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1.ANICPHCONICPAST,PCinpaMHINDUSTIMEPRESENCHENNAPROJEartialfulfiMASTESCHOOLSTANINACHMUSENTANDNAIMEECTREPSubmitSENTH(1350fillmentfoEROFAGENLOFARNSTITUTANDSCHENNAOctoberEUMREDFUTUETROPPORT(PAttedbyHIL.M0010)rtheawaofARCHITinNERALRCHITECTEOFTCIENCEAI60310r2014EFLECUREOPOLISAR304)rdofthedECTURCTURETECHNO03CTINGTOFTHEdegreeREOLOGYTHEE

2.ANICONICTIMEMUSEUMREFLECTINGTHEPAST,PRESENTANDFUTUREOFTHECHENNAIMETROPOLISAPROJECTREPORT(PAR304)SubmittedbySENTHIL.M(1350010)inpartialfulfillmentfortheawardofthedegreeofMASTEROFARCHITECTUREinGENERALSCHOOLOFARCHITECTUREHINDUSTANINSTITUTEOFTECHNOLOGYANDSCIENCECHENNAI603103October2014

3.HINDUSTANUNIVERSITY:PADUR,CHENNAI603103BONAFIDECERTIFICATECertifiedthatthisprojectreporttitledANICONICTIMEMUSEUMREFLECTINGTHEPAST,PRESENTANDFUTUREOFTHECHENNAIMETROPOLISisthebonafideworkofM.SENTHIL(1350010)whocarriedouttheprojectworkundermysupervision.Certifiedfurtherthattothebestofmyknowledgetheworkreportedheredoesnotformpartofanyotherproject/researchworkonthebasisofwhichadegreeorawardwasconferredonanearlieroccasiononthisoranyothercandidate.DEANPG&COLLABORATIONSUPERVISORPROF.KERSTINFRICKPROF.DR.RAVIKUMARBHARGAVASchoolofArchitectureSchoolofArchitectureHindustanInstituteofHindustanInstituteofTechnologyTechnologyandScience,PadurandScience,PadurTheProjectVivaVoceExaminationisheldon_______________INTERNALEXAMINEREXTERNALEXAMINER

4.iABSTRACTArchitectureistheartofspaces.Thehumanfeelingswereinfluencedbyarchitecturalspacefromtimetotime.Relatingtothedesignofahistorymuseum,itcouldevokeacertainfeelingormemoryofahistoricalevent.Thisdissertationfocusesontheinfluenceofarchitecturalspaceoverperiodoftimes.Atheoreticalaswellaspracticalkeyissueinthedesignofmuseumandgalleriesishowthelayoutofspaceinteractswithdisplaystocreateaspecificeffect,expresstheintendedmessagetovisitors.Thisdissertationaimstocaptureandrepresentthehistoryofmankindsunderstandingofspaceinthedesignofanarchitecturalbuilding.BrunoZevidescribes:Architecturedoesnotconsistinthesumofthewidth,lengthandheightofthestructuralelementswhichenclosespace,butinthevoiditself,theclosedspaceinwhichmanlivesandmoves.Inamuseum,therearemanydifferentfunctions.Itisimpossibletodealwithallthesefunctionswiththesametypeofspace.Eventheexhibitionspacesarenotallthesame.Thefixedexhibitionroomisdifferentfromthetemporaryexhibitionspacebecauseofitssimplerfunctionandparticularatmosphere,whichrelatestotheindividualthemeofeachfixedexhibitionroom.

5.iiItisconfirmedbythedesigneratthebeginningoftheprocess,whichcanbepresentedbyarchitecturallanguage.Nevertheless,thetemporaryexhibitionneedstosuitdifferentdisplays.Alarge,openandneutralspaceisagoodsolution.Theelementsofspaceplayanimportantrolein

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differentiatingonespacefromanother.Bymeansofdesigningtheelement,thefeaturesofspacecanbeintensified.Theelementsincludetheenclosingelements,whichdefinethespace,suchasplaneelements(floor,deckandoverhead)andverticalelements(columnandwall),andcirculationelements,suchashorizontalcirculation(windowsanddoors)andverticalcirculation(stairsandramps).Thefeaturesalsodependonthequalitiesofthespacethatintimatelyrelatestotheseelements,whichistheresultofthecompositionofdifferentelements.Theformthecolour,texture,patternandsoundtheproportionandscalethedefinitionandconfigurationthedegreeofenclosure,lightandviewareallthequalitiesofspacethatthedesignisbasedon.Thisdissertationcomprisesofallthespatialandfunctionalrequirementsofamuseumplanning.ThedesigncomponentofthisprojectislocatedinChennai,ametropolitancity.Itintendstoimpressvisitorswithavividhistoryofitsdevelopmentthroarchitecturalexpressions.

6.iiiACKNOWLEDGEMENTIwouldliketothankmydissertationsupervisorProfessorDr.RaviKumarBhargavaforhisguidanceandinputduringourtutorialsandthroughoutthisprocess.Iwouldalsoliketothankmywife,Er.S.Jayalakshmiforallofherlove,helpandencouragementduringmystudiesatHindustanUniversity.Lastly,Iwouldliketothankmyfriendsfortheirsupport.M.SENTHIL

7.ivTABLEOFCONTENTSCHAPTERNO.TITLEPAGENO.ABSTRACTiLISTOFFIGURESviiiLISTOFABBREVIATIONSxi1INTRODUCTION11.1DEFINITIONS11.1.1ICOMDEFINITIONS21.1.2EDUCATIONROLEOFAMUSEUM21.2HISTORYOFMUSEUM31.2.1ABOUTCHENNAIMUSEUM41.3SPACE51.3.1THEESSENCEOFSPACE51.3.2THEFEATURESOFSPACE51.4NEEDFORTHESTUDY71.5AIMS&OBJECTIVES71.6SCOPEANDLIMITATIONS81.7HYPOTHESIS81.8METHODOLOGY9

8.v2DATACOLLECTION112.1TYPEOFMUSEUMS112.2DESIGNGUIDELINES122.3PLANNINGFACTORS132.3.1SITESELECTION152.3.2ZONINGOFAMUSEUM152.3.3CLIMATE162.3.3CIRCULATIONININDOORANDOUTDOOR162.3.5EXHIBITOFDISPLAYS192.3.6TYPESOFDISPLAYS212.3.6.1DISPLAYCASE222.3.6.2CONEOFVISION232.3.7MATERIALS242.3.8LIGHTING242.3.6.1NATURALLIGHTING252.3.6.2ARTIFICALLIGHTING262.3.9SERVICES282.4LITERATURESTUDY302.4.1STATEMUSEUM,BHOPAL302.4.1.1LOCATION312.4.1.2PLANNING312.4.1.3INFERENCES35

9.vi2.4.2BHARATBHAVAN,BHOPAL362.4.2.1LOCATION362.4.2.2PLANNING382.4.2.3INFERENCES412.4.3REGIONALSCIENCECENTRE,BHOPAL422.4.3.1LOCATION422.4.3.2PLANNING432.4.3.3INFERENCES452.4.4.NATIONALMUSEUM,NEWDELHI.462.4.4.1LOCATION462.4.4.2PLANNING472.4.4.3INFERENCES502.4.5.NINGBOHISTORICMUSEUM,CHINA512.4.5.1LOCATION512.4.5.2PLANNING522.4.5.3INFERENCES552.4.6.BILBAOGUGGENHEIMMUSEUM,SPAIN562.4.6.1LOCATION562.4.6.2PLANNING572.4.6.3INFERENCES603CASESTUDY613.1GOVERNMENTMUSEUM,EGMORE,CHENNAI61

10.vii3.1.1LOCATION613.1.2PLANNING623.1.3MAINBUILDING653.1.4FRONTBUILDING683.1.5BRONEGALLERY693.1.6CHILDRENSMUSEUM713.1.7NATIONALARTGALLERY733.1.8CONTEMPORARYARTGALLERY753.1.9INFERENCES774SYNTHESIS785CONCLUSIONS826BIBLIOGRAPHY&REFERENCES83

11.viiiLISTOFFIGURESFIGURENO.TITLESPAGENO.1.1MethodologyChart102.1Museumplanningprocess142.2CirculationDiagram172.3GalleryCirculation182.4CirculationPattern192.5TypeofDisplays202.6Exhibitionspaces212.7DisplayStandards222.8Coneofvision232.9Coneofvision232.10Naturallighting252.11Artificiallighting272.12LayoutofServices282.13FazardsofStateMuseum302.14AerialviewofStateMuseum302.15GalleryViewsofStateMuseum312.16GalleryViewsofStateMuseum322.17GroundFloorPlan342.18FirstFloorPlan342.19ViewofBharatBhavan362.20AerialviewofBharatBhavan36

12.ix2.21ViewsofBharatBhavan372.22ViewsofBharatBhavan382.23PlanofBharatBhavan392.24ViewsofBharatBhavan402.25SiteSectionalViewofBharatBhavan402.26ViewofScienceCentre422.27AerialViewofScienceCentre422.28ViewofScienceCentre432.29ViewofScienceCentre442.30BlockModelofScienceCentre452.31ViewofNationalMuseum462.32AerialViewofNationalMuseum462.33GroundFloorplan472.34FirstFloorplan482.35SecondFloorplan482.36InteriorView492.37AerialViewofNingboHistoricmuseum512.38Elevationview522.39Sideview532.40Variousperspectives532.41FrontView542.42FrontView562.43FrontView582.44InteriorView582.45Plan59

13.x3.11980sViewofEgmoreMuseum613.2ViewofMuseum623.3SiteplanofMuseum643.4Sculpturegallery653.5HinduSculpturegallery653.6GroundandFirstfloorplanofMainBuilding663.7ViewofsculptureGallery673.8GroundandFirstfloorplanofFrontBuilding68

3.9ViewofAnthropologyGallery693.10ViewofBronzeGallery693.11GroundandFirstfloorplanofBronzeGallery703.12ViewofChildrensGallery713.13GroundandFirstfloorplanofChildrenMuseum723.14ViewofNationalArtGallery733.15GroundfloorplanofNationalArtgallery743.16ViewofNationalArtgallery743.17ViewofContemporaryArtgallery753.18GroundandFirstfloorplanofContemporaryArtGallery76

14.xiLISTOFABBREVIATIONSASIArchaeologicalSurveyofIndiaBIMBuildingInformationModelingCCTVClosedCircuitTeleVisionCMDAChennaiMetropolitanDevelopmentAuthorityDCRDevelopmentControlRulesHVACHeating,VentilationandAirConditioningICOMInternationalCouncilofMuseumsMEPMechanical,ElectricalandPlumbingUVUltraViolet

15.1CHAPTER1INTRODUCTIONMuseumisatemple,whereartandknowledgearemostimportant.Ithasabalancebetweendevotiontoart.Threeprimarytaskofamuseum:EducationPresentationFormingofacollectionNowadays,thepublicwouldnotgotoamuseuminthefirstinstancetoacquireknowledgeorinformation.Instead,visitorsofamuseumexpecttogothroughauniqueexperience.Thisiswhymuseumsshouldbeabletoofferaneventintheircompetitionwithmovietheatres,amusementparksandshoppingmalls.Thisdissertationtopicdiscuss,howthemuseumreflectingtheessenceofpast,presentandfutureofitscitytothevisitors.Thisstudyhasdevelopedintoastructuredwaytoenhanceinterdisciplinarymuseumdesignwork,bydevelopingaprescriptivedesignprocessframework.1.1DEFINITIONMuseumsaredefinedassemiformalplacesoflearningwhichcollect,displayandinterpretartefactsofsomesort,foreducationalpurposes.Thisstudypaperfocusesoncollectionsbasedmuseums,asdistinctfromsciencecentreswhichutiliseinteractiveexhibitstoillustrateculture.InTheEmergenceoftheModernMuseum,Siegeldefinesamuseumas,acollectionofrepositoryofrareandcuriousthingsinnatureandart,arrangedforthepurposesofstudy.

16.21.1.1ICOMDefinitionTheInternationalCouncilofMuseums(ICOM)isaninternationalnongovernmentalorganizationofmuseumsandmuseumsprofessionalswhichiscommittedtotheconservation,continuationandcommunicationtosocietyoftheworldsnaturalandculturalheritage,presentandfuture,tangibleandintangible.TheICOMisbasedinParis.Itwasestablishedin1946.Withapproximately30,000membersin137countries,ICOMisanetworkofmuseumprofessionalsactinginawiderangeofmuseumandheritagerelateddisciplines.ICOMdefinesmuseumforStudy/Education/Enjoyment.ItdefinesmuseumasItisanonprofitmaking,permanentinstitutionintheserviceofsocietyandofitsdevelopment,andopentothepublic,whichacquires,conserves,researches,communicatesandexhibits,forpurposesofstudy,educationandenjoyment,materialevidenceofpeopleandtheirenvironment1.1.2EducationalRoleoftheMuseumThemuseumhasanimportantdutytodevelopitseducationalroleandattractwideraudiencesfromalllevelsofthecommunity,localityorgroupitserves.Itshouldofferopportunitiesforsuchpeopletobecomeinvolvedinthemuseumandtosupportitsgoalsandactivities.InteractionwiththeconstituentcommunityandpromotionoftheirheritageisanintegralpartoftheeducationalroleofthemuseumLearninginmuseumsgenerallyinvolvesavisitororagroupofvisitorsattendingtoanobject,adisplay,label,person,elementorsomementalconstructofthese.Museumlearninghaslongbeenexaminedinrelationtoattractingpowerandloadingpowerofexhibitsinmuseums.Theinformationthuscollectedbythevisitorsisstoredinthebrainandremainsthereoveraperiod.

17.3Theinformationavisitorreceivesduringamuseumvisittendstobearacontextualmap.Themuseumvisitrepresentsacollectionofexperiencesratherthanasingleunitaryphenomenon.Anyinformationobtainedduringthemuseumvisitislikelytoincludesocialrelated,attituderelated,cognitiverelatedandsensoryrelatedassociation.Theseassociationswillbecomeembeddedinmemoryaltogetherwiththeresultthatanyonefacetoftheseexperiencescanfacilitatetherecalloftheentireexperience.1.2HISTORYOFMUSEUMForcenturies,museumshaveplayedanimportantroleinsocietiesaroundtheworld.Theyareculturalinstitutionsinwhichpeopleareabletocome,learn,andenjoyart.Somemuseumshavegainedareputationfortheircollectionofart.Anexaminationoftheevolutionofthemuseumsfromtheirearlyyearsleadinguptothepresentwillbeusedtorevealtheirimpactonsocietyandtoexplorehowmuseumscananddoplayaroleinculturaldiplomacy,mostnotablythroughartexhibitions.TheconceptofmuseumsinIndiamaybetracedbacktothehistorictimes,inwhichreferencestotheChitrasala(picturegallery)dooccur.However,inIndiathemuseummovementpostdatesthesimilardevelopmentsthatoccurredinEurope.Theearliestnecessitytohouseobjectsofantiquarianremainsdatesbacktolate1796ADwhentheAsiaticSocietyofBengalfelttheneedtohousetheenormouscollectionofarchaeological,ethnological,geological,zoologicalpursuits.However,thefirstmuseumbythemwasstartedin1814.ThenucleusofthisAsiaticSocietyMuseumlaterprovidedtotheIndianMuseum,Calcutta.InArchaeologicalSurveyofIndiaalso,duetothevariousexplorativeinvestigationsthatwasinitiatedsincethetimesofitsfirstDirectorGeneral,AlexanderCunningham,vastquantityofantiquarianremainswerecollected.

18.4ThecreationofsitemuseumshadtowaituntilthearrivalofSirJohnMarshall,whoinitiatedthefoundingofthelocalmuseumslikeSarnath(1904),Agra(1906),Ajmer(1908),DelhiFort(1909),Bijapur(1912),Nalanda(1917)andSanchi(1919).TheconceptofsitemuseumsiswellelucidatedbyHargreaves,oneoftheformerDirectorGeneralsofASI:ithasbeenthepolicyoftheGovernmentofIndiatokeepthesmallandmovableantiquities,recoveredfromtheancientsites,incloseassociationwiththeremainstowhichtheybelong,sothattheymaybestudiedamidtheirnaturalsurroundingsandnotlosefocusbybeingtransported.AseparateMuseumsBranchinASIwascreatedin1946byMortimerWheeler.Aftertheindependence,therewasaspurtinthegrowthofsiteMUSEUMSinASI.Atpresentthereare44sitemuseumsunderthecontrolofASI.1.2.1AboutChennaiMuseumThisdissertationtopicisorientedtowardsChennaimetropolitancity.TheChennaimuseumwasfoundedin1851.UnderMr.Thurstonscarethemuseumhasbeengreatlydeveloped.Thepolicyadoptedhasbeentorenderitapopularillustrateguidetonaturalhistory,anditisappreciatedbythepublicissufficientlyshownbythefactthatitisvisitedannuallybymorethan400,000persons.AmongthemostvaluableobjectsinthearchaeologicalsectionarethesculptedmarblesfromGunturDistrict.ThecollectionofarmsandarmorfromarsenalinthefortandtheTanjorepalace,theprehistoricantiquities,andthenumismaticcollection,whichisespeciallyrichincoinsofthevariousnativedynastiesofsouthernIndiaandofthevariousEuropeancompanieswhichhaveheldwasthere,areothernotablepossessionsoftheinstitution.AttachedtothemuseumistheConnemarapubliclibrary,whichwasopenedin1896,andatheatre,capableofseating400,providedwithastageadaptedforlectures,conferencesandcharitableentertainmentsbyamateurs.

19.51.3SPACE1.3.1TheEssenceofSpaceSpaceisthesoulofarchitecture,asLaoTzusaidin600BC:Weputthirtyspokestighterandcallitawheelbutitisonthespacewherethereisnothingthattheutilityofthewheeldepends.Weturnclaytomakeavesselbutitisonthespacewherethereisnothingthattheutilityofthevesseldepends.Wepiercedoorsandwindowstomakeahouseandonthesespaceswherethereisnothingthattheutilityofthehousedepends.Therefore,justaswetakeadvantageofwhatis,weshouldrecognizetheutilityofwhatisnot.Theutilityofarchitectureisnotthesolidshellwhichencloseaspace,butthespaceitself.Ofcourse,toencloseacertainspace,wemustusephysicalmaterials,andinaccordancewithcertainconstructionmethodstofitthesematerialstogether.Butthesearenotthepurposeofarchitecture,butameansofachieving.1.3.2TheFeaturesofSpaceArchitectureistheartofspace:itsvisualform,itsdimensionsandscale,thequalityofitslightallofthesequalitiesdependonourperceptionofthespatialboundariesdefinedbyelementsofform.Asspacebeginstobecaptured,enclosed,molded,andorganizedbytheelementsofmass,architecturecomesintobeing.Thespacethatconcernsarchitectsismostusuallyexpressedinanenduringarchitecturalelement:theroom.Theroomisahumancreation.TherootofthewordisrelatedtoRaum,whichinGermanmeansaplaceclearedforsettlementorlodging.

20.6Thefeaturesofspacemakeonespacedifferentfromothers,justlikeabedroomisdifferentfromalivingroomandanofficeisdifferentfromalibrary.Itmakesthebedroomcosierandthelibraryquieter.Itmakesaspacevividandaffecting.Whenaspaceisalivingroomaswellasabedroom,itwilllosesomefeaturesinordertofitthemultiplefunctionsofit.Thusthefeaturescouldbelinkedtothefunctionofthespace.Whilethespaceisonlywithasinglefunction,thefeatureofthisspaceispure,strongandthemostaffecting.Apparently,whenaspaceismultifunctional,thefeatureofitwouldbecomeneutraltocaterfordifferentfunctions.Inamuseum,therearemanydifferentfunctions.Itisimpossibletodealwithallthesefunctionswiththesametypeofspace.Eventheexhibitionspacesarenotallthesame.Thefixedexhibitionroomisdifferentfromthetemporaryexhibitionspacebecauseofitssimplerfunctionandparticularatmosphere,whichrelatestotheindividualthemeofeachfixedexhibitionroom.Itisconfirmedbythedesigneratthebeginningoftheprocess,whichcanbepresentedbyarchitecturallanguage.Nevertheless,thetemporaryexhibitionneedstosuitdifferentdisplays.Alarge,openandneutralspaceisagoodsolution.Theelementsofspaceplayanimportantroleindifferentiatingonespacefromanother.Bymeansofdesigningtheelement,thefeaturesofspacecanbeintensified.Theelementsincludetheenclosingelements,whichdefinethespace,suchasplaneelements(floor,deckandoverhead)andverticalelements(columnandwall),andcirculationelements,suchashorizontalcirculation(windowsanddoors)andverticalcirculation(stairsandramps).Thefeaturesalsodependonthequalitiesofthespacethatintimatelyrelatestotheseelements,whichistheresultofthecompositionofdifferentelements.Theformthecolour,texture,patternandsoundtheproportionandscalethedefinitionandconfigurationthedegreeofenclosure,lightandviewareallthequalitiesofspacethatthedesignisbasedon.

21.71.4NEEDFORTHESTUDYThefollowingaretheneedforstudyaboutmuseumplanningprocess:Toanalysethefeelofspaceinanhumanenvironment.Toprovideaeffectivecirculationpathandservices.Todevelopnewconceptsforinteriorspacesaswellstudyingsustainablebuildingmaterialsthrocasestudies.Toinvestigatemuseumarchitectureandtodefinetheroleofacontemporarymuseumintermsoffunctionandarchitecturalimplementation.Theabovesaidneedclearlydefinestheimportanceofmuseumstudies,hencethistopicasdissertation.1.5AIMSANDOBJECTIVESThisdissertationaimstoexplorehowpeoplemakemeaninginandfrommuseums,

throughthespacesfromtimetotime.Museumsarebroadlyviewedasplacesofinformallearning,andmostpeoplevisitmuseumsexpectingtolearnsomething.ThisDissertationseekstoexplorevariousrepresentationsofcontemporaryandhistoricalspatialconceptions,usingarchitectureasthemediumforrepresentation.Fromthisresearch,itishopedthatthereaderwillgainanunderstandingofspaceandtheimpactithasonmuseums.Amuseumhasspecificfunctionsdifferentfromotherkindsofbuildings.Itsarchitecture,interiorsandexhibitionsareunique.Museumspacefollowsfunctionanditsinteriorspaceshouldrespondtoandgowellwithitsexhibitions.Inaddition,theexhibitions,presentationsanddisplaysshouldbeinterestingandinteractive.Thearchitectureshouldcommunicatescientificfeelingandthoughttothevisitors.

22.8Thepurposeofthisdissertationistofindinterpretationguidelinesforahistoricmuseumandappropriatemethodsofcommunicatingwithvisitorsviathemuseumsexhibits,interiorsandexterior.Thisdissertationfocusesonthemajorissuesinliteraturestudyandcasestudy.Theyare:1.Sitelocation2.Buildings,surroundingsandarchitecturalinterpretation,and3.Museuminteriors,activitiesandexhibitions.Thefindingssuggestthatthemuseumshavedifferencesaccordingtotheirsitelocations,classifications,interiorspatialityandexhibitions,andintheirarchitecture,whichareiconicofmuseums.Thesolutionsareguidelinesforculturalhistorymuseumdesign1.6SCOPEANDLIMITATIONSIdentifyingthescopeandaddressingthelimitationsoftheworkabouttobeundertakenisparticularlypertinentforaprojectsuchasthis.Documentationofthespacewithcarefulconsiderationoftheparametersandlimitationstoworkwithin.Thesubjectscoveredinthisdissertationareverybroadandcancovermanyareas.Duetoconstraintsontheamountoftextallowed,onlyareasthatpertaintothistopicwillbecovered.1.7HYPOTHESISThecentralhypothesisforthisstudyisthatbuiltenvironmentswhichpossessaqualityofexpressionofspaceinbothinteriorandexteriorfromtimetotime.Howdoesarchitectureaffectourexperienceofmuseums?Howdoesitrelatetotheartofexhibiting?Intriguedbythesequestionsandguidedbythebeliefthatspacecanbeseenasthecontentofthemuseumbuilding,asimportantastheobjectsthemselves,thispaperpresentsthefindingsregardingtheinteractionbetweenspatialdesignanddisplaylayout.Totestthehypothesis,thisresearchutilizessecondarydata.

23.91.8METHODOLOGYThemethodologyforthisresearchisqualitativeandisderivedmostlyfromdeskresearchbothinlibrariesaswellasfromtheInternet.Themajorityoftheresearchandevidencetosupportthehypothesiscomesfrombooks,articlesandgovernmentdocuments.Theframeworkforthisstudywillbeaninformationalexaminationofmuseumsasawhole,notstickingtoanyspecificdepartmentsbuttoexaminemuseumsasculturalinstitutionsandhowtheyfitintosocietyintimes.Thefig:1.1showthemethodologychartforthisstudy.Thismethodologychartexplainsthefirststep,aboutthestudyofgeneralinformationofmuseumplanning.Thisincludesthecomponentsofmuseumplanning,definitionofmuseumandevolutionofmuseumspaceintermsofforeigncontextandIndiancontext.Thenextstepisthestudyofissuesinmuseumplanningfromvariouscasestudies.Thentheclassificationofissuesindifferentaspectsismadefromthefindings.Thenthedetailstudyismadeforeachaspectsthroughdifferentcasestudies.Finally,thesynthesisismadeforeachaspectandscopeforfurtherresearchisidentified.

24.10GENERALSTUDYOFMUSEUMPLANNINGVariousdefinitionsSiteselectionZoningEvolutionofmuseumspace(Foreign&Indiancontext)MuseumcirculationTypeofExhibitsTypeofDisplayLightingServicesISSUESINMUSEUMPLANNING(Throughvariouscasestudies)CLASSIFICATIONOFMUSEUMSMUSEUMDESIGNFACTORSSYNTHESISSCOPEFORFURTHERRESEARCHFig:1.1Methodologychart

25.11CHAPTER2DATACOLLECTIONTheArchaeologicalSurveyofIndia(ASI)isthelargestgovernmentinstitutioninchargeofmonumentsofnationalimportance.ThesemonumentsandsiteshavevastquantitiesofantiquarianremainsthatwereunearthedandcollectedatarchaeologicalsitesacrossIndiabyASI.ArchaeologicalSurveyofIndia[ASI]hasprescribedsetofguidelinesforplanningamuseum.Sixpillarsofmuseummanagementidentifiedofferastable,longlastingframeworktopreparetheguidelinesforASImuseum:1.ResearchandDissemination2.PreservationandConservation3.InterpretationandPresentation4.EducationandOutreach5.VisitorServicesandAmenities6.AdministrationandManagement2.1TYPEOFMUSEUMSItvaries,fromlargeinstitutions,coveringmanyofthecategoriesbelow,toverysmallinstitutionsfocusingonaspecificsubject,location,oranotableperson.Categoriesinclude:finearts,appliedarts,craft,archaeology,anthropologyandethnology,biography,history,culturalhistory,science,technology,children'smuseums,naturalhistory,botanicalandzoologicalgardens.Withinthesecategoriesmanymuseumsspecializefurther,e.g.museumsofmodernart,folkart,localhistory,militaryhistory,aviationhistory,philately,agricultureorgeology.Anothertypeofmuseumisanencyclopedicmuseum.Commonlyreferredtoasauniversalmuseum,encyclopedicmuseumshavecollectionsrepresentativeoftheworldandtypicallyincludeart,science,history,andculturalhistory.

26.12Thetypeandsizeofamuseumisreflectedinitscollection.Amuseumnormallyhousesacore

collectionofimportantselectedobjectsinitsfield.Thispaperfocusesonculturalhistorymuseum.2.2DESIGNGUIDELINESWhiletheoverallguidelinesforthearchaeologicalsitemuseums,theywillrequirespecificadditionsandinterpretationstoaidthevisitorsunderstandingoftheperiod.Inotherwordspeopleshouldhaveanexperientialvisittosuchmuseumswhichisevokedthroughgoodlighting,sound/music,recordedmaterial,interactivespacesandaudiovisualfootagetoenhancetheambiance.1.Thebuildingsambienceshouldbemaintainedinsideaswellasoutside.Landscapingaroundthebuildingshouldbedevelopedinawaythatitcomplementstheexperiencewithinthemuseum.2.Aestheticchoicessupportandreflectthethemeandtoneoftheexhibition.3.Orientation,spatialorganization,andtrafficflowareappropriatetothegoalsoftheexhibition.4.Thephysicalspace(suchaslayout,lighting,flooring)iscreatedinsuchawaythataudiencemembersofvaryingphysicalsizesandabilitiesareabletonavigateandinteractwiththeexhibition.5.Ifrequiredaudiovisualfootage,voicerecordings,ambiancemusicetc.mayalsobeusedforcreatingacompleteexperience.OtherthanfollowingASIguidelinesformuseumplanning,thelocalbuildingdevelopmentcontrolrulesalsotobefollowed,themuseumcomesunderinstitutionalbuildingscategoryinDCR[DevelopmentControlRules].

27.132.3PLANNINGFACTORSThemuseumplanninginvolvesplanningtheactualmissionofthemuseumalongwithplanningthespacethatthecollectionofthemuseumwillbehousedin.Thewaythatmuseumsareplannedanddesignedvaryaccordingtowhatcollectionstheyhouse,butoverall,theyadheretoplanningaspacethatiseasilyaccessedbythepublicandeasilydisplaysthechosenartifacts.TheplanningProcessofamuseumshouldbeusingthestoryboardasaguide,thedesignershouldthenproceedtoevaluateandallocateexhibitionspaceaccordingtostoryboardthemesandothervisualandcommunicationneeds.Fig2.1Showsmuseumplanningprocess.TheSelectionofappropriatesiteandzoningthefunctionalrequirementsandDeterminethecirculationspaceneeded,includingdisabledaccessrequirements,securityneedsandofficiallegalnormssuchasfireescapes.Examineanddistributeobjectsbyunits,sections,subsectionsthatcorrespondtothemesandsubthemesinthescriptandstoryboardanddesigningtheexhibitionfurnituresystem:panels,freestandingexhibitshowcases,screens,caseshelves,blockcases,tablecases,wallhungpanelsandotherwallmountedelements.

28.14PLANNINGSiteselectionsSiteZoningSpacerequirementsCirculationDisplaysExhibitsServicesLightingFig:2.1Museumplanningprocess

29.152.3.1SITESELECTIONSiteselectioninvolvesmeasuringtheneedsofanewprojectagainstthemeritsofpotentiallocation.Siteselectionispartoftheplanning.Listsoffactorsaffectingthedecisionareusuallydrawnup,including:Availability,Access,CostofacquisitionanddevelopmentSecurityconsiderationsVisibilityCompatibilityofneighboringfacilitiesEachfactorshouldbeweightedbeforeitisevaluated.Theweightingofsiteselectionfactorsshouldbedoneinrelationtofundamentalissuesofthemuseumsmission,itspoliciesanditsinstitutionalcharacter.2.3.2ZONINGOFAMUSEUMZoningasamuseumPlanningTool.InthepracticeordesigningthezoningcanbearrangedasPublicCollectionAreas:Zonewithenvironmentalcontrolsandsecuritydesignedforthepreservationofcollections.NonPublicAreas:Zonewhichismeantforthestaffalonewithenvironmentcontrolsandsecurity.PublicNoncollectionAreas:Zoneinwhichthefinishanddurabilityandenvironmentcreatedforhumancomforts.NonPublicCollectionAreas:Zoneinwhichthefinishanddurabilityandenvironmentcreatedforthestaffsalone.

30.16Zoninganalysisisausefultoolorthefollowingreasons.Itclearlyindicatestheamountofspacethatmustbecontainedwithinthemuseumsenvironment.Itprovidesbenchmarkswhichassistthemuseumprojectbeaminmonitoringthebrief,Itformsthebasisforpreliminaryofbuildingrunningcosts.2.3.3CLIMATETheBuildingshouldbeorientedinsuchawayitgetsanaturalbenefitsforallseasons.Propershadingdevicesdesignedforcontrollingnaturallightglareoverthedisplays.Avoiddrasticchangesinhumidityandtemperatureatalltimes.Asageneralrule,temperatureandhumidityguidelinessetforstorageareasareappropriateforexhibitgalleryareasaswell.Iftheexhibitgallerycontainsadoorusedbythepublictoenterandexitthemuseum,donotputartifactsnearthedoorinordertoavoidextremechangesintemperatureandhumidity.TheLightlevelsinstorage:BrightnessandUVlevelsaredamagingtocollectionsandshouldbecontrolled.CoveralllightswithUVfilters,especiallyflorescenttubes.Refrainfromstoringanyartifactinanareawithsunlight2.3.4CIRCULATIONININDOORANDOUTDOORCirculationspaceidentifiesareaofabuildingthatisusedforpedestriantravel,suchasahallway,stairway,andareasinaroomthatleadstoanotherroom.Itisgenerallynotgoodtohaveahomewithahighpercentageofcirculationspace.Whenyouvisitabuilding,yourmainfocusshouldbetheroomsandnotthehallway.

31.17Developexhibitionswiththesevisitorcirculationpatternsinmind.Designsothatvisitorsdonothavetotakeextrasteps.Minimizethenumberofstepsbynotrequiringbacktracking.Dontdesignwithmultiplechoicepointswherevisitorshavetomakechoicesorwheretheywillexitthe

exhibitionwithoutgivingattentiontoalloftheexhibitelements.Avoiddesigningtwosidedexhibitionswhereexhibitsononesidecompetewiththoseontheother.Fig.:2.2CirculationDiagram

32.18Designingcirculationspacesshouldbe:Widencorridorsbeyondthetypical89feetcurrentlyinuse.Corridorsshouldbeabletoeasilyhandletwowaytraffic.Breakupcorridorlengths.Thiswillreducetraveltimeandalsodiscouragekidsfromrunningthroughthehalls.Keepcorridorsaconsistentwidth.Corridorsthatexpandandcontractcreatebottlenecks.Considerroundingoranglingcornerssothereisasightlinetotheintersectingcorridor.Blindcornerscanbeahazard.Peoplewhowalkatafastpaceorturncornersquicklydonotseethetrafficintheintersectinghallway.Thiscanleadtocongestion,bumping,collisions,andaltercations.Fig.:2.3GalleryCirculation

33.192.3.5EXHIBITOFDISPLAYSSpacesshouldreinforceandpromotetheaudiencesengagementwiththecollectionConcludingaccessoryuses.Whilewalkingthroughamuseum,welloftenencounterstunninganddisplaysthataremeanttoshowacertainartifactorpieceofartworkinthemostattractivewaypossible.Thesevisuallystimulatingdisplaysofteninvokeaweandwonderinchildrenandadultsalike.Thesewondrousdisplaysarereferredtoasmuseumexhibits.Theycanbefoundinalltypesofmuseums,includingartmuseums,historymuseums,andsciencemuseums.Museumexhibitsaresetupandarrangedtobebothattractiveandeducational.Designingamuseumexhibit,thereforetakesagooddealofcarefulplanningandhardwork.Theexhibitsinamuseumaretypicallysetupsothattheyareplacedanddisplayedasnaturallyaspossible.Theymustalsobedesignedwithamuseumsavailablespace.Fig.:2.4CirculationPattern

34.20Someexhibitsaredesignedtobepermanentfixturesinamuseum,whileothersareonlytemporary.Somemaybedesignedtoallowhandsoninteraction,whileothersmustbeprotectedfromcuriousmuseumgoers.Fig.:2.5TypeofDisplays

35.212.3.6TYPEOFDISPLAYSIfthecasesarearrangedwithgentlycurvinglinestotakeadvantageofthispatternofmovementvisitorswillfindtheroommoreattractiveandcanprogresseasilywiththelineofthecase.Fig.:2.6Exhibitionspaces

36.22fig2.6showsOftenthearrangementscanbestaggeredwhichproducesacertainmysteryandadesireonthepartofthevisitortopeekaroundcornerstoseewhatisnext.Casesthatareaarrangedtonarrowtheentranceabit,sothatthehallinsidethenopensout,provideacertainamountofinterest.2.3.6.1.DisplayCaseAdisplaycaseisacabinetwithoneoroftenmoretransparentglass(orplastic,normallyacrylicforstrength)sidesand/ortop,usedtodisplayobjectsforviewing.Adisplaycasemaybefreestandingonthefloor,orbuiltin.Builtindisplaysmaybemountedonthewall,mayactasroompartitions,ormaybehangingfromtheceiling.Fig.:2.7DisplayStandards

37.232.3.6.2ConeofVisionTheconeofvisionisthevisualregiondisplayedbyadrawingthatrelatestoapersonsnormalvisionwithouthis/herperipheralvision.Inanutshell,theconeofvisionistheareaofsightortheangleofsight.Forexample,ifapersonwantedtoseetheentireartdisplay,usuallyaconeofvisionis60degreesisrequired,soapersonwouldneedtositfarenoughbacktoachievethisdegreeofvision.Fig.:2.8ConeofvisionFig.:2.9Coneofvision

38.242.3.7MATERIALSThematerialsusedforthebuildingconstructionaswellfortheexteriortreatmentshouldbelocallyavailableone,andalsoitshouldreflecttheregionscharacter.Goingforalocallyavailablematerialsgiveawaytosustainabledevelopment.AndfortheExhibitspaces,itisbesttousestablematerialsintheconstructionofcases.However,ifforexample,unstablematerialsneedtobeusedbecauseoffinancialreasons,thereareprecautionsthatmaybetakentominimizeharmfuleffects.Sealallwoodwithawaterbasedpolyurethanesealant.Coveringthewoodwithmetalfoilwillworkalso.Usedindustrialshelvingisanoptionforreadymadestoragesolutions.Covertheshelvingwithstablematerialsappropriatetothecollection:i.e.,ethafoam,volara.Usedustcoversforopenshelving.Unbleachedcottonmuslinworkswellformanysolutions.2.3.8LIGHTINGLightinginmuseumsandartgalleriesplaysakeyroleinavisitor'sabilitytoperceiveandenjoyboththeartefactsinamuseumandthebuildingintotal.Inordertodevelopasuccessfullightingscheme,amuseumlightingdesignermustsatisfymanyconflictingdesignrequirements.Dramaticvariationsinlightlevelsfromexhibittoexhibit,orfromexteriortointerior,canaffectavisitor'sabilitytoappreciateartworkbecausethehumaneyerequiresseveralminutestoadjusttolargechangesinlightlevels.Sharplycontrastinglightlevelsbetweenabrightentryandadarkgallerycanbeverydisturbing,andpotentiallyTheelementsofexhibitlightingmatchthethreegoalsofanymuseum:PRESENTATION:ShowingthetruebeautyofartandhistoricartifactsPRESERVATION:Protectingexhibitsfromfadinganddamage,andCONSERVATION:Conservingenergy,resources,manpowerandfunds

39.252.3.8.1NATURALLIGHTINGNaturallightingisachievedthroughtheuseofatriumsandcutoutspaces,especiallybynorthlighting.Fig.3.8showstheplanandsectionofvariousnaturallighting

arrangements.Fig.:2.10Naturallighting

40.262.3.8.2ARTIFICIALLIGHTINGFluorescentlighting:Behingcasefasicapanel[withoutdiffusingpanelseparatinglightfromcaseinterior]anglesofvisionmusetbecalculatedtoavoidglarefromlightsource.VerticalLighting:SlimFluorescenttubessetincasecorners,forminglightcolumnssuitablefarwallcaseswithsolidsides.Fluorescentcolumn:setbehindcaseuprightsapossiblesolutionfarlightinginoldwallcases.SideLighting:Louvresessentialtomaskfluorescenttubesaccuratecalculationoflightspreadisneededtoensureevenilluminationoncasebackpanel.Internalcaselighting:Slimlightboxforminiaturefluorescentorincandescentlampsbrightnessateyelevelshouldbecarefullycontrolledwiringtothelightbox,housedincasecorner,maybedistracting.Externallighting:throughflasstap,butheatmaybuildupunlesscoollightsourceisusedobjectscancastshadowswhenlitbyslantinglightandpossibleproblemsofglare.IntegralLighting:Lightboxseparatedfromcaseinteriorbydiffusingglassorlouvers[withclearglasspanelexcludingdust]fluorescentforeven,welldistributedlight,ortungsten,forhighlighting,canbeaccommodated.Lightingfrombelowaswellasfromupperlightboxtoreduceeffectofshadowsandtolightundersidesofobjectslightsourcemustbemasked,usuallybylouvers.Backlighting:fluorescenttubesbehinddiffusingmaterial,usuallyopalPerspextubesmustbeevenlyspaced,atsomedistancefromdiffuserideallyfittedwithdimmerstocontrolbrightness.Striplights[fluorescentortungsten]attachedtoshelfendsinsidethecase,illuminatingbothaboveandbelowashelfcanonlybeusedforobjectswithnoconservationrisks.

41.27*Lightingisclassifiedbyintendeduseasgeneral,accent,ortasklighting,dependinglargelyonthedistributionofthelightproducedbythefixture.Formsoflightingincludealcovelighting,whichlikemostotheruplightingisindirect.Thisisoftendonewithfluorescentlighting.Fig.:2.11Artificiallighting

42.282.3.9SERVICESIntheoperationofcollectionservices,noteveryoperationnecessarilyrequiresaseparatespace,someservicesmaybeprovidedbyoutsideagencies.Asfaraspossible,collectionmovementandpubliccirculationshouldbekeptseparate.Fig.:2.12Layoutofservices

43.29InMuseumPlanning,Buildingservicesengineeringcomprisesmechanicalengineering,electricalengineeringandplumbing(MEP)engineering,allofwhicharefurthersubdividedintothefollowing:Communicationlines,telephonesandITnetworksEscalatorsandliftsFiredetectionandprotectionHeating,ventilationandairconditioning[HVAC]LightningprotectionNaturallightingandartificiallighting,andbuildingfacadesSecurityandalarmsystemsWater,drainageandplumbingBuildingServicesinfluencethearchitectureofabuildingandplayasignificantroleonthesustainabilityandenergydemandofabuilding.ThelatesttrendinMEPorbuildingservicesengineeringistheutilizationofBuildingInformationmodelingorBIMwhichmayinclude3Dand4Dmodeling.3DBIMservicesenablebuildingvisualization,previeworprototypeofarchitecturalstructuresbeforeactualconstruction.

44.302.4LITERTAURESTUDY2.4.1STATEMUSEUM,BHOPALThearcheologicaldepartmentofMadhyaPradeshhasabout6000prehistoricequipments,aboutonelakhcopperrelicsofcopperage,about60,000copperinscription,500armsandweapons,about1,000verydistinguishedstoneidolsabout10,000coins,1000manuscriptsandabout1000ancientminiaturepaintings.Fig.:2.13FazardsofStateMuseumFig.:2.14AerialviewofStateMuseum

45.312.4.1.1LocationThemuseumissetuponavastprecinctof5acresonthetopofthepicturesqueshyamlahillsisexpectednotonlytobeamajorattractionfortouristsandinterestedcitizens,butaplaceofresearchinterestforscholars.Themuseumhas16galleriesthathavebeencategorizedthemwise.Thegalleriesare,Asalescounter,libraryandawellequippedauditoriumarealsoprovided.2.4.1.2PlanningTheStateMuseumofMadhyaPradeshthroughcarefulselectionofartifactsshowcasesthemultifacetedrichculturalheritageofMadhyaPradesh.Ithasseventeengalleries,categorizeditemwisewhichincludesprehistoricarticlesandfossils,excavatedobjects,sculptures,epigraphs,manuscripts,paintings,royalcollection,textiles,documentaryheritageofprincelystatesofMadhyaPradesh,especiallyregardingfreedommovement,miniatures,coins,raremusicalinstruments,armsandweaponsdepictingtheuniqueheritageofMadhyaPradesh,theheartlandofincredibleIndia.AlargenumberoffossilremainsfromtheprehistoricsitesaredisplayedintheFossilsgallery.Fig.:2.15GalleryViewsofStateMuseum

46.32ThepaintingsintheBaghgallerywhicharecontemporaryoftheAjantacaves,replicatedbyNandlalBosein1923areadelighttowatch.TheevolutionofdifferentreligionssuchasBuddhism,Jainism,Vaishnavism,ShaivismaswellasthepracticeofworshippingShaktiandTantricism,inMadhyaPradeshreflectthereligiousdiversityovertheageswhichfounditsexpressionsinthestoneandbronzesculpturesdisplayedinthemuseum.TheextraordinarymasterpiecesbeartestimonytothefactthatthereweremanymastersculptorsinthebygoneerawhowerewellacquaintedwiththeprinciplesofIconography.Someofthesculptureexhibitsareablendofthesacredandthephysical

whileotherssimplyenchantthespectatorastheyarechiseledtoperfection.MadhyaPradeshisauniqueamalgamationofdiversecultural,politicalandreligiousinfluencesovertheages.Themusicalinstruments,literature,paintings,weapons,coinsandtextileskeptatthemuseumspanmanycenturies.Theinscriptionsprovideinformationaboutsocial,political,culturalandreligiousactivitiesofthosetimes.Fig.:2.16GalleryViewsofStateMuseum

47.33ThepalmleafmanuscriptscontainmythologicalstoriesandepicssuchasRamayanaandMahabharata,religiouspracticesaswellasmedicalsciences.ThemanuscriptsaremostlyinSanskritandbelongtothe18thand19thcentury.Themusicalinstrumentsgalleryhasmadeeffortstopreservesomeoftherareinstruments.Theintricatecolorfulillustrationintheminiaturepaintingshaveevolvedoverthecenturiesandareapartofourcountrysrichculturalheritage.Therarecoinsdisplayedinnumismaticsgalleryreflectthestabilityandprosperityoftherulers.Theearliestcoinsarethesilverandcopperpunchmarkedcoinsform2ndcenturyB.C.VariousdynastiessuchastheMaurya,Shunga,Satavahana,Kushana,Gupta,Pratihara,Paramara,Chandela,Kachchhapghata,Kalchuri,MughalandlateronBundelas,Baghelas,Gonds,MarathadynastiesofHolkarandScindiaruledovertheState.Theartifacts,textiles,weapons,sealsandstampsfromMadhyaPradeshhavebeenprotectedandpreservedfortheposterity.TalesofvalourduringthefreedommovementandtherisingagainsttheBritishhavebeenportrayedinvariousdocuments.Alsopreservedarethefamousautographs,letters,manuscriptsaswellasrarebooks.AninterestingcollectionofdocumentsofPrincelyStatesprovidesvaluableinsightstoresearchersandhistorians.ThetextilesandfineembroiderysuchasjardozianddabkaworkpatronizedbytheNawabasofBhopal,acquiredthestatusofthefineartforminBhopal.TheroyalartgallerydisplaysartifactswhichwerepartofthepersonalcollectionoftheNawabsofBhopal.ItenhancesthetourismpotentialoftheStateleadingtoeconomicdevelopmentandculturalempowerment.

48.34Thenewmuseumbuildinghasbeendesignedkeepinginviewtheconvenienceofthevisitors.Thegallerieshavebeeninterconnectedinsuchamannersoastoensureeasyaccesstothemwhilemaintainingtheinterestandthethrillofthevisitors.Fig.:2.17GroundFloorPlanFig.:2.18FirstFloorPlan

49.35Theentirepremiseshavebeenconnectedtoaramptofacilitateaneasyaccessforthedisables.Alifthasalsobeenprovided.Stateoftheartlightingarrangementslikecoldlightandfibrelightinghavebeenmadeinthebuildingbesidesensuringnaturallight.2.4.1.3INFERENCESTheplanningofthisstatemuseum,Bhopalscirculationpatternisradial,whichismostsuitableformformuseumplanning.Hereallthefacilitiesareenclosedwithinonebuilding.Thedistributionofdifferenttypesofgalleriesthroughthecentralcourtyard,whichallowsusertoviewgalleriesinasequentialorderfromthelobby.Naturallightingisachievedthroughtheuseofatriumsandcutoutspaces.Thelocallyavailablematerialsisusedforfaadedesign,whichgivesawayforsustainableconstruction.Thedesertsunplaysafundamentalrole,transformingthearchitectureintoaplayoflightandshadows.Thelargespanofspacescanbeachievedthroughcofferslabroofdesign.Buildingisiconicandaptforthatlocation.

50.362.4.2BHARATBHAVAN,BHOPALTheBharatBhavanestablishedin1982,itisnodoubtacentreforinnovativecreativity,pursuitofclassicsandtraditionandwideparticipationinanewculturalupsurge.OneofthemostuniquenationalinstitutesinIndia,BharatBhavanisacenterfortheperformingandvisualarts.2.4.2.1LOCATIONBharatBhavanisintheShamlaHills.ItisanindependenttrustcreatedbytheLegislatureofMadhyaPradesh.Fig.:2.19ViewofBharatBhavanFig.:2.20AerialviewofBharatBhavan

51.37DesignedbytherenownedarchitectCharlesCorrea,itscontoursmergeinexquisiteharmonywiththelandscapecreatingavisualimpactofspaciousandnationalelegance.Itisaplaceforcontemporaryarticulation,exploration,reflectionandinnovation.Fig.:2.21ViewsofBharatBhavan

52.382.4.2.2PLANNINGThesiteisonagentlyslopingplateauoverlookingthelakeinBhopal.ThenaturalcontoursofthesitehavebeenusedtocreateaseriesofsunkencourtsandterracegardensaroundwhichanumberofculturaleventsareorganizedTheterracesandcourtyardsonceagainreflectCorreasconcernwithprogressionthroughspacethemazeorpuzzlewherepartsarecasuallyrelievedandthecomplexofinternalstreetactratherlikeavillagelayout.Fig.:2.22ViewsofBharatBhavan

53.39Itisamultiartcentrehousingamuseumofthearts,anartgallery,aworkshopforfinearts,arepertorytheater,indoorandoutdoorauditoria,rehearsalroom,andlibrariesofIndianpoetry,classicalandfolkmusicThesiteforthisArtCentreisonagentlyslopinghilloverlookingthelakeinBhopal.Thenaturalcontoursofthesitehavebeenusedtocreateaseriesofterracedgardensandsunkencourtyardsoffwhicharelocatedanumberofculturalfacilities,includingamuseumofTribalArt,alibraryofIndianpoetry(inallthe17majorlanguages),galleriesforContemporaryArt,workshopsforlithographyandsculpture,andastudioforanartistinresidence.Fig.:2.23Planof

BharatBhavan

54.40BharatBhavanalsohousesafullfledgedtheatricalrepertoirecompanyandfacilitiesfortheperformingarts,includingtheAntarang(indoorauditorium),andtheBhairang(openairamphitheater),overlookingthelake.Lightingandventilationwithinthebuildingareprovidedbytoplights(fromtheconcreteshellsandfromslotsalongtheterraceparapets).Theopeningstothecourtyardsandterraceshavetwosetsofshutters:theinneronesconsistingofacombinationoffixedglassandoperablepanelsforlightandventilation:theouteronesconsistingoflargewoodendoors,closedatnightforsecurity.Fig.:2.24ViewsofBharatBhavanFig.:2.25SiteSectionalViewofBharatBhavan

55.412.4.2.3INFERENCESThismuseumisownedbyprivateinstitution,hencefreedomofdesigninaestheticscanbeseen.Theoverallplanningwithrespecttoitssitecontoursplaysanimportantroleinsegregatingvariousfunctionalspaces.ThesegregationofspacescanbeachievedthroughcourtyardsThesunkencourtsandterracedgardenarethespecialfeaturesofthisproject.ThePlanninghasbeendoneinsuchawaythatthespacesareclearlyidentifiedthrothecirculationpath.

56.422.4.3REGIONALSCIENCECENTRE,BHOPAL2.4.3.1LOCATIONTheRegionalScienceCenterBhopalwasopenedon12thJanuary1995bythethenpresidentofIndialateShankarDayalSharma.TheCentreislocatedontheShyamlaHills.ThenearestbusstopsareatPolytechnicCircleandJawaharChowkDepotChowraha,about1Kmaway.ThedistancefromHabibgunjRailwaystationis9kmandfromBhopalRailwaystationis7km.Fig.:2.26ViewofScienceCentreFig.:2.27AerialViewofScienceCentre

57.432.4.3.2PLANNINGTheRegionalScienceCenterisuniqueinwholeofMadhyaPradesh,Spreadover5acresoflandscapewithvarietiesofplants,treesandshrubs.TheRSCbuildingarchitectureisspecialwheremorethan266scienceexhibitsrelatedtomechanics,energy,sound,light,atmosphereetc.areinstalled.Thiscenterisoneofthe27constituentunitsofNationalCouncilofScienceMuseums(NCSM)whichisanautonomousscientificorganizationundertheMinistryofCulture,Govt.ofIndia.ExhibitionGalleries1.Invention2.FunScience3.TheUmbrella4.TheEnergy5.ScienceParkScienceShows1.TaraMandalShow2.3DScienceShow3.SkyObservationShowScienceActivitiesIndoorActivitiesa.ScienceDemonstrationLectureb.ComputerAwarenessProgramsc.CreativeAbilityCenterd.PopularScienceLecturee.ScienceDramaf.TeacherTrainingProgramsg.VacationCreativeAbilityProgramsFig.:2.28ViewofScienceCentre

58.44OutdoorActivitiesa.ScienceDemonstrationLectureb.MobileScienceExhibitionFacilitiesa.Auditorium200seatscapacityb.ConferenceHall25seatingcapacitySlopeshavebeenwiselyusedbydesigningthebuiltspacesatdifferentlevels.Inspiteofdifferentlevels,theroofofthewholebuiltupspaceliesinthesameplane.Onfirstfloors,aseriesofverticalshadingdevicesareprovidedrearthewindows.Cylindricalshadingstructureswitharchesatitstopandbottomhavebeenprovidedattheelevationofprojectedareasofthebuilding.Fig.:2.29ViewofScienceCentre

59.452.4.3.3INFERENCESThesciencecentre,Bhopalplanningissimplearrangementofsquaresinfourcornersthroughthecorridorsandstairs.Themuseumgavecirculationahighpriority.Theelevationtreatmentwillbethelocallyavailablebuildingmaterials.OverallplanningandcirculationspacesareinterlockingthegalleriesShadingdevicesactsaselevationdesigninthisbuilding.Fig.:2.30BlockModelofScienceCentre

60.462.4.4NATIONALMUSEUM,NEWDELHITheNationalMuseuminNewDelhiisoneofthelargestmuseumsinIndia.Establishedin1949,itholdsvarietyofarticlesrangingfromprehistoriceratomodernworksofart.ItfunctionsundertheMinistryofCulture,GovernmentofIndia.ThemuseumissituatedonthecornerofJanpathandMaulanaAzadRoad2.4.4.1LOCATIONTheMuseumhasaround200,000worksofart,bothofIndianandforeignorigin,coveringover5,000years.ItalsohousestheNationalMuseumInstituteofHistoryofArts,ConservationandMuseologyonthefirstfloorwhichwasestablishedin1983andnowisaDeemedUniversitysince1989,andrunsMastersandDoctorallevelcoursesinHistoryofArtConservationandMuseology.Fig.:2.31ViewofNationalMuseumFig.:2.32AerialViewofNationalMuseum

61.47Itsrichholdingsofvariouscreativetraditionsanddisciplineswhichrepresentsaunityamidstdiversity,anunmatchedblendofthepastwiththepresentandstrongperspectiveforthefuture,bringshistorytolife.2.4.4.2PLANNINGTheNationalMuseumbuildinghas2floors.Ithasarotundaaroundwhichthestructureisbased.Presently,thereareseveraldepartmentsintheNationalMuseum.ThecollectionsoftheNationalMuseumcoversnearlyallthedepartments.Itrepresentsalmostalldisciplinesofart:Archaeology(SculpturesinStone,Bronze&Terracota),Arms,Armour,DecorativeArts,Jewellery,Manuscripts,MiniaturesandTanjorePaintings,Textiles,Numismatics,Epigraphy,CentralAsianAntiquities,Anthropology,PreColumbianAmericanandWesternArtCollections.Fig.:2.33GroundFloorplan

62.48Thefirstfloorgalleryhastwocupboards,containingthestonetoolsfoundacrossIndiabelongingtothelowerPalaeolithicperiodtotheNeolithicageandalsocopperhoardobjects.MrandMrsHeeramaneckhavedonatedthepreColumbianartobjects.Fig.:2.34FirstFloorplanFig.:2.35SecondFloorplan

63.49Thestarofthemuseumisthestrongroomortheroomwithabuiltinvault.ItdisplaysgoldobjectslikeastatueofBuddhaweighing20kginpuregold,anIvoryscreenwithfourfoldshavingpicturesofMumtazMahalandShahJahan,andothergoldobjects,preciousstones,Tanjorepaintingsstuddedwithalmosttwoinchlargestonesofrubies,diamonds,emeraldsandgoldfoil.Fig.:2.36InteriorView

64.50Besidethegalleries,themuseumalsohasanauditoriumwithaseatingcapacityof250people.AbrieffilmintroducingtheMuseumanditscollectionsisscreenedintheAuditoriumregularly.FilmshowsonArt,HistoricalandHeritagearealsoshown.2.4.4.3INFERENCESTheNationalMuseum,Newdelhiasenormouscollections,displayedthrovariousgalleries.Asimpleplanningarrangement,whichclearlyleadsvisitorstothegalleries.Hereallthefacilitiesareenclosedwithinonebuilding.Careshouldbetakenforthesecurityoftheartefacts.TheCCTVcamerawsinstalledandmonitored.Naturallightingisachievedthroughtheuseofatriumsandcutoutspaces,especiallybynorthlighting.

65.512.4.5NINGBOHISTORICMUSEUM,NINGBO,CHINA2.4.5.1.LOCATIONNingboHistoricMuseumdesignedbyWangShu,whoisProfessorandHeadoftheArchitectureDepartmentatChinaAcademyofArt,HangzhouandanarchitectfromtheAmateurArchitectureStudio,islocatedinanopenandclearsquareinYinzhouDistrict,Ningbo,aseasidecityintheeastofChina.TheareaisapartofNingbocity,whichisafamoushistoricalcity,thoughitlooksasifitwerebuiltlastyear.Theroadsaroundthesquarearewideenoughtoaccommodate6ormorecarriageways,buttheyarenotopentotraffic.Thereareonlytreesandshrubsbesidetheroadsandwitheredgrassbetweentiles.Totheeastofthesite,therearetwohugegovernmentbuildings,acapacioussquareandaculturalcentre.Acrossapark,thereisavastexpanseofpaddyfieldinthesouthofthesite,butthesepaddyfieldsofabeautifulvillagewillsoondisappear.Fig.:2.37AerialViewofNingboHistoricmuseum

66.522.4.5.2.PLANNINGInthisarea,whichhadbeenmutilated,thereareonlyvisiblebrokenbricksandtileseverywhere.Inthedistance,theoutlineofanewhighriseapartmentandanunfinishedofficebuildingsecretlyforetellstheprosperityinthefuture,thoughatpresentthisareaistemporarilyinastateoflimbo,withthepastgoneandthefuturestillvague.Thedesignersaidthatwhenhebegantodesignthebuilding,hethoughtoftheloftymountains.Hecouldnotdesignforthecity,becausetherewasnocity.Thereforehewantedtocreatesomethingzoeticandanimate.Finally,hedecidedtodesignthemuseumwiththeconceptofthemountain,whichispartoftheChinesetradition.Inthisnewandclearurbanarea,whichlacksavitalforce,theformofNingboHistoricMuseumwasdesignedintoafragmentofamountain.Themountainsarecontinuous,justastheurbancontextofavitalcityiscontinuous.Therefore,thebuilding,withthesquareborderasthemanmadefragmentcutfromthecontinuousmountains,remainedorwaslefthere.However,itcanalsobeimaginedasafragmentfromtheurbancontextfromwhichacitysrebuildingiscontinuing.Fig.:2.38Elevationview

67.53Thebottomofthebuildingisasimplerectangle.Onthetop,itissplitintofivepiecesasasimilarshapeofamountain.Visitorsenterthemuseumthroughaflat30metrewideholeinthemiddleofthebuilding.Thenorthofthebuildingisinanartificialpool,withsoftbanksandreedsplantedinthewater.Thewaterrunsoverastonedaminthemiddleofthepool,endinginthelargepebbleshoals.Onthetopofthebuilding,thereisanopenplatformhidingbehindthefiveoffsets.Thevisitorscanseetheviewofthecityandthedistantviewofthepaddyfieldandthemountains.ThefacadeofNingboHistoricMuseumisreinforcedconcretemoldedonthesurfaceusingbamboocanesinsteadofwoodenplanks,aswellasalargenumberofoldbricksandtilescollectedfromolddemolishedbuildingsanddemolishedsitesallovertheregion.Fig.:2.39SideviewFig.:2.40variousperspectives

68.54ThiskindofwallbuiltbyrecycledbricksandtilesiscalledWaPanWall,whichisdevelopedbylocalfarmerstocopewithnaturaldisastersbutisnearlylostnowadays.Thefacadeofthebuildingpresents20differenttypesofbricksandtilesthatformauniquepattern.TheapplicationoftheWaPanWall,withtheextensiveuseofresourcesavingrecycledmaterials,embodiesthetraditionalChinesevirtueofrecyclingconstruction.Ontheonehand,itembodiesthetraditionalconstructionsystemofNingbo,withitstextureandcolourfullyintegratedinnature.Ontheotherhand,itfreezesthetime.Theserecycledbricksandtilescontainhundredsofyearsofhistory.Theyarethewitnessesofhistory.Thecollectionofthesebricksandtilescoincidewiththecollectionofhistory,whichistheideaofthemuseum.Thebamboocanemoldedconcretewasanewcreation.BambooisacharacteristiclocalplantintheNingboregionandthenatureofthebamboosrandomcrackingis

clearlyshownontheconcretethroughitstexture.Fig.:2.41FrontView

69.55ThedesignerindicatesthatthenewmuseumisanalogoustotheChinesegarden.AtthebeginningofthecompletionoftheChinesegarden,thestateisnotatitsbest,butaftertenyearsofnourishment,itisprovidedwithathrivingvitalforce.TheapplicationofspecialmaterialofNingboHistoricMuseumgivesitavitalenvironment.Someyearslater,whentheWaPanWalliscoveredwithgreenmossandevenshrubs,themuseumwillimmerseinnatureandtrulyintegrateintohistory.2.4.5.3INFERENCESThisbuildingexplainstheimportanceofoldbuildingmaterials.Thebuildingwassimplerectangularinshape,applyingaconceptofmountainoveritinitsform.Theoldmaterialsusedwerewoodenplanks,oldbricks,tilesfromolddemolishedbuildingswereusedtodesignthemuseumofspaces.Thereweremanydifferenttypesofrecycledbrickswereusedintheelevationtreatment.

70.562.4.6BILBAOGUGGENHEIMMUSEUM,BILBAO,SPAIN2.4.6.1LOCATIONTheGuggenheimMuseumBilbaodesignedbyFrankO.GehryislocatedinthecityofBilbaoinnorthernSpain.ThismuseumwasmentionedasthegreatestbuildingofourtimebyPhilipJohnson.KingJuanCarlosIsaid:Itisthebestbuildingof20thcentury.ItssiteisbetweentheNervionRiver,whichrunsthroughthecitytotheAtlanticCoast,LaSalveBridge,therailwayandthenewtown.ItisasymboloftheBasquemetropolisthatcanbeseenfromaconsiderabledistance.LookingintothecityfromthenorthshoreofNervionRiver,themuseumisthemoststrikingsightofoffshorewaterasthefirstlayer.Facedwithsuchanimportantandmostchallengingsite,Gehrygavethemostdaringanswerinthewholehistoryofarchitecture:thewholebuildingwasacombinationofagroupofmasseswithirregularsurfacescoveredbytitanium,itsformforeigntopastarchitecturalpractice,beyondanyexperienceinthehabitofconstruction.Itmakesthemuseumintegrateintotheurbancontextseamlessly.Fig.:2.42FrontView

71.572.4.6.2.PLANNINGTheunfoldingshapesofstone,glass,andtitaniuminterconnectona32,500m2sitealongtheNervionRiverintheoldindustrialcentreofthecity.Sinceitsopeningin1997,thismuseumwashailedasoneofthemostimportantbuildingsofthe20thcenturywithitsdistinctivetitaniumcurvesandsoaringglassatrium.Onthewaterfrontnorthelevation,the3levelexhibitionhallwithalongtransversewaveisdesignedtobeinperfectharmonywiththehorizontalflowofwateranditslargescale.Becauseofthebacklightinginthenorthorientation,andthefactthatthemainelevationofbuildingisintheshadowsallday,thebuildingsurfacesaredesignedasaseriesofrandomcurvesinordertocatchsunlight.Withtheangleofsunlightchanging,eachcurvedsurfaceofthebuildingwillshowtheconstantlychanginglightandshadows.Furthermore,itsuccessfullyavoidsthetediousnessofthenorthelevationofalargebuilding.Tothesouthofthebuilding,infrontofthemainentranceofthemuseum,thereisonlyonestreetbetweentheoldbuildingsinthe19thcenturyurbanareaandthemuseum.Therefore,thebuildingisdesignedtomatchtheoldurbanareabyform,scaleandmaterial.Inthesouthelevation,tobedifferenttothenorth,someclassicorthogonalshapeswithstonefacadesaredesignedtobeatransitiontotheurbancontext.Furthermore,inordertoresolvetheimpactbetweenLaSalveBridgeandthegroundfloorofthemuseum,Gehrydesignedpartofthemuseumtobeunderthebridgeonthegroundandconnectedtoatowerontheothersideofthebridge,inordertocreateanimpressionofthebridgeasbeingheldinthearmbythemuseum.Tothesouth,aroadrunsthroughthegroundfloorofthebuilding,undertheplazainfrontofthemainentrance.Themuseumconnectsindivisiblywiththeurbancontext.

72.58Asaplaceofarrival,orientationandrelaxationforthevisitor,thevastatriumisthetrueheartofthemuseum,whichisoneofthemostcharacteristicspacesinthismuseum.Inthisspace,itispossibletogetanideaofeachexhibitionspaceandgallery.Thewholemuseumispresentedtovisitorsinthisspace.Theenormousglasswalls,theunusualirregularshapedgalleriesandtherectangularshapedonesareallshownatthesametime.Itisanessentialpartinthemuseum.Inthe50meterhighspace,thereareaseriesofbridges,glassliftsandastaircasetower,whichisconnectedtoexhibitionspacesatthreelevels.Fig.:2.43FrontViewFig.:2.44InteriorView

73.59Inthismuseum,thespacesareprovidedforavarietyofexhibitiondisplaysandspeciallycommissionedinstallations,whichhasbeenplannedwithandforartistsbythedesigner.Thereare20galleriesdistributedinthe11,000m2exhibitionspace.Tenofthemareinclassicorthogonalplans,whichareidentifiedfromtheexteriorbytheirstonefinishes.Asaremarkablecontrast,theirregularlyshapeofnineothergalleriesfollowtheirswirlingformsoutside,whichcanbeidentifiedbytheirtitaniumcladding.Thelargestonewasdesignedasatemporaryexhibitionspace,30mwideand130mlong.In2005,thelargestsculpturecommissionedinhistory,RichardSerra'smonumentalinstallationTheMatterofTimewasdisplayedinthisroom.Thereisnodoubtthatitisahighlycomplexbuilding.However,thecirculationisquiteclear.Itcanbesimplifiedintooneofbasiccirculation,inwhichthereisanatriumconnectingtoeachofthegalleries.Aftervisitorsfinishonegallery,theyneedtogobacktotheatrium.Theotherbasictype,thetandemtype,ispartiallyusedalso.Inthelargestorthogonalshape,thereare3galleriesintandemwitheachotheroneachlevel.Anothercharacteristic

ofthismuseumisthatthegeneralideaofthedesignisshownperfectlyinthevastatrium.Visitorscanunderstandthewholemuseumearlierwhentheyareintheatrium.Fig.:2.45Plan

74.602.4.6.3INFERENCESHereinthiscasestudy,theelevationofmuseumforthefirsttime,itiscontrasttotheworldmuseumelevation.Thewaythearchitectusedfazardtreatmentisdifferentcomparetocontemporaryarchitecture.ThecurvesontheexteriorofthebuildingwereintendedtoappearrandomTheoverallformofthebuildinglookslikeansculpture.Itsacombinationofamaterialstitanium,stoneandglass.Themuseumisseamlesslyintegratedintotheurbancontext,unfoldingitsinterconnectingshapesofstone,glassandtitanium.

75.61CHAPTER3CASESTUDY3.1GOVERNMENTMUSEUM,EGMORE,CHENNAI.3.1.1LOCATIONThegovernmentmuseumatEgmorewasestablishedin1851,islocatedinEgmore,Chennai.ItisKnownastheMadrasMuseum,themuseumisthesecondoldestmuseuminIndia.Itisparticularlyrichinarchaeologicalandnumismaticcollections.IthasthelargestcollectionofRomanantiquitiesoutsideEurope.ManyofthebuildingswithintheMuseumcampusareover100yearsold.Amongthem,thecolossalMuseumTheatreisoneofthemostimpressive.TheNationalArtGalleryisalsopresentinthemuseumpremises.BuiltinIndoSaracenicstyle,ithousesrareworksofartistslikeRajaRaviVarma.Fig.:3.11980sViewofEgmoreMuseum

76.62LocatedclosetothemainmuseumentrancegatesonPantheonRoad,themuseumtheatreisararespecimenoftheitalianatestyleofarchitecture,inspiredbyClassicalarchitectureanddevelopedin1802atBritainbyJohnNash.However,thetheatrewasbuiltbythebritishinthelate19thcenturywhenthisstylewasnolongerpopularinEngland.3.1.2PLANNINGManyadditionstotheoriginalbuildingwereconstructedbetween1864and1890.ThecoreoftheoldmuseumbuildingincludestheonlysurvivingremnantsofthePantheon,identifiedfromthebroadstepsleadingintoitwhenviewedfromthenorth.AmongsttheadditionsistheConnemaraPublicLibrary,builtwithstainedglasswindows,ornatewoodworkandelaboratestuccodecorations,formallyopenedin1896andnamedafteritsprogenitor.ThebuildingwasbuiltbyNamberumalChettyandwasdesignedbyHenryIrwin,withtheinteriorsresemblingthoseofBankofMadras(SBI).Fig.:3.2ViewofMuseum

77.63Thedesignincludedahugereadingroomwithawoodenceilingbetweentwocurvedrowsofstainedglass,supportedbyornatepillarsandarchesembellishedwithsculptedacanthusleaves.Itwassupplementedwithteakwoodfurniture,marbledfloor,anddecorativewindows.Allofthesewererestoredin20042007.ThebuildingnowhousestheOldCollection(pre1930),whichisusedforreferencepurposeonly.Themuseumcomplexconsistingofsixbuildingsand46galleriescoversanareaofaround16.25acres(66,000m)ofland.Theobjectsdisplayedinthemuseumcoveravarietyofartifactsandobjectscoveringdiversefields.TheMadrasMuseumiscategorizedintoelevensections:EightGalleriesAnthropology,ArtArchaeologyBotanyChildren'sMuseumGeology,Numismatics,andZoologyThreesupportingsectionsDesignandDisplay,Chemicalconservation,andEducation

78.641.MainBuilding2.FrontBuilding3.BronzeGallery4.ChildrensMuseum5.NationalArtGallery6.ContemporaryArtGalleryFig.:3.3SitePlanofMuseum

79.653.1.3MAINBUILDINGThestructurehasahighplinthandisaccessedthroughatallflightofstairs.Itisprimarilyasemicircularstructurewitharectangularwingattherear.Thelatterwingnowhousessomeofthegalleriesofthemuseum.Themainhallisaccessedthroughaverandahwitharowofcolumnslinkedbysemicirculararches.Thewallsandcolumnsareembellishedwithfloralandgeometricdesigns.Fig.:3.4SculptureGalleryFig.:3.5HinduSculptureGallery

80.66Fig.:3.6GroundandFirstfloorplanofMainBuilding

81.67Thehugemainhallwasinitiallydesignedforstagingtheatricalperformances.Ithasaround600seatsandacommodiousstageandtheactors'dressingroomsadjointhisstage.DuringtheBritishera,thetheatrewasmainlyusedforstagingEnglishplayspreferredbytheBritisheliteofthecity.Now,themuseumhasbeenusingthetheatreforitsownculturalandacademicprogramssuchasartworkshops,lecturesandconferences.Italsorentsthehallforvariousculturalperformances,mainlydramas.ThehallhaswitnessedseveralplaysincludingthoseofShakespeare.Fig.:3.7ViewofSculptureGallery

82.683.1.4FRONTBUILDINGFig.:3.8GroundandFirstfloorplanofFrontBuilding

83.69Thisfrontbuildinghasnumberofgallerieswhichincludethecollectionofarms,woodcarvings,industrialarts,ethnologygallery,raremusicalinstrumentsgallery,physicalanthropologygallery,kathakalligalleryandfolkartgallery.3.1.5BRONZEGALLERYFig.:3.9ViewofAnthropologyGalleryFig.:3.10ViewofBronzeGallery

84.70Figshowsbronzegallery.Thisgalleryhasafabulouscollectionofabout1500objects85

Buddhist,25JainandtherestHindu.ThecollectionincludesspecimensfromvariousperiodsofhistoryrangingfromtheearlycenturiesoftheChristianeratorecenttimes.Fig.:3.11GroundandFirstfloorplanofBronzeGallery

85.713.1.6CHILDRENSMUSEUMThemuseumforchildreninthecomplexhousesseveralstaticexhibitssuchasgalleriesofdollsadornedwithcostumesofvariousnationsandcivilizationsandalsoexhibitsertainingtoscience,transportation,andtechnologyFig.:3.12ViewofChildrensGallery

86.72Fig.:3.13GroundandFirstfloorplanofChildrenMuseum

87.733.1.7NATIONALARTGALLERYTheNationalArtGalleryisoneoftheoldestartgalleriesinIndia.ItisConstructedwithredstonessourcedfromSatyaveduinAndhraPradesh,theGallerywasbuiltin1906inIndoSarsenicarchitectureandhousespaintingsfromThanjavur,Rajasthan,KangraandDeccanareas,aswellassandalwoodsculptures.TheNationalArtGallerywasbuiltduringthecelebrationofQueenVictoria'sGoldenJubileeinIndoSaracenicstyle,designedbyarchitectHenryIrwin.ThegallerycontainsseveralMugulpaintingsandrareworksofRajaRaviVarma.ItalsohasvariousTanjorePaintings.PortraitsofvariousBritishofficerssuchasLordConnemaraandLordWilliamBentinckarealsopresent.Theartgalleryalsoincludednumerousminiaturepaintingsdepictingcourtandbattlescenes.Fig.:3.14ViewofNationalArtGallery

88.74TheGalleryhasbeenidentifiedasaHeritagesitebytheCMDA.TheGalleryhasremainedclosedsince2002,aspartofthestructuresuffereddamage.Fig.:3.15GroundfloorplanofNationalArtgalleryFig.:3.16ViewofNationalArtgallery

89.753.1.8CONTEMPORARYARTGALLERYTheContemporaryArtGallerynowdisplaysmodernpaintingsandsculptures.Inordertopreventultravioletraysfallingonpaintingsbothfromnaturalandartificiallight,anewtracklightingsystemwithDichroicHalogenlampshasbeeninstalledintheContemporaryArtGallery.TheContemporarypaintingshavebeenredisplayedonOctanormtypeshowcaseswithspecialDichroiclights.Fig.:3.17ViewofContemporaryArtgallery

90.76Fig.:3.18GroundandFirstfloorplanofContemporaryArtGallery

91.773.1.9INFERENCESThereisnograndvisitorslobbytothebuilding,TheMainBuildingEntranceisattheNortheastrearend.Thevisitorscirculationpatternisnotclear,onehastovisitseriesofgalleriesandaftercompletingthefinalgalleryview,hehastowalkbacktotheentrancetoexit.Therearehugesculpturecollections,butthegivenspaceisnotenough,itseemstoocrowdy.Displayexhibitsandthetypeofexhibitsarenotattractive.Thestaircasetotheupperfloorgalleriesarenotlocatedproperly.Thereisnolinkbetweengalleries,thatis,thesequentialorderismissing,moreoverfewgallerieswerelocatedinaseparatebuildingnamedfrontbuilding.Inchildernsmuseum,mostoftheequipmentswerenotworking,thesciencetechniquesusedwereofoldtypes.RearPlayareawithkidsplayingequipmentswerewelcoming.Nationalartgallerywasclosedfortherenovationwork,thereweremanyvisiblecracksseeninelevationofthebuilding.Contemporaryartgalleryhasahugecollectionofpainting,securityforthepaintingweremissing.

92.78CHAPTER4SYNTHESISSincethemideightiesmuseumshavechangedtheirpolicymoreandmoreintoaproceedingprofessionalismoftheiractivities.Thetasksofamuseumconcentratedonthepresenceofobjects(collection,scientificresearch,conservationandrestoration)anditspresentation.Inthisstudy,itisexaminedtowhatextentthisshifthastakenplace,andwhattheconsequencesareofthisshiftontheoriginaltasksofanmuseum.Theaimofthispaperistoexplainthefeelofmuseumspacetothevisitors.AccordingtoKotler&Kotlertherearefivebasicelementsthattogethershouldbeabletoorganisethemuseumvisitorstimeandactivityduringhisorhervisit:1)Themuseumsetting,itsexteriorandinterior2)Theobjects,thecollectionandexhibitions3)Theinterpretivematerialavailablesuchaslabelsandcatalogues4)Themuseumprogramswhichincludelecturesandperformances5)Themuseumservices,suchasreception,foodandthemuseumshop.Withagoodfunctioningofthesefivebasicelementsthepleasureofthevisitorwillbeincreasedduringhisorherstayinthemuseum.Itisnolongersufficienttosimplydisplayacollection,peoplehavehighexpectations.Moderntrendsinthemuseumworldhavebroadenedtherangeofsubjectmatterandintroducedmanyinteractiveexhibits,whichgivethepublictheopportunitytomakechoicesandengageinactivitiesthatmayvarytheexperiencefrompersontoperson.

93.79Moreover,today,newpresentationpossibilities,suchasmuseumnightsandeveningopeninghours,areexploredbymuseumswiththesameobjective:toreachawideraudienceandtoaccommodatethemduringtheirstayatamuseum.Thefocusoncollectionsandeducationhasbeenjoinedbyafocusonmuseumgoingexperiences,andasaresult,contextualandinterpretivematerialismstorytellingandexplorationofthemeaningofobjectsmoreandmoresurroundcollectionsandexhibitions.Visitorsfeelbetterinformedandarebetterabletoparticipateinmuseums.Theendproductofamuseumisnotsimplyviewinganexhibit.Amorefundamentaloutcomeistochangea

visitorsawarenessandknowledgesothatafterwardsheorshecanrecalltheexperienceasasignificantone.Theexperiencehasbecomemoreimportant,notonlyintheculturesector,butinallsectorsofsociety.Sincemuseumshavetocompetewithotherculturalorganizationsforthescarceleisuretimeoftheirpotentialvisitors,theyarelookingforwaystodifferentiatethemselvesinthehopethattheywillattractmorevisitors.Theirmaingoalistogivethesevisitorsbackgroundinformationonacertainexhibitionandtoeducatethemonthedevelopmentsintheartworld.Theyareeducationalactivitiesthatfitwithinthetasksandfunctionsofamuseumthatconsistsofcollecting,documenting,preserving,exhibitingandinterpretingmaterialevidenceandassociatinginformationforthepublicbenefit.TheDesignProcessassuggestedbyICOMisasfollows:Evaluateandallocateexhibitionspaceaccordingtostoryboardthemesandothervisualandcommunicationneeds.Determinecirculationspaceneeded,includingdisabledaccessrequirements,securityneedsandofficiallegalnormssuchasfireEscapes.

94.80Examineanddistributeobjectsbyunits,sections,subsectionsthatcorrespondtothemesandsubthemesinthescriptandstoryboard.Designtheexhibitionfurnituresystem:panels,freestandingexhibitshowcases,screens,caseshelves,blockcases,tablecases,wallhungpanelsandotherwallmountedelements.Designlightingsystems.ConsultwithspecialistandconservatorDesignsoundsystems.ConsultwithspecialistandeducationspecialistThedesignofmuseumshasevolvedthroughouthistory,however,museumplanninginvolvesplanningtheactualmissionofthemuseumalongwithplanningthespacethatthecollectionofthemuseumwillbehousedin.Therearemuseumsofdifferentcategoriessuchas:1.Museumsownedbythestategovernment2.Museumsownedbythecentralgovernment3.Museumsownedbytheuniversities/semigovtorganizations4.MuseumsownedbytheNongovtorganizations[trust,society,etc.,]5.MuseumsownedbytheprivateindividualsOtherthanthecategoriesasdiscussedthereweremanytypesofmuseums,dependonthecollections.Thosecategorieswere:finearts,appliedarts,craft,archaeology,anthropologyandethnology,biography,history,culturalhistory,science,technology,children'smuseums,naturalhistory,botanicalandzoologicalgardens.Withinthesecategoriesmanymuseumsspecializefurther,e.g.museumsofmodernart,folkart,localhistory,militaryhistory,aviationhistory,philately,agricultureorgeology.

95.81Thispaperhistorymuseumwerefocussed,andtheproposalshouldbeofculturalhistorymuseum.Historymuseumscontainawiderangeofobjects,includingdocuments,artifactsofallkinds,art,archaeologicalobjects.ThispaperfocusesonthestategovernmentownedGovernmentMuseum,EgmoreasacasestudyfurtherliteraturestudydoneovertheStateMuseum,Bhopalgovernedbystategovernment.AnationalMuseum,NewDelhiownedbythecentralgovernmenthasbeentakenforaliteraturestudy.ABharatBhavan,Bhopalownedbythenongovernmentorganizationshasbeentakenforaliteraturestudy.AlsoaScienceCentre,Bhopalforatypeofmuseumtakenforaliteraturestudy.AndacasestudyofBilbaoGuggenheimMuseum,Bilbao,SpainandNingboHistoricMuseum,Ningbo,Chinashowsthewaytherecycledmaterialsusedandthenewmaterialsinthefazardtreatment.ThroughallthecasestudiesfromIndiaaswellfromChinaandSpain,itisclearthatmuseumofspacehasanimpactovervisitorsthrothewaytheybuilt.Alltheabovesaidcasestudiedmuseumswereiconictimemuseumreflectingthepast,present,futureofitsownimageofthecity.

96.82CHAPTER5CONCLUSIONOnthedetailedanalysisofvariouscasestudies,itisclearthatthemuseumofspacehasanimpactovermankind.Themuseumidentifiestheimageofthecityaswellthestudyofthesociety.Theplanningofamuseumshouldbesuchawayitgivesansocialimpacttothevisitors.Fromcasestudies,itisclearthat,inmuseumplanning,circulation,Typesofexhibits,displaysofexhibits,serviceswerethemaincore.Theplanningofmuseumshouldbeinsuchawaythatthebuildingshouldbeiconicoverperiodoftimesreflectingthepast,presentandfutureimageofthecity.Thisdissertationdatainvestigatemuseumarchitectureanddefinestheroleofamuseumintermsoffunctionandarchitecturalimplementation.

97.83BIBLIOGRAPHYChing,Frank,2007,Architecture:Form,Space,&Order,3rded,Hoboken,N.J.:JohnWiley&Sons.Dean,D.(1994).MuseumExhibitionTheoryandPractice.London:RoutledgePublisher.Duncan,C.,Wallach,A.,1978,TheMuseumofModernArtasLateCapitalistRitual:AnIconographicAnalysis,MarxistPerspectives,vol.1,no.4,Winter,pp.2851.Giedeon,Siegfried,Space,TimeandArchitecture,Cambridge,MA:HarvardUniversityPress,1947Hillier,B.,Tzortzi,K.,2006,SpaceSyntax:TheLanguageofMuseumSpace,S.Macdonald(Ed),ACompaniontoMuseumStudies,BlackwellPublishing,London,p.282301.HarisonMolly,1960,EducationinMuseums,Theorganisationofmuseum,practicaladvice,UNESCO,Paris,,P.P.8192.Hill,D.A.(1982).DesignProcedures.NewYork:VanNostrandReinholdCo.Ltd.HooperGreenhill,E.(1994).MuseumsandTheirVisitors.London:RoutledgePublisher.ICOM(2006)CodeofEthicsforMuseums,Paris,InternationalCouncilofMuseumsLin,C.H.(2003).Establishingadevelopmentprocessforsincemuseumexhibitiondesign.PhDDissertation,Birmingham:UniversityofCentralEngland.

98.84Lord,G.D.andLord,B.(1999).TheManualofMuseumPlanning.2nded.London:HMSOPublicationsCentre.MetStudio(1998).TheDiscoveryCentreatMillenniumPointMasterplan.Unpublishedcontent,Birmingham:TheDiscoveryCentre.Nigam,1982,M.L.,MuseumResearchandEducationinIndiancontext.JournalofIndianMuseums,vol.XXXVIII,,NewDelhi.P.P.17.Pugh,S.(1991).TotalDesign.NewYork:AddisonWesleyPublishersLtd.Tunstall,G.(2000).ManagingtheBuildingDesignProcess.Oxford:ButterworthHeinemann.Velarde,G.(2001).DesigningExhibitions:Museum,Heritage,TradeandWorldFairs.2nded.Hants:AshgatePublishingLimited.Weeks,2002,JeffreyR.,TheShapeofSpace,NewYork:MarcelDekker.Zevi,1957,Bruno,ArchitectureasSpace,NewYork:HorizonPress.

99.85WEBSITESWikipedia.TheFreeEncyclopedia(homepage).URL:http://en.wikipedia.orgInternationalCouncilofMuseums(ICOM)(homepage).URL:http://icom.museum/ethics.htmlStateMuseumBhopal(homepage).URL:www.mparchaeology.org/statemus.aspBharatBhavanMuseumBhopal(homepage).URL:http://bharatbhawan.org/NationalMuseum,NewDelhi(homepage).URL:http://www.nationalmuseumindia.gov.in/RegionalScienceCentre,Bhopal(homepage).URL:http://www.rscbhopal.gov.in/ArcheologicalSurveyofIndia,ASI(homepage).URL:http://asi.nic.in/asi_museums.aspGovernmentMuseum,Egmore,Chennai.(homepage).URL:http://www.chennaimuseum.org/

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