_role www.magazines.odisha.gov.in/Journal/jounalvol1/pdf/orhj-10.pdf www.sciencedirect.com/science/article/pii/S1877042812040840 www.academia.edu/4922438/From_Museum_to_Mass_Entertainment_The_Evolution_of_the_R ole_of_Museums_in_Cities ww.urban.bih.nic.in/Docs/CDP/CDP-Bodhgaya www.buddhanet.net/e-learning/history/bodh-gaya www.njmaritimemuseum.org

36

3.

LEARNING FROM EXISTING

37

4.1

Live

Case Studies

38

4.1.1 Bihar Museum, Patna, Bihar

Figure 4.25Front view of Bihar Museum (Source –designboom.com) accessed on 22/06/19 (19:01)

Architect: Maki and Associates, Japan and Opolis, Mumbai Total Site Area: 56,250 sq. m Built up Area: 25,410 sq. m Year of Completion: 2018

4.1.1.a 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.

39

4.1.1.b Location:

Figure4.4.26Map of India indicating Bihar

Bihar Museum, Patna Patna Museum Vaishali Museum Nalanda Museum Muzaffarpur sangrahalya Verayatan jain museum,Rajgir Nalanda Archives Museum

Figure4.4.27Map of Bihar indicating different museum

40

Gaya Museum

Figure4.4.28Map of Patna (source: googlemap.com) accessed on 22/06/19 (19:11)

4.1.1.c Concept 



The Bihar Museum, being Maki and Associates’ first project in India, displays subtle Japanese attributes, like the concept of “oku” in the modern version of the jali wall screens. Along with creating beautiful renderings owing to the perforations, they also create a sense of anticipation for the visitors.

Figure 4.29Three elements contribute to create the sensory ‘depth’ (source: hues.kyusu.com)

Except from being a Museum to display artefacts, it is an educative place for children and also meditative Buddha courtyards, which enables the visitors to experience various elements in an amalgamation of diverse functions. This also encourages the visitors to visit the museum more than once, since there are various functions and spatial features that the complex has to offer.

Figure4.30Effects of sunlight in corridor (source: architecturelive.in) accessed on 22/06/19 (19:26)

4.1.1.d Site plan

41

Figure 4.31Site Plan of Bihar Museum (source: worldarchitecture.org) accessed on 22/06/19 (19:30)



Inspired by the generous site, Maki conceived Bihar museum as a campus with interconnected landscape of built-up and open spaces with modest but dynamic profile, in harmony with the land. The campus incorporates primarily four zones i.e., entrance, education, exhibition and administration. Each wing has given a distinct and recognisable form within the complex.

Figure 4.32 Site section (source: worldarchitecture.org) accessed on 22/06/19 (19:33)

4.1.1.e Conceptual plan

42

Figure 4.33 Conceptual development of the museum (source: designboom.com) accessed on 22/06/19 (19:37)

The constant presence of the natural environment within the Museum campus creates a rich, unique experience with each visit, one that changes with time and seasons. It is hoped that this will encourage repeat visitors, and together with world class permanent and temporary exhibit ensure that the Bihar Museum has a lasting educational impact for the children of Bihar and other visitors from across the world.

4.1.1.f Circulation plan

Figure 4.34 Circulation pattern of the museum

The circulation pattern of the Museum is based on the history of Bihar, starting with Buddhsim and Jainism followed by Mauryan and Gupta Empire to Sher shah suri and to the colonial past to exhibit the great history of Bihar.

4.1.1.g Zoning 43

Figure 4.11: Zoning of Bihar museum (source: asarchlibcentre.com) accessed on 22/06/19 (19:42)

The spaces divide galleries into different specialization, also distinguishing the children gallery with its own orientation section. The architecture constantly works to enhance the feelings of wonder and belonging to allow the visitor to explore and discover. The environment is thus envisioned as a learning landscape, a place that create a sense of calm that is conductive to education.

4.1.1.h Floor plan

44

Figure 4.4.35 Floor Plans (source: designboom.com) accessed on 22/06/19 (19:50)

All independent and small scaled wings are linked together via seven open to sky courtyards, ensuring that all spaces are connected to the surrounding landscape, while remaining sheltered and comfortable throughout the year. Each courtyard has a unique theme, configuration and spatial qualities. Some of these courtyard have been strategically located to preserve the existing trees on the site.

4.1.1.i Elevations 45

Figure 4.36 Front Elevation (source: architecturelive.in) accessed on 22/06/19 (19:57)

Most of the external surfaces are cladded with zero maintenance Corten steel, whose earthy brown-red coloration subtly contrasted with the surrounding greenery. The corten steel is offset with Indian granite and sandstone, terracotta, and glass finishes- a modern material palette with clear connections to Bihar past and presence.

Figure 4.37 Model of Bihar museum (source: architecturelive.in) accessed on 22/06/19 (20:05)

4.1.1.j Section

Figure 4.38 Section of Bihar museum (source: architecturelive.in) accessed on 22/06/19 (20:08)

4.1.1.k Area Program Table 2 Area Program of Bihar Museum

Sr. No .

1.

Space

No. of Units Area (in sq. m.)

ENTRANCE Entrance Court

1 46

400 30

Design Capacity 100

Reception Back office Information Ticket Counter Drop off 2.

3.

4.

1 1 1 2 1

ADMINISTRATION Staff Office Director General’s Chamber Curator Office Meeting Room Staff Rest Room Security Monitoring Room Server Room Staff Toilet (M/F) Store Staff Canteen

20 20 20 20 200 50

10 1 2 2 1 1 1 5/5 5 1

WORKSHOP Wood Workshop Metal Workshop Terracotta Workshop Store Store Props

200 30 40 200 100 30 30 50 1000 200 200

1 1 1 1 1

EXHIBITION GALLERY Bronze Sculpture Store Coins Vault Textile Gallery Miniature Gallery Manuscript Gallery Hindu Art Gallery Buddhist Art Gallery Jain Art Gallery Tribal Art Gallery Terracotta Gallery Children’s Museum Pre Show Display Post Show Display Temporary Exhibition

200 200 200 200 100 1500

1 1 1 1 1 1 1 1 1 1 1 1 1 1 47

300 200 300 300 100 200 400 200 600 300 600 200 100 1000

5.

LIBRARY Librarian’s Office Cyber Room

1 1

300 20 30

100

6.

AUDITORIUM Projection Room Green Room

1 1

300 20 30

100

7.

AMENITIES Restaurant Museum Shop Seminar Hall Toilet (M/F)

1 2 1 10/10

250 200 200 50

50 50

SERVICES Maintenance Janitor Room Store Housekeeping Centre High Tension Control Room HVAC Room

1 1 1 1 1 1

100 50 200 100 200 200

9.

LABARATORY

4

200

10.

LOADING AREA

-

400

11.

OPEN SPACES

-

1000

250

12.

PARKING VIP Parking Staff Parking

-

500 100 100

100

13.

TRANSITION AREA (40% of Total Build up Area)

4800

50

8.

TOTAL AREA

17,000 Sq. M

4.1.1.l Site Area Distribution 48

50

Figure 4.39 Pie-chart showing site area distribution

4.1.1.m Materials The material exterior is characterised 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 symbolises India’s historic achievement in metallurgy as well as its current prominence within the international steel industry.

Figure 4.40 Use of corten metal in facade Figure 4.41 Use of terracotta in interior

It is supplemented with stone, terracotta and glass modern material palette with clear connection to and future.

4.1.1.n Lighting

49

finishes

a

Bihar past

50

51

Lighting is one of the main aspects of any museum, especially natural lighting and the architect has tackled the issue through the bay winds, façade lighting, luminous walls and a central courtyard. The atrium at the entrance shows the importance of lighting in museum.

Figure 4.42 Play of natural and artificial light Figure 4.43 Play of light and shadow in corridor

4.1.1.o Stakeholder The Department of Art, Culture and Youth (DACY) along with the Building Construction Department (BCD) of the Government of the State of Bihar is planning to develop an iconic museum in Patna.

Lord Cultural Resources is the master planning consultant for this museum and they also directed the architectural selection process.

4.1.1.p Observation The museum as a symbol of Bihar penetrates the visitor consciousness by its uniquely juxtaposed forms and building materials. Iron has linked to Indian civilisations that thrived in this land and Maki has used weathering steel known as Corten steel, to enhance this symbolic connect with iron, industry and progress.

The architecture of the museum thus works as constructive shell for ordering exhibit and to guide the visitor through the holistic process of learning journeying through an expensive ground to discover the history of India. Landscape of museum designed beautifully, integrating the spaces through dynamic landscape.

4.1.1.q Conclusion

52

In the word of Maki 1“As the building took shape, I came to see it as an extension of my ideas on the group form concept, which emphasise linkages. Taking advantages of the elongated site in Patna, the museum complex could be called a ‘chained group form’ where heterogeneous element are effectively linked by outdoor courts, plazas and cloisters into a single complex.

Because of the large site and extensive programme, this was the first opportunity in my long career to realise this kind of ‘chained group form’.”

The museum is well designed and one of the most innovative museum in the present era, encompassing every aspects of design.

1.Source- (opolis.in)

4.1.2 Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

53

Figure 4.44 View of the Museum from Entrance gate

Architect: Ar. George wittet Total Site Area: 28,000 sq. m.

Built up Area: 12,142.23 sq. m.

Year of Completion: 1922

4.1.2.a INTRODUCTION Chhatrapati Shivaji Maharaj Vastu Sangrahalaya formerly known as the Prince of Wales Museum of Western India, is one of the premier art and history museum in India. Situated on the southern tip of the Mumbai on the ‘Cresent Site’, the museum building is a fine example of the Indo-Saracenic style of architecture. The Museum offers a perfect leisure day out for all its visitors where you can engage with a world class art collection and participate in fun and learn activities. Today this building is listed as Grade I heritage building and has been awarded the ‘2010 UNESCO Asia – Pacific Heritage Award’ for Cultural Heritage Conservation. CSMVS is to create awareness and sensitivity towards 54

our rich heritage through a visitor- friendly museum for the purpose of education, study and enjoyment of the public.

4.1.2.b Location:

Figure 4.4.45Map of India indicating state of Maharashtra

Figure 4.4.46Location of museum in map of Maharashtra

55

CSMVS Bhau Daji Lad Museum National gallery of modern art RBI monetary Museum Jahangir Art gallery Nehru Science centre Best Bus Museum Railway Museum Archdiocesan Heritage Museum Red carpet wax Museum SRT Art Gallery Gandhi Musuem

Figure 4.47Map of Mumbai indicating csmvs and other museums

4.1.2.c Architectural features:  The museum building built of locally quarried grey Kurla basalt and buff coloured trachyte Malad stone, is a three- storied rectangular structure, capped by a dome set upon 

a base, which adds an additional storey in the centre of the building.

The building incorporates features like Islamic dome with a finial along with protruding

 

balconies and inlaid floors, inspired by Mughal palace architecture.

A cluster of pinnacles, topped with miniature domes surround the central dome.

The interior combines the columns, railing and balcony of an 18th century wada with jain style interior columns, which form the main body of the central pavilion below the Maratha balcony.

56

Vaulting Arches

Figure 4.48 Vaulting Arch (source- author)

Interior of the museum combines the columns, railings and balcony of 18th century wada with Jain style interior columns.

Figure 4.49Balcony of csmvs (source- author)

Main Central lobby

Figure 4.50 Central lobby (source- author)

Dome from inside

Figure 4.51 Dome roof (source- author)

57

European style false ceiling

Figure 4.4.52European style false ceiling (source-author)

Different flooring

Figure 4.53 Wooden flooring (source-author)

Figure 4.54 Marble flooring (source-author)

4.1.2.d Floor plans: 58

Figure 4.4.55 Ground floor plan

Figure 4.4.56 First floor plan

Figure 4.57 Second floor plan

59

The plan of the museum is simple, with a central hall from which the staircase leads to the two upper floors with galleries branching out on the right and left.

4.1.2.d Conclusion:  Museum has well circulation space, seating’s arrangements in every exhibit space  Museum has good natural lighting from window.  Use of audio phone guide which is helpful in understanding different galleries.

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4.1.3 Dr. Bhau Daji Lad Museum, Mumbai

Figure 4.58 View of the Museum from Entrance gate

Restoration Architect: Ar. Vikas Dilawari Total Site Area: 20,000 sq. m.

Built up Area: 1525.82 sq. m.

Year of Completion: 1872

4.1.3.a INTRODUCTION The Dr. Bhau Daji Lad Mumbai city Museum (formerly the Victoria and Albert Museum) is the oldest museum in Mumbai, situated in Byculla East. It was established in 1855 as a treasure house of the decorative and industrial arts and was later renamed in honour of Bhau Daji. This museum houses a large number of archaeological finds, maps and historical photographs of Mumbai, clay models, silver and copper ware and costumes.

The museum is managed by a public-private partnership, a first for a cultural institution in India.

61

.

4.1.3.b Location:

Figure 4.59 Map of India indicating state of Maharashtra

62

Figure 4.60 Location of museum in map of Maharashtra

63

CSMVS Bhau Daji Lad Museum National gallery of modern art RBI monetary Museum Jahangir Art gallery Nehru Science centre Best Bus Museum Railway Museum Archdiocesan Heritage Museum Red carpet wax Museum SRT Art Gallery Gandhi Musuem

Figure 4.61 Map of Mumbai indicating Bhau daji lad museum and other museums

4.1.3.c Architectural features: 

The Museum is housed in beautiful Renaissance style building with ornate ceilings and

  

columns and a beautiful grand staircase and chandelier.

The museum was in a neglected condition over the many years that followed.

Its structure and some of the museum objects were considerably damaged.

After four years of restoration work it respond in 2007 after an impressive and sensitive



four years’ renovation.

In addition to extensive structural work, the interiors of the building were restored to their former, historically accurate glory.

64

Figure 4.62 The framework and architecture style creates a feeling of weightlessness and intricate details

4.1.3.d Interior style of the Museum 

The main reason for visiting BhauDaji lad Museum was for its architectural brilliance.



The first impression is one of grandeur and brilliance.

Visitor is immediately taken back to the Victorial era of big mansion with chandeliers and grand wooden staircases. The interiors of the Bhau Daji Lad Museum were restored to its



former historical glory during the restoration efforts of 2003-2007.

The buildings Minton tile floors are immaculate, the gilt ceiling molding and the ornate columns are splendid, even mint-green paint choice was based on historical research.

Figure 4.63 Arrangements of exhibits round the central wide aisle

4.1.3.e Ground floor pre-historic era gallery 65



The ground floor consists of industrial art gallery which is divided in to three parts, Left



side consist of antiques, weapons, stones.

Central part consists of art and development of humans and paintings and the right side

  

consists of vernacular model and sculptures.

The height of column is 4.5m and height of display is 2m.

It was arranged in the form of a maze so that when you walk through this area.

It has the atrium in the centre of the exhibition space.

Figure 4.64 Column Detailing

Figure 4.65 Arrangements of artefacts

Figure 4.66 Ground Floor plan (source: opolis.in) accessed on 23/06/19 (10:20)

4.1.3.e Open space for temporal exhibitions

66

The space is used for open and semi open exhibitions. This space is used for activities for children and for workshops. Easy access to cafeteria and to the service entry. The exhibition designers are free to design the exhibition space according to the theme of the particular exhibition.

Figure 4.67 Open space behind main building (source:arsy.net) accessed on 23/06/19 (10:31)

Figure 4.68 Open space (source: opolis.in) accessed on 23/06/19 (10:38) and author

4.1.3.f Café and Museum shops 67

The café and museum shop is located in the museum plaza. It is accessible from the museum plaza and from the main entrance. The museum shop consists of handmade goods.

4.1.3.g First floor depicting Mumbai history  On this floor an important exhibition depicting Mumbai’s history in context with the 

India’s history.

Huge round columns are used to form arches and the natural light is not all used. The



long louvers windows are only used for the ventilation.

The dim lights are used at the night when the museum is closed. The spot lights are placed inside the display which focuses on the sculptures and the art work.

Figure 4.69 Interior lighting of the Museum

Figure 4.70 Exhibit around the columns

68

4.1.3.h Section:

Figure 4.71 Cross section of the museum (source: opolis.in) accessed on 23/06/19 (10:56)

4.1.3.i Conclusion:  Each and every artefact have spot lights, Exhibit and artefacts are visually readable.  

Certain equal height is maintained for all artefacts in every exhibit.

Flexible arrangements for outdoor exhibits in open or semi- open area for the museum.

Well circulation spaces are provided inside the museum and great visual interaction through the atrium.

69

4.2 Net Case Studies 4.2.1 Art and Science Museum, Singapore

Figure 4.72 View of the Museum from sea (Source –safdiearchitects.com) accessed on 22/06/19 (13:12)

Architect: Moshe Safdie Total Site Area: 200,000 sq. ft.

Built up Area: 50,000 sq. ft.

Year of Completion: 2011 4.2.1.a INTRODUCTION The Art Science Museum's permanent exhibition, Future World - where art meets science, is a collection of cutting-edge digital installations that brings one into a world of art, science, magic and metaphor. It also hosts touring exhibitions curated by other museums.

The museum is designed to have exhibits for all age group. However, the galleries and exhibits keep changing and visitors will need to check current exhibits to see if something interests them. There are two permanent exhibits as on May 2018: “The Future World” and “Into the Wild”. Future World would be fascinating for kids under the age of 10; while into the Wild technology would interest people of all age group.

4.2.1.b Location: 70

National museum of Singapore Art and science museum Trick eye Museum Sports Museum Science Center museum Asian Civilization Museum Civil defence heritage museum Indian heritage centre

Figure 4.73 Map of Singapore indicating museums

71

Figure 4.74 Map of Art science museum (source: googlemap.com) accessed on 22/06/19 (13:31)

4.2.1.c Design concept: •

Safdie

architecture

exemplifies

the

museum's goal to unite art and science by providing

an

structure

that

aesthetically utilizes

pleasing

cutting-edge

construction and design technologies.

•

In his design, Safdie conducted his "search

for

rational

geometry"

by

modeling 10 fingers into what could be interpreted either as an open palm or a Figure 4.75 Moshe conceptual sketches (source:safdiearchitects.com) accessed on 22/06/19 (13:56)

lotus blossom. The structure of the

museum often is referred to as the welcoming hand of Singapore. 

The fingers radiate out from the center of the building, increasing in size and height to generate four floors of gallery space. The tips of the fingers contain skylights to allow for natural exhibition lighting.

4.2.1.d Zoning and site plan:

72

Figure 4.76 Location of museum on site (source:safdiearchitects.com) accessed on 22/06/19 (13:59)

•

Future World is spread over 1500 sq. m, which is almost 1/4th of the total area of Art Science Museum.

•

One can think of Future World as a digital playground, where installations dynamically evolve from active interaction with the users.

•

The exhibition is divided into 4 zones: Nature, Town, Park and Space

•

There are 15 exhibits divided among these 4 zones. Most exciting of these are Town and Park; which are favorite among kids.

4.2.1.e Generation of form:

73

Figure 4.77 Combination of basic form (source:safdiearchitects.com) accessed on 22/06/19 (14:04)

Figure 4.78 Derivation of basic unit (source:safdiearchitects.com) accessed on 22/06/19 (14:06)

Figure 4.79 Framework of the structure (source:safdiearchitects.com) accessed on 22/06/19 (14:06)

4.2.1.f Floor plans: 74

Figure 4.80 Ground floor (source: area-arch.it) accessed on 22/06/19 (14:16)

Each hall has access to daylight from skylights above and from the central atrium.

Figure 4.81 First floor (source: area-arch.it) accessed on 22/06/19 (14:16)

75

Figure 4.82 Second floor (source: area-arch.it) accessed on 22/06/19 (14:17)

The upper galleries are organized into 10 halls that vary from double height vertical spaces, to long horizontal rooms.

Figure 4.83 Roof floor (source: area-arch.it) accessed on 22/06/19 (14:18)

76

The dish like roof form collects rainwater and drains it through an oculus, creating a waterfall through the centre of the museum that feeds an interior pond.

4.2.1.g Section:

Figure 4.84 Roof floor (source: safdiearchitects.com) accessed on 22/06/19 (14:20)



The museum’s envelope is composed of double-curved Fibre Reinforced Polymer skin



typically used at such a scale in the construction of boats and yachts.

The vertical sides of each petal are sheathed in bead-blasted stainless steel panels.

4.2.1.h Museum in detail: •

The Museum is composed of two principle parts. The base, which is embedded

in

the

earth

and

surrounded by the Bay’s water and a giant lily pond, and a flower-like structure

made

generated

by

of the

10

petals,

geometry

of

spheroids of varying radii that seemingly

Figure 4.85 Flower like structure (source: archello.com) accessed on 22/06/19 (14:26)

floats

landscaped pond base.

77

above

the

•

The museum is entered through a free-standing glass pavilion.

•

The structure of the museum also is functionally significant. The open palm of the lotus design channels rainwater 35 meters down toward a central atrium and into a waterfall that collects in a small reflection pool.

•

The rainwater subsequently is recycled back into use for the building's plumbing system.

•

T

Figure 4.86 Open palm of lotus design (source: archello.com) accessed on 22/06/19 (14:28)

h

e asymmetrical museum structure, reaches upward into the skyline as high as 60 meters and is supported by an elaborate steel lattice structure. This assembly is supported by ten columns and tied down at its center

by

a

basket-like

diagrid–a

sculptural

centerpiece that accommodates the asymmetrical forces that the building’s form generates.

•

The result in an efficient resolution of the structural forces for the building, giving it a seemingly weightless quality as it hovers above the ground.

•

The museum’s envelope is composed of double-curved Fiber Reinforced Polymer skin typically used at such a scale in the construction of boats and yachts.

Figure 4.87 Steel lattice (source: archello.com) accessed on 22/06/19 (14:31)

•

The vertical sides of each petal are sheathed in bead-blasted stainless steel panels. The unprecedented use of FRP has made possible the joint-less, continuous skin for each of the sail-like surfaces achieving a sense of lightness with their gleaming petals.

78

•

The museum hovers over the Marina Bay

waterfront promenade and a reflecting pool lily pond.

Figure 4.88 Pond near entrance (source: archello.com) accessed on 22/06/19 (14:35)

4.2.1.i Conclusion: •

The building stands as a strong symbol of the function it contains, an institution

•

promoting a deep understanding of the relationships between art and science.

The use of technology is at best in this museum like virtual reality which create curiosity to visitors. The 1000 sq.m of the museum is transformed into a virtual rainforest.

The manifestation of scientific

•

and artistic curiosity, inspiration and expression in one museum Figure 4.89 Use of modern technologies (source: littledayout.com) accessed on 22/06/19 (14:43)

certainly is a modern marvel worth visiting.

79

4.2.2 Sanskar Kendra, Ahmedabad, Gujrat

80

Figure 4.90 Sanskar Kendra (Source – wikiarquitectura.com) accessed on 13/06/19 (21:32)

Architect: Le Corbusier Total Site Area: 5700 sq. m Built up Area: 2313 sq. m Year of Completion: 1953

4.2.2.a INTRODUCTION It is a city museum depicting history, art, culture and architecture of Ahmedabad. The design stems from the idea that Corbusier had previously explored of a “museum of unlimited extension”, making use of standardized structural elements to create a core building that could be extended over time as additional funds were procured.

4.2.2.b Location:

81

Figure 4.91Map of India and indicating the work of Corbusier in India

Sanskar Kendra, Ahmedabad Dandi kutir, Gandhinagar Kutch museum Watson museum, Rajkot Rotary dolls museum, Rajkot Darbar Hall museum, Junagad Auto world Car Museum, Ahmedabad Baroda Museum

Figure 4.92 Map of Gujrat indicating museums in Gujrat

Figure 4.93 Map of Ahmedabad indicating Sanskar Kendra (source: www.googlemap.com) accessed on 13/06/19 (21:48)

82

4.2.2.c Design Concept 1. The Pilotis: A grid of concrete or steel columns replaces the load-bearing walls and becomes the basis of the new aesthetics. The decisive factor is the idea of supporting structures on pillars in order to make the soil freely usable.

Figure 4.94Corbusier pilotis theory (www.mgsarchitecture.in) accessed on 13/06/19 (22:07)

2.

The free façade: Open and closed sections on the façade enable the separation and connection of the exterior design from the building structure.

3.

The

ribbon

Figure 4.95 Corbusier free facade theory (www. mgsarchitecture.in) accessed on 13/06/19 (22:07)

windows: The horizontal windows cut through the nonload-bearing walls along the facade and provide the apartment with even light. It gives the interior a lightness & offers views of the surroundings.

Figure 4.96 Corbusier ribbon window theory (www. mgsarchitecture.in) accessed on 13/06/19 (22:07)

83

4. The free ground plan: The absence of loadbearing walls allows flexible use of the living space, which can be divided by screen elements.

Figure 4.97Corbusier open plan theory (www. mgsarchitecture.in) accessed on 13/06/19 (22:07)

5. The roof garden: Both as a kitchen garden and as a sun terrace. On a flat roof a humus layer is covered with vegetation, this ensures constant moisture and serves as a perfect heat and cold insulator.

Figure 4.98 Corbusier roof terrace theory (www. mgsarchitecture.in) accessed on 13/06/19 (22:07)

4.2.2.d Zoning

Figure 4.99Phase I -Museum core (www.msgarchitecture.in) accessed on 13/06/19 (22:25)

84

Figure 4.100 Phase II - construction of 3 additional volumes (www.msgarchitecture.in) accessed on 13/06/19 (22:31)

Figure 4.101Phase III - extension of original core in 7x7m modules up to 84x84m (www.msgarchitecture.in) accessed on 13/06/19 (22:32)

85

Figure 4.102 Schematic section showing 3 phases in section (Source – msgarchitecture.in ) accessed on 13/06/19 (22:34)

4.2.2.e Site Plan MAIN MUSEUM BUILDING

Figure 4.103 Site Plan (Source –architexturex.com) accessed on 13/06/19 (22:39)



The Sanskar Kendra building currently houses two museums.



The Museum of the City – through objects, artworks, and historical documents – presents the history of Ahmedabad from the 11th century, when it was known as Ashaval, onwards.

86



The Kite Museum celebrates the long tradition of kite-flying, which for many Indian people embodies a particular religious’ significance.

4.2.2.f - Floor Plans 1.

At ground floor the entrance hall which has a triple height to reach it is necessary to go through space supported by piles. In the middle are the access ramp to the first level and stairs leading up to it, a core of toilets and a kiosk as a selling point for art reproductions.

Figure 4.104 Ground level plan (Source – wikiarquitectura.com) accessed on 13/06/19 (22:49)

2.

Coming from a ramp or the stairs on this level that we are the first rooms of exhibitions that are arranged in the form of long corridors spanning seven meters wide each. At the top of the floor of the mezzanine is a planter made of reinforced concrete.

Figure 4.105First level plan (Source – wikiarquitectura.com) accessed on 13/06/19 (22:55)

3.

These plants are linked by stairs that emerge from the first level. These lead to different exhibition halls are located on the first level as in galleries in seven meters wide. At this level, clearly located concrete slab has shots all round that stand out in front as independent pieces.

Figure 4.106 Second level plan (Source – wikiarquitectura.com) accessed on 13/06/19 (22:59)

87

Figure 4.107 Third level plan (Source – wikiarquitectura.com) accessed on 13/06/19 (23:17)



The roof is an important issue because,

although not the typical terrace used in all projects, Le Corbusier sees it as water-filled vessels which bring relief to the building due to the high temperatures that exist in the city. That’s why the deck is a concrete slab is covered with a layer of lightweight concrete, then a waterproof layer, then cover it for different layers of earth and gravel to fill all “vessels” with water.

Figure 4.108 Roof level plan (Source – wikiarquitectura.com) accessed on 13/06/19 (23:30)

4.2.2.g – Elevation

88

Figure 4.109 Road side elevation (Source – googleimages.com) accessed on 13/06/19 (23:39)

The building has been constructed from unfinished reinforced concrete and brick for the façade and top part have openings for natural lighting and air.

4.2.2.h – Sections

Figure 4.110 Section (Source –msgarchitecture.in.) accessed on 13/06/19 (23:44)

Visual connection with the main road and complimenting landscape, impact on building through the gallery.

89

The museum is a prism that rises from ground level on Pilotis level of an array of 7 x 7 meters, forming walkers fourteen feet wide spiral circulations generated within the building.

4.2.2.i - Museum in detail

Figure 4.111 View from road (Source – googleimages.com) Figure 4.112 View of courtyard (Source – googleimages.com)



Le Corbusier designed the museum with a great attention to the local conditions, therefore adding an array of sun shading systems, intensive planting, and a roof equipped with 45 water basins, each with a surface of 540 square feet and 13-foot deep, aimed to mitigate the hot climate of Ahmedabad.

Figure 4.113 Structural layout



The museum is designed upon a 23×23 feet grid marked by an array of thin reinforcedconcrete columns, the pilotis, 11 feet high.

90



Le

Corbusier

also

paid a special attention to natural light, therefore the whole building is characterized with deep concrete and brick clad courtyards where sky light, shade, and water are mixed together in a coherent ensemble.

Figure 4.114 View of courtyard (source: www.inexibhit.com) accessed on 13/06/19 (23:54)

4.2.2.j – Material used • As timber is not locally available in this region, the building has been constructed from unfinished reinforced concrete & brick for the façade •

BRICK: The building’s exterior consists of a plain brick façade combined with exposed elements of raw concrete. The external wall consists

of

construction

a with

double an

brick internal

cavity.

Figure 4.115Brick and Concrete used for construction (source: www.inexhibit.com) accessed on 14/06/19 (00:02)

•

CONCRETE: It consists of an unfinished raw concrete which is left exposed leaving the imprint of wood or plywood framework.

4.2.2.l – Conclusion

91



It is designed with a great intention of local condition and climate. The facades are composed of red brick double walls with different separations between them in each front, covering the building in this way to reduce temperatures.



The experience of the museum is focused on the on the internal journey.

Figure 4.116 Internal space have open plan (source: www.inexhibit.com) accessed on 14/06/19 (00:13)

92

4.2.3 Dande kutir Museum, Gandhinagar, Gujrat

Figure 4.117 Dande kutir museum (Source – astonishingindia.com) accessed on 25/06/19 (23:30)

Architect: Shapoorji Pallonji Engineering and Construction Total Site Area: 60,000 sq. m.

Built up Area: 10,700 sq. m.

Year of Completion: 2015 4.2.3.a INTRODUCTION Dandi Kutir aims at being a state-of-the-art tribute to M.K. Gandhi, the Father of our Nation. Gandhiji’s vision and legacy is at the core of the Dandi Kutir Museum — a unique architectural and experiential edifice providing visitors a forward-looking space to contemplate Gandhian principles while reflecting on their singular & collective futures.

The museum occupies a prominent place on the north-west flange of the city at the culmination point of a green-belt opposite the Capitol Complex of Gandhinagar.

93

4.2.3.b Location:

Figure 4.118 Map of India

Sanskar Kendra, Ahmedabad Dandi kutir, Gandhinagar Kutch museum Watson museum, Rajkot Rotary dolls museum, Rajkot Darbar Hall museum, Junagad Auto world Car Museum, Ahmedabad Sardar Vallabhbhai Patel National -Memorial Museum Figure 4.119 Map of Gujrat indicating museums in GujratBaroda

94

Museum

Figure 4.120 Map of Gandhinagar indicating dandi kutir (source: googlemap.com) accessed on 25/06/19 (23:40)

Figure 4.121Site plan of dandi kutir (source: googlemap.com) accessed on 25/06/19 (23:42)

95

4.2.3.c Design Concept  The building scheme takes inspiration from Mahatma Gandhi's freedom fight incident of 

Salt march which took place in Gujarat’s Dandi village.

It has four main elements that needed to be distinctly lit with a certain hierarchy. The 41m high and 90m dia salt mound has been discreetly lit with precise optics to impart utmost visual comfort and prevent light pollution.

4.2.3.d Architectural features Occupying center stage in 60000 square



meter area the hollow concrete shell of cone rises to a height of 41 meters and sits on a diameter of 90 meters. 

The apex of cone is a large circular skylight.



The low height circular plaza around the cone Figure 4.122 Depiction of salt mound rising from sand pit

painted a dull brown depicts the sand pan

through which the salt mound rises.



A suspended bridge from the convention center leads to the cone as a ceremonial



entry.

The salt mound, sand pan and water canal are surrounded by beautifully landscaped



gardens.

A wide canal of water around the entire structure is symbolic of the sea.

96

Figure 4.123 View of salt mound museum from suspended bridge (source: astonishingindia.com) accessed on 26/06/19 (0:05)

4.2.3.e Interior features

Figure 4.124 The cone foyer with ramps and stairs leading to galleries (source: astonisingindia.com) accessed on 26/06/19 (00:10)

For interiors, the concept was to create a separate building within the symbolic conical shell structure of Salt mound. Hence, the idea was to show this building as a Jewel. An approach of highlighting the core elements like the wooden curved wall, truss and cones in a skillful manner.

Figure 4.125360 projection in a gallery (source: astonisingindia.com) accessed on 26/06/19 (00:17)

97

A seamless journey through the use of physical, virtual and technological techniques of storytelling was introduced, where the visitor would move from a tactile, physical exhibit to a virtual one, set in an interpretive and sometimes realistic environment with complete ease.

Figure 4.126 Use of Audio-visual media (source: astonisingindia.com) accessed on 26/06/19 (00:20)

Floor wise galleries Distribution Ground floor – Satyagragh around the world First floor –

Mahatma and national satyagragh

Second floor – Gandhi and community satyagragh Third floor –

Mohandas and domestic satyagragh

4.2.3.f Technologies

Holographic mapping

Figure 4.127 Holographic on the facade (source: deshgujrat.com) accessed on 26/06/19 (00:40)

98

360° Theatre

Figure 4.128 360° theatre projection (source: dandikutir.com) accessed on 26/06/19 (00:43)

3D projection mapping Figure 4.129 3D projection mapping inside a gallery (source: dandikutir.com) accessed on 26/06/19 (00:48)

4.2.3.g Façade design

Figure 4.130 Light show on façade (source: deshgujrat.com) accessed on 26/06/19 (00:53)

99

This media facade would become more festive and communicative during events with display of Gandhiji quotes and related graphics in combination of color dynamic topping, linking the symbols and emotional responses to create an iconic landmark in the city skyline.

4.2.3.h Conclusion The Dandi kuter museum is designed to be iconic as the personality of Gandhiji. The concept and form derives its connection from the salt which is core issue of dandi march and beautifully presented in an abstract form. the justification is done on every part of the structure from material to the technology with sole purpose to catch the people’s attention. although the design can be contemporary in nature it is seamless with future to come. It also challenges the traditional perception of museum and try to engage its visitors from form to the contents and shows that runs inside and use of new technologies like Audio-visual media made different galleries interesting.

100

4.2.4 Virasat-E-Khalsa Museum, Anandpur Sahib, Punjab

Figure 4.131Virat-e-khalsa (Source – tfold.in) accessed on 27/06/19 (21:20)

Architect: Moshe Safdie Total Site Area: 120 acres Built up Area: 40 acres Water Body Area: 7 acres Built in: 2011 4.2.4.a INTRODUCTION Anandpur Sahib known as “The Holy City of Bliss” it is one of the most important sacred places for the Sikhs, closely linked with their religious traditions and history. It is located on the lower spurs of the Himalayas with the river Sutlej forming a border on the south west.

101

Anandpur sahib is situated on the lower spurs of the Shivaliks and has a picturesque view of Naina Devi. This town is subdivision of Rupnagar district of Punjab situated along the highway connecting Chandigarh and Chakra Nan gal power and irrigation complex. By road it is 80 km from 80 km from Chandigarh, 35 km from Roper and 21 km from Nan gal. Road leads to Naina Devi which is 18km away.

4.2.4.b Location:

Figure 4.132 Map of India

Virasat-e-khalsa, Anandpur Museum of Social History and Rural Life of Punjab Shaheed-e-Aazam S. Bhagat Singh Museum Sikh Museum Mohali Maharaja Duleep Singh Memorial Archaeological Museum Maharaja Ranjit Singh Panorama, Amritsar Central Sikh Museum, Amritsar Sheesh Mahal, Patiala International Sikh Museum Government Museum and Art Gallery Shaheed Dr. Diwan Singh Kalepani Museum

102

Sanghol Archaeological Museum 1.

Figure 4.133 Map of Punjab indicating museums in Punjab

Figure 4.134 Map of Anandpur sahib indicating virasat-e-khalsa (source: googlemap.com) accessed on 27/06/19 (21:43)

103

Figure 4.135 Site plan of Virat-e-khalsa (source: googlemap.com) accessed on 27/06/19 (21:47)

4.2.4.c Reason for this Case Study: To broadly understand working of a Museum in India.

To study the overall planning of the campus according to the hierarchy of the importance attached to each spaces.

To study Museum spaces followed spaces followed by circulation, User activity and function.

4.2.4.d Historical Significance: The area was originally the ruins of an ancient place known as Makhowal named after the demon macho. It was later later Shri Guru Tej Bhadur purchased this place and renamed Anandpur in 1664. It signified the banishment of all evil and ushering in an era of blissful joy. Guru Gobind Singh ji succeeded Guru Teg Bhadur and establishes Anandpur fort and stayed here for 25 years.

Based here he fought many wars against the Mughal Empire. He constructed number of forts to defend people. They were keshgarh, Anandgarh, Fategarh, Lohgarh.

Anadpur Sahib is sandwiched between Kiratpur Sahib another sacred township of the Sikhs and Naina Devi a place for pilgrimage for Punjabi Hindus. Hence this area is held sacred by all Punjabis. Whereas Anandpur Sahib is a natural halting for pilgrims going to their pilgrimage to kiratpur sahib.

104

Figure 4.136 Dargah in Anandpur Sahib (Source – www.googleimages.com) accessed on 27/06/19 (21:55)

4.2.4.e About the Museum: Virasat-e-khalsa Heritage complex is conceived as a repository of the rich heritage of the Khalsa, showcasing the history and culture of Sikhs and their homeland enshrining the eternal messages of Guru’s.

The eastern side houses permanent exhibitions presenting Sikh history, religion and culture. It have 27 permanent galleries. These galleries are arranged in groups of five and reference the Five Virtues of Sikh religion.

The western side, which is connected directly to the town, features exhibition galleries, two-level library centered around a grand reading room that overlooks the water gardens, is a facility for storing rare archival materials ans a 420 seat auditorium.

First five petals roof buildings are reflecting first five gurus.

The natural landscape has been left untouched and the structure has been fitted in to natural topography.

4.2.4.f Architectural features:

105

Figure 4.137 Site plan (Source – tfold.in) accessed on 27/06/19 (22:07)

A Block Complex



Permanent exhibit building which is also called crescent, building, heritage museum,

  

media exhibit i.e. the petal shape building and entrance lobby.

The covered area for the building is 17,151 sq. m.

Foundation level is 311.5m and top level of highest roof is 356.15m.

The structure consists of Arcade, Receiving desk, Mechanical room, Reception, Storage space, Workshops, Lecture and meeting space, book store, gift shops, offices, Exhibition



galleries.

The petals in the crescent building covered the life spans of Guru Tegbahadur, Guru



Gobind Singh and Gurta Gaddi.

The galleries at the lower level chronicle the trails, tribulations and triumphs of the Khalsa.

106

Figure 4.138 View of block A (Source – designdecortravel.com) accessed on 27/06/19 (23:41)

B Block Complex



The 165m long end wide pedestrian bridge, which is connecting complex A and C,

 

primarily consist of four independently tied arches.

It mainly consists of pedestrian bridge, cafeteria and kitchen block.

Cafeteria and kitchen block consists of cafeteria of covered area is 1424 sq. m.

Figure 4.139 Connection of block A and block C via bridge (Source – designdecortravel.com) accessed on 27/06/19 (23:49)



The pedestrian bridge is carefully designed by the architect by placing the canopy on the opposite direction of the southern sunlight.

C Block Complex

A public restaurant is planned within the bridge structure.

107

The floor of the ravine from the centrepiece of the complex.

The building is clad in buff coloured sandstone and roofed in stainless steel that reflect the southern sunlight towards the Gurudwaras.

Strong geometric forms of walls, which include curved and rectangular shapes, contrast with the amorphous forms of the surroundings cliffs.

Figure 4.140 Buff coloured sandstone facade (Source – designdecortravel.com) accessed on 28/06/19 (00:02)

4.2.4.g Interior features: 





Visitors are immersed in a path through the galleries.

The exhibits are a combination of large handpainted murals, dioramas, relief paintings and 3D interpretive structures as well as handwoven

tapestries.

A key feature is the interpretive exhibit in the boat building celebrating the Punjabi culture and spirit.

108

Figure 4.141 3D interpretive structures and paintings (Source – safdiearchitects.com) accessed on 28/06/19 (00:07)



The

galleries

designed

as

immersive

are an

experience,

which are accessible to all and can be read 

without traditional text.

The subsequent petals narrate the life of Guru Angad Dev and Guru Amar Das.

These are

divided with a Baoli. The Baoli

Figure 4.142 3D interpretive structures (Source – safdiearchitects.com) accessed on 28/06/19 (00:14)

recreates

essence of the era.

4.2.4.h Conclusion

109

the



Ravine is cut into layers of steps of water reflecting the museum and merging it with landscape around it.

Figure 4.143 Reflection of structure in the water (Source –tfold.in) accessed on 28/06/19 (00:23)



The concept of the design doesn’t lack in one’s interest from the subject, spaces of the



complex have been worked out beautifully The function and aesthetics together have been developed very well.

110

4.3 Comparative Analysis

104

2

104

4.4 Conclusion The main aim of these case studies was to understand the different design aspects and design requirements of the museum. Every space has its own importance and every space plays as important role in making a place alive. Case study is required to frame out these spaces and their design spaces.

Bihar Museum is a modern state of the art museum located in Patna. A 25000 square meters’ museum and marketplace concept was to be developed “G+1” structure and with a very small portion being “G+4”. It is six-storey building spread over 5.6 hectares, having 24000 sq.m. of built area.

The generous 5.3 hectares plot along bailey road allowed for a variety of the 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 harmony with existing site conditions. All the built up blocks have been strategically located in consonance with the configuration of the site. These blocks are linked together by cloisters which are characterized by deeply recessed openings and modern versions of traditional jaali screens.

These screen allowed natural to enter, while shielding the spaces from heat, and providing relief from the vast black box exhibition spaces. Spatial depth and layering – channeling the Japanese concept of ‘oku’ are use throughout creating a sense of anticipation that culminates in the meditative Buddha courtyard.

CSMVS museum building is a fine example of the Indo-Saracenic style of architecture. The Museum offers a perfect leisure day out for all its visitors where you can engage with a world class art collection and participate in fun and learn activities Museum has well circulation space, seating’s arrangements in every exhibit space. Museum has good natural lighting from window.

Bhau Daji lad museum was built using a style that represented the era in which it was built and Mumbai’s character at the time. The display allows visitors to learn about the history of Mumbai 221

and its economic and cultural development. The building style along with its exhibits, prove to be an effective representation of the city that it seeks to reflect.

However, it may be found that the building’s colorful architecture overshadows the museum display; the displays are permanent and do not provide any reasons to visit again.

Art and science museum is a science and entertainment museum. It tells about the new way of artefact-free exhibition with the amalgamation of art & science. The building stands as a strong symbol of the function it contains, an institution promoting a deep understanding of the relationships between art and science. The manifestation of scientific and artistic curiosity, inspiration and expression in one museum certainly is a modern marvel worth visiting.

Sanskar Kendra is designed with a great intention of local condition and climate. The facades are composed of red brick double walls with different separations between them in each front, covering the building in this way to reduce temperatures. It shows the planning & application of 5 principles of Le Corbusier in design.

Dandi kutir helps to understand the new technologies like 3D mapping and new way of artifacts free exhibition. The spaces are stories teller based on the life of Mahatma Gandhi. It also challenges the traditional perception of museum and try to engage its visitors from form to the contents and shows that runs inside and use of new technologies like Audio-visual media made different galleries interesting.

Virat-e- Khalsa helped me understand scale and visualization and exposed me to new materials and design processes. It gave me the insights about designing for experience and telling stories through spaces. It is based on the concept of Fortress architecture, artifact-free museum design, sikhism & its 5 virtues.

106

2.

CURATIONAL ASPECTS IN A MUSEUM

107

5.1 Different methods of display Display method is a very important aspect in museum, the purpose is to display artefacts or objects according to their size, mass or chemical behaviour and it also depends on the angle of visibility of the visitors.

5.1.1 Mounting and displaying objects Mounts are a very effective way to display collections. A mount is a support that helps hold an object in a stable position while on display.

It prevents movement that might stress the object, especially if it is structurally weak or brittle from, for example, age or insect damage. A mount will also help to keep an object safe in the event of an earthquake.

Figure 5.2 A display of children’s toys and games (source:tepapa.govt.nz) accessed on 22/06/19 (09:12)

Figure 5.144 General measurement of mounting and displaying method



This type of display is used in Bhau



Daji

Lad

Museum,

Mumbai.

The artefacts eg:-books, flask, coins etc. are stored in a mount displaying table which is made up of wood and protected with



the help of Glass.

It has 3 level of display stack in the table as indicated in fig 5.3.

108 Figure 5.145 A display of artefacts in Bhau daji lad museum (source: author)

5.1.1.a Plinths and raises  

Use of plinths or raises to add height and depth to the displays.

Make reusable plinths from medium density fibreboard.

Figure 5.146A display using plinths of various sizes (source: tepapa.govt.nz) accessed on 22/06/19 (09:19)

Figure5.147General measurement of typical plinth and raise display



This type of display is mostly used for sculptures and artefacts.

Figure 5.148 A Plinth raise display of Sculptures in a gallery in109 Bihar museum (source: author)



Different level of plinth is used to adjust the height of the displays; it helps in 360° circulations around the display.

5.1.1.b Foam board labels and object mounts



Foam boards are very adaptable products that can be used to make both object and



label mounts.

It is used for displaying ornaments, ceramic, stones etc.

Figure 5.149A display using foam board object and label mounts. (source: tepapa.govt.nz) accessed on 22/06/19 (09:27)

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Figure 5.8 General measurement of typical foam board labels

5.1.1.c Niches display 

Niches display helps in saving the space in the



gallery.

It can be covered with glass which helps in protection of the objects and

the

object

eg:

ornaments, books, stones etc. can be focused with proper spot light.

Figure 5.150Niches displays (source:pinterest.com) accessed on 22/06/19 (09:29)



The niches display is used for displaying artefacts and paintings which is covered with glass from outside.

Figure 5.151Niches display of Paintings in Bihar museum 111 author) (source:



In the Bihar Museum niches display is used for paintings with other paper art work, it has spot light to focus.

Figure 5.11 General measurement of niches display

5.1.1.d Stainless steel mounts  Stainless steel needs to have a barrier layer applied to prevent damage to the surface of 

the object.

The steel mounts displays are used for heavy object like machinery, cars, bikes etc.

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

A little raised steel plinth with steel 0.5m heighted railing is used for car display in Petersen automotive museum, Los Angeles, USA.

Figure 5.152Imperial crown sedan is displayed in Petersen automotive museum, Los Angeles, USA (source: hagerty.com) accessed on 07/07/19 (14:23)

Figure 5.153General measurement of stainless steel mounts

5.1.2 Displaying works on paper Works on paper include watercolours, photographs, pastels, newspaper cuttings, manuscripts, and letters.

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Figure 5.154A display of Paintings in a gallery in Bihar museum (source: author)

 

This type of displays is common and used mostly in all museums.

It can be hang or stick on the board or wall at different height level according to design.

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Figure 5.15 General measurement of displaying works on paper

5.1.2.a Hanging art works 

Hang art works so the mid-point is 1.5 metres off the floor. This means that a person of average height can view the



work at eye level.

D-rings are the best way to hang paintings. They attach via hooks secured in the wall.

Figure 5.155 D-ring used with a Takiya hook to hang a painting in storage (source: tepapa.govt.nz) accessed on 22/06/19 (09:42)

5.1.3 Labels and interpretation

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5.1.3.a Writing labels 

Labels will be read for an average of two seconds each, the key point should be in the first sentence. Labels need to be presented clearly, and at a height where people can read them as they walk past.

Figure 5.17 Written labels in front of artefacts or other object (source:johnsear.com) accessed on 30/06/19 (21:43)

Figure 5.18 Labels used for information about sculpture in Bihar museum (source: author)



The labels and interpretation is used to share information about the display, which is an



easy and simple method used for displaying information.

Labels used in Bihar Museum, Patna for informing history and condition of the sculptures.

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5.1.3.b Label production 

Labels is important as it brief the subject of display.



Written words used alone or with illustrations in museum exhibitions

to

information for visitors.

Figure 5.156Vinyl lettering used in North Otago Museum’s Janet Frame display (source: tepapa.govt.nz) accessed on 30/06/19 (21:53)

Figure 5.20 Display in museum by text and image through labels (source:-tripadvisor.com) accessed on 30/06/19 (22:01)

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provide

5.2 New method used for curation in contemporary museum of today Museums are always looking for ways to make their exhibitions more exciting. Now, new technologies are making that easier. Museums are exploring digital and mobile technologies to enhance visitors experience. The pervasive uses of tech to create interactive experiences for visitors throughout a museum.

5.2.1 Audio-visual



Figure 5.21 LED screen display (source:realmadridmuseum.com) accessed on 30/06/19 (15:05)

Audio-visual (AV) means possessing both a sound and a visual component, such as slidetape presentations, films, television programs, corporate conferencing, church services and

live theatre productions 118



Audio-visual technology can give an extra dimension to an exhibition. Provide seating for AV displays. DVD players are very affordable and reasonably maintenance-free. It



gives sound, still images, and moving images.

Digital photo frames are another cost-effective AV alternative. They’re useful for



slideshows, and can be mounted or framed to suit exhibition.

The Audio-visual display is interactive where user can select the option on which they want the information



This display method is on trend and very helpful to provide information to the visitors, it is interactive



display method.

In Dandi kutir museum, Gandhinagar it is used for displaying

Gandhiji

life,

with having wireless audio guide connects to the nearest video display from where visitor passes by.

5.2.1.a Audio guide

Figure 5.157 Audio-visual display in Dande kutir museum (source:googleimages.com) accessed on 07/07/19 (14:57)



It provides a recorded spoken commentary, normally through a handheld device, to a visitor



attraction.

A multimedia electronic guide is a device specially designed to provide audio, visual or textual content to museum visitors with

or without user interaction.

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Figure 5.158 Audio guide (source: umfa.utah.edu) accessed on 09/07/19 (10:05)

5.2.1.a.(i) Cell phone tours A cell phone tour is an audio tour where pre-recorded or stream audio interpretation for a heritage site or a cultural exhibit is provided via a cell phone. Cell phone audio tours have the advantage that most visitors already have the equipment needed to take the audio tour, being their cell phones.

Figure 5.24 Audio Cell guide (source: parklersblog.org) accessed on 09/07/19 (10:09)

5.2.1.a.(ii) Smartphone tours Smartphones have

significant

advantages over cell phones, as they have

story-triggering

technologies

(GPS, Bluetooth, -NFC, QRcode scanner) and can use the power of mobile apps to deliver the right story in the right language in the right place and in the right context.

Figure 5.159Audio guide (source:benedictjohnson.com) accessed on 09/07/19 (10:14)

5.2.1.b Visual media  A visual media such as screen video projection, monitor display, Mobile augmented reality-application, cinema room are widely used.

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

Its intention is to raise awareness of the factors in play in the dialogue that takes place between the museum and its visitors.

Figure 5.160 Playing a touch screen based game in the exhibition room (source: semanticscholar.org) accessed on 30/06/19 (15:41)



It

offers

to

communicate

condensed knowledge, difficultly delivered through text or still

images.

5.2.2 3d Projection Mapping 

Projection mapping can turn the architecture



into

a

canvas

for

artworks or data visualisation.

The right balance between spectacle, narratives and content as yet to be found, but there’s a great potential here

to

offer

a

unique

new

perspective on the architecture that hosts the museums.

Figure 5.161 3d project inside a gallery (source: googleimages.com) accessed on 30/06/19 (16:07)



Projection mapping technology can help to innovate curatorial practices such as working in a non-destructive way with the museum collections. It can also improve visitor engagement in the museum by creating interactive and immersive activities in the gallery spaces.



3D projection in Dande kutir museum uses for show Gandhiji life story and also uses to highlight its architectural structure.

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

Visitors sits on the landscape area

and

watch

Gandhiji

timeline and It improve visitor engagement in the museum by creating

interactive

and

immersive activities in the Figure 5.162 3D projection mapping done in façade of Dande kutir museum (source:googleimages.com) accessed on 07/07/19 (15:29)

gallery spaces.

5.2.3 Virtual Reality  Virtual reality, which utilizes special head gear to create the effects, can transport visitors to places they could never reach, like inside the human body or the bottom of the 

sea.

Museums

aim

to

bring

collections to life and VR is an excellent tool for this. It offers a different experience – that of total emersion in an Figure 5.163 A user experiencing artefacts through VR (source: advisor.museumsandheritage.com) accessed on 30/06/19 (16:26)

exhibit.



It can help curators to put objects in context and show their true scale. VR is being used



to make exhibits interactive, and to bring scenes to life.

Visitors experiencing active volcano that is controlled by museum educators who can dial down or fire up the levels of gas and lava in Auckland Museum, New Zealand.

122



It

helps

in

understanding

the

theme,

it

creates

curiosity in visitors to Figure 5.164 Visitor experiencing volcanic explosion through Virtual reality in Auckland museum (source: aucklandmuseum.com) accessed on 07/07/19 (16:41)

explore more and it

gives the live feeling.

5.2.4 Robotics

Figure 5.165 Roboguide guiding a visitor in Museum of the Great War museum (source: nytimes.com) accessed on 07/07/19 (17:01)



“Telepresence robots” screens mounted on two long poles on wheels use videoconferencing technology similar to Skype to connect visitors to expert information not quite available from a tour guide.

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

The American Museum of Natural History tried it out recently at a special event inside its Northwest Coast Indians Hall to beam an indigenous member of the remote Haida Gwaii

 

community into the museum to talk with visitors.

Telepresence robots are used in Museum of the Great War in Meaux, France.

The Roboguide has screen mounted on it which provide information by voice control in it, Museums have two types of Robot, moving robot which guide visitor and move with them and standing one at every displays

5.2.5 Beacons

Figure 5.166 Visitor got information on his tablet by Beacons in National Slate Museum, Wales (source: blog.beaconstac.com) accessed on 07/07/19 (17:23)



Beacon technology has gathered a lot of attention in the museum sector. Beacons are a



location-based technology in the form of small wireless sensor.

When a visitor walks in proximity of a beacon with their Bluetooth-enabled devices like a smart phone, the beacon automatically sends messages and content to the visitors’ devices.

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

Art beezen, the first “beaconized” art exhibition, opened in Germany on October 2014



and placed beacons at the center of the visitor experience.

This exhibition offered a creative way for museums to push relevant information to



audiences while creating a unique digital experience.

National slate museum uses Beacons which is a location-based technology in the form of



small wireless sensor.

It is the first national museum in the world to install beacons, that enable visitors to



discover more about collections as they walk around a site.

The museum is attempting to incorporate specific elements of digital heritage such as learning, interpretation which help to brought content direct to the visitors mobile or tablet.

5.2.6 3d Scanning 

3D scanners transformed into

non-contact,

non-

destructive devices that use lasers to collect data points for objects. 3D scanning captures an object’s exact shape and size as a digital 3D file, which can be manipulated

on

the

computer or exported out 

as a 3D reproduction.

Museums are starting to use 3D scanning in their education and accessibility

departments.

Figure 5.167 Scanning a artefact (source:heritage-thinglab.com) accessed on 30/06/19 (16:55)

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5.2.7 Augmented Reality 

Augmented reality is the process

of

using

technology

to

superimpose images, text or sounds on top of what a person can already see.

It uses a smartphone or tablet to alter the existing 

picture, via an app.

The user stands in front of a scene and holds up their device. It will show

Figure 5.168 Experiencing a Giraffe inside the gallery (source: okcfox.com) accessed on 30/06/19 (17:14)

them an altered version

of reality.



By pointing the device at certain sculptures, paintings and artefacts, you can learn more about them. Pop-up snippets of information, detailed descriptions and additional photographs of the objects are just a few of the features included to aid further learning.

126

Figure 5.169 Visitor experiencing Dinosaur created by Augmented Reality in Swedish national museum of science and technology, Stockholm, Sweden (source:indestry.com) accessed on 07/07/19 (17:44)



The use of AR is now widely used to exhibit different activities, one of the example of



AR is Swedish national museum, Stockholm, Sweden.

The custom dinosaur-themed AR experience created in national museum of science and technology is bringing extinct creatures to life in an entirely new way, allowing people to learn about them, recreating situations and environments that train, educate, inform and entertain by experiencing them first-hand.

5.2.8 Conclusion Audio-visual is the state of art is which is used in contemporary museum all over the world. In India technologies like Virtual reality, Audio-visual, augmented reality and 3d project mapping is being used in some museums. It creates interactive experience for visitors throughout the museum. So these technologies can be used in the proposed Narratorium project.

5.3 LIGHTING Museum lighting is a very important aspect in the display of objects. The purpose of museum lighting is to illuminate the objects and to fulfil the physiological and psychological needs.

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Dramatic variation in light levels from exhibit to exhibit, or from exterior to interior, can affect a visitor ability to appreciate artwork because the humans eye requires several minutes to adjust to large changes in light levels. Sharply contrasting light levels between a bright entry and a dark gallery can be very disturbing and potentially.

5.3.1 MUESUM LIGHTING The elements of exhibit lighting match the three goals of any museum:

MUSEUM LIGHTING

Figure 5.170Elements of exhibit lighting

Presentation- Showing the true beauty of art and historic artefacts

Figure 5.38 Light focused on painting (source: en.lyon-france.com) accessed on 19/07/19 (20:11)

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Preservation – Protecting exhibits from fading and damage

Figure 5.39 Preservation of Dinosaur skeleton (source: spnhc.orgen.lyon-france.com) accessed on 19/07/19 (20:14)

Conservation- Conservation energy, resources, manpower and funds 5.3.2 Types of Museum Lighting MUSEUM LIGHTING

5.4.2.a NATURAL LIGHTING

5.4.2.b ARTIFICIAL LIGHTING

5.3.2.a Natural lighting Natural lighting is achieved through the use of atriums and cut out spaces especially north lighting. It plays a major role in museum construction and design.

TYPES OF NATURAL LIGHTING

5.4.2.a.i TOP LIGHTING

5.4.2.a.ii LATERAL LIGHTING

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Figure 5.171Plans and Section showing various natural light arrangements (source: ndir.ir.com) accessed on 13/07/19 (22:05)

5.3.2.a.i Top lighting It provides free supply of light there is no lateral obstruction. This light gives brightness to the floor and the visitors.

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Types of top lighting are Skylight, Atriums, Roof monitors.

Figure 5.172Section showing raised roof monitors (source: en.licht.de.com) accessed on 13/07/19 (22:21)

Figure 5.173Section showing saw tooth roof monitors (source: en.licht.de.com) accessed on 13/07/19 (22:24)

Figure 5.43 Dome skylight in the centre of Guggenhiem museum, New York (source:cntraveller.com) accessed on 14/07/19 (00:31)

5.3.2.a.ii Lateral lighting It can be provided by placing windows on the sidewalks of a gallery. Big windows from floor to ceiling at the end or corner of the long walls give good lighting for wall mounted objects such as paintings. These lights give enough wall space for exhibitions.

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Figure 5.174Section showing side lighting (source: en.licht.de.com) accessed on 13/07/19 (22:29) Figure 5.175Section showing normal opening, shadow on wall (source: en.licht.de.com) accessed on 13/07/19 (22:29) Figure 5.176Section showing favourable lighting from north (source: en.licht.de.com) accessed on 13/07/19 (22:31)

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Figure 5.177Natural light through window on exterior (source:dailyreporter.com) accessed on 14/07/19 (00:45) Figure 5.48 Skylight in the galleries (source:timeout.com) accessed on 14/07/19 (00:39)

Types of lateral lighting are: Vertical windows Horizontal window Clerestory Window Window wall

Figure 5.178 Vertical windows for natural light (source: en.licht.de.com) accessed on 13/07/19 (22:38) Figure 5.179 Clerestory windows for natural light (source: en.licht.de.com) accessed on 13/07/19 (22:39)

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Figure 5.180Horizontal windows for natural light (source: en.licht.de.com) accessed on 13/07/19 (22:44) Figure 5.181Windows wall for natural light (source: en.licht.de.com) accessed on 13/07/19 (22:41)

5.3.2.b Artificial lighting

TYPES OF ARTIFICIAL LIGHTING 5.4.2.b.i DIFFUSE LIGHTING

5.4.2.b.i DIRECTIONAL LIGHTING

5.3.2.b.i Directional lighting In directional lighting the light falls directly onto the object illuminated at an angle and it enhance the visual impact of three dimensional surfaces.

134

Figure 5.182Directional lighting in a gallery (source: googleimages.com) accessed on 13/07/19 (23:05)

5.3.2.b.i.a Spotlight Spotlight are spotted on the objects to highlight them. They are adjustable.

Spotlights are good for sculptures and they should be avoided in the case of delicate objects like paintings, textiles, paper objects etc., as they produce heat.

Figure 5.183Spot light diagram (source: en.licht.de.com and author) accessed on 13/07/19 (23:16)

5.3.2.b.i Diffuse lighting

Figure 5.54 Spot light used in Bihar museum (source: author)

It radiates lights in all directions, lighting produces little or no shadowing.

135

Figure 5.184 Diffuse lighting in a gallery (source: eer8ja.wordpress.com) accessed on 13/07/19 (23:22)

Luminous ceilings (diffuse/directional) .

The idea of luminous ceiling stems from a desire to imitate daylight, it diffuse with an opal enclosure, partly directional with textural glass. It is suitable for interiors with six metre ceilings or higher.

Figure 5.57 Luminous ceiling in a gallery (source: pinterest.com) accessed on 13/07/19 (23:30)

Indirect luminaries (diffuse)

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Similar to that of a luminous ceiling is achieved with indirect light bounced off the ceiling and upper wall surfaces into the room.

Figure 5.58 Indirect luminaries in a gallery (source: pinterest.com) accessed on 13/07/19 (23:37)

Cove luminaries (diffuse) Cove lighting is a concealed light source; this lights gives uniform light by reflecting the lights to the ceiling. It is installed in the curving transition between wall and ceiling.

Figure 5.59 Cove luminaries in a gallery (source:archdaily.com) accessed on 13/07/19 (23:43)

137

Figure 5.60 Cove light highlighting the background in Guggenheim Museum, New York (source:artefuse.com) accessed on 14/07/19 (00:51)

Wall washers

It brings attention to walls that contain art and also bring drama and effect to art.

Figure 5.61 wall washers highlighting the wall

5.3.3 Lighting (source: buckford.com.au) accessed on 13/07/19 (23:51) technique for 2D object

Figure 5.185 Spot light focussing on paintings (source: blog.1000bulbs.com) accessed on 29/07/19 (20:15) Figure 5.186 Light focussed on a painting

138

(source: en.licht.de.com) accessed on 13/07/19 (23:59)

Figure 5.187 Image showing adjustment of light on a painting (source: en.licht.de.com) accessed on 13/07/19 (23:59)

Figure 5.188 Image showing angle and reflection of light on paintings (source: en.licht.de.com) accessed on 14/07/19 (00:05)

5.3.4 Lighting technique for 3D object

139

Figure 5.189 Image showing angle and reflection of light on sculpture (source: en.licht.de.com) accessed on 14/07/19 (00:11)

Figure 5.190 Image showing adjustment of light on paintings (source: en.licht.de.com) accessed on 14/07/19 (00:07)

Figure 5.191Light focussed on a sculpture (source: en.licht.de.com) accessed on 14/07/19 (00:12) Figure 5.192 Spot light focussing on sculptures (source: artfromus.in) accessed on 29/07/19 (20:12)

140

Figure 5.193 Image showing angle and adjustments of light on a sculpture (source: en.licht.de.com) accessed on 14/07/19 (00:17)

5.3.5 Case Study on lighting of Nehru centre, Mumbai INTRODUCTION Architect: I M Kadri Year of Completion: 1985 Building type: Memorial Building Style: Contemporary Style Plans

141

Figure 5.194 Plan showing arrangements of lights (source: author)

GROUND FLOOR PLAN

142

Figure 5.195 Ceiling flushed LED and spot light in galleries (source: author) Figure 5.196 Natural light through skylight and halogens used in night (source: author)

Figure 5.197 Tube lights and suspended LED in cafeteria (source: author) Figure 5.198 Suspended Led lights provided in stairs area (source: author)

143

Figure 5.199 First floor plan showing arrangements of lights (source: author)

FIRST FLOOR PLAN

Figure 5.200 Led lights are provided in library at 1.5m c/c (source: author) Figure 5.201 4 combined halogen light set used in museum area (source: author) Figure 5.202 Tube lights provided in book storage area at 2m c/c (source: author)

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5.3.6 Conclusion Lighting creates visual experiences in any exhibition, it helps modulate and accentuate the visual landscape, it enhances the impact of the items on display. Lighting for exhibition rooms in museums is made up of diffuse and directional light. The relative amounts and resulting mix of the two types of light determines the harshness of the shadows cast by picture frames and the three dimensional impact of sculptures and spatial objects. Natural light is used as much as it is required in different spaces and directional can be used for spotting artefacts, paintings, sculptures etc. and diffuse light like luminous ceilings, Cove luminaries, wall washers should be used in order to have proper luminous inside that space.

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5.4 FIRE SAFETY Fire is another highly destructive, which completely destroys objects such as organic and inorganic objects. Even metallic objects like lead also be damaged. Fire safety is an important aspect to be cared for.

5.4.1 Cause of Fire Fire in a museum can occur due to various factors. They are

Causes

Electrical and mechanical factors

Chemical factors

Human factors

5.4.1.a Electrical and mechanical factors Electrical installation, electrical fittings, defective air coolers, air conditions, exhaust fans etc., are the main reasons for the break out of fire in museums. In order to overcome this problem substandard materials should never be used and the wiring should be renewed from time to time.

Over loading of the wire should be avoided.

5.4.1.b Chemical factors Museums have conservation laboratories or other biological sections where chemical are used for the conservation work. Sometime while painting of the galleries is done paintings and other flammable chemicals are used. The negligence in their use causes fire in the gallery.

5.4.1.c Human factors Human factors are creating a lot of problems as far as fire breaking is concerned. Some factors are Smoking, Open fire, Equipment, Use of flammable materials etc.

146

5.4.2 Principles of Fire Extinction

ELEMENTS

Heat to raise the material to its ignition temperature

Fuel to support combustion

Oxygen to sustain combustion

5.4.3 The fundamental principles to prevent fire are:

PRINCIPLES

Prevention of fire from starting

Fire detection no sooner it starts

Fire extinction at the earliest without causing any harm to the objects.

5.4.4 Standards for protection against fire 

The museum building must be designed or adapted to minimise the risk of fire and to prevent its spread.



Areas housing collections must be rigorously insulated to a high standard from fire spread from areas of risk. The degree of risk from risk areas must be reduced as much as possible.



All electrical wiring and equipment must be installed in accordance with the electricity at work regulations and must be regularly maintained and checked.



The fire officer’s advice must be sought on the selection of all materials used in display and storage areas. All materials should be fire retardants.



Fireproof cabinets must be provided to house the museum documents and records.

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5.4.5 Extinguishing systems in the museum The most appropriate automatic extinguishing systems for museums depend to a large extent on the application.

5.4.5.a In general exhibition areas 5.4.5.a.i Sprinkle system Sprinkler systems are common in modern purpose-built museums and are required by local building regulations in many countries. The installation of sprinkler systems in historical buildings and museums, however, is somewhat disapproved upon for a number of reasons. the advantages are considerable as sprinklers are very effective in preventing a fire from spreading to other areas of a building. Any water damage caused by a sprinkler system is very limited as over 80% of all fires can be controlled by only 1 or 2 sprinklers.

In this way an incipient stage fire can be suppressed at its source as only those sprinklers in the immediate vicinity of the fire will be activated, minimizing any unnecessary water damage.

Figure 5.203 Water Sprinkler (source: googleimages.com) accessed on 19/07/19 (19:15)

5.4.5.a.ii Water mist systems An emerging fire-sprinkler technology which shows great promise particularly for sensitive applications is the use of water mist. A fine water vapour is generated by delivering water to the

148

specially designed sprinkler heads at very high pressures. This maximizes the cooling effect of the water, enabling fires to be extinguished with minimal amounts of water.

Figure 5.204 Water mist system (source: googleimages.com) accessed on 19/07/19 (19:24)

5.4.5.b In archives, closed storage vaults and electrical plant rooms 5.4.5.b.i Gas extinguishing systems This system may be appropriate in modern dedicated museums, which have sensitive enclosed archives, computer rooms, or similar electrical equipment facilities. The main application area for gas extinguishing systems is the protection of closed rooms. They are particularly suitable for rooms that contain sensitive objects or equipment where water cannot be used.

The gas will only be released after a predefined delay has given people sufficient time to evacuate the area. The extinguishing gas will then be released and a homogenous concentration is quickly built up throughout the room. To completely extinguish the fire, this concentration must be maintained over a sufficiently long period of time.

149

Figure 5.205 Water mist system (source:fdia.co.zas.com) accessed on 19/07/19 (19:35)

5.4.5.b.ii Gas/water-combined systems This is an alternative to the pure gas systems can be provided by proprietary systems using a combination of gas and water mist. Releasing additional N2 gas into a closed room, where an embryonic fire has been detected, effectively reduces the oxygen concentration in the room and extinguishes the fire, while the water mist cools the combustible material and prevents reignition.

Such systems provide an excellent solution for archives, as they combine the following major advantages:   

They ensure that incipient fires are extinguished rapidly and reliably.

They prevent re-ignition.

They create no irreversible damage to the artefacts stored in the archive.

5.4.6 Fire Extinguishing in Archives area A system employing a combination of gas and water mist can provide an effective solution for archives and storage vaults, in which documents, manuscripts, books or paintings are stored.

The high concentration of flammable and very valuable artefacts implies that any incipient fire must be detected as early as possible and effectively suppressed, without the extinguished agent used causing any further damage to the stored objects. Aspirating smoke detection systems

150

(ASD) are able to detect even the smallest aerosol concentrations and offer the ideal solution for fire detection in archives and storage vaults.

5.4.7 Case study of Fire Extinguishing in Nehru Centre, Mumbai INTRODUCTION Architect: I M Kadri Year of Completion: 1985 Building type: Memorial

Figure 5.206Plan showing arrangements of fire extinguishers (source: author)

GROUND FLOOR PLAN

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Figure 5.207 Fire duct with hose reel (source: author) Figure 5.208 Manual Fire extinguisher (source: author) Figure 5.209 Fire alarm system (source: author)

Figure 5.210 First floor plan showing arrangements fire extinguishers (source: author)

FIRST FLOOR PLAN

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Figure 5.211 Beak glass in book storage (source: author) Figure 5.212 Alarm system in library (source: author)

5.4.8 NBC of fire  No exit doorway shall be less than 1 000 mm in width except assembly buildings, where door width shall be not less than 2 000 mm. Doorways shall be not less than 2 000 mm in height. 

Refuge area to be provided on the floor at or immediately above 18 m shall be not less than 10 percent of gross area of floor. Next refuge area to be at/on the floor immediately above 24 m. The refuge area shall be 10 percent of the respective floor, which may be divided into two or more separate refuge areas at each of the respective floors, with each being not less than 100 m2.

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Areas in substation shall not be used as storage/dump areas or for other utility purposes other than those required for the functioning of the substation.

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The exit, exit access and exit discharge systems shall be illuminated continuously. The floors of the means of egress shall be illuminated at all points, including angles and intersections, in corridors and passageways, stairwells, landings of stairwells and exit.

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The minimum required number of exits in a building shall be determined based on occupant load.

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Every exit doorway shall open into an enclosed stairway or a horizontal exit of a corridor or passageway providing continuous and protected means of egress.

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5.4.9 Conclusion Fire fighting in museum is difference from other buildings firefighting because it has artefacts and other objects which is priceless so any fire extinguishers can’t be used at any spaces in museum. The research provides proper fire extinguishers method which should be relevant in which space in a museum. Gas extinguish system and water-mist system should be relevant to the museum building.

5.5 AIR CONDITIONING Air-conditioning, the control of temperature, humidity, purity, and motion of air in an enclosed space, independent of outside conditions.

5.5.1 Ventilation in Museum The ventilation in museums needs to fulfil several tasks, including providing fresh air for visitors, employees and researcher while simultaneously preventing dust infiltration and regulating the humidity and the long-term safety and preservation of the collections.

The quality of the air in the museum will also affect preservation. Particulates are often abrasive and may permanently soil collections. Particulates increase user discomfort and increase maintenance costs. Gaseous contaminants, such as oxides of nitrogen and sulphur dioxide can attack organic materials by conversion to acids, while ozone is a powerful oxidant, breaking apart every carbon double bond, severely damaging all organic material. Other gaseous pollutants, such as formaldehyde, may be off-gassing from storage cabinets or glues in the museum.

5.5.1.a Separating heating and cooling functions from the ventilation

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Air-conditioning ventilation systems that exclusively heat and humidify rooms using just the air may require up to 4.5 times the number of air changes. This results in large duct cross-sections and high costs. Heat and moisture recovery or air re-circulation in the air-conditioning system can reduce the necessary fresh air rate required. As far as possible, these days’ designers try to avoid conditioning exhibition spaces by exclusively using ventilation or air-conditioning systems and instead supplement the building services technology with wall or surface heating and cooling systems that cover the base load for the heating and cooling requirements.

Decentralised air-to-air systems are ideal for retrofitting museum buildings. Frequently, it is possible to add fresh air to the circulating air. This enables the air exchange rate to be reduced to the minimum required for health and air quality purposes.

5.5.1.b Museums without air-conditioning Buildings without air-conditioning systems, for example castles or palaces, are naturally ventilated through windows and gaps. Such massive buildings that are only heated can achieve fairly stable indoor temperatures. Open wall, ceiling and floor surfaces which contain moisture (e.g. wallpaper, unsealed wood surfaces, cement plaster) provide a buffer against humidity peaks.

A combination of thermally inert, dense buildings and functional wall containing moisture surfaces therefore provides a good basis for the minimum use of systems technology. However, with larger visitor numbers and a greater need to achieve a constant indoor environment, restrictions are then necessary such as limiting the number of people or opening times, as pollutants or moisture loads cannot be discharged in a targeted manner.

5.5.2 Thermal-hygrometric parameters in the museums The interaction between the museum and the outside environment, if not opportunely controlled, can make faster the processes of deterioration, often irreversible, of both the building envelope and the artworks kept in it. The principal risks are degradation phenomena, such as physical mechanisms (changes of size and form of objects), chemical reactions, biological mechanisms (proliferation of micro-organisms).

In general, it is possible to identify the following criteria: 155



If an object is in a favourable microclimate and there are not degradation processes acting, the object must be kept in such environmental conditions;

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The original microclimate can be improved removing or attenuating the perturbing causes, such as day cycles, fluctuations, quick transitions

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If absolutely necessary, the microclimate of an object must be changed on the basis of specific studies and the transition to the new conditions must be very slow;

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In absence of knowledge of the precedent history of an object, the choice of the microclimate has to be made on the basis of its chemical-physical characteristics.

For the museum air-conditioning, the recommended thermal-hygrometric parameters for the conservation of the various materials have the priority on the human comfort and are stricter as regards both RH and T. 5.5.3 HVAC system design for the museums Heating, Ventilation, and Air Conditioning (HVAC) is a frequently troublesome area of preservation. Architects often fail to understand the importance of a preservation quality HVAC system, instead specifying units that are better suited to commercial construction. Museum curators often don't know how to describe correctly what it is they need, or what the problems are with the current system. The importance of the environment in which collections are stored should be clearly realized. For example, for every 14° F rise in temperature the deterioration rate of paper doubles.

The conservation of the works requires stable conditions above all in the rooms for temporary exposures, where strong insurance ties imposed by the proprietary of the works exist, and in the stocks. The HVAC system must guarantee the control of the transient phenomena, the ambient microclimatic control (T and RH), the integration of the technology in the building structure.

All-air systems are generally preferred: a centralised air-handling unit keeps filtration, dehumidification, humidification, maintenance, and monitoring away from the collection.

5.5.3.a Air-water systems 156

This system is rarely used for exhibition rooms, since they do not allow the handling of the load changes with sufficient quickness and the control of the polluting ones near the artworks; they can be used for foyer, bar and offices.

Figure 5.213 Air-water system diagram (source: learnpick.in) accessed on 15/07/19 (20:11)

5.5.3.b All air systems This system allows a stricter control of T, RH and pollutant concentration. avoid water pipes in the exhibition space which involve the risk of damaging the artworks in case of break.

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Figure 5.214 All Air system diagram (source: learnpick.in) accessed on 15/07/19 (20:26)

5.5.3.c Multi-zone air handling unit This system has zone reheat and humidification can be a stable and relatively energy-efficient solution. With proper layout and equipment, a multi-zone system can reduce the amount of reheat and can be very energy-efficient.

Figure 5.215 Multi-zone air handling unit diagram (source: learnpick.in) accessed on 15/07/19 (20:41)

5.5.3.d Adsorption dehumidification systems 158

This system allows the reduction of the humidity also when the required dew point temperature is very low; so an easier handling of high latent loads is obtained. These systems are better as regards hygienic characteristics because the absence of condensed water strongly reduces the presence of bacteria, fungi and microbes. Absorption dehumidification systems, instead, should be avoided, because of the potential risk of acid particles (i.e. chlorine solutions) or drops released in the air flow, with consequent damaging risk for the collections.

Figure 5.216 Multi-zone air handling unit diagram (source: learnpick.in) accessed on 15/07/19 (20:57)

5.5.3.e Outside air Because the goal is the strict control of the ambient microclimatic parameters, excessive amounts of outside air can be economically problematic. Even when free-cooling is convenient, outside air can introduce particles and gaseous pollution. So, outside air must be the minimum amount required to provide fresh air for occupants and to pressurize collection spaces.

5.5.3.f Air distribution High, monumental spaces are prone to thermal stratification; if this risk is real for collections, then appropriate return and supply air points may be required to ensure air motion across the entire space. Supply air should not blow directly onto collections.

5.5.3.g Conclusion

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Ventilation in museum not only provide comfortability to the visitors or employees but it helps the artefacts or objects to be preserved in their required temperature. In order to provide mechanical ventilation, the temperature of every gallery are not same it differ by the artefacts placed in it in order to preserve it. It helps in designing the space, where there should be natural or artificial ventilation.

Adsorption dehumidification systems can be used in the proposed Narratorium in order to maintain Thermal-hygrometric parameters and multi zone air handling unit can be used.

5.6 CIRCULATION

Orientation of visitors is a crucial issue in museums. The emphasis is given to the first time visitors because being unfamiliar with the environment can cause them to become disoriented when there is lack of orientation information and of direction to galleries or rooms and their contents. This situation firstly affects their performances, such as resulting in the decrement of interest in exhibits, called museum fatigue and secondly, causes unnoticed missed exhibits and exhibit galleries. 

Don’t design the multiple choice points where have to make choices or where they will



exit the exhibition without giving attention to all of the exhibit elements.

Avoid designing two sided exhibitions where exhibits on one side compete with those on the others.

5.6.1 Circulation in museums

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Figure 5.217 Circulation diagram of a museum

5.6.2 Designing of circulation spaces 

The corridors should be wide.

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Figure 5.218 Single and double side display corridors

 

Corridors should be able to easily handle two-way traffic.

Break up corridor lengths. This will reduce travel time and also discourage kids from running through the halls.

Figure 5.219 Breakup corridor in between long corridors

 

Keep corridors a consistent width. Corridors that expand and contract create bottlenecks.

Consider rounding or angling corners so there is a sight line to the intersecting corridor.

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Figure 5.220 Bottle neck corridor

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Figure 5.221 Angling of corridors

Blind corners can be a hazard. People who walk at a fast pace or turn corners quickly do not see the traffic in the intersecting hallway.

Figure 5.222 Blind corners of a gallery



This can lead to congestion, bumping, collisions and altercations.

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5.6.2.a Configuration of the path This refers to the path of movement from a starting point. In any building, the configuration of the path is determined by a subset of conditions, such as the overall shape of the pathway, the volume of space allotted to the path and organisational pattern of the spaces it links.

In the context of the museum architecture, the configuration of the pathway is very important in the overall design since it is intrinsic to the movement of the visitors through the exhibit areas that constitute much of the building.

Figure 5.223 Linear configuration of path (source:slideshare.net) accessed on 19/07/19 (22:37)

Figure 5.224 Axial configuration of path (source: slideshare.net) accessed on 19/07/19 (22:41)

Figure 5.225 Grid configuration of path (source: slideshare.net) accessed on 19/07/19 (22:44)

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5.6.2.b Form of the circulation space This is about the pathways for movement are integrated into spatial organisation of a building.

Here the overall form and scale of the circulation space are considered. A circulation space may be enclosed, open on one side or open on both side. It can be narrowed to encourage forward motion or widened to accommodate more traffic or create spaces for passing.

Vertical circulation is also part of the form of the circulation space that affects movement in a building. Both the location of the stairway and its width and slope have to be considered within the overall design because they effect the visitor’s perception of space.

Figure 5.226 Circulation in guggenheim museum, Newyork (source:bustler.net) accessed on 19/07/19 (23:01)

Figure 5.227 New Acropolis museum (source: theacropolismuseum.gr.com) accessed on 20/07/19 (00:38)

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Figure 5.228 Circulation pattern of acropolis museum (source: theacropolismuseum.gr.com) accessed on 20/07/19 (00:42)

5.6.2.c Arrangement of Galleries space

Figure 5.229 Different arrangement of galleries space

5.6.3 Component of Circulation 5.6.3.a Approach It involves the distant view prior to entering the building, preparing the visitor for the experience of the spaces within the museum.

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Historic Museum

Figure 5.230 CSMVS, Mumbai

Figure 5.231 Bhau daji Lad Museum, Mumbai

Modern Museum

Figure 5.232 Guggenheim museum, New york (source- artstor.com) accessed on 01/08/19(13:24) Figure 5.233 Edo Tokyo museum (source- goodies-japan.co) accessed on 01/08/19(13:21)

Contemporary Museum

Figure 5.234 Porshe museum, Germany (source- christianklugmann.com) accessed on 01/08/19 (13:35) Figure 5.235 Guggenheim Museum, Bilbao (source- inhabitat.com) accessed on 01/08/19 (13:32)

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5.6.3.b Entrance It is place where visitor goes from the exterior to the interior. While its utilitarian purpose is obvious, the psychological function of the entrance to any building is more subtle yet very important and can be conveyed by a number of architecture manipulations. Museums entrance are usually highlighted by eye-catching decorative or structural components. In traditionally, the entrances are grand and colonnaded to signify the formality pf a cultural institution and in modern museums special effects associated with the entrance have served as a preview of what the visitor can expect within.

Historic Museum

Figure 5.236 Portland Harbor Museum (source- seahistory.org) accessed on 01/08/19 (13:47) Figure 5.237 Natural History Museum, London (source- nhm.ac.uk) accessed on 01/08/19 (13:43)

Modern Museum

Figure 5.238 Modern Art Museum, Japan (source- japaneseminimalism3.wordpress.com) accessed on 01/08/19 (13:51) Figure 5.239 Oakland Museum, California (source- archello.com) accessed on 01/08/19 (13:50)

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Contemporary Museum

Figure 5.240 Porshe museum, Germany (source- christianklugmann.com) accessed on 01/08/19 (13:58) Figure 5.241 Petersen Automotive Museum - Los Angeles (source- pinterest.com) accessed on 01/08/19 (13:55)

5.6.4 Path/Space relationship  The relationship between the path and space in a building can be linked in three different ways.  The path passes by the spaces, ensuring the integrity of each space. In museums, this is 

exemplified by the typical enfilade arrangement where long corridors open into galleries.

The path passes through spaces. In turn the intervening of spaces trespassed creates pattern of rest and movement. This is also frequently encountered in a museum setting as an intervening space between exhibit areas serving a variety of purposes e.g. reading



rooms, sales stations.

The path terminates in a space, often as a way of emphasizing the importance of the final destination.

Figure 5.242 Relation of path and space, Toledo Museum Of Art (source:archdaily.com) accessed on 19/07/19 (22:53)

5.6.5 Common Circulation plan of galleries 169

Chain – The main is to allow visitors to navigate in regard to their interest in displayed exhibit

Figure 5.243 Chain Circulation (source: thesis.bilkent.edu.tr) accessed on 19/07/19 (23:22)

Window – From the central point, visitors are allowed to move towards the rooms according to their interests.

Figure 5.244 Window Circulation (source: thesis.bilkent.edu.tr) accessed on 19/07/19 (23:25)

Central- Designing the collection in the center, the aim is to allow visitors to see it from different viewpoints.

Figure 5.245 Central Circulation (source: thesis.bilkent.edu.tr) accessed on 19/07/19 (23:31)

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Block- It provides navigation voluntarily and in a random fashion.

Figure 5.246 Block Circulation (source: thesis.bilkent.edu.tr) accessed on 19/07/19 (23:38)

Brush- The main aim is to allow visitors to move through the rooms voluntarily

Figure 5.247 Brush Circulation (source: thesis.bilkent.edu.tr) accessed on 19/07/19 (23:44)

5.6.6 Jewish Museum, Berlin, Germany 171

Figure 5.248 Jewish museum (source: theacropolismuseum.gr.com) accessed on 20/07/19 (00:38)

Figure 5.249 Underground circulation plan (source: issuu.com) accessed on 20/07/19 (01:07)

Figure 5.250 First floor circulation plan (source: issuu.com) accessed on 20/07/19 (01:10)

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Figure 5.251 Second floor circulation plan (source: : issuu.com) accessed on 20/07/19 (01:14)

Figure 5.252 Third floor circulation plan (source: : issuu.com) accessed on 20/07/19 (01:17)

Figure 5.253 Fourth floor circulation plan (source: issuu.com) accessed on 20/07/19 (01:20)

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5.6.7 Conclusion The design should be in that way that there is an effective wayfinding which is important so that visitors can move through the museum in an efficient manner, so that visitors do not fatigue easily, and so that visitors may concentrate on enjoying their experience rather than spending unnecessary time finding their way. The museum should be design according to occupancy and standards which helps in proper circulation and arrangements of different spaces.

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5.7. Words by Curator (Ragini Megmalhar, Assistant Curator of Csmvs, Mumbai)

The title of curator is broadly used in the museum field. Traditionally it was defined as a keeper or caretaker of collections or cultural material. While the term curator has come to be associated with any number of activities, I personally prefer to think of the word as being synonymous with caretaker, as in someone who manages both the physical care and intellectual use of a select group of things. We don’t deal with the crowd.

Every month there is numbers of Exhibitions done in the museums. We manage it from the idea or concept of the exhibition to the layout and how the display will be done.

Museum have departments like Curatorial Affairs, Education and Research Support, Exhibitions and Collection Support, External Affairs, Administrative Departments, Retail and it have spaces like Permanent galleries, Temporary galleries, Exhibitions area, Library etc. it depends on the museums what they display.

Museum curators locate and evaluate potential artefact acquisitions. we may find desired artefacts in the hands of individual collectors, antique dealers or auction houses. We do background research on artefacts before purchase to make sure that the artefacts are authentic and in good condition and display artefacts according to the galleries and interest of the visitors.

We have only 4% of our artefacts in display and others are in storage.

The display depends according to the artefacts which are to be displayed, like for small paintings we can we can put it at any angle and it can be only displayed on a table or plinth raise but for the large size we have to put it on little depth to create proper vision. For a conservative object it is placed inside glass for security and preservation reasons. We have plinth raise, hanging type, Table display, wall mount etc. as display method.

Museums have a conservation team who monitors the artefacts on regular basis, they clean the artefacts daily, they done light monitoring (checks lux level), any materials used is to be conservative approved.

There is a Director, who runs the museum and he manages the all administrative works.

Curator- A keeper or caretaker of collections or cultural material.

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Conservator- They strive to maintain the integrity of each work of art throughout its

life,

whenever it is handled, stored, displayed, or shipped to other locations for exhibitions and there is Educator, Exhibit people, Building maintenance, Guide, Registrar, Guard etc.

In month wise October to February and from April to May is the peak time, Average of 3000 visitor’s/day visits weekly. We have 300 staffs in total. Its same in terms of hour but there is more footfall on weekends.

People reaction to the display of different age depends on their interest.

Csmvs have audio guide for the visitors in our Museum and yes there is lot of technology which comes, young generations enjoy with technology and spend time with it and its been easy for us to educate people to their culture and history. We are planning to have more technologies in our museum.

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5.8 CONCLUSION

The study helped in understanding the different methods of displays which is practiced in museums according to the different displayed items, new technologies which emerged and becoming state of art in museums which create the spaces more interactive and attractive and helps the visitors to understand the objective of the display or artefacts.

The use of proper light according to the displays and it helped me to understand the effect of light on artefacts which reacts according to light and amount of lux to be provided in the space and the distance of the light source from the objects.

Different display or artefacts requires different temperatures so the air conditioning of the spaces should be designed in that way so it cater according to it and it also depend upon the volume of the space and the thermal hygrometric parameters and it helped to understand the proper fire extinguishing system and material which should be used in the museum.

The study helped to understand that there are consistent patterns people use to move through public spaces. If spaces are designed with this knowledge, they should be more successful in providing visitors with a satisfying experience. As a general rule, visitors like to keep in visual contact with a familiar place such as the entrance lobby or a main pathway and there should be relationship in between different path and spaces.

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6.

BODHGAYA – THE CITY OF ENLIGHTMENT

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6.1 Introduction Bodhgaya is a small but internationally renowned town of immense religious and cultural significance, located in the Gaya District of Bihar, India. Its claim to fame lies in the fact that Lord Buddha attained enlightenment here more than 2500 years ago under the Bodhi tree.

Bodhgaya is thus considered as the geographical centre of the Buddhist world by followers of this faith worldwide putting it in line with other major religious centres. It has a tremendous cultural connotation, and is therefore an extremely important centre for national, as well as international tourism.

Bodhgaya also is part of Hindu mythology being related to demon Gayasur (killed by lord Vishnu) from where its partial name (Gaya) comes and Sita through Niranjana (Falgu) River, thus making it a shared culture zone.

Figure 6.254Culture of Bihar (source: dreamstime.com) accessed on 15/09/19 (16:57)

The prestige and profile of the town has grown in the recent years with the convening of the momentous Kalachakra festival and construction of monasteries by various Southeast Asian countries. Bodhgaya now occupies the undisputed position of the Regional Cultural and Tourism Centre. The establishment of monasteries here not only reaffirms its position in the Buddhist world but are also symbolic of the 2500 years long journey of the Buddhist faith, a journey which began at Bodhgaya and spread all over the world, to again come back full circle to the place of its origin from where it all began.

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6.2 History of Gaya District Gaya has experienced the rise and fall of many dynasties in the Magadh Region. From the 6 th century BC to the 18th century AD, about 2300-2400 years, Gaya has been occupying an important place in the cultural history of the region. It opened up with the Sisunaga dynasty founded by Sisunaga, who exercised power over Patna and Gaya around 600 BC. Bimbisara, fifth in line, who lived and ruled around 519 BC, had projected Gaya to the outer world. Having attained an important place in the history of civilisation, the area experienced the bliss of Gautam Buddha and Bhagwan Mahavir during the reign of Bimbisara. After a short spell of Nanda dynasty, Gaya and the entire Magadh region came under the Mayuryan rule with Ashoka (272 BC – 232 BC) embracing Buddhism. He visited Gaya and built the first temple at Bodhgaya to commemorate Prince Gautama's attainment of supreme enlightenment. The period of Hindu revivalism commenced with the coming of the Guptas during the 4th and 5th century A.D. Samudragupta of Magadha helped to bring Gaya in limelight. It was the headquarter of Behar district during the Gupta empire. Gaya then passed on to the Pala dynasty with Gopala as the ruler. It is believed that the present temple of Bodhgaya was built during the reign of Dharmapala, son of Gopala.

Gaya finds mention in the great epics, Ramayana and Mahabharata. Rama along with Sita and Lakshmana visited Gaya for offering PINDAN to their father Dasharath. In Mahabharata, the place has been identified as Gayapuri.

6.3 Bodhgaya in History The picture one gets of the city at this time is of a pilgrim place, where the monks from all over the world converged and lived peacefully, revered by the local population. Hsuan Tsang described Bodhgaya as a prosperous, flourishing town, especially when compared to Gaya, which he described as desolate. The prosperity of Bodhgaya continued in the Pala period during which kings of the dynasty and devotees from different parts of India and Ceylon put up a number of shrines and statues and a steady stream of pilgrims including many from China and Tibet flowed in. The decline of Bodhgaya began with the medieval period. The revival of the temple in the earlier period was a short lived one, due to the ransacking of eastern India by Bakhtiar Khilji in 1197 A.D. After the fall of Buddhism in Magadh, the temple was practically deserted by the Buddhists and the flow of pilgrims to Bodhgaya came to a standstill. In the late 180

1100‘s, Bodhgaya came under the regime of the Islamic Sultanate of Delhi with Muhammad Bakhtiyar Khilji invading the region. During this period, state patronage to the temple and monasteries stopped. In 1590 a Hindu Saiva Mahant, Gosain Ghamandi Giri came upon the temple and finding the place secluded and peaceful, decided to make it his permanent abode. He built a small monastery near the Great Temple. Ghamandi Giri‘s successor, Mahant Lala Giri acquired the vast land around the villages of Mastipur and Taradih that were given to him as grants by the Moghul Emperor of Delhi. Throughout the nineteenth century, those desiring to discover more about this legendary place of enlightenment visited Bodhgaya. Hamilton Buchanan was the first British officer to visit Bodhgaya in 1811. Fifty years after Buchanan‗s visit in 1861, Cunningham visited Bodhgaya. He was responsible for rediscovering the glory of the Mahabodhi temple and replanting the Bodhi Tree. In 1880‘s.Sir Ashley Eden, the Lt. Governor of Bengal appointed J.D. Beglar, one of Cunningham‘s assistants to make a thorough repair of the temple. Beglar and Cunningham accomplished the great task in 1884 with laudable care and painstaking interest. Bodhgaya at this point of time was a small cluster of villages.

However, some development started occurring near the Temple.

In 1876, the town of Gaya was linked by rail, which started changing the picture in the region as travel became easier and Bodhgaya became accessible. In the beginning of the twentieth century, the basic settlement pattern of Bodhgaya had become to define itself with the Mahabodhi Temple and the Math forming the focus. Early twentieth century saw the addition of buildings in the current archaeological area to the north. These include the Mahabodhi Vihara, a hospital and a police station. These developments and advent of large volumes of pilgrims caused the commercialization of area around the temple. Three monasteries, namely the Tibetan monastery and rest house, the Birla rest house, and the Burmese Monastery also came up in the area. The town continued to grow around the Temple area. In 1956, the Buddhist era completed 2500 years. To celebrate this historic event, a Buddha Jayanti celebrations committee was constituted and during the course of the year thousands of religious and cultural functions were held. The Bodhgaya temple too got a face-lift in 1956. This also brought in additional developments in the archaeological area by the development of water tank, the government rest house, PWD office and staff quarters. A tourist dormitory was constructed and utility services were introduced.

6.4 The Buddha 181

In the year 563 B.C. on the full moon day of Vaisakha, a young prince was born to King Sudhodana and Queen Mahamaya in the royal Lumbini grove under a Sal tree in the kingdom of Kapilvastu. During the formative years, Prince Siddhartha received his early education and was trained in warfare, but despite of all efforts of his parents to entangle him in the worldly ways of life he was often found immersed in deep thoughts regarding the suffering and miseries of humanity. At the age of sixteen he was married to Princess Yashodhara, daughter of the Koliya King Dandapani of Devadaha. When Siddhartha was 29 years, he renounced the world in search of a way that would free mankind from the cycle of suffering.

Figure 6.255 Life of Buddha (source: istockphoto.com) accessed on 15/09/19 (17:17)

In course of his wanderings, the prince came to Rajgriha. He along with five disciples of Rudraka then left Rajgriha in search of a suitable place. Their search brought them to Gayasirsa hill (Brahmayoni hill). The group then proceeded further south into Uruvila Vana, then an extensive beautiful forest stretching all around the confluence of the Nairanjana and Mohana rivers, to practice rigid penance and austerities, for six years.

On the eve of the full moon day of Vaisakha, he took his seat under the holy Ajaypala Banyan tree, Bakraur. Incidentally, Sujata, the daughter of the local chieftain, also rose early that day to make an offering of rice milk to the holy tree for the fulfillment of her desire to have a son.

Sujata on her arrival at the spot found Bodhisattva meditating under the tree and believing him to be the tree divinity she offered the golden vessel containing the rice-milk to him. Thereupon 182

Bodhisattva went to the river Nairanjana, had a bath and ate the rice-milk, which was to sustain him for the following seven weeks. The Bodhisattva after consuming the rice-milk went for a final round of meditation to a cave in the Pragbodhi hill. According to the legend, a god of the Pragbodhi Mountain warned Sakyamuni that this was not the right place for him to meditate. He was guided to another spot.

Sakyamuni found that spot about three kilometers south of Pragbodhi hill under the Pipal tree (Bodhi tree). Sakyamuni began his meditation. The same night, under the full moon of the Vaishakha (May) the noble one attained Bodhi to become Buddha, the enlightened; however, for centuries since, Buddhist devotees have journeyed to pay homage to this sacred site of enlightenment.

The Buddha now spent the first week under the Bodhi tree, the second week gazing at the Bodhi tree from the north-east (Animeshlochana act), the third in walking to and from between this point and the Bodhi tree (Dirgha chankam Act, the fourth week was spent at the Ratnaghara where he contemplated on the law of cause and effect. The fifth week was spent under the Ajapala Nyagrodha tree where he is said to have conversed with Brahma. The sixth week was spent under the Rajayatana tree. Buddha is said to have spent the seventh week at the Muchalinda tree. After this, he proceeded to Sarnath where he delivered his first sermon.

Emperor Ashoka (273-232 BC) embraced Buddhism and constructed the first temple on the sacred spot where Buddha gained Sambodhi, supreme enlightenment. After him, The Kushana kings restored the tree shrine and constructed a towered temple Chinese pilgrim Fa- Hian‘s (399409 AD) also visited during this time. Fa-Hian must have seen the present Temple about a century and a half after its erection. In 388 AD King Megha Varma constructed a monastery at Bodhgaya. Fa Hein in his travelogues has described the presence of three monasteries in Bodhgaya during the period. As per his account, Bodhgaya was a place surrounded by forests and bustling with pilgrims and a large number of shrines.

6.5 Heritage Component of the City The town of Bodhgaya has a rich historical and cultural landscape that comprises of numerous natural, built resources and archaeological sites associated with Lord Buddha, added over the years which together with the Mahabodhi temple complex constitute the sacred geography of the 183

town. The town derives its distinctness and significance from the various heritage resources associated with the life of Buddha. The built heritage resources include Buddhist and Hindu temples, archaeological mounds and excavation sites. This cultural treasure linking present with the past needs to be identified, protected and conserved for future generations. Recently, the site management plan of the world heritage site has been prepared which has detailed out known architectural resources of the area. It has also suggested that a detailed inventory of the architectural resources be prepared for the entire town, along with other strategies for heritage protection.

6.5.1 Inventory of Heritage Resources The first known inventory of architectural heritage resources was done by Heiun Tsang, a Chinese traveller. Next, Mr. Cunningham mapped out the heritage resources of the area in the 19thcentury.The state archaeology department has done work in mapping out the heritage resources of the area.

6.5.1.a Bodhi Tree Buddha attained enlightenment in Bodhgaya under the Bodhi tree. A Bo (pipal, ficusreligiosa, the tree of awakening bodhi) tree at the western side of the Bodhgaya temple is believed to be a direct descendant of the original tree under which Sakyamuni Gautama meditated and attained enlightenment. Emperor Ashoka‘s son Mahindra carried a sapling from the tree to Sri Lanka to spread Buddhism there.

Figure 6.3 Bodhi tree, Bodhgaya (source: tripadvisor.com) accessed on 15/09/19 (17:37)

6.5.1.b Mahabodhi Temple 184

The Mahabodhi temple was designated Mahabodhi Vihara by the Chinese pilgrim Hsueh Tsang who came to India in the seventh century AD. The Mahabodhi temple is an architectural amalgamation of cultures of many centuries and heritages that came to pay their homage here.

The temple dating to the fifth to sixth century is of immense importance, being one of the earliest constructions existing in the Indian subcontinent. It is one of the few representations of the architectural genius of the Indian people of that era in constructing fully developed brick temples.

Figure 5.4 Mahabodhi temple, Bodhgaya (source: tripsavvy.com) accessed on 15/09/19 (17:43)

6.5.1.c The Ashokan Railing A railing surrounds the Mahabodhi temple presently, a stone replacement of an original wooden structure that encircled the bodhi-ghara initially. The railing was erected in the period between the first century BC and first century AD. The earliest inscriptions from Bodhgaya itself also from the Sunga period are found on this railing. The railing was enlarged with the addition of new granite pillars in the Gupta period. On each granite pillar a round centre medallion framed a typically Gupta face with a three-quarter floral medallion carved at the base.

185

Figure 6.5 Ashokan railing near Mahabodhi temple (source: alamy.com) accessed on 15/09/19 (18:23)

6.5.1.d Niranjana River Bodhgaya, the most hallowed spot on the earth is situated on the banks of the river Niranjana.

Niranjana is presently a wide shallow, sandy bed for greater part of the year and a river brimming with water during the monsoon. The river interestingly had a perennial waterfront during the Buddha period. The river has religious connotations, as it is associated with the important events in Buddha life. Bodhisattva crossed the river when he reached Uruvela Vana to climb the Pragbodhi hill.

Figure 6.6 Niranjana river (source: buddhist-tour.com) accessed on 15/09/19 (18:37)

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6.5.1.e Sujata temple Buddha broke his fast under the Ajaypala Nyagrodha tree by accepting a bowl of rice-milk from Sujata. He is also said to have spent the fifth week of enlightenment under the tree. After many decades later Matang Vapi Rishi came and set up his ashram near the tree. Two temples were constructed then – one of Sujata enclosing the tree and the other of Shiva.

Figure 6.7 Sujata temple, Bodhgaya (source: tripadvisor.com) accessed on 15/09/19 (18:51)

6.5.1.f Pragbodhi Hill Bodhisattva made futile efforts to achieve enlightenment at Pragbodhi hill. The god of mountain warned him that if he attempted such meditations here the earth would open up and the mountain would fall on top of him. The hill is situated about 3 miles to the northeast of Bodhgaya on the eastern banks of river Nairanjana. Buddha is said to have lived here before he proceeded to Uruvela. At present there is a small temple just above the cave that sheltered the Bodhisattva during his stay here. The Tibetan monks maintain the temple. Below that can be seen the foundations of a large monastic complex and on the top of the mountain the ruins of several ancient stupas.

187

Figure 6.8 Pragbodhi Hill, Bodhgaya (source:apps.carleton.edu) accessed on 15/09/19 (18:59)

6.6 Paintings of Mithila Madhubani painting is a style of Indian painting practiced in the Mithila region of Bihar.

Tradition states that this style of painting originated at the time of the Ramayana, when King Janak commissioned artists to do paintings at the time of marriage of his daughter, Sita, to Lord Ram

188

Figure 6.9 Mithila paintings (source: ipfs.io) accessed on 15/09/19 (19:08)

6.7 Nalanda University A great centre of Buddhist learning, Nalanda came into prominence around the 5th century BC and was a flourishing university town with over ten thousand scholars and an extensive library.

Dharma Gunj (Mountain of Truth) or Dharmaganja (Treasury of Truth) library of Nalanda.

The highly formalized methods of Vedic scholarship helped inspire the establishment of large teaching institutions such as Taxila, Nalanda, and Vikramashila, which are often characterized as India's early universities.

189

Figure 6.10 Ruins of nalanda university (source: wirally.com) accessed on 15/09/19 (19:21)

6.8 Vaishali – Birthplace of Lord Mahaveer Vaishali was the capital of the republican Licchavi state. In that period, Vaishali was an ancient metropolis and the capital city of the republic of the Vaishali state, which covered most of the Himalayan Gangetic region of present-day Bihar state, India.

The Svetambaras state that the final Tirthankara, Lord Mahavira, was born and raised in Kshatriyakund district, Vaishali to King Siddhartha and Queen Trishila. Vaishali was also the residence of Kandaramasuka and Pātikaputta.

Vaishali is well known for its close association with the Buddha. After leaving Kapilavastu for renunciation, he came to Vaishali first and had his spiritual training from Ramaputra Udraka and Alara Kalama (Alark Ram). After the Enlightenment the Buddha frequently visited Vaishali. He organized his Bhikshu Sangha on the pattern of Vaishalian democracy. It was here that he established the Bhikshuni Sangha, initiating his maternal aunt Maha Prajavati Gautami into the order. His last Varshavasa (rainy season resort) was here and he announced his approaching Mahaparinirvana (the final departure from the world) just three months in advance. Before leaving for Kushinagar, where he died, he left his alms-bowl (Bhiksha-Patra) here with the people of Vaishali.

190

Figure 6.11 Ruins of vaishali city (source: themysteriousindia.net) accessed on 15/09/19 (19:52)

7. KNOW ABOUT SITE

191

7.1 Site Context

192

The site should be better development opportunities and better connectivity such as roads, rail, air. The site comes under tourism circuit in order to gain more visitors which creates good source of income to the Narratorium and it generates employment to the local people. The site should have potential to be developed as Narratorium and to serves as a part of Buddhist circuit.

7.1.1 Urban An urban area or urban

agglomeration,

is

a human

settlement with

high population

density and infrastructure of built environment. Aside from the population, urban places have characteristics such as roads, buildings and infrastructure like electricity cables and sewage systems, shops, offices and transport hubs. Urban areas have better connectivity, infrastructure and facilities which promotes urban areas to be a good tourist place too.

Urban Tourism has, in one form or other, been with us since Mesopotamia and Sumeria were spawning the phenomenon of urbanization. People have been drawn to towns and cities just to visit and experience a multiplicity of things to see and do. These urban areas were the melting pots of national culture, art, music, literature and of course magnificent architecture. In a relatively short period of time, the museum cluster has become a key element of the tourism sector and an important contributor to the urban economy. Tourism brings new patterns and changes to the urban landscape, such as globalization, a phenomenon that impacts not only big cities but also medium and small size ones its impact is best recognised in the hospitality sector where hotel rooms and restaurants.

Tier-1 tops the class based on better standards of living, exposure and job opportunities. But slowly and gradually, Tier-2 and Tier-3 cities are emerging as some of the fastest growing cities in the world. Not only are these cities coming up with better job options, they are also getting well connected with time and are offering better education opportunities. Rapid income growth, growing urbanization, younger population and availability of skilled labour are some of the factors responsible for this rapid development of Tier-2 and Tier-3 cities.

The Government of India has Ministries that have taken actions which are curating a distinct identity for Indian cities through various mediums as a priority. The Ministry of Culture is responsible for preservation, development and promotion of arts, culture, and heritage (tangible and intangible) in the country.

7.1.2 Demography 193

Museums have and need stakeholders, to accomplish their goals and serve their communities well, museums must know and grow the individuals and groups who share and influence their interests.

It can be classified in two categories Internal and External stakeholders.

Civic leaders, cultural organisation, local Public and Private school, library, local area people, state people, Buddhist tourist, Bihar’s tourist which comes under External stakeholders and Researcher, Educators, Staffs, Curators, Advisors, Maintenance staffs etc. are internal stakeholders.

7.1.3 Area of Influence

194

Figure 7.256 Influence of Buddhism in the world (source: en.palungjit.org) accessed on 21/10/19 (20:19)

195

The Buddhist Circuit is a globally important route for over 450 million Buddhists across the world, especially in East and South East Asian regions, making it an important platform for strengthening bilateral and cultural ties. India's Buddhist heritage spans millennia across the entire subcontinent and large parts of South and South East Asia. Laying host to Lord Buddha's journey, and the subsequent development of the social and moral precepts of Buddhist thought, the plethora of intangible as well as tangible Buddhist heritage has made the Buddhist Circuit one of the most popular tourist products that India has to offer.

Buddha’s disciples spread Buddhism beyond the borders of India to Southeast Asia, where these ideas have played a major role in shaping culture and traditions. The map shows various regions of Southeast Asia and their affiliation with particular branches.

Figure 7.257 Influence of Buddhist circuit in India (source: zodiacaviation.com) accessed on 21/10/19 (20:32)

196

The Buddhist Circuit is an important pilgrimage destination for the 450 million practicing Buddhists as well as travellers interested in history, culture or religion. The Circuit attracts 2 tourists from 30 countries and 16 states of India.

Buddhism holds its roots in the heart of the Indian subcontinent. Lord Buddha, born in Lumbini amidst lush Indo-Gangetic plains, travelled extensively throughout modern day Bihar, UP and Nepal, his meditations and preaching forming the pillars around which the Buddhist thought and lifestyle emerged.

India have many museums which showcase the life of the Buddha.

Living Buddha art and thangka painting centre, Himachal Pradesh National Museum, Delhi Government Museum, Mathura Sarnath Museum, Varanasi ASI museum, Sanchi CSMVS, Mumbai Buddhist Museum, Kushinagar Odhisha State Bhubaneshwar

Museum,

Amaravati Museum, Amaravati Government Museum, Chennai Indian Museum, Kolkata Figure 7.258 Influence of Buddhist museum and display in India (source: author)

197

7.1.4 Support system of site The site is supported by Primary stakeholders, beneficiaries of a development intervention or those directly affected (positively or negatively) by it. They include local populations (resource persons, community, students) in the project/program area, in particular, poor and marginalized groups who have traditionally been excluded from participating in development efforts such as squatter and slum dwellers, and organizations such as trader’s organizations, hoteliers, transporters and other associations. Secondary stakeholders, those who influence a development intervention or are indirectly affected by it. They include the project staff, implementing agencies, local governments, civil society organizations, private sector firms, and other development agencies. Executive Officer, line departments such as PHED, PWD etc.

There is need to develop tourist infrastructure in the city to support increasing tourists which is major source of urban employment in the city. By providing better infrastructure facilities city can attract more number of Tourists which will in turn generate more employment. The development of Narratorium in the city should be based on Heritage & Tourism related to Buddhist Art & Culture (like Statues of Buddha, Buddhist Bells & Bowls, CD & Cassettes of Chants & Meditation, Crystal pencil & stones etc.).

7.2 Site Location The three site are located at Bodhgaya, Sarnath- Varanasi and Mehrauli in the states of Bihar, Uttar Pradesh and Delhi respectively.

198

Figure 7.259Map of India indicating locations of site (source: googlemap.com + author) accessed on 30/08/19 (11:20)

Site- 1 Bodhgaya The site is located in the district of Gaya which is by its immense and cultural significance.

Figure 7.260 Map of Bihar indicating Bodhgaya (source: googlemap.com + author) accessed on 30/08/19 (11:32)

The site is located in Bodhgaya which is in Gaya, the site is located around 1 km from the place of enlightenment of Gautama Buddha.

199

Figure 7.261 Map of Bodhgaya indicating site (source: author) accessed on 30/08/19 (11:43)

200

Figure 7.262 Plot (source: author)

The proposed site situated near Mahabodhi temple and The Great Buddha Statue. The site area is about 5.43 acres with three major roads connecting from East, west and north direction. The site is currently left barren with few indigenous vegetation.

Site- 2 Sarnath-Varanasi 201

The site is located in Sarnath which is adjacent to the city of Varanasi, it holds the cultural and religious significance both for Hinduism and Buddhism.

Figure 7.263 Map of UP indicating Varanasi (source: googlemap.com + author) accessed on 30/08/19 (21:32)

Figure 7.264 Map of Varanasi indicating sarnath (source: googlemap.com + author) accessed on 05/09/19 (21:33)

202

Figure 7.265 Map of Sarnath indicating site (source: googlemap.com + author) accessed on 05/09/19 (21:37)

RESIDENTIAL SITE RELIGIOUS ROAD

Figure 7.266 Plot (source: author)

203

The proposed site situated near Sarang Nath temple and different country monasteries. The site area is about 3.67 acres with a major roads connecting from South-west and North –east direction. The site is currently left barren with few indigenous vegetation.

Site- 3 Delhi

Figure 7.267 Map of Delhi indicating site area (source: googlemap.com + author) accessed on 05/09/19 (22:41)

Figure 7.268 Map of Mehrauli indicating site (source: googlemap.com + author) accessed on 05/09/19 (22:22)

204

SITE RESIDENTIAL ROADS OPEN LAND

Figure 7.269 Plot (source: author)

The proposed site situated near Qutub Minar and the urban village ladoo sarai. The site area is about 5.72 acres with two major roads connecting from West and North direction. The site has also service road from East side. The site is currently left barren with few indigenous vegetation.

205

7.3 Site Surroundings All the sites are well connected by Rail, road and Air. 7.3.1 Supporting Infrastructure Site- 1 Bodhgaya

Railway station

Bus Depot

Airport

Proposed Site

Bodhgaya is well connected through NH 83 and the main Delhi to Kolkata railway line via Gaya which 20km and 14km respectively. The town also has an international airport that primarily caters to chartered flights for Buddhist pilgrims which is 11km from the proposed site. The town 206

has a bus depot which is 2km from the proposed site. Means of public transport in Bodhgaya includes cycle rickshaws and tongas. Three wheelers and buses ply between Gaya and Bodhgaya.

Supporting Landmark

Figure 7.270 Mahabodhi temple (source: bodhgayainfo.com) accessed on 31/08/19 (12:51) Figure 7.271 Metta buddharam temple (source: bodhgayainfo.com) accessed on 31/08/19 (12:53)

Figure 7.272 The great buddha statue (source: bodhgayainfo.com) accessed on 31/08/19 (12:54) Figure 7.273 Annata meditation monastery (source: bodhgayainfo.com) accessed on 31/08/19 (12:56)

207

Figure 7.274 Kagyu monastery (source: bodhgayainfo.com) accessed on 31/08/19 (13:17) Figure 7.275 Wat Thai Magadha (source: bodhgayainfo.com) accessed on 31/08/19 (13:22)

Site nearby structures

SITE RESIDENTIAL MONASTRIES Site- 2 Sarnath-Varanasi 208

Railway Airport station

Proposed Site

Bus Depot

Varanasi is well connected by road, rail and airways with other parts of the country. The road distance from major cities is Delhi-820 km, Lucknow-286 km and 122 km from Allahabad.

There are three national highways i.e. NH-2, NH-56 and NH-29. Varanasi is well connected by railways with broad gauge. There are three rail lines entering to the city from Lucknow, Bhadoi and Allahabad and is diverted in two lines to Gorakhpur and Mughal Sarai. The town also has an airport at a distance of about 24 km away from the city.

209

Supporting Landmark

Figure 7.276 Dhamekh stupa (source: shuttershock.com) accessed on 06/09/19 (00:45) Figure 7.277 Ghats of Varanasi (source: wikidiversity.com) accessed on 06/09/19 (00:52)

Site- 3 Delhi The site is well connected by road networks and Delhi has good network of metro which gives the city proper connection. Delhi has one of India's largest bus transport systems. Buses are operated by the state-owned Delhi Transport Corporation (DTC), which owns largest fleet of compressed natural gas (CNG)-fueled buses in the world. Indira Gandhi International Airport, situated to the southwest of Delhi, is the main gateway for the city's domestic and international civilian air traffic.

Supporting Landmark

Figure 7.278 Jama Masjid (source: travelogogyindia.com) accessed on 06/09/19 (00:59) Figure 7.279 Qutub minar (source: sahapedia.com) accessed on 06/09/19 (00:55)

210

Railway station

Airport

Proposed Site Nearest Metro Station

Bus Depot

211

7.4 Site Climate All the three sites come under the Composite climatic zone. Bodh Gaya's climate is classified as warm and temperate. The summers are much rainier than the winters in Bodh Gaya . The climate of Sarnath-Varansi is mild, and generally warm and temperate and the climate of the Mehrauli, Delhi is warm and temperate, both summer and winter are severe.

7.4.1 Topography and soil Site- 1 Bodhgaya Topographically, Site lies on the western bank of the river Niranjana at an average altitude of 113 meters above the sea level. The high lands are generally in the south and the low lands in the north.

The site predominantly has alluvial soil. Geo-hydrological investigations carried out indicate that the sub surface lithology consists primarily of topsoil, sandy clay, weathered and consolidated formations.

Mostly shallow foundations are used for small houses and structures in Bodhgaya because of their hard rock presence below top layer.

Site- 2 Sarnath-Varanasi The city of Varanasi is located in the middle Ganga valley of North India, in the Eastern part of the state of Uttar Pradesh, along the left crescent-shaped bank of the river Ganges. The river system consists of the mighty Ganga and Gomti. Rivers Varuna, Asi, Banganga, Chandra Prabha and Karmanasa are tributaries of the Ganga, that drain the area.

Varanasi is situated in the fertile alluvial Gangetic plains and is under laid with sediments deposited in successive stages. Layers of clay, fine sand, and clay mixed with kankar and stone bazari is met with during drilling operations.

Shallow foundations are used for small scale structures in Varanasi.

212

Site- 3 Delhi Delhi is situated in the fertile alluvial Yamuna plains, the site predominantly has alluvial soil and mix of loam soil, Loam is a mixture of sand, silt and clay. Loam soil appears rich and dark brown and is usually moist to the touch. It has a very well drainage quality.

Deep foundations such as pile are used mostly for structures in Delhi.

7.4.2

The Rainfall and Humidity

Site- 1 Bodhgaya The humidity levels vary throughout the year. The summer is the driest time with humidity around 36% during the daytime. During monsoons, the humidity ranges between 62% and 84%.

During winters, the humidity ranges between 27 % and 71%. The average rainfall is 1860 mm, 90% of which occurs during monsoons.

Figure 7.280 Annual rainfall chart of Bodhgaya (source:en.climate-data.org) accessed on 31/08/19 (13:37)

213

Site- 2 Sarnath-Varanasi Sarnath experiences a humid subtropical climate with large variations between summer and winter temperatures. The dry summer starts in April and lasts until June, followed by the monsoon season from July to October.

The average annual rainfall is 1,110 mm (44 in) with large proportion of its occurring during the months of July to September. Fog is common in the winters, while hot dry winds, called “loo‟, blow in the summers.

Figure 7.281 Annual rainfall chart of Varanasi (source:en.climate-data.org) accessed on 06/98/19 (11:12)

Site- 3 Delhi Delhi lies in the landlocked Northern Plains of the Indian Subcontinent. Its climate is greatly influenced by its proximity to the Himalayas and the Thar Desert, causing it to experience both weather extremes.

The average annual rainfall in Delhi is 886 mm, three-fourths of which falls in July, August and September. Heavy rainfall in the catchment areas of the Yamuna can result in a dangerous flood situation for the city.

214

Figure 7.282 Annual rainfall chart of Delhi (source:en.climate-data.org) accessed on 06/98/19 (11:18)

7.4.3 Temperature Site- 1 Bodhgaya The town has a tropical climate with hot summers and cool winters. The area has four seasons namely winters (November to mid-February), summers (mid-February to June), Monsoons (midJune to mid-September) and fall (mid-September to November). The average temperatures range about 27° C to 40° C in summer and about 8° C to 20° C in January.

Site- 2 Sarnath-Varanasi The temperature ranges between 22 and 46 °C in the summers. Winters in Varanasi see very large diurnal variations, with warm days and downright cold nights. Cold waves from the Himalayan region cause temperatures to dip across the city in the winter from December to February and temperatures below 5 °C are not uncommon.

Site- 3 Delhi June is generally the hottest month and January, the coldest. The average temperature of the proposed site is about 25.0 °C. Maximum temperature of the proposed site is raises up to 47.0 °C in the month of May and June. Minimum Temperature drops downs to -2.2 °C in the end of December or in the beginning of January.

215

Figure 7.283 Courtyard response to architecture (source: pinterest.com) accessed on 22/10/19 (7:57)

A courtyard is a most pleasant outdoor spaces for most of the year because it excludes the winds and traps the sun. The courtyard should be designed in such a way so as to allow sun penetration during winter season, but also provides shading in hot season. Large projecting eaves and wide verandah are in deeded in composite climate as outdoor living areas, to reduce sky glare and keep out of the rain and provide shade.

Figure 7.284 Typical section shows response of sunlight in different season (source: pinterest.com) accessed on 22/10/19 (8:21)

216

Orientation of buildings is determined by 2 factors suitable with so and towards the breeze prevailing during the warm humid season to utilize its cooling effect. Large openings in opposite walls are suitable which helps in cross ventilation and Towards the sun during cold season, to utilize the heating effect of radiation entering through the windows.

7.4.4 Wind Site- 1 Bodhgaya and Site- 2 Sarnath-Varanasi

Figure 7.285 Annual wind direction (source: author)

Site- 3 Delhi The prevailing wind direction is 18km/h with 24% of annual wind rose.

217

Figure 7.286 Annual wind direction of Delhi (source: author)

Figure 7.287 Orientation of block according to wind (source: author)

7.4.5 Sun Path and Sciography Site- 1 Bodhgaya and Site- 2 Sarnath-Varanasi

218

Figure 7.288 Sciography of Bodhgaya and Sarnath (source: author) Figure 7.289 Sun Path Diagram of Bodhgaya and Sarnath (source: author)

Site- 3 Delhi

Figure 7.290 Sciography of Delhi (source: author) Figure 7.291 Sun Path Diagram of Delhi (source: author)

7.4.5 Local Material Site- 1 Bodhgaya Bodhgaya is known for its brick making and its country tiles. The chimneys of Brick kilns dot the landscape on the drive from Patna to Bodhgaya. The Buddhist trail along the way is a testimony to the use of brick in stupas, the large domes of brick encasing the remains of a learned soul – in the Nalanda University.

219

The brick and concrete Frame structure construction is common in Bodhgaya because of availability and easy construction techniques known by the local labour. The structures are commonly having flat roof because of less precipitation.

Site- 2 Sarnath-Varanasi In Varanasi the common material is brick and concrete Frame structure construction because of availability and easy construction techniques known by the local labour. Stone and timber were used in old temples and houses in Varanasi riverfront areas. The structures are commonly having flat roof because of less precipitation.

Site- 3 Delhi Local available red sandstone and burnt clay brick was used in Mughal and Delhi sultanate period. In today’s time the common material is brick and concrete Frame structure construction and other contemporary materials is used according to design. The structures are commonly having flat roof because of less precipitation.

Conclusion All the three sites are in same climatic zone, so the buildings should be oriented in such a way that its longer axis should remain in east-west direction. In this orientation, the walls will receive less solar radiation in summer and more solar radiation in winter in comparison to other orientations. This orientation minimizes the heat load in summer and is a very effective passive cooling strategy. The walls should be thicker having time lag over 8 hours. Cavity walls or composite walls are also very helpful in controlling the heat transfer from outside to inside the building. When the air movement is necessary, the advantage of prevailing breeze should be taken by grouping the buildings in relation to the wind direction. Fenestrations should be made on the walls perpendicular to the wind direction. Direct sunlight must be excluded from the fenestration and window shades should be designed in such a way so that it cuts the summer sun but permits winter heat inside the building. Roofs should also be properly insulated so as to minimize heat transfer from the roof to the inside of the building. Provision of adequate rainwater drainage is also essential in this climate.

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Design criteria Objectives: Resist heat gain in summer & heat loss in winter 

Decrease exposed surface are



Increase Thermal resistance



Increase Thermal capacity



Increase Buffer space



Decrease Air Exchange rate



Increase shading



Increase surface reflectivity

Solutions: 

Orientation & shape of the building. Use of trees as wind barriers.



Roof & wall insulation



Thicker Walls



Balconies



Weather Stripping



Walls, glass surfaces protected by overhangs trees



Pale colour

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7.4.6 Development Plan

222

Site- 1 Bodhgaya

Figure 7.292 Existing Land use map of Bodhgaya (source: cdpbodhgaya.com) accessed on 31/08/19 (12:44) Figure 7.293 Bodhgaya development plan 2031 (source:cdpbodhgaya.com) accessed on 31/08/19 (14:31)

223

Site- 2 Sarnath-Varanasi

Figure 7.294 Development plan of Varanasi (source: dprvaranasi.com) accessed on 06/09/19 (2:54)

224

Site- 3 Delhi

225

226

SITE

CITY PROFILE

BODH GAYA BODHGAYA

SARNATH-VARANASI SARNATH-VARANASI

MEHRAULI-DELHI MEHRAULI-DELHI

 Bodhgaya is located in Gaya district of Bihar and The site is proposed under the Cultural area in the master plan of Bodhgaya 2031.

 The Sarnath zone, which is within the wider city precincts, is extremely important for Buddhists, the world over.

 Bodhgaya is a small town of international renown with immense religious and cultural significance.

 The culture as seen and lived here is a rare heritage asset for Indians and for the citizens of the world.

 The site is located near Mahabodhi Temple and The Great Buddha statue.

DEMOGRAPHY

 The town has seen high growth rates especially in the last three decades with the population doubling in the last two decades.  The growth of the tourism sector together with the employment opportunities that it offered contributed to this growth spurt.

GEOGRAPHY

 The site predominantly has alluvial soil.

AND

 The average rainfall is 1860 mm, 90% of which occurs during monsoons.

CLIMATE

 The town has a tropical climate with hot summers and cool winters.  The average temperatures range about 27° C to 40° C in summer and about 8° C to 20° C in January.

 The Proposed site is zoned under the public area in the master plan of Delhi for 2021.  The site has a great historical, architectural and urban context.  The site is also situated near the urban village of Lado sarai and Hauz Khas which optimize the site potential.

 Varanasi district is an important tourist, heritage, commercial and institutional centre in the state.

 Delhi is home to over 17 million people per the 2011 census.

 The Varanasi district had a population of 36.76 lakhs, which accounts for 1.84% of the total state population.

 The overall population density of Delhi has increased from 9,340 persons per km2 in 2001 to 11,320 persons per km2 in 2011, which is the highest in India.

 Varanasi has been a centre of religious, spiritual and educational activities since time immemorial.  The temperature ranges between 22 and 46 °C in the summers.

 The climate of the area is semi-arid. Both summer and winter are severe.

 Sarnath experiences a humid subtropical climate with large variations between summer and winter temperatures.

 Delhi is situated in the fertile alluvial Yamuna plains, the site predominantly has alluvial soil and mix of loam soil, Loam is a mixture of sand, silt and clay.

 The average annual rainfall is 1,110 mm (44 in).  Varanasi is situated in the fertile alluvial Gangetic plains and is under laid with sediments deposited in successive stages.

 The average annual rainfall in Delhi is 886 mm, three-fourths of which falls in July, August and September.  The average temperature of the proposed site is about 25.0 °C.

SITE 221

SITE PROFILE

The proposed site situated near Mahabodhi temple

The proposed site situated near Sarang Nath temple and

The proposed site situated near Qutub Minar and the

and The Great Buddha Statue. The site area is about

different country monasteries. The site area is about 3.67

urban village ladoo sarai. The site area is about 5.72 acres

5.43 acres with three major roads connecting from

acres with a major roads connecting from South-west and

with two major roads connecting from West and North

East, west and north direction. The site is currently

North –east direction. The site is currently left barren with

direction. The site has also service road from East side.

left barren with few indigenous vegetation.

few indigenous vegetation.

The site is currently left barren with few indigenous vegetation.

SITE MAPPING

SITE

BODHAGAYA

SARNATH-VARANASI 228

MEHRAULI-DELHI

ECONOMIC ANALYSIS

 The economic prosperity of this small town is linked with the commerce it supports.

Commercial establishments form an inherent part of a pilgrim town.  Bodhgaya, has status as a tourist and pilgrimage centre has governed the nature of the commerce activities operating in the town.  There is need to develop tourist infrastructure in the city to support increasing tourists which is major source of urban employment in the city.

SITE STRENGHT

 Site is part of cultural centre and museum according to Development plan 2031.  Site is located at the center of the city  Site has a strong connectivity.  Site is located near the UNESCO world heritage Mahabodhi temple and the Great Buddha statue.

 Varanasi district is an important tourist, heritage, commercial and institutional centre in the state.

 Delhi is among the top three States/Union Territories in terms of per capita income.

 Varanasi has been a centre of religious, spiritual and educational activities since time immemorial.

 More than 80% of the state income is from the tertiary sector.

 Apart from this, primary economic activities such as horticulture (for betel leaves and mangoes) and household industry (silk weaving) are major occupations.

 However, with the continuous inflow of laborers and unemployed persons, the number of people living in substandard areas is increasing.

 These activities are not just mere providers of job for the city but they have created a level of specialization by which the product is known by the city.  Site is located in sarnath near Varanasi.

 Site is at the capital and center of India.

 It is in outskirt of the city which is lord Buddha workplace.

 Most of the Buddhist pilgrims start their Buddhist circuit journey from Delhi.

 The site is surrounded by different countries monasteries.

 Site is at Mehrauli where Qutub Minar is itself a heritage area and mostly visited by tourist.

 Site is a part of Buddhist circuit.

 The site has two major roads connecting from West and North direction. The site has also service road from East side.

 The site is approx flat.

 The lakhs of Buddhist pilgrims visit Bodhgaya every year and also participates in Bodhgaya festival Budhpurnima and kalchakra.

 Site comes under Institutional area according to the development plan.

 Site has a huge foot fall of local as well as tourist, hence has a potential to enhance a city image.  The site is surrounded by different countries monasteries.  The site is approx flat with (Average change per 5 meter is approx 0.1 m)  Bodhgaya now occupies the undisputed position of the Regional Cultural and Tourism Centre.

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8. DESIGN PROGRAM

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8.1 Program Components

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8.2 Area Program Table 3 Area Program for the Proposed Narratorium

Sr. No .

1.

2.

3.

4.

Space

No. of Unit

ENTRANCE Drop off Entrance Court Reception Back office Information Desk Ticket Counter Security Monitoring room ADMINISTRATION Staff Office Executive staff office Director chamber Staff Rest room Curator Office Meeting Room Conference Room Security Monitoring Room BMS Toilet (M/F) Store WORKSHOP Textile Workshop Metal Workshop Terracotta Workshop Store GALLERY Children’s Museum Bodhgaya Gallery Bihar Gallery Monasteries Gallery Buddhist Gallery (World) 232

Area in Sq. m.

Design capacity 100

1 1 1 1 4 1

475 100 250 30 20 20 30 25

50

2 10 1 2 2 1 1 1 1 5/5 1

520 30 100 30 80 20 60 60 30 30 30 50

50

1 1 1 3

720 200 200 200 120

1500

1 1 1 1 1

3800 300 400 400 200 300

Buddhist Gallery (Bodhgaya) Hinduism Gallery Jainism Gallery Madhubani Art Gallery Magadh Gallery Gupta Gallery Mithila Gallery Temporary Exhibition 5.

6.

7.

1 1 1 1 1 1 1 1

300 200 200 300 300 300 300 300 50

1 1

250 20 30

AUDITORIUM Green Room Projection Room

100

1 1

350 30 20

AMENITIES Restaurant

1

1050 250

50

20 10 1 1 20/20 1 1 1

40 10 200 100 100 100 100 150

50

1 4 1 1

1400 100 150 200 50 200

LIBRARY Librarian’s Office Cyber Room

      

Sitting Lounge Reception Waiter’s Lounge Preparation Area Store Kitchen Cold Store

Portable water facility Refuse bin Museum Shop VIP lounge Toilet (M/F) Security Lockers VIP Lounge Multi-Purpose Hall 8.

SERVICES Maintenance Janitor Closet Loading Area Housekeeping Centre High Tension Control Room 233

HVAC Room Strong Room Store 9.

LABORATORY Store

1 1 5

200 100 400

1

200 40

11.

TRANSITION AREA

30% of Total built up Area

2210

12.

OPEN SPACES

20-30% of Site Area 1 1 1 1 4

700

Central Amphitheatre Open Air Theatre Open Air Lounge Buddha Statue Open Exhibition Meditation Area 13.

PARKING VIP Parking Visitor’s Parking Staff’s Parking Security

4

TOTAL

150 100 50 150 200 7000 100 300 100 30 9575

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20

500

ANNEXURES Questionnaire 1. What is the role of curator?

2. How the crowd is managed and who monitors it?

3. Are any events held here if it does who n how the planning is done?

4. How many programmes and department are there in a museum?

5. How the artefacts are displayed and who decides that?

6. How many types of display are there?

7. What measures are taken to secure the artefacts?

8. How many people are there in museum and what are their roles and position?

9. What are the pick hour in museum? and also days in weeks.

10. How different people react to the display of different age?

11. How the museum incorporates the new technology and reacting to it?

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ICOM Standards Museums provide opportunities for the appreciation, understanding and management of the natural and cultural heritage Museums have an important duty to develop their educational role and attract wider audiences from the community, locality, or group they serve. Interaction with the constituent community and promotion of their heritage is an integral part of the educational role of the museum.

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Displays, Exhibitions and Special Activities

Interpretation of Exhibitions

PRINCIPLES

Exhibition of Sensitive Materials

Removal from Public Display

Display of Unprovenanced Material

Publication

Reproductions

Principle -Displays, Exhibitions and Special Activities Displays and temporary exhibitions, physical or electronic, should be in accordance with the stated mission, policy and purpose of the museum. They should not compromise either the quality or the proper care and conservation of the collections.

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-Interpretation of Exhibitions Museums should ensure that the information they present in displays and exhibitions is wellfounded, accurate and gives appropriate consideration to represented groups or beliefs.

-Exhibition of Sensitive Materials Human remains and materials of sacred significance must be displayed in a manner consistent with professional standards and, where known, taking into account the interests and beliefs of members of the community, ethnic or religious groups from whom the objects originated. They must be presented with great tact and respect for the feelings of human dignity held by all peoples.

-Removal from Public Display Requests for removal from public display of human remains or material of sacred significance from the originating communities must be addressed expeditiously with respect and sensitivity.

Requests for the return of such material should be addressed similarly. Museum policies should clearly define the process for responding to such requests.

-Display of Unprovenanced Material Museums should avoid displaying or otherwise using material of questionable origin or lacking provenance. They should be aware that such displays or usage can be seen to condone and contribute to the illicit trade in cultural property.

Other resources -Publication

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Information published by museums, by whatever means, should be well-founded, accurate and give responsible consideration to the academic disciplines, societies, or beliefs presented.

Museum publications should not compromise the standards of the institution.

-Reproductions Museums should respect the integrity of the original when replicas, reproductions, or copies of items in the collection are made. All such copies should be permanently marked as facsimiles.

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REFERENCES: BOOKS: Heritage Management by Dr. V. Jeyaraj, 2005 Museum Basics by Timothy Ambrose and Crispin, 1993 Museum of Cultural Heritage, Ruchira Arrakal, LTIADS

WEB PAGES:

www.advisor.museumsandheritage.com/features/technology-museums-introducing-new-wayssee-cultural-world/ www.scholarship.shu.edu/cgi/viewcontent.cgi?article=2141&context=dissertations www.inive.org/members_area/medias/pdf/inive%5Cclimamed%5C41.pdf www.slideshare.net/SHRISTISHAKYA7/lighting-in-museum-and-art-gallery-98865209 www.en.licht.de/fileadmin/Publications/lichtwww.wissen/0703_lw18_E_light_museums_galleries_web www.tepapa.govt.nz/sites/default/files/27_exhibition_display_techniques_2.pdf www.worldarchitecture.org/articles/cvzmc/_virasatekhalsa_designed_by_moshe_safdie_become s_mostvisited_museum_in_india_within_5_years www.worldarchitecture.org/articles/cvfec/a_saltmoundshaped_museum_is_a_befitting_tribute_t o_mahatma_gandhi www.safdiearchitects.com/projects/marina-bay-sands-artscience-museum www.architexturez.net/doc/az-cf-178850 www.scholarship.shu.edu/cgi/viewcontent.cgi?article=2141&context=dissertations

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LIST OF ABBREVIATIONS:

ICOM- International Council of Museum

AV- Augmented Reality

VR- Virtual Reality

CSMVS- Chhatrapati Shivaji Maharaj Vastu Sangrahalaya

CATIA- Computer-Aided Three-Dimensional Interactive Application

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