Museum of Contemporary Art, Jaipur| B.Arch Thesis | IIT Kharagpur

Museum of Contemporary Art Jaipur , Rajasthan

B. Arch. Thesis Report 2019-20 by

RUNJHUN BHARTI GOSWAMI | 15AR10027 Under the Supervision of PROF. (DR.) JAYDIP BARMAN

Department of Architecture and Regional Planning INDIAN INSTITUE OF TECHNOLOGY, KHARAGPUR

Museum of Contemporary Art Jaipur , Rajasthan

Thesis (Project-II) report submitted in partial fulďŹ lment of the requirements for the degree of Bachelor of Architecture

Submitted by Runjhun Bharti Goswami 15AR10027

Under the supervision of Prof. (Dr.) Jaydip Barman

Department of Architecture and Regional Planning INDIAN INSTITUE OF TECHNOLOGY, KHARAGPUR

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Certificate

Department of Architecture and Regional Planning INDIAN INSTITUE OF TECHNOLOGY, KHARAGPUR

This is to certify that the dissertation report titled “Museum of Contemporary Art at Jaipur , Rajasthan” submitted by Ms. Runjhun Bharti Goswami, Roll no. 15AR10027, in partial fulfilment of the requirements for the degree of “Bachelor of Architecture (Hons.)” of this institute, is a bonafide work to the best of my/our knowledge, and maybe placed before the Examination Board for their consideration.

Prof. (Dr.) Jaydip Barman Project Supervisor

Prof. (Dr.) Joy Sen Head of Department

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Acknowledgement I would first like to express my sincere appreciation and heart-felt gratitude to my Project Supervisor, Prof. (Dr.) Jaydip Barman, for his support and guidance throughout the 5 years of my undergraduate studies. His valuable inputs and persistent help have made this project successful.

I wish to thank all the jury members and the professors of the Department of Architecture and Regional Planning for guiding me at the various design stages.

I wish to acknowledge the support and love of my parents and my sister, who have been have always encouraged me to achieve my goals.

Thanks to my friends Sadaf, Preetish, Gauri and Aman, who kept me going. Special thanks to my juniors, Shalmali and Shirin for their invaluable time and help during the project.

Sincerely, Runjhun Bharti Goswami 15AR10027

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“Everything you can imagine is real.”

- Pablo Picasso

Tête De Femme (Black And White) By Picasso

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Abstract

The thesis outlines a design proposal to develop a ‘Museum of Contemporary Art’ at Jaipur, Rajasthan. The aim is to break free from the conventional idea of a museum as a wall hung showcase and provide a platform to study, preserve and exhibit contemporary art.

Contemporary art exists in a zone of freedom. It is distant from the rules and conventions of the ordinary functional character of everyday life.

Contemplation and intellectual play together and offer perspectives against conventional systems of belief. The museum focuses on people’s participation and creates an immersive experience with interactive galleries, art workshops, and training camps.

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Contents 01 Project Overview 1.1 Introduction 1.2 Why Museum of Contemporary Art? 1.3 Project Description 1.4 Aims and Objectives 1.5 Scope and Limitations 1.6 Project Clients

1 4 5 6 7 8

02 Literature Review 2.1 What is Contemporary Art 2.2 Circulation 2.3 User Behaviour 2.4 Display Techniques 2.5 Exhibition Gallery Design 2.6 Display Types 2.7 Color 2.8 Furniture 2.9 Lighting 2.10 Sound 2.11 Exhibit Maintenance 2.12 Museum Security 2.13 Museum Storage 2.14 Energy Efficient Design 2.15 Services 2.16 Universal Design Principles 2.17 Jaipur Architectural Features 2.18 Technology and Art

11 19 23 25 31 32 34 34 35 41 41 44 46 47 51 54 59 63

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03 Case Studies 3.1 The National Gallery of Modern Art, New Delhi, India 3.2 Los Angeles County Museum of Art (LACMA), USA 3.3 The Broad Museum, Los Angeles, USA 3.4 Guggenheim Museum Bilbao, Bilbao, Spain 3.5 Museum of Contemporary Art Tokyo, Japan 3.6 Zeitz MOCAA (Museum of Contemporary Art Africa)

69 75 83 91 98 103

04 Program 4.1 Area Programming 4.2 Bye laws

113 117

05 The Site 5.1 Site Location 5.2 Site Description 5.3 Climate Analysis 5.4 Site Analysis 5.5 Views from Site 5.6 Site Zoning 5.7 Site Photographs

121 123 125 127 129 130 131

06 Concept Development 6.1 Philosophical Concept 6.2 Site Concept 6.3 Circulation Concept

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135 136 138

07 Design Development 7.1 Site Circulation 7.2 Material Pallet 7.3 Landscaping

141 144 147

08 Design Resolution 8.1 Plans 8.2 Sections 8.3 Elevations 8.4 Views

151 153 154 155

09 Design Features 9.1 Sustainable Features 9.2 Structure 9.3 Building Management System 9.4 Security 9.5 Financial Feasibility

160 164 164 166 167

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List of figures Figure 1

Noir 4 by Mouna Karray at Zeitz Musum of Contemporary Art Africa (tyburngallery.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Figure 2

Andy Warhol, “Flowers” (Stock Photos from Radu Bercan/Shutterstock).11

Figure 3

Portrait of Chuck Close (Stock Photos from Rushay/Shutterstock). . . . 12

Figure 4

Ai Wei Wei, “Circle of Animals/ Zodiac Heads,” 2010 (Stock Photos from Alisa_Ch/Shutterstock). . . . . . . . . . . . . . . . . . . . . . . . . . 12

Figure 5

Donald Judd, “Untitled,” 1973 (Stock Photos from Todamo/ Shutterstock) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Figure 6

Christina-Georgiou-2-©-Monika-Sobczake (veniceperformanceart. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Figure 7

Yayoi Kusama, “Gleaming Lights of the Souls,” 2008 (Stock Photos from ephst/Shutterstock). . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Figure 8

Robert Smithson, “Spiral Jetty” (Photo: Wikimedia Commons Public Domain) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Figure 9

Keith Haring, “The Pisa’s Mural, 1989 (Stock Photos from peepy/ Shutterstock) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Figure 10 The Cave Automatic Virtual Environment at the University of Illinois, Chicago (wikipedia.org) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Figure 11 Morphogenic digital art exhibition by Andy Lomas at Watermans Arts Centre, London (wikipedia.org) . . . . . . . . . . . . . . . . . . . . . . . . 15 Figure 12 Technology and Art (widewalls.ch | the-serious-relationship-of-artand-technology). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Figure 13

Art and Technology (bookastreetartist.com). . . . . . . . . . . . . . . . . 16

Figure 14 The Common Circulation Plans for Visitors . . . . . . . . . . . . . . . . . 22 Figure 15 Breakdown of user segments according to a visitor motivation survey (museumsdigitalculture.prattsi.org) . . . . . . . . . . . . . . . . . . . . . . 24 Figure 16 Mode of Display: (Top to bottom) Passive, Active, Reactive, and Interactive Communication in museum. . . . . . . . . . . . . . . . . . . 26 Figure 17 Viewing bands - General. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Figure 18 Viewing bands - Pre-fives . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Figure 19 Viewing bands for adults (pink) and pre-fives (blue). . . . . . . . . . . . . 28 Figure 20 Measurement of adult and six-years old visitor in relation to cases (Time Saver Standards) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

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Figure 21 Difficulties encountered in viewing details more than 3ft below or 1ft above (Time Saver Standards). . . . . . . . . . . . . . . . . . . . . . . . . . 29 Figure 22

Viewing distance increase with greater size of object(Time Saver Standards) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Figure 23 User-friendly hands-on exhibits ( jkainc.com) . . . . . . . . . . . . . . . .30 Figure 24 Exhibition guidelines (Time Saver Standards). . . . . . . . . . . . . . . . 31 Figure 25 Different Display types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Figure 26 Different Display types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Figure 27 Urban Lights at LACMA(lacma.org) . . . . . . . . . . . . . . . . . . . . . . 39 Figure 28 Outdoor lighting (meeetingmags.com). . . . . . . . . . . . . . . . . . . . 39 Figure 29 Facade lighting (facadelight.com) . . . . . . . . . . . . . . . . . . . . . . . 40 Figure 30 Building Facade Lighting Project in Dubai ( jandtlighting.com). . . . . .40 Figure 31 Figure 25: Sections showing different sky lighting and options (Neufert Architect’s Data). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Figure 32 Security measures for museum (left to right: CCTV, Surveillance, Laser detecttion) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Figure 33 Museum security Features (Steven R. Keller) . . . . . . . . . . . . . . . . 45 Figure 34 Museum Storage (rackline.com). . . . . . . . . . . . . . . . . . . . . . . . 46 Figure 35 Museum Storage (publicradiotulsa.org). . . . . . . . . . . . . . . . . . . . 46 Figure 36 Ventilation and stack effect reduces cooling load . . . . . . . . . . . . . . 48 Figure 37 Passive cooling using courtyards (slideshare.net) . . . . . . . . . . . . . . 48 Figure 38 Using passive cooling strategies to improve thermal performance (sciencedirect.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Figure 39 Building Orientation, Design Strategies for Hot & Dry/Composite Climatic Zone of Rajasthan. . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Figure 40 Automatic fire alarm system . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Figure 41 Fire exit sign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Figure 42 Passive fire protection (Passive Fire Protection Federation; pfpf.org). . . 52 Figure 43 Building Intelligent system; Access Control; HVAC; Life Safety; Lighting; Security/ALARM System (Emyras Industries) . . . . . . . . . . 53 Figure 44 Some universal design features in museums. . . . . . . . . . . . . . . . . 54 Figure 45 The Seven Principles of Universal Design (interaction-design.org). . . . 56 Figure 46 Reach factors for Differently abled (Time Saver Standards) . . . . . . . . 57 Figure 47 Universal design guidelines for graphic and physical activities (Museum of Science; missionstem.nasa.gov).. . . . . . . . . . . . . . . . . . . . . . . 58 Figure 48 Fortification wall, Jaipur ( jaipurthepinkcity.com). . . . . . . . . . . . . . 60 15AR10027 | B. Arch. Thesis 2019-20

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Figure 49 Ghat Darwaza, Jaipur ( jaipurbeat.com) . . . . . . . . . . . . . . . . . . . .60 Figure 50 Panna Mian ka kund (Stepwell), Jaipur ( jaipurbeat.com) . . . . . . . . . .60 Figure 51 Types of architectural arches (homestratosphere.com). . . . . . . . . . . 61 Figure 52 City Palace, Jaipur (Photo Courtesy: trekearth.com). . . . . . . . . . . . . 61 Figure 53 Chhatri from Sri Goverdhan Nathji Temple in Jaipur ( jaipurthrumylens. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Figure 54 Chhatris in Jaipur ( jaipurthrumylens.com). . . . . . . . . . . . . . . . . . 62 Figure 55 Technology in Art museums (interestingengineering.com) . . . . . . . . 63 Figure 56

Digital Technology used in New York’s Metropolitan museum (interestingengineering.com). . . . . . . . . . . . . . . . . . . . . . . . . . 64

Figure 57 AI generated painting | Source: obvious art (interestingengineering. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Figure 58 Technology in art museums | Source: team labs (interestingengineering. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Figure 59 VR in art museums (interestingengineering.com). . . . . . . . . . . . . .66 Figure 60 Front view of Jaipur House, NGMA, New Delhi (Author). . . . . . . . . .69 Figure 61 Interior view of galleries at Jaipur House, NGMA, New Delhi (Author). . 70 Figure 62 Interior view of galleries at Jaipur House, NGMA, New Delhi (Author). . 70 Figure 63 Front view of New Wing, NGMA, New Delhi (Author) . . . . . . . . . . .

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Figure 64 View of New Wing, NGMA, New Delhi (Author). . . . . . . . . . . . . . . 71 Figure 65 New Wing, NGMA, New Delhi (Author). . . . . . . . . . . . . . . . . . . . 72 Figure 66 Skylights, New Wing, NGMA, New Delhi (Author). . . . . . . . . . . . . . 72 Figure 67 Sculpture Garden, NGMA, New Delhi (Author). . . . . . . . . . . . . . . 72 Figure 68 Model | Photo Courtesy of the Architect, New Wing National Gallery of Modern Art 2009, Catalogue, NGMA, New Delhi (wikipedia.org). . . . . 72 Figure 69 Sculpture Garden, NGMA, New Delhi (Author). . . . . . . . . . . . . . . 72 Figure 70 Plan of the lower level, New Wing, NGMA, New Delhi (ngmaindia.gov. in). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Figure 71 Entry to the lower level, New Wing, NGMA, New Delhi (Author). . . . . 73 Figure 72 Exhibit 02, lower level, New Wing, NGMA, New Delhi (Author). . . . . . 73 Figure 73 Exhibit 04, lower level, New Wing, NGMA, New Delhi (Author). . . . . . 74 Figure 74 Exhibit 08, lower level, New Wing, NGMA, New Delhi (Author). . . . . . 74 Figure 75 Exhibit 09-2, lower level, New Wing, NGMA, New Delhi (Author). . . . 74 Figure 76 LACMA, Resnick Pavilion, photo by Nic Lehoux (inexhibit.com) . . . . 75

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Figure 77 Urban Light Exhibit at LACMA, Photo courtesy of Museum Associates/ LACMA. (mellon.org) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Figure 78 LACMA view from Wilshire Boulevard (10best.com) . . . . . . . . . . . . 76 Figure 79 Smoke by Tony Smith Estate /Artists Rights Society (ARS), New York at LACMA (collections.lacma.org). . . . . . . . . . . . . . . . . . . . . . . . . 77 Figure 80 Levitated Mass © Michael Heizer, LACMA | Photo by Tom Vinetz (sr. ithaka.org) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Figure 81 Resnick Pavilion, photo by Nic Lehoux (inexhibit.com). . . . . . . . . . 79 Figure 82 Resnick Pavilion, west elevation; image © RPBW (inexhibit.com) . . . . 79 Figure 83 LACMA’s west campus; photo by aepg (inexhibit.com). . . . . . . . . . .80 Figure 84 West campus east elevation and longitudinal section; images © RPBW (inexhibit.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Figure 85 Broad Contemporary Art Museum; photo by Nic Lehoux (inexhibit. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Figure 86 Broad Contemporary Art Museum; cross-section; image © RPBW (inexhibit.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Figure 87 Exhibition spaces in the Broad Contemporary Art Museum, Photo: Michel Denancé (inexhibit.com) . . . . . . . . . . . . . . . . . . . . . . . . 82 Figure 88 Walter de Maria’s installation ,The 2000 Sculpture at Resnick Pavilion, LACMA (archpaper.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Figure 89 Museum of Contemporary Art Tokyo (MOT) (mot-art-museum.jp) . . . 83 Figure 90 MOT | Photo: Kenta Hasegawa (gotokyo.org). . . . . . . . . . . . . . . . . 84 Figure 91 View from site entry, MOT | Photo: Kenta Hasegawa (gotokyo.org) . . . 84 Figure 92 MOT | Photo: Kenta Hasegawa (gotokyo.org). . . . . . . . . . . . . . . . . 84 Figure 93 Cloudscapes at MOT | Photo: Yasuhiro Takagi (archdaily.com). . . . . . 85 Figure 94 Cloudscapes at MOT | Photo: Yasuhiro Takagi (archdaily.com). . . . . . 86 Figure 95 Cloudscapes at MOT | Photo: Yasuhiro Takagi (archdaily.com). . . . . . 86 Figure 96 “Eros of Alumina (White Solidities Are…)”, 1984/2015 (mot-art-museum. jp) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Figure 97

Education at Museum Of Contemporary Art Tokyo, Japan (MOT) (mot-art-museum.jp). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Figure 98 Installation view of “Twentieth Anniversary Special MOT Collection: Chronicle 1995” | Artists: Masaya Chiba, Chihiro Mori, Teppei Kaneuji, Taro Izumi | Photo: Shizune Shiigi) (mot-art-museum.jp). . . . . . . . . 88 Figure 99 Art Library, MOT | Photo: Kenta Hasegawa (mot-art-museum.jp) . . . . 89 Figure 100 Art Library, MOT | Photo: Kenta Hasegawa (mot-art-museum.jp) . . . . 89

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Figure 101 MOT | Photo: Kenta Hasegawa (gotokyo.org). . . . . . . . . . . . . . . . .90 Figure 102 Haunted house at MOT | Photo: Fuminari Yoshitsugu (yatzer.com) . . . 90 Figure 103 View of the Broad Museum, Los Angeles | Source: Iwan Baan (architectural-review.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Figure 104 Staircase through the “vault” at the Broad Museum, Los Angeles | Source: Iwan Baan (architectural-review.com). . . . . . . . . . . . . . . . 92 Figure 105 Lobby area of the Broad Museum, Los Angeles | Source: Iwan Baan (architectural-review.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Figure 106 Axonometric View, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Figure 107 Concept of The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Figure 108 Conference Room, The Broad Museum | Source: Iwan Baan (architectural-review.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Figure 109 Storage facility, The Broad Museum | Source: Iwan Baan (architecturalreview.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Figure 110 First Floor Plan, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Figure 111 Second Floor Plan, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Figure 112 Third Floor Plan, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Figure 113 East-West Section, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 Figure 114 Landscaped Plaza ,The Broad Museum | Photo: Iwan Bann |Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . 97 Figure 115 Gallery on Third Floor, The Broad Museum | Photo: Iwan Bann |Source: Diller Scofidio + Renfro (theplan.it)`. . . . . . . . . . . . . . . . . . . . . . 97 Figure 116 Guggenheim Museum Bilbao, 1993-97 (photo: Emilio I. Panizo, CC BY-NC-SA 2.0). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Figure 117 View from Iparraguirre Kalea toward the main entrance, (photo: Mariordo (Emilio I. Panizo), CC BY-NC-SA 2.0). . . . . . . . . . . . . . .99 Figure 118 Guggenheim Museum Bilbao, 1993-97 (photo: Emilio I. Panizo, CC BY-NC-SA 2.0). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99 Figure 119 Atrium, Frank Gehry, Guggenheim Museum Bilbao, 1993-97 (photo: Ardfern, CC BY-SA 3.0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Figure 120 Richard Serra, Snake, 2005, “The Matter of Time” sculptures in the “boat gallery,” Guggenheim Museum Bilbao (photo: Ardfern, CC BYSA 3.0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

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Figure 121 Guggenheim Museum Bilbao Pan (www.khanacademy.org). . . . . . . 103 Figure 122 Guggenheim Museum Bilbao (exterior detail), 1993-97, titanium, limestone, glass, steel (photo: josu.orbe, CC BY-NC 2.0). . . . . . . . . 103 Figure 123 View of Zeitz MoCAA in Silo Square | Photo: Iwan Baan (archdaily. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Figure 124 View of Zeitz MoCAA central atrium Photo: Iwan Baan (archdaily. com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Figure 125 Rendered Section of Zeitz MoCAA | Credit: Heatherwick Studio (archdaily.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Figure 126 Interior views of Galleries at Zeitz MoCAA (Photo: Author) . . . . . . 106 Figure 127 Small discussion room/area alongside exhibition galleries, Zeitz MoCAA (Photo: Author) . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Figure 128 Electrical services running in floor (Photo: Author). . . . . . . . . . .

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Figure 129 Aerial view of Kanak Vrindavan Park, Jaipur ( jaipurthrumylens.com) . 120 Figure 130 Site location on map (Source: Google Maps). . . . . . . . . . . . . . . . 121 Figure 131 Climatic data for Jaipur (weather-and-climate.com). . . . . . . . . . . . 123 Figure 132 Earthquake hazard zoning map of India (en.wikipedia.org) . . . . . . . 124 Figure 133 Views

from Site: AJaigarh fort; BKanak Vrindavan Park; CJal Mahal and Man Sagar Lake (Source: google.com/images). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Figure 134 View of the main access road (Lake Road) from the Amer Road (Author) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Figure 135 View of the site form the Lake Road (Author) . . . . . . . . . . . . . . . . 131 Figure 136 View of the picturesque Man Sagar Lake and Jal Mahal from site (Author) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Figure 137 View of the Jaipur Museum of Modern art form site (Author). . . . . . 132 Figure 138 Rainwater collection system (pinterest.com) . . . . . . . . . . . . . . . . 179 Figure 139 Section view of parking lot, Rio de Los Angeles State Park. Image courtesy of Withers & Sandgren Ltd. (withersandsandgren.com). . . . 180 Figure 140 Example of turf grid (wikipedia.org). . . . . . . . . . . . . . . . . . . . . 180 Figure 141 The range of solar panels for MyEnergySkin designed by Kiki & Joost (dezeen.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Figure 142 Displacement Ventilation (ecoandsustainable.com). . . . . . . . . . . . 182 Figure 143 Building Automation (hvacredu,net). . . . . . . . . . . . . . . . . . . . . 183 Figure 144 View of the main entrance canopy. . . . . . . . . . . . . . . . . . . . . . 183 Figure 145 BMS (www.unityautomation.com/ibms/) . . . . . . . . . . . . . . . . . . 184

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List of tables Table 1. Contents Table 2. Information aboutNGMA, New Delhi. . . . . . . . . . . . . . . . . . . . . . .69 Table 3. Information about LACMA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Table 4. Information about MOT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Table 5. Information about THE BROAD MUSEUM. . . . . . . . . . . . . . . . . . . 91 Table 6. Information about Guggenheim Museum Bilbao. . . . . . . . . . . . . . . . 98 Table 7. Information about Zeitz MOCAA . . . . . . . . . . . . . . . . . . . . . . . . 104 Table 8. Area Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Table 9. Building Bye Laws, Jaipur ; Reference: Local Self Government Department, Government of Rajasthan (Unified Building Bye-laws 2017)(http://lsg. urban.rajasthan.gov.in/) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

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01

PROJECT OVERVIEW

PERFORMANCE ART

1

DIGITAL ART

Museum of Contemporary Art

INSTALLATION ART

VIDEO ART

LANDSCAPING ART

1.1 INTRODUCTION The proposed thesis project aims to develop a ‘Museum of Contemporary Art’ displaying the “Art of Today”, which is Globally influenced, Culturally diverse, and Technologically advanced.

The proposed thesis project aims to develop a ‘Museum of Contemporary Art’ displaying the art of today, which is globally influenced, culturally diverse and technologically advanced. The museum will act as a platform to share various forms of contemporary art, namely- paintings, sculptures, photography, illumination and digital arts, installations, performance art, video art, and landscaping art at a global level.

The aim is to break free from the conventional idea of a museum as a wall hung showcase. The MOCA focuses on people’s participation and creates an immersive experience with interactive galleries, art workshops, and training camps.

Apart from galleries, the museum to have restoration and archives vault, public plazas, a library, workshops- indoor and outdoor, discussion areas and cafeterias, and local art exhibition and selling spaces.

The project to tap into and explore the latest trends of the art experience in different dimensions like- olfactory, auditory, and tactile, through carefully contemplated spatial planning.

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“Art is not what you see, but what you make others see.”

-Edgar Degas

Fig. 1. Noir 4 by Mouna Karray at Zeitz Musum of Contemporary Art Africa (tyburngallery.com)

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1.2 WHY MUSEUM OF CONTEMPORARY ART?

To educate and foster the understanding of art To introduce the rapidly changing trends in contemporary art To stand as a dialogue between the conventional and the experimental, the past, the present, and the future

Presently there is no single institute of International standards in India that deals comprehensively with contemporary art and a need for a world-class international museum has long been felt for the establishment of a facility to trace the various trends in the field. To this end, the project proposes the establishment of a museum whose role would be to introduce the rapidly changing trends in contemporary art on a worldwide scale.

The museum stands as a dialogue between the conventional and the experimental, the past and the present. It serves the need to educate and foster the understanding of art, amongst the people, the nation and the world.

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1.3 PROJECT DESCRIPTION

The Museum focuses on people’s participation and creates an immersive experience with interactive galleries, art workshops, and training camps.

Apart from galleries, the museum to have restoration and archives vault, public plazas, a library, workshopsindoor and outdoor, discussion areas and cafeterias, and local art exhibition and selling spaces.

The project to explore the latest trends of the art experience in different dimensions like- olfactory, auditory, and tactile, through carefully contemplated spatial planning.

MUSEUM

RESTORATION & ARCHIVES VAULT

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PUBLIC PLAZA & CREATIVE WORKSHOPS

1.4 AIMS AND OBJECTIVES

THE AIM IS TO EXPOSE PEOPLE TO VARIOUS FORMS OF CONTEMPORARY AND FUTURISTIC ART AND TO STRENGTHEN THEIR INHERENT CREATIVITY. The major objectives of the proposed museum can be summarized as follows:

To create a Hub of Contemporary art in India, a platform for expression and interaction between the artists, and the common people

To gain recognition which would attract artists and art enthusiasts from various fields, foreign and domestic visitors and private collectors to support the institution To achieve an Open Museum; the design would promote barrier-free access and hospitality to all the visitors

To create a platform for Representation of India at a global level

To enhance Jaipur by contributing to the cultural offerings of the city

To explore the Art Therapeutic abilities

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1.5 SCOPE AND LIMITATIONS Research • Study about the Contemporary Art • Understanding Purpose • User behavior analysis • Site Analysis • Circulation • Literature Study

Analysis • Data analysis from study • Synthesize analyzed data towards Concept Development • Checking with the Objectives • Iterative Feedback

Design Development • Detail design development • Landscape design • Structural Design • Energy conscious application in services • Universal design approach • Building services

Management • Ideas of building management • Maintenance • Phase wise development

Technical detailing of HVAC, electrical and plumbing systems is beyond the scope of the thesis. Also the project will not cover a detailed structural analysis and coast estimate of building elements.

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1.6 PROPOSED CLIENTS AND COLLABORATORS PUBLIC

Ministry of Culture Government of India

The project is proposed as a partnership involving the Ministry of Culture, Jaipur Development Authority and the Lalit Kala Akademi.

International organisations

Indian organisations

PRIVATE

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LITERATURE REVIEW

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2.1 WHAT IS CONTEMPORARY ART?

In its most basic sense, the term contemporary art refers to art—namely, painting, sculpture, photography, installation, performance, and video art—produced today. Though seemingly simple, the details surrounding this definition are often a bit fuzzy, as different individuals’ interpretations of “today” may widely and wildly vary. Therefore, the exact starting point of the genre is still debated; however, many art historians consider the late 1960s or early 1970s (the end of modern art, or modernism) to be an adequate estimate.

HISTORY MAJOR MOVEMENTS & ARTISTS Given its “art of today” definition, you may be surprised to hear that contemporary art actually has a relatively long history. To trace its evolution, let’s take a look at the major movements and important artists that compose its history.

POP ART Intended as a reaction to preceding modern art movements, contemporary art is thought to have begun on the heels of Pop Art. It is defined by an interest in portraying mass culture and reimagining commercial products as accessible art. While the movement lasted roughly from the 1950s through the early 1970s, it was reborn as Neo-Pop Art in the 1980s.

Fig. 2. Andy Warhol, “Flowers” (Stock Photos from Radu Bercan/Shutterstock)

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PHOTOREALISM Much like artists working in the Pop Art style sought to artistically reproduce objects, those involved with Photorealism—a concurrent movement—aimed to create hyperrealistic drawings and paintings. Photorealists often worked from photographs, which enabled them to accurately reproduce portraits, landscapes, and other iconography.

Fig. 3. Portrait of Chuck Close (Stock Photos from Rushay/Shutterstock)

CONCEPTUALISM In turn, Pop Art also helped shape Conceptualism, which rejected the idea of art as a commodity. In conceptual art, the idea behind a work of art takes precedence. Though this experimental movement is rooted in art of the early 21st century, it emerged as a formal movement in the 1960s and remains a major contemporary art movement today.

Fig. 5. Ai Wei Wei, “Circle of Animals/ Zodiac Heads,” 2010 (Stock Photos from Alisa_Ch/ Shutterstock)

MINIMALISM Like Conceptualism, Minimalism materialized in the 1960s and is still prevalent today. According to the Tate, both movements “challenged the existing structures for making, disseminating and viewing art.” What sets Minimalism apart, however, is that its simple, abstract aesthetic invites viewers to respond to what they see—not what they think a given work of art represents.

Fig. 4. Donald Judd, “Untitled,” 1973 Photos from Todamo/Shutterstock)

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PERFORMANCE ART Another movement with Conceptualist roots is Performance Art. Beginning in the 1960s and retaining its popularity today, performance art is a drama-inspired approach to art. While the art form is performed by artists (as the name suggests), it is not solely intended as entertainment. Instead, its goal is to convey a message or idea.

Fig. 6. C h r i s t i n a - G e o r g i o u - 2 - © - Mo n i k a - S o b c z a k e (veniceperformanceart.com)

INSTALLATION ART Like performance pieces, installation art is an immersive medium of art.

Installations are three-dimensional constructions that transform their surroundings and alter viewers’ perceptions of space.

Often, they’re large-scale and site-specific, enabling artists to transform any space into a customized, interactive environment.

Fig. 7. Yayoi Kusama, “Gleaming Lights of the Souls,” 2008 (Stock Photos from ephst/Shutterstock)

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EARTH ART (LAND ART) A unique spin on installation art, Earth Art (or Land Art) is a movement in which artists transform natural landscapes into site-specific works of art.

Fig. 9. Robert Smithson, “Spiral Jetty” (Photo: Wikimedia Commons Public Domain)

STREET ART As one of the most recent contemporary art movements, street art is a genre that gained prominence with the rise of graffiti in the 1980s. Often rooted in social activism, street art includes murals, installations, stenciled images, and stickers erected in public spaces.

Fig. 8. Keith Haring, “The Pisa’s Mural, 1989 (Stock Photos from peepy/Shutterstock)

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DIGITAL ART Digital art is an artistic work or practice that uses digital technology as part of the creative or presentation process. Since the 1970s, various names have been used to describe the process, including computer art and multimedia art. Digital art is itself placed under the larger umbrella term new media art.

TECHNOLOGY AND ART

Fig. 10. The Cave Automatic Virtual Environment at the University of Illinois, Chicago (wikipedia.org)

Fig. 11. Morphogenic digital art exhibition by Andy Lomas at Watermans Arts Centre, London (wikipedia.org)

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Over the past few decades, art and tech have become more intertwined than ever before, whether it’s through providing new ways to mix different types of media, allowing more human interaction or simply making the process of creating it easier.

Fig. 12.

Art and Technology (bookastreetartist.com)

Technology and art define and continue to reshape the world we live in. Re-imagining what we know as real or as a solid ground, pushes not only our opinions and understandings of nature to the limits, but with new inventions and experiments, both the mind and the body, the language, and the world itself seems to be making room for a different sphere and fresh rules. Governed by the new aesthetics, the virtual, the scientific and the logic that is beyond belief, technology in art challenges our perceptions and that is what creativity and science are all about.

The change of artworks’ nature along with the shift in the public interaction and the reshaping of the museums and exhibition spaces are making more room today than ever before for some of the most amazing examples of digital art, kinetic pieces, and works that explore the internet and online existence. This part of the innovative computer-basedface, the traditional paintings and sculpture cannot capture to its fullest and that is why the fresh materials, such as data, pixels, mathematical and engineer formulas are the tools number of contemporary creatives reach for.

Fig. 13. Technology and Art (widewalls.ch | the-serious-relationship-of-art-and-technology) 15AR10027 | B. Arch. Thesis 2019-20

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2.2 CIRCULATION

The circulation of public and staff, service areas has to be separated from each other, and the visitor should be able to approach a particular gallery of his or her choice as directly as possible. He should not be obliged to return or proceed through the galleries he is not interested in. The location of the temporary exhibit hall should take into consideration the possibility of a large number of visitors. A separate entrance is advisable. Circulating pattern should be designed keeping in mind that there is a general tendency to turn right to enter an exhibit hall.

TYPES OF CROWD FLOW Depending upon the rate of flow of visitors the areas inside the gallery can be described below: i. Areas of constant crowd flow: These are the areas where terse repetitive exhibits that can be easily understood by the visitors are placed. ii. Areas of crowd slope-age: These are characterized by the general display of nature along with the exhibits of conceptual nature requiring time to absorb. iii. Areas of variable crowd flow: The exhibits allow visitors to choose among simple and complex exhibits.

CIRCULATION PATTERNS The circulation within the museum can be attributed to one of the following types: i. Open Plan • Large autonomous exhibits, free circulation • Bays and columns- scale, structure and proportion • Level changes-circulation, mechanical aids • Roof spans-single/multiple • Service Spaces- under floor/ overhead area • Air circulation - environmental control, energy consideration

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ii. Core and Satellites • Core space for orientation to museum / subject/ collections • Satellite spaces for autonomous exhibits/ themes/ collections • Core/Satellite- sitting of temporary changing exhibit or special exhibitions • Free circulation- from core to specific Satellite iii. Linear Procession • Linear sequence of spaces, controlled circulation, tunnel show • Thematic exhibitions/ storyline organizations • Sitting of large key exhibits • Separate entrance and exit - relationship to associated activities iv. Loop • Linear sequence of spaces, controlled circulation, tunnel show • Thematic exhibitions/ storyline organizations • Sitting of large key exhibits • Circulation returns to exit v. Complex • Combines group of spaces with features of above mentioned plans • Complex organization of collections • Complex communication strategy • Orientation vs. disorientation - critical factors vi. Labyrinth • Locally free circulation - management of circulation is a museum function • Complex organization of collections • Complex communication strategy • Orientation/ disorientation • Critical factors • Relationship between subject collections

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vii. Star/Fan pattern: • The central part is generally continuous, but the path leads to a series of selfcontained units which have a more varied path within them. viii. Arterial pattern: • The main path is continuous and no option exists for it is used where the presentation is dependent upon a fixed sequence. ix. Block pattern: • This is the most commonly used pattern in the interactive sessions of science and technology museums. It offers a relatively unconstricted pattern which can be random and self-directive as desired by a visitor. x. Comb-pattern: • Main circulation path and optional alcoves are provided which a visitor may enter or bypass. xi. Radial pattern: • This pattern is a series of alternatives from a central area.

CIRCULATION PLANS FOR VISITORS Another way to classify circulation patterns for visitors in museum exhibition galleries can be as follows: i. Chain Visitors navigate as per their interests ii Window Allows movement in different rooms from a central point iii Central With collections kept centrally, visitors move around the collection to see the ojects from different viewpoints iv Block Allows for movement in random fashion v Brush Visitors are exposed to different parts of exhibits as they move

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Fig. 14. The Common Plans for Visitors

Circulation

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2.3 USER BEHAVIOUR

In order to create a useful and effective museum exhibition, all its creators, designers and curators have to be well acquainted with the target group.

Without understanding the target audience the exhibition cannot succeed because it will not be able to communicate with and foster the interest of visitors.

VISITOR CATEGORIZATION The spectrum of museum visitors is very diverse and there is no general and universal classification. Visitors, however, have some common features upon which we can build our categorization: i socio-demographic characteristics: age, sex, occupation, education, the type of community the resident is from, local or non-local residents; ii museological characteristics: motivation for the visit (professional, informational), knowledge of the topic, potential of the tour to engage; iii range characteristics: individual visitor, (various types of) groups of museum visitors, frequency of visits, timescale of museum visit; iv psychological or physiological characteristics: reception, intelligential, memory, imaginative, visual, auditive, motoric.

Some target groups can be generalized as below: • families; • school parties; • other organized educational groups; • leisure learners; • tourists; • the elderly; • people with visual, auditory, mobility or learning disabilities.

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Museum visitors can also be categorized in three broad and much simpler categories: i Casual visitors: people who move through a gallery quickly and who do not become heavily involved in what they see. ii Cursory visitors: show instead a more genuine interest in the museum experience and collections. iii Study visitors: A minority of visitors who thoroughly examine exhibitions with much more detail and attention. They are learners who will spend an abundance of time in galleries, read the text and labels, and closely examine the objects.

Based on the above classification, different types of users that are going to visit the museum are: 1.

• • • • • • • •

Visitors Tourists School Children Families Students Visually impaired people Hearing-impaired & deaf people Sensory-impaired people Physically disabled people

2. Artists 3. Art Researchers 4. Art Historians 5. Art enthusiasts 6. Staff

Fig. 15. Breakdown of user segments according to a visitor motivation survey (museumsdigitalculture.prattsi. org)

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2.4 DISPLAY TECHNIQUES

The idea of exhibits considerably changed during years rather than a remarkable display of exhibits with “do not touch” restriction, the display has formed a team of inactive, active and interactive types.

A. MODE OF DISPLAY The museum can display interpretive information in the following forms: Passive Communication • • • •

Graphic Panels - Incorporate text and Images Object Labels - For individual objects E-labels - Incorporate text, images, video, audio and interactivity Images and Illustration - Photographs, maps, drawings and diagrams Models - Scale models, dioramas, props, reconstructions

Active Communication • Audio - Spoken word, oral testimony, music, foreign languages • Video - Film, interviews, archive film, moving image effects Reactive Communication • • • •

User activated (Push button, pressure pad, proximity switch Lighting Effects- Sequenced presentations Immersive Effects- Sequenced presentations with audio Films- Movies, documentaries and videos

Interactive Communication • Educational Technology, microprocessor controlled devices, online databases.

• Low-tech Interactives - Incorporate text, film, flipbooks, audio • Live Interpretation - Staff or actors in role-play • High-tech Interactives - Programmed and computerized

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Fig. 16. Mode of Display: (Top to bottom) Passive, Active, Reactive, and Interactive Communication in museum

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B. INTERPRETATIVE/COMMUNICATION METHODS

1. Graphic Panels 2. Object Labels 3. E-labels 4. Images and Illustration 5. Audio 6. Video 7. Immersive Effects 8. Lighting Effects 9. Low-tech Interactives 10. High-tech Interactives 11. Hand Boards 12. Models 13. Live Interpretation 14. Printed text 15. Events

Incorporate text and images For individual objects Incorporate text, images, video, audio and interactivity Photographs, maps, drawings and diagrams Spoken word, oral testimony, music, foreign languages Film, interviews, archive film, moving image effects Sequenced presentations with audio, film and lighting Sequenced presentations Incorporate text, film, flipbooks, audio Programmed and computerized Incorporate text and images Scale models, dioramas, props, reconstructions Staff or actors in role-play Leaflets, trails and education packs Workshops

C. POSITIONING OF GRAPHICS • Wall/screen-mounted graphics should wherever possible be positioned within the optimum viewing band [1100–1675mm] • People with low vision may need to be within 75mm of a label in order to read it.

• Object labels should be located as near as possible to the object, so that both the object and the label can be seen from the same vantage point.

• Object labels should be positioned consistently next to the object.

• Labels should be mounted at 90 degrees to the line of vision and as close to the viewer as possible. They should also be visible to wheelchair users.

• If label rails are used, don’t position the top of the label above the maximum • recommended height.

• Position Braille labels at a consistent height and position, and on a horizontal or near horizontal plane (at between 600 and 700mm from floor level at the lefthand side) for the best reading angle.

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Fig. 19. Viewing bands - General

Fig. 18. Viewing bands - Pre-fives

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D. RELEVANT DIMENSIONS The approximate eye-level and the levels of comfortable visibility are given the figures with little eye movement people usually see and recognize the things which are within an approximately, elliptical cone of vision with the apex at the cone at eyeball height. Studies have shown that in general, the adults absorb an area only about one foot above his own eye level to 3 feet below it at an average distance of 24”-48” arraying objects above or below these limits, places a strain on seldom used muscles and produces aching backs, tired feet, burning eyes and stiff necks some large objects such as to temples or dinosaurs will inevitably saw above these viewing limits. The visitors must be permitted space to back away from the object to comprehend it.

Fig. 21. Measurement of adult and six-years old visitor in relation to cases (Time Saver Standards)

Fig. 22. Difficulties encountered in viewing details more than 3ft below or 1ft above (Time Saver Standards)

Fig. 20. Viewing distance increase with greater size of object(Time Saver Standards)

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Fig. 23. User-friendly hands-on exhibits (jkainc.com)

Standing reach (top) Wall mounted exhibits need to consider the range of users’ reach.

This diagram shows that the optimal average reach zone for accommodating all users is between 36 inches and 48 inches above the floor.

Critical viewing at standing exhibits (bottom) When visitors stand close enough to an exhibit to operate controls, the optimal placement of critical visual material, such as labels. is in a relatively narrow zone, from 42 to 49 inches. This zone establishes centerline heights. not the overall size of the material being presented.

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2.5 EXHIBITION GALLERY DESIGN

Fig. 24. Exhibition Saver Standards)

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guidelines

(Time

2.6 DISPLAY TYPES

Wall mounted displays

Hanging displays

Open display Fig. 25. Different Display types 15AR10027 | B. Arch. Thesis 2019-20

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Container displays

Interactive displays

Modular displays Fig. 26. Different Display types

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2.7 COLOR Colors set the mood for the space but in perceiving information color combinations plays major role. In general visitor areas, display spaces and rooms, colours for graphics panels and labels must maintain a high contrast (80%) between text and background.

When choosing colours: • Walls, doorways, and furniture are visually separated from the floor colour. People with low vision and visual perceptual difficulties require at least 70% contrast in colour and hue to negotiate a space.

• If a space requires low lighting for conservation or atmospheric reasons, think about using lighter colour ranges to compensate; • Colours and patterns of display floor surfaces must give accurate information about the depth, height, and condition of the floor surface. Avoid patterned carpets and floor tiles on uneven surfaces and in low-lit areas; • Avoid certain colour combinations, particularly those within the same tonal range, such as red on green or vice versa and blue/yellow.

2.8 FURNITURE General Furniture: • All furniture should be safe, secure, and free from sharp projections.

• Furniture should not project unpredictably into circulation routes.

• Materials that contrast in colour and texture with the surrounding floor and walls should be used where possible.

Display Furniture: • All sides of display cases and protective glazed screens should be formed where possible from continuous pieces of glass, i.e. there should not be any joints interrupting the elevations.

• If there are joins or opening sashes, they should be detailed to make them as unobtrusive as possible.

• Tables and workstations must have knee space to accommodate wheelchair users.

General Seating: • Include firm seating. At least 50% of this should have a firm back with arm supports on either or both sides or a support rail. This is essential for people who are elderly or have mobility impairments.

• Provide spaces next to fixed seating for wheelchairs users and their companions.

A minimum space of 760 x 1220mm is required at the end of fixed seating for this purpose.

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2.9 LIGHTING

The lighting challenge faced in today’s museums and galleries is to achieve a balance between the quality of the lit environment - no matter what is being displayed - and the level of energy used during the life of the installation. The ‘display lighting mantra’ detailed here shows the balance that is needed between visibility, interest, preservation and environmental considerations.

Lighting is vital for spatial impression and enjoyment of art. Different light colours and beam spreads, different designs and arrangements of luminaires and lamps create different lighting situations - light spaces - designed to meet the relevant needs of the exhibition.

A. ARTIFICIAL LIGHTING Only in the right lighting can museum staff work effectively. Lighting also draws attention to tripping hazards and reduces the risk of accidents. So although the lighting designer has a great deal of freedom in exhibition rooms, functional lighting must always be provided. Special attention needs to be paid to conservation requirements. Light protection plays an essential role in the exhibition room. There is more to a museum than just what it displays; it is also a place of research, where collections are stored, preserved and managed.

Types of Artificial/Indoor Lighting Techniques:

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Room lighting 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 threedimensional impact of sculptures and spatial objects. The diffuse and directional light mix also defines the overall impression made by the room.

Exhibit lighting Exhibit lighting uses hardedged directional light to accentuate individual items on display. As a general rule, it needs to be supplemented by softer room lighting. Exhibit lighting based on spots alone is advisable only where a particularly dramatic effect is required.

Otherwise, a stimulating spatial experience is obtained with a mix of diffuse (room) and directional (exhibit) lighting.

Diffuse lighting Diffuse lighting illuminates room zones or objects from a surface that radiates light in all directions. At the site of illumination, i.e. in the room zone or at the object illuminated, the di rection from which the light comes cannot be clearly determined: the light flowing into the room and over the objects is not directional.

Where it comes from very many directions, i.e. where the radiant surface is large, the lighting produces little or no shadowing.

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Indirect luminaires An impact similar to that of a luminous ceiling is achieved with indirect light bounced off the ceiling and upper wall surfaces into the room.

This diffuse, uniform light is predominantly used in rooms where no daylight enters. It is produced by suspended luminaires radiating light upwards.

In exhibition rooms, for example, luminaires for suspended power track systems are an option: they are inserted in the track from above while spots for directional lighting are accommodated in the lower channel.

Wallwashers Wallwashers are used as individual luminaires or in continuous rows. Installed flush with the ceiling (or with kick reflector protruding from the ceiling) or mounted close to the ceiling, they should illuminate the walls as uniformly as possible. This task is performed by reflectors with asymmetrical optics. It is important to ensure good shielding in the direction of the observer. Elements on the luminaire for mounting accessories – such as filters or anti-glare flaps – are useful.

Spot lamps Reflectors in reflector lamps (used in luminaires with no reflector) or spots direct most of the light emitted by punctual light sources in a defined beam direction. Spots and downlights with spot characteristics can be fully or partially integrated into a ceiling (or wall) as recessed ceiling spots. Surface-mounted ceiling spots and downlights as well as spots for power track have visible housings. Elements on the luminaire for mounting accessories – such as filters or antiglare flaps – are useful.

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Directional lighting Directional lighting is generated mostly by punctual light sources – i.e. lamps that are small in relation to the lighting distance – or spots of similar design. The light falls directly onto the object illuminated, striking it, or parts of it, at an angle defined by the geometry of the lighting arrangement. Where the surface of the object is uneven, clearly defined shadows occur. These enhance the visual impact of three-dimensional surfaces but can also be a source of visual interference if they are too dominant or too large.

Diffuse/directional lighting In many applications, light cannot be clearly defined as wholly diffuse or wholly directional.

This is the case where the surface radiating the light is neither large nor punctual – e.g. a spot with a diffuser disc. Depending on the diameter of the disc and on the lighting distance, shadows are narrower or wider, harsher or softer.

Luminous ceilings The idea of luminous ceilings stems from a desire to imitate daylight. Luminous ceilings deliver light which is particularly suitable for painting galleries – predominantly diffuse with an opal enclosure, partly directional with enclosures of satinised/textured glass. The heat that is generated in any luminous ceiling needs to be dissipated or extracted.

Cove luminaires The diffuse light of luminaires installed in the curving transition between wall and ceiling – the cove or coving – is another indirect lighting solution. The cove luminaires most frequently used in modern museum buildings are models with housings which themselves form the coving.

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Integrated lighting Small, shallow display cabinets (glass-topped desks) and high or box-shaped showcases mostly have an integrated lighting system. This has advantages: Fewer or no reflections occur on the cabinet glass. It is easier to avoid direct glare for the observer due to bright unshielded light sources. It is easier to engineer special lighting effects for a dramatic presentation.

B. OUTDOOR LIGHTING Whether sculptures or installations, some works of art are intended to be exhibited outdoors while others may become candidates for outdoor display because of their size. For the majority of such objects, an inner courtyard or small patch of garden is usually enough. The interplay of light and shadow. Outdoor illumination at dusk or at night basically has the same effect as illumination with directional light in an exhibition room. But it also gives exhibits an appearance they do not have in daylight: the artificial lighting creates new structures, reinventing the object in a game of light and shadow. The best way to determine the perfect location for a mobile spotlight or flood is to conduct trials - with light from below, from below and from the side, from the side, from above, from above and from the side, or even bounced off another surface. Every solution has a charm of its own.

Fig. 27. Urban Lights at LACMA(lacma.org)

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Fig. 28. Outdoor lighting (meeetingmags.com)

C. FACADE LIGHTING Light can make any building an eye-catcher. Combined with fascinating architecture, well-planned facade lighting imbues a building with a unique quality - and enhances the area around it at the same time. Illuminating the entire building has a long-range impact; harnessing light to emphasize only architectural details heightens its presence for passers-by. Where the principal viewing direction and the direction of illumination are not identical, light-dark contrasts create a three-dimensional effect: an angle of around 60 degrees to the viewing direction is right for plain or fairly plain facades; for more detailed or ornate facades, the angle can be smaller. Other forms of illumination Facade lighting is usually a discrete design element. To achieve the desired effect, any additional signal lighting, such as floodlighting for flags or banners, needs to be coordinated with the facade lighting. In other outdoor areas, beautiful scenes are also

Fig. 29. Facade lighting (facadelight.com)

Fig. 30. Building Facade Lighting Project in Dubai (jandtlighting.com)

D. DAYLIGHTING Interior lighting with daylight is an architectural challenge that entirely must be addressed and resolved at the early design stage of a new building. Conditions for harnessing daylight can rarely be created later, and system modification is difficult.

Daylight planning is a matter for experienced professionals.

The different methods of introducing daylighting in a museum are: i Windows Outsized windows are not necessarily a suitable alternative to skylights and not actually the right tool for making maximum use of daylight. On the other hand, there are many ways today to direct daylight and “lockout� direct sunlight even in rooms with lateral windows.

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ii Skylights Skylights are classic daylighting elements for picture galleries. They provide uniform, diffuse lighting. Because the light is admitted over a large area, the shadows produced are soft. The incident daylight that passes through a skylight reaches nearly every part of the room, including freestanding display cabinets, sculptures and partitions. Because no windows are present, more wall space is available for paintings. There is also no problem with reflections on exhibition walls due to incident daylight from the side.

Fig. 31. Figure 25: Sections showing different sky lighting and options (Neufert Architect’s Data)

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2.10 SOUND •Avoid intrusive overlapping sound between different sound sources within a display area. Some people with hearing impairments or people who have difficulty filtering multiple stimuli cannot separate foreground from background noise; •Avoid intrusive overlapping sound from interactive activities; •Design display layouts and specific story display structures to minimize sound overlap.

2.11 EXHIBIT MAINTENANCE The primary goal of exhibits maintenance is to prevent decay of displayed exhibits by ensuring proper storage and upkeep including performing regular housekeeping of the spaces and objects and monitoring and controlling storage environments.

There are four main environmental agents of deterioration which should be monitored on a regular basis as part of maintenance. These are temperature, relative humidity, light and dust. It is important to recognize the type of damage each agent may present as well as ways to mitigate any harm. i) Temperature • Temperature as an agent of deterioration acts primarily in conjunction with relative humidity but can trigger damage in its own right.

• At the extremes, the temperature can cause structural damage to some materials; paint may become brittle in excessive heat, and some plastics may soften or melt in the heat.

• High temperatures also accelerate chemical and biological processes.

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ii) Relative Humidity • Collecting institutions aim to keep the RH constant in exhibitions and storage areas because many organic objects expand and contract as both temperature and RH change.

• High humidity may accelerate mould growth and some chemical changes, like metal corrosion, if not properly maintained.

• It is important to measure the RH of spaces regularly using a number of tools including humidity strips, thermohygrograph, hygrometers, psychrometer and data loggers.

• Once the per cent humidity identified, there are a number of ways to adjust it by using humidifiers, dehumidifiers, improve heating and air conditioning systems and adjust the temperature of the space. iii) Light • Light, as it relates to collections maintenance, consists of visual and ultraviolet light (UV).

• Both types of light can cause damage as light radiation falling on a surface provides energy to induce chemical changes in the molecules of the material. • Damage from light, including loss of colour and strength, is cumulative and irreversible. It is therefore crucial that light levels are monitored. iv) Dust and Dirt • Dust can contain a number of materials including skin, mould and inorganic fragments like silica or sulfur. • It is important to keep collections free of dust whenever possible because it can become bound to a surface over time, making it that significantly more difficult to remove. • Dust is hygroscopic, meaning it is able to attract and hold water molecules creating an ideal climate for mould spores to grow and cause biological damage. • This hygroscopic trait can also prompt chemical reactions on a surface, especially upon metals.

Fig. 32. Security measures for museum (left to right: CCTV, Surveillance, Laser detecttion)

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2.12 MUSEUM SECURITY

Security is an essential part of life today, whether we like it or not. Most organisations see the need to allocate resources to security to protect their assets, customers and employees. Museums, galleries, libraries and archives have the added duty and responsibility of protecting the nation’s cultural assets. Resource believes that security should be provided in a structured and effective manner that represents best value. This publication is intended to support and guide the implementation of this principle and act as a valuable, practical tool for operational managers across the sector.

Types of Risks: • • • • •

Burglary Vandalism Robbery Hold-up Natural hazards Fire and fire smoke

Mechanical Measures • Walls : Sufficiently robust • Doors : tested and approved burglar-resistant doors or Additional Locks and braces • Windows : tested and approved burglar-resistant windows Display Case Security Measures • Glass should be resistant to breaking.

• Surfaces without glazing, e.g. cover, bottom, sides also need to have an attack resistant design.

• Weak points need to be secured against bending apart so that it is not possible to fish out small exhibits.

• If possible, unframed showcases should be avoided.

Electronic Surveillance • Intruder alarm systems (IAS) should be designed in such a way that intrusions/attempted intrusions are detected and notified as early as possible.

• Perimeter surveillance is intended to protect a building’s perimeter (windows, doors, outer walls as well as ceilings and floors) from penetration.

• Special Detectors and Video Surveillance.

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Fig. 33. Museum security Features (Steven R. Keller)

Security Features: 1) Small and wireless, vibration sensors placed behind exhibit can detect the lightest fingertap.

2) The catalogs keep data about a canvas’s thread count, highly magnified photographs of a exhibit details and other proof of authenticity.

3) Fix the exhibit properly to prevent from theft.

4) Glazing protection fot pedestal exhibits.

5) Environmental sensors for fire, temperature changes and other hazards can be used to complement theft-deterrent sensors. These devices are even more common for items on pedestals, but are used for paintings as well.

6) Around the edge of the room, a low rail or change in floor texture or height creates a border to keep people from getting too close to the exhibit.

7) Motion-detection devices beamed directly over the exhibit sound a chirping alarm (like a smoke detector) to startle the too-close observer and alert security.

8) Saturation motion detection is the most important technology used in any given exhibit space. Instead of focusing motion detection only on entrances and egresses, such as doors and air ducts, it’s most practical to simply flood the room with motion detection. That creates very few “dead spots” for potential thieves to avoid sensors and helps deter “stay behinds”: skulkers who come into the room with a group but remain when others leave.

9) Closed-circuit TV cameras add another security layer beyond motion detection.

10) Fire alarms, sprinklers and temperature controls are mandated controls in any exhibit space.

11) Windows needs to be closed and fasten them closed whenever possible.

12) Security guards need to be on alert during gray hours and are also a constant presence in the museum at all other hours.

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2.13 MUSEUM STORAGE

Maintaining clean and orderly storage spaces ensures not only ease of accessibility but also the safety of the collections and those who work with them.

A. ORGANISATION It is essential that collections have an organizational system to store and house objects.

• The system may be grounded in relations to size, material, cultural or historical grouping as it makes sense to the collection.

• Structured organizational systems make identifying object locations straightforward and consistent which will help to locate and to return an object to its proper space.

• Part of a system is the use of “successive layers of protective envelopes and enclosures.”

Types of “layers” include nearly everything from storage spaces, padded shelves, non-acidic archival cabinets and individual packaging. • Each new layer should provide further protection by creating a microclimate buffer between an object and environmental fluctuations, light, dust and pollutants.

B. HOUSEKEEPING • A written housekeeping plan is required for every space that houses museum collections, such as storage spaces, furnished rooms in a historic structure, indoor and outdoor exhibit spaces, curatorial offices, and work and reference spaces.

• The housekeeping sets the frequency and necessities of the following measures • Building and site care • Monitoring the effectiveness of environmental controls • Monitoring and recording light, temperature, and relative humidity levels • Monitoring for pests In order to extract a set of guidelines, the primary purpose in this study is to focus on the physical aspects of

Fig. 34. Museum Storage (rackline.com)

Fig. 35. Museum Storage (publicradiotulsa.org)

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2.14 ENERGY EFFICIENT DESIGN

Energy efficient buildings can be defined as buildings that are designed to provide a significant reduction of the energy need for heating and cooling, independently of the energy and of the equipments that will be chosen to heat or cool the building.

This can be achieved through the following elements: • Bioclimatic architecture: shape and orientation of the building, solar protections, passive solar systems • High performing building envelope: thorough insulation, high performing glazing and windows, air-sealed construction, avoidance of thermal bridges • High performance controlled ventilation: mechanical insulation, heat recovery Only when the building has been designed to minimise the energy loss, it makes sense to start looking at the energy source (including renewable energy) and at the heating and cooling equipments.

Bioclimatic architecture takes into account climate and environmental conditions to help achieve thermal and visual comfort inside. Bioclimatic design takes into account the local climate to make the best possible use of solar energy and other environmental sources, rather than working against them. Bioclimatic design includes the following principles: • The shape of the building has to be compact to reduce the surfaces in contact with the exterior; the building and especially its openings are given an appropriate orientation (preferably towards the south); interior spaces are laid out according to their heating requirements ; • Appropriate techniques are applied to the external envelope and its openings to protect the building from solar heat in winter as well as in summer; passive solar systems collect solar radiation, acting as “free” heating and lighting systems; the building is protected from the summer sun, primarily by shading but also by the appropriate treatment of the building envelope (i.e. use of reflective colours and surfaces).

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Fig. 36. Ventilation and stack effect reduces cooling load

Fig. 37. Passive cooling using courtyards (slideshare.net)

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Orientation: Good orientation reduces the need for auxiliary heating and cooling and improves solar access to panels for solar photovoltaic and hot water. It takes account of summer and winter variations in the sun’s path as well as the direction and type of winds.

Shading: Direct sun can generate the same heat as a single bar radiator over each square metre of a surface. Effective shading — which can include eaves, window awnings, shutters, pergolas and plantings — can block up to 90% of this heat. Shading of glass to reduce unwanted heat gain is critical, as unprotected glass is often the greatest source of heat gain in a house.

Passive solar heating: Design for passive solar heating keeps out summer sun and lets in winter sun while ensuring that the building envelope keeps that heat inside in winter and allows any built up heat to escape in summer.

Orientation, thermal mass, sealing and other elements all contribute to the design of a house that benefits from passive solar heating.

Passive cooling: Passive cooling is the least expensive way to cool your home.

To be effective, passive cooling techniques need to cool both the house and the people in it -with elements such as air movement, evaporative cooling and thermal mass Insulation acts as a barrier to heat flow and is essential for keeping your home warm in winter and cool in summer. It can also help with weatherproofing and soundproofing.

Glazing: Glazed windows and doors bring in light and fresh air and offer views that connect interior living spaces with the outdoors. However, they can be a major source of unwanted heat gain in summer and heat loss in winter. Up to 40% of a home’s heating energy can be lost and up to 87% of its heat gained through glazing. These thermal performance problems can be largely overcome by selecting the right glazing systems for your orientation and climate, and considering the size and location of window openings in your design.

Natural Light and Ventilation: Skylights can make a major contribution to energy efficiency and comfort. They are an excellent source of natural light, perhaps admitting more than three times as much light as a vertical window of the same size, and can improve natural

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Fig. 38. Using passive cooling strategies to improve thermal performance (sciencedirect.com)

Fig. 39. Building Orientation, Design Strategies for Hot & Dry/Composite Climatic Zone of Rajasthan 15AR10027 | B. Arch. Thesis 2019-20

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2.15 SERVICES & DISASTER PREPAREDNESS

FIRE-FIGHTING A fire protection system is an important component of a building’s safety plan, regardless of whether it’s a commercial facility, hospital or educational facility Passive Fire Protection uses systems that do not require any motion or action in order to work. Fire and Smoke Dampers prevent the spread of flames and smoke through the ductwork of a facility. Fire Walls/Barriers as well as Fire Doors, if kept shut, help contain the fire to one specific location of the building. Photo-luminescent Egress Path Marking Systems and Exit Signs will continue to glow in smoky conditions, allowing people to navigate their way to safety.

Active Fire Protection uses systems that do require a certain amount of motion or action in order to work properly. These systems use some amount of actions to notify of the fire and smoke conditions, help slow the growth of the fire or to help put out the fire altogether. Examples: Fire Alarm Systems, Sprinkler Systems, Fire Extinguisher/Hydrant, Fire-fighters, etc.

Fig. 41. Automatic fire alarm system

Fig. 40. Fire exit sign

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Fig. 42. Passive fire protection (Passive Fire Protection Federation; pfpf.org)

• Care should be taken to install the systems according to the object on display.

• Large halls should be divided in compartments, with fire resistive walls of up to 1-2 hrs. fire rating.

• Early detection of fire is necessary, therefore latest technology should be used, such as ionisation type smoke detectors.

• Non-Combustible Interior Finish.

• Electrical wires and cables coated with fire paints.

• All the shafts should be sealed with non-combustible.

• Automatic fire fighting systems should be installed.

• Information boards should be installed for the users.

• Emergency Exits should be given at an interval of 22m.

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HVAC The objective of an HVAC system is to ensure that an indoor environment is both safe and comfortable for humans. Safety here mainly concerns the Indoor Air Quality or IAQ, meaning that the indoor air should have enough oxygen and be free of noxious gases. Comfort of course is based on human perception, which can vary within bounds.

ASHRAE (the American Society of Heating, Refrigeration, and Air-conditioning Engineers), defines comfortable air quality as one “with which a substantial majority (80% or more) of the people exposed do not express dissatisfaction.”

DISASTER RESISTANT Identification of various hazard-prone areas should be and technical guidelines for hazard resistant construction of building should be followed More advanced techniques for earthquake resistance is not to strengthen the building, but to reduce the earthquake-generated forces acting upon it.

Some disaster resistant design techniques are- Base Isolation Method, Energy Dissipation Devices, Fluid Viscous Dampers, Damping Devices and Bracing Systems, etc.

Fig. 43. Building Intelligent system; Access Control; HVAC; Life Safety; Lighting; Security/ALARM System (Emyras Industries)

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2.16 UNIVERSAL DESIGN PRINCIPLES

Exhibit teams will work to promote inclusion in the following three key areas, ensuring that a wide range of visitors can: Physically interact with/perceive the space Is the environment inclusive so that a diversity of individuals can physically interact with/relate to the space? In other words, is the space set up so that a diversity of individuals can move around the space comfortably and safely? Is the information in the space conveyed in a variety of formats so that a diversity of individuals can perceive it? Can a diversity of individuals manipulate or cause things to happen within in the space?

Cognitively engage with the materials Is the environment inclusive so that a diversity of individuals can cognitively engage with the materials? In other words, is the information conveyed using a range of media to allow a diversity of individuals with a range of learning styles to engage with the materials? Do the materials take into account a diversity of individuals with a range of learning and cognitive skills? Do the materials take into account a diversity of individuals with range of experiences and sets of background knowledge?

Socially interact with one another Is the environment inclusive so that all individuals can socially interact with/relate to one another? In other words, is the environment generally safe and welcoming for a diversity of individuals? Is the space set up to comfortably and safely foster and facilitate encounters and engagement among a diversity of individuals? Are the materials designed to provide meaningful reasons to foster and facilitate encounters and engagement among a diversity of individuals? To ensure the physical accessibility of the exhibition and the Museum’s adherence to its legal requirements, the 2010 ADA Standards for Accessible Design will be followed.

Fig. 44. Some universal design features in museums

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PRINCIPLE ONE: Equitable Use The design is useful and marketable to people with diverse abilities.

• It provides the same means of use for all users: identical whenever possible; equivalent when not.

• It avoids segregating or stigmatizing any users.

• Provisions for privacy, security, and safety are equally available to all users.

• The design is appealing to all users.

PRINCIPLE TWO: Flexibility in Use The design accommodates a wide range of individual preferences and abilities.

• It provides choice in methods of use.

• It accommodates right or left handed access and use.

• It facilitates the user’s accuracy and precision.

• It provides adaptability to the user’s pace.

PRINCIPLE THREE: Simple and Intuitive Use Use of the design is easy to understand, regardless of the user’s experience, knowledge, language skills, or current concentration level.

• It eliminates unnecessary complexity.

• It is consistent with user expectations and intuition.

• It accommodates a wide range of literacy and language skills.

• It arranges information consistent with its importance.

• It provides effective prompting and feedback during and after task completion.

PRINCIPLE FOUR: Perceptible Information The design communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities.

It uses different modes (pictorial, verbal, tactile) for redundant presentation of essential information.

• It provides adequate contrast between essential information and its surroundings.

• It maximizes “legibility” of essential information.

• It differentiates elements in ways that can be described (i.e., make it easy to give instructions or directions).

• It provides compatibility with a variety of techniques or devices used by people with sensory limitations.

PRINCIPLE FIVE: Tolerance for Error The design minimizes hazards and the adverse consequences of accidental or unintended actions.

• It arranges elements to minimize hazards and errors: most used elements, most accessible; hazardous elements eliminated, isolated, or shielded.

• It provides warnings of hazards and errors.

• It provides fail safe features.

• It discourages unconscious action in tasks that require vigilance.

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Fig. 45. The Seven Principles of Universal Design (interaction-design.org)

PRINCIPLE SIX: Low Physical Effort The design can be used efficiently and comfortably and with a minimum of fatigue.

• It allows user to maintain a neutral body position • It uses reasonable operating forces.

• It minimizes repetitive actions.

• It minimizes sustained physical effort.

PRINCIPLE SEVEN: Size and Space for Approach and Use Appropriate size and space is provided for approach, reach, manipulation, and use, regardless of user’s body size, posture, or mobility.

• It provides a clear line of sight to important elements for any seated or standing user.

• It makes reaching to all components comfortable for any seated or standing user.

• It accommodates variations in hand and grip size.

• It provides adequate space for the use of assistive devices or personal assistance.

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Fig. 46. Reach factors for Differently abled (Time Saver Standards)

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Fig. 47. Universal design guidelines for graphic and physical activities (Museum of Science; missionstem.nasa.gov).

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2.17 JAIPUR: ARCHITECTURAL FEATURES

INTRODUCTION Jaipur architecture is world wide famous because of its technical details and beauty. The city of Jaipur is based on Indian Vastu concepts planned by Vidyadhar Bhattacharya in 1727 who was commissioned by Maharaja Sawai Jai Singh II - the founder of Jaipur, a great architect and astronomer.

FORTIFICATION WALL AND ENTRY GATES Entrance gates of Jaipur follow the principles of Indian Vastu and architectture: the direction, height and location are all according to the Indian Vastu principles. In Jaipur, the directions of each street and market are East to West and North to South.

As Maharaja Sawai Jai Singh was keen on the security aspect of the city, he constructed 20 feet high fortification walls to wrap the city all around, called “Parkota”, and designed seven entry gates of Jaipur. The gates used to be closed at sunset and opened at sunrise. There are only three gates facing East, West, and North, while other gates face South.

Although, Jaipur has now expanded outside of its walls, the original planning is still very eminent within the walls. This originally planned Pink City is also known as “Four-Wall-City” because it is wrapped by fortification walls all around and it still consists a beauty of old architecture of Jaipur.

STEP WELLS Stepwells are wells or ponds in which the water is reached by descending a set of steps to the water level. They are most common in western India.

Stepwells are examples of the many types of storage and irrigation tanks that were developed in India, mainly to cope with seasonal fluctuations in water availability.

Chand Baori in Abhaneri, near Jaipur, Rajasthan, is one of the largest stepwells. It is also perhaps the most visually spectacular. Chand Baori is a deep four-sided structure with an immense temple on one face.

There is another stepwell located on the rear side of the Amber fort, Panna Meena ka Kund, in Jaipur.

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The architecture of the walled city of Jaipur is an amalgamation of different layers of growth and development of the different period and exhibit different architectural character.

• 18th Century – bengaldar roofs, lime jaalis, chatris • 19th Century colonial arches, pilasters and railings • 20th Century - decorative railings, colonnaded balconies, rectangular openings with ventilators The Structural system commonly used in heritage buildings consists of Red and Pink Sandstone.

The colour is terracotta pink as this colour historically represents good will and hospitality. The paint was produced from a calcium oxide compound and is extremely durable in the arid conditions of Jaipur.

Any alterations in the structural design, appearance, colour and other architectural features including kangooras, panels, pillars, shutters, railings, parapet walls, balconies and jharoka and other structural fittings and elevation of the any building facing main bazars of the city or any portion of such buildings visible from the bazars of the ‘Walled City’ are prohibitted.

This has maintained the uniformity and the general design, colour, scheme and architectural features of the Pink City.

Fig. 48. Fortification (jaipurthepinkcity.com)

wall,

Jaipur

Fig. 49. Ghat Darwaza, Jaipur (jaipurbeat. com)

Fig. 50. Panna Mian ka kund (Stepwell), Jaipur (jaipurbeat.com)

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Fig. 52. Types of architectural arches (homestratosphere.com)

ARCHES Arches commonly featured in Jaipur architecte are Segment arch, Cinquefoil arch, Mutifoil arch, and Round trefoil arch.

Fig. 51. City Palace, Jaipur (Photo Courtesy: trekearth.com)

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MUGHAL INFLUENCE The paintings on its surface have a strong Mughal flavor. The vase and box design on the facade in the curvilinear Bangledar Chhatri can be traced to the Mughal architecture.

Fig. 53. Chhatri from Sri Goverdhan Nathji Temple in Jaipur (jaipurthrumylens.com)

CHHATRI Chhatri means a semi-open canopy. It also refers to an umbrella. The word is derived from Sanskrit word Chattra. Since these canopies resembled an umbrella, therefore named chhatri.

The idea of using Chhatris is to enhance the beauty of the buildings. These chhatris can be found all across Rajasthan.

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2.18 TECHNOLOGY AND ART

The new technological landscape has demystified the world of art, making it both more accessible and engaging for onlookers than in previous decades.

Museums are remodeling their existing approaches to art, incorporating technology not just as a way to improve exhibitions but to expand and even breakdown the notion of what is art.

A museum is not just a place to hang art. With almost 55,000 museums across the planet, the museum is where visitors go to experience new perspectives, to be challenged, to commemorate important moments from history, or simply a place to be awed and inspired. From the emergence of new user interfaces to the trendy adoption of virtual reality technology, each of these technologies has pushed museums to change drastically; not just aesthetically but financially too.

With these new mediums at their disposal, curators and owners have tackled three major challenges in the exhibition art world; how to get people inside your museum, how to keep people in your museum, and how to embrace new artistic technology.

Museums used to be the place of “no touching�. Do not touch the pieces, just look at them. Yet, new technology and developments in user experience and user interface has completely flipped this notion on its head with some modern exhibitions encouraging to visitors to stay and even play with exhibits.

Fig. 55. Technology in Art museums (interestingengineering.com)

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Fig. 56.

Digital Technology (interestingengineering.com)

used

in

New

York’s

Metropolitan

museum

NEW MUSEUM INTERFACE Art is no longer just a one-dimensional experience.

How do you keep visitors in your museum for the day? Have them play around with your exhibits all day.

In New York’s Metropolitan Museum, visitors may get the treat of interacting with a touch screen that provides historical information, or a gesture centered exhibit that requires you to move your body for it to even work.

Hand movements, steps, your touch, and even your voice could trigger a full audio-visual experience that will dazzle you with information and tell a narrative.

The experience design company Local Projects are experts at blending the physical world with the digital to create and to tell engaging stories. n their commemorative museum for the tragedy of 9/11, the agency utilized various modern UI technologies to help enthrall visitors in the moving stories of those who suffered in NYC during September 11.

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AI ARTISTS Artificial intelligence and art may not be something that you believe that coexists already, but it is here. Aside from using AI to improve the overall gallery experiences, curators are even looking to AI as the next artist to watch.

Just in 2018, a painting completed by GAN (Generative Adversarial Network), an AI entity, sold at the world famous auction house Christie’s for nearly $500,000 attracting the attention of the world.

AI has proven that it can create art that can rival some of the artistic greats. Even more so, the appeal of AI-generated art is tremendous, attracting fans from across the globe.

Though it is still somewhat of an anomaly, AI in museums and in art is part of a bigger growing trend. Curators are hungry more than ever to find artists in this new digital frontier who are using technology to wow audiences.

Fig. 57. AI generated painting | Source: obvious art (interestingengineering.com)

VIRTUAL REALITY AND AUGMENTED REALITY TECHNOLOGIES One of the most obvious new forms of new technologies, that will be infiltrating your local museum will probably be either virtual reality, augmented reality or a bit of both. VR and AR technology is already widely popular and is being incorporated into exhibitions.

Augmented reality is an excellent tool for museums interested in bridging the gap between the digital and real, displaying landscapes, data, and animations in real time.

Places like the PĂŠrez Art Museum in Miami or the Kremer Museum have encouraged artists to use VR to provide unique full sensory experiences to on-goers.

While in more historical museums like the metropolitan museum, VR is used to transport people to different times and places for the ultimate immersive experience.

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Fig. 59. Technology in art museums | Source: team labs (interestingengineering.com)

Fig. 58. VR in art museums (interestingengineering.com)

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03

CASE STUDIES

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Fig. 60. Front view of Jaipur House, NGMA, New Delhi (Author)

3.1 Table 1

Information aboutNGMA, New Delhi

National Gallery of Modern Art, New Delhi, India INTRODUCTION

Project Info Building

National Gallery of Modern Art (NGMA)

Location

New Delhi, India

Major Spaces

Exhibition Areas, Conservation Laboratory, Library, Auditorium

Established

29 March 1954

Area

12,000 square meters

Collection

1700 works by 2000+ artists

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The Gallery is the premier institution of its kind in India. It is run and administered as a subordinate office to the Department of Culture, Government of India. The gallery is a repository of the cultural ethos of the country and showcases the changing art forms through the passage of the last hundred and fifty years starting from about 1857 in the field of Visual and Plastic arts. Notwithstanding some gaps and some trivia, the NGMA collection today is undeniably the most significant collection of modern and contemporary art in the country today.

AIMS AND OBJECTIVES The principal aims and objectives of the National Gallery of Modern Art are: • To acquire and preserve works of modern art from 1850s onward • To organize, maintain and develop galleries for permanent display • To organize special exhibitions not only in its own premises but in other parts of the country and abroad.

• To develop an education and documentation centre in order to acquire, maintain and preserve documents relating to works of modern art • To develop a specialized library of books, periodicals, photographs and other audio visual materials • To organize lectures, seminars and conferences, and to encourage higher studies and research in the field of art history, art criticism, art appreciation, museology and the inter-relations on Fig. 61. Interior view of galleries at Jaipur House, visual and performing arts.

NGMA, New Delhi (Author)

The foremost responsibility of the National Gallery of Modern Art is to ensure quality and to set and maintain standards of excellence.

The aesthetic and educational purposes are not only defined in the aims and objectives of the National Gallery of Modern Art, but efforts are also being made so that they become implicit in its organization and pervade all its activities.

Above all, the National Gallery of Modern Art helps people to look at the works of modern art with greater joy, understanding and knowledge by extending their relationship with our daily life and experiencing them as vital expressions of Fig. 62. Interior view of galleries at Jaipur House, NGMA, New Delhi (Author) the human spirit.

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Fig. 64. Front view of New Wing, NGMA, New Delhi (Author)

The design for a new wing at the National Gallery of Modern Art (NGMA), New Delhi, was finalized in 1985. But the new wing was inaugrated 23 years later, in 2009.

Thus far, only 4% of the NGMA’s permanent collection could be displayed in the relatively limited confines of Jaipur House. With the new wing, this figure went up to 24%.

The new wing consists of three interconnected blocks constructed adjacent to and behind Jaipur House.

Despite being much bigger, the new structure blends in with the surroundings.

All the works in the two inaugural shows were from the museum’s permanent collection: In the seeds of time traces the evolution of modern art in India, and Rhythms of India, the art of Nandalal Bose shows about 85 works by the master.

Fig. 63. View of New Wing, NGMA, New Delhi (Author)

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Fig. 67. Model | Photo Courtesy of the Architect, New Wing National Gallery of Modern Art 2009, Catalogue, NGMA, New Delhi (wikipedia.org) The model indicates the way in which the three new blocks will be articulated around a courtyard formed with the existing museum.

Fig. 65. New Wing, NGMA, New Delhi (Author)

Fig. 69. Sculpture Garden, NGMA, New Delhi (Author)

Fig. 68. Sculpture Garden, NGMA, New Delhi (Author) Fig. 66. Skylights, New Wing, NGMA, New Delhi (Author) 15AR10027 | B. Arch. Thesis 2019-20

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Fig. 71. Plan of the lower level, New Wing, NGMA, New Delhi (ngmaindia.gov.in)

Fig. 70. Entry to the lower level, New Wing, NGMA, New Delhi (Author)

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Fig. 72. Exhibit 02, lower level, New Wing, NGMA, New Delhi (Author)

NGMA, New Delhi hosting Daegu Art Museum from South Korea: Exhibition entitled “100th Anniversary of the March 1st Independence Movement: One Shiny Day” under the auspices of Cultural Exchange Program between India and Korea.

Fig. 73. Exhibit 04, lower level, New Wing, NGMA, New Delhi (Author)

Fig. 74. Exhibit 08, lower level, New Wing, NGMA, New Delhi (Author)

INFERENCES • New Wing: The space, which is split into four levels, is too large and overwhelming, everything exposed to the veiwer at once.

• New Wing: The ceiling skylights provide diffused lighting but the lighting was inadequate.

• Japur House: Old Palace converted to galleries; the AC and the services are exposed.

• Sculpture garden and well maintained landscaping

Fig. 75. Exhibit 09-2, lower level, New Wing, NGMA, New Delhi (Author) 15AR10027 | B. Arch. Thesis 2019-20

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Fig. 76. LACMA, Resnick Pavilion, photo by Nic Lehoux (inexhibit.com)

3.2 Table 2

Information about LACMA

Los Angeles County Museum of Art (LACMA), USA INTRODUCTION

Project Info Building

Los Angeles County Museum of Art (LACMA)

Location

Los Angeles, California, United States

Major Spaces

Exhibition area, Research Library, Conservation center

Area

60,000-square-foot (5,600 m2)

Visitors

1,592,101 (2016)

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Museum of Contemporary Art

Located on the Pacific Rim, LACMA is the largest art museum in the western United States, with a collection of more than 142,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the region’s rich cultural heritage and diverse population.

Fig. 77. Urban Light Exhibit at LACMA, Photo courtesy of Museum Associates/LACMA. (mellon.org)

LACMA’s spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.

Urban Light, an exhibit by Chris Burden, is a stand out piece at LACMA composed of 202 old lampposts, many of them from the 1920s and ‘30s collected from around Los Angeles.

Fig. 78. LACMA view from Wilshire Boulevard (10best.com)

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PUBLIC ART An important aspect of LACMA’s success in increasing attendance and raising the museum’s profile was a strategic investment in public art, accessible outside the museum walls.

Diana Vesga, chief operating officer, described the public art on LACMA’s grounds as an essential component of this vision: “The front of the museum is packed at 1 am. We’ve had to put guards out in the middle of the night.

It’s a young, diverse demographic. Our public sculptures have become a point of engagement for an audience that has been elusive to museum. Eventually they venture into the galleries. We’re the only museum that can say it tripled attendance in such a short time.”

THE FUTURE LACMA’s future plans focus on radically breaking down barriers even more, this time rethinking what a museum can mean to a city. This plan includes a redesign of LACMA’s physical location, making the museum a more transparent and open space. It also includes a radical plan to start hosting more exhibits in communities around Los Angeles, turning LACMA into the repository for a decentralized, citywide art museum.

Fig. 80. Smoke by Tony Smith Estate /Artists Rights Society (ARS), New York at LACMA (collections.lacma. org)

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Museum of Contemporary Art

Fig. 79. Levitated Mass © Michael Heizer, LACMA | Photo by Tom Vinetz (sr.ithaka.org)

KEY FINDINGS Establishing a Civic Space: By increasing its profile and reflecting its environment, LACMA has become an integrated cultural space in a city that is both highly diverse and highly segregated.

Staff see this as a civic responsibility for a county museum.

Audience Engagement: LACMA staff think critically about how to be good hosts to the public, and they often use contemporary art as access points for cultural conversations. To this end, education and curatorial departments achieved a high degree of collaboration, founded on mutual respect for one another’s expertise.

Decentralization: Urban planning and environmental factors create barriers to accessing LACMA for many Los Angeles residents. LACMA is finding spaces outside the walls of the museum for its art, and working with the county of Los Angeles to build satellite locations.

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Fig. 82. Resnick Pavilion, photo by Nic Lehoux (inexhibit.com)

Fig. 81. Resnick Pavilion, west elevation; image © RPBW (inexhibit.com)

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Museum of Contemporary Art

Fig. 84. LACMA’s west campus; photo by aepg (inexhibit.com)

Fig. 83. West campus east elevation and longitudinal section; images © RPBW (inexhibit.com)

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Fig. 86. Broad Contemporary Art Museum; photo by Nic Lehoux (inexhibit.com)

Fig. 85. Broad Contemporary Art Museum; cross-section; image © RPBW (inexhibit.com)

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Museum of Contemporary Art

Fig. 87. Walter de Maria’s installation ,The 2000 Sculpture at Resnick Pavilion, LACMA (archpaper.com)

Fig. 88. E x h i b i t i o n spaces in the Broad Contemporary Art Museum, Photo: Michel Denancé (inexhibit.com)

INFERENCES • Regularly rotating temporary exhibits, constantly changing film programs, lectures, courses and special events mean that there is always something new and fascinating going on at this top-notch museum.

• There is the Boone Children’s Gallery at LACMA for children, where they can try their hand at painting.

• By bringing works like Levitated Mass and Urban Light to the grounds of LACMA, the museum has become an iconic cultural space on the West Coast, driven in no small part by visitors’ social media engagement. LACMA is now the fourthmost Instagrammed museum in the world.

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Fig. 89. Museum of Contemporary Art Tokyo (MOT) (mot-art-museum.jp)

3.3 Table 3

Information about MOT

Museum of Contemporary Art Tokyo (MOT), Japan INTRODUCTION

Project Info Building

Museum of Contemporary Art Tokyo (MOT)

Location`

Tokyo, Japan

Architect

Takahiko Yanagisawa

Area

24,000 sqm

Major Spaces

Exhibition space, Art Library

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Museum of Contemporary Art

The Museum of Contemporary Art Tokyo was opened in March, 1995 in Kiba Park, to the East of Sumida River, as a center for the systematic study, collection, preservation and display of contemporary art, focusing primarily on postwar Japanese art but encompassing a wide range of subjects from both here and abroad.

With a collection of over 4,000 works of art and 100,000 book materials, MOT today conducts various projects to grasp the current state of art by actively addressing the latest creative endeavors, both at home and abroad, within a variety of fields

Fig. 92. MOT | Photo: Kenta Hasegawa (gotokyo. org)

The museum hosts the MOT Collection and special exhibitions. A collection of about 5,400 works is the basis for rotating themed exhibitions which are curated to reflect on postwar art history. Special exhibitions display works from a variety of genres such as fashion, design, and architecture.

Aside from a library with around 270,000 books and reference materials related to art, as well as a shop with a lineup of unique products made by artists, the museum also has a chic restaurant and cafe. The Museum of Contemporary Art Tokyo provides an immersive art experience.

Fig. 91. MOT | Photo: Kenta Hasegawa (gotokyo. org)

Fig. 90. View from site entry, MOT | Photo: Kenta Hasegawa (gotokyo.org)

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Cloudscapes Tetsuo Kondo Architects created a small bank of clouds in the Sunken Garden of the Museum of Contemporary Art Tokyo.
The clouds billow softly in a compact, transparent container and can be seen from the entrance hall, exhibition galleries, outdoor plaza, and other parts of the museum.

Fig. 93. Cloudscapes at MOT | Photo: Yasuhiro Takagi (archdaily.com)

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Museum of Contemporary Art

Fig. 94. Cloudscapes at MOT | Photo: Yasuhiro Takagi (archdaily.com)

Climb the stairs inside the clouds’ container. When you climb beyond the clouds to reach the top, the museum,
the surrounding buildings, and the sky stretch out above the clouds. The edges of the clouds are sharp yet soft, and always in motion.

Their color, density and brightness are constantly changing in tune with the weather and time of day.

The temperature and humidity inside the container are controlled to keep the clouds at their designed height. The air inside the container forms three distinct strata, one cool and dry, at the bottom, a warm and humid middle stratum, and a hot and dry stratum at the top. The warm, humid layer is where the Fig. 95. Cloudscapes at MOT | Photo: Yasuhiro Takagi clouds form. (archdaily.com)

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1.

Exhibition

Fig. 96. “Eros of Alumina (White Solidities Are…)”, 1984/2015 (mot-art-museum.jp)

Temporary Exhibition 6 to 8 temporary exhibitions are held every year, covering a wide range of themes and genres centered around contemporary art. With a total of 4,000 square meters of floor space on three floors, each with different ceiling heights (4m/6m/9m), as well as an Atrium which captures natural light (h.19m), we are able to utilize space as an important element, presenting contemporary creative activities in an effective fashion, striving to display the works in a manner that will create a fresh and surprising space in order to attract a wide range of visitors the museum.

Permanent Exhibition Extensive collection of approximately 4,000 works, using approximately 3,000 square meters on two floors, vitual exhibitions that utilize the scale of the galleries, exhibitions that provide an overview of contemporary art history , exhibitions that transect time, place and genre, and solo exhibitions of artists whose works from part of the collection.

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Museum of Contemporary Art

2.

Education

Fig. 97. Education at Museum Of Contemporary Art Tokyo, Japan (MOT) (mot-art-museum.jp)

Educational/Promotional Activities The museum carries out various activities to bridge the gap between art and people, artists and visitors in order to welcome a wide range of visitors, and create opportunities for people who visit the museum to enter into an easy dialogue with contemporary art.

Fig. 98. Installation view of “Twentieth Anniversary Special MOT Collection: Chronicle 1995� | Artists: Masaya Chiba, Chihiro Mori, Teppei Kaneuji, Taro Izumi | Photo: Shizune Shiigi) (mot-art-museum.jp)

Collection

3.

MOT systematically collects works of historical significance in postwar art, while also collecting works by emerging artists that speak clealy of the latest trends in art, the collection currently consisting of approximately 4,000 works. The collections stands out for way in which it focuses on groundbreaking works that pioneered the trends of evey period.

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Fig. 99. Art Library, MOT | Photo: Kenta Hasegawa (mot-art-museum.jp)

Fig. 100. Art Library, MOT | Photo: Kenta Hasegawa (mot-art-museum.jp)

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5.

Research &Study

Art Library

4.

The MOT Art Library is the largest specialty library of its kind in Japan, housing an extensive collection of over 270,000 volumes of books, catalogs and art magazines on modern and contemporary art. Open to the public, the library aims to provide information to general visitors, while presenting displays related to the museum’s exhibitions. In addition to offering an Internet book search service, a digital archive of rare and valuable reference materials is also accessible online.

Museum of Contemporary Art

The basis of all the activities is the varied and continuous research and study that undertakes into the latest trends in art and society, enablingMOT to answer the expectations of a wide range of visitors and carry out meaningful artistic activities.

The museum boasts three floors (4,000m2) of galleries devoted to temporary exhibitions and two floors (3,000m2) for MOT Collection exhibitions, making it the largest modern/contemporary art museum in the country.

Fig. 101. MOT | Photo: Kenta Hasegawa (gotokyo.org)

Fig. 102. Haunted house at MOT | Photo: Fuminari Yoshitsugu (yatzer.com)

INFERENCES • Works are exhibited in rotation, but connoisseurs can see the entire collection on interactive screen in the museum’s excellent library.

• The museum also has a very nice gift shop and two coffee shops with ethereal atmospheres, perfect extensions of its peaceful power.

• Many of the exhibitions take advantage of the galleries’ extremely high ceilings to show large-scale works.

• The Atrium, which is part of the collection exhibition space, is the venue for the Atrium Project in which spectacular installations are displayed over the course of one year.

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Fig. 103. View of the Broad Museum, Los Angeles | Source: Iwan Baan (architectural-review.com)

3.4 Table 4 MUSEUM

Information

about

THE

BROAD

The Broad Museum, Los Angeles, USA INTRODUCTION

Project Info Building

The Broad Museum

Location

Los Angeles, USA

Architects

Diller Scofidio + Renfro

Major Spaces

Public exhibition space and massive Art Storage facility

Area

11,000 sqm

Completion August 2015 Visitors

91

100,000 per day

Museum of Contemporary Art

The Broad is the new contemporary art museum in downtown Los Angeles, designed by Diller Scofidio + Renfro (DS+R).

It is located in the city’s burgeoning Grand Avenue arts corridor, and lies across the street from architectural icons including Walt Disney Concert Hall and the Museum of Contemporary Art.

Fig. 105. Staircase through the “vault” at the Broad Museum, Los Angeles | Source: Iwan Baan (architectural-review.com)

The Broad features public gallery spaces on the first and third floors, with a central “vault” housing collection storage and wrapped around the Grand Avenue elevation of the building, like a “veil,” is a porous exoskeleton made of concrete panels and steel.

The vault is the heart of the structure and a layer of gallery has been wrapped around and over it.

This manifests itself most clearly in the lobby where the veil, lifted slightly at the corners to create an entrance, gives weight to the lump, a grey Venetian-plastered mass of undulating walls. The latter is reinforced by the attenuated escalator that penetrates the grey blob and is the public route up through the building.

Fig. 104. Lobby area of the Broad Museum, Los Angeles | Source: Iwan Baan (architectural-review.com) 15AR10027 | B. Arch. Thesis 2019-20

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Upon entering the lobby, visitors will travel up a 105-foot escalator through the concrete vault and emerge into the third-floor gallery, which features 23-foot ceilings and 318 skylights that filter diffused sunlight.

CONCEPT

Upon exiting the third floor, most visitors will again descend through the vault via a central stairwell, which offers glimpses of the artwork in the archive that may be displayed in future exhibitions.

The veil filters natural daylight into the building’s interior and establishes lines of sight between the museum and the street.

The veil lifts at the south and north corners of the building to define two street-level entrances.

Fig. 106. Concept of The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`

Fig. 107. Axonometric View, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`

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Museum of Contemporary Art

Fig. 109. Conference Room, The Broad Museum | Source: Iwan Baan (architectural-review.com)

Fig. 108. Storage facility, The Broad Museum | Source: Iwan Baan (architectural-review.com)

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Fig. 110. First Floor Plan, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`

Fig. 111. Second Floor Plan, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`

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Museum of Contemporary Art

Fig. 112. Third Floor Plan, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`

Fig. 113. East-West Section, The Broad Museum | Source: Diller Scofidio + Renfro (theplan.it)`

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Fig. 114. Gallery on Third Floor, The Broad Museum | Photo: Iwan Bann |Source: Diller Scofidio + Renfro (theplan.it)`

Fig. 115. L a n d s c a p e d Plaza ,The Broad Museum | Photo: Iwan Bann |Source: Diller Scofidio + Renfro (theplan.it)`

INFERENCES The ‘veil’or the cladding continues across the top of the buildingand is angled between the tilt to natural north and the street grid that determines the angle of the parallelogram components. The light is cool, neutral, stripped of its LA intensity, the blue of the sky toned down to a misty grey. And one acre of column-free volume sits atop a huge art storage facility.

The Plaza Features a grove of 100-year-old Barouni olive trees and a large lawn, it adds a much-needed parcel of green space to the downtown cultural corridor and makes the area more pedestrian-friendly.

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Museum of Contemporary Art

Fig. 116. Guggenheim Museum Bilbao, 1993-97 (photo: Emilio I. Panizo, CC BY-NC-SA 2.0)

3.5 Table 5 Bilbao

Information about Guggenheim Museum

Guggenheim Museum Bilbao, Spain INTRODUCTION

Project Info Building

Guggenheim Museum

Location

Bilbao, Spain

Architects

Frank O. Gehry

Major Spaces

Permanent Exhibits

Area

11,000 sqm

Established

18 October 1997

Visitors

1 322 611 (2017)

and

Visiting

The Guggenheim Museum Bilbao is a museum of modern and contemporary art located in Bilbao, Basque Country, Spain. The museum was inaugurated on 18 October 1997 by King Juan Carlos I of Spain. Built alongside the Nervion River, which runs through the city of Bilbao to the Cantabrian Sea, it is one of several museums belonging to the Solomon R. Guggenheim Foundation and features permanent and visiting exhibits of works by Spanish and international artists. It is one of the largest museums in Spain.

One of the most admired works of contemporary architecture, the building was most frequently named as one of the most important works completed since 1980 in the 2010 World Architecture Survey among architecture experts.

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Fig. 117. View from Iparraguirre Kalea toward the main entrance, (photo: Mariordo (Emilio I. Panizo), CC BY-NC-SA 2.0)

Although this view is arguably the most dramatic and satisfying, the main entrance is on the opposite side of the building, at the foot of a narrow residential street, the Iparraguirre Kalea (above). Arriving visitors cross over concealed railroad tracks and descend through a broad stepped limestone plaza passing from a slender notch into a soaring 165-foot atrium. A complex and somewhat chaotic interior, this twisting glass-and-steel volume combines irregularly-shaped limestone and plaster walls, glazed elevator shafts, and vertigoinducing catwalks.

A “miracle” in Bilbao The Guggenheim Bilbao opened to the public in 1997. The reception to Gehry’s unorthodox design was nothing less than ecstatic, drawing international acclaim from fellow architects and critics, as well as from tourists who throng here from throughout the world. Herbert Muschamp, The New York Times architecture critic called the undulating structure a “miracle.”[1] The benefit to the city’s local economy was immediate and substantial and numerous cities have tried (but not always succeeded) to match its success, commissioning similarly dynamic structures from high-profile “starchitects.”

Fig. 118. G u g g e n h e i m Museum Bilbao, 1993-97 (photo: Emilio I. Panizo, CC BY-NC-SA 2.0)

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Museum of Contemporary Art

Fig. 119. Atrium, Frank Gehry, Guggenheim Museum Bilbao, 1993-97 (photo: Ardfern, CC BY-SA 3.0)

The central atrium (right) serves as a circulation hub and orientation gallery, providing access to approximately 20 galleries on three levels.

While the sequence of “classic” galleries are predictably rectangular, other exhibition spaces have surprising shapes, with angled or curving walls and occasional balconies.

Particularly memorable is the so-called “boat gallery.” Though Gehry compares the shape to a fish (a reoccurring motif in his work), this enormous column-free space (above) extends more than 400 feet along the river-front promenade and beneath the adjoining bridge. Ideal for large works of sculpture, this vast space contains an installation by Richard Serra.

Fig. 120. Richard Serra, Snake, 2005, “The Matter of Time” sculptures in the “boat gallery,” Guggenheim Museum Bilbao (photo: Ardfern, CC BY-SA 3.0)

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Museum of Contemporary Art

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Fig. 121. Guggenheim Museum Bilbao Pan (www.khanacademy.org)

Fig. 122. Guggenheim Museum Bilbao (exterior detail), 1993-97, titanium, limestone, glass, steel (photo: josu.orbe, CC BY-NC 2.0)

INFERENCES It is one of the most admired works of contemporary architecture.

The “boat gallery� is this enormous column-free space extends more than 400 feet along the river-front promenade and beneath the adjoining bridge. It is Ideal for large works of sculpture.

The museum is very dramatic and provide a sharp contrast with its surroundings.

A complex and somewhat chaotic interior, this twisting glass-and-steel volume combines irregularly-shaped limestone and plaster walls, glazed elevator shafts, and vertigo-inducing catwalks.

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Museum of Contemporary Art

Fig. 123. View of Zeitz MoCAA in Silo Square | Photo: Iwan Baan (archdaily.com)

3.6 Table 6

Information about Zeitz MOCAA

Project Info Building Location

Zeitz MoCAA Cape Town, South Africa

Architects

Heatherwick Studio, London

Major Spaces

Gallery spaces, a rooftop sculpture garden, art storage and conservation areas

Area

9,500 sq metres

Visitors

100,000 per day 24 million per year

Zeitz MoCAA, Cape Town, South Africa INTRODUCTION The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), is the world’s largest museum dedicated to contemporary art from Africa and its diaspora. The museum is housed in 9,500 sq metres of custom designed space, spread over nine floors, carved out of the monumental structure of the historic Grain Silo Complex. The silo, disused since 1990, stands as a monument to the industrial past of Cape Town, at one time the tallest building in South Africa, now given new life through the transformation by Heatherwick Studio.

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Fig. 125. View of Zeitz MoCAA central atrium Photo: Iwan Baan (archdaily.com)

Inception and Development The public not-for-profit museum was commissioned through a public/private partnership between the V&A Waterfront and German businessman, Jochen Zeitz.

The Waterfront invested over R500 million towards its construction and infrastructure development.

The museum building was constructed from the conversion of the 57m tall historic Grain Silo, originally built in 1921 and decommissioned in 2001.

The galleries and the atrium space at the centre of the museum have been carved from the silos’ dense cellular structure of forty-two tubes that pack the building.

The development includes 6,000 sq metres of exhibition space in 80 gallery spaces, a rooftop sculpture garden, state of the art storage and conservation areas, a bookshop, a restaurant, bar, and reading rooms. The museum will also house Centres for a Costume Institute, Photography, Curatorial Excellence, the Moving Image, Performative Practice and Art Education.

Fig. 124. Rendered Section of Zeitz MoCAA | Credit: Heatherwick Studio (archdaily.com)

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Museum of Contemporary Art

Fig. 126. Interior views of Galleries at Zeitz MoCAA (Photo: Author)

Interiors

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107

Museum of Contemporary Art

Fig. 128. Electrical services running in floor (Photo: Author)

Fig. 127.

Small discussion room/area alongside exhibition galleries, Zeitz MoCAA (Photo: Author)

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Specifications Structural System Historic Structure: Combination of steel framee and reinforced concrete New Structure: reinforced concrete internal walls: lightweight drywall construction Exterior Cladding Metal/glass curtain wall: Glazed Facades and Pillow Windows: Mazor Aluminum Moisture barrier: SIKA Sikalastic 152 to protect the historic concrete Roofing Other: Sculpture garden: concrete flat roof with raised precast pavers by World of Decorative Concrete and LJ LeRoux Sculpture garden and gasket roof lights manufactured by Mazor Aluminum Doors Entrances: As Above Glazed Facades: Mazor Aluminum Metal doors: re-instated historic doors salvaged from original grain silo Wood doors: HG Holliday Fire-control doors, security grilles: HG Holliday

Interior Finishes Acoustical ceilings: Vogl Acoustic Design Board Suspension grid: Saint Gobain Gyproc Demountable partitions: Saint Gobain Gyproc Cabinetwork and custom woodwork: Libra Joiners an HG Holliday Paints and stains: Akzo Nobel Dulux Special surfacing: Polyurethane gallery floors – SIKA Comfort Floor Tough Floor and wall tile: Refin (Floor) and Ceramica Vogue (Wall) Carpet: NEXUS Westminster Lighting Interior ambient lighting: Province Lighting and Philips.

Atrium light control system is supplied by Province Lighting.

Conveyance Elevators/escalators: Schindler Lifts Plumbing Sanitaryware – Bocci Chromeware - Cobra

INFERENCES There are few discussion areas in between galleries as buffer spaces.

The Central atrium with the Grain Silo Structure is awe-inspiring.

The services run in floors near the walls, the services are well hidden away from the main public circulation routes.

All different types of galleries provide a rich and varied user experience with different display exhibits, lighting, and color contrasts. The audio gallery and the 180o audio-visual gallery provides an immersive experience to the user.

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Museum of Contemporary Art

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111

Museum of Contemporary Art

04

AREA STATEMENT

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4.1 AREA PROGRAMMING Table 7

Area Programming

Area (in sqm.)

Units

Total Area (in sqm.)

Administrative Block

145

1

145

Reception

230

1

230

Waiting Lobby

270

1

270

56

1

56

Spaces

ADMINISTRATIVE SPACES

Toilet Total

701

PERMANENT GALLERIES Evolution of Art

400

1

400

Indian Paintings

250

2

250

International Paintings

175

1

175

Indian Sculptures

200

2

200

International Sculptures

300

1

300

Installation Art

400

1

400

Mixed Media Art

175

1

175

Photography Art

250

1

250

New Media and Video Art

300

1

300

Digital and Visual Art

380

1

380

AR-VR

320

1

320

Total

113

3150

Museum of Contemporary Art

Area (in sqm.)

Units

Total Area (in sqm.)

Entrance Foyer

95

2

190

Cloak Room

20

1

20

Exhibit Storage Area

75

1

75

100

1

100

56

1

168

Souvenir shop (Art in Daily Life Gallery)

240

1

240

Repair Workshop

140

2

280

Spaces

SUPPORT SPACES

Meeting Room Toilets

Total

1073

OTHER EXHIBITION SPACES Temporary Exhibition Area

200

2

400

Landscape Art Area

175

1

175

Step Well

100

1

100

Total

675

RESTORATION & ARCHIVES Restoration workshop

285

2

570

Store

55

1

55

Offices

40

1

40

Discussion area

40

1

40

Total

705

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Area (in sqm.)

Units

Total Area (in sqm.)

Lake view deck

180

1

180

Cafeteria

220

1

220

Seminar Hall (50 capacity)

240

1

240

Discussion area (90 capacity)

90

1

90

Art Auction Area (50 capacity)

275

1

275

Art Library

300

1

300

Open Air Theatre

675

1

675

Spaces

RECREATIONAL SPACES

Total

1980

SERVICES HVAC (Distributed)

50

1

50

EL & Plumbing (Distributed)

50

1

50

General Store

40

3

120

Security & Surveillance

100

1

100

Fire pump, Fire Hose cabinet

50

1

50

Staff room, Janitor’s room

60

1

60

Total

430

Total

8714

Circulation Space

1555

Grand Total

115

Museum of Contemporary Art

10269

PARKING SPACE Motor vehicle= 2.5 m x 5 m Scooter, Motor Cycle= 1.0 m. x 2.0 m Bicycle=0.50 m x 1.4 m Transport vehicle= 3.75m x 7.5m Museum, Auditorium, Theatres (per 40 seatings) “Cars - 4 Motor Vehicles - 12 Bicycles - 8” Community Halls (per 40 seatings) “Cars - 1 Motor Vehicles - 4 Bicycles - 2” Classes, workshop, Seminars (per 20 seatings) “Cars - 1 Motor Vehicles - 5 Bicycles - 10” Administration (per 100 sqm carpet area) “Cars - 3 Motor Vehicles - 15 Bicycles - 4 + 20% visitors” PARKING ABLED

FOR

DIFFERENTIALLY

Surface Parking of 2 ECS (1ECS=12.5 sqm) Width of Parking= 3.6 m Built Up<4000sqm-25% of built up Built Up>4000sqm-40% of built up

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Table 8 Building Bye Laws, Jaipur ; Reference: Local Self Government Department, Government of Rajasthan (Unified Building Bye-laws 2017)(http://lsg.urban.rajasthan.gov.in/)

Criteria

Bye Laws

FAR permissible

Standar FAR - 1.33 Maximum FAR - 2

Maximum Ground Coverage permissible

35%

Height Restrictions

34 m for plot sizes beyond 500 sqm

Occupant Load

With seating facility- 0.6 sqm ďŹ&#x201A;oor area per person Without Seating - 1.5 sqm ďŹ&#x201A;oor area per person

Setback

Front 18 m Side 9 m Back 9 m

Water Requirement

15 litres per head per day

Sanitation Storage

900 litre per WC 350 Litre per urinal

Final Area Usage Site Area 28329 sqm Total floor area 10269 sqm FAR Used 0.36 Ground Coverage 19%

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Museum of Contemporary Art

4.2 BYE LAWS

Development control rules & general building requirements as per National Building Code (NBC) i. Land Use Classification • Museum falls under the category of Public and Semi Public Zone (PS-5) ii. Means of Access • Under Sub Clause 4.3.2, a 3 m pathway would be given as a pedestrian pathway Under Sub Clause 4.6 (c), the entrance and exit would be minimum 6 m wide. iii. Classification of Buildings • Under Sub Clause 7.1.1, Museums fall under the category of occupancy as Assembly building: Subdivision 3 (D-3) iv. Open Space • Under Sub Clause 8.3.1 (c), the open space around the building shall not be less than 12 m. v. Off-Street Parking Spaces • Under Sub Clause 10.3-10.5, a minimum setback of 3.6 m is to be maintained. vi. Requirements of parts or buildings • Under Sub Clause 12.17, an independent and ventilated meter room shall be provided as per the electric supply requirements with a direct access from outside on the ground floor with a fire rating of 2 hours.

• Under Sub Clause 12.18, the minimum width of staircases for assembly buildings all be 2.0 m.

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Museum of Contemporary Art

05

THE SITE

Fig. 129. Aerial view of Kanak Vrindavan Park, Jaipur (jaipurthrumylens.com) 15AR10027 | B. Arch. Thesis 2019-20

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Fig. 130. Site location on map (Source: Google Maps)

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Museum of Contemporary Art

5.1 SITE LOCATION

JAIPUR, RAJASTHAN

Jaipur is the capital and the largest city of the Indian state of Rajasthan. As of 2011, the city had a population of 3.1 million, making it the tenth most populous city in the country. Jaipur is also known as the Pink City, due to the dominant color scheme of its buildings. It is located 268 km from the national capital New Delhi.

Jaipur was founded in 1727 by the Rajput ruler Jai Singh II, the ruler of Amer, after whom the city is named. It was one of the earliest planned cities of modern India, designed by Vidyadhar Bhattacharya. During the British Colonial period, the city served as the capital of Jaipur State. After independence in 1947, Jaipur was made capital of the newly-formed state of Rajasthan.

Jaipur is a popular tourist destination in India and forms a part of the west Golden Triangle tourist circuit along with Delhi and Agra (240 km).

It also serves as a gateway to other tourist destinations in Rajasthan such as Jodhpur (348 km,), Jaisalmer (571 km), Udaipur (421 km), Kota (252 km) and Mount Abu (520 km).

Jaipur is among the top 50 most visited cities in the world and among the top 5 in India (5,288.6 million visitors per year).

Jaipur was added to UNESCO ‘World Heritage Sites’ on July 6, 2019.

It forms part of the Golden Triangle tourist circuit (Delhi, Agra, Jaipur).

The Museum of Contemporary Art would be first of its kind in the traditional city which would provide an excellent opportunity to infuse traditional with contemporary art.

The site is 5 km away from the Heritage Zone of the ‘Pink City’ or ‘Walled City’.

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Fig. 131. Climatic data for Jaipur (weather-and-climate.com)

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5.2 CLIMATE ANALYSIS

Jaipur has a monsoon influenced hot semi-arid climate (Köppen climate classification Bsh) with long, extremely hot summers and short, mild to warm winters.

Annual precipitation is over 63 cm, falling mostly in July and August due to monsoon, causing the average temperatures in these two months to be lower compared to drier May and June. During the monsoon, there are frequent, heavy rains and thunderstorms, but flooding is not common.

The highest temperature ever recorded was 48.5 °C, in May. The city’s average temperature remains below 20 °C between December and February.

These months are mild, dry and pleasant, sometimes chilly.

The lowest temperature ever recorded was -2.2 °C. Jaipur, like many other major cities of the world, is a significant urban heat island zone with surrounding rural temperatures occasionally falling below freezing in winters.

The earthquake zoning map of India divides India into 4 seismic zones (Zone 2, 3, 4 and 5). According to the present zoning map, Zone 5 expects the highest level of seismicity whereas Zone 2 is associated with the lowest level of seismicity.

Jaipur falls under zone II of seismic zone, which is low damage risk zone.

Fig. 132. Earthquake hazard zoning map of India (en.wikipedia.org)

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man sagar lake

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5.3 SITE DESCRIPTION

The proposed site for the Museum is located on the land adjacent to the Man Sagar Lake, Jal Mahal, Amer, Jaipur.

Site Area = 7 acres or 28,328 sqm

The proximity to the Man Sagar Lake allows association with the water element.

The site enjoys the uninterrupted views of the Jal Mahal.

Lies in the Tourist circuit of Jaipur (the Amer Road connects the main city to the old capital, Amber).

Enjoys a distant view of the Jaigarh Fort (located 5 km away from site) Located at a distance of - 5 km from the Jantar Mantar, Hawa Mahal, and the City Palace - 3 km from Amer Palace The mountains of the Aravalli Range form the backdrop for the site

16.5 km away from the Airport 11 km away from the Railway Station

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mandir shree kunj bhihari ji

old govind dev ji temple

Kanak vrindavan park

jaipur museum of indian art

man sagar lake

12 m wide lake road

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7m wide lake road

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4 m wide road

5.4 SITE ANALYSIS

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5.5 SITE VIEWS

A

B

C

Fig. 133. Views from Site: A- Jaigarh fort; B- Kanak Vrindavan Park; C- Jal Mahal and Man Sagar Lake (Source: google.com/images)

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5.6 SITE ZONING Site Zoning has been done keeping in mind the access to the site, the views from the site and the noise profile of the sit.

zone a

Public zone, noisy, Open Air Theatre, Cafe, Landscape areas as buffer

zone B

Semi-public zone, less noisy, Museum, Administration, Main entry and exit

zone C

Private zone, quiet, Restoration Workshop

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5.7 SITE PHOTOGRAPHS

Fig. 135. View of the main access road (Lake Road) from the Amer Road (Author)

Fig. 134. View of the site form the Lake Road (Author)

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Fig. 137. View of the picturesque Man Sagar Lake and Jal Mahal from site (Author)

Fig. 136. View of the Jaipur Museum of Modern art form site (Author) 15AR10027 | B. Arch. Thesis 2019-20

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CONCEPT DEVELOPMENT

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6.1 PHILOSOPHICAL CONCEPT DESIGN PHILOSOPHY

1

Journey from KNOWN to UNKNOWN

2

Move through ART

3

Stimulate SENSES

1 Freedom of Expression

2 Dynamism

ART

3

Perception

ART can be said to comprise of 3 essential elements: Freedom of expression, Dynamism, and Perception.

The freedom of expression has been incoporated in the circulation concept as a visitor moves from Known (more traditional forms of art) to the Unknown (the latest art forms which are technologically advanced and culturally diverse).

A visitor experiences Dynamism when he/she moves through the galleries.

There are differnt elements included throught the museum like flowing water and molten light shows which provide the user a unique Kinesthetic experience.

Different art forms stimulate different senses which have been utilized in the museum design.

• To stimulate gustatory senses, traditional Rajasthani cusine tasting station has been set up in the cafeteria.

• Olfactory senses are stimulated by the fragrances wafting from the Landscape Art Atrium as well as the traditional Rajasthani cusin.

• There are tactile displays in various art galleries to stimulate the touch.

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GALLERIES

11 Permanent Galleries have been provided with broad assignment of various art forms along with Temporary Exhibition Spaces, Landscape Art Gallery and Art in Daily Life Gallery which also serves as a Souvenir shop.

6.2 SITE CONCEPT

JAIPUR, RAJASTHAN HOT SEMI-ARID CLIMATE

• The windows are all deep recessed • The colour composition in facade is of light colour tones of White and Pink • Evaporative Cooling principle has been adopted • A landscape mound has been provided in the North West to break the hash prominent winds from the North West

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CONTEXT OF JAIPUR The essence of Jaipur is retained by subtle use of some elements of Jaipur Architecture like, The Colour PINK Use of Jharokha and Jalis Fortified back wall of the OAT Use of Sandstone Ashlar Masonry used for external stone cladded facade Step Well

* The elements borrowed from Jaipur Architecture have not been merely reconstructed but modified using modern materials.

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6.3 CIRCULATION CONCEPT ENTRY

INDIAN ART EVOLUTION OF ART INTERNATIONAL ART

ENTRY

CLIMAX: DIGITAL ART, NEW MEDIA ART

EXPERIMENTAL ART

ART AUCTION MART ART IN DAILY LIFE Art research and art library

EXIT

• A new visitor is led through the Evolution of Art Gallery first.

• Then he is offered a choice to visit either Indian or International art. These are more traidtional forms or KNOWN forms of art.

• The visitor has the choice to switch between these two (Indian and Internation art galleries) as well.

• Then he is led to the more technologically advanced art forms the UNKNOWN art forms.

• The visitor is then led through the temporary exhibitions, art auction mart and art in daily life gallery (which also acts as a souvenir shop) before the exit.

CHOICE for a visitor is of utmost importance in a museum circulation, so there are provisions for going directly to the new media and digital art galleries, or the art research offices and the art library, or the temporary exhibitions and the art auction mart.

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DESIGN DEVELOPMENT

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7.1 CIRCULATION

• A single main Entry and Exit has been provided for the site which allows for better control over movement within the site.

• These share a gateway complex which also houses the ticketing counter.

• There is an additional service entry through the secondary 7M wide road.

• The 7M wide peripheral road within the site allows for emergency access.

the site service entry

entry

n

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exit

service entry

major blocks

entry

n

exit

MUSEUM OAT ADMINISTRATION RESTORATION WORKSHOP SERVICE BLOCK

users approach

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site parking

n MUSEUM PARKING OAT PARKING ADMINISTRATION PARKING SERVICE PARKING

pedestrian & vehicular movement

service entry

Drop off

entry

n PEDESTRIAN MOVEMENT VEHICULAR MOVEMENT

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exit

7.2 MATERIAL PALLET

Dholpur Pink Sandstone

• The facade has been kept in lighter shades of pink (sandstone cladding) and white (natural concrete).

• The entrance canopy, skylights and exterior glazed facades are made of Steel and Self-cleaning double-glazed glass.

• Interiors feature modern materials like Sensitiles, Interactive LED flooring, etc.

Self-healing concrete

These are natural sandstone rocks (sedimentary rocks) made from small grains of the minerals quartz and feldspar. It is used in refernce to the Pink City.

It biologically produces limestone to heal cracks that appear on the surface of concrete structures.

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Self-cleaning double glazed galss STEEL

The exterior facade and the roof of the museum is made of this glass.

For proper maintenance, Self-Cleaning glass is convenient and costsaving. Double-Glazed Glass is to minimize heat gain through large glass facades.

Steel is one of the most widely used building materials in modern architecture. The main entrance cnopy and the skylights are made by steel frames.

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sensitile Interactive LED flooring

A fine concrete mix embedded with light conducting channels and formed into slabs or tiles that shift, shimmer, and twinkle in response to light, movement and shadows.

These are controlled by IR-systems or weight sensors. These help in Crowd management and enhance User Experience. These can also be used for directional purposes.

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7.3 LANDSCAPING

Landscaping not only plays an important role in climate control by keeping the museum shaded and comfortable but also enhances the overall aesthetics of the museum.

The greenery provides a comfortable environment for visitors. The environment created by modern structures and the natural environment contrast each other very well. The landscaping is done keeping these aspects in mind. The following are the trees, shrubs, and creepers proposed for the project.

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Plumeria (Gulachin)

Saraca Indica (Sita-Asoka)

Cassia Fistula (Amaltas)

Lagerstroemia Indica (Arjuna)

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A lot of flowering trees and shrubs which are common in India are porposed for landscaping as the colours contast with the light pink and white facade of the museum. It also helps merge the contemporary museum building with the natural beauty of the site, with the Aravali mountains and the beautiful Kanak Vrindav park in the immediate vicinity.

Rondeletia splendens (Panama Rose)

Nerium oleander (Kaner)

Lagerstroemia Speciosa Queenâ&#x20AC;&#x2122;s Myrtle or Pride of India

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DESIGN RESOLUTION

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DESIGN FEATURES

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9.1 SUSTAINABLE FEATURES

9.1.1 rainwater harvesting

The rainwater from rooftop and all the recessed landscape - some of this water will be directed to the water body present on site, some will be stored in under-ground tank and some will be diverted to the Water recharge wells to recharge the ground water.

The major catchment area is the roof surface. Rainwater from rooftop would be carried through down take water pipes or drains to storage/ harvesting. A first flush device would take the first water from the roof and divert it from the underground water reservoir. Filter would be used to remove suspended pollutants from rainwater collected over roof.

Fig. 138. Rainwater collection system (pinterest.com)

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9.1.2 green parking

The largest feature of a parking lot is its paved area, hence, by changing this surface to be more permeable to water the parking lot will drain better.

Some surface options are open joint pavers, porous asphalt, pervious concrete, or a turf grid.

Fig. 139. Example of turf grid (wikipedia.org)

Unlike typical asphalt parking areas, the parking lot at the museum to be landscaped with native plants and have permeable pavers/porous concrete, vegetated swales, and infiltration areas.

The aim is to restore the natural hydrological character of the site and to retain water where it falls.

Fig. 140. Section view of parking lot, Rio de Los Angeles State Park. Image courtesy of Withers & Sandgren Ltd. (withersandsandgren.com) 15AR10027 | B. Arch. Thesis 2019-20

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9.1.3 solar panels

Solar panels or Photo-voltaic modules use sunlight as a source of energy and generate direct current electricity which could be used for street lighting for the facility during the night.

Apart from acting as an energy source, different solar panel designs can be used in the building facade and rooftop which would exhibit another example of art in technology and enhance the appearance of the Museum, complementing the concrete and sandstone facade.

These are two solar roof tiles and six solar facade tiles, designed

by Kiki & Joost, all inspired by textures from nature or the built environment.

Fig. 141. The range of solar panels for MyEnergySkin designed by Kiki & Joost (dezeen.com)

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9.1.4 Displacement ventilation

It is an air distribution technology that introduces cool air into a zone at low velocity, usually also at a low level.

Buoyancy forces ensure that this supply air pools near the floor level, allowing it to be carried up into the thermal plumes.

It is an energy efficient approach to provide improved indoor air quality, compared to overhead mixing systems.

Fig. 142. Displacement Ventilation (ecoandsustainable.com)

Displacement ventilation systems are quieter than conventional overhead systems with better ventilation efficiency. Hence, it could enhance indoor air quality and provide desirable acoustic environment.

Another benefit of displacement ventilation is possibly the superior indoor air quality achieved with exhausting contaminated air out of the room. Better air qualty is achieved when the pollution source is also a heat source.

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9.2 STRUCTURE

The Museum building is to be constructed using modern materials, namely RCC, Steel and Glass.

• • • • • • •

The structural system is the column-beam structural system.

The walls are all casted on site, and the natural off-shutter appearance of concrete has been retained.

In some places, sandstone cladding is used.

The entrance canopy is made up of Steel and clear acrylic glass.

The sculptural stairs at the entrance are encased (and supported) by steel members.

The main entrance ramp is supported by portal frames.

The skylight frames are made of steel with self-cleaning double glazed glass panels as infill.

Fig. 143. View of the main entrance canopy

9.3 BUILDING MANAGEMENT SYSTEM A building management system (BMS), otherwise known as a building automation system (BAS), is a computer-based control system installed in buildings that controls and monitors the building’s mechanical and electrical equipment such as ventilation, lighting, power systems, fire systems, and security systems.

Fig. 144. Building Automation (hvacredu,net)

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More specifically Building Maagement systems link the functionality of individual pieces of building equipment so that they operate as one complete integrated system.

Current generation BMS systems are now based on open communications protocols and are WEB enabled allowing integration of systems from multiple system vendors and access from anywhere in the world.

The following will be controlled under the BMS mechanism in the museum: • • • • •

Lighting Electrical Power Control Heating, Ventilation and cooling Security & Surveillance Access Control

• • • • •

Fire Alarm System Elevators Plumbing PA system Alarm Monitor

Fig. 145. BMS (www.unityautomation.com/ibms/)

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9.4 SECURITY

Museum security is the responsibility of everyone in the museum, from the governing body, through to staff and volunteers Security is about balancing appropriate access to collections with the likelihood of threats occurring.

A risk management approach allows the planning of security solutions in response to risk assessment and individual circumstances and context. There are four steps to a risk management approach to museum security.

1 2 4 3

The following security measures have been proposed for the museum.

Mechanical Measures • Walls to be sufficiently robust • Tested and approved burglar-resistant doors and windows to be used.

Display Case Security Measures • Glass should be resistant to breaking.

• Surfaces without glazing, e.g. cover, bottom, sides also need to have an attack resistant design.

• Weak points need to be secured against bending apart so that it is not possible to fish out small exhibits.

Electronic Surveillance • Intruder alarm systems (IAS) to be designed in such a way that intrusions or attempted intrusions are detected and notified as early as possible.

• Perimeter surveillance is intended to protect a building’s perimeter (windows, doors, outer walls) from penetration.

• Special Detectors, CCTV and Video Surveillance

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9.5 FINANCIAL FEASIBILITY

The Museum of Contemporary Art not only acts as a hub of Contemporary Art in India, it also brings in commercial profit. The planning of the museum has been done keeping in mind the revenue generation aspect of the facility to ensure that the museum itself genrates funds necessary for its operation and maintenance.

The primary source of income for the Museum is through ticketing for the visitors as well as the rent acquired through provision of facilities like the audio guide and the AR-VR experience for the visitors.

The Open Air Theatre would help in revenue generation through organization of art camps which would charge an entry fee and a participation fee.

Renting the Art Auction Mart to organizations for auction events would also bring in funds for the facility.The temporary exhibition spaces can be rented for some duration to companies and organizations looking for advertisement through displaying their new intventions in art and technology.

Additionally, the cafeteria and the Art in Daily Life gallery, which also acts as a souvenir shop, contibute to the Financial Income for the museum.

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References BOOKS • Time Savor Standards for Building Types, 2014. Joseph De Chiara and.

John Hancock • Ernst & Peter Neufert, 2012. Architects’ Data 4th ed. Oxford UK: Wiley Blackwella • Central Public Works Department, 2014. Handbook on Barrier free and accessibility. India WEB • Virginia B. Spivey (2013) Contemporary Art, an introduction. Retrieved from https://www.khanacademy.org • Here’s How Technology Is Changing the Way You Experience Art. Retrieved from https://interestingengineering.com/ • Contemporary Art: Definition. Retrieved from https://www.iesa.edu/ paris/news-events/contemporary-art-definition • https://en.wikipedia.org/wiki/Contemporary_art • National Gallery of Modern Art, New Delhi, Official: http://ngmaindia. gov.in/ • LACMA, Official: http://www.lacma.org/ • The Broad Museum, Official: https://www.thebroad.org/ • Guggenheim Museum, Bilbao, Official: https://www.guggenheimbilbao.eus/en • Museum of Contemporary Art Tokyo, Official: https://www.mot-artmuseum.jp/en/ • Kiki & Joost creates patterned solar panels for MyEnergySkin. Retrieved from https://www.dezeen.com/ • Rio de Los Angeles State Park Parking. Retrieved from http:// buildabetterburb.org/ • Green parking lot. Retrieved from https://en.wikipedia.org/ • HVAC Air Distribution: Displacement Ventilation vs. Overhead Diffusers. Retrieved from http://e3tnw.org/

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Department of Architecture and Regional Planning INDIAN INSTITUE OF TECHNOLOGY, KHARAGPUR 171

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